Chapter I: II III IV V (3)

The wood must be well dried; only then will the enamel penetrate into the pores. Two or three coats suffice to close up the pores of the wood thoroughly and to render the surface smooth and glossy. Each coating will harden perfectly in several hours. The covering endures a heat of 140° to 150° F. without injury. This glaze can also be mixed with earth colors. Drying quickly and being tasteless, its applications are manifold. Mixed with ocher, for instance, it gives an elegant and durable floor varnish, which may safely be washed off with weak soda solution. If it is not essential that the objects be provided with a smooth and glossy coating, only a preservation being aimed at the following coat is recommended by the same source: Thin, soluble glass (water glass) as it is found in commerce, with about 24 per cent of water, and paint the dry vessel rather hot with this solution. When this has been absorbed, repeat the application, allow to dry, and coat with a solution of about 1 part of sodium bicarbonate in 8 parts of water. In this coating silicic acid is separated by the carbonic acid of the bicarbonate; from the water glass (sodium silicate) absorbed by the pores of the wood, which, as it were, silicifies the wooden surfaces, rendering them resistive against the penetration of liquids. The advantages claimed for both processes are increased durability and facilitated cleaning.

XXII.—Tar paints, called also mineral or metallic paints, are sold in barrels or boxes, at varying prices. Some dealers color them—yellow ocher, red ocher, brown, gray, etc. They are prepared by mixing equal parts of coal tar and oil of turpentine or mineral essence (gasoline). The product, if it is not colored artificially, is of a brilliant black, even when cold. It dries in a few hours, especially when prepared with oil of turpentine. The paints with mineral essence are, however, generally preferred, on account of their lower cost. Either should be spread on with a hard brush, in coats as thin as possible. They penetrate soft woods, and even semi-hard woods sufficiently deep, and preserve them completely. They adhere perfectly to metals. Their employment can, therefore, be confidently advised, so far as concerns the preservation directly of iron cables, reservoirs, the interior surface of generators, etc. However, it has been shown that atmospheric influence or variations of temperature cause the formation of ammoniacal solutions, which corrode the metals. Several companies for the care and insurance of steam engines have for some time recommended the abandonment of tar products for applications of this kind and the substitution of hot linseed oil.

XXIII.—Coal-tar paints are prepared according to various formulas. One in current use has coal tar for a base, with the addition of gum rosin. It is very black. Two thin coats give a fine brilliancy. It is employed on metals, iron, sheet iron, etc., as well as on wood. It dries much quicker than the tars used separately. Its preserving influence against rust is very strong.

The following Tissandier formula has afforded excellent results. Its facility of preparation and its low cost are among its advantages. Mix 10 parts of coal tar, 1 to 1.6 parts of slaked lime, 4,000 parts of oil of turpentine, and 400 parts of strong vinegar, in which 1/5 part of cupric sulphate has been previously boiled. The addition of 2 or 3 cloves of garlic in the solution of cupric sulphate aids in producing a varnish, brilliant as well as permanent. The compound can be colored like ordinary paints.

XXIV.—Rectified rosinous oil for painting must not be confounded with oils used in the preparation of lubricants for metallic surfaces exposed to friction. It contains a certain quantity of rosin in solution, which, on drying, fills the pores of the wood completely, and prevents decomposition from the action of various saprophytic fungi. It is well adapted to the preservation of pieces to be buried in the ground or exposed to the inclemency {781} of the weather. Paints can also be prepared with it by the addition of coloring powders, yellow, brown, red, green, blue, etc., in the proportion of 1 kilo to 5 liters of oil. The addition ought to take place slowly, while shaking, in order to obtain quite a homogeneous mixture. Paints of this kind are economical, in consequence of the low price of rosin, but they cannot be used in the interior of dwellings by reason of the strong and disagreeable odor disengaged, even a long time after their application. As an offset, they can be used like tar and carbonyl, for stalls, stables, etc.

«To Prevent Warping.»—Immerse the wood to be worked upon in a concentrated solution of sea salt for a week or so. The wood thus prepared, after having been worked upon, will resist all changes of temperature.

«STAINS FOR WOOD.»

In the staining of wood it is not enough to know merely how to prepare and how to apply the various staining solutions; a rational exercise of the art of wood staining demands rather a certain acquaintance with the varieties of wood to be operated upon, a knowledge of their separate relations to the individual stains themselves; for with one and the same stain very different effects are obtained when applied to the varying species of wood.

Such a diversity of effects arises from the varying chemical composition of wood. No unimportant rôle is played by the presence in greater or lesser quantities of tannin, which acts chemically upon many of the stains and forms with them various colored varnishes in the fibers. Two examples will suffice to make this clear. (1) Let us take pine or fir, in which but little of the tanning principle is found, and stain it with a solution of 50 parts of potassium chromate in 1,000 parts of pure water; the result will be a plain pale yellow color, corresponding with the potassium chromate, which is not fast and as a consequence is of no value. If, with the same solution, on the contrary, we stain oak, in which the tanning principle is very abundant, we obtain a beautiful yellowish-brown color which is capable of withstanding the effects of both light and air for some time; for the tannin of the oak combines with the penetrating potassium chromate to form a brown dyestuff which deposits in the woody cells. A similar procedure occurs in the staining of mahogany and walnut with the chromate because these varieties of wood are very rich in tannin.

(2) Take some of the same pine or fir and stain it with a solution of 20 parts of sulphate of iron in 1,000 parts of water and there will be no perceptible color. Apply this stain, however, to the oak and we get a beautiful light gray, and if the stain be painted with a brush on the smoother oaken board, in a short time a strong bluish-gray tint will appear. This effect of the stain is the result of the combination of the green vitriol with the tannin; the more tannin present, the darker the stain becomes. The hardness or density of the wood, too, exerts a marked influence upon the resulting stain. In a soft wood, having large pores, the stain not only sinks further in, but much more of it is required than in a hard dense wood; hence in the first place a stronger, greasier stain will be obtained with the same solution than in the latter.

From this we learn that in soft woods it is more advisable to use a thinner stain to arrive at a certain tone; while the solution may be made thicker or stronger for hard woods.

The same formula or the same staining solution cannot be relied upon to give the same results at all times even when applied to the same kinds of wood. A greater or lesser amount of rosin or sap in the wood at the time the tree is felled, will offer more or less resistance to the permeating tendencies of the stain, so that the color may be at one time much lighter, at another darker. Much after the same manner we find that the amount of the tanning principle is not always equal in the same species of wood.

Here much depends upon the age of the tree as well as upon the climatic conditions surrounding the place where it grew. Moreover, the fundamental color of the wood itself may vary greatly in examples of the same species and thus, particularly in light, delicate shades, cause an important delay in the realization of the final color tone. Because of this diversification, not only in the different species of wood, but even in separate specimens of the same species, it is almost impossible always, and at the first attempt, to match a certain predetermined color.

It is desirable that trials at staining should first be made upon pieces of board from the same wood as the object to be stained; the results of such experiments furnishing exact data concerning the strength and composition of the stain to be employed for the exact reproduction of a prescribed color. {782} Many cases occur in which the color tone obtained by staining cannot always be judged directly after applying the stain. Especially is this the case when stain is employed which slowly develops under the action of the air or when the dyestuff penetrates only slowly into the pores of the wood. In such cases the effect of the staining may only be fully and completely appreciated after the lapse of 24 or 48 hours.

Wood that has been stained should always be allowed 24 or 48 hours to dry in ordinary temperatures, before a coat of varnish, polish, or wax is applied. If any dampness be left in the wood this will make itself apparent upon the varnish or polish. It will become dull, lose its glossy appearance, and exhibit white spots which can only be removed with difficulty. If a certain effect demand the application of two or more stains one upon the other, this may only be done by affording each distinct coat time to dry, which requires at least 24 hours.

Not all the dyes, which are applicable to wood staining, can be profitably used together, either when separately applied or mixed. This injunction is to be carefully noted in the application of coal tar or aniline colors.

Among the aniline dyes suitable for staining woods are two groups—the so-called acid dyes and the basic dyes. If a solution of an acid dye be mixed with a basic dye the effect of their antagonistic dispositions is shown in the clouding up of the stain, a fine precipitate is visible and often a rosin-like separation is noticeable.

It is needless to say that such a staining solution is useless for any practical purpose. It cannot penetrate the wood fibers and would present but an unseemly and for the most part a flaky appearance. In preparing the stains it is therefore of the greatest importance that they remain lastingly clear. It would be considerably of advantage, before mixing aniline solutions of which the acid or basic characteristics are unknown, to make a test on a small scale in a champagne glass and after standing a short time carefully examine the solution. If it has become cloudy or wanting in transparency it is a sign that a separation of the coloring matter has taken place.

The mixing of acid or basic dyestuffs even in dry powdered form is attended with the same disadvantages as in the state of solubility, for just as soon as they are dissolved in water the reactions commence and the natural process of precipitation takes place with all its attending disagreeable consequences.

«COLOR STAINS:»

«Bronze.»—I.—Prepare first a thin glue size by soaking good animal glue over night in cold water and melting it next morning in the usual water bath. Strain it, before using, through old linen or cheese cloth into a clean vessel. Sandpaper smooth and dust the articles, then apply with a soft bristle brush 2 or 3 coats of the size, allowing sufficient time for each coat to harden before applying the next. Now, a ground coat made by thoroughly mixing finely bolted gilders’ whiting and glue size is applied, and when this has become hard it is rubbed to a smooth, even surface with selected fine pumice, and then given 1 coat of thin copal varnish. When this is nearly but not quite dry, the bronze powder is applied with a suitable brush or wad of cotton, and when dry the surplus bronze is removed with the same tool. If collected on clean paper, the dusted-off bronze powder may be used again.

II.—Diluted water-glass solution makes a good ground for bronze. Bronze powder is sprinkled on from a wide-necked glass tied up with gauze, and the excess removed by gently knocking. The bronze powder adheres so firmly after drying that a polish may be put on by means of an agate. The process is especially useful for repairing worn-off picture frames, book ornamentations, etc. The following bronze ground also yields good results: Boil 11,000 parts of linseed oil with 25 parts of impure zinc carbonate, 100 parts of red lead, 25 parts of litharge, and 0.3 parts of mercuric chloride, until a drop taken out will stand like a pea upon a glass surface. Before complete cooling, the mass is diluted with oil of turpentine to a thick syrup.

«Ebony Stains.»—I.—To 1 pint of boiling water add 3/4 ounce of copperas and 1 ounce logwood chips. Apply this to the wood hot. When the surface has dried thoroughly wet it with a solution composed of 7 ounces steel filings dissolved in 1/4 pint of vinegar.

II.—Give the wood several applications of a stout decoction of logwood chips, finishing off with a free smear of vinegar in which rusty nails have been for some time submerged.

III.—In 1 quart of water boil 1/4 pound of logwood chips, subsequently adding 1/2 ounce pearl ash, applying the mixture {783} hot. Then again boil the same quantity of logwood in the same quantity of water, adding 1/4 ounce of verdigris and 1/4 ounce of copperas, after which strain and put in 1/4 pound of rusty steel filings. With this latter mixture coat the work, and, should the wood not be sufficiently black, repeat the application.

«Metallic Luster.»—A valuable process to impart the luster of metal to ordinary wood, without injuring its natural qualities, is as follows: The wood is laid, according to its weight, for 3 or 4 days in a caustic alkaline solution, such as, for instance, of calcined soda, at a temperature of 170° F. Then it is at once placed in a bath of calcium hydrosulphite, to which, after 24 to 36 hours, a saturated solution of sulphur in caustic potash is added. In this mixture the wood is left for 48 hours at 100° to 120° F. The wood thus prepared, after having been dried at a moderate temperature, is polished by means of a smoothing iron, and the surface assumes a very handsome metallic luster. The effect of this metallic gloss is still more pleasing if the wood is rubbed with a piece of lead, zinc, or tin. If it is subsequently polished with a burnisher of glass or porcelain, the wood gains the brilliancy of a metallic mirror.

«Nutwood.»—One part permanganate of potassium is dissolved in 30 parts clear water; with this the wood to be stained is coated twice. After an action of 5 minutes, rinse off with water, dry, oil, and polish. It is best to prepare a fresh solution each time.

«Oak.»—I.—Water-color stains do not penetrate deep enough into wood to make the effect strong enough, hence solutions of other material than color are being employed for the purpose. Aqua ammonia alone, applied with a rag or brush repeatedly, will darken the color of oak to a weathered effect, but it is not very desirable, because of its tendency to raise the grain. Bichromate of potash, dissolved in cold water, applied in a like manner, until the desired depth is obtained, will serve the purpose. These washes or solutions, however, do not give the dark, almost black, effect that is at the present time expected for weathered oak, and in order to produce this, 4 ounces of logwood chips and 3 ounces of green copperas should be boiled together in 2 quarts of water for 40 minutes and the solution applied hot. When this has dried it should be gone over with a wash made from 4 ounces steel filings and 1 pint of strong vinegar. The steel filings are previously put into the vinegar and allowed to stand for several days. This will penetrate into the wood deeply, and the stain will be permanent. Picture-frame manufacturers use a quick-drying stain, made from aniline blacks.

II.—Dissolve 1/4 part of permanganate of potassium in 1,000 parts of cold water and paint the wood with the violet solution obtained. As soon as the solution comes in contact with the wood it decomposes in consequence of chemical action, and a handsome light-brown precipitate is produced in the wood. The brushes used must be washed out immediately, as the permanganate of potassium destroys animal bristles, but it is preferable to use sponges or brushes of glass threads for staining. Boil 2 parts of cutch in 6 parts of water for 1 hour, stir while boiling, so that the rosiniferous catechu cannot burn on the bottom of the vessel; strain the liquid as soon as the cutch is dissolved, through linen, and bring again to a boil. Now dissolve therein 1/5 part of alum, free from iron; apply the stain while hot, and cover after the drying, with a solution of 1 part of bichromate of potassium in 25 parts of water.

«Rosewood.»—First procure 1/2 pound logwood, boiling it in 3 pints water. Continue the boiling until the liquid assumes a very dark color, at which point add 1 ounce salt of tartar. When at the boiling point stain your wood with 2 or 3 coats, but not in quick succession, as the latest coat must be nearly dry before the succeeding one is applied. The use of a fiat graining brush, deftly handled, will produce a very excellent imitation of dark rosewood.

«Silver Gray.»—This stain is prepared by dissolving 1 part of pyrogallic acid in 25 parts of warm water and the wood is coated with this. Allow this coating to dry and prepare, meanwhile, a solution of 2 parts of green vitriol in 50 parts of boiling water, with which the first coating is covered again to obtain the silver-gray shade.

«Walnut.»—I.—Prepare a solution of 6 ounces of a solution of permanganate of potassium, and 6 ounces of sulphate of magnesia in 2 quarts of hot water. The solution is applied on the wood with a brush and the application should be repeated once. In contact with the wood the permanganate decomposes, and a handsome, lasting walnut color results. If small pieces of wood are to be thus stained, a very dilute bath is prepared {784} according to the above description, then the wooden pieces are immersed and left therein from 1 to 5 minutes, according to whether a lighter or darker coloring is desired.

II.—One hundredweight Vandyke brown, ground fine in water, and 28 pounds of soda, dissolved in hot water, are mixed while the solutions are hot in a revolving mixer. The mixture is then dried in sheet-iron trays.

«Yellow.»—The wood is coated with a hot concentrated solution of picric acid, dried, and polished. (Picric acid is poisonous.)

«IMITATION STAINS.»

Yellow, green, blue, or gray staining on wood can be easily imitated with a little glazing color in oil or vinegar, which will prove better and more permanent than the staining. If the pores of the wood are opened by a lye or a salt, almost any diluted color can be worked into it. With most stains the surface is thus prepared previously.

«Light-Fast Stains.»—Stains fast to light are obtained by saturating wood in a vacuum chamber, first with dilute sulphuric acid, then with dilute alkali to neutralize the acid, and finally with a solution with or without the addition of a mordant. The action of the acid is to increase the affinity of the wood for dye very materially. As wood consists largely of cellulose, mercerization, which always increases the affinity of that substance for dyes, may be caused to some extent by the acid.

«SPIRIT STAINS:»

«Black.»—

I.—White shellac 12 ounces
Vegetable black 6 ounces
Methylated spirit 3 pints

II.—Lampblack 1 pound
Ground iron scale 5 pounds
Vinegar 1 gallon

«Mahogany Brown.»—Put into a vessel, say 4 pounds of bichromate of potash, and as many ounces of burnt umber, let it stand a day or two, then strain or lawn for use.

«Vandyke Brown.»—

Spirit of wine 2 pints Burnt umber 3 ounces Vandyke brown color 1 ounce Carbonate of soda 1 ounce Potash 1/2 ounce

«Mahogany.»—Rub the wood with a solution of nitrous acid, and then apply with a brush the following:

I.—Dragon’s blood 1 ounce
Sodium carbonate 6 drachms
Alcohol 20 ounces

Filter just before use.

II.—Rub the wood with a solution of potassium carbonate, 1 drachm to a pint of water, and then apply a dye made by boiling together:

Madder 2 ounces Logwood chips 1/2 ounce Water 1 quart

«Maple.»—

I.—Pale button lac 3 pounds
Bismarck brown 1/8 ounce
Vandyke brown 1/2 ounce
Gamboge 4 ounces
Methylated spirit 1 gallon

II.—Use 1 gallon of methylated spirit, 4 ounces gamboge (powdered), 1/2 ounce Vandyke brown, 1 drachm Bismarck brown, 3 pounds shellac.

«Maroon.»—To produce a rich maroon or ruby, steep red Janders wood in rectified naphtha and stir into the solution a little cochineal; strain or lawn for use.

«Turpentine Stains.»—Turpentine stains are chiefly solutions of oil-soluble coal-tar dyes in turpentine oil, with small quantities of wax also in solution. They do not roughen the wood, making a final polishing unnecessary. They enter the wood slowly, so that an even stain, especially on large surfaces, is secured. The disadvantages of turpentine stains are the lack of permanence of the coloring, when exposed to light and air, and their high price.

«Varnish Stains.»—Shellac is the chief article forming the basis of varnish stains the coloring matter being usually coal tar or aniline dyes, as they give better results than dye wood tincture. To prevent the varnish stain being too brittle, the addition of elemi rosin is a much better one than common rosin, as the latter retards the drying quality, and if too much be used, renders the stain sticky.

«Water Stains.»—Water stains are solutions of chemicals, dye extracts, astringent substances, and coal-tar dyes in water. They roughen the wood, a disadvantage, however, which can be remedied to a large extent by previous treatment, as follows: The wood is moistened with a wet sponge, allowed to dry, {785} and then rubbed with sandpaper, or made smooth by other agencies. This almost entirely prevents roughening of the surface by the stain. Another disadvantage of these stains is that they are rapidly absorbed by the wood, which makes an even staining of large surfaces difficult. For this too there is a remedy. The surface of the wood is rubbed all over evenly with raw linseed oil, applied with a woolen cloth, allowed to dry, and then thoroughly smoothed with sandpaper. The water stain, applied with a sponge, now spreads evenly, and is but slightly absorbed by the wood.

Among good water stains are the long-known Cassel brown and nut brown, in granules. Catechine is recommended for brown shades, with tannin or pyrogallic acid and green vitriol for gray. For bright-colored stains the tar-dyes azine green, croceine scarlet, Parisian red, tartrazine, water-soluble nigrosin, walnut, and oak brown are very suitable. With proper mixing of these dyes, all colors except blue and violet can be produced, and prove very fast to light and air, and superior to turpentine stains. Only the blue and violet dyes, methyl blue, naphthol blue, and pure violet, do not come up to the standard, and require a second staining with tannin.

A very simple method of preparing water stains is as follows: Solutions are made of the dyes most used, by dissolving 500 parts of the dye in 10,000 parts of hot water, and these are kept in bottles or casks. Any desired stain can be prepared by mixing proper quantities of the solutions, which can be diluted with water to make lighter stains.

«Stains for Wood Attacked by Alkalies or Acids.»—

_Solution A_

Copper sulphate 125 grams Potassium chlorate 125 grams Water 1,000 cu. cm.

Boil until all is dissolved.

_Solution B_

Aniline hydrochloride 150 grams Water 1,000 cu. cm

Apply Solution A twice by means of a brush, allowing time to dry after each coat; next, put on Solution B and let dry again. On the day following, rub on a little oil with a cloth and repeat this once a month.

«SUBSTITUTES FOR WOOD.»

I.—Acetic paraldehyde or acetic aldehyde respectively, or polymerized formaldehyde is mixed with methylic alcohol and carbolic acid, as well as fusel oil saturated with hydrochloric acid gas or sulphuric acid gas or methylic alcohol, respectively, are added to the mixture. The mass thus obtained is treated with paraffine. The final product is useful as a substitute for ebonite and wood as well as for insulating purposes.

II.—“Carton Pierre” is the name of a mass which is used as a substitute for carved wood. It is prepared in the following manner: Glue is dissolved and boiled; to this, tissue paper in suitable quantity is added, which will readily go to pieces. Then linseed oil is added, and finally chalk is stirred in. The hot mass forms a thick dough which crumbles in the cold, but softens between the fingers and becomes kneadable, so that it can be pressed into molds (of glue, gypsum, and sulphur). After a few days the mass will become dry and almost as hard as stone. The paper imparts to it a high degree of firmness, and it is less apt to be injured than wood. It binds well and readily adheres to wood.

III.—Wood Pulp.—The boards for painters’ utensils are manufactured in the following manner: The ordinary wood fiber (not the chemical wood cellulose) is well mixed with soluble glass of 33° Bé., then spread like cake upon an even surface, and beaten or rolled until smooth. Before completely dry, the cake is removed, faintly satined (for various other purposes it is embossed) and finally dried thoroughly at a temperature of about 133° F., whereupon the mass may be sawed, carved, polished, etc., like wood.

Any desired wood color can be obtained by the admixture of the corresponding pulverized pigment to the mass. The wood veining is produced by placing a board of the species of timber to be imitated, in vinegar, which causes the soft parts of the wood to deepen, and making an impression with the original board thus treated upon the wood pulp when the latter is not quite hard. By means of one of these original boards (with the veins embossed), impressions can be made upon a large number of artificial wood plates. The veins will show to a greater advantage if the artificial wood is subsequently saturated and treated with colored oil, colored stain and colored polish, as is done with palettes.

WOOD, ACID-PROOF: See Acid-Proofing.

WOOD CEMENTS: See Adhesives. {786}

WOOD, CHLORINE-PROOFING: See Acid-Proofing.

WOOD, FIREPROOFING: See Fireproofing.

WOOD GILDING: See Plating.

WOOD, IMITATION: See Plaster.

WOOD POLISHES: See Polishes.

WOOD RENOVATORS: See Cleaning Preparations and Methods under Paint, Varnish, and Enamel Removers.

WOOD, SECURING METALS TO: See Adhesives.

WOOD, WATERPROOFING: See Waterproofing.

WOOD’S METAL: See Alloys.

WOOL FAT: See Fats.

WORM POWDER FOR STOCK: See Veterinary Formulas.

«WRITING, RESTORING FADED:»

Writing on old manuscripts, parchments, and old letters that has faded into nearly or complete invisibility can be restored by rubbing over it a solution of ammonium sulphide, hydrogen sulphide or of “liver of sulphur.” On parchment the restored color is fairly permanent but on paper it does not last long. The letters however could be easily retraced, after such treatment, by the use of India ink and thus made permanent. This treatment will not restore faded aniline ink. It only works with ink containing a metal-like iron that forms a black sulphide.

WRINKLES, REMOVAL OF: See Cosmetics.

«Yeast»

«DRY YEAST.»

Boil together for 1/2 hour, 95 parts of the finest, grated hops and 4,000 parts of water. Strain. Add to the warm liquor 1,750 parts of rye meal or flour. When the temperature has fallen to that of the room add 167 parts of good yeast. On the following day the mass will be in a state of fermentation. While it is in this condition add 4,000 parts of barley flour, so as to form a dough. This dough is cut up into thin disks, which are dried as rapidly as possible in the open air or sun. For use, the disks are broken into small pieces and soaked overnight in warm water. The yeast can be used on the following day as if it were ordinary brewers’ yeast.

«PRESERVATION OF YEAST.»

I.—The yeast is laid in a vessel of cold water which is thereupon placed in a well-ventilated, cool spot. In this manner the yeast can be preserved for several weeks. In order to preserve the yeast for several months a different process must be followed. The yeast, after having been pressed, is thoroughly dried. For this purpose the yeast is cut up into small pieces which are rolled out, placed on blotting paper, and allowed to dry in a place which is not reached by the sun. These rolls are then grated, again dried, and finally placed in glass bottles. For use, the yeast is dissolved, whereupon it immediately regains its freshness. This process is particularly to be recommended because it preserves the yeast for a long period.

II.—For liquid yeast add one-eighth of its volume in glycerine. In the case of compressed yeast, the cakes are to be covered with glycerine and kept in closed vessels. Another method of preserving compressed yeast is to mix it intimately with animal charcoal to a dough, which is to be dried by exposure to sunlight. When it is to be used, it is treated with water, which will take up the ferment matter, while the charcoal will be deposited. Liquid and compressed yeast have been kept for a considerable time, without alteration, by saturating the former with chloroform and keeping the latter under chloroform water.

«YEAST TESTS.»

I.—Pour a few drops of yeast into boiling water. If the yeast sinks, it is spoiled; if it floats, it is good.

II.—To 1 pound yeast add 1/2 tablespoonful of corn whisky or brandy, a pinch of sugar, and 2 tablespoonfuls of wheat flour. Mix thoroughly and allow the resultant compound to stand in a warm place. If the yeast is good it will rise in about an hour.

YEAST AND FERTILIZERS: See Fertilizers.

YELLOW (CHROME), TEST FOR: See Pigments. {787}

«INDEX»

A

Absinthe, 765

Absolute Alcohol, 45

Abrasion Remedy, 225, 486

Acacia, Mucilage of, 43

Acid-free Soldering Fluid, 659

Acid-proof Alloy, 62
Cement, 26
Corks, 10
Glass, 374

Acid-proofing, 9

Acid-proof Pastes, 38
Putty, 607
Table Top, 9

Acid Receptacles, Lining for, 10

Acid-resisting Paint, 499

Acids, Soldering, 656

Acid Stains Removed, 184
Test for Gold, 432
for Vinegar, 358

Aconite-Monkshood Poison, 93

Adhesion, 105
Belt Pastes for Increasing, 105

Adhesive Paste, 37, 39

Adhesives, 10

Advertising Matter, to Scent, 510

Adulterants in Foods, 348

Adulteration of Linseed Oil, 460
of Wax, 753

Adurol Developer, 527

Affixing Labels to Glass, 42

Agar Agar Paste, 37

Agate, Buttons of Artificial, 44

Agate (Imitation), 370

Age of Eggs, 283

Aging of Silk, 639

Agricultural Sources of Industrial Alcohol, 668

Air Bath, 44
Bubbles in Gelatine, 370
Exclusion of, 553

Air-purifying, 44

Albata Metal, 63

Albumen, 34
in Urine, Detection of, 44
Paste, 37

Alcohol, 44
Absolute, 45
Defined, 667
Deodorized, 45, 514
Dilution of, 45, 703
in Beer, 45
Manufacture, 667, 674
Solid, 45
Tests for Absolute, 45

Ale, 46
Ginger, 107

Alfenide Metal, 63

Alkali Blue and Nicholson’s Blue Dye, 267

Alkalis and Their Salts Poison, 93

Alkaline Glycerine of Thymol, 100

Alkaloids, Antidotes to, 102

Alkermes Cordial, 763

Alloy, Acid-proof, 62
for Caliper and Gage-rod Castings, 80
for Watch Pinion Sockets, 736
Lipowitz’s, 61
Moussets’, 76

Alloys, 47
Copper, Silver, Cadmium, 76
for Casting Coins, etc., 62
for Cementing Glass, 52
for Drawing Colors on Steel, 80
for Metal Foil, 474
for Small Casting Molds, 80
having a Density, 48
Silver, Nickel, Zinc, 76
Tin, 77
Unclassified, 80

Almond Blossom Perfumery, 518
Cold Cream, 235
Extracts, 312
Powders for the Toilet, 242

Altars, to Clean, 185

Alum, 80
Baking Powder, 102
Bath, 535
Process of Water Purification, 340

Aluminum Alloys, 48
Electrical Conductivity of, 50

Aluminum-brass, 50

Aluminum Bronze, 56, 657
Castings, 150

Aluminum-Copper, 50

Aluminum Gilding, 576
Gold, 68
Etching Fluid for, 324
How to Color, 80
Lacquer for, 438
Paper, 507
Plating, 572, 581
Polishes, 590

Aluminum-Silver, 50, 75

Aluminum Solders, 657

Aluminum-Tin, 50

Aluminum, to Clean, 204
Toughness, Density and Tenacity, 83

Aluminum-Tungsten, 50

Aluminum Varnish, 725
Working of Sheet, 83

Aluminum-Zinc, 50

Amalgam for Cementing Glass, etc., 90
for Plaster, 65
for Silvering Glass Balls, 90
for the Rubber of Electric Machines, 90
Gold Plating, 576

Amalgams, 64, 85
for Mirrors, 72

Amber, 90
Cements, 26
Varnish, 718

Ambrosia Powder, 628

American Champagne, 118
Factory Cheese, 176
Lemonade, 110
Soda Fountain Company’s Whipped Cream, 248

Amethyst (Imitation), 370

Amidol Developer, 528

Ammon-carbonite, 331

Ammonia, 91
for Fixing Prints, 536
Household, 91
Poison, 93
Violet Color for, 91
Water, 245, 519
Perfumed, 91

Anchovies, Essence of, 98

Anchovy Paste, 98
Preparations, 98
Sauce, Extemporaneous, 98

Angostura Bitters, 762

Anise Cordial, 763

Aniline, 266
Black Dye, 266, 279
Substitutes, 279
Black Lake Dye, 278
Blue Dye, 268
Green Dye for Wool, 269
for Silk, 269
in Pigments, Tests for, 560
Scarlet Dye, 271
Stains, to Remove, 185
Yellow Dye, 271

Animals, Fly Protection for, 419

Ankara, 142

Annealing Bronze, 56
Copper, 219

Annealing of Steel, Wire, etc., 681

Anodynes, 486

Ansco Platinum Paper, 529

Ant Destroyers, 420

Anti-corrosive or Asiatic Ink, 414

Antidotes for Belladonna, 93
for Poisons, 92

Anti-ferments, 97

Anti-fouling Compositions, 498

Anti-freezing Solution, 362, 363
for Automobilists, 363

Anti-friction Bearing or Babbitt Metals, 50
Metal, 58

Anti-frost Solution, 363

Anti-leak Rubber Tire, 708

Antimony Poison, 93
Baths, 581

Antique Bronzes, 566
Silver, 587, 639
Imitation of, 640

Antiques, to Preserve, 98

Anti-rust Compositions, 625
Paper for Needles, 625
Pastes, 625

Antiseptic Bromine Solution, 100
Enamel, 720
Nervine Ointment, 487
Oil of Cinnamon, 100
Paste (Poison), 99
Pencils, 99
Powders, 98
Soap, 644
Solution, Coloring for, 100
Tooth Powder, 253

Antiseptics, 98
for Caged Birds, 729
Mouth, 99

Aphtite, 70

Apollinaris Lemonade, 110
Water, 740

Apple Extract, 312
Syrup, 312

Applications for Prickly Heat, 398
of Barium Amalgams, 86
of Bismuth Amalgams, 88
of Cadmium Amalgams, 87
of Copper Amalgams, 87
of Gold Amalgams, 89
of Lead Amalgams, 88
of Manganese Amalgams, 87

Applications of Potassium Amalgams, 86
of Silver Amalgams, 88
of Sodium Amalgams, 86
of Strontium Amalgams, 86
of Tin Amalgams, 87
of Zinc Amalgams, 87

Applying Decalcomania Pictures, 250

Apricot Extract, 312

Aquarium Putty, 608

Argentan, 69

Arguzoid, 70

Armenian Cement, 20

Arms, Oil for, 460

Arnica Salve, 486

Aromatic Cod-Liver Oil, 482
Cotton, 246
Rhubarb Remedy, 180
Vinegar, 735

Arsenic Alloys, 63, 75

Arsenic Poison, 93, 614

Art Bronzes, 57, 556
of Lacquering, 437

Artificial Aging of Fabrics, 639
Beeswax, 754
Butter, 142
Ciders, 181
Coloring of Flowers, 346
Egg Oil, 284
Fertilizers for Pot Plants, 336
Flowers, Dyes for, 272
Flower Fertilizer, 337
Horn, 396
Leather, 447
Marbles, 699
Rubber, 618
“Rubbered” Silk, 639
Slate, 643
Violet Perfumery, 518
Water, 739

Asbestos Cement, 30
Fabric, 342

Asphalt and Pitch, 33
as Ingredient of Rubber, 619
in Painting, 718
Varnishes, 718

Assaying of Gold, 381

Asthma Cures, 101
Fumigating Powders, 101
in Canaries, 728
Papers, 101

Astringent for Horses, 730
Wash for Flabby Skin, 234

Atomic Weights, 758

Atomizer Liquid for Sick Rooms, 264

Attaching Enamel Letters to Glass, 19
by Cement, 17

Atropine, Antidote to, 102

Aqua Aromatica, 102
Fortis for the Touchstone, 383
Poison, 92
Regia, 102

Aquarium Cements, 31

Automobile Engines, Cooling, 363

Automobiles, Anti-freezing Solution, 363

Axle Grease, 462

B

Babbitt-Metals, 50

Baking Powders, 102

Balance Spring, 738

Baldness, 392

Balkan Paste, 38

Ball Blue, 281, 444

Ball-Room Floor Powder, 345

Balsam, Birch, 103
of Sulphur, 380
Spray Solution, 103

Balsam, Stains, to Remove, 194
Wild-cherry, 103

Balsams, 102

Balsamic Cough Syrup, 211

Banana Bronzing Solution, 489
Cream, 115
Trick, the Burning, 611
Syrup, 312

Banjo Sour, 110

Barbers’ Itch, 486
Powder, 243

Barium Amalgams, 86
Poison, 615

Barometers (Paper), 402

Bath, Air, 44
Metal, 63
Powder, 242
Tablets, Effervescent, 103

Bath-tub Enamel, 721
Paint, 501

Batteries, Solution for, 104

Basis for Effervescent Salts, 627

Baudoin Metal, 63

Bavaroise au Cognac, 118

Bay Rum, 104, 513

Bear Fat, 333

Bearing Lubricant, 461
Metal, 50

Beauty Cream, 231
Water, 244

Bedbug Destroyers, 420

Beechwood Furniture Polish, 593

Beef and Iron, 771
Iron, and Wine, 104

Beef-marrow Pomade, 227

Beef Peptonoids, 509
Preservatives, 360
Tea, 112

Beer, 118
Ginger, 108
Lemon, 108
Restoration of Spoiled, 105
Spruce, 119
Treacle, 119
Weiss, 119

Beers, Alcohol in, 45

Beetle Powder, 425

Bees, Foul Brood in, 105

Beeswax, Artificial, 754

Belladonna, Antidotes to, 93

Bell Metal, 51

Belt Cement, 31
Glue, 15
Lubricant, 462
Pastes for Increasing Adhesion, 105

Bénédictine, 769

Bengal Lights, 609

Bent Glass, 371

Benzine, 106
Cleaning with, 209
Purification of, 106
to Color Green, 106

Benzoic Acid, Detection of, 350
in Food, 350

Benzoic-acid Pastilles, 211

Benzoin-Glycerine Soap, 652

Benzoparal, 107

Berge’s Blasting Powder, 330

Beverages, 107
Yellow Coloring for, 119

Bibra Alloy, 71

Bicycle Dipping Varnish, 719

Bicycle-tire Cement, 23

Bicycle Varnishes, 719

Bicycles, Black Paint for, 495

Bidery Metal, 80

Billiard Balls, 148, 428

Birch Balsam, 103

Birch-Bud Water, 519

Birch Water, 244, 389

Bird Diseases, Remedies, 728
Foods, 120, 729

Bird Lime, 458
Paste, 145
Tonic, 729

Birds, Antiseptic Wash for, 729
Constipation in, 729
Diarrhœa in, 729

Biscuit, Dog, 265

Bismarck Brown Dye, 267

Bismuth, 49
Alloys, 52
Amalgams, Applications of, 88
Bronze, 70
Purification of, 380
to Purify, 380

Biting Off Red-hot Iron, 612

Bitter Almond Oil Poison, 93

Bitters, 762

Blackberry Cholera Mixture, 180
Cordial, 763

Blackboard Paint and Varnish, 489
Varnish, 720

Black Color on Brass, 129
Dye for Tanned Leather, 447
on Cotton, 266
on Wool, for Mixtures, 267

Blackening Iron, 495

“Black Eye” Lotion, 333

Black Finish for Brass, 129
Grease Paints, 229
Hair Dye without Silver, 390

Blackhead Remedies, 232

Blacking Copper, 221
for Harness, 450
for Shoes, 631
Stove, 700

Black Japanese Varnish, 719
Lake Dyes for Wall-paper, 278
Marble, Imitation, 699
Marking Inks, 407
Paint for Polished Iron, 495
Patina, 585
Putty, 607
Ruling Ink, 403
Sheet Rust Preventive, 624
Starch, 680
Straw Hat Varnish, 266
Varnish, 543, 544, 719
Wash for Casting Molds, 150

Blanching Silver, 640

Blanket Washing, 399

Blasting Powder, 330

Blazing Sponge Trick, 611

Bleach for Hands, 233

Bleaches, Bone, 430

Bleaching, 120
and Coloring Feathers, 335
Bone Fat, 333
Cotton by Steaming, 245
Cotton, 245
Feathers, 121, 335
Linen, 120
of Linseed Oil, 459
of Vegetable Fibers with Hydrogen Peroxide, 245
Oils, 484
Photographic Prints White, 553
Silk, 120, 639
Skin Salves, 234
Solution, 121
for Photographs, 553
Solutions for the Laundry, 446
Sponges, 678
Straw, 120
Tallows and Fats, 334
Wool, 120

Bleeding, Local, 701

Blight Remedies, 121

Blisters, for Horses, 729

Block for Soldering, 667
Hollow Concrete Building, 691
Machines, 694

Blocks Poured from Wet Concrete, 694

Blood-red Brick Stain, 166

Blotting Paper, 503

Blue, Ball, 281

Blue-black Ink, 414
Patina, 585

Blue Bronze, 138
Dye for Hosiery, 268
from Green at Night, 121
Indelible Ink, 406
Paving Bricks, 166

Blueprint Inks, 403
Paper Making, 536

Blueprints, to Change, 121
to Turn Brown, 542
Waterproofing, 741

Blue Ruling Ink, 403
Sanitary Powder, 263
Vitriol Poison, 94

Bluing, 443
Compounds, 443
of Steel, 682

Bluish-black Lake Dye, 278

Blush Pink Dye on Cotton Textile, 279

Board-sizing, 38

Boiled Oil, 484

Boiler Compounds, 121
Plates, Protecting from Scales, 122
Pressure, 123
Scales, Prevention of, 122

Boiling the Linseed Oil, 409

Boil Remedy, 121

Bone Black, 123
Bleaches, 430
Fat, 333
Fertilizers, 338
or Ivory Black, 123
Polishes, 395
Uniting Glass With, 17

Bones, A Test for Broken, 124
Treatment of, in Manufacturing Glue, 10

Bookbinders’ Varnish, 720

Book Disinfectant, 263
How to Open, 125

Bookworms, 425

Books, their Preservation, 124
to Remove Marks from, 186

Boot Dressings, 631
Lubricant, 460

Boot-top Liquid, 632

Boots, Waterproofing, 750

Borated Apple Blossom Powder, 243
Talcum, 510

Borax in Food, 350
for Sprinkling, 125
Soap Powder, 650

Boric Acid, Detection of, 350

Borotonic, 258

Bottling Sweet Cider, 181

Bottle-cap Lacquer, 440

Bottle-Capping Mixtures, 126

Bottle Cleaners, 210
Deodorizer, 127
Stoppers, 700
Varnish, 720
Wax, 553

Bottles, 126
White Glass for, 373

Bouillon, 113
Chicken, 112
Clam, 113
Hot Egg, 112
Tomato Extract, 212

Bowls of Fire Trick, 611

Box Glue, 15

Bradley Platinum Paper, 529

“Braga,” 117

Bran, Sawdust in, 126

Brandy, Artificial French, 768
and Brandy Bitters, 762

Brass, 127, 435
A Bronze for, 136

Brass and Bronze Protective Paint, 495
Articles, Restoration of, 132
Black Color on, 129
Black Finish for, 129
Bronzing, 566
Brown Color to, 130
Cleaners, 202, 203
Coloring, 129, 473
Colors for Polished, 127
Etching Bath for, 324
Fluid for, 323
Fastening Porcelain to, 17
Gilding, 576
Graining of, 130

Brass-Iron (Aich’s Metal), 53

Brass Parts, Improved, 132
Pickle for, 132
Platinizing, 566
Polishes, 590
Sand Holes in, 150
Solders, 657
to Cast Yellow, 54
Tombac Color on, 130
Unpolished Coloring, 128
Varnishes Imitating Gold, 725

Brassing, 572, 581
Zinc, Steel, Cast Iron, 581

Brassware, Gold Lacquers for, 440

Bread, Dog, 265

Breath, Fetid, Remedies for, 133
Perfumes, 258

Brewers’ Yeast, 339

Brick and Tilemakers’ Glazed Bricks, 164
Arches, Waterproofing, 741

Brickbat, Cheese, 176

Brick, Blood-red Stain, 166
Colors, 165

Brickmakers’ Notes, 167

Brick Polishes, 600
Stain, 133, 166
Walls, to Clean, 197
to Renovate, 190
Waterproofing, 134

Bricks, 164
Glaze for, 377
of Sand-lime, 689
Polish for, 600

Brie, Cheese, 176

Brightening Pickle, 469

Bright Red Rouge, 229

Brilliantine, 390
Florician, 483

Brimstone (Burning), 611

Bristol Brass (Prince’s Metal), 53

Britannia Metal, 55
to Clean, 201
Silver-plating, 587

British Champagne, 118
Oil, 484

Brocchieri’s Styptic, 701

Brocq’s Pomade for Itching, 228

Broken Bones, A Test for, 124

Bromine, Antiseptic, 100

Bromoform, 134
Rum, 134

Bronze, Aluminum, 56
Annealing, 56
Articles, Polish for, 591
Casting, 150
Cleaning, 202, 205
Coloring, 138
Dye, 272
for Brass, 136
Gilding, 137
Leather, 447
Lettering, 456
Machine, 58
Phosphor, 58
Polishes, 591
Powder, Liquid for, 567

Bronze Powders, 134, 139
Preparations, 135

Bronze, Renovation of, 205
Silicon, 61
Steel, 61
Substitutes, 137
Tincture, 135, 137
to Renovate, 201
Varnishes, 726

Bronzes, 55
Art, 57
Pickle for, 138
Statuary, 57

Bronzing, 566
and Patinizing of Articles, 136
Engraved Ornaments, 137
General Directions for, 135
Liquid, 136
Metals, 567
of Brass, 571
of Gas Fixtures, 566
of Wood, 782
of Zinc, 137
Solutions for Paints, 489
with Soluble Glass, 139

Brooches, Photographing on, 551

Brown Dye for Cotton, 267
for Silk, 267
for Wool, 267
and Silk, 267
Hair Dye, 390

Browning of Steel, 583

Brown Ink, 414
Ointment, 486
Oxidation on Bronze, 139
Shoe Dressing, 632

Brownstone, Imitation, 133

Brown Tints, 559
Varnish, 726

Brunette or Rachelle Powder, 242

Brushes, 140

Bubble (Soap), Liquid, 655

Bubbles, 141
in Gelatine, 370

Buff Terra-Cotta Slip, 166
Wheels, Rouge for, 618

Bug Killers, 420

Building Blocks, Concrete, 691

Bunions, 224

Burning Banana Trick, 103
Brimstone, 611
Sealing Wax, 611

Burns, 486
Carbolic Acid, 147
Mixture for, 142

Burnt Alum, 80
Steel, to Restore, 686

Butter, 142, 354
Artificial, Tests for, 354
Color, 142, 359

Buttermilk, Artificial, 143

Buttons of Artificial Agate, 44
Platine for, 80

C

Cadmium Alloy, about the Hardness of Zinc, 77
Alloys, 61, 64
with Gold, Silver, and Copper, 62
Amalgams, Applications of, 87

Calcium Carbide, 144
Sulphide (Luminous), 494

Camera, Renovating a, 553

Campchello, 117

Camphor for Cholera, 180

Camphorated and Carbolated Powders, 252
Cold Cream, 226
Ice, 145
Pomade, 145
Preparations, 144

Camphorated Substitutes in the Preparation of Celluloid, 157

Canary-Bird Food, 729
Paste, 145

Canary Birds, Their Diseases, 729

Concrete, 689

Candles, 145
Coloring, 145, 146
Fumigating, 365
Transparent, 145

Candy, 216
Colors and Flavors, 218
Orange Drops, 216

Canned Vegetables, 352

Canning, 602
without Sugar, 603

Cantharides and Modern Potato Bug Poison, 94
Pomade, 392

Can Varnish, 720

Canvas Waterproofing, 742

Caoutchouc, 618
Solution for Paints, 719

Capacities of Utensils, 703

Capsule Varnish, 720

Capping Mixtures for Bottles, 126

Caramels, 146, 216

Caramel in Food, 352

12-Carat, 433

4-Carat Gold, 433

18-Carat Gold for Rings, 433

22-Carat Solder, 433

Carats, to Find the Number of, 432

Carbolic Acid, 147

Carbolic-acid Burns, 147
Decolorization of, 147
Disguising Odor of, 147

Carbolic Powder, 263
Soap, 647

Carbolineum, 497

Carbonated Pineapple Champagne, 118

Carbon Ink, 403
Paper, 503
Printing, 531
Process in Photography, 531

Carbuncle Remedies, 121

Cardboard or Leather Glue, 15
Waterproofing, 751

Cards (Playing), to Clean, 209

Care of Refrigerators, 401

Carmelite Balm Water, 519

Carmine, 403
Lake Dye for Wall Paper, 278

Carnation Lake Dye, 277

Carpet Preservation, 399
Soap, 644

Carpets, How to Preserve, 399

Carriage-top Dressing, 448

Carron Oil, 242

Case Hardening, 648

Casein, 34, 148
Albumen, and Glue, 34
Cements, 20
Massage Cream, 233
Paste, 38
Varnish, 34

Cashmere Perfumery, 516

Casket Trimmings, 150

Casks, 149
Watertight, 149

Cassius, Purple of, 383

Cast Brass, 53

Cast-brass Work, Sand Holes in, 150

Castile Soap, to Cut, 644

Casting, 149
Copper, 63
in Wax, 755
Molds, Alloys for, 80
of Soft Metal Castings, 151

Castings, Making in Aluminum, 81

Castings Out of Various Metals, 149
to Soften Iron, 427

Cast-iron Soldering, 666

Castor Oil, 153

Castor-oil Chocolate Lozenges, 154

Castor Oil, How to Take, 154
Tasteless, 153

Casts from Wax Models, 755
(Plaster), Preservation of, 565
Repairing of Broken, 26
Waterproofing, 565

Catatypy, 154

Cat Diseases and Remedies, 732

Caterpillar Destroyers, 423

Catgut, 155
Sutures, Preparation of, 155

Catsup, Adulterated, 353

Cattle Dips and Applications, 264

Caustic Potash Poison, 93, 94

Ceiling Cleaners, 400

Celery Clam Punch, 112
Compound, 155

Cellars, Waterproof, 400

Celloidin Paper, 504

Cells, Solutions and Fillers for Battery, 104

Celluloid, 155
Cements and Glues, 17
Glue for, 12
Lacquer, 439
of Reduced Inflammability, 159
Putty, 161

Cement, 692
Armenian, 20
Asbestos, 30
Cheap and Excellent, 30
Colors, 688
Diamond Glass, 29
for Belts, 31
for Chemical Apparatus, 31
for Cracks in Stoves, 162
for Enameled Dials, 20
for General Use, 31
for Glass, 21, 25, 28
for Iron and Marble, 17
for Ivory, 31
for Leather and Iron, 25
for Metals, 21, 25
for Metal on Hard Rubber, 22
for Pallet Stones, 162
for Pasteboard and Paper, 21
for Patching Boots, 23
for Pipe Joints, 162
for Porcelain Letters, 19
for Sandstones, 17
for Steam and Water Pipes, 161
for Watch-lid, 20
for Waterpipe, 162
Hydraulic, 33

Cementing Celluloid and Hard-rubber Articles, 18

Cement, Jewelers, 20
Mordant for, 479
on Marble Slabs, 16
Paints for, 499
Parisian, 30
Protection of, Against Acid, 9
Rubber for Cloth, 24
to Paint Over Fresh, 499
Transparent for Glass, 29
Strong, 30, 32
Universal, 31
Work, Protection for, 162

Cements, 16, 161
Amber, 26
Aquarium, 31
Casein, 20
Celluloid, 17
for Attaching Letters on Glass, 19
for Fastening Porcelain to Metal, 25

Cements, for Iron, 24
for Leather, 22, 23
for Metals, 24
for Rubber, 22
for Stone, 16
for Tires, 23
for Water-glass, 19
Meerschaum, 30
Sign-letters, 18
Silicate of Oxychloride, 35

Ceramics, 164

Chain of Fire, 612

Chains (Watch), to Clean, 206

Chalk for Tailors, 164

Chamois Skin, to Clean, 186

Champagne, 118
Cider, 181

Chapped Skin, 232

Chappine Cream, 237

Charta Sinapis, 480

Chartreuse, 769

Cheddar Cheese, 176

Cheese, 174
Color, 359
Wrapping, Tin Foil for, 474

Chemical Apparatus, Cement for, 31
Gardens, 368
Reagents, 349

Cherry Balsam, 103
Cordial, 764
Phosphate, 112
Tooth Paste, 257

Chewing Candy, 217
Gums, 178

Cheshire Cheese, 176

Chestnut Brown Dye for Straw Bonnets, 267
Hair Dye, 391

Chicken Bouillon, 112

Chicken-coop Application, 419

Chicken Diseases, 734

Chicory, Tests for, 353

Chilblains, 486

Children, Doses for, 265

Children’s Tooth Powder, 255

China, 173
Pomade, 227
Repairing, 601
Riveting, 179
Silver Alloy, 75
to Toughen, 173

Chinese Tooth Paste, 257

Chlorides, Platt’s, 264

Chloriding Mineral Lubricating Oils, 462

Chlorine-proofing, 9

Chocolate, 179
and Milk, 114
Castor-oil Lozenges, 154
Extracts, 312
Frappé, 114
Hot, 111
Soda Water, 111

Cholera Remedies, 179

Chowchow, 212

Chrome Black Dye for Wool, 267

Chromium Glue, 15

Chromo Making, 180

Cider, 180
Preservative, 181
Vinegar, 735

Cigarettes, Asthma, 101

Cigar Flavoring, 183
Sizes and Colors, 182
Spots, 183

Cigars, 182

Cinnamon Essence, 312
Oil as an Antiseptic, 100
or Brown Dye for Cotton and Silk, 267

Cinchona, 771
Pomade, 392

Citrate of Magnesium, 464

Clam Bouillon, 113

Claret Lemonade, 110
Punch, 110, 112

Clarification of Gelatin and Glue, 370

Clarifying, 184
Muddy Water, 741

Clay, 33, 184

Claying Mixture for Forges, 184

Clean Bronze, 202

Cleaner, Universal, 209

Cleaning Linoleum, 398
Marble, 196
Polished Woodwork, 194
Brass on Clock, 206
Bronze Objects, 205
Clocks, 207
Copper, 200
Copper Sinks, 202
Electro-plate Goods, 205
Funnels and Measures, 204
Gilded Work on Altars, 185
Gilded Articles, 185
Gilded Bronzes, 205
Gilt Bronze Ware, 201
Glass, Paste for, 208
Inferior Gold Articles, 207
Lamp Globes, 209
Marble, Furniture, etc., 197
Methods and Processes, 209
of Copperplate Engravings, 309
of Statuettes and Plaster Objects, 564
of Walls, Ceilings, and Paper, 190, 397
Oil Stains on Wall Paper, 190
Optical Lenses, 208
Paint Brushes, 140
Painted and Varnished Surfaces, 194
Painted Doors, Walls, etc., 190
Pearls, 208
Preparations, 184, 397, 590, 644
Preparation for Glass with Metal Decorations, 208
Pewter Articles, 205
Powder, 194
Skins and Leather, 186
Silver-plated Ware, 200
Terra Cotta, 197
Tracings, 194
Varnish Brushes, 141
Wall Paper, 191
Whitewashed Walls, 190
Window Panes, 208

Cleansing Fluids, 185

Clearing Baths, 535

Cleary’s Asthma Fumigating Powder, 101

Cliché Metal, 52

Clock-bell Repairing, 737

Clock Cleaning, 207

Clock-dial Lettering, 737

Clock Hands, to Reblack, 738

Clockmakers’ Cleaning Processes, 206

Clock Oil, 482
Repairing, 738

Clothes and Fabric Cleaners, 191
Cleaners, 191

Clothes-Cleaning Fluids, 192

Cloth Paper, 504
Strips Attached to Iron, 14
to Iron, Gluing, 37
Waterproofing, 748

Cloths for Polishing, 599

Clouding of Mouth Mirrors, 477

Cloudless Caramel Coloring, 146

Clove Pink Perfumery, 516

Coal Oil, 484

Coals, to Eat Burning, 612

Coating for Bathrooms, 498
for Damp Walls, 499
for Name Plates, 501
Metallic Surfaces with Glass, 377
Tablets with Chocolate, 179

Cobaltizing of Metals, 573

Cobalt, or Fly Powder Poison, 94

Cochineal Insect Remedy, 422

Cocoa Mint, 115
Syrup, 112

Cocoas, 112

Cod Liver Oil and Its Emulsion, 482

Coffee, 353
Cocktail, 114
Cordial, 763
Cream Soda, 113
Essence, 314
Extracts, 313
for the Soda Fountain, 111
Frappé, 114
Hot, 111
Iced, 114
Nogg, 114, 115
Substitutes for, 210
Syrups, 313

Coil Spring, 683
Springs, to Temper, 683

Coin Cleaning, 200
Metal, 62

Coins, Impressions of, 467
Matrix for, 467

Colas, 728

Cold and Cough Mixtures, 211
Chemical Gilding, 577
Cream, 225
Enameling, 721
Soldering, 666
Varnish, 543

Colic in Cattle, 729

Collapsible Tubes, Skin Cream, 239
Tooth Paste for, 257

Collodion, 212

Cologne, 514
for Headaches, 394
Spirits or Deodorized Alcohol, 514

Coloration of Copper and Brass with Cupric Selenite, 568

Colored Alloys for Aluminum, 50
Celluloid, 161
Fireproofing, 344
Fires, 609
Floor Polishes, 591
Gilding, 577
Glass, 165, 371
Gold Alloys, 66
Hygroscopes, 402
Inks, 414
Lacquer, 439
Marking Inks, 407
Rings on Metal, 582
Sand, 628

Coloring Benedine Green, 106
Brass, 473
Ceresine Candles for the Christmas Tree, 145
Common Gold, 431
Copper, 473
Electric-light Bulbs and Globes, 371
Fluid for Brass, 129
Gold Jewelry, 430
Incandescent Lamps, 442
Matter in Fats, 334
Metals, 471, 568
of Brass, 128, 570
of Modeling Plaster, 563
Perfumes, 511
Silver, 640
Soap, 644
“Spirit” Varnishes, 715
Steel, 682
Unpolished Brass, 128

Colorings for Jewelers’ Work, 433

Color Enamel, 721
Photography, 548
Stains, for Wood, 782

Color Stamps for Rough Paper, 411
Testing, 559

Colors, 266
and Sizes of Cigars, 182
for Confectionery, 218
for Paints, 555
for Polished Brass, 127
for Pomade, 228
for Syrups, 702
Fusible Enamel, 306

Combined Alum and Hypo Bath, 535
Toning and Fixing Baths, 542

Comfortable, Washing, 399

Commercial Enameling, 290
Formaldehyde, 362
Mucilage, 43

Common Silver for Chains, 434
Silver Solder, 434

Composition Files, 339
for Cleaning Copper, Nickel, and other Metals, 203
for Linoleum, Oilcloth, etc., 459
for Writing on Glass, 376
of Various Hard Solders, 663

Compositions for Ships’ Bottoms, 498

Compost for Indoor Plants, 337

Compound for Cleaning Brass, 203
Salicylated Collodion Corn Cure, 224
Solution of Thymol, 100

Concentrated Lye Poison, 93

Concrete, 689
Blocks, Properties of, 695
Tamping of, 695

Concrete Block Systems, 694
Building Block, 691
Mixers, 693

Condimental Sauces, 353

Condiments, 212
Tests for Adulterated, 349

Condition Powders, 729
for Cattle, 729

Conductivity of Aluminum Alloys, 48

Confectionery, 216
Colors, 218

Constipation in Birds, 729

Contracted Hoof or Sore Feet in Cattle, 730

Conversion of Metric into English Measure, 760

Cooling Screen, 616

Cooking Vessels, Glazes for, 377

Cook’s Table, 703

Cooper’s Pen Metal, 74

Copal Varnish, 720