Flexible Ivory.

—To soften ivory and render it flexible put pure phosphoric acid (specific gravity, 1.13) into a wide-mouthed bottle or jar that can be covered, and steep the ivory in this until it partially loses its opacity; then wash the ivory in cold, soft water and dry, when the ivory will be found soft and flexible. {429} It regains its hardness in course of time when freely exposed to air, although its flexibility can be restored by immersing the ivory in hot water.

Another softening fluid is prepared by mixing 1 ounce of spirit of niter with 5 ounces of water and steeping the ivory in the fluid for 4 or 5 days.

Hardened Ivory.

—To restore the hardness to ivory that has been softened by the above methods, wrap it in a sheet of white writing paper, cover it with dry decrepitated salt, and let it remain thus covered for 24 hours. The decrepitated salt is prepared by strewing common kitchen salt on a plate or dish and standing same before a fierce fire, when the salt loses its crystalline appearance and assumes a dense opaque whiteness.

Imitation Ivory:

See also Casein and Plaster.

Manufacture of Compounds Imitating Ivory, Shell, etc.—Casein, as known, may act the part of an acid and combine with bases to form caseinates or caseates; among these compounds, caseinates of potash, of soda, and of ammonia are the only ones soluble in water; all the others are insoluble and may be readily prepared by double decomposition. Thus, for example, to obtain caseinate of alumina, it is sufficient to add to a solution of casein in caustic soda a solution of sulphate of alumina; an insoluble precipitate of casein, or caseinate of alumina, is instantly formed. This precipitate ought to be freed from the sulphate of soda (formed by double decomposition) by means of prolonged washing.

When pure, ordinary cellulose may be incorporated with it by this process, producing a new compound, cheaper than pure cellulose, although possessing the same properties, and capable of replacing it in all its applications. According to the results desired, in transparency, color, hardness, etc., the most suitable caseinate should be selected. Thus, if a translucent compound is to be obtained, the caseinate of alumina yields the best. If a white compound is desired, the caseinate of zinc or of magnesia should be chosen; and for colored products the caseinates of iron, copper, and nickel will give varied tints.

The process employed for the new products, with a base of celluloid and caseinate, is as follows: On one hand casein is dissolved in a solution of caustic soda (100 of water for 10 to 25 of soda), and this liquid is filtered, to separate the matters not dissolved and the impurities.

On the other hand, a salt (of the base of which the caseinate is desired) is dissolved, and the solution filtered. It is well not to operate on too concentrated a solution. The two solutions are mixed in a reservoir furnished with a mechanical stirrer, in order to obtain the insoluble caseinate precipitate in as finely divided a state as possible. This precipitate should be washed thoroughly so as to free it from the soda salt formed by double decomposition, but on account of its gummy or pasty state, this washing presents certain difficulties, and should be done carefully. After the washing it should be freed from the greater part of water contained by draining, followed by drying, or energetic pressing; then it is washed in alcohol, dried or pressed again, and is ready to be incorporated in the mass of the celluloid.

For the latter immersion and washing, it has been found that an addition of 1 to 5 per cent of borax is advantageous, for it renders the mass more plastic, and facilitates the operation of mixing. This may be conducted in a mixing apparatus; but, in practice, it is found preferable to effect it with a rolling mill, operated as follows:

The nitro-cellulose is introduced in the plastic state, and moistened with a solution of camphor in alcohol (40 to 50 parts of camphor in 50 to 70 parts of alcohol for 100 parts of nitro-cellulose) as it is practiced in celluloid factories.

This plastic mass of nitro-cellulose is placed in a rolling mill, the cylinders of which are slightly heated at the same time as the caseinate, prepared as above; then the whole mass is worked by the cylinders until the mixture of the two is perfectly homogeneous, and the final mass is sufficiently hard to be drawn out in leaves in the same way as practiced for pure celluloid. These leaves are placed in hydraulic presses, where they are compressed, first hot, then cold, and the block thus formed is afterwards cut into leaves of the thickness desired. These leaves are dried in an apparatus in the same way as ordinary celluloid. The product resembles celluloid, and has all its properties. At 195° to 215° F. it becomes quite plastic, and is easily molded. It may be sawed, filed, turned, and carved without difficulty, and takes on a superb polish. It burns less readily than celluloid, and its combustibility diminishes in proportion as the percentage of caseinate increases; finally, the cost price is less than that of celluloid, {430} and by using a large proportion of caseinate, products may be manufactured at an extremely low cost.

Ivory And Bone Bleaches.

If simply dirty, scrub with soap and tepid water, using an old tooth or nail brush for the purpose. Grease stains may be sometimes removed by applying a paste of chalk or whiting and benzol, covering the article so that the benzol may not dry too rapidly. Carbon disulphide (the purified article) may be used in place of benzol. When dry, rub off with a stiff brush. If not removed with the first application, repeat the process. Delicately carved articles that show a tendency to brittleness should be soaked for a short time in dilute phosphoric acid before any attempt to clean them is made. This renders the minuter portions almost ductile, and prevents their breaking under cleaning.

The large scratched brush should be treated as follows: If the scratches are deep, the surface may be carefully rubbed down to the depth of the scratch, using the finest emery cloth, until the depth is nearly reached, then substituting crocus cloth.

To restore the polish nothing is superior to the genuine German putz pomade, following by rubbing first with chamois and finishing off with soft old silk. The more “elbow grease” put into the rubbing the easier the task, as the heat generated by friction seems to lend a sort of ductility to the surface. To remove the yellow hue due to age, proceed as follows: Make a little tripod with wire, to hold the object a few inches above a little vessel containing lime chloride moistened with hydrochloric acid; put the object on the stand, cover the whole with a bell glass, and expose to direct sunlight. When bleached, remove and wash in a solution of sodium bicarbonate, rinse in clear water and dry.

Like mother-of-pearl, ivory is readily cleaned by dipping in a bath of oxygenized water or immersing for 15 minutes in spirits of turpentine, and subsequently exposing to the sun for 3 or 4 days. For a simple cleaning of smooth articles, wash them in hot water, in which there has been previously dissolved 100 parts (by weight) of bicarbonate of soda per 1,000 parts of water. To clean carved ivory make a paste of very fine, damp sawdust, and put on this the juice of 1 or 2 lemons, according to the article to be treated. Now apply a layer of this sawdust on the ivory, and when dry brush it off and rub the object with a chamois.

Ivory Tests.

Many years ago an article was introduced in the industrial world which in contradistinction to the genuine animal ivory, has its origin in the vegetable kingdom, being derived from the nut of a palm-like shrub called phytelephasmacrocarpa, whose fruit reaches the size of an apple. This fruit has a very white, exceedingly hard kernel which can be worked like ivory. A hundred of these fruits only costing about $1, their use offers great advantages. Worked on the lathe this ivory can be passed off as the genuine article, it being so much like it that it is often sold at the same price. It can also be colored just like genuine ivory.

To distinguish the two varieties of ivory, the following method may be employed: Concentrated sulphuric acid applied to vegetable ivory will cause a pink coloring in about 10 or 12 minutes, which can be removed again by washing with water. Applied on genuine ivory, this acid does not affect it in any manner.

IVORY BLACK: See Bone Black.

IVORY CEMENT: See Adhesives.

IVORY GILDING: See Plating.

IVORY POLISHES: See Polishes.

JAPAN BLACK: See Paints.

JAPANNING AND JAPAN TINNING: See Varnishes.

JASMINE MILK: See Cosmetics.

JELLY (FRUIT) EXTRACT: See Essences and Extracts.

JEWELERS’ CEMENTS: See Adhesives.

JEWELERS’ CLEANING PROCESSES: See Cleaning Preparations and Methods.

JEWELERS’ FORMULAS

(See also Gems, Gold, and Watchmakers’ Recipes.)

Coloring Gold Jewelry.

—Following are several recipes for coloring: Saltpeter, 40 parts; alum, 30 parts; sea salt, 30 parts; or, liquid ammonia, 100 parts; sea salt, 3 parts; water, 100 parts. Heat without allowing to boil and plunge {431} the objects into it for 2 or 3 minutes, stirring constantly; rinse in alum water and then in clean water. Another recipe: Calcium bromide, 100 parts; bromine, 5 parts. Place the articles in this solution, with stirring, for 2 to 3 minutes; next wash in a solution of hyposulphite of sodium and rinse in clean water. Another: Verdigris, 30 parts; sea salt, 30 parts; blood stone, 30 parts; sal ammoniac, 30 parts; alum, 5 parts. Grind all and stir with strong vinegar; or, verdigris, 100 parts; hydrochlorate of ammonia, 100 parts; saltpeter, 65 parts; copper filings, 40 parts. Bray all and mix with strong vinegar.

To Widen A Jewel Hole.

—Chuck the hole in a lathe with cement. Place a spirit lamp underneath to prevent the cement from hardening. Hold the pointed bit against the hole, while the lathe is running, until the hole is true, when the lamp should be removed. The broach to widen the hole should be made of copper, of the required size and shape, and the point, after being oiled, should be rolled in diamond dust until it is entirely covered. The diamond dust should then be beaten in with a burnisher, using very light blows so as not to bruise the broach. After the hole is widened as desired, it requires polishing with a broach made of ivory and used with oil and the finest diamond dust, loose, not driven into the broach.

To Clean Jet Jewelry.

—Reduce bread crumbs into small particles, and introduce into all the curves and hollows of the jewelry, while rubbing with a flannel.

Coloring Common Gold.

—In coloring gold below 18 carat, the following mixture may be used with success, and if carefully employed, even 12 carat gold may be colored by it: Take nitrate of potassa (saltpeter), 4 parts, by weight; alum, 2 parts; and common salt, 2 parts. Add sufficient warm water to mix the ingredients into a thin paste; place the mixture in a small pipkin or crucible and allow to boil. The article to be colored should be suspended by a wire and dipped into the mixture, where it should remain from 10 to 20 minutes. The article should then be removed and well rinsed in hot water, when it must be scratch brushed, again rinsed and returned to the coloring salts for a few minutes; it is then to be again rinsed in hot water, scratch brushed, and finally brushed with soap and hot water, rinsed in hot water, and placed in boxwood sawdust. The object being merely to remove the alloy, as soon as the article has acquired the proper color of fine gold it may be considered sufficiently acted upon by the above mixture. The coloring salts should not be used for gold of a lower standard than 12 carat, and, even for this quality of gold, some care must be taken when the articles are of a very slight make.

Shades Of Red, Etc., On Matt Gold Bijouterie.

—For the production of the red and other shades on matt gold articles, the so-called gold varnishes are employed, which consist of shellac dissolved in alcohol and are colored with gum rosins. Thus a handsome golden yellow is obtained from shellac, 35 parts; seed-lac, 35 parts; dragon’s blood, 50 parts; gamboge, 50 parts; dissolved in 400 parts of alcohol; the clear solution is decanted and mixed with 75 parts of Venice turpentine. By changing the amounts of the coloring rosins, shades from bright gold yellow to copper color are obtained. The varnish is applied evenly and after drying is wiped off from the raised portions of the article by means of a pad of wadding dipped into alcohol, whereby a handsome patination effect is produced, since the lacquer remains in the cavities. Chased articles are simply rubbed with earth colors ground into a paste with turpentine oil, for which purpose burnt sienna, fine ochers of a golden color, golden yellow, and various shades of green are employed.
I.— Yellow wax 32 parts
Red bole  3 parts
Crystallized verdigris  2 parts
Alum  2 parts
II.— Yellow wax 95 parts
Red bole 64 parts
Colcothar  2 parts
Crystallized verdigris 32 parts
Copper ashes 20 parts
Zinc vitriol 32 parts
Green vitriol 16 parts
Borax  1 part

The wax is melted and the finely powdered chemicals are stirred in, in rotation. If the gilt bronze goods are to obtain a lustrous orange shade, apply a mixture of ferric oxide, alum, cooking salt, and vinegar in the heated articles by means of a brush, heating to about 266° F. until the shade commences to turn black and water sprinkled on will evaporate with a hissing sound, then cool in water, dip in a mixture of 1 part of nitric acid with 40 parts of water, rinse {432} thoroughly, dry, and polish. For the production of a pale-gold shade use a wax preparation consisting of:

III.— Yellow wax 19 parts
Zinc vitriol 10 parts
Burnt borax  3 parts
Green-gold color is produced by a mixture of:
IV.— Saltpeter  6 parts
Green vitriol  2 parts
Zinc vitriol  1 part
Alum  1 part

To Matt Gilt Articles.

—If it is desired to matt gilt articles partly or entirely, the portions which are to remain burnished are covered with a mixture of chalk, sugar, and mucilage, heating until this “stopping-off” covering shows a black color. On the places not covered apply a matting powder consisting of:
Saltpeter 40 parts
Alum 25 parts
Cooking salt 35 parts

Heat the objects to about 608° F., whereby the powder is melted and acquires the consistency of a thin paste. In case of too high a temperature decomposition will set in.

To Find The Number Of Carats.

—To find the number of carats of gold in an object, first weigh the gold and mix with seven times its weight in silver. This alloy is beaten into thin leaves, and nitric acid is added; this dissolves the silver and copper. The remainder (gold) is then fused and weighed; by comparing the first and last weights the number of carats of pure gold is found. To check repeat several times.

Acid Test For Gold.

—The ordinary ready method of ascertaining whether a piece of jewelry is made of gold consists in touching it with a glass stopper wetted with nitric acid, which leaves gold untouched, but colors base alloys blue from the formation of nitrate of copper.

Imitation Diamonds.

—I.—Minium, 75 parts (by weight); washed white sand, 50 parts; calcined potash, 18 parts; calcined borax, 6 parts; bioxide of arsenic, 1 part. The sand must be washed in hydrochloric acid and then several times in clean water. The specific gravity of this crystal glass is almost the same as that of the diamond.

II.—Washed white sand, 100 parts (by weight): minium, 35 parts; calcined potash, 25 parts; calcined borax, 20 parts; nitrate of potash (crystals), 10 parts; peroxide of manganese, 5 parts. The sand must be washed as above stated.

Diamantine.

—This substance consists of crystallized boron, the basis of borax. By melting 100 parts of boracic acid and 80 parts of aluminum crystals is obtained the so-called bort, which even attacks diamond. The diamantine of commerce is not so hard.

To Refine Board Sweepings.

—The residue resulting from a jobbing jeweler’s business, such as board sweepings and other residuum, which is continually accumulating and which invariably consists of all mixed qualities of standard, may have the precious metals recovered therefrom in a very simple manner, as follows: Collect the residue and burn it in an iron ladle or pan, until all grease or other organic matter is destroyed. When cool mix with 1/5 part soda-ash, and melt in a clay crucible. When the metal is thoroughly melted it will leave the flux and sink to the bottom of the crucible; at this stage the flux assumes the appearance of a thin fluid, and then is the time to withdraw the pot from the fire. The metal in the crucible—but not the flux—may now be poured into a vessel of water, stirring the water in a circular direction while the metal is being poured in, which causes it to form into small grains, and so prepares it for the next process. Dissolve the grains in a mixture of nitric acid and water in equal quantities. It takes about four times the quantity of liquid as metal to dissolve. The gold remains undissolved in this mixture, and may be recovered by filtering or decanting the liquid above it in the dissolving vessel; it is then dried, mixed with a little flux, and melted in the usual manner, whereupon pure gold will be obtained. To recover the silver, dilute the solution which has been withdrawn from the gold with six times its bulk of water, and add by degrees small quantities of finely powdered common salt, and this will throw down the silver into a white, curdy powder of chloride of silver. Continue to add salt until no cloudiness is observed in the solution, when the water above the sediment may be poured off; the sediment is next well washed with warm water several times, then dried and melted in the same manner as the gold, and you will have a lump of pure silver.

Restoration Of The Color Of Turquoises.

—After a certain time turquoises lose a part of their fine color. It is easy to restore the color by immersing them in a solution of carbonate of soda. But it seems that the blue cannot be restored anew after this operation, if it again becomes dull. The above applies to {433} common turquoises, and not to those of the Orient, of which the color does not change.

Colorings For Jewelers’ Work.

—I.—Take 40 parts of saltpeter; 30 parts of alum; 30 parts of sea salt; or 100 grams of liquid ammonia; 3 parts sea salt; and 100 parts water. This is heated without bringing it to a boil, and the articles dipped into it for from 2 to 3 minutes, stirring the liquid constantly; after this bath they are dipped in alum water and then thoroughly rinsed in clean water.

II.—One hundred parts of calcium bromide and 2 parts of bromium. The objects are allowed to remain in this solution (which must be also constantly stirred) for from 2 to 3 minutes, then washed in a solution of sodium hyposulphite, after which they must be rinsed in clean water.

III.—Thirty parts of verdigris; 30 parts of sea salt; 30 parts of hematite; 30 parts of sal ammoniac, and 5 parts of alum. This must be all ground up together and mixed with strong vinegar; or we may also use 100 parts of verdigris; 100 parts of hydrochlorate of ammonia; 65 parts of saltpeter, and 40 parts of copper filings, all of which are to be well mixed with strong vinegar.

22-carat Solder.

—Soldering is a process which, by means of a more fusible compound, the connecting surfaces of metals are firmly secured to each other, but, for many practical purposes, it is advisable to have the fusing point of the metal and solder as near each other as possible, which, in the majority of cases, preserves a union more lasting, and the joint less distinguishable, in consequence of the similarity of the metal and solder in color, which age does not destroy, and this is not the case with solders the fusible points of which are very low. The metal to be soldered together must have an affinity for the solder, otherwise the union will be imperfect; and the solder should likewise act upon the metal, partly by this affinity or chemical attraction, and partly by cohesive force, to unite the connections soundly and firmly together. Solders should therefore be prepared suitable to the work in hand, if a good and lasting job is to be made. It should always be borne in mind that the higher the fusing point of the gold alloy—and this can be made to vary considerably, even with any specified quality—the harder solder must be used, for, in the case of a more fusible mixture of gold, the latter would melt before the solder and cause the work to be destroyed. A very good formula for the first, or ordinary, 22-carat alloy is this:
dwts. grs.
Fine gold 1 0
Fine silver 0 3
Fine copper 0 2
1 5

This mixture will answer all the many purposes of the jobber; for soldering high quality gold wares that come for repairs, particularly wedding rings, it will be found admirably suited. If an easier solder is wanted, and such is very often the case with jobbing jewelers, especially where several solderings have to be accomplished, it is as well to have at hand a solder which will not disturb the previous soldering places, for if this is not prevented a very simple job is made very difficult, and a lot of time and patience wholly wasted. To guard against a thing of this kind the following solder may be employed on the top of the previous one:

dwts. grs.
Fine gold 1 0
Fine silver 0 3
Yellow brass 0 2
1 5

This solder is of the same value as the previous one, but its melting point is lower, and it will be found useful for many purposes that can be turned to good account in a jobbing jeweler’s business.

Jewelers’ Alloys:

See also Alloys and Solders.

18-carat Gold For Rings.
—Gold coin, 19 1/2 grains; pure copper, 3 grains; pure silver, 1 1/2 grains.
Cheap Gold, 12 Carat.
—Gold coin, 25 grains; pure copper, 13 1/2 grains; pure silver, 7 1/3 grains.
Very Cheap 4-carat Gold.
—Copper, 18 parts; gold, 4 parts; silver, 2 parts.
Imitations Of Gold.
—I.—Platina, 4 pennyweights; pure copper, 2 1/4 pennyweights; sheet zinc, 1 pennyweight; block tin, 1 3/4 pennyweights; pure lead, 1 1/2 pennyweight. If this should be found too hard or brittle for practical use, remelting the composition with a little sal ammoniac will generally render it malleable as desired.

II.—Platina, 2 parts; silver, 1 part; copper, 3 parts. These compositions, when properly prepared, so nearly resemble pure gold that it is very difficult to {434} distinguish them therefrom. A little powdered charcoal, mixed with metals while melting, will be found of service.

Best Oreide Of Gold.
—Pure copper, 4 ounces; sheet zinc, 1 3/4 ounces; magnesia, 5/8 ounce; sal ammoniac, 11/32 ounce; quicklime, 9/32 ounce; cream tartar, 7/8 ounce. First melt the copper at as low a temperature as it will melt; then add the zinc, and afterwards the other articles in powder, in the order named. Use a charcoal fire to melt these metals.
Bushing Alloy For Pivot Holes, Etc.
—Gold coin, 3 pennyweights; silver, 1 pennyweight, 20 grains; copper, 3 pennyweights, 20 grains; palladium, 1 pennyweight. The best composition known for the purpose named.
Gold Solder For 14- to 16-carat Work.
—Gold coin, 1 pennyweight; pure silver, 9 grains; pure copper, 6 grains; brass, 3 grains.
Darker Solder.
—Gold coin, 1 pennyweight; pure copper, 8 grains; pure silver, 5 grains; brass, 2 grains. Melt together in charcoal fire.
Solder For Gold.
—Gold, 6 pennyweights; silver, 1 pennyweight; copper, 2 pennyweights.
Soft Gold Solder.
—Gold, 4 parts; silver, 1 part; copper, 1 part.
Solders For Silver
(for the use of jewelers).—Fine silver, 19 pennyweights; copper, 1 pennyweight; sheet brass, 10 pennyweights.
White Solder For Silver.
—Silver, 1 ounce; tin, 1 ounce.
Silver Solder For Plated Metal.
—Fine silver, 1 ounce; brass, 10 pennyweights.
Solders For Gold.
—I.—Silver, 7 parts; copper, 1 part; with borax.

II.—Gold, 2 parts; silver, 1 part; copper, 1 part.

III.—Gold, 3 parts; silver, 3 parts; copper, 1 part; zinc, 1/2 part.

For Silver.
—Silver, 2 parts; brass, 1 part; with borax; or, silver, 4 parts; brass, 3 parts; zinc, 1/18 part; with borax.
Gold Solders
(see also Solders).—I.—Copper, 24.24 parts; silver, 27.57 parts; gold, 48.19 parts.

II.—Enamel Solder.—Copper, 25 parts; silver, 7.07 parts; gold, 67.93 parts.

III.—Copper, 26.55 parts; zinc, 6.25 parts; silver, 31.25 parts; gold, 36 parts.

IV.—Enamel Solder.—Silver, 19.57 parts; gold, 80.43 parts.

Solder For 22-carat Gold.
—Gold of 22 carats, 1 pennyweight; silver, 2 grains; copper, 1 grain.
For 18-carat Gold.
—Gold of 18 carats, 1 pennyweight; silver, 2 grains; copper, 1 grain.
For Cheaper Gold.
—I.—Gold, 1 pennyweight; silver, 10 grains; copper, 8 grains.

II.—Fine gold, 1 pennyweight; silver, 1 pennyweight; copper, 1 pennyweight.

Silver Solders
(see also Solders).—I. (Hard.)—Copper, 30 parts; zinc, 12.85 parts; silver, 57.15 parts.

II.—Copper, 23.33 parts; zinc, 10 parts; silver, 66.67 parts.

III.—Copper, 26.66 parts; zinc, 10 parts; silver, 63.34 parts.

IV. (Soft.)—Copper, 14.75 parts; zinc, 8.50 parts; silver, 77.05 parts.

V.—Copper, 22.34 parts; zinc, 10.48 parts; silver, 67.18 parts.

VI.—Tin, 63 parts; lead, 37 parts.

For Silversmiths:

I.—Sterling Silver.—Fine silver, 11 ounces, 2 pennyweights; fine copper, 18 pennyweights.

II.—Equal to Sterling.—Fine silver, 1 ounce; fine copper, 1 pennyweight, 12 grains.

III.—Fine silver, 1 ounce; fine copper, 5 pennyweights.

IV.—Common Silver for Chains.—Fine silver, 6 pennyweights; fine copper, 4 pennyweights.

V.—Solder.—Fine silver, 16 pennyweights; fine copper, 12 grains; pin brass, 3 pennyweights, 12 grains.

VI.—Alloy for Plating.—Fine silver, 1 ounce; fine copper, 10 pennyweights.

VII.—Silver Solder.—Fine silver, 1 ounce; pin brass, 10 pennyweights; pure spelter, 2 pennyweights.

VIII.—Copper Solder for Plating.—Fine silver, 10 pennyweights; fine copper, 10 pennyweights.

IX.—Common Silver Solder.—Fine silver, 10 ounces; pin brass, 6 ounces, 12 pennyweights; spelter, 12 pennyweights.

X.—Silver Solder for Enameling.—Fine silver, 14 pennyweights; fine copper, 8 pennyweights.

XI.—For Filling Signet Rings.—Fine silver, 10 ounces; fine copper, 1 ounce, 16 pennyweights; fine pin brass, 6 ounces, 12 pennyweights; spelter, 12 pennyweights. {435}

XII.—Silver Solder for Gold Plating.—Fine silver, 1 ounce; fine copper, 5 pennyweights; pin brass, 5 pennyweights.

XIII.—Mercury Solder.—Fine silver, 1 ounce; pin brass, 10 pennyweights; bar tin, 2 pennyweights.

XIV.—Imitation Silver.—Fine silver, 1 ounce; nickel, 1 ounce, 11 grains; fine copper, 2 ounces, 9 grains.

XV.—Fine silver, 3 ounces; nickel, 1 ounce, 11 pennyweights; fine copper, 2 ounces, 9 grains; spelter, 10 pennyweights.

XVI.—Fine Silver Solder for Filigree Work.—Fine silver, 4 pennyweights, 6 grains; pin brass, 1 pennyweight.

Bismuth Solder.—Bismuth, 3 ounces; lead, 3 ounces, 18 pennyweights; tin, 5 ounces, 6 pennyweights.

Brass:

I.—Yellow Brass for Turning.—(Common article.)—Copper, 20 pounds; zinc, 10 pounds; lead, 4 ounces.

II.—Copper, 32 pounds; zinc, 10 pounds; lead, 1 pound.

III.—Red Brass Free, for Turning.—Copper, 100 pounds; zinc, 50 pounds; lead, 10 pounds; antimony, 44 ounces.

IV.—Best Red Brass for Fine Castings.—Copper, 24 pounds; zinc, 5 pounds; bismuth, 1 ounce.

V.—Red Tombac.—Copper, 10 pounds; zinc, 1 pound.

VI.—Tombac.—Copper, 16 pounds; tin, 1 pound; zinc, 1 pound.

VII.—Brass for Heavy Castings.—Copper, 6 to 7 parts; tin, 1 part; zinc, 1 part.

VIII.—Malleable Brass.—Copper, 70.10 parts; zinc, 29.90 parts.

IX.—Superior Malleable Brass.—Copper, 60 parts; zinc, 40 parts.

X.—Brass.—Copper, 73 parts; zinc, 27 parts.

XI.—Copper, 65 parts; zinc, 35 parts.

XII.—Copper, 70 parts; zinc, 30 parts.

XIII.—German Brass.—Copper, 1 pound; zinc, 1 pound.

XIV.—Watchmakers’ Brass.—Copper, 1 part; zinc, 2 parts.

XV.—Brass for Wire.—Copper, 34 parts; calamine, 56 parts.

XVI.—Brass for Tubes.—Copper, 2 parts; zinc, 1 part.

XVII.—Brass for Heavy Work.—Copper, 100 parts; tin, 15 parts; zinc, 15 parts.

XVIII.—Copper, 112 parts; tin, 13 parts; zinc, 1 part.

XIX.—Tombac or Red Brass.—Copper, 8 parts; zinc, 1 part.

XX.—Brass.—Copper, 3 parts; melt, then add zinc, 1 part.

XXI.—Buttonmakers’ Fine Brass.—Brass, 8 parts; zinc, 5 parts.

XXII.—Buttonmakers’ Common Brass.—Button brass, 6 parts; tin, 1 part; lead, 1 part. Mix.

XXIII.—Mallet’s Brass.—Copper, 25.4 parts; zinc, 74.6 parts. Used to preserve iron from oxidizing.

XXIV.—Best Brass for Clocks.—Rose copper, 85 parts; zinc, 14 parts; lead, 1 part.

Gold Alloys:

See also Gold Alloys, under Alloys.

Gold of 22 carats fine being so little used is intentionally omitted.

I.—Gold of 18 Carats, Yellow Tint.—Gold, 15 pennyweights; silver, 2 pennyweights, 18 grains; copper, 2 pennyweights, 6 grains.

II.—Gold of 18 Carats, Red Tint.—Gold, 15 pennyweights; silver, 1 pennyweight, 18 grains; copper, 3 pennyweights, 6 grains.

III.—Spring Gold of 16 Carats.—Gold, 1 ounce, 16 pennyweights; silver, 6 pennyweights; copper, 12 pennyweights. This when drawn or rolled very hard makes springs little inferior to steel.

IV.—Jewelers’ Fine Gold, Yellow Tint, 16 Carats Nearly.—Gold, 1 ounce; silver, 7 pennyweights; copper, 5 pennyweights.

V.—Gold of Red Tint, 16 Carats.—Gold, 1 ounce; silver, 2 pennyweights; copper, 8 pennyweights.

Sterling Gold Alloys.—I.—Fine gold, 18 pennyweights, 12 grains; fine silver, 1 pennyweight; fine copper, 12 grains.

II.—Dry Colored Gold Alloys, 17 Carat.—Fine gold, 15 pennyweights; fine silver, 1 pennyweight, 10 grains; fine copper, 4 pennyweights, 17 grains.

III.—18 Carat.—Fine gold, 1 ounce; fine silver, 4 pennyweights, 10 grains; fine copper, 2 pennyweights, 5 grains.

IV.—18 Carat.—Fine gold, 15 pennyweights; fine silver, 2 pennyweights, 4 grains; fine copper, 2 pennyweights, 19 grains.

V.—18 Carat.—Fine gold, 18 pennyweights; fine silver, 2 pennyweights, 18 {436} grains; fine copper, 3 pennyweights, 18 grains.

VI.—19 Carat.—Fine gold, 1 ounce; fine silver, 2 pennyweights, 6 grains; fine copper, 3 pennyweights, 12 grains.

VII.—20 Carat.—Fine gold, 1 ounce; fine silver, 2 pennyweights; fine copper, 2 pennyweights, 4 grains.

VIII.—22 Carat.—Fine gold, 18 pennyweights; fine silver, 12 grains; fine copper, 1 pennyweight, 3 grains.

IX.—Gold Solder for the Foregoing Alloys.—Take of the alloyed gold you are using, 1 pennyweight; fine silver, 6 grains.

X.—Alloy for Dry Colored Rings.—Fine gold, 1 ounce; fine silver, 4 pennyweights, 6 grains; fine copper, 4 pennyweights, 6 grains.

XI.—Solder.—Scrap gold, 2 ounces; fine silver, 3 pennyweights; fine copper, 3 pennyweights.

XII.—Dry Colored Scrap Reduced to 35s. Gold.—Colored scrap, 1 ounce, 9 pennyweights, 12 grains; fine silver, 2 pennyweights; fine copper, 17 pennyweights, 12 grains; spelter, 4 pennyweights.

To Quickly Remove A Ring From A Swollen Finger.

—If the ring is of gold, pull the folds of the swollen muscles apart, so that it can be seen, then drop on it a little absolute alcohol and place the finger in a bowl of metallic mercury. In a very few minutes the ring will snap apart. If the ring is of brass, scrape the surface slightly, or put on a few drops of a solution of oxalic acid, or even strong vinegar, let remain in contact for a moment or two, then put into the mercury, and the result will be as before.

Soldering A Jeweled Ring.

—In order to prevent the bursting of the jewels of a ring while the latter is being soldered, cut a juicy potato into halves and make a hollow in both portions in which the part of the ring having jewels may fit exactly. Wrap the jeweled portion in soft paper, place it in the hollow, and bind up the closed potato with binding wire. Now solder with easy-flowing gold solder, the potato being held in the hand. Another method is to fill a small crucible with wet sand, bury the jeweled portion in the sand, and solder in the usual way.

JEWELRY, TO CLEAN: See Cleaning Preparations and Methods.

KALSOMINE

Sodium carbonate   8 parts
Linseed oil  32 parts
Hot water   8 parts
White glue  12 parts
Whiting 160 parts

Dissolve the sodium carbonate in the hot water, add the oil and saponify by heating and agitation. Cover the glue, broken into small pieces, with cold water and let soak overnight. In the morning pour the whole on a stout piece of stuff and let the residual water drain off, getting rid of as much as possible by slightly twisting the cloth. Throw the swelled glue into a capsule, put on the water bath, and heat gently until it is melted. Add the saponified oil and mix well; remove from the bath, and stir in the whiting, a little at a time, adding hot water as it becomes necessary. When the whiting is all stirred in, continue adding hot water, until a liquid is obtained that flows freely from the kalsomining brush.

The addition of a little soluble blue to the mixture increases the intensity of the white.

Sizing Walls For Kalsomine.

—A size to coat over “hot walls” for the reception of the kalsomine is made by using shellac, 1 part; sal soda, 1/2 part. Put these ingredients in 1/2 gallon of water and dissolve by steady heat. Another size is made of glue size prepared in the usual way, and alum. To 1/2 pound of white glue add 3/4 pound of alum, dissolving the alum in hot water before adding it to the glue size.

KARATS, TO FIND NUMBER OF: See Jewelers’ Formulas.

KERAMICS: See Ceramics.

KERIT: See Rubber.

KEROCLEAN: See Cleaning Preparations and Methods.

KEROSENE DEODORIZER:

See also Benzine, Oils, and Petroleum.

Various processes have been recommended for masking the odor of kerosene such as the addition of various essential {437} oils, artificial oil of mirbane, etc., but none of them seems entirely satisfactory. The addition of amyl acetate in the proportion of 10 grams to the liter (1 per cent) has also been suggested, several experimenters reporting very successful results therefrom. Some years ago Beringer proposed a process for removing sulphur compounds from benzine, which would presumably be equally applicable to kerosene. This process is as follows:

Potassium permanganate 1 ounce
Sulphuric acid   1/2 pint
Water 3 1/2 pints

Mix the acid and water, and when the mixture has become cold pour it into a 2-gallon bottle. Add the permanganate and agitate until it is dissolved. Then add benzine, 1 gallon, and thoroughly agitate. Allow the liquids to remain in contact for 24 hours, frequently agitating the mixture. Separate the benzine and wash in a similar bottle with a mixture of

Potassium permanganate   1/4 ounce
Caustic soda   1/2 ounce
Water 2 pints

Agitate the mixture frequently during several hours; then separate the benzine and wash it thoroughly with water. On agitating the benzine with the acid permanganate solution an emulsion-like mixture is produced, which separates in a few seconds, the permanganate slowly subsiding and showing considerable reduction. In the above process it is quite probable that the time specified (24 hours) is greatly in excess of what is necessary, as the reduction takes place almost entirely in a very short time. It has also been suggested that if the process were adopted on a manufacturing scale, with mechanical agitation, the time could be reduced to an hour or two.

KEROSENE-CLEANING COMPOUNDS: See Cleaning Preparations, under Miscellaneous Methods.

KEROSENE EMULSIONS: See Petroleum.

KETCHUP (ADULTERATED), TESTS FOR: See Foods.

KHAKI COLORS: See Dyes.

KID: See Leather.

KISSINGEN SALTS: See Salts (Effervescent).

KISSINGEN WATER: See Waters.

KNIFE-SHARPENING PASTES: See Razor Pastes.

KNOCKENPLOMBE: See Adhesives.

KNOTS: See Paint.

KOLA CORDIAL: See Wines and Liquors.

KOUMISS SUBSTITUTE:

See also Beverages.

To prepare a substitute for koumiss from cow’s milk: Dissolve 1/2 ounce grape sugar in 3 fluid ounces water. Mix 18 grains well washed and pressed beer yeast with 2 fluid ounces of cow’s milk. Mix the two liquids in a champagne bottle, fill with milk, stopper securely, and keep for 3 to 4 days at a temperature not exceeding 50° F., shaking frequently. The preparation does not keep longer than 4 to 5 days.

KÜMMEL: See Wines and Liquors.

KWASS: See Beverages.

LABEL PASTES, GLUES, AND MUCILAGES: See Adhesives.

LABEL VARNISHES: See Varnishes.

LACE LEATHER: See Leather.

LACE, TO CLEAN GOLD AND SILVER: See Cleaning Preparations and Methods.

LACES, WASHING AND COLORING OF: See Laundry Preparations.

LACQUERS

(See also Enamels, Glazes, Paints, Varnishes, and Waterproofing.)

Lac And The Art Of Lacquering.

The art of lacquering includes various steps, which are divulged as little as possible. Without them nothing but a varnish of good quality would be realized. Thus in Tonkin, where the abundant {438} production is the object of an important trade with the Chinese, it is so used only for varnishing, while in China the same product from the same sources contributes to most artistic applications.

When the Annamites propose to lacquer an object, a box, for example, they first stop up the holes and crevices, covering all the imperfections with a coating of diluted lac, by means of a flat, close, short brush. Then they cover the whole with a thick coating of lac and white clay. This clay, oily to the touch, is found at the bottom of certain lakes in Tonkin; it is dried, pulverized, and sifted with a piece of fine silk before being embodied with the lac. This operation is designed to conceal the inequalities of the wood and produce a uniform surface which, when completely dry, is rendered smooth with pumice stone.

If the object has portions cut or sunk the clayey mixture is not applied, for it would make the details clammy, but in its place a single, uniform layer of pure lac.

In any case, after the pumicing, a third coating, now pure lac, is passed over the piece, which at this time has a mouse-gray color. This layer, known under the name of sou lot, colors the piece a brilliant black. As the lac possesses the remarkable property of not drying in dry air, the object is left in a damp place. When perfectly dried the piece is varnished, and the desired color imparted by a single operation. If the metallic applications are excepted, the lac is colored only black, brown, or red.

The following formulas are in use:

Black.—One part of turpentine is warmed for 20 minutes beyond the fusing point; then poured into 3 parts of lac; at the same time pheu deu (copperas) is added. The mixture is stirred for at least a day, sometimes more, by means of a large paddle.

Maroon.—This is prepared by a process similar to the preceding, replacing half of the copperas by an equal quantity of China vermilion.

Red.—The lac, previously stirred for 6 hours, is mixed with hot oil of trau, and the whole is stirred for a day, after which vermilion is added. The latter should be of good quality, so as to have it brilliant and unchangeable.

The operation of lacquering is then ended, but there are parts to be gilded. These are again covered with a mixture of lac and oil of trau. When this layer is dry the metallic leaves are applied, which are themselves protected by a coating, composed also of lac and oil of trau. All these lac and oil of trau mixtures are carefully filtered, which the natives effect by pressing the liquid on a double filtering surface formed of wadding and of a tissue on which it rests. It can only be applied after several months when the metallic leaf is of gold. In the case of silver or tin the protecting coat can be laid on in a few days. It favorably modifies the white tints of these two metals by communicating a golden color. The hue, at first reddish, gradually improves and acquires its full brilliancy in a few months.

Little information is procurable concerning the processes employed by the Chinese. The wood to be lacquered should be absolutely dry. It receives successive applications, of which the number is not less than 33 for perfect work. When the lac coating attains the thickness of 1/4 of an inch it is ready for the engravers. The Chinese, like the inhabitants of Tonkin, make use of oil of trau to mix with the lac, or oil of aleurites, and the greatest care is exercised in the drying of the different layers. The operation is conducted in dim-lighted rooms specially fitted up for the purpose; the moisture is maintained to a suitable extent by systematically watering the earth which covers the walls of this “cold stove.”