Part 89

Ichthyol 30 grains Salicylic acid 12 grains Mercury oleate (10 per cent) 3 drachms Lanolin 1 ounce

Mix. To be kept constantly applied to the affected parts.

«Brown Ointment.»—

Rosin 1 ounce Lead plaster 4 ounces Soap cerate 8 ounces Yellow beeswax 1 ounce Olive oil 7 1⁠/⁠2 fluidounces

«Chilblains.»—The following are for unbroken chilblains:

I.—Sulphurous acid 3 parts Glycerine 1 part Water 1 part

II.—Balsam Peru 1 part Alcohol 24 parts Hydrochloric acid 1 part Tincture benzoin compound 8 parts

Dissolve the balsam in the alcohol, and add the acid and tincture. Apply morning and evening.

«Domestic Ointments.»—

I.—Vaseline 80 parts Diachylon ointment 30 parts Carbolic acid 4 parts Camphor 5 parts

II.—Butter, fresh (unsalted) 750 parts Wax, yellow 125 parts Rosin, white 100 parts Nutmeg oil 15 parts Peru balsam 1 part

III.—Lead plaster, simple 6,090 parts Vaseline, yellow 1,000 parts Camphor 65 parts Carbolic acid 50 parts

Mix.

«Green Salve.»—

White pine turpentine 8 ounces Lard, fresh 8 ounces Honey 4 ounces Beeswax, yellow 4 ounces

Melt, stir well, and add

Verdigris, powdered 4 drachms

Apply locally.

This cannot be surpassed when used for deep wounds, as it prevents the formation of proud flesh and keeps up a healthy discharge.

«Salve for all Wounds.»—

Lard, fresh 16 ounces White lead, dry 3 ounces Red lead, dry 1 ounce Beeswax, yellow 3 ounces Black rosin 2 ounces

Mix, melt, and boil for 45 minutes, then add

Common turpentine 4 ounces

Boil for 3 minutes and cool.

Apply locally to cuts, burns, sores, ulcers, etc. It first draws, then heals.

«Irritating Plaster.»—

Tar, purified 16 ounces Burgundy pitch 1 ounce White pine turpentine 1 ounce Rosin, common 2 ounces

Melt and add

Mandrake root, powdered 1 drachm Bloodroot, powdered 1 ounce Poke root, powdered 1 ounce Indian turnip root, powdered 1 ounce

Apply to the skin in the form of a {487} plaster (spread on muslin) and renew it daily.

This salve will raise a sore which is to be wiped with a dry cloth to remove matter, etc. The sore must not be wetted. This is a powerful counter-irritant for removing internal pains, and in other cases where an irritating plaster is necessary.

«Mercury Salves.»—I.—Red Salve.—Red mercury oxide, 1 part; melted lard, 9 parts.

II.—White Salve.—Mercury precipitate, 1 part; melted lard, 9 parts.

Pink salve.

Ammoniated mercury 1 ounce Mercuric oxide, precipitated 2 1⁠/⁠2 ounces Red mercuric sulphide (vermilion) 60 grains Perfume 1⁠/⁠2 fluidounce Lard 1 1⁠/⁠2 pounds Prepared suet 1⁠/⁠2 pound

«Antiseptic Nervine Ointment.»—

Iodoform 2 parts Salol 4 parts Boric acid 5 parts Antipyrine 5 parts Vaseline 80 parts

«Photographers’ Ointment.»—The following protects the hands from photographic chemicals:

Best castile soap, in fine shavings 1 ounce Water 1 ounce Wax 1 ounce Ammonia 45 minims Lanolin 1 ounce

The soap is dissolved in the water heated for that purpose, the wax mixed in with much stirring, and, when all is in solution, the ammonia is added. When clear, the lanolin is put in, and then, if the mixture is very thick, water is added until the whole has the consistency of honey. Keep in a covered stoneware jar. The hands should be first washed with ordinary soap, and then, while the lather is still on them, a bit of the mixture about the size of a hazel nut is rubbed in until all is absorbed, and the hands are dry. At the close of the work, the film of wax is washed off in warm water and a little lanolin rubbed into the hands.

«Pain-Subduing Ointment.»—The following is an excellent formula:

Tincture of capsicum 5 parts Tincture of camphor 1 part Ammonia water 2 parts Alcohol 2 parts Soap liniment 2 parts

«Skin Ointment.»—I.—Add about 2 per cent of phenol to petrolatum, perfuming it with oil of bergamot and color a dull green. It has been suggested that a mixture of Prussian blue and yellow ocher would answer as the coloring agent.

II.—Phenol 40 grains Boric acid 2 drachms Oil of bergamot 90 minims Petrolatum 1 pound Color with chlorophyll.

OINTMENTS FOR VETERINARY PURPOSES: See Veterinary Formulas.

OLEIN SOAP: See Soap.

OLEOMARGARINE: See Butter.

OLIVE-OIL PASTE: See Butter Substitutes.

ONYX CEMENTS: See Adhesives.

ORANGEADE: See Beverages, under Lemonades.

ORANGE BITTERS AND CORDIAL: See Wines and Liquors.

ORANGE DROPS: See Confectionery.

ORANGE EXTRACT: See Essences and Extracts.

ORANGE FRAPPÉ: See Beverages, under Lemonades.

ORANGE PHOSPHATE: See Beverages.

ORGEAT PUNCH: See Beverages, under Lemonades.

ORTOL DEVELOPER: See Photography.

OXIDIZING: See Bronzing, Plating, Painting.

OXIDE, MAGNETIC: See Rust Preventives.

OXOLIN: See Rubber.

OZONATINE: See Air Purifying.

PACKAGE POP: See Beverages, under Ginger Ale.

PACKAGE WAX: See Waxes. {488}

«PACKINGS:»

«Packing for Stuffing Boxes.»—

Tallow 10 parts Barrel soap, non-filled 30 parts Cylinder oil 10 parts Talcum Venetian, finely powdered 20 parts Graphite, finely washed 6 parts Powdered asbestos 6 parts

Melt the tallow and barrel soap together, add the other materials in rotation, mix intimately in a mixing machine, and fill in 4-pound cans.

«Packing for Gasoline Pumps.»—For packing pumps on gasoline engines use asbestos wick-packing rubbed full of regular laundry soap; it will work without undue friction and will pack tightly. Common rubber packing is not as good, as the gasoline cuts it out.

PADS OF PAPER: See Paper Pads.

PAIN-SUBDUING OINTMENT: See Ointments.

«PAINTING PROCESSES:»

«Painting Ornaments or Letters on Cloth and Paper.»—Dissolve gum shellac in 95 per cent alcohol at the rate of 1 pound of shellac to 3 pints of alcohol, and mix with it any dry color desired. If it becomes too thick, thin with more alcohol. This works free, does not bleed out, imparts brilliancy to the color, and wears well. The preparation can be used also on paper.

«Painting on Marble.»—To paint marble in water colors, it must be first thoroughly cleaned and all grease completely removed. The slab is washed well, and then rubbed off with benzine by means of a rag or sponge. In order to be quite sure, add a little ox gall or aguoline to the colors. After marble has been painted with water colors it cannot be polished any more.

«Painting on Muslin.»—To paint on muslin requires considerable skill. Select a smooth wall or partition, upon which tack the muslin, drawing the fabric taut and firm. Then make a solution of starch and water, adding one-fourth starch to three-fourths water, and apply a glaze of this to the muslin. To guard against the striking in of the paint, and to hold it more securely in place and texture, mix the pigment with rubbing varnish to the consistency of a stiff paste, and then thin with turpentine to a free working condition. A double thick camel’s-hair brush, of a width to correspond properly with the size of the surface to be coated, is the best tool with which to coat fine muslin. A fitch-hair tool is probably best suited to the coarser muslin. Many painters, when about to letter on muslin, wet the material with water; but this method is not so reliable as sizing with starch and water. Wetting canvas or duck operates very successfully in holding the paint or color in check, but these materials should not be confounded with muslin, which is of an entirely different texture.

PAINTING ON LEATHER: See Leather.

«PAINTINGS:»

«Protection for Oil Paintings.»—Oil paintings should under no circumstances be varnished over before the colors are surely and unmistakably dry, otherwise the fissuring and early decay of the surface may be anticipated. The contention of some people that oil paintings need the protection of a coat of varnish is based upon the claim that the picture, unvarnished, looks dead and lusterless in parts and glossy in still others, the value and real beauty of the color being thus unequally manifested. It is not to be inferred, however, that a heavy coating of varnish is required. When it is deemed advisable to varnish over an oil painting the varnish should be mastic, with perhaps 3 or 4 drops of refined linseed oil added to insure against cracking. A heavy body of varnish used over paintings must be strictly prohibited, inasmuch as the varnish, as it grows in age, naturally darkens in color, and in so doing carries with it a decided clouding and discoloration of the delicate pigments. A thinly applied coat of mastic varnish affords the required protection from all sorts and conditions of atmospheric impurities, besides fulfilling its mission in other directions.

Oil paintings, aquarelles, etc., may be also coated with a thin layer of Canada balsam, and placed smoothly on a pane of glass likewise coated with Canada balsam, so that both layers of balsam come together. Then the pictures are pressed down from the back, to remove all air bubbles.

«To Renovate Old Oil Paintings.»—When old oil paintings have become dark and cracked, proceed as follows: Pour alcohol in a dish and put the picture over it, face downward. The fumes of the alcohol dissolve the paint of the picture, the fissures close up again, and {489} the color assumes a freshness which is surprising. Great caution is absolutely necessary, and one must look at the painting very often, otherwise it may happen that the colors will run together or even run off in drops.

PAINTINGS, TO CLEAN: See Cleaning Preparations and Methods.

«Paints»

(See also Acid-Proofing, Ceramics, Enamels, Fireproofing, Glazing, Painting Processes, Pigments, Rust Preventives, Varnishes, and Waterproofing.)

«PAINT BASES:»

«Dry Bases for Paints.»—The following colors and minerals, mixed in the proportions given and then ground to fine powder, make excellent dry paints, and may be thinned with turpentine oil, and a small percentage of cheap varnish to consistency required.

Buff.—

Yellow ocher 44 pounds Whiting 6 pounds Oxide of zinc 5 pounds Plaster of Paris 1⁠/⁠2 pound

Brick Brown.—

Yellow ocher 26 pounds Calcined copperas 4 pounds Red hematite 1 1⁠/⁠4 pounds Best silica 7 pounds Whiting 18 pounds

Gray.—

Oxide of zinc 30 pounds White lead 6 pounds Whiting 12 pounds Bone black 1⁠/⁠4 pound Yellow ocher 2 pounds

Crimson.—

Indian red 25 pounds Crocus martis 7 pounds Oxide of zinc 6 pounds Whiting 6 pounds

Vandyke Brown.—

Yellow ocher 25 pounds Whiting 18 pounds Umber 4 pounds Oxide of zinc 7 pounds Purple oxide of iron 1 pound

Blood Red.—

Crocus martis 30 pounds Whiting 20 pounds Hematite 3 pounds Silica 6 pounds Venetian red 2 pounds

Drab.—

Yellow ocher 40 pounds Whiting 10 pounds Oxide of zinc 8 1⁠/⁠2 pounds Sulphate of barytes 1 pound

«Paint for Blackboards.»—

Shellac 1 pound Alcohol 1 gallon Lampblack (fine quality) 4 ounces Powdered emery 4 ounces Ultramarine blue 4 ounces

Dissolve the shellac in the alcohol. Place the lampblack, emery, and ultramarine blue on a cheese-cloth strainer, pour on part of the shellac solution, stirring constantly and gradually adding the solution until all of the powders have passed through the strainer.

«Dark-Green Paint for Blackboards.»—Mix 1 part Prussian blue and 1 part chrome green with equal parts of gilders’ size and alcohol to a thin cream consistency. Apply with a large, stiff brush and after an hour a second coat is given. After 24 to 48 hours smooth the surface with a felt cloth. This renders it rich and velvety. The shade must be a deep black green and the quantities of the colors have to be modified accordingly if necessary. Old blackboards should be previously thoroughly cleaned with soda.

«BRONZING SOLUTIONS FOR PAINTS.»

I.—The so-called “banana solution” (the name being derived from its odor) which is used in applying bronzes of various kinds, is usually a mixture of equal parts of amyl acetate, acetone, and benzine, with just enough pyroxyline dissolved therein to give it body. Powdered bronze is put into a bottle containing this mixture and the paint so formed applied with a brush. The thin covering of pyroxyline that is left after the evaporation of the liquid protects the bronze from the air and keeps it from being wiped off by the cleanly housemaid. Tarnished picture frames and tarnished chandeliers to which a gold bronze has been applied from such a solution will look fresh and new for a long time. Copper bronze as well as gold bronze and the various colored bronze powders can be used in the “banana solution” for making very pretty advertising signs for use in the drug store. Lettering and bordering work upon the signs can be done with it. Several very small, stiff painters’ brushes are needed for such work and they must {490} be either kept in the solution when not in use, or, better still, washed in benzine or acetone immediately after use and put away for future service. As the “banana solution” is volatile, it must be kept well corked.

II.—A good bronzing solution for paint tins, applied by dipping, is made by dissolving Syrian asphaltum in spirits of turpentine, etc., and thinning it down with these solvents to the proper bronze color and consistency. A little good boiled oil will increase the adherence.

«Paint Brushes.»—To soften a hard paint brush, stand the brush overnight in a pot of soft soap and clean in warm water. Afterwards clean in benzine. If the brush is wrapped with a string do not let the string touch the soap.

Paint brushes which have dried up as hard as stone can be cleaned in the following manner: Dissolve 1 part soda in 3 parts water; pour the solution in a cylinder glass, and suspend in it the brushes to be cleaned, so that they are about 2 inches from the bottom of the vessel. Let it remain undisturbed at a temperature of 140° to 158° F., 12 to 24 hours, after which the most indurated brushes will have become soft, so that they can be readily cleaned with soap. It is essential, however, to observe the temperature, as bristle brushes will be injured and spoiled if the heat is greater.

«Black.—A Permanent Black of Rich Luster for Metal Boxes.»—Dissolve chlorate of potassium and blue vitriol, equal parts, in 36 times as much water, and allow the solution to cool. The parts to be blacked may be either dipped in the solution, or the solution may be flowed on and allowed to remain until the metal becomes black, after which the fixtures should be rinsed in clean water and allowed to dry. Those parts of the surface which show imperfections in the black should be recoated.

«Dead White on Silver Work, etc.»—Bruise charcoal very finely and mix it with calcined borax in the proportion of 4 parts of charcoal to 1 of borax. Of this make a paste with water; apply this paste on the parts to be deadened; next expose the piece to the fire of well-lit coal until it acquires a cherry-red shade; allow to cool and then place it in water slightly acidulated with sulphuric acid. The bath must not be more than 5° Bé. Leave the piece in the bath about 2 hours, then rinse off several times.

«White Coating for Signs, etc.»—A white color for signs and articles exposed to the air is prepared as follows for the last coat: Thin so-called Dutch “stand” oil with oil of turpentine to working consistency, and grind in it equal parts of zinc white and white lead, not adding much siccative, as the white lead assists the drying considerably. If the paint is smoothed well with a badger brush, a very durable white color of great gloss is obtained. Linseed oil, or varnish which has thickened like “stand” oil by long open storing, will answer equally well.

«To Prevent Crawling of Paints.»—Probably the best method to pursue will be to take an ordinary flannel rag and carefully rub it over the work previous to varnishing, striping, or painting. This simple operation will obviate the possibility of crawling.

In some instances, however, crawling may be traced to a defective varnish. The latter, after drying evenly on a well-prepared paint surface will at times crawl, leaving small pitmarks. For this, the simple remedy consists in purchasing varnish from a reputable manufacturer.

«FIREPROOF PAINTS:»

See also Fireproofing.

Fireproofing paints of effective quality are prepared in different ways. Naturally no oily or greasy substances enter into their composition, the blending agent being simply water.

I.—One of the standing paints consists of 40 pounds of powdered asbestos, 10 pounds of aluminate of soda, 10 pounds of lime, and 30 pounds of silicate of soda, with the addition of any non-rosinous coloring matter desired. The whole is thoroughly mixed with enough water to produce a perfect blend and render an easy application. Two or more coats of this is the rule in applying it to any wood surface, inside or outside of building.

II.—Another formula involves the use of 40 pounds of finely ground glass, a like amount of ground porcelain, and similarly of China clay or the same quantity of powdered asbestos, and 20 pounds of quicklime. These materials are ground very fine and then mixed in 60 pounds of liquid silicate of soda with water, as in the preceding formula. Two or more coats, if necessary, are given.

Each of these paints is applied with a brush in the ordinary way, the drying being accomplished in a few hours, and, if coloring matter is desired, the above proportions are varied accordingly.

III.—A surface coated with 3 coats of water glass, these 3 coats being {491} subsequently coated with water glass containing enough whiting or ground chalk to make it a trifle thicker than ordinary paint, is practically non-inflammable, only yielding to fierce consuming flames after a somewhat protracted exposure.

IV.—Zinc white, 70 pounds; air-slaked lime, 39 pounds; white lead, 50 pounds; sulphate of zinc, 10 pounds; silicate of soda, 7 gallons. The zinc white and lime are mixed together, then ground in elastic oil, after which the silicate of soda is added, this addition being followed by the white lead and sulphate of zinc. This white paint can be colored to meet any desired shade and it may be classed as a good working paint and probably fireproof to the same extent that most of the pretentiously sounded pigments on the markets are.

«Fireproof and Waterproof Paints.»—The following recipes are claimed to resist both fire and water: A preparation for protecting wood against the action of fire and of moisture, and also for producing on the surface of wood and metal a coat, insulating with reference to electricity and preservative from corrosion, has been introduced in France by Louis Bethisy and Myrthil Rose. The bases or fundamental raw materials quite distinct from those hitherto employed for the same purpose, are 100 parts, by weight, of nitro-cellulose and 30 parts, by weight, of chloride of lime, dissolved in 50 per cent alcohol.

Preparation of the Bases.—The cellulose (of wood, paper, cotton, linen, ramie, or hemp) is put in contact with two-thirds part of sulphuric acid of 66° Bé. and one-third part of nitric acid of 42° Bé. for some 20 or 30 minutes, washed with plenty of water, and kept for 24 hours in a tank of water supplied with an energetic current.

The nitro-cellulose thus obtained is bleached for this purpose; a double hypochlorite of aluminum and magnesium is employed. This is obtained by grinding together 100 parts of chloride of lime, 60 parts of aluminum sulphate, 23 parts of magnesium sulphate, with 200 parts of water.

When the nitro-cellulose is bleached and rewashed, it is reduced to powder and dried as thoroughly as possible. It is then placed in a vat hermetically closed and put in contact with the indicated proportion of calcium chloride dissolved in alcohol. This solution of calcium chloride should be prepared at least 24 hours in advance and filtered.

Composition of the Coating.—This has the following constituents: Bases (nitro-cellulose and solution of calcium chloride), 1 part; amyl acetate (solvent of the bases), 5 parts, by weight; sulphuric ether of 65°, 1.650 parts, by weight; alcohol, 0.850 parts, by weight; one of these powders, alum, talc, asbestos, or mica, 0.100 parts. Other solvents may be employed instead of amyl acetate; for example, acetone, acetic acid, ether alcohol, or methylic alcohol. The ether alcohol furnishes a product drying very quickly. If a very pliant coating is desired, the amyl acetate is employed preferably, with addition of vaseline oil, 0.20 parts, and lavender oil, 0.010 parts.

Method of Operating.—The sulphuric acid is mixed with the alcohol, and left for an hour in contact, shaking from time to time. Afterwards the amyl acetate is added, and left in contact for another hour under similar agitation. In case of the employment of vaseline oil and lavender oil, these two are mingled in ether alcohol. The base is introduced and left in contact for 24 hours, with frequent agitation. The fluidity of the product is augmented by increasing the quantity of the solvent.

Properties.—Wood covered with this coating is fireproof, non-hygrometric, and refractory to the electric current. It also resists the action of acids and alkalies. Metals covered with it are sheltered from oxidation, and effectually insulated on their surface from the electric current. The coating is liquid in form, and applied like collodions, either by the brush or by immersion or other suitable method.