Preparations Of Copper Water.
—I.—Water, 1,000 parts; oxalic acid, 30 parts; spirit of wine, 100 parts; essence of turpentine, 50 parts; fine tripoli, 100 parts.

II.—Water, 1,000 parts; oxalic acid, 30 parts; alcohol, 50 parts; essence of turpentine, 40 parts; fine tripoli, 50 parts.

III.—Sulphuric acid, 300 parts; sulphate of alumina, 80 parts; water, 520 parts.

Tempered Copper.

—Objects made of copper may be satisfactorily tempered by subjecting them to a certain degree of heat for a determined period of time and bestrewing them with powdered sulphur during the heating. While hot the objects are plunged into a bath of blue vitriol; after the bath they may be heated again.

COPPER ALLOYS: See Alloys.

COPPER CLEANING: See Cleaning Preparations and Methods.

COPPER ETCHING: See Etching.

COPPER IN FOOD: See Food.

COPPER LACQUERS: See Lacquers. {222}

COPPER PAPER: See Paper, Metallic.

COPPER PATINIZING AND PLATING: See Plating.

COPPER POLISHES: See Polishes.

COPPER, SEPARATION OF GOLD FROM: See Gold.

COPPER SOLDER: See Solders.

COPPER VARNISHES: See Varnishes.

COPYING PRINTED PICTURES.

The so-called “metallic” paper used for steam-engine indicator cards has a smooth surface, chemically prepared so that black lines can be drawn upon it with pencils made of brass, copper, silver, aluminum, or any of the softer metals. When used on the indicator it receives the faint line drawn by a brass point at one end of the pencil arm, and its special advantage over ordinary paper is that the metallic pencil slides over its surface with very little friction, and keeps its point much longer than a graphite pencil.

This paper can be used as a transfer paper for copying engravings or sketches, or anything printed or written in ink or drawn in pencil.

The best copies can be obtained by following the directions below: Lay the metallic transfer paper, face up, upon at least a dozen sheets of blank paper, and lay the print face down upon it. On the back of the print place a sheet of heavy paper, or thin cardboard, and run the rubbing tool over this protecting sheet. In this manner it is comparatively easy to prevent slipping, and prints 8 or 10 inches on a side may be copied satisfactorily.

Line drawings printed from relief plates, or pictures with sharp contrast of black and white, without any half-tones, give the best copies. Very few half-tones can be transferred satisfactorily; almost all give streaked, indistinct copies, and many of the results are worthless.

The transfer taken off as described is a reverse of the original print. If the question of right and left is not important this reversal will seldom be objectionable, for it is easy to read backward what few letters generally occur. However, if desired, the paper may be held up to the light and examined from the back, or placed before a mirror and viewed by means of its reflected image, when the true relations of right and left will be seen. Moreover, if sufficiently important, an exact counterpart of the original may be taken from the reversed copy by laying another sheet face downward upon it, and rubbing on the back of the fresh sheet just as was done in making the reversed copy. The impression thus produced will be fainter than the first, but almost always it can be made dark enough to show a distinct outline which may afterwards be retouched with a lead pencil.

For indicator cards the paper is prepared by coating one surface with a suitable compound, usually zinc oxide mixed with a little starch and enough glue to make it adhere. After drying it is passed between calendar rolls under great pressure. The various brands manufactured for the trade, though perhaps equally good for indicator diagrams, are not equally well suited for copying. If paper of firmer texture could be prepared with the same surface finish, probably much larger copies could be produced.

Other kinds of paper, notably the heavy plate papers used for some of the best trade catalogues, possess this transfer property to a slight degree, though they will not receive marks from a metallic pencil. The latter feature would seem to recommend them for transfer purposes, making them less likely to become soiled by contact with metallic objects, but so far no kind has been found which will remove enough ink to give copies anywhere near as dark as the indicator paper.

Fairly good transfers can be made from almost any common printers’ ink, but some inks copy much better than others, and some yield only the faintest impressions. The length of time since a picture was printed does not seem to determine its copying quality. Some very old prints can be copied better than new ones; in fact, it was by accidental transfer to an indicator card from a book nearly a hundred years old that the peculiar property of this “metallic” paper was discovered.

Copying Process On Wood.

—If wood surfaces are exposed to direct sunlight the wood will exhibit, after 2 weeks action, a browning of dark tone in the exposed places. Certain parts of the surface being covered up during the entire exposure to the sun, they retain their original shade and are set off clearly and sharply against the parts browned by the sunlight. Based on this property of the {223} wood is a sun-copying process on wood. The method is used for producing tarsia in imitation on wood. A pierced stencil of tin, wood, or paper is laid on a freshly planed plate of wood, pasting it on in places to avoid shifting, and put into a common copying frame. To prevent the wood from warping a stretcher is employed, whereupon expose to the sun for from 8 to 14 days. After the brown shade has appeared the design obtained is partly fixed by polishing or by a coating of varnish, lacquer, or wax. Best suited for such works are the pine woods, especially the 5-year fir and the cembra pine, which, after the exposure, show a yellowish brown tone of handsome golden gloss, that stands out boldly, especially after subsequent polishing, and cannot be replaced by any stain or by pyrography. The design is sharper and clearer than that produced by painting. In short, the total effect is pleasing.

How To Reproduce Old Prints.

—Prepare a bath as follows: Sulphuric acid, 3 to 5 parts (according to the antiquity of print, thickness of paper, etc.); alcohol, 3 to 5 parts; water, 100 parts. In this soak the print from 5 to 15 minutes (the time depending on age, etc., as above), remove, spread face downward on a glass or ebonite plate, and wash thoroughly in a gentle stream of running water. If the paper is heavy, reverse the sides, and let the water flow over the face of the print. Remove carefully and place on a heavy sheet of blotting paper, cover with another, and press out every drop of water possible. Where a wringing machine is convenient and sufficiently wide, passing the blotters and print through the rollers is better than mere pressing with the hands. The print, still moist, is then laid face upward on a heavy glass plate (a marble slab or a lithographers’ stone answers equally well), and smoothed out. With a very soft sponge go over the surface with a thin coating of gum-arabic water. The print is now ready for inking, which is done exactly as in lithographing, with a roller and printers’ or lithographers’ ink, cut with oil of turpentine. Suitable paper is then laid on and rolled with a dry roller. This gives a reverse image of the print, which is then applied to a zinc plate or a lithographers’ stone, and as many prints as desired pulled off in the usual lithographing method. When carefully done and the right kind of paper used, it is said that the imitation of the original is perfect in every detail.

To Copy Old Letters, Manuscripts, Etc.

—If written in the commercial ink of the period from 1860 to 1864, which was almost universally an iron and tannin or gallic-acid ink, the following process may succeed: Make a thin solution of glucose, or honey, in water, and with this wet the paper in the usually observed way in copying recent documents in the letter book, put in the press, and screw down tightly. Let it remain in the press somewhat longer than in copying recent documents. When removed, before attempting to separate the papers, expose to the fumes of strong water of ammonia, copy side downward.

CORDAGE:

See also Ropes.

Strong Twine.

—An extraordinarily strong pack thread or cord, stronger even than the so-called “Zuckerschnur,” may be obtained by laying the thread of fibers in a strong solution of alum, and then carefully drying them.

Preservation Of Fishing Nets.

—The following recipe for the preservation of fishing nets is also applicable to ropes, etc., in contact with water. Some have been subjected to long test.

For 40 parts of cord, hemp, or cotton, 3 parts of kutch, 1 part of blue vitriol, 1/2 part of potassium chromate, and 2 1/2 parts of wood tar are required. The kutch is boiled with 150 parts of water until dissolved, and then the blue vitriol is added. Next, the net is entered and the tar added. The whole should be stirred well, and the cordage must boil 5 to 8 minutes. Now take out the netting, lay it in another vessel, cover up well, and leave alone for 12 hours. After that it is dried well, spread out in a clean place, and coated with linseed oil. Not before 6 hours have elapsed should it be folded together and put into the water. The treatment with linseed oil may be omitted.

CORDAGE LUBRICANT: See Lubricants.

CORDAGE WATERPROOFING: See Waterproofing.

CORDIALS: See Wines and Liquors.

CORKS:

Impervious Corks.

—Corks which have been steeped in petrolatum are said to be an excellent substitute for glass stoppers. Acid in no way affects them and chemical fumes do not cause decay in them, neither do they become fixed by a blow or long disuse. {224}

Non-porous Corks.

—For benzine, turpentine, and varnish cans, immerse the corks in hot melted paraffine. Keep them under about 5 minutes; hold them down with a piece of wire screen cut to fit the dish in which you melt the paraffine. When taken out lay them on a screen till cool. Cheap corks can in this way be made gas- and air-tight, and can be cut and bored with ease.

Substitute For Cork.

—Wood pulp or other ligneous material may be treated to imitate cork. For the success of the composition it is necessary that the constituents be mingled and treated under special conditions. The volumetric proportions in which these constituents combine with the best results are the following: Wood pulp, 3 parts; cornstalk pith, 1 part; gelatin, 1 part; glycerine, 1 part; water, 4 parts; 20 per cent formic-aldehyde solution, 1 part; but the proportions may be varied. After disintegrating the ligneous substances, and while these are in a moist and hot condition they are mingled with the solution of gelatin, glycerine, and water. The mass is stirred thoroughly so as to obtain a homogeneous mixture. The excess of moisture is removed. As a last operation the formic aldehyde is introduced, and the mass is left to coagulate in this solution. The formic aldehyde renders the product insoluble in nearly all liquids. So it is in this last operation that it is necessary to be careful in producing the composition properly. When the operation is terminated the substance is submitted to pressure during its coagulation, either by molding it at once into a desired form, or into a mass which is afterwards converted into the finished product.

CORKS, TO CLEAN: See Cleaning Preparations and Methods, under Miscellaneous Methods.

CORK TO METAL, FASTENING: See Adhesives, under Pastes.

CORK AS A PRESERVATIVE: See Preserving.

CORKS, WATERPROOFING: See Waterproofing.

CORN CURES:

I.—Salicylic-Acid Corn Cure.—Extract cannabis indica, 1 part, by measure; salicylic acid, 10 parts, by measure; oil of turpentine, 5 parts, by measure; acetic acid, glacial, 2 parts, by measure; cocaine, alkaloidal, 2 parts, by measure; collodion, elastic, sufficient to make 100 parts. Apply a thin coating every night, putting each layer directly on the preceding one. After a few applications, the mass drops off, bringing the indurated portion, and frequently the whole of the corn, off with it.

II.—Compound Salicylated Collodion Corn Cure.—Salicylic acid, 11 parts, by weight; extract of Indian hemp, 2 parts, by weight; alcohol, 10 parts, by weight; flexible collodion, U. S. P., a sufficient quantity to make 100 parts, by weight.

The extract is dissolved in the alcohol and the acid in about 50 parts, by weight, of collodion, the solutions mixed, and the liquid made up to the required amount. The Indian hemp is presumably intended to prevent pain; whether it serves this or any other useful purpose seems a matter of doubt. The acid is frequently used without this addition.

III.—Extract of cannabis indica, 90 grains; salicylic acid, 1 ounce; alcohol, 1 ounce; collodion enough to make 10 ounces. Soften the extract with the alcohol, then add the collodion, and lastly the acid.

IV.—Resorcin, 1 part, by weight; salicylic acid, 1 part, by weight; lactic acid, 1 part, by weight; collodion elasticum, 10 parts, by weight. Paint the corn daily for 5 or 6 days with the above solution and take a foot bath in very hot water. The corn will readily come off.

Corn Plaster.

—Yellow wax, 24 parts, by weight; Venice turpentine, 3 parts, by weight; rosin, 2 parts, by weight; salicylic acid, 2 parts, by weight; balsam of Peru, 2 parts, by weight; lanolin, 4 parts, by weight.

Corn Cure.

—Melt soap plaster, 85 parts, by weight, and yellow wax, 5 parts by weight, in a vapor bath, and stir finely ground salicylic acid, 10 parts, by weight, into it.

Removal Of Corns.

—The liquid used by chiropodists with pumice stone for the removal of corns and callosities is usually nothing more than a solution of potassa or concentrated lye, the pumice stone being dipped into the solution by the operator just before using.

Treatment Of Bunions.

—Wear right and left stockings and shoes, the inner edges of the sole of which are perfectly straight. The bunion is bathed night and morning in a 4 per cent solution of carbolic acid for a few minutes, followed by plain water. If, after several weeks, the bursa is still distended with fluid, it is aspirated. If the bunion is due to flatfoot, the arch of the foot must be restored by a plate. When the joints are enlarged because of gout or {225} rheumatism, the constitutional conditions must be treated. In other cases, osteotomy and tenotomy are required.

The Treatment Of Corns.

—Any corn may be speedily and permanently cured. The treatment is of three kinds—preventive, palliative, and curative.

I.—The preventive treatment lies in adopting such measures as will secure freedom from pressure and friction for the parts most liable to corns. To this end a well-fitting shoe is essential. The shoes should be of well-seasoned leather, soft and elastic, and should be cut to a proper model.

II.—The palliative treatment is generally carried out with chemical substances. The best method, is, briefly, as follows: A ring of glycerine jelly is painted around the circumference of the corn, to form a raised rampart. A piece of salicylic plaster mull is then cut to the size and shape of the central depression, and applied to the surface of the corn. This is then covered with a layer of glycerine jelly, and before it sets a pad of cotton wool is applied to the surface. This process is repeated as often as is necessary, until the horny layer separates and is cast off.

If the point of a sharp, thin-bladed knife be introduced at the groove which runs around the margin of the corn, and be made to penetrate toward its central axis, by the exercise of a little manual dexterity the horny part of the corn can be easily made to separate from the parts beneath.

III.—Any method of treatment to be curative must secure the removal of the entire corn, together with the underlying bursa. It is mainly in connection with the latter structure that complications, which alone make a corn a matter of serious import, are likely to arise. Freeland confidently advises the full and complete excision of corns, on the basis of his experience in upward of 60 cases.

Every precaution having been taken to render the operation aseptic, a spot is selected for the injection of the anæsthetic solution. The skin is rendered insensitive with ethyl chloride, and 5 minims of a 4 per cent solution of cocaine is injected into the subcutaneous tissue beneath the corn. After a wait of a few minutes the superficial parts of the site of the incision are rendered insensitive with ethyl chloride. Anæsthesia is now complete.

Two semielliptical incisions meeting at their extremities are made through the skin abound the circumference of the growth, care being taken that they penetrate well into the subcutaneous tissue. Seizing the parts included in the incision with a pair of dissecting forceps, a wedge-shaped piece of tissue—including the corn, a layer of skin and subcutaneous tissue, and the bursa if present—is dissected out. The oozing is pretty free, and it is sometimes necessary to torsion a small vessel; but the hemorrhage is never severe. The edges of the wound are brought together by one or two fine sutures; an antiseptic dressing is applied, and the wound is left to heal—primary union in a few days being the rule. The rapidity of the healing is often phenomenal. There is produced a scar tissue at the site of the corn, but this leads to no untoward results.

COSMETICS

Cold Cream.

I.— Oil of almonds 425 parts
Lanolin 185 parts
White wax  62 parts
Spermaceti  62 parts
Borax   4.5 parts
Rose water 300 part

Melt together the first four ingredients, then incorporate the solution of borax in the rose water.

II.— Tragacanth   125 parts
Boric acid   100 parts
Glycerine   140 parts
Expressed oil of almonds    50 parts
Glyconine    50 parts
Oil of lavender     0.5 parts
Water enough to make 1,000 parts

Mix the tragacanth and the boric acid with the glycerine; add the almond oil, lavender oil, and egg glycerite, which have been previously well incorporated, and, lastly, add the water in divided portions until a clear jelly of the desired consistency is obtained.

III.— Oil of almonds 26 ounces
Castor oil (odorless)  6 ounces
Lard (benzoated)  8 ounces
White wax  8 ounces
Rose water (in winter less, in summer more, than quantity named) 12 ounces
Orange-flower water  8 ounces
Oil of rose 15 minims
Extract of jasmine  6 drachms
Extract of cassia  4 drachms
Borax  2 ounces
Glycerine  4 ounces
{226}

Melt the oil of sweet almonds, wax, and lard together, and stir in the castor oil; make a solution of the borax in the glycerine and rose and orange-flower waters; add this solution, a little at a time, to the melted fat, stirring constantly to insure thorough incorporation; finally add the oil of rose dissolved in the extracts, and beat the ointment until cold.

IV.—Spermaceti (pure), 1/4 ounce; white wax (pure), 1/4 ounce; almond oil, 1/4 pound; butter of cocoa, 1/4 pound; lanolin, 2 ounces.

Melt and stir in 1 drachm of balsam of Peru. After settling, pour off the clear portion and add 2 fluidrachms of orange-flower water and stir briskly until it concretes.

Camphorated Cold Cream.—
Oil of sweet almonds  8 fluidounces
White wax  1 ounce
Spermaceti  1 ounce
Camphor  1 ounce
Rose water  5 fluidounces
Borax (in fine powder)  4 drachms
Oil of rose 10 drops

Melt the wax and spermaceti, add the oil of sweet almonds, in which the camphor has been dissolved with very gentle heat; then gradually add the rose water, in which the borax has previously been dissolved, beating or agitating constantly with a wooden spatula until cold. Lastly add the oil of rose.

Petrolatum Cold Cream.—
Petrolatum (white) 7 ounces
Paraffine   1/2 ounce
Lanolin 2 ounces
Water 3 ounces
Oil of rose 3 drops
Alcohol 1 drachm

A small quantity of borax may be added, if desirable, and the perfume may be varied to suit the taste.

Lip Salves:

Pomades For The Lips.
—Lip pomatum which is said always to retain a handsome red color and never to grow rancid is prepared as follows:
I.— Paraffine    80.0 parts
Vaseline    80.0 parts
Anchusine     0.5 parts
Bergamot oil     1.0 part
Lemon peel     1.0 part
II.—Vaseline Pomade.—
Vaseline oil, white 1,000 parts
Wax, white   300 part
Geranium oil, African.    40 parts
Lemon oil.    20 parts
III.—Rose Pomade.—
Almond oil 1,000 parts
Wax, white   300 parts
Alkannin     3 parts
Geranium oil    20 parts
IV.—Yellow Pomade.—
Vaseline oil, white. 1,000 parts
Wax, white   200 parts
Spermaceti   200 parts
Saffron surrogate.    10 parts
Clove oil.    20 parts
V.—White Pomade.—
Vaseline oil, white 1,000 parts
Wax, white.   300 parts
Bitter almond oil, genuine.    10 parts
Lemon oil     2 parts
VI.— Paraffine    49.0 parts
Vaseline.    49.0 parts
Oil of lemon.     0.75 parts
Oil of violet     0.75 parts
Carmine, quantity sufficient.
Lipol.
—For treating sore, rough, or inflamed lips, apply the following night and morning, rubbing in well with the finger tips: Camphor, 1/2 ounce; menthol, 1/2 ounce; eucalyptol, 1 drachm; petrolatum (white), 1 pound; paraffine, 1/2 pound; alkanet root, 1/2 ounce; oil of bitter almonds, 15 drops; oil of cloves, 10 drops; oil of cassia, 5 drops. Digest the root in the melted paraffine and petrolatum, strain, add the other ingredients and pour into lip jars, hot.

Manicure Preparations:

Powdered Nail Polishes.—
I.— Tin oxide  8 drachms
Carmine    1/4 drachm
Rose oil.  6 drops
Neroli oil.  5 drops
II.— Cinnabar.  1 drachm
Infusorial earth.  8 drachms
III.— Putty powder (fine).  4 drachms
Carmine.  2 grains
Oil of rose.  1 drop
IV.— White castile soap.  1 part
Hot water 16 parts
Zinc chloride solution, 10 per cent, quantity sufficient.

Dissolve the soap in the water and to the solution add the zinc-chloride solution until no further precipitation occurs. Let stand over night; pour off the supernatant fluid, wash the precipitate {227} well with water, and dry at the ordinary temperature. Carmine may be added if desired.

Polishing Pastes For The Nails.—
I.— Talcum. 5 drachms
Stannous oxide. 3 drachms
Powdered tragacanth 5 grains
Glycerine 1 drachm
Rose water, quantity sufficient.
Solution of carmine sufficient to tint.

Make paste.

For softening the nails, curing hangnails, etc., an ointment is sometimes used consisting of white petrolatum, 8 parts; powdered castile soap, 1 part; and perfume to suit.

II.— Eosine 10 grains
White wax    1/2 drachm
Spermaceti    1/2 drachm
Soft paraffine  1 ounce
Alcohol, a sufficient quantity.

Dissolve the eosine in as little alcohol as will suffice, melt the other ingredients together, add the solution, and stir until cool.

Nail-cleaning Washes.—
I.— Tartaric acid 1 drachm
Tincture of myrrh 1 drachm
Cologne water 2 drachms
Water 3 ounces

Dissolve the acid in the water; mix the tincture of myrrh and cologne, and add to the acid solution.

Dip the nails in this solution, wipe, and polish with chamois skin.

II.— Oxalic acid 30 grains
Rose water  1 ounce
Nail Varnish.—
Paraffine wax 60 grains
Chloroform  2 ounces
Oil of rose  3 drops

Pomades:

I.—Beef-Marrow Pomade.—

Vaseline oil, yellow 20,000 parts
Ceresine, yellow  3,000 parts
Beef marrow  2,000 parts
Saffron substitute     15 parts
Lemon oil     50 parts
Bergamot oil     20 parts
Clove oil      5 parts
Lavender oil.     10 parts

II.—China Pomade.—

Vaseline oil, yellow 20,000 parts
Ceresine, yellow  5,000 parts
Brilliant, brown     12 parts
Peru balsam     50 parts
Lemon oil      5 parts
Bergamot oil      5 parts
Clove oil      5 parts
Lavender oil      5 parts

III.—Crystalline Honey Pomade.—Nut oil, 125 drachms; spermaceti, 15 drachms; gamboge, 2 drachms; vervain oil, 10 drops; cinnamon oil, 20 drops; bergamot oil, 30 drops; rose oil, 3 drops. The spermaceti is melted in the nut oil on a water bath and digested with the gamboge for 20 minutes; it is next strained, scented, and poured into cans which are standing in water. The cooling must take place very slowly. Instead of gamboge, butter color may be used. Any desired scent mixture may be employed.

IV.—Herb Pomade.—

Vaseline oil, yellow 20,000 parts
Ceresine, yellow  5,000 parts
Chlorophyll     20 parts
Lemon oil     50 parts
Clove oil     20 parts
Geranium oil, African     12 parts
Curled mint oil.      4 parts

V.—Rose Pomade.—

Vaseline oil, white 20,000 parts
Ceresine, white  5,000 parts
Alkannin     15 parts
Geranium oil, African     50 parts
Palmarosa oil     30 parts
Lemon oil     20 parts

VI.—Strawberry Pomade.—When the strawberry season is on, and berries are plenty and cheap, the following is timely:

Strawberries, ripe and fresh  4 parts
Lard, sweet and fresh 25 parts
Tallow, fresh  5 parts
Alkanet tincture, quantity sufficient.
Essential oil, quantity sufficient to perfume.

Melt lard and tallow together on the water bath at the temperature of boiling water. Have the strawberries arranged on a straining cloth. Add the alkanet tincture to the melted grease, stir in, and then pour the mixture over the berries. Stir the strained fats until the mass {228} begins to set, then add the perfume and stir in. A little artificial essence of strawberries may be added. The odor usually employed is rose, about 1 drop to every 2 pounds.

VII.—Stick Pomade.—

Tallow 500 parts
Ceresine 150 parts
Wax, yellow  50 parts
Rosin, light 200 parts
Paraffine oil (thick) 300 parts
Oil of cassia.   5 parts
Oil of bergamot   5 parts
Oil of clove   2 parts

VIII.—Vaseline Pomade.—Melt 250 parts of freshly rendered lard and 25 parts of white wax at moderate heat and mix well with 200 parts of vaseline. Add 15 parts of bergamot oil, 3 parts of lavender oil, 2 parts of geranium oil, and 2 parts of lemon oil, mixing well.

IX.—Witch-Hazel Jelly.—

Oil of sweet almonds 256 parts
Extract of witch-hazel fluid  10 parts
Glycerine  32 parts
oft soap  20 parts
Tincture of musk, quantity sufficient to perfume.

Mix in a large mortar the glycerine and soft soap and stir until incorporated. Add and rub in the witch-hazel, and then add the oil, slowly, letting it fall in a very thin, small stream, under constant agitation; add the perfume, keeping up the agitation until complete incorporation is attained. Ten drops of musk to a quart of jelly is sufficient. Any other perfume may be used.

Colors For Pomade.
—Pomade may be colored red by infusing alkanet in the grease; yellow may be obtained by using annotto in the same way; an oil-soluble chlorophyll will give a green color by admixture.

In coloring grease by means of alkanet or annotto it is best to tie the drug up in a piece of coarse cloth, place in a small portion of the grease, heat gently, squeezing well with a rod from time to time; and then adding this strongly colored grease to the remainder. This procedure obviates exposing the entire mass to heat, and neither decantation nor straining is needed.

Brocq’s Pomade For Itching.—
Acid phenic  1 part
Acid salicylic  2 parts
Acid tartaric  3 parts
Glycerole of starch 60 to 100 parts

Mix and make a pomade.

White Cosmetique.—
Jasmine pomade  2 ounces
Tuberose pomade  2 ounces
White wax  2 ounces
Refined suet  4 ounces
Rose oil 15 minims

Melt the wax and suet over a water bath, then add the pomades, and finally the otto.

Glycerine And Cucumber Jelly.—
Gelatin 160 to 240 grains
Boric acid 240 grains
Glycerine   6 fluidounces
Water  10 fluidounces

Perfume to suit. The perfume must be one that mixes without opalescence, otherwise it mars the beauty of the preparation. Orange-flower water or rose water could be substituted for the water if desired, or another perfume consisting of

Spirit of vanillin (15 grains per ounce) 2 fluidrachms
Spirit of coumarin (15 grains per ounce) 2 fluidrachms
Spirit of bitter almonds (1/8) 8 minims

to the quantities given above would prove agreeable.

Cucumber Pomade.—
Cucumber pomade  2 ounces
Powdered white soap    1/2 ounce
Powdered borax  2 drachms
Cherry-laurel water  3 ounces
Rectified spirit  3 ounces
Distilled water to make 48 ounces

Rub the pomade with the soap and borax until intimately mixed, then add the distilled water (which may be warmed to blood heat), ounce by ounce, to form a smooth and uniform cream. When 40 ounces of water have been so incorporated, dissolve any essential oils desired as perfume in the spirit, and add the cherry-laurel water, making up to 48 ounces with plain water.

Rouges And Paints:

Grease Paints.
—Theatrical face paints are sold in sticks, and there are many varieties of color. Yellows are obtained with ocher; browns with burnt umber; and blue is made with ultramarine. These colors should in each case be levigated finely along with their own weight {229} of equal parts of precipitated chalk and oxide of zinc and diluted with the same to the tint required, then made into sticks with mutton suet (or vaseline or paraffine, equal parts) well perfumed. By blending these colors, other tints may thus be obtained.
White Grease Paints.—