grape juice was made from Viniferas or foreign varieties, whereas the
Concord was a Labruska or one of the American sorts. The difference
in taste and smell is even more pronounced than the analysis would
indicate.
Small quantities of grape juice may be preserved in bottles. Fruit is
likely to be dusty and to be soiled in other ways, and grapes, like
other fruits, should be well washed before using. Leaves or other
extraneous matter should also be removed. The juice is obtained by
moderate pressure in an ordinary screw press, and strained through
felt. By gently heating, the albuminous matter is coagulated and may
be skimmed off, and further clarification may be effected by filtering
through paper, but such filtration must be done as rapidly as possible,
using a number of filters and excluding the air as much as possible.
The juice so obtained may be preserved by sterilization, in the
following manner: Put the juice in 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, this 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 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
may occur unless the cork should be forced out.
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. This syrup may be made by simple agitation without heat; and a
finer flavor thus results, but its keeping quality would be uncertain.
The juices found in the market are frequently preserved by means of
antiseptics, but so far none have been proposed for this purpose which
can be considered entirely wholesome. Physiological experiments have
shown that while bodies suited for this purpose may be apparently
without bad effect at first, their repeated ingestion is likely to
cause gastric disturbance.
«SPARKLING WINES.»
An apparatus for converting still into foaming wines, and doing this
efficiently, simply, and rapidly, consists of a vertical steel tube,
which turns on an axis, and {768} bears several adjustable glass globes
that are in connection with each other by means of distributing valves,
the latter being of silver-plated bronze. The glass globes serve as
containers for carbonic acid, and are kept supplied with this gas from
a cylinder connected therewith.
The wine to be impregnated with the acid is taken from a cask, through
a special tube, which also produces a light pressure of carbonic
acid on the cask, the object of which is to prevent the access of
atmospheric air to the wine within, and, besides, to cause the liquid
to pass into the bottle without jar or stroke. The bottles stand under
the distributing valves, or levers, placed above and below them. Now,
if the cock, by means of which the glass bulbs and the bottles are
brought into connection, is slightly opened, and the desired lever is
put in action, the carbonic acid at once forces the air out of the
bottles, and sterilizes them. The upper bottles are now gradually
filled. The whole apparatus, including the filled bottles, is now
tilted over, and the wine, of its own weight, flows through collectors
filled with carbonic acid, and passes, impregnated with the gas, into
other bottles placed below. Each bottle is filled in course, the time
required for each being some 45 seconds. The saturation of the liquid
with carbonic acid is so complete and plentiful that there is no need
of hurry in corking.
By means of this apparatus any desired still wine is at once converted
into a sparkling one, preserving at the same time its own peculiarities
of taste, bouquet, etc. The apparatus may be used equally well upon
fruit juices, milk, and, in fact, any kind of liquid, its extreme
simplicity permitting of easy and rapid cleansing.
«ARTIFICIAL FRENCH BRANDY.»
I.—The following is Eugene Dieterich’s formula for _Spiritus vini
Gallici artificialis_:
Tincture of gallapples 10 parts
Aromatic tincture 5 parts
Purified wood vinegar 5 parts
Spirit of nitrous ether 10 parts
Acetic ether 1 part
Alcohol, 68 per cent 570 parts
Distilled water 400 parts
Mix, adding the water last, let stand for several days, then filter.
II.—The _Münchener Apotheker Verein_ has adopted the following formula
for the same thing:
Acetic acid, dilute, 90 per cent 4 parts
Acetic ether 4 parts
Tincture aromatic 40 parts
Cognac essence 40 parts
Spirit of nitrous ether 20 parts
Alcohol, 90 per cent 5,000 parts
Water, distilled 2,500 parts
Add the acids, ethers, etc., to the alcohol, and finally add the water.
Let stand several days, and, if necessary, filter.
III.—The Berlin Apothecaries have adopted the following as a magistral
formula:
Aromatic tincture 4 parts
Spirit of nitrous ether 5 parts
Alcohol, 90 per cent 1,000 parts
Distilled water, quantity sufficient to make 2,000 parts
Mix the tincture and ether with the alcohol, add the water and for
every ounce add one drop of tincture of rhatany.
Of these formulas the first is to be preferred as a close imitation of
the taste of the genuine article. To imitate the color use burnt sugar.
«LIQUEURS.»
Many are familiar with the properties of liqueurs but believe them to
be very complex and even mysterious compounds. This is, of course, due
to the fact that the formulas are of foreign origin and many of them
have been kept more or less secret for some time. Owing to the peculiar
combination of the bouquet oils and flavors, it is impossible to make
accurate analyses of them. But by the use of formulas now given, these
products seem to be very nearly duplicated.
It is necessary to use the best sugar and oils obtainable in the
preparation of the liqueurs. As there are so many grades of essential
oils on the market, it is difficult to obtain the best indirectly. The
value of the cordials is enhanced by the richness and odor and flavor
of the oils, so only the best qualities should be used.
For filtering, flannel or felt is valuable. Flannel is cheaper and more
easily washed. It is necessary to return filtrate several times with
any of the filtering media.
As a clarifying agent talcum allowed to stand several days acts well.
These rules are common to all. {769}
The operations are all simple:
First: Heat all mixtures. Second: Keep the product in the dark. Third:
Keep in warm place.
The liqueurs are heated to ripen the bouquet flavor, it having effect
similar to age. To protect the ethereal oils, air and light are
excluded; hence it is recommended that the bottles be filled to the
stopper. The liqueurs taste best at a temperature not exceeding 55° F.
They are all improved with age, especially many of the bouquet oils.
«Bénédictine.»—
I.—Bitter almonds 40 grams
Powdered nutmeg 4.500 grams
Extract vanilla 120 grams
Powdered cloves 2 grams
Lemons, sliced 2 grams
True saffron .600 grams
Sugar 2,000 grams
Boiling milk 1,000 c.c.
Alcohol, 95 per cent 2,000 c.c.
Distilled water 2,500 c.c.
Mix. Let stand 9 days with occasional agitation. Filter sufficiently.
II.—Essence Bénédictine 75 c.c
Alcohol, 95 per cent 1,700 c.c.
Mix.
Sugar 1,750 grams
Water, distilled 1,600 c.c.
Mix together, when clear solution of sugar is obtained. Color with
caramel. Filter sufficiently.
NOTE.—This liqueur should be at least 1 year old before used.
Essence Bénédictine for Bénédictine No. II.—
I.—Myrrh 1 part
Decorticated cardamom 1 part
Mace 1 part
Ginger 10 parts
Galanga root 10 parts
Orange peel (cut) 10 parts
Extract aloe 4 parts
Alcohol 160 parts
Water 80 parts
Mix, macerate 10 days and filter.
II.—Extract licorice 20 parts
Sweet spirits niter 200 parts
Acetic ether 30 parts
Spirits ammonia 1 part
Coumarin .12 parts
Vanillin 1 part
III.—Oil lemon 3 drops
Oil orange peel 3 drops
Oil wormwood 2.5 drops
Oil galanga 2 drops
Oil ginger 1 drop
Oil anise 15 drops
Oil cascarilla 15 drops
Oil bitter almond 12 drops
Oil milfoil 10 drops
Oil sassafras 7 drops
Oil angelica 6 drops
Oil hyssop 4 drops
Oil cardamom 2 drops
Oil hops 2 drops
Oil juniper 1 drop
Oil rosemary 1 drop
Mix A, B, and C.
NOTE.—This essence should stand 2 years before being used for liqueurs.
«Chartreuse.»—I.—Elixir végétal de la Grande Chartreuse.
Fresh balm mint herbs 64 parts
Fresh hyssop herbs 64 parts
Angelica herbs and root, fresh, together 32 parts
Cinnamon 16 parts
Saffron 4 parts
Mace 4 parts
Subject the above ingredients to maceration for a week with alcohol
(96 per cent), 1,000 parts, then squeeze off and distill the liquid
obtained over a certain quantity of fresh herbs of balm and hyssop.
After 125 parts of sugar have been added to the resultant liqueur,
filter.
The genuine Chartreuse comes in three different colors, viz., green,
white, and yellow. The coloration, however, is not artificial, but is
determined by the addition of varying quantities of fresh herbs in the
distillation. But since it would require long and tedious trials to
produce the right color in a small manufacture, the yellow shade is
best imparted by a little tincture of saffron, and the green one by the
addition of a few drops of indigo solution.
II.—Eau des Carmes 3 1/2 ounces
Alcohol 1 quart
Distilled water 1 quart
Sugar 1 1/2 pounds
Tincture of saffron 1 ounce
Mix. Dissolve sugar in warm water, cool, strain, add remainder of
ingredients, and filter. This is known as yellow Chartreuse. {770}
«Curaçao Liqueur.»—
A.—Oil lemon, q. s. 10 drops
Oil bitter almond, q. s. 5 drops
Oil curaçoa orange 15 parts
Oil sweet orange 1 part
Oil bitter orange 1 part
Cochineal 1 part
French brandy 50 parts
B.—Alcohol 4,500 parts
C.—Sugar 3,500 parts
Water (distilled) 4,000 parts
Mix A, B, and C. Filter. Color with caramel.
«May Bowl or May Wine.»—The principal ingredient of May bowl, or that
which gives it its flavor and bouquet, is fresh _Waldmeisterkraut_
(_Asperula odorata_), the “woodruff” or “sweet grass,” “star grass,”
and a dozen other aliases, of a plant growing wild all over Europe,
both continental and insular, and cultivated by some gardeners in
this country. It is accredited with being a diuretic, deobstruent and
hepatic stimulant, of no mean order, though it has long been banished
from the pharmacopœia.
In Baden and in Bavaria in preparing _Maitrank_ the practice was
formerly to first make an essence—_Maitrankessenz_, for the preparation
of which every housewife had a formula of her own. The following was
that generally used in the south of Germany:
I.—Fresh, budding woodruff, cut fine 500 parts
Alcohol, commercial (90 per cent) 1,000 parts
Digest together for 14 days, then filter and press off. Many add to
this some flavoring oil. As coumarin has been found to be the principle
to which the Waldmeister owes its odor, many add to the above Tonka
bean, chopped fine, 1 part to the thousand. From about 12 to 15 drachms
of this essence is added to make a gallon of the wine, which has about
the following formula:
French brandy, say 4 drachms
Oil of unripe oranges 80 drops
Sugar 4 to 8 ounces
Essence 12 drachms
Wine to make 1 gallon
II.—Take enough good woodruff (_Waldmeister_) of fine aroma and flavor.
Remove all parts that will not add to the excellence of the product,
such as wilted, dead, or imperfect leaves, stems, etc., and wash the
residue thoroughly in cold water, and with as little pressure as
possible. Now choose a flask with a neck sufficiently wide to receive
the stems without pressing or bruising them, and let the pieces fall
into it. Pour in sufficient strong alcohol (96 per cent) to cover the
herbs completely. In from 30 to 40 minutes the entire aroma is taken
up by the alcohol, which takes on a beautiful green color, which,
unfortunately, does not last, disappearing in a few days, but without
affecting the aroma in the least. The alcohol should now be poured off,
for if left to macerate longer, while it would gain in aroma, it will
also take up a certain bitter principle that detracts from the delicacy
of flavor and aroma. The extract is now poured on a fresh quantity of
the herb, and continue proceeding in this manner until a sufficiently
concentrated extract is obtained to give aroma to 100 times its weight
of wine or cider.
III.—Fresh woodruff, in bloom or flower, is freed from the lower part
of its stem and leaves, and also of all foreign or inert matter. The
herb is then lightly stuck into a wide-mouth bottle, and covered with
strong alcohol. After 30 minutes pour off the liquor on fresh woodruff.
In another half hour the essence is ready, though it should not be used
immediately. It should be kept at cellar heat (about 60° F.) for a few
days, or until the green color vanishes. Any addition to the essence of
aromatics, such as orange peel, lemons, spices, etc., is to be avoided.
To prepare the Maitrank, add the essence to any good white wine,
tasting and testing, until the flavor suits.
The following are other formulas for the drink:
IV.—Good white wine or cider 65 parts
Alcohol, dilute 20 parts
Sugar 10 parts
Maitrankessenz 1 part
Mix.
«Maraschino Liqueur.»—
Oil bitter almonds 15 minims
Essence vanilla 1 drachm
Jasmine extract 2 drops
Raspberry essence 10 drops
Oil neroli 10 drops
Oil lemon 15 minims
Spirits nitrous ether 2 drachms
Alcohol 6 pints
Sugar 8 pounds
Rose water 10 ounces
Water sufficient to make 2 gallons
Make a liquor in the usual manner.
«To Clarify Liqueurs.»—For the clarification of turbid liqueurs, burnt
{771} powdered alum is frequently employed. Make a trial with 200 parts
of the dim liqueur, to which 1.5 parts of burnt powdered alum is added;
shake well and let stand until the liquid is clear. Then decant and
filter the last portion. If the trial is successful, the whole stock
may be clarified in this manner.
«MEDICINAL WINES:»
«Beef and Iron.»—The following formula is recommended by the American
Pharmaceutical Association:
I.—Extract of beef 35 grams
Tincture of citro-chloride of iron 35 c.c.
Compound spirit of orange 1 c.c.
Hot water 60 c.c.
Alcohol 125 c.c.
Syrup 125 c.c.
Sherry wine sufficient to make 1,000 c.c.
Rub the extract of beef with the hot water, and add, while stirring,
the alcohol. Allow to stand 3 days or more, then filter and distill off
the alcohol. Add to the residue 750 cubic centimeters of the wine, to
which the compound spirit of orange has been previously added. Finally
add the tincture of citro-chloride of iron, syrup, and enough wine to
make 1,000 cubic centimeters. Filter if necessary.
II.—For Poultry and Stock.—A good formula for wine of beef and iron is
as follows:
Beef extract 256 grains
Tincture of iron citro-chloride 256 minims
Hot water 1 fluidounce
Sherry wine enough to make 1 pint
Pour the hot water in the beef extract and triturate until a smooth
mixture is made. To this add, gradually and under constant stirring, 12
ounces of the wine. Add now, under same conditions, the iron, stir in
well, and finally add the remainder of the wine.
«Cinchona.»—I.—Macerate 100 parts of cinchona succirubra in coarse
powder for 30 minutes in 100 parts of boiling water. Strain off
the liquor and set aside. Macerate the residuum in 1,000 parts of
California Malaga for 24 hours, strain off the liquid and set aside.
Finally macerate the magma in 500 parts of alcohol, of 50 per cent,
for 1 hour, strain off and set aside. Wash the residue with a little
water to recover all the alcoholic tincture; then unite all the
liquids, let stand for 24 hours, and filter. To the filtrate add 800
parts loaf sugar and dissolve by the aid of gentle heat and again
filter. The product is all that could be asked of a wine of cinchona.
To make a ferrated wine of this, dissolve 1 part of citro-ammoniacal
pyrophosphate of iron to every 1,000 parts of wine.
II.—Yvon recommends the following formula:
Red cinchona, coarse powder 5 parts
Alcohol, 60 per cent 10 parts
Diluted hydrochloric acid 1 part
Bordeaux wine 100 parts
Macerate the bark with the acid and alcohol for 6 days, shaking
from time to time, add the wine, macerate for 24 hours, agitating
frequently, then filter.
«Removal of Musty Taste and Smell from Wine.»—For the removal of this
unpleasant quality, Kulisch recommends the use of a piece of charcoal
of about the size of a hazel nut—5 to 10 parts per 1,000 parts of wine.
After this has remained in the cask for 6 to 8 weeks, and during this
time has been treated once a week with a chain or with a stirring rod,
the wine can be racked off. Obstinate turbidness, as well as stalk
taste and pot flavor, can also be obviated by the use of the remedy.
«WINTERGREEN, TO DISTINGUISH METHYL SALICYLATE FROM OIL OF.»
A quantity of the sample is mixed in a test tube with an equal volume
of pure concentrated sulphuric acid. Under these conditions the
artificial compound shows no rise in temperature and acquires only a
slight yellowish tint, while with the natural oil there is a marked
rise in temperature and the mixture assumes a rose-red color, gradually
passing into darker shades.
«WIRE ROPE.»
See also Steel.
A valuable anti-friction and preservative compound for mine cables
is as follows: Seven parts soft tallow and 3 parts plumbago, mixed
thoroughly; make a long, hollow box or trough, gouge out a 4 by 6 piece
of scantling about 2 feet long, sawing it down lengthwise and hollowing
out the box or trough enough to hold several pounds of the compound,
making also a hole lengthwise of the {772} trough for the cable to
run through; then affix to rope and clamp securely, having the box or
trough so fixed that it cannot play, and letting the cable pass through
it while going up or down, so that it will get a thorough coating.
This, it is found, will preserve a round cable very well, and can be
used at least once a week. For a flat steel cable raw linseed oil can
be used instead of the tallow, in about the proportion of 6 parts oil
and 3 plumbago. If tar is used, linseed oil is to be added to keep the
tar from adhering, both ingredients to be mixed while warm.
To preserve wire rope laid under ground, or under water, coat it with
a mixture of mineral tar and fresh slaked lime in the proportion of 1
bushel of lime to 1 barrel of tar. The mixture is to be boiled, and the
rope saturated with it while hot; sawdust is sometimes added to give
the mixture body. Wire rope exposed to the weather is coated with raw
linseed oil, or with a paint composed of equal parts of Spanish brown
or lampblack with linseed oil.
WIRE HARDENING: See Steel.
WITCH-HAZEL JELLY: See Cosmetics.
«Wood»
«DECORATIVE WOOD-FINISH.»
Paint or stencil wood with white-lime paint. When it has dried slowly
in the shade, brush it off and a handsome dark-brown tone will be
imparted to the oakwood. Some portions which may be desired darker and
redder are stained again with lime, whereby these places become deeper.
It is essential that the lime be applied in even thickness and dried
slowly, for only then the staining will be red and uniform.
After the staining saturate the wood with a mixture of varnish, 2
parts; oil of turpentine, 1 part; turpentine, 1/2 part. When the oil
ground is dry apply 2 coatings of pale amber varnish.
Colored decorations on pinewood can be produced as follows:
The most difficult part of the work is to remove the rosin
accumulations without causing a spot to appear. Burn out the places
carefully with a red-hot iron. Great care is necessary to prevent the
iron from setting the rosin on fire, thus causing black smoke clouds.
The resulting holes are filled up with plaster to which a little
light ocher is added to imitate the shade of the wood as perfectly as
possible. Plaster up no more than is necessary.
Rub the wood down with very fine sandpaper, taking especial care to rub
only with the grain of the wood, since all cross scratches will remain
permanently visible.
After this preliminary work cover the wood with a solution of white
shellac, in order not to injure the handsome golden portions of the
wood and to preserve the pure light tone of the wood in general.
On this shellac ground paint and stencil with glazing colors, ground
with isinglass solution. The smaller, more delicate portions, such
as flowers and figures, are simply worked out in wash style with
water colors, using the tone of the wood to remain as high lights,
surrounding the whole with a black contour.
After this treatment the panels and decorated parts are twice varnished
with dammar varnish. The friezes and pilaster strips are glazed darker
and set off with stripes; to varnish them use amber varnish.
The style just mentioned does not exclude any other. Thus, for
instance, a very good effect is produced by decorating the panels only
with a black covering color or with black and transparent red (burnt
sienna and a little carmine) after the fashion of boule work in rich
ornaments, in such a way that the natural wood forms the main part and
yet quite a considerable portion of the ornament.
Intarsia imitation is likewise well adapted, since the use of
variegated covering colors is in perfect keeping with the decoration
of natural wood. How it should be applied, and how much of it, depends
upon one’s taste, as well as the purpose and kind of the object.
It is a well-known fact that the large pores of oak always look rather
smeary, according to whether the workshop is more or less dusty. If
this is to be avoided, which is essential for neat work, take good
wheat starch, pound it fine with a hammer and stir by means of a wooden
spatula good strong polish with the wheat starch to a paste and work
the paste into the pores by passing it cross-wise over the wood. After
about 1/2 hour, rub down the wood thus treated in such a manner that
the pores are filled. In case any open pores remain, repeat the process
as before. After that, rub down, polish or deaden. If this operation is
not performed, the pores will always look somewhat dirty, despite all
{773} care. Every cabinetmaker will readily perceive that this filling
of the pores will save both time and polish in the subsequent finishing.
«WOOD FILLERS.»
The novice in coach painting is quite as likely to get bewildered as
to be aided by much of the information given about roughstuff, the
more so as the methods differ so widely. One authority tells us to use
a large proportion of lead ground in oil with the coarser pigment,
while another says use dry lead and but a small percentage, and still
another insists that lead must be tabooed altogether. There are withal
a good many moss-grown superstitions associated with the subject. Not
the least of these is the remarkably absorbent nature which the surface
that has been roughstuffed and “scoured” is supposed to possess. By
many this power of absorption is believed to be equal to swallowing up,
not only all the color applied, but at least 3 coats of varnish, and
none of these would think of applying a coat of color to a roughstuffed
surface without first giving it a coat of liquid filler as a sort of
sacrificial oblation in recognition of this absorbing propensity.
Another authority on the subject has laid down the rule that in the
process of scouring, the block of pumice stone must always be moved in
one direction, presumably for the reason that some trace of the stone
is likely to be visible after the surface is finished.