part dark Venetian red; and 1 part drop black.
Black Walnut.—Burnt umber with a little Vandyke brown for dark parts.
French Burl Walnut.—Same as black walnut.
Hard Pine.—Raw and burnt sienna; add a little burnt umber.
Cypress.—Raw and burnt sienna and burnt umber.
Whitewood.—Ground same as for light ash; graining color, yellow ocher,
adding raw umber and black for dark streaks.
«POSITIVE COLORS:»
Blue.—Twelve parts borate of lime; 6 parts oxide of zinc; 10 parts
litharge; 9 parts feldspar; 4 parts oxide of cobalt.
Blue Black A.—Nine parts lampblack; 1 part Chinese or Prussian blue.
Blue Black B.—Nineteen parts drop black; 1 part Prussian blue.
Bright Mineral.—Nine parts light Venetian red; 1 part red lead.
Brilliant Green.—Nine parts Paris green; 1 part C. C. chrome green,
light.
Bronze Green, Light.—Three parts raw Turkey umber; 1 part medium chrome
yellow.
Bronze Green, Medium.—Five parts medium chrome yellow; 3 parts burnt
Turkey umber; 1 part lampblack.
Bronze Green, Dark.—Twenty parts drop black; 2 parts medium chrome
yellow; and 1 part dark orange chrome. {557}
Bottle Green.—Five parts commercial chrome green, medium, and 1 part
drop black.
Brown.—Ten parts crude antimony; 12 parts litharge; 2 parts manganese;
1 part oxide of iron.
Brown Stone.—Eighteen parts burnt umber; 2 parts dark golden ocher; and
1 part burnt sienna.
Cherry Red.—Equal parts of best imitation vermilion and No. 40 carmine.
Citron A.—Three parts medium chrome yellow and 2 parts raw umber.
Citron B.—Six parts commercial chrome green, light, and 1 part medium
chrome yellow.
Coffee Brown.—Six parts burnt Turkey umber; 2 parts French ocher; and 1
part burnt sienna.
Emerald Green.—Use Paris green.
Green.—Twenty parts litharge; 12 parts flint; 2 parts oxide of copper;
2 1/2 parts ground glass; 2 1/2 parts whiting; 1 1/2 parts oxide
of chrome.
Flesh Color.—Nineteen parts French ocher; 1 part deep English vermilion.
Fern Green.—Five parts lemon chrome yellow and 1 part each of light
chrome green and drop black.
Foliage Green.—Three parts medium chrome yellow and 1 part of ivory or
drop black.
Foliage Brown.—Equal parts of Vandyke brown and orange chrome yellow.
Golden Ocher.—Fourteen parts French yellow ocher and 1 part medium
chrome yellow for the light shade, and 9 parts Oxford ocher and 1 part
orange chrome yellow for the dark shade.
Gold Russet.—Five parts lemon chrome yellow and 1 part light Venetian
red.
Gold Orange.—Equal parts of dry orange mineral and light golden ocher
in oil.
Indian Brown.—Equal parts of light Indian red, French ocher, and lamp
black
Mahogany, Cheap.—Three parts dark golden ocher and 1 part of dark
Venetian red.
Maroon, Light.—Five parts dark Venetian red; 1 part drop black.
Maroon, Dark.—Nine parts dark Indian red; 1 part lampblack.
Olive Green.—Seven parts light golden ocher; 1 part drop black.
Ochrous Olive.—Nine parts French ocher; 1 part raw umber.
Orange-Brown.—Equal parts burnt sienna and orange chrome yellow.
Oriental Red.—Two parts Indian red, light, in oil; 1 part dry red lead.
Purple A.—Eight parts crocus martis; 2 parts red hematite; 1 part oxide
of iron.
Purple B.—Two parts rose pink; 1 part ultramarine blue.
Purple Black.—Three parts lampblack and 1 part rose pink, or 9 parts
drop black and 1 part rose pink.
Purple Brown.—Five parts Indian red, dark, and 1 part each of
ultramarine blue and lampblack.
Roman Ocher.—Twenty-three parts French ocher and 1 part each burnt
sienna and burnt umber.
Royal Blue, Dark.—Eighteen parts ultramarine blue and 2 parts Prussian
blue. To lighten use as much white lead or zinc white as is required.
Royal Purple.—Two parts ultramarine blue; 1 part No. 40 carmine or
carmine lake.
Russet.—Fourteen parts orange chrome yellow and 1 part C. P. chrome
green, medium.
Seal Brown.—Ten parts burnt umber; 2 parts golden ocher, light; 1 part
burnt sienna.
Snuff Brown.—Equal parts burnt umber and golden ocher, light.
Terra Cotta.—Two parts white lead; 1 part burnt sienna; also 2 parts
French ocher to 1 part Venetian red.
Turkey Red.—Strong Venetian red or red oxide.
Tuscan Red. Ordinary.—Nine parts Indian red to 1 part rose pink.
Brilliant.—Four parts Indian red to 1 part red madder lake.
Violet.—Three parts ultramarine blue; 2 parts rose lake; 1 part best
ivory black.
Yellow.—Four and one-half parts tin ashes; 1 part crude antimony; 1
part litharge; and 1 part red ocher.
Yellow, Amber.—Ten parts medium chrome yellow; 7 parts burnt umber; 3
parts burnt sienna.
Yellow, Canary.—Five parts white lead; 2 parts permanent yellow; 1 part
lemon chrome yellow.
Yellow, Golden.—Ten parts lemon chrome yellow; 3 parts orange chrome,
dark; 5 parts white lead.
Yellow, Brimstone.—Three parts white lead; 1 part lemon chrome yellow;
1 part permanent yellow. {558}
Azure Blue.—Fifty parts white lead; 1 part ultramarine blue.
Blue Gray.—One hundred parts white lead; 3 parts Prussian blue; 1 part
lampblack.
Bright Blue.—Twenty parts zinc white; 1 part imitation cobalt blue.
Blue Grass.—Seven parts white lead; 2 parts Paris green; 1 part
Prussian blue.
Deep Blue.—Fifteen parts white lead; 1 part Prussian blue or Antwerp
blue.
French Blue.—Five parts imitation cobalt blue; 2 parts French zinc
white.
Green Blue.—One hundred parts white lead; 5 parts lemon chrome yellow;
3 parts ultramarine blue.
Hazy Blue.—Sixty parts white lead; 16 parts ultramarine blue; 1 part
burnt sienna.
Mineral Blue.—Five parts white lead; 4 parts imitation cobalt blue; 2
parts red madder lake; 1 part best ivory or drop black.
Orient Blue.—Twenty-five parts white lead; 2 parts Prussian blue; 1
part lemon chrome yellow.
Royal Blue.—Thirty-four parts white lead; 19 parts ultramarine blue; 2
parts Prussian blue; 1 part rose madder or rose lake.
Sapphire Blue.—Two parts French zinc white and 1 part best Chinese blue.
Sky Blue.—One hundred parts white lead; 1 part Prussian blue.
Solid Blue.—Five parts white lead; 1 part ultramarine blue.
Turquoise Blue.—Twenty parts white lead; 3 parts ultramarine blue; 1
part lemon chrome yellow.
«RED TINTS:»
Cardinal Red.—Equal parts of white lead and scarlet lake.
Carnation Red.—Fifteen parts white lead; 1 part scarlet lake.
Claret.—Twenty-one parts oxide of zinc; 4 parts crocus martis; 4 parts
oxide of chrome; 3 parts red lead; 3 parts boracic acid.
Coral Pink.—Fifteen parts white lead; 2 parts bright vermilion; 1 part
deep orange chrome.
Deep Rose.—Ten parts white lead; 1 part red lake.
Deep Purple.—Five parts white lead; 1 part ultramarine blue; 1 part
rose pink.
Deep Scarlet.—Fifteen parts bright vermilion; 2 parts red lake; 5 parts
white lead.
Flesh Pink.—One hundred parts white lead; 1 part orange chrome yellow;
1 part red lake.
Indian Pink.—One hundred parts white lead; 1 part light Indian red.
Lavender.—Fifty parts white lead; 2 parts ultramarine blue; 1 part red
lake.
Light Pink.—Fifty parts white lead; 1 part bright vermilion.
Lilac.—Fifty parts white lead; 1 part best rose pink.
Mauve.—Fifteen parts white lead; 2 parts ultramarine blue; 1 part
carmine lake or red lake.
Orange Pink.—Two parts white lead; 1 part dark orange chrome or
American vermilion.
Purple.—Five parts white lead; 2 parts ultramarine blue; 1 part red
madder lake.
Royal Pink.—Five parts white lead; 1 part carmine lake or red madder
lake.
Royal Rose.—Twenty parts white lead; 1 part rich rose lake.
Red Brick.—Ten parts white lead; 3 parts light Venetian red; 1 part
yellow ocher.
Reddish Terra Cotta.—Two parts white lead; 1 part rich burnt sienna.
Salmon.—Fifty parts white lead; 5 parts deep orange chrome.
Shell Pink.—Fifty parts white lead; 2 parts bright vermilion; 1 part
orange chrome; 1 part burnt sienna.
Violet.—Fifteen parts white lead; 4 parts ultramarine blue; 3 parts
rose lake; 1 part drop black.
«GREEN TINTS:»
Apple Green.—Fifty parts white lead; 1 part chrome green, light or
medium shade.
Citrine Green.—One hundred parts white lead; 2 parts medium chrome
yellow; 1 part drop black.
Citron Green.—One hundred parts white lead; 3 parts medium chrome
yellow; 1 part lampblack.
Emerald Green.—Ten parts white lead; 1 part Paris (emerald) green.
Grass Green A.—Five parts white lead; 7 parts Paris green.
Grass Green B.—Ten parts oxide of chrome; 2 parts tin ashes; 5 parts
whiting; 1 part crocus martis; 1 part bichromate potash.
Gray Green.—Five parts white lead; 1 part Verona green. {559}
Marine Green.—Ten parts white lead; 1 part ultramarine green.
Nile Green.—Fifty parts white lead; 6 parts medium chrome green; 1 part
Prussian blue.
Olive Green.—Fifty parts white lead; 2 parts medium chrome yellow; 3
parts raw umber; 1 part drop black.
Olive Drab.—Fifty parts white lead; 8 parts raw umber; 5 parts medium
chrome green; 1 part drop black.
Pea Green.—Fifty parts white lead; 1 part light chrome green.
Satin Green.—Three parts white lead; 1 part Milori green.
Sage Green.—One hundred parts white lead; 3 parts medium chrome green;
1 part raw umber.
Sea Green.—Fifty parts white lead; 1 part dark chrome green.
Stone Green.—Twenty-five parts white lead; 2 parts dark chrome green; 3
parts raw umber.
Velvet Green.—Twenty parts white lead; 7 parts medium chrome green; 2
parts burnt sienna.
Water Green.—Fifteen parts white lead; 10 parts French ocher; 1 part
dark chrome green.
«BROWN TINTS:»
Chocolate.—Twenty-five parts white lead; 3 parts burnt umber.
Cocoanut.—Equal parts white lead and burnt umber.
Cinnamon.—Ten parts white lead; 2 parts burnt sienna; 1 part French
ocher.
Dark Drab.—Forty parts white lead; 1 part burnt umber.
Dark Stone.—Twenty parts white lead; 1 part raw umber.
Fawn.—Fifty parts white lead; 3 parts burnt umber; 2 parts French ocher.
Golden Brown.—Twenty-five parts white lead; 4 parts French ocher; 1
part burnt sienna.
Hazel Nut Brown.—Twenty parts white lead; 5 parts burnt umber; 1 part
medium chrome yellow.
Mulberry.—Ten parts manganese; 2 parts cobalt blue; 2 parts saltpeter.
Purple Brown.—Fifty parts white lead; 6 parts Indian red; 2 parts
ultramarine blue; 1 part lampblack.
Red Brown.—Twelve parts hematite ore; 3 parts manganese; 7 parts
litharge; 2 parts yellow ocher.
Seal Brown.—Thirty parts white lead; 5 parts burnt umber; 1 part medium
chrome yellow.
Snuff Brown.—Twenty-five parts white lead; 1 part burnt umber; 1 part
Oxford ocher.
«GRAY TINTS:»
Ash Gray.—Thirty parts white lead; 2 parts ultramarine blue; 1 part
burnt sienna.
Cold Gray.—Five hundred parts white lead; 6 parts lampblack; 1 part
Antwerp blue.
Dove Color.—Twelve parts manganese; 5 parts steel filings; 3 parts
whiting; 1 part oxide of cobalt.
Dove Gray.—Two hundred parts white lead; 5 parts ultramarine blue; 2
parts drop black.
French Gray.—One hundred and fifty parts white lead; 2 parts lampblack;
1 part orange chrome yellow; 1 part chrome red (American vermilion).
Lead Color.—Fifty parts white lead; 1 part lampblack (increase
proportion of white lead for light tints).
Lustrous Gray.—Ten parts white lead; 1 part graphite (plumbago).
Olive Gray.—Two hundred parts white lead; 2 parts lampblack; 1 part
medium chrome green.
Pure Gray.—One hundred parts white lead; 1 part drop black.
Pearl Gray.—One hundred parts white lead; 1 part ultramarine blue; 1
part drop black.
Silver Gray.—One hundred and fifty parts white lead; 2 parts lampblack;
3 parts Oxford ocher.
Warm Gray.—One hundred parts white lead; 3 parts drop black; 2 parts
French ocher; 1 part light Venetian red.
NOTE.—For inside work and whenever desirable, the white lead may be
replaced by zinc white or a mixture of the two white pigments may be
used. Be it also remembered that pure colors, as a rule, will produce
the cleanest tints and that fineness of grinding is an important
factor. It will not be amiss to call attention to the fact that the
excessive use of driers, especially of dark japans or liquid driers,
with delicate tints is bad practice, and liable to ruin otherwise good
effects in tints or delicate solid colors.
«COLOR TESTING.»
Expense and trouble deter many a painter from having a color examined,
{560} although such an examination is often very necessary. For the
practical man it is less important to know what percentage of foreign
matter a paint contains, but whether substances are contained therein,
which may act injuriously in some way or other.
If a pigment is to be tested for arsenic, pour purified hydrochloric
acid into a test tube or a U-shaped glass vessel which withstands heat,
add a little of the pigment or the colored fabric, wall paper, etc.
(of pigment take only enough to strongly color the hydrochloric acid
simply in the first moment), and finally a small quantity of stannous
chloride. Now heat the test tube with its contents moderately over
a common spirit lamp. If the liquid or mass has assumed a brown or
brownish color after being heated, arsenic is present in the pigment or
fabric, etc.
An effective but simple test for the durability of a color is to paint
strips of thick paper and nail them on the wall in the strongest light
possible. A strip of paper should then be nailed over one-half of the
samples of color so as to protect them from the light. On removing this
the difference in shade between the exposed and unexposed portions will
be very apparent. Some colors, such as the vermilionettes, will show a
marked difference after even a few weeks.
«Testing Body Colors for Gritty Admixtures.»—The fineness of the
powdered pigment is not a guarantee of the absence of gritty
admixtures. The latter differ from the pigment proper in their specific
gravity. If consisting of metallic oxides or metallic sulphides the
sandy admixtures are lighter than the pigments and rise to the surface
upon a systematic shaking of the sample. In the case of other pigments,
e. g., aluminas and iron varnish colors, they collect at the bottom.
For carrying out the test, a smoothly bored metallic tube about 1/2
to 3/4 inch in diameter and 6 to 7 inches long is used. Both ends are
closed with screw caps and at one side of the tube some holes about
1/6 of an inch in diameter are bored, closed by pieces of a rubber
hose pushed on. The tube is filled with the pigment powder, screwed
up and feebly shaken for some time in a vertical position (the length
of time varying according to the fineness of the powder). Samples may
now be taken from all parts of the tube. Perhaps glass tubes would be
preferable, but lateral apertures cannot be so readily made. After
the necessary samples have been collected in this manner, they must
be prepared with a standard sample, which is accomplished either by
feeling the powder between the fingers or by inspecting it under a
microscope, or else by means of the scratching test, which last named
is the usual way. The requisites for these scratch tests consist of two
soft, well-polished glass plates (2 1/2 x 2 1/4 inches) which are
fixed by means of cement in two stronger plates of hard wood suitably
hollowed out. The surface of the glass must project about 1/2 inch
over the wooden frame. If a sample of the pigment powder is placed on
such a glass plate, another plate is laid on top and both are rubbed
slowly together; this motion will retain a soft, velvety character in
case the pigment is free from gritty admixtures; if otherwise, the
glass is injured and a corresponding sound becomes audible. Next the
powder is removed from the plate, rubbing the latter with a soft rag,
and examining the surface with a microscope. From the nature of the
scratches on the plate the kind of gritty ingredients can be readily
determined. The human finger is sufficiently sensitive to detect the
presence of gritty substances, yet it is not capable of distinguishing
whether they consist of imperfectly reduced or badly sifted grains of
pigment or real gritty admixtures.
«To Determine the Covering Power of Pigments.»—To determine the
covering power of white lead, or any other pigment, take equal
quantities of several varieties of white lead and mix them with
a darker pigment, black, blue, etc., the latter also in equal
proportions. The white lead which retains the lightest color is
naturally the most opaque. In a similar manner, on the other hand, the
mixing power of the dark pigments can be ascertained. If experiments
are made with a variety of white lead or zinc white, by the admixture
of dark pigments, the color which tints the white lead or zinc white
most, also possesses the greatest covering or mixing power.
«To Detect the Presence of Aniline in a Pigment.»—Lay a little of the
color upon letter paper and pour a drop of spirit on it. If it is mixed
with aniline the paper is colored right through thereby, while a pure
pigment does not alter the shade of the paper and will never penetrate
it.
«Vehicle for Oil Colors.»—Petroleum, 20 to 30 pounds; tallow, 3 to 5
pounds; cotton-seed oil, 5 to 7 pounds; colophony, 5 to 7 pounds. The
pigments {561} having been ground up with this mixture, the mixed paint
can be made still better by adding to it about a sixth of its weight of
the following mixture: Vegetable oil, 8 to 20 pounds; saponified rosin,
6 to 16 pounds; turpentine, 4 to 30 ounces.
«Frankfort Black.»—Frankfort black, also known as German black, is a
name applied to a superior grade of lampblack. In some districts of
Germany it is said to be made by calcining wine lees and tartar. The
material is heated in large cylindrical vessels having a vent in the
cover for the escape of smoke and vapors that are evolved during the
process. When no more smoke is observed, the operation is finished. The
residuum in the vessels is then washed several times in boiling water
to extract the salts contained therein and finally is reduced to the
proper degree of fineness by grinding on a porphyry.
«Paris Green.»—Emerald or Paris green is rather permanent to light,
but must not be mixed with pigments containing sulphur, because of the
tendency to blacken when so mixed. It will not resist acids, ammonia,
and caustics.
PIGMENT PAPER: See Photography.
«PILE OINTMENTS.»
I.—“Extract” witch-hazel 2 fluidounces
Lanum 2 ounces
Petrolatum 6 ounces
Glycerine 4 fluidounces
Tannic acid 1 drachm
Powdered opium 1 drachm
II.—Tannic acid 20 grains
Bismuth subnitrate 1 drachm
Powdered opium 10 grains
Lanum 3 drachms
Petrolatum 5 drachms
PINE SYRUP: See Essences and Extracts.
PINEAPPLE ESSENCE: See Essences and Extracts.
PINEAPPLE LEMONADE: See Beverages.
PING PONG FRAPPÉ: See Beverages, under Lemonades.
PINS OF WATCHES: See Watchmakers’ Formulas.
PINION ALLOY: See Watchmakers’ Formulas.
PINK SALVE: See Ointments.
PINKEYE: See Veterinary Formulas.
PIPE-JOINT CEMENT: See Cement.
PIPE LEAKS: See Leaks.
PIPES, RUST-PREVENTIVE FOR: See Rust Preventives.
PISTACHIO ESSENCE: See Essences and Extracts.
«PLANTS:»
«Temperature of Water for Watering Plants.»—Experiments were made
several years ago at the Wisconsin Agricultural Experiment Station to
determine whether cold water was detrimental to plants. Plants were
grown under glass and in the open field, and in all cases the results
were similar. Thus, coleus planted in lots of equal size and vigor
were watered with water at 35°, 50°, 65°, and 86° F. At the end of 60
days it was impossible to note any difference, and when the experiment
was repeated with water at 32°, 40°, 70°, and 100° F., the result was
the same. Beans watered with water at 32°, 40°, 70°, and 100° F.,
were equally vigorous; in fact, water at 32° and 40° F. gave the best
results. Lettuce watered with water at 32° F. yielded slightly more
than the other lots. From these experiments it was concluded that for
vegetable and flowering plants commonly grown under glass, ordinary
well or spring water may be used freely at any time of the year without
warming.
PLANT PRESERVATIVES: See Flowers.
«Plaster»
(See also Gypsum.)
«Therapeutic Grouping of Medicinal Plasters.»—The vehicle for medicated
plasters requires some other attribute than simply adhesiveness. From
a study of the therapy of plasters they may be put in three groups,
similarly to the ointments with reference to their general therapeutic
uses, which also governs the selection of the respective vehicles.
1.—Epidermatic: Supportive, protective, antiseptic, counter-irritant,
vesicant. Vehicle: Rubber or any suitable {562} adhesive. Official
plasters: Emp. adhesivum, E. capsici.
2.—Endermatic: Anodyne, astringent, alterative, resolvent, sedative,
stimulant. Vehicle: Oleates or lead plaster, sometimes with rosins or
gum rosins. Official plasters: Emp. Belladonnæ, E. opii, E. plumbi, E.
saponis.
3.—Diadermatic: For constitutional or systemic effects. Vehicle:
Lanolin or plaster-mull. Official plasters: Emp. hydrargyri.
«Methods of Preparing Rubber Plasters.—Mechanic Roller Pressure
Method.»—This method of incorporating the rubber with certain
substances to give it the necessary body to serve as a vehicle is
at present the only one employed. But since it requires the use of
the heaviest machinery—some of the apparatus weighing many tons—and
enormous steam power, its application for pharmaceutical purposes is
out of the question.
As is well known, the process consists in: 1. Purification of the
rubber by mascerating and pressing it and removing foreign impurities
by elutriating it with water. 2. Forming a homogeneous mass of the
dried purified rubber by working it on heated revolving rollers and
incorporating sufficient quantities of orris powder and oleoresins. 3.
Incorporating the medicinal agent, i. e., belladonna extract, with the
rubber mass by working it on warmed revolving rollers. 4. Spreading the
prepared piaster.
Solution in Volatile Solvents.—This process has been recommended from
time to time, the principal objection being the use of so relatively
large quantities of inflammable solvents.
«The German Pharmacopœia Method.»—The following is the formula of
“Arzneibuch fur das Deutsche Reich,” 1900: Emplastrum adhesivum: Lead
plaster, waterfree, 40 parts; petrolatum, 2.5 parts; liquid petrolatum,
2.5 parts, are melted together, and to the mixture add rosin, 35 parts;
dammar, 10 parts, previously melted. To the warm mixture is added
caoutchouc, 10 parts; dissolved in benzine, 75 parts, and the mixture
stirred on the water-bath until all the benzine is lost by evaporation.
The Coleplastrum adhesivum of the Austrian Society is still more
complex, the formula containing the following: Rosin oil, empyreumatic,
150 parts; copaiba, 100 parts; rosin, 100 parts; lard, 50 parts; wax,
30 parts; dissolved in ether, 1,200 parts, in which caoutchouc, 250
parts, has been previously dissolved; to this is then added orris
powder, 220 parts; sandarac, 50 parts; ether, 400 parts. The mixture,
when uniform, is spread on cloth.
«Solution of Rubber in Fixed Solvent: Petrolatum and Incorporation
with Lead Acetate.»—India rubber dissolves, though with difficulty, in
petrolatum. The heat required to melt the rubber being comparatively
high, usually considerably more than 212° F., as stated in the U.
S. P., it is necessary to melt the rubber first and then add the
petrolatum, in order to avoid subjecting the latter to the higher
temperature. The mixture of equal parts of rubber and petrolatum
is of a soft jelly consistence, not especially adhesive, but when
incorporated with the lead oleate furnishes a very adhesive plaster.
While at first 5 per cent of each rubber and petrolatum was used, it
has been found that the petrolatum would melt and exude around the
edges of the plaster when applied to the skin, and the quantity was
therefore reduced to 2 per cent of each. This mass affords a plaster
which is readily adhesive to the body, does not run nor become too
soft. Plasters spread on cloth have been kept for months exposed to the
sun in the summer weather without losing their stability or permanency.