Henley's Twentieth Century Formulas, Recipes and Processes

Chapter I: II III (1)

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Per cent Per cent Per cent Tin 60 65 40 Lead 40 35 58.5 Copper — — 1.5

Imitation Gold Foils.—

Deep gold Pure gold Pale gold
Per cent Per cent Per cent
Copper 84.5 78 76
Zinc 15.5 22 14

Deep gold Deep gold Gold
Per cent Per cent Per cent
Copper 91 86 83
Zinc 9 14 17
dark pale
reddish yellow yellow

Imitation Silver Foil.—Alloy of tin and zinc: harder than tin and softer than zinc: Zinc, 1 part; tin, 11 parts.

To Attach Gold Leaf Permanently.—Dissolve finely cut isinglass in a little water, with moderate heat, which must not be increased to a boil, and add as much nitric acid as has been used of the isinglass. The adhesive will not penetrate the cardboard or paper.

METH: See Mead.

METHEGLIN: See Mead.

METHYL SALICYLATE, TO DISTINGUISH FROM OIL OF WINTERGREEN: See Wintergreen.

METOL DEVELOPER: See Photography.

METRIC WEIGHTS: See Weights and Measures.

MICE POISON: See Rat Poison.

MICROPHOTOGRAPHS: See Photography.

«MILK:»

See also Foods.

«Determining Cream.»—An apparatus for determining cream in milk consists of a glass cylinder having a mark about half its height, and a second mark a little above the first. The milk is added up to the lower mark, and water up to the second. The amount of water thus added is about one-fourth the volume of the milk, and causes the cream to rise more quickly. The tube is graduated between the two marks in percentages of cream on the undiluted milk. A vertical blue strip in the side of the cylinder aids the reading of the meniscus.

«Formaldehyde in Milk, Detection of.»—To 10 parts of milk add 1 part of fuchsine sulphurous acid. Allow to stand 5 minutes, then add 2 parts of pure hydrochloric acid and shake. If formaldehyde is not present, the mixture remains yellowish white, while if present a blue-violet color is produced. This test will detect 1 grain of anhydrous formaldehyde in 1 quart of milk.

«Malted Milk.»—To malt milk, add the following:

Powdered malt 1 ounce Powdered oat meal 2 ounces Sugar of milk 4 ounces Roasted flour 1 pound

«Milk Extracts.»—These are made from skimmed milk freed from casein, sugar and albumen, and resemble meat extracts. The milk is slightly acidulated with phosphoric or hydrochloric acid, and evaporated _in vacuo_ to the {475} consistency of thick syrup. During the crystallization of the sugar, the liquid is sterilized.

«Modification of Milk for Infants.»—For an ill child note the percentages of milk taken; decide, if indigestion is present, which ingredient of the milk, fat or proteid, or both, is at fault, and make formula accordingly.

After allowing the milk to stand 8 hours, remove the top 8 ounces from a quart jar of 4 per cent fat milk by means of a dipper, and count this as 12 per cent fat cream. Count the lowest 8 ounces of the quart fat-free milk. From these the following formula may be obtained, covering fairly well the different percentages required for the different periods of life.

_First Week._

12 per cent cream. Fat-free milk. Fat 2.00 Cream 3 1/4 oz. Sugar 5.00 Milk 1 1/2 oz. Proteids 0.75 Milk sugar 2 meas.

_Second Week._

Fat 2.50 Cream 4 1/4 oz. Sugar 6.00 Milk 1 1/4 oz. Proteids 1.00 Milk sugar 2 1/2 meas.

_Third Week._

Fat 3.00 Cream 5 oz. Sugar 6.00 Milk 1 oz. Proteids 1.00 Milk sugar 2 1/2 meas.

_Four to Six Weeks._

Fat 3.50 Cream 5 3/4 oz. Sugar 6.50 Milk 1 3/4 oz. Proteids 1.00 Milk sugar 2 1/2 meas.

_Six to Eight Weeks._

Fat 3.50 Cream 5 3/4 oz. Sugar 6.50 Milk 3 1/4 oz. Proteids 1.50 Milk sugar 2 1/4 meas.

_Two to Four Months._

Fat 4.00 Cream 6 3/4 oz. Sugar 7.00 Milk 2 1/4 oz. Proteids 1.50 Milk sugar 2 1/2 meas.

_Four to Eight Months._

Fat 4.00 Cream 6 3/4 oz. Sugar 7.00 Milk 4 3/4 oz. Proteids 2.00 Milk sugar 2 1/4 meas.

_Eight to Nine Months._

Fat 4.00 Cream 6 3/4 oz. Sugar 7.00 Milk 7 1/2 oz. Proteids 2.50 Milk sugar 2 meas.

_Nine to Ten Months._

Fat 4.00 Cream 6 3/4 oz. Sugar 7.00 Milk 10 1/2 oz. Proteids 3.00 Milk sugar 1 1/2 meas.

_Ten to Twelve Months._

Fat 4.00 Cream 6 3/4 oz. Sugar 5.00 Milk 11 3/4 oz. Proteids 3.50 Milk sugar 1/2 meas.

_After Twelve Months._ Unmodified cow’s milk.

«Preservation of Milk» (see also Foods).—I.—Shortly after the milk is strained add to it from 1 per cent to 2 per cent of a 12-volume solution of hydrogen peroxide, and set it aside for 10 to 12 hours. It thus acquires the property of keeping perfectly sweet and fresh for 3 or 4 days, and is far preferable to milk sterilized by heat. Two points are worthy of notice in the process. The addition of oxygenated water should be made as soon after it is taken from the cow, strained, etc., as possible; the peroxide appears to destroy instantly all anaërobic microbes (such as the bacillus of green diarrhea of childhood), but has no effect upon the bacillus of tuberculosis. This process is to be especially recommended in the heat of summer, and at all times in the milk of cattle known to be free of tuberculosis.

II.—Fresh milk in bottles has been treated with oxygen and carbonic acid under pressure of some atmospheres. By this method it is said to be possible to preserve milk fresh 50 to 60 days. The construction of the bottle is siphon-like.

«Milk Substitute.»—Diamalt is a thick syrupy mass of pleasant, strong, somewhat sourish odor and sweetish taste, which is offered as a substitute for milk. The preparation has been analyzed. Its specific gravity is 1.4826; the percentage of water fluctuates between 24 and 28 per cent; the amount of ash is 1.3 per cent. There are present: Lactic acid, 0.718 to 1.51; nitrogenous matter, 4.68 to 5.06 per cent; and constituents rich in nitrogen, about 68 per cent. The latter consist principally of maltose. Dissolved in water it forms a greenish-yellow mixture. Turbidness is caused by starch grains, yeast cells, bacteria, and a shapeless coagulum.

MILK AS A SUBSTITUTE FOR CELLULOID, BONE, AND IVORY: See Casein.

MILK, CUCUMBER: See Cosmetics.

MILK OF SOAP: See Cleaning Preparations and Methods, under Miscellaneous Methods.

MINARGENT: See Alloys. {476}

MINERAL WATERS: See Waters.

MINOFOR METAL: See Alloys.

MINT CORDIAL: See Wines and Liquors.

«Mirrors»

(See also Glass.)

«Mirror Silvering.»—Mirror silvering is sometimes a misnomer, inasmuch as the coating applied to glass in the manufacture of mirrors does not always contain silver. In formula I it is an amalgam of mercury and tin.

I.—A sheet of pure tin foil, slightly larger than the glass plate to be silvered, is spread evenly on a perfectly plane stone table having a raised edge, and is well cleaned from all dust and impurity. The foil must be free from the slightest flaw or crack. The tin is next covered uniformly to a depth of 1/8 of an inch with mercury, preference being given by some to that containing a small proportion of tin from a previous operation. The glass plate, freed from all dust or grease, and repolished if necessary, is then carefully slid over the mercury. This part of the work requires skill and experience to exclude all air bubbles, and even the best workmen are not successful every time. If there is a single bubble or scratch the operation must be repeated and the tin foil is lost; not a small expense for large sizes. When this step has been satisfactorily accomplished the remainder is easy. The glass plate is loaded with heavy weights to press out the excess of mercury which is collected and is used again. After 24 hours the mirror is lifted from the table and placed on edge against a wall, where it is left to drain well.

II.—Solution No. 1 is composed as follows: To 8 ounces of distilled water, brought to a boil, add 12 grains of silver nitrate and 12 grains of Rochelle salts. Let it come to a boil for 6 to 7 minutes; then cool and filter.

Solution No. 2 is made as follows: Take 8 ounces of distilled water, and into a small quantity poured into a tumbler put 19 grains of silver nitrate. Stir well until dissolved. Then add several drops of 26° ammonia until the solution becomes clear. Add 16 grains more of nitrate of silver, stirring well until dissolved. Add balance of distilled water and filter. The filtering must be done through a glass funnel, in which the filter paper is placed. The solution must be stirred with a glass rod. Keep the solutions in separate bottles marked No. 1 and No. 2.

Directions for Silvering: Clean the glass with ammonia and wipe with a wet chamois. Then take half and half of the two solutions in a graduating glass, stirring well with a glass rod. Pour the contents on the middle of the glass to be silvered. It will spread over the surface of itself if the glass is laid flat. Leave it until the solution precipitates.

«Silvering Globes.»—The insides of globes may be silvered, it is said, by the following methods:

I.—Take 1/3 ounce of clean lead, and melt it with an equal weight of pure tin; then immediately add 1/2 ounce of bismuth, and carefully skim off the dross; remove the alloy from the fire, and before it grows cold add 5 ounces of mercury, and stir the whole well together; then put the fluid amalgam into a clean glass, and it is fit for use. When this amalgam is used for silvering, it should be first strained through a linen rag; then gently pour some ounces of it into the globe intended to be silvered; the alloy should be poured into the globe by means of a paper or glass funnel reaching almost to the bottom of the globe, to prevent it splashing the sides; the globe should be turned every way very slowly, to fasten the silvering.

II.—Make an alloy of 3 ounces of lead, 2 ounces of tin, and 5 ounces of bismuth. Put a portion of this alloy into the globe and expose it to a gentle heat until the compound is melted; it melts at 197° F.; then by turning the globe slowly round, an equal coating may be laid on, which, when cold, hardens and firmly adheres.

«Resilvering Mirrors»—If mirrors coated with amalgam become damaged they may sometimes be successfully repaired by one of the following processes:

I.—Place the old mirror in a weak solution of nitric acid—say 5 per cent—which immediately removes the silver. Rinse it a little, and then clean very thoroughly with a pledget of cotton-wool and a mixture of whiting and ammonia. Rouge will answer in place of whiting, or, as a last extreme, finest levigated pumice, first applied to a waste glass to crush down any possible grit. This cleaning is of the utmost importance, as upon its thoroughness depends eventual success. Front, back, and edges must alike be left in a state above suspicion. The {477} plate is then again flowed with weak acid, rinsed under the tap, then flowed back and front with distilled water, and kept immersed in a glass-covered dish of distilled water until the solutions are ready.

The depositing vessel is the next consideration, and it should be realized that unless most of the silver in the solution finds its way on to the face of the mirror it were cheaper that the glass should be sent to the professional mirror-maker. The best plan is to use a glass dish allowing a 1/16 inch margin all round the mirror, inside. But such a glass dish is expensive, having to be made specially, there being no regular sizes near enough to 4 x 7 or 8 x 5 (usual mirror sizes). If too large, a dish must perforce be used, the sides or ends of which should be filled up with sealing wax. Four strips of glass are temporarily bound together with 2 or 3 turns of string, so as to form a hollow square. The side pieces are 1/8 inch longer outside, and the end pieces 1/8 inch wider than the mirror glass. This frame is placed in about the center of the dish, moistened with glycerine, and the molten wax flowed outside of it to a depth of about 3/4 of an inch or more. For economy’s sake, good “parcel wax” may be used, but best red sealing wax is safer. This wax frame may be used repeatedly, being cleaned prior to each silvering operation. It is the only special appliance necessary, and half an hour is a liberal time allowance for making it.

Use a stock solution of silver nitrate of the strength of 25 grains to 1 ounce of distilled water: Take 2 drachms of silver nitrate stock solution and convert it to ammonia nitrate, by adding ammonia drop by drop until the precipitate is redissolved. Add 3 1/2 ounces of distilled water.

In another measure take 80 drops (approximately 74 minims) of 40 per cent formalin. Pour the solution of ammonio nitrate of silver into the measure containing the formalin, then back into the original measure, and finally into the dish containing the glass to be silvered. This should be done rapidly, and the dish containing the mirror well rocked until the silvering is complete, which may be ascertained by the precipitation of a black, flocculent deposit, and the clearing of the solution. The actual process of silvering takes about 2 minutes.

Cleanliness throughout is of the greatest importance. The vessels in which the solutions are mixed should be well rinsed with a solution of bichromate of potash and sulphuric acid, then washed out three or four times under the tap, and finally with distilled water. For cleansing, dip the glass for a short time in a solution of bichromate of potash, to which a little sulphuric acid is added. The glass is afterwards well rinsed for a minute or two under the tap, flooded with distilled water, and dried with a clean linen cloth. A little absolute alcohol is then rubbed on with a soft linen handkerchief, which is immediately rolled into a pad and used for well polishing the surface. The cleaning with alcohol is repeated to avoid risk of failure.

After the mirror has been silvered, hold it under the tap and allow water to flow over it for about 3 minutes. Rinse it with distilled water, and stand it up on edge on blotting paper. When it is quite dry take a pad of very soft wash-leather, spread a small quantity of finest opticians’ rouge on a sheet of clean glass, and well coat the pad with rouge by polishing the sheet of glass. A minute quantity of rouge is sufficient. Afterwards polish the mirror by gently rubbing the surface with the pad, using a circular stroke.

It will be seen that with this process it is unnecessary to suspend the mirror in the silvering solution, as usually recommended. The mirror is laid in the dish, which is a distinct advantage, as the progress of the silvering may be watched until complete. The film also is much more robust than that obtained by the older methods.

II.—Clean the bare portion of the glass by rubbing it gently with fine cotton, taking care to remove any trace of dust and grease. If this cleaning be not done very carefully, defects will appear around the place repaired. With the point of a penknife cut upon the back of another looking glass around a portion of the silvering of the required form, but a little larger. Upon it place a small drop of mercury; a drop the size of a pin’s head will be sufficient for a surface equal to the size of the nail. The mercury spreads immediately, penetrates the amalgam to where it was cut off with the knife, and the required piece may be now lifted and removed to the place to be repaired. This is the most difficult part of the operation. Then press lightly the renewed portion with cotton; it hardens almost immediately, and the glass presents the same appearance.

«Clouding of Mouth Mirrors.»—By means of the finger, slightly moistened, apply a film of soap of any brand or kind to the mirror; then rub this off with a clean, dry cloth; the mirror will be as {478} bright and clear as ever. Breathing on it will not affect its clearness and the mirror does not suffer from the operation.

«Magic Mirrors.»—Among the many amusing and curious articles which the amateur mechanic can turn out, metallic mirrors having concealed designs on them, and which can be brought into view by breathing on the polished surface, are both funny and easy to produce. To produce steel mirrors either tough bronze or good cast mottled iron discs should be used, and the design should be on the bottom of the cast disc, as this is the soundest and densest part of the metal. The method of working is different with bronze and iron, and bronze will be dealt with first.

The cast disk of bronze should be turned up level on both sides, and the edges should be turned or shaped up, the metal being about half an inch thick. On the side which was at the bottom in casting, a line should be drawn to allow for working up the border or frame of the mirror, and on the rest of the smooth surface the design should be drawn, not having too much detail. It is best to mark the lines with a sharp scriber, to prevent their effacement during working. When the disk is marked out, it should be laid on a smoothly planed iron block, and the lines punched to a depth of about 1/4 inch, a punch with round edges being used. Then the disk should be turned down to just below the surface of the punched-in metal, and the border or edge formed, finishing smoothly, but without burnishing. The back can be turned down and, with the outer edge, burnished; but the inside of the edge and the face of the mirror should be polished with fine abrasive powder, and finished with fine rouge. When dry, the mirror will appear equally bright all over; but when breathed on the design will show, again disappearing as the moisture is removed. The metal punched in will be more dense than the rest of the surface, and will also be very slightly raised, this being imperceptible unless the polishing has been too long continued.

With iron mirrors a good mottled iron must be used, selecting hematite for preference; but in any case it must be chillable metal. Preferably it should be melted in a crucible, as this causes the least change in the metallic content, and as the metal can be made hot and fluid, it works well. The design must be worked out in iron of about 1/8 inch in thickness, and must be level, as it has to touch the molten metal in the bottom of the mold. If preferred, the design may be cast and ground flat, but this depends largely on the design. The chill pattern should be coated with plumbago, and in molding the disk pattern of about 1/4 inch in thickness should be laid on a board, and on this the design—chill—should be placed, and the mold should be rammed up from the back in the ordinary manner. The casting should be allowed to get cold in the mold, and should then be removed and dressed in the usual way. It should then be ground bright all over on emery wheels of successively finer grades, and the mirror surface should be buffed and polished until a steely mirror surface is produced. With a good mottled iron the chilled design will not show until the surface is breathed on or rubbed with a greasy rag, but will then show clearly.

MIRROR ALLOYS: See Alloys.

MIRRORS, FROSTED: See Glass.

MIRROR-LETTERING: See Lettering.

MIRROR POLISHES: See Polishes.

MIRRORS, TO CLEAN: See Cleaning Preparations and Methods.

MIRRORS, TO PREVENT DIMMING OF: See Glass.

MIRROR VARNISH: See Varnishes.

MITE KILLER: See Insecticides.

MIXING STICKS FOR PAINT: See Paint.

MODELING WAX: See Wax, Modeling.

MOISTURE: See Insulation.

«MOLDS:»

See also Adhesives and Photography.

«Mounting Drawings, Photos, etc., upon Fine Pasteboard.»—It frequently happens that the pasteboard will warp toward the face of the picture, even if left in a press till the gluing medium is perfectly dry. This fault can be {480} obviated by moistening the back of the pasteboard moderately with a sponge, and, while this is still wet, pasting the picture on with good, thin glue. If moistening the pasteboard is impracticable (with sensitive drawings, paintings, etc.), paste which has been pressed through a fine cloth is rubbed on, always in the same direction, and the picture is carefully and evenly pressed on. Then bend the pasteboard backward in a wide semicircle, and place it between two heavy objects on the table. After a few hours, when the paste is completely dry, put the picture down flat and load proportionately. Papers of large size, which cannot conveniently be placed between two objects, are wrapped up, and twine is stretched around, thus keeping them bent.

«Mounting Prints on Glass.»—Take 4 ounces of gelatin; soak 1/2 hour in cold water; then place in a glass jar, adding 16 ounces of water; put the jar in a large dish of warm water and dissolve the gelatin. When dissolved pour in a shallow tray; have the prints rolled on a roller, albumen side up; take the print by the corners and pass rapidly through the gelatin, using great care to avoid air bubbles. Squeeze carefully onto the glass. The better the quality of glass, the finer the effect.

MOUTH ANTISEPTICS: See Antiseptics.

MOUTH WASHES: See Dentifrices.

MOVING OBJECTS AND HOW TO PHOTOGRAPH THEM: See Photography.

MUCILAGE: See Adhesives.

«MUSIC BOXES.»

Care must be exercised in taking apart, for if the box is wound up and the fly is removed, the cylinder is ruined. The spring relaxes at a bound, causing the cylinder to turn with such rapidity that the pins cannot resist the teeth, whose force is intensified by the velocity of the cylinder. The pins originally bent forward are broken, or pressed backwards; as they are hardened, they cannot be bent forward again without breaking. This accident involves the cost of a new cylinder, the most expensive part of the apparatus. Besides, the comb almost always loses some teeth and the wheel-work also suffers in its turn.

To avoid such mishaps the careful operator will take the parts asunder in the following order:

1. Remove the comb.

2. Take the apparatus from the box and completely disarm the spring.

3. Remove the barrel.

4. Remove the escapement.

5. Remove the cylinder.

The barrel and the wheels are cleaned like those of a watch.

The cylinder should be handled carefully. The holes should be well cleaned. Oil should be put only on the pivots, especially none on the part of the arbor to which the cylinder is attached. It is the first piece to be replaced, care being taken to see that the arbor turns freely, but without play, between the bridges. When it is in position, put in the escapement, then the barrel, and finally the comb.

The comb, representing the musical part of a simple box, cannot receive too much care. Before replacing it examine the springs closely, and in supplying the ones that are lacking, take for the model of size and form those resembling them the most. If the parts have been put together properly, then, as soon as the comb is screwed in its place, these should be found in good working order: the _levée_ (lift)—that is, that the pins do not lift the teeth too much or too little; the _tombée_ (fall)—that is, that the chords, the bass, the medium, and the treble, fall together; and the _visée_ (pointing)—that the pins catch at the center of the ends of the teeth.

MUSLIN, PAINTING ON: See Painting.

«MUSTACHE FIXING FLUID.»

Balsam of Tolu 1 part Rectified spirit 3 parts Jockey club 1 part

Dissolve the balsam in the liquids. Apply a few drops to the mustache with a brush, then twist into the desired shape.

«MUSTARD PAPER.»

I.—India rubber 1 part
Benzol 49 parts
Black mustard in powder, a sufficiency.

Dissolve the India rubber in the benzol, then stir in the mustard until the mixture is of a suitable consistence for spreading. It was further recommended to remove the fixed oil from the mustard by percolation with benzol. Mustard paper thus made is of good quality, very active, and keeps well. {481}

II.—Black and white mustard, in No. 60 powder,
deprived of fixed oil 1 part
Benzol solution of India rubber (1 in 40) 4 parts

Mix to a smooth mass, and spread the same over one side of a suitable paper by means of a plaster-spreading machine, or passing the paper over the mass contained in a suitable shallow vessel. Expose to warm air for a short time to dry. Preserve the dry paper in well-closed boxes. It may be useful to know that mustard paper, after spreading, should not be long exposed to light and air. By so doing not only does the mustard bleach but the rubber soon perishes. Moreover, mustard paper is hygroscopic, so that in a moist atmosphere it soon loses its virtue. It is, therefore, highly important that mustard paper should be rapidly dried in a warm atmosphere with free ventilation, then at once stored in well-closed packets. Thus prepared they keep well and remain active for many years.

MUSTARDS: See Condiments.

MYRRH ASTRINGENT: See Dentifrices.

«NAIL, INGROWING.»

Copious applications of dried powdered alum are sufficient to cure every case of ingrowing nail in about 5 days. The applications are not painful in the least, and the destruction of the pathologic tissue results in the formation of a hard, resistant, and non-sensitive bed for the nail, a perfect cure for the ingrowing tendency. Apply a fomentation of soap and water for 24 hours beforehand and then pour the alum into the space between the nail and its bed, tamponing with cotton to keep the alum in place, and repeating the application daily. The suppuration rapidly dries up, and pain and discomfort are relieved almost at once.

NAIL POLISHES: See Cosmetics.

NAPOLEON CORDIAL: See Wines and Liquors.

NAPHTHOL SOAP: See Soap.

«NEATSFOOT OIL.»

Crude neatsfoot oil 5,000 parts Alcohol, 90 per cent 2,500 parts Tannin 5 parts

Place in a clearing flask, agitate vigorously and allow to stand for 8 days in a warm room with daily repetition of the shaking. Then draw off the spirit of wine on top, rinse again with 1,000 parts of spirit of wine (90 per cent) and place the oil in a temperature of about 53 1/2° F. Allow to stand in this temperature for at least 6 weeks, protected from the light, and then filter.

NEEDLES, ANTI-RUST PAPER FOR: See Rust Preventives.

NEGATIVES, HOW TO USE SPOILED: See Photography.

NERVE PASTE: See also Dental Cements, under Cements.

Arsenious acid 4 parts Morphine sulphate 2 parts Clove oil 1 part Creosote, quantity sufficient to make a paste.

After the nerve is destroyed the following paste is to be put in the cavity:

Alum 1 part Thymol 1 part Zinc oxide 1 part Glycerine 1 part

NERVINE OINTMENT: See Ointments.

NESSELRODE PUDDING: See Ice Creams.

NETS: See Cordage.

«NICKEL-TESTING.»

Pure nickel will remain nearly white, while “patent nickel,” or nickel-copper will not retain its primitive brilliancy, but soon becomes slightly oxidized and grayish in color. The magnet furnishes a good means of testing. The unadulterated nickel is distinctly sensitive to magnetism, while that much alloyed is destitute of this property.

NICKEL ALLOYS: See Alloys.

NICKEL, TO REMOVE RUST FROM: See Cleaning Preparations and Methods.

NICKEL-PLATING: See Plating.

NICKEL STEEL: See Steel.

NICKELING, TEST FOR: See Plating. {482}

NIELLO: See Steel.

NITROGLYCERINE: See Explosives.

NOYAUX LIQUEUR: See Wines and Liquors.

NUT CANDY STICKS: See Confectionery.

NUTMEG CORDIAL: See Wines and Liquors.

NUTMEG ESSENCE: See Essences and Extracts.

OAK: See Wood.

ODONTER: See Dentifrices.

«Oils»

«Clock Oil.»—Put 2,000 parts, by weight, of virgin oil in a decanting vessel, add a solution of 40 parts of ether tannin in 400 parts of water and shake until completely emulsified. Let stand for 8 days, with frequent shaking; next, add 100 parts of talcum and, when this has also been well shaken, 1,600 parts of water. Allow to settle for 24 hours, and then run off the lower water layer, repeating the washing as long as the wash water still shows a coloration with ferric chloride. Pour the contents of the decanting vessel into an evaporating dish; then add 200 parts of thoroughly dried and finely ground cooking salt; let stand for 24 hours and filter through paper. The clock oil is now ready, and should be filled in brown glass bottles, holding 20 to 25 parts (about 1 ounce), which must be corked up well and kept at a cool temperature.

«COD-LIVER OIL:»

«Aromatic Cod-Liver Oil.»—

Coumarin 0.01 parts Saccharine 0.50 parts Vanillin 0.10 parts Alcohol, absolute 5.40 parts Oil of lemon 5.00 parts Oil of peppermint 1.00 part Oil of neroli 1.00 part Cod-liver oil to make 1,000 parts

«Deodorized Cod-Liver Oil.»—Mix 400 parts of cod-liver oil with 20 parts of ground coffee and 10 parts of bone black, warm the mixture in an open vessel to 140° F., let it stand 5 days, shaking occasionally, and strain through linen. The oil acquires the taste of coffee.

«Cod-Liver Oil Emulsions.»—

I.—Calcium hypophosphite 80 grains
Sodium hypophosphite 120 grains
Sodium chloride 60 grains
Gum acacia, in powder 2 ounces
Elixir of glucoside 20 minims
Essential oil of almonds 15 minims
Glycerine 2 fluidounces
Cod-liver oil 8 fluidounces
Distilled water, a sufficient quantity to produce 16 fluidounces.

II.—Mix 190 parts of powdered sugar with 5 parts of acacia and 500 parts of tragacanth in a mortar. Mix in a large bottle and shake thoroughly together 500 parts of cod-liver oil and 200 parts of a cold infusion of coffee. Gradually add a part of this mixture to the powder in the mortar and triturate until emulsified. To the remaining liquid mixture add 100 parts of rum, then gradually incorporate with the contents of the mortar by trituration.

«Extracting Oil from Cottonseed.»—Claim is made for a process of extraction, in an English patent, in which the seeds are placed in a rotable vessel mounted on a hollow shaft divided into compartments by means of a partition. The solvent is introduced at one end of this shaft and passes into the vessel, which is then made to rotate. After the extraction the bulk of the solvent and the extracted oil pass away through an exit pipe, and steam is then introduced through the same opening as the solvent, in order to cook the seeds and expel the residual solvent. The steam and the vapors pass through perforations in a scraper fixed to the shaft and thence through connected pipes into the other compartment of the shaft, the end of which is attached to a condenser.

«Silver Nitrate Test for Cottonseed Oil.»—Investigations of Charabout and March throw some light on the value of this test in presence of olive oil. The free-fat acids obtained from cottonseed oil by saponification were treated in accordance with the method of Milliau on a water bath with a 3 per cent solution of silver nitrate, and the brown precipitate thus formed subjected to a chemical examination. It was found to consist chiefly of a brown silver salt composed of a fat acid melting at 52° F., and {483} congealing at 120° to 122° F., and of sulphide of silver. Olive oil, which contains a sulphur compound of an analogous composition, is also capable of forming a more or less distinct precipitate of a dark colored silver sulphide with nitrate of silver. It is important to bear this fact in mind when examining olive oil for cottonseed oil.

«Floral Hair Oil.»—

White vaseline 5,000 parts Floricin, pure 800 parts Linalool rosé 60 parts Terpineol 50 parts Aubepine (hawthorne), liquid 12 parts

«Floral Hair Pomade.»—

White ceresine 250 parts Floricin, pure 1,600 parts Vanillin 3 parts Geranium oil 5 parts Isoeugenol 4 parts

«Floricin Brilliantine.»—

Floricin oil 2,100 parts White ceresine 250 parts Ylang-ylang oil 2 parts Kananga oil 5 parts Oil of rose, artificial 1 part Cheirantia 5 parts

«Solid Linseed Oil.»—Cements for the manufacture of linoleum and other similar substances are composed to a large extent of linseed oil, oxidized or polymerized until it has become solid. The old process of preparing this solid oil is tedious, costly, and invites danger from fire. It consists in running linseed oil over sheets of thin cloth hung from the top of a high building. The thin layer of oil upon the cloth dries, and then a second layer is obtained in the same way. This is continued until a thick skin of solid oil is formed on either side of the cloth. A new method of solidifying linseed oil is by means of alkalies. The drying oils, when heated with basic substances such as the alkalies, polymerize and become solid. Hertkorn makes use of the oxides of the alkaline earths, or their salts with weak acids, such as their soaps. When chalk or lime is added to the oil during the process of oxidation, either during the liquid or the plastic stage, it forms a calcium soap, and causes polymerization to set in in the partially oxidized oil. Similarly, if caustic soda or caustic potash be added, the action is not caused by them in the free state, but by the soaps which they form. Oxidized oil is more readily saponified than raw oil, and the greater the oxidation, the more readily does saponification take place. Lime soaps are not soluble in water, whereas soda and potash soaps are. Consequently a cement made with the latter, if exposed to the weather, will be acted upon by rain and moisture, owing to the soluble soap contained in it, while a cement made with lime will not be acted upon. It is suggested that the action of the bases on linseed oil is simply due to their neutralization of the free acid. The acidity of linseed oil increases as it becomes oxidized. When the basic matter is added part of the free acid is neutralized, and polymerization sets in. The presence of a large amount of free acid must therefore hinder polymerization. From 5 to 10 per cent of chalk or lime is considered to be the amount which gives the best result in practice.

«Decolorizing or Bleaching Linseed Oil.»—Linseed oil may be bleached by the aid of chemical bodies, the process of oxidizing or bleaching being best performed by means of peroxide of hydrogen. For this purpose, the linseed oil to be bleached is mixed with 5 per cent peroxide of hydrogen in a tin or glass bottle, and the mixture is shaken repeatedly. After a few days have elapsed the linseed oil is entirely bleached and clarified, so that it can be poured off from the peroxide of hydrogen, which has been reduced to oxide of hydrogen, i. e., water, by the process of oxidation. The use of another oxidizing medium, such as chloride of lime and hydrochloric acid or bichromate of calcium and sulphuric acid, etc., cannot be recommended to the layman, as the operation requires more care and is not without danger. If there is no hurry about the preparation of bleached linseed oil, sun bleaching seems to be the most recommendable method. For this only a glass bottle is required, or, better still, a flat glass dish, of any shape, which can be covered with a protruding piece of glass. For the admission of air, lay some sticks of wood over the dish and the glass on top. The thinner the layer of linseed oil, the quicker will be the oxidation process. It is, of course, necessary to place the vessel in such a manner that it is exposed to the rays of the sun for many hours daily.

«Linseed Oil for Varnish-Making.»—Heat in a copper vessel 50 gallons Baltic oil to 280° F., add 2 1/2 pounds calcined white vitriol, and stir well together. Keep the oil at the above temperature for half an hour, then draw the fire, and in 24 hours decant the clear oil. It should stand for at least 4 weeks. {484}

«Refining Linseed Oil.»—Put 236 gallons of oil into a copper boiler, pour in 6 pounds of oil of vitriol, and stir them together for 3 hours, then add 6 pounds fuller’s earth well mixed with 14 pounds hot lime, and stir for 3 hours. The oil must be put in a copper vessel with an equal quantity of water. Now boil for 3 hours, then extinguish the fire. When cold draw off the water. Let the mixture settle for a few weeks.

«MINERAL OIL:»

See also Petroleum.

«Production of Consistent Mineral Oils.»—

By weight

I.—Mineral oil 100 parts
Linseed oil 25 parts
Ground nut oil 25 parts
Lime 10 parts

II.—Mineral oil 100 parts
Rosin oil 100 parts
Rape seed oil 50 parts
Linseed oil 75 parts
Lime 25 parts

«Mixing Castor Oil with Mineral Oils.»—Castor oil is heated for 6 hours in an autoclave at a temperature of 500° to 575° F., and under a pressure of 4 to 6 atmospheres. When cold the resulting product mixes in all proportions with mineral oils.

«BLEACHING OILS:»

«Linseed Oil or Poppy Oil.»—Agitate in a glass balloon 25,000 parts, by weight, of oil with a solution of 50 parts, by weight, potassium permanganate in 1,250 parts, by volume, of water. Let stand for 24 hours at a gentle warmth and add 75 parts, by weight, of powdered sodium sulphite. Agitate strongly and add 100 parts, by weight, of hydrochloric acid and again agitate. Let stand until decolorization takes place, then wash the oil with a sufficiency of water, carrying in suspension chalk, finely powdered, until the liquid no longer has an acid reaction. Finally filter off over anhydrous sodium sulphate.

«Boiled Oil.»—The following is especially adapted for zinc painting, but will also answer for any paint: Mix 1 part binoxide of manganese, in coarse powder, but not dusty, with 10 parts nut or linseed oil. Keep it gently heated and frequently stirred for about 30 hours, or until the oil begins to turn reddish.

«British Oil.»—

I.—Oil of turpentine 40 parts
Barbadoes pitch 26 parts
Oil of rosemary 1 part
Oil of origanum 1 part

II.—Oil of turpentine 2 parts
Rape oil 20 parts
Spirit of tar 2 parts
Alkanet root, quantity sufficient.

Macerate the alkanet root in the rape oil until the latter is colored deep red; then strain off and add the other ingredients.

«Decolorizing and Deodorizing Oils.»—I.—One may partially or completely deodorize and decolorize rank fish and other oils by sending a current of hot air or of steam through them, after having heated them from 175° to 200° F. To decolorize palm oil pass through it a current of steam under pressure corresponding to a temperature of 230° F., agitating the oil constantly. The vapor is then passed through leaden tuyeres of about 2 inches diameter, 10 hours being sufficient for deodorizing 4 tons of oil.

II.—Another method that may be applied to almost all kinds of fats and oils with excellent results is the following: Melt say 112 parts, by weight, of palm oil in a boiler. When the mass is entirely liquefied add to it a solution of calcium chloride, made by dissolving 7 parts, by weight, of lime chloride for every 84 parts, by weight, of oil in water, and mix intimately. After cooling, the mass hardens and is cut into small bits and exposed to the air for a few weeks. After this exposure the material is reassembled in a boiler of iron, jacketed on the inside with lead; a quantity of sulphuric acid diluted to 5 per cent, equal in amount to the lime chloride previously used, is added, and heat is applied until the oil melts and separates from the other substances. It is then left to cool off and solidify.

«Decomposition of Oils, Fats, etc.»—In many of the processes at present in use, whereby oils and fats are decomposed by steam at a high pressure, the time during which the oil or fat has to be exposed to high pressure and temperature has the effect of considerably darkening the resulting product. Hannig’s process claims to shorten the time required, by bringing the steam and oil into more intimate contact. The oil to be treated is projected in fine streams into the chamber containing steam at 8 to 10 atmospheres pressure. The streams of oil are projected with sufficient force to cause them to strike against the walls of the chamber, and they are thus broken up into minute globules which mix intimately with the steam. In this way the most satisfactory conditions for the decomposition of the oil are obtained. {485}

«Driffield Oils.»—

Barbadoes tar 1 ounce Linseed oil 16 ounces Oil turpentine 3 ounces Oil vitriol 1/2 ounce

Add the oil of vitriol to the other ingredients very gradually, with constant stirring.

«Drying Oils.»—To dry oils for varnishes, paintings, etc., the most economical means is to boil them with shot, to leave them for some time in contact with shot, or else to boil them with litharge. Another method consists in boiling the oils with equal parts of lead, tin, and sulphate of zinc in the ratio of 1/10 part (weight) of the united metals to 1 part of oil to be treated. These metals must be granulated, which is easily accomplished by melting them separately and putting them in cold water. They will be found at the bottom of the water in the shape of small balls. It is in this manner, by the way, that shot is produced.

«Dust-Laying Oil.»—A process has been patented for rendering mineral oils miscible in all proportions of water. The method consists of forming an intimate mixture of the oil with a soap which is soluble in water. The most simple method is as follows: The oil is placed in a tank provided with an agitator. The latter is set in motion and the fatty oil or free fatty acid from which the soap is to be formed is added, and mixed intimately with the mineral oil. When the mixture is seen to be thoroughly homogeneous, the alkali, in solution in water, is added little by little and the stirring continued until a thorough emulsion is obtained, of which the constituents do not separate, even after prolonged standing at ordinary temperatures. The agitation may be produced either by a mechanical apparatus or by forcing air in under pressure. As a rule, the operation can be carried out in the cold, but in certain cases the solution of the fatty body and its saponification requires the application of moderate heat. This may be obtained by using either a steam-jacketed pan, or by having the steam coil within the pan, or live steam may be blown through the mixture, serving at the same time both as a heating and stirring agent. Any fatty matter or fatty acid suitable for soap-making may be used, and the base may be any one capable of forming a soluble soap, most commonly the alkaline hydroxides, caustic soda, and caustic potash, as also ammonia. The raw materials are chosen according to the use to which the finished product is to be applied. A good formula, suitable for preparing an oily liquid for watering dusty roads, is as follows:

By weight

Heavy mineral oil 75 parts Commercial olein 2 parts Commercial ammonia 1.5 parts Water 21.5 parts

«Floor Oils.»—

I.—Neatsfoot oil 1 part
Cottonseed oil 1 part
Petroleum oil 1 part

II.—Beeswax 8 parts
Water 56 parts
Potassium carbonate 4 parts

Dissolve the potash in 12 parts of water; heat together the wax and the remaining water till the wax is liquefied; then mix the two and boil together until a perfect emulsion is effected. Color, if desired, with a solution of annatto.

«Ground-Laying Oil for Ceramics.»—Boil together until thoroughly incorporated 1 pint of linseed oil, 1 pint of dissolved gum mastic, 1/2 ounce of red lead, 1/2 ounce of rosin. In using mix with Venice turpentine.

«Oil Suitable for Use with Gold.»—Heat and incorporate linseed oil, 1 quart; rape oil, 1 pint; Canadian balsam, 3 pints; rectified spirits of tar, 1 quart.

«Wool Oil.»—These are usually produced by the distillation in retorts of Yorkshire grease and other greases. The distilled oil is tested for quality, and is brought down to 70 per cent or 50 per cent grades by the addition of a suitable quantity of mineral oil. The lower the quality of the grease used the lower is the grade of the resulting wool oil.

OIL, CASTOR: See Castor Oil.

OIL FOR FORMING A BEAD ON LIQUORS: See Wines and Liquors.

OILS FOR HARNESS: See Leather.

OILS (EDIBLE), TESTS FOR: See Foods.

OIL, HOW TO POUR OUT: See Castor Oil.

OIL, LUBRICATING: See Lubricants. {486}

OILS, PURIFICATION OF: See Fats.

OILCLOTH: See Linoleum.

OILCLOTH ADHESIVES: See Adhesives.

OILCLOTH VARNISHES: See Varnishes.

OILING FIBERS AND FABRICS: See Waterproofing.

OILSKINS: See Waterproofing.

OIL REMOVERS: See Cleaning Preparations and Methods.

OIL, SOLIDIFIED: See Lubricants.

«Ointments»

«Arnica Salve.»—

Solid extract of arnica 2 parts Rosin ointment 16 parts Petrolatum 4 parts Sultanas 16 parts Fine cut tobacco 1 part

Boil the raisins and the tobacco in 40 ounces of water until exhausted, express the liquid, and evaporate down to 8 ounces. Soften the arnica extract in a little hot water and mix in the liquid. Melt the rosin ointment and petrolatum together, and add the liquid to the melted mass and incorporate thoroughly.

«Barbers’ Itch.»—

Ichthyol 30 grains Salicylic acid 12 grains Mercury oleate (10 per cent) 3 drachms Lanolin 1 ounce

Mix. To be kept constantly applied to the affected parts.

«Brown Ointment.»—

Rosin 1 ounce Lead plaster 4 ounces Soap cerate 8 ounces Yellow beeswax 1 ounce Olive oil 7 1/2 fluidounces

«Chilblains.»—The following are for unbroken chilblains:

I.—Sulphurous acid 3 parts
Glycerine 1 part
Water 1 part

II.—Balsam Peru 1 part
Alcohol 24 parts
Hydrochloric acid 1 part
Tincture benzoin compound 8 parts

Dissolve the balsam in the alcohol, and add the acid and tincture. Apply morning and evening.

«Domestic Ointments.»—

I.—Vaseline 80 parts
Diachylon ointment 30 parts
Carbolic acid 4 parts
Camphor 5 parts

II.—Butter, fresh (unsalted) 750 parts
Wax, yellow 125 parts
Rosin, white 100 parts
Nutmeg oil 15 parts
Peru balsam 1 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

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Henley's Twentieth Century Formulas, Recipes and ProcessesChapter I: II III (1)

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