Chapter I: II III (4)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

«Tinctures for Perfumes.»—

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

«Florida Waters.»—

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

Mix, and if cloudy, filter through magnesium carbonate.

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

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

{515}

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

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

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

Allow to stand 5 weeks before filtering.

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

Acacia Extract.—

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

Bishop Essence.—

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

A dark-brown tincture of pleasant taste and smell.

Caroline Bouquet.—

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

Alexandra Bouquet.—

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

Navy Bouquet.—

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

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

Irish Bouquet.—

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

Essence Bouquet.—

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

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

Bouquet Canang.—

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

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

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

Cashmere Nosegay.—

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

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

Clove Pink.—

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

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

Frangipanni.—

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

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

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

Handkerchief Perfumes.—

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

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

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

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

Honeysuckle.—

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

Iridia.—

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

Macerate for a month. {517}

Javanese Bouquet.—

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

Macerate for 14 days.

Lily Perfume.—

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

Lily of the Valley.—

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

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

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

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

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

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

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

May Flowers.—

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

Narcissus.—

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

{518}

Almond Blossom.—

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

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

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

Quadruple Extract.—

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

Triple Extract.—

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

Double Extract.—

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

White Rose.—

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

Ylang-Ylang Perfume.—

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

One grain of musk may be added.

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

TOILET WATERS.

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

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

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

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

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

Carmelite Balm Water.—

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

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

Cypress Water.—

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

Distill a gallon.

Eau de Botot.—

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

Digest for 8 days and add

Tincture of ambergris 1 part Peppermint oil 10 parts

Eau de Lais.—

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

Eau de Merveilleuse.—

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

Edelweiss.—

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

Honey Water.—

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

{520}

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

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

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

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

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

Lilac Water.—

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

Orange Flower Water.—

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

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

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

Violet Waters.—

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

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

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

«PERFUMED PASTILLES.»

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

Violet.—

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

Heliotrope.—

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

Lilac.—

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

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

«Perfumes for Hair Oils.»—

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

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

«Soap Perfumes.»—

See also Soap.

I.—Oil of lavender 1/2 ounce
Oil of cassia 30 minims
Add 5 pounds of soap stock.

{521}

1 1/2 drachms of each:
II.—Oil of caraway
Oil of clove
Oil of white thyme
Oil of cassia
Oil of orange leaf (neroli petit grain)
Oil of lavender

Add to 5 pounds of soap stock.

PERFUMES (FUMIGANTS): See Fumigants.

PERSPIRATION REMEDY: See Cosmetics.

«Petroleum»

(See also Oils.)

«The Preparation of Emulsions of Crude Petroleum.»—Kerosene has long been recognized as a most efficient insecticide, but its irritating action, as well as the very considerable cost involved, has prevented the use of the pure oil as a local application in the various parasitic skin diseases of animals.

In order to overcome these objections various expedients have been resorted to, all of which have for their object the dilution or emulsification of the kerosene. Probably the best known and most generally employed method for accomplishing this result is that which is based upon the use of soap as an emulsifying agent. The formula which is used almost universally for making the kerosene soap emulsion is as follows:

Kerosene 2 gallons Water 1 gallon Hard soap 1/2 pound

The soap is dissolved in the water with the aid of heat, and while this solution is still hot the kerosene is added and the whole agitated vigorously. The smooth white mixture which is obtained in this way is diluted before use with sufficient water to make a total volume of 20 gallons, and is usually applied to the skin of animals or to trees or other plants by means of a spray pump. This method of application is used because the diluted emulsion separates quite rapidly, and some mechanical device, such as a self-mixing spray pump, is required to keep the oil in suspension.

It will be readily understood that this emulsion would not be well adapted either for use as a dip or for application by hand, for in the one case the oil, which rapidly rises to the surface, would adhere to the animals when they emerged from the dipping tank and the irritating effect would be scarcely less than that produced by the plain oil, and in the second case the same separation of the kerosene would take place and necessarily result in an uneven distribution of the oil on the bodies of the animals which were being treated.

Within recent years it has been found that a certain crude petroleum from the Beaumont oil fields is quite effective for destroying the Texas fever cattle ticks. This crude petroleum contains from 40 to 50 per cent of oils boiling below 300° C. (572° F.), and from 1 to 1.5 per cent of sulphur. After a number of trials of different combinations of crude oil, soap, and water, the following formula was decided upon as the one best suited to the uses in view:

Crude petroleum 2 gallons Water 1/2 gallon Hard soap 1/2 pound

Dissolve the soap in the water with the aid of heat; to this solution add the crude petroleum, mix with a spray pump or shake vigorously, and dilute with the desired amount of water. Soft water should, of course, be used. Various forms of hard and soft soaps have been tried, but soap with an amount of free alkali equivalent to 0.9 per cent of sodium hydroxide gives the best emulsion. All the ordinary laundry soaps are quite satisfactory, but toilet soaps in the main are not suitable.

An emulsion of crude petroleum made according to this modified formula remains fluid and can be easily poured; it will stand indefinitely without any tendency toward a separation of the oil and water and can be diluted in any proportion with cold soft water. After sufficient dilution to produce a 10 per cent emulsion, a number of hours are required for all the oil to rise to the surface, but if the mixture is agitated occasionally, no separation takes place. After long standing the oil separates in the form of a creamlike layer which is easily mixed with the water again by stirring. It is therefore evident that for producing an emulsion which will hold the oil in suspension after dilution, the modified formula meets the desired requirements.

In preparing this emulsion for use in the field, a large spray pump capable of mixing 25 gallons may be used with perfect success.

In using the formula herewith given, it should be borne in mind that it is recommended especially for the crude {522} petroleum obtained from the Beaumont oil fields, the composition of which has already been given. As crude petroleums from different sources vary greatly in their composition, it is impracticable to give a formula that can be used with all crude oils. Nevertheless, crude petroleum from other sources than the Beaumont wells may be emulsified by modifying the formula given above. In order to determine what modification of this formula is necessary for the emulsification of a given oil, the following method may be used:

Dissolve 1/2 pound of soap in 1/2 gallon of hot water; to 1 measure of this soap solution add 4 measures of the crude petroleum to be tested and shake well in a stoppered bottle or flask for several minutes.

If, after dilution, there is a separation of a layer of pure oil within half an hour the emulsion is imperfect, and a modification of the formula will be required. To accomplish this the proportion of oil should be varied until a good result is obtained.

«Petroleum for Spinning.»—In order to be able to wash out the petroleum or render it “saponifiable,” the following process is recommended: Heat the mineral oil with 5 to 10 per cent of olein, add the proper amount of alcoholic lye and continue heating until the solvent (water alcohol) evaporates. A practical way is to introduce an aqueous lye at 230° F. in small portions and to heat until the froth disappears. For clearness it is necessary merely to evaporate all the water. In the same manner, more olein may be added as desired if the admixture of lye is kept down so that not too much soap is formed or the petroleum becomes too thick. After cooling, a uniform gelatinous mass results. This is liquefied mechanically, during or after the cooling, by passing it through fine sieves. Soap is so finely and intimately distributed in the petroleum that the finest particles of oil are isolated by soap, as it were. When a quantity of oil is intimately stirred into the water an emulsion results so that the different parts cannot be distinguished. The same process takes place in washing, the soap contained in the oil swelling between the fibers and the oil particles upon mixture with water, isolating the oil and lifting it from the fiber.

«Deodorized Petroleum.»—Petroleum may be deodorized by shaking it first with 100 parts of chlorinated lime for every 4,500 parts, adding a little hydrochloric acid, then transferring the liquid to a vessel containing lime, and again shaking until all the chlorine is removed. After standing, the petroleum is decanted.

«Petroleum Briquettes.»—Mix with 1,000 parts of petroleum oil 150 parts of ground soap, 150 parts of rosin, and 300 parts of caustic soda lye. Heat this mixture while stirring. When solidification commences, which will be in about 40 minutes, the operation must be watched. If the mixture tends to overflow, pour into the receiver a few drops of soda, and continue to stir until the solidification is complete. When the operation is ended, flow the matter into molds for making the briquettes, and place them for 10 or 15 minutes in a stove; then they may be allowed to cool. The briquettes can be employed a few hours after they are made.

To the three elements constituting the mixture it is useful to add per 1,000 parts by weight of the briquettes to be obtained, 120 parts of sawdust and 120 parts of clay or sand, to render the briquettes more solid.

Experiments in the heating of these briquettes have demonstrated that they will furnish three times as much heat as briquettes of ordinary charcoal, without leaving any residue.

PETROLEUM EMULSION: See Insecticides.

PETROLEUM JELLIES: See Lubricants.

PETROLEUM SOAP: See Soap.

PEWTER: See Alloys.

PEWTER, TO CLEAN: See Cleaning Preparations and Methods.

«PEWTER, AGEING:»

If it is desired to impart to modern articles of pewter the appearance of antique objects, plunge the pieces for several moments into a solution of alum to which several drops of hydrochloric or sulphuric acid have been added.

«PICTURES, GLOW.»

These can be easily produced by drawing the outlines of a picture, writing, etc., on a piece of white paper with a solution of 40 parts of saltpeter and 20 parts of gum arabic in 40 parts of warm water, using a writing pen for this purpose. All the lines must connect and one of them {523} must run to the edge of the paper, where it should be marked with a fine lead-pencil line. When a burning match is held to this spot, the line immediately glows on, spreading over the whole design, and the design formerly invisible finally appears entirely singed. This little trick is not dangerous.

«PHOSPHATE SUBSTITUTE.»

An artificial phosphate is thus prepared: Melt in an oven a mixture of 100 parts of phosphorite, ground coarsely, 70 parts of acid sulphate of soda; 20 parts of carbonate of lime; 22 parts of sand, and 607 parts of charcoal. Run the molten matter into a receiver filled with water; on cooling it will become granular. Rake out the granular mass from the water, and after drying, grind to a fine powder. The phosphate can be kept for a long time without losing its quality, for it is neither caustic nor hygroscopic. Wagner has, in collaboration with Dorsch, conducted fertilizing experiments for determining its value, as compared with superphosphate or with Thomas slag. The phosphate decomposes more rapidly in the soil than Thomas slag, and so far as the experiments have gone, it appears that the phosphoric acid of the new phosphate exercises almost as rapid an action as the phosphoric acid of the superphosphate soluble in water.

«PHOSPHORESCENT MASS.»

See also Luminous Bodies and Paints.

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

PHOSPHOR BRONZE: See Alloys, under Bronzes.

«PHOSPHORUS SUBSTITUTE.»

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

«Photography»

«DEVELOPERS AND DEVELOPING OF PLATES.»

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

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

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

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

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

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

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

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

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

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

Uniform temperature is necessary for uniform results.

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

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

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

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

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

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

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

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

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

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

«Pyro and Soda Developer.»—

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

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

To develop, take of

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

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

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

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

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

«Pyro and Potassium Developer.»—

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

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

To develop, take of

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

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

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

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

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

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

To develop, take of

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

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

Keep the used developer in a separate bottle.

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

Use repeatedly, adding fresh as required.

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

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

Dissolve by warming, and let cool before use.

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

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

«Eikonogen Hydrochinon Developer.»—

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

II.—Water 32 ounces
Carbonate of potash 4 ounces

To develop, take

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

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

{525}

By hydrometer:

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

II.—Carbonate of potash solution to test 50

To develop, take

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

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

«Hydrochinon Developer.»—

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

II.—Caustic potash 180 grains
Water 10 ounces

To develop:

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

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

«Metol Developer.»—

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

II.—Water 10 ounces
Potassium carbonate 1 ounce

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

«Metol and Hydrochinon Developer.—»

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

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

To develop, take of

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

«Metol-Bicarbonate Developer.»—Thoroughly dissolve

Metol 1 ounce In water 60 ounces

Then add

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

To prepare with hydrometer, mix

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

Dissolved in 12 ounces water.

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

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

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

III.—Citrate of ammonia solution saturated.

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

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

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

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

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

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

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

To obtain very strong negatives:

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

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

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

_Solution A_

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

_Solution B_

Water 32 ounces Sodium sulphite 2 (4) ounces

_Solution C_

Water 32 ounces Sodium carbonate 4 (10) ounces

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

_Solution B_

Sodium sulphite 40

_Solution C_

Sodium carbonate 75

Or if potassium carbonate is preferred instead of sodium:

_Solution C_

Potassium carbonate 60

For standard formula for dry plates and films, mix

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

For strong negatives (for aristo-platino):

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

For tank development:

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

For developing paper:

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

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

«Pyrocatechin-Phosphate Developer.»—

_Solution A_

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

_Solution B_

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

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

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

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

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

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

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

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

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