Henley's Twentieth Century Formulas, Recipes and Processes

Part 130

Chapter 1303,918 wordsPublic domain

Apply a highly concentrated tannin solution on the tattooed places and treat them with the tattooing needle as the tattooer does. Next vigorously rub the places with a lunar caustic stick and allow the silver nitrate to act for some time, until the tattooed portions have turned entirely black. Then take off by dabbing. At first a silver tannate forms on the upper layers of the skin, which dyes the tattooing black; with slight symptoms of inflammation a scurf ensues which comes off after 14 to 16 days, leaving behind a reddish scar. The latter assumes the natural color of the skin after some time. The process is said to have given good results.

TAWING: See Leather.

TEA EXTRACT: See Essences and Extracts.

«TEETH, TO WHITEN DISCOLORED.»

Moisten the corner of a linen handkerchief with hydrogen peroxide, and with it rub the teeth, repeating the rubbing occasionally. Use some exceedingly finely pulverized infusorial earth, or pumice ground to an impalpable powder, in connection with the hydrogen peroxide, and the job will be quicker than with the peroxide alone.

TEMPERING OF STEEL: See Steel.

«TERRA COTTA SUBSTITUTE.»

A substance, under this name, designed to take the place of terra cotta and plaster of Paris in the manufacture of small ornamental objects, consists of {706}

Albumen 10 parts Magnesium sulphate 4 parts Alum 9 parts Calcium sulphate, calcined 45 parts Borax 2 parts Water 30 parts

The albumen and alum are dissolved in the water and with the solution so obtained the other ingredients are made into a paste. This paste is molded at once in the usual way and when set the articles are exposed in an oven to a heat of 140° F.

TERRA COTTA CLEANING: See Cleaning Preparations and Methods.

TEXTILE CLEANING: See Cleaning Preparations and Methods and Household Formulas.

«Thermometers»

Table Showing the Comparison of the Readings of Thermometers.

CELSIUS, OR CENTIGRADE (C). RÉAUMUR (R). FAHRENHEIT (F).

──────+─────────+──────── C. │ R. │ F. ──────+─────────+──────── −30 │ −24.0 │ −22.0 −25 │ −20.0 │ −13.0 −20 │ −16.0 │ − 4.0 −15 │ −12.0 │ + 5.0 −10 │ − 8.0 │ 14.0 − 5 │ − 4.0 │ 23.0 − 4 │ − 3.2 │ 24.8 − 3 │ − 2.4 │ 26.6 − 2 │ − 1.6 │ 28.4 − 1 │ − 0.8 │ 30.2 0 │ 0.0 │ 32.0 Freezing point of water. 1 │ 0.8 │ 33.8 2 │ 1.6 │ 35.6 3 │ 2.4 │ 37.4 4 │ 3.2 │ 39.2 5 │ 4.0 │ 41.0 6 │ 4.8 │ 42.8 7 │ 5.6 │ 44.6 8 │ 6.4 │ 46.4 9 │ 7.2 │ 48.2 10 │ 8.0 │ 50.0 11 │ 8.8 │ 51.8 12 │ 9.6 │ 53.6 13 │ 10.4 │ 55.4 14 │ 11.2 │ 57.2 15 │ 12.0 │ 59.0 16 │ 12.8 │ 60.8 17 │ 13.6 │ 62.6 18 │ 14.4 │ 64.4 19 │ 15.2 │ 66.2 20 │ 16.0 │ 68.0 21 │ 16.8 │ 69.8 22 │ 17.6 │ 71.6 23 │ 18.4 │ 73.4 24 │ 19.2 │ 75.2 25 │ 20.0 │ 77.0 26 │ 20.8 │ 78.8 27 │ 21.6 │ 80.6 28 │ 22.4 │ 82.4 29 │ 23.2 │ 84.2 30 │ 24.0 │ 86.0 31 │ 24.8 │ 87.8 32 │ 25.6 │ 89.6 33 │ 26.4 │ 91.4 34 │ 27.2 │ 93.2 35 │ 28.0 │ 95.0 36 │ 28.8 │ 96.8 37 │ 29.6 │ 98.6 38 │ 30.4 │ 100.4 39 │ 31.2 │ 102.2 40 │ 32.0 │ 104.0 41 │ 32.8 │ 105.8 42 │ 33.6 │ 107.6 43 │ 34.4 │ 109.4 44 │ 35.2 │ 111.2 45 │ 36.0 │ 113.0 50 │ 40.0 │ 122.0 55 │ 44.0 │ 131.0 60 │ 48.0 │ 140.0 65 │ 52.0 │ 149.0 70 │ 56.0 │ 158.0 75 │ 60.0 │ 167.0 80 │ 64.0 │ 176.0 85 │ 68.0 │ 185.0 90 │ 72.0 │ 194.0 95 │ 76.0 │ 203.0 100 │ 80.0 │ 212.0 Boiling point of water. ──────+─────────+────────

Readings on one scale can be changed into another by the following formulas, in which _t_° indicates degrees of temperature:

Réau. to Fahr. 9⁠/⁠4_t_° R + 32° = _t_° F

Réau. to Cent. 5⁠/⁠4_t_° R = _t_° C

Cent. to Fahr. 9⁠/⁠5_t_° C + 32° = _t_° F

Cent. to Réau. 4⁠/⁠5_t_° C = _t_° R

Fahr. to Cent. 5⁠/⁠9(_t_° F − 32°) = _t_° C

Fahr. to Réau. 4⁠/⁠9(_t_° F − 32°) = _t_° R

«THREAD:»

See also Cordage.

«Dressing for Sewing Thread.»—For colored thread: Irish moss, 3 pounds; gum arabic, 2 1⁠/⁠2 pounds; Japan wax, 1⁠/⁠2 pound; stearine, 185 grams; borax, 95 grams; boil together for 1⁠/⁠4 hour.

For white thread: Irish moss, 2 pounds; tapioca, 1 1⁠/⁠2 pounds; spermaceti, 3⁠/⁠4 pound; stearine, 110 grams; borax, 95 grams; boil together for 20 minutes.

For black thread: Irish moss, 3 pounds; gum Senegal, 2 1⁠/⁠2 pounds; ceresin, 1 pound; borax, 95 grams; logwood extract, 95 grams; blue vitriol, 30 grams; boil together for 20 minutes. Soak the Irish moss in each case overnight in 45 liters of water, then boil for 1 hour, strain and add the other ingredients to the resulting solution. It is of advantage to add the borax to the Irish moss before the boiling.

THROAT LOZENGES: See Confectionery.

THYMOL: See Antiseptics.

TICKS, CATTLE DIP FOR: See Insecticides.

TIERCES: See Disinfectants.

TILEMAKERS’ NOTES: See Ceramics.

«Tin»

«Etching Bath for Tin.»—The design is either freely drawn upon the metal with a needle or a lead pencil, or pricked into the metal through tracing paper with a needle. The outlines are filled with a varnish (wax, colophony, asphalt). The varnish is rendered fluid with turpentine and applied with a brush. The article after having dried is laid in a 1⁠/⁠2 solution of nitric acid for 1 1⁠/⁠2 to 2 hours. It is then washed and dried with blotting {707} paper. The protective coating of asphalt is removed by heating. The zinc oxide in the deeper portions is cleaned away with a silver soap and brush.

«Recovery of Tin and Iron in Tinned-Plate Clippings.»—The process of utilizing tinned-plate scrap consists essentially in the removal of the tin. This must be very completely carried out if the remaining iron is to be available for casting. The removal of the outer layer of pure tin from the tinned plate is an easy matter. Beneath this, however, is another crystalline layer consisting of an alloy of tin and iron, which is more difficult of treatment. It renders the iron unavailable for casting, as even 0.2 per cent of tin causes brittleness. Its removal is best accomplished by electrolysis. If dilute sulphuric acid is used as an electrolyte, the deposit is spongy at first, and afterwards, when the acid has been partly neutralized, crystalline. After 6 hours the clippings are taken out and the iron completely dissolved in dilute sulphuric acid; the residue of tin is then combined with the tin obtained by the electrolysis. Green vitriol is therefore a by-product in this process.

Gutensohn’s process has two objects: To obtain tin and to render the iron fit for use. The tin is obtained by treating the tinned plate repeatedly with hydrochloric acid. The tin is then removed from the solution by means of the electric current. The tinned plate as the positive pole is placed in a tank made of some insulating material impervious to the action of acids, such as slate. A copper plate forms the cathode. The bichloride of tin solution, freed from acid, is put round the carbon cylinder in the Bunsen element. Another innovation in this process is that the tank with the tinned-plate clippings is itself turned into an electric battery with the aid of the tin. A still better source of electricity is, however, obtained during the treatment of the untinned iron which will be described presently. The final elimination of the tin takes place in the clay cup of the Bunsen elements. Besides the chloride of tin solution (free from acid), another tin solution, preferably chromate of tin, nitrate of tin, or sulphate of tin, according to the strength of the current desired, may be used. To render the iron of the tinned plate serviceable the acid is drawn off as long as the iron is covered with a thin layer of an alloy of iron and tin. The latter makes the iron unfit for use in rolling mills or for the precipitation of copper. Fresh hydrochloric acid or sulphuric acid is therefore poured over the plate to remove the alloy, after the treatment with the bichloride of tin solution. This acid is also systematically used in different vats to the point of approximate saturation. This solution forms the most suitable source of electricity, a zinc-iron element being formed by means of a clay cell and a zinc cylinder. The electrical force developed serves to accelerate the solution in the next tank, which contains tinned plate, either fresh or treated with hydrochloric acid. Ferrous oxide, or spongy metallic iron if the current is very strong, is liberated in the iron battery. Both substances are easily oxidized, and form red oxide of iron when heated. The remaining solution can be crystallized by evaporation, so that ferrous sulphate (green vitriol) or ferric chloride can be obtained, or it can be treated to form red oxide of iron.

«Tin in Powder Form.»—To obtain tin in powder form the metal is first melted; next pour it into a box whose sides, etc., are coated with powdered chalk. Agitate the box vigorously and without discontinuing, until the metal is entirely cold. Now pass this powder through a sieve and keep in a closed flask. This tin powder is eligible for various uses and makes a handsome effect, especially in bronzing. It can be browned.

«TINFOIL:»

See also Metal Foil.

By pouring tin from a funnel with a very long and narrow mouth upon a linen surface, the latter being tightly stretched, covered with a mixture of chalk and white of egg, and placed in a sloping position, very thin sheets can be produced, and capable of being easily transformed into thin foil. Pure tin should never be used in the preparation of foil intended for packing tobacco, chocolate, etc., but an alloy containing 5 to 40 per cent of lead. Lead has also been recently plated on both sides with tin by the following method: A lead sheet from 0.64 to .80 inches thick is poured on a casting table as long as it is hot, a layer of tin from 0.16 to 0.20 inches in thickness added, the sheet then turned over and coated on the other side with tin in the same manner. The sheet is then stretched between rollers. Very thin sheet tin can also be made in the same way as sheet lead, by cutting up a tin cylinder into spiral sections. Colored tinfoil is prepared by making the foil thoroughly bright by rubbing with purified chalk {708} and cotton, then adding a coat of gelatin, colored as required, and covering the whole finally with a transparent spirit varnish. In place of this somewhat troublesome process, the following much simpler method has lately been introduced: Aniline dyes dissolved in alcohol are applied on the purified foil, and the coat, when dry, covered with a very thin layer of a colorless varnish. This is done by pouring the varnish on the surface and then inclining the latter so that the varnish may reach every part and flow off.

TIN, SILVER-PLATING: See Plating.

TIN VARNISHES: See Varnishes.

TINNING: See Plating.

«TIRE:»

«Anti-Leak Rubber Tire.»—Pneumatic tires can be made quite safe from punctures by using a liberal amount of the following cheap mixture: One pound of sheet glue dissolved in hot water in the usual manner, and 3 pints of molasses. This mixture injected into the tire through the valve stem, semi-hardens into an elastic jelly, being, in fact, about the same as the well-known ink roller composition used for the rollers of printing presses. This treatment will usually be found to effectually stop leaks in punctured or porous tires.

TIRE CEMENTS: See Adhesives, under Rubber Cements.

TISSIER’S METAL: See Alloys.

TITANIUM STEEL: See Steel.

TODDY, HOT SODA: See Beverages.

TOILET CREAMS, MILKS, POWDERS, ETC.: See Cosmetics.

TOLIDOL DEVELOPER: See Photography.

TOMATO BOUILLON EXTRACT: See Condiments.

TOMBACK: See Jewelers’ Formulas.

TONING BATHS: See Photography.

TONKA EXTRACT: See Essences and Extracts.

TONKA, ITS DETECTION IN VANILLA EXTRACTS: See Vanilla.

«TOOL SETTING.»

The term “setting” (grinding) is applied to the operation of giving an edge to the tools designed for cutting, scraping, or sawing. Cutting tools are rubbed either on flat sandstones or on rapidly turned grindstones. The wear on the faces of the tools diminishes their thickness and renders the cutting angle sharper. Good edges cannot be obtained except with the aid of the grindstone; it is therefore important to select this instrument with care. It should be soft, rather than hard, of fine, smooth grain, perfectly free from seams or flaws. The last condition is essential, for it often happens that, under the influence of the revolving motion, a defective stone suddenly yields to the centrifugal force, bursts and scatters its pieces with such violence as to wound the operator. This accident may also happen with perfectly formed stones. On this account artificial stones have been substituted, more homogeneous and coherent than the natural ones.

Whatever may be the stone selected, it ought to be kept constantly moist during the operation. If not, the tools will soon get heated and their temper will be impaired. When a tool has for a certain time undergone the erosive action of the stone, the cutting angle becomes too acute, too thin, and bends over on itself, constituting what is called “the feather edge.” This condition renders a new setting necessary, which is usually effected by bending back the feather edge, if it is long, and whetting the blade on a stone called a “setter.” There are several varieties of stones used for this purpose, though they are mostly composed of calcareous or argilaceous matter, mixed with a certain proportion of silica.

The scythestone, of very fine grain, serves for grinding off the feather edge of scythes, knives, and other large tools. The Lorraine stone, of chocolate color and fine grain, is employed with oil for carpenters’ tools. American carborundum is very erosive. It is used with water and with oil to obtain a fine edge. The lancet stone is not inferior to any of the preceding. As its name indicates, it is used for sharpening surgical instruments, and only with oil. The Levant stone (Turkish sandstone) is the best of all for whetting. It is gray and semitransparent; when of inferior quality, it {709} is somewhat spotted with red. It is usually quite soft.

To restore stones and efface the inequalities and hollows caused by the friction of the tools, they are laid flat on a marble or level stone, spread over with fine, well-pulverized sandstone, and rubbed briskly. When tools have a curved edge, they are subjected to a composition formed of pulverized stone, molded into a form convenient for the concavity or convexity. Tools are also whetted with slabs of walnut or aspen wood coated with emery of different numbers, which produces an excellent setting.

TOOL LUBRICANT: See Lubricant.

«Toothache»

«TOOTHACHE GUMS:»

See also Photography.

A good method of preparing handsome London transparencies is as follows:

White paper is coated with a liquid whose chief constituent is Iceland moss strongly boiled down in water to which a slight quantity of previously dissolved gelatin is added. In applying the mass, which should always be kept in a hot condition, the paper should be covered uniformly throughout. After it has been dried well it is smoothed on the coated side and used for a proof. The transparent colors to be used must be ground in stronger varnish than the opaque ones. In order to produce a handsome red, yellow lake and red sienna are used; the tone of the latter is considerably warmer than that of the yellow lake. Where the cost is no consideration, aurosolin may also be employed. For pale red, madder lakes should be employed, but for darker shades, crimson lakes and scarlet cochineal lakes. The vivid geranium lake gives a magnificent shade, which, however, is not at all fast in sunlight. The most translucent blue will always be Berlin blue. For purple, madder purple is the most reliable color, but possesses little gloss. Luminous effects can be obtained with the assistance of aniline colors, but these are only of little permanence in transparencies. Light, transparent green is hardly available. Recourse has to be taken to mixing Berlin blue with yellow lake, or red sienna. Green chromic oxide may be used if its sober, cool tone has no disturbing influence. Almost all brown coloring bodies give transparent colors, but the most useful are madder lakes and burnt umber. Gray is produced by mixing purple tone colors with suitable brown, but a gray color hardly ever {710} occurs in transparent prints. Liquid siccative must always be added to the colors, otherwise the drying will occupy too much time. After the drying, the prints are varnished on both sides. For this purpose, a well-covering, quickly drying, colorless, not too thick varnish must be used, which is elastic enough not to crack nor to break in bending.

Frequently the varnishing of the placards is done with gelatin. This imparts to the picture an especially handsome, luminous luster. After an equal quantity of alcohol has been added to a readily flowing solution of gelatin, kept for use in a zinc vessel, the gelatin solution is poured on the glass plates destined for the transparencies. After a quarter of an hour, take the placard, moisten its back uniformly, and lay it upon a gelatin film which has meanwhile formed on the glass plate, where it remains 2 to 3 days. When it is to be removed from the plate, the edge of the gelatin film protruding over the edge of the placard is lifted up with a dull knife, and it is thus drawn off. A fine, transparent gloss remains on the placard proper. In order to render the covering waterproof and pliable, it is given a coating of collodion, which does not detract from the transparence. The glass plates and their frames must be cleaned of adhering gelatin particles before renewed use.

«TRANSFER PROCESSES:»

«To Transfer Designs.»—Designs can be transferred on painted surfaces, cloth, leather, velvet, oil cloth, and linen sharply and in all the details with little trouble. Take the original design, lay it on a layer of paper, and trace the lines of design accurately with a packing needle, the eye of which is held by a piece of wood for a handle. It is necessary to press down well. The design becomes visible on the back by an elevation. When everything has been accurately pressed through, take, e. g., for dark objects, whiting (formed in pieces), lay the design face downward on the knee and pass mildly with the whiting over the elevations; on every elevation a chalk line will appear. Then dust off the superfluous whiting with the fingers, lay the whiting side on the cloth to hold it so that it cannot slide, and pass over it with a soft brush. For light articles take powdered lead pencil, which is rubbed on with the finger, or limewood charcoal. For tracing use oil paint on cloth and India ink on linen.

«To Copy Engravings.»—To make a facsimile of an engraving expose it in a warm, closed box to the vapor of iodine, then place it, inkside downward, on a smooth, dry sheet of clean white paper, which has been brushed with starch water. After the two prepared surfaces have been in contact for a short time a facsimile of the engraving will be reproduced more or less accurately, according to the skill of the operator.

«To Transfer Engravings.»—The best way to transfer engraving from one piece to another is to rub transfer wax into the engraved letters. This wax is made of beeswax, 3 parts; tallow, 3 parts; Canada balsam, 1 part; olive oil, 1 part. If the wax becomes too hard, add a few drops of olive oil, and if too soft, a little more beeswax. Care should be taken that the wax does not remain on the surface about the engraving, otherwise the impression would be blurred. Then moisten a piece of paper by drawing it over the tongue and lay it on the engraving. Upon this is laid another piece of dry paper, and securing both with the thumb and forefinger of the left hand, so they will not be moved, go over the entire surface with a burnisher made of steel or bone, with a pointed end. This will press the lower paper into the engraving and cause the wax to adhere to it. Then the top paper is removed and the corner of the lower one gently raised. The whole is then carefully peeled off, and underneath will be found a reversed, sharp impression of the engraving. The edges of the paper are then cut so it can be fitted in a position on the other articles similar to that on the original one. When this is done lay the paper in the proper position and rub the index finger lightly over it, which will transfer a clear likeness of the original engraving. If due care is taken two dozen or more transfers can be made from a single impression.

TRICKS WITH FIRE: See Pyrotechnics.

TUBERS, THEIR PRESERVATION: See Roots.

TUBS: TO RENDER SHRUNKEN TUBS WATER-TIGHT: See Casks.

TUNGSTEN STEEL: See Steel.

TURMERIC IN FOOD: See Foods.

TURPENTINE STAINS: See Wood. {711}

TURTLE (MOCK) EXTRACT: See Condiments.

«TWINE:»