Henley’s Twentieth Century Book of Recipes, Formulas and Processes (1914); edited by Gardner Dexter Hiscox, 1822?

Pure nickel will remain nearly white, while “patent nickel,” or nickel-copper will not retain its primitive brilliancy, but soon becomes slightly oxidized and grayish in color. The magnet furnishes a good means of testing. The unadulterated nickel is distinctly sensitive to magnetism, while that much alloyed is destitute of this property.

OILS

Clock Oil.

—Put 2,000 parts, by weight, of virgin oil in a decanting vessel, add a solution of 40 parts of ether tannin in 400 parts of water and shake until completely emulsified. Let stand for 8 days, with frequent shaking; next, add 100 parts of talcum and, when this has also been well shaken, 1,600 parts of water. Allow to settle for 24 hours, and then run off the lower water layer, repeating the washing as long as the wash water still shows a coloration with ferric chloride. Pour the contents of the decanting vessel into an evaporating dish; then add 200 parts of thoroughly dried and finely ground cooking salt; let stand for 24 hours and filter through paper. The clock oil is now ready, and should be filled in brown glass bottles, holding 20 to 25 parts (about 1 ounce), which must be corked up well and kept at a cool temperature.

Cod-liver Oil:

Aromatic Cod-liver Oil.—

Deodorized Cod-liver Oil.

—Mix 400 parts of cod-liver oil with 20 parts of ground coffee and 10 parts of bone black, warm the mixture in an open vessel to 140° F., let it stand 5 days, shaking occasionally, and strain through linen. The oil acquires the taste of coffee.

Cod-liver Oil Emulsions.—

II.—Mix 190 parts of powdered sugar with 5 parts of acacia and 500 parts of tragacanth in a mortar. Mix in a large bottle and shake thoroughly together 500 parts of cod-liver oil and 200 parts of a cold infusion of coffee. Gradually add a part of this mixture to the powder in the mortar and triturate until emulsified. To the remaining liquid mixture add 100 parts of rum, then gradually incorporate with the contents of the mortar by trituration.

I.—	Calcium hypophosphite	80 grains
Sodium hypophosphite	120 grains
Sodium chloride	60 grains
Gum acacia, in powder	2 ounces
Elixir of glucoside	20 minims
Essential oil of almonds	15 minims
Glycerine	2 fluidounces
Cod-liver oil	8 fluidounces
Distilled water, a sufficient quantity to produce	16 fluidounces.

Extracting Oil From Cottonseed.

—Claim is made for a process of extraction, in an English patent, in which the seeds are placed in a rotable vessel mounted on a hollow shaft divided into compartments by means of a partition. The solvent is introduced at one end of this shaft and passes into the vessel, which is then made to rotate. After the extraction the bulk of the solvent and the extracted oil pass away through an exit pipe, and steam is then introduced through the same opening as the solvent, in order to cook the seeds and expel the residual solvent. The steam and the vapors pass through perforations in a scraper fixed to the shaft and thence through connected pipes into the other compartment of the shaft, the end of which is attached to a condenser.

Silver Nitrate Test For Cottonseed Oil.

—Investigations of Charabout and March throw some light on the value of this test in presence of olive oil. The free-fat acids obtained from cottonseed oil by saponification were treated in accordance with the method of Milliau on a water bath with a 3 per cent solution of silver nitrate, and the brown precipitate thus formed subjected to a chemical examination. It was found to consist chiefly of a brown silver salt composed of a fat acid melting at 52° F., and {483} congealing at 120° to 122° F., and of sulphide of silver. Olive oil, which contains a sulphur compound of an analogous composition, is also capable of forming a more or less distinct precipitate of a dark colored silver sulphide with nitrate of silver. It is important to bear this fact in mind when examining olive oil for cottonseed oil.

Floral Hair Oil.—

Floral Hair Pomade.—

Floricin Brilliantine.—

Solid Linseed Oil.

—Cements for the manufacture of linoleum and other similar substances are composed to a large extent of linseed oil, oxidized or polymerized until it has become solid. The old process of preparing this solid oil is tedious, costly, and invites danger from fire. It consists in running linseed oil over sheets of thin cloth hung from the top of a high building. The thin layer of oil upon the cloth dries, and then a second layer is obtained in the same way. This is continued until a thick skin of solid oil is formed on either side of the cloth. A new method of solidifying linseed oil is by means of alkalies. The drying oils, when heated with basic substances such as the alkalies, polymerize and become solid. Hertkorn makes use of the oxides of the alkaline earths, or their salts with weak acids, such as their soaps. When chalk or lime is added to the oil during the process of oxidation, either during the liquid or the plastic stage, it forms a calcium soap, and causes polymerization to set in in the partially oxidized oil. Similarly, if caustic soda or caustic potash be added, the action is not caused by them in the free state, but by the soaps which they form. Oxidized oil is more readily saponified than raw oil, and the greater the oxidation, the more readily does saponification take place. Lime soaps are not soluble in water, whereas soda and potash soaps are. Consequently a cement made with the latter, if exposed to the weather, will be acted upon by rain and moisture, owing to the soluble soap contained in it, while a cement made with lime will not be acted upon. It is suggested that the action of the bases on linseed oil is simply due to their neutralization of the free acid. The acidity of linseed oil increases as it becomes oxidized. When the basic matter is added part of the free acid is neutralized, and polymerization sets in. The presence of a large amount of free acid must therefore hinder polymerization. From 5 to 10 per cent of chalk or lime is considered to be the amount which gives the best result in practice.

Decolorizing Or Bleaching Linseed Oil.

—Linseed oil may be bleached by the aid of chemical bodies, the process of oxidizing or bleaching being best performed by means of peroxide of hydrogen. For this purpose, the linseed oil to be bleached is mixed with 5 per cent peroxide of hydrogen in a tin or glass bottle, and the mixture is shaken repeatedly. After a few days have elapsed the linseed oil is entirely bleached and clarified, so that it can be poured off from the peroxide of hydrogen, which has been reduced to oxide of hydrogen, i. e., water, by the process of oxidation. The use of another oxidizing medium, such as chloride of lime and hydrochloric acid or bichromate of calcium and sulphuric acid, etc., cannot be recommended to the layman, as the operation requires more care and is not without danger. If there is no hurry about the preparation of bleached linseed oil, sun bleaching seems to be the most recommendable method. For this only a glass bottle is required, or, better still, a flat glass dish, of any shape, which can be covered with a protruding piece of glass. For the admission of air, lay some sticks of wood over the dish and the glass on top. The thinner the layer of linseed oil, the quicker will be the oxidation process. It is, of course, necessary to place the vessel in such a manner that it is exposed to the rays of the sun for many hours daily.

Linseed Oil For Varnish-making.

—Heat in a copper vessel 50 gallons Baltic oil to 280° F., add 2 ¹/₂ pounds calcined white vitriol, and stir well together. Keep the oil at the above temperature for half an hour, then draw the fire, and in 24 hours decant the clear oil. It should stand for at least 4 weeks. {484}

Refining Linseed Oil.

—Put 236 gallons of oil into a copper boiler, pour in 6 pounds of oil of vitriol, and stir them together for 3 hours, then add 6 pounds fuller’s earth well mixed with 14 pounds hot lime, and stir for 3 hours. The oil must be put in a copper vessel with an equal quantity of water. Now boil for 3 hours, then extinguish the fire. When cold draw off the water. Let the mixture settle for a few weeks.

Mineral Oil:

Production of Consistent Mineral Oils.—

	By weight
I.—	Mineral oil	100 parts
Linseed oil	25 parts
Ground nut oil	25 parts
Lime	10 parts
II.—	Mineral oil	100 parts
Rosin oil	100 parts
Rape seed oil	50 parts
Linseed oil	75 parts
Lime	25 parts

Mixing Castor Oil With Mineral Oils.

—Castor oil is heated for 6 hours in an autoclave at a temperature of 500° to 575° F., and under a pressure of 4 to 6 atmospheres. When cold the resulting product mixes in all proportions with mineral oils.

Bleaching Oils:

Linseed Oil Or Poppy Oil.

—Agitate in a glass balloon 25,000 parts, by weight, of oil with a solution of 50 parts, by weight, potassium permanganate in 1,250 parts, by volume, of water. Let stand for 24 hours at a gentle warmth and add 75 parts, by weight, of powdered sodium sulphite. Agitate strongly and add 100 parts, by weight, of hydrochloric acid and again agitate. Let stand until decolorization takes place, then wash the oil with a sufficiency of water, carrying in suspension chalk, finely powdered, until the liquid no longer has an acid reaction. Finally filter off over anhydrous sodium sulphate.

Boiled Oil.

—The following is especially adapted for zinc painting, but will also answer for any paint: Mix 1 part binoxide of manganese, in coarse powder, but not dusty, with 10 parts nut or linseed oil. Keep it gently heated and frequently stirred for about 30 hours, or until the oil begins to turn reddish.

British Oil.—

Macerate the alkanet root in the rape oil until the latter is colored deep red; then strain off and add the other ingredients.

I.—	Oil of turpentine	40 parts
Barbadoes pitch	26 parts
Oil of rosemary	1 part
Oil of origanum	1 part
II.—	Oil of turpentine	2 parts
Rape oil	20 parts
Spirit of tar	2 parts
Alkanet root, quantity sufficient.

Decolorizing And Deodorizing Oils.

—I.—One may partially or completely deodorize and decolorize rank fish and other oils by sending a current of hot air or of steam through them, after having heated them from 175° to 200° F. To decolorize palm oil pass through it a current of steam under pressure corresponding to a temperature of 230° F., agitating the oil constantly. The vapor is then passed through leaden tuyeres of about 2 inches diameter, 10 hours being sufficient for deodorizing 4 tons of oil.

II.—Another method that may be applied to almost all kinds of fats and oils with excellent results is the following: Melt say 112 parts, by weight, of palm oil in a boiler. When the mass is entirely liquefied add to it a solution of calcium chloride, made by dissolving 7 parts, by weight, of lime chloride for every 84 parts, by weight, of oil in water, and mix intimately. After cooling, the mass hardens and is cut into small bits and exposed to the air for a few weeks. After this exposure the material is reassembled in a boiler of iron, jacketed on the inside with lead; a quantity of sulphuric acid diluted to 5 per cent, equal in amount to the lime chloride previously used, is added, and heat is applied until the oil melts and separates from the other substances. It is then left to cool off and solidify.

Decomposition Of Oils, Fats, Etc.

—In many of the processes at present in use, whereby oils and fats are decomposed by steam at a high pressure, the time during which the oil or fat has to be exposed to high pressure and temperature has the effect of considerably darkening the resulting product. Hannig’s process claims to shorten the time required, by bringing the steam and oil into more intimate contact. The oil to be treated is projected in fine streams into the chamber containing steam at 8 to 10 atmospheres pressure. The streams of oil are projected with sufficient force to cause them to strike against the walls of the chamber, and they are thus broken up into minute globules which mix intimately with the steam. In this way the most satisfactory conditions for the decomposition of the oil are obtained. {485}

Driffield Oils.—

Add the oil of vitriol to the other ingredients very gradually, with constant stirring.

Drying Oils.

—To dry oils for varnishes, paintings, etc., the most economical means is to boil them with shot, to leave them for some time in contact with shot, or else to boil them with litharge. Another method consists in boiling the oils with equal parts of lead, tin, and sulphate of zinc in the ratio of ¹/₁₀ part (weight) of the united metals to 1 part of oil to be treated. These metals must be granulated, which is easily accomplished by melting them separately and putting them in cold water. They will be found at the bottom of the water in the shape of small balls. It is in this manner, by the way, that shot is produced.

Dust-laying Oil.

—A process has been patented for rendering mineral oils miscible in all proportions of water. The method consists of forming an intimate mixture of the oil with a soap which is soluble in water. The most simple method is as follows: The oil is placed in a tank provided with an agitator. The latter is set in motion and the fatty oil or free fatty acid from which the soap is to be formed is added, and mixed intimately with the mineral oil. When the mixture is seen to be thoroughly homogeneous, the alkali, in solution in water, is added little by little and the stirring continued until a thorough emulsion is obtained, of which the constituents do not separate, even after prolonged standing at ordinary temperatures. The agitation may be produced either by a mechanical apparatus or by forcing air in under pressure. As a rule, the operation can be carried out in the cold, but in certain cases the solution of the fatty body and its saponification requires the application of moderate heat. This may be obtained by using either a steam-jacketed pan, or by having the steam coil within the pan, or live steam may be blown through the mixture, serving at the same time both as a heating and stirring agent. Any fatty matter or fatty acid suitable for soap-making may be used, and the base may be any one capable of forming a soluble soap, most commonly the alkaline hydroxides, caustic soda, and caustic potash, as also ammonia. The raw materials are chosen according to the use to which the finished product is to be applied. A good formula, suitable for preparing an oily liquid for watering dusty roads, is as follows:

Floor Oils.—

Dissolve the potash in 12 parts of water; heat together the wax and the remaining water till the wax is liquefied; then mix the two and boil together until a perfect emulsion is effected. Color, if desired, with a solution of annatto.

	By weight
Heavy mineral oil	75 parts
Commercial olein	2 parts
Commercial ammonia	1.5 parts
Water	21.5 parts

I.—	Neatsfoot oil	1 part
Cottonseed oil	1 part
Petroleum oil	1 part
II.—	Beeswax	8 parts
Water	56 parts
Potassium carbonate	4 parts

Ground-laying Oil For Ceramics.

—Boil together until thoroughly incorporated 1 pint of linseed oil, 1 pint of dissolved gum mastic, ¹/₂ ounce of red lead, ¹/₂ ounce of rosin. In using mix with Venice turpentine.

Oil Suitable For Use With Gold.

—Heat and incorporate linseed oil, 1 quart; rape oil, 1 pint; Canadian balsam, 3 pints; rectified spirits of tar, 1 quart.

Wool Oil.

—These are usually produced by the distillation in retorts of Yorkshire grease and other greases. The distilled oil is tested for quality, and is brought down to 70 per cent or 50 per cent grades by the addition of a suitable quantity of mineral oil. The lower the quality of the grease used the lower is the grade of the resulting wool oil.

OINTMENTS

Arnica Salve.—

Boil the raisins and the tobacco in 40 ounces of water until exhausted, express the liquid, and evaporate down to 8 ounces. Soften the arnica extract in a little hot water and mix in the liquid. Melt the rosin ointment and petrolatum together, and add the liquid to the melted mass and incorporate thoroughly.

Barbers’ Itch.—

Brown Ointment.—

Chilblains.

—The following are for unbroken chilblains:

Dissolve the balsam in the alcohol, and add the acid and tincture. Apply morning and evening.

Domestic Ointments.—

Green Salve.—

This cannot be surpassed when used for deep wounds, as it prevents the formation of proud flesh and keeps up a healthy discharge.

Salve For All Wounds.—

Irritating Plaster.—

I.—	Sulphurous acid	3 parts
Glycerine	1 part
Water	1 part
II.—	Balsam Peru	1 part
Alcohol	24 parts
Hydrochloric acid	1 part
Tincture benzoin compound	8 parts

I.—	Vaseline	80 parts
Diachylon ointment	30 parts
Carbolic acid	4 parts
Camphor	5 parts
II.—	Butter, fresh (unsalted)	750 parts
Wax, yellow	125 parts
Rosin, white	100 parts
Nutmeg oil	15 parts
Peru balsam	1 part
III.—	Lead plaster, simple	6,090 parts
Vaseline, yellow	1,000 parts
Camphor	65 parts
Carbolic acid	50 parts

Apply to the skin in the form of a {487} plaster (spread on muslin) and renew it daily.

This salve will raise a sore which is to be wiped with a dry cloth to remove matter, etc. The sore must not be wetted. This is a powerful counter-irritant for removing internal pains, and in other cases where an irritating plaster is necessary.

Mercury Salves.

—I.—Red Salve.—Red mercury oxide, 1 part; melted lard, 9 parts.

Antiseptic Nervine Ointment.—

Photographers’ Ointment.

—The following protects the hands from photographic chemicals:

The soap is dissolved in the water heated for that purpose, the wax mixed in with much stirring, and, when all is in solution, the ammonia is added. When clear, the lanolin is put in, and then, if the mixture is very thick, water is added until the whole has the consistency of honey. Keep in a covered stoneware jar. The hands should be first washed with ordinary soap, and then, while the lather is still on them, a bit of the mixture about the size of a hazel nut is rubbed in until all is absorbed, and the hands are dry. At the close of the work, the film of wax is washed off in warm water and a little lanolin rubbed into the hands.

Pain-subduing Ointment.

—The following is an excellent formula:

Skin Ointment.

—I.—Add about 2 per cent of phenol to petrolatum, perfuming it with oil of bergamot and color a dull green. It has been suggested that a mixture of Prussian blue and yellow ocher would answer as the coloring agent.

PACKINGS:

Packing For Stuffing Boxes.—

Melt the tallow and barrel soap together, add the other materials in rotation, mix intimately in a mixing machine, and fill in 4-pound cans.

II.—	Phenol	40 grains
Boric acid	2 drachms
Oil of bergamot	90 minims
Petrolatum	1 pound
Color with chlorophyll.

Packing For Gasoline Pumps.

—For packing pumps on gasoline engines use asbestos wick-packing rubbed full of regular laundry soap; it will work without undue friction and will pack tightly. Common rubber packing is not as good, as the gasoline cuts it out.

PAINTING PROCESSES:

Painting Ornaments Or Letters On Cloth And Paper.

—Dissolve gum shellac in 95 per cent alcohol at the rate of 1 pound of shellac to 3 pints of alcohol, and mix with it any dry color desired. If it becomes too thick, thin with more alcohol. This works free, does not bleed out, imparts brilliancy to the color, and wears well. The preparation can be used also on paper.

Painting On Marble.

—To paint marble in water colors, it must be first thoroughly cleaned and all grease completely removed. The slab is washed well, and then rubbed off with benzine by means of a rag or sponge. In order to be quite sure, add a little ox gall or aguoline to the colors. After marble has been painted with water colors it cannot be polished any more.

Painting On Muslin.

—To paint on muslin requires considerable skill. Select a smooth wall or partition, upon which tack the muslin, drawing the fabric taut and firm. Then make a solution of starch and water, adding one-fourth starch to three-fourths water, and apply a glaze of this to the muslin. To guard against the striking in of the paint, and to hold it more securely in place and texture, mix the pigment with rubbing varnish to the consistency of a stiff paste, and then thin with turpentine to a free working condition. A double thick camel’s-hair brush, of a width to correspond properly with the size of the surface to be coated, is the best tool with which to coat fine muslin. A fitch-hair tool is probably best suited to the coarser muslin. Many painters, when about to letter on muslin, wet the material with water; but this method is not so reliable as sizing with starch and water. Wetting canvas or duck operates very successfully in holding the paint or color in check, but these materials should not be confounded with muslin, which is of an entirely different texture.

PAINTINGS:

Protection For Oil Paintings.

—Oil paintings should under no circumstances be varnished over before the colors are surely and unmistakably dry, otherwise the fissuring and early decay of the surface may be anticipated. The contention of some people that oil paintings need the protection of a coat of varnish is based upon the claim that the picture, unvarnished, looks dead and lusterless in parts and glossy in still others, the value and real beauty of the color being thus unequally manifested. It is not to be inferred, however, that a heavy coating of varnish is required. When it is deemed advisable to varnish over an oil painting the varnish should be mastic, with perhaps 3 or 4 drops of refined linseed oil added to insure against cracking. A heavy body of varnish used over paintings must be strictly prohibited, inasmuch as the varnish, as it grows in age, naturally darkens in color, and in so doing carries with it a decided clouding and discoloration of the delicate pigments. A thinly applied coat of mastic varnish affords the required protection from all sorts and conditions of atmospheric impurities, besides fulfilling its mission in other directions.

Oil paintings, aquarelles, etc., may be also coated with a thin layer of Canada balsam, and placed smoothly on a pane of glass likewise coated with Canada balsam, so that both layers of balsam come together. Then the pictures are pressed down from the back, to remove all air bubbles.

Coumarin	0.01 parts
Saccharine	0.50 parts
Vanillin	0.10 parts
Alcohol, absolute	5.40 parts
Oil of lemon	5.00 parts
Oil of peppermint	1.00 part
Oil of neroli	1.00 part
Cod-liver oil to make	1,000 parts

White vaseline	5,000 parts
Floricin, pure	800 parts
Linalool rosé	60 parts
Terpineol	50 parts
Aubepine (hawthorne), liquid	12 parts

Floricin oil	2,100 parts
White ceresine	250 parts
Ylang-ylang oil	2 parts
Kananga oil	5 parts
Oil of rose, artificial	1 part
Cheirantia	5 parts

Barbadoes tar	1 ounce
Linseed oil	16 ounces
Oil turpentine	3 ounces
Oil vitriol	¹/₂ ounce

Solid extract of arnica	2 parts
Rosin ointment	16 parts
Petrolatum	4 parts
Sultanas	16 parts
Fine cut tobacco	1 part

Arsenious acid	4 parts
Morphine sulphate	2 parts
Clove oil	1 part
Creosote, quantity sufficient to make a paste.
After the nerve is destroyed the following paste is to be put in the cavity:
Alum	1 part
Thymol	1 part
Zinc oxide	1 part
Glycerine	1 part

Ichthyol	30 grains
Salicylic acid	12 grains
Mercury oleate (10 per cent)	3 drachms
Lanolin	1 ounce

Rosin	1 ounce
Lead plaster	4 ounces
Soap cerate	8 ounces
Yellow beeswax	1 ounce
Olive oil	7 ¹/₂ fluidounces

White pine turpentine	8 ounces
Lard, fresh	8 ounces
Honey	4 ounces
Beeswax, yellow	4 ounces
Melt, stir well, and add
Verdigris, powdered	4 drachms

Lard, fresh	16 ounces
White lead, dry	3 ounces
Red lead, dry	1 ounce
Beeswax, yellow	3 ounces
Black rosin	2 ounces
Mix, melt, and boil for 45 minutes, then add
Common turpentine	4 ounces
Boil for 3 minutes and cool.

Tar, purified	16 ounces
Burgundy pitch	1 ounce
White pine turpentine	1 ounce
Rosin, common	2 ounces
Melt and add
Mandrake root, powdered	1 drachm
Bloodroot, powdered	1 ounce
Poke root, powdered	1 ounce
Indian turnip root, powdered	1 ounce

Ammoniated mercury	1 ounce
Mercuric oxide, precipitated	2 ¹/₂ ounces
Red mercuric sulphide (vermilion)	60 grains
Perfume	¹/₂ fluidounce
Lard	1 ¹/₂ pounds
Prepared suet	¹/₂ pound

Iodoform	2 parts
Salol	4 parts
Boric acid	5 parts
Antipyrine	5 parts
Vaseline	80 parts

Best castile soap, in fine shavings	1 ounce
Water	1 ounce
Wax	1 ounce
Ammonia	45 minims
Lanolin	1 ounce

Tincture of capsicum	5 parts
Tincture of camphor	1 part
Ammonia water	2 parts
Alcohol	2 parts
Soap liniment	2 parts

Tallow	10 parts
Barrel soap, non-filled	30 parts
Cylinder oil	10 parts
Talcum Venetian, finely powdered	20 parts
Graphite, finely washed	6 parts
Powdered asbestos	6 parts

NICKEL-TESTING.