oil of turpentine, to which burnt white vitriol and white sugar of
lead are added for drier. The paint must be prepared exceedingly thin
and applied to the glass evenly, using a broad brush. If the windows
require a new coat, the old one is first removed by the use of a strong
lye, or else apply a mixture of hydrochloric acid, 2 parts; vitriol,
2 parts; copper sulphate, 1 part; and gum arabic 1 part, by means of
a brush. The production of this imitation frosting entails little
expense and is of special advantage when a temporary use of the glass
is desired.
VIII.—A little Epsom salt (sulphate of magnesia) stirred in beer with a
small dose of dextrin and applied on the panes by means of a sponge or
a brush permits of obtaining mat panes.
«Hoarfrost Glass.»—The feathery foams traced by frost on the inside of
the windows in cold weather may be imitated as follows:
The surface is first ground either by sand-blast or the ordinary
method, and is then covered with a sort of varnish. On being dried
either in the sun or by artificial heat, the varnish contracts
strongly, taking with it the particles of glass to which it adheres;
and as the contraction takes places along definite lines, the pattern
given by the removal of the particles of glass resembles very closely
the branching crystals of frostwork. A single coat gives a small,
delicate effect, while a thick film, formed by putting on 2, 3 or more
coats, contracts so strongly as to produce a large and bold design. By
using colored glass, a pattern in half-tint may be made on the colored
ground, and after decorating white glass, the back may be silvered or
gilded.
«Engraving, Matting, and Frosting.»—Cover the glass with a layer of
wax or of varnish on which the designs are traced with a graver or
pen-point; next, hydrofluoric acid is poured on the tracings. This
acid is very dangerous to handle, while the following process, though
furnishing the same results, does not present this drawback: Take
powdered fluoride of lime, 1 part, and sulphuric acid, 2 parts. Make
a homogeneous paste, which is spread on the parts reserved for the
engraving or frosting. At the end of 3 or 4 hours wash with water to
remove the acid, next with alcohol to take off the varnish, or with
essence of turpentine if wax has been employed for stopping off.
«To Render Window Panes Opaque.»—I.—Panes may be rendered mat and
non-transparent by painting them on one side with a liquid prepared
by grinding whiting with potash water-glass solution. After one or
two applications, the panes are perfectly opaque, while admitting the
light.
II.—Paint the panes with a solution of
Dextrin 200 parts by weight
Zinc vitriol 800 parts by weight
Bitter salt 300 parts by weight
In water 2,000 parts by weight
III.—For deadening panes already set in frames the following is
suitable: Dissolve 1 part of wax in 10 parts of oil of turpentine,
adding 1 part of varnish and 1 part of siccative. With this mixture
coat the panes on the outside and dab, while still wet, with a pad of
cotton wadding. If desired small quantities of Paris blue, madder lake,
etc., may be added to the wax solution.
IV.—For deadening window panes in factories and workshops: To beeswax
dissolved in oil of turpentine, add some dryer and varnish to obtain
a quicker drying and hardening. After the window pane has been coated
with this mixture on the outside, it is dabbed uniformly with a pad of
wadding. The wax may be tinted with glazing colors.
«Frosted Mirrors.»—I.—Cover with a solution of Epsom salts in stale
beer; apply with a sponge to the mirror, first wiping it clean and dry.
On drying, the Epsom salt crystallizes, giving very handsome frosted
effects, but the solution must not be applied on humid days {376} when
the glass is liable to be damp, for in that case the effect will be a
blurred one. When it is desirable to remove the coating, lukewarm water
will serve the purpose without damage to the luster of the mirror.
II.—The following mixture, when applied to a mirror and left to dry,
will form in many shapes, all radiating from a focus, this focus
forming anywhere on the glass, and when all dry tends to form a most
pleasing object to the eye.
Sour ale 4 ounces
Magnesium sulphate 1 ounce
Put on the mirror with a small, clean sponge and let dry. It is now
ready for the artist, and he may choose his own colors and subject.
«Crystalline Coatings or Frostwork on Glass or Paper.»—Dissolve a small
quantity of dextrin (gum arabic and tragacanth are not so suitable)
in aqueous salt solution as concentrated as possible, for instance,
in sulphate of magnesia (bitter salt), sulphate of zinc or any other
readily crystallizing salt; filter the solution through white blotting
paper and coat glass panes uniformly thin with the clear filtrate,
using a fine, broad badger brush; leave them lying at an ordinary
medium temperature about one-quarter hour in a horizontal position.
As the water slowly evaporates during this short time, handsome
crystalline patterns, closely resembling frostwork, will develop
gradually on the glass panes, which adhere so firmly to the glass or
the paper (if well-sized glazed paper had been used) that they will not
rub off easily. They can be permanently fixed by a subsequent coat of
alcoholic shellac solution.
Especially handsome effects are produced with colored glass panes thus
treated, and in the case of reflected light by colored paper.
For testing crystals as regards their optical behavior, among others
their behavior to polarized light, it is sufficient to pour a solution
of collodion wool (soluble peroxide lime for the preparation of
collodion) over the surface of glass with the crystalline designs,
and to pull off the dry collodion film carefully. If this is done
cautiously it is not difficult to lift the whole crystalline group
from the glass plate and to incorporate it with the glass-like, thin
collodion film.
«REMOVING WINDOW FROST.»
Here are fourteen methods of preventing frost on windows, arranged in
the order of their efficacy: 1, Flame of an alcohol lamp; 2, sulphuric
acid; 3, aqua ammonia; 4, glycerine; 5, aqua regia; 6, hydrochloric
acid; 7, benzine; 8, hydriodic acid; 9, boric acid; 10, alcohol; 11,
nitric acid; 12, cobalt nitrate; 13, infusion of nutgalls; 14, tincture
of ferrous sulphate. By the use of an alcohol lamp (which, of course,
has to be handled with great care) the results are immediate, and the
effect more nearly permanent than by any other methods. The sulphuric
acid application is made with a cotton cloth swab, care being taken not
to allow any dripping, and so with all other acids. The effect of the
aqua ammonia is almost instantaneous, but the window is frosted again
in a short time. With the glycerine there are very good results—but
slight stains on the window which may be easily removed.
The instructions for glycerine are: Dissolve 2 ounces of glycerine
in 1 quart of 62 per cent alcohol containing, to improve the odor,
some oil of amber. When the mixture clarifies it is rubbed over the
inner surface of the glass. This, it is claimed, not only prevents the
formation of frost, but also prevents sweating.
«To Prevent Dimming of Eyeglasses, etc.»—Mix olein-potash soap
with about 3 per cent of glycerine and a little oil turpentine.
Similar mixtures have also been recommended for polishing physicians’
reflectors, show-windows, etc., to prevent dimming.
«WRITING ON GLASS:»
See also Etching and Inks.
«Composition for Writing on Glass.»—To obtain mat designs on glass,
take sodium fluoride, 35 parts; potassium sulphate, 7 parts; zinc
chloride, 15 parts; hydrochloric acid, 65 parts; distilled water, 1,000
parts. Dissolve the sodium fluoride and the potassium sulphate in half
the water; dissolve the zinc chloride in the remaining water and add
the hydrochloric acid. Preserve these two solutions separately. For
use, mix a little of each solution and write on the glass with a pen or
brush.
«Ink for Writing on Glass.»—
Shellac 20 parts
Alcohol 150 parts
Borax 35 parts
Water 250 parts
Water-soluble dye sufficient to color.
Dissolve the shellac in the alcohol, the borax in the water, and pour
the shellac {377} solution slowly into that of the borax. Then add the
coloring matter previously dissolved in a little water.
GLASS AND GLASSWARE CEMENT: See Adhesives and Amalgams.
GLASS CLEANERS: See Cleaning Preparations and Methods.
GLASS, COPPERING, GILDING, AND PLATING: See Plating.
GLASS ETCHING: See Etching.
GLASS, HOW TO AFFIX SIGN-LETTERS ON: See Adhesives under Sign-Letter
Cements.
GLASS, FASTENING METALS ON: See Adhesives.
GLASS LETTERING: See Lettering.
GLASS LUBRICANTS: See Lubricants.
GLASS, PERCENTAGE OF LIGHT ABSORBED BY: See Light.
GLASS POLISHES: See Polishes.
GLASS, SILVERING OF: See Mirrors.
GLASS SOLDERS: See Solders.
GLASS, SOLUBLE, AS A CEMENT: See Adhesives.
GLASS, TO AFFIX PAPER ON: See Adhesives, under Water-Glass Cements.
GLASS, TO SILVER: See Silver.
«Glazes»
(See also Ceramics, Enamels, Paints, and Varnishes.)
«Glazes for Cooking Vessels.»—Melt a frit of red lead, 22.9 parts
(by weight); crystallized boracic acid, 31 parts; enamel soda, 42.4
parts; cooking salt, 10 parts; gravel, 12 parts; feldspar, 8 parts.
According to the character of the clay, this frit is mixed with varying
quantities of sand, feldspar and kaolin, in the following manner:
Frit 84 84 84 84
Red lead 1.5 1.5 1.5 1.5
Gravel 8 6 3 ────
Feldspar ──── 2 5 8
Kaolin, burnt 6.5 6.5 6.5 6.5
Glazes which are produced without addition of red lead to the frit,
are prepared as follows. Melt a frit of the following composition: Red
lead, 22.9 parts (by weight); boracic acid in crystals, 24.8 parts;
enamel soda, 37.1 parts; calcined potash, 6.9 parts; cooking salt, 10
parts; chalk, 10 parts; gravel, 12 parts; feldspar, 8 parts.
From the frit the following glazes are prepared:
Frit 86.5 86.5 86.5 86.5
Gravel 7 4.5 3 ────
Feldspar ──── 2.5 4 7
Kaolin, burnt 6.5 6.5 6.5 6.5
«Glazing on Size Colors.»—The essential condition for this work is a
well-sized foundation. For the glazing paint, size is likewise used as
a binder, but a little dissolved soap is added, of about the strength
employed for coating ceilings. Good veining can be done with this,
and a better effect can be produced in executing pieces which are to
appear in relief, such as car-touches, masks, knobs, etc., than with
the ordinary means. A skillful grainer may also impart to the work the
pleasant luster of natural wood. The same glazing method is applicable
to colored paintings. If the glazing colors are prepared with wax,
dissolved in French turpentine, one may likewise glaze with them on a
size-paint ground. Glazing tube-oil colors thinned with turpentine and
siccative, are also useful for this purpose. For the shadows, asphalt
and Van Dyke brown are recommended, while the contour may be painted
with size-paint.
«Coating Metallic Surfaces with Glass.»—Metallic surfaces may be coated
with glass by melting together 125 parts (by weight) of flint-glass
fragments, 20 parts of sodium carbonate, and 12 parts of boracic acid.
The molten mass is next poured on a hard and cold surface, stone or
metal. After it has cooled, it is powdered. Make a mixture of 50° Bé.
of this powder and sodium silicate (water glass). The metal to be
glazed is coated with this and heated in a muffle or any other oven
until the mixture melts and can be evenly distributed. This glass
coating adheres firmly to iron and steel.
«Glaze for Bricks.»—A glazing color for bricks patented in Germany is
a {378} composition of 12 parts (by weight) lead; 4 parts litharge;
3 parts quartzose sand; 4 parts white argillaceous earth; 2 parts
kitchen salt; 2 parts finely crushed glass, and 1 part saltpeter. These
ingredients are all reduced to a powder and then mixed with a suitable
quantity of water. The color prepared in this manner is said to possess
great durability, and to impart a fine luster to the bricks.
GLAZES FOR LAUNDRY: See Laundry Preparations.
GLOBES, HOW TO COLOR: See Glass-Coloring.
GLOBES, PERCENTAGE OF LIGHT ABSORBED BY: See Light.
GLOBES, SILVERING OF: See Mirrors.
GLOSS FOR PAPER: See Paper.
GLOVE-CLEANERS: See Cleaning Compounds.
GLOVES, SUBSTITUTE FOR RUBBER: See Antiseptics.
GLOVES, TESTING: See Rubber.
GLUCOSE IN JELLY: See Foods.
«Glue»
(Formulas for Glues and methods of manufacturing Glue will be found
under Adhesives.)
«Rendering Glue Insoluble in Water.»—Stuebling finds that the usual
mixture of bichromate and glue when used in the ordinary way does not
possess the waterproof properties with which it is generally credited.
If mixed in the daylight, it sets hard before it can be applied to the
surfaces to be glued, and if mixed and applied in the dark room it
remains just as soluble as ordinary glue, the light being unable to
penetrate the interior of the joints. Neither is a mixture of linseed
oil and glue of any use for this purpose. Happening to upset a strong
solution of alum—prepared for wood staining—into an adjacent glue pot,
he stirred up the two together out of curiosity and left them. Wishing
to use the glue a few days later, he tried to thin it down with water,
but unsuccessfully, the glue having set to a waterproof mass. Fresh
glue was then mixed with alum solution and used to join two pieces of
wood, these resisting the action of the water completely.
«To Bleach Glue.»—Dissolve the glue in water, by heat, and while hot,
add a mixture in equal parts of oxalic acid and zinc oxide, to an
amount equal to about 1 per cent of the glue. After the color has been
removed, strain through muslin.
«Method of Purifying Glue.»—The glue is soaked in cold water and
dissolved in a hot 25 per cent solution of magnesium sulphate. The
hot solution is filtered, and to the filtrate is added a 25 per cent
solution of magnesium sulphate containing 0.5 per cent of hydrochloric
acid (or, if necessary, sulphuric acid). A white flocculent precipitate
is obtained which is difficult to filter. The remainder of the glue in
the saline solution is extracted by treatment with magnesium sulphate.
The viscous matter is washed, then dissolved in hot water, and allowed
to cool, a quantity of weak alcohol acidulated by 1 per cent of
hydrochloric acid being added just before the mass solidifies. From 2
to 3 parts, by volume, of strong alcohol (methyl or ethyl) are then
added and the solution filtered, charcoal being used if necessary. The
glue is finally precipitated from this solution by neutralizing with
ammonia and washing with alcohol or water.
«To Distinguish Glue and Other Adhesive Agents.»—The product to be
examined is heated with hydrofluoric acid (50 per cent). If bone glue
is present in any reasonable quantity, an intense odor of butyric acid
arises at once, similar to that of Limburger cheese. But if dextrin
or gum arabic is present, only an odor of dextrine or fluorhydric
acid will be perceptible. Conduct the reaction with small quantities;
otherwise the smell will be so strong that it is hard to remove from
the room.
GLUE CLARIFIER: See Gelatin.
«Glycerine»
«Recovering Glycerine from Soap Boiler’s Lye.»—I.—Glycerine is obtained
as a by-product in making soap. For many years the lyes were thrown
away as waste, but now considerable quantities of glycerine are
recovered, which are much used in making explosive compounds.
When a metallic salt or one of the alkalies, as caustic soda, is added
to tallow, a stearite of the metal (common soap is stearite of sodium)
is formed, whereby the glycerine is eliminated. {379} This valuable
by-product is contained in the waste lye, and has formed the subject of
several patents.
Draw the lye off from the soap-pans; this contains a large quantity of
water, some salt and soap and a small quantity of glycerine, and the
great trouble is to concentrate the lye so that the large quantity of
water is eliminated, sometimes 10 to 12 days being occupied in doing
this. The soap and salt are easily removed.
To remove the soap, run the lye into a series of tanks alternating in
size step-like, so that as the first, which should be the largest,
becomes full, the liquor will flow into the second, from that into
the third, and so on; by this arrangement the rosinous and albuminous
matters will settle, and the soap still contained in the lyes will
float on the surface, from which it is removed by skimming.
After thus freeing the lye of the solid impurities, convey the purified
lye to the glycerine recovering department (wooden troughs or pipes
may be used to do this), and after concentrating by heating it in a
steam-jacketed boiler, and allowing it to cool somewhat, ladle out
the solid salt that separates, and afterwards concentrate the lye by
allowing it to flow into a tank, but before doing so let the fluid
come in contact with a hot blast of air or superheated steam, whereby
the crude discolored glycerine is obtained. This is further purified
by heating with animal charcoal to decolorize it, then distilling
several times in copper stills with superheated steam. The chief points
to attend to are: (1) The neutralizing and concentrating the lye as
much as possible and then separating the salts and solid matters; (2)
concentrating the purified lye, and mixing this fluid with oleic acid,
oil, tallow, or lard, and heating the mixture to 338° F., in a still,
by steam, and gradually raise the heat to 372° F.; (3) stirring the
liquor while being heated, and allowing the aqueous vapor to escape,
and when thus concentrated, saponifying the liquid with lime to
eliminate the glycerine; water is at the same time expelled, but this
is removed from the glycerine by evaporating the mixture.
II.—In W. E. Garrigues’s patent for the recovering of glycerine from
spent soap lyes, the liquid is neutralized with a mineral acid, and
after separation of the insoluble fatty acids it is concentrated
and then freed from mineral salts and volatile fatty acids, and the
concentrated glycerine solution treated with an alkaline substance and
distilled. Thus the soap lye may be neutralized with sulphuric acid,
and aluminum sulphate added to precipitate the insoluble fatty acids.
The filtrate from these is concentrated and the separated mineral salts
removed, after which barium chloride is added and then sufficient
sulphuric acid to liberate the volatile fatty acids combined with the
alkali. These acids are partially enveloped in the barium sulphate,
with which they can be separated from the liquid by filtration, while
the remaining portion can be expelled by evaporating the liquid in
a vacuum evaporator. Finally, the solution is treated with sodium
carbonate, and the glycerine distilled.
Glycerine Lotion.—
Glycerine 4 ounces
Essence bouquet 1/4 ounce
Water 4 ounces
Cochineal coloring, a sufficient quantity.
(See also Cosmetics for Glycerine Lotions.)
GLYCERINE APPLICATIONS: See Cosmetics.
GLYCERINE AS A DETERGENT: See Cleaning Preparations and Methods.
GLYCERINE PROCESS: See Photography.
GLYCERINE SOAP: See Soap.
GLYCERINE DEVELOPER: See Photography.
«Gold»
(See also Jewelers’ Formulas.)
«Gold Printing on Oilcloth and Imitation Leather.»—Oilcloth can very
easily be gilt if the right degree of heat is observed. After the
engraving has been put in the press, the latter is heated slightly, so
that it is still possible to lay the palm of the hand on the heated
plate without any unpleasant sensation. Go over the oilcloth with a
rag in which a drop of olive oil has been rubbed up, which gives a
greasy film. No priming with white of egg or any other priming agent
should be done, since the gold leaf would stick. Avoid sprinkling on
gilding powder. The gold leaf is applied directly on the oilcloth;
then place in the lukewarm press, squeezing it down with {380} a quick
jerky motion and opening it at once. If the warm plate remains too
long on the oilcloth, the gold leaf will stick. When the impression
is done, the gold leaf is not swept off at once, but the oilcloth is
first allowed to cool completely for several minutes, since there is a
possibility that it has become slightly softened under the influence
of the heat, especially at the borders of the pressed figures, and the
gold would stick there if swept off immediately. The printing should be
sharp and neat and the gold glossy. For bronze printing on oilcloth, a
preliminary treatment of printing with varnish ground should be given.
The bronze is dusted on this varnish.
Imitation leather is generally treated in the same manner. The tough
paper substance is made to imitate leather perfectly as regards color
and pressing, especially the various sorts of calf, but the treatment
in press gilding differs entirely from that of genuine leather. The
stuff does not possess the porous, spongy nature of leather, but
on the contrary is very hard, and in the course of manufacture in
stained-paper factories is given an almost waterproof coating of color
and varnish. Hence the applied ground of white of egg penetrates but
slightly into this substance, and a thin layer of white of egg remains
on the surface. The consequence is that in gilding the gold leaf is
prone to become attached, the ground of albumen being quickly dissolved
under the action of the heat and put in a soft sticky state even in
places where there is no engraving. In order to avoid this the ground
is either printed only lukewarm, or this imitation leather is not
primed at all, but the gold is applied immediately upon going over the
surface with the oily rag. Print with a rather hot press, with about
the same amount of heat as is employed for printing shagreen and title
paper. A quick jerky printing, avoiding a long pressure of the plate,
is necessary.
«Liquid Gold.»—Take an evaporating dish, put into it 880 parts, by
weight, of pure gold; then 4,400 parts, by weight, of muriatic acid,
and 3,520 parts, by weight, nitric acid; place over a gas flame until
the gold is dissolved, and then add to it 22 parts, by weight, of pure
tin; when the tin is dissolved add 42 parts, by weight, of butter of
antimony. Let all remain over the gas until the mixture begins to
thicken. Now put into a glass and test with the hydrometer, which
should give about 1,800 specific gravity. Pour into a large glass
and fill up with water until the hydrometer shows 1090; pour all the
solution into a chemical pot and add to it 1,760 parts, by weight,
balsam of sulphur, stirring well all the while, and put it over the
gas again; in an hour it should give, on testing, 125° F.; gradually
increase the heat up to 185° F., when it should be well stirred and
then left to cool about 12 hours. Pour the watery fluid into a large
vessel and wash the dark-looking mass 5 or 6 times with hot water;
save each lot of water as it contains some portion of gold. Remove all
moisture from the dark mass by rolling on a slab and warming before the
fire occasionally so as to keep it soft. When quite dry add 2 1/4
times its weight of turpentine and put it over a small flame for
about 2 hours; then slightly increase the heat for another hour and a
half. Allow this to stand about 24 hours, and then take a glazed bowl
and spread over the bottom of it 1,760 parts, by weight, of finely
powdered bismuth; pour the prepared gold over it in several places.
Now take a vessel containing water and place inside the other vessel
containing the gold, and heat it so as to cause the water to boil for 3
hours; allow it to remain until settled and pour off the gold from the
settlings of the bismuth, and try it; if not quite right continue the
last process with bismuth until good; the bismuth causes the gold to
adhere.
«Preparation of Balsam of Sulphur.»—Take 16 parts oil of turpentine;
2 1/2 parts spirits of turpentine; 8 parts flour of sulphur.
Place all in a chemical pot and heat until it boils; continue the
boiling until no sulphur can be seen in it; now remove from the heat
and thin it with turpentine until about the thickness of treacle, then
warm it again, stirring well; allow it to cool until it reaches 45° F.,
then test it with the hydrometer, and if specific gravity is not 995
continue the addition of turpentine and warming until correct, let it
thoroughly cool, then bottle, keeping it air-tight.
«To Purify Bismuth.»—Take 6 parts bismuth metal, 3/4 part saltpeter.
Melt together in a biscuit cup, pour out on to a slab, and take away
all dirt, then grind into a fine powder.