Rain water 100 gallons
Honey, unstrained   6 gallons
Catechu, powdered   3 ounces
Alum, powdered   5 ounces
Yeast (brewer’s preferably)   2 pints

Mix and put in a warm place to ferment. Let ferment for about 15 days; then add the following, stirring well in:

Bitter almonds, crushed 8 ounces
Cloves 8 ounces

Let stand 24 hours, add two or three gallons of good whiskey, and rack off into clean casks. Bung tightly, let stand 48 hours, then bottle. If a higher color is desired use caramel sufficient to produce the correct tinge. If honey is not obtainable, use sugar-house molasses instead, but honey is preferable.

II.—The following, when properly prepared, makes a passable substitute for cider, and a very pleasant drink:

Catechu, powdered      3 parts
Alum, powdered      5 parts
Honey    640 parts
Water 12,800 parts
Yeast     32 parts

Dissolve the catechu, alum, and honey in the water, add the yeast, and put in some warm place to ferment. The container should be filled to the square opening, made by sawing out five or six inches of the center of a stave, and the spume skimmed off daily as it arises. In cooler weather from 2 weeks to 18 days will be required for thorough fermentation. In warmer weather from 12 to 13 days will be sufficient. When fermentation is complete add the following solution:

Oil of bitter almonds   1 part
Oil of clover   1 part
Caramel  32 parts
Alcohol 192 parts

The alcohol may be replaced by twice its volume of good bourbon whiskey. A much cheaper, but correspondingly poor substitute for the above may be made as follows:

Twenty-five gallons of soft water, 2 pounds tartaric acid, 25 pounds of brown sugar, and 1 pint of yeast are allowed to stand in a warm place, in a clean cask with the bung out, for 24 hours. Then bung up the cask, after adding 3 gallons of whiskey, and let stand for 48 hours, after which the liquor is ready for use.

CIDER VINEGAR: See Vinegar.

CIGARS

Cigar Sizes And Colors.

—Cigars are named according to their color and shape. A dead-black cigar, for instance, is an “Oscuro,” a very dark-brown one is a “Colorado,” a medium brown is a “Colorado Claro,” and a yellowish light brown is a “Claro.” Most smokers know the names of the shades from “Claro” to “Colorado,” and that is as far as most of them need to know. As to the shapes, a “Napoleon” is the biggest of all cigars—being 7 inches long; a “Perfecto” swells in the middle and tapers down to a very small head at the lighting end; a “Panatela” is a thin, straight, up-and-down cigar without the graceful curve of the “Perfecto”; a “Conchas” is very short and fat, and a “Londres” is shaped like a “Perfecto” except that it does not taper to so small a head at the lighting end. A “Reina Victoria” is a “Londres” that comes packed in a ribbon-tied bundle of 50 pieces, instead of in the usual four layers of 13, 12, 13 and 12.

How To Keep Cigars.

—Cigars kept in a case are influenced every time the case is opened. Whatever of taint there may be in the atmosphere rushes into the case, and is finally taken up by the cigars. Even though the cigars have the appearance of freshness, it is not the original freshness in which they were received from the factory. They have been dry, or comparatively so, and have absorbed more moisture than has been put in the case, and it matters not what that moisture may be, it can never restore the flavor that was lost during the drying-out process.

After all, it is a comparatively simple matter to take good care of cigars. All that is necessary is a comparatively air-tight, zinc-lined chest. This should be {183} behind the counter in a place where the temperature is even. When a customer calls for a cigar the dealer takes the box out of the chest, serves his customer, and then puts the box back again. The box being opened for a moment the cigars are not perceptibly affected. The cigars in the close, heavy chest are always safe from atmospheric influences, as the boxes are closed, and the chest is open but a moment, while the dealer is taking out a box from which to serve his customer.

Some of the best dealers have either a large chest or a cool vault in which they keep their stock, taking out from time to time whatever they need for use. Some have a number of small chests, in which they keep different brands, so as to avoid opening and closing one particular chest so often.

It may be said that it is only the higher priced cigars that need special care in handling, although the cheaper grades are not to be handled carelessly. The Havana cigars are more susceptible to change, for there is a delicacy of flavor to be preserved that is never present in the cheaper grades of cigars.

Every dealer must, of course, make a display in his show case, but he need not serve his patrons with these cigars. The shrinkage in value of the cigars in the case is merely a business proposition of profit and loss.

Cigar Flavoring.

—I.—Macerate 2 ounces of cinnamon and 4 ounces of tonka beans, ground fine, in 1 quart of rum.

II.—Moisten ordinary cigars with a strong tincture of cascarilla, to which a little gum benzoin and storax may be added. Some persons add a small quantity of camphor or oil of cloves or cassia.

III.— Tincture of valerian  4 drachms
Butyric aldehyde  4 drachms
Nitrous ether  1 drachm
Tincture vanilla  2 drachms
Alcohol  5 ounces
Water enough to make 16 ounces
IV.— Extract vanilla  4 ounces
Alcohol    1/2 gallon
Jamaica rum    1/2 gallon
Tincture valerian  8 ounces
Caraway seed  2 ounces
English valerian root  2 ounces
Bitter orange peel  2 ounces
Tonka beans  4 drachms
Myrrh 16 ounces

Soak the myrrh for 3 days in 6 quarts of water, add the alcohol, tincture valerian, and extract of vanilla, and after grinding the other ingredients to a coarse powder, put all together in a jug and macerate for 2 weeks, occasionally shaking; lastly, strain.

V.—Into a bottle filled with 1/2 pint of French brandy put 1 1/4 ounces of cascarilla bark and 1 1/4 ounces of vanilla previously ground with 1/2 pound of sugar; carefully close up the flask and distil in a warm place. After 3 days pour off the liquid, and add 1/4 pint of mastic extract. The finished cigars are moistened with this liquid, packed in boxes, and preserved from air by a well-closed lid. They are said to acquire a pleasant flavor and mild strength through this treatment.

Cigar Spots.

—The speckled appearance of certain wrappers is due to the work of a species of fungus that attacks the growing tobacco. In a certain district of Sumatra, which produces an exceptionally fine tobacco for wrappers, the leaves of the plant are commonly speckled in this way. Several patents have been obtained for methods of spotting tobacco leaves artificially. A St. Louis firm uses a solution composed of:
Sodium carbonate 3 parts
Calx chlorinata 1 part
Hot water 8 parts

Dissolve the washing soda in the hot water, add the chlorinated lime, and heat the mixture to a boiling temperature for 3 minutes. When cool, decant into earthenware or stoneware jugs, cork tightly, and keep in a cool place. The corks of jugs not intended for immediate use should be covered with a piece of bladder or strong parchment paper, and tightly tied down to prevent the escape of gas, and consequent weakening of the bleaching power of the fluid. The prepared liquor is sprinkled on the tobacco, the latter being then exposed to light and air, when, it is said, the disagreeable odor produced soon disappears.

CINCHONA: See Wines and Liquors.

CINNAMON ESSENCE: See Essences and Extracts.

CINNAMON OIL AS AN ANTISEPTIC: See Antiseptics.

CITRATE OF MAGNESIUM: See Magnesium Citrate.

CLARET LEMONADE AND CLARET PUNCH: See Beverages, under Lemonades. {184}

CLARIFICATION OF GELATIN AND GLUE: See Gelatin.

CLARIFYING.

Clarification is the process by which any solid particles suspended in a liquid are either caused to coalesce together or to adhere to the medium used for clarifying, that they may be removed by filtration (which would previously have been impossible), so as to render the liquid clear.

One of the best agents for this purpose is albumen. When clarifying vegetable extracts, the albumen which is naturally present in most plants accomplishes this purpose easily, provided the vegetable matter is extracted in the cold, so as to get as much albumen as possible in solution.

Egg albumen may also be used. The effect of albumen may be increased by the addition of cellulose, in the form of a fine magma of filtering paper. This has the further advantage that the subsequent filtration is much facilitated.

Suspended particles of gum or pectin may be removed by cautious precipitation with tannin, of which only an exceedingly small amount is usually necessary. It combines with the gelatinous substances better with the aid of heat than in the cold. There must be no excess of tannin used.

Another method of clarifying liquids turbid from particles of gum, albumen, pectin, etc., is to add to them a definite quantity of alcohol. This causes the former substances to separate in more or less large flakes. The quantity of alcohol required varies greatly according to the nature of the liquid. It should be determined in each case by an experiment on a small scale.

Resinous or waxy substances, such as are occasionally met with in honey, etc., may be removed by the addition of bole, pulped filtering paper, and heating to boiling.

In each case the clarifying process may be hastened by making the separating particles specifically heavier; that is, by incorporating some heavier substance, such as talcum, etc., which may cause the flocculi to sink more rapidly, and to form a compact sediment.

Clarifying powder for alcoholic liquids:

Egg albumen, dry 40 parts
Sugar of milk 40 parts
Starch 20 parts

Reduce them to very fine powder, and mix thoroughly.

For clarifying liquors, wines, essences, etc., take for every quart of liquid 75 grains of the above mixture, shake repeatedly in the course of a few days, the mixture being kept in a warm room, then filter.

Powdered talcum renders the same service, and has the additional advantage of being entirely insoluble. However, the above mixture acts more energetically.

CLAY:

Claying Mixture For Forges.

—Twenty parts fire clay; 20 parts cast-iron turnings; 1 part common salt; 1/2 part sal ammoniac; all by measure.

The materials should be thoroughly mixed dry and then wet down to the consistency of common mortar, constantly stirring the mass as the wetting proceeds. A rough mold shaped to fit the tuyère opening, a trowel, and a few minutes’ time are all that are needed to complete the successful claying of the forge. This mixture dries hard and when glazed by the fire will last.

Plastic Modeling Clay.

—A permanently plastic clay can be obtained by first mixing it with glycerine, turpentine, or similar bodies, and then adding vaseline or petroleum residues rich in vaseline. The proportion of clay to the vaseline varies according to the desired consistency of the product, the admixture of vaseline varying from 10 to 50 per cent. It is obvious that the hardness of the material decreases with the amount of vaseline added, so that the one richest in vaseline will be the softest. By the use of various varieties of clay and the suitable choice of admixtures, the plasticity, as well as the color of the mass, may be varied.

CLEANING PREPARATIONS AND METHODS

(See also Soaps, Polishes, and Household Formulas).

To Remove Stains From The Hands:

Removal of Aniline-Dye Stains from the Skin.
—Rub the stained skin with a pinch of slightly moistened red crystals of chromic trioxide until a distinct sensation of warmth announces the destruction of the dye stuff by oxidation and an incipient irritation of the skin. Then rinse with soap and water. A single application usually suffices to remove {185} the stain. It is hardly necessary to call attention to the poisonousness and strong caustic action of chromic trioxide; but only moderate caution is required to avoid evil effects.
Pyrogallic-acid Stains On The Fingers
(see also Photography).—Pyro stains may be prevented fairly well by rubbing in a little wool fat before beginning work. A very effective way of eliminating developer stains is to dip the finger tips occasionally during development into the clearing bath. It is best to use the clearing bath, with ample friction, before resorting to soap, as the latter seems to have a fixing effect upon the stain. Lemon peel is useful for removing pyro stains, and so are the ammonium persulphate reducer and the thiocarbamide clearer.
To Clean Very Soiled Hands.
—In the morning wash in warm water, using a stiff brush, and apply glycerine. Repeat the application two or three times during the day, washing and brushing an hour or so afterwards, or apply a warm solution of soda or potash, and wash in warm water, using a stiff brush as before. Finally, rub the hands with pumice or infusorial earth. There are soaps made especially for this purpose, similar to those for use on woodwork, etc., in which infusorial earth or similar matter is incorporated.
To Remove Nitric-acid Stains.
—One plan to avoid stains is to use rubber finger stalls, or rubber gloves. Nitric-acid stains can be removed from the hands by painting the stains with a solution of permanganate of potash, and washing off the permanganate with a 5 per cent solution of hydrochloric (muriatic) acid. After this wash the hands with pure castile soap. Any soap that roughens the skin should be avoided at all times. Castile soap is the best to keep the skin in good condition.

Cleaning Gilded Articles:

To Clean Gilt Frames And Gilded Surfaces Generally.
—Dip a soft brush in alcohol to which a few drops of ammonia water has been added, and with it go over the surface. Do not rub—at least, not roughly, or harshly. In the course of five minutes the dirt will have become soft, and easy of removal. Then go over the surface again gently with the same or a similar brush dipped in rain water. Now lay the damp article in the sunlight to dry. If there is no sunlight, place it near a warm (but not hot) stove, and let dry completely. In order to avoid streaks, take care that the position of the article, during the drying, is not exactly vertical.
To Clean Fire-gilt Articles.
—Fire-gilt articles are cleaned, according to their condition, with water, diluted hydrochloric acid, ammonia, or potash solution. If hydrochloric acid is employed thorough dilution with water is especially necessary. The acidity should hardly be noticeable on the tongue.

To clean gilt articles, such as gold moldings, etc., when they have become tarnished or covered with flyspecks, etc., rub them slowly with an onion cut in half and dipped in rectified alcohol, and wash off lightly with a moist soft sponge after about 2 hours.

Cleaning Gilded And Polychromed Work On Altars.
—To clean bright gold a fine little sponge is used which is moistened but lightly with tartaric acid and passed over the gilding. Next go over the gilt work with a small sponge saturated with alcohol to remove all dirt. For matt gilding, use only a white flannel dipped in lye, and carefully wipe off the dead gold with this, drying next with a fine linen rag. To clean polychromed work sponge with a lye of rain water, 1,000 parts, and calcined potash, 68 parts, and immediately wash off with a clean sponge and water, so that the lye does not attack the paint too much.

Spot And Stain Removers:

To Remove Aniline Stains.—
I.— Sodium nitrate  7 grains
Diluted sulphuric acid 15 grains
Water  1 ounce

Let the mixture stand a day or two before using. Apply to the spot with a sponge, and rinse the goods with plenty of water.

II.—An excellent medium for the removal of aniline stains, which are often very stubborn, has been found to be liquid opodeldoc. After its use the stains are said to disappear at once and entirely.

Cleansing Fluids.
—A spot remover is made as follows:
I.— Saponine     7 parts
Water   130 parts
Alcohol    70 parts
Benzine 1,788 parts
Oil mirbane     5 parts
II.— Benzene (benzol)    89 parts
Ascetic ether    10 parts
Pear oil     1 part

This yields an effective grease eradicator, of an agreeable odor. {186}

III.—To Remove Stains of Sulphate of copper, or of salts of mercury, silver, or gold from the hands, etc., wash them first with a dilute solution either of ammonia, iodide, bromide, or cyanide of potassium, and then with plenty of water; if the stains are old ones they should first be rubbed with the strongest acetic acid and then treated as above.

Removal Of Picric-acid Stains.
—I.—Recent stains of picric acid may be removed readily if the stain is covered with a layer of magnesium carbonate, the carbonate moistened with a little water to form a paste, and the paste then rubbed over the spot.
II.—Apply a solution of
Boric acid   4 parts
Sodium benzoate   1 part
Water 100 parts

III.—Dr. Prieur, of Besançon, recommends lithium carbonate for the removal of picric-acid stains from the skin or from linen. The method of using it is simply to lay a small pinch on the stain, and moisten the latter with water. Fresh stains disappear almost instantly, and old ones in a minute or two.

To Remove Finger Marks From Books, Etc.
—I.—Pour benzol (not benzine or gasoline, but Merck’s “c. p.” crystallizable) on calcined magnesia until it becomes a crumbling mass, and apply this to the spot, rubbing it in lightly, with the tip of the finger. When the benzol evaporates, brush off. Any dirt that remains can be removed by using a piece of soft rubber.

II.—If the foregoing fails (which it sometimes, though rarely, does), try the following: Make a hot solution of sodium hydrate in distilled water, of strength of from 3 per cent to 5 per cent, according to the age, etc., of the stain. Have prepared some bits of heavy blotting paper somewhat larger than the spot to be removed; also, a blotting pad, or several pieces of heavy blotting paper. Lay the soiled page face downward on the blotting pad, then, saturating one of the bits of blotter with the hot sodium hydrate solution, put it on the stain and go over it with a hot smoothing iron. If one application does not remove all the grease or stain, repeat the operation. Then saturate another bit of blotting paper with a 4 per cent or 5 per cent solution of hydrochloric acid in distilled water, apply it to the place, and pass the iron over it to neutralize the strong alkali. This process will instantly restore any faded writing or printing, and make the paper bright and fresh again.

Glycerine As A Detergent.
—For certain kinds of obstinate spots (such as coffee and chocolate, for instance) there is no better detergent than glycerine, especially for fabrics with delicate colors. Apply the glycerine to the spot, with a sponge or otherwise, let stand a minute or so, then wash off with water or alcohol. Hot glycerine is even more efficient than cold.

Cleaning Skins And Leather

: See also Leather.
To Clean Colored Leather.
—Pour carbon bisulphide on non-vulcanized gutta-percha, and allow it to stand about 24 hours. After shaking actively add more gutta-percha gradually until the solution becomes of gelatinous consistency. This mixture is applied in suitable quantity to oil-stained, colored leather and allowed to dry two or three hours. The subsequent operation consists merely in removing the coat of gutta-percha from the surface of the leather—that is, rubbing it with the fingers, and rolling it off the surface.

The color is not injured in the least by the sulphuret of carbon; only those leathers on which a dressing containing starch has been used look a little lighter in color, but the better class of leathers are not so dressed. The dry gutta-percha can be redissolved in sulphuret of carbon and used over again.

To Clean Skins Used For Polishing Purposes.
—First beat them thoroughly to get rid of dust, then go over the surface on both sides with a piece of good white soap and lay them in warm water in which has been put a little soda. Let them lie here for 2 hours, then wash them in plenty of tepid water, rubbing them vigorously until perfectly clean. This bath should also be made alkaline with soda. The skins are finally rinsed in warm water, and dried quickly. Cold water must be avoided at all stages of the cleansing process, as it has a tendency to shrink and harden the skins.

The best way to clean a chamois skin is to wash and rinse it out in clean water immediately after use, but this practice is apt to be neglected so that the skin becomes saturated with dirt and grime. To clean it, first thoroughly soak in clean, soft water. Then, after soaping it and rolling it into a compact wad, beat with a small round stick—a buggy spoke, say—turning the wad over repeatedly, and keeping it well wet and soaped. This should suffice to loosen the dirt. Then rinse in clean water until the skin {187} is clean. As wringing by hand is apt to injure the chamois skin, it is advisable to use a small clothes wringer. Before using the skin again rinse it in clear water to which a little pulverized alum has been added.

Straw-hat Renovation:

To Renovate Straw Hats.
—I.—Hats made of natural (uncolored) straw, which have become soiled by wear, may be cleaned by thoroughly sponging with a weak solution of tartaric acid in water, followed by water alone. The hat after being so treated should be fastened by the rim to a board by means of pins, so that it will keep its shape in drying.

II.—Sponge the straw with a solution of

By weight
Sodium hyposulphite 10 parts
Glycerine  5 parts
Alcohol 10 parts
Water 75 parts

Lay aside in a damp place for 24 hours and then apply

By weight
Citric acid  2 parts
Alcohol 10 parts
Water 90 parts

Press with a moderately hot iron, after stiffening with weak gum water, if necessary.

III.—If the hat has become much darkened in tint by wear the fumes of burning sulphur may be employed. The material should be first cleaned by thoroughly sponging with an aqueous solution of potassium carbonate, followed by a similar application of water, and it is then suspended over the sulphur fumes. These are generated by placing in a metal or earthen dish, so mounted as to keep the heat from setting fire to anything beneath, some brimstone (roll sulphur), and sprinkling over it some live coals to start combustion. The operation is conducted in a deep box or barrel, the dish of burning sulphur being placed at the bottom, and the article to be bleached being suspended from a string stretched across the top. A cover not fitting so tightly as to exclude all air is placed over it, and the apparatus allowed to stand for a few hours.

Hats so treated will require to be stiffened by the application of a little gum water, and pressed on a block with a hot iron to bring them back into shape.

Waterproof Stiffening For Straw Hats.
—If a waterproof stiffening is required use one of the varnishes for which formulas follow:
I.— Copal   450 parts
Sandarac    75 parts
Venice turpentine    40 parts
Castor oil     5 parts
Alcohol   800 parts
II.— Shellac   500 parts
Sandarac   175 parts
Venice turpentine    50 parts
Castor oil    15 parts
Alcohol 2,000 parts
III.— Shellac   750 parts
Rosin   150 parts
Venice turpentine   150 parts
Castor oil    20 parts
Alcohol 2,500 parts
How To Clean A Panama Hat.
—Scrub with castile soap and warm water, a nail brush being used as an aid to get the dirt away. The hat is then placed in the hot sun to dry and in the course of two or three hours is ready for use. It will not only be as clean as when new, but it will retain its shape admirably. The cleaned hat will be a trifle stiff at first, but will soon grow supple under wear.

A little glycerine added to the rinsing water entirely prevents the stiffness and brittleness acquired by some hats in drying, while a little ammonia in the washing water materially assists in the scrubbing process. Ivory, or, in fact, any good white soap, will answer as well as castile for the purpose. It is well to rinse a second time, adding the glycerine to the water used the second time. Immerse the hat completely in the rinse water, moving it about to get rid of traces of the dirty water. When the hat has been thoroughly rinsed, press out the surplus water, using a Turkish bath towel for the purpose, and let it rest on the towel when drying.

Paint, Varnish, And Enamel Removers:

To Remove Old Oil, Paint, Or Varnish Coats.
—I.—Apply a mixture of about 5 parts of potassium silicate (water glass, 36 per cent), about 1 part of soda lye (40 per cent), and 1 part of ammonia. The composition dissolves the old varnish coat, as well as the paint, down to the bottom. The varnish coatings which are to be removed may be brushed off or left for days in a hardened state. Upon being thoroughly moistened with water the old varnish may be readily washed off, the lacquer as well as the oil paint coming off completely. The ammonia otherwise employed dissolves the varnish, but not the paint. {188}

II.—Apply a mixture of 1 part oil of turpentine and 2 parts of ammonia. This is effective, even if the coatings withstand the strongest lye. The two liquids are shaken in a bottle until they mix like milk. The mixture is applied to the coating with a little oakum; after a few minutes the old paint can be wiped off.

To Clean Brushes And Vessels Of Dry Paint
(see also Brushes and Paints).—The cleaning of the brushes and vessels in which the varnish or oil paint had dried is usually done by boiling with soda solution. This frequently spoils the brushes or cracks the vessels if of glass; besides, the process is rather slow and dirty. A much more suitable remedy is amyl acetate, which is a liquid with a pleasant odor of fruit drops, used mainly for dissolving and cementing celluloid. If amyl acetate is poured over a paint brush the varnish or hardened paint dissolves almost immediately and the brush is again rendered serviceable at once. If necessary, the process is repeated. For cleaning vessels shake the liquid about in them, which softens the paint so that it can be readily removed with paper. In this manner much labor can be saved. The amyl acetate can be easily removed from the brushes, etc., by alcohol or oil of turpentine.
Varnish And Paint Remover.
—Dissolve 20 parts of caustic soda (98 per cent) in 100 parts of water, mix the solution with 20 parts of mineral oil, and stir in a kettle provided with a mechanical stirrer, until the emulsion is complete. Now add, with stirring, 20 parts of sawdust and pass the whole through a paint mill to obtain a uniform intermixture. Apply the paste moist.
To Remove Varnish From Metal.
—To remove old varnish from metals, it suffices to dip the articles in equal parts of ammonia and alcohol (95 per cent).
To Remove Water Stains From Varnished Furniture.
—Pour olive oil into a dish and scrape a little white wax into it. This mixture should be heated until the wax melts and rubbed sparingly on the stains. Finally, rub the surface with a linen rag until it is restored to brilliancy.
To Remove Paint, Varnish, Etc., From Wood.
—Varnish, paint, etc., no matter how old and hard, may be softened in a few minutes so that they can be easily scraped off, by applying the following mixture:
Water glass 5 parts
Soda lye, 40° B. (27 per cent) 1 part
Ammonia water 1 part

Mix.

Removing Varnish, Etc.
—A patent has been taken out in England for a liquid for removing varnish, lacquer, tar, and paint. The composition is made by mixing 4 ounces of benzol, 3 ounces of fusel oil, and 1 ounce of alcohol. It is stated by the inventor that this mixture, if applied to a painted or varnished surface, will make the surface quite clean in less than 10 minutes, and that a paint-soaked brush “as hard as iron” can be made as soft and pliable as new by simply soaking for an hour or so in the mixture.
To Remove Enamel And Tin Solder.
—Pour enough of oil of vitriol (concentrated sulphuric acid) over powdered fluorspar in an earthen or lead vessel, so as just to cover the parts whereby hydrofluoric acid is generated. For use, dip the article suspended on a wire into the liquid until the enamel or the tin is eaten away or dissolved, which does not injure the articles in any way. If heated, the liquid acts more rapidly. The work should always be conducted in the open air, and care should be taken not to inhale the fumes, which are highly injurious to the health, and not to get any liquid on the skin, as hydrofluoric acid is one of the most dangerous poisons. Hydrofluoric acid must be kept in earthen or leaden vessels, as it destroys glass.
Removing Paint And Varnish From Wood.
—The following compound is given as one which will clean paint or varnish from wood or stone without injuring the material:
Flour or wood pulp 385 parts
Hydrochloric acid 450 parts
Bleaching powder 160 parts
Turpentine   5 parts

This mixture is applied to the surface and left on for some time. It is then brushed off, and brings the paint away with it. It keeps moist quite long enough to be easily removed after it has acted.

Paste for Removing Old Paint or Varnish Coats.—
I.— Sodium hydrate  5 parts
Soluble soda glass  3 parts
Flour paste  6 parts
Water  4 parts
II.— Soap 10 parts
Potassium hydrate  7 parts
Potassium silicate  2 parts
{189}
To Remove Old Enamel.
—Lay the articles horizontally in a vessel containing a concentrated solution of alum and boil them. The solution should be just sufficient to cover the pieces. In 20 or 25 minutes the old enamel will fall into dust, and the article can be polished with emery. If narrow and deep vessels are used the operation will require more time.

Ink Eradicators:

Two-solution Ink Remover.—
I.—(a) Citric acid  1 part
Concentrated solution of borax  2 parts
Distilled water 16 parts

Dissolve the acid in the water, add the borax solution, and mix by agitation.

(b) Chloride of lime  3 parts
Water 16 parts
Concentrated borax solution  2 part

Add the chloride of lime to the water, shake well and set aside for a week, then decant the clear liquid and to it add the borax solution.

For use, saturate the spot with solution (a), apply a blotter to take off the excess of liquid, then apply solution (b). When the stain has disappeared, apply the blotter and wet the spot with clean water; finally dry between two sheets of blotting paper.

II.—(a) Mix, in equal parts, potassium chloride, potassium hypochlorite, and oil of peppermint. (b) Sodium chloride, hydrochloric acid and water, in equal parts.

Wet the spot with (a), let dry, then brush it over lightly with (b), and rinse in clear water.

A good single mixture which will answer for most inks is made by mixing citric acid and alum in equal parts. If desired to vend in a liquid form add an equal part of water. In use, the powder is spread well over the spot and (if on cloth or woven fabrics) well rubbed in with the fingers. A few drops of water are then added, and also rubbed in. A final rinsing with water completes the process.

Ink Erasers.
—I.—Inks made with nutgalls and copperas can be removed by using a moderately concentrated solution of oxalic acid, followed by use of pure water and frequent drying with clean blotting paper. Most other black inks are erased by use of a weak solution of chlorinated lime, followed by dilute acetic acid and water, with frequent drying with blotters. Malachite green ink is bleached by ammonia water; silver inks by potassium cyanide or sodium hyposulphite. Some aniline colors are easily removed by alcohol, and nearly all by chlorinated lime, followed by diluted acetic acid or vinegar. In all cases apply the substances with camel’s-hair brushes or feathers, and allow them to remain no longer than necessary, after which rinse well with water and dry with blotting paper.
II.— Citric acid  1 part
Water, distilled 10 parts
Concentrated solution of borax  2 parts

Dissolve the citric acid in the water and add the borax. Apply to the paper with a delicate camel’s-hair pencil, removing any excess of water with a blotter. A mixture of oxalic, citric, and tartaric acids, in equal parts, dissolved in just enough water to give a clean solution, acts energetically on most inks.

Erasing Powder Or Pounce.
—Alum, 1 part; amber, 1 part; sulphur, 1 part; saltpeter, 1 part. Mix well together and keep in a glass bottle. If a little of this powder is placed on an ink spot or fresh writing, rubbing very lightly with a clean linen rag, the spot or the writing will disappear at once.
Removing Ink Stains.
—I.—The material requiring treatment should first be soaked in clean, warm water, the superfluous moisture removed, and the fabric spread over a clean cloth. Now allow a few minims of liquor ammoniæ fortis, specific gravity 0.891, to drop on the ink spot, then saturate a tiny tuft of absorbent cotton-wool with acidum phosphoricum dilutum, B. P., and apply repeatedly and with firm pressure over the stain; repeat the procedure two or three times, and finally rinse well in warm water, afterwards drying in the sun, when every trace of ink will have vanished. This method is equally reliable for old and fresh ink stains, is rapid in action, and will not injure the most delicate fabric.

II.—To remove ink spots the fabric is soaked in warm water, then it is squeezed out and spread upon a clean piece of linen. Now apply a few drops of liquid ammonia of a specific gravity of 0.891 to the spot, and dab it next with a wad of cotton which has been saturated with dilute phosphoric acid. After repeating the process several times and drying the piece in the sun, the ink spot will have disappeared without leaving the slightest trace. {190}

III.—Ink spots may be removed by the following mixture: