Part 83

«Finishers’ Ink.»—Soft water, 1 gallon; logwood extract, 1 1⁠/⁠4 ounces; green vitriol, 2 1⁠/⁠2 ounces; potassium bichromate, 1⁠/⁠2 ounce; gum arabic, 1⁠/⁠2 ounce.

Grind the gum and potassium bichromate to powder and then add all the coloring ingredients to the water and boil.

«To Restore Patent Leather Dash.»—Take raw linseed oil, 1 part; cider vinegar, 4 ounces; alcohol, 2 ounces; butter of antimony, 1 ounce; aqua ammonia, 1⁠/⁠2 ounce; spirits of camphor, 1⁠/⁠2 ounce; lavender, 1⁠/⁠2 ounce. Shake well together; apply with a soft brush.

«PRESERVATIVES FOR LEATHER.»

I.—Mutton suet 50 parts Sweet oil 50 parts Turpentine 1 part Melt together.

The application should be made on the dry leather warmed to the point where it will liquefy and absorb the fat.

II.—Equal parts of mutton fat and linseed oil, mixed with one-tenth their {453} weight of Venice turpentine, and melted together in an earthen pipkin, will produce a “dubbin” which is very efficacious in preserving leather when exposed to wet or snow, etc. The mixture should be applied when the leather is quite dry and warm.

III.—A solution of 1 ounce of solid paraffine in 1 pint light naphtha, to which 6 drops of sweet oil have been added, is put cold on the soles, until they will absorb no more. One dressing will do for the uppers. This process is claimed to vastly increase the tensile strength.

«Patent Leather Preserver.»—

Carnauba wax 1.0 part Turpentine oil 9.5 parts Aniline black, soluble in fat 0.06 parts

Melt the wax, stir in the turpentine oil and the dye and scent with a little mirbane oil or lavender oil. The paste is rubbed out on the patent leather by means of a soft rag, and when dry should be polished with a soft brush.

«REVIVERS AND REGENERATORS.»

By weight. I.—Methylic alcohol 22 1⁠/⁠2 parts Ground ruby shellac 2.250 parts Dark rosin 0.910 parts Gum rosin 0.115 parts Sandarac 0.115 parts Lampblack 0.115 parts Aniline black, spirit-soluble 0.115 parts

The gums are dissolved in spirit and next the aniline black soluble in spirit is added; the lampblack is ground with a little liquid to a paste, which is added to the whole, and filtering follows.

Kid Reviver.—

By weight. II.—Clear chloride of lime solution 3.5 parts Spirit of sal ammoniac 0.5 parts Scraped Marseilles soap 4.5 parts Water 6.0 parts

Mix chloride of lime solution and spirit of sal ammoniac and stir in the soap dissolved in water. Revive the gloves with the pulpy mass obtained, by means of a flannel rag.

«TANNING LEATHER.»

«Pickling Process.»—Eitner and Stiazny have made a systematic series of experiments with mixtures of salt and various acids for pickling skins preparatory to tanning. Experiments with hydrochloric acid, acetic and lactic acids showed that these offered no advantages over sulphuric acid for use in pickling, the pickled pelts and the leather produced from them being similar in appearance and quality. By varying the concentration of the pickle liquors, it was found that the amount of salt absorbed by the pelt from the pickle liquor was controlled by the concentration of the solution, 23 to 25 per cent of the total amount used being taken up by the pelt, and that the absorption capacity of the pelt for acid was limited.

The goods pickled with the largest amount of acid possessed a more leathery feel and after drying were fuller and stretched much better than those in which smaller amounts of acids were employed. Dried, pickled pieces, containing as much as 3 per cent of sulphuric acid, showed no deterioration or tendering of fiber. The pickled skins after chrome tanning still retained these characteristics. An analysis of the leather produced by tanning with sumac showed that no free acid was retained in the finished leather. An Australian pickled pelt was found to contain 19.2 per cent of salt and 2.8 per cent of sulphuric acid.

From a very large number of experiments the following conclusions were drawn: 1. That sulphuric acid is quite equal in efficiency to other acids for the purpose. 2. To a certain limit increasing softness is produced by increasing the quantity of acid used. 3. For naturally soft skins and when a leather not very soft is required the best results are obtained by using 22 pounds of salt, 2.2 pounds of sulphuric acid, and 25 gallons of water for 110 pounds of pelt in the drum. 4. For material which is naturally hard and when a soft leather is required, the amount of acid should be increased to 4.4 pounds, using similar amounts as those given above of pelt, salt, and water.

«French Hide Tanning Process.»—I.—The prepared pelts are submitted to a 3 to 4 hours’ immersion in a solution of rosin soap, containing 5 to 10 per cent of caustic soda. The goods are afterwards placed in a 6 to 12 per cent solution of a salt of chromium, iron, copper, or aluminum (preferably aluminum sulphate) for 3 to 4 hours.

II.—The hides are soaked in a solution of sodium carbonate of 10° Bé. for 3 to 6 hours. After washing with water they are allowed to remain for 5 hours in {454} a bath of caustic soda, the strength of which may vary from 2° to 30° Bé. From this they are transferred to a bath of hydrochloric acid (1° to 5° Bé.) in which they remain for 2 hours. Finally the hides are washed and the beam-work finished in the usual way. The tannage consists of a special bath of sodium or ammonium sulphoricinoleate (2 to 30 per cent) and sumac extract, or similar tanning material (2 to 50 per cent). The strength of this bath is gradually raised from 4° to 30° or 40° Bé.

«Tanning Hides for Robes.»—The hides should be very thoroughly soaked in order to soften them completely. For dry hides this will require a longer time than for salted. A heavy hide requires longer soaking than a skin. Thus it is impossible to fix a certain length of time. After soaking, the hide is fleshed clean, and is now ready to go into the tan liquor, which is made up as follows: One part alum; 1 part salt; 1⁠/⁠4 to 1⁠/⁠2 part japonica. These are dissolved in hot water in sufficient quantity to make a 35° liquor. The hide, according to the thickness, is left in the tan from 5 to 10 days. Skins are finished in about 2 or 3 days. The hide should be run in a drum for about 2 hours before going into tan, and again after that process. In tanning hides for robes, shaving them down is a main requisite for success, as it is impossible to get soft leather otherwise. After shaving put back into the tan liquor again for a day or two and hang up to dry. When good and hard, shave again and lay away in moist sawdust and give a heavy coat of oil. When dry, apply a solution of soft soap; roll up and lay away in moist sawdust again. Run the hides on a drum or wheel until thoroughly soft. The composition of the tan liquor may be changed considerably. If the brownish tinge of the japonica be objectionable, that article may be left out entirely. The japonica has the effect of making the robe more able to resist water, as the alum and salt alone are readily soaked out by rain.

«Lace Leather.»—Take cow hides averaging from 25 to 30 pounds each; 35 hides will make a convenient soak for a vat containing 1,000 gallons of water, or 25 hides to a soak of 700 gallons. Soak 2 days or more, as required. Change water every 24 hours. Split and flesh; resoak if necessary. When thoroughly soft put in limes. Handle and strengthen once a day, for 5 or 6 days. Unhair and wash. Bathe in hen manure, 90° F. Work out of drench, wash well, drain 4 of 5 hours. Then process, using 45 pounds vitriol and 600 pounds of soft water to 700 gallons of water. In renewing process for second or consecutive packs, use 15 pounds vitriol and 200 pounds salt, always keeping stock constantly in motion during time of processing. After processing, drain over night, then put in tan in agitated liquors, keeping the stock in motion during the whole time of tanning. Pack down overnight. Use 200 pounds dry leather to each mill in stuffing.

For stuffing, use 3 gallons curriers’ hard grease and 3 gallons American cod oil. Strike out from mill, on flesh. Set out on grain. Dry slowly. Trim and board, length and cross. The stock is then ready to cut. The time for soaking the hides may be reduced one-half by putting the stock into a rapidly revolving reel pit, with a good inflow of water, so that the dirty water washes over and runs off. After 10 hours in the soak, put the stock into a drum, and keep it tumbling 5 hours. This produces soft stock.

In liming, where the saving of the hair is no object, softer leather is obtainable by using 35 pounds sulphide of sodium with 60 pounds lime. Then, when the stock comes from the limes, the hair is dissolved and immediately washes off, and saves the labor of unhairing and caring for the hair, which in some cases does not pay.

«MISCELLANEOUS RECIPES:»

«Russian Leather.»—This leather owes its name to the country of its origin. The skins used for its production are goat, large sheep, calfskin, and cow or steer hide. The preliminary operations of soaking, unhairing, and fleshing are done in the usual manner, and then the hides are permitted to swell in a mixture of rye flour, oat flour, yeast, and salt. This compound is made into a paste with water, and is then thinned with sufficient water to steep a hundred hides in the mixture. The proportions of ingredients used for this mixture are 22 pounds rye flour, 10 pounds oat flour, a little salt, and sufficient yeast to set up fermentation.

The hides are steeped in this compound for 2 days, until swelled up, and then put into a solution of willow and poplar barks, in which they are allowed to remain 8 days, being frequently turned about. The tanning process is then completed by putting them into a tanning liquor composed of pine and willow barks, equal parts. They are steeped 8 days in this liquor, and then a {455} fresh liquor of the same ingredients and proportions is made up. The hides are hardened and split, and then steeped in the freshly made liquor for another 8 days, when they are sufficiently tanned.

The hides are then cut down the middle (from head to tail) into sides, and scoured, rinsed, and dried by dripping, and then passed on to the currier, who slightly dampens the dry sides and puts them in a heap or folds them together for a couple of days to temper, and then impregnates them with a compound consisting of 2⁠/⁠3 parts birch oil and 1⁠/⁠3 parts seal oil. This is applied on the flesh side for light leather, and on the grain side also for heavy leather. The leather is then “set out,” “whitened,” and well boarded and dried before dyeing.

A decoction of sandalwood, alone or mixed with cochineal, is used for producing the Russian red color, and this dye liquor is applied several times, allowing each application to dry before applying the following one. A brush is used, and the dye liquor is spread on the grain side. A solution of tin chloride is used in Russia as a mordant for the leather before laying on the dye. The dye liquor is prepared by boiling 18 ounces of sandalwood in 13 pints of water for 1 hour, and then filtering the liquid and dissolving in the filtering fluid 1 ounce of prepared tartar and soda, which is then given an hour’s boiling and set aside for a few days before use.

After dyeing, the leather is again impregnated with the mixture of birch and seal oils (applied to the grain side on a piece of flannel) and when the dyed leather has dried, a thin smear of gum-dragon mucilage is given to the dyed side to protect the color from fading, while the flesh side is smeared with bark-tan juice and the dyed leather then grained for market.

«Toughening Leather.»—Leather is toughened and also rendered impervious by impregnating with a solution of 1 part of caoutchouc or gutta-percha in 16 parts of benzene or other solvent, to which is added 10 parts of linseed oil. Wax and rosin may be added to thicken the solution.

«Painting on Leather.»—When the leather is finished in the tanneries it is at the same time provided with the necessary greasy particles to give it the required pliancy and prevent it from cracking. It is claimed that some tanners strive to obtain a greater weight thereby, thus increasing their profit, since a pound of fat is only one-eighth as dear as a pound of leather.

If such leather, so called kips, which are much used for carriage covers and knee caps, is to be prepared for painting purposes, it is above all necessary to close up the pores of the leather, so that the said fat particles cannot strike through. They would combine with the applied paint and prevent the latter from drying, as the grease consists mainly of fish oil. For this reason an elastic spirit leather varnish is employed, which protects the succeeding paint coat sufficiently from the fat.

For further treatment take a good coach varnish to which 1⁠/⁠4 of stand oil (linseed oil which has thickened by standing) has been added and allow the mixture to stand for a few days. With this varnish grind the desired colors, thinning them only with turpentine oil. Put on 2 coats. In this manner the most delicate colors may be applied to the leather, only it is needful to put on pale and delicate shades several times. In some countries the legs or tops of boots are painted yellow, red, green, or blue in this manner. Inferior leather, such as sheepskin and goat leather, which is treated with alum by the tanner, may likewise be provided with color in the manner stated. Subsequently it can be painted, gilded, or bronzed.

«Stains for Oak Leather.»—I.—Apply an intimate mixture of 4 ounces of umber (burnt or raw); 1⁠/⁠2 ounce of lampblack, and 17 fluidounces ox gall.

II.—The moistened leather is primed with a solution of 1 part, by weight, of copper acetate in 50 parts of water, slicked out and then painted with solution of yellow prussiate potash in feebly acid water.

LEATHER AS AN INSULATOR: See Insulation.

LEATHER CEMENTS: See Adhesives, under Cements.

LEATHER-CLEANING PROCESSES: See Cleaning Preparations and Methods.

LEATHER, GLUES FOR: See Adhesives.

LEATHER LAC: See Lacquers.

LEATHER LUBRICANTS: See Lubricants. {456}

LEATHER VARNISH: See Varnish.

LEATHER WATERPROOFING: See Waterproofing.

«LEMONS:»

See also Essences, Extracts, and Fruits.

«Preservation of Fresh Lemon Juice.»—The fresh juice is cleared by gently heating it with a little egg albumen, without stirring the mixture. This causes all solid matter to sink with the coagulated white, or to make its way to the surface. The juice is then filtered through a woolen cloth and put into bottles, filled as full as possible, and closed with a cork stopper, in such a way that the cork may be directly in contact with the liquid. Seal at once and keep in a cool place. The bottles should be asepticized with boiling water just before using.

LEMON EXTRACT (ADULTERATED), TESTS FOR: See Foods.

LEMON SHERBET POWDER: See Salts, Effervescent.

LEMONADES, LEMONADE POWDERS, AND LEMONADE DROPS: See Beverages.

LEMONADE POWDER: See Salts, Effervescent.

«LENSES AND THEIR CARE:»

«Unclean Lenses» (see also Cleaning Preparations and Methods).—If in either objective or eyepiece the lenses are not clean, the definition may be seriously impaired or destroyed. Uncleanliness may be due to finger marks upon the front lens of the objective, or upon the eyepiece lenses; dust which in time may settle upon the rear lens of the objective or on the eye lens; a film which forms upon one or the other lens, due occasionally to the fact that glass is hygroscopic, but generally to the exhalation from the interior finish of the mountings, and, in immersion objectives, because the front lens is not properly cleaned; or oil that has leaked on to its rear surface, or air bubbles that have formed in the oil between the cover glass and front lens.

Remedy.—Keep all lenses scrupulously clean. For cleaning, use well-washed linen (an old handkerchief) or Japanese lens paper.

Eyepieces.—To find impurities, revolve the eyepieces during the observation; breathe upon the lenses, and wipe gently with a circular motion and blow off any particles which may adhere.

Dry Objectives.—Clean the front lens as described. To examine the rear and interior lenses use a 2-inch magnifier, looking through the rear. Remove the dust from the rear lens with a camel’s-hair brush.

Oil Immersion Objectives.—Invariably clean the front lens after use with moistened linen or paper, and wipe dry.

In applying oil examine the front of the objective with a magnifier, and if there are any air bubbles, remove them with a pointed quill, or remove the oil entirely and apply a fresh quantity.

LETTERS, TO REMOVE FROM CHINA: See Cleaning Preparations and Methods, under Miscellaneous Methods.

LETTER-HEAD SENSITIZERS: See Photography, under Paper-Sensitizing Processes.

«Lettering»

CEMENTS FOR ATTACHING LETTERS ON GLASS: See Adhesives, under Sign-Letter Cements.

«Gold Lettering.»—This is usually done by first drawing the lettering, then covering with an adhesive mixture, such as size, and finally applying gold bronze powder or real gold leaf. A good method for amateurs to follow in marking letters on glass is to apply first a coat of whiting, mixed simply with water, and then to mark out the letters on this surface, using a pointed stick or the like. After this has been done the letters may easily be painted or gilded on the reverse side of the glass. When done, wash off the whiting from the other side, and the work is complete.

«Bronze Lettering.»—The following is the best method for card work: Write with asphaltum thinned with turpentine until it flows easily, and, when nearly dry, dust bronze powder over the letters. When the letters are perfectly dry tap the card to take off the extra bronze, and it will leave the letters clean and sharp. The letters should be made with a camel’s-hair brush and not with the automatic pen, as oil paints do not work satisfactorily with these pens.

For bronzed letters made with the pen, use black letterine or any water color. {457} If a water color is used add considerable gum arabic. Each letter should be bronzed as it is made, as the water color dries much more quickly than the asphaltum.

Another method is to mix the bronze powder with bronze sizing to about the consistency of the asphaltum. Make the letter with a camel’s-hair brush, using the bronze paint as one would any oil paint.

This method requires much skill, as the gold paint spreads quickly and is apt to flood over the edge of the letter. For use on oilcloth this is the most practical method.

Bronzes may be purchased at any hardware store. They are made in copper, red, green, silver, gold, and copper shades.

«Lettering on Glass.»—White lettering on glass and mirrors produces a rich effect. Dry zinc, chemically pure, should be used. It can be obtained in any first-class paint store and is inexpensive. To every teaspoonful of zinc, 10 drops of mucilage should be added. The two should be worked up into a thick paste, water being gradually added until the mixture is about the consistency of thick cream. The paint should then be applied with a camel’s-hair brush.

Another useful paint for this purpose is Chemnitz white. If this distemper color is obtained in a jar, care should be exercised to keep water standing above the color to prevent drying. By using mucilage as a sizing these colors will adhere to the glass until it is washed off. Both mixtures are equally desirable for lettering on block card-board.

Any distemper color may be employed on glass without in any way injuring it. An attractive combination is—first to letter the sign with Turkey red, and then to outline the letters with a very narrow white stripe. The letter can be rendered still more attractive by shading one side in black.

«Signs on Show Cases.»—Most show cases have mirrors at the back, either in the form of sliding panels or spring doors. Lettering in distemper colors on these mirrors can easily be read through the fronts or tops of cases. If the mirror is on a sliding panel, it will be necessary to detach it from the case in order to letter it. When the mirror is on a spring door the sign can be lettered with less trouble.

By tracing letters in chalk on the outside of the glass, and then painting them on the inside, attractive signs can be produced on all show cases; but painting letters on the inside of a show case glass is more or less difficult, and it is not advisable to attempt it in very shallow cases.

«“Spatter” Work.»—Some lettering which appears very difficult to the uninitiated is, in fact, easily produced. The beautiful effect of lettering and ornamentation in the form of foliage or conventional scrolls in a speckled ground is simple and can be produced with little effort. Pressed leaves and letters or designs cut from newspapers or magazines may be tacked or pasted on cardboard or a mat with flour paste. As little paste as possible should be used—only enough to hold the design in place. When all the designs are in the positions desired, a toothbrush should be dipped in the ink or paint to be employed. A toothpick or other small piece of wood is drawn to and fro over the bristles, which are held toward the sign, the entire surface of which should be spattered or sprinkled with the color. When the color is dry the designs pasted on should be carefully removed and the paste which held them in place should be scraped off. This leaves the letters and other designs clean cut and white against the “spatter” background. The beginner should experiment first with a few simple designs. After he is able to produce attractive work with a few figures or letters he may confidently undertake more elaborate combinations.

«Lettering on Mirrors.»—From a bar of fresh common brown soap cut off a one-inch-wide strip across its end. Cut this into 2 or 3 strips. Take one strip and with a table-knife cut from two opposite sides a wedge-shaped point resembling that of a shading pen, but allow the edge to be fully 1⁠/⁠8 inch thick. Clean the mirror thoroughly and proceed to letter in exactly the same manner as with a shading pen.

«To Fill Engraved Letters on Metal Signs.»—Letters engraved on metal may be filled in with a mixture of asphaltum, brown japan, and lampblack, the mixture being so made as to be a putty-like mass. It should be well pressed down with a spatula. Any of the mass adhering to the plate about the edges of the letters is removed with turpentine, and when the cement is thoroughly dried the plate may be polished.

If white letters are desired, make a putty of dry white lead, with equal parts of coach japan and rubbing varnish. Fill the letters nearly level with the {458} surface, and when hard, apply a stout coat of flake white in japan thinned with turpentine. This will give a clean white finish that may be polished.

The white cement may be tinted to any desired shade, using coach colors ground in japan.

«Tinseled Letters, or Chinese Painting on Glass.»—This is done by painting the groundwork with any color, leaving the letter or figure naked. When dry, place tin foil or any of the various colored copper foils over the letters on the back of the glass, after crumpling them in the hand, and then partially straightening them out.

LICE KILLERS: See Insecticides.

LICHEN REMOVERS: See Cleaning Preparations and Methods, under Miscellaneous Methods and Household Formulas.

«LICORICE:»