II.—For the production of waxed or ceresine paper, saturate ordinary paper with equal parts of stearine and tallow or ceresine. If it is desired to apply a business stamp on the paper before saturation and after stamping, it should be dried well for 24 hours, so as to prevent the aniline color from spreading.

The zaponizing may be carried out by dipping the papers in zapon or by coating them with it by means of a brush or pencil. Sometimes the purpose may also be reached by dripping or sprinkling it on, but in the majority of cases a painting of the sheets will be the simplest method.

Zapon in a liquid state is highly inflammable, for which reason during the application until the evaporation of the solvent, open flames and fires should be kept away from the vicinity. When the drying is finished, which usually takes a few hours where both sides are coated, the zaponized paper does not so easily ignite at an open flame any more or at least not more readily than non-impregnated paper. For coating with and especially for dipping in zapon, a contrivance which effects a convenient suspension and dripping off with collection of the excess is of advantage.

The zapon should be thinned according to the material to be treated. Feebly sized papers are coated with ordinary, i. e., undiluted zapon. For dipping purposes, the zapon should be mixed with a diluent, if the paper is hard and well sized. The weaker the sizing, the more careful should be the selection of the zapon.

Zapon to be used for coating purposes should be particularly thick, so that it can be thinned as desired. Unsized papers require an undiluted coating.

The thick variety also furnishes an excellent adhesive agent as cement for wood, glass, porcelain, and metals which is insoluble in cold and hot water, and binds very firmly. Metallic surfaces coated with zapon do not oxidize or alter their appearance, since the coating is like glass and only forms a very thin but firmly adhering film, which, if applied on pliable sheet metal, does not crack on bending.

For the preparation of zapon the following directions are given: Pour 20 parts of acetone over 2 parts of colorless celluloid waste—obtainable at the celluloid factories—and let stand several days in a closed vessel, shaking frequently, until the whole has dissolved into a clear, thick mass. Next admix 78 parts of amyl acetate and completely clarify the zapon varnish by allowing to settle forweeks.

Metallic Paper.

This paper, made by transferring, pasting, or painting a coating of metal on ordinary paper, retains a comparatively dull and dead appearance even after glazing or polishing with the burnisher or agate. Galvanized or electroplated metal paper, on the other hand, in which the metal has penetrated into the most minute pores of the paper, possesses an extraordinarily brilliant polish, fully equal to that of a piece of compact polished metal. It is much more extensively used than the kind first mentioned.

The following solutions are recommended for making “galvanized” metal paper:

I.—For silver paper: Twenty parts argento-cyanide of potassium; 13 parts cyanide of potassium; 980 parts water.

II.—For gold paper: Four parts auro-cyanide of potassium; 9 parts cyanide of potassium; 900 parts water.

Moth Paper.—

Melt together and while warm paint unsized paper and pack away with the goods.

PAPER (ANTI-RUST) FOR NEEDLES: See Rust Preventives.

PAPER CEMENTS: See Adhesives.

PAPER DISINFECTANT: See Disinfectants.

PAPER, FIREPROOF: See Fireproofing.

PAPER, FROSTED: See Glass (Frosted).

PAPER ON GLASS, TO AFFIX: See Adhesives, under Water-Glass Cements.

PAPERS, IGNITING: See Pyrotechnics.

PAPER ON METALLIC SURFACES, PASTING: See Adhesives.

PAPER AS PROTECTION FOR IRON AND STEEL: See Rust Preventives.

PAPERHANGERS’ PASTES: See Adhesives.

PAPER, PHOTOGRAPHIC: See Photography.

PAPER VARNISHES: See Varnishes.

PAPER WATERPROOFING: See Waterproofing.

PAPIER MACHÉ: See Paper.

PARAFFINE:

Paraffine Scented Cakes.

Paraffine, 1 ounce; white petrolatum, 2 ounces; heliotropin, 10 grains; oil of bergamot, 5 drops; oil of lavender, 5 drops; oil of cloves, 2 drops. Melt the first two substances, then add the next, the oils last, and stir all until cool. After settling cut into blocks and wrap in tin foil. This is a disseminator of perfume. It perfumes where it is rubbed. It kills moths and perfumes the wardrobe. It is used by rubbing on cloth, clothes, and the handkerchief.

PARCHMENT AND PARCHMENT PAPER: See Paper.

PARCHMENT CEMENT: See Adhesives.

PARCHMENT PASTE: See Adhesives.

PARFAITS: See Ice Creams.

PARFAIT D’AMOUR CORDIAL: See Wines and Liquors.

PARIS GREEN: See Pigments.

PARIS RED: See Polishes.

PARIS SALTS: See Disinfectants.

PARISIAN CEMENT: See Adhesives.

PASSE-PARTOUT FRAMING.

It is hardly correct to call the passe-partout a frame, as it is merely a binding together of the print, the glass, and the backing with a narrow edge of paper. This simple arrangement lends to the picture when complete a much greater finish and a more important appearance than might be anticipated.

In regard to the making of a passe-partout frame, the first thing is to decide as to the width of the mount or matt to be used. In some cases, of course, the print is framed with no mount being visible; but, unless the picture is of large size, it will usually be found more becoming to have one, especially should the wall paper be of an obtrusive design. When the print and mount are both neatly trimmed to the desired size, procure a piece of clear white picture glass—most amateur framers will have discovered that there is a variance in the quality of this—and a piece of stout cardboard, both of exactly the same dimensions as the picture. Next prepare or buy the paper to be used for binding the edges together. This may now be bought at most all stationery stores in a great variety of colors. If it is prepared at home a greater choice of colors is available, and it is by no means a difficult task with care and sharp scissors. The tint should be chosen to harmonize with the print and the mount, taking also into consideration the probable surroundings—brown for photographs of brown tone, dark gray for black, pale gray for lighter tones; dark green is also a good color. All stationers keep colored papers suitable for the purpose, while plain wall papers or thin brown paper answers equally well.

Cut the paper, ruling it carefully, into even strips an inch wide, and then into four pieces, two of them the exact length of the top and bottom of the frame, and the other two half an inch longer than the two sides. Make sure that the print is evenly sandwiched between the glass and the back. Cut some tiny strips of thin court-plaster, and with these bind the corners tightly together. Brush over the two larger pieces of paper with mountant, and with them bind tightly together the three thicknesses—print, glass, and cardboard—allowing the paper to project over about a third of an inch on the face side, and the ends which were left a little longer must be neatly turned over and stuck at the back. Then, in the same manner, bind the top and bottom edges together, mitering the corners neatly.

It should not be forgotten, before binding the edges together, to make two slits in the cardboard back for the {509} purpose of inserting little brass hangers, having flat ends like paper fasteners, which may be bought for the purpose; or, where these are not available, two narrow loops of tape may be used instead, sticking the ends firmly on the inside of the cardboard by means of a little strong glue.

These are the few manipulations necessary for the making of a simple passe-partout frame, but there are numberless variations of the idea, and a great deal of variety may be obtained by means of using different mounts. Brown paper answers admirably as a mount for some subjects, using strips of paper of a darker shade as binding. A not too obtrusive design in pen and ink is occasionally drawn on the mount, while a more ambitious scheme is to use paint and brushes in the same way. An ingenious idea which suits some subjects is to use a piece of hand-blocked wall paper as a mount.

PARQUET POLISH: See Polishes.

PASTES:

See Adhesives for Adhesive Purposes.

II.—From prepared putty powder (levigated oxide of tin), 3 parts; lard, 2 parts; crocus martis, 1 part; triturated together.

III.—Prepared putty powder, 1 ounce; powdered oxalic acid, ¹/₄ ounce; powdered gum, 20 grains; make a stiff paste with water, quantity sufficient, and evenly and thinly spread it over the strop, the other side of which should be covered with any of the common greasy mixtures. With very little friction this paste gives a fine edge to the razor, and its action is still further increased by slightly moistening it, or even breathing on it. Immediately after its use, the razor should receive a few turns on the other side of the strop.

PASTE FOR PAPER: See Paper.

PASTES FOR POLISHING METALS: See Soaps.

PASTEBOARD CEMENT: See Adhesives.

PASTEBOARD DEODORIZERS: See Household Formulas.

PASTILLES, FUMIGATING: See Fumigants.

PATINAS: See Bronzing and Plating.

PATENT LEATHER: See Leather.

PEACH EXTRACT: See Essences and Extracts.

PEARLS, TO CLEAN: See Cleaning Preparations and Methods.

PEGAMOID.

Camphor, 100 parts; mastic, 100 parts; bleached shellac, 50 parts; gun cotton, 200 parts; acetone, 200 parts; acetic ether, 100 parts; ethylic ether, 50 parts.

PEN METAL: See Alloys.

PENCILS, ANTISEPTIC: See Antiseptics.

PENCILS FOR MARKING GLASS: See Etching, Frosted Glass, and Glass.

PENS, GOLD: See Gold.

PEONY ROOTS, THEIR PRESERVATION: See Roots.

PERCENTAGE SOLUTION.

Multiply the percentage by 5; the product is the number of grains to be added to an ounce of water to make a solution of the desired percentage. This is correct for anything less than 15 per cent.

PERFUMES

Dry Perfumes:

Sachet Powders.—

Lavender Sachets.—

II.—Lavender flowers, 150 parts; orris root, 150 parts; benzoin, 150 parts; Tonka beans, 150 parts; cloves, 100 parts; “Neugenwerz,” 50 parts; sandalwood, 50 parts; cinnamon, 50 parts; vanilla, 50 parts; and musk, ¹/₂ part. All is bruised finely and mixed.

Violet Sachet.—

Borated Talcum.—

To perfume add the following:

II.—A powder sometimes dispensed under this name is the salicylated powder of talcum of the National Formulary, which contains in every 1,000 parts 30 parts of salicylic acid and 100 parts of boric acid.

Rose.—

Rose Talc.—

Violet Talc.—

II.—Moisten the carbonate, and add as much of the following solution as it will absorb: Oil of orris, 5 minims; oil of lavender flowers, 10 minims; violet extract, 30 minims; stronger water of ammonia, 2 fluidounces.

Another way of perfuming, which is used especially in France for scenting cards and other articles, is to dip them in very strong “extraits d’odeur,” leaving them therein for a few days. Then the cards are taken out and laid between filtering paper, whereupon they are pressed vigorously, which causes them not only to dry, but also to remain straight. They remain under strong pressure until completely dry.

Not all cardboard, however, can be subjected to this process, and in its choice one should consider the perfuming operation to be conducted. Nor can the cards be glazed, since spirit dissolves the glaze. It is also preferable to have lithographed text on them, since in the case of ordinary printing the letters often partly disappear or the colors are changed. {511}

For pocket calendars, price lists, and voluminous matter containing more leaves than one, another process is recommended. In a tight closet, which should be lined with tin, so that little air can enter, tables composed of laths are placed on which nets stretched on frames are laid. Cover these nets with tissue paper, and proceed as follows: On the bottom of the closet sprinkle a strongly odorous and reperfumed powder; then cover one net with the printed matter to be perfumed and shove it to the closet on the lath. The next net again receives powder, the following one printed matter, and so on until the closet is filled. After tightly closing the doors, the whole arrangement is left to itself. This process presents another advantage in that all sorts of residues may be employed for scenting, such as the filters of the odors and infusions, residues of musk, etc. These are simply laid on the nets, and will thus impart their perfume to the printed matter.

Such a scenting powder is produced as follows:

The powder may subsequently be employed for filling cheap sachets, etc.

Liquid Perfumes:

Color imparted by chlorophyll will be found fairly permanent; this term is a relative one, and not too much must be expected. Colors which may suffer but little change by long exposure to diffused light may fade perceptibly by short exposure to the direct light of the sun.

Chlorophyll may be purchased or it may be prepared as follows: Digest leaves of grass, nettles, spinach, or other green herb in warm water until soft; pour off the water and crush the herb to a pulp. Boil the pulp for a short time with a half per cent solution of caustic soda, and afterwards precipitate the chlorophyll by means of dilute hydrochloric acid; wash the precipitate thoroughly with water, press and dry it, and use as much for the solution as may be necessary. Or a tincture made from grass as follows may be employed:

Put the grass in a wide-mouthed bottle, and pour the alcohol upon it. After standing a few days, agitating occasionally, pour off the liquid. The tincture may be used with both alcoholic and aqueous preparations.

Among the anilines, spirit soluble malachite green has been recommended.

A purple or violet tint may be produced by using tincture of litmus or ammoniated cochineal coloring. The former is made as follows:

Pour the water upon the litmus, stir well, allow to stand for about an hour, stirring occasionally, filter, and to the filtrate add the alcohol.

The aniline colors “Paris violet” or methyl violet B may be similarly employed. The amount necessary to produce a desired tint must be worked out by experiment. Yellow tints may best be imparted by the use of tincture of turmeric or saffron, fustic, quercitron, etc.

If a perfumed spirit, as, for instance, a mouth wash, is poured into a wineglassful of water, the oils will separate at once and spread over the surface of the water. This liquid being allowed to stand uncovered, one oil after another will evaporate, according to the degree of its volatility, until at last the least volatile remains behind.

This process sometimes requires weeks, and in order to be able to watch the separate phases of this evaporation correctly, it is necessary to use several glasses and to conduct the mixtures at certain intervals. The glasses must be numbered according to the day when set up, so that they may be readily identified.

If we assume, for example, that a mouth wash is to be examined, we may probably prepare every day for one week a mixture of about 100 grams of water and 10 drops of the respective liquid. Hence, after a lapse of 7 days {512} we will have before us 7 bouquets, of different odor, according to the volatility of the oils contained in them. From these different bouquets the qualitative composition of the liquid may be readily recognized, provided that one is familiar enough with the character of the different oils to be able to tell them by their odors.

The predominance of peppermint oil—to continue with the above example—will soon be lost and other oils will rise one after the other, to disappear again after a short time, so that the 7 glasses afford an entire scale of characteristic odors, until at last only the most lasting are perceptible. Thus it is possible with some practice to tell a bouquet pretty accurately in its separate odors.

In this manner interesting results are often reached, and with some perseverance even complicated mixtures can be analyzed and recognized in their distinctiveness. Naturally the difficulty in recognizing each oil is increased in the case of oils whose volatility is approximately the same. But even in this case changes, though not quite so marked, can be determined in the bouquet.

In a quantitative respect this method also furnishes a certain result as far as the comparison of perfumed liquids is concerned.

According to the quantity of the oils present the dim zone on the water is broader or narrower, and although the size of this layer may be changed by the admixture of other substances, one gains an idea regarding the quantity of the oils by mere smelling. It is necessary, of course, to choose glasses with equally large openings and to count out the drops of the essence carefully by means of a dropper.

When it is thought that all the odors have been placed, a test is made by preparing a mixture according to the recipe resulting from the trial.

Not pure oils, always alcoholic dilutions in a certain ratio should be used, in order not to disturb the task by a surplus of the different varieties, since it is easy to add more, but impossible to take away.

It is true this method requires patience, perseverance, and a fine sense of smell. One smelling test should not be considered sufficient, but the glasses should be carried to the nose as often as possible.

Musk is depressing, and its use in cologne in even the minutest quantity will spoil the cologne. The musk lingers after the lighter odors have disappeared, and a sick person is pretty sure to feel its effects. Persons in vigorous health will not notice the depressing effects of musk, but when lassitude prevails these are very unpleasant. Moreover, it is not a necessity in these toilet accessories, either as a blending or as a fixing agent. Its place is better supplied by benzoin for both purposes.

As to alcohol, a lot of nonsense has been written about the necessity of extreme care in selecting it, such as certain kinds requiring alcohol made from grapes and others demanding extreme purification, etc. A reasonable attention to a good quality of alcohol, even at a slight increase in cost, will always pay, but, other things being equal, a good quality of oils in a poor quality of alcohol will give far better satisfaction than the opposite combination. The public is not composed of exacting connoisseurs, and it does not appreciate extreme care or expense in either particular. A good grade of alcohol, reasonably free from heavy and lingering foreign odors, will answer practically all the requirements.

Seeds, pods, bark rhizomes, etc., should be cut up in small pieces or powdered.

Perfumes improve by storing. It is a good plan to tie over the mouth of the containing vessel some fairly thick porous material, and to allow the vessel to stand for a week or two in a cool place, instead of corking at once.

It is perhaps unnecessary to add that as large a quantity as possible should be decanted, and then the residue filtered. This obviously prevents loss by evaporation. Talc or kieselguhr (amorphous SiO₂) are perhaps the best substances to add to the filter in order to render liquid perfumes bright and clear, and more especially necessary in the case of aromatic vinegars.

The operations involved in making perfumes are simple; the chief thing to be learned, perhaps, is to judge of the quality of materials.

The term “extract,” when used in most formulas, means an alcoholic solution of the odorous principles of certain flowers obtained by enfluerage; that is, the flowers are placed in contact with prepared grease which absorbs the odorous matter, and this grease is in turn macerated with alcohol which dissolves out the odor. A small portion of the grease is taken up also at ordinary temperatures; this is removed by filtering the “extract” while “chilled” by a freezing mixture. The extracts can be either purchased or made directly from the pomade (as the grease is called). To employ the latter method successfully some experience may be necessary.

The tinctures are made with 95 per cent deodorized alcohol, enough menstruum being added through the marc when filtering to bring the finished preparation to the measure of the menstruum originally taken.

The glycerine is intended to act as a “fixing” agent—that is, to lessen the volatility of the perfumes.

Tinctures For Perfumes.—

a. Ambergris, 1 part; alcohol, 96 per cent, 15 parts.

b. Benzoin, Sumatra, 1 part; alcohol, 96 per cent, 6 parts.

c. Musk, 1 part; distilled water, 25 parts; spirit, 96 per cent, 25 parts.

d. Musk, 1 part; spirit, 96 per cent, 50 parts; for very oleiferous compositions.

e. Peru balsam, 1 part in spirit, 96 per cent, 7 parts; shake vigorously.

f. Storax, 1 part in spirit, 96 per cent, 15 parts.

g. Powdered Tolu balsam, 1 part; spirit, 96 per cent, 6 parts.

h. Chopped Tonka beans, 1 part; spirit, 60 per cent, 6 parts; for compositions containing little oil.

i. Chopped Tonka beans, 1 part; spirit, 96 per cent, 6 parts; for compositions containing much oil.

j. Vanilla, 1 part; spirit, 60 per cent, 6 parts; for compositions containing little oil.

k. Vanilla, 1 part; spirit, 96 per cent, 6 parts; for compositions containing much oil.

l. Vanillin, 20 parts; spirit, 96 per cent, 4,500 parts.

m. Powdered orris root, 1 part; spirit, 96 per cent, 5 parts.

n. Grated civet, 1 part in spirit, 96 per cent, 10 parts.

Triturate the oils with the magnesium carbonate, gradually adding the other ingredients previously mixed, and filter.

The tincture of orange peel is used chiefly as a coloring for the mixture.

Oil of bay leaves as found in the market varies in quality. The most costly will presumably be found the best, and its use will not make the product expensive. It can be made from the best oil and deodorized alcohol and still sold at a moderate price with a good profit.

Especial care should be taken to use only perfectly fresh oil of orange peel. As is well known, this oil deteriorates rapidly on exposure to the air, acquiring an odor similar to that of turpentine. The oil should be kept in bottles of such size that when opened the contents can be all used in a short time. {514}

II.—Bay oil, 15 parts; sweet orange oil, 1 part; pimento oil, 1 part; spirit of wine, 1,000 parts; water, 750 parts; soap spirit or quillaia bark, ad libitum.

III.—Bay oil, 12.5 parts; sweet orange oil, 0.5 part; pimento oil, 0.5 part; spirit of wine, 200 parts; water, 2,800 parts; Jamaica rum essence, 75 parts; soap powder, 20 parts; quillaia extract, 5 parts; borax, 10 parts; use sugar color.

II.—The following is stated to be the “original” formula: