orange-like color leaning to gold, when dipped for a few seconds into a
solution of crystallized copper acetate. A handsome violet is obtained
by placing the metal for a few minutes in a solution of antimony
chloride and rubbing it afterwards with a piece of wood covered with
cotton. During this operation the copper must be heated to a degree
bearable to the hand. A crystalline appearance is produced by boiling
the article in copper sulphate.
«Pickle for Copper.»—Take nitric acid, 100 parts; kitchen salt, 2
parts; calcined soot, 2 parts; or nitric acid, 10 parts; sulphuric
acid, 10 parts; hydrochloric acid, 1 part. As these bleaching baths
attack the copper quickly, the objects must be left in only for a few
seconds, washing them afterwards in plenty of water, and drying in
sawdust, bran, or spent tan.
«Preparations of Copper Water.»—I.—Water, 1,000 parts; oxalic acid, 30
parts; spirit of wine, 100 parts; essence of turpentine, 50 parts;
fine tripoli, 100 parts.
II.—Water, 1,000 parts; oxalic acid, 30 parts; alcohol, 50 parts;
essence of turpentine, 40 parts; fine tripoli, 50 parts.
III.—Sulphuric acid, 300 parts; sulphate of alumina, 80 parts; water,
520 parts.
«Tempered Copper.»—Objects made of copper may be satisfactorily
tempered by subjecting them to a certain degree of heat for a
determined period of time and bestrewing them with powdered sulphur
during the heating. While hot the objects are plunged into a bath of
blue vitriol; after the bath they may be heated again.
COPPER ALLOYS: See Alloys.
COPPER CLEANING: See Cleaning Preparations and Methods.
COPPER ETCHING: See Etching.
COPPER IN FOOD: See Food.
COPPER LACQUERS: See Lacquers. {222}
COPPER PAPER: See Paper, Metallic.
COPPER PATINIZING AND PLATING: See Plating.
COPPER POLISHES: See Polishes.
COPPER, SEPARATION OF GOLD FROM: See Gold.
COPPER SOLDER: See Solders.
COPPER VARNISHES: See Varnishes.
«COPYING PRINTED PICTURES.»
The so-called “metallic” paper used for steam-engine indicator cards
has a smooth surface, chemically prepared so that black lines can be
drawn upon it with pencils made of brass, copper, silver, aluminum, or
any of the softer metals. When used on the indicator it receives the
faint line drawn by a brass point at one end of the pencil arm, and
its special advantage over ordinary paper is that the metallic pencil
slides over its surface with very little friction, and keeps its point
much longer than a graphite pencil.
This paper can be used as a transfer paper for copying engravings or
sketches, or anything printed or written in ink or drawn in pencil.
The best copies can be obtained by following the directions below:
Lay the metallic transfer paper, face up, upon at least a dozen sheets
of blank paper, and lay the print face down upon it. On the back of
the print place a sheet of heavy paper, or thin cardboard, and run
the rubbing tool over this protecting sheet. In this manner it is
comparatively easy to prevent slipping, and prints 8 or 10 inches on a
side may be copied satisfactorily.
Line drawings printed from relief plates, or pictures with sharp
contrast of black and white, without any half-tones, give the best
copies. Very few half-tones can be transferred satisfactorily; almost
all give streaked, indistinct copies, and many of the results are
worthless.
The transfer taken off as described is a reverse of the original print.
If the question of right and left is not important this reversal will
seldom be objectionable, for it is easy to read backward what few
letters generally occur. However, if desired, the paper may be held
up to the light and examined from the back, or placed before a mirror
and viewed by means of its reflected image, when the true relations of
right and left will be seen. Moreover, if sufficiently important, an
exact counterpart of the original may be taken from the reversed copy
by laying another sheet face downward upon it, and rubbing on the back
of the fresh sheet just as was done in making the reversed copy. The
impression thus produced will be fainter than the first, but almost
always it can be made dark enough to show a distinct outline which may
afterwards be retouched with a lead pencil.
For indicator cards the paper is prepared by coating one surface with
a suitable compound, usually zinc oxide mixed with a little starch
and enough glue to make it adhere. After drying it is passed between
calendar rolls under great pressure. The various brands manufactured
for the trade, though perhaps equally good for indicator diagrams, are
not equally well suited for copying. If paper of firmer texture could
be prepared with the same surface finish, probably much larger copies
could be produced.
Other kinds of paper, notably the heavy plate papers used for some of
the best trade catalogues, possess this transfer property to a slight
degree, though they will not receive marks from a metallic pencil. The
latter feature would seem to recommend them for transfer purposes,
making them less likely to become soiled by contact with metallic
objects, but so far no kind has been found which will remove enough ink
to give copies anywhere near as dark as the indicator paper.
Fairly good transfers can be made from almost any common printers’ ink,
but some inks copy much better than others, and some yield only the
faintest impressions. The length of time since a picture was printed
does not seem to determine its copying quality. Some very old prints
can be copied better than new ones; in fact, it was by accidental
transfer to an indicator card from a book nearly a hundred years old
that the peculiar property of this “metallic” paper was discovered.
«Copying Process on Wood.»—If wood surfaces are exposed to direct
sunlight the wood will exhibit, after 2 weeks action, a browning of
dark tone in the exposed places. Certain parts of the surface being
covered up during the entire exposure to the sun, they retain their
original shade and are set off clearly and sharply against the parts
browned by the sunlight. Based on this property of the {223} wood is a
sun-copying process on wood. The method is used for producing tarsia
in imitation on wood. A pierced stencil of tin, wood, or paper is laid
on a freshly planed plate of wood, pasting it on in places to avoid
shifting, and put into a common copying frame. To prevent the wood from
warping a stretcher is employed, whereupon expose to the sun for from 8
to 14 days. After the brown shade has appeared the design obtained is
partly fixed by polishing or by a coating of varnish, lacquer, or wax.
Best suited for such works are the pine woods, especially the 5-year
fir and the cembra pine, which, after the exposure, show a yellowish
brown tone of handsome golden gloss, that stands out boldly, especially
after subsequent polishing, and cannot be replaced by any stain or by
pyrography. The design is sharper and clearer than that produced by
painting. In short, the total effect is pleasing.
«How to Reproduce Old Prints.»—Prepare a bath as follows: Sulphuric
acid, 3 to 5 parts (according to the antiquity of print, thickness of
paper, etc.); alcohol, 3 to 5 parts; water, 100 parts. In this soak
the print from 5 to 15 minutes (the time depending on age, etc., as
above), remove, spread face downward on a glass or ebonite plate, and
wash thoroughly in a gentle stream of running water. If the paper is
heavy, reverse the sides, and let the water flow over the face of the
print. Remove carefully and place on a heavy sheet of blotting paper,
cover with another, and press out every drop of water possible. Where
a wringing machine is convenient and sufficiently wide, passing the
blotters and print through the rollers is better than mere pressing
with the hands. The print, still moist, is then laid face upward on
a heavy glass plate (a marble slab or a lithographers’ stone answers
equally well), and smoothed out. With a very soft sponge go over the
surface with a thin coating of gum-arabic water. The print is now
ready for inking, which is done exactly as in lithographing, with a
roller and printers’ or lithographers’ ink, cut with oil of turpentine.
Suitable paper is then laid on and rolled with a dry roller. This gives
a reverse image of the print, which is then applied to a zinc plate or
a lithographers’ stone, and as many prints as desired pulled off in the
usual lithographing method. When carefully done and the right kind of
paper used, it is said that the imitation of the original is perfect in
every detail.
«To Copy Old Letters, Manuscripts, etc.»—If written in the commercial
ink of the period from 1860 to 1864, which was almost universally an
iron and tannin or gallic-acid ink, the following process may succeed:
Make a thin solution of glucose, or honey, in water, and with this
wet the paper in the usually observed way in copying recent documents
in the letter book, put in the press, and screw down tightly. Let it
remain in the press somewhat longer than in copying recent documents.
When removed, before attempting to separate the papers, expose to the
fumes of strong water of ammonia, copy side downward.
«CORDAGE»:
See also Ropes.
«Strong Twine.»—An extraordinarily strong pack thread or cord, stronger
even than the so-called “Zuckerschnur,” may be obtained by laying the
thread of fibers in a strong solution of alum, and then carefully
drying them.
«Preservation of Fishing Nets.»—The following recipe for the
preservation of fishing nets is also applicable to ropes, etc., in
contact with water. Some have been subjected to long test.
For 40 parts of cord, hemp, or cotton, 3 parts of kutch, 1 part of blue
vitriol, 1/2 part of potassium chromate, and 2 1/2 parts of wood
tar are required. The kutch is boiled with 150 parts of water until
dissolved, and then the blue vitriol is added. Next, the net is entered
and the tar added. The whole should be stirred well, and the cordage
must boil 5 to 8 minutes. Now take out the netting, lay it in another
vessel, cover up well, and leave alone for 12 hours. After that it is
dried well, spread out in a clean place, and coated with linseed oil.
Not before 6 hours have elapsed should it be folded together and put
into the water. The treatment with linseed oil may be omitted.
CORDAGE LUBRICANT: See Lubricants.
CORDAGE WATERPROOFING: See Waterproofing.
CORDIALS: See Wines and Liquors.
«CORKS:»
«Impervious Corks.»—Corks which have been steeped in petrolatum are
said to be an excellent substitute for glass stoppers. Acid in no way
affects them and chemical fumes do not cause decay in them, neither do
they become fixed by a blow or long disuse. {224}
«Non-Porous Corks.»—For benzine, turpentine, and varnish cans, immerse
the corks in hot melted paraffine. Keep them under about 5 minutes;
hold them down with a piece of wire screen cut to fit the dish in which
you melt the paraffine. When taken out lay them on a screen till cool.
Cheap corks can in this way be made gas- and air-tight, and can be cut
and bored with ease.
«Substitute for Cork.»—Wood pulp or other ligneous material may be
treated to imitate cork. For the success of the composition it is
necessary that the constituents be mingled and treated under special
conditions. The volumetric proportions in which these constituents
combine with the best results are the following: Wood pulp, 3
parts; cornstalk pith, 1 part; gelatin, 1 part; glycerine, 1 part;
water, 4 parts; 20 per cent formic-aldehyde solution, 1 part; but
the proportions may be varied. After disintegrating the ligneous
substances, and while these are in a moist and hot condition they are
mingled with the solution of gelatin, glycerine, and water. The mass is
stirred thoroughly so as to obtain a homogeneous mixture. The excess
of moisture is removed. As a last operation the formic aldehyde is
introduced, and the mass is left to coagulate in this solution. The
formic aldehyde renders the product insoluble in nearly all liquids.
So it is in this last operation that it is necessary to be careful in
producing the composition properly. When the operation is terminated
the substance is submitted to pressure during its coagulation, either
by molding it at once into a desired form, or into a mass which is
afterwards converted into the finished product.
CORKS, TO CLEAN: See Cleaning Preparations and Methods, under
Miscellaneous Methods.
CORK TO METAL, FASTENING: See Adhesives, under Pastes.
CORK AS A PRESERVATIVE: See Preserving.
CORKS, WATERPROOFING: See Waterproofing.
«CORN CURES:»
I.—Salicylic-Acid Corn Cure.—Extract cannabis indica, 1 part, by
measure; salicylic acid, 10 parts, by measure; oil of turpentine, 5
parts, by measure; acetic acid, glacial, 2 parts, by measure; cocaine,
alkaloidal, 2 parts, by measure; collodion, elastic, sufficient to
make 100 parts. Apply a thin coating every night, putting each layer
directly on the preceding one. After a few applications, the mass drops
off, bringing the indurated portion, and frequently the whole of the
corn, off with it.
II.—Compound Salicylated Collodion Corn Cure.—Salicylic acid, 11 parts,
by weight; extract of Indian hemp, 2 parts, by weight; alcohol, 10
parts, by weight; flexible collodion, U. S. P., a sufficient quantity
to make 100 parts, by weight.
The extract is dissolved in the alcohol and the acid in about 50 parts,
by weight, of collodion, the solutions mixed, and the liquid made up to
the required amount. The Indian hemp is presumably intended to prevent
pain; whether it serves this or any other useful purpose seems a matter
of doubt. The acid is frequently used without this addition.
III.—Extract of cannabis indica, 90 grains; salicylic acid, 1 ounce;
alcohol, 1 ounce; collodion enough to make 10 ounces. Soften the
extract with the alcohol, then add the collodion, and lastly the acid.
IV.—Resorcin, 1 part, by weight; salicylic acid, 1 part, by weight;
lactic acid, 1 part, by weight; collodion elasticum, 10 parts, by
weight. Paint the corn daily for 5 or 6 days with the above solution
and take a foot bath in very hot water. The corn will readily come off.
«Corn Plaster.»—Yellow wax, 24 parts, by weight; Venice turpentine, 3
parts, by weight; rosin, 2 parts, by weight; salicylic acid, 2 parts,
by weight; balsam of Peru, 2 parts, by weight; lanolin, 4 parts, by
weight.
«Corn Cure.»—Melt soap plaster, 85 parts, by weight, and yellow wax,
5 parts by weight, in a vapor bath, and stir finely ground salicylic
acid, 10 parts, by weight, into it.
«Removal of Corns.»—The liquid used by chiropodists with pumice stone
for the removal of corns and callosities is usually nothing more than a
solution of potassa or concentrated lye, the pumice stone being dipped
into the solution by the operator just before using.
«Treatment of Bunions.»—Wear right and left stockings and shoes, the
inner edges of the sole of which are perfectly straight. The bunion is
bathed night and morning in a 4 per cent solution of carbolic acid for
a few minutes, followed by plain water. If, after several weeks, the
bursa is still distended with fluid, it is aspirated. If the bunion
is due to flatfoot, the arch of the foot must be restored by a plate.
When the joints are enlarged because of gout or {225} rheumatism, the
constitutional conditions must be treated. In other cases, osteotomy
and tenotomy are required.
«The Treatment of Corns.»—Any corn may be speedily and permanently
cured. The treatment is of three kinds—preventive, palliative, and
curative.
I.—The preventive treatment lies in adopting such measures as will
secure freedom from pressure and friction for the parts most liable to
corns. To this end a well-fitting shoe is essential. The shoes should
be of well-seasoned leather, soft and elastic, and should be cut to a
proper model.
II.—The palliative treatment is generally carried out with chemical
substances. The best method, is, briefly, as follows: A ring of
glycerine jelly is painted around the circumference of the corn, to
form a raised rampart. A piece of salicylic plaster mull is then cut
to the size and shape of the central depression, and applied to the
surface of the corn. This is then covered with a layer of glycerine
jelly, and before it sets a pad of cotton wool is applied to the
surface. This process is repeated as often as is necessary, until the
horny layer separates and is cast off.
If the point of a sharp, thin-bladed knife be introduced at the groove
which runs around the margin of the corn, and be made to penetrate
toward its central axis, by the exercise of a little manual dexterity
the horny part of the corn can be easily made to separate from the
parts beneath.
III.—Any method of treatment to be curative must secure the removal of
the entire corn, together with the underlying bursa. It is mainly in
connection with the latter structure that complications, which alone
make a corn a matter of serious import, are likely to arise. Freeland
confidently advises the full and complete excision of corns, on the
basis of his experience in upward of 60 cases.
Every precaution having been taken to render the operation aseptic,
a spot is selected for the injection of the anæsthetic solution. The
skin is rendered insensitive with ethyl chloride, and 5 minims of
a 4 per cent solution of cocaine is injected into the subcutaneous
tissue beneath the corn. After a wait of a few minutes the superficial
parts of the site of the incision are rendered insensitive with ethyl
chloride. Anæsthesia is now complete.
Two semielliptical incisions meeting at their extremities are made
through the skin abound the circumference of the growth, care being
taken that they penetrate well into the subcutaneous tissue. Seizing
the parts included in the incision with a pair of dissecting forceps,
a wedge-shaped piece of tissue—including the corn, a layer of skin and
subcutaneous tissue, and the bursa if present—is dissected out. The
oozing is pretty free, and it is sometimes necessary to torsion a small
vessel; but the hemorrhage is never severe. The edges of the wound are
brought together by one or two fine sutures; an antiseptic dressing
is applied, and the wound is left to heal—primary union in a few days
being the rule. The rapidity of the healing is often phenomenal. There
is produced a scar tissue at the site of the corn, but this leads to no
untoward results.
«Cosmetics»
«COLD CREAM.»
I.—Oil of almonds 425 parts
Lanolin 185 parts
White wax 62 parts
Spermaceti 62 parts
Borax 4.5 parts
Rose water 300 part
Melt together the first four ingredients, then incorporate the
solution of borax in the rose water.
II.—Tragacanth 125 parts
Boric acid 100 parts
Glycerine 140 parts
Expressed oil of almonds 50 parts
Glyconine 50 parts
Oil of lavender 0.5 parts
Water enough to make 1,000 parts
Mix the tragacanth and the boric acid with the glycerine; add the
almond oil, lavender oil, and egg glycerite, which have been previously
well incorporated, and, lastly, add the water in divided portions until
a clear jelly of the desired consistency is obtained.
III.—Oil of almonds 26 ounces
Castor oil (odorless) 6 ounces
Lard (benzoated) 8 ounces
White wax 8 ounces
Rose water (in winter less, in
summer more, than quantity named) 12 ounces
Orange-flower water 8 ounces
Oil of rose 15 minims
Extract of jasmine 6 drachms
Extract of cassia 4 drachms
Borax 2 ounces
Glycerine 4 ounces
{226}
Melt the oil of sweet almonds, wax, and lard together, and stir in the
castor oil; make a solution of the borax in the glycerine and rose
and orange-flower waters; add this solution, a little at a time, to
the melted fat, stirring constantly to insure thorough incorporation;
finally add the oil of rose dissolved in the extracts, and beat the
ointment until cold.
IV.—Spermaceti (pure), 1/4 ounce; white wax (pure), 1/4 ounce;
almond oil, 1/4 pound; butter of cocoa, 1/4 pound; lanolin, 2
ounces.
Melt and stir in 1 drachm of balsam of Peru. After settling, pour off
the clear portion and add 2 fluidrachms of orange-flower water and stir
briskly until it concretes.
«Camphorated Cold Cream.»—
Oil of sweet almonds 8 fluidounces
White wax 1 ounce
Spermaceti 1 ounce
Camphor 1 ounce
Rose water 5 fluidounces
Borax (in fine powder) 4 drachms
Oil of rose 10 drops
Melt the wax and spermaceti, add the oil of sweet almonds, in which
the camphor has been dissolved with very gentle heat; then gradually
add the rose water, in which the borax has previously been dissolved,
beating or agitating constantly with a wooden spatula until cold.
Lastly add the oil of rose.
«Petrolatum Cold Cream.»—
Petrolatum (white) 7 ounces
Paraffine 1/2 ounce
Lanolin 2 ounces
Water 3 ounces
Oil of rose 3 drops
Alcohol 1 drachm
A small quantity of borax may be added, if desirable, and the perfume
may be varied to suit the taste.
«LIP SALVES:»
«Pomades for the Lips.»—Lip pomatum which is said always to retain a
handsome red color and never to grow rancid is prepared as follows:
I.—Paraffine 80.0 parts
Vaseline 80.0 parts
Anchusine 0.5 parts
Bergamot oil 1.0 part
Lemon peel 1.0 part
II.—Vaseline Pomade.—
Vaseline oil, white 1,000 parts
Wax, white 300 part
Geranium oil, African. 40 parts
Lemon oil. 20 parts
III.—Rose Pomade.—
Almond oil 1,000 parts
Wax, white 300 parts
Alkannin 3 parts
Geranium oil 20 parts
IV.—Yellow Pomade.—
Vaseline oil, white. 1,000 parts
Wax, white 200 parts
Spermaceti 200 parts
Saffron surrogate. 10 parts
Clove oil. 20 parts
V.—White Pomade.—
Vaseline oil, white 1,000 parts
Wax, white. 300 parts
Bitter almond oil, genuine. 10 parts
Lemon oil 2 parts
VI.—Paraffine 49.0 parts
Vaseline. 49.0 parts
Oil of lemon. 0.75 parts
Oil of violet 0.75 parts
Carmine, quantity sufficient.
«Lipol.»—For treating sore, rough, or inflamed lips, apply the
following night and morning, rubbing in well with the finger tips:
Camphor, 1/2 ounce; menthol, 1/2 ounce; eucalyptol, 1 drachm;
petrolatum (white), 1 pound; paraffine, 1/2 pound; alkanet root,
1/2 ounce; oil of bitter almonds, 15 drops; oil of cloves, 10 drops;
oil of cassia, 5 drops. Digest the root in the melted paraffine and
petrolatum, strain, add the other ingredients and pour into lip jars,
hot.
«MANICURE PREPARATIONS:»
«Powdered Nail Polishes.»—
I.—Tin oxide 8 drachms
Carmine 1/4 drachm
Rose oil. 6 drops
Neroli oil. 5 drops
II.—Cinnabar. 1 drachm
Infusorial earth. 8 drachms
III.—Putty powder (fine). 4 drachms
Carmine. 2 grains
Oil of rose. 1 drop
IV.—White castile soap. 1 part
Hot water 16 parts
Zinc chloride solution, 10 per cent, quantity sufficient.
Dissolve the soap in the water and to the solution add the
zinc-chloride solution until no further precipitation occurs. Let stand
over night; pour off the supernatant fluid, wash the precipitate {227}
well with water, and dry at the ordinary temperature. Carmine may be
added if desired.
«Polishing Pastes for the Nails.»—
I.—Talcum. 5 drachms
Stannous oxide. 3 drachms
Powdered tragacanth 5 grains
Glycerine 1 drachm
Rose water, quantity sufficient.
Solution of carmine sufficient to tint.
Make paste.
For softening the nails, curing hangnails, etc., an ointment is
sometimes used consisting of white petrolatum, 8 parts; powdered
castile soap, 1 part; and perfume to suit.
II.—Eosine 10 grains
White wax 1/2 drachm
Spermaceti 1/2 drachm
Soft paraffine 1 ounce
Alcohol, a sufficient quantity.
Dissolve the eosine in as little alcohol as will suffice, melt the
other ingredients together, add the solution, and stir until cool.
«Nail-Cleaning Washes.»—
I.—Tartaric acid 1 drachm
Tincture of myrrh 1 drachm
Cologne water 2 drachms
Water 3 ounces
Dissolve the acid in the water; mix the tincture of myrrh and cologne,
and add to the acid solution.
Dip the nails in this solution, wipe, and polish with chamois skin.
II.—Oxalic acid 30 grains
Rose water 1 ounce
«Nail Varnish.»—
Paraffine wax 60 grains
Chloroform 2 ounces
Oil of rose 3 drops
«POMADES:»
I.—Beef-Marrow Pomade.—
Vaseline oil, yellow 20,000 parts
Ceresine, yellow 3,000 parts
Beef marrow 2,000 parts
Saffron substitute 15 parts
Lemon oil 50 parts
Bergamot oil 20 parts
Clove oil 5 parts
Lavender oil. 10 parts
II.—China Pomade.—
Vaseline oil, yellow 20,000 parts
Ceresine, yellow 5,000 parts
Brilliant, brown 12 parts
Peru balsam 50 parts
Lemon oil 5 parts
Bergamot oil 5 parts
Clove oil 5 parts
Lavender oil 5 parts