white lime. Canadian asbestos is generally used, which is composed of
80 per cent of asbestos and 20 per cent of serpentine. The asbestos
is ground and the coarse powder used for the first rough cast, while
the finer material is employed for the second top-plastering. This
mortar is highly fire-resisting and waterproof, is only half as heavy
as cement mortar, and tough enough to admit of nails being driven in
without breaking it.
MOSQUITO REMEDIES: See Insecticides.
MOSS REMOVERS: See Cleaning Preparations and Methods, under
Miscellaneous Methods.
MOTHS: See Turpentine.
MOTH PAPER: See Paper.
MOTH TRAPS AND MOTH KILLERS: See Household Formulas.
MOTHER-OF-PEARL: See Pearl.
MOTORS, ANTI-FREEZING SOLUTION FOR: See Freezing Preventives.
«MOUNTANTS:»
See also Adhesives and Photography.
«Mounting Drawings, Photos, etc., upon Fine Pasteboard.»—It frequently
happens that the pasteboard will warp toward the face of the picture,
even if left in a press till the gluing medium is perfectly dry. This
fault can be {480} obviated by moistening the back of the pasteboard
moderately with a sponge, and, while this is still wet, pasting the
picture on with good, thin glue. If moistening the pasteboard is
impracticable (with sensitive drawings, paintings, etc.), paste which
has been pressed through a fine cloth is rubbed on, always in the same
direction, and the picture is carefully and evenly pressed on. Then
bend the pasteboard backward in a wide semicircle, and place it between
two heavy objects on the table. After a few hours, when the paste is
completely dry, put the picture down flat and load proportionately.
Papers of large size, which cannot conveniently be placed between two
objects, are wrapped up, and twine is stretched around, thus keeping
them bent.
«Mounting Prints on Glass.»—Take 4 ounces of gelatin; soak 1/2 hour
in cold water; then place in a glass jar, adding 16 ounces of water;
put the jar in a large dish of warm water and dissolve the gelatin.
When dissolved pour in a shallow tray; have the prints rolled on a
roller, albumen side up; take the print by the corners and pass rapidly
through the gelatin, using great care to avoid air bubbles. Squeeze
carefully onto the glass. The better the quality of glass, the finer
the effect.
MOUTH ANTISEPTICS: See Antiseptics.
MOUTH WASHES: See Dentifrices.
MOVING OBJECTS AND HOW TO PHOTOGRAPH THEM: See Photography.
MUCILAGE: See Adhesives.
«MUSIC BOXES.»
Care must be exercised in taking apart, for if the box is wound up and
the fly is removed, the cylinder is ruined. The spring relaxes at a
bound, causing the cylinder to turn with such rapidity that the pins
cannot resist the teeth, whose force is intensified by the velocity of
the cylinder. The pins originally bent forward are broken, or pressed
backwards; as they are hardened, they cannot be bent forward again
without breaking. This accident involves the cost of a new cylinder,
the most expensive part of the apparatus. Besides, the comb almost
always loses some teeth and the wheel-work also suffers in its turn.
To avoid such mishaps the careful operator will take the parts asunder
in the following order:
1. Remove the comb.
2. Take the apparatus from the box and completely disarm the spring.
3. Remove the barrel.
4. Remove the escapement.
5. Remove the cylinder.
The barrel and the wheels are cleaned like those of a watch.
The cylinder should be handled carefully. The holes should be well
cleaned. Oil should be put only on the pivots, especially none on the
part of the arbor to which the cylinder is attached. It is the first
piece to be replaced, care being taken to see that the arbor turns
freely, but without play, between the bridges. When it is in position,
put in the escapement, then the barrel, and finally the comb.
The comb, representing the musical part of a simple box, cannot receive
too much care. Before replacing it examine the springs closely, and
in supplying the ones that are lacking, take for the model of size
and form those resembling them the most. If the parts have been put
together properly, then, as soon as the comb is screwed in its place,
these should be found in good working order: the _levée_ (lift)—that
is, that the pins do not lift the teeth too much or too little; the
_tombée_ (fall)—that is, that the chords, the bass, the medium, and the
treble, fall together; and the _visée_ (pointing)—that the pins catch
at the center of the ends of the teeth.
MUSLIN, PAINTING ON: See Painting.
«MUSTACHE FIXING FLUID.»
Balsam of Tolu 1 part
Rectified spirit 3 parts
Jockey club 1 part
Dissolve the balsam in the liquids. Apply a few drops to the mustache
with a brush, then twist into the desired shape.
«MUSTARD PAPER.»
I.—India rubber 1 part
Benzol 49 parts
Black mustard in powder, a sufficiency.
Dissolve the India rubber in the benzol, then stir in the mustard until
the mixture is of a suitable consistence for spreading. It was further
recommended to remove the fixed oil from the mustard by percolation
with benzol. Mustard paper thus made is of good quality, very active,
and keeps well. {481}
II.—Black and white mustard, in No. 60 powder,
deprived of fixed oil 1 part
Benzol solution of India rubber (1 in 40) 4 parts
Mix to a smooth mass, and spread the same over one side of a suitable
paper by means of a plaster-spreading machine, or passing the paper
over the mass contained in a suitable shallow vessel. Expose to warm
air for a short time to dry. Preserve the dry paper in well-closed
boxes. It may be useful to know that mustard paper, after spreading,
should not be long exposed to light and air. By so doing not only does
the mustard bleach but the rubber soon perishes. Moreover, mustard
paper is hygroscopic, so that in a moist atmosphere it soon loses its
virtue. It is, therefore, highly important that mustard paper should be
rapidly dried in a warm atmosphere with free ventilation, then at once
stored in well-closed packets. Thus prepared they keep well and remain
active for many years.
MUSTARDS: See Condiments.
MYRRH ASTRINGENT: See Dentifrices.
«NAIL, INGROWING.»
Copious applications of dried powdered alum are sufficient to cure
every case of ingrowing nail in about 5 days. The applications are not
painful in the least, and the destruction of the pathologic tissue
results in the formation of a hard, resistant, and non-sensitive bed
for the nail, a perfect cure for the ingrowing tendency. Apply a
fomentation of soap and water for 24 hours beforehand and then pour
the alum into the space between the nail and its bed, tamponing with
cotton to keep the alum in place, and repeating the application daily.
The suppuration rapidly dries up, and pain and discomfort are relieved
almost at once.
NAIL POLISHES: See Cosmetics.
NAPOLEON CORDIAL: See Wines and Liquors.
NAPHTHOL SOAP: See Soap.
«NEATSFOOT OIL.»
Crude neatsfoot oil 5,000 parts
Alcohol, 90 per cent 2,500 parts
Tannin 5 parts
Place in a clearing flask, agitate vigorously and allow to stand for
8 days in a warm room with daily repetition of the shaking. Then draw
off the spirit of wine on top, rinse again with 1,000 parts of spirit
of wine (90 per cent) and place the oil in a temperature of about
53 1/2° F. Allow to stand in this temperature for at least 6 weeks,
protected from the light, and then filter.
NEEDLES, ANTI-RUST PAPER FOR: See Rust Preventives.
NEGATIVES, HOW TO USE SPOILED: See Photography.
NERVE PASTE: See also Dental Cements, under Cements.
Arsenious acid 4 parts
Morphine sulphate 2 parts
Clove oil 1 part
Creosote, quantity sufficient to make a paste.
After the nerve is destroyed the following paste is to be put in the
cavity:
Alum 1 part
Thymol 1 part
Zinc oxide 1 part
Glycerine 1 part
NERVINE OINTMENT: See Ointments.
NESSELRODE PUDDING: See Ice Creams.
NETS: See Cordage.
«NICKEL-TESTING.»
Pure nickel will remain nearly white, while “patent nickel,” or
nickel-copper will not retain its primitive brilliancy, but soon
becomes slightly oxidized and grayish in color. The magnet furnishes a
good means of testing. The unadulterated nickel is distinctly sensitive
to magnetism, while that much alloyed is destitute of this property.
NICKEL ALLOYS: See Alloys.
NICKEL, TO REMOVE RUST FROM: See Cleaning Preparations and Methods.
NICKEL-PLATING: See Plating.
NICKEL STEEL: See Steel.
NICKELING, TEST FOR: See Plating. {482}
NIELLO: See Steel.
NITROGLYCERINE: See Explosives.
NOYAUX LIQUEUR: See Wines and Liquors.
NUT CANDY STICKS: See Confectionery.
NUTMEG CORDIAL: See Wines and Liquors.
NUTMEG ESSENCE: See Essences and Extracts.
OAK: See Wood.
ODONTER: See Dentifrices.
«Oils»
«Clock Oil.»—Put 2,000 parts, by weight, of virgin oil in a decanting
vessel, add a solution of 40 parts of ether tannin in 400 parts of
water and shake until completely emulsified. Let stand for 8 days, with
frequent shaking; next, add 100 parts of talcum and, when this has also
been well shaken, 1,600 parts of water. Allow to settle for 24 hours,
and then run off the lower water layer, repeating the washing as long
as the wash water still shows a coloration with ferric chloride. Pour
the contents of the decanting vessel into an evaporating dish; then
add 200 parts of thoroughly dried and finely ground cooking salt;
let stand for 24 hours and filter through paper. The clock oil is now
ready, and should be filled in brown glass bottles, holding 20 to 25
parts (about 1 ounce), which must be corked up well and kept at a cool
temperature.
«COD-LIVER OIL:»
«Aromatic Cod-Liver Oil.»—
Coumarin 0.01 parts
Saccharine 0.50 parts
Vanillin 0.10 parts
Alcohol, absolute 5.40 parts
Oil of lemon 5.00 parts
Oil of peppermint 1.00 part
Oil of neroli 1.00 part
Cod-liver oil to make 1,000 parts
«Deodorized Cod-Liver Oil.»—Mix 400 parts of cod-liver oil with 20
parts of ground coffee and 10 parts of bone black, warm the mixture in
an open vessel to 140° F., let it stand 5 days, shaking occasionally,
and strain through linen. The oil acquires the taste of coffee.
«Cod-Liver Oil Emulsions.»—
I.—Calcium hypophosphite 80 grains
Sodium hypophosphite 120 grains
Sodium chloride 60 grains
Gum acacia, in powder 2 ounces
Elixir of glucoside 20 minims
Essential oil of almonds 15 minims
Glycerine 2 fluidounces
Cod-liver oil 8 fluidounces
Distilled water, a sufficient quantity to produce 16 fluidounces.
II.—Mix 190 parts of powdered sugar with 5 parts of acacia and 500
parts of tragacanth in a mortar. Mix in a large bottle and shake
thoroughly together 500 parts of cod-liver oil and 200 parts of a cold
infusion of coffee. Gradually add a part of this mixture to the powder
in the mortar and triturate until emulsified. To the remaining liquid
mixture add 100 parts of rum, then gradually incorporate with the
contents of the mortar by trituration.
«Extracting Oil from Cottonseed.»—Claim is made for a process of
extraction, in an English patent, in which the seeds are placed in a
rotable vessel mounted on a hollow shaft divided into compartments
by means of a partition. The solvent is introduced at one end of this
shaft and passes into the vessel, which is then made to rotate. After
the extraction the bulk of the solvent and the extracted oil pass
away through an exit pipe, and steam is then introduced through the
same opening as the solvent, in order to cook the seeds and expel the
residual solvent. The steam and the vapors pass through perforations in
a scraper fixed to the shaft and thence through connected pipes into
the other compartment of the shaft, the end of which is attached to a
condenser.
«Silver Nitrate Test for Cottonseed Oil.»—Investigations of Charabout
and March throw some light on the value of this test in presence
of olive oil. The free-fat acids obtained from cottonseed oil by
saponification were treated in accordance with the method of Milliau
on a water bath with a 3 per cent solution of silver nitrate, and the
brown precipitate thus formed subjected to a chemical examination. It
was found to consist chiefly of a brown silver salt composed of a fat
acid melting at 52° F., and {483} congealing at 120° to 122° F., and
of sulphide of silver. Olive oil, which contains a sulphur compound of
an analogous composition, is also capable of forming a more or less
distinct precipitate of a dark colored silver sulphide with nitrate of
silver. It is important to bear this fact in mind when examining olive
oil for cottonseed oil.
«Floral Hair Oil.»—
White vaseline 5,000 parts
Floricin, pure 800 parts
Linalool rosé 60 parts
Terpineol 50 parts
Aubepine (hawthorne), liquid 12 parts
«Floral Hair Pomade.»—
White ceresine 250 parts
Floricin, pure 1,600 parts
Vanillin 3 parts
Geranium oil 5 parts
Isoeugenol 4 parts
«Floricin Brilliantine.»—
Floricin oil 2,100 parts
White ceresine 250 parts
Ylang-ylang oil 2 parts
Kananga oil 5 parts
Oil of rose, artificial 1 part
Cheirantia 5 parts
«Solid Linseed Oil.»—Cements for the manufacture of linoleum and other
similar substances are composed to a large extent of linseed oil,
oxidized or polymerized until it has become solid. The old process of
preparing this solid oil is tedious, costly, and invites danger from
fire. It consists in running linseed oil over sheets of thin cloth
hung from the top of a high building. The thin layer of oil upon the
cloth dries, and then a second layer is obtained in the same way. This
is continued until a thick skin of solid oil is formed on either side
of the cloth. A new method of solidifying linseed oil is by means of
alkalies. The drying oils, when heated with basic substances such as
the alkalies, polymerize and become solid. Hertkorn makes use of the
oxides of the alkaline earths, or their salts with weak acids, such
as their soaps. When chalk or lime is added to the oil during the
process of oxidation, either during the liquid or the plastic stage,
it forms a calcium soap, and causes polymerization to set in in the
partially oxidized oil. Similarly, if caustic soda or caustic potash
be added, the action is not caused by them in the free state, but by
the soaps which they form. Oxidized oil is more readily saponified
than raw oil, and the greater the oxidation, the more readily does
saponification take place. Lime soaps are not soluble in water, whereas
soda and potash soaps are. Consequently a cement made with the latter,
if exposed to the weather, will be acted upon by rain and moisture,
owing to the soluble soap contained in it, while a cement made with
lime will not be acted upon. It is suggested that the action of the
bases on linseed oil is simply due to their neutralization of the free
acid. The acidity of linseed oil increases as it becomes oxidized. When
the basic matter is added part of the free acid is neutralized, and
polymerization sets in. The presence of a large amount of free acid
must therefore hinder polymerization. From 5 to 10 per cent of chalk
or lime is considered to be the amount which gives the best result in
practice.
«Decolorizing or Bleaching Linseed Oil.»—Linseed oil may be bleached by
the aid of chemical bodies, the process of oxidizing or bleaching being
best performed by means of peroxide of hydrogen. For this purpose,
the linseed oil to be bleached is mixed with 5 per cent peroxide
of hydrogen in a tin or glass bottle, and the mixture is shaken
repeatedly. After a few days have elapsed the linseed oil is entirely
bleached and clarified, so that it can be poured off from the peroxide
of hydrogen, which has been reduced to oxide of hydrogen, i. e., water,
by the process of oxidation. The use of another oxidizing medium, such
as chloride of lime and hydrochloric acid or bichromate of calcium
and sulphuric acid, etc., cannot be recommended to the layman, as the
operation requires more care and is not without danger. If there is
no hurry about the preparation of bleached linseed oil, sun bleaching
seems to be the most recommendable method. For this only a glass bottle
is required, or, better still, a flat glass dish, of any shape, which
can be covered with a protruding piece of glass. For the admission of
air, lay some sticks of wood over the dish and the glass on top. The
thinner the layer of linseed oil, the quicker will be the oxidation
process. It is, of course, necessary to place the vessel in such a
manner that it is exposed to the rays of the sun for many hours daily.
«Linseed Oil for Varnish-Making.»—Heat in a copper vessel 50 gallons
Baltic oil to 280° F., add 2 1/2 pounds calcined white vitriol, and
stir well together. Keep the oil at the above temperature for half an
hour, then draw the fire, and in 24 hours decant the clear oil. It
should stand for at least 4 weeks. {484}
«Refining Linseed Oil.»—Put 236 gallons of oil into a copper boiler,
pour in 6 pounds of oil of vitriol, and stir them together for 3 hours,
then add 6 pounds fuller’s earth well mixed with 14 pounds hot lime,
and stir for 3 hours. The oil must be put in a copper vessel with an
equal quantity of water. Now boil for 3 hours, then extinguish the
fire. When cold draw off the water. Let the mixture settle for a few
weeks.
«MINERAL OIL:»
See also Petroleum.
«Production of Consistent Mineral Oils.»—
By weight
I.—Mineral oil 100 parts
Linseed oil 25 parts
Ground nut oil 25 parts
Lime 10 parts
II.—Mineral oil 100 parts
Rosin oil 100 parts
Rape seed oil 50 parts
Linseed oil 75 parts
Lime 25 parts
«Mixing Castor Oil with Mineral Oils.»—Castor oil is heated for 6
hours in an autoclave at a temperature of 500° to 575° F., and under a
pressure of 4 to 6 atmospheres. When cold the resulting product mixes
in all proportions with mineral oils.
«BLEACHING OILS:»
«Linseed Oil or Poppy Oil.»—Agitate in a glass balloon 25,000 parts,
by weight, of oil with a solution of 50 parts, by weight, potassium
permanganate in 1,250 parts, by volume, of water. Let stand for 24
hours at a gentle warmth and add 75 parts, by weight, of powdered
sodium sulphite. Agitate strongly and add 100 parts, by weight, of
hydrochloric acid and again agitate. Let stand until decolorization
takes place, then wash the oil with a sufficiency of water, carrying in
suspension chalk, finely powdered, until the liquid no longer has an
acid reaction. Finally filter off over anhydrous sodium sulphate.
«Boiled Oil.»—The following is especially adapted for zinc painting,
but will also answer for any paint: Mix 1 part binoxide of manganese,
in coarse powder, but not dusty, with 10 parts nut or linseed oil. Keep
it gently heated and frequently stirred for about 30 hours, or until
the oil begins to turn reddish.
«British Oil.»—
I.—Oil of turpentine 40 parts
Barbadoes pitch 26 parts
Oil of rosemary 1 part
Oil of origanum 1 part
II.—Oil of turpentine 2 parts
Rape oil 20 parts
Spirit of tar 2 parts
Alkanet root, quantity sufficient.
Macerate the alkanet root in the rape oil until the latter is colored
deep red; then strain off and add the other ingredients.
«Decolorizing and Deodorizing Oils.»—I.—One may partially or completely
deodorize and decolorize rank fish and other oils by sending a current
of hot air or of steam through them, after having heated them from 175°
to 200° F. To decolorize palm oil pass through it a current of steam
under pressure corresponding to a temperature of 230° F., agitating
the oil constantly. The vapor is then passed through leaden tuyeres of
about 2 inches diameter, 10 hours being sufficient for deodorizing 4
tons of oil.
II.—Another method that may be applied to almost all kinds of fats and
oils with excellent results is the following: Melt say 112 parts, by
weight, of palm oil in a boiler. When the mass is entirely liquefied
add to it a solution of calcium chloride, made by dissolving 7 parts,
by weight, of lime chloride for every 84 parts, by weight, of oil in
water, and mix intimately. After cooling, the mass hardens and is cut
into small bits and exposed to the air for a few weeks. After this
exposure the material is reassembled in a boiler of iron, jacketed on
the inside with lead; a quantity of sulphuric acid diluted to 5 per
cent, equal in amount to the lime chloride previously used, is added,
and heat is applied until the oil melts and separates from the other
substances. It is then left to cool off and solidify.
«Decomposition of Oils, Fats, etc.»—In many of the processes at present
in use, whereby oils and fats are decomposed by steam at a high
pressure, the time during which the oil or fat has to be exposed to
high pressure and temperature has the effect of considerably darkening
the resulting product. Hannig’s process claims to shorten the time
required, by bringing the steam and oil into more intimate contact.
The oil to be treated is projected in fine streams into the chamber
containing steam at 8 to 10 atmospheres pressure. The streams of oil
are projected with sufficient force to cause them to strike against the
walls of the chamber, and they are thus broken up into minute globules
which mix intimately with the steam. In this way the most satisfactory
conditions for the decomposition of the oil are obtained. {485}
«Driffield Oils.»—
Barbadoes tar 1 ounce
Linseed oil 16 ounces
Oil turpentine 3 ounces
Oil vitriol 1/2 ounce
Add the oil of vitriol to the other ingredients very gradually, with
constant stirring.
«Drying Oils.»—To dry oils for varnishes, paintings, etc., the most
economical means is to boil them with shot, to leave them for some
time in contact with shot, or else to boil them with litharge. Another
method consists in boiling the oils with equal parts of lead, tin, and
sulphate of zinc in the ratio of 1/10 part (weight) of the united
metals to 1 part of oil to be treated. These metals must be granulated,
which is easily accomplished by melting them separately and putting
them in cold water. They will be found at the bottom of the water in
the shape of small balls. It is in this manner, by the way, that shot
is produced.
«Dust-Laying Oil.»—A process has been patented for rendering mineral
oils miscible in all proportions of water. The method consists of
forming an intimate mixture of the oil with a soap which is soluble
in water. The most simple method is as follows: The oil is placed in
a tank provided with an agitator. The latter is set in motion and the
fatty oil or free fatty acid from which the soap is to be formed is
added, and mixed intimately with the mineral oil. When the mixture is
seen to be thoroughly homogeneous, the alkali, in solution in water,
is added little by little and the stirring continued until a thorough
emulsion is obtained, of which the constituents do not separate, even
after prolonged standing at ordinary temperatures. The agitation may be
produced either by a mechanical apparatus or by forcing air in under
pressure. As a rule, the operation can be carried out in the cold, but
in certain cases the solution of the fatty body and its saponification
requires the application of moderate heat. This may be obtained by
using either a steam-jacketed pan, or by having the steam coil within
the pan, or live steam may be blown through the mixture, serving at the
same time both as a heating and stirring agent. Any fatty matter or
fatty acid suitable for soap-making may be used, and the base may be
any one capable of forming a soluble soap, most commonly the alkaline
hydroxides, caustic soda, and caustic potash, as also ammonia. The raw
materials are chosen according to the use to which the finished product
is to be applied. A good formula, suitable for preparing an oily liquid
for watering dusty roads, is as follows:
By weight
Heavy mineral oil 75 parts
Commercial olein 2 parts
Commercial ammonia 1.5 parts
Water 21.5 parts
«Floor Oils.»—
I.—Neatsfoot oil 1 part
Cottonseed oil 1 part
Petroleum oil 1 part
II.—Beeswax 8 parts
Water 56 parts
Potassium carbonate 4 parts
Dissolve the potash in 12 parts of water; heat together the wax and the
remaining water till the wax is liquefied; then mix the two and boil
together until a perfect emulsion is effected. Color, if desired, with
a solution of annatto.
«Ground-Laying Oil for Ceramics.»—Boil together until thoroughly
incorporated 1 pint of linseed oil, 1 pint of dissolved gum mastic,
1/2 ounce of red lead, 1/2 ounce of rosin. In using mix with Venice
turpentine.
«Oil Suitable for Use with Gold.»—Heat and incorporate linseed oil, 1
quart; rape oil, 1 pint; Canadian balsam, 3 pints; rectified spirits of
tar, 1 quart.