of Yorkshire grease and other greases. The distilled oil is tested
for quality, and is brought down to 70 per cent or 50 per cent grades
by the addition of a suitable quantity of mineral oil. The lower the
quality of the grease used the lower is the grade of the resulting wool
oil.
OIL, CASTOR: See Castor Oil.
OIL FOR FORMING A BEAD ON LIQUORS: See Wines and Liquors.
OILS FOR HARNESS: See Leather.
OILS (EDIBLE), TESTS FOR: See Foods.
OIL, HOW TO POUR OUT: See Castor Oil.
OIL, LUBRICATING: See Lubricants. {486}
OILS, PURIFICATION OF: See Fats.
OILCLOTH: See Linoleum.
OILCLOTH ADHESIVES: See Adhesives.
OILCLOTH VARNISHES: See Varnishes.
OILING FIBERS AND FABRICS: See Waterproofing.
OILSKINS: See Waterproofing.
OIL REMOVERS: See Cleaning Preparations and Methods.
OIL, SOLIDIFIED: See Lubricants.
«Ointments»
«Arnica Salve.»—
Solid extract of arnica 2 parts
Rosin ointment 16 parts
Petrolatum 4 parts
Sultanas 16 parts
Fine cut tobacco 1 part
Boil the raisins and the tobacco in 40 ounces of water until exhausted,
express the liquid, and evaporate down to 8 ounces. Soften the arnica
extract in a little hot water and mix in the liquid. Melt the rosin
ointment and petrolatum together, and add the liquid to the melted mass
and incorporate thoroughly.
«Barbers’ Itch.»—
Ichthyol 30 grains
Salicylic acid 12 grains
Mercury oleate (10 per cent) 3 drachms
Lanolin 1 ounce
Mix. To be kept constantly applied to the affected parts.
«Brown Ointment.»—
Rosin 1 ounce
Lead plaster 4 ounces
Soap cerate 8 ounces
Yellow beeswax 1 ounce
Olive oil 7 1/2 fluidounces
«Chilblains.»—The following are for unbroken chilblains:
I.—Sulphurous acid 3 parts
Glycerine 1 part
Water 1 part
II.—Balsam Peru 1 part
Alcohol 24 parts
Hydrochloric acid 1 part
Tincture benzoin compound 8 parts
Dissolve the balsam in the alcohol, and add the acid and tincture.
Apply morning and evening.
«Domestic Ointments.»—
I.—Vaseline 80 parts
Diachylon ointment 30 parts
Carbolic acid 4 parts
Camphor 5 parts
II.—Butter, fresh (unsalted) 750 parts
Wax, yellow 125 parts
Rosin, white 100 parts
Nutmeg oil 15 parts
Peru balsam 1 part
III.—Lead plaster, simple 6,090 parts
Vaseline, yellow 1,000 parts
Camphor 65 parts
Carbolic acid 50 parts
Mix.
«Green Salve.»—
White pine turpentine 8 ounces
Lard, fresh 8 ounces
Honey 4 ounces
Beeswax, yellow 4 ounces
Melt, stir well, and add
Verdigris, powdered 4 drachms
Apply locally.
This cannot be surpassed when used for deep wounds, as it prevents the
formation of proud flesh and keeps up a healthy discharge.
«Salve for all Wounds.»—
Lard, fresh 16 ounces
White lead, dry 3 ounces
Red lead, dry 1 ounce
Beeswax, yellow 3 ounces
Black rosin 2 ounces
Mix, melt, and boil for 45 minutes, then add
Common turpentine 4 ounces
Boil for 3 minutes and cool.
Apply locally to cuts, burns, sores, ulcers, etc. It first draws, then
heals.
«Irritating Plaster.»—
Tar, purified 16 ounces
Burgundy pitch 1 ounce
White pine turpentine 1 ounce
Rosin, common 2 ounces
Melt and add
Mandrake root, powdered 1 drachm
Bloodroot, powdered 1 ounce
Poke root, powdered 1 ounce
Indian turnip root, powdered 1 ounce
Apply to the skin in the form of a {487} plaster (spread on muslin) and
renew it daily.
This salve will raise a sore which is to be wiped with a dry cloth to
remove matter, etc. The sore must not be wetted. This is a powerful
counter-irritant for removing internal pains, and in other cases where
an irritating plaster is necessary.
«Mercury Salves.»—I.—Red Salve.—Red mercury oxide, 1 part; melted lard,
9 parts.
II.—White Salve.—Mercury precipitate, 1 part; melted lard, 9 parts.
Pink salve.
Ammoniated mercury 1 ounce
Mercuric oxide, precipitated 2 1/2 ounces
Red mercuric sulphide (vermilion) 60 grains
Perfume 1/2 fluidounce
Lard 1 1/2 pounds
Prepared suet 1/2 pound
«Antiseptic Nervine Ointment.»—
Iodoform 2 parts
Salol 4 parts
Boric acid 5 parts
Antipyrine 5 parts
Vaseline 80 parts
«Photographers’ Ointment.»—The following protects the hands from
photographic chemicals:
Best castile soap, in fine shavings 1 ounce
Water 1 ounce
Wax 1 ounce
Ammonia 45 minims
Lanolin 1 ounce
The soap is dissolved in the water heated for that purpose, the wax
mixed in with much stirring, and, when all is in solution, the ammonia
is added. When clear, the lanolin is put in, and then, if the mixture
is very thick, water is added until the whole has the consistency of
honey. Keep in a covered stoneware jar. The hands should be first
washed with ordinary soap, and then, while the lather is still on them,
a bit of the mixture about the size of a hazel nut is rubbed in until
all is absorbed, and the hands are dry. At the close of the work, the
film of wax is washed off in warm water and a little lanolin rubbed
into the hands.
«Pain-Subduing Ointment.»—The following is an excellent formula:
Tincture of capsicum 5 parts
Tincture of camphor 1 part
Ammonia water 2 parts
Alcohol 2 parts
Soap liniment 2 parts
«Skin Ointment.»—I.—Add about 2 per cent of phenol to petrolatum,
perfuming it with oil of bergamot and color a dull green. It has been
suggested that a mixture of Prussian blue and yellow ocher would answer
as the coloring agent.
II.—Phenol 40 grains
Boric acid 2 drachms
Oil of bergamot 90 minims
Petrolatum 1 pound
Color with chlorophyll.
OINTMENTS FOR VETERINARY PURPOSES: See Veterinary Formulas.
OLEIN SOAP: See Soap.
OLEOMARGARINE: See Butter.
OLIVE-OIL PASTE: See Butter Substitutes.
ONYX CEMENTS: See Adhesives.
ORANGEADE: See Beverages, under Lemonades.
ORANGE BITTERS AND CORDIAL: See Wines and Liquors.
ORANGE DROPS: See Confectionery.
ORANGE EXTRACT: See Essences and Extracts.
ORANGE FRAPPÉ: See Beverages, under Lemonades.
ORANGE PHOSPHATE: See Beverages.
ORGEAT PUNCH: See Beverages, under Lemonades.
ORTOL DEVELOPER: See Photography.
OXIDIZING: See Bronzing, Plating, Painting.
OXIDE, MAGNETIC: See Rust Preventives.
OXOLIN: See Rubber.
OZONATINE: See Air Purifying.
PACKAGE POP: See Beverages, under Ginger Ale.
PACKAGE WAX: See Waxes. {488}
«PACKINGS:»
«Packing for Stuffing Boxes.»—
Tallow 10 parts
Barrel soap, non-filled 30 parts
Cylinder oil 10 parts
Talcum Venetian, finely powdered 20 parts
Graphite, finely washed 6 parts
Powdered asbestos 6 parts
Melt the tallow and barrel soap together, add the other materials in
rotation, mix intimately in a mixing machine, and fill in 4-pound cans.
«Packing for Gasoline Pumps.»—For packing pumps on gasoline engines use
asbestos wick-packing rubbed full of regular laundry soap; it will work
without undue friction and will pack tightly. Common rubber packing is
not as good, as the gasoline cuts it out.
PADS OF PAPER: See Paper Pads.
PAIN-SUBDUING OINTMENT: See Ointments.
«PAINTING PROCESSES:»
«Painting Ornaments or Letters on Cloth and Paper.»—Dissolve gum
shellac in 95 per cent alcohol at the rate of 1 pound of shellac to 3
pints of alcohol, and mix with it any dry color desired. If it becomes
too thick, thin with more alcohol. This works free, does not bleed out,
imparts brilliancy to the color, and wears well. The preparation can be
used also on paper.
«Painting on Marble.»—To paint marble in water colors, it must be
first thoroughly cleaned and all grease completely removed. The slab
is washed well, and then rubbed off with benzine by means of a rag or
sponge. In order to be quite sure, add a little ox gall or aguoline to
the colors. After marble has been painted with water colors it cannot
be polished any more.
«Painting on Muslin.»—To paint on muslin requires considerable skill.
Select a smooth wall or partition, upon which tack the muslin, drawing
the fabric taut and firm. Then make a solution of starch and water,
adding one-fourth starch to three-fourths water, and apply a glaze of
this to the muslin. To guard against the striking in of the paint, and
to hold it more securely in place and texture, mix the pigment with
rubbing varnish to the consistency of a stiff paste, and then thin with
turpentine to a free working condition. A double thick camel’s-hair
brush, of a width to correspond properly with the size of the surface
to be coated, is the best tool with which to coat fine muslin. A
fitch-hair tool is probably best suited to the coarser muslin. Many
painters, when about to letter on muslin, wet the material with water;
but this method is not so reliable as sizing with starch and water.
Wetting canvas or duck operates very successfully in holding the paint
or color in check, but these materials should not be confounded with
muslin, which is of an entirely different texture.
PAINTING ON LEATHER: See Leather.
«PAINTINGS:»
«Protection for Oil Paintings.»—Oil paintings should under no
circumstances be varnished over before the colors are surely and
unmistakably dry, otherwise the fissuring and early decay of the
surface may be anticipated. The contention of some people that oil
paintings need the protection of a coat of varnish is based upon the
claim that the picture, unvarnished, looks dead and lusterless in
parts and glossy in still others, the value and real beauty of the
color being thus unequally manifested. It is not to be inferred,
however, that a heavy coating of varnish is required. When it is
deemed advisable to varnish over an oil painting the varnish should
be mastic, with perhaps 3 or 4 drops of refined linseed oil added to
insure against cracking. A heavy body of varnish used over paintings
must be strictly prohibited, inasmuch as the varnish, as it grows in
age, naturally darkens in color, and in so doing carries with it a
decided clouding and discoloration of the delicate pigments. A thinly
applied coat of mastic varnish affords the required protection from all
sorts and conditions of atmospheric impurities, besides fulfilling its
mission in other directions.
Oil paintings, aquarelles, etc., may be also coated with a thin layer
of Canada balsam, and placed smoothly on a pane of glass likewise
coated with Canada balsam, so that both layers of balsam come together.
Then the pictures are pressed down from the back, to remove all air
bubbles.
«To Renovate Old Oil Paintings.»—When old oil paintings have become
dark and cracked, proceed as follows: Pour alcohol in a dish and put
the picture over it, face downward. The fumes of the alcohol dissolve
the paint of the picture, the fissures close up again, and {489}
the color assumes a freshness which is surprising. Great caution is
absolutely necessary, and one must look at the painting very often,
otherwise it may happen that the colors will run together or even run
off in drops.
PAINTINGS, TO CLEAN: See Cleaning Preparations and Methods.
«Paints»
(See also Acid-Proofing, Ceramics, Enamels, Fireproofing, Glazing,
Painting Processes, Pigments, Rust Preventives, Varnishes, and
Waterproofing.)
«PAINT BASES:»
«Dry Bases for Paints.»—The following colors and minerals, mixed in the
proportions given and then ground to fine powder, make excellent dry
paints, and may be thinned with turpentine oil, and a small percentage
of cheap varnish to consistency required.
Buff.—
Yellow ocher 44 pounds
Whiting 6 pounds
Oxide of zinc 5 pounds
Plaster of Paris 1/2 pound
Brick Brown.—
Yellow ocher 26 pounds
Calcined copperas 4 pounds
Red hematite 1 1/4 pounds
Best silica 7 pounds
Whiting 18 pounds
Gray.—
Oxide of zinc 30 pounds
White lead 6 pounds
Whiting 12 pounds
Bone black 1/4 pound
Yellow ocher 2 pounds
Crimson.—
Indian red 25 pounds
Crocus martis 7 pounds
Oxide of zinc 6 pounds
Whiting 6 pounds
Vandyke Brown.—
Yellow ocher 25 pounds
Whiting 18 pounds
Umber 4 pounds
Oxide of zinc 7 pounds
Purple oxide of iron 1 pound
Blood Red.—
Crocus martis 30 pounds
Whiting 20 pounds
Hematite 3 pounds
Silica 6 pounds
Venetian red 2 pounds
Drab.—
Yellow ocher 40 pounds
Whiting 10 pounds
Oxide of zinc 8 1/2 pounds
Sulphate of barytes 1 pound
«Paint for Blackboards.»—
Shellac 1 pound
Alcohol 1 gallon
Lampblack (fine quality) 4 ounces
Powdered emery 4 ounces
Ultramarine blue 4 ounces
Dissolve the shellac in the alcohol. Place the lampblack, emery, and
ultramarine blue on a cheese-cloth strainer, pour on part of the
shellac solution, stirring constantly and gradually adding the solution
until all of the powders have passed through the strainer.
«Dark-Green Paint for Blackboards.»—Mix 1 part Prussian blue and 1 part
chrome green with equal parts of gilders’ size and alcohol to a thin
cream consistency. Apply with a large, stiff brush and after an hour
a second coat is given. After 24 to 48 hours smooth the surface with
a felt cloth. This renders it rich and velvety. The shade must be a
deep black green and the quantities of the colors have to be modified
accordingly if necessary. Old blackboards should be previously
thoroughly cleaned with soda.
«BRONZING SOLUTIONS FOR PAINTS.»
I.—The so-called “banana solution” (the name being derived from its
odor) which is used in applying bronzes of various kinds, is usually
a mixture of equal parts of amyl acetate, acetone, and benzine, with
just enough pyroxyline dissolved therein to give it body. Powdered
bronze is put into a bottle containing this mixture and the paint so
formed applied with a brush. The thin covering of pyroxyline that is
left after the evaporation of the liquid protects the bronze from
the air and keeps it from being wiped off by the cleanly housemaid.
Tarnished picture frames and tarnished chandeliers to which a gold
bronze has been applied from such a solution will look fresh and new
for a long time. Copper bronze as well as gold bronze and the various
colored bronze powders can be used in the “banana solution” for making
very pretty advertising signs for use in the drug store. Lettering and
bordering work upon the signs can be done with it. Several very small,
stiff painters’ brushes are needed for such work and they must {490} be
either kept in the solution when not in use, or, better still, washed
in benzine or acetone immediately after use and put away for future
service. As the “banana solution” is volatile, it must be kept well
corked.
II.—A good bronzing solution for paint tins, applied by dipping, is
made by dissolving Syrian asphaltum in spirits of turpentine, etc., and
thinning it down with these solvents to the proper bronze color and
consistency. A little good boiled oil will increase the adherence.
«Paint Brushes.»—To soften a hard paint brush, stand the brush
overnight in a pot of soft soap and clean in warm water. Afterwards
clean in benzine. If the brush is wrapped with a string do not let the
string touch the soap.
Paint brushes which have dried up as hard as stone can be cleaned in
the following manner: Dissolve 1 part soda in 3 parts water; pour the
solution in a cylinder glass, and suspend in it the brushes to be
cleaned, so that they are about 2 inches from the bottom of the vessel.
Let it remain undisturbed at a temperature of 140° to 158° F., 12 to 24
hours, after which the most indurated brushes will have become soft, so
that they can be readily cleaned with soap. It is essential, however,
to observe the temperature, as bristle brushes will be injured and
spoiled if the heat is greater.
«Black.—A Permanent Black of Rich Luster for Metal Boxes.»—Dissolve
chlorate of potassium and blue vitriol, equal parts, in 36 times as
much water, and allow the solution to cool. The parts to be blacked
may be either dipped in the solution, or the solution may be flowed
on and allowed to remain until the metal becomes black, after which
the fixtures should be rinsed in clean water and allowed to dry. Those
parts of the surface which show imperfections in the black should be
recoated.
«Dead White on Silver Work, etc.»—Bruise charcoal very finely and mix
it with calcined borax in the proportion of 4 parts of charcoal to 1 of
borax. Of this make a paste with water; apply this paste on the parts
to be deadened; next expose the piece to the fire of well-lit coal
until it acquires a cherry-red shade; allow to cool and then place it
in water slightly acidulated with sulphuric acid. The bath must not be
more than 5° Bé. Leave the piece in the bath about 2 hours, then rinse
off several times.
«White Coating for Signs, etc.»—A white color for signs and articles
exposed to the air is prepared as follows for the last coat: Thin
so-called Dutch “stand” oil with oil of turpentine to working
consistency, and grind in it equal parts of zinc white and white
lead, not adding much siccative, as the white lead assists the drying
considerably. If the paint is smoothed well with a badger brush, a very
durable white color of great gloss is obtained. Linseed oil, or varnish
which has thickened like “stand” oil by long open storing, will answer
equally well.
«To Prevent Crawling of Paints.»—Probably the best method to pursue
will be to take an ordinary flannel rag and carefully rub it over
the work previous to varnishing, striping, or painting. This simple
operation will obviate the possibility of crawling.
In some instances, however, crawling may be traced to a defective
varnish. The latter, after drying evenly on a well-prepared paint
surface will at times crawl, leaving small pitmarks. For this,
the simple remedy consists in purchasing varnish from a reputable
manufacturer.
«FIREPROOF PAINTS:»
See also Fireproofing.
Fireproofing paints of effective quality are prepared in different
ways. Naturally no oily or greasy substances enter into their
composition, the blending agent being simply water.
I.—One of the standing paints consists of 40 pounds of powdered
asbestos, 10 pounds of aluminate of soda, 10 pounds of lime, and 30
pounds of silicate of soda, with the addition of any non-rosinous
coloring matter desired. The whole is thoroughly mixed with enough
water to produce a perfect blend and render an easy application. Two
or more coats of this is the rule in applying it to any wood surface,
inside or outside of building.
II.—Another formula involves the use of 40 pounds of finely ground
glass, a like amount of ground porcelain, and similarly of China clay
or the same quantity of powdered asbestos, and 20 pounds of quicklime.
These materials are ground very fine and then mixed in 60 pounds of
liquid silicate of soda with water, as in the preceding formula. Two or
more coats, if necessary, are given.
Each of these paints is applied with a brush in the ordinary way, the
drying being accomplished in a few hours, and, if coloring matter is
desired, the above proportions are varied accordingly.
III.—A surface coated with 3 coats of water glass, these 3 coats being
{491} subsequently coated with water glass containing enough whiting
or ground chalk to make it a trifle thicker than ordinary paint, is
practically non-inflammable, only yielding to fierce consuming flames
after a somewhat protracted exposure.
IV.—Zinc white, 70 pounds; air-slaked lime, 39 pounds; white lead,
50 pounds; sulphate of zinc, 10 pounds; silicate of soda, 7 gallons.
The zinc white and lime are mixed together, then ground in elastic
oil, after which the silicate of soda is added, this addition being
followed by the white lead and sulphate of zinc. This white paint can
be colored to meet any desired shade and it may be classed as a good
working paint and probably fireproof to the same extent that most of
the pretentiously sounded pigments on the markets are.
«Fireproof and Waterproof Paints.»—The following recipes are claimed
to resist both fire and water: A preparation for protecting wood
against the action of fire and of moisture, and also for producing on
the surface of wood and metal a coat, insulating with reference to
electricity and preservative from corrosion, has been introduced in
France by Louis Bethisy and Myrthil Rose. The bases or fundamental raw
materials quite distinct from those hitherto employed for the same
purpose, are 100 parts, by weight, of nitro-cellulose and 30 parts, by
weight, of chloride of lime, dissolved in 50 per cent alcohol.
Preparation of the Bases.—The cellulose (of wood, paper, cotton, linen,
ramie, or hemp) is put in contact with two-thirds part of sulphuric
acid of 66° Bé. and one-third part of nitric acid of 42° Bé. for some
20 or 30 minutes, washed with plenty of water, and kept for 24 hours in
a tank of water supplied with an energetic current.
The nitro-cellulose thus obtained is bleached for this purpose; a
double hypochlorite of aluminum and magnesium is employed. This is
obtained by grinding together 100 parts of chloride of lime, 60 parts
of aluminum sulphate, 23 parts of magnesium sulphate, with 200 parts of
water.
When the nitro-cellulose is bleached and rewashed, it is reduced to
powder and dried as thoroughly as possible. It is then placed in a vat
hermetically closed and put in contact with the indicated proportion
of calcium chloride dissolved in alcohol. This solution of calcium
chloride should be prepared at least 24 hours in advance and filtered.
Composition of the Coating.—This has the following constituents: Bases
(nitro-cellulose and solution of calcium chloride), 1 part; amyl
acetate (solvent of the bases), 5 parts, by weight; sulphuric ether
of 65°, 1.650 parts, by weight; alcohol, 0.850 parts, by weight; one
of these powders, alum, talc, asbestos, or mica, 0.100 parts. Other
solvents may be employed instead of amyl acetate; for example, acetone,
acetic acid, ether alcohol, or methylic alcohol. The ether alcohol
furnishes a product drying very quickly. If a very pliant coating is
desired, the amyl acetate is employed preferably, with addition of
vaseline oil, 0.20 parts, and lavender oil, 0.010 parts.
Method of Operating.—The sulphuric acid is mixed with the alcohol, and
left for an hour in contact, shaking from time to time. Afterwards
the amyl acetate is added, and left in contact for another hour under
similar agitation. In case of the employment of vaseline oil and
lavender oil, these two are mingled in ether alcohol. The base is
introduced and left in contact for 24 hours, with frequent agitation.
The fluidity of the product is augmented by increasing the quantity of
the solvent.
Properties.—Wood covered with this coating is fireproof,
non-hygrometric, and refractory to the electric current. It also
resists the action of acids and alkalies. Metals covered with it are
sheltered from oxidation, and effectually insulated on their surface
from the electric current. The coating is liquid in form, and applied
like collodions, either by the brush or by immersion or other suitable
method.
«Paint Deadening.»—In order to obtain an even dullness of large walls,
proceed as follows: After all the dirt has been carefully swept off,
oil with 2 parts linseed oil and 1 part turpentine and rub down the
smooth places in the wet oil with pumice stone. When the oil coating
is dry, mix the ground paint, consisting of whiting, 2 parts; and
white lead, 1 part; both finely ground and diluted as above. Do not
apply the grounding too thin, because the chalk in itself possesses
little covering power. It is not the mission of the chalk, however,
to adulterate the material, but to afford a hard foundation for the
subsequent coats. For the third coating take white lead, 1 part; and
zinc white, 1 part; thin as above and blend with a soft hair pencil.
For the final application use only zinc white, ground stiff in oil with
any desired mixing color and thinned with turpentine and rain water.
Mix the {492} water and the turpentine with the color at the same time,
and this coat may be dabbed instead of blended. By the addition of
water the paint becomes dull more slowly and is a little more difficult
to lay on; but it does not show a trace of gloss after a few days and
never turns yellow, even in places less exposed to the air, and besides
excels by great permanency.
Another way is to add white wax instead of water to the last coating.
This wax paint also gives a handsome dullness but is more difficult of
treatment. A nice matt coating is also obtained by addition of Venetian
soap, dissolved in water instead of the wax. This is very desirable
for church decorations where exceptionally large surfaces are to be
deadened.
«PAINT DRYERS:»