part II
.—Borax 4 parts Potassium chlorate 2 parts Glycerine 10 parts Alcohol 4 parts Rose water to make 90 parts
III.—Citric acid 2 drachms Ferrous sulphate (cryst.) 18 grains Camphor 2 grains Elder-flower water 3 fluidounces
IV.—Potassium carbonate 3 parts Sodium chloride 2 parts Orange-flower water 15 parts Rose water 65 parts
V.—Boroglycerine, 50 per cent 1 part Ointment of rose water 9 parts
VI.—Sodium bicarbonate 1 part Ointment of rose water 7 parts
VII.—Bicarbonate of soda 2 drachms Powdered borax 1 drachm Compound tincture of lavender 1 1/2 drachms Glycerine 1 ounce Rose water 4 ounces
Dissolve the soda and borax in the glycerine and rose water, and add the tincture. Apply with a small piece of sponge 2 or 3 times a day. Then gently dry by dabbing with a soft towel.
VIII.—Quince seeds 2 drachms Distilled water 10 ounces Glycerine 2 ounces Alcohol, 94 per cent 1 ounce Rose water 2 ounces
Boil the seeds in the water for 10 minutes, then strain off the liquid, and when cold add to it the glycerine, alcohol, and rose water.
IX.—White soft soap 2 1/2 drachms Glycerine 1 1/2 drachms Almond oil 11 drachms
Well mix the glycerine and soap in a mortar, and very gradually add the oil, stirring constantly until perfectly mixed.
X.—Subnitrate of bismuth 1 1/2 drachms Powdered French chalk 30 grains Glycerine 2 drachms Rose water 1 1/2 ounces
Mix the powders, and rub down carefully with the glycerine; then add the rose water. Shake the bottle before use.
XI.—Glycerine cream 2 drachms Jordan almonds 4 drachms Rose water 5 ounces Essential oil of almonds 3 drops
Blanch the almonds, and then dry and beat them up into a perfectly smooth paste; then mix in the glycerine cream and essential oil. Gradually add the rose water, stirring well after each addition; then strain through muslin.
«Tan and Freckle Lotion.»—
Solution A:
Potassium iodide, iodine, glycerine, and infusion rose.
Dissolve the potassium iodide in a {242} small quantity of the infusion and a drachm of the glycerine; with this fluid moisten the iodine in a glass of water and rub it down, gradually adding more liquid, until complete solution has been obtained; then stir in the remainder of the ingredients, and bottle the mixture.
Solution B:
Sodium thiosulphate and rose water. With a small camel’s-hair pencil or piece of fine sponge apply a little of solution A to the tanned or freckled surface, until a slight or tolerably uniform brownish yellow skin has been produced. At the expiration of 15 or 20 minutes moisten a piece of cambric, lint, or soft rag with B and lay it upon the affected part, removing, squeezing away the liquid, soaking it afresh, and again applying until the iodine stain has disappeared. Repeat the process thrice daily, but diminish the frequency of application if tenderness be produced.
«A Cure for Tan.»—Bichloride of mercury, in coarse powder, 10 grains; distilled water, 1 pint. Agitate the two together until a complete solution is obtained. Add 1/2 ounce of glycerine. Apply with a small sponge as often as agreeable. This is not strong enough to blister and skin the face in average cases. It may be increased or reduced in strength by adding to or taking from the amount of bichloride of mercury. Do not forget that this last ingredient is a powerful poison and should be kept out of the reach of children and ignorant persons.
«Improved Carron Oil.»—Superior to the old and more suitable. A desirable preparation for burns, tan, freckle, sunburn, scalds, abrasions, or lung affections. Does not oxidize so quickly or dry up so rapidly and less liable to rancidity.
Linseed oil 2 ounces Limewater 2 ounces Paraffine, liquid 1 ounce
Mix the linseed oil and water, and add the paraffine. Shake well before using.
«LIVER SPOTS.»
I.—Corrosive sublimate 1 part White sugar 190 parts White of egg 34 parts Lemon juice 275 parts Water to make 2,500 parts
Mix the sublimate, sugar, and albumen intimately, then add the lemon juice and water. Dissolve, shake well, and after standing an hour, filter. Apply in the morning after the usual ablutions, and let dry on the face.
II.—Bichloride of mercury, in coarse powder, 8 grains; witch-hazel, 2 ounces; rose water, 2 ounces.
Agitate until a solution is obtained. Mop over the affected parts. Keep out of the way of ignorant persons and children.
«TOILET POWDERS:»
«Almond Powders for the Toilet.»—
I.—Almond meal 6,000 parts Bran meal 3,000 parts Soap powder 600 parts Bergamot oil 50 parts Lemon oil 15 parts Clove oil 15 parts Neroli oil 6 parts
II.—Almond meal 7,000 parts Bran meal 2,000 parts Violet root 900 parts Borax 350 parts Bitter almond oil 18 parts Palmarosa oil 36 parts Bergamot oil 10 parts
III.—Almond meal 3,000 parts Bran meal 3,000 parts Wheat flour 3,000 parts Sand 100 parts Lemon oil 40 parts Bitter almond oil 10 parts
«Bath Powder.»—
Borax 4 ounces Salicylic acid 1 drachm Extract of cassia 1 drachm Extract of jasmine 1 drachm Oil of lavender 20 minims
Rub the oil and extracts with the borax and salicylic acid until the alcohol has evaporated. Use a heaping teaspoonful to the body bath.
«Brunette or Rachelle.»—
Base 9 pounds Powdered Florentine orris 1 pound Perfume the same. Powdered yellow ocher (av.) 3 ounces 120 grains Carmine No. 40 60 grains
Rub down the carmine and ocher with alcohol in a mortar, and spread on glass to dry; then mix and sift.
«Violet Poudre de Riz.»—
I.—Cornstarch 7 pounds Rice flour 1 pound Powdered talc 1 pound Powdered orris root 1 pound Extract of cassia 3 ounces Extract of jasmine 1 ounce
{243}
II.—Cheaper.
Potato starch 8 pounds Powdered talc 1 pound Powdered orris 1 pound Extract of cassia 3 ounces
«Barber’s Powder.»—
Cornstarch 5 pounds Precipitated chalk 3 pounds Powdered talc 2 pounds Oil of neroli 1 drachm Oil of cedrat 1 drachm Oil of orange 2 drachms Extract of jasmine 1 ounce
«Rose Poudre de Riz.»—
I.—Cornstarch 9 pounds Powdered talc 1 pound Oil of rose 1 1/4 drachms Extract of jasmine 6 drachms
II.—Potato starch 9 pounds Powdered talc 1 pound Oil of rose 1/2 drachm Extract of jasmine 1/2 ounce
«Ideal Cosmetic Powder.»—The following combines the best qualities that a powder for the skin should have:
Zinc, white 50 parts Calcium carbonate, precipitated 300 parts Steatite, best white 50 parts Starch, wheat, or rice 100 parts Extract white rose, triple 3 parts Extract jasmine, triple 3 parts Extract orange flower, triple 3 parts Extract of cassia, triple 3 parts Tincture of myrrh 1 part
Powder the solids and mix thoroughly by repeated siftings.
«Flesh Face Powder.»—
Base 9 pounds Powdered Florentine orris 1 pound Carmine No. 40 250 grains Extract of jasmine 100 minims Oil of neroli 20 minims Vanillin 5 grains Artificial musk 30 grains White heliotropin 30 grains Coumarin 1 grain
Rub the carmine with a portion of the base and alcohol in a mortar, mixing the perfume the same way in another large mortar, and adding the orris. Mix and sift all until specks of carmine disappear on rubbing.
«White Face Powder.»—
Base 9 pounds Powdered Florentine orris 1 pound
Perfume the same. Mix and sift.
«Talcum Powders.»—Talc, when used as a toilet powder should be in a state of very fine division. Antiseptics are sometimes added in small proportion, but these are presumably of little or no value in the quantity allowable, and may prove irritating. For general use, at all events, the talcum alone is the best and the safest. As a perfume, rose oil may be employed, but on account of its cost, rose geranium oil is probably more frequently used. A satisfactory proportion is 1/2 drachm of the oil to a pound of the powder. In order that the perfume may be thoroughly disseminated throughout the powder, the oil should be triturated first with a small portion of it; this should then be further triturated with a larger portion, and, if the quantity operated on be large, the final mixing may be effected by sifting. Many odors besides that of rose would be suitable for a toilet powder. Ylang-ylang would doubtless prove very attractive, but expensive.
The following formulas for other varieties of the powder may prove useful:
Violet Talc.—
I.—Powdered talc 14 ounces Powdered orris root 2 ounces Extract of cassia 1/2 ounce Extract of jasmine 1/4 ounce
Rose Talc.—
II.—Powdered talc 5 pounds Oil of rose 1/2 drachm Extract of jasmine 4 ounces
Tea-Rose Talc.—
III.—Powdered talc 5 pounds Oil of rose 50 drops Oil of wintergreen 4 drops Extract of jasmine 2 ounces
Borated Apple Blossom.—
IV.—Powdered talc 22 pounds Magnesium carbonate 2 3/4 pounds Powdered boric acid 1 pound
Mix.
Carnation pink blossom (Schimmel’s) 2 ounces Extract of trefle 2 drachms
To 12 drachms of this mixture add:
Neroli 1 drachm Vanillin 1/2 drachm Alcohol to 3 ounces
Sufficient for 25 pounds. {244}
V.—Talcum 8 ounces Starch 8 ounces Oil of neroli 10 drops Oil of ylang-ylang 5 drops
VI.—Talcum 12 ounces Starch 4 ounces Orris root 2 ounces Oil of bergamot 12 drops
VII.—Talcum 14 ounces Starch 2 ounces Lanolin 1/2 ounce Oil of rose 10 drops Oil of neroli 5 drops
«TOILET VINEGARS:»
«Pumillo Toilet Vinegar.»—
Alcohol, 80 per cent 1,600 parts Vinegar, 10 per cent 840 parts Oil of pinu spumillo 44 parts Oil of lavender 4 parts Oil of lemon 2 parts Oil of bergamot 2 parts
Dissolve the oils in the alcohol, add the vinegar, let stand for a week and filter.
«Vinaigre Rouge.»—
Acetic acid 24 parts Alum 3 parts Peru balsam 1 part Carmine, No. 40 12 parts Ammonia water 6 parts Rose water, distilled 575 parts Alcohol 1,250 parts
Dissolve the balsam of Peru in the alcohol, and the alum in the rose water. Mix the two solutions, add the acetic acid, and let stand overnight. Dissolve the carmine in the ammonia water and add to mixture. Shake thoroughly, let stand for a few minutes, then decant.
«TOILET WATERS:»
«“Beauty Water.”»—
Fresh egg albumen 500 parts Alcohol 125 parts Lemon oil 2 parts Lavender oil 2 parts Oil of thyme 2 parts
Mix the ingredients well together. When first mixed the liquid becomes flocculent, but after standing for 2 or 3 days clears up—sometimes becomes perfectly clear, and may be decanted. It forms a light, amber-colored liquid that remains clear for months.
At night, before retiring, pour about a teaspoonful of the water in the palm of the hand, and rub it over the face and neck, letting it dry on. In the morning, about an hour before the bath, repeat the operation, also letting the liquid dry on the skin. The regular use of this preparation for 4 weeks will give the skin an extraordinary fineness, clearness, and freshness.
«Rottmanner’s Beauty Water.»—Koller says that this preparation consists of 1 part of camphor, 5 parts of milk of sulphur, and 50 parts of rose water.
«Birch Waters.»—Birch water, which has many cosmetic applications, especially as a hair wash, or an ingredient in hair washes, may be prepared as follows:
I.—Alcohol, 96 per cent 3,500 parts Water 700 parts Potash soap 200 parts Glycerine 150 parts Oil of birch buds 50 parts Essence of spring flowers 100 parts Chlorophyll, quantity sufficient to color.
Mix the water with 700 parts of the alcohol, and in the mixture dissolve the soap. Add the essence of spring flowers and birch oil to the remainder of the alcohol, mix well, and to the mixture add, little by little, and with constant agitation, the soap mixture. Finally, add the glycerine, mix thoroughly, and set aside for 8 days, filter and color the filtrate with chlorophyll, to which is added a little tincture of saffron. To use, add an equal volume of water to produce a lather.
II.—Alcohol, 96 per cent 2,000 parts Water 500 parts Tincture of cantharides 25 parts Salicylic acid 25 parts Glycerine 100 parts Oil of birch buds 40 parts Bergamot oil 30 parts Geranium oil 5 parts
Dissolve the oils in the alcohol, add the acid and tincture of cantharides; mix the water and glycerine and add, and, finally, color as before.
III.—Alcohol 30,000 parts Birch juice 3,000 parts Glycerine 1,000 parts Bergamot oil 90 parts Vanillin 10 parts Geranium oil 50 parts Water 14,000 parts
IV.—Alcohol 40,000 parts Oil of birch 150 parts Bergamot oil 100 parts Lemon oil 50 parts {245} Palmarosa oil 100 parts Glycerine 2,000 parts Borax 150 parts Water 20,000 parts
«Violet Ammonia Water.»—Most preparations of this character consist of either coarsely powdered ammonium carbonate, with or without the addition of ammonia water, or of a coarsely powdered mixture, which slowly evolves the odor of ammonia, the whole being perfumed by the addition of volatile oil, pomade essences, or handkerchief extract. The following are typical formulas:
I.—Moisten coarsely powdered ammonium carbonate, contained in a suitable bottle, with a mixture of concentrated tincture of orris root, 2 1/2 ounces; aromatic spirit of ammonia, 1 drachm; violet extract, 3 drachms.
II.—Fill suitable bottles with coarsely powdered ammonium carbonate and add to the salt as much of the following solution as it will absorb: Oil of orris, 5 minims; oil of lavender flowers, 10 minims; violet extract, 30 minims; stronger water of ammonia, 2 fluidounces.
III.—The following is a formula for a liquid preparation: Extract violet, 8 fluidrachms; extract cassia, 8 fluidrachms; spirit of rose, 4 fluidrachms; tincture of orris, 4 fluidrachms; cologne spirit, 1 pint; spirit of ammonia, 1 ounce. Spirit of ionone may be used instead of extract of violet.
«Violet Witch-Hazel.»—
Spirit of ionone 1/2 drachm Rose water 6 ounces Distilled extract of witch-hazel enough to make 16 ounces
«Cotton»
«BLEACHING OF COTTON:»
I.—Bleaching by Steaming.—The singed and washed cotton goods are passed through hydrochloric acid of 2° Bé. Leave them in heaps during 1 hour, wash, pass through sodium hypochlorite of 10° Bé. diluted with 10 times the volume of water. Let the pieces lie in heaps for 1 hour, wash, pass through caustic soda lye of 38° Bé. diluted with 8 times its volume of water, steam, put again through sodium chloride, wash, acidulate slightly with hydrochloric acid, wash and dry. Should the whiteness not be sufficient, repeat the operations.
II.—Bleaching with Calcium Sulphite.—The cotton goods are impregnated with 1 part, by weight, of water, 1 part of caustic lime, and 1/2 part of bisulphite of 40° Bé.; next steamed during 1–2 hours at a pressure of 1/2 atmosphere, washed, acidulated, washed and dried. The result is as white a fabric as by the old method with caustic lime, soda, and calcium chloride. The bisulphite may also be replaced by calcium hydrosulphite, and, instead of steaming, the fabric may be boiled for several hours with calcium sulphite.
III.—Bleaching of Vegetable Fibers with Hydrogen Peroxide.—Pass the pieces through a solution containing caustic soda, soap, hydrogen peroxide, and burnt magnesia. The pieces are piled in heaps on carriages; the latter are shoved into the well-known apparatus of Mather & Platt (kier), and the liquid is pumped on for 6 hours, at a pressure of 2/3 atmosphere. Next wash, acidulate, wash and dry. The bleaching may also be done on an ordinary reeling vat. For 5 pieces are needed about 1,000 parts, by weight, of water; 10 parts, by weight, of solid caustic soda; 1 part of burnt magnesia; 30 parts, by weight, of hydrogen peroxide. After 3–4 hours’ boiling, wash, acidulate, wash and dry. The bleaching may also be performed by passing through barium peroxide, then through sulphuric acid or hydrochloric acid, and next through soda lye. It is practicable also to commence with the latter and finally give a treatment with hydrogen peroxide.
The whiteness obtained by the above process is handsomer than that produced by the old method with hypochlorites, and the fabric is weakened to a less extent.
«TESTS FOR COTTON.»
I.—Cotton, when freed from extraneous matter by boiling with potash, and afterwards with hydrochloric acid, yields pure cellulose or absorbent cotton, which, according to the U. S. P., is soluble in copper ammonium sulphate solution. The B. P. is more specific and states that cotton is soluble in a concentrated solution of copper ammonium sulphate. The standard test solution (B. P.) is made by dissolving 10 parts of copper sulphate in 160 parts of distilled water, and cautiously adding solution of ammonia to the liquid until the precipitate first formed is nearly dissolved. The product is then filtered and the filtrate made up to 200 parts with distilled {246} water. The concentrated solution is prepared by using a smaller quantity of distilled water.
II.—Schweitzer’s reagent for textile fibers and cellulose is made by dissolving 10 parts of copper sulphate in 100 parts of water and adding a solution of 5 parts of potassium hydrate in 50 parts of water; then wash the precipitate and dissolve in 20 per cent ammonia until saturated. This solution dissolves cotton, linen, and silk, but not wool. The reagent is said to be especially useful in microscopy, as it rapidly dissolves cellulose, but has no action on lignin.
III.—Jandrier’s Test for Cotton in Woolen Fabrics.—Wash the sample of fabric and treat with sulphuric acid (20 Bé.) for half an hour on the water bath. To 100 to 200 parts of this solution add 1 part resorcin, and overlay on concentrated sulphuric acid free from nitrous products. The heat developed is sufficient to give a color at the contact point of the liquids, but intensity of color may be increased by slightly heating. If the product resulting from treating the cotton is made up 1 in 1,000, resorcin will give an orange color; alphanaphtol a purple; gallic acid a green gradually becoming violet down in the acid; hydroquinone or pyrogallol a brown; morphine or codeine, a lavender; thymol or menthol a pink. Cotton may be detected in colored goods, using boneblack to decolorize the solution, if necessary.
IV.—Overbeck’s test for cotton in woolen consists in soaking the fabric in an aqueous solution of alloxantine (1 in 10), and after drying expose to ammonia vapor and rinse in water. Woolen material is colored crimson, cotton remains blue.
V.—Liebermann’s Test.—Dye the fabric for half an hour in fuchsine solution rendered light yellow by caustic soda solution and then washed with water—silk is colored dark red; wool, light red; flax, pink; and cotton remains colorless.
To Distinguish Cotton from Linen.—Take a sample about an inch and a half square of the cloth to be tested and plunge it into a tepid alcoholic solution of cyanine. After the coloring matter has been absorbed by the fiber, rinse it in water and then plunge into dilute sulphuric acid. If it is of cotton the sample will be almost completely bleached, while linen preserves the blue color almost unchanged. If the sample be then plunged in ammonia, the blue will be strongly reinforced.
«Aromatic Cotton.»—Aromatic cotton is produced as follows: Mix camphor, 5 parts; pine-leaf oil, 5 parts; clove oil, 5 parts; spirit of wine (90 per cent), 80 parts; and distribute evenly on cotton, 500 parts, by means of an atomizer. The cotton is left pressed together in a tightly closed tin vessel for a few days.
«Cotton Degreasing.»—Cotton waste, in a greasy condition, is placed in an acid-proof apparatus, where it is simultaneously freed from grease, etc., and prepared for bleaching by the following process, which is performed without the waste being removed from the apparatus: (1) treatment with a solvent, such as benzine; (2) steaming, for the purpose of vaporizing and expelling from the cotton waste the solvent still remaining in it after as much as possible of this has been recovered by draining; (3) treatment with a mineral acid; (4) boiling with an alkali lye; (5) washing with water.
«COTTONSEED HULLS AS STOCK FOOD.»
Cottonseed hulls or other material containing fiber difficult of digestion are thoroughly mixed with about 5 per cent of their weight of hydrochloric acid (specific gravity, 1.16), and heated in a closed vessel, provided with a stirrer, to a temperature of 212° to 300° F. The amount of acid to be added depends on the material employed and on the duration of the heating. By heating for 30 minutes the above percentage of acid is required, but the quantity may be reduced if the heating is prolonged. After heating, the substance is ground and at the same time mixed with some basic substances such as sodium carbonate, chalk, cottonseed kernel meal, etc., to neutralize the acid. During the heating, the acid vapors coming from the mixture may be led into a second quantity of material contained in a separate vessel, air being drawn through both vessels to facilitate the removal of the acid vapors.
COTTONSEED OIL: See Oil.
COTTONSEED OIL IN FOOD, TESTS FOR: See Foods.
COTTONSEED OIL IN LARD, DETECTION OF: See Foods and Lard.
COUGH CANDY: See Confectionery.
COUGH MIXTURES FOR CATTLE: See Veterinary Formulas. {247}
COUGH MIXTURES AND REMEDIES: See Cold and Cough Mixtures.
«Court Plasters»
(See also Plasters.)
«Liquid Court Plaster.»—I.—If soluble guncotton is dissolved in acetone in the proportion of about 1 part, by weight, of the former to 35 or 40 parts, by volume, of the latter, and half a part each of castor oil and glycerine be added, a colorless, elastic, and flexible film will form on the skin wherever it is applied. Unlike ordinary collodion it will not be likely to dry and peel off. If tinted very slightly with alkanet and saffron it can be made to assume the color of the skin so that when applied it is scarcely observable. A mixture of warm solution of sodium silicate and casein, about 9 parts of the former to 1 part of the latter, gelatinizes and forms a sort of liquid court plaster.
II.—In order to make liquid court plaster flexible, collodion, U. S. P., is the best liquid that can possibly be recommended. It may be made by weighing successively into a tarred bottle:
Collodion 4 av. ounces Canada turpentine 95 grains Castor oil 57 grains
Before applying, the skin should be perfectly dry; each application or layer should be permitted to harden. Three or four coats are usually sufficient.
III.—Procure an ounce bottle and fill it three-fourths full of flexible collodion, and fill up with ether. Apply to cuts, bruises, etc., and it protects them and will not wash off. If the ether evaporates, leaving it too thick for use, have more ether put in to liquefy it. It is a good thing to have in the house and in the tool chest.
COW DISEASES AND THEIR REMEDIES: See Veterinary Formulas.
CRAYONS: See Pencils.
«CRAYONS FOR GRAINING AND MARBLING.»
Heat 4 parts of water and 1 part of white wax over a fire until the wax has completely dissolved. Stir in 1 part of purified potash. When an intimate combination has taken place, allow to cool and add a proportionate quantity of gum arabic. With this mixture the desired colors are ground thick enough so that they can be conveniently rolled into a pencil with chalk. The desired shades must be composed on the grinding slab as they are wanted, and must not be simply left in their natural tone. Use, for instance, umber, Vandyke brown, and white lead for oak; umber alone would be too dark for walnut use. All the earth colors can be conveniently worked up. It is best to prepare 2 or 3 crayons of each set, mixing the first a little lighter by the addition of white lead and leaving the others a little darker. The pencils should be kept in a dry place and are more suitable for graining and marbling than brushes, since they can be used with either oil or water.
CRAYONS FOR WRITING ON GLASS: See Etching, and Glass.
«Cream»
(See also Milk.)
«Whipped Cream.»—There are many ways to whip cream. The following is very highly indorsed: Keep the cream on ice until ready to whip. Take 2 earthen vessels about 6 inches in diameter. Into 1 bowl put 1 pint of rich sweet cream, 2 teaspoonfuls powdered sugar, and 5 drops of best vanilla extract. Add the white of 1 egg and beat with large egg beater or use whipping apparatus until 2 inches of froth has formed; skim off the froth into the other vessel and so proceed whipping and skimming until all the cream in the first vessel has been exhausted. The whipped cream will stand up all day and should be let stand in the vessel on ice.
Special machines have been constructed for whipping cream, but most dispensers prepare it with an ordinary egg beater. Genuine whipped cream is nothing other than pure cream into which air has been forced by the action of the different apparatus manufactured for the purpose; care must, however, be exercised in order that butter is not produced instead of whipped cream. To avoid this the temperature of the cream must be kept at a low degree and the whipping must not be too violent or prolonged; hence the following rules must be observed in order to produce the desired result: {248}
1. Secure pure cream and as fresh as possible.
2. Surround the bowl in which the cream is being whipped with cracked ice, and perform the operation in a cool place.
3. As rapidly as the whipped cream arises, skim it off and place it in another bowl, likewise surrounded with ice.
4. Do not whip the cream too long or too violently.
5. The downward motion of the beater should be more forcible than the upward, as the first has a tendency to force the air into the cream, while the second, on the contrary, tends to expel it.
6. A little powdered sugar should be added to the cream after it is whipped, in order to sweeten it.
7. Make whipped cream in small quantities and keep it on ice.
I.—Cummins’s Whipped Cream.—Place 12 ounces of rich cream on the ice for about 1 hour; then with a whipper beat to a consistency that will withstand its own weight.
II.—Eberle’s Whipped Cream.—Take a pint of fresh, sweet cream, which has been chilled by being placed on the ice, add to it a heaping tablespoonful of powdered sugar and 2 ounces of a solution of gelatin (a spoonful dissolved in 2 ounces of water), whip slowly for a minute or two until a heavy froth gathers on top. Skim off the dense froth, and put in container for counter use; continue this until you have frothed all that is possible.
III.—Foy’s Whipped Cream.—Use only pure cream; have it ice cold, and in a convenient dish for whipping with a wire whipper. A clear, easy, quick, and convenient way is to use a beater. Fill about one-half full of cream, and beat vigorously for 2 or 3 minutes; a little powdered sugar may be added before beating. The cream may be left in the beater, and placed on ice.
IV.—American Soda Fountain Company’s Whipped Cream.—Take 2 earthen bowls and 2 tin pans, each 6 or 8 inches greater in diameter than the bowls; place a bowl in each pan, surround it with broken ice, put the cream to be whipped in 1 bowl, and whip it with a whipped cream churn. The cream should be pure and rich, and neither sugar nor gelatin should be added to it. As the whipped cream rises and fills the bowl, remove the churn, and skim off the whipped cream into the other bowl.
The philosophy of the process is that the churn drives air into the cream, and blows an infinity of tiny bubbles, which forms the whipped cream; therefore, in churning, raise the dasher gently and slowly, and bring it down quickly and forcibly. When the second bowl is full of whipped cream, pour off the liquid cream, which has settled to the bottom, into the first bowl, and whip it again. Keep the whipped cream on ice.
The addition of an even teaspoonful of salt to 1 quart of sweet cream, before whipping, will make it whip up very readily and stiff, and stand up much longer and better.
«CRESOL EMULSION.»
One of the best starting points for the preparation is the “creosote” obtained from blast furnaces, which is rich in cresols and contains comparatively little phenols. The proportions used are: Creosote, 30 parts; soft soap, 10 parts; and solution of soda (10 per cent), 30 parts. Boil the ingredients together for an hour, then place aside to settle. The dark fluid is afterwards drained from any oily portion floating upon the top.
CREAM, COLD: See Cosmetics.
CREAMS FOR THE FACE AND SKIN: See Cosmetics.
CREOSOTE SOAP: See Soap.
CROCKERY: See Ceramics.
CROCKERY CEMENTS: See Adhesives.
«CROCUS.»
The substance known as “crocus,” which is so exceedingly useful as a polishing medium for steel, etc., may be very generally obtained in the cinders produced from coal containing iron. It will be easily recognized by its rusty color, and should be collected and reduced to a powder for future use. Steel burnishers may be brought to a high state of polish with this substance by rubbing them upon a buff made of soldiers’ belt or hard wood. After this operation, the burnisher should be rubbed on a second buff charged with jewelers’ rouge.
CRYSTAL CEMENTS FOR REUNITING BROKEN PIECES: See Adhesives, under Cements. {249}
CRYSTALLIZATION, ORNAMENTAL: See Gardens, Chemical.
CUCUMBER ESSENCE: See Essences and Extracts.
CUCUMBER JELLY, JUICE, AND MILK: See Cosmetics.
CURAÇOA CORDIAL: See Wines and Liquors.
CURTAINS, COLORING OF: See Laundry Preparations.
CURRY POWDER: See Condiments.
«CUSTARD POWDER:»
Corn flour 7 pounds Arrowroot 8 pounds Oil of almond 20 drops Oil of nutmegs 10 drops Tincture of saffron to color.
Mix the tincture with a little of the mixed flours; then add the essential oils and make into a paste; dry this until it can be reduced to a powder, and then mix all the ingredients by sifting several times through a fine hair sieve.
CUTLERY CEMENTS: See Adhesives.
CYLINDER OIL: See Lubricants.
CYMBAL METAL: See Alloys.
«Damaskeening»
Damaskeening, practiced from most ancient times, consists in ornamentally inlaying one metal with another, followed usually by polishing. Generally gold or silver is employed for inlaying. The article to be decorated by damaskeening is usually of iron (steel) or copper; in Oriental (especially Japanese) work, also frequently of bronze, which has been blackened, or, at least, darkened, so that the damaskeening is effectively set off from the ground. If the design consists of lines, the grooves are dug out with the graver in such a manner that they are wider at the bottom, so as to hold the metal forced in. Next, the gold or silver pieces suitably formed are laid on top and hammered in so as to fill up the opening. Finally the surface is gone over again, so that the surface of the inlay is perfectly even with the rest. If the inlays, however, are not in the form of lines, but are composed of larger pieces of certain outlines, they are sometimes allowed to project beyond the surface of the metal decorated. At times there are inlays again in the raised portions of another metal; thus, Japanese bronze articles often contain figures of raised gold inlaid with silver.
Owing to the high value which damaskeening imparts to articles artistically decorated, many attempts have been made to obtain similar effects in a cheaper manner. One is electro-etching, described further on. Another process for the wholesale manufacture of objects closely resembling damaskeened work is the following: By means of a steel punch, on which the decorations to be produced project in relief, the designs are stamped by means of a drop hammer or a stamping press into gold plated or silver plated sheet metal on the side which is to show the damaskeening, finally grinding off the surface, so that the sunken portions are again level. Naturally, the stamped portion, as long as the depth of the stamping is at least equal to the thickness of the precious metal on top, will appear inlaid.
It is believed that much of the early damaskeening was done by welding together iron and either a steel or an impure or alloyed iron, and treating the surface with a corroding acid that affected the steel or alloy without changing the iron.
The variety or damaskeening known as koftgari or kuft-work, practiced in India, was produced by rough-etching a metallic surface and laying on gold-leaf, which was imbedded so that it adhered only to the etched parts of the design.
«Damaskeening by Electrolysis.»—Damaskeening of metallic plates may be done by electrolysis. A copper plate is covered with an isolating layer of feeble thickness, such as wax, and the desired design is scratched in it by the use of a pointed tool. The plate is suspended in a bath of sulphate of copper, connecting it with the positive pole of a battery, while a second copper plate is connected with the negative pole. The current etches grooves wherever the wax has been removed. When enough has {250} been eaten away, remove the plate from the bath, cleanse it with a little hydrochloric acid to remove any traces of oxide of copper which might appear on the lines of the design; then wash it in plenty of water and place it in a bath of silver or nickel, connecting it now with the negative pole, the positive pole being represented by a leaf of platinum. After a certain time the hollows are completely filled with a deposit of silver or nickel, and it only remains to polish the plate, which has the appearance of a piece damaskeened by hand.
«Damaskeening on Enamel Dials.»—Dip the dial into molten yellow wax, trace on the dial the designs desired, penetrating down to the enamel. Dip the dial in a fluorhydric acid a sufficient length of time that it may eat to the desired depth. Next, wash in several waters, remove the wax by means of turpentine, i. e., leave the piece covered with wax immersed in essence of turpentine. By filling up the hollows thus obtained with enamel very pretty effects are produced.
DANDRUFF CURE: See Hair Preparations.
«DECALCOMANIA PROCESSES:»
See also Chromos, Copying Processes, and Transfer Processes.
The decalcomania process of transferring pictures requires that the print (usually in colors) be made on a specially prepared paper. Prints made on decalcomania paper may be transferred in the reverse to china ware, wood, celluloid, metal, or any hard smooth surface, and being varnished after transfer (or burnt in, in the case of pottery) acquire a fair degree of permanence. The original print is destroyed by the transfer.
«Applying Decalcomania Pictures on Ceramic Products under a Glaze.»—A biscuit-baked object is first coated with a mixture of alcohol, shellac, varnish, and liquid glue. Then the prepared picture print is transferred on to this adhesive layer in the customary manner. The glaze, however, does not adhere to this coating and would, therefore, not cover the picture when fused on. To attain this, the layer bearing the transfer picture, as well as the latter, are simultaneously coated with a dextrin solution of about 10 per cent. When this dextrin coating is dry, the picture is glazed. The mixing proportions of the two solutions employed, as well as of the adhesive and the dextrin solutions, vary somewhat according to the physical conditions of the porcelain, its porosity, etc. The following may serve for an example: Dissolve 5 parts of shellac or equivalent gum in 25 parts of spirit and emulsify this liquid with 20 parts of varnish and 8 parts of liquid glue. After drying, the glaze is put on and the ware thus prepared is placed in the grate fire.
The process described is especially adapted for film pictures, i. e., for such as bear the picture on a cohering layer, usually consisting of collodion. It cannot be employed outright for gum pictures, i. e., for such pictures as are composed of different pressed surfaces, consisting mainly of gum or similar material. If this process is to be adapted to these pictures as well, the ware, which has been given the biscuit baking, is first provided with a crude glaze coating, whereupon the details of the process are carried out as described above with the exception that there is another glaze coating between the adhesive coat and the biscuit-baked ware. In this case the article is also immediately placed in the grate fire. It is immaterial which of the two kinds of metachromatypes (transfer pictures) is used, in every case the baking in the muffle, etc., is dropped. The transfer pictures may also be produced in all colors for the grate fire.
«Decalcomania Paper.»—Smooth unsized paper, not too thick, is coated with the following solutions:
I.—Gelatin, 10 parts, dissolved in 300 parts warm water. This solution is applied with a sponge. The paper should be dried flat.
II.—Starch, 50 parts; gum tragacanth, dissolved in 600 parts of water. (The gum tragacanth is soaked in 300 parts of water; in the other 300 parts the starch is boiled to a paste; the two are then poured together and boiled.) The dried paper is brushed with this paste uniformly, a fairly thick coat being applied. The paper is then allowed to dry again.
III.—One part blood albumen is soaked in 3 parts water for 24 hours. A small quantity of sal ammoniac is added.
The paper, after having been coated with these three solutions and dried, is run through the printing press, the pictures, however, being printed reversed so that it may appear in its true position when transferred. Any colored inks may be used. {251}
IV.—A transfer paper, known as “décalque rapide,” invented by J. B. Duramy, consists of a paper of the kind generally used for making pottery transfers, but coated with a mixture of gum and arrowroot solutions in the proportion of 2 1/2 parts of the latter to 100 of the former. The coating is applied in the ordinary manner, but the paper is only semi-glazed. Furthermore, to decorate pottery ware by means of this new transfer paper, there is no need to immerse the ware in a bath in order to get the paper to draw off, as it will come away when moistened with a damp sponge, after having been in position for less than 5 minutes, whereas the ordinary papers require a much longer time.
«Picture Transferrer.»—A very weak solution of soft soap and pearlashes is used to transfer recent prints, such as illustrations from papers, magazines, etc., to unglazed paper, on the decalcomania principle. Such a solution is:
I.—Soft soap 1/2 ounce Pearlash 2 drachms Distilled water 16 fluidounces
The print is laid upon a flat surface, such as a drawing board, and moistened with the liquid. The paper on which the reproduction is required is laid over this, and then a sheet of thicker paper placed on the top, and the whole rubbed evenly and hard with a blunt instrument, such as the bowl of a spoon, until the desired depth of color in the transferrer is obtained. Another and more artistic process is to cover the print with a transparent sheet of material coated with wax, to trace out the pictures with a point and to take rubbings of the same after powdering with plumbago.
II.—Hard soap 1 drachm Glycerine 30 grains Alcohol 4 fluidrachms Water 1 fluidounce
Dampen the printed matter with the solution by sponging, and proceed as with I.
DEHORNERS: See Horn.
DELTA METAL: See Alloys.
DEMON BOWLS OF FIRE: See Pyrotechnics.
DENTAL CEMENTS: See Cements.
«Dentifrices»
«TOOTH POWDERS:»
A perfect tooth powder that will clean the teeth and mouth with thoroughness need contain but few ingredients and is easily made. For the base there is nothing better than precipitated chalk; it possesses all the detergent and polishing properties necessary for the thorough cleansing of the teeth, and it is too soft to do any injury to soft or to defective or thinly enameled teeth. This cannot be said of pumice, cuttlebone, charcoal, kieselguhr, and similar abradants that are used in tooth powders. Their use is reprehensible in a tooth powder. The use of pumice or other active abradant is well enough occasionally, by persons afflicted with a growth of tartar on the teeth, but even then it is best applied by a competent dentist. Abrading powders have much to answer for in hastening the day of the toothless race.
Next in value comes soap. Powdered white castile soap is usually an ingredient of tooth powders. There is nothing so effective for removing sordes or thickened mucus from the gums or mouth. But used alone or in too large proportions, the taste is unpleasant. Orris possesses no cleansing properties, but is used for its flavor and because it is most effective for masking the taste of the soap. Sugar or saccharine may be used for sweetening, and for flavoring almost anything can be used. Flavors should, in the main, be used singly, though mixed flavors lack the clean taste of simple flavors.
The most popular tooth powder sold is the white, saponaceous, wintergreen-flavored powder, and here is a formula for this type:
I.—Precipitated chalk 1 pound White castile soap 1 ounce Florentine orris 2 ounces Sugar (or saccharine, 2 grains) 1 ounce Oil of wintergreen 1/4 ounce
The first four ingredients should be in the finest possible powder and well dried. Triturate the oil of wintergreen with part of the chalk, and mix this with the balance of the chalk. Sift each ingredient separately through a sieve (No. 80 or finer), and mix well together, afterwards sifting the mixture 5 or 6 times. The finer the sieve and the more the mixture is sifted, the finer and lighter the powder will be. {252}
This powder will cost about 15 cents a pound.
Pink, rose-flavored powder of the Caswell and Hazard, Hudnut, or McMahan type, once so popular in New York. It was made in two styles, with and without soap.
II.—Precipitated chalk 1 pound Florentine orris 2 ounces Sugar 1 1/2 ounces White castile soap 1 ounce No. 40 carmine 15 grains Oil of rose 12 drops Oil of cloves 4 drops
Dissolve the carmine in an ounce of water of ammonia and triturate this with part of the chalk until the chalk is uniformly dyed. Then spread it in a thin layer on a sheet of paper and allow the ammonia to evaporate. When there is no ammoniacal odor left, mix this dyed chalk with the rest of the chalk and sift the whole several times until thoroughly mixed. Then proceed to make up the powder as in the previous formula, first sifting each ingredient separately and then together, being careful thoroughly to triturate the oils of rose and cloves with the orris after it is sifted and before it is added to the other powders. The oil of cloves is used to back up the oil of rose. It strengthens and accentuates the rose odor. Be careful not to get a drop too much, or it will predominate over the rose.
«Violet Tooth Powder.»—
Precipitated chalk 1 pound Florentine orris 4 ounces Castile soap 1 ounce Sugar 1 1/2 ounces Extract of violet 1/4 ounce Evergreen coloring, R. & F., quantity sufficient.
Proceed as in the second formula, dyeing the chalk with the evergreen coloring to the desired shade before mixing.
III.—Precipitated chalk 16 pounds Powdered orris 4 pounds Powdered cuttlefish bone 2 pounds Ultramarine 9 1/2 ounces Geranium lake 340 grains Jasmine 110 minims Oil of neroli 110 minims Oil of bitter almonds 35 minims Vanillin 50 grains Artificial musk (Lautier’s) 60 grains Saccharine 140 grains
Rub up the perfumes with 2 ounces of alcohol, dissolve the saccharine in warm water, add all to the orris, and set aside to dry. Rub the colors up with water and some chalk, and when dry pass all through a mixer and sifter twice to bring out the color.
«Camphorated and Carbolated Powders.»—A camphorated tooth powder may be made by leaving out the oil of wintergreen in the first formula and adding 1 1/2 ounces of powdered camphor.
Carbolated tooth powder may likewise be made with the first formula by substituting 2 drachms of liquefied carbolic acid for the oil of wintergreen. But the tooth powder gradually loses the odor and taste of the acid. It is not of much utility anyway, as the castile soap in the powder is of far greater antiseptic power than the small amount of carbolic acid that can safely be combined in a tooth powder. Soap is one of the best antiseptics.
Alkaline salts, borax, sodium bicarbonate, etc., are superfluous in a powder already containing soap. The only useful purpose they might serve is to correct acidity of the mouth, and that end can be reached much better by rinsing the mouth with a solution of sodium bicarbonate. Acids have no place in tooth powders, the French Codex to the contrary notwithstanding.
«Peppermint as a Flavor.»—In France and all over Europe peppermint is the popular flavor, as wintergreen is in this country.
English apothecaries use sugar of milk and heavy calcined magnesia in many of their tooth powders. Neither has any particular virtue as a tooth cleanser, but both are harmless. Cane sugar is preferable to milk sugar as a sweetener, and saccharine is more efficient, though objected to by some; it should be used in the proportion of 2 to 5 grains to the pound of powder, and great care taken to have it thoroughly distributed throughout.
An antiseptic tooth powder, containing the antiseptic ingredients of listerine, is popular in some localities.
IV.—Precipitated chalk 1 pound Castile soap 5 drachms Borax 3 drachms Thymol 20 grains Menthol 20 grains Eucalyptol 20 grains Oil of wintergreen 20 grains Alcohol 1/2 ounce
Dissolve the thymol and oils in the alcohol, and triturate with the chalk, and proceed as in the first formula. {253}
One fault with this powder is the disagreeable taste of the thymol. This may be omitted and the oil of wintergreen increased to the improvement of the taste, but with some loss of antiseptic power.
«Antiseptic Powder.»—
V.—Boric acid 50 parts Salicylic acid 50 parts Dragon’s blood 20 parts Calcium carbonate 1,000 parts Essence spearmint 12 parts
Reduce the dragon’s blood and calcium carbonate to the finest powder, and mix the ingredients thoroughly. The powder should be used twice a day, or even oftener, in bad cases. It is especially recommended in cases where the enamel has become eroded from the effects of iron.
«Menthol Tooth Powder.»—Menthol leaves a cool and pleasant sensation in the mouth, and is excellent for fetid breath. It may be added to most formulas by taking an equal quantity of oil of wintergreen and dissolving in alcohol.
Menthol 1 part Salol 8 parts Soap, grated fine 20 parts Calcium carbonate 20 parts Magnesia carbonate 60 parts Essential oil of mint 2 parts
Powder finely and mix. If there is much tartar on the teeth it will be well to add to this formula from 10 to 20 parts of pumice, powdered very finely.
«Tooth Powders and Pastes.»—Although the direct object of these is to keep the teeth clean and white, they also prevent decay, if it is only by force of mere cleanliness, and in this way (and also by removing decomposing particles of food) tend to keep the breath sweet and wholesome. The necessary properties of a tooth powder are cleansing power unaccompanied by any abrading or chemical action on the teeth themselves, a certain amount of antiseptic power to enable it to deal with particles of stale food, and a complete absence of any disagreeable taste or smell. These conditions are easy to realize in practice, and there is a very large number of efficient and good powders, as well as not a few which are apt to injure the teeth if care is not taken to rinse out the mouth very thoroughly after using. These powders include some of the best cleansers, and have hence been admitted in the following recipes, mostly taken from English collections.
I.—Charcoal and sugar, equal weights. Mix and flavor with clove oil.
II.—Charcoal 156 parts Red kino 156 parts Sugar 6 parts
Flavor with peppermint oil
III.—Charcoal 270 parts Sulphate of quinine 1 part Magnesia 1 part
Scent to liking.
IV.—Charcoal 30 parts Cream of tartar 8 parts Yellow cinchona bark 4 parts Sugar 15 parts
Scent with oil of cloves.
V.—Sugar 120 parts Alum 10 parts Cream of tartar 20 parts Cochineal 3 parts
VI.—Cream of Tartar 1,000 parts Alum 190 parts Carbonate of magnesia 375 parts Sugar 375 parts Cochineal 75 parts Essence Ceylon cinnamon 90 parts Essence cloves 75 parts Essence English peppermint 45 parts
VII.—Sugar 200 parts Cream of tartar 400 parts Magnesia 400 parts Starch 400 parts Cinnamon 32 parts Mace 11 parts Sulphate of quinine 16 parts Carmine 17 parts
Scent with oil of peppermint and oil of rose.
VIII.—Bleaching powder 11 parts Red coral 12 parts
IX.—Red cinchona bark 12 parts Magnesia 50 parts Cochineal 9 parts Alum 6 parts Cream of tartar 100 parts {254} English peppermint oil 4 parts Cinnamon oil 2 parts
Grind the first five ingredients separately, then mix the alum with the cochineal, and then add to it the cream of tartar and the bark. In the meantime the magnesia is mixed with the essential oils, and finally the whole mass is mixed through a very fine silk sieve.
X.—Whitewood charcoal 250 parts Cinchona bark 125 parts Sugar 250 parts Peppermint oil 12 parts Cinnamon oil 8 parts
XI.—Precipitated chalk 750 parts Cream of tartar 250 parts Florence orris root 250 parts Sal ammoniac 60 parts Ambergris 4 parts Cinnamon 4 parts Coriander 4 parts Cloves 4 parts Rosewood 4 parts
XII.—Dragon’s blood 250 parts Cream of tartar 30 parts Florence orris root 30 parts Cinnamon 16 parts Cloves 8 parts
XIII.—Precipitated chalk 500 parts Dragon’s blood 250 parts Red sandalwood 125 parts Alum 125 parts Orris root 250 parts Cloves 15 parts Cinnamon 15 parts Vanilla 8 parts Rosewood 15 parts Carmine lake 250 parts Carmine 8 parts
XIV.—Cream of tartar 150 parts Alum 25 parts Cochineal 12 parts Cloves 25 parts Cinnamon 25 parts Rosewood 6 parts
Scent with essence of rose.
XV.—Coral 20 parts Sugar 20 parts Wood charcoal 6 parts Essence of vervain 1