Chapter I: II III IV V VI (12)

III.—To make a more permanent extract of coffee saturate 600 parts of freshly roasted coffee, ground moderately fine, with any desired quantity of a 1 in 3 mixture of alcohol of 94 per cent and distilled water, and pack in a percolator. Close the faucet and let stand, closely stoppered, for 24 hours; then pour on the residue of the alcohol and water, and let run through, adding sufficient water, at the last, so as to compensate for what boils away. Set this aside, and continue the percolation, with boiling water, until the powder is exhausted. Evaporate the resultant percolate down to the consistency of the alcoholic extract, and mix the two. If desired, the result may be evaporated down to condition of an extract. To dissolve, add boiling water.

IV.—This essence is expressly adapted to boiling purposes. Take 3 pounds of good coffee, 4 ounces of granulated sugar, 4 pints of pure alcohol, 6 pints of hot water. Have coffee fresh roasted and of a medium grinding. Pack in a glass percolator, and percolate it with a menstruum, consisting of the water and the alcohol. Repeat the percolation until the desired strength is obtained, or the coffee exhausted; then add the sugar and filter.

V.—Mocha coffee 1 pound
Java coffee 1 pound
Glycerine, quantity sufficient.
Water, quantity sufficient.

Grind the two coffees fine, and mix, then moisten with a mixture of 1 part of glycerine and 3 parts of water, and pack in a glass percolator, and percolate slowly until 30 ounces of the percolate is obtained. It is a more complete extraction if the menstruum be poured on in the condition of boiling, and it be allowed to macerate for 20 minutes before percolation commences. Coffee extract should, by preference, be made in a glass percolator. A glycerine menstruum is preferable to one of dilute alcohol, giving a finer product.

VI.—Coffee, Java, roasted, No. 20 powder 4 ounces
Glycerine, pure 4 fluidounces
Water, quantity sufficient.
Boiling, quantity sufficient.

Moisten the coffee slightly with water, and pack firmly in a tin percolator; pour on water, gradually, until 4 fluidounces are obtained, then set aside. Place the coffee in a clean tin vessel, with 8 fluidounces of water, and boil for 5 minutes. Again place the coffee in the percolator with the water (infusion), and when the liquid has passed, or drained off, pack the grounds firmly, and pour on boiling water until 8 fluidounces are obtained. When cold, mix the first product, and add the glycerine, bottle, and cork well.

The excellence of this extract of coffee, from the manner of its preparation, will be found by experience to be incomparably superior to that made by the {314} formulas usually recommended, the reason being apparent in the first step in the process.

«Coffee Essence.»—

Best ground Mocha coffee 4 pounds Best ground chicory 2 pounds

Boil with 2 gallons of water in a closed vessel and when cold, strain, press, and make up to 2 gallons, and to this add

Rectified spirit of wine 8 ounces Pure glycerine (fluid) 16 ounces

Add syrup enough to make 4 gallons, and mix intimately.

«Cucumber Essence.»—Press the juice from cucumbers, mix with an equal volume of alcohol and distil. If the distillate is not sufficiently perfumed, more juice may be added and the mixture distilled. It is said that the essence thus prepared will not spoil when mixed with fats in the preparation of cosmetics.

«Fruit Jelly Extract.»—Fill into separate paper bags:

Medium finely powdered gelatin 18 parts Medium finely powdered citric acid 3 parts

Likewise into a glass bottle a mixture of any desired

Fruit essence 1 part Spirit of wine 1 part

and dissolve in the mixture for obtaining the desired color, raspberry red or lemon yellow, 1/10 part.

For use, dissolve the gelatin and the citric acid in boiling water, adding

Sugar 125 parts

and mixing before cooling with the fruit essence mixture.

«Ginger Extracts.»—The following is an excellent method of preparing a soluble essence or extract of ginger:

I.—Jamaica ginger 24 ounces
Rectified spirits, 60 per cent 45 ounces
Water 15 ounces

Mix and let macerate together with frequent agitations for 10 days, then percolate, press off, and filter. The yield should be 45 ounces. Of this take 40 ounces and mix with an equal amount of distilled water. Dissolve 6 drachms of sodium phosphate in 5 ounces of boiling water; let cool and add the solution to the filtrate and water, mixing well. Add 2 drachms of calcium chloride dissolved in 5 ounces of water, nearly cold, and again thoroughly shake the whole. Let stand for 12 hours; then filter.

Put the filtrate in a still, and distil off, at as slow a temperature as possible, 30 ounces. Set this distillate to one side, and continue the distillation till another 40 ounces have passed, then let the still cool. The residue in the still, some 18 ounces, is the desired essence. Pour out all that is possible and wash the still with the 30 ounces of distillate first set aside. This takes up all that is essential. Finally, filter once more, through double filter paper and preserve the filtrate—about 40 ounces, of an amber-colored liquid containing all of the essentials of Jamaica ginger.

Soluble Essence of Ginger.—II.—The following is Harrop’s method of proceeding:

Fluid extract of ginger (U.S.) 4 ounces Pumice, in moderately fine powder 1 ounce Water enough to make 12 ounces

Pour the fluid extract into a bottle, add the pumice and shake the mixture and repeat the shaking in the course of several hours. Now add the water in proportion of about 2 ounces, shaking well and frequently after each addition. When all is added repeat the agitation occasionally during 24 hours, then filter, returning the last portion of the filtrate until it comes through clear, and if necessary add sufficient water to make 12 ounces.

III.—Jamaica ginger, ground 2 pounds
Pumice stone, ground 2 ounces
Lime, slaked 2 ounces
Alcohol, dilute 4 pints

Rub the ginger with the pumice stone and lime until thoroughly mixed. Moisten with the dilute alcohol until saturated and place in a narrow percolator, being careful not to use force in packing, but simply putting it in to obtain the position of a powder to be percolated, so that the menstruum will go through uniformly. Finally, add the dilute alcohol and proceed until 4 pints of percolate are obtained. Allow the liquid to stand for 24 hours; then filter if necessary.

IV.—Tincture ginger 480 parts
Tincture capsicum 12 parts
Oleoresin ginger 8 parts
Magnesium carbonate 16 parts

Rub the oleoresin with the magnesia, and add the tinctures; add about 400 {315} parts of water, in divided portions, stirring vigorously the while. Transfer the mixture to a bottle, and allow to stand 1 week, shaking frequently; then filter, and make up 960 parts with water.

V.—Fluid extract of ginger (U. S. P.) 4 ounces
Pumice, powdered and washed 1 ounce
Water enough to make 12 ounces

Pour the fluid extract of ginger into a bottle, and add the pumice, shake thoroughly, set aside, and repeat the operation in the course of several hours. Add the water, in the proportion of about 2 ounces at a time, agitating vigorously after each addition. When all is added, repeat the agitation occasionally during 24 hours, then filter, returning the first portion of the filtrate until it comes through bright and clear. If necessary, pass water through the filter, enough to make 12 fluidounces of filtrate.

VI.—Strongest tincture of ginger 1 pint
Fresh slaked lime. 1 1/2 ounces
Salt of tartar 1/4 ounce

VII.—Jamaica ginger, ground 32 parts
Pumice stone, powdered 32 parts
Lime, slaked 2 parts
Alcohol, dilute, sufficient to make 32 parts

Rub the ginger with the pumice stone and lime, then moisten with alcohol until it is saturated with it. Put in a narrow percolator, using no force in packing. Allow the mass to stand for 24 hours, then let run through. Filter if necessary.

VIII.—The following is insoluble:

Cochin ginger, cut fine 1,000 parts Alcohol, 95 per cent 2,500 parts Water 1,250 parts Glycerine 250 parts

Digest together for 8 days in a very warm, not to say hot, place. Decant, press off the roots, and add to the colature, then filter through paper. This makes a strong, natural tasting essence.

IX.—Green Ginger Extract.—The green ginger root is freed from the epidermis and surface dried by exposure to the air for a few hours. It is then cut into thin slices and macerated for some days with an equal weight of rectified spirit, which when filtered will yield an essence possessing a very fine aroma and forming an almost perfectly clear solution in water. If the ginger is allowed to dry more than the few hours mentioned it will not produce a soluble essence. It is used in some of the imported ginger ales as a flavoring only, and makes a lovely ginger flavor.

«Hop Syrup.»—A palatable preparation not inferior to many of the so-called hop bitters:

Hops 2 parts Dandelion 2 parts Gentian 2 parts Chamomile 2 parts Stillingia 2 parts Orange peel 2 parts Alcohol 75 parts Water 75 parts Syrup, simple 50 parts

Coarsely powder the drugs and exhaust with the water and alcohol mixed. Decant, press out and filter, and finally add the syrup. The dose is a wineglassful 2 or 3 times daily.

«Lemon Essences.»—I.—Macerate the cut-up fresh peelings of 40 lemons and 30 China oranges in 8 quarts of alcohol and 2 quarts of water, for 2 or 3 days, then distil off 8 quarts. Every 100 parts of this distillate is mixed with 75 parts of citric acid dissolved in 200 parts of water, colored with a trace of orange and filtered through talc. Each 200 parts of the filtrate is then mixed with 2 quarts of syrup.

II.—Twenty-five middle-sized lemons are thinly peeled, the peelings finely cut, and the whole, lemons and peels, put to macerate in a mixture of 3 pints 90 per cent alcohol and 5 quarts water. Let macerate for 24 hours. Add 10 drops lemon and 10 drops orange oil; then slowly distil off 4 quarts. The distillate will be turbid, but if left to stand in a cool, dark place for a week it will filter off clear, and should make a clear mixture with equal parts of water and simple syrup. If it does not, add with a pipette, drop by drop, sufficient alcohol to make it do so. Finally, dissolve in the mixture 4 drachms of vanillin, and color with a few drops of tincture of turmeric and a little caramel.

III.—Peel thinly and lightly, 25 medium-sized fresh lemons and 1 orange, and cut the peelings into very small pieces. Macerate in 55 drachms 96 per cent alcohol, for 6 hours. Filter off the macerate without pressing. Dilute the filtrate with 3 pints water and set aside for eight days, shaking frequently. At {316} the end of this time filter. The filtrate is usually clear, and if so, add 4 drachms of vanillin. If not, proceed as in the second formula above.

IV.—Oil of lemon, select, 8 fluidounces; oil of lemon grass (fresh), 1 fluidrachm; peel, freshly grated, of 12 lemons; alcohol, 7 pints; boiled water, 1 pint.

Mix and macerate for 7 days. If in a hurry for the product, percolate through the lemon peel and filter. The addition of any other substance than the oil and rind of the lemon is not recommended.

V.—Fresh oil of lemon 64 parts
Lemon peel (outer rind) freshly grated 32 parts
Oil of lemon grass 1 part
Alcohol 500 parts

Mix, let macerate for 14 days, and filter.

VI.—Essence of lemon 1 3/4 ounces
Rectified spirit of wine 6 ounces
Pure glycerine 3 ounces
Pure phosphate calcium 4 ounces
Distilled water to make 1 pint.

Mix essence of lemon, spirit of wine, glycerine, and 8 ounces of distilled water, agitate briskly in a quart bottle for 10 minutes, and introduce phosphate of calcium and again shake. Put in a filter and let it pass through twice. Digest in filtrate for 2 or 3 days, add 1 1/2 ounces fresh lemon peel, and again filter.

VII.—Oil of lemon 6 parts
Lemon peel (freshly grated) 4 parts
Alcohol, sufficient.

Dissolve the oil of lemon in 90 parts of alcohol, add the lemon peel, and macerate for 24 hours. Filter through paper, adding through the filter enough alcohol to make the filtrate weigh 100 parts.

VIII.—Exterior rind of lemon 2 ounces
Alcohol, 95 per cent, deodorized 32 ounces
Oil of lemon, recent 3 fluidounces

Expose the lemon rind to the air until perfectly dry, then bruise in a wedgwood mortar, and add it to the alcohol, agitating until the color is extracted; then add the lemon oil.

«Natural Lemon Juice.»—I.—Take 4.20 parts of crystallized citric acid; 2 parts essence of lemons; 3 parts of alcohol of 96 per cent; 1/2 part calcium carbonate; 50 1/20 parts sodium phosphate, and 1/200 part calcium citrate, and dissolve the whole in sufficient water to make 60 parts.

II.—Squeeze out the lemon juice, strain it to get rid of the seeds and larger particles of pulp, etc., heat it to the boiling point, let it cool down, add talc, shake well together and filter. If it is to be kept a long time (as on a sea voyage) a little alcohol is added.

«Limejuice.»—This may be clarified by heating it either alone or mixed with a small quantity of egg albumen, in a suitable vessel, without stirring, to near the boiling point of water, until the impurities have coagulated and either risen to the top or sunk to the bottom. It is then filtered into clean bottles, which should be completely filled and closed (with pointed corks), so that each cork has to displace a portion of the liquid to be inserted. The bottles are sealed and kept at an even temperature (in a cellar). In this way the juice may be satisfactorily preserved.

«Nutmeg Essence.»—Oil of nutmeg, 2 drachms; mace, in powder, 1 ounce; alcohol, 95 per cent, deodorized, 32 ounces.

Dissolve the oil in the alcohol by agitation, add the mace, agitate, then stopper tightly, and macerate 12 hours. Filter through paper.

«Orange Extract.»—Grated peel of 24 oranges; alcohol, 1 quart; water, 1 quart; oil of orange, 4 drachms. Macerate the orange peel and oil of orange with alcohol for 2 weeks. Add distilled water and filter.

«Orange Extract, Soluble.»—I.—Pure oil of orange, 1 1/4 fluidounces; carbonate of magnesium, 2 ounces; alcohol, 12 fluidounces; water, quantity sufficient to make 2 pints.

II.—Dissolve oil of orange in the alcohol, and rub it with the carbonate of magnesium, in a mortar. Pour the mixture into a quart bottle, and fill the bottle with water. Allow to macerate for a week or more, shaking every day. Then filter through paper, adding enough water through the paper to make filtrate measure 2 pints.

«Orange Peel, Soluble Extract.»—

Freshly grated orange rind 1 part Deodorized alcohol 1 part

Macerate for 4 days and express. Add the expressed liquid to 10 per cent of its weight of powdered magnesium carbonate {317} in a mortar, and rub thoroughly until a smooth, creamy mixture results; then gradually add the water, constantly stirring. Let stand for 48 hours, then filter through paper. Keep in an amber bottle and cool place. To make syrup of orange, add 1 part of this extract to 7 parts of heavy simple syrup.

«Peach Extract.»—

Linalyl formate 120 minims Amyl valerianate 8 drachms Fluid extract orris 2 ounces Oenanthic ether 2 drachms Oil rue (pure German) 30 minims Chloroform 2 drachms Glycerine 2 ounces Alcohol, 70 per cent, to 3 pints.

«Pineapple Essence.»—A ripe, but not too soft, pineapple, weighing about, say, 1 pound, is mashed up in a mortar with Tokay wine, 6 ounces. The mass is then brought into a flask with 1 pint of water, and allowed to stand 2 hours. Alcohol, 90 per cent, 3/4 pint, is then added and the mixture distilled until 7 quarts of distillate have been collected. Cognac, 9 ounces, is then added to the distillation.

«Pistachio Essence.»—

I.—Essence of almond 2 fluidounces
Tincture of vanilla 4 fluidounces
Oil of neroli 1 drop

II.—Oil of orange peel 4 fluidrachms
Oil of cassia 1 fluidrachm
Oil of bitter almond 15 minims
Oil of calamus 15 minims
Oil of nutmeg 1 1/2 fluidrachms
Oil of clove 30 minims
Alcohol 12 fluidounces
Water 4 fluidounces
Magnesium carbonate 2 drachms

Shake together, allow to stand 24 hours, and filter.

«Pomegranate Essence.»—

Oil of sweet orange 3 parts Oil of cloves 3 parts Tincture of vanilla 15 parts Tincture of ginger 10 parts Maraschino liqueur 150 parts Tincture of coccionella 165 parts Distilled water 150 parts Phosphoric acid, dilute 45 parts Alcohol, 95 per cent, quantity sufficient to make 1000 parts.

Mix and dissolve.

«Quince Extract.»—

Fluid extract orris 2 ounces Oenanthic ether 1 1/2 ounces Linalyl formate 90 minims Glycerine 2 ounces Alcohol, 70 per cent, to 3 pints.

«Raspberry Syrup, without Alcohol or Antiseptics.»—The majority of producers of fruit juices are firmly convinced that the preservation of these juices without the addition of alcohol, salicylic acid, etc., is impossible. Herr Steiner’s process to the contrary is here reproduced:

The fruit is crushed and pressed; the juice, with 2 per cent of sugar added, is poured into containers to about three-quarters of their capacity, and there allowed to ferment. The containers are stoppered with a cork through which runs a tube, whose open end is protected by a bit of gum tubing, the extremity of which is immersed in a glass filled with water. It should not go deeper than 4/10 of an inch high. The evolution of carbonic gas begins in about 4 hours and is so sharp that the point of the tube must not be immersed any deeper.

Ordinarily fermentation ceases on the tenth day, a fact that may be ascertained by shaking the container sharply, when, if it has ceased, no bubbles of gas will appear on the surface of the water.

The fermented juice is then filtered to get rid of the pectinic matters, yeast, etc., and the filtrate should be poured back on the filter several times. The juice filters quickly and comes off very clear. The necessary amount of sugar to make a syrup is now added to the liquid and allowed to dissolve gradually for 12 hours. At the end of this time the liquid is put on the fire and allowed to boil up at once, by which operation the solution of the sugar is made complete. Straining through a tin strainer and filling into heated bottles completes the process.

The addition of sugar to the freshly pressed juice has the advantage of causing the fermentation to progress to the full limit, and also to preserve, by the alcohol produced by fermentation, the beautiful red color of the juice.

Any fermentation that may be permitted prior to the pressing out of the juices is at the expense of aroma and flavor; but whether fermentation occurs before or after pressure of the berry, the ordinary alcohol test cannot determine whether the juice has been completely fermented (and consequently whether the pectins have been completely separated) or not. Since, in spite of the fact that the liquid remains limpid after 4 days’ {318} fermentation, the production of alcohol is progressing all the time—a demonstration that fermentation cannot then be completed, and that at least 10 days will be required for this purpose.

An abortive raspberry syrup is always due to an incomplete or faulty fermentation, for too often does it occur that incompletely fermented juices after a little time lose color and become turbid.

The habit of clarifying juices by shaking up with a bit of paper, talc, etc., or boiling with albumen is a useless waste of time and labor. By the process indicated the entire process of clarification occurs automatically, so to speak.

«Deep Red Raspberry Syrup.»—A much deeper and richer color than that ordinarily attained may be secured by adding to crushed raspberries, before fermentation, small quantities of sugar, sifted over the surface in layers. The ethylic alcohol produced by fermentation in this manner aids in the extraction of the red coloring matter of the fruit. Moreover, the fermented juice should never be cooked over a fire, but by superheated steam. Only in this way can caramelization be completely avoided. Only sugar free from ultramarine and chalk should be used in making the syrup, as these impurities also have a bad influence on the color.

«Raspberry Essences.»—

I.—Raspberries, fresh 16 ounces
Angelica (California) 6 fluidounces
Brandy (California) 6 ounces
Alcohol 6 ounces
Water, quantity sufficient.

Mash the berries to a pulp in a mortar or bowl, and transfer to a flask, along with the Angelica, brandy, alcohol, and about 8 ounces of water. Let macerate overnight, then distil off until 32 ounces have passed over. Color red. The addition of a trifle of essence of vanilla improves this essence.

II.—Fresh raspberries 200 grams
Water, distilled 100 grams
Vanilla essence 2 grams

Pulp the raspberries, let stand at a temperature of about 70° F. for 48 hours, and then add 100 grams of water. Fifty grams are then distilled off, and alcohol, 90 per cent, 25 grams, in which 0.01 vanillin has been previously dissolved, is added to the distillate.

«Sarsaparilla, Soluble Extract.»—

Pure oil of wintergreen 5 fluidrachms Pure oil of sassafras 5 fluidrachms Pure oil of anise 5 fluidrachms Carbonate of magnesium 2 1/2 ounces Alcohol 1 pint Water, quantity sufficient to make 2 pints.

Dissolve the various oils in the alcohol, and rub with carbonate of magnesium in a mortar. Pour the mixture into a quart bottle, and fill the bottle with water. Allow to macerate for a week or more, shaking every day. Then filter through the paper, adding enough water through the paper to make the finished product measure 2 pints.

«Strawberry Juice.»—Put into the water bath 1,000 parts of distilled water and 600 parts of sugar and boil, with constant skimming, until no more scum arises. Add 5 parts of citric acid and continue the boiling until about 1,250 parts are left. Stir in, little by little, 500 parts of fresh strawberries, properly stemmed, and be particularly careful not to crush the fruit. When all the berries are added, cover the vessel, remove from the fire, put into a warm place and let stand, closely covered, for 3 hours, or until the mass has cooled down to the surrounding temperature, then strain off through flannel, being careful not to crush the berries. Prepare a sufficient number of pint bottles by filling them with warm water, putting them into a kettle of the same and heating them to boiling, then rapidly emptying and draining as quickly as possible. Into these pour the hot juice, cork and seal the bottles as rapidly as possible. Juice thus prepared retains all the aroma and flavor of the fresh berry, and if carefully corked and sealed up will retain its properties a year.

«Strawberry Essence.»—

Strawberries, fresh 16 ounces Angelica (California) 6 fluidounces Brandy (California) 6 ounces Alcohol 8 ounces Water, quantity sufficient.

Mash the berries to a pulp in a mortar or bowl, and transfer to a flask, along with the Angelica, brandy, alcohol, and about 8 ounces of water. Let macerate overnight, then distil off until 32 ounces have passed over. Color strawberry red. The addition of a little essence of vanilla and a hint of lemon improves this essence. {319}

«Tea Extract.»—

I.—Best Souchong tea 175 parts
Cinnamon 3 parts
Cloves 3 parts
Vanilla 1 part
Arrack 800 parts
Rum 200 parts

Coarsely powder the cinnamon, clove, etc., mix the ingredients, and let macerate for 3 days, then filter, press off, and make up to 1,000 parts, if necessary, by adding rum. The Souchong may be replaced by any other brand of tea, and the place of the arrack may be occupied by Santa Cruz, or New England rum. The addition of fluid extract of kola nut not only improves the taste, but gives the drink a remarkably stimulating property. The preparation makes a clear solution with either hot or cold water and keeps well.

II.—Tea, any desirable variety, 16 ounces; glycerine, 4 ounces; hot water, 4 pints; water, sufficient to make 1 pint.

Reduce the tea to a powder, moisten with sufficient of the glycerine and alcohol mixed, with 4 ounces of water added, pack in percolator, and pour on the alcohol (diluted with glycerine and water) until 12 ounces of percolate have been obtained. Set this aside, and complete the percolation with the hot water. When this has passed through, evaporate to 4 ounces, and add it to the percolate first obtained.

«Tonka Extract.»—

Tonka beans 1 ounce Magnesium carbonate, quantity sufficient. Balsam of Peru 2 drachms Sugar 4 ounces Alcohol 8 ounces Water sufficient to make 16 ounces.

Mix the tonka, balsam of Peru, and magnesia, and rub together, gradually adding the sugar until a homogeneous powder is obtained. Pack in a percolator; mix the alcohol with an equal amount of water, and pour over the powder, close the exit of the percolator, and let macerate for 24 to 36 hours, then open the percolator, and let pass through, gradually adding water until 16 ounces pass through.

«Vanilla Extracts.»—I.—Vanilla, in fine bits, 250 parts, is put into 1,350 parts of mixture, of 2,500 parts 95 per cent alcohol, and 1,500 parts distilled water. Cover tightly, put on the water bath, and digest for 1 hour, at 140° F. Pour off the liquid and set aside. To the residue in the bath, add half the remaining water, and treat in the same manner. Pack the vanilla in an extraction apparatus, and treat with 250 parts of alcohol and water, mixed in the same proportions as before. Mix the results of the three infusions first made, filter, and wash the filter paper with the results of the percolation, allowing the filtered percolate to mingle with the filtrate of the mixed infusions.

II.—Take 60 parts of the best vanilla beans, cut into little pieces, and put into a deep vessel, wrapped with a cloth to retain the heat as long as possible. Shake over the vanilla 1 part of potassium carbonate in powder, and immediately add 240 parts distilled water, in an active state of ebullition. Cover the vessel closely, set aside until it is completely cold, and then add 720 parts alcohol. Cover closely, and set aside in a moderately warm place for 15 days, when the liquid is strained off, the residue pressed, and the whole colate filtered. The addition of 1 part musk to the vanilla before pouring on the hot water improves this essence.

To prepare vanilla fountain syrup with extracts I or II, mix 25 minims of the extract with 1 pint simple syrup. Color with caramel.

III.—Vanilla beans, cut fine 1 ounce Sugar 3 ounces Alcohol, 50 per cent 1 pint

Beat sugar and vanilla together to a fine powder. Pour on the dilute alcohol, cork the vessel, and let stand for 2 weeks, shaking it up 2 or 3 times a day.

IV.—Vanilla beans, chopped fine 30 parts
Potassium carbonate 1 part
Boiling water 1,450 parts
Alcohol 450 parts
Essence of musk 1 part

Dissolve the potassium carbonate in the boiling water, add the vanilla, cover the vessel, and let stand in a moderately warm place until cold. Transfer to a wide-mouthed jar, add the alcohol, cork, and let macerate for 15 days; then decant the clear essence and filter the remainder. Mix the two liquids and add the essence of musk.

V.—Cut 60 parts of best vanilla beans into small bits; put into a deep vessel, which should be well wrapped in a woolen cloth to retain heat as long as possible. Shake over the beans 1 part of potassium carbonate, in powder, then pour over the mass 240 parts distilled water, in an {320} active state of ebullition, cover the vessel closely, and set aside in a moderately warm place. When quite cold add 720 parts alcohol, close the vessel tightly, and set aside in a moderately warm place, to macerate for 15 days, then strain off, press out, and set aside for a day or two. The liquid may then be filtered and bottled. The addition of a little musk to the beans before pouring on the hot water, is thought by many to greatly improve the product. One part of this extract added to 300 parts simple syrup is excellent for fountain purposes.

VI.—Vanilla beans 8 ounces
Glycerine 6 ounces
Granulated sugar 1 pound
Water 4 pints
Alcohol of cologne spirits 4 pints

Cut or grind the beans very fine; rub with the glycerine and put in a wooden keg; dissolve the sugar in the water, first heating the water, if convenient; mix the water and spirits, and add to the vanilla; pour in keg. Keep in a warm place from 3 to 6 months before using. Shake often. To clear, percolate through the dregs. If a dark, rich color is desired add a little sugar coloring.

VII.—Vanilla beans, good quality 16 ounces
Alcohol 64 fluidounces
Glycerine 24 fluidounces
Water 10 fluidounces
Dilute alcohol, quantity sufficient.

Mix and macerate, with frequent agitation, for 3 weeks, filter, and add dilute alcohol to make 1 gallon.

VIII.—Vanilla beans, good quality 8 ounces
Pumice stone, lump 1 ounce
Rock candy 8 ounces
Alcohol and water, of each a sufficiency.

Cut the beans to fine shreds and triturate well with the pumice stone and rock candy. Place the whole in a percolator and percolate with a menstruum composed of 9 parts alcohol and 7 parts water until the percolate passes through clear. Bring the bulk up to 1 gallon with the same menstruum and set aside to ripen.

IX.—Cut up, as finely as possible, 20 parts of vanilla bean and with 40 parts of milk sugar (rendered as dry as possible by being kept in a drying closet until it no longer loses weight) rub to a coarse powder. Moisten with 10 parts of dilute alcohol, pack somewhat loosely in a closed percolator and let stand for 2 hours. Add 40 parts of dilute alcohol, close the percolator, and let stand 8 days. At the end of this time add 110 parts of dilute alcohol, and let pass through. The residue will repay working over. Dry it well, add 5 parts of vanillin, and 110 parts of milk sugar and pass through a sieve, then treat as before.

The following are cheap extracts:

X.—Vanilla beans, chopped fine 5 parts
Tonka beans, powdered 10 parts
Sugar, powdered 14 parts
Alcohol, 95 per cent 25 parts
Water, quantity sufficient to make 100 parts.

Rub the sugar and vanilla to a fine powder, add the tonka beans, and incorporate. Pack into a filter, and pour on 10 parts of alcohol, cut with 15 parts of water; close the faucet, and let macerate overnight. In the morning percolate with the remaining alcohol, added to 80 parts of water, until 100 parts of percolate pass through.

XI.—Vanilla beans 4 ounces
Tonka beans 8 ounces
Deodorized alcohol 8 pints
Simple syrup 2 pints

Cut and bruise the vanilla beans, afterwards bruising the tonka beans. Macerate for 14 days in one-half of the spirit, with occasional agitation. Pour off the clear liquor and set aside; pour the remaining spirits in the magma, and heat by means of the water bath to about 170° F. in a loosely covered vessel. Keep at this temperature 2 or 3 hours, and strain through flannel, with slight pressure. Mix the two portions of liquid, and filter through felt. Add the syrup.

«White Pine and Tar Syrup.»—

White pine bark 75 parts Wild cherry bark 75 parts Spikenard root 10 parts Balm of Gilead buds 10 parts Sanguinaria root 8 parts Sassafras bark 7 parts Sugar 750 parts Chloroform 6 parts Syrup of tar 75 parts Alcohol, enough. Water, enough. Syrup enough to make 1,000 parts.

Reduce the first six ingredients to a coarse powder and by using a menstruum composed of 1 in 3 alcohol, obtain 500 parts of a tincture from them. In this {321} dissolve the sugar, add the syrup of tar and the chloroform, and, finally, enough syrup to bring the measure of the finished product up to 1,000 parts.

«Wild Cherry Extract.»—

Oenanthic ether 2 fluidrachms Amyl acetate 2 fluidrachms Oil of bitter almonds (free from hydrocyanic acid) 1 fluidrachm Fluid extract of wild cherry 3 fluidounces Glycerine 2 fluidounces Deodorized alcohol enough to make 16 fluidounces.

«HARMLESS COLORS FOR USE IN SYRUPS, ETC.:»

Red.—Cochineal syrup, prepared as follows:

I.—Cochineal in coarse powder 6 parts
Potassium carbonate 3 parts
Distilled water 15 parts
Alcohol, 95 per cent 12 parts
Simple syrup to make 500 parts.

Rub the cochineal and potassium together, adding the water and alcohol little by little, under constant trituration. Let stand overnight, add the syrup, and filter.

II.—Carmine, in fine powder 1 part
Stronger ammonia water 4 parts
Distilled water to make 24 parts.

Rub up the carmine and ammonia and to the solution add the water, little by little, under constant trituration. If in standing this shows a tendency to separate, a drop or two of ammonia will correct the trouble.

Besides these there is caramel, which, of course, you know.

Pink.—

III.—Carmine 1 part
Liquor potassæ 6 parts
Distilled water 40 parts

Mix. If the color is too high, dilute with distilled water until the requisite color is obtained.

«To Test Fruit Juices and Syrups for Aniline Colors.»—Add to a sample of the syrup or juice, in a test tube, its own volume of distilled water, and agitate to get a thorough mixture, then add a few drops of the standard solution of lead diacetate, shake, and filter. If the syrup is free from aniline coloring matter the filtrate will be clear as crystal, since the lead salt precipitates natural coloring matters, but has no effect upon the aniline colors.

«To Test Fruit Juices for Salicylic Acid.»—Put a portion of the juice to be tested in a large test tube, add the same volume of ether, close the mouth of the tube and shake gently for 30 seconds. Set aside until the liquid separates into two layers. Draw off the supernatant ethereal portion and evaporate to dryness in a capsule. Dissolve the residue in alcohol, dilute with 3 volumes of water, and add 1 drop of tincture of iron chloride. If salicylic acid be present the characteristic purple color will instantly disappear.

«Syrups Selected from the Formulary of the Pharmaceutical Society of Antwerp.»—

_Dionine Syrup._—Dionine, 1 part; distilled water, 19 parts; simple syrup, 1,980 parts. Mix.

_Jaborandi Syrup._—Tincture of jaborandi, 1 part; simple syrup, 19 parts. Mix.

_Convallaria Syrup._—Extract of convallaria, 1 part; distilled water, 4 parts; simple syrup, 95 parts. Dissolve the extract in the water and mix.

_Codeine Phosphate Syrup._—Codeine phosphate, 3 parts; distilled water, 17 parts; simple syrup, 980 parts. Dissolve the codeine in the water and mix with the syrup.

_Licorice Syrup._—Incised licorice root, 4 parts; dilute solution of ammonia, 1 part; water, 20 parts. Mix and macerate for 12 hours at 58° to 66° F. with frequent agitation; press, heat the liquid to boiling, then evaporate to two parts on the water bath; add alcohol, 2 parts; allow to stand for 12 hours; then filter. Add to the filtrate enough simple syrup to bring the final weight to 20 parts.

_Maize Stigma Syrup._—Extract of maize stigmas, 1 part; distilled water, 4 parts; simple syrup, 95 parts. Dissolve the extract in the water, filter, and add the syrup.

_Ammonium Valerianate Solution._—Ammonium valerianate, 2 parts; alcoholic extract of valerian, 1 part; distilled water, 47 parts.

_Kola Tincture._—Powdered kola nuts, 1 part; alcohol, 60 per cent, 5 parts. Macerate for 6 days, press, and filter.

_Bidet’s Liquid Vesicant._—Tincture of cantharides, tincture of rosemary, chloroform, equal parts.

_Peptone Wine._—Dried peptone, 1 part; Malaga wine, 19 parts. Dissolve without heat and filter after standing for several days. {322}

«Etching»

«General Instructions for Etching.»—In etching, two factors come into consideration, (1) that which covers that part of the metal not exposed to the etching fluid (the resist), and (2) the etching fluid itself.

In the process, a distinction is to be made between etching in relief and etching in intaglio. In relief etching, the design is drawn or painted upon the surface with the liquid etching-ground, so that after etching and removal of the etching-ground, it appears raised. In intaglio etching, the whole surface is covered with the etching-ground, and the design put on with a needle; the ground being thus removed at the points touched by the drawing, the latter, after etching and removal of the etching-ground, is sunken.

«Covering Agents or Resists.»—The plate is enclosed by a border made of grafting wax (yellow beeswax, 8 parts; pine rosin, 10 parts; beef tallow, 2 parts; turpentine, 10 parts); or a mixture of yellow wax, 8 parts; lard, 3 parts; Burgundy pitch, 1/2 part. This mixture is also used to cover the sides of vessels to be etched. Another compound consists of wax, 5 parts; cobbler’s wax, 2 1/2 parts; turpentine, 1 part.

«Etching-Ground.»—I.—Soft: Wax, 2 parts; asphalt, 1 part; mastic, 1 part. II.—Wax, 3 parts; asphalt, 4 parts. III.—Mastic, 16 parts; Burgundy pitch, 50 parts; melted wax, 125 parts; and melted asphalt, 200 parts added successively, and, after cooling, turpentine oil, 500 parts. If the ground should be deep black, lampblack is added.

Hard: Burgundy pitch, 125 parts; rosin, 125 parts, melted; and walnut oil, 100 parts, added, the whole to be boiled until it can be drawn out into long threads.

«Etching-Ground for Copper Engraving.»—White wax, 120 parts; mastic, 15 parts; Burgundy pitch, 60 parts; Syrian asphalt, 120 parts, melted together; and 5 parts concentrated solution of rubber in rubber oil added.

«Ground for Relief Etching.»—I.—Syrian asphalt, 500 parts, dissolved in turpentine oil, 1,000 parts. II.—Asphalt, rosin, and wax, 200 parts of each, are melted, and dissolved in turpentine oil, 1,200 parts. The under side of the metal plate is protected by a coating of a spirituous shellac solution, or by a solution of asphalt, 300 parts, in benzol, 600 parts.

«For Strongly Acid Solutions.»—I.—Black pitch, 1 part; Japanese wax, 2 parts; rosin, 1 1/2 parts; Damar rosin, 1 part, melted together and mixed with turpentine oil, 1 part. II.—Heavy black printers’ ink, 3 parts; rosin, 1 part; wax, 1 part.

For electro-etching, the following ground is recommended: Wax, 4 parts; asphalt, 4 parts; pitch, 1 part.

If absolute surety is required respecting the resistance of the etching-ground to the action of the etching fluids, several etching-grounds are put on, one over the other; first (for instance), a solution of rubber in benzol, then a spirituous shellac solution, and a third stratum of asphalt dissolved in turpentine oil.

If the etching is to be of different degrees of depth, the places where it is to be faint are stopped out with varnish, after they are deep enough, and the object is put back into the bath for further etching.

For putting on a design before the etching, the following method may be used: Cover the metal plate, tin plate for example, with a colored or colorless spirit varnish; after drying, cover this, in a dark room, with a solution of gelatin, 5 parts, and red potassium chromate, 1 part, in water, 100 parts; or with a solution of albumen, 2 parts; ammonium bichromate, 2 parts, in water, 200 parts. After drying, put the plate, covered with a stencil, in a copying or printing frame, and expose to light. The sensitive gelatin stratum will become insoluble at the places exposed. Place in water, and the gelatin will be dissolved at the places covered by the stencil; dry, and remove the spirit varnish from the places with spirit, then put into the etching fluid.

«Etching Fluids.»—The etching fluid is usually poured over the metallic surface, which is enclosed in a border, as described before. If the whole object is to be put into the fluid, it must be entirely covered with the etching-ground. After etching it is washed with pure water, dried with a linen cloth, and the etching-ground is then washed off with turpentine oil or a light volatile camphor oil. The latter is very good for the purpose.

«Etching Fluids for Iron and Steel.»—I.—Pure nitric acid, diluted for light etching with 4 to 8 parts of water, for deep etching with an equal weight of water.

II.—Tartaric acid, 1 part, by weight; mercuric chloride, 15 parts, by weight; water, 420 parts; nitric acid, 16 to 20 drops, if 1 part equals 28 1/2 grains. {323}

III.—Spirit, 80 per cent, 120 parts, by weight; pure nitric acid, 8 parts; silver nitrate, 1 part.

IV.—Pure acetic acid, 30 per cent, 40 parts, by weight; absolute alcohol, 10 parts; pure nitric acid, 10 parts.

V.—Fuming nitric acid, 10 parts, by weight; pure acetic acid, 30 per cent, 50 parts, diluted with water if necessary or desired.

VI.—A chromic acid solution.

VII.—Bromine, 1 part; water, 100 parts. Or—mercuric chloride, 1 part; water, 30 parts.

VIII.—Antimonic chloride, 1 part; water, 6 parts; hydrochloric acid, 6 parts.

«For Delicate Etchings on Steel.»—I.—Iodine, 2 parts; potassium iodide, 4 parts; water, 40 parts.

II.—Silver acetate, 8 parts, by weight; alcohol, 250 parts; water, 250 parts; pure nitric acid, 260 parts; ether, 64 parts; oxalic acid, 4 parts.

III.—A copper chloride solution.

«Etching Powder for Iron and Steel.»—Blue vitriol, 50 parts; common salt, 50 parts; mixed and moistened with water.

For lustrous figures on a dull ground, as on sword blades, the whole surface is polished, the portions which are to remain bright covered with stencils and the object exposed to the fumes of nitric acid. This is best done by pouring sulphuric acid, 20 parts, over common salt, 10 parts.

«Relief Etching of Copper, Steel, and Brass.»—Instead of nitric acid, which has a tendency to lift up the etching-ground, by evolution of gases, it is better to use a mixture of potassium bichromate, 150 parts; water, 800 parts; and concentrated sulphuric acid, 200 parts. The etching is slow, but even, and there is no odor.

«For Etching Copper, Brass, and Tombac.»—Pure nitric acid diluted with water to 18° Bé. The bubbles of gas given out should immediately be removed with a feather that the etching may be even.

Another compound consists of a boiling solution of potassium chlorate, 2 parts, in water, 20 parts, poured into a mixture of nitric acid, 10 parts, and water, 70 parts. For delicate etchings dilute still more with 100 to 200 parts of water.

«Etching Fluid for Copper.»—Weak: A boiling solution of potassium chlorate, 20 parts, in water, 200 parts, poured into a mixture of pure hydrochloric acid, 20 parts; water, 500 parts.

Stronger: A boiling solution of potassium chlorate, 25 parts, in water, 250 parts, poured into a mixture of pure hydrochloric acid, 250 parts; water, 400 parts.

Very strong: A boiling solution of potassium chlorate, 30 parts, in water, 300 parts, poured into a mixture of pure hydrochloric acid, 300 parts; water, 300 parts.

For etching on copper a saturated solution of bromine in dilute hydrochloric acid may also be used; or a mixture of potassium bichromate, 1/2 part; water, 1 part; crude nitric acid, 3 parts.

The following are also much used for copper and copper alloys:

I.—A copper chloride solution acidified with hydrochloric acid.

II.—Copper nitrate dissolved in water.

III.—A ferric chloride solution of 30° to 45° Bé. If chrome gelatin or chrome albumen is used for the etching-ground, a spirituous ferric chloride solution is employed. The etching process can be made slower by adding common salt to the ferric chloride solution.

«Matt Etching of Copper.»—White vitriol, 1 to 5 parts; common salt, 1 part; concentrated sulphuric acid, 100 parts; nitric acid (36° Bé.), 200 parts, mixed together. The sulphuric acid is to be poured carefully into the nitric acid, not the reverse.

«Etching Fluid for Brass.»—Nitric acid, 8 parts; mixed with water, 80 parts; into this mixture pour a hot solution of potassium chlorate, 3 parts, in water, 50 parts.

«Etching Fluid for Brass to Make Stencils.»—Mix nitric acid, of 1.3 specific weight, with enough fuming nitric acid to give a deep yellow color. This mixture acts violently, and will eat through the strongest sheet brass.

«Etching Fluid for Zinc.»—Boil pounded gallnuts, 40 parts, with water, 560 parts, until the whole amounts to 200 parts; filter, and add nitric acid, 2 parts, and a few drops of hydrochloric acid. Ferric chloride and antimonic chloride solutions may also be used to etch zinc.

«Relief Etching of Zinc.»—The design is to be drawn with a solution of platinum chloride, 1 part, and rubber, 1 part, in water, 12 parts. The zinc plate is placed in dilute sulphuric acid (1 in 16). The black drawing will remain as it is.

Another compound for the drawing is made of blue vitriol, 2 parts; copper chloride, 3 parts; water, 64 parts; pure hydrochloric acid, 1.1 specific weight. After the drawing is made, lay the plate in dilute nitric acid (1 in 8). {324}

«Etching Fluid for Aluminum.»—Dilute hydrochloric acid serves this purpose. Aluminum containing iron can be matted with soda lye, followed by treatment with nitric acid. The lye dissolves the aluminum, and the nitric acid dissolves the iron. Aluminum bronze is etched with nitric acid.

«Etching Fluid for Tin or Pewter.»—Ferric chloride, or highly diluted nitric acid.

«Etching Fluids for Silver.»—I.—Dilute pure nitric acid.

II.—Nitric acid (specific weight, 1.185), 172 parts; water, 320 parts; potassium bichromate, 30 parts.

«Etching Fluid for Gold.»—Dilute aqua regia (= nitric and sulphuric acids, in the proportion of 1 in 3).

«Etching Fluid for Copper, Zinc, and Steel.»—A mixture of 4 parts of acetic acid (30 per cent), and alcohol, 1 part; to this is added gradually, nitric acid, 1 part.

«Etching Fluid for Lead, Antimony, and Britannia Metal.»—Dilute nitric acid.

«Etching Powder for Metals» (Tin, Silver, Iron, German Silver, Copper, and Zinc).—Blue vitriol, 1 part; ferric oxide, 4 parts. The powder, moistened, is applied to the places to be etched, as, for instance, knife blades. Calcined green vitriol can also be used.

«Electro-Etching.»—This differs from ordinary etching in the use of a bath, which does not of itself affect the metal, but is made capable of doing so by the galvanic current.

Ordinary etching, seen under the microscope, consists of a succession of uneven depressions, which widen out considerably at a certain depth. In electro-etching, the line under the microscope appears as a perfectly even furrow, not eaten out beneath, however deeply cut. The work is, accordingly, finer and sharper; the fumes from the acids are also avoided, and the etching can be modified by regulation of the current. The preparation of the surface, by covering, stopping-out, etc., is the same as in ordinary etching. At some uncovered place a conducting wire is soldered on with soft solder, and covered with a coat of varnish. The plate is then suspended in the bath, and acts as the anode, with another similar plate for the cathode. If gradations in etching are desired, the plates are taken out after a time, rinsed, and covered, and returned to the bath.

For the bath dilute acids are used, or saline solutions. Thus, for copper, dilute sulphuric acid, 1 in 20. For copper and brass, a blue vitriol solution. For zinc, white vitriol or a zinc chloride solution. For steel and iron, green vitriol, or an ammonium chloride solution. For tin, a tin-salt solution. For silver, a silver nitrate or potassium cyanide solution. For gold and platinum, gold chloride and platinum chloride solutions, or a potassium cyanide solution. For electro-etching a Leclauché or Bunsen battery is to be recommended. In the former, the negative zinc pole is connected with a plate of the same metal as that to be etched, and the positive iron pole with the plate to be etched. In the Bunsen battery, the carbon pole is connected with the object to be etched, the zinc pole with the metal plate.

«Etching Bath for Brass.»—1.—Mix nitric acid (specified gravity, 1.4), 8 parts, with water, 80 parts. 2.—Chlorate of potash, 3 parts, dissolved in 50 parts of water. Mix 1 and 2. For protecting those portions which are not to be etched, any suitable acid-proof composition can be used.

«Etching on Copper.»—I.—In order to do regular and quick etching on copper take a copper plate silvered on the etching side. Trace on this plate, either with varnish or lithographic ink, the design. When the tracing is dry, place the plate in an iron bath, using a battery. The designs traced with the varnish or ink are not attacked by the etching fluid. When the plate is taken from the bath and has been washed and dried, remove the varnish or ink with essence of turpentine; next pour mercury on the places reserved by the varnish or ink; the mercury will attack the silvered portions and the etching is quickly made. When the mercury has done its duty gather up the excess and return to the bottle with a paper funnel. Wash the plate in strong alum water, and heat.

II.—The plate must be first polished either with emery or fine pumice stone, and after it has been dried with care, spread thereon a varnish composed of equal parts of yellow wax and essence of turpentine. The solution of the wax in the essence is accomplished in the cold; next a little oil of turpentine and some lampblack are added. This varnish is allowed to dry on, away from dust and humidity. When dry, trace the design with a very fine point. Make a border with modeling wax, so as to prevent the acid from running off. Pour on nitric acid if the plate is of copper, or {325} hydrochloric acid diluted with water if the plate is of zinc, allow the acid to act according to the desired depth of the engraving; wash several times and remove the varnish by heating the plate lightly. Wash with essence of turpentine and dry well in sawdust or in the stove. For relief engraving the designs are traced before the engraving on the plate with the resist varnish instead of covering the plate entirely. These designs must be delicately executed and without laps, as the acid eats away all the parts not protected by the varnish.

«Etching Fluids for Copper.»—I.—A new etching fluid for copper plate is hydrogen peroxide, to which a little dilute ammonia water is added. It is said to bite in very rapidly and with great regularity and uniformity.

II.—Another fluid is fuming hydrochloric acid (specific gravity, 1.19), 10 parts; water, 70 parts. To this add a solution of potassium chlorate, 2 parts, dissolved in 20 parts of hot water. If the articles to be etched are very delicate and fine this should be diluted with from 100 to 200 parts of water.

«ETCHING ON GLASS.»

Names, designs, etc., can be etched on glass in three ways: First, by means of an engraving wheel, a method which requires some manual skill. Second, by means of a sand blast, making a stencil of the name, fixing this on the glass, and then, by means of a blast of air, blowing sand on the glass. Third, by the use of hydrofluoric acid. The glass is covered with beeswax, paraffine wax, or some acid resisting ink or varnish; the name or device is then etched out of the wax by means of a knife, and the glass dipped in hydrofluoric acid, which eats away the glass at those parts where the wax has been cut away.

Fancy work, ornamental figures, lettering, and monograms are most easily and neatly cut into glass by the sand-blast process. Lines and figures on tubes, jars, etc., may be deeply etched by smearing the surface of the glass with beeswax, drawing the lines with a steel point, and exposing the glass to the fumes of hydrofluoric acid. This acid is obtained by putting powdered fluorspar into a tray made of sheet lead and pouring sulphuric acid on it, after which the tray is slightly warmed. The proportions will vary with the purity of the materials used, fluorspar (except when in crystals) being generally mixed with a large quantity of other matter. Enough acid to make a thin paste with the powdered spar will be about right. Where a lead tray is not at hand, the powdered spar may be poured on the glass and the acid poured on it and left for some time. As a general rule, the marks are opaque, but sometimes they are transparent. In this case cut them deeply and fill up with black varnish, if they are required to be very plain, as in the case of graduated vessels. Liquid hydrofluoric acid has been recommended for etching, but is not always suitable, as it leaves the surface on which it acts transparent.

There are two methods of marking bottles—dry etching, or by stamping with etching inks. The first process is usually followed in glass factories. A rubber stamp is necessary for this process, and the letters should be made as large and clean cut as possible without crowding them too much. Besides this, an etching powder is required.

A small quantity of the powder is poured into a porcelain dish, and this is placed on a sand bath or over a gentle fire, and heated until it is absolutely dry, so that it can be rubbed down to an impalpable powder.