wax has completely dissolved. Stir in 1 part of purified potash. When
an intimate combination has taken place, allow to cool and add a
proportionate quantity of gum arabic. With this mixture the desired
colors are ground thick enough so that they can be conveniently rolled
into a pencil with chalk. The desired shades must be composed on the
grinding slab as they are wanted, and must not be simply left in their
natural tone. Use, for instance, umber, Vandyke brown, and white lead
for oak; umber alone would be too dark for walnut use. All the earth
colors can be conveniently worked up. It is best to prepare 2 or 3
crayons of each set, mixing the first a little lighter by the addition
of white lead and leaving the others a little darker. The pencils
should be kept in a dry place and are more suitable for graining and
marbling than brushes, since they can be used with either oil or water.
CRAYONS FOR WRITING ON GLASS: See Etching, and Glass.
«Cream»
(See also Milk.)
«Whipped Cream.»—There are many ways to whip cream. The following is
very highly indorsed: Keep the cream on ice until ready to whip. Take
2 earthen vessels about 6 inches in diameter. Into 1 bowl put 1 pint
of rich sweet cream, 2 teaspoonfuls powdered sugar, and 5 drops of best
vanilla extract. Add the white of 1 egg and beat with large egg beater
or use whipping apparatus until 2 inches of froth has formed; skim off
the froth into the other vessel and so proceed whipping and skimming
until all the cream in the first vessel has been exhausted. The whipped
cream will stand up all day and should be let stand in the vessel on
ice.
Special machines have been constructed for whipping cream, but most
dispensers prepare it with an ordinary egg beater. Genuine whipped
cream is nothing other than pure cream into which air has been forced
by the action of the different apparatus manufactured for the purpose;
care must, however, be exercised in order that butter is not produced
instead of whipped cream. To avoid this the temperature of the cream
must be kept at a low degree and the whipping must not be too violent
or prolonged; hence the following rules must be observed in order to
produce the desired result: {248}
1. Secure pure cream and as fresh as possible.
2. Surround the bowl in which the cream is being whipped with cracked
ice, and perform the operation in a cool place.
3. As rapidly as the whipped cream arises, skim it off and place it in
another bowl, likewise surrounded with ice.
4. Do not whip the cream too long or too violently.
5. The downward motion of the beater should be more forcible than the
upward, as the first has a tendency to force the air into the cream,
while the second, on the contrary, tends to expel it.
6. A little powdered sugar should be added to the cream after it is
whipped, in order to sweeten it.
7. Make whipped cream in small quantities and keep it on ice.
I.—Cummins’s Whipped Cream.—Place 12 ounces of rich cream on the ice
for about 1 hour; then with a whipper beat to a consistency that will
withstand its own weight.
II.—Eberle’s Whipped Cream.—Take a pint of fresh, sweet cream, which
has been chilled by being placed on the ice, add to it a heaping
tablespoonful of powdered sugar and 2 ounces of a solution of gelatin
(a spoonful dissolved in 2 ounces of water), whip slowly for a minute
or two until a heavy froth gathers on top. Skim off the dense froth,
and put in container for counter use; continue this until you have
frothed all that is possible.
III.—Foy’s Whipped Cream.—Use only pure cream; have it ice cold, and
in a convenient dish for whipping with a wire whipper. A clear, easy,
quick, and convenient way is to use a beater. Fill about one-half full
of cream, and beat vigorously for 2 or 3 minutes; a little powdered
sugar may be added before beating. The cream may be left in the beater,
and placed on ice.
IV.—American Soda Fountain Company’s Whipped Cream.—Take 2 earthen
bowls and 2 tin pans, each 6 or 8 inches greater in diameter than the
bowls; place a bowl in each pan, surround it with broken ice, put the
cream to be whipped in 1 bowl, and whip it with a whipped cream churn.
The cream should be pure and rich, and neither sugar nor gelatin should
be added to it. As the whipped cream rises and fills the bowl, remove
the churn, and skim off the whipped cream into the other bowl.
The philosophy of the process is that the churn drives air into the
cream, and blows an infinity of tiny bubbles, which forms the whipped
cream; therefore, in churning, raise the dasher gently and slowly,
and bring it down quickly and forcibly. When the second bowl is full
of whipped cream, pour off the liquid cream, which has settled to the
bottom, into the first bowl, and whip it again. Keep the whipped cream
on ice.
The addition of an even teaspoonful of salt to 1 quart of sweet cream,
before whipping, will make it whip up very readily and stiff, and stand
up much longer and better.
«CRESOL EMULSION.»
One of the best starting points for the preparation is the “creosote”
obtained from blast furnaces, which is rich in cresols and contains
comparatively little phenols. The proportions used are: Creosote, 30
parts; soft soap, 10 parts; and solution of soda (10 per cent), 30
parts. Boil the ingredients together for an hour, then place aside to
settle. The dark fluid is afterwards drained from any oily portion
floating upon the top.
CREAM, COLD: See Cosmetics.
CREAMS FOR THE FACE AND SKIN: See Cosmetics.
CREOSOTE SOAP: See Soap.
CROCKERY: See Ceramics.
CROCKERY CEMENTS: See Adhesives.
«CROCUS.»
The substance known as “crocus,” which is so exceedingly useful as
a polishing medium for steel, etc., may be very generally obtained
in the cinders produced from coal containing iron. It will be easily
recognized by its rusty color, and should be collected and reduced to
a powder for future use. Steel burnishers may be brought to a high
state of polish with this substance by rubbing them upon a buff made of
soldiers’ belt or hard wood. After this operation, the burnisher should
be rubbed on a second buff charged with jewelers’ rouge.
CRYSTAL CEMENTS FOR REUNITING BROKEN PIECES: See Adhesives, under
Cements. {249}
CRYSTALLIZATION, ORNAMENTAL: See Gardens, Chemical.
CUCUMBER ESSENCE: See Essences and Extracts.
CUCUMBER JELLY, JUICE, AND MILK: See Cosmetics.
CURAÇOA CORDIAL: See Wines and Liquors.
CURTAINS, COLORING OF: See Laundry Preparations.
CURRY POWDER: See Condiments.
«CUSTARD POWDER:»
Corn flour 7 pounds
Arrowroot 8 pounds
Oil of almond 20 drops
Oil of nutmegs 10 drops
Tincture of saffron to color.
Mix the tincture with a little of the mixed flours; then add the
essential oils and make into a paste; dry this until it can be reduced
to a powder, and then mix all the ingredients by sifting several times
through a fine hair sieve.
CUTLERY CEMENTS: See Adhesives.
CYLINDER OIL: See Lubricants.
CYMBAL METAL: See Alloys.
«Damaskeening»
Damaskeening, practiced from most ancient times, consists in
ornamentally inlaying one metal with another, followed usually by
polishing. Generally gold or silver is employed for inlaying. The
article to be decorated by damaskeening is usually of iron (steel) or
copper; in Oriental (especially Japanese) work, also frequently of
bronze, which has been blackened, or, at least, darkened, so that the
damaskeening is effectively set off from the ground. If the design
consists of lines, the grooves are dug out with the graver in such
a manner that they are wider at the bottom, so as to hold the metal
forced in. Next, the gold or silver pieces suitably formed are laid on
top and hammered in so as to fill up the opening. Finally the surface
is gone over again, so that the surface of the inlay is perfectly
even with the rest. If the inlays, however, are not in the form of
lines, but are composed of larger pieces of certain outlines, they are
sometimes allowed to project beyond the surface of the metal decorated.
At times there are inlays again in the raised portions of another
metal; thus, Japanese bronze articles often contain figures of raised
gold inlaid with silver.
Owing to the high value which damaskeening imparts to articles
artistically decorated, many attempts have been made to obtain similar
effects in a cheaper manner. One is electro-etching, described further
on. Another process for the wholesale manufacture of objects closely
resembling damaskeened work is the following: By means of a steel
punch, on which the decorations to be produced project in relief, the
designs are stamped by means of a drop hammer or a stamping press into
gold plated or silver plated sheet metal on the side which is to show
the damaskeening, finally grinding off the surface, so that the sunken
portions are again level. Naturally, the stamped portion, as long as
the depth of the stamping is at least equal to the thickness of the
precious metal on top, will appear inlaid.
It is believed that much of the early damaskeening was done by welding
together iron and either a steel or an impure or alloyed iron, and
treating the surface with a corroding acid that affected the steel or
alloy without changing the iron.
The variety or damaskeening known as koftgari or kuft-work, practiced
in India, was produced by rough-etching a metallic surface and laying
on gold-leaf, which was imbedded so that it adhered only to the etched
parts of the design.
«Damaskeening by Electrolysis.»—Damaskeening of metallic plates may be
done by electrolysis. A copper plate is covered with an isolating layer
of feeble thickness, such as wax, and the desired design is scratched
in it by the use of a pointed tool. The plate is suspended in a bath of
sulphate of copper, connecting it with the positive pole of a battery,
while a second copper plate is connected with the negative pole. The
current etches grooves wherever the wax has been removed. When enough
has {250} been eaten away, remove the plate from the bath, cleanse it
with a little hydrochloric acid to remove any traces of oxide of copper
which might appear on the lines of the design; then wash it in plenty
of water and place it in a bath of silver or nickel, connecting it now
with the negative pole, the positive pole being represented by a leaf
of platinum. After a certain time the hollows are completely filled
with a deposit of silver or nickel, and it only remains to polish the
plate, which has the appearance of a piece damaskeened by hand.
«Damaskeening on Enamel Dials.»—Dip the dial into molten yellow wax,
trace on the dial the designs desired, penetrating down to the enamel.
Dip the dial in a fluorhydric acid a sufficient length of time that
it may eat to the desired depth. Next, wash in several waters, remove
the wax by means of turpentine, i. e., leave the piece covered with
wax immersed in essence of turpentine. By filling up the hollows thus
obtained with enamel very pretty effects are produced.
DANDRUFF CURE: See Hair Preparations.
«DECALCOMANIA PROCESSES:»
See also Chromos, Copying Processes, and Transfer Processes.
The decalcomania process of transferring pictures requires that the
print (usually in colors) be made on a specially prepared paper. Prints
made on decalcomania paper may be transferred in the reverse to china
ware, wood, celluloid, metal, or any hard smooth surface, and being
varnished after transfer (or burnt in, in the case of pottery) acquire
a fair degree of permanence. The original print is destroyed by the
transfer.
«Applying Decalcomania Pictures on Ceramic Products under a Glaze.»—A
biscuit-baked object is first coated with a mixture of alcohol,
shellac, varnish, and liquid glue. Then the prepared picture print is
transferred on to this adhesive layer in the customary manner. The
glaze, however, does not adhere to this coating and would, therefore,
not cover the picture when fused on. To attain this, the layer bearing
the transfer picture, as well as the latter, are simultaneously coated
with a dextrin solution of about 10 per cent. When this dextrin
coating is dry, the picture is glazed. The mixing proportions of the
two solutions employed, as well as of the adhesive and the dextrin
solutions, vary somewhat according to the physical conditions of the
porcelain, its porosity, etc. The following may serve for an example:
Dissolve 5 parts of shellac or equivalent gum in 25 parts of spirit and
emulsify this liquid with 20 parts of varnish and 8 parts of liquid
glue. After drying, the glaze is put on and the ware thus prepared is
placed in the grate fire.
The process described is especially adapted for film pictures, i. e.,
for such as bear the picture on a cohering layer, usually consisting
of collodion. It cannot be employed outright for gum pictures, i.
e., for such pictures as are composed of different pressed surfaces,
consisting mainly of gum or similar material. If this process is to be
adapted to these pictures as well, the ware, which has been given the
biscuit baking, is first provided with a crude glaze coating, whereupon
the details of the process are carried out as described above with the
exception that there is another glaze coating between the adhesive
coat and the biscuit-baked ware. In this case the article is also
immediately placed in the grate fire. It is immaterial which of the two
kinds of metachromatypes (transfer pictures) is used, in every case the
baking in the muffle, etc., is dropped. The transfer pictures may also
be produced in all colors for the grate fire.
«Decalcomania Paper.»—Smooth unsized paper, not too thick, is coated
with the following solutions:
I.—Gelatin, 10 parts, dissolved in 300 parts warm water. This solution
is applied with a sponge. The paper should be dried flat.
II.—Starch, 50 parts; gum tragacanth, dissolved in 600 parts of water.
(The gum tragacanth is soaked in 300 parts of water; in the other 300
parts the starch is boiled to a paste; the two are then poured together
and boiled.) The dried paper is brushed with this paste uniformly, a
fairly thick coat being applied. The paper is then allowed to dry again.
III.—One part blood albumen is soaked in 3 parts water for 24 hours. A
small quantity of sal ammoniac is added.
The paper, after having been coated with these three solutions and
dried, is run through the printing press, the pictures, however, being
printed reversed so that it may appear in its true position when
transferred. Any colored inks may be used. {251}
IV.—A transfer paper, known as “décalque rapide,” invented by J. B.
Duramy, consists of a paper of the kind generally used for making
pottery transfers, but coated with a mixture of gum and arrowroot
solutions in the proportion of 2 1/2 parts of the latter to 100 of
the former. The coating is applied in the ordinary manner, but the
paper is only semi-glazed. Furthermore, to decorate pottery ware by
means of this new transfer paper, there is no need to immerse the ware
in a bath in order to get the paper to draw off, as it will come away
when moistened with a damp sponge, after having been in position for
less than 5 minutes, whereas the ordinary papers require a much longer
time.
«Picture Transferrer.»—A very weak solution of soft soap and pearlashes
is used to transfer recent prints, such as illustrations from papers,
magazines, etc., to unglazed paper, on the decalcomania principle. Such
a solution is:
I.—Soft soap 1/2 ounce
Pearlash 2 drachms
Distilled water 16 fluidounces
The print is laid upon a flat surface, such as a drawing board, and
moistened with the liquid. The paper on which the reproduction is
required is laid over this, and then a sheet of thicker paper placed on
the top, and the whole rubbed evenly and hard with a blunt instrument,
such as the bowl of a spoon, until the desired depth of color in the
transferrer is obtained. Another and more artistic process is to cover
the print with a transparent sheet of material coated with wax, to
trace out the pictures with a point and to take rubbings of the same
after powdering with plumbago.
II.—Hard soap 1 drachm
Glycerine 30 grains
Alcohol 4 fluidrachms
Water 1 fluidounce
Dampen the printed matter with the solution by sponging, and proceed as
with I.
DEHORNERS: See Horn.
DELTA METAL: See Alloys.
DEMON BOWLS OF FIRE: See Pyrotechnics.
DENTAL CEMENTS: See Cements.
«Dentifrices»
«TOOTH POWDERS:»
A perfect tooth powder that will clean the teeth and mouth with
thoroughness need contain but few ingredients and is easily made. For
the base there is nothing better than precipitated chalk; it possesses
all the detergent and polishing properties necessary for the thorough
cleansing of the teeth, and it is too soft to do any injury to soft or
to defective or thinly enameled teeth. This cannot be said of pumice,
cuttlebone, charcoal, kieselguhr, and similar abradants that are used
in tooth powders. Their use is reprehensible in a tooth powder. The
use of pumice or other active abradant is well enough occasionally, by
persons afflicted with a growth of tartar on the teeth, but even then
it is best applied by a competent dentist. Abrading powders have much
to answer for in hastening the day of the toothless race.
Next in value comes soap. Powdered white castile soap is usually an
ingredient of tooth powders. There is nothing so effective for removing
sordes or thickened mucus from the gums or mouth. But used alone or in
too large proportions, the taste is unpleasant. Orris possesses no
cleansing properties, but is used for its flavor and because it is most
effective for masking the taste of the soap. Sugar or saccharine may
be used for sweetening, and for flavoring almost anything can be used.
Flavors should, in the main, be used singly, though mixed flavors lack
the clean taste of simple flavors.
The most popular tooth powder sold is the white, saponaceous,
wintergreen-flavored powder, and here is a formula for this type:
I.—Precipitated chalk 1 pound
White castile soap 1 ounce
Florentine orris 2 ounces
Sugar (or saccharine, 2 grains) 1 ounce
Oil of wintergreen 1/4 ounce
The first four ingredients should be in the finest possible powder and
well dried. Triturate the oil of wintergreen with part of the chalk,
and mix this with the balance of the chalk. Sift each ingredient
separately through a sieve (No. 80 or finer), and mix well together,
afterwards sifting the mixture 5 or 6 times. The finer the sieve and
the more the mixture is sifted, the finer and lighter the powder will
be. {252}
This powder will cost about 15 cents a pound.
Pink, rose-flavored powder of the Caswell and Hazard, Hudnut, or
McMahan type, once so popular in New York. It was made in two styles,
with and without soap.
II.—Precipitated chalk 1 pound
Florentine orris 2 ounces
Sugar 1 1/2 ounces
White castile soap 1 ounce
No. 40 carmine 15 grains
Oil of rose 12 drops
Oil of cloves 4 drops
Dissolve the carmine in an ounce of water of ammonia and triturate
this with part of the chalk until the chalk is uniformly dyed. Then
spread it in a thin layer on a sheet of paper and allow the ammonia to
evaporate. When there is no ammoniacal odor left, mix this dyed chalk
with the rest of the chalk and sift the whole several times until
thoroughly mixed. Then proceed to make up the powder as in the previous
formula, first sifting each ingredient separately and then together,
being careful thoroughly to triturate the oils of rose and cloves
with the orris after it is sifted and before it is added to the other
powders. The oil of cloves is used to back up the oil of rose. It
strengthens and accentuates the rose odor. Be careful not to get a drop
too much, or it will predominate over the rose.
«Violet Tooth Powder.»—
Precipitated chalk 1 pound
Florentine orris 4 ounces
Castile soap 1 ounce
Sugar 1 1/2 ounces
Extract of violet 1/4 ounce
Evergreen coloring, R. & F., quantity sufficient.
Proceed as in the second formula, dyeing the chalk with the evergreen
coloring to the desired shade before mixing.
III.—Precipitated chalk 16 pounds
Powdered orris 4 pounds
Powdered cuttlefish bone 2 pounds
Ultramarine 9 1/2 ounces
Geranium lake 340 grains
Jasmine 110 minims
Oil of neroli 110 minims
Oil of bitter almonds 35 minims
Vanillin 50 grains
Artificial musk (Lautier’s) 60 grains
Saccharine 140 grains
Rub up the perfumes with 2 ounces of alcohol, dissolve the saccharine
in warm water, add all to the orris, and set aside to dry. Rub the
colors up with water and some chalk, and when dry pass all through a
mixer and sifter twice to bring out the color.
«Camphorated and Carbolated Powders.»—A camphorated tooth powder may
be made by leaving out the oil of wintergreen in the first formula and
adding 1 1/2 ounces of powdered camphor.
Carbolated tooth powder may likewise be made with the first formula
by substituting 2 drachms of liquefied carbolic acid for the oil of
wintergreen. But the tooth powder gradually loses the odor and taste
of the acid. It is not of much utility anyway, as the castile soap in
the powder is of far greater antiseptic power than the small amount of
carbolic acid that can safely be combined in a tooth powder. Soap is
one of the best antiseptics.
Alkaline salts, borax, sodium bicarbonate, etc., are superfluous in
a powder already containing soap. The only useful purpose they might
serve is to correct acidity of the mouth, and that end can be reached
much better by rinsing the mouth with a solution of sodium bicarbonate.
Acids have no place in tooth powders, the French Codex to the contrary
notwithstanding.
«Peppermint as a Flavor.»—In France and all over Europe peppermint is
the popular flavor, as wintergreen is in this country.
English apothecaries use sugar of milk and heavy calcined magnesia in
many of their tooth powders. Neither has any particular virtue as a
tooth cleanser, but both are harmless. Cane sugar is preferable to milk
sugar as a sweetener, and saccharine is more efficient, though objected
to by some; it should be used in the proportion of 2 to 5 grains to the
pound of powder, and great care taken to have it thoroughly distributed
throughout.
An antiseptic tooth powder, containing the antiseptic ingredients of
listerine, is popular in some localities.
IV.—Precipitated chalk 1 pound
Castile soap 5 drachms
Borax 3 drachms
Thymol 20 grains
Menthol 20 grains
Eucalyptol 20 grains
Oil of wintergreen 20 grains
Alcohol 1/2 ounce
Dissolve the thymol and oils in the alcohol, and triturate with the
chalk, and proceed as in the first formula. {253}
One fault with this powder is the disagreeable taste of the thymol.
This may be omitted and the oil of wintergreen increased to the
improvement of the taste, but with some loss of antiseptic power.
«Antiseptic Powder.»—
V.—Boric acid 50 parts
Salicylic acid 50 parts
Dragon’s blood 20 parts
Calcium carbonate 1,000 parts
Essence spearmint 12 parts
Reduce the dragon’s blood and calcium carbonate to the finest powder,
and mix the ingredients thoroughly. The powder should be used twice a
day, or even oftener, in bad cases. It is especially recommended in
cases where the enamel has become eroded from the effects of iron.
«Menthol Tooth Powder.»—Menthol leaves a cool and pleasant sensation
in the mouth, and is excellent for fetid breath. It may be added to
most formulas by taking an equal quantity of oil of wintergreen and
dissolving in alcohol.
Menthol 1 part
Salol 8 parts
Soap, grated fine 20 parts
Calcium carbonate 20 parts
Magnesia carbonate 60 parts
Essential oil of mint 2 parts
Powder finely and mix. If there is much tartar on the teeth it will be
well to add to this formula from 10 to 20 parts of pumice, powdered
very finely.
«Tooth Powders and Pastes.»—Although the direct object of these is
to keep the teeth clean and white, they also prevent decay, if it
is only by force of mere cleanliness, and in this way (and also by
removing decomposing particles of food) tend to keep the breath
sweet and wholesome. The necessary properties of a tooth powder are
cleansing power unaccompanied by any abrading or chemical action on
the teeth themselves, a certain amount of antiseptic power to enable
it to deal with particles of stale food, and a complete absence of
any disagreeable taste or smell. These conditions are easy to realize
in practice, and there is a very large number of efficient and good
powders, as well as not a few which are apt to injure the teeth if
care is not taken to rinse out the mouth very thoroughly after using.
These powders include some of the best cleansers, and have hence
been admitted in the following recipes, mostly taken from English
collections.
I.—Charcoal and sugar, equal weights. Mix and flavor with clove oil.
II.—Charcoal 156 parts
Red kino 156 parts
Sugar 6 parts
Flavor with peppermint oil
III.—Charcoal 270 parts
Sulphate of quinine 1 part
Magnesia 1 part
Scent to liking.
IV.—Charcoal 30 parts
Cream of tartar 8 parts
Yellow cinchona bark 4 parts
Sugar 15 parts