perfectly dry and the copper or copper coating made brilliant, which
is produced by rubbing with a soft brush, put graphite over the piece
to be bronzed so that the copper is simply dyed. Wipe off the raised
portions with a damp cloth, so that the copper makes its appearance.
Next put on a thin coat of Japanese varnish; wipe the relief again and
let dry. Apply 1 or 2 coats after the first is perfectly dry. Handsome
smoked hues may be obtained by holding the bronze either over the dust
of lighted peat or powdered rosin thrown on lighted coal, so as to
obtain a smoke which will change the color of the varnish employed. The
varnish must be liquid enough to be worked easily, for this style of
bronzing is only applicable to brass.
«Green Bronze on Iron.»—Abietate of silver, 1 part; essence of
lavender, 19 parts. Dissolve the abietate of silver in the essence
of lavender. After the articles have been well pickled apply the
abietate-of-silver solution with a brush; next place the objects in a
stove and let the temperature attain about 150° C.
«Blue Bronze.»—Blue bronze is {139} produced by the wet process by
coloring white bronze (silver composition) with aniline blue. A
blue-bronze color can be produced in the ordinary way from white-bronze
color, the product of pure English tin, and with an alum solution
consisting of 20 parts of alum in 4,500 parts of water boiled for 5
hours and washed clean and dried. The bronze prepared in this manner
is placed in a porcelain dish, mixed with a solution of 15 parts of
aniline blue in 1,500 parts of alcohol, stirring the bronze powder and
liquid until the alcohol has evaporated entirely and the bronze color
becomes dry. This manipulation must be repeated 6 or 8 times, until the
desired blue shade is reached. When the bronze is dark enough it is
washed out in warm water, and before entirely dry 1 tablespoonful of
petroleum is poured on 2 pounds of bronze, which is intimately mixed
and spread out into a thin layer, exposed to the air, whereby the smell
is caused to disappear in a few days.
«Bronzing with Soluble Glass.»—To bronze wood, porcelain, glass, and
metal by means of a water-glass solution, coat the article with potash
water-glass of 30° Bé. and sprinkle on the respective bronze powder.
«Brown Oxidation on Bronze.»—Genuine bronze can be beautifully oxidized
by painting it with a solution of 4 parts of sal ammoniac and 1 part
of oxalium (oxalate of potash) in 200 parts of vinegar, allowing it
to dry, and repeating the operation several times. These articles,
protected against rain, soon lose the unpleasant glaring metallic
luster and assume instead a soft brown tint, which bronze articles
otherwise acquire only after several years’ exposure to the atmosphere.
A beautiful bronze color which will remain unaffected by heat can be
imparted to bronze articles by the following process: The object is
first washed in a solution of 1 part of crystallized verdigris and 2
parts of sal ammoniac in 260 parts of water, and then dried before an
open fire till the green color begins to disappear. The operation is
repeated 10 to 20 times, but with a solution of 1 part of verdigris
crystals and 2 parts of sal ammoniac in 600 parts of water. The color
of the article, olive green at first, gradually turns to brown, which
will remain unaltered even when exposed to strong heat.
«BRONZE POWDERS:»
See also Plating for general methods of bronzing, and Varnishes.
«Gold and Silver Bronze Powders.»—Genuine gold bronze is produced from
the waste and parings obtained in gold beating. The parings, etc., are
ground with honey or a gum solution, upon a glass plate or under hard
granite stones, into a very fine powder, which is repeatedly washed out
with water and dried. There are various shades of gold bronze, viz.,
red, reddish, deep yellow, pale yellow, as well as greenish. These
tints are caused by the various percentages of gold or the various
mixtures of the gold with silver and copper.
By the use of various salt solutions or acidulated substances other
shades can be imparted to bronze. In water containing sulphuric acid,
nitric acid, or hydrochloric acid, it turns a bright yellow; by
treatment with a solution of crystallized verdigris or blue vitriol in
water it assumes more of a reddish hue; other tints are obtained with
the aid of cooking salt, tartar, green vitriol, or saltpeter in water.
Gold bronze is also obtained by dissolving gold in aqua regia and
mixing with a solution of green vitriol in water, whereupon the gold
falls down as a metallic powder which may be treated in different
ways. The green vitriol, however, must be dissolved in boiling water
and mixed in a glass, drop by drop, with sulphuric acid and stirred
until the basic iron sulphate separating in flakes has redissolved.
Another way of producing gold bronze is by dissolving gold in aqua
regia and evaporating the solution in a porcelain dish. When it is
almost dry add a little pure hydrochloric acid and repeat this to
drive out all the free chlorine and to produce a pure hydrochlorate
of gold. The gold salt is dissolved in distilled water, taking 1/2
liter per ducat (3 1/2 grams fine gold); into this solution drop,
while stirring by means of a glass rod, an 8° solution (by Beaumé) of
antimony chloride, as long as a precipitate forms. This deposit is gold
bronze, which, dried after removal of all liquids, is chiefly employed
in painting, for bronzing, and for china and glass decoration.
Metallic gold powder is, furthermore, obtained by dissolving pure
and alloyed gold in aqua regia and precipitating it again by an
electro-positive metal, such as iron or zinc, which is placed in the
liquid in the form of rods. The gold is completely separated thereby.
The rods must be perfectly clean and polished bright. The color of
the gold bronze depends upon the proportions of the gold. In order
to further increase the brilliancy the dried substance may still be
ground. {140}
«Mosaic Gold.»—Mosaic gold, generally a compound of tin, 64.63 parts,
and sulphur, 35.37 parts, is odorless and tasteless, and dissolves
only in chlorine solution, aqua regia, and boiling potash lye. It is
employed principally for bronzing plaster-of-Paris figures, copper,
and brass, by mixing it with 6 parts of bone ashes, rubbing it on wet,
or applying it with varnish or white of egg in the preparation of gold
paper or for gilding cardboard and wood. Mosaic gold of golden-yellow
color is produced by heating 6 parts of sulphur and 16 parts of tin
amalgam with equal parts of mercury and 4 parts of sulphur; 8 parts of
precipitate from stannic muriate (stannic acid) and 4 parts of sulphur
also give a handsome mosaic gold.
The handsomest, purest, and most gold-like mosaic gold is obtained by
melting 12 parts of pure tin, free from lead, and mixing with 6 parts
of mercury to an amalgam. This is mixed with 7 parts of flowers of
sulphur and 6 parts of sal ammoniac, whereupon the mass is subjected
for several hours to a heat which at first does not attain redness, but
eventually when no more fumes are generated is increased to dark-red
heat. This operation is conducted either in a glass retort or in an
earthenware crucible. The sal ammoniac escapes first on heating, next
vermilion sublimates and some stannic chloride, while the mosaic gold
remains on the bottom, the upper layer, consisting of lustrous, golden,
delicately translucent leaflets, being the handsomest mosaic gold.
«Genuine Silver Bronze.»—This is obtained by the finely ground waste
from beating leaf silver or by dissolving silver in aqua fortis. This
solution is then diluted with water and brightly scoured copper plates
are put in, whereby the silver precipitates as a metallic powder.
«Imitation Silver Bronze.»—This is obtained through the waste in
beating imitation leaf silver, which, finely ground, is then washed
and dried. In order to increase the luster it is ground again in a dry
condition.
«Mosaic Silver.»—Mosaic silver is an amalgam of equal parts of mercury,
bismuth, and tin. One may also melt 50 parts of good tin in a crucible,
and as soon as it becomes liquid add 50 parts of bismuth, stirring all
with an iron wire until the bismuth is fused as well. As soon as this
occurs the crucible must be removed from the fire; then stir in, as
long as the contents are still liquid, 25 parts of mercury and mix the
whole mass evenly until it can be ground on a stone slab.
BRONZE VARNISHES: See Varnishes.
BRONZING SOLUTIONS FOR PAINTS: See Paints.
BRONZING OF WOOD: See Wood.
BROOCHES, PHOTOGRAPHS ON: See Photography.
BROWN OINTMENT: See Ointments.
BROWNING OF STEEL: See Plating.
BROWNSTONE, IMITATION: See Brick Stain.
BRUNETTE POWDER: See Cosmetics.
«Brushes»
«HOW TO TAKE CARE OF PAINT AND VARNISH BRUSHES.»
It is a good plan to fill the varnish brush before putting it in the
keeper.
Whitewash or kalsomine brushes should not be put into newly slaked lime
or hot kalsomine.
Cement-set brushes should never be put in any alcohol mixture, such as
shelacs and spirit stains.
Varnish brushes should be selected with a view to their possessing the
following qualities: 1st, excellence of material; 2d, excellence of
make, which includes fullness of hair or bristles and permanency of
binding; 3d, life and spring, or elasticity sufficient to enable the
varnisher to spread the varnish without reducing it with turpentine;
and 4th, springing, when in use, to a true chisel edge.
«Temperature for Brushes.»—The bristles of every brush are held in
place by the handle. It passes through the shank of the brush and
is kiln-dried to fit perfectly. If it shrinks, however, its outward
tension is lost and the bristles loosened. For this reason the first
principle in brush care is to keep the tool, when it is new or not
soaking, in a cool place, out of hot rooms, and any temperature that
would tend to shrink the wood of the handle.
«Cleaning Paint Brushes.»—No new brush should be dipped in the paint
and put to work without first being {141} cleaned. By working it with
a brisk movement back and forth through the hand most of the dust and
loose hairs will be taken out. A paint brush, when thus thoroughly dry
cleaned, should be placed in water for a few minutes, not long enough
to soak or swell it, but only until wet through, and then swung and
shaken dry. It is then ready to dip in the paint, and although some of
the hairs may still be loose, most of them will come out in the first
few minutes’ working and can be easily picked from the surface.
«Cleaning Varnish Brushes.»—Varnish brushes, and brushes used in
varnish stain, buggy paint, and all color in varnish require different
handling than paint brushes. They should be more thoroughly dry
cleaned, in order that all loose hairs may be worked out. After working
them through the hand it is a good thing to pass the brush back and
forth over a sheet of sandpaper. This rough surface will pull out the
loose bristles and smooth down the rough ends of the chisel point. The
brush should then be washed by working it for a few minutes in clean
turpentine and swinging it dry. It should never be put in water. For
carriage work and fine varnishing the brush should be broken in on the
rubbing coat in order to work out all the dust particles before it is
used on the finishing coats.
«Setting the Paint-Brush Bristles.»—For the first 2 or 3 days new
brushes require special care while at rest. They should be dipped in
raw oil or the paint itself and smoothed out carefully, then laid on
their sides over night. The chisel-pointed brushes should be set at an
incline, the handle supported just enough to allow the brush to lie
along the point. This is done to prevent twisting of the bristles, and
to keep the shape of the brush. It is necessary to do this only 2 or 3
times before the shape becomes set.
«Paint Brushes at Rest.»—An important principle in brush care is never
to leave the brush on end while at rest. Even for temporary rest during
a job the brush should never stand on end. At night it should always
be placed in a “brush-keeper”—a water-tight box, or a paint keg, with
nails driven through the sides on which the brushes can be suspended in
water. Holes are bored in the handles so the brush will hang free of
the bottom, but with the bristles entirely under water. Before placing
them in water the brushes should be wiped so as not to be too full of
paint, but not cleaned.
«Varnish Brushes at Rest.»—Varnish brushes should be kept at rest in
turpentine and varnish, or better, in some of the varnish that the
brush is used for. They should preferably not be kept in turpentine, as
that makes the brush “lousy”—roughening the bristles.
«Washing Brushes.»—All brushes should be washed in benzine or
turpentine and shaken dry—not whipped—when it is desired to change from
one color to another, or from one varnish to another.
«To Restore Brushes.»—A good remedy to restore lettering brushes which
have lost their elasticity and do not keep a point, is as follows:
Put the pencil in oil and brush it several times over a hot iron in
such a manner that the hairs touch the iron from each side; then dip
the pencil quickly in cold water.
«A Removable Binding.»—The bristle bunch of brushes is bound with rope
so as to keep them together for use. Instead of the twine, a covering
of rubber may be employed, which is easily slipped over the bristles
and can be conveniently removed again. The cleaning of the brush is
much facilitated thereby, and the breadth of the stripe to be drawn
with the brush can be accurately regulated, according to how far the
covering is slipped over the brush.
See also Cleaning Preparations and Methods.
BUBBLES IN GELATIN: See Gelatin.
BUBBLE (SOAP) LIQUID: See Soap Bubble Liquid.
«BUBBLES.»
Bubbles of air often adhere to molds immersed in depositing solutions.
They may be prevented by previously dipping the object into spirits
of wine, or be removed by the aid of a soft brush, or by directing a
powerful current of the liquid against them by means of a vulcanized
india-rubber bladder, with a long and curved glass tube attached to it;
but the liquid should be free from sediment.
BUG KILLERS: See Insecticides.
BUNIONS: See Corn Cures. {142}
«BURNS:»
See also Ointments and Turpentine.
«Mixture for Burns.»—I.—A mixture of castor oil with the white of egg
is recommended for burns. The eggs are broken into a bowl and the
castor oil slowly poured in while the eggs are beaten. Enough oil is
added to make a thick, creamy paste, which is applied to the burn. The
applications are repeated often enough to prevent their becoming dry or
sticky. Leave the surface uncovered.
II.—Put 27 parts, by measure, of menthol into 44 parts, by measure, of
witch hazel (distillate) and apply freely. A good plan is to bandage
the parts and wet the wrappings with this mixture.
III.—A very efficacious remedy for burns is a solution of cooking
salt in water. It is best to immerse fingers, hands, and arms in the
solution, which must be tolerably strong. For burns in the face and
other parts of the body, salt water poultices are applied.
«Butter»
(See also Foods.)
«Butter Color.»—Orlean, 80 parts, by weight; curcuma root (turmeric),
80 parts, by weight; olive oil, 240 parts, by weight; saffron, 1 part,
by weight; alcohol, 5 parts, by weight. The orlean and turmeric are
macerated with olive oil and expressed. The weight of the filtered
liquid is made up again to 240 parts, by weight, with olive oil, next
the filtered saffron-alcohol extract is added, and the alcohol is
expelled again by heating the mixture.
«Artificial Butter.»—I.—Carefully washed beef suet furnishes a basis
for the manufactures of an edible substitute for natural butter. The
thoroughly washed and finely chopped suet is rendered in a steam-heated
tank; 1,000 parts of fat, 300 parts of water, 1 part of potassium
carbonate, and 2 stomachs of pigs or sheep, are taken. The temperature
of the mixture is raised to 113° F. After 2 hours, under the influence
of the pepsin in the stomachs, the membranes are dissolved and the fat
is melted and rises to the top of the mixture. After the addition of a
little salt the melted fat is drawn off, stood to cool so as to allow
the stearine and palmitin to separate, and then pressed in bags in a
hydraulic press. Forty to 50 per cent of solid stearine remains, while
50 to 60 per cent of fluid oleopalmitin (so-called “oleomargarine”)
is pressed out. The “oleo oil” is then mixed with 10 per cent of its
weight of milk and a little butter color and churned. The product is
then worked, salted, and constituted the “oleomargarine,” or butter
substitute. Leaf lard can be worked in the same way as beef suet, and
will yield an oleopalmitin suitable for churning up into a butter
substitute.
II.—Fat from freshly slaughtered cattle after thorough washing is
placed in clean water and surrounded with ice, where it is allowed to
remain until all animal heat has been removed. It is then cut into
small pieces by machinery and cooked at a temperature of about 150° F.
(65.6° C.) until the fat in liquid form has separated from the tissue,
then settled until it is perfectly clear. Then it is drawn into the
graining vats and allowed to stand for a day, when it is ready for
the presses. The pressing extracts the stearine, leaving a product
commercially known as oleo oil which, when churned with cream or milk,
or both, and with usually a proportion of creamery butter, the whole
being properly salted, gives the new food product, oleomargarine.
III.—In making butterine use neutral lard, which is made from selected
leaf lard in a very similar manner to oleo oil, excepting that no
stearine is extracted. This neutral lard is cured in salt brine for
from 48 to 70 hours at an ice-water temperature. It is then taken and,
with the desired proportion of oleo oil and fine butter, is churned
with cream and milk, producing an article which when properly salted
and packed is ready for the market. In both cases coloring matter is
used, which is the same as that used by dairymen to color their butter.
At certain seasons of the year—viz., in cold weather, a small quantity
of sesame oil or salad oil made from cottonseed oil is used to soften
the texture of the product.
IV.—“Ankara” is a substance which in general appearance resembles a
good article of butter, being rather firmer at ordinary temperatures
than that substance, approaching the consistency of cocoa butter. It
is quite odorless, but in taste it resembles that of a fair article of
butter and, what is more, its behavior under heat is very similar to
that of butter—it browns and forms a sort of spume like that of fat.
Ankara consists of a base of cocoa butter, carrying about 10 per cent
of milk, colored with yolk of egg. While not derived from milk, on the
one hand, nor does it come from a single vegetable or animal fat on the
other, {143} ankara may be considered as belonging to the category of
the margarines. Ankara is obtained in the market in the form of cakes
or tablets of 2 pounds in weight.
V.—Fresh butter, 150 parts, by weight; animal fat, 80 parts, by weight;
sunflower oil, 40 parts, by weight; cocoanut oil, 30 parts, by weight.
VI.—Fresh butter, 100 parts, by weight; animal fat, 100 parts, by
weight; sunflower oil, 80 parts, by weight; cocoanut oil, 20 parts, by
weight.
VII.—Fresh butter, 50 parts, by weight; animal fat, 150 parts, by
weight; sunflower oil, 80 parts, by weight; cocoanut oil, 20 parts, by
weight.
It is seen that these three varieties contain respectively 50, 33, and
about 16 per cent of cow’s butter. The appearance of the mixture is
nearly perfect.
Formulas V to VII are for a Russian artificial butter called “Perepusk.”
«To Impart the Aroma and Taste of Natural Butter to Margarine.»—In
order to give margarine the aroma and flavor of cow butter, add to it
a fatty acid product, which is obtained by saponification of butter,
decomposition of the soap, and distillation in the vacuum at about 140°
F. The addition of the product is made upon emulsification of the fats
with milk. The margarine will keep for months.
«Harmless Butter Color.»—Alum, pulverized finely, 30 parts; extract
of turmeric, 1 part. With the extract dampen the powder as evenly as
possible, then spread out and dry over some hot surface. When dry,
again pulverize thoroughly. Protect the product from the light. As much
of the powder as will lie on the point of a penknife is added to a
churnful of milk, or cream, before churning, and it gives a beautiful
golden color, entirely harmless. To make the extract of turmeric add
1 part of powdered turmeric to 5 parts of alcohol, and let macerate
together for fully a week.
«To Sweeten Rancid Butter.»—I.—Wash the butter first with fresh milk
and afterwards with spring water, carefully working out the residual
water.
II.—Add 25 to 30 drops of lime chloride to every 2 pounds of butter,
work the mass up thoroughly, then wash in plenty of fresh, cold water,
and work out the residual water.
III.—Melt the butter in a water bath, along with some freshly burned
animal charcoal, coarsely powdered and carefully sifted to free it
from dust. After this has remained in contact for a few minutes, the
butter is strained through a clean flannel. If the rancid odor is not
completely removed, complete the process.
«An English Margarine.»—A mixture of edible fats of suitable
consistency, e. g., oleo oil, 5 parts; neutral lard, 7 parts; and
butter, 1 part; is mixed with albuminous “batter,” 4 parts, with
the addition of 1 part of salt as a preservative. If the albuminous
constituent be composed of the whites and yolks of eggs beaten to a
foam the product will have the consistency and color of butter. The
molten fats are added to the egg batter and the whole is stirred
at a temperature sufficient to produce coagulation of the albumen
(150–200° F.). The mass is then cooled gradually with continuous
stirring, and the salt is worked in.
«Olive-Oil Paste.»—If an ounce of peeled garlic be rubbed up into a
pulp, in a clean Wedgwood mortar, and to this be added from 3 to 4
ounces of good olive oil, with constant rubbing up with the pestle, the
oil becomes converted into a pasty mass, like butter. It is possible
that the mucilage obtainable from other bulbs of the _Lilium_ tribe
would prove equally efficient in conferring semi-solidity on the oil,
without imparting any strong smell. The above composition is largely
used by the Spanish peasantry, instead of butter, which runs liquid in
the Spanish summer. It is known as “aleoli.” The more easily solidified
portion of olive oil is stearine, and this may be cheaply prepared from
mutton fat. If added, in certain proportions, to olive oil, it would
certainly raise its melting point.
«BUTTERMILK, ARTIFICIAL.»
Buttermilk powder, 10 parts; vinegar, 1 part; syrup of buckthorn, 1
part. Dissolve the powder in the water and add the vinegar and syrup.
The powder is prepared as follows: Sodium chloride, 50 parts; milk
sugar, 100 parts; potassium nitrate, 5 parts; alum, 5 parts. Mix.
BUTTER, ARTIFICIAL: TESTS FOR: See Foods.
BUTTER COLORANT: See Foods.
BUTTONS OF ARTIFICIAL AGATE: See Agate.
CADMIUM ALLOYS: See Alloys. {144}
«CALCIUM CARBIDE:»
«Preservation and Use of Calcium Carbide.»—Calcium carbide is readily
attacked by the air and the moisture contained in the generators and
consequently decomposes during the storing, with formation of acetylene
gas. Aside from the loss, this decomposition is also attended with
dangers. One of the oldest methods of preservation is the saturation of
the carbide with petroleum. In using such carbide a layer of petroleum
forms on the surface of the water in the generator, which prevents the
water from evaporating, thus limiting the subsequent generation of
acetylene from the remaining carbide. Instead of petroleum many other
substances have been proposed which answer the purpose equally well, e.
g., toluol, oils, solid bodies, which previously have to be liquefied,
such as stearine, paraffine, rosin, etc.
Of a different nature is a medium offered by Létang of Paris. He
employs sugar or saccharine bodies to which he adds, if necessary, a
little petroleum, turpentine, vaseline, or varnish of any kind, as well
as chalk, limestone, talc, sulphur, or sand. The carbide is coated
with this mixture. The saccharine substances dissolve in the generating
water, and also have a dissolving action on the slaked lime, which is
formed by the decomposition of the carbide which admits of its easy
removal.