strawberries on a sieve, and move the latter about in a tub of water
for a few moments, to remove any dirt clinging to them. Drain and
partially dry spontaneously, then remove from the sieve and put into
a porcelain-lined kettle provided with a tight cover. To every pound
of berries take a half pound of sugar and 2 ounces of water and put
the same in a kettle over the fire. Let remain until the sugar has
dissolved or become liquid, and then pour the same, while still hot,
over the berries, cover the kettle tightly and let it stand overnight.
The next morning put the kettle over the fire, removing the cover when
the berries begin to boil, and let boil gently for 6 to 8 minutes
(according to the mass), removing all scum as it arises. Remove from
the fire, and with a perforated spoon or dipper take the fruit from
the syrup, and fill into any suitable vessel. Replace the syrup on the
fire and boil for about the same length of time as before, then pour,
all hot, over the berries. The next day empty out the contents of the
vessel on a sieve, and let the berries drain off; remove the syrup that
drains off, add water, put on the fire, and boil until you obtain a
syrup which flows but slowly from the stirring spoon. At this point add
the berries, and let boil gently for a few moments. Have your preserve
jars as hot as possible, by putting them into a pot of cold water and
bringing the latter to a boil, and into them fill the berries, hot from
the kettle. Cool down, cover with buttered paper, and immediately close
the jars hermetically. If corks are used, they should be protected
below with parchment paper, and afterwards covered with wet bladder
stretched over the top, securely tied and waxed. The process seems very
troublesome and tedious, but all of the care expended is repaid by the
richness and pureness of the flavor of the preserve, which maintains
the odor and taste of the fresh berry in perfection.
«Hydrogen Peroxide as a Preservative.»—Hydrogen peroxide is one of the
best, least harmful, and most convenient agents for preserving syrups,
wine, beer, cider, and vinegar. For this purpose 2 1/2 fluidrachms
of the commercial peroxide of hydrogen may be added to each quart of
the article to be preserved. Hydrogen peroxide also affords an easy
test for bacteria in water. When hydrogen peroxide is added to water
that contains bacteria, these organisms decompose it, and consequently
oxygen gas is given off. If the water be much contaminated the
disengagement of gas may be quite brisk. {606}
«To Preserve Milk» (which should be as fresh as possible) there
should be added enough hydrogen peroxide to cause it to be completely
decomposed by the enzymes of the milk. For this purpose 1.3 per cent,
by volume, of a 3 per cent hydrogen peroxide solution is required.
The milk is well shaken and kept for 5 hours at 122° to 125° F. in
well-closed vessels. Upon cooling, it may keep fresh for about a month
and also to retain its natural fresh taste. With this process, if pure
milk is used, the ordinary disease germs are killed off soon after
milking and the milk sterilized.
«Powdered Cork as a Preservative.»—Tests have shown that powdered cork
is very efficacious for packing and preserving fruits and vegetables.
A bed of cork is placed at the bottom of the case, and the fruits or
vegetables and the cork are then disposed in alternate layers, with
a final one of cork at the top. Care should be taken to fill up the
interstices, in order to prevent friction. Fruit may thus be kept fresh
a year, provided any unsound parts have been removed preliminarily.
When unpacking for sale, it suffices to plunge the fruit into water.
Generally speaking, 50 pounds of cork go with 1,000 or 1,200 pounds
of fruit. The cork serves as a protection against cold, heat, and
humidity. Various fruits, such as grapes, mandarines, tomatoes, and
early vegetables, are successfully packed in this way.
PRESSURE TABLE: See Tables.
PRINT COPYING: See Copying.
PRINTERS’ OIL: See Oil.
PRINTING ON PHOTOGRAPHS: See Photography.
PRINTS, RESTORATION OF: See Engravings.
PRINTS, THEIR PRESERVATION: See Engravings.
PRINTING OILCLOTH AND LEATHER IN GOLD: See Gold.
PRINTING-OUT PAPER, HOW TO SENSITIZE: See Photography, under
Paper-Sensitizing Processes.
PRINTING-ROLLER COMPOSITIONS: See Roller Compositions for Printers.
PRUSSIC ACID: See Poisons.
«PUMICE STONE.»
While emery is used for polishing tools, polishing sand for stones
and glass, ferric oxide for fine glassware, and lime and felt for
metals, pumice stone is more frequently employed for polishing softer
objects. Natural pumice stone presents but little firmness, and the
search has therefore been made to replace the natural product with
an artificial one. An artificial stone has been produced by means of
sandstone and clay, designed to be used for a variety of purposes.
No. 1, hard or soft, with coarse grain, is designed for leather and
waterproof garments, and for the industries of felt and wool; No. 2,
hard and soft, of average grain, is designed for work in stucco and
sculptors’ use, and for rubbing down wood before painting; No. 3, soft,
with fine grain, is used for polishing wood and tin articles; No. 4,
of average hardness, with fine grain, is used for giving to wood a
surface previous to polishing with oil; No. 5, hard, with fine grain,
is employed for metal work and stones, especially lithographic stones.
These artificial products are utilized in the same manner as the
volcanic products. For giving a smooth surface to wood, the operation
is dry; but for finishing, the product is diluted with oil.
PUMICE-STONE SOAP: See Soaps.
PUNCHES: See Ice Creams.
PUNCTURE CEMENT: See Cement.
PURPLE OF CASSIUS: See Gold.
«Putty»
(See also Lutes, under Adhesives and Cements.)
Common putty, as used by carpenters, painters, and glaziers, is whiting
mixed with linseed oil to the consistency of dough. Plasterers use a
fine lime mortar that is called putty. Jewelers use a tin oxide for
polishing, called putty powder or putz powder. (See Putz Powder, under
Jewelers’ Polishes, under Polishes.) {607}
«Acid-Proof Putty.»—I.—Melt 1 part of gum elastic with 2 parts of
linseed oil and mix with the necessary quantity of white bole by
continued kneading to the desired consistency. Hydrochloric acid and
nitric acid do not attack this putty, it softens somewhat in the warm
and does not dry readily on the surface. The drying and hardening is
effected by an admixture of 1/2 part of litharge or red lead.
II.—A putty which will even resist boiling sulphuric acid is prepared
by melting caoutchouc at a moderate heat, then adding 8 per cent of
tallow, stirring constantly, whereupon sufficiently slaked lime is
added until the whole has the consistency of soft dough. Finally about
20 per cent of red lead is still added, which causes the mass to set
immediately and to harden and dry. A solution of caoutchouc in double
its weight of linseed oil, added by means of heat and with the like
quantity (weight) of pipe clay, gives a plastic mass which likewise
resists most acids.
«Black Putty.»—Mix whiting and antimony sulphide, the latter finely
powdered, with soluble glass. This putty, it is claimed, can be
polished, after hardening, by means of a burnishing agate.
«Durable Putty.»—According to the “Gewerbeschau,” mix a handful of
burnt lime with 4 1/4 ounces of linseed oil; allow this mixture to
boil down to the consistency of common putty, and dry the extensible
mass received, in a place not accessible to the rays of the sun. When
the putty, which has become very hard through the drying, is to be
used, it is warmed. Over the flame it will become soft and pliable,
but after having been applied and become cold, it binds the various
materials very firmly.
«Glaziers’ Putty.»—I.—For puttying panes or looking glasses into
picture frames a mixture prepared as follows is well adapted: Make a
solution of gum elastic in benzine, strong enough so that a syrup-like
fluid results. If the solution be too thin, wait until the benzine
evaporates. Then grind white lead in linseed-oil varnish to a stiff
paste and add the gum solution. This putty may be used, besides the
above purposes, for the tight puttying-in of window panes into their
frames. The putty is applied on the glass lap of the frames and the
panes are firmly pressed into it. The glass plates thereby obtain a
good, firm support and stick to the wood, as the putty adheres both to
the glass and to the wood.
II.—A useful putty for mirrors, etc., is prepared by dissolving
gummi elasticum (caoutchouc) in benzol to a syrupy solution, and
incorporating this latter with a mixture of white lead and linseed oil
to make a stiff pulp. The putty adheres strongly to both glass and
wood, and may therefore be applied to the framework of the window,
mirror, etc., to be glazed, the glass being then pressed firmly on the
cementing layer thus formed.
«Hard Putty.»—This is used by carriage painters and jewelers. Boil 4
pounds brown umber and 7 pounds linseed oil for 2 hours; stir in 2
ounces beeswax; take from the fire and mix in 5 1/2 pounds chalk and
11 pounds white lead; the mixing must be done very thoroughly.
«Painters’ Putty and Rough Stuff.»—Gradually knead sifted dry chalk
(whiting) or else rye flour, powdered white lead, zinc white, or
lithopone white with good linseed-oil varnish. The best putty is
produced from varnish with plenty of chalk and some zinc white. This
mixture can be tinted with earth colors. These oil putties must be well
kneaded together and rather compact (like glaziers’ putty).
If flour paste is boiled (this is best produced by scalding with hot
water, pouring in, gradually, the rye flour which has been previously
dissolved in a little cold water and stirring constantly until the
proper consistency is attained) and dry sifted chalk and a little
varnish are added, a good rough stuff for wood or iron is obtained,
which can be rubbed. This may also be produced from glaziers’ oil
putty by gradually kneading into it flour paste and a little more
sifted dry chalk.
«To Soften Glaziers’ Putty.»—I.—Glaziers’ putty which has become hard
can be softened with the following mixture: Mix carefully equal parts
of crude powdered potash and freshly burnt lime and make it into a
paste with a little water. This dough, to which about 1/4 part of
soft soap is still added, is applied on the putty to be softened, but
care has to be taken not to cover other paint, as it would be surely
destroyed thereby. After a few hours the hardest putty will be softened
by this caustic mass and can be removed from glass and wood.
II.—A good way to make the putty soft and plastic enough in a few
hours so that it can be taken off like fresh putty, is by the use of
kerosene, which entirely dissolves the linseed oil of the putty, {608}
transformed into rosin, and quickly penetrates it.
«Substitute for Putty.»—A cheap and effective substitute for putty
to stop cracks in woodwork is made by soaking newspapers in a paste
made by boiling a pound of flour in 3 quarts of water, and adding
a teaspoonful of alum. This mixture should be of about the same
consistency as putty, and should be forced into the cracks with a blunt
knife. It will harden, like papier maché, and when dry may be painted
or stained to match the boards, when it will be almost imperceptible.
«Waterproof Putties.»—I.—Grind powdered white lead or minium (red lead)
with thick linseed-oil varnish to a stiff paste. This putty is used
extensively for tightening wrought-iron gas pipes, for tightening rivet
seams on gas meters, hot-water furnaces, cast-iron flange pipes for
hot-water heating, etc. The putty made with minium dries very slowly,
but becomes tight even before it is quite hard, and holds very firmly
after solidification. Sometimes a little ground gypsum is added to it.
The two following putties are cheaper than the above-mentioned red lead
putty: II.—One part white lead, 1 part manganese, one part white pipe
clay, prepared with linseed-oil varnish.
III.—Two parts red lead, 5 parts white lead, 4 parts clay, ground in or
prepared with linseed-oil varnish.
IV.—Excellent putty, which has been found invaluable where waterproof
closing and permanent adhesion are desired, is made from litharge and
glycerine. The litharge must be finely pulverized and the glycerine
very concentrated, thickly liquid, and clear as water. Both substances
are mixed into a viscid, thickly liquid pulp. The pegs of kerosene
lamps, for instance, can be fixed in so firmly with this putty that
they can only be removed by chiseling it out. For puttying in the glass
panes of aquariums it is equally valuable. As it can withstand higher
temperatures it may be successfully used for fixing tools, curling
irons, forks, etc., in the wooden handles. The thickish putty mass is
rubbed into the hole, and the part to be fixed is inserted. As this
putty hardens very quickly it cannot be prepared in large quantities,
and only enough for immediate use must be compounded in each case.
V.—Five parts of hydraulic lime, 0.3 parts of tar, 0.3 parts of rosin,
1 part of horn water (the decoction resulting from boiling horn in
water and decanting the latter). The materials are to be mixed and
boiled. After cooling, the putty is ready for use. This is an excellent
cement for glass, and may be used also for reservoirs and any vessels
for holding water, to cement the cracks; also for many other purposes.
It will not give way, and is equally good for glass, wood, and metal.
VI.—This is especially recommended for boiler leaks: Mix well together
6 parts of powdered graphite, 3 parts of slaked lime, 8 parts of heavy
spar (barytes), and 8 parts of thick linseed-oil varnish, and apply in
the ordinary way to the spots.
PUTTY FOR ATTACHING SIGN-LETTERS TO GLASS: See Adhesives, under
Sign-Letter Cements.
PUTTY, TO REMOVE: See Cleaning Preparations and Methods.
PUTZ POMADE: See Cleaning Preparations and Methods.
PYROGALLIC ACID: See Photography.
PYROGALLIC ACID STAINS, TO REMOVE, FROM THE SKIN: See Cleaning
Preparations and Methods and Photography.
PYROCATECHIN DEVELOPER: See Photography.
«Pyrotechnics»
«FIREWORKS.»
The chief chemical process is, of course, oxidation. Oxidation may
be produced by the atmosphere, but in many cases this is not enough,
and then the pyrotechnist must employ his knowledge of chemistry in
selecting oxidizing agents.
The chief of these oxidizing agents are chlorates and nitrates, the
effect of which is to promote the continuance of combustion when it
is once started. They are specially useful, owing to their solid
non-hygroscopic nature. Then ingredients are needed to prevent the
too speedy action of the oxidizing agents, to regulate the process of
combustion, such as calomel, sand, and sulphate of potash. Thirdly,
there are the active ingredients that produce the desired effect,
prominent among which are substances that in contact with flame impart
some special color to it. Brilliancy and brightness are imparted by
steel, zinc, and copper {609} filings. Other substances employed are
lampblack with gunpowder, and, for theatre purposes, lycopodium.
Fireworks may be classified under four heads, viz.:
1. Single fireworks.
2. Terrestrial fireworks, which are placed upon the ground and the fire
issues direct from the surface.
3. Atmospheric fireworks, which begin their display in the air.
4. Aquatic fireworks, in which oxidation is so intense that they
produce a flame under water.
«Rockets.»—First and foremost among atmospheric fireworks are rockets,
made in different sizes, each requiring a slightly different percentage
composition. A good formula is
Sulphur 1 part
Carbon, wood 2 parts
Niter 4 parts
Meal powder 1 part
Meal powder is a fine black or brown dust, which acts as a diluent.
«Roman Candles.»—Roman candles are somewhat after the same principle.
An average formula is:
Sulphur 4 parts
Carbon 3 parts
Niter 8 parts
«Pin Wheels.»—These are also similar in composition to the preceding.
The formula for the basis is
Sulphur 5 parts
Niter 9 parts
Meal powder 15 parts
Color as desired.
«Bengal Lights.»—Bengal lights have the disadvantage of being
poisonous. A typical preparation can be made according to this formula:
Realgar 1 part
Black antimony 5 parts
Red lead 1 part
Sulphur 3 parts
Niter 14 parts
«COLORED FIRES.»
The compounds should be ignited in a small pill box resting on a plate.
All the ingredients must be dried and powdered separately, and then
lightly mixed on a sheet of paper. Always bear in mind that sulphur and
chlorate of potassium explode violently if rubbed together.
«Smokeless Vari-Colored Fire.»—First take barytes or strontium, and
bring to a glowing heat in a suitable dish, remove from the fire, and
add the shellac. The latter (unpowdered) will melt at once, and can
then be intimately mixed with the barytes or strontium by means of a
spatula. After cooling, pulverize. One may also add about 2 1/2 per
cent of powdered magnesium to increase the effect. Take for instance 4
parts of barytes or strontium and 1 part of shellac.
The following salts, if finely powdered and burned in an iron ladle
with a little spirits, will communicate to the flame their peculiar
colors.
Potassium nitrate or sodium chlorate, yellow.
Potassium chlorate, violet.
Calcium chloride, orange.
Strontium nitrate, red.
Barium nitrate, apple green.
Copper nitrate, emerald green.
Borax, green.
Lithium chloride, purple.
The colored fires are used largely in the production of various
theatrical effects.
«Blue Fire.»—
I.—Ter-sulphuret of antimony 1 part
Sulphur 2 parts
Nitrate of potassium 6 parts
II.—Sulphur 15 parts
Potassium sulphate 15 parts
Ammonio-cupric sulphate 15 parts
Potassium nitrate 27 parts
Potassium chlorate 28 parts
III.—Chlorate of potash 8 parts
Calomel 4 parts
Copper sulphate 5 parts
Shellac 3 parts
IV.—Ore pigment 2 parts
Charcoal 3 parts
Potassium chloride 5 parts
Sulphur 13 parts
Potassium nitrate 77 parts
V.—Potassium chlorate 10 parts
Copper chlorate 20 parts
Alcohol 20 parts
Water 100 parts
VI.—Copper chlorate 100 parts
Copper nitrate 50 parts
Barium chlorate 25 parts
Potassium chlorate 100 parts
Alcohol 500 parts
Water 1,000 parts
«Green.»—
I.—Barium chlorate 20 parts
Alcohol 20 parts
Water 100 parts
II.—Barium nitrate 10 parts
Potassium chlorate 10 parts
Alcohol 20 parts
Water 100 parts
{610}
III.—Shellac 5 parts
Barium nitrate 1 1/4 parts
Pound after cooling, and add Barium chlorate, 2 to 5 per cent.
«Red.»—
I.—Shellac 5 parts
Strontium nitrate 1 to 1.2 parts
Preparation as in green fare. In damp weather add 2 to 4 per cent of
potassium chlorate to the red flame; the latter causes a little more
smoke.
II.—Strontium nitrate 20 parts
Potassium chlorate 10 parts
Alcohol 20 parts
Water 100 parts
«Yellow.»—
I.—Sulphur 16 parts
Dried carbonate of soda 23 parts
Chlorate of potassium 61 parts
II.—Sodium chlorate 20 parts
Potassium oxalate 10 parts
Alcohol 20 parts
Water 100 parts
«Violet.»—
I.—Strontium chlorate 15 parts
Copper chlorate 15 parts
Potassium chlorate 15 parts
Alcohol 50 parts
Water 100 parts
II.—Potassium chlorate 20 parts
Strontium chlorate 20 parts
Copper chlorate 10 parts
Alcohol 50 parts
Water 100 parts
«Lilac.»—
Potassium chlorate 20 parts
Copper chlorate 10 parts
Strontium chloride 10 parts
Alcohol 50 parts
Water 100 parts
«Mauve.»—
Chlorate of potash 28 parts
Calomel 12 parts
Shellac 4 parts
Strontium nitrate 4 parts
Cupric sulphate 2 parts
Fat 1 part
«Purple.»—
Copper sulphide 8 parts
Calomel 7 parts
Sulphur 2 parts
Chlorate of potash 16 parts
«White.»—
I.—Gunpowder 15 parts
Sulphur 22 parts
Nitrate of potassium 64 parts
II.—Potassium nitrate 30 parts
Sulphur 10 parts
Antimony sulphide (black) 5 parts
Flour 3 parts
Powdered camphor 2 parts
III.—Charcoal 1 part
Sulphur 11 parts
Potassium sulphide 38 parts
IV.—Stearine 1 part
Barium carbonate 1 part
Milk sugar 4 parts
Potassium nitrate 4 parts
Potassium chlorate 12 parts
As a general rule, a corresponding quantity of shellac may be taken
instead of the sulphur for inside fireworks.
The directions for using these solutions are simply to imbibe bibulous
papers in them, then carefully dry and roll tightly into rolls of
suitable length, according to the length of time they are to burn.
«Fuses.»—For fuses or igniting papers, the following is used:
Potassium nitrate 2 parts
Lead acetate 40 parts
Water 100 parts
Mix and dissolve, and in the solution place unsized paper; raise to
nearly a boil and keep at this temperature for 20 minutes. If the paper
is to be “slow,” it may now be taken out, dried, cut into strips,
and rolled. If to be “faster,” the heat is to be continued longer,
according to the quickness desired. Care must be taken to avoid
boiling, which might disintegrate the paper.
In preparing these papers, every precaution against fire should be
taken, and their preparation in the shop or house should not be thought
of. In making the solutions, etc., where heat is necessary, the water
bath should invariably be used.
«PYROTECHNIC MAGIC.»
[Caution.—When about to place any lighted material in the mouth be sure
that the mouth is well coated with saliva, and that you are exhaling
_the breath continuously_, with greater or less force, _according to
the amount of heat you can bear_.
If the lighted material shows a tendency to burn the mouth, _do not
attempt to drag it out quickly_, but simply shut the lips tight, and
breathe through the nose, and the fire must go out instantly.
In the Human Gas Trick, where a flame 10 to 15 inches long is blown
from the mouth, be careful after lighting the {611} gas, _to continue
to exhale the breath_. When you desire the gas to go out, simply shut
the lips tight and hold the breath for a few seconds. In this trick,
until the gas is well out, any inhalation is likely to be attended with
the most serious results.
The several cautions above given may be examined with a lighted match,
first removing, after lighting the match, any brimstone or phosphorus
from its end.]
«To Fire Paper, etc., by Breathing on it.»—This secret seems little
known to conjurers. Pay particular attention to the caution concerning
phosphorus at the head of this article, and the caution respecting the
dangerous nature of the prepared fluid given.
Half fill a half-ounce bottle with carbon disulphide, and drop in 1 or
2 fragments of phosphorus, each the size of a pea, which will quickly
dissolve. Shake up the liquid, and pour out a small teaspoonful onto a
piece of blotting paper. The carbon disulphide will quickly evaporate,
leaving a film of phosphorus on the paper, which will quickly emit
fumes and burst into flame. The once-popular term Fenian fire was
derived from the supposed use of this liquid by the Fenians for the
purpose of setting fire to houses by throwing a bottle down a chimney
or through a window, the bottle to break and its contents to speedily
set fire to the place.
For the purpose of experiment this liquid should only be prepared in
small quantities as above, and any left over should be poured away
onto the soil in the open air, so as to obviate the risk of fire. Thin
paper may be fired in a similar manner with the acid bulbs and powder
already mentioned. The powder should be formed into a paste, laid on
the paper, and allowed to dry. Then the acid bulb is pasted over the
powder.
«Burning Brimstone.»—Wrap cotton around two small pieces of brimstone
and wet it with gasoline; take between the fingers, squeezing the
surplus liquid out, light it with a candle, throw back the head well,
and put it on the tongue blazing. Blow fire from mouth, and observe
that a freshly blown-out candle may be lighted from the flame, which
makes it more effective. After lighting candle chew up brimstone and
pretend to swallow.
«Blazing Sponge Trick.»—Take 2 or 3 small sponges, place them in a
ladle; pour just enough oil or gasoline over them to wet them. Be very
careful not to have enough oil on them to cause them to drip. Set
fire to the sponges and take one of them up with the tongs, and throw
the head back and drop the blazing sponge in the mouth, expelling the
breath all the time. Now close your mouth quickly; this cuts off the
air from the flame and it immediately goes out. Be careful not to
drop the sponge on the face or chin. Remove sponge under cover of a
handkerchief before placing the second one in the mouth.
«Burning Sealing Wax.»—Take a stick of common sealing wax in one hand
and a candle in the other, melt the wax over the candle, and put on
your tongue while blazing. The moisture of the mouth cools it almost
instantly. Care should be taken not to get any on the lips, chin, or
hands.
«Demon Bowls of Fire.»—The performer has three 6 1/2-inch brass bowls
on a table, and openly pours ordinary clean water (may be drunk) into
bowls, until each is about half full. Then by simply passing the hand
over bowls they each take fire and produce a flame 12 to 20 inches high.
Each bowl contains about 2 teaspoonfuls of ether, upon which is placed
a small piece of the metal potassium, about the size of a pea. If the
ether be pure the potassium will not be acted upon. When the water
is poured into the bowl the ether and potassium float up, the latter
acting vigorously on the water, evolving hydrogen and setting fire
thereto, and to the ether as well.
The water may be poured into the bowl and lighted at command. In this
case the potassium and ether are kept separated in the bowl, the former
in a little cup on one side, and the latter in the body of the bowl.
The water is poured in, and on rocking the bowl it is caused to wash
into the little cup, the potassium floats up, and the fire is produced.