finely powdered and washed chalk, 1 part of English red, and 2 parts of
powdered gypsum; give it a square shape and dry.
«Polishing Cream.»—
Denaturized alcohol 400 parts
Spirit of sal ammoniac 75 parts
Water 150 parts
Petroleum ether 80 parts
Infusorial earth 100 parts
Red bole or white bole 50 parts
Calcium carbonate 100 parts
Add as much of the powders as desired. Mirbane oil may be used for
scenting.
«Polishing Paste.»—
Infusorial earth (Kieselguhr) 8 ounces
Paraffine 2 ounces
Lubricating oil 6 fluidounces
Oleic acid 1 fluidounce
Oil mirbane 30 minims
Melt the paraffine with the lubricating oil, and mix with the
infusorial earth, then add the oleic acid and oil of mirbane.
«To Polish Paintings on Wood.»—According to the statements of able
cabinet makers who frequently had occasion to cover decorations on
wood, especially aquarelle painting, with a polish, a good coating
of fine white varnish is the first necessity, dammar varnish being
employed for this purpose. This coat is primarily necessary as a
protective layer so as to preserve the painted work from destructive
attacks during the rubbing for the production of a smooth surface and
the subsequent polishing. At all events, the purest white polishing
varnish must be used for the polish so as to prevent a perceptible
subsequent darkening of the white painting colors. Naturally the
success here is also dependent upon the skill of the polisher. To
polish painting executed on wood it is necessary to choose a white,
dense, fine grained wood, which must present a well-smoothed surface
before the painting. After the painting the surface is faintly coated
with a fine, quickly drying, limpid varnish. When the coating has dried
well, it is carefully rubbed down with finely pulverized pumice stone,
with tallow or white lard, and now this surface is polished in the
usual manner with a good solution prepared from the best white shellac.
«Polishing Mediums.»—For iron and steel, stannic oxide or Vienna lime
or iron oxide and sometimes steel powder is employed. In using the
burnisher, first oil is taken, then soap water, and next Vienna lime.
For copper, brass, German silver, and tombac, stearine oil and Vienna
lime are used. Articles of brass can be polished, after the pickling,
in the lathe with employment of a polish consisting of shellac,
dissolved in alcohol, 1,000 parts; powdered turmeric, 1,000 parts;
tartar, 2,000 parts; ox gall, 50 parts; water, 3,000 parts.
Gold is polished with ferric oxide (red stuff), which, moistened with
alcohol, is applied to leather.
For polishing silver, the burnisher or bloodstone is employed, using
soap water, thin beer, or a decoction of soap wort. Silver-plated
articles are also polished with Vienna lime.
To produce a dull luster on gold and silver ware, glass brushes, i.
e., scratch brushes of finely spun glass threads, are made use of.
Pewter articles are polished with Vienna lime or whiting; the former on
a linen rag, the latter on leather.
If embossed articles are to be polished, use the burnisher, and for
polish, soap water, soap-wort decoction, ox gall with water.
Antimony-lead alloys are polished with burnt magnesia on soft leather
or with fine jewelers’ red.
Zinc is brightened with Vienna lime or powdered charcoal.
Vienna lime gives a light-colored polish on brass, while ferric oxide
imparts a dark luster.
«Rouge or Paris Red.»—This appears in commerce in many shades, varying
from brick red to chocolate brown. The color, however, is in no wise
indicative of its purity or good quality, but it can be accepted as a
criterion by which to {601} determine the hardness of the powder. The
darker the powder, the greater is its degree of hardness; the red or
reddish is always very soft, wherefore the former is used for polishing
steel and the latter for softer metals.
For the most part, Paris red consists of ferric oxide or ferrous oxide.
In its production advantage is taken of a peculiarity common to most
salts of iron, that when heated to a red heat they separate the iron
oxide from the acid combination. In its manufacture it is usual to take
commercial green vitriol, copperas crystals, and subject them to a
moderate heat to drive off the water of crystallization. When this is
nearly accomplished they will settle down in a white powder, which is
now placed in a crucible and raised to a glowing red heat till no more
vapor arises, when the residue will be found a soft smooth red powder.
As the temperature is raised in the crucible, the darker will become
the color of the powder and the harder the abrasive.
Should an especially pure rouge be desired, it may be made so by
boiling the powder we have just made in a weak solution of soda and
afterwards washing it out repeatedly and thoroughly with clean water.
If treated in this way, all the impurities that may chance to stick to
the iron oxide will be separated from it.
Should a rouge be needed to put a specially brilliant polish upon any
object its manufacture ought to be conducted according to the following
formula: Dissolve commercial green vitriol in water; dissolve also a
like weight of sorrel salt in water; filter both solutions; mix them
well, and warm to 140° F.; a yellow precipitate, which on account
of its weight, will settle immediately; decant the fluid, dry out
the residue, and afterwards heat it as before in an iron dish in a
moderately hot furnace till it glows red.
By this process an exceptionally smooth, deep-red powder is obtained,
which, if proper care has been exercised in the various steps, will
need no elutriation, but can be used for polishing at once. With
powders prepared in this wise our optical glasses and lenses of finest
quality are polished.
POLISHES FOR THE LAUNDRY: See Laundry Preparations.
POMADE, PUTZ: See Cleaning Preparations and Methods.
POMADES: See Cosmetics.
POMEGRANATE ESSENCE: See Essences and Extracts.
«PORCELAIN:»
See also Ceramics.
«Mending Porcelain by Riveting» (see Adhesives for methods of mending
Porcelain by means of cements).—Porcelain and glass can be readily
pierced with steel tools. Best suited are hardened drills of ordinary
shape, moistened with oil of turpentine, if the glazed or vitreous body
is to be pierced. In the case of majolica and glass without enamel the
purpose is best reached if the drilling is done under water. Thus,
the vessel should previously be filled with water, and placed in a
receptacle containing water, so that the drill is used under water,
and, after piercing the clay body, reaches the water again. In the
case of objects glazed on the inside, instead of filling them with
water, the spot where the drill must come through may be underlaid
with cork. The pressure with which the drill is worked is determined
by the hardness of the material, but when the tool is about to reach
the other side it should gradually decrease and finally cease almost
altogether, so as to avoid chipping. In order to enlarge small bore
holes already existing, three-cornered or four-square broaches, ground
and polished, are best adapted. These are likewise employed under water
or, if the material is too hard (glass or enamel), moistened with oil
of turpentine. The simultaneous use of oil of turpentine and water is
most advisable in all cases, even where the nature of the article to be
pierced does not admit the use of oil alone, as in the case of majolica
and non-glazed porcelain, which absorb the oil, without the use of
water.
«Porcelain Decoration.»—A brilliant yellow color, known as “gold
luster,” may be produced on porcelain by the use of paint prepared
as follows: Melt over a sand bath 30 parts of rosin, add 10 parts of
uranic nitrate, and, while constantly stirring, incorporate with the
liquid 35 to 40 parts of oil of lavender. After the mixture has become
entirely homogeneous, remove the source of heat, and add 30 to 40 parts
more of oil of lavender. Intimately mix the mass thus obtained with a
like quantity of bismuth glass prepared by fusing together equal parts
of oxide of bismuth and crystallized boric acid. The paint is to be
burned in in the usual manner.
PORCELAIN, HOW TO TELL POTTERY AND PORCELAIN: See Ceramics. {602}
PORTLAND CEMENT: See Cement.
PORTLAND CEMENT, SIZE OVER: See Adhesives.
POSTAL CARDS, HOW TO MAKE SENSITIZED: See Photography, under
Paper-Sensitizing Processes.
POTASSIUM SILICATE AS A CEMENT: See Adhesives, under Water-Glass
Cements.
POTATO STARCH: See Starch.
POTTERY: See Ceramics.
POULTRY APPLICATIONS: See Insecticides.
POULTRY FOODS AND POULTRY DISEASES AND THEIR REMEDIES: See Veterinary
Formulas.
POULTRY WINE: See Wines and Liquors.
POUNCE: See Cleaning Preparations and Methods, under Ink Eradicators.
POWDER FOR COLORED FIRES: See Pyrotechnics.
POWDER, FACE: See Cosmetics.
POWDER, ROUP: See Roup Powder.
POWDERS FOR STAMPING: See Stamping.
POWDERS FOR THE TOILET: See Cosmetics.
«Preservatives»
(See also Foods.)
«Preservative Fluid for Museums.»—
Formaldehyde solution 6 parts
Glycerine 12 parts
Alcohol 3 parts
Water 100 parts
The addition of glycerine becomes necessary only if it is desired to
keep the pieces in a soft state. Filtering through animal charcoal
renders the liquid perfectly colorless. For dense objects, such as
lungs and liver, it is best to make incisions so as to facilitate the
penetration of the fluid. In the case of very thick pieces, it is best
to take 80 to 100 parts of formaldehyde solution for above quantities.
«Preservative for Stone, etc.»—A new composition, or paint, for
protecting stone, wood, cement, etc., from the effects of damp or other
deleterious influences consists of quicklime, chalk, mineral colors,
turpentine, boiled oil, galipot, rosin, and benzine. The lime, chalk,
colors, and turpentine are first fixed and then made into a paste with
the boiled oil. The paste is finely ground and mixed with the rosins
previously dissolved in the benzine.
«Preservative for Stuffed Animals.»—For the exterior preservation use
Arsenic 0.7 parts
Alum 15.0 parts
Water 100.0 parts
For sprinkling the inside skin as well as filling bones, the following
is employed:
Camphor 2 parts
Insect powder 2 parts
Black pepper 1 part
Flowers of sulphur 4 parts
Alum 3 parts
Calcined soda 3 parts
Tobacco powder 3 parts
«Preservatives for Zoological and Anatomical Specimens.»—The
preparations are first placed in a solution or mixture of
Sodium fluoride 5 parts
Formaldehyde (40 per cent) 2 parts
Water 100 parts
After leaving this fixing liquid they are put in the following
preservative solution:
Glycerine (28° Bé.) 5 parts
Water 10 parts
Magnesium chloride 1 part
Sodium fluoride 0.2 parts
In this liquid zoological preparations, especially reptiles, retain
their natural coloring. Most anatomical preparations likewise remain
unchanged therein.
PRESERVATIVES FOR WOOD: See Wood.
«Preserving»
«Canning.»—There should be no trouble in having canned fruit keep well
if perfect or “chemical cleanliness” is observed in regard to jars,
lids, etc., and if the fruit or vegetables are in good order, not
overripe or beginning to ferment where bruised or crushed. Fruit will
{603} never come out of jars better than it goes in. It is better to
put up a little fruit at a time when it is just ripe than to wait for
a large amount to ripen, when the first may be overripe and fermenting
and likely to spoil the whole lot. Use only the finest flavored fruit.
Have everything ready before beginning canning. Put water in each jar,
fit on rubbers and tops, and invert the jar on the table. If any water
oozes out try another top and rubber until sure the jar is air-tight.
Wash jars and tops, put them in cold water and bring to a boil. When
the fruit is cooked ready take a jar from the boiling water, set it on
a damp cloth laid in a soup plate, dip a rubber in boiling water, and
fit it on firmly. Fill the jar to overflowing, wipe the brim, screw on
the top, and turn it upside down on a table. If any syrup oozes out
empty the jar back into the kettle and fit on a tighter rubber. Let it
stand upside down till cold, wipe clean, wrap in thick paper, and keep
in a cool, dry place.
These general directions are for all fruits and vegetables that are
cooked before putting in the jars. Fruit keeps its shape better if
cooked in the jars, which should be prepared as above, the fruit
carefully looked over and filled into the jars. If a juicy fruit, like
blackberries or raspberries, put the sugar in with it in alternate
layers. For cherries the amount of sugar depends on the acidity of the
fruit and is best made into a syrup with a little water and poured down
through them. Peaches and pears after paring, are packed into the jars
and a syrup of about a quarter of a pound of sugar to a pound of fruit
poured over them. Most fruits need to be cooked from 10 to 15 minutes
after the water around them begins to boil.
Red raspberries ought not to be boiled. Put them into jars as gently
as possible; they are the tenderest of all fruits and will bear the
slightest handling. Drop them in loosely, fold a saucer into a clean
cloth, and lay over the top, set on a perforated board in a boiler,
pour water to two-thirds, cover and set over a slow fire. As the fruit
settles add more until full. When it is cooked soft lift the jar out
and fill to the top with boiling syrup of equal parts of sugar and
water, and seal.
Do not can all the fruit, for jams and jellies are a welcome change and
also easier to keep. Raspberries and currants mixed make delicious jam.
Use the juice of a third as many currants and 3/4 of a pound of sugar
to a pound of fruit. The flavor of all kinds of fruit is injured by
cooking it long with the sugar, so heat the latter in the oven and add
when the fruit is nearly done.
Jelly is best made on a clear day, for small fruits absorb moisture,
and if picked after a rain require longer boiling, and every minute
of unnecessary boiling gives jelly a less delicate color and flavor.
When jelly is syrupy, it has been boiled too long; if it drops from the
spoon with a spring, or wrinkles as you push it with the spoon in a
saucer while cooling, it is done enough. Try it after 5 minutes’ boil.
Cook the fruit only until the skin is broken and pulp softened. Strain
without squeezing for jelly, and use the last juice you squeeze out
for jam. Measure the juice and boil uncovered, skimming off. For sweet
fruits 3/4 of a pound of sugar is enough to a pint of juice. Heat the
sugar in the oven, add to the boiling juice; stir till dissolved. When
it boils up, draw to the back of the stove. Scald the jelly glasses,
fill and let stand in a clean, cool place till next day; then cover.
Blackberries make jelly of a delicious flavor and jelly easily when
a little underripe. Currants should be barely ripe; the ends of the
bunches may be rather green.
A highly prized way of canning cherries: Stone and let them stand
overnight. In the morning pour off the juice, add sugar to taste,
and some water if there is not much juice, and boil and skim till it
is a rich syrup. If the cherries are sweet a pint of juice and 3/4
of a pint of sugar will be right. Heat the jars, put in the uncooked
cherries till they are nearly full; then pour over them the boiling
syrup and fasten on the covers. Set the jars in a washboiler, fill it
with very hot water and let it stand all night. The heat of the syrup
and of the water will cook the fruit, but the flavor and color will be
that of fresh and uncooked cherries.
«Canning without Sugar.»—I.—In order to preserve the juices of fruit
merely by sterilization, put the juice into the bottles in which it
is to be kept, filling them very nearly full; place the bottles,
unstoppered, in a kettle filled with cold water, so arranging them on
a wooden perforated “false bottom,” or other like contrivance, as to
prevent their immediate contact with the metal, thus preventing unequal
heating and possible fracture. Now heat the water, gradually raising
the temperature to the boiling point, and maintain at that until the
juice attains a boiling temperature; then close the bottles with
perfectly fitting corks, which {604} have been kept immersed in boiling
water for a short time before use. The corks should not be fastened
in any way, for if the sterilization is not complete, fermentation
and consequent explosion of the bottle might occur, unless the cork
should be forced out. The addition of sugar is not necessary to secure
the success of the operation; in fact a small proportion would have
no antiseptic effect. If the juice is to be used for syrup as for use
at the soda fountain, the best method is to make a concentrated syrup
at once, using about 2 pounds of refined sugar to 1 pint of juice,
dissolving by a gentle heat. The syrup may be made by simple agitation
without heat and a finer flavor thus results, but its keeping quality
would be uncertain.
II.—Fruit juices may be preserved by gentle heating and after
protection from the air in sterilized containers. The heat required is
much below the boiling point. Professor Müller finds that a temperature
of from 140° to 158° F., maintained for 15 minutes, is sufficient to
render the fermenting agents present inactive. The bottles must also be
heated to destroy any adherent germs. The juices may be placed in them
as expressed and the container then placed in a water bath. As soon
as the heating is finished the bottles must be securely closed. The
heating process will, in consequence of coagulating certain substances,
produce turbidity, and if clear liquid is required, filtration is, of
course, necessary. In this case it is better to heat the juice in bulk
in a kettle, filter through felt, fill the bottles, and then heat again
in the containers as in the first instance. It is said that grape juice
prepared in this manner has been found unaltered after keeping for
many years. Various antiseptics have been proposed as preservatives
for fruit juices and other articles of food, but all such agents are
objectionable both on account of their direct action on the system and
their effect in rendering food less digestible. While small quantities
of such drugs occasionally taken may exert no appreciable effect,
continuous use is liable to be more or less harmful.
«CRUSHED FRUIT PRESERVING:»
«Crushed Pineapples.»—Secure a good brand of canned grated pineapple
and drain off about one-half of the liquor by placing on a strainer.
Add to each pound of pineapple 1 pound of granulated sugar. Place on
the fire and bring to boiling point, stirring constantly. Just before
removing from the fire, add to each gallon of pulp 1 ounce saturated
alcoholic solution salicylic acid. Put into air-tight jars until wanted
for use.
«Crushed Peach.»—Take a good brand of canned yellow peaches, drain off
liquor, and rub through a No. 8 sieve. Add sugar, bring to the boiling
point, and when ready to remove from fire add to each gallon 1 ounce
saturated alcoholic solution of salicylic acid. Put into jars and seal
hermetically.
«Crushed Apricots.»—Prepared in similar manner to crushed peach, using
canned apricots.
«Crushed Orange.»—Secure oranges with a thin peel and containing plenty
of juice. Remove the outer or yellow peel first, taking care not to
include any of bitter peel. The outer peel may be used in making orange
phosphate or tincture sweet orange peel. After removing the outer
peel, remove the inner, bitter peel, quarter and remove the seeds.
Extract part of the juice and grind the pulp through an ordinary meat
grinder. Add sugar, place on the fire, and bring to the boiling point.
When ready to remove, add to each gallon 1 ounce saturated alcoholic
solution of salicylic acid and 1 ounce glycerine. Put into jars and
seal.
«Crushed Cherries.»—If obtainable, the large, dark California cherry
should be used. Stone the cherries, and grind to a pulp. Add sugar, and
place on the fire, stirring constantly. Before removing, add to each
gallon 1 ounce of the saturated solution of salicylic acid. Put into
jars and seal.
«Dry Sugar Preserving.»—The fruits are embedded in a thick layer of
dry, powdered sugar to which they give up the greater part of the water
contained in them. At the same time, a quantity of sugar passes through
the skins into the interior of the fruits. Afterwards, the fruits are
washed once, wiped, and completely dried.
«Fruit Preserving.»—Express the juice and filter at once, through two
thicknesses of best white Swedish paper, into a container that has been
sterilized immediately before letting the juice run into it, by boiling
water. The better plan is to take out of water in active ebullition at
the moment you desire to use it. Have ready some long-necked, 8-ounce
vials, which should also be kept in boiling water until needed. Pour
the juice into these, leaving room in the upper part of the body of the
vial to {605} receive a teaspoonful of the best olive oil. Pour the
latter in so that it will trickle down the neck and form a layer on top
of the juice, and close the neck with a wad of antiseptic cotton thrust
into it in such manner that it does not touch the oil, and leaves room
for the cork to be put in without touching it. Cork and cap or seal
the vial, and put in a cool, dark place, and keep standing upright. If
carried out faithfully with due attention to cleanliness, this process
will keep the juice in a perfectly natural condition for a very long
time. The two essentials are the careful and rapid filtration, and the
complete asepticization of the containers. Another process, in use in
the French Navy, depends upon the rapid and careful filtering of the
juice, and the addition of from 8 to 10 per cent of alcohol.
«Raspberry Juice.»—A dark juice is obtained by adding to the crushed
raspberries, before the fermentation, slight quantities of sugar in
layers. The ethyl-alcohol forming during the fermentation is said
to cause a better extraction of the raspberry red. Furthermore, the
boiling should not be conducted on a naked fire, but by means of
superheated steam, so as to avoid formation of caramel. Finally, the
sugar used should be perfectly free from ultramarine and lime, since
both impurities detract from the red color of the raspberries.
«Spice for Fruit Compote.»—This is greatly in demand in neighborhoods
where many plums and pears are preserved.
Parts Parts
Lemon peel 15 or —
Cinnamon, ordinary 15 or 50
Star aniseed 10 or 15
Coriander 3 or 100
Carob pods 5 or —
Ginger root, peeled 2 or 200
Pimento — or 100
Licorice — or 100
Cloves, without stems — or 30
Spanish peppers — or 2
Oil of lemon — or 4
Oil of cinnamon — or 2
Oil of cloves — or 2
All the solid constituents are powdered moderately fine and thoroughly
mixed; the oils dropped in last, and rubbed into the powder.