Chapter I: II III (3)

«Water- and Acid-Resisting Paint.»—Caoutchouc is melted with colophony at a low temperature, after the caoutchouc has been dried in a drying closet (stove) at 158° to 176° F., until no more considerable increase in weight is perceptible, while the colophony has completely lost its moisture by repeated melting. The raw products thus prepared will readily melt upon slight heating. To the melted colophony and caoutchouc add in a hot liquid state zinc white or any similar pigment. Thin with a varnish consisting of 50 parts of perfectly anhydrous colophony, 40 parts of absolute alcohol, and 40 parts of benzine. The whole syrupy mass is worked through in a paint mill to obtain a uniform product, at which operation more or less colophony varnish is added according to the desired consistency.

«Water- and Air-Proof Paint.»—An air-proof and waterproof paint, the subject of a recent French patent, is a compound of 30 parts, by weight, acetone; 100 parts acetic ether; 50 parts sulphuric ether; 100 parts camphor; 50 parts gum lac; 200 parts cotton; 100 parts paper {500} (dissolved in sulphuric acid); 100 parts mastic in drops. These proportions may fluctuate according to need. The paper is reduced well and dissolved without heat with sufficient sulphuric ether; the cotton is dissolved in the acetone and the whole is mixed together with the other ingredients and stirred well. The application is performed as with any other varnish. The coating is said not to crack or shrink and to be particularly useful as a protection against moisture for all stuffs.

«PAINTS FOR WOOD:»

See also Wood.

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

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

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

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

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

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

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

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

«MISCELLANEOUS RECIPES, PAINTS, ETC.:»

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

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

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

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

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

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

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

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

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

PAINT, GREASE: See Cosmetics. {502}

PAINT REMOVERS: See Cleaning Compounds.

PALLADIUM ALLOYS: See Alloys.

PALLADIUMIZING: See Plating.

«PALMS, THEIR CARE.»

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

«Paper»

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

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

Pour upon the glue more than enough water to cover it and let stand for several hours, then decant the greater portion of the water; apply heat until the glue is dissolved, and add the glycerine. If the mixture is too thick, add more water.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Potassium ferricyanide 2.5 parts Distilled water 10.0 parts

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

Eau de javelle 50 parts Distilled water 1,000 parts

until it turns dark blue.

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

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

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

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

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

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

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

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

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

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

«MARBLING PAPER FOR BOOKS.»

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

For Blue.—Prussian blue or indigo.

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

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

White.—Flake white.

Black.—Burnt ivory or lampblack.

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

Black mixed with yellow or red also makes brown.

Green.—Blue and yellow mixed.

Orange.—Red and yellow mixed.

Purple.—Red and blue mixed.

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

«WATERPROOF PAPERS.»

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

«METALLIC PAPER.»

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

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

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

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

Moth Paper.—

Naphthalene 4 ounces Paraffine wax 8 ounces

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

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

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

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

PAPER CEMENTS: See Adhesives.

PAPER DISINFECTANT: See Disinfectants.

PAPER, FIREPROOF: See Fireproofing.

PAPER, FROSTED: See Glass (Frosted).

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

PAPERS, IGNITING: See Pyrotechnics.

PAPER ON METALLIC SURFACES, PASTING: See Adhesives.

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

PAPERHANGERS’ PASTES: See Adhesives.

PAPER, PHOTOGRAPHIC: See Photography.

PAPER VARNISHES: See Varnishes.

PAPER WATERPROOFING: See Waterproofing.

PAPIER MACHÉ: See Paper.

«PARAFFINE:»

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

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

«Paraffine Scented Cakes.»

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

PARCHMENT AND PARCHMENT PAPER: See Paper.

PARCHMENT CEMENT: See Adhesives.

PARCHMENT PASTE: See Adhesives.

PARFAITS: See Ice Creams.

PARFAIT D’AMOUR CORDIAL: See Wines and Liquors.

PARIS GREEN: See Pigments.

PARIS RED: See Polishes.

PARIS SALTS: See Disinfectants.

PARISIAN CEMENT: See Adhesives.

«PASSE-PARTOUT FRAMING.»

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

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

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

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

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

PARQUET POLISH: See Polishes.

«PASTES:»

See Adhesives for Adhesive Purposes.

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

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

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

PASTE FOR PAPER: See Paper.

PASTES FOR POLISHING METALS: See Soaps.

PASTEBOARD CEMENT: See Adhesives.

PASTEBOARD DEODORIZERS: See Household Formulas.

PASTILLES, FUMIGATING: See Fumigants.

PATINAS: See Bronzing and Plating.

PATENT LEATHER: See Leather.

PEACH EXTRACT: See Essences and Extracts.

PEARLS, TO CLEAN: See Cleaning Preparations and Methods.

«PEGAMOID.»

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

PEN METAL: See Alloys.

PENCILS, ANTISEPTIC: See Antiseptics.

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

PENS, GOLD: See Gold.

PEONY ROOTS, THEIR PRESERVATION: See Roots.

«PERCENTAGE SOLUTION.»

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

«Perfumes»

«DRY PERFUMES:»

«Sachet Powders.»—

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

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

{510}

«Lavender Sachets.»—

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

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

«Violet Sachet.»—

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

«Borated Talcum.»—

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

To perfume add the following:

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

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

«Rose.»—

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

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

«Rose Talc.»—

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

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

«Violet Talc.»—

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

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

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

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

«Violet Smelling Salts.»—I.—Moisten coarsely powdered ammonia carbonate, contained in a suitable bottle, with a mixture of concentrated tincture of orris root, 2 1/2 ounces; aromatic spirit of ammonia, 1 drachm; violet extract, 3 drachms.

II.—Moisten the carbonate, and add as much of the following solution as it will absorb: Oil of orris, 5 minims; oil of lavender flowers, 10 minims; violet extract, 30 minims; stronger water of ammonia, 2 fluidounces.

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

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

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

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

Such a scenting powder is produced as follows:

By weight

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

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

«LIQUID PERFUMES:»

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

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

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

Lawn grass, cut fine 2 ounces Alcohol 16 ounces

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

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

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

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

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

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

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

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

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