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HENLEY’S TWENTIETH CENTURY RECIPES, FORMULAS AND PROCESSES

CON­TAIN­ING TEN THOUS­AND SE­LEC­TED HOUSE­HOLD AND WORK­SHOP FORM­U­LAS, REC­I­PES, PRO­CES­SES AND MON­EY-SAV­ING METH­ODS FOR THE PRAC­TI­CAL USE OF MAN­U­FACT­UR­ERS, MECH­AN­ICS, HOUSE­KEEP­ERS AND HOME WORK­ERS

EDITED BY

GARDNER D. HISCOX, M.E.

AUTHOR OF “MECHANICAL MOVEMENTS, POWERS AND DEVICES,” “COMPRESSED AIR,” “GAS, GASOLINE AND OIL ENGINES,” ETC., ETC.

1914 EDITION, REVISED AND ENLARGED

NEW YORK

THE NORMAN W. HENLEY PUBLISHING COMPANY

132 NASSAU STREET

1914

COPYRIGHT, 1914 AND 1913, BY

THE NORMAN W. HENLEY PUBLISHING COMPANY

COPYRIGHT, 1912 AND 1907, BY

THE NORMAN W. HENLEY PUBLISHING COMPANY

Also, Entered at Stationers’ Hall Court, London, England

All rights reserved

THE TROW PRESS, NEW YORK

PREFACE

In compiling this book of formulas, recipes and processes, the Editor has endeavored to meet the practical requirements of the home and workshop—the mechanic, the manufacturer, the artisan, the housewife, and the general home worker.

In addition to exercising the utmost care in selecting his materials from competent sources, the Editor has also modified formulas which were obviously ill adapted for his needs, but were valuable if altered. Processes of questionable merit he has discarded. By adhering to this plan the Editor trusts that he has succeeded in preparing a repository of useful knowledge representing the experience of experts in every branch of practical achievement. Much of the matter has been specially translated for this work from foreign technological periodicals and books. In this way the Editor has embodied much practical information otherwise inaccessible to most English-speaking people.

Each recipe is to be regarded as a basis of experiment, to be modified to suit the particular purpose in hand, or the peculiar conditions which may affect the experimenter. Chemicals are not always of uniform relative purity and strength; heat or cold may markedly influence the result obtained, and lack of skill in the handling of utensils and instruments may sometimes cause failure. Inasmuch as a particular formula may not always be applicable, the Editor has thought it advisable to give as many recipes as his space would allow under each heading. In some instances a series of formulas is given which apparently differ but slightly in their ingredients. This has been done on the principle that one or more may be chosen for the purpose in hand.

Recognizing the fact that works of a similar character are not unknown, the Editor has endeavored to present in these pages the most modern methods and formulas. Naturally, old recipes and so-called trade secrets which have proven their value by long use are also included, particularly where no noteworthy advance has been made; but the primary aim has been to modernize and bring the entire work up to the present date.

THE EDITOR.

JANUARY, 1914.

• PARTIAL LIST OF AUTHORITIES CONSULTED
  • Apothecary, The.
  • Berliner Drog. Zeitung.
  • Brass World.
  • British Journal of Photography.
  • Chemical News.
  • Chemiker Zeitung Repertorium.
  • Chemisch Technische Fabrikant.
  • Chemische Zeitung.
  • Chemist-Druggist.
  • Comptes Rendus.
  • Cooley’s Receipts.
  • Cosmos.
  • Dekorationsmaler, Der.
  • Deutsche Drog. Zeitung.
  • Deutsche Goldschmiede Zeitung.
  • Deutsche Handwerk.
  • Deutsche Maler Zeitung.
  • Deutsche Topfer und Ziefler Zeitung.
  • Dingler’s Polytechnic Journal.
  • Drogisten Zeitung.
  • Druggists’ Circular.
  • English Mechanic.
  • Farben Zeitung.
  • Gummi Zeitung.
  • Journal der Goldschmiedekunst.
  • Journal of Applied Microscopy.
  • Journal of the Franklin Institute.
  • Journal Society of Chemical Industry.
  • Journal Suisse d’Horlogerie.
  • Keramische Rundschau.
  • La Nature.
  • La Science en Famille.
  • La Vie Scientifique.
  • Lack und Farben Industrie.
  • Legierungen.
  • Le Genie Civil.
  • Le Praticien.
  • Leipziger Farber und Zeugdrucker Zeitung.
  • Maler Zeitung.
  • Metallarbeiter.
  • Mining and Scientific Press.
  • Neueste Erfindungen und Erfahrungen.
  • Nouvelles Scientifiques.
  • Oils, Colors, and Drysalteries.
  • Papier-Zeitung.
  • Parfumer, Der.
  • Pharmaceutische Zeitung.
  • Pharmaceutische Centralhalle.
  • Pharmaceutische Era.
  • Pharmaceutische Journal.
  • Pharmaceutische Journal Formulary.
  • Photo Times.
  • Polytech. Centralblatt.
  • Polyt. Notizblatt.
  • Popular Science News.
  • Pottery Gazette.
  • Practical Druggist.
  • Revue Chronometrique.
  • Revue de la Droguerie.
  • Revue des Produits Chimiques.
  • Revue Industrielle.
  • Science, Arts and Nature.
  • Science Pratique.
  • Seifensieder Zeitung, Der.
  • Seifenfabrikant, Der.
  • Spatula.
  • Stein der Weisen, Der.
  • Sudd. Apoth. Zeitung.
  • Technisches Centralblatt.
  • Technische Rundschau.
  • Uhland’s Technische Rundschau.
  • Verzinnen Verzinken Vernickeln, Das.
  • Werkmeister Zeitung.
  • Wiener Drogisten Zeitung.
  • Wiener Gewerbe Zeitung.
  • Zeitschrift für die Gesammte Kohlensaure Industrie.

{9}

HENLEY’S BOOK OF RECIPES

ABRASION REMEDY: See Cosmetics and Ointments.

ABSINTHE: See Wines and Liquors.

ACID-PROOFING

An Acid-proof Table Top.—

By the use of a brush two coats of solution No. 1 are applied while hot; the second coat as soon as the first is dry. Then two coats of solution No. 2, and the wood allowed to dry thoroughly. Later, a coat of raw linseed oil is to be applied, using a cloth instead of a brush, in order to get a thinner coat of the oil.

A writer in the Journal of Applied Microscopy states that he has used this method upon some old laboratory tables which had been finished in the usual way, the wood having been filled oiled, and varnished. After scraping off the varnish down to the wood, the solutions were applied, and the result was very satisfactory.

After some experimentations the formula was modified without materially affecting the cost, and apparently increasing the resistance of the wood to the action of strong acids and alkalies. The modified formula follows:

Solution No. 2 has not been changed, except to arrange the parts per hundred.

The method of application is the same, except that after solution No. 1 has dried the excess of the solution which has dried upon the surface of the wood is thoroughly rubbed off before the application of solution No. 2. The black color does not appear at once, but usually requires a few hours before becoming ebony black. The linseed oil may be diluted with turpentine without disadvantage, and after a few applications the surface will take on a dull and not displeasing polish. The table tops are easily cleaned by washing with water or suds after a course of work is completed, and the application of another coat of oil puts them in excellent order for another course of work. Strong acids or alkalies when spilled, if soon wiped off, have scarcely a perceptible effect.

A slate or tile top is expensive not only in its original cost, but also as a destroyer of glassware. Wood tops when painted, oiled, or paraffined have objectionable features, the latter especially in warm weather. Old table tops, after the paint or oil is scraped off down to the wood, take the above finish nearly as well as the new wood.

To Make Wood Acid- and Chlorine-proof.

Protecting Cement Against Acid.

To Make Corks Impermeable And Acid-proof.

Lining For Acid Receptacles.

ACACIA, MUCILAGE OF: See Adhesives under Mucilages.

ACID-PROOF GLASS: See Glass.

ACID-RESISTING PAINT: See Paint.

ACIDS, SOLDERING: See Solders.

ACID STAINS FROM THE SKIN, TO REMOVE: See Cleaning Preparations and Methods.

ACID TEST FOR VINEGAR: See Vinegar.

ADHESIVES

Glues:

Manufacture Of Glue.

II.—Bones may be treated with successive quantities of combined sulphurous acid and water, from which the heat of combination has been previously dissipated, the solution being removed after each treatment, before the bone salts dissolved therein precipitate, and before the temperature rises above 74° F.—U. S. Pat. 783,784.

III.—A patent relating to the process for treating animal sinews, preparatory for the glue factory, has been granted to Florsheim, Chicago, and consists in immersing animal sinews successively in petroleum or benzine to remove the outer fleshy animal skin; in a hardening or preserving bath, as boric acid, or alum or copper sulphate; and in an alkaline bath to remove fatty matter from the fibrous part of the sinews. The sinews are afterwards tanned and disintegrated.

Test For Glue.

To Prevent Glue From Cracking.

Preventing The Putrefaction Of Strong Glues.

Liquid Glues.—

Dissolve the soda in the water, pour the solution over the dry glue, let stand over night or till thoroughly soaked and swelled, then heat carefully on a water bath until dissolved. When nearly cold stir in the oil of cloves.

By using white glue, a finer article, fit for fancy work, may be made.

III.—Dissolve by heating 60 parts of borax in 420 parts of water, add 480 parts dextrin (pale yellow) and 50 parts of glucose and heat carefully with continued stirring, to complete solution; replace the evaporated water and pour through flannel.

The glue made in this way remains clear quite a long time, and possesses great adhesive power; it also dries very quickly, but upon careless and extended heating above 90° C. (194° F.), it is apt to turn brown and brittle.

IV.—Pour 50 parts of warm (not hot) water over 50 parts of Cologne glue and allow to soak over night. Next day the swelled glue is dissolved with moderate heat, and if still too thick, a little more water is added. When this is done, add from 2 ¹/₂ to 3 parts of crude nitric acid, stir well, and fill the liquid glue in well-corked bottles. This is a good liquid steam glue.

V.—Soak 1 pound of good glue in a quart of water for a few hours, then melt the glue by heating it, together with the unabsorbed water, then stir in ¹/₄ pound dry white lead, and when that is well mixed pour in 4 fluidounces of alcohol and continue the boiling 5 minutes longer.

VI.—Soak 1 pound of good glue in 1 ¹/₂ pints of cold water for 5 hours, then add 3 ounces of zinc sulphate and 2 fluidounces of hydrochloric acid, and keep the mixture heated for 10 or 12 hours at 175° to 190° F. The glue remains liquid and may be used for sticking a variety of materials.

VII.—A very inexpensive liquid glue may be prepared by first soaking and then dissolving gelatin in twice its own weight of water at a very gentle heat; then add glacial acetic acid in weight equal to the weight of the dry gelatin. It should be remembered, however, that all acid glues are not generally applicable.

Dissolve the gum in 2 quarts of warm water; when cold mix in the flour, and add the sugar of lead and alum dissolved in water; heat the whole over a slow fire until it shows signs of ebullition. Let it cool, and add enough gum water to bring it to the proper consistence.

XI.—Dilute 1 part of official phosphoric acid with 2 parts of water and neutralize the solution with carbonate of ammonium. Add to the liquid an equal quantity of water, warm it on a water bath, and dissolve in it sufficient glue to form a thick syrupy liquid. Keep in well-stoppered bottles.

XII.—Dissolve 3 parts of glue in small pieces in 12 to 15 of saccharate of lime. By heating, the glue dissolves rapidly and remains liquid, when cold, without loss of adhesive power. Any desirable consistence can be secured by varying the amount of saccharate of lime. Thick glue retains its muddy color, while a thin solution becomes clear on standing.

The saccharate of lime is prepared by {12} dissolving 1 part of sugar in 3 parts of water, and after adding ¹/₄ part of the weight of the sugar of slaked lime, heating the whole from 149° to 185° F., allowing it to macerate for several days, shaking it frequently. The solution, which has the properties of mucilage, is then decanted from the sediment.

XIII.—In a solution of borax in water soak a good quantity of glue until it has thoroughly imbibed the liquid. Pour off the surplus solution and then put on the water bath and melt the glue. Cool down until the glue begins to set, then add, drop by drop, with agitation, enough acetic acid to check the tendency to solidification. If, after becoming quite cold, there is still a tendency to solidification, add a few drops more of the acid. The liquid should be of the consistence of ordinary mucilage at all times.

Soak the gelatin and glue with the acetic acid and heat on a water bath until fluid; then add the alum and alcohol.

XVI.—Soak 5 parts of Cologne glue in an aqueous calcium chloride solution (1:4) and heat on the water bath until dissolved, replacing the evaporating water; or slack 100 parts of lime with 150 parts of hot water, dissolve 60 parts of sugar in 180 parts of water, and add 15 parts of the slacked lime to the solution, heating the whole to 75° C. (167° F.). Place aside for a few days, shaking from time to time. In the clear sugar-lime solution collected by decanting soak 60 parts of glue and assist the solution by moderate heating.

XVII.—Molasses, 100 parts, dissolved in 300 parts of water, 25 parts of quicklime (slaked to powder), being then stirred in and the mixture heated to 167° F. on a water bath, with frequent stirrings. After settling for a few days a large portion of the lime will have dissolved, and the clear, white, thick solution, when decanted, behaves like rubber solution and makes a highly adherent coating.

XVIII.—Dissolve bone glue, 250 parts, by heating in 1,000 parts of water, and add to the solution barium peroxide 10 parts, sulphuric acid (66° B.) 5 parts, and water 15 parts. Heat for 48 hours on the water bath to 80° C. (176° F.). Thus a syrupy liquid is obtained, which is allowed to settle and is then decanted. This glue has no unpleasant odor, and does not mold.

XIX.—A glue possessing the adhesive qualities of ordinary joiners’ glue, but constituting a pale yellow liquid which is ready for use without requiring heating and possesses great resistance to dampness, is produced by treating dry casein with a diluted borax solution or with enough ammonia solution to cause a faintly alkaline reaction. The preparation may be employed alone or mixed with liquid starch in any proportion.

Glue For Celluloid.

II.—A collodion solution may be used, or an alcoholic solution of fine celluloid shavings.

Glue To Form Paper Pads.—

Pour upon the glue more than enough water to cover it and let stand for several hours, then decant the greater portion of the water; apply heat until the glue is dissolved, and add the glycerin. If the mixture is too thick, add more water.

Mix all but the alcohol, digest on a water bath till the glue is dissolved, allow to cool and add the alcohol.

Dissolve the calcium chloride in the water, add the glue, macerate until it is thoroughly softened, and then heat until completely dissolved.

Cover the glue with cold water, and let stand over night. In the morning pour off superfluous water, throw the glue on muslin, and manipulate so as to get rid of as much moisture as possible, then put in a water bath and melt. Add the {13} glycerine and syrup, and stir well in. Finally, dissolve the tannin in the smallest quantity of water possible and add.

This mixture must be used hot.

Soak the glue as before, melt, add the sugar and glycerine, continuing the heat, and finally add the oil gradually under constant stirring.

This must be used hot.

Glue For Tablets.—

Pour upon the glue more than enough water to cover it and let stand for several hours, then decant the greater portion of the water; apply heat until the glue is dissolved, and add the glycerine. If the mixture is too thick, add more water.

Mix all but the alcohol, digest on a water bath till the glue is dissolved, allow to cool and add the alcohol.

Dissolve the calcium chloride in the water, add the glue, macerate until it is thoroughly softened, and then apply heat until completely dissolved.

IV.—Glue, 1 pound; glycerine, 4 ounces; glucose syrup, 2 ta­ble­spoon­fuls; tannin, ¹/₁₀ ounce. Use warm, and give an hour to dry and set on the pads. This can be colored with any aniline dye.

Marine Glue.

I.—One part Pará caoutchouc is dissolved in 12 parts benzol; 20 parts powdered shellac are added to the solution, and the mixture is carefully heated.

II.—Stronger glue is obtained by dissolving 10 parts good crude caoutchouc in 120 parts benzine or naphtha which solution is poured slowly and in a fine stream into 20 parts asphaltum melted in a kettle, stirring constantly and heating. Pour the finished glue, after the solvent has almost evaporated and the mass has become quite uniform, into flat molds, in which it solidifies into very hard tablets of dark brown or black color. For use, these glue tablets are first soaked in boiling water and then heated over a free flame until the marine glue has become thinly liquid. The pieces to be glued are also warmed and a very durable union is obtained.

III.—Cut caoutchouc into small pieces and dissolve in coal naphtha by heat and agitation. Add to this solution powdered shellac, and heat the whole, constantly stirring until combination takes place, then pour it on metal plates to form sheets. When used it must be heated to 248° F., and applied with a brush.

Water-proof Glues.

II.—Dissolve a small quantity of sandarac and mastic in a little alcohol, and add a little turpentine. The solution is boiled in a kettle over the fire, and an equal quantity of a strong hot solution of glue and isinglass is added. Then filter through a cloth while hot.

III.—Water-proof glue may also be produced by the simple addition of bichromate of potassium to the liquid glue solution, and subsequent exposure to the air.

IV.—Mix glue as usual, and then add linseed oil in the proportion of 1 part oil to 8 parts glue. If it is desired that the mixture remain liquid, ¹/₂ ounce of nitric acid should be added to every pound of glue. This will also prevent the glue from souring.

V.—In 1,000 parts of rectified alcohol dissolve 60 parts of sandarac and as much mastic whereupon add 60 parts of white oil of turpentine. Next, prepare a rather strong glue solution and add about the like quantity of isinglass, heating the solution until it commences to boil; then slowly add the hot glue solution till a thin paste forms, which can still be filtered through a cloth. Heat the solution before use and employ like ordinary glue. A connection effected with this glue is not dissolved by cold water and even resists hot water for a long time.

VI.—Soak 1,000 parts of Cologne glue in cold water for 12 hours and in another vessel for the same length of time 150 parts of isinglass in a mixture of lamp spirit and water. Then dissolve both masses together on the water bath in a suitable vessel, thinning, if necessary, with some hot water. Next add 100 {14} parts of linseed oil varnish and filter hot through linen.

VII.—Ordinary glue is kept in water until it swells up without losing its shape. Thus softened it is placed in an iron crucible without adding water; then add linseed oil according to the quantity of the glue and leave this mixture to boil over a slow fire until a gelatinous mass results. Such glue unites materials in a very durable manner. It adheres firmly and hardens quickly. Its chief advantage, however, consists in that it neither absorbs water nor allows it to pass through, whereby the connecting places are often destroyed. A little borax will prevent putrefaction.

VIII.—Bichromate of potassium 40 parts (by weight); gelatin glue, 55 parts; alum, 5 parts. Dissolve the glue in a little water and add the bichromate of potassium and the alum.

IX.—This preparation permits an absolutely permanent gluing of pieces of cardboard, even when they are moistened by water. Melt together equal parts of good pitch and gutta-percha; of this take 9 parts, and add to it 3 parts of boiled linseed oil and 1 ¹/₂ parts of litharge. Place this over the fire and stir it till all the ingredients are intimately mixed. The mixture may be diluted with a little benzine or oil of turpentine, and must be warm when used.

Glue To Fasten Linoleum On Iron Stairs.

II.—Soak 3 parts of glue in 8 parts water, add ¹/₂ part hydrochloric acid and ³/₄ part zinc vitriol and let this mixture boil several hours. Coat the floor and the back of the linoleum with this. Press the linoleum down uniformly and firmly and weight it for some time.

Glue For Attaching Gloss To Precious Metals.

Elastic Glue.

Glue For Paper And Metal.

Glue For Attaching Cloth Strips To Iron.

Glue For Leather Or Cardboard.

For Wood, Glass, Cardboard, And All Articles Of A Metallic Or Mineral Character.

Glue For Uniting Metals With Fabrics.

Glue or Paste for Making Paper Boxes.—

Mix the chloral, gelatin, and gum arabic in a porcelain container, pour the boiling water over the mixture and let stand for 1 day, giving it a vigorous stirring several times during the day. In cold weather this is apt to get hard and stiff, but this may be obviated by standing the container in warm water for a few minutes. This paste adheres to any surface whatever.

Natural Glue For Cementing Porcelain, Crystal Glass, Etc.

Belt Glue.

Chromium Glue For Wood, Paper, And Cloth.

II.—Use a moderately strong gelatin solution (containing 5 to 10 per cent of dry gelatin), to which about 1 part of acid chromate of potassium in solution is added to every 5 parts of gelatin. This mixture has the property of becoming insoluble by water through the action of sunlight under partial reduction of the chromic acid. {16}

Fireproof Glue.—

Soak the glue or gelatin in the oil for 10 to 12 hours, and then melt it by gently heating the oil, and when perfectly fluid stir in the quicklime until the whole mass is homogeneous, then spread out in layers to dry gradually, out of the sun’s rays. For use, reheat the glue in a glue pot in the ordinary way of melting glue.

Cements.

Under this heading will be found only cements for causing one substance to adhere to another. Cements used primarily as fillers, such as dental cements, will be found under Cements, Putties, etc.

Cutlers’ Cements for Fixing Knife Blades into Handles.—

III.—Rosin, 12; sulphur flowers, 3; iron filings, 5. Melt together, fill the handle while hot, and insert the instrument.

IV.—Plaster of Paris is ordinarily used for fastening loose handles. It is made into a moderately thick paste with water run into the hole in the head of the pestle, the handle inserted and held in place till the cement hardens. Some add sand to the paste, and claim to get better results.

V.—Boil together 1 part of caustic soda, 3 parts of rosin, and 5 parts of water till homogeneous and add 4 parts of plaster of Paris. The paste sets in half an hour and is but little affected by water.

VI.—Equal quantities of gutta percha and shellac are melted together and well stirred. This is best done in an iron capsule placed on a sandbath and heated over a gas furnace or on the top of a stove. The combination possesses both hardness and toughness, qualities that make it particularly desirable in mending mortars and pestles. In using, the articles to be cemented should be warmed to about the melting point of the mixture and retained in proper position until cool, when they are ready for use.

Pour the mixture, hot, into the opening of the heated handle and shove in the knife likewise heated.

VIII.—Melt sufficient black rosin, and incorporate thoroughly with it one-fifth its weight of very fine silver sand. Make the pestle hot, pour in a little of the mixture, then force the handle well home, and set aside for a day before using.

IX.—Make a smooth, moderately soft paste with litharge and glycerine; fill the hole in the pestle with the cement, and firmly press the handle in place, keeping it under pressure for three or four days.

Cements For Stone.

II.—A cement which dries instantaneously, qualifying it for all sorts of repairing and only presenting the disadvantage of having to be freshly prepared each time, notwithstanding any subsequent heating, may be made as follows: In a metal vessel or iron spoon melt 4 to 5 parts of rosin (or preferably mastic) and 1 part of beeswax. This mixture must be applied rapidly, it being of advantage slightly to heat the surfaces to be united, which naturally must have been previously well cleaned.

III.—Slaked lime, 10 parts; chalk, 15 parts; kaolin, 5 parts; mix, and immediately before use stir with a corresponding amount of potash water glass.

IV.—Cement on Marble Slabs.—The whole marble slab is thoroughly warmed and laid face down upon a neatly cleaned planing bench upon which a woolen cloth is spread so as not to injure the polish of the slab. Next apply to the slab very hot, weak glue and quickly sift hot plaster of Paris on the glue in a thin even layer, stirring the plaster rapidly into the applied glue by means of a strong spatula, so that a uniform glue-plaster coating is formed on the warm slab. Before this has time to harden tip the respective piece of furniture on the slab. The frame, likewise warmed, will adhere very firmly to the slab after two days. Besides, this process has the advantage of great cleanliness. {17}

V.—The following is a recipe used by marble workers, and which probably can be used to advantage: Flour of sulphur, 1 part; hydrochlorate of ammonia, 2 parts; iron filings, 16 parts. The above substances must be reduced to a powder, and securely preserved in closely stoppered vessels. When the cement is to be employed, take 20 parts very fine iron filings and 1 part of the above powder; mix them together with enough water to form a manageable paste. This paste solidifies in 20 days and becomes as hard as iron. A recipe for another cement useful for joining small pieces of marble or alabaster is as follows: Add ¹/₂ pint of vinegar to ¹/₂ pint skimmed milk; mix the curd with the whites of 5 eggs, well beaten, and sufficient powdered quicklime sifted in with constant stirring so as to form a paste. It resists water and a moderate degree of heat.

VI.—Cement for Iron and Marble.—For fastening iron to marble or stone a good cement is made as follows: Thirty parts plaster of Paris, 10 parts iron filings, ¹/₂ part sal ammoniac mixed with vinegar to a fluid paste fresh for use.

Cement For Sandstones.

Equally good cement is obtained by melting together 1 part pitch and ¹/₁₀ part wax, and mixing with 2 parts brickdust.

The stones to be cemented, or between the joints of which the putty is to be poured, must be perfectly dry. If practicable, they should be warmed a little, and the surfaces to which the putty is to adhere painted with oil varnish once or twice. The above two formulæ are of especial value in case the stones are very much exposed to the heat of the sun in summer, as well as to cold, rain, and snow in winter. Experience has shown that in these instances the above-mentioned cements give better satisfaction than the other brands of cement.

Cements for Attaching Objects to Glass.—

Melt together.

To Attach Copper To Glass.

To Fasten Brass Upon Glass.

Uniting Glass With Horn.

To Cement Glass To Iron.—

Melt the wax and rosin on a water bath and add, under constant stirring, the Venetian red previously well dried. Stir until nearly cool, so as to prevent the Venetian red from settling to the bottom.

Work into a pasty condition by using 3 parts boiled linseed oil, 1 part copal varnish.

Celluloid Cements.

II.—Camphor, 1 part; alcohol, 4 parts. Dissolve and add equal quantity (by weight) of shellac to this solution.

III.—If firmness is desired in putting celluloid on wood, tin, etc., the following gluing agent is recommended, viz.: A compound of 2 parts shellac, 3 parts spirit of camphor, and 4 parts strong alcohol. {18}

V.—Make a moderately strong glue or solution of gelatin. In a dark place or a dark room mix with the above a small amount of concentrated solution of potassium dichromate. Coat the back of the label, which must be clean, with a thin layer of the mixture. Strongly press the label against the bottle and keep the two in close contact by tying with twine or otherwise. Expose to sunlight for some hours; this causes the cement to be insoluble even in hot water.

Reduce the lime to a fine powder; mix it with the white of egg by trituration, forming a uniform paste. Dilute with water, rapidly incorporate the plaster of Paris, and use the cement immediately. The surfaces to be cemented must first be moistened with water so that the cement will readily adhere. The pieces must be firmly pressed together and kept in this position for about 12 hours.

Cementing Celluloid And Hard-rubber Articles.

II.—Dissolve 1 part of gum camphor in 4 parts of alcohol; dissolve an equal weight of shellac in such strong camphor solution. The cement is applied warm and the parts united must not be disturbed until the cement is hard. Hard-rubber articles are never mended to form a strong joint.

III.—Melt together equal parts of gutta percha and real asphaltum. The cement is applied hot, and the broken surfaces pressed together and held in place while cooling.

Sign-letter Cements.—

Melt all together on a water bath until well mixed, and then add 10 parts slaked lime.

II.—Mix 100 parts finely powdered white litharge with 50 parts dry white lead, knead together 3 parts linseed oil varnish and 1 part copal varnish into a firm dough. Coat the side to be attached with this, removing the superfluous cement. It will dry quickly and become very hard.

Melt together to a homogeneous mass. Apply hot. To make a thorough and reliable job, the letters should be heated to at least the temperature of the cement.

To Fix Gold Letters, Etc., Upon Glass.

II.—Take ¹/₂ quart of the best rum and ¹/₄ ounce fish glue, which is dissolved in the former at a moderate degree of heat. Then add ¹/₂ quart distilled water, and filter through a piece of old linen. The glass is laid upon a perfectly level table and is covered with this substance to the thickness of ¹/₈ inch, using a clean brush. Seize the gold leaf with a pointed object and place it smoothly upon the prepared mass, and it will be attracted by the glass at once. After 5 minutes hold the glass slightly slanting so that the superfluous mass can run off, and leave the plate in this position for 24 hours, when it will be perfectly dry. Now trace the letters or the design on a piece of paper, and perforate the lines with a thick needle, making the holes ¹/₁₆ inch apart. Then place the perforated paper upon the surface of the glass, and stamp the tracery on with powdered chalk. The paper pattern is then carefully removed, and the accurate design will remain upon the gold. The outlines are now filled out with an oily gold mass, mixed with a little chrome orange and diluted with boiled oil or turpentine. When all is dry the superfluous gold is washed off {19} with water by means of a common rag. The back of the glass is then painted with a suitable color.

Attaching Enamel Letters To Glass.

With a small knife or spatula apply the cement to the back of the letters, observing especial care in getting the mixture well and uniformly laid around the inside edges of the letter. In attaching the letters to the glass make sure to expel the air from beneath the characters, and to do this, work them up and down and sidewise. If the weather be at all warm, support the letters while drying by pressing tiny beads of sealing wax against the glass, close to the under side or bottom of the letters. With a putty knife, keenly sharpened on one edge, next remove all the surplus cement. Give the letters a hard, firm pressure against the glass around all edges to securely guard against the disruptive attacks of moisture.

The seepage of moisture beneath the surface of the letters is the main cause of their early detachment from the glass.

The removal of the letters from the glass may be effected by applying turpentine to the top of the characters, allowing it to soak down and through the cement. Oxalic acid applied in the same way will usually slick the letters off in a trice.

Cement For Porcelain Letters.

Water-glass Cements.

To repair cracked glasses or bottles through which water will leak, water glasses may be used, the application being effected in the following easy manner: The vessel is warmed to induce rarefaction of the internal air, after which the mouth is closed, either by a cork in the case of bottles, or by a piece of parchment or bladder if a wide-mouthed vessel is under treatment.

While still hot, the outside of the crack is covered with a little glass, and the vessel set aside to cool, whereupon the difference between the pressure of the external and internal air will force the cement into the fissure and close it completely. All that is then necessary is to take off the cover and leave the vessel to warm for a few hours. Subsequently rinse it out with lime water, followed by clean water, and it will then hold any liquid, acids and alkaline fluids alone excepted.

II.—When water glass is brought into contact with calcium chloride, a calcium silicate is at once formed which is insoluble in water. It seems possible that this reaction may be used in binding together masses of sand, etc. The process indicated has long been used in the preservation of stone which has become “weathered.” The stone is first brushed with the water glass and afterwards with a solution of calcium chloride. The conditions here are of course different.

Calcium chloride must not be confounded with the so-called “chloride of lime” which is a mixture of calcium hypochlorite and other bodies.

To Fasten Paper Tickets To Glass.

Jewelers’ Cements.

Jewelers and goldsmiths require, for the cementing of genuine and colored gems, as well as for the placing of colored folio under certain stones, very adhesive gluing agents, which must, however, be colorless. In this respect these are distinguished chiefly by the so-called diamond cement and the regular jewelers’ cement. Diamond cement is much esteemed by jewelers for cementing precious stones and corals, but may also be employed with advantage for laying colored fluxes of glass on white glass. The diamond cement is of such a nature as to be able to remain for some time in contact with water without becoming soft. It adheres best between glass or between precious stones. It is composed as follows: Isinglass 8 parts, gum ammoniac 1 part, galbanum 1 part, spirit of wine 4 parts. Soak the isinglass in water with admixture of a little spirit of wine and add the solution of the gums in the remainder of the spirit of wine. Before use, heat the diamond cement a little so as to soften it. Jewelers’ cement is used for similar purposes as is the diamond cement, and is prepared from: Isinglass (dry) 10 parts, mastic varnish 5 parts. Dissolve the isinglass in very little water, adding some strong spirit of wine. The mastic varnish is prepared by pouring a mixture of highly rectified spirit of wine and benzine over finely powdered mastic and dissolving it in the smallest possible quantity of liquid. The two solutions of isinglass and mastic are intimately ground together in a porcelain dish.

Armenian Cement.

Dissolve the mastic in the absolute alcohol; dissolve, by the aid of gentle heat, on the water bath, the isinglass in the water, and add 10 parts of the dilute alcohol. Now dissolve the ammoniacum in the residue of the dilute alcohol. Add the first solution to the second, mix thoroughly by agitation and then add the solution of gum ammoniac and stir well in. Finally put on the water bath, and keeping at a moderate heat, evaporate the whole down to 175 parts.

Cement For Enameled Dials.

Watch-lid Cement.

Jewelers’ Glue Cement.

Casein Cements.—

Dissolve the borax in water and incorporate enough casein to produce a mass of the proper consistency.

II.—The casein is made feebly alkaline by means of soda or potash lye and {21} then subjected for about 24 hours to a temperature of 140° F. Next follow the customary admixture, such as lime and water glass, and finally, to accomplish a quicker resinification, substances containing tannin are added. For tannic admixtures to the partially disintegrated casein, slight quantities—about 1 per cent—of gallic acid, cutch, or quercitannic acid are employed. The feebly alkaline casein cement containing tannic acid is used in the well-known manner for the gluing together of wood.

For Metals.

For Glass.

II.—Make a paste of casein and water glass.

Pasteboard And Paper Cement.

II.—Melt together equal parts of good pitch and gutta percha. To 9 parts of this mass add 3 parts of boiled linseed oil and ¹/₅ part litharge. The heat is kept up until, with constant stirring, an intimate union of all the ingredients has taken place. The mixture is diluted with a little benzine or oil of turpentine and applied while still warm. The cement is waterproof.

III.—The National Druggist says that experience with pasting or cementing parchment paper seems to show that about the best agent is casein cement, made by dissolving casein in a saturated aqueous solution of borax.

IV.—The following is recommended for paper boxes:

Mix the chloral, gelatin, and gum arabic in a porcelain container, pour the boiling water over the mixture and let stand for 1 day, giving it a vigorous stirring several times during the day. In cold weather this is apt to get hard and stiff, but this may be obviated by standing the container in warm water for a few minutes. This paste adheres to any surface whatever.

Waterproof Cements For Glass, Stoneware, And Metal.

II.—Mix together dry: Whiting, 6 pounds; plaster of Paris, 3 pounds; sand, 3 pounds; litharge, 3 pounds; rosin, 1 pound. Make to a paste with copal varnish.

III.—Make a paste of boiled oil, 6 pounds; copal, 6 pounds; litharge, 2 pounds; white lead, 1 pound.

IV.—Make a paste with boiled oil, 3 pounds; brickdust 2 pounds; dry slaked lime, 1 pound.

V.—Dissolve 93 ounces of alum and 93 ounces of sugar of lead in water to concentration. Dissolve separately 152 ounces of gum arabic in 25 gallons of water, and then stir in 62 ¹/₂ pounds of flour. Then heat to a uniform paste with the metallic salts, but take care not to boil the mass.

VI.—For Iron and Marble to Stand in Heat.—In 3 pounds of water dissolve first, 1 pound water glass and then 1 pound of borax. With the solution make 2 pounds of clay and 1 pound of barytes, first mixed dry, to a paste.

VII.—Glue to Resist Boiling Water.—Dissolve separately in water 55 pounds of glue and a mixture of 40 pounds of bichromate and 5 pounds of alum. Mix as wanted.

VIII. (Chinese Glue).—Dissolve shellac in 10 times its weight of ammonia.

IX.—Make a paste of 40 ounces of dry slaked lime 10 ounces of alum, and 50 ounces of white of egg.

Dissolve the gums in the alcohol and add the oil and stir in. Now prepare a solution of equal parts of glue and isinglass, by soaking 125 parts of each in cold water until it becomes saturated, pouring and pressing off the residue, and melting on the water bath. This should produce a volume of glue nearly equal to that of the solution of gums. The latter should, in the meantime, have been cautiously raised to the boiling point on the water bath, and then mixed with the hot glue solution.

It is said that articles united with this substance will stand the strain of cold water for an unlimited time, and it takes hot water even a long time to affect it. {22}

Melt the gutta percha very carefully add the pumice stone, and lastly the pitch, and stir until homogeneous.

Use while still hot. This cement will withstand water and dilute mineral acids.

Leather And Rubber Cements.

I.—Use a melted mixture of gutta percha and genuine asphalt, applied hot. The hard-rubber goods must be kept pressed together until the cement has cooled.

II.—A cement which is effective for cementing rubber to iron and which is especially valuable for fastening rubber bands to bandsaw wheels is made as follows: Powdered shellac, 1 part; strong water of ammonia, 10 parts. Put the shellac in the ammonia water and set it away in a tightly closed jar for 3 or 4 weeks. By that time the mixture will become a perfectly liquid transparent mass and is then ready for use. When applied to rubber the ammonia softens it, but it quickly evaporates, leaving the rubber in the same condition as before. The shellac clings to the iron and thus forms a firm bond between the iron and the rubber.

Cement For Metal On Hard Rubber.

How To Unite Rubber And Leather.

To Fasten Rubber To Wood.

II.—Dissolve pulverized gum shellac, 1 ounce, in 9 ¹/₂ ounces of strong ammonia. This of course must be kept tightly corked. It will not be as elastic as the first preparation.

III.—Fuse together shellac and gutta percha in equal weights.

Amalgamate by heat.

VII.—Mix 1 ounce of oil of turpentine with 10 ounces of bisulphide of carbon in which as much gutta percha as possible has been dissolved.

VIII.—Amalgamate by heat:

IX.—Amalgamate by heat:

Then dissolve in bisulphide of carbon.

X.—Make the following solutions separately and mix:

{23}

Cement for Patching Rubber Boots and Shoes.—

This will not only unite leather to leather, india rubber, etc., but will unite rubber to almost any substance.

Dissolve the caoutchouc in the carbon disulphide, add the rubber, let macerate a few days, then mash with a palette knife to a smooth paste. The vessel in which the solution is made in both instances above must be kept tightly closed, and should have frequent agitations.

III.—Take 100 parts of crude rubber or caoutchouc, cut it up in small bits, and dissolve it in sufficient carbon bisulphide, add to it 15 parts of rosin and 10 parts of gum lac. The user must not overlook the great inflammability and exceedingly volatile nature of the carbon bisulphide.

Tire Cements.—

Mix the india rubber and chloroform together, and when dissolved, the mastic is added in powder. It is then allowed to stand a week or two before using.

II.—The following is recommended as very good for cementing pneumatic tires to bicycle wheels:

Melt together the shellac and gutta percha, then add, with constant stirring, the sulphur and red lead. Use while hot.

This cement is the subject of an English patent and is recommended for patching cycle and motor tires, insulating electric wires, etc.

IV.—A good thick shellac varnish with which a small amount of castor oil has been mixed will be found a very excellent bicycle rim cement. The formula recommended by Edel is as follows:

The castor oil prevents the cement from becoming hard and brittle.

A cement used to fasten bicycle tires may be made by melting together at a gentle heat equal parts of gutta percha and asphalt. Apply hot. Sometimes a small quantity each of sulphur and red lead is added (about 1 part of each to 20 parts of cement).

Cements For Leather.—

The gutta percha, shredded fine, is dissolved in the carbon disulphide and turpentine oil. To the solution add the asphalt and set away for several days, or until the asphalt is dissolved. The cement should have the consistency of honey. If the preparation is thinner than this let it stand, open, for a few days. Articles to be patched should first be washed with benzine.

Dissolve the glue in sufficient water with heat; mix the starch paste with water; add the turpentine, and finally mix with the glue while hot.

III.—Soak for one day 1 pound of common glue in enough water to cover, and 1 pound of isinglass in ale droppings. Then mix together and heat gently until boiling. At this point add a little pure tannin and keep boiling for an hour. If the glue and isinglass when mixed are too thick, add water. This cement should be used warm and the jointed leather pressed tightly together for 12 hours.

IV.—A waterproof cement for leather caoutchouc, or balata, is prepared by dissolving gutta percha, caoutchouc, benzoin, gum lac, mastic, etc., in some convenient solvent like carbon disulphide, chloroform, ether, or alcohol. The best solvent, however, in the case of gutta percha, is carbon disulphide and ether for mastic. The most favorable proportions are as follows: Gutta percha, 200 to 300 parts to 100 parts of the solvent, and 75 to 85 parts of mastic to 100 parts of ether. From 5 to 8 parts of the former solution are mixed with 1 {24} part of the latter, and the mixture is then boiled on the water bath, or in a vessel fitted with a water jacket.

V.—Make a solution of 200 to 300 parts of caoutchouc, gutta percha, india rubber, benzoin, or similar gum, in 1,000 parts of carbon disulphide, chloroform, ether, or alcohol, and of this add 5 to 8 parts to a solution of mastic (75 to 125 parts) in ether 100 parts, of equal volume and boil together. Use hot water as the boiling agent, or boil very cautiously on the water bath.

VI.—Forty parts of aluminum acetate, 10° B., 10 parts of glue, 10 parts of rye flour. These materials are either to be simultaneously mixed and boiled, or else the glue is to be dissolved in the aluminum acetate, and the flour stirred into the solution. This is an excellent cement for leather, and is used in so-called art work with leather, and with leather articles which are made of several pieces. It is to be applied warm.

Rubber Cement For Cloth.

I.—Caoutchouc, 5 parts; chloroform, 3 parts. Dissolve and add gum mastic (powder) 1 part.

II.—Gutta percha, 16 parts; india rubber, 4 parts; pitch, 2 parts; shellac, 1 part; linseed oil, 2 parts. Reduce the solids to small pieces, melt together with the oil and mix well.

III.—The following cement for mending rubber shoes and tires will answer similar purposes:

Melt together first the caoutchouc and rosin, then add the gum turpentine, and when all is liquefied, add enough of oil of turpentine to preserve it liquid. A second solution is prepared by dissolving together:

For use these two solutions are mixed. Wash the hole in the rubber shoe over with the cement, then a piece of linen dipped in it is placed over it; as soon as the linen adheres to the sole, the cement is then applied as thickly as required.

Cements For Metals and For Attaching Various Substances To Metals:

Cements For Iron.

II.—Sulphur flowers, 6 parts; dry white lead 6 parts, and powdered borax, 1 part. Mix by sifting and keep as a dry powder in a closed tin box. To use, make into a thin paste with strong sulphuric acid and press together immediately. This cement will harden in 5 days.

Make to a paste with a boiled oil.

IV.—Make a paste of white lead and asbestos.

V.—Make a paste of litharge and glycerine. Red lead may be added. This also does for stone.

VI.—Make a paste of boiled oil of equal parts of white lead, pipe clay, and black oxide of manganese.

VII.—Make iron filings to a paste with water glass.

Make as much as is to be used at once to a paste with a little water. This remark applies to both the following dry recipes:

Either of these last two mixtures is made into a paste with strong vinegar just before use.

XIII.—Mix equal weights of zinc oxide and black oxide of manganese into a paste with water glass.

XIV.—Copal varnish, 15 parts; hydrated lime, 10 parts; glue de nerfs (of sinews), 5 parts; fat drying oil, 5 parts; {25} powdered turpentine, 3 parts; essence of turpentine, 2 parts. Dissolve the glue de nerfs on the water bath, add all the other substances, and triturate intimately.

XV.—Copal varnish, 15 parts; powdered turpentine, 3 parts; essence of turpentine, 2 parts; powdered fish glue, 3 parts; iron filings, 3 parts; ocher, 10 parts.

XVI.—To make a cement for cast iron, take 16 ounces cast-iron borings; 2 ounces sal ammoniac, and 1 ounce sulphur. Mix well and keep dry. When ready to use take 1 part of this powder to 20 parts of cast-iron borings and mix thoroughly into a stiff paste, adding a little water.

Heat together until of a uniform consistence and apply warm.

XVIII.—A cement for iron which is said to be perfectly waterproof and fireproof is made by working up a mixture of equal weights of red lead and litharge with glycerine till the mass is perfectly homogeneous and has the consistency of a glazier’s putty. This cement is said to answer well, even for very large iron vessels, and to be unsurpassable for stopping up cracks in large iron pans of steam pipes.

Cement For Metal, Glass, And Porcelain.

Dissolve 1 drachm of gum mastic in 3 drachms of spirits of wine. In a separate vessel containing water soak 3 drachms of isinglass. When thoroughly soaked take it out of the water and put it into 5 drachms of spirits of wine. Take a piece of gum ammoniacum the size of a large pea and grind it up finely with a little spirits of wine and isinglass until it has dissolved. Then mix the whole together with sufficient heat. It will be found most convenient to place the vessel on a hot-water bath. Keep this cement in a bottle closely stoppered, and when it is to be used, place it in hot water until dissolved.

Cements For Fastening Porcelain To Metal.

II.—Mix finely powdered burned lime, 300 parts, with powdered starch, 250 parts, and moisten the mixture with a compound of equal parts of water and alcohol of 95 per cent until a paste results.

III.—Cement or plaster can be used if the surfaces are sufficiently large; cement is the better article when the object may be exposed to moisture or subjected to much pressure. A process which can be recommended consists in mingling equal weights of chalk, brickdust, clay, and Romain cement. These materials, pulverized and sifted are incorporated with linseed oil in the proportion of half a kilo of oil to 3 kilos of the mingled powder. The Romain or Romanic cement is so designated from the district in France where the calcareous stone from which it is prepared is found in considerable quantity. Although its adhesive qualities are unquestioned, there are undoubtedly American cements equally as good.

IV.—Acetate of lead, 46 ¹/₂ parts by weight; alum, 46 ¹/₂ parts by weight; gum arabic, 76 parts by weight; flour, 500 parts by weight; water, 2,000 parts by weight. Dissolve the acetate of lead and the alum in a little water; on the other hand dissolve the gum arabic in water by pouring, for instance, the 2 liters of boiling water on the gum arabic reduced to powder. When the gum has dissolved, add the flour, put all on the fire, and stir well with a piece of wood; then add the solution of acetate of lead and the alum; agitate well so as to prevent any lumps from forming; retire from the fire before allowing to boil. This glue is used cold, does not peel off, and is excellent to make wood, glass, cardboard, etc. adhere to metals.

Cement For Leather And Iron.

Amber Cements.

II.—Dissolve in a closed bottle 75 parts of cut-up caoutchouc in 60 parts of chloroform. Add 15 parts of mastic and let the mixture stand in the cold until all has dissolved.

III.—Moisten the pieces to be joined with caustic potash and press them together when warm. The union is so perfect that no trace of the juncture is visible. A concentrated alcoholic solution of the rosin over the amber, soluble in alcohol, is also employed for this purpose. Another medium is a solution of hard and very finely powdered copal in pure sulphuric ether. Coat both fractures, previously well cleaned, with this solution and endeavor to combine them intimately by tying or pressing.

IV.—In 30 parts by weight of copal dissolve 30 parts by weight of alumina by means of a water bath. Bathe the surface to be cemented with this gelatinous liquid, but very slightly. Unite the fractures and press them together firmly until the mixture is dry.

Acid-proof Cements For Stoneware And Glass.

II.—Mix silicate of soda to a paste with ground glass.

III.—Mix boiled oil to a paste with china clay.

IV.—Mix coal tar to a paste with pipe clay.

V.—Mix boiled oil to a paste with quicklime.

VI.—Mix with the aid of heat: Sulphur, 100 pounds; tallow, 2 pounds; rosin, 2 pounds. Thicken with ground glass.

VII.—Mix with the aid of heat: Rosin, 2 pounds; sulphur, 2 pounds; brickdust, 4 pounds.

VIII.—Mix with the aid of heat 2 pounds of india rubber and 4 pounds of oiled oil. Thicken with 12 pounds of pipe clay.

IX.—Fuse 100 pounds of india rubber with 7 pounds of tallow. Then make to a paste with dry slaked lime and finally add 20 pounds of red lead.

X.—Mix with the aid of heat: Rosin, 24 pounds; red ocher, 8 pounds; boiled oil, 2 pounds; plaster of Paris, 4 pounds.

Acid-Proof Cement for Wood, Metals, etc.—

Both these cements take a few hours to set. If the cement is wanted to set at once, use silicate of potassium, instead of silicate of sodium. This mixture will be instantly effective and possesses the same power of resistance as the other.

Directions For Repairing Broken Glass, Porcelain, Bric-à-brac.

Spread a white cloth over the mending table and supply it with plenty of clean linen rags, strong rubber bands, and narrow white tape, also a basin of tepid water and a clean soft towel. Wash the broken glass very clean, especially along the break, but take care not to chip it further. Wet both broken edges well with the glue, using a camel’s-hair pencil. Fit the break to a nicety, then slip on rubber bands length- and cross-wise, every way they will hold. If they will not hold true as upon a stemmed {27} thing, a vase or jug or scent bottle, string half a dozen bands of the same size and strength upon a bit of tape, and tie the tape about neck or base before beginning the gluing. After the parts are joined slip another tape through the same bands and tie it above the fracture; thus with all their strength the bands pull the break together. The bands can be used thus on casts of china—in fact, to hold anything mendable. In glass mending the greater the pressure the better—if only it stops short of the breaking point. Properly made the isinglass cement is as clear as water. When the pieces fit true one on the other the break should be hardly visible, if the pressure has been great enough to force out the tiny bubbles, which otherwise refract the light and make the line of cleavage distressingly apparent. Mended glass may be used to hold dry things—as rose leaves, sachets, violet powder, even candies and fruits. But it will not bear to have any sort of liquid left standing in it, nor to be washed beyond a quick rinsing in tepid water. In wiping always use a very soft towel, and pat the vessel dry with due regard to its infirmities.

Mend a lamp loose in the collar with sifted plaster of Paris mixed to a very soft paste with beaten white of egg. Have everything ready before wetting up the plaster, and work quickly so it may set in place. With several lamps to mend wet enough plaster for one at a time. It takes less than 5 minutes to set, and is utterly worthless if one tries working it over. Metal work apart from the glass needs the soldering iron. Dust the break well with powdered rosin, tie the parts firmly together, lay the stick of solder above the break, and fetch the iron down on it lightly but firmly. When the solder cools, remove the melted rosin with a cloth dipped in alcohol.

Since breakables have so unhappy a knack of fracturing themselves in such fashion they cannot possibly stand upright, one needs a sand box. It is only a box of handy size with 8 inches of clean, coarse sand in the bottom. Along with it there should be some small leaden weights, with rings cast in them, running from an ounce to a quarter pound. Two of each weight are needed. In use, tapes are tied to the rings, and the pair of weights swung outside the edges of the box, so as to press in place the upper part of a broken thing to which the tapes have been fastened.

Set broken platters on edge in the sand box with the break up. The sand will hold them firm, and the broken bit can be slapped on. It is the same with plates and saucers. None of these commonly requires weighting. But very fine pieces where an invisible seam is wanted should be held firm until partly set, then have the pair of heaviest weights accurately balanced across the broken piece. The weights are also very useful to prop and stay topheavy articles and balance them so they shall not get out of kilter. A cup broken, as is so common with cups, can have the tape passed around it, crossing inside the handle, then be set firmly in the sand, face down, and be held by the hanging weights pulling one against the other.

The most dependable cement for china is pure white lead, ground in linseed oil, so thick it will barely spread smoothly with a knife. Given time enough to harden (some 3 months), it makes a seam practically indestructible. The objection to it is that it always shows in a staring white line. A better cement for fine china is white of egg and plaster. Sift the plaster three times and tie a generous pinch of it loosely in mosquito netting. Then beat the egg until it will stick to the plaster. Have the broken edge very clean, cover both with the beaten egg, dust well with the plaster, fit together at once, tie, using rubber bands if possible, wrap loosely in very soft tissue paper, and bury head and ears in the sand box, taking care that the break lies so that the sand will hold it together. Leave in the box 24 hours. After a week the superfluous plaster may be gently scraped away.

General Formulas For Cements For Repairing Porcelain, Glassware, Crockery, Plaster, And Meerschaum.

II.—An excellent cement for porcelain and stoneware is obtained by mixing 20 parts of fish glue with an equal weight of crystallizable acetic acid and evaporate the mixture carefully to a syrupy consistency so that it forms a gelatinous mass on cooling. For use the cement thus obtained is made liquid again by heating and applied to the fracture with a brush. The pieces should now be pressed firmly together, by winding a twine tightly around them, until the cement has hardened.

III.—For luting vessels made of glass, {28} porcelain, etc., which are to be used to hold strong acids, a mixture of asbestos powder, water glass, and an indifferent powder (permanent white, sand, etc.) is recommended. To begin with, asbestos powder is made into a pulp with three or four times the quantity (weight) of a solution of soda water glass (of 30° B.). The same is exceedingly fat and plastic, but is not very well suited for working, as it shrinks too much and cracks when drying. By an addition of fine writing sand of the same weight as the asbestos used, the mass can be made less fat, so as to obviate shrinking, without detracting from the plasticity. Small vessels were molded from it and dried in the air, to be tested afterwards. Put in water, the hardened mass becomes soft again and falls apart. Brought into contact, however, with very strong mineral acids, it becomes even firmer and withstands the liquid perfectly. Concentrated nitric acid was kept in such small vessels without the mass being visibly attacked or anything penetrating it. The action of the acid manifestly has the effect that silicic acid is set free from the water glass in excess, which clogs up the pores entirely and contributes to the lutation. Later on, the mass cannot be dissolved by pure water any more. The mass is also highly fireproof. One of the molded bodies can be kept glowing in a Bunsen gas flame for about half a day after treatment with acid, without slagging in the least. For many purposes it ought to be welcome to have such a mass at hand. It cannot be kept ready for use, however, as it hardens a few hours after being prepared; if potash water glass is used, instead of the soda composition, this induration takes place still more quickly.

IV.—Cement for Glass, Porcelain, etc.—

Soak the isinglass in cold water over night, or until it has become swollen and soft throughout. In the morning throw off any superfluous fluid and throw the isinglass on a clean towel or other coarse cloth, and hang it up in such a way that any free residual water will drain away. Upon doing this thoroughly depends, in a great measure, the strength of the cement. When the gelatin has become thoroughly drained put it into a flask or other container, place it in the water bath and heat carefully until it becomes fluid, being careful not to let it come to a boil, as this injures its adhesive properties (the same may be said in regard to glues and gelatins of all kinds). Dissolve the gums in the alcohol and add the solution to the gelatin after removing the same from the water bath, and letting it cool down to about 160° F. Stir well together or mix by agitation.

The following precautions must be observed: 1. Both surfaces to be joined must be absolutely clean, free from dust, dirt, grease, etc. 2. Where the cement is one that requires the application of heat before use, the objects to be united should also be heated to a point at least as high as the melting point of the cement. Otherwise, the cement on application is chilled and consequently fails to make a lasting joint. 3. The thinner the layer of cement the stronger the joint; avoid, therefore, using too much of the binding material. Cover both surfaces to be united, coapt them exactly, and press together as closely as possible. In this manner the thinnest possible layer is secured. 4. Bind the parts securely together, and let remain without loosening or attempting to use the article for 2 or 3 days or longer. A liquid cement acquires its full strength only after evaporation of the fluids used as solvents, and this can occur only from the infinitesimal line of exposed surface.

V.—Liquid Porcelain Cement.—Fish glue, 20 parts; glass acetic acid, 20 parts; heat together until the mass gelatinizes on cooling.

VI.—Take 1 ounce of Russian isinglass, cut in small pieces, and bruise well; then add 6 ounces of warm water, and leave it in a warm place for from 24 to 48 hours. Evaporate the resulting solution to about 3 ounces. Next dissolve ¹/₂ ounce of mastic in 4 ounces of alcohol, and add the mastic solution to the isinglass in small quantities at a time, continuing the heat and stirring well. While still hot strain the liquid through muslin.

VII.—For optical glasses, Canada balsam is employed, the two pieces being firmly pressed together. After a while, especially by humidity, punctures will form, and the glass is separated by a mist of varying reflexes, while in certain climates the heat will melt the balsam. For all other glass articles which require only simple treatment, such as knobs of covers, plates, etc., silicate of potash is excellent.

VIII.—Glass Cement.—Dissolve in 150 parts of acetic acid of 96 per cent, 100 {29} parts of gelatin by the use of heat, and add ammonium bichromate, 5 parts. This glue must be kept away from the light.

The glue is dissolved in a portion of the water by the aid of heat, the bichromate in the remainder, and the liquids mixed, the mixing being done in a feebly lighted place, and the mixture is then kept in the dark. It is applied in feeble light, being reliquefied by gentle heat, and the glass, the fractured pieces being tightly clamped together, is then exposed to a strong light for some time. By this exposure the cement becomes insoluble. This is waterproof cement for glass.

X.—Diamond Glass Cement.—Dissolve 100 parts of fish glue in 150 parts of 90 per cent alcohol and add, with constant stirring, 200 parts of powdered rosin. This cement must be preserved in absolutely tight bottles, as it solidifies very quickly.

XI.—To unite objects of crystal dissolve 8 parts of caoutchouc and 100 parts of gum mastic in 600 parts of chloroform. Set aside, hermetically closed, for 8 days; then apply with a brush, cold.

XII.—To make a transparent cement for glass, digest together for a week in the cold 1 ounce of india rubber, 67 ounces of chloroform, and 40 ounces of mastic.

XIII.—A mixture of traumaticin, a solution of caoutchouc in chloroform, and a concentrated solution of water glass make a capital cement for uniting articles of glass. Not only is the joint very strong, but it is transparent. Neither changes of temperature nor moisture affect the cement.

XIV.—A transparent cement for porcelain is prepared by dissolving 75 parts of india rubber, cut into small pieces, in a bottle containing 60 parts chloroform; to this add 15 parts green mastic. Let the bottle stand in the cold until the ingredients have become thoroughly dissolved.

XV.—Some preparations resist the action of heat and moisture a short time, but generally yield very quickly. The following cement for glass has proven most resistant to liquids and heat:

Mix the lead and litharge thoroughly, and the oil and copal in the same manner, and preserve separately. When needed for use, mix in the proportions indicated (150 parts of the powder to 4 parts of the liquid) and knead well together. Apply to the edges of the glass, bind the broken parts together, and let stand for from 24 to 48 hours.

XVI.—To reunite plaster articles dissolve small pieces of celluloid in ether; in a quarter of an hour decant, and use the pasty deposit which remains for smearing the edges of the articles. It dries rapidly and is insoluble in water.

XVII.—To Mend Wedgwood Mortars.—It is easy enough to mend mortars so that they may be used for making emulsions and other light work which does not tax their strength too much. But a mended mortar will hardly be able to stand the force required for powdering hard substances. A good cement for mending mortars is the following:

Both glass and fluorspar must be in the finest possible condition, which is best done by shaking each in fine powder, with water allowing the coarser particles to deposit, and then to pour off the remainder, which holds the finest particles in suspension. The mixture must be made very rapidly by quick stirring, and when thoroughly mixed must be at once applied. This is said to yield an excellent cement.

Reduce the first two ingredients to a very fine powder and mix them well; moisten the two surfaces to be united with a small quantity of white of egg to make them adhesive; then mix the powder very rapidly with the white of egg and apply the mixture to the broken surfaces. If they are large, two persons should do this, each applying the cement to one portion. The pieces are then firmly pressed together and left undisturbed for several days. The less cement is used the better will the articles hold together.

c.—If there is no objection to dark-colored cement, the very best that can be used is probably marine glue. This is made thus: Ten parts of caoutchouc or india rubber are dissolved in 120 parts of benzine or petroleum naphtha, with {30} the aid of a gentle heat. When the solution is complete, which sometimes requires from 10 to 14 days, 20 parts of asphalt are melted in an iron vessel and the caoutchouc solution is poured in very slowly in a fine stream and under continued heating, until the mass has become homogeneous and nearly all the solvent has been driven off. It is then poured out and cast into greased tin molds. It forms dark brown or black cakes, which are very hard to break. This cement requires considerable heat to melt it; and to prevent it from being burnt it is best to heat a capsule containing a piece of it first on a water bath until the cake softens and begins to be liquid. It is then carefully wiped dry and heated over a naked flame, under constant stirring, up to about 300° F. The edges of the article to be mended should, if possible, also be heated to at least 212° F., so as to permit the cement to be applied at leisure and with care. The thinner the cement is applied the better it binds.

Meerschaum Cements.

II.—Mix very fine meerschaum shavings with albumen or dissolve casein in water glass, stir finely powdered magnesia into the mass, and use the cement at once. This hardens quickly.

Asbestos Cement.

A cement said to stand a high degree of heat and to be suitable for cementing glass, porcelain, or other vessels intended to hold corrosive acids, is this one:

By mixing these ingredients a cement strong enough to resist the strongest nitric acid will be obtained. If hot acids are dealt with, the following mixture will be found to possess still more resistant powers:

Both these cements take a few hours to set. If the cement is wanted to set at once, use potassium silicate instead of sodium silicate. This mixture will be instantly effective, and possesses the same power of resistance as the other.

Parisian Cement.

Strong Cement.

A Cheap And Excellent Cement.

First, a tannin solution is prepared either by dissolving a tannin salt, or by extraction from vegetable sources (as barks from certain trees, etc.), to which {31} is added clear lime water (obtained by filtering milk of lime, or by letting the milk stand until the lime subsides) until no further precipitation occurs, and red litmus paper plunged in the fluid is turned blue. The liquid is now separated from its precipitate, either by decantation or otherwise, and the precipitate is dried. In operating with large quantities of the substance, this is done by passing a stream of atmospheric air through the same. The lime tannate obtained thus is then mixed with casein in proportions running from 1:1 up to 1:10, and the mixture, thoroughly dried, is milled into the consistency of the finest powder. This powder has now only to be mixed with water to be ready for use, the consistency of the preparation depending upon the use to which it is to be put.

Universal Cement.

Cement For Ivory.

Cement For Belts.

Cement For Chemical Apparatus.

Size Over Portland Cement.

Aquarium Cements.—

Mix the first three ingredients, add sufficient linseed oil to make a homogeneous paste, and then add a small quantity of drier. This should stand a few hours before it is used. It is said that glass joined to iron with this cement will break before it will come loose.

III.—Take equal parts of flowers of sulphur, ammonium chloride, and iron filings, and mix thoroughly with boiled linseed oil. Finally, add enough white lead to form a thin paste.

V.—Simply mix equal parts of white and red lead with a little kettle-boiled linseed oil.

Substitute For Cement On Grinder Disks.

Knockenplombe.

Cement For General Use.

Strong Cement.

Syndeticon.

II.—A solution of 10 parts gum arabic and 30 parts of sugar in 100 parts of soda water glass.

III.—A hot solution of 50 parts of Cologne glue in 60 parts of a 20-per-cent aqueous calcium-chloride solution.

IV.—A solution of 50 parts of Cologne glue in 60 parts of acetic acid.

V.—Soak isinglass (fish bladder) in acetic acid of 70 per cent until it swells up, then rub it up, adding a little water during the process.

“Shio Liao.”

Lutes.

Lutes always consist of a menstruum and dissolved or suspended solids, and they must not be attacked by the gases and liquids coming in contact with them. In some cases the constituents of the lute react to form a more strongly adhering mass.

• The conditions of application are, in brief:
  • (a) Heating the composition to make it plastic until firmly fixed in place.
  • (b) Heating the surfaces.
  • (c) Applying the lute with water or a volatile solvent, which is allowed to volatilize.
  • (d) Moistening the surfaces with water, oil, etc. (the menstruum of the lute itself).
  • (e) Applying the lute in workable condition and the setting taking place by chemical reactions.
  • (f) Setting by hydration.
  • (g) Setting by oxidation.

These principles will be found to cover nearly all cases.

Joints should not be ill-fitting, depending upon the lute to do what the pipes or other parts of the apparatus should do. In most cases one part of the fitting should overlap the other, so as to make a small amount of the lute effective and to keep the parts of the apparatus rigid, as a luted joint is not supposed to be a particularly strong one, but rather one quickly applied, effective while in place and easily removed.

Very moderate amounts of the lute should be used, as large amounts are likely to develop cracks, be rubbed off, etc.

• A classification may be given as follows:
  • (1) Plaster of Paris.
  • (2) Hydraulic cement.
  • (3) Clay.
  • (4) Lime.
  • (5) Asphalt and pitch.
  • (6) Rosin.
  • (7) Rubber.
  • (8) Linseed oil.
  • (9) Casein and albumen.
  • (10) Silicates of soda and oxychloride cements.
  • (11) Flour and starch.
  • (12) Miscellaneous, including core compounds.

I. Plaster of Paris is, of course, often used alone as a paste; which quickly {33} solidifies, for gas and wood distillation retorts, etc., and similar places where quickness of setting is requisite. It is more often, however, used with some fibrous material to give it greater strength. Asbestos is the most commonly used material of these, as it will stand a high temperature. When that is not so important, straw, plush trimmings, hair, etc., are used as binders, while broken stone, glass, and various mineral substances are used as fillers, but they do not add anything to the strength. These lutes seem to be particularly suitable for oil vapors and hydrocarbon gases.

• Formulas:
  • (1) Plaster and water.
  • (2) Plaster (wet) and asbestos.
  • (3) Plaster (wet) and straw.
  • (4) Plaster (wet) and plush trimmings.
  • (5) Plaster (wet) and hair.
  • (6) Plaster (wet) and broken stone, etc.

II. Hydraulic Cement.—Cement is used either alone or with sand, asbestos, etc. These lutes are suitable for nitric acid. When used with substances such as rosin or sulphur, cement is probably employed because it is in such a fine state of division and used as a filler and not because of any powers of setting by hydration.

• Formulas:
  • (1) Cement—neat.
  • (2) Cement and asbestos.
  • (3) Cement and sand.

III. Clay.—This most frequently enters into the composition of lutes as a filler, but even then the very finely divided condition of certain grades renders it valuable, as it gives body to a liquid, such as linseed oil, which, unless stiffened, would be pervious to a gas, the clay in all cases being neutral. Thus, for luting pipes carrying chlorine, a stiff paste of clay and molasses has been suggested by Theo. Köller in Die Surrogate, but it soon gives way.

• Formulas:
  • (1) Clay and linseed oil.
  • (2) Same, using fire clay.
  • (3) Clay and molasses.

(1) Is suitable for steam, etc.; (2) for chlorine, and (3) for oil vapors.

IV. Lime is used in the old lute known as putty, which consists of caustic lime and linseed oil. Frequently the lime is replaced by chalk and china clay, but the lime should be, in part at least, caustic, so as to form a certain amount of lime soap. Lime is also used in silicate and casein compositions, which are very strong and useful, but will be described elsewhere.

• Formulas:
  • (1) Lime and boiled oil to stiff mass.
  • (2) Clay, etc., boiled oil to stiff mass.

V. Asphalt and Pitch.—These substances are used in lutes somewhat interchangeably. As a rule, pitch makes the stronger lutes. Tar is sometimes used, but, because of the light oils and, frequently, water contained, it is not so good as either of the others.

Asphalt dissolved in benzol is very useful for uniting glass for photographic, microscopical, and other uses. Also for coating wood, concrete, etc., where the melted asphalt would be too thick to cover well. Benzol is the cheapest solvent that is satisfactory for this purpose, as the only one that is cheaper would be a petroleum naphtha, which does not dissolve all the constituents of the asphalt. For waterproofing wood, brick, concrete, etc., melted asphalt alone is much used, but when a little paraffine is added, it improves its waterproofing qualities, and in particular cases boiled oil is also added to advantage.

Formulas:

Any of these may be thinned with hot benzol or toluol. Toluol is less volatile than benzol and about as cheap, if not cheaper, the straw-colored grades being about 24 cents per gallon.

Examples of so-called “stone cement” are:

These compositions are used to unite slate slabs and stoneware for domestic, engineering, and chemical purposes. Various rosin and pitch mixtures are used for these purposes, and the proportions of these two ingredients are determined by the consistency desired. Sulphur and stone powder are added to prevent the formation of cracks, sulphur acting chemically and stone powder mechanically. {34} Where the lute would come in contact with acid or vapors of the same, limestone should not be the powder used, otherwise it is about the best. Wax is a useful ingredient to keep the composition from getting brittle with age.

A class of lutes under this general grouping that are much used are so-called “marine glues” (q. v.). They must be tough and elastic. When used for calking on a vessel they must expand and contract with the temperature and not crack or come loose.

Formulas:

These are used by melting over a burner.

VI. Rosin, Shellac, and Wax.—A strong cement, used as a stone cement, is:

It has little or no body, and is used in thin layers.

For nitric and hydrochloric acid vapors:

Sulphur gives great hardness and permanency to rosin lutes, but this composition is somewhat brittle.

Good waterproof lutes of this class are:

For a soft air-tight paste for ground-glass surfaces:

6. A strong cement, without body, for metals (other than copper or alloys of same), porcelain, and glass is made by letting 1 part of finely powdered shellac stand with 10 parts of ammonia water until solution is effected.

VII. Rubber.—Because of its toughness, elasticity, and resistance to alterative influences, rubber is a very useful constituent in lutes, but its price makes its use very limited.

Leather Cement.

To stand acid vapors:

3. Plain Rubber Cement.—Cut the crude rubber in small pieces and then add the solvent. Carbon disulphide is the best, benzol good and much cheaper, but gasoline is probably most extensively used because of its cheapness.

4. To make corks and wood impervious to steam and water, soak them in a rubber solution as above; if it is desired to protect them from oil vapors, use glue composition. (See Section IX.)

VIII. Linseed Oil.—This is one of the most generally useful substances we have for luting purposes, if absorbed by a porous substance that is inert.

Formulas: 1. China clay of general utility for aqueous vapors.

Linseed oil of general utility for aqueous vapors.

2. Lime forming the well-known putty.

Linseed oil forming the well-known putty.

3. Red or white lead and linseed oil.

These mixtures become very strong when set and are best diluted with powdered glass, clay, or graphite. There are almost an endless number of lutes using metallic oxides and linseed oil. A very good one, not getting as hard as those containing lead, is:

4. Oxide of iron and linseed oil.

IX. Casein, Albumen, and Glue.—These, if properly made, become very tough and tenacious; they stand moderate heat and oil vapors, but not acid vapors.

A very strong cement which stands moderate heat is the following:

A strong lute for general purposes, {35} which must be used promptly when made:

3. White of egg made into a paste with slaked lime.

A composition for soaking corks, wood, packing, etc., to render them impervious to oil vapors, is:

X. Silicate of Oxychloride Cements.—For oil vapors, standing the highest heat:

1. A stiff paste of silicate of soda and asbestos.

Gaskets for superheated steam, retorts, furnaces, etc.:

2. Silicate of soda and powdered glass; dry the mixture and heat.

Not so strong, however, as the following:

Metal Cement:

Very hard and extra strong compositions:

XI. Flour and Starch Compositions.—

1. The well-known flaxseed poultice sets very tough, but does not stand water or condensed steam.

2. Flour and molasses, made by making a stiff composition of the two. This is an excellent lute to have at hand at all times for emergency use, etc.

3. Stiff paste of flour and strong zinc-chloride solution forms a more impervious lute, and is more permanent as a cement. This is good for most purposes, at ordinary temperature, where it would not be in contact with nitric-acid vapors or condensing steam.

4. A mixture of dextrine and fine sand makes a good composition, mainly used as core compound.

XII. Miscellaneous.—

Mixed to form a stiff paste, sets and becomes very hard and strong, and is very useful for inserting glass tubes, etc., in iron or brass.

For a high heat:

A class of mixtures that can be classified only according to their intended use are core compounds.

II.—Powdered anthracite coal, with molasses to form a stiff paste.

(These proportions are approximate and the amount of sand can be increased for some purposes.)

For some purposes the following mixture is used. It does not seem to be a gasket or a core compound:

Paper read by Samuel S. Sadtler before the Franklin Institute.

Pastes:

Dextrine Pastes.—

By the aid of heat, dissolve the borax in the water and add the dextrine and glucose. Continue the heat, but do not let the mixture boil, and stir constantly until a homogeneous solution is obtained, from time to time renewing the water lost by evaporation with hot water. Finally, bring up to full weight (1,000 parts) by the addition of hot water, then strain through flannel. Prepared in this manner the paste remains bright and clear for a long time. It has extraordinary adhesive properties and dries very rapidly. If care is not taken to keep the cooking temperature below the boiling point of water, the paste is apt to become brown and to be very brittle on drying. {36}

II.—Dissolve in hot water a sufficient quantity of dextrine to bring it to the consistency of honey. This forms a strong adhesive paste that will keep a long time unchanged, if the water is not allowed to evaporate. Sheets of paper may be prepared for extempore labels by coating one side with the paste and allowing it to dry; by slightly wetting the gummed side, the label will adhere to glass. This paste is very useful in the office or laboratory.

III.—Pour over 1,000 parts of dextrine 450 parts of soft water and stir the mixture for 10 minutes. After the dextrine has absorbed the water, put the mixture over the fire, or, preferably, on a water bath, and heat, with lively stirring for 5 minutes, or until it forms a light milk-like liquid, on the surface of which little bubbles begin to form and the liquid is apparently beginning to boil. Do not allow it to come to a boil. Remove from the fire and set in a bucket of cold water to cool off. When cold add to every 1,000 parts of the solution 51 parts glycerine and as much salicylic acid as will stand on the tip of a knife blade. If the solution is too thick, thin it with water that has been boiled and cooled off again. Do not add any more glycerine or the solution will never set.

IV.—Soften 175 parts of thick dextrine with cold water and 250 parts of boiling water added. Boil for 5 minutes and then add 30 parts of dilute acetic acid, 30 parts glycerine, and a drop or two of clove oil.

V.—Powder coarsely 400 parts dextrine and dissolve in 600 parts of water. Add 20 parts glycerine and 10 parts glucose and heat to 90° C. (195° F.).

VI.—Stir 400 parts of dextrine with water and thin the mass with 200 parts more water, 20 parts glucose, and 10 parts aluminum sulphate. Heat the whole to 90° C. (195° F.) in the water bath until the whole mass becomes clear and liquid.

VII.—Warm 2 parts of dextrine, 5 parts of water, 1 part of acetic acid, 1 part of alcohol together, with occasional stirring until a complete solution is attained.

VIII.—Dissolve by the aid of heat 100 parts of builders’ glue in 200 parts of water add 2 parts of bleached shellac dissolved previously in 50 parts of alcohol. Dissolve by the aid of heat 50 parts of dextrine in 50 parts of water, and mix the two solutions by stirring the second slowly into the first. Strain the mixture through a cloth into a shallow dish and let it harden. When needed cut off a piece of sufficient size and warm until it becomes liquid and if necessary or advisable thin with water.

IX.—Stir up 10 parts of dextrine with sufficient water to make a thick broth. Then, over a light fire, heat and add 25 parts of sodium water glass.

X.—Dissolve 5 parts of dextrine in water and add 1 part of alum.

Fastening Cork To Metal.

To Paste Celluloid On Wood, Tin, Or Leather.

To Paste Paper Signs On Metal Or Cloth.

Paste For Fastening Leather, Oilcloth, Or Similar Stuff To Table Or Desk Tops, Etc.

To Paste Paper On Smooth Iron.

Paste for Affixing Cloth to Metal.—

Mix the ingredients and stir until a perfectly smooth liquid results entirely free from lumps, then warm gradually until the liquid thickens.

To Fix Paper upon Polished Metal.

Albumen Paste.

Paste For Parchment Paper.

Medical Paste.

Paste That Will Not Mold.

Pasting Wood And Cardboard On Metal.

Agar Agar Paste.

Strongly Adhesive Paste.

Paste For Tissue Paper.—

Mix (a) with (b), and keep in a wide-mouthed bottle.

Waterproof And Acidproof Pastes.—

Dissolve sufficient isinglass in the mixture of acetic acid and water to make a thin mucilage.

One of the solutions is applied to the surface of one sheet of paper and the other to the other sheet, and they are then pressed together.

III.—A fair knotting varnish free from surplus oil is by far the best adhesive for fixing labels, especially on metal surfaces. It dries instantly, insuring a speedy job and immediate packing, if needful, without fear of derangement. It has great tenacity, and is not only absolutely damp-proof itself, but is actually repellent of moisture, to which all water pastes are subject. It costs more, but the additional expense is often infinitesimal compared with the pleasure of a satisfactory result.

Balkan Paste.—

Cut up the glue and steep it in ¹/₂ pint boiling water; when softened melt in a saucepan; add sugar, starch, and dextrine, and lastly the glycerine, in which carbolic acid has been mixed; add remainder of water, and boil until it thickens. Pour into jars or bottles.

Permanent Paste.—

Mix the flour, boric acid, and water, then strain the mixture; add the nitric acid, apply heat with constant stirring until the mixture thickens; when nearly cold add the oil of cloves. This paste will have a pleasant smell, will not attract flies, and can be thinned by the addition of cold water as needed.

II.—Dissolve 4 ounces alum in 4 quarts hot water. When cool add as much flour as will make it of the usual consistency; then stir into it ¹/₂ ounce powdered rosin; next add a little water in which a dozen cloves have been steeped; then boil it until thick as mush, stirring from the bottom all the time. Thin with warm water for use.

Preservatives For Paste.

Board-sizing.

Rice Paste.

Casein Paste.

Pastes For Paperhangers.

I.—Use a cheap grade of rye or wheat flour, mix thoroughly with cold water to about the consistency of dough, or a little thinner, being careful to remove all lumps; stir in a ta­ble­spoon­ful of powdered alum to a quart of flour, then pour in boiling water, stirring rapidly until the flour is thoroughly cooked. Let this cool before using, and thin with cold water.

• II.—Venetian Paste.—
  • (a)
    • 4 ounces white or fish glue
    • 8 fluidounces cold water
  • (b)
    • 2 fluidounces Venice turpentine
  • (c)
    • 1 pound rye flour
    • 16 fluidounces (1 pint) cold water
  • (d)
    • 64 fluidounces (¹/₂ gallon) boiling water

Soak the 4 ounces of glue in the cold water for 4 hours; dissolve on a water bath (glue pot), and while hot stir in the Venice turpentine. Make up (c) into a batter free from lumps and pour into (d). Stir briskly, and finally add the glue solution. This makes a very strong paste, and it will adhere to a painted surface, owing to the Venice turpentine in its composition.

• III.—Strong Adhesive Paste.—
  • (a)
    • 4 pounds rye flour
    • ¹/₂ gallon cold water
  • (b)
    • 1 ¹/₂ gallons boiling water
  • (c)
    • 2 ounces pulverized rosin

Make (a) into a batter free from lumps; then pour into (b). Boil if necessary, and while hot stir in the pulverized rosin a little at a time. This paste is exceedingly strong, and will stick heavy wall paper or thin leather. If the paste be too thick, thin with a little hot water; never thin paste with cold water.

• IV.—Flour Paste.—
  • (a)
    • 2 pounds wheat flour
    • 32 fluidounces (1 quart) cold water
  • (b)
    • 1 ounce alum
    • 4 fluidounces hot water
  • (c)
    • 96 fluidounces (¹/₂ gallon) boiling water

Work the wheat flour into a batter free from lumps with the cold water. Dissolve the alum as designated in (b). Now stir in (a) and (c) and, if necessary, continue boiling until the paste thickens into a semitransparent mucilage, after which stir in solution (b). The above makes a very fine paste for wall paper.

• V.—Elastic or Pliable Paste.—
  • (a)
    • 4 ounces common starch
    • 2 ounces white dextrine
    • 10 fluidounces cold water
  • (b)
    • 1 ounce borax
    • 3 fluidounces glycerine
    • 64 fluidounces (¹/₂ gallon) boiling water

Beat to a batter the ingredients of (a). Dissolve the borax in the boiling water; then add the glycerine, after which pour (a) into solution (b). Stir until it becomes translucent. This paste will not crack, and, being very pliable, is used for paper, cloth, leather, and other material where flexibility is required.

VI.—A paste with which wall paper can be attached to wood or masonry, adhering to it firmly in spite of dampness, is prepared, as usual, of rye flour, to which, however, are added, after the boiling, 8 ¹/₃ parts, by weight, of good linseed-oil varnish and 8 ¹/₃ parts, by weight, of turpentine to every 500 parts, by weight.

VII.—Paste for Wall Paper.—Soak 18 pounds of bolus (bole) in water, after it has been beaten into small fragments, and pour off the supernatant water. Boil 10 ounces of glue into glue water, mix it well with the softened bolus and 2 pounds plaster of Paris and strain through a sieve by means of a brush. Thin the mass with water to the consistency of a thin paste. The paste is now ready for use. It is not only much cheaper than other varieties, but has the advantage over them of adhering better to whitewashed walls, and especially such as have been repeatedly coated over the old coatings which were not thoroughly removed. For hanging fine wall paper this paste is less commendable, as it forms a white color, with which the paper might easily become soiled if great care is not exercised in applying it. If the fine wall paper is mounted on ground paper, however, it can be recommended for pasting the ground paper on the wall.

Label Pastes:

Pastes To Affix Labels To Tin.

The following formulas for pastes of the type indicated were proposed by Leo Eliel:

Dissolve the gums in 1 pint of water, strain, and add the glycerine, in which the thymol is suspended; shake well and add sufficient water to make 2 pints. This separates on standing, but a single shake mixes it sufficiently for use.

Rub the rye flour and acacia to a smooth paste with 8 ounces of cold water; strain through cheese cloth, and pour into 1 pint of boiling water, and continue the heat until as thick as desired. When nearly cold add the glycerine and oil of cloves.

Rub up the flour with the turpentine and then add sufficient freshly prepared glue (glue or gelatine dissolved in water) to make a stiff paste. This paste dries slowly.

Dissolve the dextrine and acetic acid in water by heating together in the water bath, and to the solution add the alcohol.

Dissolve the borax in the water by warming, then add the dextrine and glucose, and continue to heat gently until dissolved.

Another variety is made by dissolving a cheap Ghatti gum in limewater, but it keeps badly.

VI.—Add tartaric acid to thick flour paste. The paste is to be boiled until quite thick, and the acid, previously dissolved in a little water, is added, the proportion being about 2 ounces to the pint of paste.

VII.—Gum arabic, 50 parts; glycerine, 10 parts; water, 30 parts; liq. Stibii chlorat., 2 parts.

VIII.—Boil rye flour and strong glue water into a mass to which are added, for 1,000 parts, good linseed-oil varnish 30 parts and oil of turpentine 30 parts. This mixture furnishes a gluing agent which, it is claimed, even renders the labels proof against being loosened by moisture.

IX.—Pour 140 parts of distilled cold water over 100 parts of gum arabic in a wide-necked bottle and dissolve by frequent shaking. To the solution, which is ready after standing for about 3 days, add 10 parts of glycerine; later, 20 parts of diluted acetic acid, and finally 6 parts of aluminum sulphate, then straining it through a fine-hair sieve.

X.—Good glue is said to be obtained by dissolving 1 part of powdered sugar in 4 parts of soda water glass.

XI.—A glue for bottle labels is prepared by dissolving borax in water; soak glue in this solution and dissolve the glue by boiling. Carefully drop as much acetic acid into the solution as will allow it to remain thin on cooling. Labels affixed with this agent adhere firmly and do not become moldy in damp cellars.

XII.—Dissolve some isinglass in acetic acid and brush the labels over with it. There will be no cause to complain of their coming off, nor of striking through the paper. Take a wide-mouthed bottle, fill about two-thirds with commercial acetic acid, and put in as much isinglass as the liquid will hold, and set aside in a warm place until completely dissolved. When cold it should form a jelly. To use it place the bottle in hot water. The cork should be well-fitting and smeared with vaseline or melted paraffine.

How To Paste Labels On Tin.

Druggists’ Label Paste.

Stir flour and water together, mixing thoroughly, and add the other ingredients. After the stuff is well mixed, heat it, watching very carefully and removing the instant it stiffens.

To Attach Glass Labels To Bottles.

Photographic Mountants (see also Photography).

This gum (also called gum tragacanth) is usually in the form of curls (i.e., leaf gum), which take a long time to properly dissolve in water—several weeks, in fact—but during the past few years there has been put on the market a powdered gum dragon which does not occupy so many days in dissolving. To make a mucilage from gum dragon a very large volume of water is required. For example, 1 ounce of the gum, either leaf or powder, will swell up and convert 1 gallon of water into a thickish mucilage in the course of 2 or 3 weeks. Only cold water must be used, and before using the mucilage, all whitish lumps (which are particles of undissolved gum) should be picked out or else the mucilage strained. The time of solution can be considerably shortened (to a few hours) by acidifying the water in which the gum is placed with a little sulphuric or oxalic acid; but as the resultant mucilage would contain traces of their presence, such acids are not permissible when the gum-dragon mucilage is to be used for mounting photographs.

Glycerine and gum arabic make a very good adhesive of a fluid nature suited to mounting photographs; and although glycerine is hygroscopic by itself, such tendency to absorb moisture is checked by the reverse nature of the gum arabic; consequently an ideal fluid mucilage is produced. The proportions of the several ingredients are these:

First dissolve the gum in the water, and then stir in the glycerine, and allow all débris from the gum to deposit before using. The following adhesive compound is also one that is free from chemical reactions, and is suited for photographic purposes:

Mix the gum arabic with half the water, and in the remainder of the water dissolve the gum dragon. When both solids are dissolved, mix them together, and then stir in the glycerine.

The following paste will be found a useful mountant:

Dissolve the gum in just sufficient water to completely dissolve it, then add the sugar, and when that has completely dissolved stir in the starch paste, and then boil the mixture until the starch is properly cooked.

A very strong, stiff paste for fastening cardboard mounts to frames, wood, and other materials is prepared by making a bowl of starch paste in the usual way, and then adding 1 ounce of Venice turpentine per pound of paste, and {42} boiling and stirring the mixture until the thick turpentine has become well incorporated. Venice turpentine stirred into flour paste and boiled will also be found a very adhesive cement for fastening cardboard, strawboard, leatherette, and skiver leather to wood or metal; but owing to the resinous nature of the Venice turpentine, such pastes are not suitable for mounting photographic prints. The following half-dozen compounds are suitable mountants to use with silver prints:

Soak the gelatine in water for an hour or two until it is completely softened; take the gelatine out of the water, and allow it to drain, and put it into a bottle and pour alcohol over it; add the glycerine (if the gelatine is soft, use only ¹/₂ ounce; if the gelatine is hard, use 1 ounce of the glycerine), then melt the gelatine by standing the bottle in a vessel of hot water, and shake up very well. For use, remelt by heat. The alcohol prevents the prints from stretching or cockling, as they are apt to, under the influence of the gelatine.

In the following compound, however, only sufficient alcohol is used to serve as an antiseptic, and prevent the agglutinant from decomposing: Dissolve 4 ounces of photographic gelatine in 16 ounces of water (first soaking the gelatine therein for an hour or two until it is completely softened), then remove the gelatine from the water, allow it to drain, and put it into the bottle, and pour the alcohol over it, and put in the glycerine (if the gelatine is soft, use only ¹/₂ ounce; if the gelatine is hard, use 1 ounce of the glycerine), then melt the gelatine by standing the bottle in a vessel of hot water, and shake up well and mix thoroughly. For use, remelt by heat. The alcohol prevents the print from stretching or cockling up under the influence of the gelatine.

The following paste agglutinant is one that is very permanent and useful for all purposes required in a photographic studio: Take 5 pints of water, 10 ounces of arrowroot, 1 ounce of gelatine, and a ¹/₂ pint (10 fluidounces) of alcohol, and proceed to combine them as follows: Make arrowroot into a thick cream with a little of the water, and in the remainder of the water soak the gelatine for a few hours, after which melt the gelatine in the water by heating it, add the arrowroot paste, and bring the mixture to the boil and allow to boil for 4 or 5 minutes, then allow to cool, and mix in the alcohol, adding a few drops of oil of cloves.

Perhaps one of the most useful compounds for photographic purposes is that prepared as follows: Soak 4 ounces of hard gelatine in 15 ounces of water for a few hours, then melt the gelatine by heating it in a glue pot until the solution is quite clear and free from lumps, stir in 65 fluidounces of cold water so that it is free from lumps, and pour in the boiling-hot solution of gelatine and continue stirring, and if the starch is not completely cooked, boil up the mixture for a few minutes until it “blows,” being careful to keep it well stirred so as not to burn; when cold add a few drops of carbolic acid or some essential oil as an antiseptic to prevent the compound from decomposing or becoming sour.

A useful photographic mucilage, which is very liquid, is obtained by mixing equal bulks of gum-arabic and gum-dragon mucilages of the same consistence. The mixture of these mucilages will be considerably thinner than either of them when alone.

As an agglutinant for general use in the studio, the following is recommended: Dissolve 2 ounces of gum arabic in 5 ounces of water, and for every 250 parts of the mucilage add 20 parts of a solution of sulphate of aluminum, prepared by dissolving 1 part of the sulphate in 20 parts of water (common alum should not be used, only the pure aluminum sulphate, because common alum is a mixture of sulphates, and usually contaminated with iron salts). The addition of the sulphate solution to the gum mucilage renders the latter less hygroscopic, and practically waterproof, besides being very adhesive to any materials, particularly those exhibiting a smooth surface.

Mucilages:

For Affixing Labels To Glass And Other Objects.

{43}

Dissolve the gums in 1 pint of water, strain and add the glycerine, in which the thymol is suspended; shake well and add sufficient water to make 2 pints. This separates on standing, but a single shake mixes it sufficiently for use.

Rub the rye flour and the acacia to a smooth paste with 8 ounces of cold water; strain through cheese cloth, and pour into 1 pint of boiling water and continue the heat until as thick as desired. When nearly cold add the glycerine and oil of cloves.

IV.—One part, by weight, of tragacanth, when mixed with 95-per-cent alcohol to form 4 fluidounces, forms a liquid in which a portion of the tragacanth is dissolved and the remainder suspended; this remains permanently fluid, never deteriorates, and can be used in place of the present mucilage; 4 to 8 minims to each ounce of mixture is sufficient to suspend any of the insoluble substances usually given in mixtures.

V.—To 250 parts of gum-arabic mucilage add 20 parts of water and 2 parts of sulphate of alumina and heat until dissolved.

VI.—Dissolve ¹/₂ pound gum tragacanth, powdered, ¹/₄ pound gum arabic, powdered, cold water to the desired consistency, and add 40 drops carbolic acid.

Mucilage Of Acacia.

Commercial Mucilage.

To Render Gum Arabic More Adhesive.

II.—Add to 250 parts of concentrated gum solution (2 parts of gum in 5 parts of water) 2 parts of crystallized aluminum sulphate dissolved in 20 parts of water. This mixture glues even unsized paper, pasteboard on pasteboard, wood on wood, glass, porcelain, and other substances on which labels frequently do not adhere well.

Envelope Gum.

The gum arabic is first dissolved in some water, the sugar added, then the starch, after which the mixture is boiled for a few minutes in order to dissolve the starch, after which it is thinned down to the desired consistency.

Cheaper envelope gums can be made by substituting dextrine for the gum arabic, glucose for the sugar, and adding boric acid to preserve and help stiffen it.

Mucilage To Make Wood And Pasteboard Adhere To Metals.

Preservation Of Gum Solution.

ADULTERANTS IN FOODS: See Foods.

ADUROL DEVELOPER: See Photography.

ÆSCO-QUININE: See Horse Chestnut.

AGAR AGAR PASTE: See Adhesives.

AGATE, BUTTONS OF ARTIFICIAL.

Prepare a mixture or frit of 33 parts of quartz sand, 65 parts calcium phosphate, and 2 parts of potash. The frit, which has been reduced by heat to the fusing point, is finely ground, intimately mingled with a small quantity of kaolin and pressed in molds which yield button-shaped masses. These masses, after having been fired, are given a transparent glaze by any of the well-known processes.

AGATE (IMITATION): See Gems, Artificial.

AGING OF SILK: See Silk.

AGING, SILVER AND GOLD: See Plating.

AIR BATH.

This air bath is employed in cases in which, upon drying or heating substances, acid vapors arise because the walls of the bath are not attacked by them. For the production of the drying apparatus take a flask with the bottom burst off or a bell jar tubulated above. This is placed either upon a sand bath or upon asbestos paper, previously laid upon a piece of sheet iron. The sand bath or the sheet iron is put on a tripod, so that it can be heated by means of a burner placed underneath. The substance to be dried is placed in a glass or porcelain dish, which is put under the bell jar, and if desired the drying dish may be hung on the tripod. For regulating the temperature the tubulure of the jar is closed with a pierced cork, through whose aperture the thermometer is thrust. In order to permit the vapors to escape, the cork is grooved lengthwise along the periphery.

AIR BUBBLES IN GELATINE: See Gelatine.

AIR, EXCLUSION OF, FROM SOLUTIONS: See Photography.

AIR-PURIFYING.

Ozonatine

ALABASTER CLEANING: See Cleaning Preparations and Methods.

ALBATA METAL: See Alloys.

ALBUMEN IN URINE, DETECTION OF.

Patein (Pharm. Zeit.) recommends the following test for albumen in urine: Dissolve 250 grams of citric acid in a sufficient quantity of water, add enough ammonia to neutralize, then 50 grams of alcohol, and finally enough water to make 1 liter. To the acid (or acidulated) urine, one-tenth its volume of the ammonium-citrate solution made as above is added, and the whole heated in the usual manner. The appearance of the faintest turbidity is said to indicate with positive certainty the presence of albumen.

ALBUMEN PAPER: See Photography.

ALBUMEN PASTE: See Adhesives.

ALCOHOL

After the manuscript of this book was ready for the press, Congress passed the bill which has since become a law, whereby the prohibitive tax on industrial or denatured alcohol is removed. So important is this legislative measure that the Editor has deemed it wise to insert an article on the sources of alcohol and the manufacture of alcohol from farm products. Because the first portion of the book was in type when this step was decided upon, the Editor was compelled to relegate to a later page a monograph which should properly have appeared here. The reader will find the matter on alcohol referred to under the heading {45} “Spirit”; likewise methods of denaturing and a list of denaturants.

ALCOHOL, DILUTION OF: See Tables.

Alcohol, Tests For Absolute.

Absolute alcohol is a clear, colorless, volatile, readily imflammable liquid which burns with a faintly luminous flame. Absolute alcohol has a peculiar odor, a burning taste, and does not affect litmus paper. Boiling point, 78.50. Specific gravity, 0.795 to 0.797. One hundred parts contain 99.7 to 99.4 parts, by volume, or 99.6 to 99.0 parts, by weight, of alcohol.

Absolute alcohol should have no foreign smell and should mix with water without cloudiness.

After the admixture of 5 drops of silver-nitrate solution, 10 cubic centimeters of absolute alcohol should not become turbid or colored even on heating.

A mixture of 10 cubic centimeters of absolute alcohol and 0.2 cubic centimeter of potash lye evaporated down to 1 cubic centimeter should not exhibit an odor of fusel oil after supersaturation with dilute sulphuric acid.

Five cubic centimeters of sulphuric acid, carefully covered, in a test tube, with a stratum of 5 cubic centimeters of absolute alcohol, should not form a rose-colored zone at the surface of contact, even on standing for some time.

The red color of a mixture of 10 cubic centimeters of absolute alcohol and 1 cubic centimeter of potassium-permanganate solution should not pass into yellow before 20 minutes.

Absolute alcohol should not be dyed by hydrogen sulphide water or by aqueous ammonia.

Five cubic centimeters of absolute alcohol should not leave behind a weighable residue after evaporation on water bath.

Absolute Alcohol.

Perfumed Denaturized Alcohol.—

Dissolve the oils in the spirit and add the amyl acetate. The mixture serves for destroying the bad odor of denaturized spirit in distilling. Use 50 parts of the perfume per 1,000 parts of spirit.

Solid Alcohol.

II.—Smaragdine is a trade name for solidified alcohol. It consists of alcohol and gun cotton, colored with malachite green. It appears in the market in the form of small cubes.

Alcohol In Fermented Beers.

Alcohol Deodorizer.—

Mix the lime and alum intimately by trituration; add the alcohol and shake well; then add the spirit of nitrous ether; set aside for 7 days and filter through animal charcoal.

Denaturized Alcohol.

I.—Complete denaturization by the German system is accomplished by the addition to every 100 liters (equal to 26 ¹/₂ gallons) of spirits:

(a) Two and one-half liters of the “standard” denaturizer, made of 4 parts of wood alcohol, 1 part of pyridine (a nitrogenous base obtained by distilling bone oil or coal tar), with the addition of 50 grams to each liter of oil of lavender or rosemary.

(b) One and one-fourth liters of the above “standard” and 2 liters of benzol with every 100 liters of alcohol.

II.—Incomplete denaturization—i. e., sufficient to prevent alcohol from being drunk, but not to disqualify it from use for various special purposes, for which the wholly denaturized spirits would be unavailable—is accomplished by several methods as follows, the quantity and nature of each substance given being the prescribed dose for each 100 liters (26 ¹/₂ gallons) of spirits:

(c) Five liters of wood alcohol or ¹/₂ liter of pyridine.

(d) Twenty liters of solution of shellac, containing 1 part gum to 2 parts alcohol of 90-per-cent purity. Alcohol for the manufacture of celluloid and pegamoid is denaturized.

(e) By the addition of 1 kilogram of camphor or 2 liters oil of turpentine or ¹/₂ liter benzol to each 100 liters of spirits. Alcohol to be used in the manufacture of ethers, aldehyde, agaricin, white lead, bromo-silver gelatines, photographic papers and plates, electrode plates, collodion, salicylic acid and salts, aniline chemistry, and a great number of other purposes, is denaturized by the addition of—

(f) Ten liters sulphuric ether, or 1 part of benzol, or ¹/₂ part oil of turpentine, or 0.025 part of animal oil.

For the manufacture of varnishes and inks alcohol is denaturized by the addition of oil of turpentine or animal oil, and for the production of soda soaps by the addition of 1 kilogram of castor oil. Alcohol for the production of lanolin is prepared by adding 5 liters of benzine to each hectoliter of spirits.

Ale.

The ale of the modern brewer is manufactured in several varieties, which are determined by the wants of the consumer and the particular market for which it is intended. Thus, the finer kinds of Burton, East India, Bavarian, and other like ales, having undergone a thorough fermentation, contain only a small quantity of undecomposed sugar and gum, varying from 1 to 5 per cent. Some of these are highly “hopped” or “bittered,” the further to promote their preservation during transit and change of temperature. Mild or sweet ales, on the contrary, are less accentuated by lengthened fermentation, and abound in saccharine and gummy matter. They are, therefore, more nutritious, though less intoxicating, than those previously referred to.

In brewing the finer kinds of ales, pale malt and the best hops of the current season’s growth are always employed; and when it is desired to produce a liquor possessing little color, very great attention is paid to their selection. With the same object, the boiling is conducted with more than the usual precautions, and the fermentation is carried on at a somewhat lower temperature than that commonly allowed for other varieties of beer. For ordinary ale, intended for immediate use, the malt may be all pale; but, if the liquor be brewed for keeping, and in warm weather, when a slight color is not objectionable, one-fifth, or even one-fourth of amber malt may be advantageously employed. From 4 ¹/₂ to 6 pounds of hops is the quantity commonly used to the one-fourth of malt, for ordinary ales; and 7 pounds to 10 pounds for “keeping” ales. The proportions, however, must greatly depend on the intended quality and description of the brewing and the period that will be allowed for its maturation.

The stronger varieties of ale usually contain from 6 to 8 per cent of “absolute alcohol”; ordinary strong ale, 4 ¹/₂ to 6 per cent; mild ale, 3 to 4 percent; and table ale, 1 to 1 ¹/₂ per cent (each by volume); together with some undecomposed saccharine, gummy, and extractive matter, the bitter and narcotic principles of the hop, some acetic acid formed by the oxidation of the alcohol, and very small and variable quantities of mineral and saline matter.

Ordinary ale-wort (preferably pale), sufficient to produce 1 barrel, is slowly boiled with about 3 handfuls of hops, and 12 to 14 pounds of crushed groats, until the whole of the soluble matter of the latter is extracted. The resulting liquor, after being run through a coarse strainer and become lukewarm, is fermented with 2 or 3 pints of yeast; and, as soon as the fermentation is at its height, is either closely bunged up for draft or is at once put into strong stoneware bottles, which are then well corked and wired.

White ale is said to be very nutritious, though apt to prove laxative to those {47} unaccustomed to its use. It is drunk in a state of effervescence or lively fermentation; the glass or cup containing it being kept in constant motion, when removed from the mouth, until the whole is consumed, in order that the thicker portion may not subside to the bottom.

ALE, GINGER: See Beverages.

ALFENIDE METAL: See Alloys.

ALKALI, HOW TO DETECT: See Soaps.

ALKALOIDS, ANTIDOTES TO: See Atropine.

ALLOYS

No general rules can be given for alloying metals. Alloys differing greatly in fusibility are commonly made by adding the more fusible ones, either in the melted state or in small portions at a time, to the other melted or heated to the lowest possible temperature at which a perfect union will take place between them. The mixture is usually effected under a flux, or some material that will promote liquefaction and prevent volatilization and unnecessary exposure to the air. Thus, in melting lead and tin together for solder, rosin or tallow is thrown upon the surface is rubbed with sal ammoniac; and in combining some metals, powdered charcoal is used for the same purpose. Mercury or quicksilver combines with many metals in the cold, forming AMALGAMS, or easily fusible alloys (q. v.).

Alloys generally possess characteristics unshared by their component metals. Thus, copper and zinc form brass, which has a different density, hardness, and color from either of its constituents. Whether the metals tend to unite in atomic proportions or in any definite ratio is still undetermined. The evidence afforded by the natural alloys of gold and silver, and by the phenomena accompanying the cooling of several alloys from the state of fusion, goes far to prove that such is the case (Rudberg). The subject is, however, one of considerable difficulty, as metals and metallic compounds are generally soluble in each other, and unite by simple fusion and contact. That they do not combine indifferently with each other, but exercise a species of elective affinity not dissimilar to other bodies, is clearly shown by the homogeneity and superior quality of many alloys in which the constituent metals are in atomic proportion. The variation of the specific gravity and melting points of alloys from the mean of those of their component metals also affords strong evidence of a chemical change having taken place. Thus, alloys generally melt at lower temperatures than their separate metals. They also usually possess more tenacity and hardness than the mean of their constituents.

Matthiessen found that when weights are suspended to spirals of hard-drawn wire made of copper, gold, or platinum, they become nearly straightened when stretched by a moderate weight; but wires of equal dimensions composed of copper-tin (12 per cent of tin), silver-platinum (36 per cent of platinum), and gold-copper (84 per cent of copper) scarcely undergo any permanent change in form when subjected to tension by the same weight.

The same chemist gives the following approximate results upon the tenacity of certain metals and wires hard-drawn through the same gauge (No. 23):

On the other hand, the malleability, ductility, and power of resisting oxygen of alloys is generally diminished. The alloy formed of two brittle metals is always brittle; that of a brittle and a ductile metal, generally so; and even two ductile metals sometimes unite to form a brittle compound. The alloys formed of metals having different fusing points are usually malleable while cold and brittle while hot. The action of the air on alloys is generally less than on their simple metals, unless the former are heated. A mixture of 1 part of tin and 3 parts of lead is scarcely acted on at common temperatures; but at a red heat it readily takes fire, and continues to burn for some time like a piece of bad turf. In like manner, a mixture of tin and zinc, when strongly heated, decomposes both moist air and steam with rapidity.

The specific gravity of alloys is rarely {48} the arithmetical mean of that of their constituents, as commonly taught; and in many cases considerable condensation or expansion occurs. When there is a strong affinity between two metals, the density of their alloy is generally greater than the calculated mean; and vice versa, as may be seen in the following table:

• ALLOYS HAVING A DENSITY
  • Greater than the Mean of their Constituents:
    • Copper and bismuth,
    • Copper and palladium,
    • Copper and tin,
    • Copper and zinc,
    • Gold and antimony,
    • Gold and bismuth,
    • Gold and cobalt,
    • Gold and tin,
    • Gold and zinc,
    • Lead and antimony,
    • Palladium and bismuth,
    • Silver and antimony,
    • Silver and bismuth,
    • Silver and lead,
    • Silver and tin,
    • Silver and zinc.
  • Less than the Mean of their Constituents:
    • Gold and copper,
    • Gold and iridium,
    • Gold and iron,
    • Gold and lead,
    • Gold and nickel,
    • Gold and silver,
    • Iron and antimony,
    • Iron and bismuth,
    • Iron and lead,
    • Nickel and arsenic,
    • Silver and copper,
    • Tin and antimony,
    • Tin and lead,
    • Tin and palladium,
    • Zinc and antimony.

Compounding Alloys.

1. Melt the least fusible, oxidizable, and volatile first, and then add the others heated to their point of fusion or near it. Thus, if it is desired to make an alloy of exactly 1 part of copper and 3 of zinc, it will be impossible to do so by putting proportions of the metals in a crucible and exposing the whole to heat. Much of the zinc would fly off in vapor before the copper was melted. First, melt the copper and add the zinc, which has been melted in another crucible. The zinc should be in excess, as some of it will be lost anyway.

2. Some alloys, as copper and zinc, copper and arsenic, may be formed by exposing heated plates of the least fusible metal to the vapor of the other. In making brass in the large way, thin plates of copper are dissolved, as it were, in melted zinc until the proper proportions have been obtained.

3. The surface of all oxidizable metals should be covered with some protecting agent, as tallow for very fusible ones, rosin for lead and tin, charcoal for zinc, copper, etc.

4. Stir the metal before casting and if possible, when casting, with a whitewood stick; this is much better for the purpose than an iron rod.

5. If possible, add a small portion of old alloy to the new. If the alloy is required to make sharp castings and strength is not a very great object, the proportion of old alloy to the new should be increased. In all cases a new or thoroughly well-cleansed crucible should be used.

To obtain metals and metallic alloys from their compounds, such as oxides, sulphides, chlorides, etc., a process lately patented makes use of the reducing qualities of aluminum or its alloys with magnesium. The finely powdered material (e. g., chromic oxide) is placed in a crucible mixed with aluminum oxide. The mixture is set afire by means of a soldering pipe or a burning magnesium wire, and the desired reaction takes place. For igniting, one may also employ with advantage a special priming cartridge consisting of pulverized aluminum to which a little magnesium may be mixed, and peroxide of magnesia, which is shaped into balls and lighted with a magnesium wire. By suitable additions to the pulverized mixture, alloys containing aluminum, magnetism, chromium, manganese, copper, iron, boron, silicic acid, etc., are obtained.

Aluminum Alloys.

M. H. Pecheux has contributed to the Comptes Rendus, from time to time, the results of his investigations into the alloys of aluminum with soft metals, and the following constitutes a brief summary of his observations:

Lead.

Zinc.

Tin.

Bismuth.

Magnesium.

Tin, Bismuth, And Magnesium.

Aluminum is a metal whose properties are very materially influenced by a proportionately small addition of copper. Alloys of 99 per cent aluminum and 1 per cent of copper are hard, brittle, and bluish in color; 95 per cent of aluminum and 5 per cent of copper give an alloy which can be hammered, but with 10 percent of copper the metal can no longer be worked. With 80 per cent and upward of copper are obtained alloys of a beautiful yellow color, and these mixtures, containing from 5 to 10 percent of aluminum and from 90 to 95 per cent of copper, are the genuine aluminum bronzes. The 10-per-cent alloys are of a pure golden-yellow color; with 5 per cent of aluminum they are reddish yellow, like gold heavily alloyed with copper, and a 2-per-cent admixture is of an almost pure copper red. {50} As the proportion of copper increases, the brittleness is diminished, and alloys containing 10 per cent and less of aluminum can be used for industrial purposes, the best consisting of 90 per cent of copper and 10 of aluminum. The hardness of this alloy approaches that of the general bronzes, whence its name. It can be stretched out into thin sheets between rollers, worked under the hammer, and shaped as desired by beating or pressure, in powerful stamping presses. On account of its hardness it takes a fine polish, and its peculiar greenish-gold color resembles that of gold alloyed with copper and silver together.

Alloys with a still greater proportion of copper approach this metal more and more nearly in their character; the color of an alloy, for instance, composed of 95 per cent of copper and 5 per cent of aluminum, can be distinguished from pure gold only by direct comparison, and the metal is very hard, and also very malleable.

Electrical Conductivity Of Aluminum Alloys.

Colored Alloys Of Aluminum.

Aluminum-brass.

Aluminum-copper.

Aluminum-silver.

II.—A silver aluminum that is easily worked into various articles contains about one-fourth silver and three-fourths of aluminum.

Aluminum-tin.

Aluminum-tungsten.

Aluminum-zinc.

AMALGAMS: See Fusible Alloys.

Anti-friction Bearing Or Babbitt Metals.

I.—An anti-friction metal of excellent quality and one that has been used with success is made as follows: 17 parts zinc; 1 part copper; 1 ¹/₂ parts antimony; prepared in the following way: Melt the copper in a small crucible, then add the antimony, and lastly the zinc, care being taken not to burn the zinc. Burning can be prevented by allowing the copper and antimony to cool slightly before adding the zinc. This metal is preferably cast into the shape desired and is not used as a lining metal because it requires too great a heat to pour. It machines nicely and takes a fine polish on bearing surfaces. It has the appearance of aluminum when finished. Use a lubricating oil made from any good grade of machine oil to which 3 parts of kerosene have been added.

II.—Copper, 6 parts; tin, 12 parts; lead, 150 parts; antimony, 30 parts; wrought iron, 1 part; cast iron, 1 part. For certain purposes the composition is modified as follows: Copper, 16 parts; tin, 40 parts; lead, 120 parts; antimony, 24 parts; wrought iron, 1 part; cast iron, 1 part. In both cases the wrought iron is cut up in small pieces, and in this state it will melt readily in fused copper and cast iron. After the mixture has been well stirred, the tin, lead, and antimony are added; these are previously melted in separate crucibles, and when mingled the whole mass is again stirred thoroughly. The product may then be run into ingots, to be employed when needed. When run into the molds the surface should be well skimmed, for in this state it oxidizes rapidly. The proportions may be varied without materially affecting the results.

III.—From tin, 16 to 20 parts; antimony, 2 parts; lead, 1 part; fused together, and then blended with copper, 80 parts. Used where there is much friction or high velocity.

IV.—Zinc, 6 parts; tin, 1 part; copper, 20 parts. Used when the metal is exposed to violent shocks.

V.—Lead, 1 part; tin, 2 parts; zinc, 4 parts; copper, 68 parts. Used when the metal is exposed to heat.

VI.—Tin, 48 to 50 parts; antimony, 5 parts; copper, 1 part.

VII.—(Fenton’s.) Tin, with some zinc, and a little copper.

VIII.—(Ordinary.) Tin, or hard pewter, with or without a small portion of antimony or copper. Without the last it is apt to spread out under the weight of heavy machinery. Used for the bearings of locomotives, etc.

The following two compositions are for motor and dynamo shafts: 100 pounds tin; 10 pounds copper; 10 pounds antimony.

83 ¹/₂ pounds tin; 8 ¹/₄ pounds antimony; 8 ¹/₄ pounds copper.

IX.—Lead, 75 parts; antimony, 23 parts; tin, 2 parts.

X.—Magnolia Metal.—This is composed of 40 parts of lead, 7 ¹/₂ parts of antimony, 2 ¹/₂ of tin, ¹/₈ of bismuth, ¹/₈ of aluminum, and ¹/₄ of graphite. It is used as an anti-friction metal, and takes its name from its manufacturer’s mark, a magnolia flower.

ARGENTAN: See German Silver, under this title.

Bell Metal.

The composition of bell metal varies considerably, as may be seen below:

I.—(Standard.) Copper, 78 parts; tin, 22 parts; fused together and cast. The most sonorous of all the alloys of copper and tin. It is easily fusible, and has a fine compact grain, and a vitreous conchoidal and yellowish-red fracture. According to Klaproth, the finest-toned Indian gongs have this composition.

II.—(Founder’s Standard.) Copper, 77 parts; tin, 21 parts; antimony, 2 parts. Slightly paler and inferior to No. I.

III.—Copper, 80 parts; tin, 20 parts. Very deep-toned and sonorous. Used in China and India for the larger gongs, tam-tams, etc.

IV.—Copper, 78 to 80 parts; tin, 22 to 20 parts. Usual composition of Chinese cymbals, tam-tams, etc.

V.—Copper, 75 (= 3) parts; tin, 25 (= 1) part. Somewhat brittle. In fracture, semivitreous and bluish-red. Used for church and other large bells.

VI.—Copper, 80 parts; tin, 10 ¹/₄ parts; zinc, 5 ¹/₂ parts; lead, 4 ¹/₄ parts. English bell metal, according to Thomson. Inferior to the last; the lead being apt to form isolated drops, to the injury of the uniformity of the alloy.

VII.—Copper, 68 parts; tin, 32 parts. Brittle; fracture conchoidal and ash-gray. Best proportions for house bells, hand bells, etc.; for which, however, 2 of copper and 1 of tin is commonly substituted by the founders.

VIII.—Copper, 72 parts; tin, 26 ¹/₂ parts; iron, 1 ¹/₂ parts. Used by the Paris houses for the bells of small clocks.

IX.—Copper, 72 parts; tin, 26 parts; zinc, 2 parts. Used, like the last, for very small bells.

X.—Copper, 70 parts; tin, 26 parts; {52} zinc, 2 parts. Used for the bells of repeating watches.

XI.—Melt together copper, 100 parts; tin, 25 parts. After being cast into the required object, it should be made red-hot, and then plunged immediately into cold water in order to impart to it the requisite degree of sonorousness. For cymbals and gongs.

XII.—Melt together copper, 80 parts; tin, 20 parts. When cold it has to be hammered out with frequent annealing.

XIII.—Copper, 78 parts; tin, 22 parts; This is superior to the former, and it can be rolled out. For tam-tams and gongs.

XIV.—Melt together copper, 72 parts; tin, 26 to 56 parts; iron ¹/₄₄ part. Used in making the bells of ornamental French clocks.

Castings in bell metal are all more or less brittle; and, when recent, have a color varying from a dark ash-gray to grayish-white, which is darkest in the more cuprous varieties, in which it turns somewhat on the yellowish-red or bluish-red. The larger the proportion of copper in the alloy, the deeper and graver the tone of the bells formed of it. The addition of tin, iron, or zinc, causes them to give out their tones sharper. Bismuth and lead are also often used to modify the tone, which each metal affects differently. The addition of antimony and bismuth is frequently made by the founder to give a more crystalline grain to the alloy. All these conditions are, however, prejudicial to the sonorousness of bells, and of very doubtful utility. Rapid refrigeration increases the sonorousness of all these alloys. Hence M. D’Arcet recommends that the “pieces” be heated to a cherry-red after they are cast, and after having been suddenly plunged into cold water, that they be submitted to well-regulated pressure by skillful hammering, until they assume their proper form; after which they are to be again heated and allowed to cool slowly in the air. This is the method adopted by the Chinese with their gongs, etc., a casing of sheet iron being employed by them to support and protect the pieces during the exposure to heat. In a general way, however, bells are formed and completed by simple casting. This is necessarily the case with all very large bells. Where the quality of their tones is the chief object sought after, the greatest care should be taken to use commercially pure copper. The presence of a very little lead or any similar metal greatly lessens the sonorousness of this alloy; while that of silver increases it.

The specific gravity of a large bell is seldom uniform through its whole substance; nor can the specific gravity from any given portion of its constituent metals be exactly calculated owing to the many interfering circumstances. The nearer this uniformity is approached, or, in other words, chemical combination is complete, the more durable and finer-toned will be the bell. In general, it is found necessary to take about one-tenth more metal than the weight of the intended bell, or bells, in order to allow for waste and scorification during the operations of fusing and casting.

Bismuth Alloys.

Bismuth possesses the unusual quality of expanding in cooling. It is, therefore, introduced in many alloys to reduce or check shrinkage in the mold.

For delicate castings, and for taking impressions from dies, medals, etc., various bismuth alloys are in use, whose composition corresponds to the following figures:

V.—Cliché Metal.—This alloy is composed of tin, 48 parts; lead, 32.5; bismuth, 9; and antimony, 10.5. It is especially well adapted to dabbing rollers for printing cotton goods, and as it possesses a considerable degree of hardness, it wears well.

VI.—For filling out defective places in metallic castings, an alloy of bismuth 1 part, antimony 3, lead 8, can be advantageously used.

VII.—For Cementing Glass.—Most of the cements in ordinary use are dissolved, or at least softened, by petroleum. An alloy of lead 3 parts, tin 2, bismuth 2.5, melting at 212° F., is not affected by petroleum, and is therefore very useful for cementing lamps made of metal and glass combined.

LIPOWITZ’S BISMUTH ALLOY: See Cadmium Alloys.

Brass.

In general brass is composed of two-thirds copper and one-third zinc, but a little lead or tin is sometimes advantageous, as the following:

I.—Red copper, 66 parts; zinc, 34 parts; lead, 1 part.

II.—Copper, 66 parts; zinc, 32 parts; tin, 1 part; lead, 1 part.

III.—Copper, 64.5 parts; zinc, 33.5 parts; lead, 1.5 parts; tin, 0.5 part.

Brass-aluminum.

Bristol Brass (Prince’s Metal).

Particular care is required to prevent the zinc from evaporating during the fusing, and for this purpose it is customary to put only half of it into the first melting, and to add the remainder when the first mass is liquefied.

Brass-iron (Aich’s Metal).

I.—The best variety of Aich’s metal consists of copper, 60 parts; zinc, 38.2; iron, 1.8. The predominating quality of this alloy is its hardness, which is claimed to be not inferior to that of certain kinds of steel. It has a beautiful golden-yellow color, and is said not to oxidize easily, a valuable property for articles exposed to the action of air and water.

II.—Copper, 60.2 parts; zinc, 38.2; iron, 1.6. The permissible variations in the content of iron are from 0.4 to 3 per cent.

Sterro metal may properly be considered in connection with Aich’s metal, since its constituents are the same and its properties very similar. The principal difference between the two metals is that sterro metal contains a much larger amount of iron. The composition of this alloy varies considerably with different manufacturers.

III.—Two varieties of excellent quality are the product of the Rosthorn factory, in Lower Austria—copper, 55.33 parts; zinc, 41.80; iron, 4.66. Also

IV.—English sterro metal (Gedge’s alloy for ship sheathing), copper, 60 parts; zinc, 38.125; iron, 1.5.

The great value of this alloy lies in its strength, which is equaled only by that of the best steel. As an illustration of this, a wrought-iron pipe broke with a pressure of 267 atmospheres, while a similar pipe of sterro metal withstood the enormous pressure of 763 atmospheres without cracking. Besides its remarkable strength, it possesses a high degree of elasticity, and is, therefore, particularly suitable for purposes which require the combination of these two qualities, such as the construction of hydraulic cylinders. It is well known that these cylinders, at a certain pressure, begin to sweat, that is, the interior pressure is so great that the water permeates through the pores of the steel. With a sterro metal cylinder, the pressure can be considerably increased without any moisture being perceptible on the outside of the cylinder.

Sterro metal can be made even more hard and dense, if required for special purposes, but this is effected rather by mechanical manipulation than by any change in the chemical composition. If rolled or hammered in heat, its strength is increased, and it acquires, in addition, an exceedingly high degree of tenacity. Special care must be taken, however, in hammering not to overheat the metal, as in this case it would become brittle and might crack under the hammer. Sterro metal is especially suitable for all the purposes for which the so-called red metal has been in the past almost exclusively used. Axle bearings, for example, made of sterro metal have such excellent qualities that many machine factories are now using this material entirely for the purpose.

Cast Brass.

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Their special advantage is that they can be readily cast, worked with file and chisel, and easily gilded.

To Cast Yellow Brass.

Leaf Brass.

Malleable Brass.

Experiments with malleable brass show that all alloys containing up to 58.33 per cent of copper and up to 41.67 per cent of zinc are malleable. There is, in addition, a second group of such alloys, with 61.54 per cent of copper and 38.46 per cent of zinc, which are also malleable in heat.

The preparation of these alloys requires considerable experience, and is best accomplished by melting the metals together in the usual manner, and heating the fused mass as strongly as possible. It must be covered with a layer of charcoal dust to prevent oxidation of the zinc. The mass becomes thinly fluid, and an intimate mixture of the constituents is effected. Small pieces of the same alloy are thrown into the liquid mass until it no longer shows a reflecting surface, when it is cast into ingots in iron molds. The ingots are plunged into water while still red-hot, and acquire by this treatment a very high degree of ductility. The alloy, properly prepared, has a fibrous fracture and a reddish-yellow color.

Sheet Brass

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As the above figures show, the percentage of zinc in the different kinds of brass lies between 27 and 34. Recently, alloys containing a somewhat larger quantity of zinc have been used, it having been found that the toughness and ductility of the brass are increased thereby, without injury to its tenacity. Alloys containing up to 37 per cent of zinc possess a high degree of ductility in the cold, and are well adapted for wire and sheet.

Gilders’ Sheet Brass.

White Brass.

III.—Zinc, 80 parts; copper, 10 parts; iron, 10 parts.

Britannia Metal.

Britannia metal is an alloy consisting principally of tin and antimony. Many varieties contain only these two metals, and may be considered simply as tin hardened with antimony, while others contain, in addition, certain quantities of copper, sometimes lead, and occasionally, though rarely on account of its cost, bismuth. Britannia metal is always of a silvery-white color, with a bluish tinge, and its hardness makes it capable of taking a high polish, which is not lost through exposure to the air. Ninety per cent of tin and 10 per cent of antimony gives a composition which is the best for many purposes, especially for casting, as it fills out the molds well, and is readily fusible. In some cases, where articles made from it are to be subjected to constant wear, a harder alloy is required. In the proportions given above, the metal is indeed much harder than tin, but would still soon give way under usage.

A table is appended, giving the composition of some of the varieties of Britannia metal and their special names.

Britannia metal is prepared by melting the copper alone first, then adding a part of the tin and the whole of the antimony. The heat can then be quickly moderated, as the melting point of the new alloy is much lower than that of copper. Finally, the rest of the tin is added, and the mixture stirred constantly for some time to make it thoroughly homogeneous.

An alloy which bears a resemblance to Britannia metal is Ashberry metal, for which there are two formulas.

Bronzes.

The composition of bronze must be effected immediately before the casting, for bronze cannot be kept in store ready prepared. In forming the alloy, the refractory compound, copper, is first melted separately, the other metals, tin, zinc, etc., previously heated, being then added; the whole is then stirred and the casting carried out without loss of time. The process of forming the alloy must be effected quickly, so that there may be no loss of zinc, tin, or lead through oxidation, and also no interruption to the flow of metal, as metal added after an interval of time will not combine perfectly with the metal already poured in. It is important, therefore, to ascertain the specific weights of the metals, for the heavier metal will naturally tend to sink to the bottom and the lighter to collect at the top. Only in this way, and by vigorous stirring, can the complete blending of the two metals be secured. In adding the zinc, great care {56} must be taken that the latter sinks at once to the level of the copper, otherwise a considerable portion will be volatilized before reaching the copper. When the castings are made, they must be cooled as quickly as possible, for the components of bronze have a tendency to form separate alloys of various composition, thus producing the so-called tin spots. This is much more likely to occur with a slow than with a sudden cooling of the mass.

Annealing Bronze.

Aluminum Bronze.

Aluminum bronze wire is almost as strong as good steel wire, and castings made from it are almost as hard as steely iron; its resistance to bending or sagging is great.

I.—A good formula is 90 to 95 per cent of aluminum and 5 to 10 per cent of copper, of golden color, which keeps well in the air, without soon becoming dull and changing color like pure copper and its alloys with tin and zinc (bronze, brass, etc.). It can be cast excellently, can be filed well and turned, possesses an extraordinary hardness and firmness, and attains a high degree of polish; it is malleable and forgeable. On the latter quality are founded applications which were formerly never thought of, viz.: forged works of art for decorative purposes. An alloy of 95 parts aluminum and 5 parts copper is used here. The technical working of bronze is not materially different from that of iron. The metal, especially in a hot condition, is worked like iron on the anvil, with hammer and chisel, only that the temperature to be maintained in forging lies between dark and light cherry red. If the articles are not forged in one piece and the putting together of the separate parts becomes necessary, riveting or soldering has to be resorted to. Besides forging, aluminum bronze is well suited for embossing, which is not surprising considering the high percentage of copper. After finishing the pieces, the metal can be toned in manifold ways by treatment with acid.

II.—Copper, 89 to 98 per cent; aluminum and nickel, 1 to 2 per cent. Aluminum and nickel change in the opposite way, that is to say, in increasing the percentage of nickel the amount of aluminum is decreased by the equal quantity. It should be borne in mind that the best ratio is aluminum, 9.5 per cent; nickel, 1 to 1.5 per cent at most. In preparing the alloy a deoxidizing agent is added, viz., phosphorus to 0.5 per cent; magnesium to 1.5 per cent. The phosphorus should always be added in the form of phosphorous copper or phosphor aluminum of exactly determined percentage. It is first added to the copper, then the aluminum and the nickel, and finally the magnesium, the last named at the moment of liquidity, are admixed.

III.—A gold bronze, containing 3 to 5 per cent aluminum; specific gravity, 8.37 to 8.15. Handsome golden color. This alloy oxidizes less on heating than copper and iron, and is therefore especially adapted for locomotive fireboxes and spindles, etc.

IV.—A steel bronze containing on an average 8.5 per cent aluminum (including 1 per cent silicium); specific gravity, 7.7. Very ductile and tough, but slightly elastic; hence its use is excluded where, with large demands upon tension and pressure, no permanent change of form must ensue. This is changed by working, such as rolling, drawing, etc. {57} Especially useful where infrangibility is desired, as in machinery, ordnance, etc. At high temperature this bronze loses its elasticity again.

V.—This contains 8.5 per cent aluminum and 1 ¹/₂ to 2 per cent silicium. Its use is advisable in cases where the metal is to possess a good elasticity, even in the cast state, and to retain it after being worked in red heat.

VI.—An acid bronze, containing 10 per cent aluminum; specific gravity, 7.65. Especially serviceable to resist oxidation and the action of acids.

VII.—Diamond bronze, containing 10 per cent aluminum and 2 per cent silicium. Specific gravity, 7.3. Very hard; of great firmness, but brittle.

Art Bronzes.

II.—Copper, 90 parts; zinc, 6 parts; tin, 2 parts; lead, 2 parts.

III.—Copper, 65 parts; zinc, 30 parts; tin, 5 parts.

IV.—Copper, 90 parts; tin, 5 parts; zinc, 4 parts; lead, 1 part.

V.—Copper, 85 parts; zinc, 10 parts; tin, 3 parts; lead, 2 parts.

VI.—Copper, 72 parts; zinc, 23 parts; tin, 3 parts; lead, 2 parts.

Statuary Bronze.

Genuine bronze, however strongly heated, does not become thin enough to fill out the molds well, and it is also difficult to obtain homogeneous castings from it. Brass alone is also too thickly fluid, and not hard enough for the required fine chiseling or chasing of the finished object. Alloys containing zinc and tin, in addition to copper, can be prepared in such a manner that they will become very thinly fluid, and will give fine castings which can easily be worked with the file and chisel. The best proportions seem to be from 10 to 18 per cent of zinc and from 2 to 4 per cent of tin. In point of hardness, statuary bronze holds an intermediate position between genuine bronze and brass, being harder and tougher than the latter, but not so much so as the former.

Since statuary bronze is used principally for artistic purposes, much depends upon the color. This can be varied from pale yellow to orange yellow by slightly varying the content of tin or zinc, which must, of course, still be kept between the limits given above. Too much tin makes the alloy brittle and difficult to chisel; with too much zinc, on the other hand, the warm tone of color is lost, and the bronze does not acquire a fine patina.

The best proportions for statuary bronze are very definitely known at the present day; yet it sometimes happens that large castings have not the right character. They are either defective in color, or they do not take on a fine patina, or they are difficult to chisel. These phenomena may be due to the use of impure metals—containing oxides, iron, lead, etc.—or to improper treatment of the alloy in melting. With the most careful work possible, there is a considerable loss in melting—3 per cent at the very least, and sometimes as much as 10. This is due to the large proportion of zinc, and it is evident that, in consequence of it, the nature of the alloy will be different from what might be expected from the quantities of metals used in its manufacture.

It has been remarked that slight variations in composition quickly change the color of the alloy. The following table gives a series of alloys of different colors, suitable for statuary bronze:

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Perhaps the most satisfactory bronze metal is the alloy used in France for more than a century. It contains 91.60 per cent of copper, 5.33 per cent of zinc, 1.70 per cent of tin, and 1.37 per cent of lead. Somewhat more zinc is taken for articles to be gilded.

Bismuth Bronze.

Gun Bronze.—See Phosphor Bronze under this title.

Japanese Bronzes.

I.—Copper, 81.62 per cent; tin, 4.61 per cent; lead, 10.21 per cent.

II.—Copper, 76.60 per cent; tin, 4.38 per cent; lead, 11.88 per cent; zinc, 6.53 per cent.

III.—Copper, 88.55 per cent; tin, 2.42 per cent; lead, 4.72 per cent; zinc, 3.20 per cent.

Sometimes a little antimony is added just before casting, and such a composition would be represented more nearly by this formula:

IV.—Copper, 68.25 per cent; tin, 5.47 per cent; zinc, 8.88 per cent; lead, 17.06 per cent; antimony, 0.34 per cent.

For imitation Japanese bronze, see Plating under Bronzing.

Machine Bronze.

II.—Copper, 80 per cent; tin, 16 per cent.

Phosphor Bronze.

A bronze is sometimes made with an extra high percentage of phosphorus, namely, 6 per cent. This alloy is made so as to have phosphorus in convenient form for use, and the process of manufacture is as follows: Ninety pounds of copper are melted under charcoal in a No. 70 crucible, which holds about 200 pounds of metal when full; 11 pounds of tin are added and the metal is allowed to become hot. The crucible is then removed from the furnace and 7 pounds of phosphorus are introduced in the following manner: A 3-gallon stone jar, half full of dilute solution of blue vitriol, is weighed. Then the weights are increased 7 pounds, and phosphorus in sticks about 4 inches long is added till the scales balance again. The phosphorus is left in this solution half an hour or longer, the phosphorus being given a coating of copper, so that it may be dried and exposed to the air without igniting. Have ready a pan about 30 inches square and 6 inches deep, containing about 2 inches of water. Over the water is a wire netting, which is laid loose on ledges or supports along the inner sides of the pan. On the netting is blotting paper, and on this the phosphorus is laid to dry when taken out of the blue-vitriol solution. The pan also has a lid which can be put down in case of ignition of the phosphorus.

The phosphorus is now ready for introduction into the metal. This is done by means of a cup-shaped instrument called a retort or phosphorizer. One man holds the retort on the rim of the crucible in a horizontal position. A second man takes about three pieces of phosphorus and throws them into the retort. The first man then immediately plunges the mouth of the retort below the surface of the metal before the phosphorus has a chance to fall or flow out. Of course the phosphorus immediately melts and also begins to volatilize. As the phosphorus comes in contact with the metal, it combines with it. This process is continued till all the 7 pounds of phosphorus has been put into the metal. The metal is then poured into slabs about 3 inches by 4 inches by 1 inch thick. The metal is so hard that a greater thickness would make it difficult to break it up. When finished, the metal contains, by analysis, 6 per cent of phosphorus. When phosphorus is to be added to metal, a little of this hardener is employed.

Copper is a soft, ductile metal, with its melting point at about 2,000° F. {59} Molten copper has the marked property of absorbing various gases. It is for this reason that it is so difficult to make sound castings of clear copper. Molten copper combines readily with the oxygen of the air, forming oxide of copper, which dissolves in the copper and mixes homogeneously with it.

A casting made from such metal would be very spongy. The bad effect of oxygen is intended to be overcome by adding zinc to the extent of 1 per cent or more. This result can be much more effectively attained by the use of aluminum, manganese, or phosphorus. The action of these substances is to combine with the oxygen, and as the product formed separates and goes to the surface, the metal is left in a sound condition. Aluminum and manganese deoxidize copper and bronze very effectively, and the oxide formed goes to the surface as a scum. When a casting is made from such metal, the oxide or scum, instead of freeing itself from the casting perfectly, generally remains in the top part of the casting mixed with the metal, as a fractured surface will show. Phosphorus deoxidizes copper, and the oxide formed leaves the metal in the form of a gas, so that a casting made from such metal shows a clean fracture throughout, although the metal is not so dense as when aluminum or manganese is used.

Copper also has the property of absorbing or occluding carbon monoxide. But the carbonic oxide thus absorbed is in a different condition from the oxygen absorbed. When oxygen is absorbed by copper, the oxygen combines chemically with the copper and loses its own identity as a gas. But when coal gas is absorbed by the copper, it keeps its own physical identity and simply exists in the copper in a state of solution. All natural waters, such as lake water, river water, spring water, etc., contain air in solution or occlusion. When such water is cooled and frozen, just at the time of changing from the liquid to the solid state, the dissolved gas separates and forms air bubbles, which remain entangled in the ice. The carbonic oxide which is dissolved or occluded in copper acts in exactly the same way.

Hydrogen acts in exactly the same manner as carbonic oxide. Sulphur also has a bad effect upon copper and bronze. Sulphur combines with copper and other metals, forming sulphide of copper, etc. When molten copper or bronze containing sulphur comes in contact with air it absorbs some oxygen, and this in turn combines with the sulphur present, forming sulphur dioxide, which is a gas which remains occluded in the metal.

Tin is a soft, white metal, melting at 440° F. Toward gases it acts something like copper, but not in so marked a degree. Although copper and tin are both soft, yet when mixed they make a harder metal. When bronze cools from the molten state, the copper and the copper-tin alloy tend to crystallize by themselves. The quicker the cooling occurs the less separation will there be, and also the fracture will be more homogeneous in appearance.

Gun bronze contains copper and tin in the proportion of 9 or 10 parts of copper to 1 of tin. This is the metal used when an ordinary bronze casting is wanted. A harder bronze is copper and tin in the ratio of 6 to 1. This is often used as a bearing metal. When either of these metals is to be turned in the machine shop, they should contain about 3 per cent of lead, which will make them work very much better, but it also decreases their tensile strength. Bearing metal now generally contains about 10 per cent of lead, with copper and tin in varying ratios. The large percentage of lead is put in that the metal may wear away slower. Lead, although a metal having properties similar to tin, acts entirely different toward copper. Copper and tin have a good deal of affinity for each other, but copper and lead show no attraction at all for each other. Copper and tin mix in all proportions, but copper and lead mix only to a very limited extent. About 3 per cent of lead can be mixed with copper. With bronze about 15 per cent to 20 per cent of lead can be mixed. In bearing bronze the lead keeps its own physical properties, so that the constituent lead melts long before the metal attains a red heat. It sometimes happens when a bearing runs warm that the lead actually sweats out and forms pimples on the metal. Or, sometimes, in remelting a bearing bronze casting the lead may be seen to drop out while the metal is warming up. All of these metals, however, should contain something to flux or deoxidize them, such as zinc, manganese, aluminum, silicon, antimony, or phosphorus.

The phosphor bronze bearing metal in vogue has the following composition: Copper, 79.7 per cent; tin, 10 per cent; lead, 10 percent; and phosphorus, 0.3 per cent.

Melt 140 pounds of copper in a No. 70 pot, covering with charcoal. When copper is all melted, add 17 ¹/₂ pounds of tin to 17 ¹/₂ pounds of lead, and allow the metal to become sufficiently warm, but {60} not any hotter than is needed. Then add 10 pounds of “hardener” (made as previously described) and stir well. Remove from furnace, skim off the charcoal, cool the metal with gates to as low a temperature as is consistent with getting a good casting, stir well again, and pour. The molds for this kind of work are faced with plumbago.

There are several firms that make phosphor-bronze bearings with a composition similar to the above one, and most of them, or perhaps all, make it by melting the metals and then charging with phosphorus to the extent of 0.7 to 1 per cent. But some metal from all brands contains occluded gas. So that after such metal is cast (in about two minutes or so) the metal will ooze or sweat out through the gate, and such a casting will be found to be porous. But not one such experience with metal made as described above has yet been found.

This practical point should be heeded, viz., that pig phosphor bronze should be brought to the specifications that the metal should have shrunk in the ingot mold in cooling, as shown by the concave surface of the upper side, and that it should make a casting in a sand mold without rising in the gate after being poured.

In bearing metal, occluded gas is very objectionable, because the gas, in trying to free itself, shoves the very hard copper-tin compound (which has a low melting point and remains liquid after the copper has begun to set) into spots, and thus causes hard spots in the metal.

Phosphorus is very dangerous to handle, and there is great risk from fire with it, so that many would not care to handle the phosphorus itself. But phosphor copper containing 5 per cent of phosphorus, and phosphor tin containing 2 to 7 per cent of phosphorus, and several other such alloys can be obtained in the market. It may be suggested to those who wish to make phosphor bronze, but do not want to handle phosphorus itself, to make it by using the proper amounts of one of these high phosphorus alloys. In using phosphorus it is only necessary to use enough to thoroughly deoxidize the metal, say 0.3 per cent. More than this will make the metal harder, but not any sounder.

Phosphor bronze is not a special kind of alloy, but any bronze can be made into phosphor bronze; it is, in fact, simply a deoxidized bronze, produced under treatment with phosphorus compounds.

Although the effect of phosphorus in improving the quality of bronze has been known for more than fifty years, it is only of late that the mode for preparing phosphor bronze has been perfected. It is now manufactured in many localities. Besides its action in reducing the oxides dissolved in the alloy, the phosphorus exerts another very material influence upon the properties of the bronze. The ordinary bronzes consist of mixtures in which the copper is really the only crystallized constituent, since the tin crystallizes with great difficulty. As a consequence of this dissimilarity in the nature of the two metals, the alloy is not so solid as it would be if both were crystallized. The phosphorus causes the tin to crystallize, and the result is a more homogeneous mixture of the two metals.

If enough phosphorus is added, so that its presence can be detected in the finished bronze, the latter may be considered an alloy of crystallized phosphor tin with copper. If the content of phosphor is still more increased, a part of the copper combines with the phosphorus, and the bronze then contains, besides copper and tin, compounds of crystallized copper phosphide with phosphide of tin. The strength and tenacity of the bronze are not lessened by a larger amount of phosphorus, and its hardness is considerably increased. Most phosphor bronzes are equal in this respect to the best steel, and some even surpass it in general properties.

The phosphorus is added to the bronze in the form of copper phosphide or phosphide of tin, the two being sometimes used together. They must be specially prepared for this purpose, and the best methods will be here given. Copper phosphide is prepared by heating a mixture of 4 parts of superphosphate of lime, 2 parts of granulated copper, and 1 part of finely pulverized coal in a crucible at a temperature not too high. The melted copper phosphide, containing 14 per cent of phosphorus, separates on the bottom of the crucible.

Tin phosphide is prepared as follows: Place a bar of zinc in an aqueous solution of tin chloride. The tin will be separated in the form of a sponge-like mass. Collect it, and put it into a crucible, upon the bottom of which sticks of phosphorus have been placed. Press the tin tightly into the crucible, and expose to a gentle heat. Continue the heating until flames of burning phosphorus are no longer observed on the crucible. The pure tin phosphide, in the form of a coarsely crystalline mass, tin-white in color, will be found on the bottom of the crucible.

To prepare the phosphor bronze, the {61} alloy to be treated is melted in the usual way, and small pieces of the copper phosphide and tin phosphide are added.

Phosphor bronze, properly prepared, has nearly the same melting point as that of ordinary bronze. In cooling, however, it has the peculiarity of passing directly from the liquid to the solid state, without first becoming thickly fluid. In a melted state it retains a perfectly bright surface, while ordinary bronze in this condition is always covered with a thin film of oxide.

If phosphor bronze is kept for a long time at the melting point, there is not any loss of tin, but the amount of phosphorus is slightly diminished.

The most valuable properties of phosphor bronze are its extraordinary tenacity and strength. It can be rolled, hammered, and stretched cold, and its strength is nearly double that of the best ordinary bronze. It is principally used in cases where great strength and power of resistance to outward influences are required, as, for instance, in objects which are to be exposed to the action of sea water.

Phosphor bronze containing about 4 per cent of tin is excellently well adapted for sheet bronze. With not more than 5 per cent of tin, it can be used, forged, for firearms. Seven to 10 per cent of tin gives the greatest hardness, and such bronze is especially suited to the manufacture of axle bearings, cylinders for steam fire engines, cogwheels, and, in general, for parts of machines where great strength and hardness are required. Phosphor bronze, if exposed to the air, soon becomes covered with a beautiful, closely adhering patina, and is therefore well adapted to purposes of art. The amount of phosphorus added varies from 0.25 to 2.5 per cent, according to the purpose of the bronze. The composition of a number of kinds of phosphor bronze is given below:

I for axle bearings, II and III for harder and softer axle bearings, IV to VIII for railroad purposes, IV especially for valves of locomotives, V and VI axle bearings for wagons, VII for connecting rods, VIII for piston rods in hydraulic presses.

Steel Bronze

Silicon Bronze.

Sun Bronze.

Tobin Bronze.

The alloy marked IV is sometimes called deoxidized bronze.

Violet-colored bronze is 50 parts copper and 50 parts antimony.

Cadmium Alloys:

See also Fusible Alloys.

Lipowitz’s Alloy.

This alloy is most excellent for soldering tin, lead, Britannia metal, and nickel, being especially adapted to the last two metals on account of its silver-white color. But here again its costliness prevents its general use, and cheaper alloys possessing the same properties have been sought. In cases where the silver-white color and the low melting point are not of the first importance, the alloys given below may very well be used in the place of it.

II.—Cadmium alloy (melting point, 170° F.): Cadmium, 2 parts; tin, 3; lead, 11; bismuth, 16.

III.—Cadmium alloy (melting point, 167° F.): Cadmium, 10 parts; tin, 3; lead, 8; bismuth, 8.

Cadmium alloys (melting point, 203° F.):

VII.—A very fusible alloy, melting at 150° F., is composed of tin, 1 or 2 parts; lead, 2 or 3; bismuth, 4 or 15; cadmium, 1 or 2.

VIII.—Wood’s alloy melts between 140° and 161.5° F. It is composed of lead, 4 parts; tin, 2; bismuth, 5 to 8; cadmium, 1 to 2. In color it resembles platinum, and is malleable to a certain extent.

IX.—Cadmium alloy (melting point, 179.5° F.): Cadmium, 1 part; lead, 6 parts; bismuth, 7. This, like the preceding, can be used for soldering in hot water.

X.—Cadmium alloy (melting point, 300° F.): Cadmium, 2 parts; tin, 4; lead, 2. This is an excellent soft solder, with a melting point about 86 degrees below that of lead and tin alone.

Cadmium Alloys With Gold, Silver, And Copper.

II.—Gold, 750 parts; silver, 125 parts; and cadmium, 125 parts. Malleable and ductile alloy of yellowish-green hue.

III.—Gold, 746 parts; silver, 114 parts; copper, 97 parts; and cadmium, 43 parts. Likewise a malleable and ductile alloy of a peculiar green shade. All these alloys are suitable for plating. As regards their production, each must be carefully melted together from its ingredients in a covered crucible lined with coal dust, or in a graphite crucible. Next, the alloy has to be remelted in a graphite crucible with charcoal (or rosin powder) and borax. If, in spite thereof, a considerable portion of the cadmium should have evaporated, the alloy must be re-fused once more with an addition of cadmium.

Alloys For Casting Coins, Medallions, Etc.

Alloys which fulfill the requirements of the medalist, and capable, therefore, of reproducing all details, are the following:

III.—A soft alloy suitable to take impressions of woodcuts, coins, metals, engravings, etc., and which must melt at a low degree of heat, is made out of bismuth, 3 parts; tin, 1 ¹/₂ parts; lead, 2 ¹/₂ parts; and worn-out type, 1 part.

Acid-proof Alloy.

{63}

Albata Metal.

Alfenide Metal.

Bath Metal.

Baudoin Metal.

Casting Copper:

Macht’s Yellow Metal.

II.—Yellow.—Copper, 67 to 70 parts; zinc, 33 to 30 parts.

III.—Red.—Copper, 82 parts; zinc, 18 parts.

Copper Arsenic.

Copper Iron.

These alloys, when of a certain composition, have considerable strength and hardness. With an increase in the quantity of the iron the hardness increases, but the solidity is lessened. A copper and iron alloy of considerable strength, and at the same time very hard, is made of copper, 66 parts; iron, 34. These alloys acquire, on exposure to air, an ugly color inclining toward black, and are therefore not adapted for articles of art.

Copper Nickel.

Delta Metal.

I is cast, II hammered, III rolled, and IV hot-stamped metal. Delta metal is produced by heating zinc very strongly in crucibles (to about 1600° F.), and adding ferromanganese or “spiegeleisen,” producing an alloy of 95 per cent zinc and 5 per cent of iron. Copper and brass and a very small amount of copper phosphate are also added. {64}

Gong Metal.

Production Of Minargent.

Minofor.

Minargent and Minofor are sometimes used in England for purposes in which the ordinary Britannia metal, 2 parts tin and 1 part antimony, might equally well be employed; the latter surpasses both of them in beauty of color, but they are, on the other hand, harder.

Retz Alloy.

Ruoltz Metal.

Tissier’s Metal.

File Alloys.

Geneva Composition Files.—

Vogel’s Composition Files.—

VI.—Another alloy for composition files is copper, 8 parts; tin, 2; zinc, 1, and lead, 1—fused under a cover of borax.

Easily Fusible Or Plastic Alloys.

(These have a fusing point usually below 300° F.)

(See also Solders.)

I. Rose’s Alloy.—Bismuth, 2 parts; lead, 1 part; tin, 1 part. Melting point, 200° F.

II. Darcet Alloy.—This is composed of 8 parts of bismuth, 5 of lead, and 3 of tin. It melts at 176° F. To impart greater fusibility, ¹/₁₆ part of mercury is added; the fusing is then lowered to 149° F.

III.—Newton alloy melts at 212° F., and is composed of 5 parts of bismuth, 2 of lead, and 3 of tin.

IV.—Wood’s Metal.—

This silvery, fine-grained alloy fuses between 151° and 162° F., and is excellently adapted to soldering.

V.—Bismuth, 7 parts; lead, 6 parts; cadmium, 1 part. Melting point, 180° F.

VI.—Bismuth, 7 to 8 parts; lead, 4; tin, 2; cadmium, 1 to 2. Melting point, 149° to 160° F.

Other Easily Fusible Alloys:

Fusible Alloys For Electric Installations.

{65}

These alloys are prepared by melting the lead in a stearine bath and adding successively, and during the cooling, first, the cadmium; second, the bismuth; third, the tin. It is absolutely necessary to proceed in this manner, since these metals fuse at temperatures ranging from 850° F. (for lead), to 551° F. (for tin).

Fusible Safety Alloys for Steam Boilers.—

Lipowitz Metal.

This amalgam is excellently adapted for the production of impressions of various objects of nature, direct impressions of leaves, and other delicate parts of plants having been made with its aid which, in point of sharpness, are equal to the best plaster casts and have a very pleasing appearance. The amalgam has a silver-white color and a fine gloss. It is perfectly constant to atmospheric influences. This amalgam has also been used with good success for the making of small statuettes and busts, which are hollow and can be readily gilt or bronzed by electro-deposition. The production of small statues is successfully carried out by making a hollow gypsum mold of the articles to be cast and heating the mold evenly to about 140° F. A corresponding quantity of the molten amalgam is then poured in and the mold moved rapidly to and fro, so that the alloy is thrown against the sides all over. The shaking should be continued until it is certain that the amalgam has solidified. When the mold has cooled off it is taken apart and the seams removed by means of a sharp knife. If the operation is carried on correctly, a chasing of the cast mass becomes unnecessary, since the alloy fills out the finest depressions of the mold with the greatest sharpness.

Amalgam For Plaster.

Plastic Metal Composition.

II.—Bismuth, 5.5 parts; lead, 3; tin, 1.5.

III. Alloy d’Homburg.—Bismuth, {66} 3 parts; lead, 3; tin, 3. This alloy is fusible at 251° F., and is of a silvery white. It is employed for reproductions of medals.

IV. Alloy Valentine Rose.—Bismuth, 4 to 6 parts; lead, 2 parts; tin, 2 to 3 parts. This alloy fuses at 212° to 250° F.

V. Alloy Rose père.—Bismuth, 2 parts; lead, 2; tin, 2. This alloy fuses at 199° F.

The remainder are plastic alloys for reproducing cuts, medals, coins, etc.:

VI.—Bismuth, 4 parts; lead, 2 parts; tin, 1 part.

VII.—Bismuth, 3 parts; lead, 3 parts; tin, 2 parts.

VIII.—Bismuth, 4 parts; lead, 2 parts; tin, 2 parts.

IX.—Bismuth, 5 parts; lead, 2 parts; tin, 3 parts.

X.—Bismuth, 2 parts; lead, 2 parts; tin, 2 parts.

Quick-water.

In the form of minute globules the mercury immediately separates itself from the solution and clings to the bronze object, which thereupon presents the appearance of being plated with silver. After it has been well rinsed in clean water, the amalgam may be evenly and without difficulty applied with the scratch brush.

This quick-water (in reality a solution of mercurous nitrate), is made in the simplest manner by taking 10 parts of mercury and pouring over it 11 parts of nitric acid of a specific gravity equal to 1.33; now let it stand until every part of the mercury is dissolved; then, while stirring vigorously, add 540 parts of water. This solution must be kept in closed flasks or bottles to prevent impurities, such as dust, etc., from falling into it.

The preparatory work on the object to be gilded consists mainly in cleansing it from every trace of oxidation. First, it must be well annealed by placing it in a bed of glowing coal, care being exercised that the heating be uniform. When cooled, this piece is plunged into a highly diluted sulphuric-acid bath in order to dissolve in a measure the oxide. Next it is dipped in a 36° nitric-acid bath, of a specific gravity equal to 1.33, and brushed off with a long brush; it is now dipped into nitric acid into which a little lampblack and table salt have been thrown. It is now ready for washing in clean water and drying in unsoiled sawdust. It is of the greatest importance that the surface to be gilded should appear of a pale yellow tint all over. If it be too smooth the gold will not take hold easily, and if it be too dull it will require too much gold to cover it.

Gold Alloys:

Colored Gold Alloys.

Nos. I, II, III, and IV are green gold; No. V is pale yellow; Nos. VI, VII, and VIII bright yellow; Nos. IX and X pale red; Nos. XI and XII bright red; Nos. XIII, XIV, and XV gray; while No. XVI exhibits a bluish tint. The finished gold ware, before being put upon the market, is subjected to a special treatment, consisting either in the simple pickling or in the so-called coloring, which operation is conducted especially with alloys of low degree of fineness, the object being to give the layers a superficial layer of pure gold.

The presence of silver considerably modifies the color of gold, and the jeweler makes use of this property to obtain alloys of various shades. The following proportions are to be observed, viz.: {67}

Other colored gold alloys are the following:

X. Blue.—Fine gold, 75; iron, 25.

XI. Dark Gray.—Fine gold, 94; iron, 6.

XII. Pale Gray.—Fine gold, 191; iron, 9.

XIII. Cassel Yellow.—Fine gold, 75; fine silver, 12 ¹/₂; rose copper, 12 ¹/₂.

The above figures are understood to be by weight.

The gold solders, known in France under the names of soudures au quart (13 ¹/₂ carat), au tiers (12 carat), and au deux (9 carat), are composed of 3, 2, or 1 part of gold respectively, with 1 part of an alloy consisting of two-thirds silver and one-third copper. Gold also forms with aluminum a series of alloys of greatly varying coloration, the most curious of them, composed of 22 parts of aluminum for 88 parts of gold, possessing a pretty purple shade. But all these alloys, of a highly crystalline base, are very brittle and cannot be worked, for which reason their handsome colorings have not yet been capable of being utilized.

Enameling Alloys.

No borax must be used in the melting of this alloy, it being of a more fusible nature than the ordinary alloy, and will not take so high a heat in enameling.

II. Red Enamel.—The enamel which forms this color being of a higher fusing point, if proper care be not taken, the gold will melt first, and the work become ruined. In the preparation of red enamel, the coloring matter is usually an oxide of gold, and this so raises the temperature at which it melts that, in order to prevent any mishap, the gold to be enameled on should be what is called a 22-carat red, that is, it should contain a preponderance of copper in the alloying mixture so as to raise the fusing point of the gold. The formula is:

Gold-leaf Alloys.

The following is a list of the principal classes of leaf recognized and ordinarily prepared by beaters with the proportion of alloy they contain:

Gold-plate Alloys.

II.—Gold, 84 parts; copper, 16 parts.

III.—Gold, 75 parts; copper, 25 parts.

Imitation Gold.

I.—One hundred parts, by weight, of copper of the purest quality; 14 of zinc or tin; 6 of magnesia; ³/₆ of sal ammoniac, limestone, and cream of tartar. The copper is first melted, then the magnesia, sal ammoniac, limestone, and cream of tartar in powder are added separately and gradually. The whole mass is kept stirred for a half hour, the zinc or tin being dropped in piece by piece, the {68} stirring being kept up till they melt. Finally the crucible is covered and the mass is kept in fusion 35 minutes and, the same being removed, the metal is poured into molds, and is then ready for use. The alloy thus made is said to be fine-grained, malleable, takes a high polish, and does not easily oxidize.

II.—An invention, patented in Germany, covers a metallic alloy, to take the place of gold, which, even if exposed for some time to the action of ammoniacal and acid vapors, does not oxidize or lose its gold color. It can be rolled and worked like gold and has the appearance of genuine gold without containing the slightest admixture of that metal. The alloy consists of copper and antimony in the approximate ratio of 100 to 6, and is produced by adding to molten copper, as soon as it has reached a certain degree of heat, the said percentage of antimony. When the antimony has likewise melted and entered into intimate union with the copper, some charcoal ashes, magnesium, and lime spar are added to the mass when the latter is still in the crucible.

III. Aluminum Gold.—This alloy, called Nuremberg gold, is used for making cheap gold ware, and is excellent for this purpose, as its color is exactly that of pure gold, and does not change in the air. Articles made of Nuremberg gold need no gilding, and retain their color under the hardest usage; even the fracture of this alloy shows the pure gold color. The composition is usually 90 parts of copper, 2.5 of gold, and 7.5 of aluminum.

IV.—Imitation gold, capable of being worked and drawn into wire, consists of 950 parts copper, 45 aluminum, and 2 to 5 of silver.

V.—Chrysochalk is similar in composition to Mannheim gold:

In color it resembles gold, but quickly loses its beauty if exposed to the air, on account of the oxidation of the copper. It can, however, be kept bright for a long time by a coating of colorless varnish, which excludes the air and prevents oxidation. Chrysochalk is used for most of the ordinary imitations of gold. Cheap watch chains and jewelry are manufactured from it, and it is widely used by the manufacturers of imitation bronze ornaments.

Mannheim Gold Or Similor.

It has a fine yellow color, and was formerly much used in making buttons and pressed articles resembling gold. Later alloys, however, surpass it in color, and it has fallen somewhat into disuse. One variety of Mannheim gold, so called, contains 1.40 parts of brass (composition 3 Cu₂ 1 Zn) to 10 of copper and 0.1 of zinc.

Mosaic Gold.

Oreïde Or Oroïde (French Gold).

A special receipt for oreïde is the following:

IV.—Melt 100 parts of copper and add, with constant stirring, 6 parts of magnesia, 3.6 of sal ammoniac, 1.8 of lime, and 9 of crude tartar. Stir again {69} thoroughly, and add 17 parts of granulated zinc, and after mixing it with the copper by vigorous stirring keep the alloy liquid for one hour. Then carefully remove the scum and pour off the alloy.

Pinchbeck.

Palladium Gold.

Talmi Gold.

Japanese Alloys.

Shadke consists of copper with from 1 to 10 per cent of gold. Articles made from this alloy are laid in a pickle of blue vitriol, alum, and verdigris, until they acquire a bluish-black color.

Gui-shi-bu-ichi is an alloy of copper containing 30 to 50 per cent of silver. It possesses a peculiar gray shade.

Mokume consists of several compositions. Thus, about 30 gold foils (genuine) are welded together with shadke, copper, silver, and gui-shi-bu-ichi and pierced. The pierced holes are, after firmly hammering together the plates, filled up with the above-named pickle.

The finest Japanese brass consists of 10 parts copper and 8 parts zinc, and is called siachu. The bell metal kara kane is composed of copper 10 parts, tin 10 parts, iron 0.5 part, and zinc 1.5 parts. The copper is first fused, then the remaining metals are added in rotation.

German Silver Or Argentan.

The composition of this alloy varies considerably, but from the adjoined figures an average may be found, which will represent, approximately, the normal composition:

The properties of the different kinds, such as their color, ductility, fusibility, {70} etc., vary with the proportions of the single metals. For making spoons, forks, cups, candlesticks, etc., the most suitable proportions are 50 parts of copper, 25 of zinc, and 25 of nickel. This metal has a beautiful blue-white color, and does not tarnish easily.

German silver is sometimes so brittle that a spoon, if allowed to fall upon the floor, will break; this, of course, indicates faulty composition. But the following table will show how the character of the alloy changes with the varying percentage of the metals composing it:

The following analyses give further particulars in regard to different kinds of German silver:

In some kinds of German silver are found varying quantities of iron, manganese, tin, and very frequently lead, added for the purpose of changing the properties of the alloy or cheapening the cost of production. But all these metals have a detrimental rather than a beneficial effect upon the general character of the alloy, and especially lessen its power of resistance to the action of dilute acids, one of its most valuable properties. Lead makes it more fusible; tin acts somewhat as in bronze, making it denser and more resonant, and enabling it to take a higher polish. With iron or manganese the alloy is whiter, but it becomes at the same time more refractory and its tendency toward brittleness is increased.

Substitutes For German Silver.

There are many formulas for alloys which claim to be substitutes for German silver; but no one of them has yet become an article of general commerce. It will be sufficient to note these materials briefly, giving the composition of the most important.

Nickel Bronze.

Bismuth Bronze.—

I is hard and very lustrous, suitable for lamp reflectors and axle bearings; II is hard, resonant, and not affected by sea water, for parts of ships, pipes, telegraph wires, and piano strings; III and IV are for cups, spoons, etc.

Manganese Argentan.—

Readily cast for objects of art.

Aphtite.—

Arguzoid.—

Silver white, almost ductile, suited for artistic purposes. {71}

Ferro-argentan.—

Resembles silver; worked like German silver.

Silver Bronze.

Instrument Alloys.

I.—Copper, 62 parts; tin, 33 parts; lead, 5 parts.

II.—Copper, 80; antimony, 11; lead, 9.

III.—Copper, 10; tin, 10; antimony, 10; lead, 40.

IV.—Copper, 30; tin, 50; silver, 2; arsenic, 1.

V.—Copper, 66; tin, 33.

VI.—Copper, 64; tin, 26.

VII.—Steel, 90; nickel, 10.

VIII.—Platinum, 60; copper, 40.

IX.—Platinum, 45; steel, 55.

X.—Platinum, 55; iron, 45.

XI.—Platinum, 15; steel, 85.

XII.—Platinum, 20; copper, 79; arsenic, 1.

XIII.—Platinum, 62; iron, 28; gold, 10.

XIV.—Gold, 48; zinc, 52.

XV.—Steel, 50; rhodium, 50.

XVI.—Platinum, 12; iridium, 88.

XVII.—Copper, 89.5; tin, 8.5; zinc, 2.

Lead Alloys.

The following alloys, principally lead, are used for various purposes:

Bibra Alloy.

Metallic Coffins.

Plates For Engraving.

II.—Lead, 86 parts; antimony, 14 parts.

III.—Lead, 87 parts; antimony, 12 parts; copper, 1 part.

IV.—Lead, 81 parts; antimony, 14 parts; tin, 5 parts.

V.—Lead, 73 parts; antimony, 17 parts; zinc, 10 parts.

VI.—Tin, 53 parts; lead, 43 parts; antimony, 4 parts.

Hard lead is made of lead, 84 parts; antimony, 16 parts.

Sheet Metal Alloy.—

This alloy has a fine white color, and can be readily rolled into thin sheets. For that reason it is well adapted for lining tea chests and for the production of tobacco and chocolate wrappers. The copper and zinc are used in the form of fine shavings. The alloy should be immediately cast into thin plates, which can then be passed through rolls.

Magnetic Alloys.

Alloys which can be magnetized most strongly are composed of copper, manganese, and aluminum, the quantities of manganese and aluminum being proportional to their atomic weights (55.0 to 27.1, or about 2 to 1). The maximum magnetization increases rapidly with increase of manganese, but alloys containing much manganese are exceedingly brittle and cannot be wrought. The highest practicable proportion of manganese at present is 24 per cent.

These magnetic alloys were studied by Hensler, Haupt, and Starck, and Gumlich has recently examined them at the Physikalisch—technische Reichsanstalt, with very remarkable and interesting results.

The two alloys examined were composed as follows:

Alloy I.—Copper, 61.5 per cent; manganese, 23.5 per cent; aluminum, 15 per cent; lead, 0.1 per cent, with traces of iron and silicon.

Alloy II.—Copper, 67.7 per cent; manganese, 20.5 per cent; aluminum, 10.7 per cent; lead, 1.2 per cent, with traces of iron and silicon.

Alloy II could be worked without difficulty, but alloy I was so brittle that it broke under the hammer. A bar 7 inches long and ¹/₄ inch thick was obtained by grinding. This broke in two during the measurements, but, fortunately, without invalidating them. Such a material is evidently unsuited to practical uses.

The behavior of magnetic alloys at high temperatures is very peculiar. Alloy I is indifferent to temperature changes, which scarcely affect its magnetic properties, but the behavior of alloy II is very different. Prolonged heating to 230° F. produces a great increase in its capability of magnetization, which, after 544 hours’ heating, rises from 1.9 to 3.2 kilogauss, {72} approaching the strength of alloy I. But when alloy II is heated to 329° F., its capability of magnetization fails again and the material suffers permanent injury, which can be partly, but not wholly, cured by prolonged heating.

Another singular phenomenon was exhibited by both of these alloys. When a bar of iron is magnetized by an electric current, it acquires its full magnetic strength almost instantaneously on the closure of the circuit. The magnetic alloys, on the contrary, do not attain their full magnetization for several minutes. In some of the experiments a gradual increase was observed even after the current had been flowing five minutes.

In magnetic strength alloy I proved far superior to alloy II, which contained smaller proportions of manganese and aluminum. Alloy I showed magnetic strengths up to 4.5 kilogauss, while the highest magnetization obtained with alloy II was only 1.9 kilogauss. But even alloy II may be called strongly magnetic, for its maximum magnetization is about one-tenth that of good wrought iron (18 to 20 kilogauss), or one-sixth that of cast iron (10 to 12 kilogauss). Alloy I is nearly equal in magnetic properties to nickel, which can be magnetized up to about 5 kilogauss.

Manganese Alloys:

Manganese Bronze

Manganese Copper.

Cupromanganese is suitable for many purposes for which nothing else but bronze can advantageously be used, and the cost of its production is no greater than that of genuine bronze. In preparing the alloy, the copper is used in the form of fine grains, obtained by pouring melted copper into cold water. These copper grains are mixed with the dry oxide of manganese, and the mixture put into a crucible holding about 66 pounds. Enough space must be left in the crucible to allow a thick cover of charcoal, as the manganese oxidizes easily. The crucible is placed in a well-drawing wind furnace and subjected to a strong white heat. The oxide of manganese is completely reduced to manganese, which at once combines with the copper to form an alloy. In order to prevent, as far as possible, the access of air to the fusing mass, it is advisable to cover the crucible with a lid which has an aperture in the center for the escape of the carbonic oxide formed during the reduction.

When the reduction is complete and the metals fused, the lid is removed and the contents of the crucible stirred with an iron rod, in order to make the alloy as homogeneous as possible. By repeated remelting of the cupromanganese a considerable quantity of the manganese is reconverted into oxide; it is, therefore, advisable to make the casts directly from the crucible. When poured out, the alloy rapidly solidifies, and resembles in appearance good German silver. Another reason for avoiding remelting is that the crucible is strongly attacked by the cupromanganese, and can be used but a few times.

The best kinds of cupromanganese contain between 10 and 30 per cent of manganese. They have a beautiful white color, are hard, tougher than copper, and can be worked under the hammer or with rolls. Some varieties of cupromanganese which are especially valuable for technical purposes are given below:

Manganin.

Mirror Alloys:

Amalgams For Mirrors.

II.—For curved mirrors. Tin, 1 part; lead, 1 part; bismuth, 1 part; mercury, 9 parts.

III.—For glass balls. Tin, 80 parts; mercury, 20 parts.

IV.—Metallic cement. Copper, 30 parts; mercury, 70 parts.

V.—Mirror metal.—Copper, 100 parts; tin, 50 parts; Chinese copper, 8 parts; lead, 1 part; antimony, 1 part.

Reflector Metals.

II.—(Duppler’s.) Zinc, 20 parts; silver, 80 parts.

III.—Copper, 66.22 parts; tin, 33.11 parts; arsenic, 0.67 part.

IV.—Copper, 64 parts; tin, 32 parts; arsenic, 4 parts.

V.—Copper, 82.18 parts; lead, 9.22 parts; antimony, 8.60 parts.

VI.—(Little’s.) Copper, 69.01 parts; tin, 30.82 parts; zinc, 2.44 parts; arsenic, 1.83 parts.

Speculum Metal.

The real speculum metal seems to be a combination of the formula Cu₄Sn, composed of copper 68.21 per cent, tin 31.7. An alloy of this nature is sometimes separated from ordnance bronze by incorrect treatment, causing the so-called tin spots; but this has not the pure white color which distinguishes the speculum metal containing 31.5 per cent of tin. By increasing the percentage of copper the color gradually shades into yellow; with a larger amount of tin into blue. It is dangerous to increase the tin too much, as this changes the other properties of the alloy, and it becomes too brittle to be worked. Below is a table showing different compositions of speculum metal. The standard alloy is undoubtedly the best.

Palladium Alloys.

I.—An alloy of palladium 24 parts, gold 80, is white, hard as steel, unchangeable in the air, and can, like the other alloys of palladium, be used for dental purposes.

II.—Palladium 6 parts, gold 18, silver 11, and copper 13, gives a reddish-brown, hard, and very fine-grained alloy, suitable for the bearings of pivots in clock works.

The alloys of most of the other platinum metals, so called, are little used on account of their rarity and costliness. Iridium and rhodium give great hardness to steel, but the commercial rhodium and iridium steel, so called, frequently contains not a trace of either. The alloy of iridium with osmium has great hardness and resistance and is recommended for pivots, fine instruments, and points of ship compasses.

Palladium Silver.

Palladium Bearing Metal.

Platinum Alloys.

Platinum has usually been alloyed with silver in goldsmith’s work, 2 parts silver to 1 of platinum being taken to form the favorite “platinum silver.” The object has been to produce an alloy having a white appearance, which can be polished, and at the same time has a low melting point. In addition to this platinum alloy the following are well known:

I.—A mixture of 7 parts platinum with 3 parts iridium. This gives to platinum the hardness of steel, which can be still further increased by taking 4 parts of iridium.

II.—An alloy of 9 parts platinum and 1 part iridium is used by the French in the manufacture of measuring instruments of great resisting power.

Compounds of copper, nickel, cadmium, and tungsten are also used in the construction of parts of watches; the latter acquire considerable hardness without becoming magnetic or rusting like steel.

III.—For this purpose a compound of {74} 62.75 parts platinum, 18 parts copper, 1.25 parts cadmium, and 18 parts nickel is much recommended.

IV.—Very ductile platinum-copper alloys have also been made, e. g., the so-called Cooper gold, consisting of 3 parts platinum and 13 parts copper, which is almost equal to 18-carat gold in regard to color, finish, and ductility. If 4 per cent of platinum is taken, these latter alloys acquire a rose-red color, while a golden-yellow color can be produced by further adding from 1 to 2 per cent (in all 5 to 6 per cent) of platinum. The last-named alloy is extensively used for ornaments, likewise alloy V.

V.—Ten parts platinum, 60 parts nickel, and 220 parts brass, or 2 parts platinum, 1 part nickel and silver respectively, 2 parts brass, and 5 parts copper; this also gives a golden-yellow color.

VI.—For table utensils a favorite alloy is composed of 1 part platinum, 100 parts nickel, and 10 parts tin. Articles made of the latter alloy are impervious to atmospheric action and keep their polish for a long time. Pure white platinum alloys have for some time been used in dental work, and they have also proved serviceable for jewelry.

VII.—A mixture of 30 parts platinum, 10 parts gold, and 3 parts silver, or 7 parts platinum, 2 parts gold, and 3 parts silver.

VIII.—For enameled articles: Platinum, 35 parts; silver, 65 parts. First fuse the silver, then add the platinum in the spongy form. A good solder for this is platinum 80 parts, copper 20 parts.

IX.—For pens: Platinum, 4 parts; silver, 3 parts; copper, 1 part.

Platinum Gold.

Platinum-gold Alloys For Dental Purposes.—

Platinum Silver.

Imitation Platinum.

II.—Brass, 120 parts; zinc, 75 parts.

III.—Copper, 5 parts; nickel, 4 parts; zinc, 1 ¹/₂ parts; antimony, 1 part; lead, 1 part; iron, 1 part; tin, 1 part.

Cooper’s Pen Metal.

Pens have been manufactured, consisting of several sections, each of a different alloy, suited to the special purpose of the part. Thus, for instance, the sides of the pen are made of the elastic composition just described; the upper part is of an alloy of silver and platinum; and the point is made either of minute cut rubies or of an extremely hard alloy of osmium and iridium, joined to the body of the pen by melting in the flame of the oxyhydrogen blowpipe. The price of such pens, made of expensive materials and at the cost of great labor, is of course exceedingly high, but their excellent qualities repay the extra expense. They are not in the least affected by any kind of ink, are most durable, and can be used constantly for years without showing any signs of wear.

The great hardness and resistance to the atmosphere of Cooper’s alloys make them very suitable for manufacturing {75} mathematical instruments where great precision is required. It can scarcely be calculated how long a chronometer, for instance, whose wheels are constructed of this alloy, will run before showing any irregularities due to wear. In the construction of such instruments, the price of the material is not to be taken into account, since the cost of the labor in their manufacture so far exceeds this.

Pewter.

This is an alloy of tin and lead only, or of tin with antimony and copper. The first is properly called pewter. Three varieties are known in trade:

I (Plate Pewter).—From tin, 79 per cent; antimony, 7 per cent; bismuth and copper, of each 2 per cent; fused together. Used to make plates, teapots, etc. Takes a fine polish.

II (Triple Pewter).—From tin, 79 per cent; antimony, 15 per cent; lead, 6 per cent; as the last. Used for minor articles, syringes, toys, etc.

III (Ley Pewter).—From tin, 80 per cent; lead, 20 per cent. Used for measures, inkstands, etc.

According to the report of a French commission, pewter containing more than 18 parts of lead to 82 parts of tin is unsafe for measures for wine and similar liquors, and, indeed, for any other utensils exposed to contact with food or beverages. The legal specific gravity of pewter in France is 7.764; if it be greater, it contains an excess of lead, and is liable to prove poisonous. The proportions of these metals may be approximately determined from the specific gravity; but correctly only by an assay for the purpose.

Silver Alloys:

Aluminum Silver.

The properties of aluminum and silver alloys vary considerably according to the percentage of aluminum.

I.—An alloy of 100 parts of aluminum and 5 parts of silver is very similar to pure aluminum, but is harder and takes a finer polish.

II.—One hundred and sixty-nine parts of aluminum and 5 of silver make an elastic alloy, recommended for watch springs and dessert knives.

III.—An alloy of equal parts of silver and aluminum is as hard as bronze.

IV.—Five parts of aluminum and 1 part of silver make an alloy that is easily worked.

V.—Also aluminum, 3 parts, and silver, 1 part.

VI. Tiers-Argent.—This alloy is prepared chiefly in Paris, and used for the manufacture of various utensils. As indicated by its name (one-third silver), it consists of 33.33 parts of silver and 66.66 parts of aluminum. Its advantages over silver consist in its lower price and greater hardness; it can also be stamped and engraved more easily than the alloys of copper and silver.

VII.—This is a hard alloy which has been found very useful for the operating levers of certain machines, such as the spacing lever of a typewriter. The metal now generally used for this purpose by the various typewriter companies is “aluminum silver,” or “silver metal.” The proportions are given as follows:

This alloy when used on typewriting machines is nickel-plated for the sake of the first appearance, but so far as corrosion is concerned, nickeling is unnecessary. The alloy is stiff and strong and cannot be bent to any extent without breaking, especially if the percentage of aluminum is increased to 3.5 per cent; it casts free from pinholes and blowholes; the liquid metal completely fills the mold, giving sharp, clean castings, true to pattern; its cost is not greater than brass; its color is silver white, and its hardness makes it susceptible to a high polish.

Arsenic.

China Silver.

Copper-silver.

When nickel is added to the silver and copper, several good alloys may be formed, as the following French compositions:

The whitening of alloys of silver and copper is best accomplished by annealing the alloy until it turns black on the surface. Cool in a mixture of 20 parts, by weight, of concentrated sulphuric acid to 1,000 parts of distilled water and leave therein for some time. In place of the sulphuric acid, 40 parts of potassium bisulphate may be used per 1,000 parts of liquid. Repeat the process if necessary.

Copper, Silver, And Cadmium Alloys.

In preparing these alloys, the great volatility of cadmium must be taken into account. It is customary to prepare first the alloy of silver and copper, and add the cadmium, which, as in the case of the alloys of silver and zinc, must be wrapped in paper. After putting it in, the mass is quickly stirred, and the alloy poured immediately into the molds. This is the surest way to prevent the volatilization of the cadmium.

Silver, Copper, Nickel, And Zinc Alloys.

Mousset’s Alloy.

Japanese (Gray) Silver.

Silver-zinc.

Imitation Silver Alloys.

I.—Warne’s metal is composed of tin 10 parts, bismuth 7, and cobalt 3. It is white, fine-grained, but quite difficult to fuse.

II.—Tonca’s metal contains copper 5 parts, nickel 4, tin 1, lead 1, iron 1, zinc 1, antimony 1. It is hard, difficult to fuse, not very ductile, and cannot be recommended.

III.—Trabuk metal contains tin 87.5, nickel 5.5, antimony 5, bismuth 5.

IV.—Tourun-Leonard’s metal is composed of 500 parts of tin and 64 of bell metal.

V.—Silveroid is an alloy of copper, nickel, tin, zinc, and lead.

VI.—Minargent. Copper, 100 parts; nickel, 70 parts; tungsten, 5 parts; aluminum, 1 part.

VII.—Nickel, 23 parts; aluminum, 5 parts; copper, 5 parts; iron, 65 parts; tungsten, 4 parts.

VIII.—Argasoid. Tin, 4.035; lead, 3.544; copper, 55.780; nickel, 13.406; zinc, 23.198; iron, trace.

SOLDERS: See Solders.

Steel Alloys: See Also Steel.

For Locomotive Cylinders.

Nickel steel is composed of nickel 36 per cent, steel 64 per cent.

Tungsten steel is crucible steel with 5 to 12 per cent tungsten.

Stereotype Metal.

The melting point of this alloy is 196° F. The alloy is rather costly because of the amount of bismuth which it contains. The following mixtures are cheaper:

Tin Alloys:

Alloys For Dentists’ Molds And Dies.

II.—Softer than the former. Tin, 8 parts; zinc, 1 part; antimony, 1 part.

III.—Very hard. Tin, 12 parts; antimony, 2 parts; copper, 1 part.

Cadmium Alloy, About The Hardness Of Zinc.

Tin-lead.

Alloys containing from 10 to 15 per cent of lead have a beautiful white color, are considerably harder than pure tin, and much cheaper. Many alloys of tin and lead are very lustrous, and are used for stage jewelry and mirrors for reflecting the light of lamps, etc. An especially brilliant alloy is called “Fahlun brilliants.” It is used for stage jewelry, and consists of 29 parts of tin and 19 of lead. It is poured into molds faceted in the same way as diamonds, and when seen by artificial light, the effect is that of diamonds. Other alloys of tin and lead are employed in the manufacture of toys. These must fill the molds well, and must also be cheap, and therefore as much as 50 per cent of lead is used. Toys can also be made from type metal, which is even cheaper than the alloys of tin and lead, but has the disadvantage of readily breaking if the articles are sharply bent. The alloys of tin and lead give very good castings, if sharp iron or brass molds are used.

This alloy is very bright and possesses a permanent sheen. It is well adapted for the making of artificial gems for stage use. It is customary in carrying out the process to start with two parts of tin and one part of lead. Tin is added until a sample drop which is allowed to fall upon an iron plate forms a mirror. The artificial gems are produced by {78} dipping into the molten alloy pieces of glass cut to the proper shape. The tin coating of metal which adheres to the glass cools rapidly and adheres tenaciously. Outwardly these artificial gems appear rough and gray, but inwardly they are highly reflective and quite deceptive when seen in artificial light.

If the reflective surfaces be coated with red, blue, or green aniline, various colored effects can be obtained. Instead of fragile glass the gems may be produced by means of well-polished pieces of steel or bronze.

Other Tin-lead Alloys.

Tin Statuettes, Buttons, Etc.—

This is a very soft solder which sharply reproduces all details.

Another easily fusible alloy but somewhat harder, is the following:

Miscellaneous Tin Alloys.

II. Argentine Metal.—Tin, 85.5 per cent; antimony, 14.5 per cent.

III.—Ashberry metal is composed of 78 to 82 parts of tin, 16 to 20 of antimony, 2 to 3 of copper.

IV. Quen’s Metal.—Tin, 9 parts; lead, 1 part; antimony, 1 part; bismuth, 1 part.

Type Metal.

The French and English types contain a certain amount of tin, as shown by the following analyses:

Ledebur gives the composition of type metal as follows:

WATCHMAKERS’ ALLOYS: See Watchmakers’ Formulas.

White Metals.

The so-called white metals are employed almost exclusively for bearings. (See Anti-friction Metals under Alloys.) In the technology of mechanics an accurate distinction is made between the different kinds of metals for bearings; and they may be classed in two groups, red brass and white metal. The {79} red-brass bearings are characterized by great hardness and power of resistance, and are principally used for bearings of heavily loaded and rapidly revolving axles. For the axles of large and heavy flywheels, revolving at great speed, bearings of red brass are preferable to white metal, though more expensive.

In recent years many machinists have found it advantageous to substitute for the soft alloys generally in use for bearings a metal almost as hard as the axle itself. Phosphor bronze (q. v.) is frequently employed for this purpose, as it can easily be made as hard as wrought or cast steel. In this case the metal is used in a thin layer, and serves only, as it were, to fill out the small interstices caused by wear on the axle and bearing, the latter being usually made of some rather easily fusible alloy of lead and tin. Such bearings are very durable, but expensive, and can only be used for large machines. For small machines, running gently and uniformly, white-metal bearings are preferred, and do excellent work, if the axle is not too heavily loaded. For axles which have a high rate of revolution, bearings made of quite hard metals are chosen, and with proper care—which, indeed, must be given to bearings of any material—they will last for a long time without needing repair.

Other white bearing metals are:

XXI.—Tin, 8.5; antimony, 10; copper, 5 parts.

XXII.—Tin, 42; antimony, 16; lead, 42 parts.

XXIII.—Tin, 72; antimony, 26; copper, 2 parts.

XXIV.—Tin, 81; antimony, 12.5; copper, 6.5 parts.

White Metals Based On Copper.—

I.—Copper, 65 parts; arsenic, 55 parts.

II.—Copper, 64 parts; arsenic, 50 parts.

III.—Copper, 10 parts; zinc, 20 parts; nickel, 30 parts.

IV.—Nickel, 70 parts; copper, 30 parts; zinc, 20 parts.

V.—Nickel, 60 parts; copper, 30 parts; zinc, 30 parts.

VI.—Copper, 8 parts; nickel, 4 parts; zinc, 4 parts.

VII.—Copper, 10 parts; nickel, 5 parts; zinc, 5 parts.

VIII.—Copper, 8 parts; nickel, 3 parts; zinc, 4 parts.

IX.—Copper, 50 parts; nickel, 25 parts; zinc, 25 parts.

X.—Copper, 55 parts; nickel, 24 parts; zinc, 21 parts.

XI.—Copper, 55 parts; nickel, 24 parts; zinc, 16 parts; iron, 2 parts; tin, 3 parts.

IX, X, and XI are suitable for tableware.

XII.—Copper, 67 parts, and arsenic, 53 parts.

XIII.—Copper, 63 parts, and arsenic, 57 parts.

XII and XIII are bright gray, unaffected by the temperature of boiling water; they are fusible at red heat.

White Metals Based On Platinum.—

I.—Platinum, 1 part; copper, 4 parts; or platinum, 1 ¹/₂ parts; copper, 3 ¹/₂ parts.

II.—Platinum, 10 parts; tin, 90 parts; or platinum, 8 parts; tin, 92 parts.

III.—Platinum, 7 parts; copper, 13 parts; tin, 80 parts.

IV.—Platinum, 2 parts; steel, 98 parts.

V.—Platinum, 2.5 parts; steel, 97.5 parts.

IV and V are for gun metal.

Miscellaneous White-metal Alloys.—

I.—For lining cross-head slides: Lead, 65 parts; antimony, 25 parts; copper, 10 parts. Some object to white metal containing lead or zinc. It has been found, however, that lead and zinc have properties of great use in these alloys.

II.—Tin, 85 parts; antimony, 7 ¹/₂ parts; copper, 7 ¹/₂ parts.

III.—Tin, 90 parts; copper, 3 parts; antimony, 7 parts. {80}

Zinc Alloys:

Bidery Metal.

Other compositions of Indian Bidery metal (frequently imitated in England) are about as follows:

Erhardt recommends the following as being both ductile and hard:

The tin is first melted, and the lead, zinc, and copper added successively.

Zinc-nickel.

Platine For Dress Buttons.

Unclassified Alloys:

Alloys For Drawing Colors On Steel.

Alloy For Pattern Letters And Figures.

Alloy For Caliper And Gage-rod Castings.

Alloys For Small Casting Molds.

ALLOYS FOR METAL FOIL: See Metal Foil.

ALMOND COLD CREAM: See Cosmetics.

ALMOND LIQUEURS: See Wines and Liquors.

ALTARS, TO CLEAN: See Cleaning Preparations and Methods.

ALUM:

Burnt Alum.

II.—Heat ordinary alum (alumina alum) with constant stirring in an iron pan in which it will first melt quietly, and then commence to form blisters. Continue heating until a dry white mass of a loose character remains, which is powdered and kept in well-closed glasses.

ALUM BATH: See Photography.

ALUMINUM AND ITS TREATMENT

How To Color Aluminum:

Blanching Of Aluminum.

Decolorized Aluminum.

Mat Aluminum.

To Blacken Aluminum.

When the arsenic and iron are dissolved by the acid add the water. The aluminum to be blackened should be well cleaned with fine emery powder and washed before immersing in the blackening solution. When the deposit of black is deep enough dry off with fine sawdust and lacquer.

Decorating Aluminum.

Making Castings In Aluminum.

In selecting the sand, which should {82} not have been previously used, that of a fine grain should be chosen, but it should not have any excess of aluminous matter, or it will not permit of the free escape of gases and air, this being an important matter. Besides this, the sand must be used as dry as possible consistent with its holding against the flow of the metal, and having only moderate compression in ramming.

In making the molds it is necessary to remember that aluminum has a large contraction in cooling, and also that at certain temperatures it is very weak and tears readily, while all metals shrink away from the mold when this is wholly outside the casting, but they shrink on to cores or portions of the mold partly inclosed by metal. Thus, if casting a plate or bar of metal, it will shrink away from the mold in all directions; but if casting a square frame, it shrinks away from the outside only, while it shrinks on to the central part or core. With brass, or iron, or such metals, this is not of much importance, but with some others, including aluminum, it is of great importance, because if the core or inclosed sand will not give somewhat with the contraction of the metal, torn or fractured castings will be the result. Both for outside and inside molds, and with cores used with aluminum, the sand should be compressed as little as possible, and hard ramming must in every case be avoided, particularly where the metal surrounds the sand. The molds must be very freely vented, and not only at the joint of the mold, but by using the vent wire freely through the body of the mold itself; in fact, for brass the venting would be considered excessive. With aluminum it is, however, necessary to get the air off as rapidly as possible, because the metal soon gets sluggish in the mold, and unless it runs up quickly it runs faint at the edges. The ingates should be wide and of fair area, but need careful making to prevent their drawing where they enter the casting, the method of doing this being known to most molders.

If it is considered desirable to use a specially made-up facing sand for the molds where the metal is of some thickness, the use of a little pea or bean meal will be all that is necessary. To use this, first dry as much sand as may be required and pass through a 20-mesh sieve, and to each bushel of the fine sand rub in about 4 quarts of meal, afterwards again passing through the sieve to insure regular mixing. This sand should then be damped as required, being careful that all parts are equally moist, rubbing on a board being a good way to get it tough, and in good condition, with the minimum of moisture.

The molds should not be sleeked with tools, but they may be dusted over with plumbago or steatite, smoothing with a camel’s-hair brush, in cases in which a very smooth face is required on the castings. Preferably, however, the use of the brush even should be avoided. Patterns for aluminum should be kept smooth and well varnished.

In melting the metal it is necessary to use a plumbago crucible which is clean and which has not been used for other metals. Clay or silica crucibles are not good for this metal, especially silica, on account of the metal absorbing silicon and becoming hard under some conditions of melting. A steady fire is necessary, and the fuel should reach only about halfway up the crucible, as it is not desirable to overheat the crucible or metal. The metal absorbs heat for some time and then fuses with some rapidity, hence the desirability of a steady heat; and as the metal should be poured when of a claret color under the film of oxide which forms on the surface, too rapid a heating is not advisable. The molding should always be well in advance of the pouring, because the metal should be used as soon as it is ready; for not only is waste caused, but the metal loses condition if kept in a molten state for long periods. The metal should be poured rapidly, but steadily, and when cast up there should not be a large head of metal left on top of the runner. In fact, it is rather a disadvantage to leave a large head, as this tends to draw rather than to feed the casting.

With properly prepared molds, and careful melting, fluxes are not required, but ground cryolite—a fluoride of sodium and aluminum—is sometimes used to increase the fluidity of the metal. In using this, a few ounces according to the bulk of metal to be treated is put into the molten metal before it is taken from the furnace, and well stirred in, and as soon as the reaction apparently ceases the pot is lifted and the metal at once skimmed and poured. The use of sodium in any form with aluminum is very undesirable, however, and should be avoided, and the same remark applies to tin, but there is no objection to alloying with zinc, when the metal thus produced is sold as an alloy.

Aluminum also casts very well in molds of plaster of Paris and crushed bath brick when such molds are perfectly dry {83} and well vented, smoothness being secured by brushing over with dry steatite or plumbago. When casting in metal molds, these should be well brushed out with steatite or plumbago, and made fairly hot before pouring, as in cold molds the metal curdles and becomes sluggish, with the result that the castings run up faint.

To Increase The Toughness, Density, And Tenacity Of Aluminum.

Working Of Sheet Aluminum:

The great secret, if there is any, in working aluminum, either pure or alloyed, consists in the proper lubricant and the shape of the tool. Another great disadvantage in the proper working of the metal is that, when a manufacturer desires to make up an article, he will procure the pure metal in order to make his samples, which, of course, is harder to work than the alloy. But the different grades of aluminum sheet which are on the market are so numerous for different classes of work that it might be advisable to consider them for a moment before passing to the method of working them.

The pure metal, to begin with, can be purchased of all degrees of hardness, from the annealed, or what is known as the “dead soft” stock, to the pure aluminum hard rolled. Then comes a harder grade of alloys, running from “dead soft” metal, which will draw up hard, to the same metal hard rolled; and, still again, another set of alloys which, perhaps, are a little harder still when hard rolled, and will, when starting with the “dead soft,” spin up into a utensil which, when finished, will probably be as stiff as brass. These latter alloys are finding a large sale for replacing brass used in all classes of manufactured articles.

To start with lathe work on aluminum, probably more difficulty has been found here, especially in working pure metal, and more complaints are heard from this source than from any other. As stated before, however, these difficulties can all be readily overcome, if the proper tools and the proper lubricants are used, as automatic screw machines are now made so that they can be operated when working aluminum just as readily as when they are working brass, and in some cases more readily. To start with the question of the tool, this should be made as what is known as a “shearing tool,” that is, instead of a short, stubby point, such as would be used in turning brass, the point should be lengthened out and a lot of clearance provided on the inside of the tool, so as to give the chips of the metal a good chance to free themselves and not cause a clogging around the point of the tool—a similar tool, for instance, to what would be used for turning wood.

The best lubricant to be used would be coal oil or water, and plenty of it. The latter is almost as good as coal oil if enough of it is used, and with either of these lubricants and a tool properly made, there should be no difficulty whatsoever in the rapid working of aluminum, either on the lathe or on automatic screw machines.

To go from the lathe to the drawing press, the same tools here would be used in drawing up shapes of aluminum as are used for drawing up brass or other metals; the only precaution necessary in this instance being to use a proper lubricant, which in this case is a cheap grade of vaseline, or in some cases lard oil, but in the majority of instances better results will be secured by the use of vaseline. Aluminum is probably susceptible of deeper drawing with less occasion to anneal than any of the other commercial metals. It requires but one-third or one-fourth of as much annealing as brass or copper. For instance, an article which is now manufactured in brass, requiring, say, three or four operations before the article is finished, would probably have to be annealed after every operation. With aluminum, however, if the proper grade is used, it is generally possible to perform these three operations without annealing the metal at all, and at the same time to produce a finished article which, to all intents and purposes, is as stiff as an article made of sheet brass.

Too much stress cannot be laid on the fact of starting with the proper grade of metal, for either through ignorance or by not observing this point is the foundation of the majority of the complaints that aluminum “has been tried and found wanting.” If, however, it should be found necessary to anneal aluminum, this can be readily accomplished by heating it in an ordinary muffle, being careful that the temperature shall not be too high—about 650° or 700° F. The best test as to when the metal has reached the proper temperature is to take a soft pine stick and draw it across the {84} metal. If it chars the stick and leaves a black mark on the metal, it is sufficiently annealed and is in a proper condition to proceed with further operation.

Next taking up the question of spinning aluminum, success again depends particularly on starting with the proper metal. The most satisfactory speed for articles from 5 to 8 inches in diameter is about 2,600 revolutions a minute, and for larger or smaller diameters the speed should be so regulated as to give the same velocity at the circumference. Aluminum is a very easy metal to spin and no difficulty should be found at all in spinning the proper grades of sheets. Several factories that are using large quantities of aluminum now, both for spinning and stamping, are paying their men by the piece the same amount that they formerly paid on brass and tin work, and it is stated that the men working on this basis make anywhere from 10 to 20 per cent more wages by working aluminum.

After aluminum has been manufactured into the shape of an article, the next process is the finishing of it. The best polish can be obtained by first cutting down the metal with an ordinary rag buff on which use tripoli, and then finish it with a dry red rouge which comes in the lump form, or that which is known as “White Diamond Rouge.” One point, however, that it is necessary to observe carefully is that both the tripoli and the rouge should be procured ground as fine as it is possible to grind them; for, if this is not done, the metal will have little fine scratches all over it, and will not appear as bright and as handsome as it otherwise would.

If it is desired to put on a frosted appearance, this can either be done by scratch brushing or sand blasting. A brass wire scratch brush, made of crimped wire of No. 32 to No. 36 B. & S. gage, with three or four rows of bristles, will probably give the best results. This work of scratch brushing can be somewhat lessened, however, if, before applying the scratch brush to the surface of the aluminum, the article is first cut down by the use of a porpoise-hide wheel and fine Connecticut sand, placing the sand between the surface of the aluminum and the wheel, so that the skin and the irregularities on the surface are removed, and then putting the article on a buffing wheel before attempting to scratch brush it. This method, however, is probably more advantageous in the treating of aluminum castings than for articles manufactured out of the sheet metal, as in the majority of cases it is simply necessary before scratch brushing to cut down the article with tripoli, and then polish it with rouge as already described, before putting on the scratch brush; in this way the brush seems to take hold quicker and better, and to produce a more uniform polish.

An effect similar to the scratch-brush finish can be got by sand blasting, and by first sand blasting and then scratch brushing the sheets, a good finish is obtained with very much less labor than by scratch brushing alone. Another very pretty frosted effect is procured by first sand blasting and then treated as hereinafter described by “dipping” and “frosting,” and many variations in the finish of aluminum can be got by varying the treatment, either by cutting down with tripoli and polishing, scratch brushing, sand blasting, dipping, and frosting, and by combinations of those treatments. A very pretty mottled effect is secured on aluminum by first polishing and then scratch brushing and then holding the aluminum against a soft pine wheel, run at a high rate of speed on a lathe, and by careful manipulation, quite regular forms of a mottled appearance can be obtained.

The dipping and frosting of aluminum sheet is probably the cheapest way of producing a nice finish. First remove all grease and dirt from the article by dipping in benzine, then dip into water in order that the benzine adhering to the article may be removed, so as not to affect the strength of the solution into which it is next dipped. After they have been taken out of the water and well shaken, the articles should be plunged in a strong solution of caustic soda or caustic potash, and left there a sufficient length of time until the aluminum starts to turn black. Then they should be removed, dipped in water again, and then into a solution of concentrated nitric and sulphuric acid, composed of 24 parts of nitric acid to 1 part of sulphuric acid. After being removed, the article should be washed thoroughly in water and dried in hot sawdust in the usual way. This finish can also be varied somewhat by making the solution of caustic soda of varying degrees of strength, or by adding a small amount of common salt to the solution.

In burnishing the metal use a bloodstone or a steel burnisher. In burnishing use a mixture of melted vaseline and coal oil, or a solution composed of 2 ta­ble­spoon­fuls of ground borax dissolved in about a quart of hot water, with a few {85} drops of ammonia added. In engraving, which adds materially to the appearance of finished castings, book covers, picture frames, and similar articles made of sheet, probably the best lubricant to use on an engraver’s tool in order to obtain a clean cut, which is bright, is naphtha or coal oil, or a mixture of coal oil and vaseline. The naphtha, however, is preferred, owing to the fact that it does not destroy the satin finish in the neighborhood of the cut, as the other lubricants are very apt to do. There is, however, as much skill required in using and making a tool in order to give a bright, clean cut as there is in the choice of the lubricant to be used. The tool should be made somewhat on the same plan as the lathe tools already outlined. That is, they should be brought to a sharp point and be “cut back” rather far, so as to give plenty of clearance.

There has been one class of work in aluminum that has been developed lately and only to a certain extent, in which there are great possibilities, and that is in drop forging the metal. Some very superior bicycle parts have been manufactured by drop forging. This can be accomplished probably more readily with aluminum than with other metals, for the reason that it is not necessary with all the alloys to work them hot; consequently, they can be worked and handled more rapidly.

ALUMINUM, TO CLEAN: See Cleaning Preparations and Methods.

ALUMINUM ALLOYS: See Alloys.

ALUMINUM BRONZE: See Alloys under Bronzes.

ALUMINUM CASTINGS: See Casting.

ALUMINUM PAPER: See Paper.

ALUMINUM PLATING: See Plating.

ALUMINUM POLISHES: See Polishes.

AMALGAMS

See also Easily Fusible Alloys under Alloys.

The name amalgam is given to alloys of metals containing mercury. The term comes to us from the alchemists. It signifies softening, because an excess of mercury dissolves a large number of metals.

Preparation Of Amalgams.

Quicksilver has no direct action on metals of high fusing points: manganese, iron, nickel, cobalt, uranium, platinum, and their congeners. Still, amalgams of these metals can be obtained of butyrous consistency, either by electrolysis of their saline solutions, employing quicksilver as the negative electrode, or by the action of an alkaline amalgam (potassium or sodium), on their concentrated and neutral saline solutions. These same refractory metals are also amalgamated superficially when immersed in the amalgam of sodium or of ammonium in presence of water.

Processes for preparing amalgams by double decomposition between an alkaline amalgam and a metallic salt, or by electrolysis of saline solutions, with employment of mercury as the negative electrode, apply a fortiori to metals capable of combining directly with the quicksilver. The latter of these methods is especially utilized for the preparation of alkaline earthy metals by electrolytic decomposition of the solutions of their salts or hydrated oxides with quicksilver as a cathode.

General Properties Of Amalgams.

They have a metallic luster, and a metallic structure which renders them brittle. They even form crystallized metallic combinations of constant proportions, dissolved in an excess of quicksilver, when the excess is separated by compression in a chamois skin, or by filtration in a glass funnel of slender stem, terminating with an orifice almost capillary.

According as the fusing heat of a metal is less or greater than its combination heat with quicksilver, the amalgamation of this metal produces an elevation or a lowering of temperature. Thus {86} potassium, sodium, and cadmium, in alloy with quicksilver, disengage heat; while zinc, antimony, tin, bismuth, lead, and silver combine with mercury with absorption of heat. The amalgamation of 162 parts of quicksilver with 21 parts of lead, 12 parts of tin or of antimony, and 28.5 parts of bismuth, lowers the temperature of the mixture 79° F.

Amalgams formed with disengagement of heat are electro-negative with reference to the metals alloyed with the quicksilver. The products with absorption of heat are electro-negative with reference to the metals combined with the quicksilver; consequently, in a battery of elements of pure cadmium and amalgamated cadmium, the cadmium will be the negative pole; in case of zinc and amalgamated zinc, the zinc will be the positive pole.

Heat decomposes all amalgams, vaporizing the mercury and leaving the metal alloys as a residue.

Water is decomposed by the amalgams of potassium and sodium, because the heat of formation of these amalgams, although considerable, is even less than the heat disengaged by potassium and sodium, on decomposing water. The alkaline amalgams may, therefore, serve as a source of nascent hydrogen in presence of water, giving rise to an action less energetic, and often more advantageous, than that of the alkaline metals alone. Thus is caused the frequent employment of sodium amalgam for hydrogenizing a large number of bodies. As a consequence of their action on water, the alkaline amalgams are changed by moist air, with production of free alkali or alkaline carbonate.

Applications Of Potassium Amalgams.

II.—They can serve for the preparation of the amalgams of the metals, other than those of the alkaline group, by decomposing the salts of these metals, with formation of a salt of potash and of the amalgam of the metal corresponding to the original salt.

III.—They can be employed as a source of nascent hydrogen in presence of water for hydrogenizing many substances.

Applications Of Sodium Amalgams.

I.—Sodium amalgam furnishes a process for the preparation of sodium when soda is decomposed by means of the electric current, employing quicksilver as the cathode, and afterwards vaporizing the quicksilver of the amalgam formed by heating this in a current of dry hydrogen.

II.—Amalgams of sodium serve for the preparation of amalgams of the other metals, particularly alkaline earthy metals and metals of high fusing points, by decomposing the salts of these metals, with formation of a salt of soda and of the amalgam of the metal corresponding to the original salt.

III.—They serve for amalgamating superficially the metals of high fusing point, called “refractory,” such as iron and platinum, when a well-cleaned plate of these metals is immersed in sodium amalgam in presence of water.

IV.—An amalgam of 2 or 3 per cent of sodium is employed in the processes of extraction of gold by amalgamation. It has the property of rendering quicksilver more brilliant, and consequently more energetic, by acting as a deoxidant on the pellicle of oxide formed on its surface in presence of certain ores, which, by keeping it separated from the particles of gold, destroy its activity. Sodium amalgam of 3 per cent is utilized with success for the amalgamated plates employed in crushers and other apparatus for treating the ores of gold. If a few drops of this amalgam are spread on a plate of copper, of tin, or of zinc, a brilliant coating of an amalgam of tin, copper, or zinc is immediately formed.

V.—Amalgams of from 2 to 8 per cent of sodium serve frequently in laboratories for reducing or hydrogenizing organic combinations, without running the risk of a partial destruction of these compounds by too intense action, as may occur by employing free sodium instead of its amalgam.

Applications Of Barium Amalgams.

Applications Of Strontium Amalgams.

Applications Of Cadmium Amalgams.

Applications Of Zinc Amalgams.

For amalgamating a zinc plate it is plunged for a few seconds into water in which there is one-sixteenth in volume of sulphuric acid, then rubbing with a copper-wire brush which has been dipped in the quicksilver. The mercury takes more readily on the zinc when, after the zinc has been cleaned with water sharpened with sulphuric acid, it is moistened with a solution of corrosive sublimate, which is reduced and furnishes a first very thin coat of amalgam, on which the quicksilver is immediately fixed by simple immersion without rubbing.

The zinc of a battery may be amalgamated by putting at the bottom of the compartment containing each element, a little quicksilver in such a way that the zinc touches the liquid. The amalgamation is effected under the influence of the current, but this process applies only on condition that the zinc alone touches the bottom of the vessel containing the quicksilver.

Applications Of Manganese Amalgams.

Applications Of Tin Amalgams.

II.—An amalgam consisting of 2 parts of zinc and 1 part tin may be used for covering the cushions of frictional electric machines. This amalgam is prepared by first melting the zinc and tin in a crucible and adding the quicksilver previously heated.

III.—Mention has been made of the cadmium amalgam employed for plugging teeth, an amalgam of 2 parts of quicksilver, 2 parts of tin, and 1 part of cadmium. For the same purpose an amalgam of tin, silver, and gold is employed. (See also Cements, Dental.)

Applications Of Copper Amalgams.

II.—The amalgam of 30 per cent of copper, designated by the name of “metallic mastic,” is an excellent cement for repairing objects and utensils of porcelain. For this employment, the broken surfaces are heated to 662° F., and a little of the amalgam, previously heated to the consistency of melted wax, is applied.

III.—Copper amalgam, of 30 to 45 per cent of copper, rendered plastic by heating and grinding, may serve for obtaining with slight compression copies of delicate objects, which may, after hardening of the amalgam, be reproduced, either in wax or by galvanic process.

IV.—According to Debray, when a medal, obtained with an amalgam of 45 per cent of copper, by compression in the soft state, in molds of gutta percha, is heated progressively to redness in an atmosphere of hydrogen, the quicksilver is volatilized gradually, and the particles of copper come together without fusion in such a way as to produce a faithful reproduction, formed exclusively of metallic copper, of the original medal.

V.—In the metallurgy of gold, the crushers are furnished with amalgamated plates of copper for retaining the gold. The preparation of these plates, {88} which are at least 0.128 inches in thickness, is delicate, requiring about two weeks. They are freed from greasy matter by rubbing with ashes, or, better, with a little sand and caustic soda, or if more rapid action is desired, with a cloth dipped in dilute nitric acid; they are washed with water, then with a solution of potassium cyanide, and finally brushed with a mixture of sal ammoniac and a little quicksilver, until the surface is completely amalgamated. They are finally made to absorb as much quicksilver as possible. But the plates thus treated are useful for only a few days when they are sufficiently covered with a layer of gold amalgam; in the meantime they occasion loss of time and of gold. So it is preferable to cover them artificially with a little gold amalgam, which is prepared by dissolving gold in quicksilver. Sometimes the amalgam of gold is replaced by an amalgam of silver, which is readily poured and more economical.

Another method giving better results consists in silvering copper slabs by electroplating and covering them with a layer of silver. Then it is only necessary to apply a little quicksilver, which adheres quite rapidly, so that they are ready for use almost immediately, and are quite active at the outset.

These amalgamation slabs ought to be cleaned before each operation. Potassium cyanide removes fatty matter, and sal ammoniac the oxides of the low metals.

Applications Of Lead Amalgams.

Applications Of Bismuth Amalgams.

For the injection of anatomical pieces an amalgam formed of 10 parts of quicksilver, 50 parts of bismuth, 31 parts of lead, and 18 parts of tin, fusible at 77.5° and solidifiable at 60° C., is made use of; or, again, an amalgam composed of 9 parts of Darcet alloy and 1 part of quicksilver fusible at 127 ¹/₂° F., and pasty at a still lower temperature. This last amalgam may also be used for filling carious teeth. The Darcet alloy, as known, contains 2 parts of bismuth, 1 part of lead, and 1 part of tin, and melts at 199 ¹/₂° F. The addition of 1 part of quicksilver lowers the fusing point to 104° F.

Applications Of Silver Amalgams.

II.—The metallurgy of silver also takes advantage of the property of this {89} metal in combining cold with quicksilver; this for the treatment of poor silver ores.

In the Saxon or Freiburg process for treating silver ores, recourse is had to quicksilver in the case of amalgam in amalgamating casks, in which the ore, after grinding, is shaken with disks of iron, and with mercury and water. The amalgam, collected and filtered under strong pressure, contains from 30 to 33 per cent of silver. It is distilled either in cylindrical retorts of cast iron, furnished with an exit tube immersed in the water for condensing the mercurial vapors, or on plates of iron, arranged over each other along a vertical iron stem, supported by a tripod at the bottom of a tank filled with water, and covered with an iron receiver, which is itself surrounded with ignited charcoal. It should be remarked that the last portions of quicksilver in a silver amalgam submitted to distillation are volatilized only under the action of a high and prolonged temperature.

Applications Of Gold Amalgams.

II.—The amalgamation of gold finds its principal applications in the treatment of auriferous ores. The extraction of small spangles of gold scattered in gold-bearing sands is based on the ready dissolution of gold in quicksilver, and on the formation of an amalgam of solid gold by compression and filtering through a chamois skin, in a state more or less liquid. The spangles of gold are shaken with about their weight of quicksilver, collected in the cavities of sluices and mixed with a small quantity of sand. The gold is dissolved and the sand remains. The amalgam thus obtained is compressed in a chamois skin, so as to separate the excess of mercury which passes through the pores of the skin; or, yet again, it is filtered through a glass funnel having a very slender stem, with almost capillary termination. In both cases an amalgam of solid gold remains, which is submitted to the action of heat in a crucible or cast-iron retort, communicating with a bent-iron tube, of which the extremity, surrounded with a cloth immersed in water, is arranged above a receiver half full of water. The quicksilver is vaporized and condensed in the water. The gold remains in the retort.

The property of gold of combining readily with quicksilver is also used in many kinds of amalgamating apparatus for extraction and in the metallurgy of gold.

In various operations it is essential to keep the quicksilver active by preserving its limpidity. For this purpose potassium cyanide and ammonium chloride are especially employed; sometimes wood ashes, carbonate of soda, hyposulphite of soda, nitrate of potash, cupric sulphate, sea salt, and lime; the latter for precipitating the soluble sulphates proceeding from the decomposition of pyrites.

The amalgamation of gold is favored by a temperature of 38° to 45° C. (100° to 113° F.), and still more by the employment of quicksilver in the nascent state. This last property is the base of the Designol process, which consists in treating auriferous or auro-argentiferous ores, first ground with sea salt, in revolving cylinders of cast iron, with iron and mercury bichloride, in such a way that the mercury precipitated collects the gold and eventually the silver more efficaciously.

Gold Amalgam.

Zinc Amalgam For Electric Batteries.

Amalgam For Cementing Glass, Porcelain, Etc.

Amalgam For Silvering Glass Balls.

(See also Mirror-Silvering).

Copper Amalgam.

Copper amalgam may be prepared in the following manner:

Place strips of zinc in a solution of blue vitriol and agitate the solution thoroughly. The copper thus obtained in the form of a very fine powder is washed and, while still moist, treated in a mortar with a solution of mercury nitrate. The copper powder thereby amalgamates more readily with the quicksilver. Next, hot water is poured over the copper, the mortar is kept hot, and the mercury added. Knead with the pestle of the mortar until the copper, pulverulent in the beginning, has united with the mercury into a very plastic mass. The longer the kneading is continued the more uniform will be the mass. As soon as the amalgam has acquired the suitable character—for its production 3 parts of copper and 7 parts of mercury are used—the water is poured off and the amalgam still soft is given the shape in which it is to be kept.

For cementing purposes, the amalgam is rolled out into small cylinders, whose diameter is about 0.16 to 0.2 inches, with a length of a few inches. In order to produce with this amalgam impressions of castings, which are made after woodcuts, the amalgam is rolled out hot into a thin plate and pressed firmly onto the likewise heated plaster cast. After the amalgam has hardened the thin plate of it may be reinforced by pouring on molten type metal.

Silver Amalgam.

Amalgam For The Rubber Of Electric Machines.

AMALGAM GOLD PLATING: See Gilding under Plating.

AMBER:

Imitation Amber.

AMBER CEMENT: See Adhesives under Cements.

AMBER VARNISH: See Varnishes.

AMBROSIA POWDER: See Salts (Effervescent).

AMIDOL DEVELOPER: See Photography.

AMETHYST (IMITATION): See Gems, Artificial.

AMMON-CARBONITE: See Explosives.

AMMONIA

Household Ammonia.

Shave up the soap and dissolve it in the water by heating, add the potassium nitrate and dissolve. Cool, strain, skim off any suds or bubbles, add the ammonia, mix, and bottle at once.

Dissolve the soap and borax in 5 ounces of boiling water; when cold add the lavender water and ammonia, and make up to a pint with water.

Cut the soap in shavings, boil with the oil and water, cool, add the ammonia water, and bottle. For use in laundries, baths, and for general household purposes add one ta­ble­spoon­ful to one gallon of water.

V.—The best quality:

Dissolve the oils in the alcohol and add to the water. To the mixture add 4 ounces of talc (or fuller’s earth will answer), mix thoroughly, strain through canvas, and to the colate add 1, 2, or 3 gallons of ammonia water, according to the strength desired, in which has been dissolved 1, 2, or 3 ounces of white curd, or soft soap.

Liquor Ammonii Anisatus.—

Dissolve the oil in the alcohol and add the water of ammonia.

It should be a clear, yellowish liquid.

Violet Color For Ammonia.

Perfumed Ammonia Water.

Rub up the soap and borax with water until dissolved, strain and add the other ingredients. The perfumes may be varied to suit the price.

AMMONIA FOR FIXING PRINTS: See Photography.

ANGOSTURA BITTERS: See Wines and Liquors.

ANILINE: See Dyes.

ANILINE IN PIGMENTS, TESTS FOR: See Pigments.

ANILINE STAINS, TO REMOVE: See Cleaning Preparations and Methods. {92}

ANISE CORDIAL: See Wines and Liquors.

ANKARA: See Butter.

ANNEALING OF STEEL, TOOLS, WIRE, AND SPRINGS: See Steel.

ANODYNES: See Pain Killers.

ANT DESTROYERS: See Insecticides.

ANTIDOTES FOR POISONS

Poison, Symptoms And Antidotes.

When a person has taken poison the first thing to do is to compel the patient to vomit, and for that purpose give any emetic that can be most readily and quickly obtained, and which is prompt and energetic, but safe in its action. For this purpose there is, perhaps, nothing better than a large teaspoonful of ground mustard in a tumblerful of warm water, and it has the advantage of being almost always at hand. If the dry mustard is not to be had use mixed mustard from the mustard pot. Its operation may generally be facilitated by the addition of a like quantity of common table salt. If the mustard is not at hand, give two or three teaspoonfuls of powdered alum in syrup or molasses, and give freely of warm water to drink; or give 10 to 20 grains of sulphate of zinc (white vitriol), or 20 to 30 grains of ipecac, with 1 or 2 grains of tartar emetic, in a large cup of warm water, and repeat every ten minutes until three or four doses are given, unless free vomiting is sooner produced. After vomiting has taken place large draughts of warm water should be given, so that the vomiting will continue until the poisonous substances have been thoroughly evacuated, and then suitable antidotes should be given. If vomiting cannot be produced the stomach pump should be used. When it is known what particular kind of poison has been swallowed, then the proper antidote for that poison should be given; but when this cannot be ascertained, as is often the case, give freely of equal parts of calcined magnesia, pulverized charcoal, and sesquioxide of iron, in a sufficient quantity of water. This is a very harmless mixture and is likely to be of great benefit, as the ingredients, though very simple, are antidotes for the most common and active poisons. In case this mixture cannot be obtained, the stomach should be soothed and protected by the free administration of demulcent, mucilaginous, or oleaginous drinks, such as the whites of eggs, milk, mucilage of gum arabic, or slippery-elm bark, flaxseed tea, starch, wheat flour, or arrowroot mixed in water, linseed or olive oil, or melted butter or lard. Subsequently the bowels should be moved by some gentle laxative, as a ta­ble­spoon­ful or two of castor oil, or a teaspoonful of calcined magnesia; and pain or other evidence of inflammation must be relieved by the administration of a few drops of laudanum, and the repeated application of hot poultices, fomentations, and mustard plasters.

The following are the names of the substances that may give rise to poisoning, most commonly used, and their antidotes:

Mineral Acids—sulphuric Acid (Oil Of Vitriol), Nitric Acid (Aqua Fortis), Muriatic Acid (Spirits Of Salts).

Vegetable Acids—acetic, Citric, Oxalic, Tartaric.

Oxalic acid is frequently taken in {93} mistake for Epsom salts, to which in shops it often bears a strong resemblance. Treatment: Give chalk or magnesia in a large quantity of water, or large draughts of limewater. If these are not at hand, scrape the wall or ceiling, and give the scrapings mixed with water.

Prussic Or Hydrocyanic Acid—laurel Water, Cyanide Of Potassium, Bitter Almond Oil, Etc.

Aconite—monkshood, Wolfsbane.

Alkalis And Their Salts—concentrated Lye, Wood-ash Lye, Caustic Potash, Ammonia, Hartshorn.

Antimony And Its Preparations—tartar Emetic, Antimonial Wine, Kerme’s Mineral.

Arsenic And Its Preparations—ratsbane, Fowler’s Solution, Etc.

Belladonna, Or Deadly Nightshade.

Blue Vitriol, or Blue Stone.—See Copper.

Cantharides (Spanish Or Blistering Fly) And Modern Potato Bug.

Caustic Potash.—See Alkalis under this title.

Cobalt, Or Fly Powder.

Copper—blue Vitriol, Verdigris Or Pickles Or Food Cooked In Copper Vessels.

Creosote—carbolic Acid.

Corrosive Sublimate.—See Mercury under this title.

Deadly Nightshade.

Foxglove, Or Digitalis.

Gases—carbonic Acid, Chlorine, Cyanogen, Hydrosulphuric Acid, Etc.

Hellebore, Or Indian Poke.

Hemlock (Conium).

Henbane, Or Hyoscyamus.

Iodine.

Lead—acetate Of Lead, Sugar Of Lead, Dry White Lead, Red Lead, Litharge, Or Pickles, Wine, Or Vinegar Sweetened By Lead.

Meadow Saffron.—See Belladonna.

Laudanum.—See Opium.

Lobelia—indian Poke.

Mercury—corrosive Sublimate

Morphine.—See Opium.

Nitrate Of Silver (Lunar Caustic).

Opium And All Its Compounds—morphine, Laudanum, Paregoric, Etc.

Cooley advises as follows: Vomiting must be induced as soon as possible, by means of a strong emetic and tickling the fauces. If this does not succeed, the stomach pump should be applied. The emetic may consist of a half drachm of sulphate of zinc dissolved in a half pint of warm water, of which one-third should {96} be taken at once, and the remainder at the rate of a wineglassful every 5 or 10 minutes, until vomiting commences. When there is much drowsiness or stupor 1 or 2 fluidrachms of tincture of capsicum will be found a useful addition; or one of the formulas for emetic draughts may be taken instead. Infusion of galls, cinchona, or oak bark should be freely administered before the emetic, and water soured with vinegar and lemon juice, after the stomach has been well cleared out. To rouse the system spirit and water or strong coffee may be given. To keep the sufferer awake, rough friction should be applied to the skin, an upright posture preserved, and walking exercise enforced, if necessary. When this is ineffectual cold water may be dashed over the chest, head, and spine, or mild shocks of electricity may be had recourse to. To allow the sufferer to sleep is to abandon him to destruction. Bleeding may be subsequently necessary in plethoric habits, or in threatened congestion. The costiveness that accompanies convalescence may be best met by aromatic aperients; and the general tone of the habit restored by stimulating tonics and the shower bath. The smallest fatal dose of opium in the case of an adult within our recollection was 4 ¹/₂ grains. Children are much more susceptible to the action of opium than of other medicines, and hence the dose of it for them must be diminished considerably below that indicated by the common method of calculation depending on the age.

Oxalic Acid.—See Acids.

Phosphorus—found In Lucifer Matches And Some Rat Poisons.

Poisonous Mushrooms.

Potash.—See Alkali.

Prussic or Hydrocyanic Acid.—See Acids.

Poison Ivy.

Saltpeter (Nitrate Of Potash).

Savine.

Stramonium, Thorn Apple, Or Jamestown Weed.

Snake Bites, Cure For.

Strychnine Or Nux Vomica.

According to Ch. Gunther the greatest reliance may be placed on full doses of opium, assisted by venesection, in cases of poisoning by strychnia or nux vomica. His plan is to administer this drug in the form of solution or mixture, in combination with a saline aperient.

Another treatment is to give, if obtainable, 1 ounce or more of bone charcoal mixed with water, and follow with an active emetic; then to give chloroform in teaspoonful doses, in flour and water or glycerine, every few minutes while the spasms last, and afterwards brandy and stimulants, and warmth of the extremities if necessary. Recoveries have followed the free and prompt administration of oils or melted butter or lard. In all cases empty the stomach if possible.

Sulphate of Zinc—White Vitriol.—See Zinc.

Tin—chloride Of Tin, Solution Of Tin (Used By Dyers), Oxide Of Tin, Or Putty Powder.

Tartar Emetic.—See Antimony.

Tobacco.

Zinc—oxide Of Zinc, Sulphate Of Zinc, White Vitriol, Acetate Of Zinc.

Woorara.

Antiferments.

The following are tried and useful formulas:

I.—Sulphite (not sulphate) of lime, in fine powder, 1 part; marble dust, ground oyster shells, or chalk, 7 parts; mix, and pack tight, so as to exclude the air.

II.—Sulphite (not sulphate) of potassa, 1 part; new black-mustard seed (ground in a pepper mill), 7 parts; mix, and pack so as to exclude air and moisture perfectly. Dose (of either), ¹/₂ ounce to 1 ¹/₂ ounces per hogshead.

III.—Mustard seed, 14 pounds; cloves and capsicum, of each, 1 ¹/₄ pounds; mix, and grind them to powder in a pepper mill. Dose, ¹/₄ to ¹/₂ pound per hogshead.

A portion of any one of these compounds added to cider, or the like, soon allays fermentation, when excessive, or when it has been renewed. The first formula is preferred when there is a tendency to acidity. The second and third may be advantageously used for wine and beer, as {98} well as for cider. The third compound greatly improves the flavor and the apparent strength of the liquor, and also improves its keeping qualities.

ANCHOVY PREPARATIONS

Extemporaneous Anchovy Sauce.—

Mix, place over the fire, and stir until the mixture thickens. Then rub through a coarse sieve.

Essence Of Anchovies.

Anchovy Paste.—

Anchovy Butter.—

ANTIFOULING COMPOSITIONS: See Paints.

ANTIFREEZING SOLUTION: See Freezing Preventives.

ANTIFRICTION METAL: See Alloys, under Phosphor Bronze and Antifriction Metals.

ANTIQUES, TO PRESERVE.

The best process for the preservation of antique metallic articles consists in a retransformation of the metallic oxides into metal by the electrolytic method. For this purpose a zinc strip is wound around the article and the latter is laid in a soda-lye solution of 5 per cent, or suspended as the negative pole of a small battery in a potassium cyanide solution of 2 per cent. Where this method does not seem practicable it is advisable to edulcorate the objects in running water, in which operation fragile or easily destroyed articles may be protected by winding with gauze; next, they should be carefully dried, first in the air, then with moderate heat, and finally protected from further destruction by immersion in melted paraffine. A dry place is required for storing the articles, since paraffine is not perfectly impermeable to water in the shape of steam.

ANTIRUST COMPOSITIONS: See Rust Preventives.

ANTISEPTICS

Antiseptic Powders.—

Mix thoroughly. For an antiseptic wash dissolve 1 or 2 drachms in a quart of warm water.

IV.—Ektogan is a new dusting powder which is a mixture of zinc hydroxide and dioxide. It is equivalent to about 8 per cent of active oxygen. It is a yellowish-white odorless and tasteless powder, insoluble in water. It is used externally in wounds and in skin diseases as a moist dressing mixed with citric, tartaric, or {99} tannic acid, which causes the liberation of oxygen. With iodides it liberates iodine. It is stated to be strongly antiseptic; it is used in the form of a powder, a gauze, and a plaster.

Antiseptic Pencils.—

Make into a mass, using as an excipient the alcohol and ether previously mixed. Roll into pencils of the desired length and thickness. Then coat with collodion, roll in pure silver leaf, and finally coat with the following solution of gelatine and set aside to dry:

Dissolve by the aid of a gentle heat.

When wanted for use, shave away a portion of the covering, dip the pencil into tepid water and apply.

II.—Pencils for stopping bleeding are prepared by mixing:

Melting carefully in a water bath, adding some perfume, and forming mixture into pencils or cones.

A very convenient way to form into pencils where no mold need be made is to take a small glass tube, roll a piece of oil paper around the tube, remove the glass tube, crimp the paper tube thus formed on one end and stand it on end or in a bottle, and pour the melted solution in it and leave until cool, then remove the paper.

Antiseptic Paste (Poison) for Organic Specimens.—

Mix (a) and (b) while hot and continue to simmer; meanwhile stir in (c) and mix thoroughly; then add (d). Stir briskly, and pour in the dry corrosive sublimate. This paste is very poisonous. It is used for anatomical work and for pasting organic tissue, labels on skeletons, etc.

Mouth Antiseptics.

II.—Tannin, 12 grams (3 drachms); menthol, 8 grams (2 drachms); thymol, 1 gram (15 grains); tincture benzoin, 6 grams (90 minims); alcohol, 100 grams (3 ounces). Ten drops in a half-glassful of tepid water.

See also Dentifrices for Mouth Washes.

Antiseptic Paste.

Dissolve the salts in 650 cubic centimeters of water, and the thymol, eucalyptol, and oils in the alcohol. Mix the alcoholic solution with the glycerine and add the aqueous liquid, then the tincture of cudbear, and lastly enough water to make 1,000 cubic centimeters. Allow to stand a few days, then filter, adding a little magnesium carbonate to the filter, if necessary, to get a brilliant filtrate.

This is from the Formulary of the Bournemouth Pharmaceutical Association, as reported in the Canadian Pharmaceutical Association: {100}

Alkaline Glycerine Of Thymol.—

Compound Solution Of Thymol.—

Dissolve.

Dissolve.

Mix solutions A and B, make up to 20 fluidounces with distilled water, and filter.

Oil Of Cinnamon As An Antiseptic.

Green Coloring For Antiseptic Solutions.

Antiseptic Bromine Solution.—

Dissolve the sodium chloride in the water and add the bromine. This solution is to be diluted, when applied to broken skin surfaces, 1 part with 15 parts of water.

Substitute For Rubber Gloves.

Murphy’s routine method of hand preparation is as follows: First, five to seven minutes’ scrubbing with spirits of green soap and running hot water; second, three minutes’ washing with alcohol; third, when the hands are thoroughly dried, the gutta-percha solution is poured over the hands and forearms, care being taken to fill in around and beneath the nails. The hands must be kept exposed to the air with the fingers separated until thoroughly dry. The coating is very thin and can be recognized only by its glazed appearance. It will resist soap and water, but is easily removed by washing in benzine. The hands can be washed in bichloride or any of the antiseptic solutions without interfering with the coating or affecting the skin. If the operations be many, or prolonged, the coating wears away from the tips of the fingers, but is easily renewed. For the remaining portion of the hands one application is sufficient for a whole morning’s work.

The 4-per-cent solution of rubber wears better on the tips of the fingers, in handling instruments, sponges, and tissues than the acetone solution.

For the abdomen the acetone solution has the advantage, and it dries in three to four seconds after its application, while the benzine solution takes from three to four and a half minutes to make a dry, firm coating.

The preparation of the patient’s skin consists in five minutes’ scrubbing with spirits of green soap, washing with ether, followed by alcohol. The surface is then swabbed over thoroughly with the benzine or acetone solution.

The gutta-percha solution is prepared by dissolving the pure gutta-percha chips in sterile benzine or acetone. These solutions do not stand boiling, as this impairs the adhesiveness and elasticity of the coating.

ANTISEPTICS FOR CAGED BIRDS: See Veterinary Formulas. {101}

APOLLINARIS: See Waters.

APPLE SYRUP: See Essences and Extracts.

AQUA FORTIS FOR BRIGHT LUSTER: See Castings.

AQUA FORTIS FOR THE TOUCHSTONE: See Gold.

AQUARIUM CEMENTS: See Adhesives.

AQUARIUM PUTTY: See Putty.

ARGENTAN: See Alloys.

ARMENIAN CEMENT: See Adhesives under Jewelers’ Cements.

ARMS, OIL FOR: See Lubricants.

ARNICA SALVE: See Ointments.

ARSENIC ALLOYS: See Alloys.

ASBESTOS CEMENT: See Adhesives.

ASBESTOS FABRIC: See Fireproofing.

ASPHALT AS AN INGREDIENT OF INDIA RUBBER: See Rubber.

ASPHALT IN PAINTING: See Paint.

ASPHALT VARNISHES: See Varnishes.

ASSAYING: See Gold.

ASTHMA CURES.

II.—Blotting or gray filter paper, 120; potassium nitrate, 60; powdered belladonna leaves, 5; powdered stramonium leaves, 5; powdered digitalis leaves, 5; powdered lobelia, 5; myrrh, 10; olibanum, 10; phellandrium fruits, 5 parts.

Stramonium Candle.—Powdered stramonium leaves, 120; potassium nitrate, 72; Peruvian balsam, 3; powdered sugar, 1; powdered tragacanth, 4 parts. (Water, q. s. to mass; roll into suitable shapes and dry.)

Cleary’s Asthma Fumigating Powder.—Powdered stramonium, 15; powdered belladonna leaves, 15; powdered opium, 2; potassium nitrate, 5.

Asthma Fumigating Powders.—I.—Powdered stramonium leaves, 4; powdered aniseed, 2; potassium nitrate, 2 parts.

II.—Powdered stramonium, 30; potassium nitrate, 5; powdered tea, 15; powdered eucalyptus leaves, 15; powdered Indian hemp, 15; powdered lobelia, 15; powdered aniseed, 2; distilled water, 45 parts. (All the herbal ingredients in coarse powder; moisten with the water in which the potassium nitrate has been previously dissolved, and dry.)

Schiffmann’s Asthma Powder.—Potassium nitrate, 25; stramonium, 70; belladonna leaves, 5 parts.

Neumeyer’s Asthma Powder.—Potassium nitrate, 6 parts; sugar, 4; stramonium, 6; powdered lobelia, 1.

Fischer’s Asthma Powder.—Stramonium, 5 parts; potassium nitrate, 1; powdered Achillea millefolium leaves, 1.

Vorlaender’s Asthma Powder.—Stramonium, 150; lobelia, 80; arnica flowers, 80; potassium nitrate, 30; potassium iodide, 3; naphthol, 1,100 parts.

Asthma Cigarettes.

II.—Sodium arseniate, 3 grains; extract of belladonna, 8 grains; extract of stramonium, 8 grains. Dissolve the arseniate of sodium in a small quantity of water, and rub it with the two extracts. Then soak up the whole mixture with fine blotting paper, which is dried and cut into 24 equal parts. Each part is rolled up in a piece of cigarette paper. Four or five inhalations are generally sufficient as a dose.

ASTHMA IN CANARIES: See Veterinary Formulas.

ASTRINGENT FOR HORSES: See Veterinary Formulas.

ATOMIC WEIGHTS: See Weights and Measures. {102}

ATROPINE, ANTIDOTE TO.

The usual physiological antidotes to the mydriatic alkaloids from belladonna, stramonium, and hyoscyamus are morphine or eserine. Strong tea, coffee, or brandy are usually administered as stimulants. Chief reliance has usually been placed upon a stomach siphon and plenty of water to wash out the contents of the stomach. The best antidote ever reported was that of muscarine extracted by alcohol from the mushroom, Amanita muscaria, but the difficulty of securing the same has caused it to be overlooked and almost forgotten. Experiments with this antidote showed it to be an almost perfect opposite of atropine in its effects upon the animal body and that it neutralized poisonous doses.

AQUA AROMATICA.—

Macerate the drugs in the mixed alcohol and water for 24 hours and distill 200 parts.

AQUA REGIA.

AUTOMOBILES, ANTIFREEZING SOLUTION FOR: See Freezing Preventives.

AXLE GREASE: See Lubricants.

BABBITT METAL: See Alloys.

BAKING POWDERS

I.—Tartaric acid, 3 parts; sodium bicarbonate, 1 part; starch, 0.75 part. Of this baking powder the required amount for 500 parts of flour is about 20 parts for rich cake, and 15 parts for lean cake.

The substances employed must be dry, each having been previously sifted by itself, so that no coarse pieces are present; the starch is mixed with the sodium bicarbonate before the acid is added. When large quantities are prepared the mixing is done by machine; smaller quantities are best mixed together in a spacious mortar, and then passed repeatedly through a sieve. Instead of starch, flour may be used, but starch is preferable, because it interferes with the action of the acid on the alkali.

II.—A formula proposed by Crampton, of the United States Department of Agriculture, as the result of an investigation of the leading baking powders of the market, is:

The addition of the starch serves the double purpose of a “filler” to increase the weight of the powder and as a preservative. A mixture of the chemicals alone does not keep well.

The stability of the preparation is increased by drying each ingredient separately by exposure to a gentle heat, mixing at once, and immediately placing in bottles or cans and excluding access of air and consequently of moisture.

This is not a cheap powder; but it is the best that can be made, as to healthfulness.

Caution as to drying the ingredients and keeping them dry must be observed. Even the mixing should be done in a room free from excessive humidity.

IV.—Alum Baking Powder.—

Mix. The available carbon dioxide yielded is 7 ¹/₂ per cent or 8 per cent.

BALANCE SPRING: See Watchmakers’ Formulas.

BALDNESS: See Hair Preparations.

BALL BLUE: See Laundry Preparations.

BALSAMS:

See also Ointments. {103}

Wild-cherry Balsam.—

Moisten the ground drugs with the fluid extract and tincture and enough menstruum consisting of 25 per cent alcohol, and after six or eight hours pack in a percolator, and pour on menstruum until percolation begins. Then cork the orifice, cover the percolator, and allow to macerate for 24 hours. Then percolate to 10 fluidounces, pouring back the first portion of percolate until it comes through clear. In the percolate dissolve ¹/₂ ounce of ammonium chloride and ¹/₂ pound of sugar by cold percolation, adding simple syrup to make 16 fluidounces. Finally add 1 fluidrachm of chloroform.

Balsam Spray Solution.—

This formula can, of course, be modified to suit your requirements. The oils of eucalyptus and cinnamon can be omitted and such quantities of tincture of tolu and tincture of myrrh incorporated as may be desired.

Birch Balsam.—

BALSAM STAINS, TO REMOVE: See Cleaning Preparations and Methods.

BANANA BRONZING SOLUTION: See Plating.

BANANA SYRUP: See Essences and Extracts.

BANANA TRICK, THE BURNING: See Pyrotechnics.

BANJO SOUR: See Beverages under Lemonade.

BAR POLISHES: See Polishes.

BARBERS’-ITCH CURE: See Ointments.

BARBERS’ POWDER: See Cosmetics.

BAROMETERS (PAPER): See Hygrometers and Hygroscopes.

BATH, AIR: See Air Bath.

BATH METAL: See Alloys.

BATH POWDER: See Cosmetics.

BATH TABLETS, EFFERVESCENT.

A few spoonfuls of this, when stirred into a bathtubful of water, causes a copious liberation of carbon dioxide, which is refreshing. This mixture can be made into tablets by compression, moistening, if necessary, with alcohol. Water, of course, cannot be used in making them, as its presence causes the decomposition referred to. Perfume may be added to this powder, essential oils being a good form. Oil of lavender would be a suitable addition, in the proportion of a fluidrachm or more to the pound of powder. A better but more expensive perfume may be obtained by mixing 1 part of oil of rose geranium with 6 parts of oil of lavender. A perfume still more desirable may be had by adding a mixture of the oils from which Cologne water is made. For an ordinary quality the following will suffice:

For the first quality the following may be taken:

A fluidrachm or more of either of these mixtures may be used to the pound, as in the case of lavender.

These mixtures may also be used in the preparation of a bath powder {104} (non-effervescent) made by mixing equal parts of powdered soap and powdered borax.

BATH-TUB ENAMEL: See Varnishes.

BATH-TUB PAINTS: See Paint.

BATTERY FILLERS AND SOLUTIONS.

I.—In the so-called dry batteries the exciting substance is a paste instead of a fluid; moisture is necessary to cause the reaction. These pastes are generally secret preparations. One of the earlier “dry” batteries is that of Gassner. The apparatus consists of a containing vessel of zinc, which forms the positive element; the negative one is a cylinder of carbon, and the space between is filled with a paste, the recipe for which is:

The usual form of chloride-of-silver battery consists of a sealed cell containing a zinc electrode, the two being generally separated by some form of porous septum. Around the platinum or silver electrode is cast a quantity of silver chloride. This is melted and generally poured into molds surrounding the metallic electrode. The exciting fluid is either a solution of ammonium chloride, caustic potassa, or soda, or zinc sulphate. As ordinarily constructed, these cells contain a paste of the electrolyte, and are sealed up hermetically in glass or hard-rubber receptacles.

II.—The following formula is said to yield a serviceable filling for dry batteries:

Intimately mix, and then work into a paste of proper consistency with a saturated solution of sodium and ammonium chlorides containing one-tenth of its volume of a mercury-bichloride solution and an equal volume of hydrochloric acid. Add the fluid gradually, and well work up the mass.

Solutions For Batteries.

BAUDOIN METAL: See Alloys.

BAY RUM.

Triturate the otto with the magnesium carbonate, gradually adding the other ingredients, previously mixed, and filter. If the rum employed contains sufficient sugar or mucilaginous matter to cause any stickiness to be felt on the skin, rectification will be necessary.

BEAR FAT: See Fats.

BEARING LUBRICANT: See Lubricants.

BEARING METAL: See Babbitt Metal, Bearing Metal, and Phosphor Bronze, under Alloys.

BEDBUG DESTROYERS: See Insecticides.

BEEF, IRON, AND WINE.

Let stand 24 hours, agitate frequently, and filter. See that the orange is fresh.

BEEF PEPTONOIDS: See Peptonoids.

BEEF PRESERVATIVES: See Foods.

BEEF TEA: See Beverages.

BEERS, ALCOHOL IN: See Alcohol.

BEER, GINGER, HOP-BITTER, SCOTCH, AND SPRUCE: See Beverages.

BEER, RESTORATION OF SPOILED.

I.—Powdered chalk is poured into the cask and allowed to remain in the beer until completely precipitated.

II.—The liquor of boiled raisins may be poured into the beer, with the result that the sour taste of the beer is disguised.

III.—A small quantity of a solution of potash will remove the sour taste of beer. Too much potash must not be added; otherwise the stomach will suffer. Beer thus restored will not keep long.

IV.—If the beer is not completely spoiled it may be restored by the addition of coarsely powdered charcoal.

V.—If the addition of any of the above-mentioned substances should affect the taste of the beer, a little powdered zingiber may be used to advantage. Syrup or molasses may also be employed.

BEES, FOUL BROOD IN.

“Foul brood” is a contagious disease to which bees are subject. It is caused by bacteria and its presence may be known by the bees becoming languid. Dark, stringy, and elastic masses are found in the bottom of the cells, while the caps are sunken or irregularly punctured. Frequently the disease is said to be accompanied by a peculiar offensive odor. Prompt removal of diseased colonies, their transfer to clean and thoroughly disinfected hives, and feeding on antiseptically treated honey or syrup are the means taken for the prevention and cure of the disease. The antiseptics used are salicylic acid, carbolic acid, or formic acid. Spraying the brood with any one of these remedies in a solution and feeding with a honey or syrup medicated with them will usually be all that is required by way of treatment. It is also said that access to salt water is important for the health of bees.

BEETLE POWDER: See Insecticides.

BELL METAL: See Alloys.

BELLADONNA, ANTIDOTES TO: See Antidotes and Atropine.

BELT PASTES FOR INCREASING ADHESION.

Melt on a moderate fire and stir until the mass cools.

II.—Melt 250 parts of gum elastic with 250 parts of oil of turpentine in an iron, well-closed crucible at 122° F. (caution!) and mix well with 200 parts of colophony. After further melting add 200 parts of yellow wax and stir carefully. Melt in 750 parts of heated train oil, 250 parts of tallow, and to this add, with constant stirring, the first mixture when the latter is still warm, and let cool slowly with stirring. This grease is intended for cotton belts.

Heat in a glass vessel on the water bath for a few hours, until a uniform solution is obtained. Let cool and add 15 parts of carbon disulphide and allow the mixture to stand, shaking it frequently.

Directions for Use.—The leather belts to be cemented should first be roughened at the joints, and after the cement has been applied they should be subjected to a strong pressure between warm rollers, whereupon they will adhere together with much tenacity.

Preservation Of Belts.

To Make A Belt Pull.

BELT CEMENT: See Adhesives.

BELT GLUE: See Adhesives.

BELT LUBRICANT: See Lubricants.

BÉNÉDICTINE: See Wines and Liquors.

BENZINE

Benzine, To Color Green.

Purification Of Benzine.

Fatty acid from tallow, olive oil, or other fats may be used, but care should be taken that they have as slight an odor of rancid fat as possible. The so-called elaine or olein—more correctly oleic acid—of the candle factories may likewise be employed, but it should first be agitated with a ¹/₁₀-per-cent soda solution to get rid of the bad-smelling fatty acids, especially the butyric acid.

The Prevention Of The Inflammability Of Benzine.

Substitute for Benzine as a Cleansing Agent.—

Deodorizing Benzine.—

Dissolve the dichromate in the water, add the acid and, when the solution is cold, the benzine. Shake every hour during the day, allow to stand all night, decant the benzine, wash with a pint of water and again decant, then add the oil of lavender.

II.—First add to the benzine 1 to 2 per cent of oleic acid, which dissolves. Then about a quarter of 1 per cent of tannin is incorporated by shaking. A sufficient quantity of caustic potassa solution, or milk of lime, to combine with the acids is then well shaken into the mixture, and the whole allowed to stand. The benzine rises to the top of the watery fluid, sufficiently deodorized and decolorized for practical purposes.

III.—To 1,750 parts of water add 250 parts of sulphuric acid, and when it has cooled down add 30 parts of potassium permanganate and let dissolve. Add this solution to 4,500 parts of benzine, stir well together, and set aside for 24 hours. Now decant the benzine and to it add a solution of 7 ¹/₂ parts of potassium permanganate and 15 parts of sodium hydrate in 1,000 parts of water, and agitate the substances well together. Let stand until the benzine separates, then draw off.

IV.—Dissolve 3 parts of litharge and 18 parts of sodium hydrate in 40 parts of water. Add this to 200–250 parts of benzine and agitate well together for two minutes, then let settle and draw off the benzine. Rinse the latter by agitating {107} it with plenty of clear water, let settle, draw off the benzine, and, if necessary, repeat the operation.

BENZINE, CLEANING WITH: See Cleaning Preparations and Methods, under Miscellaneous Methods.

BENZOIC ACID IN FOOD: See Food.

BENZOIN SOAP: See Soap.

BENZOPARAL:

A neutral, bland, oily preparation of benzoin, useful for applying various antiseptics by the aid of an atomizer, nebulizer, or vaporizer. Can be used plain or in combination with other easily dissolved medicinals.

Digest on a sand bath for a half hour and filter.

BEVERAGES

Ginger Ale And Ginger Beer:

Old-fashioned Ginger Beer.—

Slice the lemons into a large earthenware vessel, removing the seed. Add the ginger, sugar, and water. When the mixture has cooled to lukewarmness, add the yeast, first diffused in a little water. Cover the vessel with a piece of cheese cloth, and let the beer stand 24 hours. At the end of that time strain and bottle it. Cork securely, but not so tightly that the bottles would break before the corks would fly out, and keep in a cool place.

Ginger Beer.

Ginger Beer Without Yeast.—

Boil the ginger in 3 gallons of water for half an hour; add the sugar, the lemons (bruised and sliced), the honey, and 17 gallons of water. Strain and, after three or four days, bottle.

Package Pop.—

Put up in a package, and direct that it be shaken in 1 ¹/₂ gallons of boiling water, strained when cooled, fermented with 1 ounce of yeast, and bottled.

Ginger-ale Extract.—

Mix the first four ingredients, and make 16 fluidounces of tincture with the alcohol and water, by percolation. Dissolve the oil of lemon in a small quantity of alcohol, rub with magnesia or talcum, add gradually with constant trituration the tincture, and filter. The extract may be fortified by adding 4 avoirdupois ounces of powdered grains of paradise to the ginger, etc., of the above before extraction with alcohol and water.

Boil the capsicum with water for three hours, occasionally replacing the water lost by evaporation; filter, concentrate the filtrate on a hot water bath to the consistency of a thin extract, add the remaining ingredients, and filter. {108}

Extract the mixed ginger and capsicum by percolation so as to obtain 16 fluidounces of water, set the mixture aside for 24 hours, shaking vigorously from time to time, then filter, and pass through the filter enough of a mixture of 2 volumes of alcohol and 1 of water to make the filtrate measure 32 fluidounces. In the latter macerate the lemon peel for 7 days, and again filter.

Ginger Beer.—

Infuse the ginger in the boiling water, add the sugar and cream of tartar; when lukewarm strain; then add half pint good yeast. Let it stand all night, then bottle; one lemon and the white of an egg may be added to fine it.

Lemon Beer.—

Let it stand 12 to 20 hours, and it is ready to be bottled.

Hop Beer.—

and boil a little longer, strain, and add 4 pounds of sugar, and when milk-warm, 1 pint of yeast. Let it ferment; in 24 hours it is ready for bottling.

Œnanthic Ether As A Flavoring For Ginger Ale.

Soluble Extract Of Ginger Ale.

It will be noted that in these formulas oleoresin of ginger is used in addition to the powdered root. Those who do not mind the additional expense might use one-fourth of the same quantity of volatile oil of ginger instead. This should develop an excellent flavor, since the oil is approximately sixteen times as strong as the oleoresin, and has the additional advantage of being free from resinous extractive.

The following are the formulas:

I.—(To be used in the proportion of 4 ounces of extract to 1 gallon of syrup.)

Mix the powders intimately, moisten them with a sufficient quantity of alcohol, and set aside for 4 hours. Pack in a cylindrical percolator and percolate with alcohol until 10 pints of percolate have resulted. Place the percolate in a bottle of the capacity of 16 pints, and add to it 2 fluidrachms of oleoresin of ginger; shake, add 2 ¹/₂ pounds of finely powdered pumice stone, and agitate thoroughly at intervals of one-half hour for 12 hours. Then add 14 pints of water in quantities of 1 pint at each addition, shaking briskly meanwhile. This part of the operation is most important. Set the mixture aside for 24 hours, agitating it strongly every hour or so during that period. Then take

Rub the oils with the magnesia in a large mortar and add 9 ounces of the clear portion of the ginger mixture to which have been previously added 2 ounces of alcohol, and continue trituration, rinsing out the mortar with the ginger mixture. Pass the ginger mixture through a double filter and add through the filter the mixture of oils and magnesia; finally pass enough water through the filter to make the resulting product measure 24 pints, or 3 gallons. If the operator should desire an extract of more or less pungency, he may obtain his desired effect by increasing or decreasing the quantity of powdered capsicum in the formula.

II.—(To be used in the proportion of 1 ounce to 1 gallon of syrup.)

Mix, moisten the powder with 3 pints of alcohol, and set aside in a suitable vessel for 4 hours. Then pack the powder firmly in a cylindrical percolator, and percolate until 6 pints of extract are obtained. Set this mixture aside and label Percolate No. 1, and continue the percolation with 1 ¹/₂ pints of alcohol mixed with 1 ¹/₂ pints of water. Set the resultant tincture aside, and label Percolate No. 2.

Take oleoresin ginger 5 fluid ounces and add to Percolate No. 1. Then take:

Triturate the oils with the magnesia, add gradually Percolate No. 2, and set aside. Then place Percolate No. 1 in a large bottle, add 3 ¹/₄ pounds of finely powdered pumice stone, and shake at intervals of half an hour for six hours. This being completed, add the mixture of oils, and later 10 pints of water, in quantities of ¹/₂ a pint at a time, shaking vigorously after each solution. Let the mixture stand for 24 hours, shaking it at intervals, and then pass it through a double filter. Finally add enough water through the filter to make the product measure 24 pints, or 3 gallons.

III.—(To be used in proportion of 3 ounces to 1 gallon of syrup.)

Mix, moisten with alcohol, and set aside as in the preceding formula; then percolate with alcohol until 10 pints of extract are obtained. To this add oleoresin of ginger 3 drachms, and place in a large bottle. Add 2 ¹/₂ pounds of powdered pumice stone, and shake as directed for formula No. 1. Then add 14 pints of water, in quantities of 1 pint at a time, shaking vigorously after each addition. Set the mixture aside for 24 hours, shaking at intervals. Then take:

Rub these in a mortar with the magnesia, and add 9 ounces of the clear portion of the ginger mixture mixed with 2 ounces of alcohol, rubbing the mixture until it becomes smooth. Prepare a double filter, and filter the ginger mixture, adding through the filter the mixture of oils and magnesia. Finally add enough water through the filter to make the final product measure 24 pints, or 3 gallons.

If these formulas are properly manipulated the extracts should keep for a reasonable length of time without a precipitate. If, however, a precipitate occur after the extract has stood for a week, it should be refiltered.

Lemonades:

Lemonade Preparations For The Sick.

II.—Lemonade Powder: Sodium bicarbonate, 65; tartaric acid, 60; sugar, 125; lemon oil, 12 drops.

III.—Lemonade juice: Sugar syrup, 200; tartaric acid, 15; distilled water, 100; lemon oil, 3; tincture of vanilla, 6 drops.

IV.—Lemonade Lozenges: Tartaric acid, 10; sugar, 30; gum arabic, 2; powdered starch, 0.5; lemon oil, 6 drops; tincture of vanilla, 25 drops; and sufficient diluted spirit of wine so that 30 lozenges can be made with it.

Lemonade For Diabetics.

Hot Lemonade.

Lemonades, Lemon and Sour Drinks for Soda-Water Fountains.

Mix and shake well. Garnish with fruit, and serve with both spoon and straws.

Huyler’s Lemonade.—Juice of 1 lemon; simple syrup, 2 ounces; soda water, sufficient. Dress with sliced pineapple, and serve with straws. In mixing, do not shake, but stir with a spoon.

Pineapple Lemonade.—Juice of 1 lemon; pineapple syrup, 2 ounces; soda water, sufficient. Dress with fruit. Serve with straws.

Seltzer Lemonade.—Juice of 1 lemon; pulverized sugar, 2 teaspoonfuls. Fill with seltzer. Dress with sliced lemon.

Apollinaris Lemonade.—The same as seltzer, substituting apollinaris water for seltzer.

Limeade.—Juice of 1 lime; pulverized sugar, 2 teaspoonfuls; water, sufficient. Where fresh limes are not obtainable, use bottled lime juice.

Orangeade.—Juice of 1 orange; pulverized sugar, 2 teaspoonfuls; water, sufficient; shaved ice, sufficient. Dress with sliced orange and cherries. Serve with straws.

Seltzer and Lemon.—Juice of 1 lemon; seltzer, sufficient. Serve in a small glass.

Claret Lemonade.—Juice of 1 lemon; pulverized sugar, 3 teaspoonfuls. Make lemonade, pour into a glass containing shaved ice until the glass lacks about one inch of being full. Pour in sufficient claret to fill the glass. Dress with cherries and sliced pineapple.

Claret Punch.—Juice of 1 lemon; pulverized sugar, 3 teaspoonfuls; claret wine, 2 ounces; shaved ice, sufficient. Serve in small glass. Dress with sliced lemon, and fruit in season. Bright red cherries and plums make attractive garnishings.

Raspberry Lemonade.—I.—Juice of 1 lemon; 3 teaspoonfuls powdered sugar; 1 ta­ble­spoon­ful raspberry juice; shaved ice; plain water; shake.

II.—Juice of 1 lemon; 2 teaspoonfuls powdered sugar; ¹/₂ ounce raspberry syrup; shaved ice; water; shake.

Banjo Sour.—Pare a lemon, cut it in two, add a large ta­ble­spoon­ful of sugar, then thoroughly muddle it; add the white of an egg; an ounce of sloe gin; 3 or 4 dashes of abricotine; shake well; strain into a goblet or fizz glass, and fill balance with soda; decorate with a slice of pineapple and cherry.

Orgeat Punch.—Orgeat syrup, 12 drachms; brandy, 1 ounce; juice of 1 lemon.

Granola.—Orange syrup, 1 ounce; grape syrup, 1 ounce; juice of ¹/₂ lemon; shaved ice, q. s. Serve with straws. Dress with sliced lemon or pineapple.

American Lemonade.—One ounce orange syrup; 1 ounce lemon syrup; 1 teaspoonful powdered sugar; 1 dash acid-phosphate solution; ¹/₃ glass shaved ice. Fill with coarse stream. Add slice of orange, and run two straws through it.

Old-Fashioned Lemonade.—Put in a freezer and freeze almost hard, then add the fruits, and freeze very hard. Serve in a silver sherbet cup.

“Ping Pong” Frappé.—Grape juice, unfermented, 1 quart; port wine (California), ¹/₂ pint; lemon syrup, 12 ounces; pineapple syrup, 2 ounces; orange syrup, 4 ounces; Bénédictine cordial, 4 ounces; sugar, 1 pound.

Dissolve sugar in grape juice and put in wine; add the syrup and cordial; serve from a punch bowl, with ladle, into 12-ounce narrow lemonade glass and fill with solid stream; garnish with slice of orange and pineapple, and serve with straw.

Orange Frappé.—Glass half full of fine ice; ta­ble­spoon­ful powdered sugar; ¹/₂ ounce orange syrup; 2 dashes lemon syrup; dash prepared raspberry; ¹/₄ ounce {111} acid-phosphate solution. Fill with soda and stir well; strain into a mineral glass and serve.

Hot Lemonades.—

In serving, draw 2 ¹/₂ fluidounces of the syrup into an 8-ounce mug, fill with hot water, and serve with a spoon.

Grate the peel of the lemon, macerate with the alcohol for a day; express; also express the lemon, mix the two, add the sugar and water, dissolve by agitation, and add the solution of citric acid and the white of egg, the latter first beaten to a froth. Serve like the preceding.

Egg Lemonade.

Shake well, and add carbonated water to fill the glass.

Hot Soda-water Drinks:

Chocolate.

Shave the chocolate into a gallon porcelained evaporating dish and melt with a gentle heat, stirring with a thin-bladed spatula. When melted remove from the fire and add 1 ounce of cold water, mixing well. Add gradually 1 gallon of hot syrup and strain; flavor to suit. Use 1 ounce to a mug.

III.—Hot Egg Chocolate.—Break a fresh egg into a soda tumbler; add 1 ¹/₂ ounces chocolate syrup and 1 ounce cream; shake thoroughly, add hot soda slowly into the shaker, stirring meanwhile; strain carefully into mug; top off with whipped cream and serve.

IV.—Hot Chocolate and Milk.—

Stir well, fill mug with hot soda and serve.

V.—Hot Egg Chocolate.—One egg, 1 ¹/₄ ounces chocolate syrup, 1 teaspoonful sweet cream; shake, strain, add 1 cup hot soda, and 1 ta­ble­spoon­ful whipped cream.

Coffee.

II.—Pack ¹/₂ pound of pulverized coffee in a percolator. Percolate with 2 quarts of boiling water, letting it run through twice. Add to this 2 quarts of milk; keep hot in an urn and draw as a finished drink. Add a lump of sugar and top off with whipped cream.

III.—Coffee syrup may be made by adding boiling water from the apparatus to 1 pound of coffee, placed in a suitable filter or coffeepot, until 2 quarts of the infusion are obtained. Add to this 3 pounds of sugar. In dispensing, first put sufficient cream in the cup, add the coffee, then sweeten, if necessary, and mix with the stream from the draught tube.

Percolate the coffee with hot water until the percolate measures 72 ounces. Dissolve the sugar in the percolate by agitation without heat and strain.

Hot Egg Orangeade.

Hot Egg Bouillon.

Hot Celery Punch.

Chicken Bouillon.

Ginger.—

Take 10 ounces of the sugar and mix with the fluid extract of ginger; heat on the water bath until the alcohol is evaporated. Then mix with 20 ounces of water and shake till dissolved. Filter and add the balance of the water and the sugar. Dissolve by agitation.

Cocoa Syrup.—

Dissolve the cocoa in the hot water, by stirring, then add the sugar and dissolve. Strain, and when cold add the vanilla extract.

Turn on the hot water stream and stir while filling. Top off with whipped cream.

Hot Soda Toddy.—

Sprinkle with nutmeg or cinnamon.

Hot Orange Phosphate.—

It is prepared more acceptably by mixing the juice of half an orange with acid phosphate, sugar, and hot water.

Pepsin Phosphate.

Cream Beef Tea.

Cherry Phosphate.

Cherry-phosphate syrup is made as follows: Cherry juice, 3 pints; sugar, 6 pounds; water, 1 pint; acid phosphate, 4 ounces. Bring to a boil, and when cool add the acid phosphate.

Celery Clam Punch.

Claret Punch.

Ginger.

Lemon Juice, Plain.

Lime Juice.

Lemonade.

Hot Malt.

Malted Milk.

Hot Malted Milk Coffee (Or Chocolate).

Hot Beef Tea.

II.—Extract beef bouillon, 1 teaspoonful; extract aromatic soup herbs (see Condiments), 10 drops; hot soda, 1 cupful. Mix.

Hot Bouillon.—

Clam Bouillon.—