Chapter 33 of 43 · 49786 words · ~249 min read

part III

.—Lead plaster, simple 6,090 parts Vaseline, yellow 1,000 parts Camphor 65 parts Carbolic acid 50 parts

Mix.

«Green Salve.»—

White pine turpentine 8 ounces Lard, fresh 8 ounces Honey 4 ounces Beeswax, yellow 4 ounces

Melt, stir well, and add

Verdigris, powdered 4 drachms

Apply locally.

This cannot be surpassed when used for deep wounds, as it prevents the formation of proud flesh and keeps up a healthy discharge.

«Salve for all Wounds.»—

Lard, fresh 16 ounces White lead, dry 3 ounces Red lead, dry 1 ounce Beeswax, yellow 3 ounces Black rosin 2 ounces

Mix, melt, and boil for 45 minutes, then add

Common turpentine 4 ounces

Boil for 3 minutes and cool.

Apply locally to cuts, burns, sores, ulcers, etc. It first draws, then heals.

«Irritating Plaster.»—

Tar, purified 16 ounces Burgundy pitch 1 ounce White pine turpentine 1 ounce Rosin, common 2 ounces

Melt and add

Mandrake root, powdered 1 drachm Bloodroot, powdered 1 ounce Poke root, powdered 1 ounce Indian turnip root, powdered 1 ounce

Apply to the skin in the form of a {487} plaster (spread on muslin) and renew it daily.

This salve will raise a sore which is to be wiped with a dry cloth to remove matter, etc. The sore must not be wetted. This is a powerful counter-irritant for removing internal pains, and in other cases where an irritating plaster is necessary.

«Mercury Salves.»—I.—Red Salve.—Red mercury oxide, 1 part; melted lard, 9 parts.

II.—White Salve.—Mercury precipitate, 1 part; melted lard, 9 parts.

Pink salve.

Ammoniated mercury 1 ounce Mercuric oxide, precipitated 2 1⁠/⁠2 ounces Red mercuric sulphide (vermilion) 60 grains Perfume 1⁠/⁠2 fluidounce Lard 1 1⁠/⁠2 pounds Prepared suet 1⁠/⁠2 pound

«Antiseptic Nervine Ointment.»—

Iodoform 2 parts Salol 4 parts Boric acid 5 parts Antipyrine 5 parts Vaseline 80 parts

«Photographers’ Ointment.»—The following protects the hands from photographic chemicals:

Best castile soap, in fine shavings 1 ounce Water 1 ounce Wax 1 ounce Ammonia 45 minims Lanolin 1 ounce

The soap is dissolved in the water heated for that purpose, the wax mixed in with much stirring, and, when all is in solution, the ammonia is added. When clear, the lanolin is put in, and then, if the mixture is very thick, water is added until the whole has the consistency of honey. Keep in a covered stoneware jar. The hands should be first washed with ordinary soap, and then, while the lather is still on them, a bit of the mixture about the size of a hazel nut is rubbed in until all is absorbed, and the hands are dry. At the close of the work, the film of wax is washed off in warm water and a little lanolin rubbed into the hands.

«Pain-Subduing Ointment.»—The following is an excellent formula:

Tincture of capsicum 5 parts Tincture of camphor 1 part Ammonia water 2 parts Alcohol 2 parts Soap liniment 2 parts

«Skin Ointment.»—I.—Add about 2 per cent of phenol to petrolatum, perfuming it with oil of bergamot and color a dull green. It has been suggested that a mixture of Prussian blue and yellow ocher would answer as the coloring agent.

II.—Phenol 40 grains Boric acid 2 drachms Oil of bergamot 90 minims Petrolatum 1 pound Color with chlorophyll.

OINTMENTS FOR VETERINARY PURPOSES: See Veterinary Formulas.

OLEIN SOAP: See Soap.

OLEOMARGARINE: See Butter.

OLIVE-OIL PASTE: See Butter Substitutes.

ONYX CEMENTS: See Adhesives.

ORANGEADE: See Beverages, under Lemonades.

ORANGE BITTERS AND CORDIAL: See Wines and Liquors.

ORANGE DROPS: See Confectionery.

ORANGE EXTRACT: See Essences and Extracts.

ORANGE FRAPPÉ: See Beverages, under Lemonades.

ORANGE PHOSPHATE: See Beverages.

ORGEAT PUNCH: See Beverages, under Lemonades.

ORTOL DEVELOPER: See Photography.

OXIDIZING: See Bronzing, Plating, Painting.

OXIDE, MAGNETIC: See Rust Preventives.

OXOLIN: See Rubber.

OZONATINE: See Air Purifying.

PACKAGE POP: See Beverages, under Ginger Ale.

PACKAGE WAX: See Waxes. {488}

«PACKINGS:»

«Packing for Stuffing Boxes.»—

Tallow 10 parts Barrel soap, non-filled 30 parts Cylinder oil 10 parts Talcum Venetian, finely powdered 20 parts Graphite, finely washed 6 parts Powdered asbestos 6 parts

Melt the tallow and barrel soap together, add the other materials in rotation, mix intimately in a mixing machine, and fill in 4-pound cans.

«Packing for Gasoline Pumps.»—For packing pumps on gasoline engines use asbestos wick-packing rubbed full of regular laundry soap; it will work without undue friction and will pack tightly. Common rubber packing is not as good, as the gasoline cuts it out.

PADS OF PAPER: See Paper Pads.

PAIN-SUBDUING OINTMENT: See Ointments.

«PAINTING PROCESSES:»

«Painting Ornaments or Letters on Cloth and Paper.»—Dissolve gum shellac in 95 per cent alcohol at the rate of 1 pound of shellac to 3 pints of alcohol, and mix with it any dry color desired. If it becomes too thick, thin with more alcohol. This works free, does not bleed out, imparts brilliancy to the color, and wears well. The preparation can be used also on paper.

«Painting on Marble.»—To paint marble in water colors, it must be first thoroughly cleaned and all grease completely removed. The slab is washed well, and then rubbed off with benzine by means of a rag or sponge. In order to be quite sure, add a little ox gall or aguoline to the colors. After marble has been painted with water colors it cannot be polished any more.

«Painting on Muslin.»—To paint on muslin requires considerable skill. Select a smooth wall or partition, upon which tack the muslin, drawing the fabric taut and firm. Then make a solution of starch and water, adding one-fourth starch to three-fourths water, and apply a glaze of this to the muslin. To guard against the striking in of the paint, and to hold it more securely in place and texture, mix the pigment with rubbing varnish to the consistency of a stiff paste, and then thin with turpentine to a free working condition. A double thick camel’s-hair brush, of a width to correspond properly with the size of the surface to be coated, is the best tool with which to coat fine muslin. A fitch-hair tool is probably best suited to the coarser muslin. Many painters, when about to letter on muslin, wet the material with water; but this method is not so reliable as sizing with starch and water. Wetting canvas or duck operates very successfully in holding the paint or color in check, but these materials should not be confounded with muslin, which is of an entirely different texture.

PAINTING ON LEATHER: See Leather.

«PAINTINGS:»

«Protection for Oil Paintings.»—Oil paintings should under no circumstances be varnished over before the colors are surely and unmistakably dry, otherwise the fissuring and early decay of the surface may be anticipated. The contention of some people that oil paintings need the protection of a coat of varnish is based upon the claim that the picture, unvarnished, looks dead and lusterless in parts and glossy in still others, the value and real beauty of the color being thus unequally manifested. It is not to be inferred, however, that a heavy coating of varnish is required. When it is deemed advisable to varnish over an oil painting the varnish should be mastic, with perhaps 3 or 4 drops of refined linseed oil added to insure against cracking. A heavy body of varnish used over paintings must be strictly prohibited, inasmuch as the varnish, as it grows in age, naturally darkens in color, and in so doing carries with it a decided clouding and discoloration of the delicate pigments. A thinly applied coat of mastic varnish affords the required protection from all sorts and conditions of atmospheric impurities, besides fulfilling its mission in other directions.

Oil paintings, aquarelles, etc., may be also coated with a thin layer of Canada balsam, and placed smoothly on a pane of glass likewise coated with Canada balsam, so that both layers of balsam come together. Then the pictures are pressed down from the back, to remove all air bubbles.

«To Renovate Old Oil Paintings.»—When old oil paintings have become dark and cracked, proceed as follows: Pour alcohol in a dish and put the picture over it, face downward. The fumes of the alcohol dissolve the paint of the picture, the fissures close up again, and {489} the color assumes a freshness which is surprising. Great caution is absolutely necessary, and one must look at the painting very often, otherwise it may happen that the colors will run together or even run off in drops.

PAINTINGS, TO CLEAN: See Cleaning Preparations and Methods.

«Paints»

(See also Acid-Proofing, Ceramics, Enamels, Fireproofing, Glazing, Painting Processes, Pigments, Rust Preventives, Varnishes, and Waterproofing.)

«PAINT BASES:»

«Dry Bases for Paints.»—The following colors and minerals, mixed in the proportions given and then ground to fine powder, make excellent dry paints, and may be thinned with turpentine oil, and a small percentage of cheap varnish to consistency required.

Buff.—

Yellow ocher 44 pounds Whiting 6 pounds Oxide of zinc 5 pounds Plaster of Paris 1⁠/⁠2 pound

Brick Brown.—

Yellow ocher 26 pounds Calcined copperas 4 pounds Red hematite 1 1⁠/⁠4 pounds Best silica 7 pounds Whiting 18 pounds

Gray.—

Oxide of zinc 30 pounds White lead 6 pounds Whiting 12 pounds Bone black 1⁠/⁠4 pound Yellow ocher 2 pounds

Crimson.—

Indian red 25 pounds Crocus martis 7 pounds Oxide of zinc 6 pounds Whiting 6 pounds

Vandyke Brown.—

Yellow ocher 25 pounds Whiting 18 pounds Umber 4 pounds Oxide of zinc 7 pounds Purple oxide of iron 1 pound

Blood Red.—

Crocus martis 30 pounds Whiting 20 pounds Hematite 3 pounds Silica 6 pounds Venetian red 2 pounds

Drab.—

Yellow ocher 40 pounds Whiting 10 pounds Oxide of zinc 8 1⁠/⁠2 pounds Sulphate of barytes 1 pound

«Paint for Blackboards.»—

Shellac 1 pound Alcohol 1 gallon Lampblack (fine quality) 4 ounces Powdered emery 4 ounces Ultramarine blue 4 ounces

Dissolve the shellac in the alcohol. Place the lampblack, emery, and ultramarine blue on a cheese-cloth strainer, pour on part of the shellac solution, stirring constantly and gradually adding the solution until all of the powders have passed through the strainer.

«Dark-Green Paint for Blackboards.»—Mix 1 part Prussian blue and 1 part chrome green with equal parts of gilders’ size and alcohol to a thin cream consistency. Apply with a large, stiff brush and after an hour a second coat is given. After 24 to 48 hours smooth the surface with a felt cloth. This renders it rich and velvety. The shade must be a deep black green and the quantities of the colors have to be modified accordingly if necessary. Old blackboards should be previously thoroughly cleaned with soda.

«BRONZING SOLUTIONS FOR PAINTS.»

I.—The so-called “banana solution” (the name being derived from its odor) which is used in applying bronzes of various kinds, is usually a mixture of equal parts of amyl acetate, acetone, and benzine, with just enough pyroxyline dissolved therein to give it body. Powdered bronze is put into a bottle containing this mixture and the paint so formed applied with a brush. The thin covering of pyroxyline that is left after the evaporation of the liquid protects the bronze from the air and keeps it from being wiped off by the cleanly housemaid. Tarnished picture frames and tarnished chandeliers to which a gold bronze has been applied from such a solution will look fresh and new for a long time. Copper bronze as well as gold bronze and the various colored bronze powders can be used in the “banana solution” for making very pretty advertising signs for use in the drug store. Lettering and bordering work upon the signs can be done with it. Several very small, stiff painters’ brushes are needed for such work and they must {490} be either kept in the solution when not in use, or, better still, washed in benzine or acetone immediately after use and put away for future service. As the “banana solution” is volatile, it must be kept well corked.

II.—A good bronzing solution for paint tins, applied by dipping, is made by dissolving Syrian asphaltum in spirits of turpentine, etc., and thinning it down with these solvents to the proper bronze color and consistency. A little good boiled oil will increase the adherence.

«Paint Brushes.»—To soften a hard paint brush, stand the brush overnight in a pot of soft soap and clean in warm water. Afterwards clean in benzine. If the brush is wrapped with a string do not let the string touch the soap.

Paint brushes which have dried up as hard as stone can be cleaned in the following manner: Dissolve 1 part soda in 3 parts water; pour the solution in a cylinder glass, and suspend in it the brushes to be cleaned, so that they are about 2 inches from the bottom of the vessel. Let it remain undisturbed at a temperature of 140° to 158° F., 12 to 24 hours, after which the most indurated brushes will have become soft, so that they can be readily cleaned with soap. It is essential, however, to observe the temperature, as bristle brushes will be injured and spoiled if the heat is greater.

«Black.—A Permanent Black of Rich Luster for Metal Boxes.»—Dissolve chlorate of potassium and blue vitriol, equal parts, in 36 times as much water, and allow the solution to cool. The parts to be blacked may be either dipped in the solution, or the solution may be flowed on and allowed to remain until the metal becomes black, after which the fixtures should be rinsed in clean water and allowed to dry. Those parts of the surface which show imperfections in the black should be recoated.

«Dead White on Silver Work, etc.»—Bruise charcoal very finely and mix it with calcined borax in the proportion of 4 parts of charcoal to 1 of borax. Of this make a paste with water; apply this paste on the parts to be deadened; next expose the piece to the fire of well-lit coal until it acquires a cherry-red shade; allow to cool and then place it in water slightly acidulated with sulphuric acid. The bath must not be more than 5° Bé. Leave the piece in the bath about 2 hours, then rinse off several times.

«White Coating for Signs, etc.»—A white color for signs and articles exposed to the air is prepared as follows for the last coat: Thin so-called Dutch “stand” oil with oil of turpentine to working consistency, and grind in it equal parts of zinc white and white lead, not adding much siccative, as the white lead assists the drying considerably. If the paint is smoothed well with a badger brush, a very durable white color of great gloss is obtained. Linseed oil, or varnish which has thickened like “stand” oil by long open storing, will answer equally well.

«To Prevent Crawling of Paints.»—Probably the best method to pursue will be to take an ordinary flannel rag and carefully rub it over the work previous to varnishing, striping, or painting. This simple operation will obviate the possibility of crawling.

In some instances, however, crawling may be traced to a defective varnish. The latter, after drying evenly on a well-prepared paint surface will at times crawl, leaving small pitmarks. For this, the simple remedy consists in purchasing varnish from a reputable manufacturer.

«FIREPROOF PAINTS:»

See also Wood.

«Floor Coating.»—A new paint for floors, especially those of soft wood: Mix together 2.2 pounds joiners’ glue; a little over 1 ounce powdered bichromate of potash; 3 1⁠/⁠2 ounces aniline brown; and 10 1⁠/⁠2 quarts water in a tin vessel. After 6 hours have elapsed (when the glue is completely soaked), heat gradually to the boiling point. The coating becomes perfectly water-tight after 2 or 3 days; it is not opaque, as the earthy body is lacking. The glue causes the wood fibers to be firmly united. It becomes insoluble by the addition of bichromate of potash, under the influence of light. Without this admixture a simple glue coat has formerly not been found satisfactory, as it dissolves if cleaned with water.

«Durable House Paint.»—I.—New houses should be primed once with pure linseed oil, then painted with a thin paint from white lead and chalk, and thus gradually covered. The last coat is prepared of well-boiled varnish, white lead, and chalk. The chalk has the mission to moderate the saponification of the linseed oil by the white lead. Mixing colors such as ocher and black, which take up plenty of oil, materially assist in producing a durable covering.

II.—Prime with zinc white and let this be succeeded by a coating with zinc chloride in glue water (size). The zinc oxide forms with the zinc chloride an oxy-chloride of great hardness and glossy surface. By admixture of pigments any desired shade may be produced. The zinc coating is indestructible, dries quickly, does not peel, is free from the smell of fresh oil paint, and more than 5 per cent cheaper.

«Ivory Coating for Smooth, Light Wood.»—In order to cover the articles, which may be flat or round, with this coating, they must first be polished quite smooth and clean; then they are coated with thin, hot, white glue. When the coat is thoroughly dry, the glue is rubbed off again with fine glass paper. The mass is prepared as follows: Take 3 pounds (more or less, according to the number of articles) of the purest and best collodion; grind upon a clean grinding stone twice the quantity that can be taken up with the point of a knife of Krems white, with enough good pale linseed oil as is necessary to grind the white smooth and fine. Take a clean bottle, into which one-half of the collodion is poured; to this add the ground white, which can be removed clean from the stone by means of a good spatula and put in the bottle. Add about 100 drops of linseed oil, and shake the mass till it looks like milk.

Now painting with this milky substance may be commenced, using a fine hair pencil of excellent quality. The pencil is not dipped in the large bottle; but a glass is kept at hand with an opening of about 1 inch, so as to be able to immerse the pencil quickly. The substance is not flowing like the alcohol lacquers, for which reason it may be put on thick, for the ether, chiefly constituting the mass, evaporates at once and leaves but a very thin film which becomes noticeable only after about 10 such applications have been made. Shake the bottle well each time before filling the small glass, as the heavy Krems white is very apt to sink to the bottom of the bottle. If it is observed that the substance becomes too thick, which may easily occur on account of the evaporation, a part of the remaining ether is added, to which in turn 30 to 40 drops of oil are added, shaking it till the oil appears to be completely dissolved.

The operator must put on the mass in quick succession and rather thick. After about 10 coats have been applied the work is allowed to rest several hours; then 3 or 4 coats of pure collodion, to which likewise several drops of oil have been added, are given. Another pause of several hours having been allowed to intervene, application of the mass is once more begun.

When it is noticed that a layer of the thickness of paper has formed, the articles, after drying thoroughly, should be softly rubbed off with very fine glass paper, after which they require to be wiped off well with a clean linen rag, so that no dust remains. Then coating is continued till the work seems serviceable.

A few applications of pure collodion should be made, and when this has become perfectly hard, after a few hours, it can be rubbed down with a rag, {501} tripoli, and oil, and polished by hand, like horn or ivory. This work can be done only in a room which is entirely free from dust. The greatest cleanliness must be observed.

«MISCELLANEOUS RECIPES, PAINTS, ETC.:»

«Bathtub Paint.»—Take white keg lead, tint to any desired color and then add, say, 1⁠/⁠8 boiled oil (pure linseed) to 7⁠/⁠8 hard drying durable body varnish. Clean the surface of the tub thoroughly before applying the paint. Benzine or lime wash are good cleaning agents. Coat up until a satisfactorily strong, pure color is reached. This will give good gloss and will also wear durably.

«Coating for Name Plates.»—A durable coating for name plates in nurseries is produced as follows: Take a woolen rag, saturate it with joiners’ polish, lay it into a linen one, and rub the wooden surface with this for some time. Rub down with sandpaper and it can be written on almost like paper. When all is dry, coat with dammar lacquer for better protection. If the wood is to receive a color it is placed in the woolen rag before rubbing down, in this case chrome yellow.

«To Keep Flies from Fresh Paint.»—For the purpose of keeping flies and other insects away from freshly painted surfaces mix a little bay oil (laurel oil) with the oil paint, or place a receptacle containing same in the vicinity of the painted objects. The pungent odor keeps off the flies.

«Heat-Indicating Paint.»—A heat-indicating paint composed of a double iodide of copper and mercury was first discovered years ago by a German physicist. At ordinary temperatures the paint is red, but when heated to 206° F. it turns black. Paper painted with this composition and warmed at a stove exhibits the change in a few seconds. A yellow double iodide of silver and mercury is even more sensitive to heat, changing from yellow to dark red.

«To Keep Liquid Paint in Workable Condition.»—To prevent liquid paint which, for convenience sake, is kept in small quantities and flat receptacles, from evaporating and drying, give the vessels such a shape that they can be placed one on top of the other without danger of falling over, and provide the under side with a porous mass—felt or very porous clay, etc.—which, if moistened, will retain the water for a long time. Thus, in placing the dishes one on top of the other, a moist atmosphere is created around them, which will inhibit evaporation and drying of the paint. A similar idea consists in producing covers with a tight outside and porous inside, for the purpose of covering up, during intermission in the work, clay models and like objects which it is desired to keep soft. In order to avoid the formation of fungous growth on the constantly wet bottom, it may be saturated with non-volatile disinfectants, or with volatile ones if their vapors are calculated to act upon the objects kept underneath the cover. If the cover is used to cover up oil paints, it is moistened on the inside with volatile oil, such as oil of turpentine, oil of lavender, or with alcohol.

«Peeling of Paints.»—For the prevention of peeling of new coatings on old oil paintings or lakes, the latter should be rubbed with roughly ground pumice stone, wet by means of felt rags, and to the first new coat there should be added fine spirit in the proportion of about 1⁠/⁠10 of the thinning necessary for stirring (turpentine, oil, etc.). This paint dries well and has given good results, even in the most difficult cases. The subsequent coatings are put on with the customary paint. Fat oil glazes for graining are likewise mixed with spirit, whereby the cracking of the varnish coating is usually entirely obviated.

«Polychroming of Figures.»—This paint consists of white wax, 1 part, and powdered mastic, 1 part, melted together upon the water bath and mixed with rectified turpentine. The colors to be used are first ground stiffly in turpentine on the grinding slab, and worked into consistency with the above solution.

«Priming Coat for Water Spots.»—A very simple way to remove rain spots, or such caused by water soaking through ceilings, has been employed with good results. Take unslaked white lime, dilute with alcohol, and paint the spots with it. When the spots are dry—which ensues quickly, as the alcohol evaporates and the lime forms a sort of insulating layer—one can proceed painting with size color, and the spots will not show through again.

PAINT FOR PROTECTING CEMENT AGAINST ACID: See Acid-Proofing.

PAINT, GREASE: See Cosmetics. {502}

PAINT REMOVERS: See Cleaning Compounds.

PALLADIUM ALLOYS: See Alloys.

PALLADIUMIZING: See Plating.

«PALMS, THEIR CARE.»

Instead of washing the leaves of palms with water, many florists employ a mixture of milk and water, the object being to prevent the formation of disfiguring brown stains.

«Paper»

«Paper Pads» (see also Adhesives, under Glue).

I.—Glue 3 1⁠/⁠2 ounces Glycerine 8 ounces Water, a sufficient quantity.

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.

II.—Glue 6 ounces Alum 30 grains Acetic acid 1⁠/⁠2 ounce Alcohol 1 1⁠/⁠2 ounces Water 6 1⁠/⁠2 ounces

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

«Papier Maché.»—The following are the ingredients necessary to make a lump of papier maché a little larger than an ordinary baseball and weighing 17 ounces:

Wet paper pulp, dry paper, 1 ounce; water, 3 ounces; 4 ounces (avoirdupois); dry plaster Paris, 8 ounces (avoirdupois); hot glue, 1⁠/⁠2 gill, or 4 1⁠/⁠2 tablespoonfuls.

While the paper pulp is being prepared, melt some best Irish glue in the glue pot and make it of the same thickness and general consistency as that used by cabinet makers. On taking the paper pulp from the water squeeze it gently, but do not try to dry it. Put in a bowl, add about 3 tablespoonfuls of the hot glue, and stir the mass up into a soft and very sticky paste. Add the plaster of Paris and mix thoroughly. By the time about 3 ounces of the plaster have been used, the mass is so dry and thick that it can hardly be worked. Add the remainder of the glue, work it up again until it becomes sticky once more, and then add the remainder of the plaster. Squeeze it vigorously through the fingers to thoroughly mix the mass, and work it until free from lumps, finely kneaded and sticky enough to adhere to the surface of a planed board. If it is too dry to stick fast add a few drops of either glue or water, and work it up again. When the paper pulp is poor and the maché is inclined to be lumpy, lay the mass upon a smooth board, take a hammer and pound it hard to grind it up fine.

If the papier maché is not sticky enough to adhere firmly to whatever it is rubbed upon, it is a failure, and requires more glue. In using it the mass should be kept in a lump and used as soon as possible after making. Keep the surface of the lump moist by means of a wet cloth laid over it, for if you do not, the surface will dry rapidly. If it is to be kept overnight, or longer, wrap it up in several thicknesses of wet cotton cloth, and put under an inverted bowl. If it is desired to keep a lump for a week, to use daily, add a few drops of glycerine when making, so that it will dry more slowly.

The papier maché made according to this formula has the following qualities: When tested by rubbing between the thumb and finger, it was sticky and covered the thumb with a fine coating. (Had it left the thumb clean, it would have been because it contained too much water.) When rubbed upon a pane of glass it sticks tightly and dries hard in 3 hours without cracking, and can only be removed with a knife. When spread in a layer as thin as writing paper it dries in half an hour. A mass actually used dried hard enough to coat with wax in 18 hours, and, without cracking, became as hard as wood; yet a similar quantity wrapped in a wet cloth and placed under an inverted bowl kept soft and fit for use for an entire week.

«Parchment Paper.»—I.—Dip white unsized paper for half a minute in strong sulphuric acid, specific gravity, 1.842, and afterwards in water containing a little ammonia.

II.—Plunge unsized paper for a few seconds into sulphuric acid diluted with half to a quarter its bulk of water (this solution being of the same temperature as the air), and afterwards wash with weak ammonia.

«Razor Paper.»—I.—Smooth unsized paper, one of the surfaces of which, while in a slightly damp state, has been rubbed over with a mixture of calcined peroxide of iron and emery, both in impalpable powder. It is cut up into {503} pieces (about 5 x 3 inches), and sold in packets. Used to wipe the razor on, which thus does not require stropping.

II.—From emery and quartz (both in impalpable powder), and paper pulp (estimated in the dry state), equal parts, made into sheets of the thickness of drawing paper, by the ordinary process. For use, a piece is pasted on the strop and moistened with a little oil.

«Safety Paper.»—White paper pulp mixed with an equal quantity of pulp tinged with any stain easily affected by chlorine, acids, alkalies, etc., and made into sheets as usual, serves as a safety paper on which to write checks or the like. Any attempt to wash out the writing affects the whole surface, showing plainly that it has been tampered with.

«Tracing Paper.»—Open a quire of smooth, unsized white paper, and place it flat upon a table. Apply, with a clean sash tool to the upper surface of the first sheet, a coat of varnish made of equal parts of Canada balsam and oil of turpentine, and hang the prepared sheet across the line to dry; repeat the operation on fresh sheets until the proper quantity is finished. If not sufficiently transparent, a second coat of varnish may be applied as soon as the first has become quite dry.

«Strengthened Filter Paper.»—When ordinary filter paper is dipped into nitric acid (specific gravity, 1.42), thoroughly washed and dried, it becomes a tissue of remarkable properties, and one that deserves to be better known by chemists and pharmacists. It shrinks somewhat in size and in weight, and gives, on burning, a diminished ash. It yields no nitrogen, nor does it in the slightest manner affect liquids. It remains perfectly pervious to liquids, its filtering properties being in no wise affected, which, it is needless to say, is very different from the behavior of the same paper “parchmented” by sulphuric acid. It is as supple as a rag, yet may be very roughly handled, even when wet, without tearing or giving way. These qualities make it very valuable for use in filtration under pressure or exhaust. It fits closely to the funnel, upon which it may be used direct, without any supports, and it thus prevents undue access of air. As to strength, it is increased upward of 10 times. A strip of ordinary white Swedish paper, 1⁠/⁠5 of an inch wide, will sustain a load of from 1⁠/⁠2 to 3⁠/⁠4 of a pound avoirdupois, according to the quality of the paper. A similar strip of the toughened paper broke, in 3 trials, with 5 pounds, 7 ounces, and 3 drachms; 5 pounds, 4 ounces, and 36 grains; and 5 pounds, 10 ounces respectively. These are facts that deserve to be better known than they seem to be to the profession at large.

«Blotting Paper.»—A new blotting paper which will completely remove wet as well as dry ink spots, after moistening the paper with water, is produced as follows: Dissolve 100 parts of oxalic acid in 400 parts of alcohol, and immerse porous white paper in this solution until it is completely saturated. Next hang the sheets up separately to dry over threads. Such paper affords great advantages, but in its characteristic application is serviceable for ferric inks only, while aniline ink spots cannot be removed with it, after drying.

«Carbon Paper.»—Many copying papers act by virtue of a detachable pigment, which, when the pigmented paper is placed between two sheets of white paper, and when the uppermost paper is written on, transfers its pigment to the lower white sheet along lines which correspond to those traced on the upper paper, and therefore gives an exact copy of them on the lower paper.

The pigments used are fine soot or ivory black, indigo carmine, ultramarine, and Paris blue, or mixtures of them. The pigment is intimately mixed with grain soap, and then rubbed on to thin but strong paper with a stiff brush. Fatty oils, such as linseed or castor oil, may be used, but the grain soap is preferable. Graphite is frequently used for black copying paper. It is rubbed into the paper with a cotton pad until a uniform light-gray color results. All superfluous graphite is then carefully brushed off.

It is sometimes desired to make a copying paper which will produce at the same time a positive copy, which is not required to be reproduced, and a negative or reversed copy from which a number of direct copies can be taken. Such paper is covered on one side with a manifolding composition, and on the other with a simple copying composition, and is used between 2 sheets of paper with the manifolding side undermost.

The manifolding composition is made by mixing 5 ounces of printers’ ink with 40 of spirits of turpentine, and then mixing it with a fused mixture of 40 ounces of tallow and 5 ounces of stearine. When the mass is homogeneous, 30 ounces of the finest powdered protoxide of iron, first mixed with 15 ounces of pyrogallic {504} acid and 5 ounces of gallic acid, are stirred in till a perfect mixture is obtained. This mass will give at least 50 copies on damp paper in the ordinary way. The copying composition for the other side of the prepared paper consists of the following ingredients:

Printers’ ink 5 parts Spirits of turpentine 40 parts Fused tallow 30 parts Fused wax 3 parts Fused rosin 2 parts Soot 20 parts

It goes without saying that rollers or stones or other hard materials may be used for the purpose under consideration as well as paper. The manifolding mass may be made blue with indigotin, red with magenta, or violet with methyl violet, adding 30 ounces of the chosen dye to the above quantities of pigment. If, however, they are used, the oxide of iron and gallic acids must be replaced by 20 ounces of carbonate of magnesia.

«Celloidin Paper.»—Ordinary polished celluloid and celloidin paper are difficult to write upon with pen and ink. If, however, the face is rubbed over with a chalk crayon, and the dust wiped off with a clean rag, writing becomes easy.

«Cloth Paper.»—This is prepared by covering gauze, calico, canvas, etc., with a surface of paper pulp in a Foudrinier machine, and then finishing the compound sheet in a nearly similar manner to that adopted for ordinary paper.

«Drawing Paper.»—The blue drawing paper of commerce, which is frequently employed for technical drawings, is not very durable. For the production of a serviceable and strong drawing paper, the following process is recommended. Mix a solution of

Gum arabic 2 parts Ammonia iron citrate 3 parts Tartaric acid 2 parts Distilled water 20 parts

After still adding 4 parts of solution of ammonia with a solution of

Potassium ferricyanide 2.5 parts Distilled water 10.0 parts

allow the mixture to stand in the dark half an hour. Apply the preparation on the paper by means of a soft brush, in artificial light, and dry in the dark. Next, expose the paper to light until it appears dark violet, place in water for 10 seconds, air a short time, wash with water, and finally dip in a solution of

Eau de javelle 50 parts Distilled water 1,000 parts

until it turns dark blue.

«Filter Paper.»—This process consists in dipping the paper in nitric acid of 1.433 specific gravity, subsequently washing it well and drying it. The paper thereby acquires advantageous qualities. It shrinks a little and loses in weight, while on burning only a small quantity of ash remains. It possesses no traces of nitrogen and does not in any way attack the liquid to be filtered. Withal, this paper remains perfectly pervious for the most varying liquids, and its filtering capacity is in no wise impaired. It is difficult to tear, and still elastic and flexible like linen. It clings completely to the funnel. In general it may be said that the strength of the filtering paper thus treated increases 100 per cent.

«Fireproof Papers.»—I.—Ammonium sulphate, 8 parts, by weight; boracic acid, 3 parts; borax, 2 parts; water, 100 parts. The temperature should be about 122° F.

II.—For paper, either printed or unprinted, bills of exchange, deeds, books, etc., the following solution is recommended: Ammonium sulphate, 8 parts; boracic acid, 3 parts; sodium borate, 1.7 parts; water, 10,000 parts. The solution is heated to 122° F., and may be used when the paper is manufactured. As soon as the paper leaves the machine it is passed through this solution, then rolled over a warm cylinder and dried. If printed or in sheets, it is simply immersed in the solution, at a temperature of 122° F., and spread out to dry, finally pressed to restore the luster.

«Hydrographic Paper.»—This is paper which may be written on with simple water or with some colorless liquid having the appearance of water.

I.—A mixture of nut galls, 4 parts, and calcined sulphate of iron, 1 part (both perfectly dry and reduced to very fine powder), is rubbed over the surface of the paper, and is then forced into its pores by powerful pressure, after which the loose portion is brushed off. The writing shows black when a pen dipped in water is used.

II.—A mixture of persulphate of iron and ferrocyanide of potassium may be employed as in formula I. This writes blue.

«Iridescent Paper.»—Sal ammoniac and sulphate of indigo, of each 1 part; sulphate of iron, 5 parts; nut galls, 8 parts; gum arabic, 1⁠/⁠8 part. Boil them in water, and expose the paper washed with the liquid to (the fumes of) ammonia. {505}

«Lithographic Paper.»—I.—Starch, 6 ounces; gum arabic, 2 ounces; alum, 1 ounce. Make a strong solution of each separately, in hot water, mix, strain through gauze, and apply it while still warm to one side of leaves of paper, with a clean painting brush or sponge; a second and a third coat must be given as the preceding one becomes dry. The paper must be, lastly, pressed, to make it smooth.

II.—Give the paper 3 coats of thin size, 1 coat of good white starch, and 1 coat of a solution of gamboge in water, the whole to be applied cold, with a sponge, and each coat to be allowed to dry before the other is applied. The solutions should be freshly made.

Lithographic paper is written on with lithographic ink. The writing is transferred simply by moistening the back of the paper, placing it evenly on the stone, and then applying pressure. A reversed copy is obtained, which, when printed from, yields corrected copies resembling the original writing or drawing. In this way the necessity of executing the writing or drawing in a reversed direction is obviated.

«MARBLING PAPER FOR BOOKS.»

Provide a wooden trough 2 inches deep and the length and width of any desired sheet; boil in a brass or copper pan a quantity of linseed and water until a thick mucilage is formed; strain it into a trough, and let cool; then grind on a marble slab any of the following colors in small beer:

For Blue.—Prussian blue or indigo.

Red.—Rose pink, vermilion, or drop lake.

Yellow.—King’s yellow, yellow ocher, etc.

White.—Flake white.

Black.—Burnt ivory or lampblack.

Brown.—Umber, burnt; terra di sienna, burnt.

Black mixed with yellow or red also makes brown.

Green.—Blue and yellow mixed.

Orange.—Red and yellow mixed.

Purple.—Red and blue mixed.

For each color have two cups, one for the color after grinding, the other to mix it with ox gall, which must be used to thin the colors at discretion. If too much gall is used, the colors will spread. When they keep their place on the surface of the trough, when moved with a quill, they are fit for use. All things in readiness, the colors are successively sprinkled on the surface of the mucilage in the trough with a brush, and are waved or drawn about with a quill or a stick, according to taste. When the design is just formed, the book, tied tightly between cutting boards of the same size, is lightly pressed with its edge on the surface of the liquid pattern, and then withdrawn and dried. The covers may be marbled in the same way, only letting the liquid colors run over them. In marbling paper the sides of the paper are gently applied to the colors in the trough. The film of color in the trough may be as thin as possible, and if any remains after the marbling it may be taken off by applying paper to it before you prepare for marbling again. To diversify the effects, colors are often mixed with a little sweet oil before sprinkling them on, by which means a light halo or circle appears around each spot.

«WATERPROOF PAPERS.»

I.—Wall papers may be easily rendered washable, either before or after they are hung, by preparing them in the following manner: Dissolve 2 parts of borax and 2 parts of shellac in 24 parts of water, and strain through a fine cloth. With a brush or a sponge apply this to the surface of the paper, and when it is dry, polish it to a nigh gloss with a soft brush. Thus treated the paper may be washed without fear of removing the colors or even smearing or blurring them.

II.—This is recommended for drawing paper. Any kind of paper is lightly primed with glue or a suitable binder, to which a finely powdered inorganic body, such as zinc white, chalk, lime, or heavy spar, as well as the desired coloring matter for the paper, are added. Next the paper thus treated is coated with soluble glass—silicate of potash or of soda—to which small amounts of magnesia have been admixed, or else it is dipped into this mixture, and dried for about 10 days in a temperature of 77° F. Paper thus prepared can be written or drawn upon with lead pencil, chalk, colored crayons, charcoal, India ink, and lithographic crayon, and the writing or drawing may be washed off 20 or more times, entirely or partly, without changing the paper materially. It offers the convenience that anything may be readily and quickly removed with a moist sponge and immediately corrected, since the washed places can be worked on again at once.

«Wax Paper.»—I.—Place cartridge paper or strong writing paper, on a hot iron {506} plate, and rub it well with a lump of beeswax. Used to form extemporaneous steam or gas pipes, to cover the joints of vessels, and to tie over pots, etc.

II.—For the production of waxed or ceresine paper, saturate ordinary paper with equal parts of stearine and tallow or ceresine. If it is desired to apply a business stamp on the paper before saturation and after stamping, it should be dried well for 24 hours, so as to prevent the aniline color from spreading.

«Wrapping Paper for Silverware.»—Make a solution of 6 parts of sodium hydrate in sufficient water to make it show about 20° B. (specific gravity, 1.60). To it add 4 parts zinc oxide, and boil together until the latter is dissolved. Now add sufficient water to reduce the specific gravity of the solution to 1.075 (10° B.). The bath is now ready for use. Dip each sheet separately, and hang on threads stretched across the room, to dry. Be on your guard against dust, as particles of sand adhering to the paper will scratch the ware wrapped in it. Ware, either plated or silver, wrapped in this paper, will not blacken.

«Varnished Paper.»—Before proceeding to varnish paper, card-work, pasteboard, etc., it is necessary to give it 2 or 3 coats of size, to prevent the absorption of the varnish, and any injury to the color or design. The size may be made by dissolving a little isinglass in boiling water, or by boiling some clean parchment cuttings until they form a clear solution. This, after being strained through a piece of clean muslin, or, for very nice purposes, clarified with a little white of egg, is applied by means of a small clean brush called by painters a sash tool. A light, delicate touch must be adopted, especially for the first coat, lest the ink or colors be started or smothered. When the prepared surface is quite dry it may be varnished.

«Impregnation of Papers with Zapon Varnish.»—For the protection of important papers against the destructive influences of the atmosphere, of water fungi, and light, but especially against the consequences of the process of molding, a process has been introduced under the name of zapon impregnation.

The zaponizing may be carried out by dipping the papers in zapon or by coating them with it by means of a brush or pencil. Sometimes the purpose may also be reached by dripping or sprinkling it on, but in the majority of cases a painting of the sheets will be the simplest method.

Zapon in a liquid state is highly inflammable, for which reason during the application until the evaporation of the solvent, open flames and fires should be kept away from the vicinity. When the drying is finished, which usually takes a few hours where both sides are coated, the zaponized paper does not so easily ignite at an open flame any more or at least not more readily than non-impregnated paper. For coating with and especially for dipping in zapon, a contrivance which effects a convenient suspension and dripping off with collection of the excess is of advantage.

The zapon should be thinned according to the material to be treated. Feebly sized papers are coated with ordinary, i. e., undiluted zapon. For dipping purposes, the zapon should be mixed with a diluent, if the paper is hard and well sized. The weaker the sizing, the more careful should be the selection of the zapon.

Zapon to be used for coating purposes should be particularly thick, so that it can be thinned as desired. Unsized papers require an undiluted coating.

The thick variety also furnishes an excellent adhesive agent as cement for wood, glass, porcelain, and metals which is insoluble in cold and hot water, and binds very firmly. Metallic surfaces coated with zapon do not oxidize or alter their appearance, since the coating is like glass and only forms a very thin but firmly adhering film, which, if applied on pliable sheet metal, does not crack on bending.

For the preparation of zapon the following directions are given: Pour 20 parts of acetone over 2 parts of colorless celluloid waste—obtainable at the celluloid factories—and let stand several days in a closed vessel, shaking frequently, until the whole has dissolved into a clear, thick mass. Next admix 78 parts of amyl acetate and completely clarify the zapon varnish by allowing to settle forweeks.

«Slate Parchment.»—Soak good paper with linseed-oil varnish (boiled oil) and apply the following mass, mentioned below, several times in succession: Copal varnish, 1 part, by weight; turpentine oil, 2 parts; finest sprinkling sand, 1 part; powdered glass, 1 part; ground slate as used for slates, 2 parts; and lampblack, 1 part, intimately mixed together, and repeatedly ground very fine. After drying and hardening, the plates can be written upon with lead or slate pencils.

«Paper Floor Covering.»—The floor is carefully cleaned, and all holes and {507} cracks are filled up with a mass which is prepared by saturating newspapers with a paste that is made by mixing thoroughly 17 5⁠/⁠8 ounces wheat flour, 3.17 quarts water, and 1 spoonful of pulverized alum. The floor is coated with this paste throughout, and covered with a layer of manilla paper, or other strong hemp paper. If something very durable is desired, paint the paper layer with the same paste and put on another layer of paper, leaving it to dry thoroughly. Then apply another coat of paste, and upon this place wall paper of any desired kind. In order to protect the wall paper from wear, give it 2 or more coats of a solution of 8 4⁠/⁠5 ounces white glue in 2.11 quarts hot water, allow them to dry, and finish the job with a coating of hard oil varnish.

«METALLIC PAPER.»

This paper, made by transferring, pasting, or painting a coating of metal on ordinary paper, retains a comparatively dull and dead appearance even after glazing or polishing with the burnisher or agate. Galvanized or electroplated metal paper, on the other hand, in which the metal has penetrated into the most minute pores of the paper, possesses an extraordinarily brilliant polish, fully equal to that of a piece of compact polished metal. It is much more extensively used than the kind first mentioned.

The following solutions are recommended for making “galvanized” metal paper:

I.—For silver paper: Twenty parts argento-cyanide of potassium; 13 parts cyanide of potassium; 980 parts water.

II.—For gold paper: Four parts auro-cyanide of potassium; 9 parts cyanide of potassium; 900 parts water.

Moth Paper.—

Naphthalene 4 ounces Paraffine wax 8 ounces

Melt together and while warm paint unsized paper and pack away with the goods.

«Lead Paper.»—Lay rough drawing paper (such as contains starch) on an 8 per cent potassium iodide solution. After a moment take it out and dry. Next, in a dark room, float the paper face downward on an 8 per cent lead nitrate solution. This sensitizes the paper. Dry again. The paper is now ready for printing. This process should be carried on till all the detail is out in a grayish color. Then develop in a 10 per cent ammonium chloride solution. The tones obtained are of a fine blue black.

«Aluminum Paper.»—Aluminum paper is not leaf aluminum, but real paper glazed with aluminum powder. It is said to keep food materials fresh. The basic material is artificial parchment, coated with a solution of rosin in alcohol or ether. After drying, the paper is warmed until the rosin has again softened to a slight degree. The aluminum powder is dusted on and the paper then placed under heavy pressure to force the powder firmly into it. The metallic coating thus formed is not affected by air or greasy substances.

PAPER (ANTI-RUST) FOR NEEDLES: See Rust Preventives.

PAPER CEMENTS: See Adhesives.

PAPER DISINFECTANT: See Disinfectants.

PAPER, FIREPROOF: See Fireproofing.

PAPER, FROSTED: See Glass (Frosted).

PAPER ON GLASS, TO AFFIX: See Adhesives, under Water-Glass Cements.

PAPERS, IGNITING: See Pyrotechnics.

PAPER ON METALLIC SURFACES, PASTING: See Adhesives.

PAPER AS PROTECTION FOR IRON AND STEEL: See Rust Preventives.

PAPERHANGERS’ PASTES: See Adhesives.

PAPER, PHOTOGRAPHIC: See Photography.

PAPER VARNISHES: See Varnishes.

PAPER WATERPROOFING: See Waterproofing.

PAPIER MACHÉ: See Paper.

«PARAFFINE:»

«Rendering Paraffine Transparent.»—A process for rendering paraffine and its mixtures with other bodies (ceresine, etc.) used in the manufacture of transparent candles consists essentially in adding a {508} naphthol, particularly beta-naphthol, to the material which is used for the manufacture of the candles, tapers, etc. The quantity added varies according to the material and the desired effect. One suitable mixture is made by heating 100 parts of paraffine and 2 parts of beta-naphthol at 175° to 195° F. The material can be colored in the ordinary way.

«Removal of Dirt from Paraffine.»—Filtration through felt will usually remove particles of foreign matter from paraffine. It may be necessary to use a layer of fine sand or of infusorial earth. If discolored by any soluble matter, try freshly heated animal charcoal. To keep the paraffine fluid, if a large quantity is to be handled, a jacketed funnel will be required, either steam or hot water being kept in circulation in the jacket.

«Paraffine Scented Cakes.»

Paraffine, 1 ounce; white petrolatum, 2 ounces; heliotropin, 10 grains; oil of bergamot, 5 drops; oil of lavender, 5 drops; oil of cloves, 2 drops. Melt the first two substances, then add the next, the oils last, and stir all until cool. After settling cut into blocks and wrap in tin foil. This is a disseminator of perfume. It perfumes where it is rubbed. It kills moths and perfumes the wardrobe. It is used by rubbing on cloth, clothes, and the handkerchief.

PARCHMENT AND PARCHMENT PAPER: See Paper.

PARCHMENT CEMENT: See Adhesives.

PARCHMENT PASTE: See Adhesives.

PARFAITS: See Ice Creams.

PARFAIT D’AMOUR CORDIAL: See Wines and Liquors.

PARIS GREEN: See Pigments.

PARIS RED: See Polishes.

PARIS SALTS: See Disinfectants.

PARISIAN CEMENT: See Adhesives.

«PASSE-PARTOUT FRAMING.»

It is hardly correct to call the passe-partout a frame, as it is merely a binding together of the print, the glass, and the backing with a narrow edge of paper. This simple arrangement lends to the picture when complete a much greater finish and a more important appearance than might be anticipated.

In regard to the making of a passe-partout frame, the first thing is to decide as to the width of the mount or matt to be used. In some cases, of course, the print is framed with no mount being visible; but, unless the picture is of large size, it will usually be found more becoming to have one, especially should the wall paper be of an obtrusive design. When the print and mount are both neatly trimmed to the desired size, procure a piece of clear white picture glass—most amateur framers will have discovered that there is a variance in the quality of this—and a piece of stout cardboard, both of exactly the same dimensions as the picture. Next prepare or buy the paper to be used for binding the edges together. This may now be bought at most all stationery stores in a great variety of colors. If it is prepared at home a greater choice of colors is available, and it is by no means a difficult task with care and sharp scissors. The tint should be chosen to harmonize with the print and the mount, taking also into consideration the probable surroundings—brown for photographs of brown tone, dark gray for black, pale gray for lighter tones; dark green is also a good color. All stationers keep colored papers suitable for the purpose, while plain wall papers or thin brown paper answers equally well.

Cut the paper, ruling it carefully, into even strips an inch wide, and then into four pieces, two of them the exact length of the top and bottom of the frame, and the other two half an inch longer than the two sides. Make sure that the print is evenly sandwiched between the glass and the back. Cut some tiny strips of thin court-plaster, and with these bind the corners tightly together. Brush over the two larger pieces of paper with mountant, and with them bind tightly together the three thicknesses—print, glass, and cardboard—allowing the paper to project over about a third of an inch on the face side, and the ends which were left a little longer must be neatly turned over and stuck at the back. Then, in the same manner, bind the top and bottom edges together, mitering the corners neatly.

It should not be forgotten, before binding the edges together, to make two slits in the cardboard back for the {509} purpose of inserting little brass hangers, having flat ends like paper fasteners, which may be bought for the purpose; or, where these are not available, two narrow loops of tape may be used instead, sticking the ends firmly on the inside of the cardboard by means of a little strong glue.

These are the few manipulations necessary for the making of a simple passe-partout frame, but there are numberless variations of the idea, and a great deal of variety may be obtained by means of using different mounts. Brown paper answers admirably as a mount for some subjects, using strips of paper of a darker shade as binding. A not too obtrusive design in pen and ink is occasionally drawn on the mount, while a more ambitious scheme is to use paint and brushes in the same way. An ingenious idea which suits some subjects is to use a piece of hand-blocked wall paper as a mount.

PARQUET POLISH: See Polishes.

«PASTES:»

See Adhesives for Adhesive Purposes.

«Pastes, Razor.»—I.—From jewelers’ rouge, plumbago, and suet, equal parts, melted together and stirred until cold.

II.—From prepared putty powder (levigated oxide of tin), 3 parts; lard, 2 parts; crocus martis, 1 part; triturated together.

III.—Prepared putty powder, 1 ounce; powdered oxalic acid, 1⁠/⁠4 ounce; powdered gum, 20 grains; make a stiff paste with water, quantity sufficient, and evenly and thinly spread it over the strop, the other side of which should be covered with any of the common greasy mixtures. With very little friction this paste gives a fine edge to the razor, and its action is still further increased by slightly moistening it, or even breathing on it. Immediately after its use, the razor should receive a few turns on the other side of the strop.

PASTE FOR PAPER: See Paper.

PASTES FOR POLISHING METALS: See Soaps.

PASTEBOARD CEMENT: See Adhesives.

PASTEBOARD DEODORIZERS: See Household Formulas.

PASTILLES, FUMIGATING: See Fumigants.

PATINAS: See Bronzing and Plating.

PATENT LEATHER: See Leather.

PEACH EXTRACT: See Essences and Extracts.

PEARLS, TO CLEAN: See Cleaning Preparations and Methods.

«PEGAMOID.»

Camphor, 100 parts; mastic, 100 parts; bleached shellac, 50 parts; gun cotton, 200 parts; acetone, 200 parts; acetic ether, 100 parts; ethylic ether, 50 parts.

PEN METAL: See Alloys.

PENCILS, ANTISEPTIC: See Antiseptics.

PENCILS FOR MARKING GLASS: See Etching, Frosted Glass, and Glass.

PENS, GOLD: See Gold.

PEONY ROOTS, THEIR PRESERVATION: See Roots.

«PERCENTAGE SOLUTION.»

Multiply the percentage by 5; the product is the number of grains to be added to an ounce of water to make a solution of the desired percentage. This is correct for anything less than 15 per cent.

«Perfumes»

«DRY PERFUMES:»

«Sachet Powders.»—

I.—Orris root 6 ounces Lavender flowers 2 ounces Talcum 4 drachms Musk 20 grains Terpinol 60 grains

II.—Orange peel 2 ounces Orris root 1 ounce Sandalwood 4 drachms Tonka 2 drachms Musk 6 grains

{510}

«Lavender Sachets.»—

I.—Lavender flowers 16 ounces Gum benzoin 4 ounces Oil lavender 2 drachms

II.—Lavender flowers, 150 parts; orris root, 150 parts; benzoin, 150 parts; Tonka beans, 150 parts; cloves, 100 parts; “Neugenwerz,” 50 parts; sandalwood, 50 parts; cinnamon, 50 parts; vanilla, 50 parts; and musk, 1⁠/⁠2 part. All is bruised finely and mixed.

«Violet Sachet.»—

Powdered orris root 500 parts Rice flour 250 parts Essence bouquet 10 parts Spring flowers extract 10 parts Violet extract 20 parts Oil of bergamot 4 parts Oil of rose 2 parts

«Borated Talcum.»—

I.—Purified talcum, N. F. 2 pounds Powdered boric acid 1 ounce

To perfume add the following:

Powdered orris root 1 1⁠/⁠2 ounces Extract jasmine 2 drachms Extract musk 1 drachm

II.—A powder sometimes dispensed under this name is the salicylated powder of talcum of the National Formulary, which contains in every 1,000 parts 30 parts of salicylic acid and 100 parts of boric acid.

«Rose.»—

I.—Cornstarch 9 pounds Powdered talc 1 pound Oil of rose 80 drops Extract musk 2 drachms Extract jasmine 6 drachms

II.—Potato starch 9 pounds Powdered talc 1 pound Oil rose 45 drops Extract jasmine 1⁠/⁠2 ounce

«Rose Talc.»—

I.—Powdered talc 5 pounds Oil rose 50 drops Oil wintergreen 4 drops Extract jasmine 2 ounces

II.—Powdered talc 5 pounds Oil rose 32 drops Oil jasmine 4 ounces Extract musk 1 ounce

«Violet Talc.»—

I.—Powdered talc 14 ounces Powdered orris root 2 ounces Extract cassie 1⁠/⁠2 ounce Extract jasmine 1⁠/⁠4 ounce Extract musk 1 drachm

II.—Starch 5,000 parts Orris root 1,000 parts Oil of lemon 14 parts Oil of bergamot 14 parts Oil of clove 4 parts

«Smelling Salts.»—I.—Fill small glasses having ground stopper with pieces of sponge free from sand and saturate with a mixture of spirit of sal ammoniac (0.910), 9 parts, and oil of lavender, 1 part. Or else fill the bottles with small dice of ammonium sesquicarbonate and pour the above mixture over them.

II.—Essential oil of lavender 18 parts Attar of rose 2 parts Ammonium carbonate 480 parts

«Violet Smelling Salts.»—I.—Moisten coarsely powdered ammonia 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.—Moisten the carbonate, and add 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.

«To Scent Advertising Matter, etc.»—The simplest way of perfuming printed matter, such as calendars, cards, etc., is to stick them in strongly odorous sachet powder. Although the effect of a strong perfume is obtained thereby, there is a large loss of powder, which clings to the printed matter. Again, there are often little spots which are due to the essential oils added to the powder.

Another way of perfuming, which is used especially in France for scenting cards and other articles, is to dip them in very strong “extraits d’odeur,” leaving them therein for a few days. Then the cards are taken out and laid between filtering paper, whereupon they are pressed vigorously, which causes them not only to dry, but also to remain straight. They remain under strong pressure until completely dry.

Not all cardboard, however, can be subjected to this process, and in its choice one should consider the perfuming operation to be conducted. Nor can the cards be glazed, since spirit dissolves the glaze. It is also preferable to have lithographed text on them, since in the case of ordinary printing the letters often partly disappear or the colors are changed. {511}

For pocket calendars, price lists, and voluminous matter containing more leaves than one, another process is recommended. In a tight closet, which should be lined with tin, so that little air can enter, tables composed of laths are placed on which nets stretched on frames are laid. Cover these nets with tissue paper, and proceed as follows: On the bottom of the closet sprinkle a strongly odorous and reperfumed powder; then cover one net with the printed matter to be perfumed and shove it to the closet on the lath. The next net again receives powder, the following one printed matter, and so on until the closet is filled. After tightly closing the doors, the whole arrangement is left to itself. This process presents another advantage in that all sorts of residues may be employed for scenting, such as the filters of the odors and infusions, residues of musk, etc. These are simply laid on the nets, and will thus impart their perfume to the printed matter.

Such a scenting powder is produced as follows:

By weight

Iris powder, finely ground 5,000 parts Residues of musk 1,000 parts Ylang-ylang oil 10 parts Bergamot oil 50 parts Artificial musk 2 parts Ionone 2 to 5 parts Tincture of benzoin 100 parts

The powder may subsequently be employed for filling cheap sachets, etc.

«LIQUID PERFUMES:»

«Coloring Perfumes.»—Chlorophyll is a suitable agent for coloring liquid perfumes green. Care must be taken to procure an article freely soluble in the menstruum. As found in the market it is prepared (in form of solutions) for use in liquids strongly alcoholic; in water or weak alcohol; and in oils. Aniline greens of various kinds will answer the same purpose, but in a trial of any one of these it must be noted that very small quantities should be used, as their tinctorial power is so great that liquids in which they are incautiously used may stain the handkerchief.

Color imparted by chlorophyll will be found fairly permanent; this term is a relative one, and not too much must be expected. Colors which may suffer but little change by long exposure to diffused light may fade perceptibly by short exposure to the direct light of the sun.

Chlorophyll may be purchased or it may be prepared as follows: Digest leaves of grass, nettles, spinach, or other green herb in warm water until soft; pour off the water and crush the herb to a pulp. Boil the pulp for a short time with a half per cent solution of caustic soda, and afterwards precipitate the chlorophyll by means of dilute hydrochloric acid; wash the precipitate thoroughly with water, press and dry it, and use as much for the solution as may be necessary. Or a tincture made from grass as follows may be employed:

Lawn grass, cut fine 2 ounces Alcohol 16 ounces

Put the grass in a wide-mouthed bottle, and pour the alcohol upon it. After standing a few days, agitating occasionally, pour off the liquid. The tincture may be used with both alcoholic and aqueous preparations.

Among the anilines, spirit soluble malachite green has been recommended.

A purple or violet tint may be produced by using tincture of litmus or ammoniated cochineal coloring. The former is made as follows:

Litmus 2 1⁠/⁠2 ounces Boiling water 16 ounces Alcohol 3 ounces

Pour the water upon the litmus, stir well, allow to stand for about an hour, stirring occasionally, filter, and to the filtrate add the alcohol.

The aniline colors “Paris violet” or methyl violet B may be similarly employed. The amount necessary to produce a desired tint must be worked out by experiment. Yellow tints may best be imparted by the use of tincture of turmeric or saffron, fustic, quercitron, etc.

If a perfumed spirit, as, for instance, a mouth wash, is poured into a wineglassful of water, the oils will separate at once and spread over the surface of the water. This liquid being allowed to stand uncovered, one oil after another will evaporate, according to the degree of its volatility, until at last the least volatile remains behind.

This process sometimes requires weeks, and in order to be able to watch the separate phases of this evaporation correctly, it is necessary to use several glasses and to conduct the mixtures at certain intervals. The glasses must be numbered according to the day when set up, so that they may be readily identified.

If we assume, for example, that a mouth wash is to be examined, we may probably prepare every day for one week a mixture of about 100 grams of water and 10 drops of the respective liquid. Hence, after a lapse of 7 days {512} we will have before us 7 bouquets, of different odor, according to the volatility of the oils contained in them. From these different bouquets the qualitative composition of the liquid may be readily recognized, provided that one is familiar enough with the character of the different oils to be able to tell them by their odors.

The predominance of peppermint oil—to continue with the above example—will soon be lost and other oils will rise one after the other, to disappear again after a short time, so that the 7 glasses afford an entire scale of characteristic odors, until at last only the most lasting are perceptible. Thus it is possible with some practice to tell a bouquet pretty accurately in its separate odors.

In this manner interesting results are often reached, and with some perseverance even complicated mixtures can be analyzed and recognized in their distinctiveness. Naturally the difficulty in recognizing each oil is increased in the case of oils whose volatility is approximately the same. But even in this case changes, though not quite so marked, can be determined in the bouquet.

In a quantitative respect this method also furnishes a certain result as far as the comparison of perfumed liquids is concerned.

According to the quantity of the oils present the dim zone on the water is broader or narrower, and although the size of this layer may be changed by the admixture of other substances, one gains an idea regarding the quantity of the oils by mere smelling. It is necessary, of course, to choose glasses with equally large openings and to count out the drops of the essence carefully by means of a dropper.

When it is thought that all the odors have been placed, a test is made by preparing a mixture according to the recipe resulting from the trial.

Not pure oils, always alcoholic dilutions in a certain ratio should be used, in order not to disturb the task by a surplus of the different varieties, since it is easy to add more, but impossible to take away.

It is true this method requires patience, perseverance, and a fine sense of smell. One smelling test should not be considered sufficient, but the glasses should be carried to the nose as often as possible.

«Fixing Agents in Perfumes.»—The secret of making perfumery lies mainly in the choice of the fixing agents—i. e., those bodies which intensify and hold the floral odors. The agents formerly employed were musk, civet, and ambergris, all having a heavy and dull animal odor, which is the direct antithesis of a floral fragrance. A free use of these bodies must inevitably mean a perfume which requires a label to tell what it is intended for, to say nothing of what it is. To-day there is no evidence that the last of these (ambergris) is being used at all in the newer perfumes, and the other two are employed very sparingly, if at all. The result is that the newer perfumes possess a fragrance and a fidelity to the flowers that they imitate which is far superior to the older perfumes. Yet the newer perfume is quite as prominent and lasting as the old, while it is more pleasing. It contains the synthetic odors, with balsams or rosinous bodies as fixatives, and employs musk and civet only in the most sparing manner in some of the more sensitive odors. As a fixing agent benzoin is to be recommended. Only the best variety should be used, the Siamese, which costs 5 or 6 times as much as that from Sumatra. The latter has a coarse pungent odor.

Musk is depressing, and its use in cologne in even the minutest quantity will spoil the cologne. The musk lingers after the lighter odors have disappeared, and a sick person is pretty sure to feel its effects. Persons in vigorous health will not notice the depressing effects of musk, but when lassitude prevails these are very unpleasant. Moreover, it is not a necessity in these toilet accessories, either as a blending or as a fixing agent. Its place is better supplied by benzoin for both purposes.

As to alcohol, a lot of nonsense has been written about the necessity of extreme care in selecting it, such as certain kinds requiring alcohol made from grapes and others demanding extreme purification, etc. A reasonable attention to a good quality of alcohol, even at a slight increase in cost, will always pay, but, other things being equal, a good quality of oils in a poor quality of alcohol will give far better satisfaction than the opposite combination. The public is not composed of exacting connoisseurs, and it does not appreciate extreme care or expense in either particular. A good grade of alcohol, reasonably free from heavy and lingering foreign odors, will answer practically all the requirements.

«General Directions for Making Perfumes.»—It is absolutely essential for obtaining the best results to see that all vessels are perfectly clean. Always employ alcohol, 90 per cent, deodorized by {513} means of charcoal. When grain musk is used as an ingredient in liquid perfumes, first rub down with pumice stone, then digest in a little _hot_ water for 2 or 3 hours; finally add to alcohol. The addition of 2 or 3 minims of acetic acid will improve the odor and also prevent accumulation of NH_〈3〉. Civet and ambergris should also be thoroughly rubbed down with some coarse powder, and transferred directly to alcohol.

Seeds, pods, bark rhizomes, etc., should be cut up in small pieces or powdered.

Perfumes improve by storing. It is a good plan to tie over the mouth of the containing vessel some fairly thick porous material, and to allow the vessel to stand for a week or two in a cool place, instead of corking at once.

It is perhaps unnecessary to add that as large a quantity as possible should be decanted, and then the residue filtered. This obviously prevents loss by evaporation. Talc or kieselguhr (amorphous SiO_〈2〉) are perhaps the best substances to add to the filter in order to render liquid perfumes bright and clear, and more especially necessary in the case of aromatic vinegars.

The operations involved in making perfumes are simple; the chief thing to be learned, perhaps, is to judge of the quality of materials.

The term “extract,” when used in most formulas, means an alcoholic solution of the odorous principles of certain flowers obtained by enfluerage; that is, the flowers are placed in contact with prepared grease which absorbs the odorous matter, and this grease is in turn macerated with alcohol which dissolves out the odor. A small portion of the grease is taken up also at ordinary temperatures; this is removed by filtering the “extract” while “chilled” by a freezing mixture. The extracts can be either purchased or made directly from the pomade (as the grease is called). To employ the latter method successfully some experience may be necessary.

The tinctures are made with 95 per cent deodorized alcohol, enough menstruum being added through the marc when filtering to bring the finished preparation to the measure of the menstruum originally taken.

The glycerine is intended to act as a “fixing” agent—that is, to lessen the volatility of the perfumes.

«Tinctures for Perfumes.»—

_a._ Ambergris, 1 part; alcohol, 96 per cent, 15 parts.

_b._ Benzoin, Sumatra, 1 part; alcohol, 96 per cent, 6 parts.

_c._ Musk, 1 part; distilled water, 25 parts; spirit, 96 per cent, 25 parts.

_d._ Musk, 1 part; spirit, 96 per cent, 50 parts; for very oleiferous compositions.

_e._ Peru balsam, 1 part in spirit, 96 per cent, 7 parts; shake vigorously.

_f._ Storax, 1 part in spirit, 96 per cent, 15 parts.

_g._ Powdered Tolu balsam, 1 part; spirit, 96 per cent, 6 parts.

_h._ Chopped Tonka beans, 1 part; spirit, 60 per cent, 6 parts; for compositions containing little oil.

_i._ Chopped Tonka beans, 1 part; spirit, 96 per cent, 6 parts; for compositions containing much oil.

_j._ Vanilla, 1 part; spirit, 60 per cent, 6 parts; for compositions containing little oil.

_k._ Vanilla, 1 part; spirit, 96 per cent, 6 parts; for compositions containing much oil.

_l._ Vanillin, 20 parts; spirit, 96 per cent, 4,500 parts.

_m._ Powdered orris root, 1 part; spirit, 96 per cent, 5 parts.

_n._ Grated civet, 1 part in spirit, 96 per cent, 10 parts.

«Bay Rum.»—Bay rum, or more properly bay spirit, may be made from the oil with weak alcohol as here directed:

I.—Oil of bay leaves 3 drachms Oil of orange peel 1⁠/⁠2 drachm Tincture of orange peel 2 ounces Magnesium carbonate 1⁠/⁠2 ounce Alcohol 4 pints Water 4 pints

Triturate the oils with the magnesium carbonate, gradually adding the other ingredients previously mixed, and filter.

The tincture of orange peel is used chiefly as a coloring for the mixture.

Oil of bay leaves as found in the market varies in quality. The most costly will presumably be found the best, and its use will not make the product expensive. It can be made from the best oil and deodorized alcohol and still sold at a moderate price with a good profit.

Especial care should be taken to use only perfectly fresh oil of orange peel. As is well known, this oil deteriorates rapidly on exposure to the air, acquiring an odor similar to that of turpentine. The oil should be kept in bottles of such size that when opened the contents can be all used in a short time. {514}

II.—Bay oil, 15 parts; sweet orange oil, 1 part; pimento oil, 1 part; spirit of wine, 1,000 parts; water, 750 parts; soap spirit or quillaia bark, ad libitum.

III.—Bay oil, 12.5 parts; sweet orange oil, 0.5 part; pimento oil, 0.5 part; spirit of wine, 200 parts; water, 2,800 parts; Jamaica rum essence, 75 parts; soap powder, 20 parts; quillaia extract, 5 parts; borax, 10 parts; use sugar color.

«Colognes.»—In making cologne water, the alcohol used should be that obtained from the distillation of wine, provided a first-class article is desired. It is possible, of course, to make a good cologne with very highly rectified and deodorized corn or potato spirits, but the product never equals that made from wine spirits. Possibly the reason for this lies in the fact that the latter always contains a varying amount of oenanthic ether.

I.—Oil of bergamot 10 parts Oil of neroli 15 parts Oil of citron 5 parts Oil of cedrat 5 parts Oil of rosemary 1 part Tincture of ambergris 5 parts Tincture of benzoin 5 parts Alcohol 1,000 parts

II.—The following is stated to be the “original” formula:

Oil of bergamot 96 parts Oil of citron 96 parts Oil of cedrat 96 parts Oil of rosemary 48 parts Oil of neroli 48 parts Oil of lavender 48 parts Oil of cavella 24 parts Absolute alcohol 1,000 parts Spirit of rosemary 25,000 parts

III.—Alcohol, 90 per cent 5,000 parts Bergamot oil 220 parts Lemon oil 75 parts Neroli oil 20 parts Rosemary oil 5 parts Lavender oil French 5 parts

The oils are well dissolved in spirit and left alone for a few days with frequent shaking. Next add about 40 parts of acetic acid and filter after a while.

IV.—Alcohol, 90 per cent 5,000 parts Lavender oil, French 35 parts Lemon oil 30 parts Portugallo oil 30 parts Neroli oil 15 parts Bergamot oil 15 parts Petit grain oil 4 parts Rosemary oil 4 parts Orange water 700 parts

«Cologne Spirits or Deodorized Alcohol.»—This is used in all toilet preparations and perfumes. It is made thus:

Alcohol, 95 per cent 1 gallon Powdered unslaked lime 4 drachms Powdered alum 2 drachms Spirit of nitrous ether 1 drachm

Mix the lime and alum, and add them to the alcohol, shaking the mixture well together; then add the sweet spirit of niter and set aside for 7 days, shaking occasionally; finally filter.

«Florida Waters.»—

Oil of bergamot 3 fluidounces Oil of lavender 1 fluidounce Oil of cloves 1 1⁠/⁠4 fluidrachms Oil of cinnamon 2 1⁠/⁠2 fluidrachms Oil of neroli 1⁠/⁠2 fluidrachm Oil of lemon 1 fluidounce Essence of jasmine 6 fluidounces Essence of musk 2 fluidounces Rose water 1 pint Alcohol 8 pints

Mix, and if cloudy, filter through magnesium carbonate.

«Lavender Water.»—This, the most famous of all the perfumed waters, was originally a distillate from a mixture of spirit and lavender flowers. This was the perfume. Then came a compound water, or “palsy water,” which was intended strictly for use as a medicine, but sometimes containing ambergris and musk, as well as red sanders wood. Only the odor of the old compound remains to us as a perfume, and this is the odor which all perfume compounders endeavor to hit. The most important precaution in making lavender water is to use well-matured oil of lavender. Some who take pride in this perfume use no oil which is less than 5 years old, and which has had 1 ounce of rectified spirit added to each pound of oil before being set aside to mature. After mixing, the perfume should stand for at least a month before filtering through gray filtering paper. This may be taken as a general instruction:

I.—Oil of lavender 1 1⁠/⁠2 ounces Oil of bergamot 4 drachms Essence ambergris 4 drachms Proof spirit 3 pints

{515}

II.—English oil of lavender 1 ounce Oil of bergamot 1 1⁠/⁠2 drachms Essence of musk (No. 2) 1⁠/⁠2 ounce Essence of ambergris 1⁠/⁠2 ounce Proof spirit 2 pints

III.—English oil of lavender 1⁠/⁠2 ounce Oil of bergamot 2 drachms Essence of ambergris 1 drachm Essence of musk (No. 1) 3 drachms Oil of angelica 2 minims Attar of rose 6 minims Proof spirit 1 pint

IV.—Oil of lavender 4 ounces Grain musk 15 grains Oil of bergamot 2 1⁠/⁠2 ounces Attar of rose 1 1⁠/⁠2 drachms Oil of neroli 1⁠/⁠2 drachm Spirit of nitrous ether 2 1⁠/⁠2 ounces Triple rose water 12 ounces Proof spirit 5 pints

Allow to stand 5 weeks before filtering.

«LIQUID PERFUMES FOR THE HANDKERCHIEF, PERSON, ETC.:»

Acacia Extract.—

French acacia 400 parts Tincture of amber (1 in 10) 3 parts Eucalyptus oil 0.5 parts Lavender oil 1 part Bergamot oil 1 part Tincture of musk 2 parts Tincture of orris root 150 parts Spirit of wine, 80 per cent 500 parts

Bishop Essence.—

Fresh green peel of unripe oranges 60.0 grams Curaçao orange peel 180.0 grams Malaga orange peel 90.0 grams Ceylon cinnamon 2.0 grams Cloves 7.5 grams Vanilla 11.0 grams Orange flower oil 4 drops Spirit of wine 1,500.0 grams Hungarian wine 720.0 grams

A dark-brown tincture of pleasant taste and smell.

Caroline Bouquet.—

Oil of lemon 15 minims Oil of bergamot 1 drachm Essence of rose 4 ounces Essence of tuberose 4 ounces Essence of violet 4 ounces Tincture of orris 2 ounces

Alexandra Bouquet.—

Oil of bergamot 3 1⁠/⁠2 drachms Oil of rose geranium 1⁠/⁠2 drachm Oil of rose 1⁠/⁠2 drachm Oil of cassia 15 minims Deodorized alcohol 1 pint

Navy Bouquet.—

Spirit of sandalwood 10 ounces Extract of patchouli 10 ounces Spirit of rose 10 ounces Spirit of vetivert 10 ounces Extract of verbena 12 ounces

Bridal Bouquet.—Sandal oil, 30 minims; rose extract, 4 fluidounces; jasmine extract, 4 fluidounces; orange flower extract, 16 fluidounces; essence of vanilla, 1 fluidounce; essence of musk, 2 fluidounces; tincture of storax, 2 fluidounces. (The tincture of storax is prepared with liquid storax and alcohol [90 per cent], 1:20, by macerating for 7 days.)

Irish Bouquet.—

White rose essence 5,000 parts Vanilla essence 450 parts Rose oil 5 parts Spirit 100 parts

Essence Bouquet.—

I.—Spirit 8,000 parts Distilled water 2,000 parts Iris tincture 250 parts Vanilla herb tincture 100 parts Benzoin tincture 40 parts Bergamot oil 50 parts Storax tincture 50 parts Clove oil 15 parts Palmarosa oil 12 parts Lemon-grass oil 15 parts

II.—Extract of rose (2d) 64 ounces Extract of jasmine (2d) 12 ounces Extract of cassie (2d) 8 ounces Tincture of orris (1 to 4) 64 ounces Oil of bergamot 1⁠/⁠2 ounce Oil of cloves 1 drachm Oil of ylang-ylang 1⁠/⁠2 drachm Tincture of benzoin (1 to 8) 2 ounces Glycerine 4 ounces

Bouquet Canang.—

Ylang-ylang oil 45 minims Grain musk 3 grains Rose oil 15 minims Tonka beans 3 Cassie oil 5 minims Tincture orris rhizome 1 fluidounce {516} Civet 1 grain Almond oil 1⁠/⁠2 minim Storax tincture 3 fluidrachms Alcohol, 90 per cent 9 fluidounces

Mix, and digest 1 month. The above is a very delicious perfume.

Cassie oil or otto is derived from the flowers of _Acacia farnesiana Mimosa farnesiana_, L. (N. O. Leguminosæ, suborder Mimoseæ). It must not be confounded with cassia otto, the essential oil obtained from _Cinnamomum cassia_.

Cashmere Nosegay.—

I.—Essence of violet, from pomade 1 pint Essence of rose, from pomade 1 1⁠/⁠2 pints Tincture of benzoin, (1 to 4) 1⁠/⁠2 pint Tincture of civet (1 to 64) 1⁠/⁠4 pint Tincture of Tonka (1 to 4) 1⁠/⁠4 pint Benzoic acid 1⁠/⁠2 ounce Oil of patchouli 1⁠/⁠4 ounce Oil of sandal 1⁠/⁠2 ounce Rose water 1⁠/⁠2 pint

II.—Essence violet 120 ounces Essence rose 180 ounces Tincture benjamin (1 in 4) 60 ounces Tincture civet (1 in 62) 30 ounces Tincture Tonka (1 in 4) 30 ounces Oil patchouli 3 ounces Oil sandalwood 6 ounces Rose water 60 ounces

Clove Pink.—

I.—Essence of rose 2 ounces Essence of orange flower 6 ounces Tincture of vanilla 3 1⁠/⁠2 ounces Oil of cloves 20 minims

II.—Essence of cassie 5 ounces Essence of orange flower 5 ounces Essence of rose 10 ounces Spirit of rose 7 ounces Tincture of vanilla 3 ounces Oil of cloves 12 minims

Frangipanni.—

I.—Grain musk 10 grains Sandal otto 25 minims Rose otto 25 minims Orange flower otto (neroli) 30 minims Vetivert otto 5 minims Powdered orris rhizome 1⁠/⁠2 ounce Vanilla 30 grains Alcohol (90 per cent) 10 fluidounces

Mix and digest for 1 month. This is a lasting and favorite perfume.

II.—Oil of rose 2 drachms Oil of neroli 2 drachms Oil of sandalwood 2 drachms Oil of geranium (French) 2 drachms Tincture of vetivert (1 1⁠/⁠4 to 8) 96 ounces Tincture of Tonka (1 to 8) 16 ounces Tincture of orris (1 to 4) 64 ounces Glycerine 6 ounces Alcohol 64 ounces

Handkerchief Perfumes.—

I.—Lavender oil 10 parts Neroli oil 10 parts Bitter almond oil 2 parts Orris root 200 parts Rose oil 5 parts Clove oil 5 parts Lemon oil 1 part Cinnamon oil 2 parts

Mix with 2,500 parts of best alcohol, and after a rest of 3 days heat moderately on the water bath, and filter.

II.—Bergamot oil 10 parts Orange peel oil 10 parts Cinnamon oil 2 parts Rose geranium oil 1 part Lemon oil 4 parts Lavender oil 4 parts Rose oil 1 part Vanilla essence 5 parts

Mix with 2,000 parts of best spirit, and after leaving undisturbed for 3 days, heat moderately on the water bath, and filter.

Honeysuckle.—

Oil of neroli 12 minims Oil of rose 10 minims Oil of bitter almond 8 minims Tincture of storax 4 ounces Tincture of vanilla 6 ounces Essence of cassie 16 ounces Essence of rose 16 ounces Essence of tuberose 16 ounces Essence of violet 16 ounces

Iridia.—

Coumarin 10 grains Concentrated rose water (1 to 40) 2 ounces Neroli oil 5 minims Vanilla bean 1 drachm Bitter almond oil 5 minims Orris root 1 drachm Alcohol 10 ounces

Macerate for a month. {517}

Javanese Bouquet.—

Rose oil 15 minims Pimento oil 20 minims Cassia oil 3 minims Neroli oil 3 minims Clove oil 2 minims Lavender oil 60 minims Sandalwood oil 10 minims Alcohol 10 ounces Water 1 1⁠/⁠2 ounces

Macerate for 14 days.

Lily Perfume.—

Essence of jasmine 1 ounce Essence of orange flowers 1 ounce Essence of rose 2 ounces Essence of cassie 2 ounces Essence of tuberose 8 ounces Spirit of rose 1 ounce Tincture of vanilla 1 ounce Oil of bitter almond 2 minims

Lily of the Valley.—

I.—Acacia essence 750 parts Jasmine essence 750 parts Orange flower essence 800 parts Rose flower essence 800 parts Vanilla flower essence 1,500 parts Bitter almond oil 15 parts

II.—Oil of bitter almond 10 minims Tincture of vanilla 2 ounces Essence of rose 2 ounces Essence of orange flower 2 ounces Essence of jasmine 2 1⁠/⁠2 ounces Essence of tuberose 2 1⁠/⁠2 ounces Spirit of rose 2 1⁠/⁠2 ounces

III.—Extract rose 200 parts Extract vanilla 200 parts Extract orange 800 parts Extract jasmine 600 parts Extract musk tincture 150 parts Neroli oil 10 parts Rose oil 6 parts Bitter almond oil 4 parts Cassia oil 5 parts Bergamot oil 6 parts Tonka beans essence 150 parts Linaloa oil 12 parts Spirit of wine (90 per cent) 3,000 parts

IV.—Neroli extract 400 parts Orris root extract 600 parts Vanilla extract 400 parts Rose extract 900 parts Musk extract 200 parts Orange extract 500 parts Clove oil 6 parts Bergamot oil 5 parts Rose geranium oil 15 parts

Maréchal Niel Rose.—In the genus of roses, outside of the hundred-leaved or cabbage rose, the Maréchal Niel rose (Rosa Noisetteana Red), also called Noisette rose and often, erroneously, tea rose, is especially conspicuous. Its fine, piquant odor delights all lovers of precious perfumes. In order to reproduce the fine scent of this flower artificially at periods when it cannot be had without much expenditure, the following recipes will be found useful:

I.—Infusion rose I (from pomades) 1,000 parts Genuine rose oil 10 parts Infusion Tolu balsam 150 parts Infusion genuine musk I 40 parts Neroli oil 30 parts Clove oil 2 parts Infusion tubereuse I (from pomades) 1,000 parts Vanillin 1 part Coumarin 0.5 parts

II.—Triple rose essence 50 grams Simple rose essence 60 grams Neroli essence 30 grams Civet essence 20 grams Iris essence 30 grams Tonka beans essence 20 grams Rose oil 5 drops Jasmine essence 60 grams Violet essence 50 grams Cassia essence 50 grams Vanilla essence 45 grams Clove oil 20 drops Bergamot oil 10 drops Rose geranium oil 20 drops

May Flowers.—

Essence of rose 10 ounces Essence of jasmine 10 ounces Essence of orange flowers 10 ounces Essence of cassie 10 ounces Tincture of vanilla 20 ounces Oil of bitter almond 1⁠/⁠2 drachm

Narcissus.—

Caryophyllin 10 minims Extract of tuberose 16 ounces Extract of jasmine 4 ounces Oil of neroli 20 minims Oil of ylang-ylang 20 minims Oil of clove 5 minims Glycerine 30 minims

{518}

Almond Blossom.—

Extract of heliotrope 30 parts Extract of orange flower 10 parts Extract of jasmine 10 parts Extract of rose 3 parts Oil of lemon 1 part Spirit of bitter almond, 10 per cent 6 parts Deodorized alcohol 40 parts

Artificial Violet.—Ionone is an artificial perfume which smells exactly like fresh violets, and is therefore an extremely important product. Although before it was discovered compositions were known which gave fair imitations of the violet perfume, they were wanting in the characteristic tang which distinguishes all violet preparations. Ionone has even the curious property possessed by violets of losing its scent occasionally for a short time. It occasionally happens that an observer, on taking the stopper out of a bottle of ionone, perceives no special odor, but a few seconds after the stopper has been put back in the bottle, the whole room begins to smell of fresh violets. It seems to be a question of dilution. It is impossible, however, to make a usable extract by mere dilution of a 10 per cent solution of ionone.

It is advisable to make these preparations in somewhat large quantities, say 30 to 50 pounds at a time. This enables them to be stocked for some time, whereby they improve greatly. When all the ingredients are mixed, 10 days or a fortnight, with frequent shakings, should elapse before filtration. The filtered product must be kept in well-filled and well-corked bottles in a dry, dark, cool place, such as a well-ventilated cellar. After 5 or 6 weeks the preparation is ready for use.

Quadruple Extract.—

By weight Jasmine extract, 1st pomade 100 parts Rose extract, 1st pomade 100 parts Cassia extract, 1st pomade 200 parts Violet extract, 1st pomade 200 parts Oil of geranium, Spanish 2 parts Solution of vanillin, 10 per cent 10 parts Solution of orris, 10 per cent 100 parts Solution of ionone, 10 per cent 20 parts Infusion of musk 10 parts Infusion of orris from coarsely ground root 260 parts

Triple Extract.—

By weight Cassia extract, 2d pomade 100 parts Violet extract, 2d pomade 300 parts Jasmine extract, 2d pomade 100 parts Rose extract, 2d pomade 100 parts Oil of geranium, African 1 part Ionone, 10 per cent 15 parts Solution of vanillin, 10 per cent 5 parts Infusion of orris from coarse ground root 270 parts Infusion of musk 10 parts

Double Extract.—

By weight Cassia extract, 2d pomade 100 parts Violet extract, 2d pomade 150 parts Jasmine extract, 2d pomade 100 parts Rose extract, 2d pomade 100 parts Oil of geranium, reunion 2 parts Ionone, 10 per cent 10 parts Solution of vanillin, 10 per cent 10 parts Infusion of ambrette 20 parts Infusion of orris from coarse ground root 300 parts Spirit 210 parts

White Rose.—

Rose oil 25 minims Rose geranium oil 20 minims Patchouli oil 5 minims Ionone 3 minims Jasmine oil (synthetic) 5 minims Alcohol 10 ounces

Ylang-Ylang Perfume.—

I.—Ylang-ylang oil 10 minims Neroli oil 5 minims Rose oil 5 minims Bergamot oil 3 minims Alcohol 10 ounces

One grain of musk may be added.

II.—Extract of cassie (2d) 96 ounces Extract of jasmine (2d) 24 ounces {519} Extract of rose 24 ounces Tincture of orris 4 ounces Oil of ylang-ylang 6 drachms Glycerine 6 ounces

TOILET WATERS.

Toilet waters proper are perfumed liquids designed more especially as refreshing applications to the person—accessories to the bath and to the operations of the barber. They are used sparingly on the handkerchief also, but should not be of so persistent a character as the “extracts” commonly used for that purpose, as they would then be unsuitable as lotions.

Ammonia Water.—Fill a 6-ounce ground glass stoppered bottle with a rather wide mouth with pieces of ammonium carbonate as large as a marble, then drop in the following essential oils:

Oil of lavender 30 drops Oil of bergamot 30 drops Oil of rose 10 drops Oil of cinnamon 10 drops Oil of clove 10 drops

Finally fill the bottle with stronger water of ammonia, put in the stopper and let stand overnight.

Birch-Bud Water.—Alcohol (96 per cent), 350 parts; water, 70 parts; soft soap, 20 parts; glycerine, 15 parts; essential oil of birch buds, 5 parts; essence of spring flowers, 10 parts; chlorophyll, quantity sufficient to tint. Mix the water with an equal volume of spirit and dissolve the soap in the mixture. Mix the oil and other ingredients with the remainder of the spirit, add the soap solution gradually, agitate well, allow to stand for 8 days and filter. For use, dilute with an equal volume of water.

Carmelite Balm Water.—

Melissa oil 30 minims Sweet marjoram oil 3 minims Cinnamon oil 10 minims Angelica oil 3 minims Citron oil 30 minims Clove oil 15 minims Coriander oil 5 minims Nutmeg oil 5 minims Alcohol (90 per cent) 10 fluidounces

Angelica oil is obtained principally from the aromatic root of _Angelica archangelica_, L. (N. O. Umbelliferæ), which is commonly cultivated for the sake of the volatile oil which it yields.

Cypress Water.—

Essence of ambergris 1⁠/⁠2 ounce Spirits of wine 1 gallon Water 2 quarts

Distill a gallon.

Eau de Botot.—

Aniseed 80 parts Clover 20 parts Cinnamon cassia 20 parts Cochineal 5 parts Refined spirit 800 parts Rose water 200 parts

Digest for 8 days and add

Tincture of ambergris 1 part Peppermint oil 10 parts

Eau de Lais.—

Eau de cologne 1 part Jasmine extract 0.5 parts Lemon essence 0.5 parts Balm water 0.5 parts Vetiver essence 0.5 parts Triple rose water 0.5 parts

Eau de Merveilleuse.—

Alcohol 3 quarts Orange flower water 4 quarts Peru balsam 2 ounces Clove oil 4 ounces Civet 1 1⁠/⁠4 ounces Rose geranium oil 1⁠/⁠2 ounce Rose oil 4 drachms Neroli oil 4 drachms

Edelweiss.—

Bergamot oil 10 grams Tincture of ambergris 2 grams Tincture of vetiver (1 in 10) 25 grams Heliotropin 5 grams Rose oil spirit (1 in 100) 25 grams Tincture of musk 5 drops Tincture of angelica 12 drops Neroli oil, artificial 10 drops Hyacinth, artificial 15 drops Jasmine, artificial 1 gram Spirit of wine, 80 per cent 1,000 grams

Honey Water.—

I.—Best honey 1 pound Coriander seed 1 pound Cloves 1 1⁠/⁠2 ounces Nutmegs 1 ounce Gum benjamin 1 ounce Vanilloes, No. 4 1 drachm The yellow rind of 3 large lemons.

{520}

Bruise the cloves, nutmegs, coriander seed, and benjamin, cut the vanilloes in pieces, and put all into a glass alembic with 1 gallon of clean rectified spirit, and, after digesting 48 hours, draw off the spirit by distillation. To 1 gallon of the distilled spirit add

Damask rose water 1 1⁠/⁠2 pounds Orange flower water 1 1⁠/⁠2 pounds Musk 5 grains Ambergris 5 grains

Grind the musk and ambergris in a glass mortar, and afterwards put all together into a digesting vessel, and let them circulate 3 days and 3 nights in a gentle heat; then let all cool. Filter, and keep the water in bottles well stoppered.

II.—Oil of cloves 2 1⁠/⁠2 drachms Oil of bergamot 10 drachms English oil of lavender 2 1⁠/⁠2 drachms Musk 4 grains Yellow sandalwood 2 1⁠/⁠2 drachms Rectified spirit 32 ounces Rose water 8 ounces Orange flower water 8 ounces English honey 2 ounces

Macerate the musk and sandalwood in the spirit 7 days, filter, dissolve the oils in the filtrate, add the other ingredients, shake well, and do so occasionally, keeping as long as possible before filtering.

Lilac Water.—

Terpineol 2 drachms Heliotropin 8 grains Bergamot oil 1 drachm Neroli oil 8 minims Alcohol 12 ounces Water 4 ounces

Orange Flower Water.—

Orange flower essence 8 ounces Magnesium carbonate 1 ounce Water 8 pints

Triturate the essence with the magnesium carbonate, add the water, and filter.

To Clarify Turbid Orange Flower Water.—Shake 1 quart of it with 1⁠/⁠4 pound of sand which has previously been boiled out with hydrochloric acid, washed with water, and dried at red heat. This process doubtless would prove valuable for many other purposes.

Violet Waters.—

I.—Spirit of ionone, 10 per cent 1⁠/⁠2 drachm Distilled water 5 ounces Orange flower water 1 ounce Rose water 1 ounce Cologne spirit 8 ounces

Add the spirit of ionone to the alcohol and then add the waters. Let stand and filter.

II.—Violet extract 2 ounces Cassie extract 1 ounce Spirit of rose 1⁠/⁠2 ounce Tincture of orris 1⁠/⁠2 ounce Green coloring, a sufficiency. Alcohol to 20 ounces.

«PERFUMED PASTILLES.»

These scent tablets consist of a compressed mixture of rice starch, magnesium carbonate, and powdered orris root, saturated with heliotrope, violet, or lilac perfume.

Violet.—

Ionone 50 parts Ylang-ylang oil 50 parts Tincture of musk, extra strong 200 parts Tincture of benzoin 200 parts

Heliotrope.—

Heliotropin 200 parts Vanillin 50 parts Tincture of musk 100 parts Tincture of benzoin 200 parts

Lilac.—

Terpineol 200 parts Muguet 200 parts Tincture of musk 200 parts Tincture of benzoin 200 parts

Sandalwood 2 drachms Vetivert 2 drachms Lavender flowers 4 drachms Oil of thyme 1⁠/⁠2 drachm Charcoal 2 ounces Potassium nitrate 1⁠/⁠2 ounce Mucilage of tragacanth, a sufficient quantity.

«Perfumes for Hair Oils.»—

I.—Heliotropin 8 grains Coumarin 1 grain Oil of orris 1 drop Oil of rose 15 minims Oil of bergamot 30 minims

II.—Coumarin 2 grains Oil of cloves 4 drops Oil of cassia 4 drops Oil of lavender flowers 15 minims Oil of lemon 45 minims Oil of bergamot 75 minims

«Soap Perfumes.»—

See also Luminous Bodies and Paints.

Mix 2 parts of dehydrated sodium carbonate, 0.5 parts of sodium chloride, and 0.2 parts of manganic sulphate with 100 parts of strontium carbonate and 30 parts of sulphur and heat 3 hours to a white heat with exclusion of air.

PHOSPHOR BRONZE: See Alloys, under Bronzes.

«PHOSPHORUS SUBSTITUTE.»

G. Graveri recommends persulfocyanic acid = H_〈2〉(CN)_〈2〉S_〈3〉 as meeting all the requirements of phosphorus on matches. It resists shock and friction, it is readily friable, and will mix with other substances; moreover, it is non-poisonous and cheaper than phosphorus.

«Photography»

«DEVELOPERS AND DEVELOPING OF PLATES.»

No light is perfectly safe or non-actinic, even that coming through a combined ruby and orange window or lamp. Therefore use great care in developing.

A light may be tested this way: Place a dry plate in the plate holder in total darkness, draw the slide sufficiently to expose one-half of the plate, and allow the light from the window or lamp, 12 to 18 inches distant, to fall on this exposed half for 3 or 4 minutes. Then develop the plate the usual length of time in total darkness. If the light is safe, there will be no darkening of the exposed part. If not safe, the remedy is obvious.

The developing room must be a perfectly dark room, save for the light from a ruby- or orange-colored window (or combination of these two colors). Have plenty of pure running water and good ventilation.

Plates should always be kept in a dry room. The dark room is seldom a safe place for storage, because it is apt to be damp.

Various developing agents give different results. Pyrogallic acid in combination with carbonate of sodium or carbonate of potassium gives strong, vigorous negatives. Eikonogen and metol yield soft, delicate negatives. Hydrochinon added to eikonogen or metol produces more contrast or greater strength.

It is essential to have a bottle of bromide of potassium solution, 10 per cent, in the dark room. (One ounce of bromide of potassium, water to 10 ounces.) Overtimed plates may be much improved by adding a few drops of bromide solution to the developer as soon as the overtimed condition is apparent (a plate is overtimed when the image appears almost immediately, and then blackens all over).

Undertimed plates should be taken out of the developer and placed in a tray of water where no light can reach them. If the detail in the shadows begins to appear after half an hour or so, the plate can be replaced in the developer and development brought to a finish.

Quick development, with strong solutions, means a lack of gradation or half-tones.

A developer too warm or containing too much alkali (carbonate of sodium or potassium) will yield flat, foggy negatives.

A developer too cold is retarded in its action, and causes thin negatives.

Uniform temperature is necessary for uniform results.

If development is continued too long, the negative will be too dense.

In warm weather, the developer should be diluted; in cold weather, it should be stronger. {524}

The negative should not be exposed to white light until fixation is complete.

The negative should be left fully 5 minutes longer in the fixing bath than is necessary to dissolve out the white bromide of silver.

In hot weather a chrome alum fixing bath should be used to prevent frilling.

Always use a fresh hypo or fixing bath. Hypo is cheap.

Plates and plate holders must be kept free from dust, or pinholes will result.

After the negative is fixed, an hour’s washing is none too much.

The plate should be dried quickly in warm weather else the film will become dense and coarse-grained.

Do not expect clean, faultless negatives to come out of dirty developing and fixing solutions and trays.

«Pyro and Soda Developer.»—

I.—Pure water 30 ounces Sulphite soda, crystals 5 ounces Carbonate soda, crystals 2 1⁠/⁠2 ounces

II.—Pure water 24 ounces Oxalic acid 15 grains Pyrogallic acid 1 ounce

To develop, take of

Solution No. I. 1 ounce Solution No. II. 1⁠/⁠2 ounce Pure water 3 ounces

More water may be used in warm weather and less in cool weather.

If solution No. I is made by hydrometer test, use equal parts of the following:

Sulphite soda testing, 80°. Carbonate soda testing, 40°.

One ounce of this mixture will be equivalent to 1 ounce of solution No. I.

«Pyro and Potassium Developer.»—

I.—Pure water 32 ounces Sulphite soda, crystals 8 ounces Carbonate potassium, dry 1 ounce

II.—Pure water 24 ounces Oxalic acid 15 ounces Pyrogallic acid 1 ounce

To develop, take of

Solution No. I. 1 ounce Solution No. II. 1⁠/⁠2 ounce Pure water 3 ounces

When the plate is fully developed, if the lights are too thin, use less water in the developer; if too dense, use more water.

«Pyro and Metol Developer.»—Good for short exposures:

I.—Pure water 57 ounces Sulphite soda, crystals 2 1⁠/⁠2 ounces Metol 1 ounce

II.—Pure water 57 ounces Sulphite soda, crystals 2 1⁠/⁠2 ounces Pyrogallic acid 1⁠/⁠4 ounce

III.—Pure water 57 ounces Carbonate potassium 2 1⁠/⁠2 ounces

To develop, take of

Pure water 3 ounces Solution No. I. 1 ounce Solution No. II. 1 ounce Solution No. III. 1 ounce

This developer may be used repeatedly by adding a little fresh developer as required.

Keep the used developer in a separate bottle.

«Rodinal Developer.»—One part rodinal to 30 parts pure water.

Use repeatedly, adding fresh as required.

«Bromo-Hydrochinon Developer.»—For producing great contrast and intensity, also for developing over-exposed plates.

I.—Distilled or ice water 25 ounces Sulphite of soda, crystals 3 ounces Hydrochinon 1⁠/⁠2 ounce Bromide of potassium 1⁠/⁠4 ounce

Dissolve by warming, and let cool before use.

II.—Water 25 ounces Carbonate of soda, crystals 6 ounces

Mix Nos. I and II, equal parts, for use.

«Eikonogen Hydrochinon Developer.»—

I.—Distilled or pure well water 32 ounces Sodium sulphite, crystals 4 ounces Eikonogen 240 grains Hydrochinon 60 grains

II.—Water 32 ounces Carbonate of potash 4 ounces

To develop, take

No. I. 2 ounces No. II. 1 ounce †Water 1 ounce

──────────────────────────── † For double-coated plates use 5 ounces of water.

{525}

By hydrometer:

I.—Sodium sulphite, solution to test 30 34 ounces Eikonogen 240 grains Hydrochinon 60 grains

II.—Carbonate of potash solution to test 50

To develop, take

No. I. 2 ounces No. II. 1 ounce ‡Water 1 ounce

──────────────────────────── ‡ For double-coated plates use 5 ounces of water.

«Hydrochinon Developer.»—

I.—Hydrochinon 1 ounce Sulphite of soda, crystals 5 ounces Bromide of potassium 10 grains Water (ice or distilled) 55 ounces

II.—Caustic potash 180 grains Water 10 ounces

To develop:

Take of I, 4 ounces; II, 1⁠/⁠2 ounce. After use pour into a separate bottle. This can be used repeatedly, and with uniformity of results, by the addition of 1 drachm of I and 10 drops of II to every 8 ounces of old developer.

In using this developer it is important to notice the temperature of the room, as a slight variation in this respect causes a very marked difference in the time it takes to develop, much more so than with pyro. The temperature of room should be from 70° to 75° F.

«Metol Developer.»—

I.—Water 8 ounces Metol 100 grains Sulphite of soda, crystals 1 ounce

II.—Water 10 ounces Potassium carbonate 1 ounce

Take equal parts of I and II and 6 parts of water. If more contrast is needed, take equal parts of I and II and 3 parts of water, with 5 drops to the ounce of a 1⁠/⁠10 solution of bromide of potassium.

«Metol and Hydrochinon Developer.—»

I.—Pure hot water 80 ounces Metol 1 ounce Hydrochinon 1⁠/⁠8 ounce Sulphite soda, crystals 6 ounces

II.—Pure water 80 ounces Carbonate soda, crystals 5 ounces

To develop, take of

Pure water 2 ounces Solution No. I 1 ounce Solution No. II 1 ounce

«Metol-Bicarbonate Developer.»—Thoroughly dissolve

Metol 1 ounce In water 60 ounces

Then add

Sulphite of soda, crystals 6 ounces Bicarbonate of soda 3 ounces

To prepare with hydrometer, mix

Sulphite of soda solution, testing 75 30 ounces Bicarbonate of soda solution, testing 50 30 ounces Metol 1 ounce

Dissolved in 12 ounces water.

«Ferrous-Oxalate Developer.»—For transparencies and opals.

I.—Oxalate of potash 8 ounces Water 30 ounces Citric acid 60 grains Citrate of ammonia solution 2 ounces

II.—Sulphate of iron 4 ounces Water 32 ounces Sulphuric acid 16 drops

III.—Citrate of ammonia solution saturated.

Dissolve 1 ounce citric acid in 5 ounces distilled water, add liquor ammonia until a slip of litmus paper just loses the red color, then add water to make the whole measure 8 ounces.

Add 1 ounce of II to 2 of I, and 1⁠/⁠2 ounce of water, and 3 to 6 drops of 10 per cent solution bromide potassium.

To develop, first rinse developing dish with water, lay film or plate down, and flow with sufficient developer to well cover. Careful attention must be given to its action, and when detail is just showing in the face, or half-tone lights in a view, pour off developer, and well wash the film before placing in the fixing bath.

«Tolidol Developer.»—Standard formula for dry plates and films:

Water 16 ounces Tolidol 24 grains Sodium sulphite 72 (144) grains Sodium carbonate 96 (240) grains

The figures in parenthesis are for crystals. It will be seen that in every case {526} the weight of sulphite required in crystals is double that of dry sulphite, while the weight of carbonate crystals is 2 1⁠/⁠2 times as much as dry carbonate.

For tank development Dr. John M. Nicol recommends the standard formula diluted with 6 times the amount of water, and the addition of 1 drop of retarder to every ounce after dilution.

To obtain very strong negatives:

Water 16 ounces Tolidol 50 to 65 grains Sodium sulphite 80 (160) grains Sodium carbonate 120 (300) grains

On some brands of plates the addition of a little retarder will be necessary.

If stock solutions are preferred, they may be made as follows:

_Solution A_

Water 32 ounces Tolidol 1 ounce Sodium sulphite 1 (2) ounce

_Solution B_

Water 32 ounces Sodium sulphite 2 (4) ounces

_Solution C_

Water 32 ounces Sodium carbonate 4 (10) ounces

If preferred, stock solutions _B_ and _C_ can be made by hydrometer, instead of by weight as above. The solutions will then show:

_Solution B_

Sodium sulphite 40

_Solution C_

Sodium carbonate 75

Or if potassium carbonate is preferred instead of sodium:

_Solution C_

Potassium carbonate 60

For standard formula for dry plates and films, mix

Solution _A_ 1 part Solution _B_ 1 part Solution _C_ 1 part Water 7 parts

For strong negatives (for aristo-platino):

Solution _A_ 1 1⁠/⁠2 to 2 parts Solution _B_ 1 part Solution _C_ 1 part Water 4 to 4 1⁠/⁠2 parts

For tank development:

Solution _A_ 1 part Solution _B_ 1 part Solution _C_ 1 part Water 35 parts

For developing paper:

Solution _A_ 2 parts Solution _B_ 2 parts Solution _C_ 1 part

The reading of the hydrometer for stock solutions is the same whether dried chemicals or crystals are used. No water is used.

«Pyrocatechin-Phosphate Developer.»—

_Solution A_

Crystallized sulphite of soda 386 grains Pyrocatechin 77 grains Water 8 ounces

_Solution B_

Ordinary crystal phosphate of sodium 725 grains Caustic soda (purified in sticks) 77 grains Water 8 ounces

Mix 1 part of _A_ with 1 part of _B_ and from 1 to 3 parts of water. If the exposure is not absolutely normal we recommend to add to the above developer a few drops of a solution of bromide of potassium (1.10).

«Pyrocatechin Developer» (One Solution).—Dissolve in the following range:

Sulphite of soda crystallized 25 1⁠/⁠2 drachms Caustic soda (purified in sticks) 3 1⁠/⁠2 drachms Distilled water 14 ounces Pyrocatechin 308 grains

The pyrocatechin must not be added until the sulphite and caustic soda are entirely dissolved. For use the concentrated developer is to be diluted with from 10 to 20 times as much water. The normal proportion is 1 part of developer in 15 parts of water.

«Vogel’s Pyrocatechin Combined Developer and Fixing Solution.»—

Sulphite of soda crystallized 468 grains Water 2 5⁠/⁠8 ounces Caustic potash (purified in sticks) 108 grains Pyrocatechin 108 grains

Mix for a formally fixing plate of 5 x 7 inches.

Developer 3 drachms Fixing soda solution (1:5) 5 1⁠/⁠2 drachms Water 1 ounce

The process of developing and fixing with this solution is accomplished in a {527} few minutes. The picture first appears usually, strengthens very quickly, and shortly after the fixing is entirely done.

«Ellon’s Pyrocatechin Developer.»—Pyrocatechin, 2 per cent solution (2 grams pyrocatechin in 100 cubic centimeters of water).

Carbonate of potassium, 10 per cent solution (10 grams carbonate in 100 cubic centimeters of water).

For use take equal parts and add water as desired.

«Imperial Standard Pyro Developer.»—

I.—Metabisulphite of potassium 120 grains Pyrogallic acid 55 grains Bromide of potassium 20 grains Metol 45 grains Water 20 ounces

II.—Carbonate of soda 4 ounces Water 20 ounces

For use mix equal parts I and II.

«Bardwell’s Pyro-Acetone Developer.»—

Water 4 ounces Sulphite of sodium (saturated solution) 4 drachms Acetone 2 drachms Pyro 10 grams

«Hauff’s Adurol Developer.»—One solution.

Water 10 ounces Sulphide of sodium, crystals 4 ounces Carbonate of potassium 3 ounces Adurol 1⁠/⁠2 ounce

For studio work and snap shots take 1 part with 3 parts water.

For time exposures out-door take 1 part with 5 parts water.

«Glycin Developer.»—

I.—Hot water 10 ounces Sulphite of sodium, crystals 1 1⁠/⁠4 ounces Carbonate of sodium 1⁠/⁠4 ounce Glycin 1⁠/⁠2 ounce

Add to water in order given

II.—Water 10 ounces Carbonate of potash 1 1⁠/⁠4 ounces

For normal exposure take I, 1 ounce; II, 2 ounces; water, 1 ounce.

«Imogen Developer.»—

I.—Hot water 9 ounces Sulphite of sodium, crystals 385 grains Imogen 123 grains

II.—Hot water 4 1⁠/⁠2 ounces Carbonate of sodium 2 ounces

For use take 2 ounces of I and 1 ounce of II.

«Diogen Developer.»—

Water 9 ounces Sulphite of sodium 3 1⁠/⁠2 ounces Diogen 7 drachms Carbonate of potassium 4 1⁠/⁠2 ounces

For normal exposure take 4 drachms of this solution; dilute with 2 ounces, 1 drachm of water, and add 2 drops bromide of potassium, 10 per cent solution.

«Ortol Developer.»—Formula by Pentlarge.

I.—Water 1 ounce Metabisulphite of potassium 4 grains Ortol 8 grains

II.—Water 1 ounce Sulphite of sodium 48 grains Carbonate of potassium 16 grains Carbonate of sodium 32 grains

For use take equal parts I and II, and an equal bulk of water.

«Metacarbol Developer.»—

Metacarbol 25 grains Sulphite of soda, crystals 100 grains Caustic soda 50 grains Water 10 ounces

Dissolve the metacarbol in water, then add the sulphite, and when dissolved add the caustic soda and filter.

«DEVELOPING POWDERS.»

By weight I.—Pyrogallol 0.3 parts Sodium bisulphite 1.2 parts Sodium carbonate 1.2 parts

II.—Eikonogen 1.1 parts Sodium sulphite 2.4 parts Potassium carbonate 1.5 parts

III.—Hydroquinone 0.6 parts Sodium sulphite 3.4 parts Potassium bromide 0.3 parts Sodium carbonate 7.0 parts

These three formulas each yield one powder. The powders should be put up in oiled paper, and carefully inclosed, besides, in a wrapper of black paper. For use, one powder is dissolved in about 60 parts of distilled water.

«DEVELOPING PAPERS.»

Light.—The paper can be safely handled 8 feet from the source of light, {528} which may be Welsbach gas light, covered with post-office paper, incandescent light, ordinary gas light, kerosene light, or reduced daylight, the latter produced by covering a window with one or more thicknesses of orange post-office paper, as necessitated by strength of light.

Expose by holding the printing frame close to gas, lamp, or incandescent light, or to subdued daylight. Artificial light is recommended in preference to daylight because of uniformity, and it being in consequence easier to judge the proper length of time to expose.

Exposure.—The amount of exposure required varies with the strength of the light; it takes about the same time with an ordinary gas burner and an incandescent light; a Welsbach gas light requires only about one-half as much time as the ordinary gas burner, and a kerosene light of ordinary size about three times as much as an ordinary gas burner. If daylight is to be used the window should be covered with post-office paper, in which a sub-window about 1 foot square for making the exposure may be made. Cover this window first with a piece of white tissue paper, then with a piece of black cloth or post-office paper to exclude the white light when not wanted. Make exposure according to strength of light at from 1 to 2 feet away from the tissue paper. Keep the printing frame when artificial light is used constantly in motion during exposure.

Timing the Exposure.—The time necessary for exposing is regulated by density of negative and strength of light. The further away the negative is from the source of light at the time of exposure the weaker the light; hence, in order to secure uniformity in exposure it is desirable always to make the exposure at a given distance from the light used. With a negative of medium density exposed 1 foot from an ordinary gas burner, from 1 to 10 minutes’ exposure is required.

A test to ascertain the length of exposure should be made. Once the proper amount of exposure is ascertained with a given light, the amount of exposure required can be easily approximated by making subsequent exposures at the same distance from the same light; the only difference that it would then be necessary to make would be to allow for variation in density of different negatives.

Fixing.—Allow the prints to remain in the fixing solution 10 to 20 minutes, when they should be removed to a tray containing clear water.

Washing.—Wash 1 hour in running water, or in 10 or 12 changes of clear water, allowing prints to soak 2 to 3 minutes in each change.

«Pyrocatechin Formula.»—

_Solution A_

Pyrocatechin 2 parts Sulphite of soda, crystals 2.5 parts Water 100 parts

_Solution B_

Carbonate of soda 10 parts Water 100 parts

Before using mix 20 parts of Solution A, and 1⁠/⁠2 part of Solution B.

«Metol Quinol.»—

Water 10 ounces Metol 7 grains Sodium sulphite, crystals, pure 1⁠/⁠2 ounce Hydroquinone 30 grains Sodium carbonate, dessicated (or 400 grains of crystallized carbonate). 200 grains Ten per cent bromide of potassium solution, about 10 drops

«Amidol Formula.»—

Water 4 ounces Sodium sulphite, crystals, pure 200 grains Amidol, about 20 grains Ten per cent bromide of potassium solution, about 5 drops

If the blacks are greenish, add more amidol; if whites are grayish, add more bromide of potassium.

«Hypo-Acid Fixing Bath.»—

Hypo 16 ounces Water 64 ounces

Then add the following hardening solution:

Water 5 ounces Sodium sulphite, crystals 1⁠/⁠2 ounce Commercial acetic acid (containing 25 per cent pure acid) 3 ounces Powdered alum 1⁠/⁠2 ounce

«Amidol Developer.»—

Amidol 2 grains Sodium sulphite 30 grains Potassium bromide 1 grain Water 1 ounce

{529}

With a fairly correct exposure this will be found to produce prints of a rich black tone, and of good quality. The whole secret of successful bromide printing lies in correctness of exposure. It is generally taken for granted that any poor, flat negative is good enough to yield a bromide print, but this is not so. A negative of good printing quality on printing-out paper will also yield a good print on bromide paper, but considerable care and skill are necessary to obtain a good result from a poor negative. The above developer will not keep in solution, and should be freshly prepared as required. The same formula will also be found useful for the development of lantern plates, but will only yield black-toned slides.

«PLATINUM PAPERS:»

«General Instructions.»—To secure the most brilliant results the sensitized paper, before, during, and after its exposure to light, must be kept as dry as possible.

The paper is exposed to daylight, in the printing frame, for about one-third of the time necessary for ordinary silver paper.

The print is then immersed in the developer for about 30 seconds, then cleared in 3 acid baths containing 1 part of muriatic acid C. P. to 60 parts of water, washed for a short time in running water, the whole operation of printing, clearing, and washing being complete in about half an hour.

As a general rule all parts of the picture except the highest lights should be visible when the exposure is complete.

When examining the prints in the printing frames, care should be taken not to expose them unduly to light; for the degradation of the whites of the paper due to slight action of light is not visible until after development.

«Ansco Platinum Paper.»—Print until a trace of the detail _desired_ is slightly visible in the high lights.

_Development._—Best results are obtained with the temperature of the developer from 60° to 80° F. Immerse the print in the developer with a quick sweeping motion to prevent air bells. Develop in artificial or weak daylight. The development of a print from a normal negative will require 40 seconds or more.

Formula for Developer.—

Water 50 ounces Neutral oxalate of potash 8 ounces Potassium phosphate (monobasic) 1 ounce

Care must be used to obtain the monobasic potassium phosphate.

Immediately after prints are developed, place them face down in the first acid bath, composed of

Muriatic acid, C. P. 1 ounce Water 60 ounces

After remaining in this bath for a period of about 5 minutes, transfer to the second acid bath of the same strength. The prints should pass through at least 3 and preferably 4 acid baths, to remove all traces of iron that may remain in the pores of the paper.

When thoroughly cleared, the print should be washed from 10 to 20 minutes in running water. If running water is not available, several changes of water in the tray will be necessary.

«“Water Tone” Platinum Paper.»—“Water tone” platinum paper is very easily affected by moisture; it will, therefore, be noticed when printing in warm, damp weather that the print will show quite a tendency to print out black in the deep shadows. This must not be taken into consideration, as the same amount of exposure is necessary as in dry days.

Print by direct light (sunlight preferred) until the shadows are clearly outlined in a deep canary color. At this stage the same detail will be observed in the half tones that the finished print will show. For developing, use plain water, heated to 120° F. (which will be as hot as they can bear).

The development will be practically instantaneous, and care must be taken to avoid air bubbles forming upon the surface of the prints. Place prints, after developing, directly into a clearing bath of muriatic acid, 1 drachm to 12 ounces of water, and let them remain in this bath about 10 minutes, when they are ready for the final washing of 15 minutes in running water, or 5 changes of about 3 minutes each. Lay out between blotters to dry, and mount by attaching the corners.

«Bradley Platinum Paper.»—Developer.

A.—For black tones:

Neutral oxalate potassium 8 ounces Potassium phosphate 1 ounce Water 30 ounces

B.—For sepia tones:

Of above mixed solution 8 ounces Saturated bichloride mercury solution 1 ounce Citrate soda 5 grains

{530}

If deep red tones are desired add to B

Nitrate uranium 10 grains

Then filter and use as a developer.

«W. & C. Platinotype.»—Development.—The whole contents of the box of the W. & C. developing salts must be dissolved at one time, as the salts are mixed; and if this be not done, too large a proportion of one of the ingredients may be used.

Development should be conducted in a feeble white light, similar to that used when cutting up the paper, or by gas light.

It may take place immediately after the print is exposed, or at the end of the day’s printing.

Develop by floating the print, exposed side downwards, on the developing solution.

Development may take 30 seconds or more.

During the hot summer days it is not advisable to unduly delay the development of exposed prints. If possible develop within 1 hour after printing.

Either porcelain or agate—preferably porcelain—dishes are necessary to hold the developing solution.

To clear the developed prints: These must be washed in a series of baths (not less than three) of a weak solution of muriatic acid C. P. This solution is made by mixing 1 part of acid in 60 parts of water.

As soon as the print has been removed from the developing dish it must be immersed face downwards in the first bath of this acid, contained in a porcelain dish, in which it should remain about 5 minutes; meanwhile other prints follow until all are developed. The prints must then be removed to a second acid bath for about 10 minutes; afterwards to the third bath for about 15 minutes. While the prints remain in these acid baths they should be moved so that the solution has free access to their surfaces, but care should be taken not to abrade them by undue friction.

Pure muriatic acid must be used.

If commercial muriatic acid be used, the prints will be discolored and turn yellow.

For each batch of prints fresh acid baths must be used.

After the prints have passed through the acid baths they should be well washed in three changes of water during about a half hour. It is advisable to add a pinch of washing soda to the second washing water to neutralize any acid remaining in the print. Do not use water that contains iron, as it tends to turn paper yellow. Soft water is the best for this purpose.

«W. & C. Sepia Paper.»—With a few exceptions the method of carrying out the operations is the same as for the “black” kinds of platinotype paper. The following points should be attended to:

The “sepia” paper is more easily affected by faint light, and, therefore, increased care must be taken when printing.

To develop, add to each ounce of the developing solution 1 1⁠/⁠2 drachms of sepia solution supplied for this purpose, and proceed as described for black paper.

The solution must be heated to a temperature of 150° to 160° F., to obtain the greatest amount of brilliance and the warmest color, but very good results can be obtained by using a cooler developer.

«Variations of the Sepia Developer.»—Primarily the object of the sepia solution in the developer is to increase the brightness of the prints, as, for example, when the negative is thin and flat, or dense and flat, the addition of the sepia solution to the developer clears up, to some extent, the flatness of the print by taking out traces of the finer detail in the higher lights, which is often a decided improvement. If, however, the negative be dense, with clear shadows, the sepia solution may be discarded altogether. This will prevent the loss of any of the finer detail and greatly reduce harshness in the prints. Sometimes a half, or even a quarter, of the quantity of the sepia solution recommended as an addition to the developer will be sufficient, depending altogether upon the strength of the negatives. Prints developed without the solution have less of the sepia quality but are very agreeable nevertheless. It should be remembered that the sepia paper is totally different from the black, and will develop sepia tones on a developer to which no sepia solution has been added. The sepia solution clears up and brightens the flat, muddy (to some extent, not totally) effects from the thinner class of negatives.

«The Glycerine Process.»—The “glycerine process,” or the process of developing platinotype prints by application of the developing agent with the brush, is perhaps one of the most interesting and fascinating of photographic processes, owing to its far-reaching possibilities. {531}

By this method of developing platinotype paper, many negatives which have been discarded on account of the dim, flat, non-contrasty results which they yield, in the hands of one possessing a little artistic skill, produce snappy, animated pictures. On the other hand, from the sharp and hard negative, soft, sketchy effects may be secured.

There are required for this process: Some glass jars; some soft brushes, varying from the fine spotter and the Japanese brush to the 1 1⁠/⁠2-inch duster, and several pieces of special blotting paper.

Manipulation.—Print the paper a trifle deeper than for the ordinary method of developing. Place the print face up on a piece of clean glass (should the print curl so that it is unmanageable, moisten the glass with glycerine), and, with the broad camel’s-hair brush, thinly coat the entire print with pure glycerine, blotting same off in 3 or 4 seconds; then recoat more thickly such portions as are desired especially restrained, or the details partly or entirely eliminated. Now brush or paint such portion of the print as is first desired with solution of 1 part glycerine and 4 parts normal developer, blotting the portion being developed from time to time to avoid developing too far. Full strength developer (without glycerine) is employed where a pronounced or deep shade is wanted.

When any part of the print has reached the full development desired, blot that portion carefully with the blotter and coat with pure glycerine.

A brown effect may be obtained by using saturated solution of mercury in the developer (1 part mercury to 8 parts developer). By the use of diluted mercury the “flesh tones” are produced in portraits, etc.

When print has reached complete development, place in hydrochloric (muriatic) acid and wash as usual.

«Eastman’s Sepia Paper.»—This paper is about 3 times as rapid as blue paper. It should be under rather than over printed, and is developed by washing in plain water. After 2 or 3 changes of water fix 5 minutes in a solution of hypo (1 1⁠/⁠2 grains to the ounce of water), and afterwards wash thoroughly.

Short fixing gives red tones. Longer fixing produces a brown tone.

«Development of Platinum Prints.»—In the development of platinotype prints by the hot bath process, distinctly warmer tones are obtained by using a bath which has been several times heated, colder blacks resulting from the use of a freshly prepared solution, and colder tones still if the developing solution be faintly acidified. The repeated heating of the solution of the neutral salt apparently has the effect of rendering the bath slightly alkaline by the conversion of a minute proportion of the oxalate into potassium carbonate. If this be the case, it allows a little latitude in choice of tone which may be useful. Some photographers recommend the use of potassium phosphate with the neutral oxalate, stating that the solution should be rendered acid by the addition of a small proportion of oxalic acid. When the potassium phosphate was first recommended for this purpose, probably the acid salt, KH_〈2〉PO_〈4〉, was intended, by the use of which cold steely black tones were obtained. The use of the oxalic acid with the ordinary phosphate K_〈2〉HPO_〈4〉, is probably intended to produce the same result.

«THE CARBON PROCESS.»

The paper used is coated on one surface with a mixture of gelatin and some pigment (the color of which depends upon the color the required print is to be), and then allowed to dry. When required for printing it is sensitized by floating upon a solution of bichromate of potassium, and then again drying, in the dark this time. The process is based upon the action of light upon this film of chromatized gelatin; wherever the light reaches, the gelatin is rendered insoluble, even in hot water.

The paper is exposed in the usual way. But as the appearance of the paper before and after printing is precisely the same, it is impossible to tell when it is printed by examining the print. This is usually accomplished by exposing a piece of gelatino-chloride paper under a negative of about the same density, and placing it alongside of the carbon print. When the gelatino-chloride paper is printed, the carbon will be finished. The paper is then removed from the printing frame and immersed in cold water, which removes a great deal of the bichromate of potassium, and also makes the print lie out flat. It is then floated on to what is known as a support, and pressed firmly upon it, face downwards, and allowed to remain for 5 or 10 minutes. Then the support, together with the print, is placed in hot water for a short time, and when the gelatin commences to ooze out at the edges the print is removed by stripping from the support, this process leaving the greater quantity of the gelatin and pigment {532} upon the support. The gelatin and pigment are then treated with hot water by running the hot water over the face of the support by means of a sponge. This removes the soluble gelatin, and leaves the gelatin, together with the pigment it contains, which was acted upon by light; this then constitutes the picture.

The reason for transferring the gelatin film is quite apparent, since the greater portion of the unacted-upon gelatin will be at the back of the film, and in order to get at it to remove it, it is necessary to transfer it to a support. In this condition the print can be dried and mounted, but on consideration it will be seen that the picture is in a reversed position, that is to say, that the right-hand side of the original has become the left, and vice versa.

If the picture be finished in this condition, it is said to have been done by the single transfer method. In some instances this reversal would be of no consequence, such as some portraits, but with views which are known this would never do. In order to remedy this state of affairs, the picture is transferred once more, by pressing, while wet, upon another support, and allowed to dry upon it; when separated, the picture remains upon the latter support, and is in its right position. This is what is known as the double transfer method. When the double transfer method is used, the first support consists of a specially prepared support, which has been waxed in order to prevent the pictures from adhering permanently to it; this is then known as a temporary support. The paper upon which the print is finally received is prepared with a coating of gelatin, and is known as the final support.

«LANTERN SLIDES.»

The making of a good slide begins with the making of the negative, the operations in both cases being closely allied, and he who has mastered the first, which is the corner stone to all successful results in any branch of photography, may well be expected to be able to make a good lantern slide. A slide is judged not by what it appears to be when held in the hand, but by its appearance when magnified two to five thousand times on the screen, where a small defect in the slide will show up as a gross fault. Patience and cleanliness are absolutely necessary. The greatest caution should be observed to keep the lantern plates free from dust, both before and after exposure and development, for small pinholes and dust spots, hardly noticeable on the slide, assume huge proportions on the screen and detract materially from the slide’s beauty.

The high lights in a slide should, in rare cases only, be represented by clear glass, and the shadows should always be transparent, even in the deepest part. The balance between these extremes should be a delicate gradation of tone from one to the other. The contrast between the strongest high light and the deepest shadow should be enough to give brilliancy without hardness and delicacy or softness without being flat. This is controlled also, to some extent, by the subject summer sunshine requiring a more vigorous rendering than hazy autumn effects, and herein each individual must decide for himself what is most necessary to give the correct portrayal of the subject. It is a good idea to procure a slide, as near technically perfect as possible, from some slide-making friend, or dealer, to use it as a standard, and to make slide after slide from the same negative until a satisfactory result is reached.

A black tone of good quality is usually satisfactory for most slides, but it is very agreeable to see interspersed a variety of tone, and beautiful slides can be made, where the subject warrants, in blue, brown, purple, and even red and green, by varying the exposure and development and by using gold or uranium toning baths and other solutions for that purpose, the formulas and materials for which are easily obtainable from the magazines and from stock dealers, respectively.

It must be understood, however, that these toning solutions generally act as intensifiers, and that if toning is contemplated, it should be borne in mind at the time of developing the slide, so that it may not finally appear too dense. Toning will improve otherwise weak slides, but will not help under-exposed ones, as its tendency will be in such case to increase the contrast, which in such slides is already too great. Another method of getting a fine quality of slides is to make rather strong exposures to over-develop, and then to reduce with persulphate of ammonium.

The popular methods of making the exposure are: First, by contact in the printing frame, just as prints are made on velox or other developing paper, provided the subject on the negative is of the right size for a lantern slide; and the other and better method is the camera {533} method, by which the subject of any negative, large or small, or any part thereof, can be reduced or enlarged, and thus brought to the proper size desired for the slide. This is quite a knack, and should be considered and studied by the slide maker very carefully.

Hard and inflexible rules cannot be laid down in this relation. Portrait studies of bust or three-fourths figures or baby figures need not be made for a larger opening than 1 1⁠/⁠2 by 2 inches, and often appear to good advantage if made quite a bit smaller. Figure or group compositions, with considerable background or accessories, may, of course, have a larger opening to suit the particular circumstances. Monuments, tall buildings, and the like should have the benefit of the whole height of mat opening of 2 3⁠/⁠4 inches, and should be made of a size to fill it out properly, providing, however, for sufficient foreground and a proper sky line. Landscapes and marine views generally can be made to fill out the full length of mat opening, which, however, should not exceed 2 7⁠/⁠8 inches, and may be of any height to suit the subject, up to 2 3⁠/⁠4 inches.

The subject should be well centered on the plate and the part intended to be shown as the picture should be well within the size of the mat opening decided upon, so that with a slight variation of the placing of the mat no part of the picture will be cut off by the carrier in the stereopticon. The horizon line in a landscape, and more particularly in a marine view, should always be in proper position, either below or above the center line of the slide, as may suit the subject, but should never divide the picture in the middle and should not appear to be running either up or down hill. And the vertical lines in the pictures should not be leaning, but should run parallel with the side lines of the mat; this refers especially to the vertical lines in architecture, except, however, the Tower of Pisa and kindred subjects, which should in every case be shown with their natural inclinations.

As to time of exposure, very little can be said. That varies with the different makes of plates, with the quality of the light, and the nature and density of each individual negative. Therefore every one must be a judge unto himself and make as good a guess as he can for the first trial from each negative and gauge further exposures from the results thus obtained; but this much may be said, that a negative strong in contrast should be given a long exposure, close to the light, if artificial light is used, or in strong daylight, and developed with a weak or very much diluted developer to make a soft slide with full tone values. And a flat, weak negative will yield better results if exposed farther from the light or to a weaker light, and developed by a normal or more aggressive developer. Over exposure and under exposure show the same results in slide plates as in negative plates, and the treatment should be similar in both kinds of plates except that, perhaps, in cases of under exposure of slide plates, the better plan would be to cast them aside and make them over, as very little can be done with them. For getting bright and clear effects it is now well understood that better and more satisfactory results are obtained by backing the slide plates as well as by backing negative plates. This is accomplished by coating the back or glass side of the plate with the following mixture:

Gum arabic 1⁠/⁠2 ounce Caramel 1 ounce Burnt sienna 2 ounces Alcohol 2 ounces

Mix and apply with small sponge or wad of absorbent cotton.

It should coat thin and smooth and dry hard enough so it will not rub off when handled. If the plates are put into a light-proof grooved box as fast as backed, they can be used about half an hour after being coated. Before developing, this backing should be removed; this is best done by first wetting the film side of the plate under the tap, which will prevent staining it, and then letting the water run on the backing, and, with a little rubbing, it will disappear in a few moments, when development may proceed. Other preparations for this purpose, ready for use, may be found at the stock houses. The mat should be carefully selected or cut of a size and shape to show up the subject to best advantage, and should cover everything not wanted in the picture. The opening should not exceed 2 3⁠/⁠4 x 2 7⁠/⁠8 inches in any case, and must not be ragged or fuzzy, but clean cut and symmetrical. The lines of the opening of square mats should be parallel with the outside lines of the plate. Oval, or round, or other variously shaped mats, should be used sparingly, and in special cases only where the nature of the subject will warrant their use.

Statuary shows up to best advantage when the background is blocked out. {534} This is easily done with a small camel’s-hair artist’s brush and opaque or india ink, in a retouching frame, a good eye and a steady hand being the only additional requirements. This treatment may also be applied to some flower studies and other botanical subjects.

Binding may be performed with the aid of a stationer’s spring clamp, such as is used for holding papers together, and can be purchased for 10 cents. Cut the binding strips the length of the sides and ends of the slide, and gum them on separately, rubbing them firmly in contact with the glass with a piece of cloth or an old handkerchief, which might be kept handy for that purpose, so that the binding may not loosen or peel off after the slides are handled but half a dozen times. Before storing the slides away for future use they should be properly labeled and named. The name label should be affixed on the right end of the face of the slide as you look at it in its proper position, and should contain the maker’s name and the title of the slide. The thumb label should be affixed to the lower left-hand corner of the face of the slide, and may show the number of the slide.

«HOW TO UTILIZE WASTE MATERIAL.»

Undoubtedly spoiled negatives form the greatest waste. The uses to which a ruined negative may be put are manifold. Cut down to 3 1⁠/⁠4 inches square and the films cleaned off, they make excellent cover glasses for lantern slides. Another use for them in the same popular branch of photography is the following: If, during development, you see that your negative is spoiled through uneven density, over exposure, or what not, expose it to the light and allow it to blacken all over. Now with sealing wax fasten a needle to a penholder, and by means of this little tool one can easily manufacture diagram slides from the darkened film (white lines on black ground).

Take a spoiled negative, dissolve out all the silver with a solution of potassium ferricyanide and hypo. Rinse, dry, rub with sandpaper, and you will have a splendid substitute for ground glass.

Remove the silver in a similar manner from another negative, but this time wash thoroughly. Squeegee down on this a print, and an opaline will be your reward. From such an opaline, by cementing on a few more glasses, a tasteful letter weight may soon be made. Another way in which very thin negatives may be used is this: Bleach them in bichloride of mercury, back them with black paper, and positives will result. Old negatives also make good trimming boards, the film preventing a rapid blunting of the knife, and they may be successfully used as mounting tables. Clean off the films, polish with French chalk, and squeegee your prints thereto. When dry they may be removed and will have a fine enameled, if hardly artistic, appearance. Many other uses for them may also be found if the amateur is at all ingenious.

Users of pyro, instead of throwing the old developer away, should keep some of it and allow it to oxidize. A thin negative, if immersed in this for a few minutes, will be stained a deep yellow all over, and its printing quality will be much improved.

Old hypo baths should be saved, and, when a sufficient quantity of silver is thought to be in solution, reduced to recover the metal.

Printing paper of any sort is another great source of waste, especially to the inexperienced photographer. Prints are too dark or not dark enough successfully to undergo the subsequent operations. Spoiled material of this kind, however, is not without its uses in photography. Those who swear by the “combined bath,” will find that scraps of printing-out paper, or any silver paper, are necessary to start the toning action.

Spoiled mat surface, printing-out paper, bromide paper, or platinotype should be allowed to blacken all over. Here we have a dead-black surface useful for many purposes. A leak in the bellows when out in the field may be repaired temporarily by moistening a piece of mat printing-out paper and sticking it on the leak; the gelatin will cause it to adhere. These papers may also be used to back plates, platinotypes, of course, requiring some adhesive mixture to make them stick.

In every photographer’s possession there will be found a small percentage of stained prints. Instead of throwing these away, they may often be turned to good account in the following manner: Take a large piece of cardboard, some mountant, and the prints. Now proceed to mount them tastefully so that the corners of some overlap, arranging in every case to hide the stain. If you have gone properly to work, you will have an artistic mosaic. Now wash round with india ink, or paint a border of leaves, and the whole thing will form a very neat “tit bit.”

Keep the stiff bits of cardboard {535} between which printing paper is packed. They are useful in many ways—from opaque cards in the dark slide to partitions between negatives in the storing boxes.

In reclaiming old gold solutions, all liquids containing gold, with the exception of baths of which cyanide forms a part, must be strongly acidulated with chlorhydric or sulphuric acid, if they are not already acid in their nature. They are afterwards diluted with a large proportion of ordinary water, and a solution of sulphate of ferroprotoxide (green vitriol) is poured in in excess. It is recognized that the filtered liquid no longer contains gold when the addition of a new quantity of ferric sulphate does not occasion any cloudiness. Gold precipitated in the form of a reddish or blackish powder is collected on a filter and dried in an oven with weights equal to its own of borax, saltpeter, and carbonate of potash. The mass is afterwards introduced gradually into a fireproof crucible and carried to a white-red heat in a furnace. When all the matter has been introduced, a stronger blast is given by closing the furnace, so that all the metal collects at the bottom of the crucible. On cooling, a gold ingot, chemically pure, will be obtained. This mode of reduction is also suitable for impure chloride of gold, and for the removal of gilding, but not for solutions containing cyanides, which never give up all the gold they contain; the best means of treating the latter consists in evaporating them to dryness in a cast-iron boiler, and in calcining the residue in an earthen crucible at the white red. A small quantity of borax or saltpeter may be added for facilitating the fusion, but it is not generally necessary. The gold separated collects at the bottom of the crucible. It is red, if saltpeter is employed; and green, if it is borax.

To reclaim silver place the old films, plates, paper, etc., in a porcelain dish, so arranged that they will burn readily. To facilitate combustion, a little kerosene or denatured alcohol poured over the contents will be found serviceable.

Before blowing off the burnt paper, place the residue in an agateware dish, the bottom of which is covered with a solution of saltpeter and water. Place the whole on the fire, and heat it until the silver is separated as a nitrate.

The solution being complete, add to the mass a little water and hydrochloric acid, when in a short time the serviceable silver chloride will be obtained. If the films should not give up their silver as freely as the plates, then add a little more hydrochloric acid or work them up separately. Silver reclaimed in this way is eminently suitable for silver-plating all sorts of objects.

«FIXING AND CLEARING BATHS:»

«The Acid Fixing and Clearing Bath.»—Add 2 ounces of S. P. C. clarifier (acid bisulphite of sodium) solution to 1 quart of hypo solution 1 in 5.

«Combined Alum and Hypo Bath.»—Add saturated solution of sulphite of sodium to saturated solution of alum till the white precipitate formed remains undissolved, and when the odor of sulphurous acid becomes perceptible.

Mix this solution with an equal bulk of freshly prepared hypo solution 1 in 5, and filter.

This bath will remain clear.

«Clearing Solution» (Edward’s).—

Alum 1 ounce avoirdupois Citric acid 1 ounce avoirdupois Sulphate of iron, crystals 3 ounces avoirdupois Water 1 imperial pint

This should be freshly mixed.

«Clearing Solution.»—

Saturated solution of alum 20 ounces Hydrochloric acid 1 ounce

Immerse negative after fixing and washing. Wash well after removal.

«Reducer for Gelatin Dry-Plate Negatives.»—

I.—Saturated solution of ferricyanide of potassium 1 part Hyposulphite of sodium solution (1 in 10) 10 parts

II.—Perchloride of iron 30 grains Citric acid 60 grains Water 1 pint

«Belitski’s Acid Ferric-Oxalate Reducer for Gelatin Plates.»—

Water 7 ounces Potassium ferric oxalate 2 1⁠/⁠2 drachms Crystallized neutral sulphite of sodium 2 drachms Powdered oxalic acid, from 30 to 45 grains Hyposulphite of soda 1 1⁠/⁠2 ounces

The solution must be made in this order, filtered, and be kept in tightly closed bottles; and as under the influence of light the ferric salt is reduced to {536} ferrous, the preparation must be kept in subdued light, in non-actinic glass bottles.

«Orthochromatic Dry Plates—Erythrosine Bath (Mallman and Scolik).»—Preliminary bath:

Water 200 cubic centimeters Stronger ammonia 2 cubic centimeters

Soak a plate for 2 minutes.

Color bath:

Erythrosine solution (1 in 1,000) 25 cubic centimeters Stronger ammonia (0.900) 4 cubic centimeters Water 175 cubic centimeters

The plate should not remain longer in the bath than 1 1⁠/⁠4 minutes.

«PAPER-SENSITIZING PROCESSES:»

«Blueprint Paper.»—I.—The ordinary blue photographic print in which white lines appear on a blue ground may be made on paper prepared as follows:

A.—Potassium ferricyanide 10 drachms Distilled water 4 ounces

B.—Iron ammonia citrate 15 drachms Distilled water 4 ounces

Mix when wanted for use, filter, and apply to the surface of the paper.

With this mixture no developer is required. The paper after exposure is simply washed in water to remove the unaltered iron salts. The print is improved by immersion in dilute hydrochloric acid, after which it must be again well washed in water.

II.—The following process, credited to Captain Abney, yields a photographic paper giving blue lines on a white ground:

Common salt 3 ounces Ferric chloride 8 ounces Tartaric acid 3 1⁠/⁠4 ounces Acacia 25 ounces Water 100 ounces

Dissolve the acacia in half the water and dissolve the other ingredients in the other half; then mix.

The liquid is applied with a brush to strongly sized and well rolled paper in a subdued light. The coating should be as even as possible. The paper should be dried rapidly to prevent the solution sinking into its pores. When dry, the paper is ready for exposure.

In sunlight, 1 or 2 minutes is generally sufficient to give an image; while in a dull light as much as an hour is necessary.

To develop the print, it is floated immediately after leaving the printing frame upon a saturated solution of potassium ferrocyanide. None of the developing solution should be allowed to reach the back. The development is usually complete in less than a minute. The paper may be lifted off the solution when the face is wetted, the development proceeding with that which adheres to the print.

When the development is complete, the print is floated on clean water, and after 2 or 3 minutes is placed in a bath, made as follows:

Sulphuric acid 3 ounces Hydrochloric acid 8 ounces Water 100 ounces

In about 10 minutes the acid will have removed all iron salts not turned into the blue compound. It is next thoroughly washed and dried. Blue spots may be removed by a 4 per cent solution of caustic potash.

The back of the tracing must be placed in contact with the sensitive surface.

III.—Dissolve 3 3⁠/⁠4 ounces of ammonia citrate of iron in 18 ounces of water, and put in a bottle. Then dissolve 2 5⁠/⁠8 ounces of red prussiate of potash in 18 ounces of water, and put in another bottle. When ready to prepare the paper, have the sheets piled one on top of the other, coating but one at a time. Darken the room, and light a ruby lamp. Now, mix thoroughly equal parts of both solutions and apply the mixture with a sponge in long parallel sweeps, keeping the application as even as possible. Hang the paper in the dark room to dry and keep it dark until used. Any of the mixture left from sensitizing the paper should be thrown away, as it deteriorates rapidly.

Often, in making blueprints by sunlight, the exposure is too long, and when the frame is opened the white lines of the print are faint or obscure. Usually these prints are relegated to the waste basket; but if, after being washed as usual, they are sponged with a weak solution of chloride of iron, their reclamation is almost certain. When the lines reappear, the print should be thoroughly rinsed in clear water.

Often a drawing, from which prints have already been made, requires changing. The blueprints then on hand are worthless, requiring more time to correct {537} than it would take to make a new print. An economical way of using the worthless prints is to cancel the drawing already thereon, sensitize the reverse side, and use the paper again.

«How to Make Picture Postal Cards and Photographic Letter Heads.»—I.—Well-sized paper is employed. If the sizing should be insufficient, resizing can be done with a 10 per cent gelatin solution, with a 2 per cent arrowroot paste, or with a 50 per cent decoction of carrageen. This size is applied on the crude paper with a brush and allowed to dry. The well-sized or resized papers are superior and the picture becomes stronger on them than on insufficiently sized paper. Coat this paper uniformly with a solution of 154 grains of ferric oxalate in 3 1⁠/⁠2 fluidounces of distilled water, using a brush, and allow to dry. Next, apply the solution of 15 1⁠/⁠2 grains of silver nitrate in 3 1⁠/⁠2 fluidounces of water with a second brush, and dry again. Coating and drying must be conducted with ruby light or in the dark.

The finished paper keeps several days. Print deep so as to obtain a strong picture and develop in the following bath:

Distilled water 3 1⁠/⁠2 fluidounces Potassium oxalate (neutral) 340 grains Oxalic acid 4 grains

After developing the well-washed prints, fix them preferably in the following bath:

Distilled water 3 1⁠/⁠2 fluidounces Sodium thiosulphate 75 grains Gold chloride solution (1 in 100) 80 minims

Any other good bath may be employed.

II.—Starch is dissolved in water and the solution is boiled until it forms a thin paste. Carmine powder is added, and the mixture is rapidly and assiduously stirred until it is homogeneous throughout. It is now poured through muslin and spread by means of a suitable pencil on the paper to be sensitized. Let dry, then float it, prepared side down on a solution of potassium chromate, 30 parts in 520 parts of distilled water, being careful to prevent any of the liquid from getting on the back or reverse side. Dry in the dark room, and preserve in darkness. When desired for use lay the negative on the face of the paper, and expose to the full sunlight for 5 or 6 minutes (or about an hour in diffused light). Washing in plenty of water completes the process.

«A Simple Emulsion for Mat or Printing-Out Paper.»—One of the very best surfaces to work upon for coloring in water color is the carbon print. Apart from its absolute permanency as a base, the surface possesses the right tooth for the adhering of the pigment. It is just such a surface as this that is required upon other prints than carbon, both for finished mat surfaces and for the purposes of coloring. The way to obtain this surface upon almost any kind of paper, and to print it out so that the correct depth is ascertained on sight, will be described. Some of the crayon drawing papers can be utilized, as well as many other plain photographic papers that may meet the desires of the photographer. If a glossy paper is desired, the emulsion should be coated on a baryta-coated stock.

There will be required, in the first place, 2 half-gallon stoneware crocks with lids. The best shape to employ is a crock with the sides running straight, with no depressed ridge at the top. One of these crocks is for the preparation of the emulsion, the other to receive the emulsion when filtered. An enameled iron saucepan of about 2 gallons capacity will be required in which to stand the crock for preparing the emulsion, and also to remelt the emulsion after it has become set. The following is the formula for the emulsion, which must be prepared and mixed in the order given. Failure will be impossible if these details are scrupulously attended to.

Having procured 2 half-gallon stoneware crocks with lids, clean them out well with hot and cold water, and place into one of these the following:

Distilled water 10 ounces Gelatin (Heinrich’s, hard) 4 ounces

Cut the gelatin into shreds with a clean pair of scissors. Press these shreds beneath the water with a clean strip of glass and allow to soak for 1 hour. Now proceed to melt the water-soaked gelatin by placing the crock into hot water in the enameled saucepan, the water standing about half way up on the outside of the crock. Bring the water to boiling point, and keep the gelatin occasionally stirred until it is completely dissolved. Then remove the crock to allow the contents to cool down to 120° F. Now prepare the following, which can be done while the gelatin is melting: {538}

No. 1

Rochelle salts 90 grains Distilled water 1 ounce

No. 2

Chloride of ammonia 45 grains Distilled water 1 ounce

No. 3

Nitrate of silver, 1 ounce and 75 grains Citric acid (crushed crystals) 95 grains Distilled water 10 ounces

No. 4

Powdered white alum 90 grains Distilled water (hot) 5 ounces

The latter solution may be made with boiling water. When these solutions are prepared, pour into the hot gelatin solution No. 1, stirring all the while with a clean glass rod. Then add No. 2. Rinse the vessel with a little distilled water, and add to the gelatin. Now, while stirring gradually, add No. 3, and lastly add No. 4, which may be very hot. This will cause a decided change in the color of the emulsion. Lastly add 2 ounces of pure alcohol (photographic). This must be added very gradually with vigorous stirring, because if added too quickly it will coagulate the gelatin and form insoluble lumps. The emulsion must, of course, be mixed under a light not stronger than an ordinary small gas-jet, or under a yellow light obtained by covering the windows with yellow paper. The cover may now be placed upon the crock, and the emulsion put aside for 2 or 3 days to ripen.

At the end of this time the contents of the crock, now formed into a stiff emulsion, may be remelted in hot water by placing the crock in the enameled saucepan over a gas stove. The emulsion may be broken up by cutting it with a clean bone or hard-rubber paper cutter to facilitate the melting. Stir the mixture occasionally until thoroughly dissolved, and add the following as soon as the emulsion has reached a temperature of about 150° F.:

Distilled water 4 ounces Pure alcohol 1 ounce

The emulsion must now be filtered into the second crock. The filtering is best accomplished in the following manner: Take an ordinary plain-top kerosene lamp chimney, tie over the small end two thicknesses of washed cheese cloth. Invert the chimney and insert a tuft of absorbent cotton about the size of an ordinary egg. Press it carefully down upon the cheese cloth. Fix the chimney in the ring of a retort stand (or cut a hole about 3 inches in diameter in a wooden shelf), so that the crock may stand conveniently beneath. In the chimney place a strip of glass, resting upon the cotton, to prevent the cotton from lifting. Now pour in the hot emulsion and allow the whole of it to filter through the absorbent cotton. This accomplished, we are now ready for coating the paper, which is best done in the following manner:

Cut the paper into strips or sheets, say 12 inches wide and the full length of the sheet. This will be, let us suppose, 12 x 26 inches. Attach, by means of the well-known photographic clips, a strip of wood at each end of the paper upon the back. Three clips at each end will be required. Having a number of sheets thus prepared, the emulsion should be poured into a porcelain pan or tray, kept hot by standing within another tray containing hot water. The emulsion tray being, say, 11 x 14 size, the paper now is easily coated by holding the clipped ends in each hand, then holding the left end of the paper up, and the right-hand end lowered so that the curve of the paper just touches the emulsion. Then raise the right hand, at the same time lowering the left hand at the same rate. Then lower the right hand, lifting the left. Repeat this operation once more; then drain the excess of emulsion at one corner of the tray, say, the left-hand corner. Just as soon as the emulsion has drained, the coated sheet of paper may be hung up to dry, by the hooks attached to the clips, upon a piece of copper wire stretched from side to side of a spare closet or room that can be kept darkened until the paper is dry. In this way coat as much paper as may be required. When it is dry it may be rolled up tight or kept flat under pressure until needed.

If any emulsion remains it may be kept in a cool place for 2 weeks, and still be good for coating. Be sure to clean out all the vessels used before the emulsion sets, otherwise this will present a difficult task, since the emulsion sets into an almost insoluble condition.

This emulsion is so made that it does not require to be washed. If it is washed it will become spoiled. It is easy to make and easy to use. If it is desired that only small sheets of paper are to be coated, they may be floated on the emulsion, but in this case the paper must be damp, which is easily accomplished by {539} wetting a sheet of blotting paper, then covering this with two dry sheets of blotting paper. Place the sheets to be coated upon these, and place under pressure during the night. Next day they will be in good condition for floating.

When the coated paper is dry it may be printed and toned just the same as any other printing-out paper, with any toning bath, and fixed in hyposulphite of soda as usual. Toning may be carried to a rich blue black, or if not carried too far will remain a beautiful sepia color. After well washing and drying, it will be observed that the surface corresponds with that of a carbon print; if the paper has been of a somewhat absorbent character, the surface will be entirely mat, and will give an excellent tooth for coloring or finishing in sepia, black and white, etc.

«How to Sensitize Photographic Printing Papers.»—I.—The older form of paper is one in which the chemicals are held by albumen. Silver is said to combine with this, forming an albuminate. Pictures printed on this would be too sharp in their contrasts, and consequently “hard”; this is avoided by introducing silver chloride.

To prepare this form of paper, beat 15 ounces of fresh egg albumen with 5 ounces of distilled water, dissolve in it 300 grains of ammonium chloride, set aside for a time, and decant or filter. Suitable paper is coated with this solution by floating, and then dried. The paper is “sensitized” by floating it on a solution of silver nitrate in distilled water, about 80 grains to the ounce, with a drop of acetic acid. The paper is dried as before, and is then ready for printing. The sensitizing must, of course, be done in the dark room.

The reaction between the ammonium chloride present in the albumen coating produces a certain quantity of silver chloride, the purpose of which is shown above. Of course, variations in the proportions of this ingredient will give different degrees of softness to the picture.

II.—The bromide and chloride papers which are now popular consist of the ordinary photographic paper sensitized by means of a thin coating of bromide or chloride emulsion. In “Photographic Printing Methods,” by the Rev. W. H. Burbank, the following method is given for bromide paper:

A.—Gelatin (soft) 42 1⁠/⁠2 grains Bromide of potassium 26 grains Distilled water 1 ounce

B.—Nitrate of silver 33 1⁠/⁠3 grains Distilled water 1 ounce

Dissolve the bromide first, then add the gelatin and dissolve by gentle heat (95° to 100° F.). Bring the silver solution to the same temperature, and add in a small stream to the gelatin solution, stirring vigorously, of course in non-actinic light. Keep the mixed emulsion at a temperature of 105° F. for half an hour, or according to the degree of sensitiveness required, previously adding 1 drop of nitric acid to every 5 ounces of the emulsion. Allow it to set, squeeze through working canvas, and wash 2 hours in running water. In his own practice he manages the washing easily enough by breaking the emulsion up into an earthen jar filled with cold water, and placed in the dark room sink. A tall lamp chimney standing in the jar immediately under the tap conducts fresh water to the bottom of the jar, and keeps the finely divided emulsion in constant motion; a piece of muslin, laid over the top of the jar to prevent any of the emulsion running out, completes this simple, inexpensive, but efficient washing apparatus.

Next melt the emulsion and add one-tenth of the whole volume of glycerine and alcohol; the first to prevent troublesome cockling of the paper as it dries, the second to prevent air bubbles and hasten drying. Then filter.

With the emulsion the paper may be coated just as it comes from the stock dealer, plain, or, better still, given a substratum of insoluble gelatin, made as follows:

Gelatin 1 3⁠/⁠5 grains Water 1 ounce

Dissolve and filter; then add 11 drops of a 1 in 50 filtered chrome alum solution. The paper is to be floated for half a minute on this solution, avoiding air bubbles, and then hung up to dry in a room free from dust. The purpose of this substratum is to secure additional brilliancy in the finished prints by keeping the emulsion isolated from the surface of the paper. The paper should now be cut to the size desired.

We do not know of these processes having been applied to postal cards, but unless there is some substance in the sizing of the card which would interfere, there is no reason why it should not be. Of course, however, a novice will not get the results by using it that an experienced hand would.

«Ferro-Prussiate Paper.»—The following aniline process of preparing sensitive paper is employed by the Prussian and Hessian railway administrations. The {540} ordinary paper on reels is used for the purpose, and sensitized as follows:

Two hundred and fifty parts, by weight, of powdered potassium bichromate are dissolved in water; the solution should be completely saturated; 10 parts of concentrated sulphuric acid, 10 parts of alcohol (962), and 30 parts of phosphoric acid, are added successively, and the whole stirred together. The solution is sponged over the paper. It is not necessary to have the room absolutely dark, or to work by a red light, still the light should be obscured. The drying of the paper, in the same place, takes about 10 minutes, after which the tracing to be reproduced and the paper are placed in a frame, as usual, and exposed to daylight. On a sunny day, an exposure of 35 seconds is enough; in cloudy weather, 60 to 70 seconds; on a very dark day, as much as 5 minutes.

After exposure, the paper is fixed by suspending it for 20 minutes upon a bar in a closed wooden box, on the bottom of which are laid some sheets of blotting paper, sprinkled with 40 drops of benzine and 20 of crude aniline oil. The vapors given off will develop the design. Several impressions may be taken at the same time.

For fixing, crude aniline oil is to be used (anilinum purum), not refined (purissimum), for the reason that the former alone contains the substances necessary for the operation. The reproduced design is placed in water for a few minutes, and hung up to dry.

«Pigment Paper for Immediate Use.»—Pigment paper is usually sensitized in the bichromate solution on the evening before it is desired for use. If it is not then used it will spoil. By proceeding as follows the paper may be used within a quarter of an hour after treating it in the bichromate bath. Make a solution of

Ammonium bichromate 75 grains Water 3 1⁠/⁠2 fluidounces Sodium carbonate 15 grains

Mix 0.35 ounces of this solution with 0.7 ounces alcohol, and with a broad brush apply to surface of the pigment paper, as evenly as possible. Dry this paper as quickly as possible in a pasteboard box of suitable size, 15 minutes being usually long enough for the purpose. It may then be used at once.

«Photographing on Silk.»—China silk is thoroughly and carefully washed to free it from dressing, and then immersed in the following solution:

Sodium chloride 4 parts Arrowroot 4 parts Acetic acid 15 parts Distilled water 100 parts

Dissolve the arrowroot in the water by warming gently, then add the remaining ingredients. Dissolve 4 parts of tannin in 100 parts of distilled water and mix the solutions. Let the silk remain in the bath for 3 minutes, then hang it carefully on a cord stretched across the room to dry. The sensitizing mixture is as follows:

Silver nitrate 90 parts Distilled water 750 parts Nitric acid 1 part

Dissolve. On the surface of this solution the silk is to be floated for 1 minute, then hung up till superficially dry, then pinned out carefully on a flat board until completely dry. This must, of course, be done in the dark room. Print, wash, and tone in the usual manner.

«TONING BATHS FOR PAPER.»

The chief complaints made against separate baths are (1) the possibility of double tones, and (2) that the prints sometimes turn yellow and remain so. Such obstacles may easily be removed by exercising a little care. Double tones may be prevented by soaking the prints in a 10 per cent solution of common salt before the preliminary washing, and by not touching the films with the fingers; and the second objection could not be raised provided fresh solution were used, with no excess of sulphocyanide, if this be the bath adopted.

A very satisfactory solution may be made as follows:

Sodium phosphate 20 grains Gold chloride 1 1⁠/⁠2 grains Distilled (or boiled) water 10 ounces

This tones very quickly and evenly, and the print will be, when fixed, exactly the color it is when removed from the bath. Good chocolate tints may be obtained, turning to purple gray on prolonged immersion.

Next to this, as regards ease of manipulation, the tungstate bath may be placed, the following being a good formula:

Sodium tungstate 40 grains Gold chloride 2 grains Water 12 ounces

The prints should be toned a little further than required, as they change color, though only slightly, in the hypo. {541}

Provided that ordinary care be exercised, the sulphocyanide bath cannot well be improved upon. The formulas given by the various makers for their respective papers are all satisfactory, and differ very little. One that always acts well is

Ammonium sulphocyanide 28 grains Distilled water 16 ounces Gold chloride 2 1⁠/⁠2 grains

For those who care to try the various baths, and to compare their results, here is a table showing the quantities of different agents that may be used with sufficient water to make up 10 ounces:

Gold chloride, 1 gr. to 1 oz. water 12 dr. 16 dr. 16 dr. 11 dr. 11 dr. 14 dr. Borax 60 gr. Sod. bicarbonate 10 gr. Sod. carbonate 20 gr. Sod. phosphate 20 gr. Sod. tungstate 40 gr. Amm. sulphocyanide 17.5 gr.

We may take it that any of these substances reduce gold trichloride, AuCl_〈3〉 to AuCl; this AuCl apparently acts as an electrolyte, from which gold is deposited on the silver of the image, and at the same time a small quantity of silver combines with the chlorine of the gold chloride thus:

AuCl + Ag = AgCl + Au

When toning has been completed, the prints are washed and placed in the fixing bath, when the sodium thiosulphate present dissolves any silver chloride that has not been affected by light.

Besides the well-known, every-day tones we see, which never outstep the narrow range between chocolate brown and purple, a practically infinite variety of color, from chalk red to black, may be obtained by a little careful study of toning baths instead of regarding them as mere unalterable machines. Most charming tints are produced with platinum baths, a good formula being

Strong nitric acid 5 drops Water 4 ounces Chloro-platinite of potassium 1 grain

The final tone of a print cannot be judged from its appearance in the bath, but some idea of it may be got by holding it up to the light and looking through it. A short immersion gives various reds, while prolonged toning gives soft grays.

Results very similar to platinotype may be obtained with the following combined gold and platinum bath:

_A._—Sodium acetate 1 drachm Water 4 ounces Gold chloride 1 grain

_B._—Chloro-platinite of potassium 1 grain Water 4 ounces

Mix _A_ and _B_ and neutralize with nitric acid. (The solution will be neutral when it just ceases to turn red litmus paper blue.)

Another toning agent is stannous chloride. Two or three grains of tin foil are dissolved in strong hydrochloric acid with the aid of heat. The whole is then made up to about 4 ounces with water.

«Toning Baths for Silver Bromide Paper.»—The picture, which has been exposed at a distance of 1 1⁠/⁠2 feet for about 8 to 10 seconds, is developed in the customary manner and fixed in an acid fixing bath composed of

Distilled water 1,000 cubic centimeters Hyposulphite of soda 100 grams Sodium sulphite 20 grams Sulphuric acid 4 to 5 grams

First dissolve the sodium sulphite, then add the sulphuric acid, and finally the hyposulphite, and dissolve.

Blue tints are obtained by laying the picture in a bath composed as follows:

_A._—Uranium nitrate 2 grams Water 200 cubic centimeters

_B._—Red prussiate of potash 2 grams Water 200 cubic centimeters

_C._—Ammonia-iron-alum 10 grams Water 100 cubic centimeters Pure hydrochloric acid 15 cubic centimeters

Immediately before the toning, mix

Solution _A_ 200 cubic centimeters Glacial acetic acid 20 cubic centimeters Solution _B_ 200 cubic centimeters Solution _C_ 30 to 40 cubic centimeters

Brown tints. Use the following solutions: {542}

_A._—Uranium nitrate 12 grams Water 1,000 cubic centimeters

_B._—Red prussiate of potash 9 grams Water 1,000 cubic centimeters

And mix immediately before use

Solution _A_ 100 cubic centimeters Solution _B_ 100 cubic centimeters Glacial acetic acid 10 cubic centimeters

Pictures toned in this bath are then laid into the following solution:

Water 1,500 cubic centimeters Pure hydrochloric acid 5 cubic centimeters Citric acid 20 grams

«To Turn Blueprints Brown.»—A piece of caustic soda about the size of a bean is dissolved in 5 ounces of water and the blueprint immersed in it, on which it will take on an orange-yellow color. When the blue has entirely left the print it should be washed thoroughly and immersed in a bath composed of 8 ounces of water in which has been dissolved a heaping teaspoonful of tannic acid. The prints in this bath will assume a brown color that may be carried to almost any tone, after which they must again be thoroughly washed and allowed to dry.

«COMBINED TONING AND FIXING BATHS.»

The combined toning and fixing bath consists essentially of five parts—(1) water, the solvent; (2) a soluble salt of gold, such as gold chloride; (3) the fixing agent, sodium thiosulphate; (4) a compound which will readily combine with “nascent” sulphur—i. e., sulphur as it is liberated—this is usually a soluble lead salt, such as the acetate or nitrate, and (5) an auxiliary, such as a sulphocyanide.

The simplest bath was recommended by Dr. John Nicol, and is as follows:

Sodium thiosulphate 3 ounces Distilled water 16 ounces

When dissolved, add

Gold chloride 4 grains Distilled water 4 fluidrachms

A bath which contains lead is due to Dr. Vogel, whose name alone is sufficient to warrant confidence in the formula:

Sodium thiosulphate 7 ounces Ammonium sulphocyanide 1 ounce Lead acetate 67 grains Alum 1 ounce Gold chloride 12 grains Distilled water 35 fluidounces

A bath which contains no lead is one which has produced excellent results and is due to the experimental research of Dr. Liesegang. It is as follows:

Ammonium sulphocyanide 1⁠/⁠4 ounce Sodium chloride 1 ounce Alum 1⁠/⁠2 ounce Sodium thiosulphate 4 ounces Distilled water 24 fluidounces

Allow this solution to stand for 24 hours, during which time the precipitated sulphur sinks to the bottom of the vessel; decant or filter, and add

Gold chloride 8 grains Distilled water 1 fluidounce

It is curious that, with the two baths last described, the addition to them of some old, exhausted solution makes them work all the better.

«ENLARGEMENTS.»

─────────────────────────────────────────────────────────────────────────────── TIMES OF ENLARGEMENT AND REDUCTION ───────+────────+────────+────────+────────+────────+────────+────────+──────── Focus │ │ │ │ │ │ │ │ of │ 1 inch │2 inches│3 inches│4 inches│5 inches│6 inches│7 inches│8 inches Lens. │ │ │ │ │ │ │ │ In. │ │ │ │ │ │ │ │ ───────+────────+────────+────────+────────+────────+────────+────────+──────── 2 │ 4 │ 6 │ 8 │ 10 │ 12 │ 14 │ 16 │ 18 │ 4 │ 3 │ 2 2⁠/⁠3 │ 2 1⁠/⁠2 │ 2 2⁠/⁠5 │ 2 1⁠/⁠3 │ 2 2⁠/⁠7 │ 2 1⁠/⁠4 ───────+────────+────────+────────+────────+────────+────────+────────+──────── 2 1⁠/⁠2 │ 5 │ 7 1⁠/⁠2 │ 10 │ 12 1⁠/⁠2 │ 15 │ 17 1⁠/⁠2 │ 20 │ 22 1⁠/⁠2 │ 5 │ 3 3⁠/⁠4 │ 3 1⁠/⁠3 │ 3 1⁠/⁠8 │ 3 │ 2 9⁠/⁠10│ 2 6⁠/⁠7 │ 2 3⁠/⁠16 ───────+────────+────────+────────+────────+────────+────────+────────+──────── 3 │ 6 │ 9 │ 12 │ 15 │ 18 │ 21 │ 24 │ 27 │ 6 │ 4 1⁠/⁠2 │ 4 │ 3 3⁠/⁠4 │ 3 3⁠/⁠5 │ 3 1⁠/⁠2 │ 3 3⁠/⁠7 │ 3 3⁠/⁠8 ───────+────────+────────+────────+────────+────────+────────+────────+──────── 3 1⁠/⁠2 │ 7 │ 10 1⁠/⁠2 │ 14 │ 17 1⁠/⁠2 │ 21 │ 24 1⁠/⁠2 │ 28 │ 31 1⁠/⁠2 │ 7 │ 5 1⁠/⁠4 │ 4 2⁠/⁠3 │ 4 3⁠/⁠4 │ 4 1⁠/⁠5 │ 4 1⁠/⁠12│ 4 │ 3 9⁠/⁠10 ───────+────────+────────+────────+────────+────────+────────+────────+──────── 4 │ 8 │ 12 │ 16 │ 20 │ 24 │ 28 │ 32 │ 36 │ 8 │ 6 │ 5 1⁠/⁠3 │ 5 │ 4 4⁠/⁠5 │ 4 2⁠/⁠3 │ 4 4⁠/⁠7 │ 4 1⁠/⁠2 ───────+────────+────────+────────+────────+────────+────────+────────+──────── 4 1⁠/⁠2 │ 9 │ 13 1⁠/⁠2 │ 18 │ 22 1⁠/⁠2 │ 27 │ 31 1⁠/⁠2 │ 36 │ 40 1⁠/⁠2 │ 9 │ 6 3⁠/⁠4 │ 6 │ 5 3⁠/⁠5 │ 5 2⁠/⁠5 │ 5 1⁠/⁠4 │ 5 1⁠/⁠7 │ 5 1⁠/⁠16 ───────+────────+────────+────────+────────+────────+────────+────────+──────── 5 │ 10 │ 15 │ 20 │ 25 │ 30 │ 35 │ 40 │ 45 │ 10 │ 7 1⁠/⁠2 │ 6 2⁠/⁠3 │ 6 1⁠/⁠4 │ 6 │ 5 5⁠/⁠6 │ 5 5⁠/⁠7 │ 5 5⁠/⁠8 ───────+────────+────────+────────+────────+────────+────────+────────+──────── 5 1⁠/⁠2 │ 11 │ 16 1⁠/⁠2 │ 22 │ 27 1⁠/⁠2 │ 33 │ 38 1⁠/⁠2 │ 44 │ 49 1⁠/⁠2 │ 11 │ 8 1⁠/⁠4 │ 7 1⁠/⁠3 │ 6 4⁠/⁠5 │ 6 1⁠/⁠2 │ 6 5⁠/⁠12│ 6 2⁠/⁠7 │ 6 3⁠/⁠16 ───────+────────+────────+────────+────────+────────+────────+────────+──────── 6 │ 12 │ 18 │ 24 │ 30 │ 36 │ 42 │ 48 │ 54 │ 12 │ 9 │ 8 │ 7 1⁠/⁠2 │ 7 1⁠/⁠5 │ 7 │ 6 6⁠/⁠7 │ 6 3⁠/⁠4 ───────+────────+────────+────────+────────+────────+────────+────────+──────── 7 │ 14 │ 21 │ 28 │ 35 │ 42 │ 49 │ 56 │ 63 │ 14 │ 10 1⁠/⁠2 │ 9 1⁠/⁠3 │ 8 3⁠/⁠4 │ 8 2⁠/⁠5 │ 8 1⁠/⁠6 │ 8 │ 7 7⁠/⁠8 ───────+────────+────────+────────+────────+────────+────────+────────+──────── 8 │ 16 │ 24 │ 32 │ 40 │ 48 │ 56 │ 64 │ 72 │ 16 │ 12 │ 10 2⁠/⁠3 │ 10 │ 9 3⁠/⁠5 │ 9 1⁠/⁠3 │ 9 1⁠/⁠7 │ 9 ───────+────────+────────+────────+────────+────────+────────+────────+──────── 9 │ 18 │ 27 │ 36 │ 45 │ 54 │ 63 │ 72 │ 81 │ 18 │ 13 1⁠/⁠2 │ 12 │ 11 1⁠/⁠4 │ 10 4⁠/⁠5 │ 10 1⁠/⁠2 │ 10 2⁠/⁠7 │ 10 1⁠/⁠8 ───────+────────+────────+────────+────────+────────+────────+────────+────────

{543}

The object of this table is to enable any manipulator who is about to enlarge (or reduce) a copy any given number of times to do so without troublesome calculation. It is assumed that the photographer knows exactly what the focus of his lens is, and that he is able to measure accurately from its optical center. The use of the table will be seen from the following illustration: A photographer has a _carte_ to enlarge to four times its size, and the lens he intends employing is one of 6 inches equivalent focus. He must therefore look for 4 on the upper horizontal line and for 6 in the first vertical column, and carry his eye to where these two join, which will be at 30–7 1⁠/⁠2. The greater of these is the distance the sensitive plate must be from the center of the lens; and the lesser, the distance of the picture to be copied. To reduce a picture any given number of times, the same method must be followed; but in this case the greater number will represent the distance between the lens and the picture to be copied, the latter that between the lens and the sensitive plate. This explanation will be sufficient for every case of enlargement or reduction.

If the focus of the lens be 12 inches, as this number is not in the column of focal lengths, look out for 6 in this column and multiply by 2, and so on with any other numbers.

To make a good enlargement five points should be kept constantly in view, viz.:

1. Most careful treatment of the original negative.

2. Making a diapositive complete in all its parts.

3. Scrupulous consideration of the size of the enlargement.

4. Correct exposure during the process of enlargement.

5. The most minute attention to the details of development, including the chemical treatment of the enlarged negative.

The original negative should not be too dense, nor, on the contrary, should it be too thin. If necessary, it should be washed off, or strengthened, as the case may be. Too strong a negative is usually weakened with ammonium persulphate, or the fixing hypo solution is quite sufficient. All spots, points, etc., should be retouched with the pencil and carmine.

The diapositive should be produced by contact in the copying apparatus. A border of black paper should be used to prevent the entry of light from the side.

The correct period of exposure depends upon the thickness of the negative, the source of the light, its distance, etc. Here there is no rule, experience alone must teach.

For developing one should use not too strong a developer. The metol-soda developer is well suited to this work, as it gives especially soft lights and half tones. Avoid too short a development. When the finger laid behind the thickest spot, and held toward the light, can no longer be detected, the negative is dense enough.

The denser negatives should be exposed longer, and the development should be quick, while with thin, light negatives the reverse is true; the exposure should be briefer and the development long, using a strong developer, and if necessary with an addition of potassium bromide.

The silver chloro-bromide diapositive plates, found in the shops, are totally unsuited for enlargements, as they give overdone, hard pictures.

To produce good artistic results in enlarging, the diapositive should be kept soft, even somewhat too thin. It should undergo, also, a thorough retouching. All improvements are easily carried out on the smaller positive or negative pictures. Later on, after the same have been enlarged, corrections are much more difficult and troublesome.

«VARNISHES:»

«Cold Varnish.»—

I.—Pyroxylin 10 grains Amyl alcohol 1 ounce Amyl acetate 1 ounce

Allow to stand, shaking frequently till dissolved. Label: The negative should be thoroughly dried before this solution is applied, which may be done either by flowing it over the solution or with a flat brush. The negative should be placed in a warm place for at least 12 hours to thoroughly dry.

II.—Japanese gold size 1 part Benzol 1 part

Label: In applying this varnish great care should be taken not to use it near a light or open fire. It can be flowed over or brushed on the negative.

«Black Varnish.»—

Brunswick black 1 1⁠/⁠2 ounces Benzol 1 ounce

Label: The varnish should be applied with a brush, care being taken not to use it near a light or open fire. {544}

«Dead Black Varnish.»—

Borax 30 grains Shellac 60 grains Glycerine 30 minims Water 2 ounces

Boil till dissolved, filter, and add aniline black, 120 grains.

Label: Apply the solution with a brush, and repeat when dry if necessary.

«Ordinary Negative Varnish.»—

Gum sandarac 1 ounce Orange shellac 1⁠/⁠2 ounce Castor oil 90 minims Methyl alcohol 1 pint

Allow to stand with occasional agitation till dissolved, and then filter. Label: The negative should be heated before a fire till it can be comfortably borne on the back of the hand, and then the varnish flowed over, any excess being drained off, and the negative should then be again placed near the fire to dry.

«Water Varnish.»—It is not only in connection with its application to a wet collodion film that water varnish forms a valuable addition to the stock of chemicals in all-round photography; it is almost invaluable in the case of gelatin as with wet collodion films. In the case of gelatin negatives the water varnish is applied in the shape of a wash directly after the negatives have been washed to free their films from all traces of hypo, or in other words, at that stage when the usual drying operation would begin. After the varnish has been applied the films are dried in the usual manner, and its application will soon convince anyone that has experienced the difficulty of retouching by reason of the want of a tooth in the film to make a lead-pencil bite, as the saying goes, that were this the only benefit accruing from its application it is well worthy of being employed.

The use of water varnish, however, does away with the necessity of employing collodion as an additional protection to a negative, and is, perhaps, the best known remedy against damage from silver staining that experienced workers are acquainted with. As a varnish it is not costly, neither is it difficult to make in reasonably small quantities, while its application is simplicity itself. The following formula is an excellent sample of water varnish:

Place in a clean, enameled pan 1 pint of water, into which insert 4 ounces of shellac in thin flakes, and place the vessel on a fire or gas stove until the water is raised to 212° F. When this temperature is reached a few drops of hot, saturated solution of borax is dropped into the boiling pan containing the shellac and water, taking care to stir vigorously with a long strip of glass until the shellac is all dissolved. Too much borax should not be added, only just sufficient to cause the shellac to dissolve, and it is better to stop short, if anything, before all the flakes dissolve out than to add too much borax. The solution is then filtered carefully and, when cold, the water varnish is ready for use.

«FADED PHOTOGRAPHS AND THEIR TREATMENT:»

Restoring Faded Photographs.—I.—As a precaution against a disaster first copy the old print in the same size. Soak the faded photograph for several hours in clean water and, after separating print from mount, immerse the former in nitric acid, highly dilute (1 per cent), for a few minutes. Then the print is kept in a mercury intensifier (mercuric chloride, 1⁠/⁠2 ounce; common salt, 1⁠/⁠2 ounce; hot water, 16 ounces, used cold), until bleached as much as possible. After half an hour’s rinsing, a very weak ammonia solution will restore the photograph, with increased vigor, the upper tones being much improved, though the shadows will show some tendency to clog. The net result will be a decided improvement in appearance; but, at this stage, any similarly restored photographs should be recopied if their importance warrants it, as mercury intensifier results are not permanent. It may be suggested that merely rephotographing and printing in platinotype will probably answer.

II.—Carefully remove the picture from its mount, and put it in a solution of the following composition:

By weight Hydrochloric acid 2 parts Sodium chloride 8 parts Potassium bichromate 8 parts Distilled water 250 parts

The fluid bleaches the picture, but photographs that have been toned with gold do not quite vanish. Rinse with plenty of water, and develop again with very dilute alkaline developer.

«MOUNTANTS:»