and alcohol mixed, with 4 ounces of water added, pack in percolator,
and pour on the alcohol (diluted with glycerine and water) until 12
ounces of percolate have been obtained. Set this aside, and complete
the percolation with the hot water. When this has passed through,
evaporate to 4 ounces, and add it to the percolate first obtained.
«Tonka Extract.»—
Tonka beans 1 ounce
Magnesium carbonate, quantity sufficient.
Balsam of Peru 2 drachms
Sugar 4 ounces
Alcohol 8 ounces
Water sufficient to make 16 ounces.
Mix the tonka, balsam of Peru, and magnesia, and rub together,
gradually adding the sugar until a homogeneous powder is obtained.
Pack in a percolator; mix the alcohol with an equal amount of water,
and pour over the powder, close the exit of the percolator, and let
macerate for 24 to 36 hours, then open the percolator, and let pass
through, gradually adding water until 16 ounces pass through.
«Vanilla Extracts.»—I.—Vanilla, in fine bits, 250 parts, is put into
1,350 parts of mixture, of 2,500 parts 95 per cent alcohol, and 1,500
parts distilled water. Cover tightly, put on the water bath, and digest
for 1 hour, at 140° F. Pour off the liquid and set aside. To the
residue in the bath, add half the remaining water, and treat in the
same manner. Pack the vanilla in an extraction apparatus, and treat
with 250 parts of alcohol and water, mixed in the same proportions as
before. Mix the results of the three infusions first made, filter, and
wash the filter paper with the results of the percolation, allowing the
filtered percolate to mingle with the filtrate of the mixed infusions.
II.—Take 60 parts of the best vanilla beans, cut into little pieces,
and put into a deep vessel, wrapped with a cloth to retain the heat as
long as possible. Shake over the vanilla 1 part of potassium carbonate
in powder, and immediately add 240 parts distilled water, in an active
state of ebullition. Cover the vessel closely, set aside until it is
completely cold, and then add 720 parts alcohol. Cover closely, and
set aside in a moderately warm place for 15 days, when the liquid is
strained off, the residue pressed, and the whole colate filtered. The
addition of 1 part musk to the vanilla before pouring on the hot water
improves this essence.
To prepare vanilla fountain syrup with extracts I or II, mix 25 minims
of the extract with 1 pint simple syrup. Color with caramel.
III.—Vanilla beans, cut fine 1 ounce
Sugar 3 ounces
Alcohol, 50 per cent 1 pint
Beat sugar and vanilla together to a fine powder. Pour on the dilute
alcohol, cork the vessel, and let stand for 2 weeks, shaking it up 2 or
3 times a day.
IV.—Vanilla beans, chopped fine 30 parts
Potassium carbonate 1 part
Boiling water 1,450 parts
Alcohol 450 parts
Essence of musk 1 part
Dissolve the potassium carbonate in the boiling water, add the vanilla,
cover the vessel, and let stand in a moderately warm place until cold.
Transfer to a wide-mouthed jar, add the alcohol, cork, and let macerate
for 15 days; then decant the clear essence and filter the remainder.
Mix the two liquids and add the essence of musk.
V.—Cut 60 parts of best vanilla beans into small bits; put into a
deep vessel, which should be well wrapped in a woolen cloth to retain
heat as long as possible. Shake over the beans 1 part of potassium
carbonate, in powder, then pour over the mass 240 parts distilled
water, in an {320} active state of ebullition, cover the vessel
closely, and set aside in a moderately warm place. When quite cold
add 720 parts alcohol, close the vessel tightly, and set aside in a
moderately warm place, to macerate for 15 days, then strain off, press
out, and set aside for a day or two. The liquid may then be filtered
and bottled. The addition of a little musk to the beans before pouring
on the hot water, is thought by many to greatly improve the product.
One part of this extract added to 300 parts simple syrup is excellent
for fountain purposes.
VI.—Vanilla beans 8 ounces
Glycerine 6 ounces
Granulated sugar 1 pound
Water 4 pints
Alcohol of cologne spirits 4 pints
Cut or grind the beans very fine; rub with the glycerine and put in a
wooden keg; dissolve the sugar in the water, first heating the water,
if convenient; mix the water and spirits, and add to the vanilla; pour
in keg. Keep in a warm place from 3 to 6 months before using. Shake
often. To clear, percolate through the dregs. If a dark, rich color is
desired add a little sugar coloring.
VII.—Vanilla beans, good quality 16 ounces
Alcohol 64 fluidounces
Glycerine 24 fluidounces
Water 10 fluidounces
Dilute alcohol, quantity sufficient.
Mix and macerate, with frequent agitation, for 3 weeks, filter, and add
dilute alcohol to make 1 gallon.
VIII.—Vanilla beans, good quality 8 ounces
Pumice stone, lump 1 ounce
Rock candy 8 ounces
Alcohol and water, of each a sufficiency.
Cut the beans to fine shreds and triturate well with the pumice stone
and rock candy. Place the whole in a percolator and percolate with
a menstruum composed of 9 parts alcohol and 7 parts water until the
percolate passes through clear. Bring the bulk up to 1 gallon with the
same menstruum and set aside to ripen.
IX.—Cut up, as finely as possible, 20 parts of vanilla bean and with
40 parts of milk sugar (rendered as dry as possible by being kept in a
drying closet until it no longer loses weight) rub to a coarse powder.
Moisten with 10 parts of dilute alcohol, pack somewhat loosely in a
closed percolator and let stand for 2 hours. Add 40 parts of dilute
alcohol, close the percolator, and let stand 8 days. At the end of this
time add 110 parts of dilute alcohol, and let pass through. The residue
will repay working over. Dry it well, add 5 parts of vanillin, and 110
parts of milk sugar and pass through a sieve, then treat as before.
The following are cheap extracts:
X.—Vanilla beans, chopped fine 5 parts
Tonka beans, powdered 10 parts
Sugar, powdered 14 parts
Alcohol, 95 per cent 25 parts
Water, quantity sufficient to make 100 parts.
Rub the sugar and vanilla to a fine powder, add the tonka beans, and
incorporate. Pack into a filter, and pour on 10 parts of alcohol, cut
with 15 parts of water; close the faucet, and let macerate overnight.
In the morning percolate with the remaining alcohol, added to 80 parts
of water, until 100 parts of percolate pass through.
XI.—Vanilla beans 4 ounces
Tonka beans 8 ounces
Deodorized alcohol 8 pints
Simple syrup 2 pints
Cut and bruise the vanilla beans, afterwards bruising the tonka beans.
Macerate for 14 days in one-half of the spirit, with occasional
agitation. Pour off the clear liquor and set aside; pour the remaining
spirits in the magma, and heat by means of the water bath to about
170° F. in a loosely covered vessel. Keep at this temperature 2 or 3
hours, and strain through flannel, with slight pressure. Mix the two
portions of liquid, and filter through felt. Add the syrup.
«White Pine and Tar Syrup.»—
White pine bark 75 parts
Wild cherry bark 75 parts
Spikenard root 10 parts
Balm of Gilead buds 10 parts
Sanguinaria root 8 parts
Sassafras bark 7 parts
Sugar 750 parts
Chloroform 6 parts
Syrup of tar 75 parts
Alcohol, enough.
Water, enough.
Syrup enough to make 1,000 parts.
Reduce the first six ingredients to a coarse powder and by using a
menstruum composed of 1 in 3 alcohol, obtain 500 parts of a tincture
from them. In this {321} dissolve the sugar, add the syrup of tar and
the chloroform, and, finally, enough syrup to bring the measure of the
finished product up to 1,000 parts.
«Wild Cherry Extract.»—
Oenanthic ether 2 fluidrachms
Amyl acetate 2 fluidrachms
Oil of bitter almonds (free from hydrocyanic acid) 1 fluidrachm
Fluid extract of wild cherry 3 fluidounces
Glycerine 2 fluidounces
Deodorized alcohol enough to make 16 fluidounces.
«HARMLESS COLORS FOR USE IN SYRUPS, ETC.:»
Red.—Cochineal syrup, prepared as follows:
I.—Cochineal in coarse powder 6 parts
Potassium carbonate 3 parts
Distilled water 15 parts
Alcohol, 95 per cent 12 parts
Simple syrup to make 500 parts.
Rub the cochineal and potassium together, adding the water and alcohol
little by little, under constant trituration. Let stand overnight, add
the syrup, and filter.
II.—Carmine, in fine powder 1 part
Stronger ammonia water 4 parts
Distilled water to make 24 parts.
Rub up the carmine and ammonia and to the solution add the water,
little by little, under constant trituration. If in standing this shows
a tendency to separate, a drop or two of ammonia will correct the
trouble.
Besides these there is caramel, which, of course, you know.
Pink.—
III.—Carmine 1 part
Liquor potassæ 6 parts
Distilled water 40 parts
Mix. If the color is too high, dilute with distilled water until the
requisite color is obtained.
«To Test Fruit Juices and Syrups for Aniline Colors.»—Add to a sample
of the syrup or juice, in a test tube, its own volume of distilled
water, and agitate to get a thorough mixture, then add a few drops of
the standard solution of lead diacetate, shake, and filter. If the
syrup is free from aniline coloring matter the filtrate will be clear
as crystal, since the lead salt precipitates natural coloring matters,
but has no effect upon the aniline colors.
«To Test Fruit Juices for Salicylic Acid.»—Put a portion of the juice
to be tested in a large test tube, add the same volume of ether, close
the mouth of the tube and shake gently for 30 seconds. Set aside until
the liquid separates into two layers. Draw off the supernatant ethereal
portion and evaporate to dryness in a capsule. Dissolve the residue in
alcohol, dilute with 3 volumes of water, and add 1 drop of tincture of
iron chloride. If salicylic acid be present the characteristic purple
color will instantly disappear.
«Syrups Selected from the Formulary of the Pharmaceutical Society of
Antwerp.»—
_Dionine Syrup._—Dionine, 1 part; distilled water, 19 parts; simple
syrup, 1,980 parts. Mix.
_Jaborandi Syrup._—Tincture of jaborandi, 1 part; simple syrup, 19
parts. Mix.
_Convallaria Syrup._—Extract of convallaria, 1 part; distilled water,
4 parts; simple syrup, 95 parts. Dissolve the extract in the water and
mix.
_Codeine Phosphate Syrup._—Codeine phosphate, 3 parts; distilled water,
17 parts; simple syrup, 980 parts. Dissolve the codeine in the water
and mix with the syrup.
_Licorice Syrup._—Incised licorice root, 4 parts; dilute solution of
ammonia, 1 part; water, 20 parts. Mix and macerate for 12 hours at 58°
to 66° F. with frequent agitation; press, heat the liquid to boiling,
then evaporate to two parts on the water bath; add alcohol, 2 parts;
allow to stand for 12 hours; then filter. Add to the filtrate enough
simple syrup to bring the final weight to 20 parts.
_Maize Stigma Syrup._—Extract of maize stigmas, 1 part; distilled
water, 4 parts; simple syrup, 95 parts. Dissolve the extract in the
water, filter, and add the syrup.
_Ammonium Valerianate Solution._—Ammonium valerianate, 2 parts;
alcoholic extract of valerian, 1 part; distilled water, 47 parts.
_Kola Tincture._—Powdered kola nuts, 1 part; alcohol, 60 per cent, 5
parts. Macerate for 6 days, press, and filter.
_Bidet’s Liquid Vesicant._—Tincture of cantharides, tincture of
rosemary, chloroform, equal parts.
_Peptone Wine._—Dried peptone, 1 part; Malaga wine, 19 parts. Dissolve
without heat and filter after standing for several days. {322}
«Etching»
«General Instructions for Etching.»—In etching, two factors come into
consideration, (1) that which covers that part of the metal not exposed
to the etching fluid (the resist), and (2) the etching fluid itself.
In the process, a distinction is to be made between etching in relief
and etching in intaglio. In relief etching, the design is drawn or
painted upon the surface with the liquid etching-ground, so that after
etching and removal of the etching-ground, it appears raised. In
intaglio etching, the whole surface is covered with the etching-ground,
and the design put on with a needle; the ground being thus removed
at the points touched by the drawing, the latter, after etching and
removal of the etching-ground, is sunken.
«Covering Agents or Resists.»—The plate is enclosed by a border made
of grafting wax (yellow beeswax, 8 parts; pine rosin, 10 parts; beef
tallow, 2 parts; turpentine, 10 parts); or a mixture of yellow wax,
8 parts; lard, 3 parts; Burgundy pitch, 1/2 part. This mixture is
also used to cover the sides of vessels to be etched. Another compound
consists of wax, 5 parts; cobbler’s wax, 2 1/2 parts; turpentine, 1
part.
«Etching-Ground.»—I.—Soft: Wax, 2 parts; asphalt, 1 part; mastic,
1 part. II.—Wax, 3 parts; asphalt, 4 parts. III.—Mastic, 16 parts;
Burgundy pitch, 50 parts; melted wax, 125 parts; and melted asphalt,
200 parts added successively, and, after cooling, turpentine oil, 500
parts. If the ground should be deep black, lampblack is added.
Hard: Burgundy pitch, 125 parts; rosin, 125 parts, melted; and walnut
oil, 100 parts, added, the whole to be boiled until it can be drawn out
into long threads.
«Etching-Ground for Copper Engraving.»—White wax, 120 parts; mastic,
15 parts; Burgundy pitch, 60 parts; Syrian asphalt, 120 parts, melted
together; and 5 parts concentrated solution of rubber in rubber oil
added.
«Ground for Relief Etching.»—I.—Syrian asphalt, 500 parts, dissolved
in turpentine oil, 1,000 parts. II.—Asphalt, rosin, and wax, 200 parts
of each, are melted, and dissolved in turpentine oil, 1,200 parts. The
under side of the metal plate is protected by a coating of a spirituous
shellac solution, or by a solution of asphalt, 300 parts, in benzol,
600 parts.
«For Strongly Acid Solutions.»—I.—Black pitch, 1 part; Japanese wax, 2
parts; rosin, 1 1/2 parts; Damar rosin, 1 part, melted together and
mixed with turpentine oil, 1 part. II.—Heavy black printers’ ink, 3
parts; rosin, 1 part; wax, 1 part.
For electro-etching, the following ground is recommended: Wax, 4 parts;
asphalt, 4 parts; pitch, 1 part.
If absolute surety is required respecting the resistance of the
etching-ground to the action of the etching fluids, several
etching-grounds are put on, one over the other; first (for instance), a
solution of rubber in benzol, then a spirituous shellac solution, and a
third stratum of asphalt dissolved in turpentine oil.
If the etching is to be of different degrees of depth, the places where
it is to be faint are stopped out with varnish, after they are deep
enough, and the object is put back into the bath for further etching.
For putting on a design before the etching, the following method may
be used: Cover the metal plate, tin plate for example, with a colored
or colorless spirit varnish; after drying, cover this, in a dark room,
with a solution of gelatin, 5 parts, and red potassium chromate, 1
part, in water, 100 parts; or with a solution of albumen, 2 parts;
ammonium bichromate, 2 parts, in water, 200 parts. After drying, put
the plate, covered with a stencil, in a copying or printing frame, and
expose to light. The sensitive gelatin stratum will become insoluble at
the places exposed. Place in water, and the gelatin will be dissolved
at the places covered by the stencil; dry, and remove the spirit
varnish from the places with spirit, then put into the etching fluid.
«Etching Fluids.»—The etching fluid is usually poured over the metallic
surface, which is enclosed in a border, as described before. If the
whole object is to be put into the fluid, it must be entirely covered
with the etching-ground. After etching it is washed with pure water,
dried with a linen cloth, and the etching-ground is then washed off
with turpentine oil or a light volatile camphor oil. The latter is very
good for the purpose.
«Etching Fluids for Iron and Steel.»—I.—Pure nitric acid, diluted for
light etching with 4 to 8 parts of water, for deep etching with an
equal weight of water.
II.—Tartaric acid, 1 part, by weight; mercuric chloride, 15 parts, by
weight; water, 420 parts; nitric acid, 16 to 20 drops, if 1 part equals
28 1/2 grains. {323}
III.—Spirit, 80 per cent, 120 parts, by weight; pure nitric acid, 8
parts; silver nitrate, 1 part.
IV.—Pure acetic acid, 30 per cent, 40 parts, by weight; absolute
alcohol, 10 parts; pure nitric acid, 10 parts.
V.—Fuming nitric acid, 10 parts, by weight; pure acetic acid, 30 per
cent, 50 parts, diluted with water if necessary or desired.
VI.—A chromic acid solution.
VII.—Bromine, 1 part; water, 100 parts. Or—mercuric chloride, 1 part;
water, 30 parts.
VIII.—Antimonic chloride, 1 part; water, 6 parts; hydrochloric acid, 6
parts.
«For Delicate Etchings on Steel.»—I.—Iodine, 2 parts; potassium iodide,
4 parts; water, 40 parts.
II.—Silver acetate, 8 parts, by weight; alcohol, 250 parts; water, 250
parts; pure nitric acid, 260 parts; ether, 64 parts; oxalic acid, 4
parts.
III.—A copper chloride solution.
«Etching Powder for Iron and Steel.»—Blue vitriol, 50 parts; common
salt, 50 parts; mixed and moistened with water.
For lustrous figures on a dull ground, as on sword blades, the whole
surface is polished, the portions which are to remain bright covered
with stencils and the object exposed to the fumes of nitric acid. This
is best done by pouring sulphuric acid, 20 parts, over common salt, 10
parts.
«Relief Etching of Copper, Steel, and Brass.»—Instead of nitric acid,
which has a tendency to lift up the etching-ground, by evolution of
gases, it is better to use a mixture of potassium bichromate, 150
parts; water, 800 parts; and concentrated sulphuric acid, 200 parts.
The etching is slow, but even, and there is no odor.
«For Etching Copper, Brass, and Tombac.»—Pure nitric acid diluted with
water to 18° Bé. The bubbles of gas given out should immediately be
removed with a feather that the etching may be even.
Another compound consists of a boiling solution of potassium chlorate,
2 parts, in water, 20 parts, poured into a mixture of nitric acid, 10
parts, and water, 70 parts. For delicate etchings dilute still more
with 100 to 200 parts of water.
«Etching Fluid for Copper.»—Weak: A boiling solution of potassium
chlorate, 20 parts, in water, 200 parts, poured into a mixture of pure
hydrochloric acid, 20 parts; water, 500 parts.
Stronger: A boiling solution of potassium chlorate, 25 parts, in water,
250 parts, poured into a mixture of pure hydrochloric acid, 250 parts;
water, 400 parts.
Very strong: A boiling solution of potassium chlorate, 30 parts, in
water, 300 parts, poured into a mixture of pure hydrochloric acid, 300
parts; water, 300 parts.
For etching on copper a saturated solution of bromine in dilute
hydrochloric acid may also be used; or a mixture of potassium
bichromate, 1/2 part; water, 1 part; crude nitric acid, 3 parts.
The following are also much used for copper and copper alloys:
I.—A copper chloride solution acidified with hydrochloric acid.
II.—Copper nitrate dissolved in water.
III.—A ferric chloride solution of 30° to 45° Bé. If chrome gelatin
or chrome albumen is used for the etching-ground, a spirituous ferric
chloride solution is employed. The etching process can be made slower
by adding common salt to the ferric chloride solution.
«Matt Etching of Copper.»—White vitriol, 1 to 5 parts; common salt, 1
part; concentrated sulphuric acid, 100 parts; nitric acid (36° Bé.),
200 parts, mixed together. The sulphuric acid is to be poured carefully
into the nitric acid, not the reverse.
«Etching Fluid for Brass.»—Nitric acid, 8 parts; mixed with water, 80
parts; into this mixture pour a hot solution of potassium chlorate, 3
parts, in water, 50 parts.
«Etching Fluid for Brass to Make Stencils.»—Mix nitric acid, of 1.3
specific weight, with enough fuming nitric acid to give a deep yellow
color. This mixture acts violently, and will eat through the strongest
sheet brass.
«Etching Fluid for Zinc.»—Boil pounded gallnuts, 40 parts, with water,
560 parts, until the whole amounts to 200 parts; filter, and add nitric
acid, 2 parts, and a few drops of hydrochloric acid. Ferric chloride
and antimonic chloride solutions may also be used to etch zinc.
«Relief Etching of Zinc.»—The design is to be drawn with a solution
of platinum chloride, 1 part, and rubber, 1 part, in water, 12 parts.
The zinc plate is placed in dilute sulphuric acid (1 in 16). The black
drawing will remain as it is.
Another compound for the drawing is made of blue vitriol, 2 parts;
copper chloride, 3 parts; water, 64 parts; pure hydrochloric acid, 1.1
specific weight. After the drawing is made, lay the plate in dilute
nitric acid (1 in 8). {324}
«Etching Fluid for Aluminum.»—Dilute hydrochloric acid serves this
purpose. Aluminum containing iron can be matted with soda lye, followed
by treatment with nitric acid. The lye dissolves the aluminum, and the
nitric acid dissolves the iron. Aluminum bronze is etched with nitric
acid.
«Etching Fluid for Tin or Pewter.»—Ferric chloride, or highly diluted
nitric acid.
«Etching Fluids for Silver.»—I.—Dilute pure nitric acid.
II.—Nitric acid (specific weight, 1.185), 172 parts; water, 320 parts;
potassium bichromate, 30 parts.
«Etching Fluid for Gold.»—Dilute aqua regia (= nitric and sulphuric
acids, in the proportion of 1 in 3).
«Etching Fluid for Copper, Zinc, and Steel.»—A mixture of 4 parts of
acetic acid (30 per cent), and alcohol, 1 part; to this is added
gradually, nitric acid, 1 part.
«Etching Fluid for Lead, Antimony, and Britannia Metal.»—Dilute nitric
acid.
«Etching Powder for Metals» (Tin, Silver, Iron, German Silver, Copper,
and Zinc).—Blue vitriol, 1 part; ferric oxide, 4 parts. The powder,
moistened, is applied to the places to be etched, as, for instance,
knife blades. Calcined green vitriol can also be used.
«Electro-Etching.»—This differs from ordinary etching in the use of a
bath, which does not of itself affect the metal, but is made capable of
doing so by the galvanic current.
Ordinary etching, seen under the microscope, consists of a succession
of uneven depressions, which widen out considerably at a certain
depth. In electro-etching, the line under the microscope appears as a
perfectly even furrow, not eaten out beneath, however deeply cut. The
work is, accordingly, finer and sharper; the fumes from the acids are
also avoided, and the etching can be modified by regulation of the
current. The preparation of the surface, by covering, stopping-out,
etc., is the same as in ordinary etching. At some uncovered place a
conducting wire is soldered on with soft solder, and covered with a
coat of varnish. The plate is then suspended in the bath, and acts as
the anode, with another similar plate for the cathode. If gradations in
etching are desired, the plates are taken out after a time, rinsed, and
covered, and returned to the bath.
For the bath dilute acids are used, or saline solutions. Thus, for
copper, dilute sulphuric acid, 1 in 20. For copper and brass, a
blue vitriol solution. For zinc, white vitriol or a zinc chloride
solution. For steel and iron, green vitriol, or an ammonium chloride
solution. For tin, a tin-salt solution. For silver, a silver nitrate
or potassium cyanide solution. For gold and platinum, gold chloride
and platinum chloride solutions, or a potassium cyanide solution. For
electro-etching a Leclauché or Bunsen battery is to be recommended. In
the former, the negative zinc pole is connected with a plate of the
same metal as that to be etched, and the positive iron pole with the
plate to be etched. In the Bunsen battery, the carbon pole is connected
with the object to be etched, the zinc pole with the metal plate.
«Etching Bath for Brass.»—1.—Mix nitric acid (specified gravity,
1.4), 8 parts, with water, 80 parts. 2.—Chlorate of potash, 3
parts, dissolved in 50 parts of water. Mix 1 and 2. For protecting
those portions which are not to be etched, any suitable acid-proof
composition can be used.