Part 93

«Lead Paper.»—Lay rough drawing paper (such as contains starch) on an 8 per cent potassium iodide solution. After a moment take it out and dry. Next, in a dark room, float the paper face downward on an 8 per cent lead nitrate solution. This sensitizes the paper. Dry again. The paper is now ready for printing. This process should be carried on till all the detail is out in a grayish color. Then develop in a 10 per cent ammonium chloride solution. The tones obtained are of a fine blue black.

«Aluminum Paper.»—Aluminum paper is not leaf aluminum, but real paper glazed with aluminum powder. It is said to keep food materials fresh. The basic material is artificial parchment, coated with a solution of rosin in alcohol or ether. After drying, the paper is warmed until the rosin has again softened to a slight degree. The aluminum powder is dusted on and the paper then placed under heavy pressure to force the powder firmly into it. The metallic coating thus formed is not affected by air or greasy substances.

PAPER (ANTI-RUST) FOR NEEDLES: See Rust Preventives.

PAPER CEMENTS: See Adhesives.

PAPER DISINFECTANT: See Disinfectants.

PAPER, FIREPROOF: See Fireproofing.

PAPER, FROSTED: See Glass (Frosted).

PAPER ON GLASS, TO AFFIX: See Adhesives, under Water-Glass Cements.

PAPERS, IGNITING: See Pyrotechnics.

PAPER ON METALLIC SURFACES, PASTING: See Adhesives.

PAPER AS PROTECTION FOR IRON AND STEEL: See Rust Preventives.

PAPERHANGERS’ PASTES: See Adhesives.

PAPER, PHOTOGRAPHIC: See Photography.

PAPER VARNISHES: See Varnishes.

PAPER WATERPROOFING: See Waterproofing.

PAPIER MACHÉ: See Paper.

«PARAFFINE:»

«Rendering Paraffine Transparent.»—A process for rendering paraffine and its mixtures with other bodies (ceresine, etc.) used in the manufacture of transparent candles consists essentially in adding a {508} naphthol, particularly beta-naphthol, to the material which is used for the manufacture of the candles, tapers, etc. The quantity added varies according to the material and the desired effect. One suitable mixture is made by heating 100 parts of paraffine and 2 parts of beta-naphthol at 175° to 195° F. The material can be colored in the ordinary way.

«Removal of Dirt from Paraffine.»—Filtration through felt will usually remove particles of foreign matter from paraffine. It may be necessary to use a layer of fine sand or of infusorial earth. If discolored by any soluble matter, try freshly heated animal charcoal. To keep the paraffine fluid, if a large quantity is to be handled, a jacketed funnel will be required, either steam or hot water being kept in circulation in the jacket.

«Paraffine Scented Cakes.»

Paraffine, 1 ounce; white petrolatum, 2 ounces; heliotropin, 10 grains; oil of bergamot, 5 drops; oil of lavender, 5 drops; oil of cloves, 2 drops. Melt the first two substances, then add the next, the oils last, and stir all until cool. After settling cut into blocks and wrap in tin foil. This is a disseminator of perfume. It perfumes where it is rubbed. It kills moths and perfumes the wardrobe. It is used by rubbing on cloth, clothes, and the handkerchief.

PARCHMENT AND PARCHMENT PAPER: See Paper.

PARCHMENT CEMENT: See Adhesives.

PARCHMENT PASTE: See Adhesives.

PARFAITS: See Ice Creams.

PARFAIT D’AMOUR CORDIAL: See Wines and Liquors.

PARIS GREEN: See Pigments.

PARIS RED: See Polishes.

PARIS SALTS: See Disinfectants.

PARISIAN CEMENT: See Adhesives.

«PASSE-PARTOUT FRAMING.»

It is hardly correct to call the passe-partout a frame, as it is merely a binding together of the print, the glass, and the backing with a narrow edge of paper. This simple arrangement lends to the picture when complete a much greater finish and a more important appearance than might be anticipated.

In regard to the making of a passe-partout frame, the first thing is to decide as to the width of the mount or matt to be used. In some cases, of course, the print is framed with no mount being visible; but, unless the picture is of large size, it will usually be found more becoming to have one, especially should the wall paper be of an obtrusive design. When the print and mount are both neatly trimmed to the desired size, procure a piece of clear white picture glass—most amateur framers will have discovered that there is a variance in the quality of this—and a piece of stout cardboard, both of exactly the same dimensions as the picture. Next prepare or buy the paper to be used for binding the edges together. This may now be bought at most all stationery stores in a great variety of colors. If it is prepared at home a greater choice of colors is available, and it is by no means a difficult task with care and sharp scissors. The tint should be chosen to harmonize with the print and the mount, taking also into consideration the probable surroundings—brown for photographs of brown tone, dark gray for black, pale gray for lighter tones; dark green is also a good color. All stationers keep colored papers suitable for the purpose, while plain wall papers or thin brown paper answers equally well.

Cut the paper, ruling it carefully, into even strips an inch wide, and then into four pieces, two of them the exact length of the top and bottom of the frame, and the other two half an inch longer than the two sides. Make sure that the print is evenly sandwiched between the glass and the back. Cut some tiny strips of thin court-plaster, and with these bind the corners tightly together. Brush over the two larger pieces of paper with mountant, and with them bind tightly together the three thicknesses—print, glass, and cardboard—allowing the paper to project over about a third of an inch on the face side, and the ends which were left a little longer must be neatly turned over and stuck at the back. Then, in the same manner, bind the top and bottom edges together, mitering the corners neatly.

It should not be forgotten, before binding the edges together, to make two slits in the cardboard back for the {509} purpose of inserting little brass hangers, having flat ends like paper fasteners, which may be bought for the purpose; or, where these are not available, two narrow loops of tape may be used instead, sticking the ends firmly on the inside of the cardboard by means of a little strong glue.

These are the few manipulations necessary for the making of a simple passe-partout frame, but there are numberless variations of the idea, and a great deal of variety may be obtained by means of using different mounts. Brown paper answers admirably as a mount for some subjects, using strips of paper of a darker shade as binding. A not too obtrusive design in pen and ink is occasionally drawn on the mount, while a more ambitious scheme is to use paint and brushes in the same way. An ingenious idea which suits some subjects is to use a piece of hand-blocked wall paper as a mount.

PARQUET POLISH: See Polishes.

«PASTES:»

See Adhesives for Adhesive Purposes.

«Pastes, Razor.»—I.—From jewelers’ rouge, plumbago, and suet, equal parts, melted together and stirred until cold.

II.—From prepared putty powder (levigated oxide of tin), 3 parts; lard, 2 parts; crocus martis, 1 part; triturated together.

III.—Prepared putty powder, 1 ounce; powdered oxalic acid, 1⁠/⁠4 ounce; powdered gum, 20 grains; make a stiff paste with water, quantity sufficient, and evenly and thinly spread it over the strop, the other side of which should be covered with any of the common greasy mixtures. With very little friction this paste gives a fine edge to the razor, and its action is still further increased by slightly moistening it, or even breathing on it. Immediately after its use, the razor should receive a few turns on the other side of the strop.

PASTE FOR PAPER: See Paper.

PASTES FOR POLISHING METALS: See Soaps.

PASTEBOARD CEMENT: See Adhesives.

PASTEBOARD DEODORIZERS: See Household Formulas.

PASTILLES, FUMIGATING: See Fumigants.

PATINAS: See Bronzing and Plating.

PATENT LEATHER: See Leather.

PEACH EXTRACT: See Essences and Extracts.

PEARLS, TO CLEAN: See Cleaning Preparations and Methods.

«PEGAMOID.»

Camphor, 100 parts; mastic, 100 parts; bleached shellac, 50 parts; gun cotton, 200 parts; acetone, 200 parts; acetic ether, 100 parts; ethylic ether, 50 parts.

PEN METAL: See Alloys.

PENCILS, ANTISEPTIC: See Antiseptics.

PENCILS FOR MARKING GLASS: See Etching, Frosted Glass, and Glass.

PENS, GOLD: See Gold.

PEONY ROOTS, THEIR PRESERVATION: See Roots.

«PERCENTAGE SOLUTION.»

Multiply the percentage by 5; the product is the number of grains to be added to an ounce of water to make a solution of the desired percentage. This is correct for anything less than 15 per cent.

«Perfumes»

«DRY PERFUMES:»

«Sachet Powders.»—

I.—Orris root 6 ounces Lavender flowers 2 ounces Talcum 4 drachms Musk 20 grains Terpinol 60 grains

II.—Orange peel 2 ounces Orris root 1 ounce Sandalwood 4 drachms Tonka 2 drachms Musk 6 grains

{510}

«Lavender Sachets.»—

I.—Lavender flowers 16 ounces Gum benzoin 4 ounces Oil lavender 2 drachms

II.—Lavender flowers, 150 parts; orris root, 150 parts; benzoin, 150 parts; Tonka beans, 150 parts; cloves, 100 parts; “Neugenwerz,” 50 parts; sandalwood, 50 parts; cinnamon, 50 parts; vanilla, 50 parts; and musk, 1⁠/⁠2 part. All is bruised finely and mixed.

«Violet Sachet.»—

Powdered orris root 500 parts Rice flour 250 parts Essence bouquet 10 parts Spring flowers extract 10 parts Violet extract 20 parts Oil of bergamot 4 parts Oil of rose 2 parts

«Borated Talcum.»—

I.—Purified talcum, N. F. 2 pounds Powdered boric acid 1 ounce

To perfume add the following:

Powdered orris root 1 1⁠/⁠2 ounces Extract jasmine 2 drachms Extract musk 1 drachm

II.—A powder sometimes dispensed under this name is the salicylated powder of talcum of the National Formulary, which contains in every 1,000 parts 30 parts of salicylic acid and 100 parts of boric acid.

«Rose.»—

I.—Cornstarch 9 pounds Powdered talc 1 pound Oil of rose 80 drops Extract musk 2 drachms Extract jasmine 6 drachms

II.—Potato starch 9 pounds Powdered talc 1 pound Oil rose 45 drops Extract jasmine 1⁠/⁠2 ounce

«Rose Talc.»—

I.—Powdered talc 5 pounds Oil rose 50 drops Oil wintergreen 4 drops Extract jasmine 2 ounces

II.—Powdered talc 5 pounds Oil rose 32 drops Oil jasmine 4 ounces Extract musk 1 ounce

«Violet Talc.»—

I.—Powdered talc 14 ounces Powdered orris root 2 ounces Extract cassie 1⁠/⁠2 ounce Extract jasmine 1⁠/⁠4 ounce Extract musk 1 drachm

II.—Starch 5,000 parts Orris root 1,000 parts Oil of lemon 14 parts Oil of bergamot 14 parts Oil of clove 4 parts

«Smelling Salts.»—I.—Fill small glasses having ground stopper with pieces of sponge free from sand and saturate with a mixture of spirit of sal ammoniac (0.910), 9 parts, and oil of lavender, 1 part. Or else fill the bottles with small dice of ammonium sesquicarbonate and pour the above mixture over them.

II.—Essential oil of lavender 18 parts Attar of rose 2 parts Ammonium carbonate 480 parts

«Violet Smelling Salts.»—I.—Moisten coarsely powdered ammonia carbonate, contained in a suitable bottle, with a mixture of concentrated tincture of orris root, 2 1⁠/⁠2 ounces; aromatic spirit of ammonia, 1 drachm; violet extract, 3 drachms.

II.—Moisten the carbonate, and add as much of the following solution as it will absorb: Oil of orris, 5 minims; oil of lavender flowers, 10 minims; violet extract, 30 minims; stronger water of ammonia, 2 fluidounces.

«To Scent Advertising Matter, etc.»—The simplest way of perfuming printed matter, such as calendars, cards, etc., is to stick them in strongly odorous sachet powder. Although the effect of a strong perfume is obtained thereby, there is a large loss of powder, which clings to the printed matter. Again, there are often little spots which are due to the essential oils added to the powder.

Another way of perfuming, which is used especially in France for scenting cards and other articles, is to dip them in very strong “extraits d’odeur,” leaving them therein for a few days. Then the cards are taken out and laid between filtering paper, whereupon they are pressed vigorously, which causes them not only to dry, but also to remain straight. They remain under strong pressure until completely dry.

Not all cardboard, however, can be subjected to this process, and in its choice one should consider the perfuming operation to be conducted. Nor can the cards be glazed, since spirit dissolves the glaze. It is also preferable to have lithographed text on them, since in the case of ordinary printing the letters often partly disappear or the colors are changed. {511}

For pocket calendars, price lists, and voluminous matter containing more leaves than one, another process is recommended. In a tight closet, which should be lined with tin, so that little air can enter, tables composed of laths are placed on which nets stretched on frames are laid. Cover these nets with tissue paper, and proceed as follows: On the bottom of the closet sprinkle a strongly odorous and reperfumed powder; then cover one net with the printed matter to be perfumed and shove it to the closet on the lath. The next net again receives powder, the following one printed matter, and so on until the closet is filled. After tightly closing the doors, the whole arrangement is left to itself. This process presents another advantage in that all sorts of residues may be employed for scenting, such as the filters of the odors and infusions, residues of musk, etc. These are simply laid on the nets, and will thus impart their perfume to the printed matter.

Such a scenting powder is produced as follows:

By weight

Iris powder, finely ground 5,000 parts Residues of musk 1,000 parts Ylang-ylang oil 10 parts Bergamot oil 50 parts Artificial musk 2 parts Ionone 2 to 5 parts Tincture of benzoin 100 parts

The powder may subsequently be employed for filling cheap sachets, etc.

«LIQUID PERFUMES:»

«Coloring Perfumes.»—Chlorophyll is a suitable agent for coloring liquid perfumes green. Care must be taken to procure an article freely soluble in the menstruum. As found in the market it is prepared (in form of solutions) for use in liquids strongly alcoholic; in water or weak alcohol; and in oils. Aniline greens of various kinds will answer the same purpose, but in a trial of any one of these it must be noted that very small quantities should be used, as their tinctorial power is so great that liquids in which they are incautiously used may stain the handkerchief.

Color imparted by chlorophyll will be found fairly permanent; this term is a relative one, and not too much must be expected. Colors which may suffer but little change by long exposure to diffused light may fade perceptibly by short exposure to the direct light of the sun.

Chlorophyll may be purchased or it may be prepared as follows: Digest leaves of grass, nettles, spinach, or other green herb in warm water until soft; pour off the water and crush the herb to a pulp. Boil the pulp for a short time with a half per cent solution of caustic soda, and afterwards precipitate the chlorophyll by means of dilute hydrochloric acid; wash the precipitate thoroughly with water, press and dry it, and use as much for the solution as may be necessary. Or a tincture made from grass as follows may be employed:

Lawn grass, cut fine 2 ounces Alcohol 16 ounces

Put the grass in a wide-mouthed bottle, and pour the alcohol upon it. After standing a few days, agitating occasionally, pour off the liquid. The tincture may be used with both alcoholic and aqueous preparations.

Among the anilines, spirit soluble malachite green has been recommended.

A purple or violet tint may be produced by using tincture of litmus or ammoniated cochineal coloring. The former is made as follows:

Litmus 2 1⁠/⁠2 ounces Boiling water 16 ounces Alcohol 3 ounces

Pour the water upon the litmus, stir well, allow to stand for about an hour, stirring occasionally, filter, and to the filtrate add the alcohol.

The aniline colors “Paris violet” or methyl violet B may be similarly employed. The amount necessary to produce a desired tint must be worked out by experiment. Yellow tints may best be imparted by the use of tincture of turmeric or saffron, fustic, quercitron, etc.

If a perfumed spirit, as, for instance, a mouth wash, is poured into a wineglassful of water, the oils will separate at once and spread over the surface of the water. This liquid being allowed to stand uncovered, one oil after another will evaporate, according to the degree of its volatility, until at last the least volatile remains behind.

This process sometimes requires weeks, and in order to be able to watch the separate phases of this evaporation correctly, it is necessary to use several glasses and to conduct the mixtures at certain intervals. The glasses must be numbered according to the day when set up, so that they may be readily identified.

If we assume, for example, that a mouth wash is to be examined, we may probably prepare every day for one week a mixture of about 100 grams of water and 10 drops of the respective liquid. Hence, after a lapse of 7 days {512} we will have before us 7 bouquets, of different odor, according to the volatility of the oils contained in them. From these different bouquets the qualitative composition of the liquid may be readily recognized, provided that one is familiar enough with the character of the different oils to be able to tell them by their odors.

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

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

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

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

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

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

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

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

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

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

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

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

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