made {133} of a more even hardness throughout by warming it, as in
tempering steel; but the heat must not be nearly so great. Brass,
heated to the blue heat of steel, is almost soft again. To soften
brass, heat it nearly to a dull red and allow it to cool, or, if time
is an object, it may be cooled by plunging into water.
«Drawing Temper from Brass.»—Brass is rendered hard by hammering or
rolling, therefore when a brass object requires to be tempered the
material must be prepared before the article is shaped. Temper may be
drawn from brass by heating it to a cherry red and then simply plunging
it into water, the same as though steel were to be tempered.
BRASS, FASTENING PORCELAIN TO: See Adhesives.
BRASS POLISHES: See Polishes.
BRASS SOLDERS: See Solders.
BRASS BRONZING: See Plating.
BRASS CLEANERS: See Cleaning Preparations and Methods.
BRASS PLATINIZING: See Plating.
BRASS, SAND HOLES IN: See Castings.
BRASSING: See Plating.
BREAD, DOG: See Dog Biscuit.
«BREATH PERFUMES:»
See also Dentifrices.
«Remedies for Fetid Breath.»—Fetid breath may be due to the expelled
air (i. e., to disease of the respirational tract), to gases thrown
off from the digestive tract, or to a diseased mouth. In the first two
cases medication must be directed to the causative diseases, with the
last, antisepsis principally and the neutralization of the saliva, also
the removal of all residual food of dental caries.
I.—Potassium permanganate 1 part
Distilled water 10 parts
Mix and dissolve. Add from 5 to 8 drops of this solution to a glass of
water and with it gargle the mouth.
II.—Infusion of salvia 250 parts
Glycerine 30 parts
Tincture of myrrh 12 parts
Tincture of lavender 12 parts
Labarraque’s solution 30 parts
Mix. Rinse the mouth frequently with this mixture.
III.—Decoction of chamomile 30 parts
Glycerine 80 parts
Chlorinated water 15 parts
Mix. Use as a gargle and mouth wash.
IV.—Peppermint water 500 parts
Cherry-laurel water 60 parts
Borax 25 parts
Mix and dissolve. Use as gargle and mouth wash.
V.—Thymol 3 parts
Spirit of cochlearia 300 parts
Tincture of rhatany 100 parts
Oil of peppermint 15 parts
Oil of cloves 10 parts
Mix. Gargle and wash mouth well with 10 drops in a glass of water.
VI.—Salol 5 parts
Alcohol 1,000 parts
Tincture of white canella 30 parts
Oil of peppermint 1 part
Mix. Use as a dentifrice.
VII.—Hydrogen peroxide 25 parts
Distilled water 100 parts
Mix. Gargle the mouth twice daily with 2 tablespoonfuls of the mixture
in a glass of water.
VIII.—Sodium bicarbonate 2 parts
Distilled water 70 parts
Spirit of cochlearia 30 parts
Mix a half-teaspoonful in a wineglassful of water. Wash mouth two or
three times daily.
«BRICK STAIN.»
To stain brick flat the color of brownstone, add black to Venetian red
until the desired shade is obtained. If color ground in oil is used,
thin with turpentine, using a little japan as a drier. If necessary to
get the desired shade add yellow ocher to the mixture of red and black.
If the work is part old and part new, rub the wall down, using a brick
{134} for a rubber, until the surface is uniform, and keep it well wet
while rubbing with cement water, made by stirring Portland cement into
water until the water looks the color of the cement. This operation
fills the pores of the brick and makes a smooth, uniform surface to
paint on. Tinge the wash with a little dry Venetian red and lampblack.
This will help bring the brick to a uniform color, so that an even
color can be obtained with one coat of stain.
BRICKS: See Ceramics.
BRICKS OF SAND-LIME: See Stone, Artificial.
BRICK POLISHES: See Polishes.
BRICK WALLS, TO CLEAN: See Cleaning Preparations and Methods and
Household Formulas.
BRICK WATERPROOFING: See Waterproofing.
BRICKMAKERS’ NOTES: See Ceramics.
BRIDGE PAINT: See Paint.
BRILLIANTINE: See Hair Preparations.
BRIMSTONE (BURNING): See Pyrotechnics.
BRIONY ROOTS: THEIR PRESERVATION: See Roots.
BRITANNIA METAL: See Alloys.
BRITANNIA METAL, TO CLEAN: See Cleaning Preparations and Methods.
BRITANNIA, SILVERPLATING: See Plating.
BROMINE, ANTISEPTIC: See Antiseptics.
«BROMOFORM.»
Bromoform is insoluble in dilute alcohol, but may be dissolved by the
aid of glycerine. The following formula has been devised:
Bromoform 1 part
Alcohol 2 parts
Compound tincture of cardamon 2 parts
Glycerine 1 1/2 parts
Some other formulas are:
«Syrup of Bromoform.»—Bromoform, 5 parts; alcohol (95 per cent), 45
parts; glycerine, 150 parts; syrup, 800 parts. Mix in the order given
and place the container in warm water until the syrup becomes perfectly
clear.
«Emulsion of Bromoform.»—Add 3 parts of bromoform to 20 parts of
expressed oil of almond; emulsify this mixture in the usual manner
with 2 parts of powdered tragacanth, 4 parts of powdered acacia, and
sufficient water, using for the completed emulsion a total of 120 parts
of water, and add, finally, 4 parts of cherry-laurel water.
«Bromoform Rum.»—Bromoform, 1.2 parts; chloroform, 0.8 parts; rum,
sufficient to make 120 parts. Claimed to be an effective remedy in the
treatment of whooping cough.
BRONZES: See Alloys.
BRONZE CASTING: See Casting.
BRONZE, IMITATION: See Plaster.
BRONZE POLISHES: See Polishes.
BRONZE, RENOVATION OF: See Cleaning Compounds.
«Bronze Powders, Liquid Bronzes, Bronze Substitutes, and Bronzing»
«BRONZE POWDERS.»
Gold bronze is a mixture of equal parts of oxide of tin and sulphur,
which are heated for some time in an earthen retort. Silver bronze is
a mixture of equal parts of bismuth, tin, and mercury, which are fused
in a crucible, adding the mercury only when the tin and the bismuth are
in fusion. Next reduce to a very fine powder. To apply these bronzes,
white of egg, gum arabic, or varnish is used. It is preferable to apply
them dry upon one of the above-named mediums serving as size, than to
mix them with the liquids themselves, for in the latter case their
luster is impaired.
«Simple Coloring of Bronze Powder.»—In order to impart different
colors to {135} bronze powders, such as pale yellow, dark yellow to
copper red, the powder is heated with constant stirring in flat iron
pans until through the oxidation of the copper—the bronzes consist of
the brass powder of an alloy from which the so-called Dutch gold is
produced—the desired shade of color is reached. As a rule a very small
quantity of fat, wax, or even paraffine is added in this operation. The
bronze powders are employed to produce coatings or certain finishes on
metals themselves or to give articles of wood, stone, pasteboard, etc.,
a metallic appearance.
«General Directions for Bronzing.»—The choice of bronze powders is
determined by the degree of brilliancy to be obtained. The powder is
mixed with strong gum water or isinglass, and laid on with a brush or
pencil, almost but not absolutely dry. A piece of soft leather, wrapped
around the finger, is dipped into the powder and rubbed over the work;
when all this has been covered with the bronze it must be left to dry,
and the loose powder is then cleared away with a hair pencil.
«LIQUID BRONZES.»
«Liquid Bronzes.»—I.—For the production of liquid bronze, acid-free
varnish should be used, as bronze ground with ordinary varnish will
form verdigris. For the deacidification of dammar rosin pour 1,000
parts of petroleum benzine over 350 parts of finely ground dammar
rosin, and dissolve by repeated shaking. Next add to the solution 250
parts of a 10-per-cent aqueous solution of caustic soda and shake up
well for 10 minutes. After standing for a short time two strata will
have formed, the upper one consisting of benzine-rosin solution and
the lower, aqueous one containing the resinic acid dissolved as soda
salts. Pour off the benzine layers and agitate again assiduously with
250 parts of the 10-per-cent caustic-soda solution. Now set aside for a
complete classification and separation of the two liquids. The dammar
solution siphoned off will be perfectly free from acid. To obtain
gold-bronze varnish add to the deacidified dammar solution about 250
parts of bronze or brocade per liter.
II.—Or else carefully mix 100 parts of finely ground dammar rosin
with 30 parts of calcined soda and heat to fusion, in which state it
is maintained 2 or 3 hours with frequent stirring. Let cool, grind
the turbid mass obtained, and pour a little coal benzine or petroleum
benzine over it in a flask. By repeated shaking of the flask the
soluble portion of the molten mass is dissolved; filter after allowing
to settle; into the filtrate put 300 to 400 parts of bronze powder of
any desired shade, the brocades being especially well adapted for this
purpose. If the metallic powder remains distributed over the mass for a
long time it is of the right consistency; if it deposits quickly it is
too thin and a part of the solvent must be evaporated before stirring
in the bronze powder.
III.—A liquid bronze, which, while it contains no metallic constituent,
yet possesses a metallic luster and a bronze appearance, and answers
excellently for many purposes, is made as follows: Dissolve by the aid
of gentle heat 10 parts of aniline red and 5 parts of aniline purple in
100 parts of alcohol. When solution is complete, add 5 parts of benzoic
acid, raise the heat, and let boil from 5 to 10 minutes, or until the
greenish color of the mixture passes over to a clear bronze brown. For
“marbling” or bronzing paper articles, this answers particularly well.
«Incombustible Bronze Tincture.»—Finely pulverize 5 parts, by weight,
of prime Dammar rosin and 1.5 parts of ammonia soda. Heat gently,
and stir frequently, until no more carbonic acid bubbles up. Cool and
pulverize again. Put the powder into a glass carboy, and pour over it
50 parts of carbon tetrachloride; let this stand for 2 days, stirring
frequently. Then filter. Ten parts of the fluid are mixed with 5 parts
of metallic bronze of any desired shade, and put into bottles. Shake
well before using.
«General Formulas for Bronzing Preparations.»—I.—Take 240 parts
subacetate of copper, 120 parts oxide of zinc in powder form, 60 parts
borax, 60 parts saltpeter, and 3.5 parts corrosive sublimate. Prepare a
paste from it with oil, stir together, and continue working with boiled
linseed oil and turpentine.
II.—Dissolve 120 parts sulphate of copper and add 120 parts chipping
of tin; stir well and gather the precipitating copper. After complete
drying, grind very finely in boiled linseed oil and turpentine.
III.—Melt in a crucible 60 parts sulphur and 60 parts stannic acid;
stir with a clay tube until the mixture takes on the appearance of
Dutch gold and pour out. When cold mix the color with boiled linseed
oil and turpentine, adding a small quantity of drier. These three
bronzes must be covered with a pale, resistant {136} lacquer, otherwise
they will soon tarnish in rooms where gas is burned.
«Florentine Bronzes.»—I.—To produce a Florentine bronzing, apply to the
articles, which must have previously been dipped, a varnish composed
of cherry gum lac dissolved in alcohol. This varnish is put on with a
brush, and after that the bronzed piece is passed through the stove.
II.—If the article is of brass it must be given a coat of copper by
means of the battery. Next dip a brush in olive oil and brush the piece
uniformly; let dry for 5 or 6 hours and place in sawdust. Then heat the
article on a moderate charcoal dust fire.
«Preparation of French Bronze.»—French bronze may be prepared by
reducing to a powder hematite, 5 parts, and plumbago, 8 parts, and
mixing into a paste with spirit of wine. Apply the composition with
a soft brush to the article to be bronzed and set it aside for some
hours. By polishing with a tolerably hard brush the article will assume
the beautiful appearance of real bronze. The desired tint may be
regulated by the proportions of the ingredients.
«How to Bronze Metals.»—Prepare a solution of 1 1/2 ounces of sodium
hyposulphite in 1 pint of water and add to the same a solution of
1 1/2 ounces of lead acetate dissolved in 1 pint of water.
If, instead of lead acetate, an equal weight of sulphuric acid (1 1/2
ounces) is added to the sodium hyposulphite and the process carried on
as before, the brass becomes coated with a very beautiful red, which
changes to green, and finally a splendid brown with a green and red
iridescence. This last is a very durable coating and may be especially
recommended. It is very difficult to obtain exact shades by this
process without some experience. The thorough cleansing of all articles
from grease by boiling in potash is absolutely necessary to success.
By substituting other metal salts for the lead acetate many changes in
tints and quality of the coatings can also be effected.
When this mixture is heated to a temperature a little below the boiling
point it precipitates sulphide of lead in a state of fine division.
If some metal is present some of the lead is precipitated on the
surface and, according to the thickness of the layer, different colors
are produced. To produce an even color the articles must be evenly
heated. By immersion of brass articles for 5 minutes the same may be
coated with colors varying from gold to copper red, then to carmine,
dark red, and from light blue to blue white, and at last a reddish
white, depending on the time the metal remains in the solution and
the temperature used. Iron objects treated in this solution take a
steel-blue color, zinc a brown color. In the case of copper objects a
golden yellow cannot be obtained.
«New Bronzing Liquid.»—Dissolve 10 parts of fuchsine and 5 parts of
aniline purple in 100 parts of alcohol (95 per cent) and add to the
solution 5 parts of benzoic acid. Boil the whole for 10 minutes until
the color turns bronze brown. This liquid can be applied to all metals
and dries quickly.
«A Bronze for Brass.»—Immerse the articles, freed from dirt and grease,
in a cold solution of 10 parts of potassium permanganate, 50 parts of
iron sulphate, 5 parts of hydrochloric acid in 1,000 parts of water.
Let remain 30 seconds, then withdraw, rinse, and let dry in fine, soft
sawdust. If the articles have become too dark, or if a reddish-brown
color be desired, immerse for about 1 minute in a warm (140° F.)
solution of chromic acid, 10 parts; hydrochloric acid, 10 parts;
potassium permanganate, 10 parts; iron sulphate, 50 parts; water,
1,000 parts. Treat as before. If the latter solution alone be used
the product will be a brighter dark-yellow or reddish-brown color. By
heating in a drying oven the tone of the colors is improved.
«To Bronze Copper.»—This process is analogous to the one practiced at
the Mint of Paris for bronzing medals.
Spread on the copper object a solution composed of:
Acetate or chlorhydrate of ammonia 30 parts
Sea salt 10 parts
Cream of tartar 10 parts
Acetate of copper 10 parts
Diluted acetic acid 100 parts
Let dry for 24 to 48 hours at an ordinary temperature. The surface of
the metal will become covered with a series of varying tints. Brush
with a waxed brush. The green portions soaked with chlorhydrate of
ammonia will assume a blue coloring, and those treated with carbonate
will be thick and darkened.
«Bronzing and Patinizing of Small Zinc Articles.»—Coatings of bronze
tones and patina shades may be produced on zinc by means of various
liquids, but the {137} articles, before being worked upon, should be
rubbed down with very fine glass or emery paper, to make them not only
perfectly metallic, but also somewhat rough, as a consequence of which
the bronze or patina coatings will adhere much better. The best bronze
or patina effects on bronze are obtained by electroplating the article
with a fairly thick deposit of brass rich in copper and then treating
it like genuine bronze. The solutions used, however, must always be
highly diluted, otherwise they may eat entirely through the thin
metallic coating.
«Bronzing of Zinc.»—Mix thoroughly 30 parts of sal ammoniac, 10 parts
of oxalate of potash, and 1,000 parts of vinegar. Apply with a brush or
a rag several times, until the desired tint is produced.
«Bronze Gilding on Smooth Moldings.»—A perfect substitute for dead
gilding cannot be obtained by bronzing, because of the radically
different reflection of the light, for the matt gilding presents to the
light a perfectly smooth surface, while in bronzing every little scale
of bronze reflects the light in a different direction. In consequence
of this diffusion of light, all bronzing, even the best executed,
is somewhat darker and dimmer than leaf gilding. This dimness, it is
true, extends over the whole surface, and therefore is not perceptible
to the layman, and cannot be called an evil, as the genuine leaf gold
is so spotted that a bronzed surface is cleaner than a gilt one. The
following process is the best known at present: Choose only the best
bronze, which is first prepared thick with pure spirit. Next add a
quantity of water and stir again. After the precipitation, which occurs
promptly, the water is poured off and renewed repeatedly by fresh
water. When the spirit has been washed out again in this manner, the
remaining deposit, i. e., the bronze, is thinned with clean, good gold
size. The bronze must be thin enough just to cover. The moldings are
coated twice, the second time commencing at the opposite end. Under no
circumstances should the dry, dead gilding give off color when grasping
it firmly. If it does that, either the size is inferior or the solution
too weak or the mixture too thick.
«Incombustible Bronze Tincture.»—Five parts of prime dammar rosin and
1.5 parts of ammonia soda, very finely pulverized. Heat gently, with
frequent stirring, until the evolution of carbonic acid ceases. Then
take from the fire, and when cool pulverize again. Put the powder into
a glass carboy, and pour over it 50 parts of carbon tetrachloride; let
this stand for 2 days, stirring frequently, then filter. Ten parts of
the fluid are to be mixed with each 5 parts of metallic bronze of any
desired shade, and put into bottles. Shake the tincture well before
using.
«Bronzing Engraved Ornaments.»—Take bronze and stir with it pale copal
varnish diluted one-half with turpentine. With this paint the ornaments
neatly. In 1/2 hour the bronze will have dried. The places from which
the bronze is to be removed, i. e., where the bronze has overrun the
polished surface, are dabbed with a small rag soaked with kerosene,
taking care that it is not too wet, so as to prevent the kerosene
from running into the ornament. After a short while the bronze will
have dissolved and can be wiped off with a soft rag. If this does not
remove it entirely, dab and wipe again. Finally finish wiping with
an especially soft, clean rag. Kerosene does not attack polish on
wood. The bronze must become dull and yet adhere firmly, under which
condition it has a hardened color. If it does not become dull the
varnish is too strong and should be diluted with turpentine.
«Durable Bronze on Banners.»—To render bronzes durable on banners,
etc., the ground must be primed with gum arabic and a little glycerine.
Then apply the bronze solution, prepared with dammar and one-tenth
varnish. Instead of gum arabic with glycerine, gelatine glue may also
be employed as an underlay.
«BRONZE SUBSTITUTES.»
The following recipe is used in making imitation gold bronzes:
Sandarac 50 parts
Mastic 10 parts
Venice turpentine 5 parts
Alcohol 135 parts
In the above dissolve:
Metanil yellow and gold orange 0.4 parts
and add
Aluminum, finely powdered 20 parts
and shake.
If a deeper shade is desired it is well to use ethyl orange and gold
orange in the same proportion, instead of the dyes.
For the production of imitation copper bronze take the above-mentioned
rosin mixture and dissolve therein only gold {138} orange 0.8 parts,
and add aluminum 20 parts, whereby a handsome copper color is produced.
Metanil yellow 0.4 parts without gold orange gives with the same amount
of lacquer a greenish tone of bronze. The pigments must not be made use
of in larger quantities, because the luster of the bronze is materially
affected. Only pigments of certain properties, such as solubility
in alcohol, relative constancy to reductive agents, are suitable;
unsuitable are, for instance, naphthol yellow, phenylene-diamin,
etc. Likewise only a lacquer of certain composition is fit for use,
other lacquers of commerce, such as zapon (celluloid) lacquer being
unsuitable. The bronzes prepared in this manner excel in luster and
color effect; the cost is very low. They are suitable for bronzing
low-priced articles, as tinware, toys, etc. Under the action of sun
and moisture the articles lose some of their luster, but objects kept
indoors such as figures of plaster of Paris, inkstands, wooden boxes,
etc., retain their brilliancy for years.
Some use powdered aluminum and yellow organic dyestuffs, such as
gold orange. These are employed together with a varnish of certain
composition, which imparts the necessary gloss to the mixture.
«BRONZE COLORING:»
«To Color Bronze.»—Bronze articles acquire handsome tempering colors by
heating. In order to impart an old appearance to new objects of bronze,
they may be heated over a flame and rubbed with a woolen rag dipped in
finely powdered graphite, until the desired shade is attained. Or else
a paste is applied on the article, consisting of graphite 5 parts and
bloodstone 15 parts, with a sufficient quantity of alcohol. After 24
hours brush off the dry powder. A hot solution composed of sal ammoniac
4 parts, sorrel salt 1 part, vinegar 200 parts, may also be brushed
on. Another way is to dip the pieces into a boiling solution of cupric
acetate 20 parts, and sal ammoniac 10 parts, dissolved in 60 to 100
parts of vinegar.
Patent bronzes (products colored by means of aniline dyes) have
hitherto been used in the manufacture of toys and _de luxe_ or fancy
paper, but makers of wall or stained paper have recently given their
attention to these products. Wall—or _moiré_—paper prepared with
these dyes furnishes covers or prints of silken gloss with a peculiar
double-color effect in which the metallic brilliancy characteristic
of bronze combines with the shades of the tar pigments used. Very
beautiful reliefs, giving rise to the most charming play of colors in
perpendicular or laterally reflected light, are produced by pressing
the paper lengths or web painted with aniline-bronze dyes. The brass
brocade and tin bronzes serve as bases for the aniline dyes; of the
tar pigments only basic aniline dyes soluble in alcohol are used. In
coloring the pulverized bronze care must be taken that the latter is
as free as possible from organic fats. Tar dyes should be dissolved
in as concentrated a form as possible in alcohol and stirred with the
bronze, the pigment being then fixed on the vehicle with an alcoholic
solution of tannin. The patent bronze is then dried by allowing the
alcohol to evaporate. This method of coloring is purely mechanical,
as the tar dyes do not combine with the metallic bronze, as is the
case with pigments in which hydrate of alumina is used. A coating of
aniline bronze of this kind is therefore very sensitive to moisture,
unless spread over the paper surface with a suitable protective binding
medium, or protected by a transparent coat of varnish, which of course
must not interfere with the special color effect.
«Pickle for Bronzes.»—Sulphuric acid, 1,000 parts; nitric acid, 500
parts; soot, 10 parts; sea salt, 5 parts.