decide as to the width of the mount or matt to be used. In some cases,
of course, the print is framed with no mount being visible; but, unless
the picture is of large size, it will usually be found more becoming to
have one, especially should the wall paper be of an obtrusive design.
When the print and mount are both neatly trimmed to the desired size,
procure a piece of clear white picture glass—most amateur framers will
have discovered that there is a variance in the quality of this—and a
piece of stout cardboard, both of exactly the same dimensions as the
picture. Next prepare or buy the paper to be used for binding the edges
together. This may now be bought at most all stationery stores in a
great variety of colors. If it is prepared at home a greater choice
of colors is available, and it is by no means a difficult task with
care and sharp scissors. The tint should be chosen to harmonize with
the print and the mount, taking also into consideration the probable
surroundings—brown for photographs of brown tone, dark gray for black,
pale gray for lighter tones; dark green is also a good color. All
stationers keep colored papers suitable for the purpose, while plain
wall papers or thin brown paper answers equally well.
Cut the paper, ruling it carefully, into even strips an inch wide, and
then into four pieces, two of them the exact length of the top and
bottom of the frame, and the other two half an inch longer than the
two sides. Make sure that the print is evenly sandwiched between the
glass and the back. Cut some tiny strips of thin court-plaster, and
with these bind the corners tightly together. Brush over the two larger
pieces of paper with mountant, and with them bind tightly together the
three thicknesses—print, glass, and cardboard—allowing the paper to
project over about a third of an inch on the face side, and the ends
which were left a little longer must be neatly turned over and stuck
at the back. Then, in the same manner, bind the top and bottom edges
together, mitering the corners neatly.
It should not be forgotten, before binding the edges together, to make
two slits in the cardboard back for the {509} purpose of inserting
little brass hangers, having flat ends like paper fasteners, which
may be bought for the purpose; or, where these are not available, two
narrow loops of tape may be used instead, sticking the ends firmly on
the inside of the cardboard by means of a little strong glue.
These are the few manipulations necessary for the making of a simple
passe-partout frame, but there are numberless variations of the
idea, and a great deal of variety may be obtained by means of using
different mounts. Brown paper answers admirably as a mount for some
subjects, using strips of paper of a darker shade as binding. A not too
obtrusive design in pen and ink is occasionally drawn on the mount,
while a more ambitious scheme is to use paint and brushes in the same
way. An ingenious idea which suits some subjects is to use a piece of
hand-blocked wall paper as a mount.
PARQUET POLISH: See Polishes.
«PASTES:»
See Adhesives for Adhesive Purposes.
«Pastes, Razor.»—I.—From jewelers’ rouge, plumbago, and suet, equal
parts, melted together and stirred until cold.
II.—From prepared putty powder (levigated oxide of tin), 3 parts;
lard, 2 parts; crocus martis, 1 part; triturated together.
III.—Prepared putty powder, 1 ounce; powdered oxalic acid, 1/4 ounce;
powdered gum, 20 grains; make a stiff paste with water, quantity
sufficient, and evenly and thinly spread it over the strop, the other
side of which should be covered with any of the common greasy mixtures.
With very little friction this paste gives a fine edge to the razor,
and its action is still further increased by slightly moistening it,
or even breathing on it. Immediately after its use, the razor should
receive a few turns on the other side of the strop.
PASTE FOR PAPER: See Paper.
PASTES FOR POLISHING METALS: See Soaps.
PASTEBOARD CEMENT: See Adhesives.
PASTEBOARD DEODORIZERS: See Household Formulas.
PASTILLES, FUMIGATING: See Fumigants.
PATINAS: See Bronzing and Plating.
PATENT LEATHER: See Leather.
PEACH EXTRACT: See Essences and Extracts.
PEARLS, TO CLEAN: See Cleaning Preparations and Methods.
«PEGAMOID.»
Camphor, 100 parts; mastic, 100 parts; bleached shellac, 50 parts; gun
cotton, 200 parts; acetone, 200 parts; acetic ether, 100 parts; ethylic
ether, 50 parts.
PEN METAL: See Alloys.
PENCILS, ANTISEPTIC: See Antiseptics.
PENCILS FOR MARKING GLASS: See Etching, Frosted Glass, and Glass.
PENS, GOLD: See Gold.
PEONY ROOTS, THEIR PRESERVATION: See Roots.
«PERCENTAGE SOLUTION.»
Multiply the percentage by 5; the product is the number of grains
to be added to an ounce of water to make a solution of the desired
percentage. This is correct for anything less than 15 per cent.
«Perfumes»
«DRY PERFUMES:»
«Sachet Powders.»—
I.—Orris root 6 ounces
Lavender flowers 2 ounces
Talcum 4 drachms
Musk 20 grains
Terpinol 60 grains
II.—Orange peel 2 ounces
Orris root 1 ounce
Sandalwood 4 drachms
Tonka 2 drachms
Musk 6 grains
{510}
«Lavender Sachets.»—
I.—Lavender flowers 16 ounces
Gum benzoin 4 ounces
Oil lavender 2 drachms
II.—Lavender flowers, 150 parts; orris root, 150 parts; benzoin, 150
parts; Tonka beans, 150 parts; cloves, 100 parts; “Neugenwerz,” 50
parts; sandalwood, 50 parts; cinnamon, 50 parts; vanilla, 50 parts; and
musk, 1/2 part. All is bruised finely and mixed.
«Violet Sachet.»—
Powdered orris root 500 parts
Rice flour 250 parts
Essence bouquet 10 parts
Spring flowers extract 10 parts
Violet extract 20 parts
Oil of bergamot 4 parts
Oil of rose 2 parts
«Borated Talcum.»—
I.—Purified talcum, N. F. 2 pounds
Powdered boric acid 1 ounce
To perfume add the following:
Powdered orris root 1 1/2 ounces
Extract jasmine 2 drachms
Extract musk 1 drachm
II.—A powder sometimes dispensed under this name is the salicylated
powder of talcum of the National Formulary, which contains in every
1,000 parts 30 parts of salicylic acid and 100 parts of boric acid.
«Rose.»—
I.—Cornstarch 9 pounds
Powdered talc 1 pound
Oil of rose 80 drops
Extract musk 2 drachms
Extract jasmine 6 drachms
II.—Potato starch 9 pounds
Powdered talc 1 pound
Oil rose 45 drops
Extract jasmine 1/2 ounce
«Rose Talc.»—
I.—Powdered talc 5 pounds
Oil rose 50 drops
Oil wintergreen 4 drops
Extract jasmine 2 ounces
II.—Powdered talc 5 pounds
Oil rose 32 drops
Oil jasmine 4 ounces
Extract musk 1 ounce
«Violet Talc.»—
I.—Powdered talc 14 ounces
Powdered orris root 2 ounces
Extract cassie 1/2 ounce
Extract jasmine 1/4 ounce
Extract musk 1 drachm
II.—Starch 5,000 parts
Orris root 1,000 parts
Oil of lemon 14 parts
Oil of bergamot 14 parts
Oil of clove 4 parts
«Smelling Salts.»—I.—Fill small glasses having ground stopper with
pieces of sponge free from sand and saturate with a mixture of spirit
of sal ammoniac (0.910), 9 parts, and oil of lavender, 1 part. Or else
fill the bottles with small dice of ammonium sesquicarbonate and pour
the above mixture over them.
II.—Essential oil of lavender 18 parts
Attar of rose 2 parts
Ammonium carbonate 480 parts
«Violet Smelling Salts.»—I.—Moisten coarsely powdered ammonia
carbonate, contained in a suitable bottle, with a mixture of
concentrated tincture of orris root, 2 1/2 ounces; aromatic spirit of
ammonia, 1 drachm; violet extract, 3 drachms.
II.—Moisten the carbonate, and add as much of the following solution
as it will absorb: Oil of orris, 5 minims; oil of lavender flowers,
10 minims; violet extract, 30 minims; stronger water of ammonia, 2
fluidounces.
«To Scent Advertising Matter, etc.»—The simplest way of perfuming
printed matter, such as calendars, cards, etc., is to stick them in
strongly odorous sachet powder. Although the effect of a strong perfume
is obtained thereby, there is a large loss of powder, which clings to
the printed matter. Again, there are often little spots which are due
to the essential oils added to the powder.
Another way of perfuming, which is used especially in France for
scenting cards and other articles, is to dip them in very strong
“extraits d’odeur,” leaving them therein for a few days. Then the
cards are taken out and laid between filtering paper, whereupon they
are pressed vigorously, which causes them not only to dry, but also to
remain straight. They remain under strong pressure until completely dry.
Not all cardboard, however, can be subjected to this process, and in
its choice one should consider the perfuming operation to be conducted.
Nor can the cards be glazed, since spirit dissolves the glaze. It is
also preferable to have lithographed text on them, since in the case of
ordinary printing the letters often partly disappear or the colors are
changed. {511}
For pocket calendars, price lists, and voluminous matter containing
more leaves than one, another process is recommended. In a tight
closet, which should be lined with tin, so that little air can enter,
tables composed of laths are placed on which nets stretched on frames
are laid. Cover these nets with tissue paper, and proceed as follows:
On the bottom of the closet sprinkle a strongly odorous and reperfumed
powder; then cover one net with the printed matter to be perfumed and
shove it to the closet on the lath. The next net again receives powder,
the following one printed matter, and so on until the closet is filled.
After tightly closing the doors, the whole arrangement is left to
itself. This process presents another advantage in that all sorts of
residues may be employed for scenting, such as the filters of the odors
and infusions, residues of musk, etc. These are simply laid on the
nets, and will thus impart their perfume to the printed matter.
Such a scenting powder is produced as follows:
By weight
Iris powder, finely ground 5,000 parts
Residues of musk 1,000 parts
Ylang-ylang oil 10 parts
Bergamot oil 50 parts
Artificial musk 2 parts
Ionone 2 to 5 parts
Tincture of benzoin 100 parts
The powder may subsequently be employed for filling cheap sachets, etc.
«LIQUID PERFUMES:»
«Coloring Perfumes.»—Chlorophyll is a suitable agent for coloring
liquid perfumes green. Care must be taken to procure an article freely
soluble in the menstruum. As found in the market it is prepared (in
form of solutions) for use in liquids strongly alcoholic; in water or
weak alcohol; and in oils. Aniline greens of various kinds will answer
the same purpose, but in a trial of any one of these it must be noted
that very small quantities should be used, as their tinctorial power is
so great that liquids in which they are incautiously used may stain the
handkerchief.
Color imparted by chlorophyll will be found fairly permanent; this term
is a relative one, and not too much must be expected. Colors which may
suffer but little change by long exposure to diffused light may fade
perceptibly by short exposure to the direct light of the sun.
Chlorophyll may be purchased or it may be prepared as follows: Digest
leaves of grass, nettles, spinach, or other green herb in warm water
until soft; pour off the water and crush the herb to a pulp. Boil
the pulp for a short time with a half per cent solution of caustic
soda, and afterwards precipitate the chlorophyll by means of dilute
hydrochloric acid; wash the precipitate thoroughly with water, press
and dry it, and use as much for the solution as may be necessary. Or a
tincture made from grass as follows may be employed:
Lawn grass, cut fine 2 ounces
Alcohol 16 ounces
Put the grass in a wide-mouthed bottle, and pour the alcohol upon it.
After standing a few days, agitating occasionally, pour off the liquid.
The tincture may be used with both alcoholic and aqueous preparations.
Among the anilines, spirit soluble malachite green has been recommended.
A purple or violet tint may be produced by using tincture of litmus or
ammoniated cochineal coloring. The former is made as follows:
Litmus 2 1/2 ounces
Boiling water 16 ounces
Alcohol 3 ounces
Pour the water upon the litmus, stir well, allow to stand for about
an hour, stirring occasionally, filter, and to the filtrate add the
alcohol.
The aniline colors “Paris violet” or methyl violet B may be similarly
employed. The amount necessary to produce a desired tint must be worked
out by experiment. Yellow tints may best be imparted by the use of
tincture of turmeric or saffron, fustic, quercitron, etc.
If a perfumed spirit, as, for instance, a mouth wash, is poured into a
wineglassful of water, the oils will separate at once and spread over
the surface of the water. This liquid being allowed to stand uncovered,
one oil after another will evaporate, according to the degree of its
volatility, until at last the least volatile remains behind.
This process sometimes requires weeks, and in order to be able to watch
the separate phases of this evaporation correctly, it is necessary to
use several glasses and to conduct the mixtures at certain intervals.
The glasses must be numbered according to the day when set up, so that
they may be readily identified.
If we assume, for example, that a mouth wash is to be examined, we
may probably prepare every day for one week a mixture of about 100
grams of water and 10 drops of the respective liquid. Hence, after a
lapse of 7 days {512} we will have before us 7 bouquets, of different
odor, according to the volatility of the oils contained in them. From
these different bouquets the qualitative composition of the liquid may
be readily recognized, provided that one is familiar enough with the
character of the different oils to be able to tell them by their odors.
The predominance of peppermint oil—to continue with the above
example—will soon be lost and other oils will rise one after the other,
to disappear again after a short time, so that the 7 glasses afford
an entire scale of characteristic odors, until at last only the most
lasting are perceptible. Thus it is possible with some practice to tell
a bouquet pretty accurately in its separate odors.
In this manner interesting results are often reached, and with some
perseverance even complicated mixtures can be analyzed and recognized
in their distinctiveness. Naturally the difficulty in recognizing each
oil is increased in the case of oils whose volatility is approximately
the same. But even in this case changes, though not quite so marked,
can be determined in the bouquet.
In a quantitative respect this method also furnishes a certain result
as far as the comparison of perfumed liquids is concerned.
According to the quantity of the oils present the dim zone on the
water is broader or narrower, and although the size of this layer may
be changed by the admixture of other substances, one gains an idea
regarding the quantity of the oils by mere smelling. It is necessary,
of course, to choose glasses with equally large openings and to count
out the drops of the essence carefully by means of a dropper.
When it is thought that all the odors have been placed, a test is made
by preparing a mixture according to the recipe resulting from the trial.
Not pure oils, always alcoholic dilutions in a certain ratio should be
used, in order not to disturb the task by a surplus of the different
varieties, since it is easy to add more, but impossible to take away.
It is true this method requires patience, perseverance, and a fine
sense of smell. One smelling test should not be considered sufficient,
but the glasses should be carried to the nose as often as possible.
«Fixing Agents in Perfumes.»—The secret of making perfumery lies mainly
in the choice of the fixing agents—i. e., those bodies which intensify
and hold the floral odors. The agents formerly employed were musk,
civet, and ambergris, all having a heavy and dull animal odor, which
is the direct antithesis of a floral fragrance. A free use of these
bodies must inevitably mean a perfume which requires a label to tell
what it is intended for, to say nothing of what it is. To-day there is
no evidence that the last of these (ambergris) is being used at all in
the newer perfumes, and the other two are employed very sparingly, if
at all. The result is that the newer perfumes possess a fragrance and a
fidelity to the flowers that they imitate which is far superior to the
older perfumes. Yet the newer perfume is quite as prominent and lasting
as the old, while it is more pleasing. It contains the synthetic odors,
with balsams or rosinous bodies as fixatives, and employs musk and
civet only in the most sparing manner in some of the more sensitive
odors. As a fixing agent benzoin is to be recommended. Only the best
variety should be used, the Siamese, which costs 5 or 6 times as much
as that from Sumatra. The latter has a coarse pungent odor.
Musk is depressing, and its use in cologne in even the minutest
quantity will spoil the cologne. The musk lingers after the lighter
odors have disappeared, and a sick person is pretty sure to feel its
effects. Persons in vigorous health will not notice the depressing
effects of musk, but when lassitude prevails these are very unpleasant.
Moreover, it is not a necessity in these toilet accessories, either
as a blending or as a fixing agent. Its place is better supplied by
benzoin for both purposes.
As to alcohol, a lot of nonsense has been written about the necessity
of extreme care in selecting it, such as certain kinds requiring
alcohol made from grapes and others demanding extreme purification,
etc. A reasonable attention to a good quality of alcohol, even at a
slight increase in cost, will always pay, but, other things being
equal, a good quality of oils in a poor quality of alcohol will give
far better satisfaction than the opposite combination. The public is
not composed of exacting connoisseurs, and it does not appreciate
extreme care or expense in either particular. A good grade of alcohol,
reasonably free from heavy and lingering foreign odors, will answer
practically all the requirements.
«General Directions for Making Perfumes.»—It is absolutely essential
for obtaining the best results to see that all vessels are perfectly
clean. Always employ alcohol, 90 per cent, deodorized by {513} means of
charcoal. When grain musk is used as an ingredient in liquid perfumes,
first rub down with pumice stone, then digest in a little _hot_ water
for 2 or 3 hours; finally add to alcohol. The addition of 2 or 3 minims
of acetic acid will improve the odor and also prevent accumulation of
NH_〈3〉. Civet and ambergris should also be thoroughly rubbed down with
some coarse powder, and transferred directly to alcohol.
Seeds, pods, bark rhizomes, etc., should be cut up in small pieces or
powdered.
Perfumes improve by storing. It is a good plan to tie over the mouth
of the containing vessel some fairly thick porous material, and to
allow the vessel to stand for a week or two in a cool place, instead of
corking at once.
It is perhaps unnecessary to add that as large a quantity as possible
should be decanted, and then the residue filtered. This obviously
prevents loss by evaporation. Talc or kieselguhr (amorphous SiO_〈2〉)
are perhaps the best substances to add to the filter in order to render
liquid perfumes bright and clear, and more especially necessary in the
case of aromatic vinegars.
The operations involved in making perfumes are simple; the chief thing
to be learned, perhaps, is to judge of the quality of materials.
The term “extract,” when used in most formulas, means an alcoholic
solution of the odorous principles of certain flowers obtained by
enfluerage; that is, the flowers are placed in contact with prepared
grease which absorbs the odorous matter, and this grease is in turn
macerated with alcohol which dissolves out the odor. A small portion of
the grease is taken up also at ordinary temperatures; this is removed
by filtering the “extract” while “chilled” by a freezing mixture. The
extracts can be either purchased or made directly from the pomade (as
the grease is called). To employ the latter method successfully some
experience may be necessary.
The tinctures are made with 95 per cent deodorized alcohol, enough
menstruum being added through the marc when filtering to bring the
finished preparation to the measure of the menstruum originally taken.
The glycerine is intended to act as a “fixing” agent—that is, to lessen
the volatility of the perfumes.
«Tinctures for Perfumes.»—
_a._ Ambergris, 1 part; alcohol, 96 per cent, 15 parts.
_b._ Benzoin, Sumatra, 1 part; alcohol, 96 per cent, 6 parts.
_c._ Musk, 1 part; distilled water, 25 parts; spirit, 96 per cent, 25
parts.
_d._ Musk, 1 part; spirit, 96 per cent, 50 parts; for very oleiferous
compositions.
_e._ Peru balsam, 1 part in spirit, 96 per cent, 7 parts; shake
vigorously.
_f._ Storax, 1 part in spirit, 96 per cent, 15 parts.
_g._ Powdered Tolu balsam, 1 part; spirit, 96 per cent, 6 parts.
_h._ Chopped Tonka beans, 1 part; spirit, 60 per cent, 6 parts; for
compositions containing little oil.
_i._ Chopped Tonka beans, 1 part; spirit, 96 per cent, 6 parts; for
compositions containing much oil.
_j._ Vanilla, 1 part; spirit, 60 per cent, 6 parts; for compositions
containing little oil.
_k._ Vanilla, 1 part; spirit, 96 per cent, 6 parts; for compositions
containing much oil.
_l._ Vanillin, 20 parts; spirit, 96 per cent, 4,500 parts.
_m._ Powdered orris root, 1 part; spirit, 96 per cent, 5 parts.
_n._ Grated civet, 1 part in spirit, 96 per cent, 10 parts.
«Bay Rum.»—Bay rum, or more properly bay spirit, may be made from the
oil with weak alcohol as here directed:
I.—Oil of bay leaves 3 drachms
Oil of orange peel 1/2 drachm
Tincture of orange peel 2 ounces
Magnesium carbonate 1/2 ounce
Alcohol 4 pints
Water 4 pints
Triturate the oils with the magnesium carbonate, gradually adding the
other ingredients previously mixed, and filter.
The tincture of orange peel is used chiefly as a coloring for the
mixture.
Oil of bay leaves as found in the market varies in quality. The most
costly will presumably be found the best, and its use will not make
the product expensive. It can be made from the best oil and deodorized
alcohol and still sold at a moderate price with a good profit.
Especial care should be taken to use only perfectly fresh oil of orange
peel. As is well known, this oil deteriorates rapidly on exposure to
the air, acquiring an odor similar to that of turpentine. The oil
should be kept in bottles of such size that when opened the contents
can be all used in a short time. {514}
II.—Bay oil, 15 parts; sweet orange oil, 1 part; pimento oil, 1 part;
spirit of wine, 1,000 parts; water, 750 parts; soap spirit or quillaia
bark, ad libitum.
III.—Bay oil, 12.5 parts; sweet orange oil, 0.5 part; pimento oil,
0.5 part; spirit of wine, 200 parts; water, 2,800 parts; Jamaica rum
essence, 75 parts; soap powder, 20 parts; quillaia extract, 5 parts;
borax, 10 parts; use sugar color.
«Colognes.»—In making cologne water, the alcohol used should be that
obtained from the distillation of wine, provided a first-class article
is desired. It is possible, of course, to make a good cologne with very
highly rectified and deodorized corn or potato spirits, but the product
never equals that made from wine spirits. Possibly the reason for this
lies in the fact that the latter always contains a varying amount of
oenanthic ether.
I.—Oil of bergamot 10 parts
Oil of neroli 15 parts
Oil of citron 5 parts
Oil of cedrat 5 parts
Oil of rosemary 1 part
Tincture of ambergris 5 parts
Tincture of benzoin 5 parts
Alcohol 1,000 parts
II.—The following is stated to be the “original” formula:
Oil of bergamot 96 parts
Oil of citron 96 parts
Oil of cedrat 96 parts
Oil of rosemary 48 parts
Oil of neroli 48 parts
Oil of lavender 48 parts
Oil of cavella 24 parts
Absolute alcohol 1,000 parts
Spirit of rosemary 25,000 parts
III.—Alcohol, 90 per cent 5,000 parts
Bergamot oil 220 parts
Lemon oil 75 parts
Neroli oil 20 parts
Rosemary oil 5 parts
Lavender oil French 5 parts
The oils are well dissolved in spirit and left alone for a few days
with frequent shaking. Next add about 40 parts of acetic acid and
filter after a while.
IV.—Alcohol, 90 per cent 5,000 parts
Lavender oil, French 35 parts
Lemon oil 30 parts
Portugallo oil 30 parts
Neroli oil 15 parts
Bergamot oil 15 parts
Petit grain oil 4 parts
Rosemary oil 4 parts
Orange water 700 parts