Henley's Twentieth Century Formulas, Recipes and Processes

Chapter I: II III IV (4)

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To restore the polish nothing is superior to the genuine German putz pomade, following by rubbing first with chamois and finishing off with soft old silk. The more “elbow grease” put into the rubbing the easier the task, as the heat generated by friction seems to lend a sort of ductility to the surface. To remove the yellow hue due to age, proceed as follows: Make a little tripod with wire, to hold the object a few inches above a little vessel containing lime chloride moistened with hydrochloric acid; put the object on the stand, cover the whole with a bell glass, and expose to direct sunlight. When bleached, remove and wash in a solution of sodium bicarbonate, rinse in clear water and dry.

Like mother-of-pearl, ivory is readily cleaned by dipping in a bath of oxygenized water or immersing for 15 minutes in spirits of turpentine, and subsequently exposing to the sun for 3 or 4 days. For a simple cleaning of smooth articles, wash them in hot water, in which there has been previously dissolved 100 parts (by weight) of bicarbonate of soda per 1,000 parts of water. To clean carved ivory make a paste of very fine, damp sawdust, and put on this the juice of 1 or 2 lemons, according to the article to be treated. Now apply a layer of this sawdust on the ivory, and when dry brush it off and rub the object with a chamois.

«IVORY TESTS.»

Many years ago an article was introduced in the industrial world which in contradistinction to the genuine animal ivory, has its origin in the vegetable kingdom, being derived from the nut of a palm-like shrub called phytelephasmacrocarpa, whose fruit reaches the size of an apple. This fruit has a very white, exceedingly hard kernel which can be worked like ivory. A hundred of these fruits only costing about $1, their use offers great advantages. Worked on the lathe this ivory can be passed off as the genuine article, it being so much like it that it is often sold at the same price. It can also be colored just like genuine ivory.

To distinguish the two varieties of ivory, the following method may be employed: Concentrated sulphuric acid applied to vegetable ivory will cause a pink coloring in about 10 or 12 minutes, which can be removed again by washing with water. Applied on genuine ivory, this acid does not affect it in any manner.

IVORY BLACK: See Bone Black.

IVORY CEMENT: See Adhesives.

IVORY GILDING: See Plating.

IVORY POLISHES: See Polishes.

JAPAN BLACK: See Paints.

JAPANNING AND JAPAN TINNING: See Varnishes.

JASMINE MILK: See Cosmetics.

JELLY (FRUIT) EXTRACT: See Essences and Extracts.

JEWELERS’ CEMENTS: See Adhesives.

JEWELERS’ CLEANING PROCESSES: See Cleaning Preparations and Methods.

«Jewelers’ Formulas»

(See also Gems, Gold, and Watchmakers’ Recipes.)

«Coloring Gold Jewelry.»—Following are several recipes for coloring: Saltpeter, 40 parts; alum, 30 parts; sea salt, 30 parts; or, liquid ammonia, 100 parts; sea salt, 3 parts; water, 100 parts. Heat without allowing to boil and plunge {431} the objects into it for 2 or 3 minutes, stirring constantly; rinse in alum water and then in clean water. Another recipe: Calcium bromide, 100 parts; bromine, 5 parts. Place the articles in this solution, with stirring, for 2 to 3 minutes; next wash in a solution of hyposulphite of sodium and rinse in clean water. Another: Verdigris, 30 parts; sea salt, 30 parts; blood stone, 30 parts; sal ammoniac, 30 parts; alum, 5 parts. Grind all and stir with strong vinegar; or, verdigris, 100 parts; hydrochlorate of ammonia, 100 parts; saltpeter, 65 parts; copper filings, 40 parts. Bray all and mix with strong vinegar.

«To Widen a Jewel Hole.»—Chuck the hole in a lathe with cement. Place a spirit lamp underneath to prevent the cement from hardening. Hold the pointed bit against the hole, while the lathe is running, until the hole is true, when the lamp should be removed. The broach to widen the hole should be made of copper, of the required size and shape, and the point, after being oiled, should be rolled in diamond dust until it is entirely covered. The diamond dust should then be beaten in with a burnisher, using very light blows so as not to bruise the broach. After the hole is widened as desired, it requires polishing with a broach made of ivory and used with oil and the finest diamond dust, loose, not driven into the broach.

«To Clean Jet Jewelry.»—Reduce bread crumbs into small particles, and introduce into all the curves and hollows of the jewelry, while rubbing with a flannel.

«Coloring Common Gold.»—In coloring gold below 18 carat, the following mixture may be used with success, and if carefully employed, even 12 carat gold may be colored by it: Take nitrate of potassa (saltpeter), 4 parts, by weight; alum, 2 parts; and common salt, 2 parts. Add sufficient warm water to mix the ingredients into a thin paste; place the mixture in a small pipkin or crucible and allow to boil. The article to be colored should be suspended by a wire and dipped into the mixture, where it should remain from 10 to 20 minutes. The article should then be removed and well rinsed in hot water, when it must be scratch brushed, again rinsed and returned to the coloring salts for a few minutes; it is then to be again rinsed in hot water, scratch brushed, and finally brushed with soap and hot water, rinsed in hot water, and placed in boxwood sawdust. The object being merely to remove the alloy, as soon as the article has acquired the proper color of fine gold it may be considered sufficiently acted upon by the above mixture. The coloring salts should not be used for gold of a lower standard than 12 carat, and, even for this quality of gold, some care must be taken when the articles are of a very slight make.

«Shades of Red, etc., on Matt Gold Bijouterie.»—For the production of the red and other shades on matt gold articles, the so-called gold varnishes are employed, which consist of shellac dissolved in alcohol and are colored with gum rosins. Thus a handsome golden yellow is obtained from shellac, 35 parts; seed-lac, 35 parts; dragon’s blood, 50 parts; gamboge, 50 parts; dissolved in 400 parts of alcohol; the clear solution is decanted and mixed with 75 parts of Venice turpentine. By changing the amounts of the coloring rosins, shades from bright gold yellow to copper color are obtained. The varnish is applied evenly and after drying is wiped off from the raised portions of the article by means of a pad of wadding dipped into alcohol, whereby a handsome patination effect is produced, since the lacquer remains in the cavities. Chased articles are simply rubbed with earth colors ground into a paste with turpentine oil, for which purpose burnt sienna, fine ochers of a golden color, golden yellow, and various shades of green are employed.

I.—Yellow wax 32 parts
Red bole 3 parts
Crystallized verdigris 2 parts
Alum 2 parts

II.—Yellow wax 95 parts
Red bole 64 parts
Colcothar 2 parts
Crystallized verdigris 32 parts
Copper ashes 20 parts
Zinc vitriol 32 parts
Green vitriol 16 parts
Borax 1 part

The wax is melted and the finely powdered chemicals are stirred in, in rotation. If the gilt bronze goods are to obtain a lustrous orange shade, apply a mixture of ferric oxide, alum, cooking salt, and vinegar in the heated articles by means of a brush, heating to about 266° F. until the shade commences to turn black and water sprinkled on will evaporate with a hissing sound, then cool in water, dip in a mixture of 1 part of nitric acid with 40 parts of water, rinse {432} thoroughly, dry, and polish. For the production of a pale-gold shade use a wax preparation consisting of:

III.—Yellow wax 19 parts
Zinc vitriol 10 parts
Burnt borax 3 parts

Green-gold color is produced by a mixture of:

IV.—Saltpeter 6 parts
Green vitriol 2 parts
Zinc vitriol 1 part
Alum 1 part

«To Matt Gilt Articles.»—If it is desired to matt gilt articles partly or entirely, the portions which are to remain burnished are covered with a mixture of chalk, sugar, and mucilage, heating until this “stopping-off” covering shows a black color. On the places not covered apply a matting powder consisting of:

Saltpeter 40 parts Alum 25 parts Cooking salt 35 parts

Heat the objects to about 608° F., whereby the powder is melted and acquires the consistency of a thin paste. In case of too high a temperature decomposition will set in.

«To Find the Number of Carats.»—To find the number of carats of gold in an object, first weigh the gold and mix with seven times its weight in silver. This alloy is beaten into thin leaves, and nitric acid is added; this dissolves the silver and copper. The remainder (gold) is then fused and weighed; by comparing the first and last weights the number of carats of pure gold is found. To check repeat several times.

«Acid Test for Gold.»—The ordinary ready method of ascertaining whether a piece of jewelry is made of gold consists in touching it with a glass stopper wetted with nitric acid, which leaves gold untouched, but colors base alloys blue from the formation of nitrate of copper.

«Imitation Diamonds.»—I.—Minium, 75 parts (by weight); washed white sand, 50 parts; calcined potash, 18 parts; calcined borax, 6 parts; bioxide of arsenic, 1 part. The sand must be washed in hydrochloric acid and then several times in clean water. The specific gravity of this crystal glass is almost the same as that of the diamond.

II.—Washed white sand, 100 parts (by weight): minium, 35 parts; calcined potash, 25 parts; calcined borax, 20 parts; nitrate of potash (crystals), 10 parts; peroxide of manganese, 5 parts. The sand must be washed as above stated.

«Diamantine.»—This substance consists of crystallized boron, the basis of borax. By melting 100 parts of boracic acid and 80 parts of aluminum crystals is obtained the so-called bort, which even attacks diamond. The diamantine of commerce is not so hard.

«To Refine Board Sweepings.»—The residue resulting from a jobbing jeweler’s business, such as board sweepings and other residuum, which is continually accumulating and which invariably consists of all mixed qualities of standard, may have the precious metals recovered therefrom in a very simple manner, as follows: Collect the residue and burn it in an iron ladle or pan, until all grease or other organic matter is destroyed. When cool mix with 1/5 part soda-ash, and melt in a clay crucible. When the metal is thoroughly melted it will leave the flux and sink to the bottom of the crucible; at this stage the flux assumes the appearance of a thin fluid, and then is the time to withdraw the pot from the fire. The metal in the crucible—but not the flux—may now be poured into a vessel of water, stirring the water in a circular direction while the metal is being poured in, which causes it to form into small grains, and so prepares it for the next process. Dissolve the grains in a mixture of nitric acid and water in equal quantities. It takes about four times the quantity of liquid as metal to dissolve. The gold remains undissolved in this mixture, and may be recovered by filtering or decanting the liquid above it in the dissolving vessel; it is then dried, mixed with a little flux, and melted in the usual manner, whereupon pure gold will be obtained. To recover the silver, dilute the solution which has been withdrawn from the gold with six times its bulk of water, and add by degrees small quantities of finely powdered common salt, and this will throw down the silver into a white, curdy powder of chloride of silver. Continue to add salt until no cloudiness is observed in the solution, when the water above the sediment may be poured off; the sediment is next well washed with warm water several times, then dried and melted in the same manner as the gold, and you will have a lump of pure silver.

«Restoration of the Color of Turquoises.»—After a certain time turquoises lose a part of their fine color. It is easy to restore the color by immersing them in a solution of carbonate of soda. But it seems that the blue cannot be restored anew after this operation, if it again becomes dull. The above applies to {433} common turquoises, and not to those of the Orient, of which the color does not change.

«Colorings for Jewelers’ Work.»—I.—Take 40 parts of saltpeter; 30 parts of alum; 30 parts of sea salt; or 100 grams of liquid ammonia; 3 parts sea salt; and 100 parts water. This is heated without bringing it to a boil, and the articles dipped into it for from 2 to 3 minutes, stirring the liquid constantly; after this bath they are dipped in alum water and then thoroughly rinsed in clean water.

II.—One hundred parts of calcium bromide and 2 parts of bromium. The objects are allowed to remain in this solution (which must be also constantly stirred) for from 2 to 3 minutes, then washed in a solution of sodium hyposulphite, after which they must be rinsed in clean water.

III.—Thirty parts of verdigris; 30 parts of sea salt; 30 parts of hematite; 30 parts of sal ammoniac, and 5 parts of alum. This must be all ground up together and mixed with strong vinegar; or we may also use 100 parts of verdigris; 100 parts of hydrochlorate of ammonia; 65 parts of saltpeter, and 40 parts of copper filings, all of which are to be well mixed with strong vinegar.

«22-Carat Solder.»—Soldering is a process which, by means of a more fusible compound, the connecting surfaces of metals are firmly secured to each other, but, for many practical purposes, it is advisable to have the fusing point of the metal and solder as near each other as possible, which, in the majority of cases, preserves a union more lasting, and the joint less distinguishable, in consequence of the similarity of the metal and solder in color, which age does not destroy, and this is not the case with solders the fusible points of which are very low. The metal to be soldered together must have an affinity for the solder, otherwise the union will be imperfect; and the solder should likewise act upon the metal, partly by this affinity or chemical attraction, and partly by cohesive force, to unite the connections soundly and firmly together. Solders should therefore be prepared suitable to the work in hand, if a good and lasting job is to be made. It should always be borne in mind that the higher the fusing point of the gold alloy—and this can be made to vary considerably, even with any specified quality—the harder solder must be used, for, in the case of a more fusible mixture of gold, the latter would melt before the solder and cause the work to be destroyed. A very good formula for the first, or ordinary, 22-carat alloy is this:

dwts. grs.
Fine gold 1 0
Fine silver 0 3
Fine copper 0 2
────────
1 5

This mixture will answer all the many purposes of the jobber; for soldering high quality gold wares that come for repairs, particularly wedding rings, it will be found admirably suited. If an easier solder is wanted, and such is very often the case with jobbing jewelers, especially where several solderings have to be accomplished, it is as well to have at hand a solder which will not disturb the previous soldering places, for if this is not prevented a very simple job is made very difficult, and a lot of time and patience wholly wasted. To guard against a thing of this kind the following solder may be employed on the top of the previous one:

dwts. grs.
Fine gold 1 0
Fine silver 0 3
Yellow brass 0 2
────────
1 5

This solder is of the same value as the previous one, but its melting point is lower, and it will be found useful for many purposes that can be turned to good account in a jobbing jeweler’s business.

«JEWELERS’ ALLOYS:»

See also Beverages.

To prepare a substitute for koumiss from cow’s milk: Dissolve 1/2 ounce grape sugar in 3 fluid ounces water. Mix 18 grains well washed and pressed beer yeast with 2 fluid ounces of cow’s milk. Mix the two liquids in a champagne bottle, fill with milk, stopper securely, and keep for 3 to 4 days at a temperature not exceeding 50° F., shaking frequently. The preparation does not keep longer than 4 to 5 days.

KÜMMEL: See Wines and Liquors.

KWASS: See Beverages.

LABEL PASTES, GLUES, AND MUCILAGES: See Adhesives.

LABEL VARNISHES: See Varnishes.

LACE LEATHER: See Leather.

LACE, TO CLEAN GOLD AND SILVER: See Cleaning Preparations and Methods.

LACES, WASHING AND COLORING OF: See Laundry Preparations.

«Lacquers»

(See also Enamels, Glazes, Paints, Varnishes, and Waterproofing.)

«LAC AND THE ART OF LACQUERING.»

The art of lacquering includes various steps, which are divulged as little as possible. Without them nothing but a varnish of good quality would be realized. Thus in Tonkin, where the abundant {438} production is the object of an important trade with the Chinese, it is so used only for varnishing, while in China the same product from the same sources contributes to most artistic applications.

When the Annamites propose to lacquer an object, a box, for example, they first stop up the holes and crevices, covering all the imperfections with a coating of diluted lac, by means of a flat, close, short brush. Then they cover the whole with a thick coating of lac and white clay. This clay, oily to the touch, is found at the bottom of certain lakes in Tonkin; it is dried, pulverized, and sifted with a piece of fine silk before being embodied with the lac. This operation is designed to conceal the inequalities of the wood and produce a uniform surface which, when completely dry, is rendered smooth with pumice stone.

If the object has portions cut or sunk the clayey mixture is not applied, for it would make the details clammy, but in its place a single, uniform layer of pure lac.

In any case, after the pumicing, a third coating, now pure lac, is passed over the piece, which at this time has a mouse-gray color. This layer, known under the name of _sou lot_, colors the piece a brilliant black. As the lac possesses the remarkable property of not drying in dry air, the object is left in a damp place. When perfectly dried the piece is varnished, and the desired color imparted by a single operation. If the metallic applications are excepted, the lac is colored only black, brown, or red.

The following formulas are in use:

Black.—One part of turpentine is warmed for 20 minutes beyond the fusing point; then poured into 3 parts of lac; at the same time _pheu deu_ (copperas) is added. The mixture is stirred for at least a day, sometimes more, by means of a large paddle.

Maroon.—This is prepared by a process similar to the preceding, replacing half of the copperas by an equal quantity of China vermilion.

Red.—The lac, previously stirred for 6 hours, is mixed with hot oil of _trau_, and the whole is stirred for a day, after which vermilion is added. The latter should be of good quality, so as to have it brilliant and unchangeable.

The operation of lacquering is then ended, but there are parts to be gilded. These are again covered with a mixture of lac and oil of _trau_. When this layer is dry the metallic leaves are applied, which are themselves protected by a coating, composed also of lac and oil of _trau_. All these lac and oil of _trau_ mixtures are carefully filtered, which the natives effect by pressing the liquid on a double filtering surface formed of wadding and of a tissue on which it rests. It can only be applied after several months when the metallic leaf is of gold. In the case of silver or tin the protecting coat can be laid on in a few days. It favorably modifies the white tints of these two metals by communicating a golden color. The hue, at first reddish, gradually improves and acquires its full brilliancy in a few months.

Little information is procurable concerning the processes employed by the Chinese. The wood to be lacquered should be absolutely dry. It receives successive applications, of which the number is not less than 33 for perfect work. When the lac coating attains the thickness of 1/4 of an inch it is ready for the engravers. The Chinese, like the inhabitants of Tonkin, make use of oil of _trau_ to mix with the lac, or oil of _aleurites_, and the greatest care is exercised in the drying of the different layers. The operation is conducted in dim-lighted rooms specially fitted up for the purpose; the moisture is maintained to a suitable extent by systematically watering the earth which covers the walls of this “cold stove.”

«Lacquer for Aluminum.»—Dissolve 100 parts of gum lac in 300 parts of ammonia, and heat the solution for about 1 hour moderately on the water bath. After cooling, the mixture is ready for use. The aluminum to be coated is cleaned in the customary manner. After it has been painted with the varnish, it is heated in the oven to about 572° F. The coating and heating may be repeated.

«Lacquer for Brass.»—

Annatto 1/4 ounce Saffron 1/4 ounce Turmeric 1 ounce Seed lac in coarse powder 3 ounces Alcohol 1 pint

Digest the annatto, saffron, and turmeric in the alcohol for several days, then strain into a bottle containing the seed lac; cork and shake until dissolved.

«Lacquer for Bronze.»—I.—The following process yields a protective varnish for bronze articles and other metallic objects in various shadings, the lacquer produced excelling in high luster and permanency: Fill 40 parts of best pale shellac; 12 parts of pulverized Florentine {439} lake; 30 parts gamboge; and 6 parts of dragon’s blood, likewise powdered, into a bottle and add 400 parts of spirit. Allow this mixture to form a solution preferably by heating the flask on the water bath, to nearly the boiling point of the water, and shaking now and then until all has dissolved. After the cooling pour off the liquid from the sediment, if any is present; this liquid constitutes a lacquer of dark-red color. In a second bottle dissolve in the same manner 24 parts of gamboge in 400 parts of spirit, which affords a lacquer of golden yellow color. According to the desired shade, the red lacquer is now mixed with the yellow one, thus producing any hue required from the deepest red to a golden tone. If necessary, thin with spirit of wine. The varnish is applied, as usual, on the somewhat warmed article, a certain temperature having to be adhered to, which can be ascertained by trials and is easily regulated by feeling.

II.—The following is equally suitable for boots and leather goods as for application on iron, stone, glass, paper, cloth, and other surfaces. The inexperienced should note before making this liquid that it does not give a yellowish bronze like gold paint, but a darkish iridescent one, and as it is a pleasing variation in aids to home decoration, it would doubtless sell well. Some pretty effects are obtained by using a little phloxine instead of part of the violet aniline, or phloxine alone will produce a rich reddish bronze, and a lustrous peacock green is obtained with brilliant aniline green crystals.

Quantities: Flexile methylated collodion, 1 gallon; pure violet aniline, 1 pound. Mix, stand away for a few days to allow the aniline to dissolve and stir frequently, taking care to bung down securely, as the collodion is a volatile liquid, then strain and bottle off. It is applied with a brush, dries rapidly, and does not rub off or peal.

«Celluloid Lacquer.»—Dissolve uncolored celluloid in a mixture of strong alcohol and ether. The celluloid first swells up in the solvent, and after vigorous shaking, the bottle is allowed to stand quietly for the undissolved portion to settle, when the clear, supernatant fluid is poured off. The latter may be immediately used; it yields a colorless glossy lacquer, or may be colored, as desired, with aniline colors.

«Colored Lacquer.»—Make a strong solution of any coloring matter which is soluble in methylated spirit, such as cochineal, saffron, the aniline dyes, etc. Filter through fine cambric, and to this filtered solution add brown shellac in flakes in the proportion of 4 to 5 ounces of shellac to each pint of methylated spirit. Shake once a day for about 8 days. If too thick it may be thinned by adding more colored spirit or plain spirit as required, and any lighter shade can be obtained by mixing with plain lacquer mixed in the above proportions. Lacquer works best in a warm, dry place, and the process is improved by slightly warming the articles, which must be absolutely free from grease, dirt, or moisture. The best results are obtained by applying many coats of thin, light-colored lacquer, each coat to be thoroughly dry before applying the next.

Apply with a soft camel’s-hair brush; it is better to use too small a brush than too large. When complete, warm the articles for a few seconds before a clear fire; the hotter the better; if too hot, however, the colors will fade. This makes the lacquer adhere firmly, especially to metallic surfaces. Aniline green works very well.

«Lacquer for Copper.»—A lacquer which to a certain degree resists heat and acid liquids, but not alkaline ones, is obtained by heating fine, thickly liquid amber varnish, whereby it is rendered sufficiently liquid to be applied with the brush. The copper article is coated with this and left to stand until the lacquer has dried perfectly. Next, the object is heated until the lacquer commences to smoke and turns brown. If the operation is repeated twice, a coating is finally obtained, which, as regards resisting qualities to acid bodies, excels even enamel, but which is strongly attacked even by weakly alkaline liquids.

«Ebony Lacquer.»—The ebony lacquer recommended by the well-known English authority, Mr. H. C. Standage, consists of 1/3 ounce aniline hydrochloride, 1/3 ounce alcohol, 1 part sulphate of copper, 100 parts of water. The aniline dye is dissolved in the alcohol and the copper sulphate in the water. The wood is first coated with the copper sulphate solution, and after this coating has been given plenty of time to dry the aniline salt tincture is applied. Shortly the copper salt absorbed by the wood will react on the aniline hydrochloride, developing a deep, rich black which acids or alkalies are powerless to destroy. Coat with shellac and give a French polish, thus bringing the ebony finish up to a durable and unsurpassed luster. {440}

«GOLD LACQUERS:»

I.—For Brassware.—A gold lacquer to improve the natural color of brassware is prepared from 16 parts gum lac, 4 parts dragon’s blood, and 1 part curcuma powder dissolved in 320 parts spirits of wine in the warmth and filtered well. The articles must be thoroughly cleaned by burning, grinding, or turning either dull or burnished, and then coated with a thin layer of the above mixture, applied with a soft hair brush or a pad of wadding. If the objects are colored the lacquer must be laid on by stippling. Should the color be too dark, it may be lightened by reduction with a little spirit until the correct shade is produced. The most suitable temperature for the metal during the work is about the warmth of the hand; if too hot or too cold, the lacquer may smear, and will then have to be taken off again with spirit or hot potash lye, the goods being dried in sawdust or recleaned as at first, before applying the lacquer again. Round articles may be fixed in the lathe and the lacquer laid on with a pad of wadding. In order to color brassware, a solution of 30 parts caustic soda; 10 parts cupric carbonate; 200 parts water (or 200 parts ammonia neutralized by acetic acid); 100 parts verdigris, and 60 parts sal ammoniac is employed, into which the warmed articles are dipped. After having dried they are coated with colorless shellac varnish.

II.—For Tin.—Transparent gold lacquer for tin (all colors) may be made as follows: Take 1/2 pint of alcohol, add 1 ounce gum shellac; 1/2 ounce turmeric; 1 1/4 ounce red sanders. Set the vessel in a warm place and shake frequently for half a day. Then strain off the liquor, rinse the bottle and return it, corking tightly for use. When this is used, it must be applied to the work freely and flowed on full, or if the work admits it, it may be dipped. One or more coats may be given as the color is required light or dark. For rose color substitute 1/4 ounce of finely ground lake in place of the turmeric. For blue, substitute Prussian blue. For purple, add a little of the blue to the turmeric.

For Bottle Caps, etc.—

I.—Gum gutta 10 parts
Shellac 100 parts
Turpentine 10 parts
Alcohol 450 parts

II.—Gum gutta 40 parts
Dragon’s blood 5 parts
Alcoholic extract of sandalwood 5 parts
Sandarac 75 parts
Venice turpentine 25 parts
Alcohol, 95 per cent 900 parts

Mix and dissolve by the aid of a gentle heat.

«Liquid Bottle Lac.»—Into a half-gallon bottle put 8 ounces of shellac, and pour over it 1 1/2 pints of alcohol of 94 per cent, and 2 1/2 ounces of sulphuric ether. Let stand, with occasional shaking, until the shellac is melted, and then add 4 ounces of thick turpentine and 1/2 ounce of boric acid. Shake until dissolved. To color, use the aniline colors soluble in alcohol—for red, eosine; blue, phenol blue; black, negrosin; green, aniline green; violet, methyl violet, etc. If it is desired to have the lac opaque, add 8 ounces of pulverized steatite, but remember to keep the lac constantly stirred while using, as otherwise the steatite falls to the bottom.

«Lithographic Lacquer.»—Dissolve 15 parts, by weight, of red lithol R or G in paste of 17 per cent, in 150 parts, by weight, of hot water. Boil for 2 minutes, shaking with 2.5 parts, by weight, of barium chloride. Dissolve in 25 parts, by weight, of water. Add to the mixture 100 parts, by weight, of aluminum hydrate of about 4 per cent. Cool, filter, and dry.

«Lacquer for Microscopes, Mathematical Instruments, etc.»—Pulverize 160 parts, by weight, turmeric root, cover it with 1,700 parts alcohol, digest in a warm place for 24 hours, and then filter. Dissolve 80 parts dragon’s blood, 80 parts sandarac, 80 parts gum elemi, 50 parts gum gutta, and 70 parts seed lac, put in a retort with 250 parts powdered glass, pour over them the colored alcohol first made, and hasten solution by warming in the sand or water bath. When completely dissolved, filter.

«To Fix Alcoholic Lacquers on Metallic Surfaces.»—Dissolve 0.5 parts of crystallized boracic acid in 100 parts of the respective spirit varnish whereby the latter after being applied forms so hard a coating upon a smooth tin surface that it cannot be scratched off even with the finger-nails. The aforementioned percentage of boracic acid should not be exceeded in preparing the solution; otherwise the varnish will lose in intensity of color.

«Lacquer for Oil Paintings.»—Dilute 100 parts of sulphate of baryta with 600 parts of water containing in solution 60 parts of red lithol R or G in paste of 17 {441} per cent. Boil the mixture for several minutes in a solution of 10 parts of barium chloride in 100 parts of water. After cooling, filter and dry.

«Lacquers for Papers.»—I.—With base of baryta: Dissolve 30 parts of red lithol R or G in paste of 17 per cent, in 300 parts of hot water. Add an emulsion obtained by mixing 10 parts of sulphate of alumina in 100 parts of water and 5 parts of calcined soda dissolved in 50 parts of water. Precipitate with a solution of 17.5 parts of barium chloride in 125 parts of water. Cool and filter.

II.—With base of lime: Dissolve 30 parts red lithol R or G in paste of 17 per cent, in 300 parts of hot water. Boil for a few minutes with an emulsion prepared by mixing 10 parts sulphate of alumina with 100 parts of water and 2.5 parts of slaked lime in 100 parts of water. Filter after cooling.

«Lacquer for Stoves and other Articles to Withstand Heat.»—This is not altered by heat, and does not give off disagreeable odors on heating: Thin 1 part of sodium water glass with 2 parts of water in order to make the vehicle. This is to be thickened with the following materials in order to get the desired color: White, barium sulphate or white lead; yellow, baryta chromate, ocher, or uranium yellow; green, chromium oxide or ultramarine green; brown, cadmium oxide, manganese oxide, or sienna brown; red, either iron or chrome red. The coloring materials must be free from lumps, and well ground in with the vehicle. Bronze powders may also be used either alone or mixed with other coloring stuffs, but care must be taken, in either instance, to secure a sufficient quantity. The colors should be made up as wanted, and no more than can conveniently be applied at the time should be prepared. An excellent way to use the bronze powders is to lay on the coloring matter, and then to dust on the powder before the glass sets. Lines or ornamentation of any sort may be put on by allowing the coating of enamel to dry, and then drawing the lines or any desired design with a fresh solution of the water glass colored to suit the taste, or dusted over with bronze.

«MISCELLANEOUS RECIPES:»

«Russian Polishing Lac.»—

I.—Sticklac 925 parts
Sandarac 875 parts
Larch turpentine 270 parts
Alcohol, 96 per cent 3,500 parts

The sticklac is broken up and mixed with the sandarac, put into a suitable container with a wide mouth, the spirit poured over it and set aside. After standing for a week in a warm place, frequently stirring in the meantime (best with a glass rod) and fully dissolving, stir in the turpentine. Let stand 2 or 3 days longer, then filter through glass wool. The sandarac dissolves completely in the spirit, but the stick leaves a slight residue which may be added to the next lot of lac made up and thus be treated to a fresh portion of spirit. The larch turpentine should be of the best quality. This lac is used by woodcarvers and turners and is very much prized by them.

«Mastic Lac.»—

II.—Mastic, select 150 parts
Sandarac 400 parts
Camphor 15 parts
Alcohol, 96 per cent 1,000 parts

Prepare as directed in the first recipe.

«Leather Polish Lac.»—

III.—Shellac 16 parts
Venice turpentine 8 parts
Sandarac 4 parts
Lampblack, Swedish 2 parts
Turpentine oil 4 parts
Alcohol, 96 per cent 960 parts

The alcohol and turpentine oil are mixed and warmed under constant stirring in the sand or water bath. The shellac and sandarac are now stirred in, the stirring being maintained until both are dissolved. Finally add the turpentine and dissolve. Stir the lampblack with a little vinegar and then add and stir in. Instead of lampblack 125 to 150 parts of nigrosin may be used. This lac should be well shaken before application.

LACQUERED WARE, TO CLEAN: See Cleaning Preparations and Methods.

LAKES: See Dyes.

«LAMPBLACK:»

Production of Lampblack.—The last oil obtained in the distillation of coal tar, and freed from naphthalene as far as possible, viz., soot oil, is burned in a special furnace for the production of various grades of lampblack. In this furnace is an iron plate, which must always be kept glowing; upon this plate the soot oil trickles through a small tube fixed above it. It is decomposed and {442} the smoke (soot) rises into four chambers through small apertures. When the quantity of oil destined for decomposition has been used up, the furnace is allowed to stand undisturbed for a few days, and only after this time has elapsed are the chambers opened by windows provided for that purpose. In the fourth chamber is the very finest lampblack, which the lithographers use, and in the third the fine grade employed by manufacturers of printers’ ink, while the first and second contain the coarser soot, which, well sifted, is sold as flame lampblack.

From grade No. 1 the calcined lampblack for paper makers is also produced. For preparing this black capsules of iron plate with closing lid are filled, the stuff is stamped firmly into them and the cover smeared up with fine loam. The capsules are next placed in a well drawing stove and calcined, whereby the empyreumatic oils evaporate and the remaining lampblack becomes odorless. Allow the capsules to cool for a few days before opening them, as the soot dries very slowly, and easily ignites again as soon as air is admitted if the capsules are opened before. This is semi-calcined lampblack.

For the purpose of preparing completely calcined lampblack, the semi-calcined article is again jammed into fresh capsules, closing them up well and calcining thoroughly once more. After 2 days the capsules are opened containing the all-calcined lampblack in compact pieces.

For the manufacture of coal soot another furnace is employed. Asphalt or pitch is burned in it with exclusion of air as far as practicable. It is thrown in through the doors, and the smoke escapes through the chimney to the soot chambers, 1, 2, 3, 4, and 5, assorting itself there.

When the amount of asphalt pitch destined for combustion has burned up completely, the furnace is left alone for several days without opening it. After this time has elapsed the outside doors are slowly opened and some air is admitted. Later on they can be opened altogether after one is satisfied that the soot has cooled completely. Chamber 4 contains the finest soot black, destined for the manufacture of leather cloth and oil cloth. In the other chambers is fine and ordinary flame black, which is sifted and packed in suitable barrels. Calcined lampblack may also be produced from it, the operation being the same as for oil black.

LAMP BURNERS AND THEIR CARE: See Household Formulas.

«LAMPS:»

«Coloring Incandescent Lamps.»—Incandescent light globes are colored by dipping the bulbs into a thin solution of collodion previously colored to suit with anilines soluble in collodion. Dip and rotate quickly, bulb down, till dry.

For office desks, room lights, and in churches, it appears often desirable to modify the glaring yellowish rays of the incandescent light. A slight collodion film of a delicate bluish, greenish, or pink shade will do that.

For advertising purposes the bulbs are often colored in two or more colors. It is also easy with a little practice to paint words or pictures, etc., on the bulbs with colored collodion with a brush.

Another use of colored collodion in pharmacy is to color the show globes on their inside, thus avoiding freezing and the additional weight of the now used colored liquids. Pour a quantity of colored collodion into the clean, dry globe, close the mouth and quickly let the collodion cover all parts of the inside. Remove the balance of the collodion at once, and keep it to color electric bulbs for your trade.

LANOLINE CREAMS: See Cosmetics.

LANOLINE SOAP: See Soap.

LANTERN SLIDES: See Photography.

«LARD:»

«Detection of Cottonseed Oil in Lard.»—Make a 2 per cent solution of silver nitrate in distilled water, and acidify it by adding 1 per cent of nitrate acid, C. P. Into a test tube put a sample of the suspected lard and heat gently until it liquefies. Now add an equal quantity of the silver nitrate solution, agitate a little, and bring to a boil. Continue the boiling vigorously for about 8 minutes. If the lard remain clear and colorless, it may be accepted as pure. The presence of cottonseed oil or fat will make itself known by a coloration, varying from yellow, grayish green to brown, according to the amount present.

LATHE LUBRICANT: See Lubricants. {443}

LAUNDRY INKS: See Household Formulas.

«Laundry Preparations»

«BLUING COMPOUNDS:»

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Henley's Twentieth Century Formulas, Recipes and ProcessesChapter I: II III IV (4)

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