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Secrets
OF
WISE MEN, CHEMISTS
AND
Top doctors.
AND ACCOUNTANT’S REFEREE, PERPETUAL
DISK CALENDARS, ETC.
CHICAGO.
Copyright, 1889, —By— WM. K. DAVID. |
Bound in cloth, price...............................................................$1.25.
labor saving tables ever devised. The most original arithmetical
work published for centuries.
Elegantly bound in cloth and gilt, price....................................$1.50.
Elegant, heavy cardboard, price...............................................$0.50.
giving all dates for one hundred years.
Including double-wheel card calendar with explanation, price..$1.00.
PREFACE.
It is surprising how many large enterprises and fortunes depend upon some few simple trade secrets the knowledge of which has baffled competition and crushed all rivalry. The jealous care with which special information in trade and manufacture is guarded frequently renders it a monumental task to procure a single receipt or formula. Some idea, then, may be formed of the vast amount of labor and expense necessary to compile a work of this character. Books of recipes are quite numerous, but to the average person the good they contain is too often buried beneath a mass of wordy rubbish. In the preparation of this work the object has been to present all the best as well as the latest practical receipts, prescriptions, and trade secrets. Over a quarter of a million pages of patent-office reports, encyclopedias, trade journals, receipt books, and other special publications have been carefully scrutinized. To the knowledge obtained from them we include the original matter procured from tradesmen, chemists, and the published works and private practice of some of the most eminent physicians both in this country and Europe, a greater portion of which has never before appeared in print; all of which has been carefully tested where any doubt existed. It will be found that few, if any, misleading directions have been given. The prescriptions have been reproduced, after careful thought, in the form in which they were originally written. In having them filled patronize only honest and capable druggists. In testing the recipes follow the directions with rigid care, and practice on a small quantity of the article until you get it right. Realizing that perfection in anything has never been attained, yet we believe that the work contains more really practical information for use by the masses in every-day life than any similar publication.
It’s surprising how many large businesses and fortunes rely on just a few simple trade secrets that have baffled competitors and eliminated all rivalry. The intense protection of special information in trade and manufacturing often makes it incredibly difficult to obtain even a single recipe or formula. This gives you an idea of the immense labor and expense involved in compiling a work like this. There are many recipe books out there, but for the average reader, the useful information is often hidden beneath a pile of unnecessary words. In creating this work, the goal has been to present all the best and most current practical recipes, prescriptions, and trade secrets. Over a quarter of a million pages of patent office reports, encyclopedias, trade journals, recipe books, and other specialized publications have been thoroughly examined. Along with the knowledge gained from these sources, we also include original material provided by tradespeople, chemists, and the published works and private practices of some of the leading physicians both in this country and Europe, most of which has never been printed before; all of this has been carefully tested wherever there was any doubt. You will find that few, if any, misleading instructions have been included. The prescriptions have been reproduced, after careful consideration, in the form in which they were originally written. When having them filled, make sure to go to honest and skilled pharmacists. When testing the recipes, follow the instructions very carefully, and practice with a small amount of the product until you get it right. While we understand that perfection in anything has never been achieved, we believe that this work contains more genuinely practical information for everyday use by the general public than any similar publication.
Chicago, March, 1889. THE AUTHOR.
Chicago, March 1889. THE AUTHOR.
INDEX.
PAGE |
An Affordable Charcoal Grill48 |
Approximate Measurements116 |
Baking powder15 |
Best Bay Rum40 |
Dr. Hamilton's Blood Purifier120 |
Detox Tea121 |
Breath Remedy34 |
Butter Hue125 |
Taking Care of Your Teeth, Mouth, and Breath32 |
Cascara Liqueur120 |
Electric Catarrh Remedy121 |
Nasal Inhaler122 |
Cold Relief Salve122 |
Adhesives and Glue24 |
Armenian Adhesive24 |
Glutina Cement24 |
Iron Concrete25 |
Metal, Glass, and Stone Concrete25 |
Cement, Rubber123 |
Lotion for chapped hands, etc.39 |
Chilblains, Treatment42, 43 |
Fake Cider15 |
Cleaning Prep7 |
Lightning Grease Remover7 |
Glove cleaning solution7 |
Cleaning Dull Silverware8 |
Carpet Cleaning8 |
Universal Stain Remover Guide9 |
Cleaning Dirty Wallpaper12 |
Cleaning Marble and Headstones13 |
Window Cleaning Powder, etc.13 |
Cologne, Hoyt's German Beer41 |
Common Names of Chemicals117 |
Copying Paper, Magic6 |
Copying Pad, Gelatin1 |
Corn and Wart Ointment42 |
Corn Killer, German42 |
Extract Essential Oils17 |
Calamine Face Lotion39 |
Fire Extinguishers4 |
Launch Fire Grenades4 |
Fire Extinguishing Agents5 |
Fireproofing Compounds123, 124 |
Flavor extracts16 |
Foliotypes2 |
Get rid of freckles__A_TAG_PLACEHOLDER_0__ to 38 |
Freezing Mixtures__A_TAG_PLACEHOLDER_0__ to 71 |
Wood Finish13 |
Furniture Cleaner14 |
Gold and Silver Replicas32 |
Hair Serum41 |
Hair Growth Product, Pomade41 |
Hair Oil, Cream41 |
Hamlin's Wizard Oil119 |
Hectograph1 |
Swine Fever Cure125 |
Fake Honey14 |
How to Build an Incubator__A_TAG_PLACEHOLDER_0__ to 48 |
Ice Maker and Fridge64 |
Ice Houses, Inexpensive66 |
Cooler, Affordable69 |
Ice Without a Fridge69 |
Inks20 |
Black Ink20, 21 |
Debt21 |
Violet Ink21 |
Blue ink21 |
Green Ink21 |
Copying Ink21 |
Permanent Ink22 |
Hektograph Ink22 |
White Ink22 |
Stamp Ink22 |
Ribbon Ink22 |
Marker Ink22 |
Permanent Ink22 |
Gold and Silver Ink124 |
Metal Marking Ink23 |
Ink Powders23 |
Vanishing Ink23 |
Invisible Inks23 |
Ink Eraser Fluid24 |
Kidney and Liver Cure, Warner’s Safe121 |
Artificial Lemonade Syrup15 |
Ointments119 |
Wonder Liniment119 |
Liquid Lightning Liniment119 |
Rarey’s Horse Liniment125 |
Lip Balm39 |
Liver Manager120 |
Nail Dip Powder40 |
Nail Care Balm40 |
Fake Maple Syrup14 |
Artificial Maple Syrup14 |
Mead, Authentic New Orleans15 |
Medical Department—Prescriptions from renowned physicians, organized and revised by F. V. Luse, M.D., Chicago, IL. Diseases are listed alphabetically. Authorities referenced include: Agnew, Atthill, Bartholow, Basham, Beasley, Bibron, Browne, Brown-Séquard, Chapman, Da Costa, Dewees, Ellis, Fenner, Gerhard, Getchell, Gross, Guy, Hartshorne, Hazard, Hebra, Keyes, Liebreich, Luse, Mackenzie, Milton, Mitchell, Pancoast, Porcher, Ricord, Ringer, Schafhirt, Smith, Squibbs, Tanner, Thornton, Trousseau, Waring.103 |
Medicated Wipes118 |
Liver Pâté118 |
Kidney Pillow118 |
Lung Cushion118 |
Merchant's Gargling Oil120 |
Mexican Mustang Muscle Rub120 |
Metal and Glass Secrets28 |
Steel Hardening Composition28 |
Steel Hardening Composition28 |
Softening metal28 |
Restoring Burnt Steel29 |
Welding cast steel29 |
To Drill Tough Steel29 |
To Drill Holes in Cast Iron29 |
To Solder Ferrules for Tool Handles29 |
Soldering Without a Soldering Tool29 |
Cleaning gun barrels29 |
To Re-Sharpen Old Files30 |
Fixing Tinware at Home30 |
Best Way to Sharpen Razors30 |
Razor strop paste30 |
Cutting ovals, etc., on glass30 |
Glass Engraving30 |
To Drill and Decorate Glass31 |
Remove Moles38 |
Paints26 |
Long-lasting Roof Paint26, 27 |
Chalkboard Paint27 |
Getting Rid of Paint Smell27 |
Stripping Paint27 |
Pastes25 |
Paste for wallpaper25 |
Label to Paste on Tin25 |
Attaching Fabric or Leather to Wood25 |
Perry Davis' Pain Relief119 |
Sweat Powder42 |
Phrases and Abbreviations Used in Prescriptions114, 115 |
Acne Treatment Lotion40 |
Plating Without a Battery31 |
Silver Plating Solution31 |
Silver Powder31 |
Gold Plating Liquid31 |
Nickel-plated Iron31 |
Polishing Prep12 |
Polishing Powder12 |
Polishing Pastes and Balls13 |
Preservative Chemicals49 |
Barff’s Boroglyceride__A_TAG_PLACEHOLDER_0__ to 57 |
Fickett's Preservative Solution57 |
Howard’s Preservative Solution58 |
Saving Butter, Lard, etc.58 |
Corwin's Preservation Compound59 |
Juice Preservatives59 |
Smoke or Vape Preserving Compounds60 |
Salicylic Acid as a Preservative__A_TAG_PLACEHOLDER_0__ to 64 |
Radway's Instant Relief120 |
Red Noses, Prep for39 |
Rose Water, Premium40 |
Rubber Repair123 |
Rubber Stamps: How to Make17 |
Sea Foam, Quillaja41 |
Clifford’s Shampoo Compound41 |
Shirts: How to Iron10 |
Silos and Silage__A_TAG_PLACEHOLDER_0__ to 84 |
Stage Magic85 |
The Three-Headed Woman__A_TAG_PLACEHOLDER_0__ to 87 |
The Mysterious Voice__A_TAG_PLACEHOLDER_0__ to 89 |
Enhanced Psycho__A_TAG_PLACEHOLDER_0__ to 92 |
Magic Cabinets, Boxes, etc.__A_TAG_PLACEHOLDER_0__ to 96 |
The Swinging Half Woman__A_TAG_PLACEHOLDER_0__ to 98 |
Aerial Suspension__A_TAG_PLACEHOLDER_0__ to 100 |
The Ghost Illusion__A_TAG_PLACEHOLDER_0__ to 102 |
Stamping Designs6 |
Get Rid of Sunburn36 |
Symbols or Signs Used in Prescriptions114 |
Table for Calculating the Duration of Pregnancy116 |
Table to Help Beginners Prescribe Liquids116 |
Bathroom Prep39 |
Toothache Relief Drops34 |
Best Tooth Powder33 |
Cherry Toothpaste34 |
Toothpaste, antiseptic34 |
Transferring photos6 |
Transferring Embroidery Designs7 |
Moving Leaves7 |
Pest Control Experts19 |
Phosphorus Powder19 |
Roach and Moth Pest Control19 |
Moth repellent powder19 |
Bedbug Spray20 |
Poisonous Fly Paper20 |
Sticky Fly Trap20 |
Bug Repellent20 |
Liebig's Washing Liquid10 |
Liquid Bluing11 |
Washing soaps, family11 |
Best Liquid Soap11 |
Lard-based Hard Soap11 |
White Soap with Tallow12 |
Water Baths72, 73 |
Waterproof Cloth and Canvas123 |
Whitewash, Bright Stucco26 |
Wood Stains27 |
Rosewood Stain27 |
Blackening Wood27 |
Cedar Imitation28 |
Wood Hard Coating28 |
Worcestershire Sauce125 |
PART I.—MISCELLANEOUS.
Gelatine Copying Pad.
[HEKTOGRAPH.]
[HEKTOGRAPH.]
By this process a letter, postal card, drawing, or other manuscript can be duplicated from sixty to one hundred times from one original. Reproductions from the copying pad are now admitted in the mails as third-class matter, i. e., one cent for every two ounces or fraction thereof. A soft, gelatinous composition, similar to that used in making printers’ rollers, is made and poured into shallow pans of the required size. The pans should be made of stout zinc one-half inch deep on the inside, with a lid or cover. The length and breadth of the pans is determined by the class of copying to be done. Always make the pan slightly larger than the paper used. The three sizes given below will answer most purposes:
By this method, a letter, postcard, drawing, or any other document can be copied sixty to one hundred times from a single original. Reproductions from the copying pad are now accepted in the mail as third-class matter, which means it costs one cent for every two ounces or any fraction of that. A soft, gummy mix, similar to what's used for making printer rollers, is prepared and poured into shallow pans of the needed size. The pans should be made of sturdy zinc, half an inch deep on the inside, with a cover. The dimensions of the pans are based on the type of copying being done. Always make the pan slightly larger than the paper being used. The three sizes listed below will cover most needs:
Postcard size4x6 | inches. |
Notebook paper size6 1/2 × 10 | inches. |
Letter size9x12 | inches. |
The composition is made as follows:
The composition is made as follows:
Strong adhesive4 | ounces av. |
Glycerin16 | ounces av. |
Water8 | fluid ounces. |
Break up the glue and soak in the water for a few hours, then heat by water-bath until melted. Next add the glycerine and heat together for some time to evaporate part of the water, and then strain into the pan, which should be placed perfectly level and filled about two-thirds full; skim with a card to free from bubbles, and set away to cool. An improvement consists in adding one ounce of carbonate of barium to the fluid while warm. The composition should be made somewhat softer for winter use than for summer, which can be done by adding a little larger proportion of glycerine. Another way to make the composition is to soak over night in cold water best gelatine or glue 1 part, and the excess of water poured off. The glue is then warmed in a water-bath with the addition of from 10 to 12 parts of glycerine, to which may be added 4 to 6 parts of finely ground heavy spar, and one part dextrine thoroughly mixed by constant stirring. (In summer less glycerine.)
Break up the glue and soak it in water for a few hours, then heat it in a water bath until it melts. Next, add the glycerine and heat the mixture together for a while to evaporate some of the water, then strain it into a pan that is perfectly level and filled about two-thirds full; skim off the bubbles with a card, and set it aside to cool. An improvement is to add one ounce of barium carbonate to the mixture while it’s warm. The composition should be a bit softer for winter use than for summer, which can be done by adding a slightly larger amount of glycerine. Another way to prepare the mixture is to soak one part of gelatine or glue overnight in cold water, then pour off the excess water. The glue is then warmed in a water bath with the addition of 10 to 12 parts of glycerine, to which you can add 4 to 6 parts of finely ground heavy spar, and one part of dextrine, thoroughly mixing by stirring constantly. (In summer, use less glycerine.)
The letter or sketch to be duplicated is written on a sheet of paper with ink specially prepared for the purpose (see inks). For the original it is best to use smooth, well-sized writing paper, allowing the ink to dry without using a blotter. After writing the original place it face downward on the pad, and rub it gently with the hand to insure contact at every point. Let it remain from two to six minutes, according to the number of copies you wish to print. In cold weather it should be left longer, as it requires more time for the composition to absorb the ink. Remove the original carefully, and a reversed impression will be observed on the pad. To take off copies lay dry sheets of paper on the reversed impression, press gently, and remove quickly.
The letter or sketch that you want to duplicate is written on a sheet of paper using specially prepared ink (see inks). For the original, it’s best to use smooth, high-quality writing paper so that the ink dries without needing a blotter. After writing the original, place it face down on the pad and gently rub it with your hand to ensure contact at every point. Let it sit for two to six minutes, depending on how many copies you want to make. In cold weather, leave it longer, as the composition takes more time to absorb the ink. Carefully remove the original, and you'll see a reversed impression on the pad. To make copies, lay dry sheets of paper over the reversed impression, press gently, and remove quickly.
When you have taken all the copies you require wash the ink from the surface at once with a sponge and plenty of lukewarm water; never use hot water. The surface of the composition will allow considerable rubbing without fear of tearing it, if not done roughly and carelessly. Be sure your sponge is free from sand and grit, and also avoid scratching with the finger nails. Always wash the surface with a sponge before using, and dry with a newspaper. In cold weather if the composition feels chilled it will not absorb the ink properly, and the copies will be faint unless it be carefully warmed to a moderate temperature. Attention to these details will produce the most gratifying results.
When you’ve made all the copies you need, wash the ink off the surface immediately with a sponge and plenty of lukewarm water; never use hot water. The surface of the composition can handle a good amount of rubbing without tearing, as long as you’re gentle and careful. Make sure your sponge is free of sand and grit, and avoid scratching with your fingernails. Always wash the surface with a sponge before using it, and dry it with a newspaper. In cold weather, if the composition feels cold, it won’t absorb the ink properly, and the copies will turn out faint unless you warm it up to a moderate temperature. Paying attention to these details will give you the best results.
Foliotypes.
Horace M. Engle, Esq., of Marietta, Pa., has devised a method of taking leaf-prints of marked beauty, which he terms “foliotypes,” some specimens of which he sent to Dr. Gray, the eminent botanist, who pronounced the process a new way, and advised him to send an account of it to the Botanical Gazette, which he generously did. We have employed the method according to the explanation there given (which we reprint in full) with the most delightful results, having secured prints of some beautiful leaves which are faithful to nature in color and outline, with all their delicate tracery: “The method is of actual usefulness to the botanist, as well as a refining recreation for others who love Nature ‘on general principles.’ For illustrating monographs and similar papers, where the number is too limited to warrant an expensive lithograph; for identifying a rare specimen, or as an adjunct to an herbarium, combining portability, unalterability, and beauty withal the method seems particularly fitted. But aside from this others may find a delightful and instructive recreation in taking prints of the entire flora of the old farm, the trees of a certain grove, the native annuals of a county, the ferns of a State, or any other special field that seems most inviting. Such copies may be taken in a blank book suited to the purpose, or, better, take them on single sheets of uniform size, as in this way imperfect copies may be thrown out, and when the work is completed they may be named, classified, and bound, making a volume of real value and worthy of just pride.
Horace M. Engle, Esq., from Marietta, Pa., has created a method for taking leaf prints of remarkable beauty, which he calls “foliotypes.” He sent some samples to Dr. Gray, the distinguished botanist, who recognized the process as innovative and recommended that Engle submit an account of it to the Botanical Gazette, which he kindly did. We have used the method as outlined in that article (which we are reprinting in full) with wonderful results, capturing prints of some stunning leaves that accurately reflect their natural colors and shapes, along with all their intricate details. “This method is genuinely useful for botanists and provides a refined hobby for anyone who appreciates Nature ‘in general.’ It’s great for illustrating monographs and similar documents where the quantity is too small to justify an expensive lithograph; it’s helpful for identifying rare specimens, or as a valuable addition to an herbarium, offering portability, permanence, and beauty. Additionally, others might find joy and educational value in taking prints of the whole flora of an old farm, the trees of a specific grove, the native annuals of a county, the ferns of a State, or any other appealing area. These copies can be collected in a blank book designed for this purpose, or preferably, on single sheets of uniform size. This way, any imperfect copies can be discarded, and once the work is done, they can be labeled, categorized, and bound, creating a volume of genuine worth and a source of pride.
“The process consists in using the leaf for producing an impression as a printer uses type, the ink being green, and the pressure applied either by hand or with a press. There will be needed for the work (1) a small ink roller such as printers use for inking type by hand in taking proofs; (2) a stout window glass (10×12 is a good size) fastened securely (not glued, as it may warp and break,) to an evenly planed board about twice its surface, say 10×24. A small quantity of the ink is put on the glass and spread with a knife, after which it is distributed evenly by going over in all directions with the ink roller. When this has been carefully done the leaf to be copied is laid on a piece of waste paper and inked by applying the roller once or more with moderate pressure. This leaves a film of ink on the veins and network of the leaf, which should then be placed on a piece of blank paper and considerable pressure applied for a few moments. When the leaf is removed from the paper the work is done.
“The process involves using the leaf to create an impression, just like a printer uses type, with green ink and pressure applied either by hand or with a press. You'll need (1) a small ink roller similar to what printers use for inking type by hand when taking proofs; (2) a sturdy piece of window glass (10x12 is a good size) securely fastened (not glued, as it may warp and break) to an evenly planed board about twice its surface, say 10x24. A small amount of ink is placed on the glass and spread with a knife, then evenly distributed by rolling the ink roller in all directions. Once this is done carefully, the leaf to be copied is laid on a piece of waste paper and inked by rolling the ink roller over it with moderate pressure. This transfers a film of ink onto the veins and network of the leaf, which should then be placed on a piece of blank paper with considerable pressure applied for a few moments. When the leaf is removed from the paper, the process is complete.”
“To get the best results several points must be carefully noted. Get a quarter or half a pound of dark green ink, which is put up in collapsible tubes costing from fifty cents to $2 per pound, according to quality. As sold it is invariably too thick for this purpose, and should be thinned by adding several drops of balsam of copaiba to as much ink as may be taken on a salt spoon. Much depends on the proper consistency of the ink. In inking the leaf is liable to curl on the roller, but it should part readily from it. In case it sticks tightly the ink is too thick. Take care that the ink is evenly distributed on the glass and roller, as it is essential that each part of the leaf receives an equal coating of ink. If the leaf is large ink it part by part, keeping the roller well supplied. A roller three inches long, costing forty cents, will answer for all small leaves and branches of plants. Clean the roller and glass with benzine after using. If the leaf is finely veined the lower surface makes the better print, but if the veins are coarse and large the upper surface may be used. If the specimen is fleshy or brittle allow it to wilt until it becomes more pliable, or if necessary it may be pressed and dried first. In most cases the best copy is obtained after taking one or two impressions, as the leaf takes the ink better after several applications. A good quality of unsized paper that is made slightly damp by placing between sheets of moist newspaper is best for general work, but in other cases well sized paper will take a copy that will allow a foliotype (may I coin the word?) to bear inspection side by side with a good lithograph. I find a copying press very valuable in making the impression, especially if the leaf is at all coriaceous. If it be soft it should be covered with a few thicknesses of newspaper. If it is irregular in thickness, paper may be laid over the thin parts, so that equal pressure is received. This is necessary with all leaves that have thick stems. If the branch is very irregular or delicate, or in the absence of a press of any kind, the specimen may be covered with several layers of paper, and held in place by one hand while the pressure is applied by the thumb or palm of the other hand as required.
“To get the best results, pay attention to several important points. Start with a quarter or half a pound of dark green ink, which comes in collapsible tubes priced between fifty cents and $2 per pound, depending on the quality. When you buy it, the ink is usually too thick for our purpose, so you need to thin it by adding a few drops of balsam of copaiba to the amount you can scoop on a salt spoon. The right consistency of the ink is crucial. When inking the leaf, it might curl on the roller, but it should come off easily. If it sticks hard, the ink is too thick. Make sure the ink is evenly spread on the glass and roller, because it’s essential that every part of the leaf gets the same amount of ink. For larger leaves, ink them section by section while keeping the roller well supplied. A three-inch roller, costing forty cents, will work well for all small leaves and plant branches. Clean the roller and glass with benzene after use. If the leaf has fine veins, the lower side will print better, but if the veins are coarse and large, you can use the upper side. If the specimen is fleshy or brittle, let it wilt until it becomes more flexible, or you may need to press and dry it first. Typically, the best result comes after taking one or two impressions, as the leaf absorbs the ink better after several applications. Good quality unsized paper, slightly dampened by placing it between sheets of moist newspaper, works best for general purposes. In some cases, well-sized paper will produce a copy that can be compared side by side with a good lithograph (can I make up that word?). I find a copying press really helpful for making the impression, especially if the leaf is somewhat leathery. If it’s soft, cover it with a few layers of newspaper. For areas that are uneven in thickness, place paper over the thinner sections to ensure equal pressure. This is necessary for all leaves with thick stems. If the branch is particularly irregular or delicate, or if you don’t have any press at all, cover the specimen with several layers of paper and hold it in place with one hand while you apply pressure with your thumb or palm from the other hand as needed.
“These particulars are as complete as practicable. Experiments will lead to many improvements in details. Employ tact and neatness, and you will be surprised at the result.”
“These details are as complete as possible. Experiments will lead to many improvements in specifics. Use tact and neatness, and you'll be surprised by the outcome.”
Fire-Extinguishers.
Hand Grenades.
Prof. F. S. Kedzie of the Michigan State Agricultural College, after a series of analyses and experiments, draws some important conclusions as to the value of hand-grenades, in a paper which he publishes in the Chicago Sanitary News. A Harden hand-grenade was opened, and the solution contained qualitatively analyzed. It consisted of common salt, sulphate of lime, and a small amount of acetate of soda. The principal ingredient was common salt.
Prof. F. S. Kedzie from Michigan State Agricultural College, after conducting a series of analyses and experiments, reaches some significant conclusions about the effectiveness of hand grenades in a paper published in the Chicago Sanitary News. A Harden hand grenade was opened, and the solution was qualitatively analyzed. It contained common salt, gypsum, and a small amount of sodium acetate. The main ingredient was common salt.
The effort was made to determine (1) whether the solution in the grenades had any more extinguishing power than water; (2) if the solution had extinguishing power greater than water, what was the essential ingredient in the solution. The question that first arose regarding the composition of the grenades was: Did they contain carbon dioxide gas or any substance that would give up the gas by being heated? Opening the grenades under water and collecting the gas that escaped it was found that the average amount of carbon dioxide contained was about one cubic inch per grenade. Boiling the solution liberated a slight amount of gas in addition; but altogether the gas was not enough to be of any practical benefit in extinguishing fire. It was then certain that the extinguishing power was in the solution itself. Replacing the solution in the grenade with pure water the extinguishing power, while greater than water thrown from a dish upon flaming boards, was still much less than the power exerted by the solution.
The goal was to find out (1) whether the liquid in the grenades was more effective at putting out fires than water; (2) if it was more effective, what the key ingredient in the liquid was. The first question about the grenades' composition was: Did they have carbon dioxide gas or any substance that could release gas when heated? When the grenades were opened under water and the escaping gas was collected, it was found that each grenade contained about one cubic inch of carbon dioxide on average. Boiling the liquid released a small amount of additional gas, but altogether, the gas produced was not enough to be practically useful for extinguishing fires. It was clear that the extinguishing ability came from the liquid itself. When the liquid in the grenade was replaced with pure water, its fire-extinguishing power, while greater than water splashed from a dish onto burning wood, was still much less than that of the original liquid.
By a careful series of trials it was found that the essential ingredient was common salt. From a number of experiments it was found that when a grenade, or a bottle containing a strong brine, was broken in the midst of the burning kerosene the flames were almost instantly extinguished. A vapor seemed to spread in all directions from where the salt solution struck the board, extinguishing the flame as it went. Strong solutions were also made of sulphate of soda, hyposulphite of soda, borax (biborate of soda), and bicarbonate of soda and tried as fire extinguishers. Some worked as well, but none any better, than common salt in extinguishing fire. The experiment was then made of charging the bottles with brine and generating carbon dioxide by adding lime dust and sulphuric acid and corking tightly. No practical increase in extinguishing power from this addition was noticed. In most instances the carbon dioxide gas escaped from the bottles inside of four days, proving that it is impracticable to attempt to use glass vessels with corks as a means of storing CO2 under pressure for fire extinguishing.
Through a careful series of tests, it was discovered that the key ingredient was common salt. Various experiments showed that when a grenade or a bottle filled with strong brine was broken amidst the burning kerosene, the flames were almost instantly extinguished. A vapor seemed to spread in all directions from the point where the salt solution hit the surface, putting out the fire as it spread. Strong solutions of sodium sulfate, sodium hyposulfite, borax (sodium borate), and sodium bicarbonate were also created and tested as fire extinguishers. Some worked as well, but none were more effective than common salt in putting out fires. An experiment was then conducted to fill the bottles with brine and generate carbon dioxide by adding lime dust and sulfuric acid, sealing them tightly. However, no practical improvement in extinguishing power was observed from this addition. In most cases, the carbon dioxide gas escaped from the bottles within four days, showing that it's impractical to use glass containers with corks to store CO2 under pressure for fire extinguishing.
The conclusion reached from these and many more experiments was that the Harden grenade solution possesses much greater extinguishing power than water alone, and that it owed this power to common salt held in solution. We then constructed some home-made grenades, using flat bottles bound together side by side with wire. Using two bottles in this way insures their being broken in striking the burning body, which would not always occur when only one bottle is used. Bottles thus charged with brine and bound together were broken side by side with the Harden grenades and found to be equally valuable.
The conclusion from these and many other experiments was that the Harden grenade solution has much greater extinguishing power than water alone, and this power comes from the common salt dissolved in it. We then made some homemade grenades using flat bottles tied together with wire. Using two bottles in this way ensures they break upon hitting the burning object, which wouldn’t always happen with just one bottle. Bottles filled with brine and tied together were broken alongside the Harden grenades and were found to be just as effective.
It thus appears from the experiment that any person can construct as good and effective grenades as those offered in the market at $7 and $10 per dozen. Bottles filled with brine and placed around the premises will afford considerable protection, especially when used upon the flames when the fire just begins. Salt solutions have the further advantage of not being easily frozen—never enough to burst the bottles.
It seems from the experiment that anyone can make grenades as good and effective as the ones sold on the market for $7 and $10 per dozen. Bottles filled with brine, placed around the area, can provide significant protection, especially when used on flames at the start of a fire. Salt solutions also have the added benefit of not freezing easily—never enough to break the bottles.
The Lewis hand fire-extinguisher was next investigated. This consists of a tin tube about two feet long containing thirty-four fluid ounces of soda in weak caustic ammonia. From the trials made we could not notice any appreciable superiority over the salt solution as used in the Harden grenade. It has the disadvantage of not being made to break by being thrown, but must be opened by having a cork extracted from one end of the tube, requiring a smart jerk. The solution is then sprinkled on the fire by the operator.
The Lewis hand fire extinguisher was examined next. It’s a tin cylinder about two feet long that holds thirty-four fluid ounces of soda mixed with diluted caustic ammonia. From the tests we conducted, we didn’t see any significant advantage over the salt solution used in the Harden grenade. One downside is that it doesn’t break upon impact when thrown; instead, it has to be used by removing a cork from one end of the tube, which requires a quick pull. The operator then sprinkles the solution onto the fire.
We herewith append a number of fire-extinguishing compounds, all of which are highly recommended by various authorities:
We are attaching several fire-extinguishing compounds, all of which come highly recommended by various experts:
Munich Fire-Extinguishing Powder.
Table salt43 | per cent. |
Alumni19.5 | per cent. |
Glauber's salt5.1 | per cent. |
Soft drink3.5 | per cent. |
Water glass6.6 | per cent. |
Water22.3 | per cent. |
Richardson’s Fire-Extinguishing Powder.
Grad4 1/2 | pounds. |
Table salt10 | pounds. |
Glauber's salt1 | pound. |
Soft drink1 | pound. |
Water glass1 1/2 | pounds. |
Vienna Fire-Extinguishing Powder.
Iron(II) sulfate4 | parts. |
Ammonium sulfate16 | parts. |
Water100 | parts. |
Proteau’s Fire-Extinguishing Powder.
Baking soda8 | pounds. |
Alumnus4 | pounds. |
Boric acid3 | pounds. |
Potassium carbonate1 | pound. |
Sodium silicate solution24 | pounds. |
Mix thoroughly and add 1 12 pounds of this mixture to each gallon of water, when required.
Mix well and add 1/2 pounds of this mixture to each gallon of water when needed.
Transferring Photographs.
[ON GLASS.]
[ON GLASS.]
This beautiful and valuable process of transferring photographs in plain or colored work has been taught at high prices under various high-sounding names, such as “Roman art,” etc. Photographs can be transferred and preserved for years which would have been soiled, faded, and ruined if allowed to remain on the card.
This amazing and valuable process of transferring photos in plain or colored work has been taught at high prices under various fancy names, like “Roman art,” etc. Photos can be transferred and preserved for years that would have gotten dirty, faded, and ruined if left on the card.
Separate the paper print from the background or card by steaming it, after which dry thoroughly. Warm the glass slightly and coat evenly with balsam or negative varnish and place the print face downward on the surface thus prepared. After smoothing it carefully set away in a cool place until the varnish has hardened. Then apply water, and with a soft piece of gum rubber rub off the paper so as to leave the photographic image on the varnished glass.
Separate the paper print from the background or card by steaming it, then dry it thoroughly. Warm the glass slightly and coat it evenly with balsam or negative varnish, then place the print face down on the prepared surface. After smoothing it out carefully, set it aside in a cool place until the varnish hardens. Then apply water, and use a soft piece of gum rubber to gently rub off the paper, leaving the photographic image on the varnished glass.
Stamping Patterns.
Draw the pattern upon heavy paper and perforate with small holes all the lines with the point of some sharp instrument, dust the following powder through the perforations, remove the pattern and pass a warm iron over the fabric, when the pattern will become fixed. Any desired color can be used, such as Prussian blue, chrome green, yellow, vermilion, etc.:
Draw the pattern on thick paper and punch small holes along all the lines using a sharp tool. Sprinkle the following powder through the holes, take away the pattern, and run a warm iron over the fabric, which will set the pattern. You can use any color you want, like Prussian blue, chrome green, yellow, vermilion, etc.:
Fine white rosin2 | ounces. |
Gum sandarac4 | ounces. |
Color2 | ounces. |
Powder very fine, mix, and pass through a sieve.
Powder it very fine, mix it, and pass it through a sieve.
Magic Paper.
[FOR TRANSFERRING AND COPYING.]
[FOR TRANSFERRING AND COPYING.]
This paper is really a valuable article, and is manufactured and sold under various names, such as the “stylograph,” “rapid copying process,” etc. It is used principally by salesmen in keeping a record of their sales, as three copies can be taken simultaneously with one writing. In this way traveling salesmen can with one writing give a copy of his sale to his customer (which is frequently demanded), another he can send to his firm, and retain the third one for his own use. It is used in a similar manner in nearly all the large stores, and by many individuals in their business correspondence. It is also valuable for transferring figures in embroidery and taking impressions of leaves for herbariums, etc., which it does beautifully, but for the latter purpose nothing equals the foliotype method previously explained.
This paper is actually a really useful article, and it’s produced and sold under various names, like “stylograph,” “rapid copying process,” and so on. It’s mainly used by salespeople to keep track of their sales, as three copies can be made at once with one writing. This way, traveling salespeople can, with one writing, provide a copy of the sale to their customer (which is often requested), send another to their company, and keep the third for their own records. It’s used in a similar way at most large stores and by many individuals in their business correspondence. It’s also great for copying designs in embroidery and for making impressions of leaves for herbariums, etc., which it does really well, but for that last purpose, nothing beats the foliotype method explained earlier.
The paper is made by mixing pure lard or sweet oil to the consistence of cream with either of the following paints, the color of which is desired: Prussian blue, lamp black, Venetian red, or chrome green, either of which should be rubbed with a knife on a plate or flat surface until smooth. Use rather thin but firm paper; put on with a sponge and wipe off as dry as possible. Lay the sheets between uncolored paper or newspaper, and press by laying books or some other flat substance upon them until the surplus oil is absorbed, when it is ready for use.
The paper is created by mixing pure lard or sweet oil to a creamy consistency with any of the following paints, depending on the desired color: Prussian blue, lamp black, Venetian red, or chrome green. These should be smoothed out with a knife on a plate or flat surface. Use fairly thin but sturdy paper; apply the mixture with a sponge and wipe off as much as possible. Place the sheets between uncolored paper or newspapers and press down by placing books or another flat object on top until the excess oil is absorbed, at which point it's ready to use.
For Copying Letters and Orders.—Either two or three copies can be made at one time, as desired. To make two copies place a sheet of the magic paper between the two sheets selected for the order, bill, or letter, and write upon the upper sheet with a hard lead pencil (the harder the lead the cleaner the copy). It is best to place a piece of hard cardboard under all the sheets while writing.
For Copying Letters and Orders.—You can make either two or three copies at once, depending on your needs. To create two copies, place a sheet of the special paper between the two sheets chosen for the order, bill, or letter, and write on the top sheet using a hard lead pencil (the harder the lead, the clearer the copy). It's a good idea to place a piece of hard cardboard underneath all the sheets while you write.
To make three copies use two sheets of magic paper, placing one between the first and second leaves and the other between the second and third leaves. Proceed as in taking two copies by writing upon the top leaf. A stout, thin linen paper will produce the best results, but almost any kind will do.
To make three copies, use two sheets of special paper, putting one between the first and second pages and the other between the second and third pages. Follow the same process as when taking two copies by writing on the top page. Thick, thin linen paper will give you the best results, but nearly any type will work.
To Transfer Embroidery Patterns.—Place a piece of thin paper over the embroidery to prevent soiling; then lay on the magic paper and put on the cloth you wish to take the copy on to embroider; pin fast and rub over with a spoon-handle, and every part of the raised figure will show upon the plain cloth.
To Transfer Embroidery Designs.—Put a piece of thin paper over the embroidery to keep it clean; then lay the magic paper on top and place the cloth you want to copy the design onto for embroidery. Pin it securely and rub over it with the handle of a spoon, and every part of the raised design will imprint onto the plain cloth.
To Take Impressions of Leaves.—Place the leaf between two sheets of the magic paper and rub it over hard; then take the leaf out and place it between two sheets of white paper; rub again, and you will have a beautiful impression of both sides of the leaf or flower.
To Make Leaf Impressions.—Put the leaf between two sheets of special paper and rub it vigorously; then remove the leaf and put it between two sheets of white paper; rub again, and you'll get a lovely impression of both sides of the leaf or flower.
Cleaning Preparations.
Lightning Grease Renovator.
An excellent general preparation for removing grease, paint, etc.
An excellent overall solution for getting rid of grease, paint, and more.
Finely cut Castile soap4 | ounces. |
Boiling water1 | quart. |
Dissolve, after which add and mix thoroughly,
Dissolve, then add and mix well,
Ammonium hydroxide4 | ounces. |
Ether1 | ounce. |
Glycerin1 | ounce. |
Alcohol1 | ounce. |
Water1 | quart. |
An elegant general preparation for cleaning gloves, silks, etc., is made as follows:
An elegant general preparation for cleaning gloves, silks, etc., is made as follows:
Deodorized gas1 | pint. |
Alcohol, chloroform, and ether, each 12 | fluid ounce. |
Mix, and perfume with cologne, lavender, or any desired odor. Do not use near a flame.
Mix and scent with cologne, lavender, or any fragrance you prefer. Keep away from flames.
“Gantein” for Cleansing Gloves.—The preparation sold under this name is made as follows: Dissolve 6 parts of soap in 2 parts of water; add 4 parts of bleaching liquor and 14 part of aqua ammonia. Rub the gloves with the fluid until clean.
"Gantein" for cleaning gloves.—The product sold under this name is made like this: Dissolve 6 parts of soap in 2 parts of water; add 4 parts of bleach and 14 part of ammonia. Rub the gloves with the solution until they're clean.
Cleaning Tarnished Silverware.
[IN USE BY ALL LEADING JEWELERS.]
[IN USE BY ALL LEADING JEWELERS.]
Potassium cyanide3 | ounces. |
Soft water2 | gallons. |
Mix and dissolve. Label it “poison,” and place out of the reach of children. Have the article clean and free from grease; dip in solution till tarnish is off, but no longer (and under no circumstances leave it in too long). After immersion the article must be taken out and thoroughly rinsed in a number of waters (warm preferred), then dried with a soft rag or sawdust.
Mix and dissolve. Label it “poison,” and keep it away from children. Make sure the item is clean and grease-free; dip it in the solution until the tarnish is gone, but don’t leave it in any longer than that (and definitely don't leave it in for too long). After dipping, take the item out and rinse it thoroughly in several waters (warm is preferred), then dry it with a soft cloth or sawdust.
Another method, which is safe and cheap, consists in using a saturated solution of hyposulphite of soda to which a little bolted whiting has been added. Apply with a brush or cloth until the tarnish is removed.
Another method, which is safe and inexpensive, involves using a saturated solution of sodium hyposulfite with a bit of sifted chalk added. Apply it with a brush or cloth until the tarnish is gone.
Clark’s Wash for Carpets.
Solution 1.—Dissolve 10 parts of soap in 20 of water, and add 3 12 parts of soda and one-half part of liquid ammonia and spirit of wine.
Solution 1.—Dissolve 10 parts of soap in 20 parts of water, then add 3 1/2 parts of soda, along with half a part of liquid ammonia and alcohol.
Solution 2.—Is the actual cleansing liquid, and consists of 4 parts of liquid ammonia and 3 of alcohol diluted with water.
Solution 2.—Is the actual cleansing liquid, and consists of 4 parts liquid ammonia and 3 parts alcohol mixed with water.
The last solution is first used, and when the dirt loosened by it has been removed the soap solution is applied. Carpets thus treated regain their original colors in all their freshness, the entire operation of washing and drying a large carpet requiring but two hours, and the carpet need not be taken up.
The last solution is used first, and after the dirt it loosens is removed, the soap solution is applied. Carpets treated this way regain their original colors in all their brightness, with the entire washing and drying process for a large carpet taking only two hours, and the carpet doesn’t need to be lifted.
Universal Stain Table.
Showing at a glance what means to employ in removing any kind of stain from any kind of fabric. Red acid stains are destroyed by ammonia, followed by thorough washing with water. Burn stains of nitric acid are permanent. Great care must be observed when ether and benzine are used. Keep the open bottle and the fabric being cleaned away from an open fire or blaze. The ether especially is so volatile that an open bottle will take fire from a gas-jet or blaze several feet away if the draft is right. You cannot be too careful.
Showing at a glance what methods to use for removing any type of stain from any kind of fabric. Red acid stains can be eliminated with ammonia, followed by a thorough rinse with water. Burn stains from nitric acid are permanent. Extreme caution must be taken when using ether and benzene. Keep the open bottle and the fabric being cleaned away from any open flames or fires. Ether is particularly volatile; an open bottle can catch fire from a gas jet or flame several feet away if the airflow is right. You can't be too careful.
UNIVERSAL STAIN-REMOVING TABLE.
TYPE OF STAIN. | From Linen. | Colored fabrics. | Silk. | |
Cotton. | Wool. | |||
Sugar, gelatine, blood, albumen. | Washing simply in water. | |||
Fat | Soap-water, alkaline lyes. | Tepid soap-water. | Soap-water, spirit sal-ammoniac. | Benzine, ether, spirit of sal-ammoniac, potash, magnesia, chalk, yolk of egg. |
Varnish and oil-paint. | Oil of turpentine, benzine, and finally soap. | Benzine, ether, soap; careful rubbing. | ||
Stearine. | Alcohol of 95 per cent. | |||
Vegetable colors, red wine, fruits, red ink. | Sulphurous vapors, warm chlorine water. | Washing in warm soap-water or liquid ammonia. | As above, rubbing gently and carefully. | |
Alizarine ink. | Tartaric acid; the older the stain the more concentrated the solution. | Diluted solution of tartaric acid, if the fabric permits. | As above. | |
Rust and gall-nut ink. | Warm oxalic acid solution, diluted hydrochloric acid, and finally tin filings. | Repeated washing with dissolved citric acid, if the fabric is dyed well. | The same as for cotton, but diluted hydrochloric acid if the wool is naturally coloured. | Nothing can be done; all attempts only increase the evil. |
Lime and alkaline lyes. | Washing simply in water. | Pouring diluted nitric acid drop by drop upon the stain. The previously moistened is rubbed off with the finger. | ||
Tannin, green nut shells. | Eau de Javelle, warm chlorine water concentrated solution of tartaric acid. | More or less concentrated chlorine water, according to the nature and tint of the fabric, and alternate washing with water. | ||
Coal-tar, wagon-grease. | Soap, oil of turpentine, alternating with a jet of water. | Rubbing with lard, then soaping, and after a while washing alternately with oil of turpentine and water. | Same as for colored fabrics; use benzine instead of turp.; jet of water must fall on back of stain. |
Liebig’s Washing Fluid.
SAVING HALF THE WASH-BOARD LABOR.
Saving half the laundry effort.
Sal soda1 | pound. |
Limestone 12 | pound. |
Water5 | quarts. |
Boil a short time, stirring occasionally; then let it settle and pour off the clear liquid into a bottle or jug and cork for use. Soak your clothes over night in simple water; wring out and soap wrist-bands, collars, and dirty or stained places. Have your boiler filled with water, and when at scalding heat put in a teacupful of the fluid, then put in your clothes and boil for half an hour, after which rub lightly through one suds only, rinsing well in the bluing water, and all is complete.
Boil for a short time, stirring occasionally; then let it sit and pour off the clear liquid into a bottle or jug and cork it for later use. Soak your clothes overnight in plain water; wring them out and soap the wristbands, collars, and any dirty or stained areas. Fill your boiler with water, and when it’s really hot, add a teacupful of the liquid, then add your clothes and boil for half an hour. After that, lightly rub through one suds only, rinsing well in the bluing water, and you’re all set.
For each additional boiler of clothes add half a cup of the fluid; of course boiling in the same water through the whole washing. If more water is needed in the boiler for the last clothes dip it from the sudsing tub. Soak your woolen and calico in the suds from which you have washed the white clothes, while hanging them out dipping in some of the boiling water from the boiler, if necessary; then wash out the woolen and calico as usual—of course washing out woolen goods before you do the calico. The fluid brightens instead of fading the colors.—Dr. Chase.
For each extra load of clothes, add half a cup of the liquid; make sure to keep boiling in the same water for the entire wash. If you need more water in the boiler for the last batch of clothes, dip it from the suds tub. Soak your wool and cotton fabrics in the suds left over from washing the white clothes while you hang them out, dipping in some boiling water from the boiler if needed; then wash the wool and cotton as usual—remember to wash the wool items before the cotton. The liquid brightens the colors instead of fading them.—Dr. Chase.
Premium Washing Fluid.—This fluid is equal to the best that can be prepared, and as it is recommended to be used in a simpler manner than the foregoing many will doubtless prefer it:
Premium Laundry Detergent.—This fluid is as good as the best out there, and since it's suggested for use in a simpler way than the previous options, many will likely choose it:
Sal soda4 | pounds. |
Borax2 | ounces. |
Salad tartare1 | ounce. |
Ammonium hydroxide 12 | pint. |
Camphor essence2 | ounces. |
Turpentine oil1 | ounce. |
Hot water6 | pints. |
Dissolve the sal soda, borax, and sal tartar in the hot water and add the other ingredients. Soak the clothes over night in water to which has been added a table-spoonful of the fluid for each gallon of water; also add a little in washing water.
Dissolve the sal soda, borax, and cream of tartar in the hot water and add the other ingredients. Soak the clothes overnight in water with a tablespoon of the solution for each gallon of water; also add a little to the washing water.
How I Iron Shirts.
BY MRS. HUSBANDPLEASER.
BY MRS. HUSBANDPLEASER.
Take two ounces of spermaceti, one ounce of white wax, one ounce of paraffine. Mix and put in a saucer over a tea-kettle in which water is boiling, until melted, stirring several times. Then let it get cold, after which put in a clean box for use.
Take two ounces of spermaceti, one ounce of white wax, and one ounce of paraffin. Mix them together and place the mixture in a dish over a kettle of boiling water until it's melted, stirring occasionally. Once it's cooled down, store it in a clean container for later use.
To make the starch: For two shirts, collars, and cuffs take one table-spoonful of starch dissolved in water; shave a piece of the above into it the size of a bean. Pour boiling water into it until thick, cook twenty minutes and set away to cool. Take one table-spoonful of starch, dissolve it in cold water, and when the boiled starch gets lukewarm pour it over it, stir well, and strain. Have the garments dry and lay the starch on the wrong side and work it through. Be careful that the starch is rubbed in until the right side is wet all over. When well saturated roll up tight in a clean cloth. They need not lay but a few minutes. Stretch them on a bosom-board, and with a damp cloth rub out all the wrinkles. Lay a fine cloth over and iron it twice. If a collar or cuff turn it over and do the same on the other side. Take off the cloth and iron perfectly dry. If the bosom has pleats raise them before ironing dry and dry under them. After the bosom is perfectly dry (for this polishing process you need a good, smooth, hard board about two by one and a half feet—the harder the better—a marble slab of that size is better still), put the bosom on the bare board, dip a clean white cloth in water, wring almost dry, rub lightly over the bosom, then rub it with a dry cloth, and polish with back of iron or with polishing iron. If any dirt gets on rub off with a damp cloth and polish again. The polishing is not necessarily done the same day they are ironed. If your time is limited, or your work interrupted by callers or other duties, lay them aside after having ironed them perfectly dry.
To make the starch: For two shirts, including collars and cuffs, take one tablespoon of starch dissolved in water; shave a piece of the starch about the size of a bean into it. Pour boiling water in until it's thick, cook for twenty minutes, and set it aside to cool. Take one tablespoon of starch, dissolve it in cold water, and when the boiled starch is lukewarm, pour it over, stir well, and strain. Make sure the garments are dry and apply the starch to the inside, working it through. Be careful to rub the starch in until the outside is wet all over. Once well saturated, roll them up tightly in a clean cloth. They don’t need to sit for more than a few minutes. Stretch them on a bosom board, and using a damp cloth, smooth out all the wrinkles. Place a fine cloth over and iron it twice. If you’re working on a collar or cuff, turn it over and do the same on the other side. Remove the cloth and iron completely dry. If the bosom has pleats, lift them before ironing dry and dry underneath them. Once the bosom is completely dry (for this polishing process, you need a good, smooth, hard board about two by one and a half feet—the harder, the better; a marble slab of that size is even better), lay the bosom on the bare board, dip a clean white cloth in water, wring it almost dry, lightly rub it over the bosom, then rub it with a dry cloth, and polish with the back of the iron or with a polishing iron. If any dirt gets on, rub it off with a damp cloth and polish again. The polishing doesn’t have to be done the same day they’re ironed. If you're short on time, or if you get interrupted by visitors or other tasks, you can set them aside after ironing them completely dry.
Liquid Washing Bluing.
Soluble Prussian blue1 | ounce. |
Oxalic acid 14 | ounce. |
Boiling water1 | quart. |
This makes the very best quality of bluing at a slight cost.
This creates the highest quality bluing at a small cost.
Family Washing Soaps.
We see no reason why every economical housewife should not profit by these simple methods of preparing cheap laundry soap, as they are the results of practical experience.
We see no reason why every budget-conscious homemaker shouldn't benefit from these simple methods of making affordable laundry soap, as they come from real-life experience.
Best Soft Soap.
Take 4 pounds of white bar soap, cut it fine, and dissolve by heating in 4 gallons of soft water, after which add 1 pound of sal soda. Dissolve and mix thoroughly. If it is desired the soap can be made thicker by adding less water.
Take 4 pounds of white bar soap, cut it into small pieces, and dissolve it by heating in 4 gallons of soft water. Then, add 1 pound of washing soda. Mix thoroughly until it's completely dissolved. If you want the soap to be thicker, you can add less water.
Hard Soap With Lard.
Salt, soda, and lard, each6 | pounds. |
Limestone3 | pounds. |
Soft water4 | gallons. |
Dissolve the lime and soda in the water by boiling, stirring, and settling; pour off, then return to the kettle (brass or copper), add the lard and boil it until it becomes soap. Then pour into a dish or molds, and when cool cut it into bars and dry it.
Dissolve the lime and soda in the water by boiling, stirring, and settling; pour it off, then return it to the kettle (brass or copper), add the lard, and boil it until it turns into soap. Then pour it into a dish or molds, and when it's cool, cut it into bars and let it dry.
White Hard Soap With Tallow.
Take 2 pounds each of fresh-slacked lime, sal soda, and tallow; dissolve the soda in 1 gallon of boiling soft water, stirring occasionally every few hours after which let it settle, pouring off the clear liquor and boiling the tallow therein until it is all dissolved; cool it in a flat box or pan, and cut into bars or cakes as desired. It may be perfumed with oil of sassafras or any other perfume desired, stirring it in when cool.
Take 2 pounds each of fresh lime, soda ash, and tallow; dissolve the soda in 1 gallon of boiling soft water, stirring occasionally every few hours. After that, let it settle, pour off the clear liquid, and boil the tallow in it until it’s completely melted. Let it cool in a flat box or pan, and cut it into bars or cakes as you like. You can add fragrance using sassafras oil or any other scent you prefer, stirring it in when it's cool.
Cleaning Soiled Wall-paper.
The old form of this process was to use stale bread or bread baked to a proper consistency, but it seldom produces satisfactory results except in the hands of experts, and then it is an impossibility to keep from scratching the surface of the paper with the sharp points of the crust. A dough preparation known only to a few experts engaged in cleaning walls by contract, and who have been known to make from $5 to $25 per day, is now used, which is far superior in every way to anything yet discovered. The walls can be cleaned over and over again, each time appearing as bright as new paper.
The old way of doing this was to use stale bread or bread baked to the right consistency, but it rarely gives good results unless done by experts. Even then, it's hard to avoid scratching the surface of the paper with the sharp bits of the crust. A special dough mixture, known only to a few professionals who clean walls for a living and can earn between $5 and $25 a day, is now used, which is much better than anything else found so far. The walls can be cleaned repeatedly, each time looking as bright as new paper.
All-purpose flour | Three parts. |
Whiting powder | One part. |
Mix the flour and whiting thoroughly, and add enough water to bring it to the consistency of ordinary dough. Use by taking a small piece—about twice the size of a hen’s egg. Press against the wall and remove the dirt by making long strokes. After making a stroke knead the dirt into the dough, and continue doing so until it is useless. A quart of the preparation used in this manner will clean the walls of a good-sized room.
Mix the flour and whiting well, then add enough water to get it to the consistency of regular dough. Use a small piece—about twice the size of a hen’s egg. Press it against the wall and wipe away the dirt with long strokes. After each stroke, knead the dirt into the dough, and keep doing this until it can no longer be used. A quart of this mixture will clean the walls of a decent-sized room.
When it is desired to keep the ingredients of the composition a secret a coloring matter may be added to assist in mystifying. When the walls are discolored by grease or marks where people have rested their heads, mix pipeclay to the consistency of cream, lay it on the spot and allow it to remain until the following day, when it may be easily removed with a penknife or brush.
When you want to keep the ingredients of the mixture a secret, you can add a coloring agent to create some mystery. If the walls are stained with grease or marks where people have rested their heads, mix pipeclay with enough water to make it the consistency of cream, apply it to the spot, and let it sit until the next day. It will be easy to remove with a knife or brush.
Polishing Preparations.
Polishing Powder.—For polishing silver and nickel-plated ware, brass, copper, etc.:
Polishing powder.—For polishing silver and nickel-plated items, brass, copper, etc.:
Fossilized silica2 | ounces. |
Rouge (or fine crocus martis) 12 | ounce. |
Prepared chalkboard 12 | pound. |
Rub the fossil silica to a fine powder and thoroughly mix with the chalk. This will not scratch the finest surface. Use by rubbing with a damp sponge or rag, and finish dry with chamois skin or dry rag.
Rub the fossil silica into a fine powder and mix it thoroughly with the chalk. This won’t scratch delicate surfaces. Apply it using a damp sponge or cloth, and then finish by polishing it dry with chamois leather or a dry cloth.
Polishing Pastes.
Fossilized silica1 | ounce. |
Petroleum jelly 12 | pound. |
Cottonseed oil (or sweet oil)1 | ounce. |
Iron subcarbonate3 | ounces. |
Almond essential oil30 | minims. |
Reduce the fossil silica to a very fine powder and mix it with the iron; melt the petrolatum, add the cotton-seed oil, stir in the powders, and while cooling add the flavoring oil and stir until ready to set, then run into boxes similar to ordinary blacking boxes. Apply with a soft rag dipped in the paste, and finish with a clean cloth. Prepared chalk or whiting can be used instead of fossil silica. The paste does its work faster than the polishing powder, and if the articles are very much corroded it is preferable.
Reduce the fossil silica to a fine powder and mix it with the iron; melt the petroleum jelly, add the cottonseed oil, stir in the powders, and while it's cooling, add the flavoring oil and stir until it’s ready to set. Then, pour it into containers similar to regular shoe polish boxes. Apply it with a soft cloth dipped in the paste, and finish with a clean cloth. You can use prepared chalk or whiting instead of fossil silica. This paste works faster than polishing powder, and if the items are heavily corroded, it's the better option.
Another excellent paste, which can be put in boxes or formed into balls and allowed to harden, is to take finely powdered rotten-stone, sift it thoroughly through muslin or a hair sieve, and knead with a sufficient quantity of soft soap to form a stiff paste. To 12 pound of this mass add 1 34 fluid ounces of oil of turpentine.
Another great paste that can be placed in boxes or shaped into balls and allowed to harden consists of finely powdered rotten stone. Sift it thoroughly through a muslin or fine sieve, then knead it with enough soft soap to create a stiff paste. To 12 pound of this mixture, add 1 34 fluid ounces of turpentine oil.
Cleaning Powder for Show Windows, Mirrors, Etc.
Moisten calcined magnesia with pure benzine. The mixture should be preserved in bottles with glass stoppers, as the benzine is very volatile. Use by placing a little of the mixture on a wad of cotton and apply to the glass.
Moisten calcined magnesia with pure benzene. The mixture should be kept in bottles with glass stoppers, as the benzene is very volatile. Use it by putting a little of the mixture on a piece of cotton and applying it to the glass.
Marble Cleaning.
Rub with muriatic acid diluted with water, care being taken that it is not too strong. Repeat the process till clean, then wash with clear water. When the marble is very dirty, as in the case of old tombstones, use the following:
Rub with diluted muriatic acid, making sure it's not too strong. Repeat the process until it's clean, then rinse with clear water. If the marble is very dirty, like with old tombstones, use the following:
Hydrochloric acid2 | ounces. |
Vinegar1 | ounce. |
Verdigris1 | drachm. |
Mix, apply with a brush, and sponge off with clear water. Repeat until clean, then polish with pumice stone continually moistened with water as you proceed.
Mix, use a brush to apply, and rinse off with clean water. Repeat until it’s clean, then polish with a pumice stone that's kept wet with water as you go.
Furniture Varnish.
White candle wax5 | ounces. |
Potash7 1/2 | ounces. |
Boil lightly for fifteen minutes, allow to cool, and then skim off the wax which floats on the surface. Apply the wax to the furniture, and by rubbing it an hour afterward with a woolen cloth a beautiful luster will be the result.
Boil gently for fifteen minutes, let it cool, and then skim off the wax that floats on the surface. Apply the wax to the furniture, and by rubbing it with a wool cloth an hour later, you'll achieve a beautiful shine.
French Furniture Polish.
This is the best article that can be made for restoring the luster and color of furniture:
This is the best guide for bringing back the shine and color of furniture:
Antimony butter3 | fluid ounces. |
Flaxseed oil12 | fluid ounces. |
Drinks6 | fluid ounces. |
Shellac2 | ounces av. |
Turpentine oil10 | fluid ounces. |
Hydrochloric acid1 | ounce. |
Dissolve the shellac in the alcohol and add the linseed oil and turpentine; then add the hydrochloric acid and butter of antimony, which has been previously mixed, and thoroughly mix all together. Apply with a tuft of cotton, and finish by rubbing down hard with Canton flannel or a woolen rag.
Dissolve the shellac in the alcohol and add the linseed oil and turpentine; then add the hydrochloric acid and butter of antimony, which has been previously mixed, and thoroughly mix everything together. Apply with a cotton ball and finish by rubbing hard with Canton flannel or a wool cloth.
Maple Syrup and Sugar.
[ARTIFICIAL.]
[ARTIFICIAL INTELLIGENCE.]
It is an astonishing fact that nine-tenths of the so-called maple sugar and maple syrup sold as the genuine articles are nothing more than clever imitations. The method of making the best quality of these imitations—and which really defies detection of a majority of dealers and consumers—is very cheap and simple, a gallon of the syrup costing about fifty cents and the sugar simply the cost of ordinary, cheap sugar. We were told by a Mr. Baldwin of Kentucky, a son of the reputed discoverer of the secret for producing the maple flavoring, that various manufacturers of imitation maple sugar and syrup in the large cities had paid his father thousands of dollars in royalties for his discovery.
It’s surprising that nine-tenths of what’s sold as real maple sugar and maple syrup are just clever imitations. The process for creating these high-quality fakes—which most dealers and consumers can’t even tell apart—is very cheap and easy, with a gallon of syrup costing around fifty cents and the sugar being just the price of regular, cheap sugar. A Mr. Baldwin from Kentucky, who is the son of the person credited with discovering how to produce the maple flavor, told us that different manufacturers of fake maple sugar and syrup in big cities had paid his father thousands of dollars in royalties for his discovery.
Procure a quantity of the rough outside bark of what is known as scaly-bark hickory tree. Take about 3 or 4 pounds of the bark and boil in one-half gallon of water until it is reduced to a quart, then strain and add 5 pounds of common brown or yellow sugar; heat again until thoroughly dissolved and it is ready for use. To make imitation maple syrup simply boil the syrup until it is reduced back to sugar again, and when it is made properly the flavor and appearance of the genuine article is obtained.
Get some of the rough outer bark from a scaly-bark hickory tree. Take about 3 or 4 pounds of the bark and boil it in half a gallon of water until it reduces to a quart. Then strain it and add 5 pounds of regular brown or yellow sugar; heat it again until the sugar is fully dissolved and it's ready to use. To make imitation maple syrup, just boil the syrup until it turns back into sugar, and if done right, you'll get the flavor and look of the real thing.
Artificial Honey.
Refined sugar10 | pounds. |
Strained pure honey3 | pounds. |
Soft water3 | pints. |
Cream of tartar1 | drachm. |
Peppermint oil10 | drops. |
Dissolve the sugar in the water by the aid of gentle heat; take off the scum, and the honey and the cream tartar previously dissolved in a little water; bring to the boiling point, stir well, then let it cool.
Dissolve the sugar in the water using gentle heat; remove the foam, and add in the honey and the cream of tartar that have been dissolved in a little water; bring it to a boil, stir well, then let it cool.
Artificial Lemonade Syrup.
Sugar loaf2 | pounds. |
Citric acid2 | ounces. |
Lemon extract2 | drachms. |
Almond extract20 | drops. |
Hot water2 | pints. |
Dissolve the citric acid in hot water, add the sugar, and lastly the lemon and almonds. Stir well, cover with a cloth, and leave until cold. Two table-spoonfuls to a tumbler of cold water will make an excellent drink as refreshing as the best lemonade.
Dissolve the citric acid in hot water, add the sugar, and then the lemon and almonds. Stir well, cover with a cloth, and let it cool. Two tablespoons in a glass of cold water will make a great drink that's as refreshing as the best lemonade.
Best Artificial Cider.
Water25 | gallons. |
Honey (or premium syrup)1 1/4 | gallons. |
Pure catechu6 | drachms. |
Alumni1 1/4 | ounces. |
Yeast 12 | pint. |
Ferment for fifteen days in a warm place, then add:
Ferment for fifteen days in a warm spot, then add:
Bitter almonds2 | ounces. |
Cloves2 | ounces. |
Whiskey6 | pints. |
Burnt sugar, to color. |
If acid should be in excess add honey or sugar; if too sweet add cider vinegar to suit the taste.
If there's too much acidity, add honey or sugar; if it's too sweet, add cider vinegar to balance the flavor.
Genuine New Orleans Mead.
Smashed sarsaparilla root8 | ounces. |
Licorice8 | ounces. |
Cassia bark (crushed)8 | ounces. |
Cloves2 | ounces. |
Cilantro seeds3 | ounces. |
Ginger8 | ounces. |
Boil for fifteen minutes in eight gallons of water and let stand till cold to settle down, then strain through a flannel rag, and add to it in the fountain:
Boil for fifteen minutes in eight gallons of water and let it sit until cold to settle, then strain through a flannel cloth, and add to it in the fountain:
Syrup12 | pints. |
Honey4 | pints. |
Ginger extract4 | ounces. |
Citric acid solution4 | ounces. |
Add enough water to complete ten gallons, and charge with gas.—Prof. E. S. Wayne, in Kilner’s Formulary.
Add enough water to make a total of ten gallons, and fill with gas.—Prof. E. S. Wayne, in Kilner’s Formulary.
Baking Powders.
Pure baking powders are very simple in composition, care being used in preparing them and procuring pure ingredients. According to the advertised statements of the various leading manufacturers we are forced to make our own if we desire a pure and wholesome article. As the essential ingredients of the best baking powder are baking soda and cream of tartar we need only be careful in buying of honest grocers or druggists who will guarantee their purity. It is not difficult to procure pure soda, but the cream of tartar is frequently adulterated, and care must be used in its purchase.
Pure baking powders are really straightforward in their ingredients, as long as care is taken in making them and sourcing quality ingredients. Based on the claims from various leading manufacturers, we’re left to make our own if we want a pure and healthy product. The main components of the best baking powder are baking soda and cream of tartar, so we just need to be cautious when buying from trustworthy grocers or drugstores that guarantee their quality. It’s easy to find pure baking soda, but cream of tartar is often adulterated, so we have to be careful when purchasing it.
It is very important that the materials used must be finely powdered, perfectly dry, and thoroughly mixed. For household purposes a patent sifter is the best to use in mixing. Run the articles through a number of times and free from all lumps. The ingredients can be dried by placing them in an oven for a short time before mixing.
It’s crucial that the materials used are finely powdered, completely dry, and well mixed. For home use, a patented sifter is the best option for mixing. Sift the ingredients several times to remove any lumps. You can dry the ingredients by putting them in an oven for a short time before mixing.
Baking Powder No. 1.
Pure cream of tartar2 | pounds. |
Baking soda1 | pound. |
Cornstarch2 | ounces. |
This is the best that can be made. One to two tea-spoonfuls to a quart of flour.
This is the best recipe you can make. Use one to two teaspoons for every quart of flour.
Baking Powder No. 2.
A cheaper powder, but superior to the majority of powders you will buy, is prepared as follows:
A less expensive powder that's better than most powders you'll find is made like this:
Cream of tartar2 | pounds. |
Baking soda2 | pounds. |
Tartaric acid6 | ounces. |
Cornstarch1 | pound. |
Top flour4 | pounds. |
Use two tea-spoonfuls to a quart of flour. Do not be afraid of the tartaric acid, as it is harmless. It is best to keep your baking powder in a well-stopped jar or bottle. Flour, terra alba, alum, and chalk are the chief ingredients used in the adulteration of cream of tartar. To determine the admixture of flour rub a few grains of iodine with one ounce of the suspected cream of tartar; if so adulterated a blue tint to the mixture will be produced; or by dissolving a small quantity in water you can prove its presence by the stickiness. Chalk may be determined by its effervescing on the addition of diluted acids; alum by dissolving in hot water and allowing the solution to chrystallize; terra alba and other clays by their insolubility in a hot solution of caustic potassa.
Use two teaspoons for every quart of flour. Don't worry about the tartaric acid; it's harmless. It's best to store your baking powder in a tightly sealed jar or bottle. Flour, chalk, alum, and terra alba are the main ingredients used to adulterate cream of tartar. To check for flour contamination, rub a few grains of iodine with one ounce of the suspected cream of tartar; if it's adulterated, a blue tint will appear. You can also dissolve a small amount in water—if it feels sticky, that's a sign. You can identify chalk if it fizzes when you add diluted acids; alum can be found by dissolving it in hot water and letting it crystallize; and terra alba and other clays can be detected by their inability to dissolve in a hot solution of caustic potash.
Flavoring Extracts.
The profits to manufacturers and dealers on these household necessities are very large, and the prudent consumer will take advantage of the directions here given. Extracts of lemon and vanilla are most frequently used; nutmeg, mace, cinnamon, etc., are usually used dry by grating.
The profits for manufacturers and dealers on these household essentials are quite significant, and a smart consumer will make use of the instructions provided here. Lemon and vanilla extracts are the most commonly used; nutmeg, mace, cinnamon, and others are typically used dry by grating.
Best Lemon Extract.
Best deodorized alcohol1 | pint. |
Lemon essential oil1 | ounce. |
Cut the peels of two lemons into fine pieces and add to the alcohol and oil of lemon. Let stand for a few days and filter through a felt bag or filtering paper.
Cut the peels of two lemons into small pieces and add them to the lemon alcohol and oil. Let it sit for a few days, then filter it through a felt bag or filter paper.
Extract of Vanilla.
Extract of vanilla is prepared direct from the vanilla bean. Use care in the purchase of the beans, as there are several varieties. The Mexican vanilla beans have the finest flavor, and the longer the bean, as a rule, the better the extract. There are other excellent varieties of vanilla beans, but they have a somewhat ranker flavor than the Mexican. Unscrupulous jobbers and dealers have been known to soak the whole beans in spirits, practically stealing all their flavor, and then by drying them place them on the market. They can be detected by their light color and brittleness. Most of the vanilla extracts sold for flavoring purposes are adulterated with Tonka beans and other adulterants, some containing not a particle of vanilla.
Extract of vanilla is made directly from the vanilla bean. Be careful when buying the beans, as there are several types. Mexican vanilla beans have the best flavor, and generally, the longer the bean, the better the extract. There are other great varieties of vanilla beans, but they tend to have a stronger flavor than the Mexican variety. Dishonest sellers have been known to soak the whole beans in alcohol, essentially robbing them of their flavor, and then dry them to sell on the market. You can spot these by their light color and brittleness. Most vanilla extracts used for flavoring are mixed with Tonka beans and other additives, with some containing no actual vanilla at all.
The following will make a splendid article, and you know what you are getting without paying high prices for weak extracts put up in deceptive little panel bottles. Dishonest manufacturers never yield a point in their efforts to defraud. Not content with the liberty they take with the contents they employ the bottle-makers’ art to deceive us in the quantity of the precious stuff:
The following will make a great article, and you know what you’re getting without spending a lot on weak extracts packed in misleading small bottles. Unethical manufacturers never back down in their attempts to scam us. Not satisfied with the liberties they take with the contents, they also use clever packaging to trick us about the amount of the valuable product:
Vanilla pods1 | ounce. |
Sugar1 | ounce. |
Cologne (deodorized alcohol)12 | ounces. |
Water4 | ounces. |
Slit the beans and cut them very fine, then mix them with sugar and bruise until moderately fine; then mix with spirits and water and put in a warm place; allow to stand for two weeks (longer the better) shaking every day, and when through filter. Manufacturers color with caramel or other coloring, but for home use this is unnecessary.
Slit the beans and chop them very finely, then mix them with sugar and mash until they're moderately fine; after that, combine with spirits and water and place in a warm spot; let it sit for two weeks (longer is better), shaking it daily, and when you're done, filter it. Producers add caramel or other colors, but for home use, this isn't needed.
To Extract Essential Oils.
To extract essential oils from wood, bark, herbs, etc., put a quantity of the herb or other article into a bottle or jar and pour in a small quantity of ether. Keep in a cool place several hours, and then fill the bottle with cold water. The essential oil will rise to the surface, and may be easily separated.
To extract essential oils from wood, bark, herbs, etc., place a quantity of the herb or other material into a bottle or jar and add a small amount of ether. Keep it in a cool place for several hours, then fill the bottle with cold water. The essential oil will rise to the surface and can be easily separated.
How to Make Rubber Stamps.
The wording of the desired rubber stamp having been correctly set up in ordinary type, the same is locked up and placed upon a level support. Around it is put an iron frame, which will determine the shape and size of the matrix.
The text for the rubber stamp has been correctly arranged in standard type, and it is locked in place and set on a flat surface. An iron frame is placed around it to define the shape and size of the mold.
By means of a soft brush the type as well as all surrounding parts that are to be covered by the plaster of Paris are well oiled.
With a soft brush, the type and all surrounding areas that will be covered by the plaster of Paris are thoroughly oiled.
For the purpose of making the cast finely ground fresh plaster of Paris is needed; if of long standing, the same will lose its desirable properties. This plaster of Paris, of which a sufficient quantity should at one time be mixed to the consistency of pap, using clear water, is poured over the frame containing the type in a thin layer, so as to barely cover it. With a stout brush the mixture is driven into all spaces and interstices, until all details are thoroughly covered. After this the remaining pap of plaster of Paris is added until the frame is full to overflowing. The surface is smoothed down after the plaster has settled somewhat, and in a short while the matrix in the frame may be removed from the type.
To create the cast, you need finely ground fresh plaster of Paris; if it’s been stored for a long time, it will lose its useful properties. Mix enough plaster of Paris at once to a consistency similar to paper pulp using clean water, and pour it over the frame with the type in a thin layer, just enough to cover it. Use a strong brush to push the mixture into all the gaps and crevices until every detail is covered. Then, add the remaining plaster of Paris until the frame is overflowing. Smooth the surface once the plaster has settled a bit, and shortly after, you can remove the matrix from the type.
After this it becomes necessary to bake the matrix in an oven for a period of from four to six hours. When thoroughly baked the matrix should be well brushed with a thin solution of shellac to impart a smooth surface, and at the same time greater strength.
After this, it's necessary to bake the matrix in an oven for four to six hours. Once it's fully baked, the matrix should be brushed with a thin solution of shellac to create a smooth surface and increase its strength.
The matrix at this stage represents a yellowish-white block, in which the lettering appears indented, but in proper place. The indentation corresponds to the height of the letter upon the piece of type or the marks upon a cut, while the remaining parts should be perfectly smooth and free from holes. This matrix, obtained by a coating from the type or cut, will serve as the mould for the final rubber stamp.
The matrix at this stage looks like a yellowish-white block, with the lettering appearing recessed but in the correct position. The indentation matches the height of the letter on the piece of type or the marks on a cut, while the rest of the surface should be completely smooth and free of holes. This matrix, created by a coating from the type or cut, will function as the mold for the final rubber stamp.
Pieces of caoutchouc are cut to the required size and laid upon the matrix. If pressure is now exerted the soft mass will adjust itself to fill all the spaces and reproduce the mould invertedly. Indentations become raised matter, and the whole will show as did primarily the type.
Pieces of rubber are cut to the needed size and placed on the mold. If pressure is applied, the soft material will conform to fill all the gaps and replicate the mold in reverse. Indentations turn into raised areas, and the whole will appear as the type originally did.
But as the caoutchouc has a tendency to return to its previous shape it becomes necessary to apply the process called vulcanizing. The object is to impart hardness to the rubber, and to prevent its losing the form into which it has been pressed.
But since rubber tends to go back to its original shape, it's important to use a process called vulcanizing. The goal is to make the rubber harder and to keep it from losing the shape it was molded into.
To accomplish this the caoutchouc must be heated to a temperature of from 120 to 130 deg. C. As the substance is ordinarily softened by heat it is necessary to take some means to prevent it from sticking to the mould. For the purpose soapstone will answer, and the mould, as well as the piece of caoutchouc, should be well brushed or dusted with this substance.
To do this, the rubber needs to be heated to a temperature between 120 and 130 degrees Celsius. Since the material usually softens with heat, it's important to find a way to stop it from sticking to the mold. For this, soapstone works well, and both the mold and the piece of rubber should be thoroughly brushed or dusted with this substance.
The duration of the heating varies with the thickness of the rubber sheet. As a general thing from twenty to thirty minutes ought to be sufficient. It may be mentioned here that special apparatus can be purchased for pressing and vulcanizing. The proper vulcanization is of the greatest importance in determining the durability of the stamp.
The heating time depends on how thick the rubber sheet is. Generally, twenty to thirty minutes should be enough. It's worth noting that you can buy special equipment for pressing and vulcanizing. Proper vulcanization is crucial for the stamp's durability.
All that remains to complete the stamps is the mounting of the rubber plate upon a suitable base or handle. This is best done either with zinc or with a solution of caoutchouc in benzine. The surface of the handle, as well as the back part of the stamps, having been covered with such a solution and well pressed together, after drying the entire stamp will be ready for use.—Amer. Lith. and Printer.
All that's left to finish the stamps is to attach the rubber plate to a suitable base or handle. This is best done using either zinc or a solution of rubber in benzene. After applying this solution to both the handle's surface and the back of the stamps, press them together firmly. Once dried, the entire stamp will be ready to use.—Amer. Lith. and Printer.
Vermin Exterminators.
Phosphorus or Luminous Paste.
This is an unequaled preparation for destroying rats, mice, cockroaches, etc. It attracts them by its luminous appearance and also by its odor, which is very attractive to all vermin. They eat it with great avidity.
This is an unmatched solution for getting rid of rats, mice, cockroaches, and so on. Its bright appearance and its smell draw them in, making it very appealing to all pests. They consume it eagerly.
Phosphorus 12 | ounce. |
Armenian clay1 | ounce. |
Arsenic1 | ounce. |
Rhodium oil 12 | drachm. |
Rendered fat10 | ounces. |
Rye flour12 | ounces. |
Water12 | ounces. |
Cook the flour and water to a thin paste; add the phosphorus—previously melted in a little hot water—and mix; then add the rest and stir until thoroughly mixed.
Cook the flour and water into a thin paste; add the phosphorus—previously melted in a bit of hot water—and mix; then add the rest and stir until everything is well combined.
Other Methods of Destroying Rats.—(1) Mix some fine plaster of Paris with an equal quantity of flour; put the mixture in the place infested by the vermin and a vessel full of water beside it. The rats will devour the mixture and then drink, whereupon the plaster, brought into contact with the water, will become solid and like a stone in their stomachs, which will cause their deaths. (2) When a house is infested with rats which refuse to nibble at toasted cheese or the usual baits, a few drops of oil of rhodium poured on or near the bait will attract them while the most tempting baits fail. (3) Cover the floor near their holes and place into their haunts a quantity of caustic potash. This they lick with their tongues, which makes their mouths sore, and they not only shun this locality, but appear to tell all the neighboring rats about it. (4) Instead of using chloride of lime or potash a quantity of tar can be smeared in and around their haunts and they will disappear. Tar and rats do not agree. If a live rat be caught, smeared with tar, and allowed to escape into the holes he will do the smearing process thoroughly.
Other Ways to Get Rid of Rats.—(1) Mix some fine plaster of Paris with an equal amount of flour; place the mixture where the rats are, along with a container of water nearby. The rats will eat the mixture and then drink, causing the plaster to solidify in their stomachs like a stone, which will lead to their deaths. (2) If you have a rat problem and they won’t touch toasted cheese or other usual baits, try putting a few drops of rhodium oil on or near the bait to attract them while other baits fail. (3) Cover the floor near their holes and put some caustic potash in their hiding spots. They’ll lick it with their tongues, which will irritate their mouths, making them avoid that area, and they seem to warn other nearby rats about it. (4) Instead of using lime or potash, apply some tar in and around their hiding spots and they will vanish. Rats don’t like tar. If you capture a live rat, smear it with tar, and let it go into its burrows, it will spread the tar thoroughly.
Roach and Moth Exterminator.
Thymol2 | parts. |
BHA2 | parts. |
Alcohol200 | parts. |
Lemon oil1 | part. |
This new, simple, and cheap preparation makes no stain and kills the vermin immediately. The odor is not unpleasant, and is quickly removed by airing the room. Use by sprinkling, or moistening blotting paper with the solution.
This new, easy, and affordable solution doesn’t leave any stains and kills pests instantly. The smell isn’t bad, and it goes away quickly when you ventilate the room. You can use it by sprinkling it or wetting some blotting paper with the solution.
Moth Powder.
Lupulin1 | drachm. |
Snuff tobacco2 | ounces. |
Camphor1 | ounce. |
Black pepper1 | ounce. |
Cedar wood shavings4 | ounces. |
Mix thoroughly and strew among the furs and woolens.
Mix well and sprinkle among the furs and woolens.
Bedbug Poison.
Mercury chloride powder2 | ounces. |
Drinks1 | pint. |
Apply with a feather or stick into their hiding places. Label poison, and place all such compounds out of the reach of children.
Apply with a feather or stick into their hiding spots. Label poison, and keep all such substances out of reach of children.
Poison Fly Paper.
Arsenic trioxide1 | ounce. |
Sugar 12 | pound. |
Concentrated sodium hydroxide 14 | ounce. |
Water1 | quart. |
Dissolve the concentrated lye in the water, add the sugar and boil the solution, meanwhile gradually adding the arsenic. While still warm dip porous paper (cut into small squares) in the solution and dry them. For use place in plates or saucers partly filled with water where the flies can get at them.
Dissolve the concentrated lye in the water, add the sugar, and boil the solution, gradually adding the arsenic at the same time. While it’s still warm, dip porous paper (cut into small squares) into the solution and let them dry. To use, place them in plates or saucers partially filled with water so the flies can reach them.
Sticky Fly Paper.
Rosin8 | ounces. |
Lard or cottonseed oil3 | ounces. |
Boil together, spread thinly on manilla paper, place another sheet on top, and when wanted pull them apart and it is ready for use. This is now usually preferred to the poison paper, as the flies are caught and held and do not die and drop into food, etc.
Boil together, spread thinly on manila paper, place another sheet on top, and when you need it, just pull them apart and it's ready to use. This is now usually preferred to the poison paper, as the flies are caught and held without dying and dropping into food, etc.
Mosquito and Fly Frightener.
Petroleum jelly1 | ounce. |
Paraffin 18 | ounce. |
Pennyroyal oil 13 | ounce. |
Tar oil 23 | ounce. |
Carbolic acid 23 | drachm. |
Melt the solid ingredients together, and when partly cooled add the other ingredients. This is an elegant preparation to rub on the hands and face where flies, mosquitos, gnats, etc., are troublesome.
Melt the solid ingredients together, and when it's partially cooled, add the other ingredients. This is a nice preparation to apply to your hands and face where flies, mosquitoes, gnats, etc., are irritating.
Inks.
Late improvements in the manufacture of inks are due to the discovery and cheapening of substances which can be used in preparing them. While good common writing inks are quite easily procured in the market, still they can be manufactured much cheaper by the consumer; and then again there are a variety of special purposes which require inks that are not on sale, and formulas for making them are very valuable. In this collection we give approved and tested formulas for everything in the ink line.
Recent advancements in ink manufacturing have come from discovering and lowering the costs of materials used to make them. While you can easily find good quality writing inks available in stores, it's often cheaper for consumers to make their own. Additionally, there are many specific purposes that require inks not sold commercially, making recipes for these inks quite useful. In this collection, we provide tried-and-true recipes for all types of inks.
Fine Black Ink.
[FROM LOGWOOD.]
[FROM LOGWOOD.]
A good black ink can be made by boiling 3 pounds of logwood with sufficient water to leave a residue of 5 quarts. When cold add 3 drachms of yellow bichromate of potash and stir thoroughly. To prevent thickening add a few drops of solution of mercury salt. It flows freely from the pen. Its color at first is of a dark indigo-blue tint, changing soon into a permanent black. A beautiful gloss may be given to this or any other black ink by adding a strong solution of shellac and borax.
A good black ink can be made by boiling 3 pounds of logwood with enough water to leave 5 quarts as residue. When it cools, add 3 drachms of yellow bichromate of potash and mix well. To keep it from thickening, add a few drops of mercury salt solution. It flows easily from the pen. Initially, its color is a dark indigo-blue, but it quickly changes to a lasting black. You can give a nice shine to this or any other black ink by adding a strong solution of shellac and borax.
Fine Black Ink.
[FROM ANILINE.]
[FROM ANILINE.]
Black aniline crystals (negrosine)1 1/2 | ounces. |
Dextrin1 | ounce. |
Mercury chloride5 | grains. |
Water2 | quarts. |
Dissolve the negrosine in a quart of hot water; dissolve the corrosive sublimate and dextrine in the remaining quart, and pour all together. This is a splendid ink, flows freely from the pen, and will keep well.
Dissolve the negrosine in a quart of hot water; dissolve the corrosive sublimate and dextrin in the other quart, and mix them all together. This makes a great ink, flows smoothly from the pen, and will last a long time.
In making ink use care in buying the best anilines and other ingredients. This is important.
In making ink, be careful to buy the best anilines and other ingredients. This is important.
Fine Red Ink.
Eosine dye100 | grains. |
Water1 | pint. |
Simply dissolve the aniline in the water. No better bright, fiery red ink can be made.
Just dissolve the aniline in water. You can't make a better, bright, fiery red ink than this.
Fine Violet Ink.
Violet dye70 | grains. |
Drinks 12 | ounce. |
Dextrose 12 | ounce. |
Hot water1 | pint. |
Dissolve the aniline in the alcohol and the dextrine in the hot water, and mix them.
Dissolve the aniline in alcohol and the dextrin in hot water, then mix them together.
Fine Blue Ink.
Water blue dye1 | drachm. |
Dextrin 14 | ounce. |
Hot water1 | pint. |
One-fourth of an ounce of Prussian blue may be used instead of the water blue aniline.
One-fourth of an ounce of Prussian blue can be used instead of the water blue aniline.
Fine Green Ink.
Green aniline1 | drachm. |
Dextrin 14 | ounce. |
Boiling water1 | pint. |
Aniline inks of any color can be made in a similar manner. Simply get the desired color of aniline. Maroon ink may be made by mixing equal quantities of black, blue, and red inks; yellow by adding 1 14 drachms of picric acid to 1 pint of hot water.
Aniline inks in any color can be made in a similar way. Just get the aniline color you want. To make maroon ink, mix equal amounts of black, blue, and red inks; for yellow, add 1/4 drachms of picric acid to 1 pint of hot water.
Copying Ink.
Take 1 pint of the violet-black ink and add 1 ounce each of sugar and gum Arabic. This is for what is called moist copying where a press is used. For what is termed dry copying mix about 13 pint of glycerine to a pint of any good black ink. The manuscript, if written on glazed paper, will not dry for hours, and will yield one or two fair, neat, dry copies by simple pressure of the hand. The writing should not be excessively fine nor the strokes uneven or heavy. The copies and the original are neater than when water is used.
Take 1 pint of violet-black ink and add 1 ounce each of sugar and gum Arabic. This is for what's called moist copying where a press is used. For what's termed dry copying, mix about 13 pint of glycerine with a pint of good black ink. If the manuscript is written on glazed paper, it won't dry for hours, and you can get one or two decent, neat, dry copies just by pressing down with your hand. The writing shouldn't be too fine, and the strokes shouldn't be uneven or heavy. The copies and the original will look neater than when using water.
Gaffard’s Indestructible Ink.
Lampblack1 | part. |
Potassium silicate12 | parts. |
Ammonium hydroxide1 | part. |
Pure water38 | parts. |
The potash water glass should be of the consistency of syrup.
The potash water glass should have the consistency of syrup.
Hektograph Ink.
(SEE PAGE 1.)
(SEE PAGE __A_TAG_PLACEHOLDER_0__.)
A good purple ink to use on the gelatine copying pad, or hektograph, is prepared as follows:
A good purple ink to use on the gelatin copying pad, or hectograph, is made as follows:
Methyl violet1 | ounce. |
Water8 | ounces. |
Glycerin1 | ounce. |
Drinks 14 | ounce. |
Dissolve the methyl-violet in the water and add the glycerine. Gently warm the solution for an hour, and after cooling add the alcohol.
Dissolve the methyl violet in water and add the glycerin. Gently heat the solution for an hour, and after it cools, add the alcohol.
When black hektograph ink is desired, instead of the methyl-violet use double the amount of negrosine.
When black hektograph ink is needed, use twice the amount of negrosine instead of methyl-violet.
White Ink.
An excellent white ink, which can be used with a pen for writing on colored cards or paper, may be made as follows:
An excellent white ink, perfect for using with a pen to write on colored cards or paper, can be made like this:
White flake12 | drachms. |
Gum Arabic mucilage6 | drachms. |
If too thick add water; if too thin, more mucilage. Shake well while using.
If it's too thick, add water; if it's too thin, add more mucilage. Shake well while using.
Rubber Stamp Ink.
Aniline (preferred color) 12 | ounce. |
Glycerin2 | ounces. |
Ribbon Ink.
FOR TYPE-WRITERS, DATING STAMPS, ETC.
FOR TYPEWRITERS, DATE STAMPS, ETC.
Aniline 12 | ounce. |
Alcohol4 | ounces. |
Glycerin7 | ounces. |
Water4 | ounces. |
Dissolve the aniline in the alcohol and add the other ingredients.
Dissolve the aniline in the alcohol and mix in the other ingredients.
Marking Ink.
FOR PACKAGES AND BOXES.
For packages and boxes.
Logwood Extract8 | ounces. |
Bichromate of potassium1 | ounce. |
Hydrochloric acid 34 | ounce. |
Dextrin4 | ounces. |
Water 12 | gallon. |
Boil the logwood with the water, add the acid and potash, and lastly the dextrine.
Boil the logwood with the water, then add the acid and potash, and finally the dextrine.
Indelible Ink.
FOR MARKING LINEN, ETC.
FOR LABELING LINEN, ETC.
Dissolve 5 parts of lunar caustic in 10 parts of spirit of sal ammoniac. Add to the solution 7 parts of pure soda, 5 of gum Arabic, and 12 of water.
Dissolve 5 parts of lunar caustic in 10 parts of ammonia spirit. Add to the solution 7 parts of pure soda, 5 parts of gum Arabic, and 12 parts of water.
Ink for Writing on Metals.
VALUABLE IN MARKING TOOLS AND INSTRUMENTS.
VALUABLE IN MARKING TOOLS AND INSTRUMENTS.
Hydrochloric acid1 | ounce. |
Nitric acid 12 | ounce. |
Cover the portion of metal you wish to write upon with melted beeswax and allow it to cool. Write the inscription plainly with any sharp-pointed instrument through the beeswax to the metal. Apply the acids with a feather or rag, carefully filling each letter, and let it remain from one to thirty minutes, according to the desired depth of the lettering, after which wash off the beeswax and acids and rub over with a little sweet oil to prevent further rust or tarnish.
Cover the area of metal you want to write on with melted beeswax and let it cool. Use any sharp tool to write your inscription clearly through the beeswax onto the metal. Apply the acids with a feather or cloth, making sure to fill in each letter, and leave it on for one to thirty minutes, depending on how deep you want the lettering to be. After that, wash off the beeswax and acids, and wipe the surface with a bit of sweet oil to prevent rust or tarnish.
Ink Powders.
As in the case of fluid inks there are many formulas for preparing ink powders. The following are the best:
As with liquid inks, there are many formulas for making ink powders. Here are the best:
Black.—Nut-galls, 1 ounce; copperas, 12 ounce; gum Arabic, 7 ounces. Add one clove to this quantity. Or, take negrosine, 1 ounce; dextrine, 3 ounces; mix.
Black.—1 ounce of nut-galls; ½ ounce of copperas; 7 ounces of gum Arabic. Add one clove to this amount. Alternatively, use 1 ounce of negrosine and 3 ounces of dextrine; mix them together.
Blue.—Water blue aniline, 1 ounce; dextrine, 5 ounces. Or, soluble Prussian blue, 12 ounce; dextrine, 1 ounce.
Blue.—Water blue aniline, 1 ounce; dextrine, 5 ounces. Or, soluble Prussian blue, 12 ounce; dextrine, 1 ounce.
Green.—Aniline green, 44 parts; gelatine, 4 parts, and lunar caustic, 2 parts. Or, green aniline, 1 part; dextrine, 4 parts.
Green.—Aniline green, 44 parts; gelatin, 4 parts, and lunar caustic, 2 parts. Or, green aniline, 1 part; dextrin, 4 parts.
Red.—Eosine aniline, 1 ounce; dextrine, 1 ounce.
Red.—1 ounce of eosine aniline; 1 ounce of dextrine.
A tea-spoonful to a table-spoonful of the powder is dissolved in 1 pint of water, requiring from 12 to 1 hour to make the solution.
A teaspoon to a tablespoon of the powder is dissolved in 1 pint of water, taking anywhere from 30 minutes to 1 hour to create the solution.
Disappearing Ink.
Boil some nut-galls in aqua fortis, and add to the infusion some gum Arabic and a little sulphuric acid. When written on paper this ink is perfectly legible, but will disappear from the paper in a few days.
Boil some nut galls in nitric acid, and add some gum Arabic and a little sulfuric acid to the mixture. When written on paper, this ink is perfectly readable, but it will fade away within a few days.
Invisible Ink.
Invisible inks are those which when first written are not visible, but upon the application of heat or other means the characters are made to appear distinctly. The following are decidedly the best preparations for this purpose:
Invisible inks are those that aren't visible when first written, but when you apply heat or other methods, the characters become clear. The following are definitely the best preparations for this purpose:
Sulfuric acid1 | fluid ounce. |
Soft water1 | pint. |
This makes a fluid which is perfectly invisible until heat is applied by holding over a lamp or by placing in an oven, when it changes to a permanent black. Write with a clean steel pen. All invisible inks will show on glazed paper, therefore unglazed paper should be used.
This creates a liquid that is completely invisible until heat is applied, either by holding it over a lamp or putting it in an oven, at which point it turns a permanent black. Use a clean steel pen to write. All invisible inks will appear on glossy paper, so unglazed paper should be used.
Another singular invisible ink is made as follows: Oxide of cobalt, 12 ounce; muriatic acid, sufficient to dissolve it; water, 4 ounces; mucilage of gum acacia, 1 drachm. Place in a stained bottle. Characters written with this solution are invisible, but on the application of heat they instantly appear in blue. On cooling they again become invisible.
Another unique invisible ink is made like this: Oxide of cobalt, 12 ounce; enough muriatic acid to dissolve it; 4 ounces of water; and 1 drachm of gum acacia mucilage. Combine these in a stained bottle. Characters written with this solution are invisible, but when heat is applied, they immediately show up in blue. When it cools, they become invisible again.
Ink Erasing Fluid.
Hydrochloric acid 18 | ounce. |
Water1 | pint. |
Mix, bottle, and label No. 1.
Mix, bottle, and label No. 1.
Chlorinated soda solution 23 | pint. |
Water1 | pint. |
Mix, bottle, and label No. 2.
Mix, bottle, and label #2.
To erase ink dip the end of a penholder or pencil in No. 1 and apply to the writing, and do the same with No. 2. Let remain a moment and blot off with clean blotting-paper. If the characters are not erased repeat as before.
To erase ink, dip the end of a pen or pencil in No. 1 and apply it to the writing, then do the same with No. 2. Let it sit for a moment and blot it off with clean blotting paper. If the characters aren’t erased, repeat as before.
Cements and Glue.
Armenian Glue.
The jewellers of Turkey, who are mostly Armenians, have a singular method of ornamenting watch cases, etc., with diamonds and other precious stones by simply gluing or cementing them on. The stone is set in gold or silver and the lower part of the metal made flat, or to correspond to that part to which it is to be fixed. It is then warmed gently and the glue applied, which is so very strong that the parts thus cemented never separate. For this glue, which will firmly unite bits of glass and even polished steel, and which may of course be applied to a vast variety of useful purposes, large number of formulas have been published. The following is the original recipe. Dissolve 5 or 6 bits of gum mastic, each the size of a large pea, in as much alcohol as will suffice to render them liquid; in another vessel dissolve as much isinglass, previously softened a little in water (though none of the water must be used), in good brandy or rum as will make a two-ounce vial of very strong glue, adding two small bits of galbanum or ammoniacum, which must be rubbed or ground until they are dissolved. Then mix the whole with a sufficient heat. Keep the glue in a vial closely corked, and when it is to be used set the vial in boiling water. To avoid cracking the vial by exposure to such sudden heat use a thin green glass vial and hold it in the steam for a few seconds before immersing it in the hot water.—Workshop Receipts.
The jewelers of Turkey, who are mostly Armenians, have a unique way of decorating watch cases and similar items with diamonds and other precious stones by simply gluing or cementing them on. The stone is set in gold or silver, and the bottom part of the metal is made flat or shaped to match the area where it will be attached. It's then gently warmed, and the glue is applied, which is so strong that the bonded parts never come apart. There are many published formulas for this glue, which can firmly bond pieces of glass and even polished steel, and can be used for various purposes. Here’s the original recipe: Dissolve 5 or 6 pieces of gum mastic, each about the size of a large pea, in enough alcohol to make them liquid. In another container, dissolve enough isinglass, which has been softened a bit in water (but do not use any of the water), in good brandy or rum to create a two-ounce vial of very strong glue, adding two small pieces of galbanum or ammoniacum, which should be rubbed or ground until they dissolve. Then mix everything together with some heat. Keep the glue in a tightly corked vial, and when you need to use it, place the vial in boiling water. To avoid cracking the vial from the sudden heat, use a thin green glass vial and hold it in the steam for a few seconds before putting it in the hot water.—Workshop Receipts.
Glutina Cement.
FOR GLASS, CHINA, WOOD, LEATHER, ETC.
FOR GLASS, CHINA, WOOD, LEATHER, ETC.
Gelatin (Cooper's or Cox's)3 | ounces. |
Vinegar2 | ounces. |
Carbolic acid5 | grains. |
Clove oil6 | minims. |
Water enough to create1 | pint. |
Soak the gelatine in half a pint of water for four hours. Place in a bottle and heat in a water bath; add the acids, dissolve, add the oil of cloves and sufficient hot water to make a pint, and strain.
Soak the gelatin in half a pint of water for four hours. Put it in a bottle and heat it in a water bath; add the acids, dissolve, add the oil of cloves, and enough hot water to make a pint, then strain.
To Cement Iron to Iron.
Cast-iron bore powder chips60 | parts. |
Sal-ammoniac2 | parts. |
Sulfur flowers1 | part. |
Mix, and stir the mixture into a stiff paste by adding water. Use while fresh.
Mix and stir the mixture into a thick paste by adding water. Use while it's fresh.
Cementing Metal to Glass, Stone, Etc.
For attaching metal plates, such as metal letters, etc., to flat sheets of glass or windows, the following is excellent:
For attaching metal plates, like metal letters, to flat sheets of glass or windows, the following method works great:
Copal finish15 | parts. |
Drying oil5 | parts. |
Turpentine3 | parts. |
Melt in a water bath, and add 10 parts of slaked lime. The cement commonly used for fastening the tops on kerosene lamps is plaster of Paris, which is porous, quickly penetrated by the kerosene, and readily destroyed. A cement which does not have this defect is made by boiling 3 parts of resin and 1 of caustic soda in 5 of water. This composition forms a soap, which mix with half its weight of plaster of Paris. Use while fresh.
Melt it in a water bath, then add 10 parts of slaked lime. The cement typically used for securing the tops of kerosene lamps is plaster of Paris, which is porous, easily soaked by the kerosene, and prone to deterioration. A cement that doesn't have this issue is made by boiling 3 parts of resin and 1 part of caustic soda in 5 parts of water. This mixture creates a soap that you should combine with half its weight of plaster of Paris. Use it while it's fresh.
Pastes.
Paste for Wall-paper, Etc.
Dissolve 18 ounce of salicylic acid in half a gallon of warm water, and when cold stir in as much flour as will bring it to the consistency of cream, being particular to break up all the lumps; next place it on the fire and allow it to cook gently for a few minutes, stirring well meanwhile. This paste answers a variety of purposes. The salicylic acid is to keep it from spoiling. The addition of 1 ounce of powdered colocynth to the above amount will effectually banish all insects and worms from the walls where the paper is pasted.
Dissolve 18 ounce of salicylic acid in half a gallon of warm water. Once it cools down, stir in enough flour to reach a cream-like consistency, making sure to break up all the lumps. Next, place it on the stove and let it cook gently for a few minutes, stirring well in the process. This paste has many uses. The salicylic acid helps prevent spoilage. Adding 1 ounce of powdered colocynth to this mixture will effectively get rid of all insects and worms from the walls where the paper is attached.
Paste for Labeling on Tin.
Ordinary pastes will not adhere labels to tin. The following is a good one: Make a paste of gum tragacanth and add a little oil of wintergreen. Apply by removing the film of grease from the tin by a solution of caustic soda (10 parts of water to 1 of soda). Apply with a rag to the spot on which you wish to affix the label.
Ordinary pastes won’t stick labels to tin. Here’s a good one: Make a paste with gum tragacanth and add a bit of wintergreen oil. First, clean the spot where you want to place the label by wiping off the grease with a solution of caustic soda (10 parts water to 1 part soda). Use a rag to apply it.
Paste to Fasten Cloth or Leather on Wooden Surfaces.
All-purpose flour2 1/4 | pounds. |
Powdered resin 12 | ounce. |
Salicylic acid 18 | ounce. |
Rub together till a uniform paste is formed, transfer to a small kettle over a fire, heat, and stir until the lumps are all dissolved and the paste becomes stiff; transfer to another vessel and cover up. This paste is applied in a thin layer to the surface of the table or desk to be covered, the cloth or leather is then laid on and smoothed with a roller. If leather is to be fastened on it must be first dampened.
Mix together until a smooth paste forms, then pour it into a small pot over heat. Stir until all the lumps dissolve and the paste thickens; transfer it to another container and cover it. Apply this paste in a thin layer to the surface of the table or desk that you want to cover, then lay the cloth or leather on top and smooth it out with a roller. If you’re attaching leather, make sure to dampen it first.
Whitewash and Paints.
Brilliant Stucco Whitewash.
This is a time-tried whitewash, either for inside or outside work, and has been known to retain its brilliancy for over thirty years. Nice unslaked lime, 12 bushel; slake it with boiling water; cover it during the process to keep in the steam. Strain the liquid through a fine sieve or strainer, and add to it 14 bushel of salt, previously well dissolved in water; rice, 3 pounds—boiled to a thin paste and stirred in boiling hot; Spanish whiting, 12 pound; best glue, 1 pound, which has been previously dissolved by soaking it well, and then hanging it over a slow fire in a small kettle immersed in a larger one filled with water. Now add hot water, 5 gallons, to the mixture, stir well, and let it stand a few days covered from the dirt. It should be put on hot. For this purpose it is best to keep it in a kettle on a portable furnace, or use other means more convenient. It answers as well as oil paint for brick or stone, and is much cheaper.
This is a tried-and-true whitewash, suitable for both indoor and outdoor use, and it has been known to keep its brightness for over thirty years. Take nice unslaked lime, 12 bushel; slake it with boiling water, covering it during the process to retain the steam. Strain the mixture through a fine sieve or strainer, then add 14 bushel of salt that has been well dissolved in water; three pounds of rice, boiled to a thin paste and stirred in while it’s still hot; 12 pound of Spanish whiting; and one pound of the best glue, which should be dissolved by soaking and then warming it over a slow fire in a small kettle placed inside a larger one filled with water. Next, add 5 gallons of hot water to the mixture, stir well, and let it sit for a few days, covered to keep out dirt. It should be applied hot. It’s best to keep it in a kettle on a portable furnace or use whatever method is more convenient. This works as well as oil paint for brick or stone and is much cheaper.
Coloring matter, dissolved in alcohol, may be put in and made of any shade you like. Spanish brown stirred in will make red-pink, more or less deep, according to quantity. A delicate tinge of this is very pretty for inside walls. Finely pulverized common clay, well mixed with Spanish white, makes reddish stone color. Yellow ochre stirred in makes yellow wash, but chrome goes further, and makes a color generally esteemed prettier. In all these cases the darkness of the shade is of course determined by the quantity of the coloring used. It is difficult to make rules, because tastes differ. It would be best to try experiments on a shingle, and let it dry. Green must not be mixed with lime. The lime destroys the color, and the color has an effect on the whitewash which makes it crack and peel. When inside walls have been badly smoked and you wish to make them a clean, clear white, it is well to squeeze indigo plentifully through a bag into the water you use before it is stirred into the whole mixture; or blue vitriol pulverized and dissolved in boiling water and put into whitewash gives a beautiful blue tint. If a larger quantity than five gallons be wanted the same proportions should be observed.
Coloring agents, dissolved in alcohol, can be added to create any shade you prefer. Adding Spanish brown will produce a red-pink, with the depth depending on how much you use. A light touch of this color is quite nice for interior walls. Finely ground common clay, mixed well with Spanish white, creates a reddish stone color. Mixing in yellow ochre results in a yellow wash, but chrome provides a more vibrant color that is generally considered nicer. In all these cases, the darkness of the shade is determined by how much coloring is used. It's hard to set firm rules since preferences vary. It's best to experiment on a shingle and let it dry. Green should not be mixed with lime, as the lime ruins the color, and the color can affect the whitewash, making it crack and peel. If the interior walls are heavily soiled with smoke and you want to achieve a clean, bright white, it's advisable to thoroughly squeeze indigo through a bag into the water you're using before mixing it all together; alternatively, pulverized blue vitriol dissolved in boiling water can be added to the whitewash for a lovely blue tint. If you need more than five gallons, maintain the same proportions.
Durable Paint for Tin Roofs.
Flaxseed Oil30 | parts. |
Turpentine Oil10 | parts. |
Colcothar14 | parts. |
Red chalk46 | parts. |
The coloring substances are pulverized and the mixture ground. Should the mixture be too thick reduce it with equal parts of linseed oil and oil of turpentine. Give the roof two coats, allowing the first to dry before applying the second. See that the tin is free from rust, and the coats should not be laid on too thick nor too thin.
The coloring substances are ground into a powder and mixed together. If the mixture is too thick, thin it out with equal parts linseed oil and turpentine. Apply two coats to the roof, letting the first coat dry before adding the second. Make sure the tin is rust-free, and don’t apply the coats too thick or too thin.
Paint for Roofs.
Crushed slate (argillaceous schist)35 | parts. |
Mica schist powder30 | parts. |
Crushed rosin35 | parts. |
Mix, and add one-half its volume of pure coal-tar and boil to a fluid mass.
Mix and add half its volume of pure coal-tar, then boil until it becomes a fluid mass.
This paint gives a very durable and pliant covering, which does not melt in the greatest heat of summer nor crack or break in the greatest cold. It resists moisture, and a roof painted with it need not be gone over again for four or five years.
This paint provides a highly durable and flexible coating that won’t melt in the peak summer heat or crack in the extreme cold. It withstands moisture, and a roof painted with it doesn’t need to be redone for four or five years.
Paint for Blackboards.
Common glue, 4 ounces; flour of emery, 3 ounces, and just lampblack enough to give an inky color to the preparation. Dissolve the glue in 34 quart of warm water, put in the lampblack and emery, stir till there are no lumps, then apply to the board with a woolen rag smoothly rolled. Three coats should be given.
Common glue, 4 ounces; emery flour, 3 ounces; and just enough lampblack to achieve an inky color for the mix. Dissolve the glue in 34 quart of warm water, add the lampblack and emery, and stir until there are no lumps. Then, apply it to the board with a smoothly rolled woolen rag. You should apply three coats.
Removing Smell of Paint.
Place a vessel of lighted charcoal in the room and place on it two or three handfuls of juniper berries; shut the windows, chimneys, and doors and twenty-four hours afterward the room may be opened, when it will be found that the sickly, unwholesome smell will be gone. Another very simple method is to plunge a handful of hay into a pail of water and let it stand in the newly-painted room.
Place a bowl of lit charcoal in the room and add two or three handfuls of juniper berries to it; close the windows, chimneys, and doors, and after twenty-four hours, you can open the room again, at which point the sickly, unpleasant smell will be gone. Another very easy method is to soak a handful of hay in a bucket of water and leave it in the freshly painted room.
Paint Remover.
To remove dry paint or hard putty make a saturated solution of caustic of potassa with water. Apply to the paint with a swab. After a short time it will be easily removed.
To remove dry paint or hard putty, make a strong solution of caustic potash with water. Apply it to the paint with a swab. After a little while, it will come off easily.
Staining Wood.
Ebonizing Wood.
Logwood shavings8 | ounces. |
Copper sulfate 12 | ounce. |
Black pigment 12 | ounce. |
Water, sufficient. |
Boil the logwood for 30 minutes in a gallon of water, and then add the copperas and lampblack. Apply to the wood hot, giving a number of coats. In varnishing ebonized wood a little drop black must be added to the varnish or it will give a brown shade.
Boil the logwood for 30 minutes in a gallon of water, then add the copperas and lampblack. Apply it to the wood while it's hot, giving several coats. When varnishing ebonized wood, you need to add a small drop of black to the varnish; otherwise, it will have a brown tint.
Staining Wood Rose Color.
A brilliant and uniform rose color can be imparted to wood and vegetable ivory by chemical precipitation, as follows: The first bath consists of 8 parts of potassium iodide to 100 parts of water. The second bath is prepared by mixing 2 12 parts of corrosive sublimate with 100 parts of water. Immerse the wood for a few hours in the first bath, then place it in the second, in which it will acquire a beautiful rose color. Varnish the wood after drying. Both baths can be repeatedly used without renewing them.
A bright and even rose color can be applied to wood and vegetable ivory through chemical precipitation like this: The first bath is made with 8 parts potassium iodide to 100 parts water. The second bath is prepared by mixing 2 1/2 parts of corrosive sublimate with 100 parts of water. Soak the wood in the first bath for a few hours, then move it to the second bath, where it will pick up a lovely rose color. After it dries, varnish the wood. Both baths can be reused multiple times without needing to be replaced.
Imitation of Cedar.
Mix 2 parts by weight of catechu, 1 part of caustic soda, and 100 of water. The best wood to use is white wood, and after the article is finished it is boiled in the stain for several hours, rinsed, and dried. The length of time in boiling depends upon the depth of color desired. This is a very deep and natural stain.
Mix 2 parts by weight of catechu, 1 part of caustic soda, and 100 parts of water. The best wood to use is white wood, and after the item is finished, it is boiled in the stain for several hours, rinsed, and dried. The boiling time depends on how deep you want the color to be. This creates a very deep and natural stain.
Hard Coating for Wood.
To coat wood with a substance as hard as stone apply the following mixture while hot with a brush:
To cover wood with a material as hard as stone, apply the following mixture while it's hot with a brush:
Lime40 | parts. |
Resin50 | parts. |
Flaxseed oil4 | parts. |
Metal and Glass Secrets.
Hardening Composition for Steel.
Spermaceti oil95 | quarts. |
Melted beef fat20 | pounds. |
Neatsfoot oil4 1/2 | quarts. |
Pledge1 | pound. |
Rosin3 | pounds. |
Melt the rosin and pitch together, add the other ingredients, and heat all in an iron vessel until all moisture is driven out, and the heated mass ignites from a burning chip of wood held over it; the flame is at once extinguished by a close-fitting lid.
Melt the rosin and pitch together, add the other ingredients, and heat everything in an iron container until all the moisture evaporates. The heated mixture will ignite from a burning piece of wood held above it; the flame is immediately put out by a tight-fitting lid.
In using the method for saw blades, they are first heated in a suitable furnace and then placed vertically, teeth upward, in troughs filled with the mixture. After sufficient cooling they are taken out and wiped with a piece of leather so that only a slight film of fat remains. They are then placed flat over a coal fire until the coating of fat ignites, which may burn as freely as required for great hardness. Screws, or other articles which require a less degree of hardness, are dipped into the hot mixture and brought to a white heat.
In using the method for saw blades, they are first heated in an appropriate furnace and then positioned vertically, with the teeth facing up, in troughs filled with the mixture. After cooling for a sufficient time, they are taken out and wiped with a piece of leather so that only a thin layer of fat remains. They are then laid flat over a coal fire until the fat ignites, which can burn as intensely as needed for maximum hardness. Screws or other items that need less hardness are dipped into the hot mixture and brought to a white heat.
Composition to Toughen Steel.
Resin2 | pounds. |
Rendered fat2 | pounds. |
Black tar1 | pound. |
Melt together and dip the steel in the mixture when hot.
Melt everything together and dip the steel in the mixture when it's hot.
To Soften Iron or Steel.
Anoint the article all over with tallow, temper it in a gentle charcoal fire, and let it cool itself; or take a little clay, cover your iron with it, and temper in a charcoal fire.
Anoint the article all over with fat, heat it in a gentle charcoal fire, and let it cool down; or take a bit of clay, cover your iron with it, and heat it in a charcoal fire.
Restoring Burnt Steel.
It is not generally known that burnt steel may be almost instantaneously restored by plunging it while hot in cold water and hammering it with light strokes on the anvil, turning it so as to hammer all over it, again dipping in the cold water, and repeating the hammering process as before. Try again if you do not succeed the first time.
It’s not widely known that burnt steel can be almost immediately restored by dipping it in cold water while it's hot and then lightly hammering it on the anvil, turning it to hit all parts, dipping it back in the cold water, and repeating the hammering process like before. Keep trying if you don't get it right the first time.
Welding Cast-Steel.
Rock salt 14 | pound. |
Oil aggression 14 | pound. |
Water1 | gallon. |
Dissolve the saltpeter in the vitriol and add it to the water. After scarfing the steel get it hot; and quench in the preparation. Then weld the same as a piece of iron, hammering it very quickly with light blows. It answers the purpose much better than borax. Cork it in a bottle and it will keep for years.
Dissolve the saltpeter in the sulfuric acid and add it to the water. After cleaning the steel, heat it up; then cool it in the mixture. Next, weld it like a piece of iron, hammering it quickly with light taps. It works much better than borax. Seal it in a bottle, and it will last for years.
Another:
Another one.
Borax15 | parts. |
Sal-ammoniac2 | parts. |
Potassium cyanide2 | parts. |
Dissolve all in water, and evaporate the water at a low temperature.
Dissolve everything in water and evaporate the water at a low temperature.
To Drill Hardened Steel.
Cover your steel with melted beeswax, and when cold make a hole in the wax with a fine-pointed needle or other article the size of the hole you require; put a drop of strong nitric acid upon it, and after an hour rinse off and apply again. It will gradually eat through.
Cover your steel with melted beeswax, and when it’s cool, poke a hole in the wax with a fine-pointed needle or another tool that’s the size of the hole you need; drop a bit of strong nitric acid on it, and after an hour, rinse it off and apply again. It will gradually eat through.
To Drill Holes in Cast-Iron.
By means of carbolic acid a hole 14 of an inch in diameter has been drilled through 12 inch thickness of cast-iron with a carpenter’s brace.
Using carbolic acid, a hole 14 of an inch in diameter has been drilled through 12 inch thickness of cast-iron with a carpenter’s brace.
To Solder Ferrules for Tool Handles.
Take your ferrule, lap round the “joining” a small piece of brass wire, then wet the ferrule, scatter on the joining ground borax, put it on the end of a wire, and hold it in the fire till the brass fuses. It will fill up the joining and form a perfect solder. It may afterward be turned in the lathe.
Take your ferrule, wrap a small piece of brass wire around the "joint," then wet the ferrule, sprinkle borax on the joint, put it on the end of a wire, and hold it in the fire until the brass melts. It will fill the joint and create a perfect solder. It can then be shaped in the lathe.
Soldering Without a Soldering Iron.
Cut a piece of a tin-foil the size of the surface to be soldered, then pass over the surface a solution of sal-ammoniac, place the tin-foil between the pieces, and heat over a lamp or fire until the foil melts. Instead of the solution of sal-ammoniac equal parts of water and hydrochloric acid saturated with zinc can be used just as well.
Cut a piece of tin foil that's the size of the surface you want to solder. Then, apply a solution of sal ammoniac to the surface. Place the tin foil between the pieces and heat it over a lamp or fire until the foil melts. You can also use a solution made of equal parts water and hydrochloric acid that's saturated with zinc instead of the sal ammoniac solution.
To Clean Gun-barrels from Lead.
Pour in a little mercury, agitate it over the interior surface of the barrel, and pour it out again. The mercury will amalgamate the lead and remove it.
Pour in a little mercury, shake it around the inside surface of the barrel, and then pour it out again. The mercury will mix with the lead and eliminate it.
To Resharpen Old Files.
Baking soda4 | ounces. |
Water1 | quart. |
Dissolve the saleratus in the water. Boil the old files or rasps in this solution for half an hour. Then take out, wash, and dry them. Next stand them in a jar, filling it up with rain water and sulphuric acid in the proportion of water, 1 quart; sulphuric acid, 4 ounces. Coarse files should remain in the bath twelve hours and fine ones two or three hours less. Take them out, wash them clean, dry quickly and thoroughly, and rub them with sweet oil to prevent rusting.
Dissolve the baking soda in the water. Boil the old files or rasps in this solution for half an hour. Then take them out, wash, and dry them. Next, place them in a jar, filling it up with rainwater and sulfuric acid in the following ratio: 1 quart of water to 4 ounces of sulfuric acid. Coarse files should stay in the bath for twelve hours, while fine ones should stay for two or three hours less. Take them out, wash them thoroughly, dry them quickly, and rub them with oil to prevent rust.
Another method, though not so effectual, is to pour a few drops of benzole upon the file and brush thoroughly with a scratch brush.
Another method, although not as effective, is to put a few drops of benzene on the file and scrub it thoroughly with a scratch brush.
Mending Tinware by Candle Heat.
This is such a simple and cheap way of mending tinware that a person with just a bit of ingenuity can do his own work in this line. Take a vial about two-thirds full of muriatic acid and put into it little bits of sheet zinc as long as the acid will dissolve them. Then put in a crumb of sal-ammoniac and fill up with water and it is ready for use. Wet the cork in the vial and with it wet the edges of the place to be mended. Then put a piece of sheet zinc over the hole and hold a lighted candle or spirit lamp under the place, which melts the solder on the tin and causes the zinc to adhere without further trouble. Do not forget to wet the zinc also with the solution.
This is a really easy and inexpensive way to repair tinware that anyone with a little creativity can handle. Take a bottle that's about two-thirds full of muriatic acid and add small pieces of sheet zinc until the acid stops dissolving them. Then, add a small piece of sal-ammoniac and fill the rest with water, and it's ready to use. Wet the cork in the bottle and use it to dampen the edges of the area that needs fixing. Next, place a piece of sheet zinc over the hole and hold a lit candle or spirit lamp underneath it; this will melt the solder on the tin and make the zinc stick without any hassles. Don't forget to also wet the zinc with the solution.
A Good Way to Sharpen Razors.
Put the razor blade for half an hour in water to which has been added one-twentieth of its weight of muriatic or sulphuric acid, and after a few hours “set” it on a hone. The acid acts as a whetstone by corroding the whole surface uniformly.
Put the razor blade in water mixed with one-twentieth of its weight of muriatic or sulfuric acid for half an hour. After a few hours, "set" it on a hone. The acid works like a whetstone by evenly corroding the entire surface.
Razor-Strop Paste.
Moisten flour of emery with tallow or sweet oil.
Moisten emery flour with tallow or vegetable oil.
Cutting Ovals and Different Shapes on Glass.
Scratch the glass around the shape you desire with the corner of a file or graver; then having bent a piece of wire the same shape heat it red-hot and lay it upon the scratch, and sink the glass into cold water just deep enough for the water to come almost on a level with its upper surface. It rarely fails to break perfectly true.
Scratch the glass around the shape you want using the edge of a file or graver. Then, bend a piece of wire into that same shape, heat it until it’s red-hot, and place it on the scratch. Finally, submerge the glass in cold water just deep enough for the water to almost reach its top surface. It usually breaks perfectly cleanly.
Etching on Glass.
Barium sulfate3 | ounces. |
Ammonium fluoride1 | ounce. |
Acid sulphuric, a sufficient quantity to decompose the ammonia fluoride and making the mixture of a semi-fluid consistency. It must be prepared in a leaden vessel. It can be used with a common pen, but must be kept in bottles coated inside with paraffine, beeswax, or gutta-percha, with rubber stoppers.
Acid sulfuric, enough to break down the ammonia fluoride and create a mixture with a semi-fluid texture. It should be prepared in a lead container. It can be used with a regular pen but needs to be stored in bottles lined inside with paraffin, beeswax, or gutta-percha, with rubber stoppers.
To Drill and Ornament Glass.
Any hard steel tool will cut glass with great facility when kept freely wet with camphor dissolved in turpentine. A drill-bow may be used, or even the hand alone. A hole bored may be readily enlarged by a round file. The ragged edges of glass vessels may also be thus easily smoothed by a flat file. Flat window glass can readily be sawed by a watch-spring saw by aid of this solution. In short, the most brittle glass can be wrought almost as easily as brass by the use of cutting-tools kept constantly moist with camphorized oil of turpentine.
Any hard steel tool will cut glass easily if it's kept wet with camphor dissolved in turpentine. You can use a drill-bow or even just your hands. A hole that’s drilled can be easily widened with a round file. The rough edges of glass items can also be smoothed out easily with a flat file. You can saw flat window glass easily using a watch-spring saw along with this solution. In short, the most fragile glass can be shaped almost as easily as brass when you use cutting tools that are kept constantly moist with camphorated turpentine oil.
Plating Without a Battery.
Silver-Plating Solution.
Silver nitrate (crystals) 14 | ounce. |
Potassium cyanide 12 | ounce. |
Prepared hake1 | ounce. |
Rainwater2 1/2 | ounces. |
Mix all together in a glass vessel, and it is ready for use. Thoroughly clean the article from all grease and dirt (see polishing preparations, page 12), and apply with a soft rag or brush and polish with a chamois skin.
Mix everything together in a glass container, and it’s ready to use. Make sure to clean the item thoroughly to remove all grease and dirt (see polishing preparations, page 12), and apply it with a soft cloth or brush, then polish with a chamois cloth.
Silvering Powder.
Silver chloride1 | ounce. |
Pearl ash3 | ounces. |
Table salt1 1/2 | ounces. |
Whiting fish1 | ounce. |
Powder and mix the articles thoroughly. This is excellent in silvering brass and copper articles. Clean the surface of the article, as in the preceding preparation, and apply the mixture by rubbing on with a cork or piece of soft leather moistened with water and dipped in the powder. Afterward the metal should be well washed in hot water and wiped dry.
Powder and mix the ingredients thoroughly. This is great for silvering brass and copper items. Clean the surface of the item like in the previous preparation, and apply the mixture by rubbing it on with a cork or a piece of soft leather that’s dampened with water and dipped in the powder. Afterward, the metal should be washed well in hot water and dried off.
Gold-Plating Solution.
Gold alloy 12 | ounce. |
Nitric acid1 | ounce. |
Alcohol2 | ounces. |
Dissolve the amalgam in the acid and then add the alcohol. Thoroughly clean the article to be plated and apply the solution with a soft brush. Rinse and dry in sawdust or with tissue paper and polish with chamois skin.
Dissolve the mixture in the acid, then add the alcohol. Clean the item to be plated thoroughly and apply the solution with a soft brush. Rinse and dry it with sawdust or tissue paper, and polish with chamois leather.
Nickeling Iron Without Electricity.
To a solution of chloride of zinc 5 or 10 per cent strong add enough nickel salt to give the usual color of nickel bath. Cleanse the articles and put them in the solution for from 12 to 1 hour.
To a solution of 5 or 10 percent zinc chloride, add enough nickel salt until you achieve the typical nickel bath color. Clean the items and immerse them in the solution for 30 minutes to 1 hour.
Gold and Silver Imitations.
Imitation Gold.
An American has discovered a beautiful alloy, which has been most successfully applied as a substitute for gold. It is composed of pure copper, 100 parts; pure tin, 17 parts; magnesia, 6 parts; tartar of commerce, 9 parts; sal-ammoniac, 3.6 parts, and quicklime, 1.6 parts. The copper is first melted, then the lime, magnesia, sal-ammoniac, and tartar are added, little at a time, and the whole is briskly stirred for about half an hour, so as to mix thoroughly, after which the tin is thrown on the surface in small grains, stirring until entirely fused. The crucible is now covered and the fusion kept up for about thirty-five minutes, when the dross is skimmed off, and the alloy found ready for use. It is quite maleable and ductile, and may be drawn, stamped, chased, beaten into powder, or into leaves, like gold leaf, in all of which conditions it is not distinguishable from gold even by good judges, except by its inferior weight.
An American has discovered a beautiful alloy that has been very successfully used as a substitute for gold. It's made of pure copper, 100 parts; pure tin, 17 parts; magnesia, 6 parts; commercial tartar, 9 parts; sal-ammoniac, 3.6 parts; and quicklime, 1.6 parts. First, the copper is melted, then the lime, magnesia, sal-ammoniac, and tartar are added gradually, and the mixture is stirred vigorously for about half an hour to combine everything thoroughly. After that, the tin is sprinkled on the surface in small grains, and stirring continues until it's fully melted. The crucible is then covered, and the melting is maintained for about thirty-five minutes, after which the dross is skimmed off, and the alloy is ready to use. It is quite malleable and ductile and can be drawn, stamped, chased, beaten into powder, or made into leaves like gold leaf, all of which forms are indistinguishable from gold, even to experienced judges, except for its lighter weight.
Imitation Silver.
Combine by fusion 1 part pure copper, 24 parts block tin, 1 12 parts pure antimony, 14 part pure bismuth, and 2 parts clear glass. The glass may be omitted save in cases where it is an object to have the metal sonorous.
Combine by fusion 1 part pure copper, 24 parts block tin, 1½ parts pure antimony, 14 part pure bismuth, and 2 parts clear glass. You can leave out the glass unless you specifically want the metal to be resonant.
Care of Teeth, Mouth, and Breath.
The teeth, through negligence and ignorance, receive less attention among the majority of people than any other subject of a personal character. The care of children’s teeth is very important, and if parents do not post themselves in the matter frequent visits to a skilled dentist should in their case be imperatively enforced, as well as upon the older members of the family.
The teeth, due to carelessness and lack of knowledge, get less attention from most people than any other personal matter. Taking care of children's teeth is really important, and if parents aren’t informed about it, they should definitely make regular appointments with a skilled dentist for both their kids and the older family members.
The first teeth of the infant are called the deciduous or milk teeth, and are twenty in number—ten in each jaw. These twenty teeth are as follows: Eight incisors, four in each jaw—the four being composed of two central and two lateral incisors—also four canine or cuspid teeth, two in each jaw, and eight molars, four in each jaw—the molars being called first and second molars, indicating their relative positions as well as the periods of their eruption (commonly called cutting). It is generally recognized among physicians that all diseases of children are more difficult to treat during dentition than before or after. It is well enough for parents to recognize this fact in administering medicines to their children. Although the time of eruptions of the teeth differ with different persons, yet the following table gives a close approximation:
The infant's first teeth are known as the deciduous or milk teeth and total twenty—ten in each jaw. These twenty teeth include: eight incisors, four in each jaw (comprising two central and two lateral incisors); four canine or cuspid teeth, two in each jaw; and eight molars, four in each jaw (the molars referred to as first and second molars, indicating their relative positions and the timing of their emergence, commonly known as cutting). Physicians generally recognize that all children's illnesses are harder to treat during teething than before or after. It's important for parents to understand this when giving medications to their kids. Although the timing of tooth eruptions varies among individuals, the following table provides a close approximation:
ERUPTION OF THE TEETH.
Deciduous Teeth. | Permanent Teeth. | ||||
(The lower generally precede the upper by two or three months.) | First molars | 5 to 6 | years | ||
Central incisors | 6 to 8 | years | |||
Lateral incisors | 7 to 9 | years | |||
Central incisors | 5 to 8 | months | First bicuspids | 9 to 10 | years |
Lateral incisors | 7 to 10 | months | Second bicuspids | 10 to 11 | years |
First molars | 12 to 16 | months | Canines | 11 to 12 | years |
Canines | 15 to 20 | months | Second molars | 12 to 14 | years |
Second molars | 20 to 36 | months | Third molars | 17 to 21 | years |
It would be difficult indeed to condense in so short a space so much practical information from a reliable source as has been given in the following prize essay on the teeth, which was awarded by the Dental Society of Philadelphia:
It would be quite challenging to summarize in such a short space all the practical information from a trustworthy source that has been presented in the following award-winning essay on teeth, which was recognized by the Dental Society of Philadelphia:
1st. Cleanse your teeth once, or oftener, every day. Rinse the mouth after eating. Cleansing the teeth consists in removing every particle of foreign matter from around the teeth and gums.
1st. Brush your teeth at least once a day, or more often if needed. Rinse your mouth after eating. Cleaning your teeth means removing all bits of food and debris from around your teeth and gums.
2d. To cleanse use well-made brushes, soft quill, or wood toothpicks, an antacid styptic tooth wash, and precipitated chalk. If these means fail apply to a regular dentist.
2d. To clean your teeth, use good-quality brushes, a soft quill, or wooden toothpicks, an antacid mouthwash, and powdered chalk. If these methods don’t work, consult a dentist.
3d. Avoid eating hot food. Thoroughly masticate the food, and well salivate it before swallowing.
3d. Avoid eating hot food. Chew your food thoroughly and ensure it’s well-salivated before swallowing.
4th. Parents ought to carefully attend to the child’s second dentition. Prevail upon your children to visit, at frequent intervals, a careful and skillful operator.
4th. Parents should pay close attention to their child's second set of teeth. Encourage your kids to visit a careful and skilled dentist regularly.
5th. Remember that four of the permanent double teeth come in at the age of six years. They are very liable to decay early, are very large, and should never be allowed to require extracting.
5th. Remember that four of the permanent molars come in at the age of six. They are very prone to decay early, are quite large, and should never be allowed to need extraction.
6th. Never allow any one to extract a tooth or dissuade you from having them filled unless absolutely necessary.
6th. Never let anyone pull a tooth or convince you not to get them filled unless it's absolutely necessary.
7th. Carelessness and procrastination are responsible for a large proportion of teeth that are lost.
7th. Carelessness and putting things off are to blame for a significant number of lost teeth.
The teeth were never intended to take the place of nut-crackers nor to rival scissors in cutting thread. The teeth must be taken care of or your health will suffer.
The teeth were never meant to replace nut-crackers or compete with scissors for cutting thread. Teeth need proper care, or your health will be affected.
Remember, a clean tooth would not decay in a hundred years.
Remember, a clean tooth won't decay in a hundred years.
Best Tooth Powder.
Precipitated calcium carbonate4 | ounces. |
Cuttlebone powder2 | ounces. |
Orris root powder1 1/2 | ounces. |
Borax powder 12 | ounce. |
Clove oil5 | minims. |
Wintergreen oil2 | fluid drachms. |
Mix the powder thoroughly, and with a small portion add the oils and mix them until in the form of a moist powder. Then add the rest of the mixed powders gradually until all are evenly distributed throughout. A solution of carmine can be added in with the oils, which will color it as desired.
Mix the powder well, and take a small amount to combine with the oils, mixing them until you have a damp powder. Then gradually add the remaining mixed powders until everything is evenly incorporated. You can add a solution of carmine with the oils to achieve the desired color.
Some prefer a preparation in the form of a paste, as follows:
Some people prefer a preparation in the form of a paste, as follows:
Cherry Tooth Paste.
Precipitated calcium carbonate4 | ounces. |
Areca nut powder1 | ounce. |
Powdered quillaya bark (also known as soap root) 12 | ounce. |
Cuttlefish bone powder1 | ounce. |
Borax powder 12 | ounce. |
Orris root powder4 | ounces. |
Myrrh tincture 12 | ounce. |
Oils of nutmeg, cloves, and bitter almonds, each15 | minims. |
Rose oil5 | minims. |
Honey, glycerine, and mucilage acacia equal quantities of each sufficient to make into a paste of the desired consistence. First mix the powders and color with carmine, and then add the other ingredients and thoroughly mix.
Honey, glycerin, and acacia mucilage in equal amounts to create a paste with the desired consistency. First, combine the powders and color them with carmine, then add the other ingredients and mix thoroughly.
Mouth washes are a valuable addition to the toilet as they assist to harden and heal the gums, cleanse the mouth and purify the breath.
Mouthwashes are a great addition to the bathroom because they help strengthen and heal the gums, clean the mouth, and freshen the breath.
Antiseptic Tooth Wash.
Salicylic acid12 | parts. |
95% Alcohol315 | parts. |
Purified water60 | parts. |
Wintergreen oil15 | parts. |
Orange flower essence15 | parts. |
Color with tincture of cochineal. A few drops of carbolic acid may be added to the above in the case of decayed teeth and foul breath.
Color with cochineal dye. You can add a few drops of carbolic acid to the mixture if there are decayed teeth and bad breath.
When the breath is very offensive the following should be taken in addition to rinsing the mouth with the mouth wash:
When your breath is really bad, you should do the following in addition to rinsing your mouth with mouthwash:
Solution for the Breath.
Chlorine soda solution1 | ounce. |
Potassium hydroxide1 | ounce. |
Phosphate soda 12 | ounce. |
Water8 | ounces. |
Mix and take one-half tea-spoonful in water after each meal.
Mix and take half a teaspoon in water after each meal.
When the services of a dentist are not at hand and the teeth are badly decayed and aching, the following mouth wash is recommended. It is used by holding a tea-spoonful in the mouth as long as possible and spitting out:
When a dentist isn’t available and your teeth are severely decayed and hurting, the following mouthwash is recommended. Use it by holding a teaspoonful in your mouth for as long as you can before spitting it out:
Spanish chamomile root4 1/2 | drachms. |
Sal-ammoniac2 1/4 | drachms. |
Vinegar and lavender water, each2 1/2 | fluid ounces. |
Cut the camomile in pieces and rub fine with the sal-ammoniac; add the lavender water and vinegar by placing all in a glass flask and let it digest for twelve hours and filter.
Cut the chamomile into pieces and grind it finely with the sal-ammoniac; add the lavender water and vinegar by putting everything in a glass flask, let it sit for twelve hours, and then filter it.
The following preparation is one of the best for relieving toothache until a dentist can be consulted:
The following remedy is one of the best for easing a toothache until you can see a dentist:
Toothache Drops.
Chloral hydrate1 | drachm. |
Camphor oil1 | drachm. |
Morphine sulfate2 | drachms. |
Peppermint oil2 | drachms. |
Rub the solids in a mortar until they liquefy, then add the oil of peppermint. Apply on cotton.
Rub the solids in a bowl until they turn into a liquid, then add peppermint oil. Apply it onto cotton.
Removal of Freckles, Moles, Etc.
The following practical treatise on this much-abused subject is copied from the B. & C. Druggist, and although originally written in the interests of druggists it is of more value to persons affected with these blemishes; hence we reproduce the essay in its entirety with the formulas stripped of their technical terms and phrases:
The following practical guide on this often-misunderstood topic is taken from the B. & C. Druggist, and while it was originally written for druggists, it is actually more useful for individuals dealing with these issues. Therefore, we’re sharing the entire essay with the formulas simplified and free of technical jargon:
At this time of the year there are few questions which are more frequently addressed to the “family chemist,” and fewer still to which he ordinarily gives so unsatisfactory a reply, as, “What shall I do to cure my freckles?”
At this time of year, there are few questions that the “family chemist” is asked more often, and even fewer that he usually gives such unsatisfactory answers to, than, “What can I do to get rid of my freckles?”
Knowing as we do how greatly the popularity—i. e., the business prosperity—of the majority of our friends depends upon the votes and interest of their lady customers, we have been at some pains to lay before them such an amount of practical information upon the above subject as will enable them to retain the good will and material gratitude of their fair interrogators on the one hand, and to put a little extra profit in their own pockets on the other.
Knowing how much the popularity—i. e., business success—of most of our friends relies on the votes and interest of their female customers, we've worked hard to provide them with practical information on this subject that will help them maintain the goodwill and appreciation of their fair interrogators while also increasing their own profits a bit.
We do not propose to convert these pages into an elaborate treatise upon the skin; but for the benefit of those who are only just commencing business it will, perhaps, be as well to make a few observations which our more experienced friends may consider of the “leather and prunella” order. In the first place it will be generally admitted that upon the subject of our present notes there is no published information of a practical and reliable character, and that medical writers and practitioners either shun the question altogether or approach it in a perfunctory manner, and leave it very much where they found it. For our present purpose the cutaneous discoloration commonly designated by the term “freckles” may be considered under two heads—the so-called “summer” or temporary variety (ephelis), and the permanent kind (lentigo). Both are commonly stated to be simply morbid alterations of the skin-pigment, and to be situated solely in the rete mucosum, but this is not absolutely true, inasmuch as ephelis, properly so called, is generally due to a darkening of the under surface of the epidermis either in small ovoid patches (“summer freckles”) or extended over a large surface (“tan” or “sunburn”), while with lentigo the brownish discolorations are at a greater depth, and remain in situ after the covering epidermis has been completely removed. Strong sunshine, or any powerfully actinic light, and radiant heat from any source are apt to produce the first named, and to enhance the latter form of the skin’s chromatogenous function, the manifestations of which vary greatly according to individual idiosyncrasies.
We don’t intend to turn these pages into an extensive treatise about the skin; however, for the benefit of those who are just starting out in business, it might be useful to share a few thoughts that our more experienced peers may find to be of the "leather and prunella" variety. First of all, it's widely accepted that there’s no published information on our topic that’s practical and reliable, and that medical writers and practitioners either avoid the issue entirely or tackle it in a superficial way, leaving it largely untouched. For our purposes, the skin discoloration commonly referred to as “freckles” can be categorized into two types—the so-called “summer” or temporary kind (ephelis), and the permanent type (lentigo). Both are generally said to be merely abnormal changes in skin pigment and are located solely in the rete mucosum, but that’s not completely accurate. Ephelis, more precisely, usually results from darkening of the lower layer of the epidermis, either in small oval patches (“summer freckles”) or spread over a larger area (“tan” or “sunburn”). In contrast, with lentigo, the brown spots are deeper and remain in situ even after the outer epidermis is completely removed. Intense sunlight, strong actinic light, and radiant heat from any source tend to cause the former and amplify the latter form of the skin’s ability to produce pigment, the effects of which can vary greatly depending on individual characteristics.
Similarly the treatment which answers best for some persons is not so efficacious in other cases, but the old, old adage that “prevention is better than cure” applies here with considerable force, and as regards the rationale of remedial applications, it may be said in general terms that the application, in the right place, of active reducing, or deoxidizing, agents is as a rule successful in removing ephelis altogether, and in greatly toning down the shade of lentigo. Commencing with the mildest form we will give a good formula for a
Similarly, the treatment that works best for some people isn’t as effective for others, but the old saying “prevention is better than cure” holds true here. Regarding the rationale of treatment methods, it can generally be said that using active reducing or deoxidizing agents in the right way usually succeeds in completely removing ephelis and significantly lightening the shade of lentigo. Starting with the mildest form, we will provide a good formula for a
SUNBURN LOTION
Citric acid1 | drachm. |
Iron sulfate (pure)18 | grains. |
Elderflower water3 | ounces. |
Camphor, sufficient quantity. |
The sulphate of iron must be in clear green crystals, unless the “granulated” form, which is preferable, be available, and in either case the salt should be fresh and free from oxidized portions, or “rustiness;” it should be dissolved in half the elder-flower water (all of which is better, if not quite recently distilled, for being quickly raised to the boiling point and cooled out of contact of air before use), the citric acid being also in solution in the other half, and the two fluids mixed, filtered if necessary, and bottled immediately, a lump of camphor about the size of small peppercorn to be added to the contents of each bottle.
The iron sulfate should be clear green crystals, unless the "granulated" form, which is preferred, is available. In either case, the salt should be fresh and free from oxidized parts, or "rust." It should be dissolved in half of the elderflower water (which is better if it's not freshly distilled, as it's quickly brought to a boil and cooled without contact with air before use). The citric acid should also be dissolved in the other half, and then the two solutions should be mixed, filtered if necessary, and bottled right away, adding a lump of camphor about the size of a small peppercorn to each bottle.
WASH FOR THE SKIN.
Hydroquinone48 | grains. |
Glacial phosphoric acid30 | grains. |
Glycerin2 | drachms. |
Purified water6 | ounces. |
Mix. |
The two lotions are stated to give excellent results, especially the latter. They are to be applied to the skin of the face, etc., in the usual way, at least twice in the course of twenty-four hours, after it has been washed and dried carefully. If the skin be of the nature known as “greasy,” a preliminary wash with tepid water containing a few drops of stronger water of ammonia is advisable.
The two lotions are said to provide excellent results, especially the second one. They should be applied to the skin of the face, etc., in the usual way, at least twice within twenty-four hours, after the skin has been washed and dried thoroughly. If the skin is oily, it's recommended to wash it first with warm water mixed with a few drops of stronger ammonia water.
ALBADERMINE.
Under this empirical title a process of removing “tan” and the milder variety of “freckles,” a foreign surgeon has devised the following:
Under this practical title, a process for getting rid of "tan" and the lighter type of "freckles" has been created by a foreign surgeon:
SOLUTION A.
Potassium iodide2 | drachms. |
Iodine6 | grains. |
Glycerin3 | drachms. |
Rose leaf infusion4 | ounces. |
Dissolve the iodide of potassium in a small quantity of the infusion and a drachm of the glycerine; with this fluid moisten the iodine in a glass mortar and rub it down, gradually adding more liquid until complete solution has been obtained; then stir in the remainder of the ingredients, and bottle the mixture.
Dissolve the potassium iodide in a small amount of the infusion and a dram of the glycerin; with this fluid, moisten the iodine in a glass mortar and grind it down, gradually adding more liquid until it fully dissolves; then mix in the rest of the ingredients and bottle the mixture.
SOLUTION B.
Sodium hyposulfite1 1/2 | ounces. |
Rosewater1 | pint. |
Dissolve and filter. |
With a small camel’s hair pencil or piece of fine sponge apply a little of “Albadermine A” to the tanned or freckled surface, until a slight but tolerably uniform brownish-yellow skin has been produced. At the expiration of fifteen or twenty minutes moisten a piece of cambric, lint, or soft rag with “B” and lay it upon the affected part, removing, squeezing away the liquid, soaking it afresh, and again applying until the iodine stain has disappeared. Repeat the entire process thrice daily, but diminish the frequency of the application if tenderness be produced. In the course of from three or four days to as many weeks the freckles will either have disappeared entirely or their intensity will be very greatly diminished. “Summer freckles” yield very speedily to this treatment.
Using a small camel hair brush or a piece of fine sponge, apply a little of “Albadermine A” to the tanned or freckled areas until a slight but fairly uniform brownish-yellow color appears. After fifteen to twenty minutes, moisten a piece of cambric, lint, or a soft cloth with “B” and place it on the affected area, removing and squeezing out the liquid, soaking it again, and reapplying until the iodine stain is gone. Repeat the whole process three times a day, but reduce the frequency if it causes tenderness. Within three to four days to a few weeks, the freckles will either completely disappear or their intensity will be significantly reduced. “Summer freckles” respond very quickly to this treatment.
ANTI-FRECKLE LOTION.
Mercury chloride12 | grains. |
Hydrochloric acid (100% pure)3 | drachms. |
Bitter almond kernels1 1/2 | ounces. |
Glycerin1 | ounce. |
Benzoin tincture2 | drachms. |
Orange-flower water, sufficient quantity. |
Dissolve the corrosive sublimate in three ounces of the orange-flower water, add the hydrochloric acid, and set aside. Blanch the bitter almonds and bruise them in a Wedgwood mortar, adding thereto the glycerine and using the pestle vigorously; a smooth paste is thus obtained. Then add gradually about nine ounces of the orange-flower water, stirring constantly, continuing this operation until a fine, creamy emulsion is the result. Subject this to violent agitation—preferably with the aid of a mechanical egg whisk—and allow the tincture of benzoin to fall into it the while drop by drop. Then add the mercurial solution, filter, and make up the whole to the measure of one imperial pint (20 ounces) with more orange-flower water.
Dissolve the corrosive sublimate in three ounces of orange-flower water, add the hydrochloric acid, and set it aside. Blanch the bitter almonds and crush them in a Wedgwood mortar, then add the glycerine and mix vigorously with the pestle to create a smooth paste. Gradually add about nine ounces of orange-flower water while stirring constantly, continuing this process until you achieve a fine, creamy emulsion. Whip this mixture vigorously—preferably using a mechanical egg whisk—and let the tincture of benzoin drip in slowly, drop by drop. Then add the mercurial solution, filter it, and bring the total volume up to one imperial pint (20 ounces) with more orange-flower water.
This preparation is recommended to us by an eminent dermatologist as being invariably efficacious in the treatment of ephelis, and always greatly ameliorating lentigo, even if it does not entirely decolorize the patches in the latter case. A general whitening of the skin is produced by this lotion without any irritation. It is as well, however, not to apply it to any abraded surfaces. It has been found far superior in practice to a preparation—which it somewhat resembles—sold at a high price in Paris under the name of Lait Antiphelique.
This preparation is recommended to us by a well-known dermatologist as being consistently effective in treating ephelis, and it always significantly improves lentigo, even if it doesn't completely remove the discoloration in that case. This lotion results in a general whitening of the skin without causing irritation. However, it’s best not to apply it to broken skin. In practice, it has proven to be much better than a similar product sold at a high price in Paris under the name of Lait Antiphelique.
BISMUTH OINTMENT FOR FRECKLES.
Bismuth subnitrate3 | drachms. |
Basic ointment2 | ounces. |
Apply to the face, etc., at night, and remove in the morning with a little cold cream previous to washing. This is from a private American source.
Apply to the face, etc., at night, and wash it off in the morning with a bit of cold cream before you cleanse your face. This is from a private American source.
COPPER OLEATE FOR FRECKLES, ETC.
This is a much more effective and reliable ointment for the purpose than the preceding, which is really only suited for the milder form of sunburn, while the oleate of copper will remove the more persistent and obstinate lentigo. It is thus prepared:
This is a much more effective and reliable ointment for this purpose than the previous one, which is really only suitable for milder sunburn, while the oleate of copper will eliminate the more stubborn and persistent lentigo. It is prepared as follows:
Copper oleate1 | ounce. |
Petroleum jelly3 | ounces. |
Mix. |
This is to be applied in the same manner as the preceding, washing the surface of the skin, however (after the cold cream), about every third morning, with a little weak ammonia water, in order to prevent any inadvertent accumulation of copper.
This should be done the same way as before, washing the skin's surface, but (after the cold cream), about every third morning, with a bit of diluted ammonia water, to avoid any unintended buildup of copper.
Several of the preceding are well adapted for the treatment of very dark-colored and deep-seated examples of lentigo, of which, however, some seem capable of resisting all treatment of this kind. The only method of reaching these is by the complete removal of the epidermis of the part and of the upper portion of the cutis also. A Turkish bath is often useful as a preliminary for an effort of this kind, which, of course, needs the application of some disorganizing substance. Permanganate of potassium answers in this direction, but we find that a moderately strong solution of Mr. H. B. Condy’s new disinfectant—permanganate of aluminum—is undoubtedly the best of the two for this purpose. It should be applied several times until the skin has acquired a uniform brown tint. At from one to twelve hours after this is noticed it should be removed by a warm and dilute solution (about 8 or 10 per cent) of hydrochloric acid, to which a little glycerine may be added to prevent too rapid drying. Still better, however, is nitric acid, which if “painted” upon a colored spot of this kind first renders it more distinctly yellow, then orange-brown. In a day or two this becomes a deeper brown, and more or less disorganized, cracking, either round the edge, or right across the center, so that it can be readily peeled away. Freckles removed in this manner seldom crop up again, in that particular place, at all events. In this connection it is a somewhat curious fact that whereas dilute nitric acid often caused soreness and irritation when applied in this manner, a stronger acid does nothing of the kind, but quietly and quickly “deadens” that portion of the outer covering it has been applied to, so that in a day or two it can be removed quite painlessly. What is known as “French nitric acid,” of from 1.330 to 1.350 specific gravity, is very appropriate for this purpose.
Several of the previous methods work well for treating very dark-colored and deep-seated cases of lentigo, although some may resist all treatment. The only way to effectively address these is through the complete removal of the outer skin layer and the upper part of the cutis as well. A Turkish bath can often be helpful as a preliminary step for this type of procedure, which, of course, requires the use of some damaging substance. Permanganate of potassium is effective in this regard, but we find that a moderately strong solution of Mr. H. B. Condy’s new disinfectant—permanganate of aluminum—definitely works better for this purpose. It should be applied several times until the skin develops a uniform brown color. After one to twelve hours of this occurring, it should be removed using a warm, diluted solution (about 8 or 10 percent) of hydrochloric acid, to which a bit of glycerin may be added to prevent it from drying too quickly. Even better is nitric acid, which, if “painted” onto a colored spot, first turns it a more distinct yellow, then orange-brown. In one or two days, this will deepen to a richer brown and may start to crack—either around the edges or right in the center—making it easy to peel away. Freckles removed this way rarely return to that specific spot. Interestingly, while dilute nitric acid often causes soreness and irritation when applied this way, a stronger acid doesn’t, but instead, quietly and quickly “deadens” the outer layer it’s applied to, allowing for painless removal after a day or two. What is called “French nitric acid,” with a specific gravity of 1.330 to 1.350, is particularly suitable for this purpose.
COCAINE AND NITRIC ACID FOR MOLES, ETC.
The removal of either deep-seated freckles or moles is, as before hinted, not always an easy task, but nitric acid is perhaps about as good an agent for the purpose as any other. The mole should be surrounded by a little “cell” or ring of wax, so that the acid can be applied direct without fear of disorganizing the adjacent skin. As, however, nitric acid by itself sometimes occasions a good deal of smarting, etc., when applied, it is better to avoid this by mixing cocaine with it. The mixture given below answers the purpose very well indeed:
Removing deep-seated freckles or moles, as mentioned before, isn't always straightforward, but nitric acid might be one of the best options available. You should create a small "cell" or ring of wax around the mole so that the acid can be applied directly without affecting the surrounding skin. However, since nitric acid can cause significant stinging when applied, it's better to mix it with cocaine to lessen this effect. The mixture provided below works quite well:
Nitric acid1 | drachm. |
Coke6 | grains. |
This should be kept ready for use in a small bottle with a good-fitting stopper. The end of a glass rod dipped in and then cautiously applied to the surface of the mole or freckle, the process being repeated once or twice a day, and the unsightly spot has its vitality destroyed without pain, being then easily and effectually removed.
This should be kept ready for use in a small bottle with a secure stopper. Dip the end of a glass rod in it and then carefully apply it to the surface of the mole or freckle. Repeat this process once or twice a day, and the unsightly spot will have its vitality destroyed without pain, making it easy and effective to remove.
Preparation for Red Noses.
This formula was procured from a friend of the author residing at Little Rock, Ark. I can vouch for its efficacy in his case, as it removed the unnatural color in a few days, and he told me that others had tried it with equally gratifying results. It is translated from a formula of a young physician, a graduate of Jefferson Medical College:
This formula was obtained from a friend of the author living in Little Rock, Arkansas. I can confirm its effectiveness in his situation, as it cleared up the unnatural color in just a few days, and he mentioned that others had used it with similarly satisfying results. It is a translation of a formula created by a young doctor who graduated from Jefferson Medical College:
Zinc oxide 14 | ounce. |
Mercury chloride2 | grains. |
Sulfur (precip.) 12 | ounce. |
Glycerin 14 | ounce. |
Calamine lotion3 | drachms. |
Rose water, sufficient to make 8 ounces. |
Mix and apply with a small, soft sponge. The medical works say little about the red nose. The cause is usually attributed to drinking, but gluttony, tight lacing, nasal catarrh, chronic enlargement of the tonsils, exposure to strong sunlight, etc., all contribute to a reddening of the nasal organ.
Mix and apply with a small, soft sponge. The medical literature says very little about the red nose. It’s usually blamed on drinking, but overeating, tight lacing, nasal congestion, chronic enlarged tonsils, strong sunlight exposure, and other factors also contribute to the reddening of the nose.
Other Toilet Preparations.
The following formula, prescribed by the late Dr. Tilbury Fox, is a very soothing application, and is a great favorite with ladies who have flushed faces:
The following formula, recommended by the late Dr. Tilbury Fox, is a very calming treatment and is quite popular among women with red faces:
Calamine Face Lotion.
Levigated calamine120 | grains. |
Zinc oxide60 | grains. |
Glycerin60 | drops. |
Rose water, sufficient to make 3 ounces. |
Be sure and get the white calamine, and not the red. Apply with a small, soft sponge and allow to dry on, the excess of powder being lightly dusted off with a soft cloth.
Make sure to get the white calamine, not the red. Apply it with a small, soft sponge and let it dry on. Lightly dust off the excess powder with a soft cloth.
Lotion for Chapped Hands, Face, and Lips.
Glycerin3 | drachms. |
Filtered honey1 | drachm. |
Cologne1 | drachm. |
Bitter almond oil3 | drops. |
Alcoholic beverages4 | ounces. |
Water1 1/2 | ounces. |
Mix and apply with a soft sponge while the skin is damp, and wipe dry with a towel. This is the best preparation of its class.
Mix and apply with a soft sponge while the skin is still damp, then wipe it dry with a towel. This is the best product of its kind.
Lip Salve.
For healing and softening the lips, preventing them from cracking, etc., the following is an elegant preparation:
For healing and softening the lips and preventing them from cracking, etc., here's a classy solution:
Petroleum jelly2 | ounces. |
White wax, or paraffin 12 | ounce. |
Tannin 12 | drachm. |
Oils of lavender and bergamot, each 14 | drachm. |
Rose geranium oil 12 | drachm. |
Melt the petrolatum and wax together and add the tannin while cooling; add the oils and stir until cold. When it is desired to color the lips add 20 grains of carmine. This is done by reducing the carmine to a fine powder in a mortar and rub with a small portion of the salve until it is thoroughly incorporated, and then mix the remainder gradually.
Melt the petroleum jelly and wax together and add the tannin while cooling; then add the oils and stir until it's cold. If you want to add color to the lips, mix in 20 grains of carmine. Do this by grinding the carmine into a fine powder in a bowl and then mixing it with a small amount of the salve until it’s completely combined, and then gradually mix in the rest.
Pimple Lotion.
Carbolic acid 12 | drachm. |
Boron compound2 | drachms. |
Glycerin1 | ounce. |
Tannin1 | drachm. |
Drinks1½ | ounces. |
Rosewater5 | ounces. |
Mix and dissolve. Apply night and morning.
Mix and dissolve. Use it in the morning and at night.
Manicure Powder.
This is used for polishing and cleaning the nails:
This is for polishing and cleaning your nails:
Pumice powder4 | ounces. |
Talcum powder 14 | ounce. |
Carmine powder (No. 40) 14 | drachm. |
Bulk perfume (violet or rose) 18 | ounce. |
Manicure Salve.
This is for softening the nails, curing hang-nails, etc.:
This is for softening your nails, treating hangnails, etc.:
Petroleum jelly1 | ounce. |
Castile soap powder2 | drachms. |
Bergamot oil15 | drops. |
Mix thoroughly and apply upon going to bed, wearing a pair of gloves.
Mix well and apply before going to bed, while wearing a pair of gloves.
Best Bay Rum.
Bay leaf oil4 | fluid drachms. |
Pimento oil30 | minims. |
Bergamot oil60 | minims. |
Ethyl acetate30 | minims. |
Caustic soda4 | drachms. |
Deodorized alcohol7 | pints. |
Water9 | pints. |
Color sufficient with grass green. |
Mix the oils and dissolve them in the alcohol; to this gradually add the lye, previously dissolved in the water, then add the acetic ether and coloring matter, and let stand a few days and filter through a glass funnel into a glass vessel.
Mix the oils and dissolve them in the alcohol; then gradually add the lye, which has been dissolved in the water. Next, add the acetic ether and coloring, and let it sit for a few days. Finally, filter it through a glass funnel into a glass container.
Fine Rose Water.
Rose oil15 | drops. |
Refined sugar 12 | ounce. |
Magnesium carbonate2 | drachms. |
Water2 | pints. |
Drinks2 | ounces. |
Add the oil to the alcohol, rub with magnesia and sugar, then add the water and filter.
Add the oil to the alcohol, mix with magnesia and sugar, then add the water and filter.
Hoyt’s German Cologne.
Bergamot oil1 | ounce. |
Neroli Oil 14 | ounce. |
Lemon oil1 | ounce. |
Sandalwood oil 12 | ounce. |
Camphor oil20 | grains. |
Odorless alcohol7 | pints. |
Rose water1 | pint. |
Mix, let stand 30 days, and then filter.
Mix, let it sit for 30 days, and then filter.
Hair Tonic.
Tincture of red cinchona3 | ounces. |
Glycerin1 1/2 | ounces. |
Jamaican rum1 | ounce. |
Tannic acid 12 | drachm. |
Cantharides tincture2 | drachms. |
Chili extract1 | drachm. |
Cologne, sufficient to make 9 ounces. |
Apply once or twice a day, rubbing well into the scalp.
Apply once or twice daily, massaging thoroughly into the scalp.
Clifford’s Shampoo Compound.
Boric acid3 | ounces. |
Cream of tartar1 | ounce. |
Mix, and dissolve 1 ounce of the mixture in 1 pint of water when wanted for use.
Mix and dissolve 1 ounce of the mixture in 1 pint of water when you need to use it.
Quillaya Sea Foam.
Quillaja tincture1 | ounce. |
Bay rum1 | ounce. |
Water6 | ounces. |
This is much better than the old form containing ammonia.
This is way better than the old version that had ammonia.
Cream Hair Oil.
Pure winter lard oil2 | ounces. |
Concentrated borax solution2 | ounces. |
Perfume with bergamot or any desired odor. This makes an elegant, creamy preparation, and is one of the best that can be made. The addition of 14 ounce of tincture of cantharides to the above amount will stop the hair from falling out and assist Nature in supplying new hair. A great many persons are prejudiced against hair oils, but they have been used for ages, and will continue to be used. Some hair actually demands oil, owing to a lack of that supplied by nature.
Perfume with bergamot or any scent you prefer. This creates a sophisticated, creamy mix and is among the best you can make. Adding 14 ounce of tincture of cantharides to the mixture will help prevent hair loss and support new hair growth. Many people are skeptical about hair oils, but they have been used for centuries and will continue to be used. Some hair genuinely needs oil due to a deficiency of what is provided naturally.
Pomade Hair-Grower.
Petroleum jelly 12 | pound. |
Cantharides tincture 34 | ounce. |
Cinnamon oil15 | minims. |
Bergamot oil60 | minims. |
Citronella oil30 | minims. |
Clove oil5 | minims. |
Melt the petrolatum and add the tincture of cantharides, and while cooling add the other ingredients.
Melt the petroleum jelly and add the tincture of cantharides, and while it's cooling, mix in the other ingredients.
Perspiration Powder.
Salicylic acid15 | grains. |
Phenol10 | drops. |
Burnt alum powder1 | drachm. |
Cornstarch2 | ounces. |
Talc powder1 | ounce. |
Lemon oil20 | drops. |
Mix thoroughly, and apply by dusting the powder into the stockings and gloves.
Mix well, then dust the powder onto the stockings and gloves.
Corn and Wart Salve.
Lye or potassium hydroxide1 | ounce. |
Water1 | ounce. |
Cornstarch 14 | ounce. |
Glycerin2 | ounces. |
Mix the starch with the glycerine, heat, and stir until thoroughly incorporated. Dissolve the potassa in the water heated to a boiling point and add the other mixture to it. This preparation needs to be applied only once or twice. Spread a little of the salve on the corn, bunion, or wart. Do not touch the healthy skin. Allow it to remain several hours and then soak the part in warm water.
Mix the starch with the glycerine, heat it up, and stir until it's fully combined. Dissolve the potash in the water heated to a boil and then add the other mixture to it. This preparation should be used only once or twice. Apply a small amount of the salve on the corn, bunion, or wart. Avoid touching the healthy skin. Leave it on for several hours, then soak the area in warm water.
German Corn-Killer.
A very popular liquid preparation for removing corns, etc., is prepared as follows:
A widely used liquid solution for removing corns and similar issues is made as follows:
Salicylic acid 34 | drachm. |
Extract of cannabis8 | grains. |
Collodion 34 | ounce. |
Apply once a day to the hard skin by means of a small brush.
Apply once a day to the hard skin using a small brush.
Chilblains.
In the treatment of chilblains we give a detailed list of formulas from the works and practice of a number of the most eminent physicians and surgeons.
In the treatment of chilblains, we provide a detailed list of formulas from the works and practices of several of the most notable physicians and surgeons.
OINTMENT TO BE USED AT NIGHT.
Dr. Bartholow’s prescription is as follows:
Dr. Bartholow’s prescription is as follows:
Carbolic acid1 | drachm. |
Iodine tincture2 | drachms. |
Tannic acid2 | drachms. |
Simple ointment4 | ounces. |
POWDER TO PREVENT CHILBLAINS.
Dr. Bandt gives the following prescription:
Dr. Bandt provides the following prescription:
Borax3 | parts. |
Alum and benzoin, both2 | parts. |
Mustard12 | parts. |
Orris root and bran, both10 | parts. |
Almond skins30 | parts. |
Mix with a little water and apply.
Mix with a little water and apply.
WASH FOR NON-ULCERATED CHILBLAINS.
Dr. Beasley’s prescription is as follows:
Dr. Beasley’s prescription is as follows:
Alum1 | part. |
Vinegar and weak alcohol, each of them25 | parts. |
Dissolve and filter. Apply night and morning.
Dissolve and filter. Apply morning and night.
OINTMENT FOR NON-ULCERATED CHILBLAINS.
Dr. Giacomini’s prescription is as follows:
Dr. Giacomini’s prescription is as follows:
Rendered lard8 | parts. |
Lead acetate1 | part. |
Cherry laurel distillate2 | parts. |
Mix, and apply night and morning.
Mix and apply morning and night.
FOR UNBROKEN CHILBLAINS.
Sulfuric acid1 | drachm. |
Turpentine spirits1 | drachm. |
Olive oil3 | drachms. |
Mix the oil and turpentine first, then gradually add the acid. Apply by rubbing on two or three times a day.
Mix the oil and turpentine together first, then slowly add the acid. Apply by rubbing it on two or three times a day.
FOR UNBROKEN CHILBLAINS.
Pork fat4 | ounces. |
Turpentine1 | ounce. |
Camphor2 | ounces. |
Rosemary oil15 | drops. |
Rub in with continued friction.
Rub with consistent pressure.
FOR BROKEN CHILBLAINS.
Yellow wax | ![]() | of each, 3 ounces. |
Extra virgin olive oil | ||
Camphor oil | ||
Goulard's extract | 1/2 | ounces. |
Melt the wax with the oil, then add the camphorated oil and Goulard extract.
Melt the wax with the oil, then mix in the camphorated oil and Goulard extract.
How to Make an Incubator.
[From Scientific American Supplement.]
[From Scientific American Supplement.]
![]() FIG. 2.—THE TANK. FIG. 2.—THE TANK. Observe that the tubes on the top and the spigot are quite long, in order that they may extend through the packing of sawdust which is to surround it. This tank is to have a close-fitting covering (top and sides) of wood, to resist pressure of water. The bottom is not to be covered. Notice that the tubes on the top and the spout are quite long so they can reach through the layer of sawdust that will surround them. This tank will have a tight-fitting cover (top and sides) made of wood to withstand the pressure of the water. The bottom will remain uncovered. |
Shows the thick packing, which is noticed at the opening. This extends all around. The front of the egg drawer (Fig. 4) fits in its place in order to complete the surrounding packing, when the incubator is closed, as at Fig. 1. It shows the thick insulation, which is noticeable at the opening. This extends all the way around. The front of the egg drawer (Fig. 4) fits into place to complete the surrounding insulation when the incubator is closed, as seen in Fig. 1. |
![]() FIG. 4.—THE EGG DRAWER. FIG. 4.—THE EGG DRAWER. The space just in front of the eggs is the portion partitioned off to fit in the opening at Fig. 3. The egg drawer is therefore LONGER than the tank and ventilator. The area right in front of the eggs is the section set aside to fit into the opening shown in Fig. 3. As a result, the egg drawer is LONGER than the tank and ventilator. |
![]() FIG. 5.—THE VENTILATOR. FIG. 5.—THE VENTILATOR. The tubes admit air from below, which passes into the egg drawer above through the muslin bottom of the egg drawer to the eggs. The eggs rest upon the muslin, which is tightly drawn over narrow slats running lengthwise the bottom of the drawer. The tubes take in air from below, which then flows into the egg drawer above through the muslin bottom of the egg drawer to the eggs. The eggs sit on the muslin, which is securely stretched over narrow slats that run the length of the bottom of the drawer. |
![]() FIG. 6. FIG. 6. Here we remove the front of the incubator in order to show the positions of the ventilator, egg drawer, and tank. First the ventilator, then the egg drawer (which of course should be longer than the others in order to fit in the opening shown at Fig. 3, but which we did not do here in order to mark the places), and on the top is the tank. When the front is completed the incubator is seen at Fig. 1. Here we take off the front of the incubator to show the locations of the ventilator, egg drawer, and tank. First is the ventilator, then the egg drawer (which should be longer than the others to fit in the opening shown in Fig. 3, but we didn’t do that here to indicate the positions), and on top is the tank. When the front is finished, the incubator is displayed in Fig. 1. |
Experiments with the incubator here given have been made all over the country. It is one that is in actual use, and has always given satisfaction. Having secured permission from the originator, we here illustrate it for the benefit of our readers.
Experiments with the incubator presented here have been conducted across the country. This is a model that is currently in use and has consistently provided satisfaction. With permission from the creator, we are illustrating it here for the benefit of our readers.
To make this incubator get your tinner to make you a tank 15 inches wide, 30 inches long, and 12 inches deep, of galvanized iron or zinc, the iron being preferable. On the top should be a tube 1 inch in diameter and 8 inches high. In front should be another tube, 9 inches long, to which should be attached a spigot, as illustrated in Fig. 2. Having made your tank, have what is called the ventilator made, which is a box with a bottom but no top. The ventilator should be 8 inches deep, and 1 inch smaller all round than the tank, as the tank must rest on inch boards. In the ventilator should be four or six tin tubes 12 inch in diameter and 6 inches long. They should extend through the bottom, so as to admit air from below, and to within 2 inches of the top or a little less. Now make an egg drawer, which is a frame of wood 3 inches deep having no top or bottom, except that the front should be boxed off and filled with sawdust, which is covered over afterward with a piece of muslin to keep the sawdust from spilling. This box in front of the drawer exactly fits the opening in Fig. 3, when the drawer is in its place. Of course the egg drawer must be made longer than the tank and ventilator, in order to allow for this space which it fills in the opening, which is the packing all around the incubator. The bottom of the egg drawer should be made by nailing a few slats lengthwise to the under side, or rather, fitting them in nicely, and over the slats in the inside of the drawer a piece of thick, strong muslin should be tightly drawn. On this muslin the eggs are placed, in the same position as if laid in a hen’s nest, and it allows the air to pass through to the eggs for ventilation. The eggs can be turned by hand, marked for designation, or an egg turner may be made by fastening slats crosswise to one on each side running lengthwise, something like a window lattice, and when the eggs are placed between these slots by merely pushing the frame the eggs will turn over, exactly on the same principle that an egg will roll when it is pushed by a block, a book, or anything else; but we believe the method is patented, and do not advise infringement.
To have your tinsmith build you a tank that's 15 inches wide, 30 inches long, and 12 inches deep using galvanized iron or zinc—iron is preferable. On top, there should be a tube that's 1 inch in diameter and 8 inches tall. In front, there should be another tube that is 9 inches long, with a spigot attached, as shown in Fig. 2. Once your tank is made, create what’s called a ventilator, which is a box with a bottom but no top. The ventilator should be 8 inches deep and 1 inch smaller all around than the tank, since the tank will rest on 1-inch boards. Inside the ventilator, there should be four or six tin tubes that are 1½ inches in diameter and 6 inches long. They should extend through the bottom to let in air from below, reaching within 2 inches of the top or a little less. Now, make an egg drawer, which is a wooden frame 3 inches deep, without a top or bottom, except that the front should be enclosed and filled with sawdust, later covered with a piece of muslin to keep the sawdust from spilling. This box at the front of the drawer fits the opening shown in Fig. 3 when the drawer is in place. Of course, the egg drawer must be longer than the tank and ventilator to accommodate the space it fills in the opening, which serves as insulation all around the incubator. The bottom of the egg drawer should be constructed by nailing a few slats lengthwise to the underside, or fitting them in neatly, and a piece of thick, strong muslin should be tightly stretched over the slats inside the drawer. The eggs are placed on this muslin, in the same position as if they were laid in a hen’s nest, allowing air to pass through to ventilate the eggs. The eggs can be turned by hand and labeled, or you can create an egg turner by attaching slats crosswise to one on each side running lengthwise, similar to a window lattice. When the eggs are placed between these slots, simply pushing the frame will turn the eggs over, working on the same principle that an egg rolls when pushed by a block, a book, or anything else; however, we believe this method is patented and do not advise infringing on it.
Having prepared the tank, let it be covered with a box, but the box must not have any bottom. This is to protect the tank against pressure of water on the sides, and to assist in retaining heat. Such being done, place your ventilator first, egg drawer next, and tank last. Now place a support under the tank and the box, or have them rest on rods, and as the weight of water will be great in the center, the iron rods should be placed crosswise under the tank every 6 inches. Now fasten the three apartments (ventilator, egg drawer, and tank) together, with boards nailed to the sides and back and front (of course leaving the opening for the egg drawer), care being taken to drive no nails in the egg drawer, as it must move in and out, and should have a strong strip to rest on for that purpose. Having completed these preparations make a larger box to go over all three, so that there will be a space on the sides, back, front, and on top; but as the ventilator must be filled with sawdust to within 1 inch of the top of the tubes, it serves for the bottom packing. Make the outer box so that there will be room for filling all around the inside box with sawdust, and also on top, being careful to let the tube for pouring in the water come through, as also the spigot in front. About 4 inches or so thickness of sawdust is sufficient, according to preference. The front of the incubator must be packed also, but an idea of how it should be done may be learned by observing the opening in Fig. 3, which is so constructed that the box in front of the egg drawer (Fig. 4) exactly fits into it, and completes the packing when the drawer is shut. The incubator should be raised from the floor about an inch, when completed, to allow the air to pass under and thence into the ventilator tubes.
Having prepared the tank, cover it with a box that doesn't have a bottom. This is to protect the tank from water pressure on the sides and to help retain heat. Once that's done, place your ventilator first, the egg drawer next, and the tank last. Then, put a support under the tank and the box, or have them rest on rods. Since the weight of the water will be concentrated in the center, place iron rods crosswise under the tank every 6 inches. Now, securely fasten the three compartments (ventilator, egg drawer, and tank) together with boards nailed to the sides, back, and front (leaving an opening for the egg drawer). Be careful not to drive any nails into the egg drawer, as it needs to slide in and out and should have a sturdy strip to rest on. After finishing these preparations, create a larger box to cover all three compartments, allowing space on the sides, back, front, and on top. The ventilator needs to be filled with sawdust up to about an inch from the top of the tubes, which will act as the bottom packing. Make the outer box large enough to pack sawdust around the inside box and on top, ensuring that the tube for pouring in water and the spigot in front are accessible. About 4 inches of sawdust thickness should be sufficient, depending on your preference. The front of the incubator should also be packed, and you can get an idea of how to do this by looking at the opening in Fig. 3, which is designed so that the box in front of the egg drawer (Fig. 4) fits perfectly into it and completes the packing when the drawer is closed. The incubator should be raised about an inch off the floor when finished to allow air to flow underneath and into the ventilator tubes.
The incubator being complete, the tank is filled with boiling water. It must remain untouched for twenty-four hours, as it requires time during which to heat completely through. As it will heat slowly, it will also cool slowly. Let it cool down to 120 deg., and then put in the eggs, or, what is better, run it without eggs for a day or two in order to learn it and notice its variation. When the eggs are put in, the drawer will cool down some. All that is required then is to add about a bucket or so of water once or twice a day, but be careful about endeavoring to get up heat suddenly, as the heat does not rise for five hours after the additional bucket of water is added. The tank radiates the heat down on the eggs, there being nothing between the iron bottom of the tank and the eggs, for the wood over and around the tank does not extend across the bottom of the tank. The cool air comes from below in the ventilator pipes, passing through the muslin bottom of the egg drawer to the eggs. The 15×30-inch tank incubator holds 100 eggs if turned by hand, but less if the eggs are placed between slats. Lay the eggs in the same [way] as in a nest—promiscuously.
The incubator is finished, and the tank is filled with boiling water. It needs to sit untouched for twenty-four hours to heat all the way through. Since it heats slowly, it will also cool down slowly. Let it cool to 120 degrees, and then add the eggs, or even better, run it without eggs for a day or two to familiarize yourself with it and observe any temperature changes. When you add the eggs, the drawer will cool down a bit. After that, you just need to add about a bucket of water once or twice a day, but be careful not to raise the temperature too quickly, as it takes five hours for the heat to increase after adding the extra bucket of water. The tank radiates heat downward to the eggs, with nothing between the iron bottom of the tank and the eggs because the wood surrounding the tank doesn't extend across the bottom. Cool air comes from below through the ventilator pipes, passing through the muslin bottom of the egg drawer to the eggs. The 15x30-inch tank incubator can hold 100 eggs if turned by hand, but fewer if the eggs are placed between slats. Place the eggs in the same way as in a nest—mixed together.
DIRECTIONS.
Keep the heat inside the egg drawer as near 103 deg. as possible; the third week at 104 deg. Avoid opening the egg drawer frequently, as it allows too much escape of heat. Be sure your thermometer records correctly, as half the failures are due to incorrect thermometers, and not one in twenty is correct. Place the bulb of the thermometer even with the top of the eggs, that is, when the thermometer is lying down in the drawer. The upper end should be slightly raised, so as to allow the mercury to rise, but the bulb and eggs should be of the same heat, as the figures record the heat in the bulb and not in the tube. Keep a pie pan filled with water in the ventilator for moisture and keep two or three moist sponges in the egg drawer, displacing a few eggs for the purpose. Turn the eggs half way round twice a day at regular intervals. Let the eggs cool down for fifteen minutes once every day, but do not let them cool lower than 70 deg. No sprinkling is required if the sponges are kept moist. If the heat gets up to 110 deg. or as low as 60 deg. for a little while it is not necessarily fatal. Too much heat is more prevalent than too little. A week’s practice in operating the incubator will surprise one how simple the work is. The tank will be troublesome to fill at first, but the matter will be easy after it is done, as it can be kept hot. Heat the water in two or more boilers, as a large quantity will be required, and pour it in through the tube on top of the incubator boiling hot, using a funnel in the tube for the purpose. Just at the time of hatching out do not be tempted to frequently open the drawer. Cold draughts are fatal. Patience must be exercised.
Keep the heat in the egg drawer as close to 103°F as possible; in the third week, aim for 104°F. Avoid opening the egg drawer too often, as it lets too much heat escape. Make sure your thermometer is accurate, since half of the failures are due to incorrect thermometers, and only about one in twenty is correct. Place the bulb of the thermometer level with the top of the eggs, meaning the thermometer should be lying down in the drawer. The top end should be slightly raised to allow the mercury to rise, but the bulb and eggs should be at the same temperature, since the readings are for the bulb, not the tube. Keep a pie pan filled with water in the ventilator for moisture, and keep two or three moist sponges in the egg drawer, taking out a few eggs for this purpose. Turn the eggs halfway around twice a day at regular intervals. Let the eggs cool down for fifteen minutes each day, but don’t let them drop below 70°F. If the sponges stay moist, there's no need for additional sprinkling. If the temperature briefly climbs to 110°F or drops to 60°F, it’s not necessarily fatal. Excess heat is more common than insufficient heat. A week of practice with the incubator will show you how simple the process is. The tank might be tricky to fill at first, but it gets easier once it's filled, as it can be kept warm. Heat the water in two or more boilers, since you’ll need a lot, and pour it in through the tube on top of the incubator while it's boiling hot, using a funnel in the tube for this. When it's hatching time, resist the urge to open the drawer frequently. Cold drafts can be deadly. You'll need to be patient.
BROODERS.
An excellent brooder may be made with a tank of hot water, covered well, the same as the incubator. A piece of muslin or woolen cloth should be next the bottom to prevent burning the chicks. Keep the heat among the chicks at about 90 deg. Let the tank rest on inch boards with no opening under it, but in front; a fringe should hang in front for the chicks to run in and out under the tank. A little yard may be constructed of glass sash, something like a hot-bed. Feed the chicks four or five times a day, at first on hard-boiled eggs, chopped fine, giving them also a little milk, fine screenings, and millet seed. After they are a week old feed anything they can eat, but never feed meal in a raw state, as it should be scalded first. Keep a little sand, fine gravel, and bone-meal within reach of them all the time, and see that they are always dry, clean, and warm. Do not crowd them, as the fewer the number together the better, and never have different ages together.
An effective brooder can be created using a tank of hot water, well-covered, just like an incubator. Place a piece of muslin or woolen cloth at the bottom to prevent burning the chicks. Maintain the temperature around 90 degrees Fahrenheit for the chicks. Position the tank on one-inch boards with no openings underneath, except in the front; a fringe should hang in front for the chicks to enter and exit under the tank easily. You can build a small yard using glass panels, similar to a hot bed. Feed the chicks four to five times a day, starting with finely chopped hard-boiled eggs, and also provide some milk, fine screenings, and millet seeds. Once they reach a week old, you can feed them anything they can eat, but never give them raw meal; it should be scalded first. Always have some sand, fine gravel, and bone meal accessible to them, and make sure they stay dry, clean, and warm. Avoid overcrowding; the fewer chicks together, the better, and never mix chicks of different ages.
This incubator will hatch chicks, ducks, turkeys, or guineas, and we see no reason why it should not hatch the egg of the ostrich or anything else as well. Chicks hatched by incubators, if rightly cared for, do better than with hens, and are stronger and more vigorous.
This incubator will hatch chicks, ducks, turkeys, or guineas, and we see no reason why it shouldn't hatch the egg of an ostrich or anything else as well. Chicks hatched by incubators, if properly cared for, do better than those raised by hens and are stronger and more vigorous.
We have endeavored here to embody all the answers to questions that we suppose may be asked. Should you be in doubt, read the directions carefully again. We trust that with the help of our illustrations our readers will have no difficulties in the way.—The Poultry Keeper.
We’ve worked hard to provide all the answers to the questions we think you might have. If you’re unsure, please read the instructions carefully again. We hope that with the help of our illustrations, our readers will have no difficulties. —The Poultry Keeper.
A Cheap Charcoal Stove.

I saw the other day at a friend’s house one of the simplest and most effective stoves for a small conservatory it is possible to imagine. It was composed of three 12-inch ordinary flower pots. The hole at the bottom of the lowest was covered with a small pot, into the sides of which had been bored a number of holes. The pot was then three parts filled with charcoal, and lighted from the top. This is the furnace. It is covered by pots Nos. 2 and 3, and a light tin funnel and chimney carry off the vapor. The draught is maintained by placing the apparatus on a couple of bricks, and regulated by closing the intervening space with mud, leaving only a sufficient aperture to keep the fire burning. This improvised stove will burn without attention for twenty-four hours, and it is amazing what a great amount of heat is given off from so small a surface.—S. J., in the Gardener’s Chronicle.
I saw the other day at a friend’s house one of the simplest and most effective stoves for a small conservatory you can imagine. It consisted of three 12-inch ordinary flower pots. The hole at the bottom of the lowest pot was covered with a small pot that had several holes drilled into the sides. The small pot was then three-quarters filled with charcoal and lit from the top. This is the furnace. It is covered by pots Nos. 2 and 3, and a light tin funnel and chimney carry off the vapor. The draft is maintained by placing the setup on a couple of bricks, which you can adjust by sealing the space with mud, leaving just enough room for the fire to keep burning. This makeshift stove can burn unattended for twenty-four hours, and it’s amazing how much heat can be generated from such a small surface.—S. J., in the Gardener’s Chronicle.
Preservative Compounds.
Within a few years some valuable methods of keeping meats, fish, oysters, fruits, fruit juices, milk, butter, etc., in a healthful, nutritious, and palatable condition for a considerable time past the ordinary period of their decay have been discovered. In the following treatise we give the results of the most patient research in securing all the latest and most valuable information in regard to this important subject.
Within a few years, we discovered some effective methods for keeping meats, fish, oysters, fruits, fruit juices, milk, butter, and more in a healthy, nutritious, and tasty condition for a much longer time than usual before they spoil. In this guide, we present the findings of thorough research to provide all the latest and most valuable information on this important topic.
We will not deal with processes which necessitate complicated apparatus or which require almost impossible chemical combinations, but we will explain inventions which have undoubted value combined with as much simplicity in the preparation as the circumstances will permit.
We won’t tackle processes that need complex equipment or that require nearly impossible chemical combinations, but we will explain inventions that have obvious value along with as much simplicity in preparation as the circumstances allow.
Of all the anti-septic agents used for the purposes mentioned boracic acid is the favorite, and salicylic acid next in choice. Various other anti-septic agents are used and combined in different ways, according to the results of experiments. They are applied either by immersion, coating, injecting, vapors, etc., according to specified instructions.
Of all the antiseptic agents used for the purposes mentioned, boric acid is the most popular, followed by salicylic acid. Various other antiseptic agents are used and combined in different ways based on experimental results. They are applied through immersion, coating, injection, vapor, etc., according to specific instructions.
Prof. Frederic S. Barff of Kilburn, England, it seems was the first to combine boracic acid with glycerine, and to produce a preservative compound known as boroglyceride, which is soluble in water and alcohol. As boracic acid is but slightly soluble in water and other common solvents this combination with glycerine—which is also a useful agent in arresting the growth of germs—is peculiarly valuable. It is tasteless and inodorous and imparts no disagreeable taste or odor to the substance being treated. Solutions of the compound may be applied to the preservation of all organic substances, either animal or vegetable. The process was patented in England in 1881 and in the United States in 1882.
Prof. Frederic S. Barff from Kilburn, England, appears to be the first person to mix boracic acid with glycerine, creating a preservative known as boroglyceride, which dissolves in water and alcohol. Since boracic acid is only slightly soluble in water and other common solvents, this combination with glycerine— which is also effective in stopping the growth of germs— is especially valuable. It is tasteless and odorless, so it doesn’t add any unpleasant taste or smell to the treated substance. Solutions of this compound can be used to preserve all organic materials, whether animal or plant-based. The process was patented in England in 1881 and in the United States in 1882.
To prepare boroglyceride, glycerine is heated to near its boiling point and boracic acid added until it ceases to be dissolved, the proportions being about 92 parts by weight of glycerine to 62 parts by weight of boracic acid in chrystals. Maintain the mixture to a temperature of about 200 deg. centigrade as long as water is given off. When the mass cools it becomes a yellowish, transparent, glacial substance, tough and deliquescent. This dissolves in water, but when boiled in large quantities of the same it is decomposed into glycerine and boracic acid. In order to employ the compound prepare a solution either in water, alcohol, or other suitable solvent and immerse in or impregnate with such solutions the organic substances to be operated upon. Solutions may be prepared of various degrees of strength, but it has been found that a solution consisting of 1 part by weight of the compound and 40 parts by weight of water will give good results; but other desired proportions may be adopted.
To make boroglyceride, heat glycerin close to its boiling point and add boric acid until it stops dissolving. The typical ratio is about 92 parts glycerin to 62 parts boric acid in crystals. Keep the mixture at around 200 degrees Celsius as long as water is being released. When the mixture cools, it turns into a yellowish, transparent, glacial substance that is tough and moisture-absorbing. This substance dissolves in water, but when boiled in large amounts, it breaks down into glycerin and boric acid. To use the compound, prepare a solution in water, alcohol, or another suitable solvent and soak or treat the organic materials with these solutions. You can create solutions of various strengths, but it's been found that a solution of 1 part compound to 40 parts water works well; however, other ratios can be used as needed.
Prof. Barff, the inventor of the boroglyceride process, read a paper before the Royal Society of Arts, London, in regard to his method of preserving food. The date of the reading is not at hand, but it is supposed to be slightly prior to May 13, 1882, on which date it was printed in the Scientific American Supplement. Although quite lengthy the paper contains so much interesting data and light upon the subject that we reproduce it almost entirely, together with remarks by other eminent gentlemen who were present at the meeting:
Prof. Barff, the inventor of the boroglyceride process, presented a paper to the Royal Society of Arts in London about his method for preserving food. The exact date of the presentation isn't available, but it was likely just before May 13, 1882, when it was published in the Scientific American Supplement. Although the paper is quite lengthy, it provides a wealth of interesting information and insights on the topic, which is why we are reproducing it almost in full, along with comments from other distinguished gentlemen who attended the meeting:
“This evening I have on the table specimens of food which have been kept for longer or shorter periods, as they are intended to illustrate various applications of this preserving material. As you know oysters are imported very largely in tins. They are cooked at a high temperature and hermetically sealed. The high temperature to which they are exposed necessarily causes a loss of flavor, and it is generally remarked that tinned oysters are not a success. * * * I have oysters on the table which were opened on the 3d of December in last year. I will ask you to taste them and see in what condition they are, and I would also remind you that they have not been kept in hermetically sealed tins, but simply in corked or stoppered bottles; hence this method of preserving oysters is cheaper than the other, and I maintain that it is more effective, because their natural and fresh flavor is preserved. I am informed by a friend in Jamaica that he has sent me some Jamaica oysters and other things—I trust they will be here in time for me to submit them to you this evening.
“This evening I have some food samples on the table that have been stored for different lengths of time to show the various uses of this preservation method. As you know, oysters are largely imported in cans. They're cooked at a high temperature and sealed tightly. The high temperature they undergo tends to diminish their flavor, and it's commonly noted that canned oysters aren't very successful. * * * I have oysters on the table that were opened on December 3rd of last year. I invite you to taste them and see what condition they're in. I’d also like to point out that they haven’t been kept in sealed cans, but rather in corked or stoppered bottles; thus, this method of preserving oysters is more cost-effective than the other, and I argue that it’s more efficient because it keeps their natural and fresh flavor intact. A friend of mine in Jamaica has informed me that he sent me some Jamaican oysters and other items—I hope they arrive in time for me to share them with you this evening.
“Another substance, the perfect preservation of which is very important, is cream, both for home use and for exportation. Cream in London costs from four to five shillings per quart; it can be bought in country places for two shillings, and even for less. This preservative substance will keep cream for months perfectly good and sweet, having its full flavor; so that it would be quite possible to send it in quantities from the country, and its sale need not be pressed as it need not be used immediately. I have regularly every week, except during the holidays, brought with me from Beaumont College, near Windsor, where I lecture, a quart of cream treated with one ounce of the boroglyceride; it has always kept perfectly good even in the hottest weather. I have done this for a year and a half; a near relative has taken the greater part of this regularly for the time stated, and this proves conclusively that there is nothing at all injurious to health in the compound. I see a gentleman present here to-night who is connected with that college as a professor of natural science, and he will, in the discussion, be able to give you very valuable information as to the material and as to its perfect wholesomeness. Last month I sent some cream to the Rev. J. Ryan, a Jesuit priest in Jamaica, and I have received a letter from him, from which I will read you an extract:
“Another important substance to preserve perfectly is cream, both for home use and for export. In London, cream costs about four to five shillings per quart; in rural areas, it can be found for two shillings or even less. This preservative keeps cream fresh and flavorful for months, making it feasible to ship it in bulk from the countryside without the need for immediate sales. Each week, except during holidays, I’ve brought a quart of cream treated with one ounce of boroglyceride from Beaumont College near Windsor, where I teach. It has always remained perfectly fine, even in the hottest weather. I’ve been doing this for a year and a half, and a close relative has consumed most of it regularly during that time, proving there’s nothing harmful in the mixture. I see a gentleman here tonight who is associated with that college as a natural science professor; during the discussion, he can provide valuable insights about the material and its complete safety. Last month, I sent some cream to Rev. J. Ryan, a Jesuit priest in Jamaica, and I received a letter from him that I would like to share an excerpt from:"
‘26 North Street, Kingston, Jamaica,
‘26 North Street, Kingston, Jamaica,
‘February 24, 1882.
February 24, 1882.
‘The cream which you sent was used by eight of us in coffee, and was pronounced to be wonderfully good. Next morning it was taken in preference to a beaten egg, by the captain of H. M. S. Tenedos, to his coffee.’
‘The cream you sent was used by eight of us in coffee, and it was said to be really good. The next morning, the captain of H. M. S. Tenedos preferred it to a beaten egg in his coffee.’
“Last year I sent some Devonshire clotted cream, which I prepared myself, to Zanzibar, on the east coast of Africa. The climate here is very hot; fresh food will only keep a few hours. This cream had to pass through the hot climate of the Red Sea. I will read an extract from a letter written by a lady who received the cream:
“Last year I sent some Devonshire clotted cream, which I made myself, to Zanzibar, on the east coast of Africa. The weather there is very hot; fresh food will only last a few hours. This cream had to travel through the warm climate of the Red Sea. I will read an excerpt from a letter written by a woman who received the cream:
‘Universities Mission To Central Africa,
‘Universities' Mission to Central Africa,
‘Mbweni, Zanzibar, March 8, 1881.
Mbweni, Zanzibar, March 8, 1881.
‘The Devonshire cream you sent us was quite a success. I received it last night. Fortunately the Bishop and Miss A—— came to Mbweni, to-day, so we had it for dinner. That I might have everything correct I opened a pot of raspberry jam which we had from London a long time ago. The Bishop said it had kept perfectly, but had not quite the rich flavor that it has when quite fresh; he has been used to it in Devonshire. Every one pronounced it most excellent. We sent some in to Mrs. H——, and were surprised at her sending for more, for she seldom eats half anything we send her. She did not know what it was, but she said she had never had anything here she enjoyed so much.’
‘The Devonshire cream you sent us was a big hit. I got it last night. Luckily, the Bishop and Miss A—— came to Mbweni today, so we had it for dinner. To make sure everything was just right, I opened a jar of raspberry jam we had from London a long time ago. The Bishop said it was still good, but it didn’t have quite the rich flavor it does when it’s fresh; he’s used to it in Devonshire. Everyone said it was excellent. We sent some to Mrs. H——, and we were surprised when she asked for more since she usually doesn’t eat half of what we send her. She didn’t know what it was, but she said it was the best thing she had here.’
“A year ago I sent some cream from Beaumont College dairy to the Rev. Thomas Porter, the head of the Jesuit Mission in the West Indies. He states that the cream was as good as any he had eaten at home, that he gave it to several strangers to eat, and that they would not believe that it came from England. These experiments and these testimonies prove conclusively that this compound will preserve cream. I shall this evening show you specimens. It is easy to send cream in good condition to the tropics. A great objection to condensed milk is that it is always too sweet. The boroglyceride will preserve condensed milk, and will give it no flavor at all. My friend, the Rev. Thomas Porter, sent me some articles preserved with the material which I sent him from England. They arrived about June in last year. Some raw, fresh turtle came quite fresh. It was cooked and eaten by several persons, who said it was quite fresh and good, and had the flavor of fresh turtle. At my own house I had turtle cutlets fried; they were perfectly good, and tasted like turtle. Another article which Father Porter sent me was an uncooked Jamaica pigeon; it was roasted at Beaumont College. I divided it and brought half of it home It was tasted by twelve people, who all pronounced that it was perfectly good, and had the true pigeon flavor. In the same parcel came some green sugar-cane, fresh tamarinds taken direct from the tree, fresh limes, and the juices of two different fruits. All were fresh, and were tasted by gentlemen who had lived in Jamaica, who all declared that they had all their own peculiar flavors. On the 3d of September, 1881, another box was sent me from Jamaica, containing sugar-cane, guavas, fresh ginger, and turtle; the turtle had come to grief, because it was not properly treated on the other side; the cane, guavas, and fresh ginger have been tasted by those who have lived in Jamaica, and have been pronounced to have their true flavors.
“A year ago, I sent some cream from Beaumont College dairy to Rev. Thomas Porter, the head of the Jesuit Mission in the West Indies. He says that the cream was as good as any he had at home, that he shared it with several strangers, and they couldn’t believe it came from England. These tests and these testimonies clearly show that this compound will preserve cream. I’ll show you some samples this evening. It’s easy to send cream in good condition to the tropics. A major downside of condensed milk is that it’s always too sweet. The boroglyceride will preserve condensed milk without adding any flavor at all. My friend, Rev. Thomas Porter, sent me some items preserved with the material I sent him from England. They arrived around June last year. Some raw, fresh turtle came in perfectly fresh. It was cooked and eaten by several people, who said it was really fresh and good, with the flavor of fresh turtle. At my own house, I had fried turtle cutlets; they were totally good and tasted like turtle. Another item Father Porter sent me was an uncooked Jamaica pigeon that was roasted at Beaumont College. I divided it and brought half home. It was tasted by twelve people, all of whom agreed that it was perfectly good and had the true pigeon flavor. In the same parcel were some green sugar-cane, fresh tamarinds, picked straight from the tree, fresh limes, and juices from two different fruits. All were fresh, and were tasted by gentlemen who had lived in Jamaica, and they all confirmed that they had their own unique flavors. On September 3, 1881, I received another box from Jamaica, containing sugar-cane, guavas, fresh ginger, and turtle; the turtle didn’t make it because it wasn’t properly handled on the other side; however, the cane, guavas, and fresh ginger were tasted by those who had lived in Jamaica, and they confirmed that they had their true flavors.”
“Ordinary milk cannot be kept good for a long time, especially in hot weather. If milk were concentrated in this country, and heated with the boroglyceride, carriage would be saved, and the milk might be kept good and fresh for a fortnight and more; all it would require would be to reduce it again to its original strength. If fresh milk be treated with this preservative it can be set for cream for several days, even in hot weather. The cream which rises will keep, and the skim-milk will remain sweet for several weeks; this I have tried in the dairy at Beaumont College. From the cream so prepared butter was made, and was kept for several weeks without a particle of salt, and was eaten by members of the college. I also wish to show another method by which meat can be preserved and cheaply transported. In South America, about Buenos Ayres and the River Platte, many cattle are killed simply for the hides and fat; the flesh is thrown away. Now, if this flesh were cut up in small pieces, and put into the preserving liquid for a night, it would, even in that hot climate, keep good for some time. It could then in a few hours be dried in the sun, packed in casks, and sent to this or to other countries. I have a specimen of beef treated in this way. It was put into the solution on Jan. 19, 1882, dried Feb. 1, and has lately, within a few days, been boiled, and here is the resulting beef tea, which has not in any way been flavored. I have also small quantities of beef juice here preserved in bottles. The juice was expressed and has been kept raw. Raw beef and mutton juice is recommended by medical men in many conditions of the digestive system. I administered it to a near relation for six weeks, and the juice was preserved good by my material. In the case referred to the effect was very satisfactory. It appears to me to be a most important matter that soup meat, and meat for potting and stewing, should be sent to this country in the way I propose. The supply would be large, the prices low, and the profits highly satisfactory, and it would greatly relieve the meat market, because a very large quantity of fresh meat which is now used for soup could be employed in other ways. It has been remarked to me: ‘But would you get people to use it?’ I think, to begin with, that if proprietors of hotels and heads of large public institutions, workhouses, and hospitals could be shown that for half the cost they could have equally good soup and soup stock, they would willingly use it, and from thence it would come into private use. I have specimens to show the effect of boroglyceride on fish. Here are sprats which have been kept for a year; they are dry, but perfectly good and eatable; also some preserved fresh since Jan. 13, 1882. You will be able to judge of their appearance and flavor. I have also herrings and a piece of skate which have been preserved for the same time. If fishmongers had a tank of this solution they could, at the end of the day, put their fish in it, and take them out when required. Bloaters, when lightly cured in hot weather, do not keep good many days; if a small quantity of this stuff was used with the salt, they would keep good for months. The same may be said of smoked salmon. That which is very salt costs 9d. per pound, but the mild cured kinds cost 3s. 6d. to 4s. per pound. All could be mildly cured if this material was used with the other curing substances. As an adjunct in curing mild hams and bacon it would be of great use, for these, when cured lightly, would not go bad, as they often do in the summer time. What I have said as to the temporary preservation of fish by fishmongers applies equally to the preservation of meat and fowls by butchers and poulterers.
"Regular milk can’t stay fresh for long, especially in hot weather. If milk were concentrated in this country and treated with boroglyceride, transport costs would be lower, and the milk could stay good and fresh for two weeks or more; all that would be needed is to rehydrate it back to its original strength. If fresh milk is treated with this preservative, it can be set for cream for several days, even in hot weather. The cream that forms will last, and the skim milk will stay sweet for several weeks; I've tested this in the dairy at Beaumont College. From the cream prepared this way, butter was made, and it lasted for several weeks without any salt and was consumed by college members. I also have another method to preserve meat for affordable transport. In South America, around Buenos Aires and the River Platte, many cattle are slaughtered just for their hides and fat, while the flesh is discarded. If this meat were cut into small pieces and soaked in the preserving liquid overnight, it would remain good even in that hot climate. It could then be dried in the sun within a few hours, packed in barrels, and shipped here or to other countries. I have a sample of beef treated this way. It was placed in the solution on January 19, 1882, dried on February 1, and has recently been boiled, resulting in beef tea that has not been flavored in any way. I also have small amounts of beef juice preserved in bottles. The juice was pressed and kept raw. Medical professionals recommend raw beef and mutton juice for various digestive issues. I gave it to a close relative for six weeks, and my method kept the juice fresh. In this case, the outcome was very positive. I believe it’s crucial to send soup meat and meat for potting and stewing to this country in the way I suggest. Supplies would be abundant, prices low, profits favorable, and it would significantly ease the meat market because a large portion of fresh meat currently used for soup could be utilized in other ways. I've been asked: 'But would people actually use it?' I think that if hotel owners and heads of large public institutions like workhouses and hospitals saw that they could have equally good soup and stock for half the cost, they would gladly take it, and from there, it would enter private use. I have examples to demonstrate the effect of boroglyceride on fish. Here are sprats that have been kept for a year; they are dry but perfectly good to eat, along with some that have been preserved since January 13, 1882. You’ll be able to judge their appearance and taste. I also have herrings and a piece of skate that have been preserved for the same period. If fishmongers had a tank of this solution, they could soak their fish in it at the end of the day and take them out when needed. Bloaters, when lightly cured in hot weather, don’t stay good for many days; if a small amount of this material was mixed with salt, they'd remain good for months. The same goes for smoked salmon. The very salty kind costs 9d. a pound, while the mildly cured types range from 3s. 6d. to 4s. per pound. All could be mildly cured if this substance was used with other curing agents. It would also be hugely beneficial for lightly curing hams and bacon, as they wouldn't spoil as they often do in the summer. What I mentioned about temporarily preserving fish applies equally to preserving meat and poultry by butchers and poultry sellers."
“It is justly complained of that the Australian cooked meat is overcooked. If it were for a short time dropped in this preservative solution it would keep perfectly well after being lightly cooked, even underdone. I have a piece of beef which was dipped Feb. 28 and boiled on March 9. It has been left in its own liquid, it was not flavored, and no salt was added. Here, too, is a vast field for the application of the process. Here is also lobster which was taken out of the shell Feb. 1, and here are two lobsters in their shell which were immersed on the same day.
“It’s often said that Australian cooked meat is overcooked. If it were just briefly soaked in this preservative solution, it would stay fresh after being lightly cooked, even if it's a bit underdone. I have a piece of beef that was dipped on February 28 and boiled on March 9. It has been left in its own juices, hasn’t been seasoned, and no salt was added. There is also a huge opportunity for using this process. Additionally, here’s a lobster that was taken out of the shell on February 1, and here are two lobsters in their shells that were immersed on the same day.”
“I now wish to draw your attention to a parcel from Jamaica, which has just arrived, and from which I am able, I am happy to say, to show you specimens which must be of interest. In a jar on the table is some fresh turtle, which I had simply cooked. I thought it better so to present it to you rather than raw. There is also a Jamaica pigeon, also just cooked here, and a vol au vent, which I have had made from oysters which were sent open in the preserving stuff from Jamaica. These specimens will prove conclusively that food sent from a tropical climate retains its freshness and delicate flavor. I have reserved one of the pigeons raw, that you may see in what state it arrived. Some mutton was shipped to me from the Falkland Islands at the beginning of last August; a piece of it is uncooked on the table. I have also had a piece stewed, which you will be able to taste; this has of course passed the tropics. Through the kindness of my friend Mr. Haffenden of the ‘Andaluzia,’ in the Strand, who owns vineyards in the southwest of Spain, I can show you some perfectly fresh sardines which he had placed in the preserving fluid several months ago in Spain, and which he brought with him. You will yourselves judge of their condition; I will only remark that they have the peculiar fragrance of that delicate fish, and will it not be a boon to have a supply of this fresh delicacy at a moderate cost?
“I’d like to bring your attention to a shipment from Jamaica that just arrived, and I’m pleased to show you some samples that should be of interest. On the table, there’s some fresh turtle meat that I’ve simply cooked. I thought it would be better to serve it this way rather than raw. There’s also a cooked Jamaica pigeon and a vol au vent made from oysters that came in preserving liquid from Jamaica. These samples will clearly demonstrate that food shipped from a tropical climate stays fresh and retains its delicate flavor. I’ve kept one of the pigeons raw so you can see what condition it arrived in. I received some mutton from the Falkland Islands at the beginning of last August; there’s a piece uncooked on the table. I also have a piece that’s been stewed, which you can taste; this one has obviously been through the tropics. Thanks to my friend Mr. Haffenden from the ‘Andaluzia’ in the Strand, who owns vineyards in southwest Spain, I can show you some perfectly fresh sardines that he preserved a few months ago in Spain and brought with him. You can judge their quality for yourselves; I’ll just note that they have the distinctive aroma of that delicate fish, and wouldn’t it be wonderful to have a supply of this fresh delicacy at a reasonable price?
“You will also see, and I hope taste, a pigeon pie. The pigeons and the steak have been preserved raw in stoppered bottles since the 21st of last November and the eggs since the 4th of July, 1881. I will also call your attention to a tongue which I myself placed in the solution Feb. 9 in this year, with some garlic, sugar, and juniper berries, my object being to show that salt can, if desired, be dispensed with. You will doubtless find that it will require salt; but you will readily infer that hams, tongues, etc., can be made just as salt as one pleases, and will yet keep perfectly sweet, in fact sounder, than those cured only with salt. This tongue was boiled out of pickle. I exhibit two shoulders of mutton, one cooked, the other raw; they are from sheep killed Jan. 10, 1882. Also a piece of beef preserved on the same day; this when you have inspected it shall be cut in slices and broiled. You will see some sausages, both cooked and uncooked; they were made for me by Mr. Bowron, poulterer, of Paddington, early in July last, before I went to Carlsbad. I took some with me to that place, and they were there eaten and pronounced good. These are some of the same lot; they were made as follows: The meat was chopped, put into the preserving fluid for one night, and then mixed with the other material in the ordinary way. They have been kept since in an earthenware jar; they have, therefore, been made more than nine months. I may remark that the bread in these sausages was not treated, and therefore it has become slightly sour, but the pork has kept perfectly fresh. I have also some other sausages which I bought Jan. 12, and at once preserved; these having been steeped, the bread has not turned in the slightest degree sour.
"You will also see, and hopefully taste, a pigeon pie. The pigeons and the steak have been kept raw in sealed bottles since November 21 of last year, and the eggs since July 4, 1881. I also want to point out a tongue that I placed in the solution on February 9 of this year, along with some garlic, sugar, and juniper berries. My aim was to demonstrate that salt can be left out if desired. You’ll likely find that it will need salt; however, it's easy to see that hams, tongues, etc., can be made as salty as you want while still remaining perfectly fresh—actually fresher than those cured only with salt. This tongue was cooked out of the pickle. I have two shoulders of mutton on display, one cooked and the other raw; they are from sheep killed on January 10, 1882. There’s also a piece of beef preserved on the same day, which will be sliced and broiled after you inspect it. You’ll see some sausages, both cooked and uncooked; they were made for me by Mr. Bowron, the poulterer from Paddington, early last July, before I went to Carlsbad. I took some with me there, and they were eaten and found to be good. These are from the same batch; they were prepared as follows: the meat was chopped, placed in the preserving fluid overnight, and then mixed with the other ingredients in the usual way. They have been kept in an earthenware jar, so they have been made for over nine months. I should note that the bread in these sausages wasn't treated, so it has become slightly sour, but the pork has remained perfectly fresh. I also have some other sausages that I bought on January 12 and preserved immediately; these were steeped, and the bread has not turned sour at all."
“Mock turtle soup, bought ready made from a confectioner’s shop in Oxford street, Jan. 25, treated with the preservative stuff, has remained quite good and unchanged in flavor.
“Mock turtle soup, purchased pre-made from a candy shop on Oxford Street, Jan. 25, treated with preservatives, has stayed fresh and unchanged in flavor."
“There is also a specimen of gravy soup made in October last, and some vermicelli soup made about three weeks ago. The preservative action of boroglyceride in cooked foods is, it seems to me, of great importance to hotel-keepers, confectioners, and restaurant proprietors, as it will enable them to buy large stocks when certain articles are cheap, and from the specimen I show of cooked beef you see it remains quite moist, as it can be kept, without getting sour, in its own gravy and under a layer of its own fat. To prove that articles can be kept and dried without losing their flavor, I had some partridges treated and dried last February twelvemonth, and I exhibit some soup made from two of these birds. The other articles on the table are one raw and one roast fowl, bought Jan. 17; one raw and one roast pheasant, bought Feb. 5; one rabbit boiled, bought Jan. 17. There are also from Jamaica a green lime, some fresh tamarinds, and some pieces of fresh ginger. * * *
“There’s also a sample of gravy soup made last October and some vermicelli soup made about three weeks ago. The preservative effect of boroglyceride in cooked foods is really important for hotel owners, candy makers, and restaurant managers, as it allows them to buy large quantities when certain items are on sale. From the sample I’m showing of cooked beef, you can see it stays nice and moist since it can be stored in its own gravy and under a layer of its own fat without going sour. To demonstrate that items can be stored and dried without losing their flavor, I had some partridges treated and dried last February, and I’m displaying some soup made from two of these birds. The other items on the table include one raw and one roasted chicken, bought on January 17; one raw and one roasted pheasant, bought on February 5; one boiled rabbit, bought on January 17. There are also some fresh ingredients from Jamaica: a green lime, some fresh tamarinds, and some pieces of fresh ginger.” * * *
“I thank you, ladies and gentlemen, for the patient hearing you have given me.”
“I appreciate your patience in listening to me, everyone.”
DISCUSSION.
The Chairman said the paper was marked by the clear and philosophic way in which the subject was treated, and before inviting discussion upon it he would mention shortly his own experience of the process, the only interest of which was that it was quite independent of Prof. Barff. When he was asked to take the chair he communicated with Mr. Barff, and inquired what the process was. Mr. Barff kindly sent him a specimen of this substance, which he melted, and put some of it into one-half of a pint of cream. The other half very soon turned sour, and had to be thrown away, but that to which the substance was added was perfectly fresh that morning. He was confirmed in the opinion of its freshness by the cook, though she said there was a very slight tartness perceptible, by which she could distinguish it from fresh cream. He had also tried another experiment on meat which was chopped very fine, and divided into two parts; to one part he added merely tepid water, to the other, tepid water to which one-sixteenth of its bulk of this compound had been added. This was left on the meat for eighteen hours, and then filtered off through muslin. Several days ago the portion which had no preservative was very offensive, but the other portion was that morning perfectly free from any odor whatever.
The Chairman said the paper was characterized by the clear and thoughtful way the topic was handled, and before opening it up for discussion, he wanted to briefly share his own experience with the process, which was completely independent of Prof. Barff. When he was asked to chair, he reached out to Mr. Barff to find out what the process involved. Mr. Barff kindly sent him a sample of the substance, which he melted down and mixed with half a pint of cream. The other half quickly turned sour and had to be discarded, but the part with the substance was still perfectly fresh that morning. The cook confirmed it was fresh, although she noted there was a slight tartness that made it different from regular cream. He also conducted another experiment with finely chopped meat, separating it into two portions; to one, he added just warm water, and to the other, he added warm water mixed with one-sixteenth of its volume of this compound. This mixture was left on the meat for eighteen hours and then filtered through muslin. A few days ago, the portion without the preservative smelled very bad, but the other portion was completely odorless that morning.
The Rev. J. L. Dobson said he had had the pleasure of being associated with Mr. Barff in most of the experiments he had detailed, and might therefore anticipate his reply to one or two points raised by Dr. Graham. An experiment which was tried for some time in a large school would answer the question of wholesomeness. At the Beaumont College, Windsor, there was a large staff of teachers and over 200 pupils, and during the hot weather of last summer the dairymaid was very much annoyed at the milk turning sour, and applied to him to see if he could do anything to counteract it. He handed her some 14 or 15 lbs. of this material and during the whole of the hot weather and well on into September it was constantly used, and the milk was preserved; but the method was not detected by any one, either by the younger members or by those who might be expected to be more critical. No ill effects were observed by the medical officer or by individuals. From his own experience he thought the aroma was very well preserved throughout. For instance, in oysters which had been preserved over three months there was the characteristic aroma of the fresh oyster; mutton could be easily distinguished from beef, and the peculiar smell of the turtle was also very distinct. They had not yet tried beer with so much fullness as other articles, but about nine months ago a small quantity was treated and left exposed to the air, with only a loose stopper of cotton wool. It did not grow cloudy in the ordinary way, but owing to the severity of the experiment, and perhaps to not sufficiently treating it, after four months it lost all flavor, became extremely flat, and a slight fungus appeared.
The Rev. J. L. Dobson mentioned that he had the pleasure of working with Mr. Barff on most of the experiments he detailed, and he could therefore anticipate his response to a couple of points raised by Dr. Graham. An experiment that was conducted for some time in a large school would address the question of wholesomeness. At Beaumont College in Windsor, there was a large staff of teachers and over 200 students, and during the hot weather last summer, the dairymaid was quite frustrated with the milk going sour, so she asked him if he could help. He gave her about 14 or 15 pounds of this material, and throughout the hot weather and well into September, it was used consistently, preserving the milk; however, no one detected the method, neither the younger members nor those who might have been more critical. The medical officer and individuals noted no negative effects. From his own experience, he felt the aroma was well preserved. For example, oysters that had been kept for over three months still had the characteristic aroma of fresh oysters; mutton could easily be differentiated from beef, and the unique smell of the turtle was also quite distinct. They hadn’t yet tested beer with as much thoroughness as other items, but about nine months ago, a small quantity was treated and left exposed to air, covered only with a loose cotton wool stopper. It didn't become cloudy in the usual way, but due to the rigorous nature of the experiment and possibly inadequate treatment, after four months it lost all flavor, became very flat, and a slight fungus appeared.
Dr. Thudichum had listened with great pleasure to the paper, and had no doubt if the application of the invention could be effected on a large scale it would be very useful. He had some experience with regard to a portion of the ingredients used, viz.: boracic acid, though he had none of this beautiful new compound. It might not be known to the meeting that boracic acid had been used for a great many years for preserving food, and in fact many of them in summer time had their milk well dosed with it. It had been sold to milkmen in London for years under the name of “aseptin.” He had tested it in 1865 and found a great many of those effects which Mr. Barff described. For instance eggs were beautifully preserved, and steak immersed in the solution did not become either mouldy or decomposed, but on the contrary appeared to retain its flavor. A variety of other things, such as cheese and cream, were for a long time preserved by this application of aseptin. He hoped the addition of the glycerine would increase the power and prevent some drawbacks which would otherwise stand in the way of boracic acid alone as a preservative of raw or cooked meat.
Dr. Thudichum had listened with great interest to the presentation and had no doubt that if the invention could be applied on a large scale, it would be very useful. He had some experience with one of the ingredients used, specifically boracic acid, though he didn’t have any of this new compound. It might not be known to the attendees that boracic acid had been used for many years to preserve food, and in fact, many of them had their milk dosed with it in the summer. It had been sold to milkmen in London for years under the name “aseptin.” He had tested it in 1865 and found many of the effects that Mr. Barff described. For example, eggs were beautifully preserved, and steak dipped in the solution didn’t become moldy or spoiled; instead, it seemed to retain its flavor. A variety of other items, such as cheese and cream, were preserved for a long time using this application of aseptin. He hoped that adding glycerine would enhance its effectiveness and address some issues that would otherwise limit the use of boracic acid alone as a preservative for raw or cooked meat.
Prof. Barff, in reply to the various questions which had been asked, said he had used salicylic acid and had found it useful in preserving food, but for several reasons discontinued further investigations, one being on the score of its unwholesomeness, and he found that his views on that point had been borne out by the action taken by the French Government. Dr. Graham had asked him about flavor; he had given Dr. Graham a few days ago some specimens of preserved fish, which he said had lost their flavor, but that would not be found to be the case with the box of sardines. The herrings had been kept in an open vessel exposed to the air ever since the day they were put into the liquid, and therefore it was not surprising that they had lost their flavor. If they would try any of the things which had been tinned, not soldered up, but such as the Jamaica pigeons, which were in a common corked bottle, it would be found that the aroma and flavor were retained. The only thing requisite was to keep the vessel so as to exclude the air, as you would with tea or coffee. Dr. Thudichum made some very interesting remarks which there was not time to refer to at length, if he were competent to do so, but not being a medical man he could not enter into medical questions. As to the wholesomeness of the compound, however, he might say that he had taken large quantities of it himself and it had never done him any harm; and a near relative had taken an ounce per week regularly for a year and a half, without any ill effect—a person, too, not very strong or of good digestive powers. The boys and teachers of Beaumont College drank milk preserved with it without distinguishing the taste or suffering any ill effects. He knew there were medical opinions in favor of boracic acid, and one physician he was acquainted with used it as a medicine. If it were at all unwholesome he certainly should not recommend it, but he did not think there was the slightest fear. As to boron getting into the system, it was not boron which was used, but oxide of boron; but even if it did—and he should not be surprised if traces of boron were found in the excreta—it did not follow that any harm was done. There were many things which went through the system without injury; for instance, silica, of which most people took a great deal in the twenty-four hours. As to the cost of the process the cost per gallon, as far as he could tell—he could not tell exactly—would be under 1s.—perhaps 8d. or 9d.—and a gallon would affect an enormous quantity. Most of the articles on the table were put into one pan of solution, and the cost of the whole stuff was about 9 12d. Should the process be adopted commercially experiments as to the cost would be most carefully made and the results published. A joint of any size could be soaked; the only thing was to give it plenty of time. You might soak a piece of beef of twenty pounds, forty pounds, or fifty pounds; or you might use an injecting syringe, such as butchers employed for salting meat quickly, and the meat so treated would keep for a week or a fortnight perfectly good, but he did not think it would keep well enough to pass under a tropical sun. In order to do that you must inject by the aorta, by means of a force pump, so as to send the liquid into all the interstices of the flesh. As to the proportions, 1 in 20 was the strongest he used, and 1 in 60 the weakest; for preserving meat 1 in 50 answered perfectly well—1 lb. of the compound added to 50 lbs. of water. The bottle should be put before the fire until melted, and then poured into hot water, and it would dissolve. With regard to preserving morbid specimens he thought it would answer perfectly well. He had had some practice in morbid anatomy, and he might say that, for the injection of bodies to be used for anatomical purposes it would keep them perfectly sweet. It should be injected by the aorta in the usual way before injecting with the red wax. In reply to Mr. Dipnall he would say that the compound penetrated right through into the innermost parts of the meat. If you had an earthen pan and put into it 1 lb. of this and 50 lbs. of water, and placed in it a joint which came home on the Saturday night in hot weather, you could take it out the next day and it would keep perfectly for a fortnight. Of course it took time to penetrate into the meat, but the first superficial penetration stopped the injurious effects of germs which set up putrefaction. Another important fact was this: if you had a roast leg of lamb, perfectly good, but did not eat it all, and put it away in hot weather, it would turn sour, but if it had been treated in this way it would not; it would keep for six months without going sour. By adding a small quantity from time to time, which you could only learn by experience, the bath would keep perfectly fresh and effective, though it would be found after a time to get rather dark colored. That arose from the juice of the meat, and the advantage of this process was that you need not throw it away, as you must brine, but could boil it down into very good soup. In conclusion he would only ask his hearers to read the paper and discussion carefully when published, and he was sure any one would be able to carry out the process.
Prof. Barff, in response to the various questions that had been asked, said he used salicylic acid and found it helpful for preserving food. However, he stopped further investigations for several reasons, one being its potential unwholesomeness, and he noted that his concerns had been confirmed by actions taken by the French Government. Dr. Graham asked him about flavor, and he mentioned that he had given Dr. Graham some preserved fish a few days ago, which had lost their flavor, but he assured him that wouldn’t be the case with the box of sardines. The herrings had been kept in an open container exposed to air since the day they were placed in the liquid, so it's no surprise they lost their flavor. If they tried items that had been tinned, not soldered, such as the Jamaica pigeons in a common corked bottle, they would find that the aroma and flavor were retained. The only requirement was to keep the container sealed to exclude air, just like you would with tea or coffee. Dr. Thudichum made some very interesting comments that there wasn't time to discuss in depth; he couldn't address medical questions being non-medical himself. However, regarding the compound’s wholesomeness, he mentioned that he had taken large amounts of it personally with no harmful effects, and a close relative had ingested an ounce per week for a year and a half without any adverse effects, even though that person didn't have particularly strong digestive health. The boys and teachers at Beaumont College drank milk preserved with it without noticing any taste difference or suffering any negative effects. He acknowledged that there are medical opinions favoring boracic acid, and one doctor he knew used it as medication. If it were harmful, he wouldn’t recommend it, but he didn’t think there was any real risk. About boron entering the body, he clarified that it wasn’t boron being used but rather boron oxide; even if traces of boron were found in waste, it didn’t necessarily mean harm was done. Many substances pass through the body without causing injury, like silica, which most people consume a lot of daily. Regarding the process's cost, he estimated the price per gallon—although he couldn't provide an exact number—would be under 1 shilling, probably around 8 to 9 pence, and a gallon could preserve a massive quantity. Most items on the table were placed in one solution, costing roughly 9 12d. If the process were commercialized, careful experiments on cost would be conducted, and results would be published. Any size joint could be soaked; it just needed enough time. You could soak a piece of beef weighing twenty, forty, or fifty pounds, or use an injecting syringe like butchers use for quick salting, and the treated meat would stay good for a week or two, but he didn’t think it would hold up well in tropical heat. For that, you’d need to inject through the aorta using a force pump to get the liquid into all the meat's interstices. Regarding the proportions, the strongest solution he used was 1 in 20, and the weakest was 1 in 60; to preserve meat, 1 in 50 worked perfectly—1 pound of the compound added to 50 pounds of water. The bottle should be warmed until melted, then poured into hot water to dissolve. He believed the compound would work well for preserving morbid specimens. He had experience in morbid anatomy and stated that for injecting bodies for anatomical purposes, it would keep them in excellent condition. It should be injected through the aorta in the usual manner before using red wax. In response to Mr. Dipnall, he said the compound penetrated deeply into the meat. If you took an earthen pan, mixed in 1 pound of this with 50 pounds of water, and placed a joint that came home in hot weather inside, you could take it out the next day, and it would remain fresh for a fortnight. Of course, it took time to penetrate the meat, but the initial surface absorption halted the harmful effects of germs that cause spoilage. Another important point: if you had a perfectly good roast leg of lamb that you didn’t finish and stored in hot weather, it would spoil, but if treated this way, it wouldn’t; it could stay fresh for six months. By adding a small amount periodically, based on experience, the bath would remain effective and fresh, although it might darken over time due to the meat's juices. The advantage of this process is that you wouldn’t have to discard it like brine; instead, you could boil it down into good soup. In conclusion, he urged his listeners to read the paper and discussion carefully when published, and he was confident anyone could carry out the process.
The Chairman, in proposing a hearty vote of thanks to Prof. Barff, said the process he had described was remarkable for its great simplicity and the ease with which it could be carried out. Any cook could readily apply it.
The Chairman, in suggesting a heartfelt vote of thanks to Prof. Barff, said the method he described was impressive for its simplicity and the ease with which it could be executed. Any cook could easily use it.
The vote of thanks was carried unanimously.
The vote of thanks was approved unanimously.
An Improved Boracic Acid-Glycerine Compound.
The following is the invention of an American, William S. Fickett of Rochester, N. Y., and is an improved process of combining boracic acid with glycerine for preservative purposes. (Patent No. 285,350.)
The following is the invention of an American, William S. Fickett of Rochester, N. Y., and it’s an improved process for combining boric acid with glycerin for preservation. (Patent No. 285,350.)
“My invention consists in a new mode of producing a new preservative compound from boracic acid and glycerine, as hereinafter described. Heretofore by one method* such a compound has been produced from these ingredients by heating glycerine to near its boiling point and adding boracic acid until it ceases to be dissolved, and maintaining that mixture to a temperature of 200 deg. centigrade as long as water is given off, etc.
My invention involves a new way to create a preservative compound from boracic acid and glycerine, as described later. Previously, one method produced this compound by heating glycerine close to its boiling point and adding boracic acid until it stopped dissolving, then keeping that mixture at a temperature of 200 degrees Celsius as long as water was released, etc.
* Doubtless the Barff process—[author].
* Definitely the Barff process—[author].
“Now my process consists in taking equal quantities of glycerine and crystallized boracic acid, placing the same in a closed or sealed vessel, and then applying heat at about 300 deg. Fahrenheit for about two hours, which causes the boracic acid to dissolve and blend with the glycerine. On cooling it forms without loss of weight into on opalescent semi-solid, freely soluble in cold water, entirely devoid of bitter or metallic taste, and communicating no objectionable taste to butter or like delicate foods. When thus produced it is an unfailing preventive of fermentation and decay in animal and vegetable matter or fluid compounds.”
“Now my process involves taking equal amounts of glycerin and crystallized boric acid, placing them in a sealed container, and then applying heat at about 300 degrees Fahrenheit for around two hours. This causes the boric acid to dissolve and mix with the glycerin. Upon cooling, it forms an opalescent semi-solid without any weight loss, which is easily soluble in cold water, completely lacking any bitter or metallic taste, and does not impart any undesirable flavor to butter or other delicate foods. When produced this way, it effectively prevents fermentation and decay in animal and vegetable matter or liquid compounds.”
The following is a different process of using boracic acid, and explains itself:
The following is an alternative method for using boric acid, and it explains itself:
James Howard, Philadelphia, Pa.; composition for preserving foods. (Patent No. 276,246.)
James Howard, Philadelphia, PA; formula for food preservation. (Patent No. 276,246.)
“I have discovered a method of obtaining a chemical compound of boracic acid for the production of which neither solution nor the employment of heat is necessary, the salt being formed by the union of the component substances in a dry state, so that the difficulties of solution and of loss through volitization is avoided. Moreover the compound has anti-septic properties distinct from those of the acid, due to one of the other elements thereof, and is tasteless.
“I've found a way to create a chemical compound of boric acid without needing a solution or heat; the salt forms by combining the ingredients in a dry state, so we sidestep the issues of dissolving and losing material through vaporization. Additionally, the compound has antiseptic qualities that are different from those of the acid, thanks to one of its other elements, and it has no taste.”
“I take preferably not less than 5 parts by weight of pure boracic acid in crystals, and add thereto 1 part of pure phosphate of soda. The ingredients are mixed together dry, in a mill or other suitable grinding apparatus, and as the chemical reaction between them progresses the whole, or practically the whole, of the acid crystals lose their structure, and the mass can be ground until it assumes a pasty or doughy condition. The result is boro-phosphate of soda, containing more or less free boracic acid, according to the excess thereof used above the proportions given. The moisture yielded by the chemical reaction is evaporated at the ordinary temperature by exposure to the air without loss of boracic acid, and the dry amorphous salt thus produced is readily ground. It may be used either as a dry powder or may be dissolved in water and applied in the usual modes to the substances to be preserved. If desired other substances, such as salt and saltpeter, may be added to the boro-phosphate compound, and the whole mixed thoroughly by regrinding.”
“I prefer to use no less than 5 parts by weight of pure boracic acid crystals and add 1 part of pure sodium phosphate. The ingredients are mixed together dry, using a mill or another suitable grinding tool, and as the chemical reaction occurs between them, almost all of the acid crystals lose their structure, allowing the mixture to be ground until it takes on a pasty or doughy consistency. The result is boro-phosphate of soda, which contains varying amounts of free boracic acid depending on how much was used above the recommended amounts. The moisture produced by the chemical reaction is evaporated at room temperature by leaving it in the air without losing any boracic acid, and the dry amorphous salt created can be easily ground. It can be used either as a dry powder or dissolved in water and applied in the usual ways to the materials needing preservation. If desired, other substances like salt and saltpeter can be added to the boro-phosphate compound, and the mixture can be thoroughly combined by regrinding.”
Preservation of Butter, Lard, Etc.
The following process is the invention of Mr. William Pitt Clotworthy. (Patent No. 284,184.)
The following process is invented by Mr. William Pitt Clotworthy. (Patent No. 284,184.)
The process consists of incorporating with the fat, which may consist of butter, lard, or other grease, a sufficient amount of paraffine. Paraffine is non-oxidizable, without taste or odor, and, as the inventor claims, it is perfectly harmless when used in this manner, just as beeswax is swallowed with honey, although not in such large proportion. Tons of paraffine are manufactured yearly into chewing gum and chewed harmlessly by thousands.
The process involves mixing fat, which can be butter, lard, or other grease, with enough paraffin. Paraffin doesn’t oxidize, has no taste or smell, and, according to the inventor, it is completely safe when used this way, similar to how beeswax is consumed with honey, though not in such large amounts. Tons of paraffin are produced each year for chewing gum and are safely chewed by thousands of people.
In preserving lard combine the paraffine as follows: When the lard is ready to be drawn off from the rendering kettles, and while still hot, add 1 ounce of paraffine to each pound of lard and stir the mass thoroughly.
In preserving lard, mix in the paraffin like this: When the lard is ready to be taken out of the rendering kettles and is still hot, add 1 ounce of paraffin for every pound of lard and stir the mixture well.
Compound for Preserving Food.
Theodore L. Corwin of Marathon, N. Y., has invented the following. (Patent No. 253,983):
Theodore L. Corwin from Marathon, N.Y., has created the following. (Patent No. 253,983):
The invention relates to the class of compounds used to preserve in a healthful state such articles of food as meats, fish, milk, eggs, butter, oysters, cider, and also to be used as a disinfectant and to arrest putrefaction.
The invention pertains to a group of compounds used to keep food items like meat, fish, milk, eggs, butter, oysters, and cider fresh and safe, as well as serving as a disinfectant and stopping decay.
“I take of nitrate of potassium, of salicylic acid, and of chloride of sodium, each 1 ounce. These should all be in powder and dissolved in 1 quart of water. Then add 1 drachm of hydrochloric acid previously diluted with 1 ounce of water. To preserve meat immerse for twenty minutes in the hot solution, after which let it drain for one hour; then pack in a well-closed vessel. For the preservation of fish use the same as for meat, only the solution should be allowed to become cold before using. To keep oysters stir into them 3 ounces of the solution (cold) to each gallon of oysters. Cider will be kept sweet if there is added to each barrel 1 quart of the solution immediately after the cider comes from the press. Milk to be kept sweet should have the powder first named, viz.: nitrate of potassium, salicylic acid, and chloride of sodium, each 1 ounce, added to every 16 gallons. As a disinfectant the solution should be sprinkled freely around the place or places to be disinfected. To prevent putrefaction the solution should be copiously applied to the object treated.”
“I take 1 ounce each of potassium nitrate, salicylic acid, and sodium chloride. These should all be in powder form and dissolved in 1 quart of water. Then add 1 drachm of hydrochloric acid that has been diluted with 1 ounce of water. To preserve meat, immerse it in the hot solution for twenty minutes, then let it drain for one hour; after that, pack it in a tightly sealed container. For fish, use the same method as for meat, but let the solution cool before using it. To keep oysters, stir in 3 ounces of the cold solution for every gallon of oysters. Cider will stay sweet if you add 1 quart of the solution to each barrel right after the cider is pressed. To keep milk fresh, add 1 ounce each of potassium nitrate, salicylic acid, and sodium chloride to every 16 gallons. For disinfection, the solution should be generously sprayed around the area that needs disinfecting. To prevent decay, the solution should be applied liberally to the item being treated.”
Fruit-Juice Preservatives.
An Ohio inventor has patented a process for preserving fruit juices such as cider, wine, etc., which he says, if treated according to his directions, will keep unchanged for years:
An inventor from Ohio has patented a method for preserving fruit juices like cider and wine, which he claims, if followed as instructed, will remain unchanged for years:
“The juice is taken before fermentation takes place and boiled, all scum is carefully skimmed off, and then the liquid, while still hot, is filtered through a compound of partially pulverized charcoal, crushed mustard seed, and ground sassafras root. The filter should be covered with fine woven wire, outside of which should be fastened a flannel cloth to catch all escaping sediment. To every gallon of juice to be filtered there is placed in the filter 2 ounces of charcoal, 2 scruples of crushed mustard seed, and 6 drachms of ground sassafras root. After filtering it is again boiled, and if any scum or impurities appear on the surface they are removed, when the juice is to be bottled, corked tightly, and should be left for one year.”
“The juice is extracted before fermentation and then boiled. All the scum is carefully skimmed off, and while the liquid is still hot, it is filtered through a mixture of partially crushed charcoal, ground mustard seed, and ground sassafras root. The filter should be covered with fine woven wire, and a flannel cloth should be attached outside to catch any sediment that escapes. For every gallon of juice being filtered, you should add 2 ounces of charcoal, 2 scruples of crushed mustard seed, and 6 drachms of ground sassafras root to the filter. After filtering, it is boiled again, and if any scum or impurities appear on the surface, they are removed. The juice is then bottled, sealed tightly, and should be left to age for one year.”
Schaumberg & Dillon’s method of preserving fruit juices consists in bottling and sealing the juices, and then heating the bottles to 170 deg. Fahrenheit for thirty-five minutes. The juices are put in bottles and are immediately corked and wired securely, and then submerged in a water bath to a depth of about 1 inch above the bottles.
Schaumberg & Dillon’s method of preserving fruit juices involves bottling and sealing the juices, then heating the bottles to 170°F for thirty-five minutes. The juices are placed in bottles, immediately corked and securely wired, and then submerged in a water bath to a depth of about 1 inch above the bottles.
The advantages of this process are that the fruit juices will remain sweet indefinitely, will not ferment, and are free from all deleterious matter.
The benefits of this process are that the fruit juices will stay sweet forever, won't ferment, and are free from any harmful substances.
Smoke or Vapor Preserving Compound.
Rebecca A. McDaniel of Burr Oaks, Ia., has patented the following, which is one of quite a number of this class of preservative processes:
Rebecca A. McDaniel of Burr Oaks, IA, has patented the following, which is one of several processes for preservation in this category:
“In preserving different articles, such as fruits, meats, and other edibles, I subject them for a proper time—differing with different articles—to the fumes arising from burning the compound. This may be accomplished by confining the articles to be treated in a chamber in which the compound is being burned.
“In preserving various items, like fruits, meats, and other foods, I expose them for a specific duration—varying for different items—to the smoke produced by burning the mixture. This can be done by keeping the items in a space where the mixture is being burned.”
COMPOSITION.
Salicylic acid1 | ounce. |
Sulfur2 | pounds. |
Ground orange peel 14 | ounce. |
Cinnamon powder3 | ounces. |
“This compound well mixed will burn slowly and generate fumes or vapor which have a peculiar action in the preservation of fruits, butter, milk, pies, bread, eggs, and all kinds of cooked or uncooked food. In treating meats add nitrate of potash, 4 ounces.
“This mixture, when combined properly, will burn slowly and produce fumes or vapor that have a unique effect on preserving fruits, butter, milk, pies, bread, eggs, and all types of cooked or uncooked food. When treating meats, add 4 ounces of potassium nitrate.”
“Treatment: Provide a box or other chamber with shelves upon which the articles to be treated may be placed. Within the chamber, properly closed, I burn a suitable quantity of the compound, allowing the fumes to bathe the articles to be treated. The compound is of a quality that will burn slowly by reason of its peculiar composition, and it may be burned with fuel other than it contains.”
“Treatment: Provide a box or another chamber with shelves where the items to be treated can be placed. Inside the chamber, properly sealed, I burn an appropriate amount of the compound, letting the fumes envelop the items being treated. The compound burns slowly due to its unique composition, and it can be burned alongside other fuels.”
Salicylic Acid as a Preservative.
Salicylic acid, aside from its remedial value, is used largely as a preservative, either in a dry state or in the form of a solution in water or alcohol. Salicylic acid is a white, dry, crystalline powder, devoid of smell or taste, undergoes no change when kept in store, and is neither inflammable nor volatile. It can be procured in almost any drug store, and since 1874 a new process in its manufacture has cheapened it in price and placed it within the reach of all.
Salicylic acid, aside from its healing properties, is mainly used as a preservative, either in a dry form or as a solution in water or alcohol. Salicylic acid appears as a white, dry, crystalline powder that has no smell or taste, doesn’t change over time, and is neither flammable nor volatile. It can be found in almost any drugstore, and since 1874, a new manufacturing process has reduced its cost, making it accessible to everyone.
Medical authorities agree in considering the daily consumption of 1 gramme as being not only perfectly inoffensive, but decidedly beneficial to health. An individual living on a salicylated diet would not absorb so much of the salicylic acid per diem as that which is prescribed to be taken for the prevention of epidemics and other ailments, such as gout, rheumatism, catarrhal affections, etc.
Medical authorities agree that consuming 1 gram daily is not only completely harmless but also definitely beneficial to health. A person on a salicylated diet wouldn't absorb as much salicylic acid each day as what is recommended to prevent epidemics and other issues like gout, rheumatism, and respiratory conditions.
The proportions in which salicylic acid dissolves are:
One part by weight in 300 to 500 parts of cold water.
One part by weight in 18 to 20 parts of hot water.
One part by weight in 50 parts of glycerine.
One part by weight in 3 parts of absolute alcohol.
The amounts in which salicylic acid dissolves are:
One part by weight in 300 to 500 parts of cold water.
One part by weight in 18 to 20 parts of hot water.
One part by weight in 50 parts of glycerin.
One part by weight in three parts of pure alcohol.
In rum, brandy, wine, cider, etc., it dissolves according to their respective strengths and temperatures.
In rum, brandy, wine, cider, and so on, it dissolves based on their individual strengths and temperatures.
Note.—By contact with iron in any form salicylic acid takes a violet color.
Note.—When salicylic acid comes into contact with iron in any form, it turns violet.
This must be noted, especially when treating milk, etc., if contained in metallic vessels. The only bad effects will be simply slight discoloration.
This should be noted, especially when handling milk, etc., if it's stored in metal containers. The only negative effect will be minor discoloration.
MEAT.
It is a well-known fact that, especially in hot weather, meat, poultry, and game, although apparently quite fresh, prove, on closer examination, or often only when cooked, to be tainted and of bad odor. This can be entirely removed by either watering and washing the meat in a lukewarm solution of salicylic acid (three to four teaspoonfuls of acid to two quarts of water), or by adding a small pinch of the dry acid in powder, during the cooking.
It’s a well-known fact that, especially in hot weather, meat, poultry, and game, even if they seem fresh, can often turn out to be spoiled and have a bad smell upon closer inspection or once cooked. This issue can be completely fixed by either rinsing and soaking the meat in a lukewarm solution of salicylic acid (three to four teaspoons of acid mixed into two quarts of water) or by adding a small pinch of the dry acid powder while cooking.
To keep meat for several days from becoming high or tainted:
To keep meat from spoiling or going bad for several days:
Place it for twenty or thirty minutes in an aqueous solution of 8 drachms of salicylic acid to one gallon of water.
Place it in a water solution with 8 drams of salicylic acid for twenty to thirty minutes per gallon.
Rub into the surface of the meat some dry salicylic acid, particularly about the bony and fatty parts; the meat to be afterward cleaned before cooking as usual.
Rub some dry salicylic acid into the surface of the meat, especially around the bony and fatty areas; the meat should be cleaned afterward before cooking as usual.
Although the raw meat treated with the acid turns slightly pale on the surface it suffers no change whatever internally. Meat thus treated with salicylic acid requires, also, less cooking to render it tender.
Although the raw meat treated with the acid becomes slightly pale on the surface, it experiences no internal change at all. Meat treated with salicylic acid also needs less cooking to become tender.
PURE MILK.
A third of a teaspoonful (or, if the temperature be high, a little more) of the solid acid to a quart of milk delays the process of curdling for thirty-six hours, without influencing its property of yielding cream.
A third of a teaspoon (or a bit more if it's warm) of the solid acid added to a quart of milk delays curdling for thirty-six hours, without affecting its ability to produce cream.
BUTTER.
Washed with an aqueous solution (four drachms of acid to a gallon of water), or kept in it, or wrapped in cloths soaked in this water, keeps fresh for a very long time. Butter already rancid can be improved by treatment with a stronger solution (8 drachms of acid to 1 gallon of water), followed by washing in pure water. The bad smell often arising in salted butter is entirely prevented by addition of the acid.
Washed with a water solution (four ounces of acid to a gallon of water), or kept in it, or wrapped in cloths soaked in this water, stays fresh for a long time. Rancid butter can be improved by treating it with a stronger solution (8 ounces of acid to 1 gallon of water), followed by rinsing in clean water. The unpleasant smell that often comes from salted butter is completely prevented by adding the acid.
JAMS OF ALL KINDS, JELLIES, PRESERVES, AND PICKLES.
Of every description, made in the usual way, but with the addition of about 1 drachm of salicylic acid to every 4 pounds of the preserve, will keep sound with absolute certainty for a much longer time, fermentation and mouldiness being prevented. Under exceptionally unfavorable circumstances, such as hot pantries, a little of the dry acid should be sprinkled on the top of the vessel or preserve pot. A tightly-fitting piece of blotting paper, previously saturated with a concentrated solution of salicylic acid in spirit, brandy, or rum, and placed on the top of the preserves will also greatly aid in keeping them.
Of every kind, made in the usual way, but with the addition of about 1 drachm of salicylic acid for every 4 pounds of the preserve, will stay good with complete certainty for a much longer time, preventing fermentation and mold. In especially unfavorable conditions, like hot pantries, a bit of the dry acid should be sprinkled on top of the container or preserve jar. A tightly fitting piece of blotting paper, previously soaked in a concentrated solution of salicylic acid in spirit, brandy, or rum, and placed on top of the preserves will also help keep them fresh.
NEW-LAID EGGS
Can be kept for a very long time by being placed for half an hour in a cold, saturated, aqueous solution of the acid, then allowed to dry in the air, and, as usual, kept in a cool place. Some prefer to coat them by dipping them in melted paraffine after they have been treated in this manner. (Use no straw or hay in packing eggs.)
Can be stored for a long time by soaking in a cold, saturated aqueous acid solution for half an hour, then letting them dry in the air, and keeping them in a cool place as usual. Some people prefer to coat them by dipping them in melted paraffin after this process. (Do not use straw or hay for packing eggs.)
THE YOLK AND THE WHITE OF EGGS
Are most effectually preserved for a long time by the addition of 12 to 1 ounce of the acid per 20 pounds of these substances. It is also well to place a paper soaked in the salicylic acid solution on the top of them, which greatly enhances the preserving effect.
Are most effectively preserved for a long time by adding 12 to 1 ounce of the acid for every 20 pounds of these substances. It’s also a good idea to put a paper soaked in the salicylic acid solution on top of them, which significantly improves the preserving effect.
In the manufacture of vinegar, salicylic acid is also of great importance to prevent false or excessive fermentation, putridity, etc.
In vinegar production, salicylic acid plays a key role in preventing unwanted or excessive fermentation and spoilage.
WINE.
With respect to wine the experiments of Prof. Neubauer of Wiesbaden have proved that the introduction of the acid for the preservation of wine marks an era of great industrial progress, as it energetically prevents, even when used in very small quantities, the formation of mould germs and other circumstances which are injurious to wine, while it absolutely arrests secondary fermentation, cloudiness, etc. As wine differs very much in its constitution the requisite quantity of salicylic acid must be found out by practice in each particular case. About 14 to 34 of an ounce per 50 gallons will be found sufficient for most wines. In using the salicylic acid for this purpose it is recommended to make a strong solution of it in pure spirit, perfectly free from fusel oil, and then to add of this solution as much as may be requisite.
Regarding wine, the experiments by Prof. Neubauer of Wiesbaden have shown that adding acid for wine preservation marks a significant industrial advancement. It effectively prevents the growth of mold spores and other harmful substances in wine, even when used in very small amounts, while completely stopping secondary fermentation, cloudiness, and other issues. Since wine can vary greatly in composition, the ideal amount of salicylic acid needs to be determined through experience for each specific case. Generally, about 14 to 34 of an ounce per 50 gallons should suffice for most wines. When using salicylic acid for this purpose, it’s advisable to prepare a strong solution in pure alcohol that’s free from fusel oil and then add as much of this solution as needed.
If in addition to this the casks are washed out with an aqueous solution of the acid it will prove of great service, and all other agents at present used for this purpose will soon be abandoned. The larger the amount of sugar in proportion to the alcohol the more salicylic acid will be required. The addition is best made when the wine has attained its full ripeness. The effervescence of wine in spring, or after carriage in warm weather, will at once be stopped. The salicylic acid kills all kinds of germs, and destroys the growth and action of any yeast which may still be present; it is therefore of incalculable value in effectually preserving wine, and as a preventive of the deterioration to which this liquid is subject.
If, on top of this, the barrels are cleaned out with a water solution of the acid, it will be very beneficial, and all other agents currently used for this purpose will likely be phased out. The higher the sugar content compared to the alcohol, the more salicylic acid will be needed. It's best to make this addition when the wine has fully matured. The bubbling of wine in spring, or after being transported in warm weather, will be immediately halted. Salicylic acid eliminates all types of germs and prevents the growth and activity of any yeast that might still be present; therefore, it is extremely valuable for effectively preserving wine and preventing the degradation this liquid is prone to.
Must, fresh from the press in autumn, can be kept without fermentation perfectly fresh, bright, and sweet for six to eight months by the addition of 1 to 1 12 ounces per 50 gallon, or of 34 ounce per 100 bottles. Sparkling Must requires an addition of 6 to 7 ounces of salicylic acid per 100 gallons. In the same manner all kinds of fruit-wine which, as is well known, soon turn sour, can be preserved by the addition of a similar quantity of salicylic acid. Must kept still for transport can at any time be set into fermentation by a slight addition of carbonate of soda and fresh yeast.
Must, fresh out of the press in autumn, can stay perfectly fresh, bright, and sweet for six to eight months without fermentation by adding 1 to 1/2 ounces per 50 gallons, or 34 ounce per 100 bottles. Sparkling Must needs an addition of 6 to 7 ounces of salicylic acid per 100 gallons. Similarly, various types of fruit wine, which are known to sour quickly, can be preserved by adding a similar amount of salicylic acid. Must held still for transport can be fermented at any time with a little carbonate of soda and fresh yeast.
BEER.
Experiments made upon a large scale have placed beyond a doubt the remarkable properties of salicylic acid as a preventive of secondary fermentation and acidity in beer, and as a preservative of beer in a sound condition when sent out or exposed to the noxious influences of warm cellars, change of temperature, etc. The amount of salicylic acid required to produce the best effects in preserving beer varies according to the quality of the malt liquor; but half an ounce per barrel of 36 imperial gallons will be very generally found to answer the purpose well. The addition of the salicylic acid delays secondary fermentation in stock and export beers, which may then be kept for any length of time without becoming unsound or of unpleasant flavor. Less than a quarter ounce of the powder of salicylic acid per barrel of boiling wort strewn into the same while turning out will destroy or suspend the vitality of the false ferments, especially that of the lactic ferment, in the fermenting vats, and this not only without injury to the yeast cells, but keeping them free from parasitical growths. In this manner the fermentation will take a steadier course and enable the liquor to attain its perfection during the ensuing still fermentation in the cask, into which another quarter ounce or more of the acid is to be given per barrel a fortnight before racking. Stout, and in fact all beers for export to a hot climate, require rather more.
Experiments conducted on a large scale have clearly demonstrated the incredible properties of salicylic acid in preventing secondary fermentation and acidity in beer, as well as preserving beer in good condition when shipped or exposed to the harmful effects of warm cellars, temperature changes, etc. The amount of salicylic acid needed for optimal preservation of beer varies depending on the quality of the malt liquor; however, half an ounce per barrel of 36 imperial gallons is generally effective. Adding salicylic acid delays secondary fermentation in stock and export beers, allowing them to be stored for extended periods without spoilage or unpleasant flavors. Less than a quarter ounce of salicylic acid powder per barrel of boiling wort, sprinkled in while pouring, will eliminate or suspend the activity of problematic ferments, particularly lactic ferments, in the fermentation tanks, all without harming the yeast cells and keeping them free from parasitic growths. This method ensures a more controlled fermentation process, allowing the beer to reach its best quality during the later still fermentation in the cask, where an additional quarter ounce or more of acid should be added per barrel about two weeks before racking. Stout beers, and indeed all beers meant for export to hot climates, generally require a bit more.
For long transports the acid in powder can be simply thrown into the export casks, in which it dissolves in the course of three days instead of a week, which is required by the cold beer lying quietly.
For long transports, the powdered acid can just be tossed into the export barrels, where it will dissolve in about three days instead of the week it takes for the cold beer sitting still.
BOTTLED BEER NOT SALICYLATED IN THE CASK.
The clean bottles must be rinsed with a solution of 1 part of salicylic acid in 4 or 5 parts of spirit (free from fusel oil), which can be poured from 1 bottle to another. Or, a small pinch of the acid in powder is placed in every bottle before filling.
The clean bottles should be rinsed with a mixture of 1 part salicylic acid and 4 or 5 parts spirit (free from fusel oil), which can be transferred from one bottle to another. Alternatively, you can put a small pinch of powdered acid in each bottle before filling.
The corks should always be boiled in water containing 1 ounce to the gallon, which is also efficient in disinfecting tubes, taps, etc.
The corks should always be boiled in water with 1 ounce per gallon, which also works well for disinfecting tubes, taps, and so on.
CIDER.
Dissolve 34 of an ounce of salicylic acid in a gallon of cider, and then add this amount to each barrel of cider. This is superior to any preparation of lime. The cider must be treated when fresh.
Dissolve 34 of an ounce of salicylic acid in a gallon of cider, and then add this amount to each barrel of cider. This is better than any lime preparation. The cider should be treated while it's fresh.
GLUE, GELATINE, GUM ARABIC SOLUTIONS, PASTE, SIZE, STARCH, INK, SKINS OF ALL KINDS, ETC.
Are successfully preserved for a length of time from decomposition or deterioration by means of salicylic acid. One-thousandth part of the acid introduced into a vat of gelatine or into decoctions of animal matter, prevents their undergoing decomposition for an indefinite period of time. Calico printers are using half a pound of the acid to every 100 pounds of dressing starch, in order to entirely preclude the disagreeable odor arising after awhile from dry goods in store.
Are successfully preserved for a long time from rotting or spoiling by using salicylic acid. Just a tiny amount of the acid added to a vat of gelatin or to animal extracts prevents them from decomposing for an unlimited time. Calico printers are using half a pound of the acid for every 100 pounds of dressing starch to completely eliminate the unpleasant smell that develops over time from dry goods in storage.
IN THE PROCESS OF TANNING,
If the bark-color be slightly salicylated, this liquor will not undergo the change which, instead of making the hides and skins swell, often causes the opposite effect, contracting them by an alkaline action, and at the same time imparting to them a putrid odor. Treatment with carbolic acid also leaves a most objectionable odor, especially in fine leather goods. The use of salicylic acid will thus be found highly remunerative to all tanners, as it has proved in the industries already alluded to.
If the bark color is slightly treated with salicylic acid, this solution won't change in a way that makes hides and skins swell; instead, it often has the opposite effect by causing them to shrink due to alkalinity, while also giving them a bad smell. Using carbolic acid also leaves a very unpleasant odor, especially in high-quality leather products. So, using salicylic acid will be very beneficial for all tanners, just as it has been in the industries mentioned before.
IN SUGAR FACTORIES
Three drachms of salicylic acid are used to every 300 pounds of beetroot in the diffusing liquor, in order to prevent fermentation, and for destroying the parasitical growths, especially noticeable in the old material.
Three drachms of salicylic acid are used for every 300 pounds of beetroot in the diffusing solution to prevent fermentation and to eliminate parasitic growths, which are especially noticeable in older material.
FOR DISINFECTING.
Fumigation with the acid purifies the air and walls of closed rooms. Simply evaporate some on a heated shovel, which must not be red-hot.
Fumigating with the acid cleans the air and walls in enclosed spaces. Just vaporize some on a heated shovel, but make sure it’s not glowing red.
The air in crowded buildings, schools, barracks, hospitals, factories, etc., will be improved by keeping the floors sprinkled with the solution. In sick rooms this is of great importance, the dust settling on the floor being the readiest receptacle and means of transmitting the microscopic fungi or germs of infection which float in the air.
The air in crowded spaces like buildings, schools, barracks, hospitals, and factories can be improved by keeping the floors sprinkled with the solution. This is especially important in sick rooms, as dust settling on the floor easily collects and transmits the microscopic fungi or germs of infection that are present in the air.
VESSELS, CORKS, ETC.,
Are very well cleaned and disinfected by washing them with an aqueous solution of the acid. This deserves especial notice.
Are thoroughly cleaned and disinfected by washing them with a solution of the acid. This is worth noting.
It is evident that numerous advantageous applications of salicylic acid are carried out besides those enumerated above, but the descriptions already given will enable any person interested in the matter to find out the best means of deriving profit from the wonderful properties of this extremely useful substance.
It’s clear that there are many beneficial uses of salicylic acid beyond those mentioned above, but the descriptions already provided will help anyone interested figure out the best ways to benefit from the amazing qualities of this incredibly useful substance.
Ice-House and Refrigerator.
BY JOHN TAYLOR.
BY JOHN TAYLOR.
Houses built on this plan are lined throughout the inside with sheet iron. There is a layer of felt nailed to the sides, ceiling, and floor of the room, and on this is nailed the sheet iron. It is then painted with two heavy coats, it being the aim to fill up all joints and seams with the paint. But as the tin and felt do not render the room absolutely air-tight, I am of opinion that it can as well be dispensed with. It might save some ice if the seams were all soldered. The layer of cement, asphaltum or gas tar, which should cover the ground below the joists, is to protect the room from the moisture and warmth of the earth. Above this layer should be about 30 inches of dry sawdust or turners shavings, well packed up to the level of the top of the joists.
Houses built on this design have the inside lined entirely with sheet metal. There’s a layer of felt nailed to the walls, ceiling, and floor of the room, and the sheet metal is then nailed on top of that. It gets painted with two thick coats, aiming to fill in all the joints and seams with paint. However, since the metal and felt don't make the room completely airtight, I think it can be skipped. Soldering the seams might save some ice. The layer of cement, asphalt, or gas tar, which should cover the ground underneath the joists, is there to protect the room from moisture and heat coming from the ground. Above this layer, there should be about 30 inches of dry sawdust or wood shavings, packed tightly up to the level of the top of the joists.

The drainage from the ice is carried off by a series of V-shaped tin or iron troughs, which run between the joists, all of which carry the water to one point, where it is carried outside by a trap-pipe. These troughs reach over to the center of the top of the joists, and are soldered together, so that no water will drip on the floor below. It will be seen that in this plan there is no sawdust or other preservative in contact with the ice, and that the air of the room circulates around and over the ice. As long as the temperature of the goods stored is above the temperature of the room there will be a gentle draught around the mass of ice, and of course all the moisture in the air, vapors, and odors from the goods will condense on the ice and pass off, so that you can keep milk, cream, butter, fruits, and meats all in the same chamber without danger of injuring the flavor of either. The atmosphere of the room is always dry, sweet, and pure.
The drainage from the ice is channeled away through a series of V-shaped metal troughs, which run between the joists and direct the water to a single point, where it exits through a trap pipe. These troughs extend to the center of the top of the joists and are sealed together to prevent any water from dripping onto the floor below. It’s clear that in this setup, there's no sawdust or other preservative in contact with the ice, and the air in the room circulates around and over the ice. As long as the temperature of the stored items is above the room temperature, there will be a gentle draft around the ice mass, and all the moisture in the air, along with any vapors and odors from the items, will condense on the ice and evaporate. This allows you to store milk, cream, butter, fruits, and meats all in the same chamber without risking any harm to their flavors. The air in the room remains dry, pleasant, and fresh.
The features of this plan can as well be carried out by arranging a room inside of another building.
The features of this plan can also be implemented by setting up a room inside another building.
I should have explained before that the ice does not rest directly on the joists; but there is a bed of oak lath, about 1 12 by 3 inches, laid across the joists, about 4 or 5 inches apart, on which the ice is laid. I would further suggest that another cold chamber can as well be had by making a cellar under the one shown, with a lattice floor between them. It would be necessary to finish the sides and bottom of this cellar in the most complete manner, as above described. At the entrance to the store-room there must be a vestibule, either inside or outside, as space or circumstances may direct. If outside the walls should be thick and the door very heavy. The doors, both inside and outside, should be fitted with rubber, so as to close perfectly tight, and both doors must never be opened at the same time. This vestibule should be large enough to contain a fair wagon load of goods, so that if you are receiving a load of stuff you are not required to stop until all is in the vestibule and ready to store. This house only needs filling once a year. The temperature will range from 34 deg. in winter to 36 deg. in summer, and will preserve fruit perfectly from season to season. The opening for putting in the ice, shown just under the pulley in the cut, has two doors with a space between; each door a foot thick. The window in the cold room has three sets of sash, well packed or cemented. The walls are 13 inches thick, lined with 17 inches of sawdust. Thirty-six inches of sawdust are put on the floor over the ice. The building shown is 25 feet square, inside measure, and 22 feet from floor of cold room to ceiling over the ice. The ice-room is 12 feet high, and the cold room 9 feet. Pillars are required under the center of the ice.—Country Gentleman.
I should have explained earlier that the ice doesn't rest directly on the joists; instead, there's a layer of oak lath, about 1/2 by 3 inches, laid across the joists, about 4 to 5 inches apart, which supports the ice. I would also suggest that you could create another cold chamber by building a cellar under the one shown, with a lattice floor separating them. It's important to finish the sides and bottom of this cellar thoroughly, as mentioned earlier. At the entrance to the store-room, there must be a vestibule, either inside or outside, depending on space or circumstances. If it's outside, the walls should be thick, and the door should be very heavy. Both the inside and outside doors should be fitted with rubber to ensure they close tightly, and both doors must never be opened at the same time. This vestibule should be large enough to hold a decent wagon load of goods, so that when you're receiving a load, you don’t have to stop until everything is in the vestibule and ready to store. This house only needs to be filled once a year. The temperature will vary from 34°F in winter to 36°F in summer, perfectly preserving fruit from season to season. The opening for adding the ice, shown just below the pulley in the diagram, has two doors with a space between them; each door is a foot thick. The window in the cold room has three sets of sash, well packed or sealed. The walls are 13 inches thick and lined with 17 inches of sawdust. There are 36 inches of sawdust on the floor over the ice. The building shown measures 25 feet square inside and has a height of 22 feet from the floor of the cold room to the ceiling above the ice. The ice room is 12 feet high, and the cold room is 9 feet high. Pillars are necessary under the center of the ice.—Country Gentleman.
Cheap Ice-Houses.
Settlers in the newer portions of the country are often deprived of many comforts which are easily accessible in long-settled places. Whatever contributes to lessen these privations, if at little cost, should merit special attention. A cheap ice-house may be made to afford an important share of country comforts in such settlements. There is nothing to prevent an abundant supply through the heat of summer where there is a stream or sheet of water within two or three miles from which clear blocks of ice may be sawed. Sawdust is the best material for packing, but in its absence chaff, chopped straw, or even straw unchopped may be made to answer the purpose.
Settlers in the newer parts of the country often miss out on many comforts that are easily available in more established areas. Anything that helps reduce these hardships, especially at a low cost, deserves special consideration. A simple ice house can provide a significant share of country comforts in such communities. There’s nothing stopping a plentiful supply of ice during the hot summer months if there’s a stream or body of water within two or three miles where clear blocks of ice can be cut. Sawdust is the best material for insulation, but if that’s not available, chaff, chopped straw, or even whole straw can also work just fine.

Fig. 1.
Fig. 1
A costly and elaborate building is no better than the cheapest structure for keeping ice, if care is only taken to have it properly packed, which is very easily done after one “knows how.” We have never seen ice better preserved through a long and hot summer than in a board shanty with only one thickness of siding, and that full of cracks and crevices. For a new settlement one built of logs, like that shown in the accompanying figure (Fig. 1), may be made to answer a good purpose. The floor may be slabs, and the roof a covering of brush to hold the packing to its place, if a slab roof is not readily made. If sawdust is used for packing, the crevices between the logs will need close stopping; or, still better, it can be faced on the inside with slabs set upright, with the smooth side inward. If straw is employed, the rough logs may remain, and the crevices between them may be left open. For sawdust a well-packed space of 10 inches between walls and ice will keep the ice well; chopped straw should be 15 or 20 inches thick, and long straw should occupy a space of 2 feet. Stiff, coarse straw will not answer unless packed very solid; finer and softer, as of thickly sown oats, is better, and the walls which it forms need not be quite so thick. Fine hay would be still better, and would answer if only a foot and a half thick and well put in. Dry swamp moss, such as nurserymen use for packing trees and plants, would be one of the very best substances for protecting the ice, if only a foot thick.
A fancy and expensive building is no better than the cheapest structure for storing ice if it’s packed correctly, which is easy once you know how. We’ve never seen ice preserved better during a long, hot summer than in a simple wooden shack with just one layer of siding, full of cracks and gaps. For a new settlement, a log building like the one shown in the accompanying figure (Fig. 1) can work well. The floor can be made of slabs, and the roof can be covered with brush to keep the packing in place if making a slab roof isn't feasible. If sawdust is used for packing, the gaps between the logs will need to be tightly sealed; even better, the inside can be covered with upright slabs, smooth side facing inward. If straw is used, the rough logs can stay, and the gaps between them can be left open. For sawdust, a tightly packed space of 10 inches between the walls and the ice will keep the ice well; chopped straw should be 15 to 20 inches thick, and long straw should fill a space of 2 feet. Stiff, coarse straw won't work unless packed very tightly; finer and softer straw, like that from thickly sown oats, is better, and the walls it forms don’t need to be as thick. Fine hay would be even better and would be effective even if it’s just a foot and a half thick and well arranged. Dry swamp moss, like what nurserymen use for packing trees and plants, would be one of the best materials for insulating the ice, even if it's only a foot thick.

Fig. 2.
Fig. 2.
Having prepared the house and packing cut the blocks of ice of precisely equal size, using a cross-cut saw with one handle removed, to go under water. The size should be measured and scratched on the surface for the saw to follow. Two feet square is a convenient size. When cut lift them out with a light plank having a batten nailed across one end to hold them (Fig. 2). Place about 10 inches of sawdust on the floor (or twice as much solid straw), and build the structures solid with the ice blocks, ramming in the sawdust or other packing as the structure goes up (Fig. 3). When finished cover it with a thickness of packing nearly equal to that at the sides. It is important that there be free ventilation over the top, which the loose brush will not prevent. If there is a slab roof the air must blow freely between this roof and the top covering. The slab floor will allow a free drainage of all the water which runs down through the packing from the melting ice.
After preparing the house and cutting the ice into blocks of exactly equal size, use a cross-cut saw with one handle removed to make them manageable. The dimensions should be measured and marked on the surface for the saw to follow. A size of two feet square is convenient. Once cut, lift them out with a light plank that has a batten nailed across one end to hold the blocks (Fig. 2). Spread about 10 inches of sawdust on the floor (or twice as much solid straw), and build the structure firmly with the ice blocks, packing in the sawdust or other material as the structure rises (Fig. 3). When finished, cover it with a layer of packing that is nearly the same thickness as the sides. It’s important to allow for free ventilation above, which the loose brush won’t block. If there’s a slab roof, the air must circulate freely between this roof and the top covering. The slab floor will enable effective drainage of any water that runs down through the packing from the melting ice.
![]() Fig. 3. Fig. 3. |
![]() Fig. 4. Fig. 4. |

Fig. 5.
Fig. 5.
A structure nearly as cheap as the preceding is represented in Fig. 4. It is made by setting rough posts into the ground with the inner sides straight or faced with the ax, and then nailing common rough boards on them (like a tight fence) to a sufficient height. The floor is made as already described, and the roof may be boards or slabs. The openings at the gables perform an important part in the ventilation by admitting all the air that can sweep over the top sawdust. Fig. 3, already referred to, is the ground plan, and Fig. 5 is a vertical section.
A structure that's almost as affordable as the one before is shown in Fig. 4. It's built by placing rough posts in the ground with the inner sides straight or smoothed out with an ax, and then nailing regular rough boards onto them (similar to a tight fence) to a sufficient height. The floor is constructed as previously described, and the roof can be made of boards or slabs. The openings at the gables play a crucial role in ventilation by allowing all the air to flow over the top sawdust. Fig. 3, mentioned earlier, is the ground plan, and Fig. 5 shows a vertical section.
There are three requisites to be secured in order to keep the ice successfully: 1st. The closely packed, non-conducting substance on each side, under and above the mass of ice. 2d. Perfect drainage at the bottom without the admission of air. 3d. Free circulation of air over the top covering. If these requisites are observed the result will be entirely satisfactory.—Country Gentlemen.
There are three requirements to ensure the ice stays preserved successfully: 1st. A tightly packed, non-conductive material on both sides, above and below the ice. 2nd. Excellent drainage at the bottom without allowing air in. 3rd. Unrestricted airflow over the top covering. If these requirements are met, the outcome will be completely satisfactory.—Country Gentlemen.
A Cheap Ice-Chest.
Procure two dry-goods boxes, one of which is enough smaller than the other to leave a space of 3 or 4 inches all around when it is placed inside. Fill the space between the two with sawdust packed closely and cover with a heavy lid made to fit neatly inside the larger box. Insert a small pipe in the bottom of the chest to carry off the water from the melting ice. For family or grocers’ use this will prove even more serviceable than some of the high-priced patent refrigerators.
Get two dry-goods boxes, making sure one is about 3 or 4 inches smaller than the other so there’s space all around when it’s placed inside. Fill the gap between the two with tightly packed sawdust and cover it with a sturdy lid that fits snugly inside the larger box. Put a small pipe at the bottom of the chest to drain water from the melting ice. This setup will be even more practical for families or grocery stores than some of the expensive patented refrigerators.
Ice Without an Ice-House.
Select a dry, shady spot; dig a ditch for carrying off the waste water, and over it place a lath-work. Upon this lay a thick layer of moss, leaves, or sawdust. Now pile upon this the cakes of ice, the larger the better, and cut or sawed square in such a manner as to leave as few spaces as possible, filling up those which may occur with fine sawdust in order to prevent the air from penetrating into the interior of the pile. It is best to build the pile in the form of a pyramid. When completed it is covered with straw, moss, or leaves as thick and as close as possible, a layer of earth being thrown upon it to secure the covering and as a further protection to the ice. Where a stream or lake is inaccessible from which to procure ice for filling ice-houses, especially where a small quantity is stored, the ice can be frozen with water from the well in boxes or other contrivance made especially for the purpose, which we leave to the ingenuity of those who are interested.
Choose a dry, shady spot; dig a ditch for draining away waste water, and place a framework over it. On this, lay a thick layer of moss, leaves, or sawdust. Then stack the ice cakes on top, the bigger the better, and cut or saw them into squares to minimize any gaps, filling in any spaces that appear with fine sawdust to keep the air from getting inside the pile. It’s best to shape the pile like a pyramid. Once it’s built, cover it with straw, moss, or leaves as thick and tightly as you can, adding a layer of dirt on top to hold the cover in place and provide extra protection for the ice. If a stream or lake is too far away to get ice for ice houses, especially when storing a small amount, you can freeze ice using well water in boxes or other specially designed containers, leaving that to the creativity of those who are interested.
Freezing Mixtures.
Refrigerating salts and mixtures are used to produce cold artificially. They are used with or without ice or snow. As is well known common salt mixed with pounded ice or snow lowers the temperature to a considerable degree, so there are other mixtures which will produce a still greater degree of cold. The following simple and cheap preparation, when mixed according to directions, will produce artificial cold sufficient to cool wines, etc., without the aid of ice: Take common sal-ammoniac, well pulverized, 1 part; saltpeter, 2 parts, and mix well together: then take common soda, well pulverized. To use, take equal quantities of these preparations (which must be kept separate and well covered previous to using) and put them in the freezing pot; add of water a sufficient quantity, and put in the article to be frozen in a proper vessel and cover up until cooled as desired.
Refrigerating salts and mixtures are used to create artificial cold. They can be used with or without ice or snow. It's well known that regular salt mixed with crushed ice or snow significantly lowers the temperature, but there are other mixtures that can create even colder temperatures. The following simple and inexpensive formula, when mixed as directed, will produce enough artificial cold to chill wines and other items without needing ice: Take 1 part common sal-ammoniac, finely powdered; 2 parts saltpeter, and mix them well. Then take finely powdered common soda. To use, take equal amounts of these preparations (which must be kept separate and well covered before using) and place them in the freezing pot; add enough water, then put the item to be frozen in a suitable container and cover until it reaches the desired chill.
These tables consist of mixtures having the power of generating or creating cold, with or without the aid of ice, sufficient for all useful and philosophical purposes, in any part of the world at any season:
These tables contain mixtures that can produce cold, with or without ice, sufficient for all practical and scientific purposes, anywhere in the world at any time of year:
FREEZING MIXTURES WITHOUT ICE. | |||||
MIXTURES | Thermometer Sinks. | Degree of cold Produced. | |||
Ammonium chloride | 5 parts | ![]() | From +50° to +10° | 40 | |
Potassium nitrate | 5 parts | ||||
Water | 16 pieces | ||||
Ammonium chloride | 5 parts | ![]() | From +50° to +4° | 46 | |
Potassium nitrate | 5 parts | ||||
Sodium sulfate | 8 pieces | ||||
Water | 16 parts | ||||
Ammonium nitrate | 1 part | ![]() | From +50° to +4° | 46 | |
Water | 1 part | ||||
Ammonium nitrate | 1 part | ![]() | From +50° to -7° | 57 | |
Sodium carbonate | 1 part | ||||
Water | 1 part | ||||
Sodium sulfate | 3 parts | ![]() | From +50° to -3° | 53 | |
Diluted nitric acid | 2 pieces | ||||
Sodium sulfate | 6 parts | ![]() | From +50° to -10° | 60 | |
Ammonium murate | 4 parts | ||||
Potassium nitrate | 2 parts | ||||
Diluted nitric acid | 4 parts | ||||
Sodium sulfate | 6 parts | ![]() | From +50° to -14° | 64 | |
Ammonium nitrate | 5 parts | ||||
Diluted nitric acid | 4 parts | ||||
Sodium phosphate | 9 parts | ![]() | From +50° to -12° | 62 | |
Diluted nitric acid | 4 parts | ||||
Sodium phosphate | 9 components | ![]() | From +50° to -21° | 71 | |
Ammonium nitrate | 6 parts | ||||
Diluted nitric acid | 4 parts | ||||
Sodium sulfate | 8 parts | ![]() | From +50° to 0° | 50 | |
Hydrochloric acid | 5 parts | ||||
Sodium sulfate | 5 parts | ![]() | From +50° to +3° | 47 | |
Diluted sulfuric acid | 4 parts | ||||
FREEZING MIXTURES WITH ICE. | |||||
MIXTURES | Thermometer Sinks. | Degree of cold Produced. | |||
Snow or crushed ice | 2 parts | ![]() | F r o m a n y t e m p e r a t u r e | to -5° | .. |
Sodium chloride | 1 part | ||||
Snow or crushed ice | 5 parts | ![]() | to -12° | .. | |
Sodium chloride | 2 parts | ||||
Ammonium chloride | 1 part | ||||
Snow or crushed ice | 24 pieces | ![]() | to -18° | .. | |
Sodium chloride | 10 pieces | ||||
Ammonium chloride | 5 parts | ||||
Potassium nitrate | 5 parts | ||||
Snow or crushed ice | 12 parts | ![]() | to -25° | .. | |
Sodium chloride | 5 parts | ||||
Ammonium nitrate | 5 parts | ||||
Snow | 3 parts | ![]() | From +32° | to -23° | 55 |
Diluted sulfuric acid | 2 parts | ||||
Snow | 8 parts | ![]() | From +32° | to -27° | 59 |
Hydrochloric acid | 5 parts | ||||
Snow | 7 parts | ![]() | From +32° | to -30° | 62 |
Diluted nitric acid | 4 parts | ||||
Snow | 4 parts | ![]() | From +32° | to -40° | 72 |
Calcium chloride | 5 parts | ||||
Snow | 2 parts | ![]() | From +32° | to -50° | 82 |
Calcium chloride crystals | 3 parts | ||||
Snow | 3 parts | ![]() | From +32° | to -51° | 83 |
Potassium salt | 4 parts | ||||
COMBINATIONS OF FREEZING MIXTURES. | |||||
MIXTURES | Thermometer Sinks. | Degree of cold Produced. | |||
Sodium phosphate | 5 sections | ![]() | From 0° to -34° | 34 | |
Ammonium nitrate | 3 parts | ||||
Nitric acid solution | 4 parts | ||||
Sodium phosphate | 3 parts | ![]() | From -34° to -50° | 16 | |
Ammonium nitrate | 2 parts | ||||
Diluted nitric acid | 4 parts | ||||
Snow | 3 parts | ![]() | From 0° to -46° | 46 | |
Diluted nitric acid | 2 sections |
Constant Water Baths.
[American Chemical Journal.]
[American Chemical Journal.]
The following simple form of constant water bath, which wastes no water, I have found to be very convenient:
The following simple design for a constant water bath, which doesn’t waste any water, has proven to be very convenient for me:
A tube of glass or metal, not less than 14 of an inch internal diameter, the ends of which are cut off obliquely, is bent as shown in the cut. It should make an angle of about 30 deg., or a little greater, with the horizontal. The angle may be diminished if the bore of the tube is increased. One end is inserted in the water bath, the other in an inverted bottle. The height of the water in the bath is regulated by the depth of immersion of the tube in it. The boiling is not interrupted by the feeding, which takes place slowly and regularly. It is necessary that the ends of the tubes should be cut off obliquely. The same form of tube answers equally well for keeping a constant level in a filter or drying chamber.
A glass or metal tube, with an internal diameter of at least 14 of an inch, has both ends cut at an angle. It should be bent as shown in the image, making an angle of about 30 degrees, or slightly more, with the horizontal. This angle can be reduced if the diameter of the tube is increased. One end of the tube is placed in a water bath, while the other end goes into an inverted bottle. The water height in the bath is adjusted by how deep the tube is submerged. Boiling continues without interruption while feeding occurs slowly and consistently. It’s essential that the ends of the tubes are cut at an angle. The same type of tube is also effective for maintaining a constant level in a filter or drying chamber.

A brass tube is much better than a glass one, as it does not crack at the water level after using for a time. Brass tubes can easily be bent by ramming full of sand, stopping the ends, and bending them over a curved surface. A large number of baths can be run by this apparatus by connecting them with a bath fed by it.—Charles T. Pomeroy.
A brass tube is way better than a glass one because it doesn’t crack at the water line after being used for a while. Brass tubes can be easily bent by filling them with sand, sealing the ends, and bending them over a curved surface. You can run a lot of baths with this setup by connecting them to a bath that’s fed by it.—Charles T. Pomeroy.
Note.—We have used for a number of years in this laboratory a form of constant water bath which was contrived by Mr. Edward Bogardus, formerly chemist to the New Jersey State Geological Survey. As I have not seen it described in print, and as it is cheap, simple, efficient, and ingenious, I will draw attention to it here.
Note.—We have used a type of constant water bath in this laboratory for several years, created by Mr. Edward Bogardus, who was previously the chemist for the New Jersey State Geological Survey. Since I haven't seen it documented anywhere, and because it's affordable, straightforward, effective, and clever, I want to highlight it here.
The following cut represents the apparatus:
The following cut shows the equipment:

It consists of two tomato cans connected by a tin tube. Into one of the cans a bottle of water is inverted. We generally use a five-pound acid bottle. The other can makes the bath. This bath can be left running over night without fear. A large number of baths can be run by this contrivance by simply connecting them, by means of rubber tubes, with a reservoir replenished by an inverted bottle. Old fruit cans make excellent baths. A series of holes can be punched round the lower edge of a fruit can, thus affording a distributing reservoir. Corks holding short pieces of glass tube are inserted into the holes. By means of these the reservoir can be connected by rubber tubes with a number of baths at quite a distance. The baths are made by punching a hole near the lower edge of a fruit can and inserting a cork and short piece of glass tube. When the extra vents of the reservoir are not used, they can be closed by a short rubber coupling and a pinch cock.—Peter T. Austen, Chemical Laboratory of Rutgers College (New Jersey State Scientific School).
It consists of two tomato cans linked by a tin tube. One of the cans has an inverted bottle of water placed inside. We usually use a five-pound acid bottle for this. The other can serves as the bath. This bath can run overnight without any worries. You can set up many baths with this system by simply connecting them with rubber tubes to a reservoir that is refilled by an inverted bottle. Old fruit cans make great baths. You can punch a series of holes around the lower edge of a fruit can, creating a distribution reservoir. Corks with short pieces of glass tube are put into the holes. These allow the reservoir to be connected via rubber tubes to multiple baths that can be far away. The baths are created by punching a hole near the lower edge of a fruit can and inserting a cork and a short piece of glass tube. When the extra openings of the reservoir aren’t in use, they can be sealed with a short rubber coupling and a pinch cock.—Peter T. Austen, Chemical Laboratory of Rutgers College (New Jersey State Scientific School).
Silos and Ensilage.
The practice of preserving roots, vegetables, and plants by covering them with earth or by placing them in cellars, etc., is an ancient one, but the practical application of the principle on a large scale to the preservation of fodder-corn, clover, etc., as a food for stock is comparatively a recent practice, the first silo in this country having been built within the last twelve years. Previously, however, the French and English gave the subject considerable attention, but it seems that within the last two or three years our American experimenters have made great improvements in the process and construction of the silo by which more successful results have been attained than ever before and have awakened much interest among the progressive class of farmers and stock-growers throughout the country.
The practice of storing roots, vegetables, and plants by burying them in the ground or keeping them in cellars has been around for a long time, but using this method on a large scale to preserve fodder like corn and clover for livestock is relatively new. The first silo in the U.S. was built just within the last twelve years. Before that, the French and English had already paid a lot of attention to the idea, but it seems that in the last two or three years, American researchers have made significant improvements in both the process and construction of silos, achieving better results than ever before. This has sparked a lot of interest among progressive farmers and livestock breeders across the country.
A number of the Agricultural Experiment Stations located in the different States, particularly those of Wisconsin, Illinois, and also the Agricultural College at Guelph, Ontario, have made extensive applications of the process. Several articles from them detailing the success of the experiments for the past season have appeared in the columns of The Breeder’s Gazette of this city. Through the courtesy of the editor and Prof. W. A. Henry of the Wisconsin Agricultural Experiment Station we are enabled to present full instructions in regard to constructing and filling a silo. These, with clippings which we include from the writings of others high in authority on the subject, contain as full an account of recent experiments as we can give with our limited space.
Several Agricultural Experiment Stations in various states, especially those in Wisconsin and Illinois, as well as the Agricultural College in Guelph, Ontario, have extensively applied the process. Several articles from them detailing the success of the experiments from the past season have been published in the columns of The Breeder’s Gazette of this city. Thanks to the editor and Prof. W. A. Henry from the Wisconsin Agricultural Experiment Station, we can provide complete instructions on how to construct and fill a silo. These, along with excerpts we’ve included from writings by other experts in the field, offer as comprehensive an account of recent experiments as we can provide within our limited space.
“Agriculture never took a longer stride in advance than it did when the silo was added to the practical equipment of the farm. Most of us were slow to realize this at first, and a great many are yet unwilling to concede the advantages claimed for the silo, but the utility of the modern silo cannot be gainsaid, for without it we are left at the mercy of the elements in the handling of our great corn crop. There was much truth in the statement that the silo as first introduced was too expensive for the average farmer, but in no department of the farm has there been such a change of opinion and methods of attaining desired results as is the case with the silo. The modern wooden building is not only less expensive but vastly superior to the original cellar or stone structure and every year’s experience is throwing light in hitherto dark places, so that in a short time the progressive dairyman or beef-raiser will think no more of filling his silo than our fathers did of filling the barn with hay, and with proper facilities for handling the corn no part of the silo work will be as hard as pitching hay over the ‘big beam.’” * * * Supt. Adams, Wis. Agr. Exp. Station.
"Agriculture has never made a bigger leap forward than when the silo was added to the essential tools on the farm. Most of us were slow to recognize this at first, and many still hesitate to acknowledge the benefits of the silo, but the value of the modern silo is undeniable. Without it, we're at the mercy of the weather when managing our large corn harvest. There was a lot of truth in the idea that the first silos were too costly for the average farmer, but no area of farming has seen such a shift in perspective and methods for achieving desired outcomes as with the silo. The modern wooden structure is not only cheaper but also far better than the original cellar or stone version. Each year brings new insights, so soon, progressive dairy farmers or beef producers will think nothing of filling their silos, just like our ancestors did with storing hay in the barn. With the right tools for handling corn, no part of the silage process will be as labor-intensive as tossing hay over the 'big beam.'" * * * Supt. Adams, Wis. Agr. Exp. Station.
* * * A silo is a place where fodder is preserved in a succulent condition. It may be a pit, a box, a mow, a tank, a building, or a trench in the earth. Silage is the word denoting the fodder so preserved. Ensilage is the term applied to the process or system. Ensile is the verb expressive of the action of making silage. Ensilor stands for the person using the silo to ensile fodder for silage by the process of ensilage. —Prof. James W. Robertson, Ontario Agr. Col., Guelph.
* * * A silo is a place where feed is kept in a moist state. It can be a pit, a box, a stack, a tank, a building, or a trench in the ground. Silage refers to the feed that has been preserved this way. Ensilage is the term for the process or system of preservation. Ensile is the verb that describes the action of making silage. Ensilor refers to the person who uses the silo to ensile feed for silage through the process of ensilage. —Prof. James W. Robertson, Ontario Agr. Col., Guelph.
* * * I further believe that our present knowledge of the silo and the best methods of storing crops therein is not perfect, and that we will make great advancement in the future; but that we have reached a point where this method is within the possibilities of our average farmers, and it is this class most of all that needs this method. The time has come when we must produce more beef, butter, wool, and pork to the acre or sink beneath the wave of competition that is driving over our land. The silo seems to be a valuable and important means to this end.—Prof. W. A. Henry.
* * * I also believe that our current understanding of silos and the best ways to store crops in them isn’t perfect, and we will make significant progress in the future. However, we’ve reached a point where this method is within the reach of our average farmers, and it’s this group that needs it the most. It’s time for us to produce more beef, butter, wool, and pork per acre or we’ll be overwhelmed by the competition that’s encroaching on our land. The silo appears to be an important and valuable tool to achieve this goal.—Prof. W. A. Henry.
CONSTRUCTING THE SILO.—BY PROF. W. A. HENRY.
“Silos are like houses, no two individuals can agree upon the same plan; for this reason I approach this branch of the subject with no expectation of pleasing all or of giving directions for making a perfect structure. I deem it best to give a description of one way in which a double silo may be built and leave it to the reader to introduce such modifications in the plan as may best meet his particular wants and circumstances. The drawing herewith presented shows an ideal two-room silo 16 feet wide, 32 feet long, and 16 feet to the eaves. Built as described each room would have a capacity of over 3,000 cubic feet which would contain about 50 tons of settled ensilage weighing 35 pounds to the cubic foot. We may say then that this figure represents a 100-ton silo. For the foundation of this structure either brick or stone may be used, going deep enough to avoid heaving by the frost and rising 6 inches or 1 foot above the surface of the level ground about it. Upon this wall a sill should be laid which had best be constructed of 2×10 inch plank. One of the difficulties in silo construction is to avoid spreading of the building, which sometimes occurs through lateral pressure of the contents when settling. For this reason the sills must be well tied together at the corners; instead of using square timbers, which are greatly weakened by cutting, plank may be substituted and the corners of the sill constructed as in Fig. 2. If well spiked there will be no danger from spreading at the corners. The plank of which the sills are constructed should be at least 8 inches wide; 10 would be better. By using four of these, lying one on top of another, the sill will be 8 inches thick. Midway between the ends of the building a cross wall should be built, and on this a sill should be laid upon which to erect the partition which divides the silo into two compartments. This cross wall should be so worked into the side walls as to hold them securely, and thus prevent the silo from spreading on the sides. A little ingenuity will make the foundation and sills secure. If possible the sills should be as wide as the wall upon which it rests, but if this cannot be conveniently done the wall of stone or brick should be raised above the ground but a very few inches at most, as the ensilage in settling on the shoulder made by the jutting wall is almost certain to spoil at that point. Having laid the sill upon the wall in the manner described proceed to erect the building by standing 2×8 or 10-inch studding perpendicularly upon this sill, placing them not further apart than every 16 inches, so that a sheet of tarred building paper will lap two studding in each case. The reader is cautioned to measure the building paper carefully, before setting up the studding, as it is sometimes scant in width and trouble will occur when one attempts to tack on the paper. Double the studding at the corners. In the illustration of the building I have not placed the proper number of studding, but the reader can rest assured that once in 16 inches is not too often. Having placed our studding in position and secured them by a plate running around the top we are ready for the rafters. Fig. 3 shows how these rest upon the plates and how they are tied together so as to least interfere with the filling of the silo. For a cheap silo boards may be used, though probably shingles are the cheapest in the end. In the roof upon one side place a dormer window at D in the illustration; this window is immediately over the partition. It is intended that the ensilage carrier shall pass up through the window so that the ensilage will fall over the partition and can be deposited in either one of the two compartments by means of a slanting chute. If one does not wish to undergo the expense of the dormer window a scuttle in the roof is all that is necessary. The roof is the same as for any building.
“Silos are like houses; no two people can agree on the same plan. For this reason, I approach this part of the topic with no expectation of pleasing everyone or providing guidance for creating a perfect structure. I believe it's best to describe one way to build a double silo and let the reader adapt the plan to fit their specific needs and conditions. The drawing included shows an ideal two-room silo that is 16 feet wide, 32 feet long, and 16 feet to the eaves. Built as described, each room would have a capacity of over 3,000 cubic feet, which could hold about 50 tons of settled silage weighing 35 pounds per cubic foot. So, we can say this structure represents a 100-ton silo. For the foundation, either brick or stone can be used, going deep enough to avoid frost heaving and rising 6 inches to 1 foot above the level ground surrounding it. A sill should be laid on this wall, ideally made of 2x10 inch planks. One of the challenges in silo construction is preventing the building from spreading, which can happen due to lateral pressure from the contents settling. Therefore, the sills need to be securely tied together at the corners; instead of using square timbers—which are significantly weakened by cutting—planks can be used, and the corners of the sill should be constructed as shown in Fig. 2. If properly spiked, there will be no risk of spreading at the corners. The planks for the sills should be at least 8 inches wide, though 10 inches would be better. By stacking four of these on top of each other, the sill will be 8 inches thick. A cross wall should be built midway between the ends of the building, and a sill should be laid on this to create the partition that divides the silo into two compartments. This cross wall should be integrated into the side walls to securely hold them, preventing the silo from spreading at the sides. With a little ingenuity, the foundation and sills can be made secure. Ideally, the sills should match the width of the wall they rest on, but if this isn't feasible, the stone or brick wall should only be raised slightly above the ground, as the silage settling on the shoulder created by the protruding wall is likely to spoil at that point. Once the sill is laid on the wall as described, proceed to build by standing 2x8 or 10-inch studs vertically on this sill, spaced no more than 16 inches apart, so that a sheet of tarred building paper will overlap two studs at each interval. The reader is advised to measure the building paper carefully before erecting the studs, as it sometimes comes up short in width, causing issues when trying to attach it. Double the studs at the corners. In the illustration of the building, I haven't included the correct number of studs, but the reader can be assured that spacing them every 16 inches is not excessive. After placing the studs in position and securing them with a plate running around the top, we are ready for the rafters. Fig. 3 illustrates how these rest on the plates and how they are tied together to minimally interfere with filling the silo. For a budget-friendly silo, boards can be used, although shingles might end up being the cheapest option overall. On one side of the roof, a dormer window should be placed at D in the illustration; this window is directly above the partition. It’s meant for the silage carrier to pass through so that the silage can fall over the partition and be deposited in either of the two compartments through a slanted chute. If one prefers to avoid the cost of the dormer window, a scuttle in the roof will suffice. The roof design is the same as for any building."

FIG. 3.
FIG. 3.
“We are now ready to sheathe the silo; let us begin on the inside. First of all tack tarred building paper to the studding, running the strips up and down and having them catch on every third studding. Avoid all openings or rents in the paper. Having placed the paper take common boards dressed on one side and sheet up to the top of the studding. When this is completed repeat the operation by placing a second layer of boards over the first, breaking joints. Narrow boards are preferable to wide ones for this work, as they will swell without bulging. We have double-boarded the inside of our silo by this operation, and rendered it practically impervious to the air. I see no reason for using anything but common lumber for this purpose, as upon swelling it will close up tight enough to keep out the air. Upon the outside of the studding tack building paper again, as shown at Fig. C in the first illustration. Over this paper place any kind of boards that the fancy of the builder may dictate, as clapboards, shiplap, or drop-siding. It will be seen that our walls are constructed as follows, beginning at the outside: First, siding; second, building paper; third, a dead-air space of 8 or 10 inches; fourth, building paper; fifth, common boards; sixth, common boards. No sawdust, tanbark, or other filling should be used, as a dead-air space is a better non-conductor for our purpose and less expensive than any of these. The partition can be built of narrower studding than those used on the sides of the building, and one thickness of boards used on each side, together with building paper, as in the first instance, is sufficient. To prevent lateral pressure bulging the silo two iron rods should be run through the partition walls joining the sides of the building, placing one about two feet above the partition sill and the other about four feet above that. Half or three-fourths-inch rods with heavy caps at the ends should be sufficient, and are easily put in place before the boards are tacked to the partition.
“We're ready to cover the silo; let's start from the inside. First, staple tarred building paper to the studs, running the strips up and down and making sure they catch on every third stud. Avoid any openings or tears in the paper. Once the paper is in place, attach common boards that are dressed on one side up to the top of the studs. After this is done, repeat the process by placing a second layer of boards over the first, staggering the joints. Narrow boards are better than wide ones for this job, as they will expand without bulging. We’ve effectively double-boarded the inside of our silo, making it practically airtight. I don’t see any reason to use anything other than common lumber for this purpose, as it will swell tight enough to keep the air out. On the outside of the studs, staple building paper again, as shown in Fig. C in the first illustration. Over this paper, you can use any type of boards that the builder prefers, like clapboards, shiplap, or drop-siding. Our walls are constructed in the following order, starting from the outside: First, siding; second, building paper; third, a dead-air space of 8 or 10 inches; fourth, building paper; fifth, common boards; sixth, common boards. Avoid using sawdust, tanbark, or other fillers, as a dead-air space is a better insulator for our purposes and cheaper than any of those options. The partition can be built with narrower studs than those used on the sides of the building, and one layer of boards on each side, along with building paper, as in the first case, is sufficient. To prevent the lateral pressure from bulging the silo, two iron rods should be installed through the partition walls connecting the building sides, with one placed about two feet above the partition sill and the other about four feet above that. Half or three-fourths-inch rods with heavy caps on the ends should be sufficient and can be easily installed before the boards are attached to the partition."
“Two doorways should be left by cutting out a single studding in each compartment upon the most convenient side. These doorways reach to within three feet of the ground, and should be about seven feet in height. They need not reach to within five feet of the top of the building. The ensilage will settle in the silo several feet, and when the time comes to pass it out through the doorway it takes but little time to dig down two or three feet to the top of the door and make an opening large enough to pass out the upper layer. Fig. 1 shows one of the ways in which a doorway may be made so that it can be boarded up air-tight. Instead of making solid doors hung on hinges I think it is better to use boards that will fit in crossways, making them double thick, and having the inside board even with the inside boarding of the silo, as shown in Fig. 1. Do not make the doorways over 6 or 7 feet in length vertically, as in all cases they weaken the structure. Endeavor to have the inside of the silo smooth and perpendicular from top to bottom, with no jogs or shoulders upon which the ensilage can catch or drag.
“Two doorways should be created by cutting out a single stud in each section on the most convenient side. These doorways should extend to within three feet of the ground and be about seven feet tall. They don’t need to reach within five feet of the top of the building. The ensilage will settle in the silo by several feet, and when it's time to remove it through the doorway, it only takes a little while to dig down two or three feet to the top of the door and make an opening large enough to pass out the upper layer. Fig. 1 shows one way to create a doorway so that it can be sealed airtight. Instead of solid doors with hinges, I think it's better to use boards that fit across, making them double thick, with the inside board flush with the inside wall of the silo, as shown in Fig. 1. Do not make the doorways more than 6 or 7 feet long vertically, as this will weaken the structure. Try to keep the inside of the silo smooth and straight from top to bottom, without any bumps or ledges where the ensilage could get stuck.”
“If built above ground fill the rooms of the two compartments with earth until the surface is three or four inches above the outside level, so that no water will at any time enter to injure the ensilage that rests on the ground. I do not yet know which is the best method of preserving the silo from decaying. This is an important branch of the topic, but it has thus far received little attention. Some have recommended using kerosene for an inside coating. We shall try that this season, and also gas or roofing tar, which I think will be excellent. This roofing tar when heated becomes liquid, and can be applied with a mop to the inside of the silo. As soon as it cools it hardens into an impervious glossy layer that I should think eminently adapted to this purpose.
“If you build it above ground, fill the rooms of the two compartments with dirt until the surface is three or four inches higher than the outside level, so no water can get in and damage the feed that’s on the ground. I still don’t know the best way to keep the silo from rotting. This is an important part of the topic, but it hasn’t gotten much attention so far. Some people have suggested using kerosene for an interior coating. We’ll try that this season, along with gas or roofing tar, which I think will work really well. When heated, roofing tar becomes liquid and can be applied with a mop to the inside of the silo. Once it cools, it hardens into a waterproof, shiny layer that I think is perfect for this purpose."
“Having no ceiling or floor, and being built of common material, there is no necessity for the silo being an expensive structure. Of course the reader will modify the description given to suit his own wants and circumstances, but I can assure him that in some such way he can provide a silo at no great expense.
“Without a ceiling or floor, and made from basic materials, there's no need for the silo to be a costly building. Naturally, the reader will adjust the description to fit their own needs and situation, but I can assure them that in some way, they can create a silo without spending a lot of money.”
“After the structures built for the special purpose comes the modification of building already erected. A great many farmers are building over bays in their barns for silos. This is easily accomplished by placing studding all around the bay and double boarding on the inside. If one fears cold weather he can make a dead-air space by using two sets of studding and boarding on the inside of the bay. Stone buildings can be converted into good silos by furring out and double boarding on the inside. In general I am adverse to stone structures for this purpose unless thus boarded. Some kinds of stone seem to do very well, but stone walls carry off the heat and moisture too rapidly to make good silo walls. If one wishes to try preserving corn-fodder and cannot afford a structure of wood, he can excavate a pit in the earth and bury the corn-fodder therein, though I am sure he will soon give up this practice as unduly expensive.
“After building structures for special purposes, the next step is modifying existing buildings. Many farmers are converting the bays in their barns into silos. This can be done easily by putting up studs all around the bay and adding double boards on the inside. If someone is worried about the cold weather, they can create a dead-air space by using two sets of studs and boards inside the bay. Stone buildings can also be turned into effective silos by furring out and double boarding the interior. Generally, I'm against using stone structures for this purpose unless they are properly boarded. Some types of stone work reasonably well, but stone walls tend to lose heat and moisture too quickly to make good silo walls. If someone wants to preserve corn fodder but can't afford a wooden structure, they can dig a pit in the ground and bury the corn fodder there, although I believe they will soon find this method too costly to maintain.”
“A word in regard to the location of the silo. It may be built adjoining the feeding barn with the doors so placed that the ensilage be conveyed directly to the cattle, or if that is not possible, place it where the ensilage can be conveyed by a car or cart. Mr. Hiram Smith of this State, who has large silos and uses ensilage extensively, holds that it is not inconvenient to have the silo located a few rods from the feeding barn. The ensilage is pitched into a cart with forks and the cart driven into the feeding barn between the two rows of cows which stand facing each other. The ensilage is placed in front of the animals directly from the cart with great rapidity. In some cases a car can be used which can be run down grade into the barn in front of the cattle. I think either of these methods is preferable to attempting to carry ensilage in baskets any distance.
A note about where to place the silo. It can be built next to the feeding barn with the doors positioned so that the feed can be delivered directly to the cattle, or if that's not feasible, put it where the feed can be transported by a cart. Mr. Hiram Smith from this State, who has large silos and makes extensive use of feed, believes it’s not an issue to have the silo set a bit away from the feeding barn. The feed is loaded into a cart using forks, and the cart is driven into the feeding barn between two rows of cows facing each other. The feed is quickly placed in front of the animals directly from the cart. In some cases, a car can be used that can roll down into the barn right in front of the cattle. I think either of these methods is better than trying to carry feed in baskets over any distance.
FILLING THE SILO.
“Probably very few stone silos will be built in the future, for experience shows that a stone wall chills the ensilage during the curing process and if it does not seriously injure that portion next to it to a thickness of several inches it renders it at least less palatable than ensilage nearer the middle of the silo. One reason, in my judgment, that the silo has not won more friends in the Eastern States is owing to the common use of stone in its construction. On our experimental farm at Madison our first silo, built in 1881, was of stone, and our conclusions in regard to ensilage were made up from results obtained with this silo; had we put up a wooden structure I am confident our results would have been worth vastly more to our people than they have been.
“Probably very few stone silos will be built in the future because experience shows that a stone wall cools the silage during the curing process. If it doesn't severely damage the part next to it to a thickness of several inches, it at least makes it less tasty compared to the silage closer to the middle of the silo. I believe one reason the silo hasn’t gained more popularity in the Eastern States is because stone is commonly used in its construction. At our experimental farm in Madison, our first silo, built in 1881, was made of stone, and our conclusions about silage were based on results from this silo; if we had built a wooden structure, I’m confident our results would have been much more beneficial to our community than they have been.”
“The question of stacking ensilage is sometimes raised, being urged upon our people by the practice of our English friends, who are experimenting quite largely in this direction. It will be no more profitable to stack ensilage in the Northern States than to stack hay, and even less so in my judgment, for the waste would be very considerable and no one would relish the job of handling it during bad weather. Silos built of wood or made by changing over the bays of barns are the proper structures, judging from our present knowledge, for the Northern States; our friends at the South may find stacking successful.
“The question of stacking silage comes up occasionally, often influenced by what our English friends are doing as they experiment a lot with it. It’s no more profitable to stack silage in the Northern States than to stack hay, and I think it’s even less so, because there would be a lot of waste, and no one would enjoy dealing with it in bad weather. Based on what we know now, wooden silos or those converted from barn bays are the best structures for the Northern States; our friends in the South might have better luck with stacking.”
“Having constructed the silo somewhat after the one described, though, be it remembered, large latitude is allowed in this matter, we will proceed to fill it with one of the two crops most suitable for the purposes; clover or fodder-corn. If clover is to be used I would recommend that a hay-loader be tried for the purpose of picking it up just as left by the mower. I have hopes that some form of hay-loader will do this work satisfactorily. The clover, either fresh or partly wilted, in any degree of dryness indeed, may be carried at once and unloaded into the silo, care being taken to fill and tramp down the corners and along the edges so that when all has thoroughly settled there will be no air spaces to favor decay. To fill a silo with clover is indeed a most simple process. By having two divisions the pits can be filled alternately, each layer of material heating up to the required temperature before the next is placed over it.
“Having built the silo somewhat like the one described, with the understanding that there's a lot of flexibility in this area, we will move on to fill it with one of the two crops that work best for this purpose: clover or fodder corn. If we choose clover, I suggest using a hay-loader to gather it right after it's been cut by the mower. I’m optimistic that some kind of hay-loader will handle this job well. The clover, whether fresh or slightly wilted, and at any level of dryness, can be taken directly and unloaded into the silo. It’s important to fill and pack down the corners and edges to ensure that there aren’t any air pockets that could lead to decay once everything settles. Filling a silo with clover is actually a very straightforward process. By having two sections, you can fill the pits alternately, allowing each layer of material to heat up to the necessary temperature before adding the next one on top.”
“For fodder-corn the processes are a little more complex, though in reality very simple. The fodder-corn should be allowed to approach maturity, the best point for cutting being not far from that at which we would ordinarily cut any shock. By this I do not mean to allow the leaves to become dry and crisp, but rather that they show a change from deep rank green to that yellowish tinge indicative of maturity, though with still an abundance of moisture in them. Formerly ensilage corn was cut shortly after the tassel appeared. Without doubt very considerable loss was incurred by such a practice.
“For fodder corn, the processes are a bit more complex, but in reality, they're quite simple. The fodder corn should be allowed to reach maturity, with the best time for cutting being not far from when we would typically cut any shock. By this, I don’t mean to let the leaves become dry and crisp, but rather to ensure they show a change from a deep, vibrant green to a yellowish hue that indicates maturity, while still retaining plenty of moisture. In the past, silage corn was cut shortly after the tassel appeared. There's no doubt that considerable losses were incurred by this practice."
“It is evident that if we cut our fodder at the time the corn is glazing our practice is as near correct as the present stage of investigation points out. Since the period of filling the silo will occupy several days, or even a couple of weeks, we must gauge the date of commencement to strike the best average conditions. For cutting the fodder some parties recommend the use of the reaper, but I judge from what I have been told that a good many rakes have been broken in attempting the work, and that many have given them up and gone back to the use of the corn knife. Such must be the case usually, at least where large varieties of corn are grown. The stalks should be cut close to the ground and thrown into bundles or gavels. If the weather is at all threatening I think it proper to cut and shock, since the fodder will dry off much more rapidly if rain falls, and it will not be so muddy and disagreeable to handle as when laid on the ground.
“It’s clear that if we cut our fodder when the corn is glazing, we're following the best practice according to what we know so far. Since filling the silo takes several days or even a couple of weeks, we need to choose the right start date to get the best overall conditions. For cutting the fodder, some people suggest using a reaper, but from what I’ve heard, many have broken rakes trying to do that, and quite a few have given up and reverted to using a corn knife. This seems to be the case, especially when growing large varieties of corn. The stalks should be cut close to the ground and bundled up. If the weather looks threatening, I think it’s wise to cut and shock, as the fodder will dry off much faster if it rains, and it won't be as muddy and unpleasant to deal with as when it's laid directly on the ground.”
“Last season the writer urged that the fodder be wilted before it was put into the silo, and his own experience, with that of many others, corroborates this method of procedure, which has the additional advantage that less water is handled in the operation. If it is intended to allow the fodder to wilt the corn had better be cut and shocked, after which it may stand from three to ten days, depending upon the maturity of the stalks at time of cutting and the weather. If the fodder dries out rapidly, from four days to a week is amply long for it to stand in shock, while if the weather is somewhat damp or the fodder quite green it may even stand ten days with no loss. One of the advantages of cutting and shocking is that when it is over the force of men employed in this operation can be changed to filling the silo. If the corn is cut and placed in the silo at once quite a force of hands is needed, but by cutting and shocking first we can avoid this double force.
“Last season, the author recommended that the fodder be wilted before being put into the silo, and his own experience, along with that of many others, backs up this approach, which also has the added benefit of handling less water during the process. If the plan is to let the fodder wilt, the corn should be cut and shocked, after which it can sit for three to ten days, depending on how mature the stalks are when cut and the weather conditions. If the fodder dries out quickly, four days to a week is more than enough time for it to stay in shock, while if the weather is somewhat damp or the fodder is quite green, it can remain for up to ten days with no loss. One advantage of cutting and shocking is that once that's done, the labor force used for this task can be shifted to filling the silo. If the corn is cut and placed in the silo immediately, a large number of workers is required, but by cutting and shocking first, we can avoid needing this extra workforce.”
“For drawing to the silo truck wagons are better than ordinary ones, since the fodder is more easily loaded upon them. The common practice is to attach a plank to the rear of the wagon, up which the men can walk with their arms full of fodder, which should be placed with tops all one way for ease in unloading. If the fodder is to be put through the feed-cutter the cutter should be placed so that the carrier will deposit it in either of the two pits as required. Formerly the carriers were so constructed that they would not work advantageously at a much greater angle than 45 deg., but now I note that some manufacturers have them arranged to carry almost vertically.
“For loading the silo, truck wagons are better than regular ones, as the fodder can be loaded onto them more easily. The usual practice is to attach a plank to the back of the wagon, allowing the workers to walk up with their arms full of fodder, which should be placed with the tops all facing the same direction for easy unloading. If the fodder is going to be fed through the feed-cutter, the cutter should be positioned so that the carrier can deposit it in either of the two pits as needed. In the past, carriers were designed to work efficiently at an angle no steeper than 45 degrees, but now I see that some manufacturers have created models that can carry almost vertically.”
“In regard to the kind of feed-cutter to be used, it may be said that there are several valuable machines before the public, any one of which will prove satisfactory if properly managed. The only point I desire to urge is that a large machine be purchased, one having about double the advertised capacity. Small cutters are a nuisance; hand-power cutters are out of the question. The cutter should be driven by three horses on a sweep power or two on a tread, or by a steam engine. Many farmers delay ordering the cutter until within a week or two of the time to fill the silo and are obliged to wait weeks until it is received, thereby suffering great inconvenience and loss. As soon as the question is settled in favor of having a silo a cutter should be selected and ordered, and it should be set up and run in a test trial not less than a week before actual filling is contemplated, so that repairs or changes can be made. To run a feed-cutter properly requires considerable experience and some knowledge of machinery, and many persons have suffered serious losses by not giving this side of the subject due attention.
“In terms of the type of feed-cutter to use, there are several great machines available that can perform well if operated correctly. The main point I want to emphasize is that you should invest in a large machine, ideally one with about double the advertised capacity. Small cutters can be troublesome; hand-powered cutters aren’t viable. The cutter should be powered by three horses on a sweep power or two on a tread, or driven by a steam engine. Many farmers wait until just a week or two before they need to fill the silo to order the cutter and end up waiting weeks for it to arrive, causing significant inconvenience and loss. As soon as it's decided to have a silo, a cutter should be chosen and ordered, and it should be set up and tested at least a week before you plan to fill it, allowing time for any repairs or adjustments. Properly operating a feed-cutter requires a good amount of experience and some knowledge of machinery, and many people have faced serious losses by not paying enough attention to this aspect of the process.”
“This brings me to a point in the discussion of considerable interest to many persons who desire to have silos but dread the experience and expense of machinery. Corn-fodder may be preserved in a perfectly satisfactory manner without running it through the feed-cutter, and may be drawn from the field and deposited directly in the silo. The expense of putting corn-fodder through the feed-cutter, first and last, is not far from half of all that incurred from the time of cutting the fodder to closing the silo. To fill the silo with long fodder let it be drawn in the usual manner and lifted at once into the pit, which can be accomplished in several ways, either by hand or the horse hay-fork carrier and slings. In the silo it should be distributed evenly and probably had better be placed in regular layers, lapping “shingle fashion” so that it will settle evenly.
“This brings me to an important point in the discussion that many people interested in having silos care about, but they fear the experience and costs of machinery. Corn fodder can be preserved effectively without using a feed cutter and can be taken directly from the field to the silo. The cost of processing corn fodder through the feed cutter, added together, is almost half of the total expenses from the time of cutting the fodder to sealing the silo. To fill the silo with long fodder, it should be brought in the usual way and lifted directly into the pit, which can be done in several ways, either by hand or using a horse hay-fork carrier and slings. Inside the silo, it should be spread out evenly and is likely best placed in regular layers, overlapping like shingles so that it settles evenly.”
“The use of long fodder for the silo has been urged with considerable vigor by Mr. I. J. Clapp of Kenosha, Wis., one of The Breeder’s Gazette’s correspondents, and I think much good has resulted from his advocacy. There is no doubt but that long fodder will keep just as well as that which is cut up, and I am not at all certain but such ensilage is even better in some cases than that made by cutting up the stalks into small pieces. When cut into small pieces the fodder is considerably bruised, and there is much more exposure of the juices to the air than there is where whole fodder is used. My attention was called to this point by a recent letter from Mr. Clapp, and I hope we can make some observations on the subject in the future. At any rate let those parties who either from choice or necessity do not wish to use the feed-cutter hesitate no longer in regard to the silo if they wish to try it, but go ahead and place the whole fodder in one, and I am confident they will not be disappointed in its feeding qualities. The only difficulty with long fodder comes at the time it is to be taken out for feeding purposes; then if large varieties have been used the man who attempts to get it out of the silo will need strong muscles and a large degree of patience to enable him to tug at the compact mass, which is quite difficult to manage. Twenty-five cows will eat up the ensilage about as fast as one man can get it out. It may be just as economical, however, to put two men into the silo for an hour or two each day during the winter, when labor is cheap, to get out the ensilage as it is to use more expensive labor in the fall to accomplish the extra work of running the feed-cutter.
“The use of long fodder for the silo has been strongly promoted by Mr. I. J. Clapp of Kenosha, Wis., one of The Breeder’s Gazette's correspondents, and I believe his support has led to many positive outcomes. There’s no doubt that long fodder will preserve just as well as chopped fodder, and I’m not entirely convinced that silage made from whole fodder is sometimes even better than silage made from small chopped pieces. When the fodder is cut into small pieces, it gets bruised more, and there’s significantly more exposure of its juices to the air compared to using whole fodder. A recent letter from Mr. Clapp highlighted this issue, and I hope we can make some observations on this topic in the future. In any case, those who either choose not to use the feed-cutter or cannot do so should not hesitate about trying out the silo; they should go ahead and put the whole fodder in, and I’m confident they won’t be disappointed with its feeding quality. The only challenge with long fodder arises when it comes time to remove it for feeding; if a variety of large sizes has been used, the person trying to pull it out will need strong muscles and a lot of patience to manage the dense mass, which can be quite difficult. Twenty-five cows will consume the silage about as fast as one person can remove it. However, it may be just as cost-effective to have two people working in the silo for an hour or two each day during the winter when labor is cheaper, to pull out the silage, as it is to invest in more expensive labor in the fall to handle the added work of running the feed-cutter.”
“Slow filling is without doubt the best method for securing good ensilage, no matter what material we are using, be it clover, long fodder-corn, or fodder cut fine. When the pit has been filled three or four feet deep no more should be placed within it until this layer has heated to the neighborhood of 125 deg. Fahrenheit. Mr. John Gould of Ohio, who has been a deep student of this subject from the practical side, I believe holds that the ensilage should be allowed to pile up as it falls from the carrier, and after the pile has heated to the right temperature it should be distributed evenly over the silo, throwing that which is hottest to the corners and along the walls. It is certain that ensilage usually heats up easily and rapidly except in the corners and along the walls, where we find the temperature does not rise so rapidly nor to the same degree as it does in the body of the silo, and anything that will help us overcome this lack will improve its quality, and I deem Mr. Gould’s suggestion a valuable one. No packing down is needed except in the corners and along the walls; at these points we endeavor to firm the ensilage just as much as possible. I wish we could avoid this operation, and in the future we may do so. I believe the ensilage would be better without any tramping and packing if we could only get it to settle uniformly without. We should endeavor to secure an elevation in temperature of from 120 to 140 deg. uniformly throughout the mass of material. If the contents of the silo heat up to different degrees in different places we cannot expect them to be uniform in quality, though all will be eaten by the stock. The theory advanced by Mr. Fry of England that a temperature of 122 deg. Fahrenheit destroyed the ferment that produced the temperature seems hardly correct, for we find that the temperature goes on beyond this very rapidly—indeed, it is often very difficult to hold it below 140 or 150 deg., while in other cases I have known silos in which I could detect no faulty handling of the crop that would not heat to 120 deg. A case in point occurred last season; while we were busy filling our silos at the experimental farm I was called to the telephone by a young farmer living some thirty miles away who asked several questions about temperatures. I answered him to the best of my ability and the matter dropped from my mind. A couple of hours afterward, however, the party himself appeared on the scene in a troubled state of mind; he said he feared that he could not make his case plain through the telephone, and so had come on the first train to consult personally. His ensilage would not heat up to 120 deg., but was moulding badly instead. I advised that he go on filling the silo, ignoring the temperature question entirely. He did so, and in the winter reported satisfactory results. In my opinion we have much to learn in regard to this ferment, and that very close, patient study will be required to bring out the scientific side in a satisfactory manner. Fortunately we do not have to be very particular in our practice to obtain a very good quality of ensilage. I would advise, therefore, that a person allow the temperature to run from 120 to 140 when the thermometer is buried a foot deep in the fodder; but when these conditions are not obtained, no matter whether the degree be lower or higher, to go right on without feeling anxious in the matter. If the contents of the silo do not heat at all, or if the temperature gets up to 160 deg., the cattle will still eat the ensilage without complaint and relish it better than average dry fodder. I speak pretty positively upon this point because novices find it difficult to get over it and become quite excited and nervous if they cannot attain the exact directions given by most writers on this subject. The best rule is to go ahead, do the best one can, and the cattle will be very well satisfied with the result. Remember that the experience of a single individual or a single season may be no criterion for other cases. The reasons for these great variations are not yet apparent.
“Slow filling is definitely the best method for getting good silage, no matter what material we're using, whether it's clover, whole corn fodder, or finely chopped feed. Once the pit is filled three or four feet deep, nothing more should be added until that layer heats up to around 125 degrees Fahrenheit. Mr. John Gould from Ohio, who has closely studied this topic from a practical angle, believes that silage should be allowed to pile up as it drops from the carrier, and after the pile has heated to the right temperature, it should be spread evenly over the silo, moving the hottest parts to the corners and walls. It's clear that silage typically heats up quickly except in the corners and against the walls, where the temperature doesn't rise as fast or to the same level as it does in the middle of the silo, and anything that helps with this will improve quality. I think Mr. Gould's suggestion is valuable. There’s no need to pack it down except in the corners and along the walls; at those points, we try to firm the silage as much as we can. I wish we could skip this step, and maybe in the future we will be able to. I think the silage would be better without any trampling and packing if we could just get it to settle evenly. We should aim for a typical temperature increase of 120 to 140 degrees throughout the entire mass of material. If the silage heats to different temperatures in different areas, we can’t expect it to be uniform in quality, even though all of it will be consumed by the livestock. Mr. Fry from England theorizes that a temperature of 122 degrees Fahrenheit kills the ferment that produces heat, but this doesn't seem quite right since temperatures often go beyond that rapidly—it's sometimes hard to keep it below 140 or 150 degrees. In some cases, I've noticed silos that didn’t heat up to 120 degrees despite there being no improper handling of the crop. For example, last season while we were busy filling our silos on the experimental farm, a young farmer from about thirty miles away called me asking about temperatures. I answered his questions as best as I could, and then forgot about it. A couple of hours later, he appeared at my location, looking worried; he said he was afraid he couldn't explain things clearly over the phone and had come on the first train to consult with me in person. His silage wasn't heating up to 120 degrees but was going bad instead. I suggested that he continue filling the silo and ignore the temperature issue entirely. He did that, and in the winter, he reported that he had good results. In my opinion, we still have a lot to learn about this ferment, and very careful, detailed study will be needed to thoroughly understand the scientific aspect. Luckily, we don’t need to be overly precise in our practices to get fairly good quality silage. Therefore, I recommend that someone let the temperature range from 120 to 140 when the thermometer is buried a foot deep in the feed; but if those conditions aren't met, whether it’s too low or too high, just keep going without worrying too much. If the contents of the silo don't heat up at all, or if the temperature goes up to 160 degrees, the cattle will still happily eat the silage and enjoy it more than average dry feed. I’m quite firm on this point because beginners often struggle with this and can get very anxious if they can’t follow the exact instructions given by most writers on this topic. The best rule is to continue, do your best, and the cattle will be very satisfied with the outcome. Keep in mind that the experience of one person or one season may not be a reliable guide for other situations. The reasons for these significant variations are still not clear.”
“Silo filling may go on for two or three weeks, or until the pits are filled, when they should be covered after standing a day or two to allow the last layer to heat. For covering material there may be placed over the ensilage building paper upon which may be placed sand, earth, chaff, cut straw, marsh hay, long straw, sawdust, or almost any material which will help keep out the air. If one wishes the pits may be left uncovered, in which case something like a foot of the ensilage will decay and form a covering and protection for that beneath. The practice of weighting the silo is now largely abandoned, though I am not certain but what some heavy material along the edges and in the corners will aid in saving the ensilage at those points, since it is here that the contents do not settle so well as does the body of the material. For a few weeks after filling the sides and corners should be tramped down occasionally to aid them in settling.”
“Silo filling can take two to three weeks, or until the pits are full, at which point they should be covered after sitting for a day or two to let the top layer heat up. For covering material, you can use building paper over the ensilage, and on top of that, put sand, dirt, chaff, chopped straw, marsh hay, long straw, sawdust, or basically any material that helps keep out the air. If preferred, the pits can be left uncovered, but that would lead to about a foot of the ensilage decaying and creating a cover and protection for what’s underneath. The practice of weighting the silo is mostly outdated now, although I think placing some heavy material along the edges and in the corners could help save the ensilage in those areas since they don’t settle as well as the main body of the material. For a few weeks after filling, the sides and corners should be pressed down occasionally to help them settle.”
PLANTING, CUTTING, FEEDING, ETC.
The following extracts from “Bulletin No. 2,” Illinois Agricultural Experiment Station, by Thomas F. Hunt, answers some important questions in regard to planting, etc.:
The following excerpts from “Bulletin No. 2,” Illinois Agricultural Experiment Station, by Thomas F. Hunt, address some important questions about planting and more:
“The filling of the silo was practically continuous, and was done in three days, Aug. 20 to 22, 1887, with 54,525 lbs.—twenty-seven and a quarter tons—of green corn. About twenty tons of this consisted of a medium sized, fairly early yellow dent corn (Murdock), which had been planted May 4 to 6, in rows 3 feet 9 inches apart, with two to three kernels dropped every 9 to 12 inches in each row. At the time of cutting the stalks had well-formed but small ears, the kernels of which had largely passed the milk state; that is, the kernels were mostly glazed. The lower leaves were yellowish, and some had begun to dry. The growth, though not large, was thought satisfactory, considering the long-continued and severe drouth that had prevailed here. The yield was not more than seven tons of fresh fodder per acre. Seven tons consisted of a large, late maturing yellow dent corn (Leaming), which had been planted May 28, 1887. The kernels were in the milk and the leaves were entirely green. No marked difference was noted between the ensilage from this and that from the other corn. * * *
The silo was filled almost nonstop over three days, from August 20 to 22, 1887, with 54,525 lbs.—twenty-seven and a quarter tons—of green corn. About twenty tons of this was medium-sized, fairly early yellow dent corn (Murdock), which had been planted between May 4 and 6, in rows 3 feet 9 inches apart, with two to three kernels dropped every 9 to 12 inches in each row. When harvested, the stalks had small but well-formed ears, and the kernels had mostly passed the milk stage; they were mostly glazed. The lower leaves were yellowish, and some had started to dry. Although the growth wasn’t large, it was considered satisfactory given the prolonged and severe drought that had affected the area. The yield was no more than seven tons of fresh fodder per acre. Seven tons came from a large, late-maturing yellow dent corn (Leaming), which had been planted on May 28, 1887. The kernels were still in the milk stage, and the leaves were completely green. No significant difference was noted between the silage from this corn and that from the other corn. * * *
“Feeding the ensilage was begun March 10, 1888, by mixing it with twice its bulk of dry, cut corn-fodder, not corn-stover, which our stock had been chiefly fed during the winter. The cattle soon learned to like the ensilage, and after the first week it was fed without mixing with any other substance and was eaten rather better, on the whole, than corn-fodder had been previously.
“Feeding the silage started on March 10, 1888, by mixing it with twice its volume of dry, chopped corn fodder, not corn stalks, which our livestock had primarily been fed during the winter. The cattle quickly learned to enjoy the silage, and after the first week, it was fed without mixing it with any other substance and was, overall, eaten better than the corn fodder had been before.”
“Dairy weights of ensilage fed to the stock were not taken. From what weighing was done it is estimated that from March 17 to April 30 700 lbs. on an average were fed daily. During this time the following cattle were given ensilage: March 17 to April 30 two aged and five yearling bulls, one heifer, and one dry cow were fed ensilage, hay, and grain; eight milch cows, ensilage, straw, and grain; ten dry cows and five heifers, ensilage and straw. March 17 to April 16, three steers were fed ensilage and corn. April 13 to 30, four heifers and two dry cows were fed ensilage and hay. It will thus be seen that for 45 days 37 head were, on an average fed 700 lbs., about 19 each, daily. Of these 15 had ensilage and straw only; 8 had ensilage and straw with grain, usually four quarts of bran added daily; and 9 ensilage, hay, and grain. All thrived exceedingly well considering the amount of food eaten.”
“Dairy weights of silage given to the livestock weren't recorded. Based on the weighings that were done, it's estimated that from March 17 to April 30, an average of 700 lbs. was fed daily. During this time, the following cattle were fed silage: from March 17 to April 30, two older bulls and five yearling bulls, one heifer, and one dry cow were given silage, hay, and grain; eight milking cows received silage, straw, and grain; ten dry cows and five heifers were fed silage and straw. From March 17 to April 16, three steers were fed silage and corn. From April 13 to 30, four heifers and two dry cows were given silage and hay. Thus, it can be seen that over 45 days, an average of 37 head received 700 lbs., about 19 each, daily. Of these, 15 only had silage and straw; 8 had silage and straw with grain, usually with four quarts of bran added daily; and 9 had silage, hay, and grain. All of them thrived extremely well considering the amount of food consumed.”
For information as to the results of future experiments with ensilage we refer the reader to the various State Agricultural Experiment Stations and the authorities here quoted.
For information about the results of future experiments with silage, we direct the reader to the various State Agricultural Experiment Stations and the authorities mentioned here.
PART II.—STAGE ILLUSIONS.
The Three-Headed Woman.
In the booths of the market fairs at Paris and its suburbs (for example, at the “Gingerbread” Fair, at the Féte of St. Cloud, etc.), and in the tricks of jugglers, etc., who operate in the street, café concerts, or circuses, we find phenomena that have a true scientific interest, ingenious applications of different sciences, or simply tricks that puzzle the spectator. Since, in general, people like to know the secret of what has surprised them, it may not prove uninteresting to devote a few articles to what may be called “side-show science.” We will first speak of the process employed to produce the “three-headed woman.”
In the booths of the market fairs in Paris and its suburbs (like the “Gingerbread” Fair at the Fête of St. Cloud, etc.), and in the acts of street performers, café concerts, or circuses, we encounter phenomena that spark genuine scientific interest, clever uses of various sciences, or simply tricks that baffle the audience. Since, generally, people enjoy uncovering the secret behind what has amazed them, it might be interesting to dedicate a few articles to what could be termed “side-show science.” We will start by discussing the method used to create the “three-headed woman.”

The exterior of the little booth in which this phenomenon is exhibited is covered by a large painted canvas representing a three-headed woman in evening costume in a richly decorated drawing-room along with a few persons. For better convincing the curious a photograph taken from nature exhibits the phenomenal woman as she appears in the show; and every now and then the showman stops his drum to cry, “She is living, ladies and gentlemen, she is living!” If we allow ourselves to be persuaded to enter the booth we shall find ourselves separated from the stage by a balustrade—a sort of screen, behind which is the curtain. In a few moments the latter separates and there is distinctly seen a woman’s body, the lower part of which is hidden by a basket of flowers. This body has three heads; one in the middle and two others grafted at the base of the neck of the first. These three heads move their eyes, answer together a few questions put by the showman, stick out their tongues, sing a few snatches of a popular song, and finally salute the audience, when the curtain closes and the show is over.
The outside of the small booth showcasing this phenomenon is covered with a large painted canvas depicting a three-headed woman in evening wear, set in a lavishly decorated parlor alongside a few people. To convince the curious, a photograph taken in real life shows the phenomenal woman as she appears in the show; and every so often, the showman stops his drum to shout, “She is alive, ladies and gentlemen, she is alive!” If we let ourselves be convinced to enter the booth, we'll find ourselves separated from the stage by a balustrade—a sort of screen, behind which is the curtain. A few moments later, the curtain parts, revealing a woman's body, the lower part of which is obscured by a basket of flowers. This body has three heads; one in the center and two others attached at the base of the first neck. These three heads move their eyes, answer a few questions posed by the showman in unison, stick out their tongues, sing bits of a popular song, and finally wave to the audience before the curtain closes and the show ends.
On almost every occasion some ingenious person is heard to express pity for this unfortunate person, who has no legs and three heads. This is the best praise that could be bestowed on the trick—for naturally it is only a trick. Moreover the showman is ready, for money, to explain how it is done. If we allow ourselves to be tempted, and enter the side-scene, we perceive on the little stage where the phenomenal woman just appeared nothing but a large plate of glass, slightly inclined toward the audience, and its edges hidden by drapery. Behind the mirror there is a recess whose sides are covered with a dead-black fabric. In front of the mirror, on the stage, sits the basket of flowers from which issued the woman’s body. Then on an inclined board a little above the ground lie three young girls. One of these, the middle one, is clothed in a brilliant costume of silk of a light color, and it is she who, in the exhibition, makes the trunk, arms, and the middle head. Her legs are covered over with a black fabric, and she is supported by a cushion so as to permit the two other girls to place their necks closely against hers. The bodies of these two girls at the sides are completely covered with a fabric of a dead-black color. In front of these three young women are placed a dozen strong kerosene lamps provided with reflectors.
On almost every occasion, some clever person is heard to express sympathy for this unfortunate individual who has no legs and three heads. This is the best praise that could be given to the trick—because naturally, it is just a trick. Moreover, the showman is ready to explain how it's done for money. If we let ourselves be tempted and enter the behind-the-scenes area, we see on the little stage where the amazing woman just appeared, nothing but a large plate of glass, slightly tilted toward the audience, with its edges hidden by drapes. Behind the mirror is a recess with its sides covered in deep black fabric. In front of the mirror, on the stage, sits the basket of flowers from which the woman’s body emerges. Then, on an inclined board just above the ground, lie three young girls. One of them, the middle one, is dressed in a bright silk costume, and she’s the one who, in the show, forms the trunk, arms, and middle head. Her legs are covered with black fabric, and she is propped up with a cushion to allow the two other girls to press their necks closely against hers. The bodies of these two girls on the sides are completely covered with fabric of deep black color. In front of these three young women are placed a dozen strong kerosene lamps with reflectors.
The heads, hair, and arms of the “body” are covered with powder, so as to present completely white surfaces. Such is the secret as revealed from the side-scene, and it will now be understood how the phenomenon is produced. All the white or light-colored surfaces being strongly lighted by the lamps that reflect the light, their image is sent by the glass toward the spectators, who perceive then the body of the female, her two arms, and her three heads. All the portions covered with black are, on the contrary, absolutely invisible in the glass, and the spectators cannot see that they exist. The phenomenon is, on the whole, a curious application of the effects of reflection which were in fashion some twenty years ago under the name of “living ghosts,” and by means of which it was possible in theaters to cause the apparition, alongside of living persons, either of undecided forms or of bodies not resting on the ground.
The heads, hair, and arms of the “body” are covered in powder to make them completely white. This is the secret revealed from the side view, and now it’s clear how the effect is created. The white or light-colored surfaces are brightly lit by the lamps, which reflect the light, sending their image through the glass to the audience, who then see the female body, her two arms, and her three heads. In contrast, all the areas covered in black are completely invisible in the glass, so the audience can't see that they exist. Overall, this phenomenon is an interesting use of reflection effects that were popular about twenty years ago, known as “living ghosts,” which allowed theaters to create the illusion of figures appearing alongside live performers, either as indistinct forms or bodies not touching the ground.
The “Gingerbread” Fair this year showed a two-headed woman produced by a slightly different process, the body and head of the woman being seen directly, and the second head alone being seen by reflection from a glass. This phenomenon may be varied to infinity, so to speak. To cite only a few examples, there may be produced by the same process a decapitated person who talks; a decapitated person who holds his head in his hand, and a Judith and Holofernes, the head of the latter being held by the hair by the former.—La Nature.
The “Gingerbread” Fair this year featured a two-headed woman created using a slightly different method, where the body and one head of the woman were visible directly, while the second head was seen only through reflection in a glass. This effect can be varied infinitely, so to speak. For example, the same technique could produce a beheaded person who talks, a beheaded person who holds their head in their hand, or a scene of Judith and Holofernes, with Judith holding Holofernes' head by the hair.—La Nature.
The Mysterious Voice.
“Some time ago,” says a correspondent of La Nature, “I was walking around in a side show in which were exhibited mechanical portraits, when I was surprised to hear myself called: ‘Monsieur! Monsieur!’ * * * I discovered that the voice came from a tin trumpet, which was held in the mouth of a negro’s head made of wood, and suspended by a small brass chain from semicircles of iron supported by a wooden frame” (Fig. 1). The effect produced on the spectators by this speaking head was one of universal astonishment, and no one was capable of solving the mystery. The arrangement for producing the illusion is very simple, however, and is thus explained by the writer above referred to:
“Some time ago,” says a correspondent of La Nature, “I was walking around in a side show featuring mechanical portraits when I was surprised to hear someone call out: ‘Monsieur! Monsieur!’ * * * I found out that the voice was coming from a tin trumpet held in the mouth of a wooden head of a Black man, suspended by a small brass chain from semicircles of iron supported by a wooden frame” (Fig. 1). The effect on the spectators of this speaking head caused universal astonishment, and no one could figure out the mystery. However, the way the illusion was created is very simple, as explained by the aforementioned writer:

FIG. 1.—THE SPEAKING HEAD.
FIG. 1.—THE TALKING HEAD.
A person hidden behind the scenes speaks into a tube two or three centimeters in diameter which runs from that point to the wooden frame, and in the interior of the horizontal and upright pieces of which it passes till it reaches the suspended head at A, as shown by the dotted lines, E, D, C, B, A. The voice thus transmitted is reflected from the sides of the trumpet, H, to the person holding a conversation with the head.
A person hidden out of sight speaks into a tube that’s about two or three centimeters wide, which extends from that point to the wooden frame. Inside the horizontal and vertical pieces, the tube runs until it reaches the suspended head at A, as indicated by the dotted lines E, D, C, B, A. The voice is then reflected off the sides of the trumpet, H, to the person chatting with the head.

FIG. 2.—THE SPEAKING GLASS CASE.
FIG. 2.—THE SPEAKING GLASS CASE.
This experiment, which is analogous to the one that precedes, was explained by Nicholson, in 1832, in his Journal de Physique. Although at first offered as a physical experiment, under the title of an “experiment in acoustics,” it has since changed name and master, and is now dignified by the imposing name of “invisible girl.”
This experiment, similar to the one that came before it, was described by Nicholson in 1832 in his Journal de Physique. Although it was initially presented as a physical experiment titled “an experiment in acoustics,” it has since been rebranded and is now impressively called the “invisible girl.”

FIG. 3.—THE INVISIBLE GIRL EXPERIMENT.
FIG. 3.—THE INVISIBLE GIRL EXPERIMENT.
Fig. 2 shows the arrangement of the original apparatus, which consisted of a glass case, X, about four feet long by about one in height, suspended from the ceiling by four chains at a distance of a foot from the window frame. From the extremity of the case projected a speaking trumpet, and the entire apparatus was surrounded by a latticework of iron wire to prevent its being touched by the hands of the curious. The phenomenon, although a puzzling novelty at the time, did not attract much of a crowd, as it was not managed with sufficient address, and the surroundings were not of a nature to please fashionable people. This apparatus was improved upon and rendered more elegant in appearance by Prof. Robertson. Fig. 3, copied from an old engraving, shows this latter arrangement. A globe, A, made of glass or enameled sheet iron, and to which are attached four trumpets, is suspended from the middle of the room. This globe is not necessary for the experiment, but is only an accessory to impose upon the imagination. Around it is placed a framework, B, which is very necessary, for it is hollow, and it is through it that the voice of the invisible person is heard. A tin tube passes through the upright C and then runs to D, where there is a small slit or aperture opposite the trumpet. This tin tube passes under the floor of the room, and runs into the neighboring room, whence the pretended invisible person speaks, and sees everything through the keyhole or through an aperture in the wall. This is all there is of the mystery.
Fig. 2 shows the setup of the original apparatus, which consisted of a glass case, X, about four feet long and about one foot high, hanging from the ceiling by four chains a foot away from the window frame. A speaking trumpet extended from the end of the case, and the whole apparatus was enclosed by a lattice of iron wire to keep it away from curious hands. The phenomenon, although a strange novelty at the time, didn’t gather much of a crowd since it wasn't handled with enough skill, and the surrounding environment didn't appeal to fashionable people. This apparatus was improved and made more elegant by Prof. Robertson. Fig. 3, copied from an old engraving, shows this later setup. A globe, A, made of glass or enameled sheet metal, is suspended from the center of the room, attached to four trumpets. This globe isn’t necessary for the experiment; it’s just an accessory to spark the imagination. A framework, B, surrounds it and is essential since it's hollow, allowing the voice of the invisible person to be heard. A tin tube runs through the upright C and leads to D, where there’s a small slit or opening opposite the trumpet. This tube goes under the floor and into the adjacent room, from where the supposed invisible person speaks and sees everything through a keyhole or an opening in the wall. That's all there is to the mystery.
An Improved Psycho.
Let me explain to those who have not seen “Psycho” that it consists of a small figure dressed as a Turk, sitting cross-legged (as shown by dotted lines) on a chest; this chest is in turn supported on a glass tube, about 12 in. in diameter and 3 ft. long, which rests on a four-legged stool. The bottom of chest and top of stool are covered with green cloth, so as to make a tolerably air-tight joint. The right arm is extended as per drawing, and a semicircular rack, in which are placed the 13 cards dealt to “Psycho,” is fixed by means of a bracket (not shown) in such a position that the edges come between the finger and thumb, as shown at *. The arm turning horizontally on the pivot A, the hand can be brought over any card, and by closing the finger and thumb and raising the arm the card will be withdrawn from the rack and held in the air.
Let me explain for those who haven't seen "Psycho" that it features a small figure dressed as a Turk, sitting cross-legged (as indicated by the dotted lines) on a chest; this chest is supported by a glass tube, about 12 inches in diameter and 3 feet long, which rests on a four-legged stool. The bottom of the chest and the top of the stool are covered with green cloth to create a fairly airtight seal. The right arm extends as shown in the drawing, and a semicircular rack, holding the 13 cards dealt to "Psycho," is secured by a bracket (not shown) in such a way that the edges fit between the finger and thumb, as indicated by *. The arm pivots horizontally on point A, allowing the hand to be positioned over any card. By closing the finger and thumb and lifting the arm, the card will be pulled from the rack and held up in the air.

FIG. 1. a.
FIG. 1. a.

FIG. 1. b.
FIG. 1. b.
In Figs. 1a and 1b (elevation and plan) the wheels E and M have each a train of clockwork (left out for the sake of clearness), which would cause them to spin round if unchecked. M, however, has two pins, p p′, which catch on a projection on the lever, N. E is a crown-wheel escapement—like that in a bottle roasting-jack—which turns A alternately to the left and right, thus causing the hand to traverse the 13 cards. A little higher on A will be seen a quadrant B (see plan) near the edge of which are set 13 little pins. The end of the lever N drops between any two of them, thus causing the hand to stop at any desired card. The lever being pivoted at c it is obvious that by pressing the end, N, B will be set at liberty, and the hand will move along the cards; by slightly raising it this motion will be arrested; by raising it still more the pin p is released and M commences to revolve, and by again depressing N this wheel will in its turn be stopped. Near the bottom of the apparatus is a bellows O, which contains a spring tending to keep the lever N, with which it is connected by a rod X, in the position shown. This is connected with the tubular support, which may be connected by a tube through the leg of the stool, and another tube beneath the stage, with an assistant behind the scenes. By compressing or exhausting air through this tube it is obvious that the lever, N, will be raised or depressed, and the clockwork set going accordingly. a is a crankpin set in M, and connected with the head by catgut, T, and with the thumb by S.
In Figs. 1a and 1b (elevation and plan), the wheels E and M each have a clockwork mechanism (excluded for clarity) that would make them spin if not restrained. However, M has two pins, p p′, that catch on a projection on the lever, N. E features a crown-wheel escapement—similar to what you’d find in a bottle roasting-jack—which makes A turn alternately to the left and right, allowing the hand to move across the 13 cards. Just above A, there’s a quadrant B (see plan) near which are 13 tiny pins. The end of lever N drops between any two of them, causing the hand to stop at any chosen card. Since the lever is pivoted at c, it's clear that pressing the end, N, will free B, and the hand will move along the cards; slightly raising it will stop this motion; raising it further will release pin p, causing M to start rotating, and by pressing down N again, this wheel will also be stopped. Near the bottom of the device is a bellows O, which has a spring that keeps the lever N—connected by a rod X—in the shown position. This is linked to a tubular support, which can connect through a tube in the stool's leg, and another tube under the stage, to an assistant backstage. By pushing or sucking air through this tube, it's clear that lever N will move up or down, starting the clockwork accordingly. a is a crankpin in M, linked to the head by catgut, T, and to the thumb by S.
At R and R′ are two pulleys connected by gut. Thus if the hand moves round the head appears to follow its motions, and when raised by pulling S the head rises also by means of T. Further explanation seems almost unnecessary; l is a stop to prevent the elbow moving too far, and b b′ spiral springs to keep thumb open and head forward respectively. When N is raised M pulls T and S, the latter closing thumb, and then raising arm by pulley H. If the lever is allowed to drop p′ will catch and keep arm up. On again raising N the arm will descend.
At R and R′ are two pulleys connected by a cord. So, when the hand moves around, the head seems to follow its movements, and when the head is lifted by pulling S, it also rises through T. More explanation seems almost unnecessary; l is a stop to prevent the elbow from moving too far, and b b′ are spiral springs to keep the thumb open and the head forward, respectively. When N is raised, M pulls T and S, which closes the thumb and then raises the arm via pulley H. If the lever is allowed to drop, p′ will catch and keep the arm up. When N is raised again, the arm will lower.

FIG. 2. a.
FIG. 2. a.

FIG. 2. b.
FIG. 2. b.
Figs. 2a and 2b show another and simpler arrangement, in which only one train of clockwork is used. On the same axle as H is fixed a lever and weight, W, to balance the arm. A vertical rod, X, having a projection, Z, slides up and down in guides, Y Y, and carries the catgut S and T. The quadrant, B, has cogs cut, between which Z slides and stops the motion of A, which is moved, as before, by clockwork. The lower part of X is connected direct with O. When X is slightly raised, as shown, A is free to move, but on exhausting air and drawing X down Z enters the cogs and stops the hand over a card; continuing to exhaust the thumb closes and the card is lifted up. The details of the clockwork I leave to the ingenuity of your readers. There should be a fan on each train to regulate the speed. The figure should be so placed that your assistant can see the cards in the semicircular rack.—English Mechanic.
Figs. 2a and 2b show a different and simpler setup, using just one set of clockwork. Mounted on the same axle as H is a lever and weight, W, to balance the arm. A vertical rod, X, with a projection, Z, slides up and down in guides, Y Y, and carries the catgut S and T. The quadrant, B, has cogs cut into it, through which Z slides and halts the movement of A, which is still moved by clockwork. The lower part of X connects directly to O. When X is slightly lifted, as shown, A can move freely, but when air is exhausted and X is pulled down, Z engages with the cogs, stopping the hand over a card; if the exhaustion continues, the thumb closes and raises the card. I’ll leave the specifics of the clockwork to the creativity of your readers. There should be a fan on each train to control the speed. The figure should be positioned so that your assistant can see the cards in the semicircular rack.—English Mechanic.
Magic Cabinets, Boxes, Etc.
Magic cabinets are much employed by magicians. The following is an example of one of the scenes that may occur with them:
Magic cabinets are often used by magicians. Here’s an example of one of the scenes that might happen with them:
When the curtain rises there is seen in the center of the stage a large dark colored cabinet, ornamented with mouldings, and mounted upon legs that are a little longer than those of ordinary cabinets, the object being to remove all possibility of a communication with the stage beneath. These legs are provided with casters. The showman turns this cabinet around and shows that there is nothing abnormal about it externally. He then asks some of the spectators to come up close to it, and lets them examine its interior, which is entirely empty. There is no double bottom, nor any hiding place. When the witnesses have made themselves certain of this fact they station themselves around the stage, and a certain number of them even consent to remain behind the cabinet and see nothing of the experiment. The cabinet being thus surrounded on all sides, and even one being able to look under it, fraud would seem to be an impossibility.
When the curtain goes up, we see a large dark cabinet in the center of the stage, decorated with moldings and raised on legs that are a bit longer than usual, designed to eliminate any chance of communicating with the space beneath. These legs have wheels. The showman spins the cabinet around to show that nothing unusual is happening on the outside. He then invites some of the audience to step up and check it out, letting them look inside, which is completely empty. There’s no hidden compartment or secret space. Once the observers confirm this, they take positions around the stage, with some even agreeing to stand behind the cabinet and not see the experiment at all. With the cabinet surrounded on all sides and anyone able to look underneath, it seems impossible for any trickery to occur.

FIG. 1.
Fig. 1.
A young woman dressed as a danseuse then comes onto the stage and enters the cabinet (Fig. 1), and the doors are closed upon her. In a few moments the doors are opened again, when, lo and behold! the closet is empty, the young woman having disappeared. Then the doors are closed again, and then opened, and the danseuse makes her appearance; and so on. At the end of the experiment the witnesses examine the cabinet again, and, finding nothing changed therein, are justly stupefied.
A young woman dressed as a dancer then walks onto the stage and enters the cabinet (Fig. 1), and the doors are closed behind her. A moment later, the doors are opened again, and surprise! The closet isempty; the young woman has vanished. Then the doors are closed again, and when they open once more, the dancer reappears; and this continues. At the end of the experiment, the witnesses examine the cabinet again and, finding nothing different inside, are understandably stunned.
In another style of cabinet there is no bar in the center, as shown in Fig. 1, but there is observed on one of the sides in the interior a bracket a few centimeters in length, and back and above this a shelf. This arrangement permits of performing a few experiments more than does the one just described. Thus, when the woman has disappeared the showman allows a young man to enter, and he also disappears, while the young woman is found in his place. This is a very surprising substitution.
In a different type of cabinet, there isn’t a bar in the center, as shown in Fig. 1. Instead, on one side inside, there’s a bracket a few centimeters long, with a shelf positioned behind and above it. This setup allows for a few more experiments than the previous one. For instance, when the woman vanishes, the showman lets a young man enter, and he also disappears, leaving the young woman in his spot. This is a very surprising switch.
The box into which the harlequin takes refuge, and which appears to be empty when Pierrot or Cassandra lifts the curtain that shields its entrance, is also a sort of magic cabinet.
The box where the harlequin hides, which looks empty when Pierrot or Cassandra lifts the curtain covering the entrance, is also a kind of magic cabinet.
In a series of lectures delivered a few years ago at the London Polytechnic Institution, a professor of physics unmasked the secret of some of the tricks employed on the stage for producing illusions, and notably that of the magic cabinet. The lecturer, after showing the cabinet and causing the disappearance therein of an individual while the doors were closed, repeated the same experiment with the latter open. But in the latter case so quick was the disappearance that the spectators could not even then see how it was done.
In a series of lectures given a few years ago at the London Polytechnic Institution, a physics professor revealed some of the secrets behind stage tricks used to create illusions, particularly the magic cabinet. The lecturer demonstrated the cabinet and made a person disappear while the doors were closed, then repeated the experiment with the doors open. However, in this second case, the disappearance happened so quickly that the audience couldn't see how it was done.

FIG. 2.—PLAN EXPLANATORY OF THE CABINET.
FIG. 2.—EXPLANATORY PLAN OF THE CABINET.
The illusion produced by these apparatus is the result of a play of mirrors.
The illusion created by these devices is the result of a reflection of mirrors.
In the first cabinet described (Fig. 1), when the exhibitor has closed the doors upon the young woman, the latter pulls toward her two mirrors that are represented in Fig. 2 by the lines G G. These mirrors are hinged at O O, and when swung outward rest by their external edges against the bar P, and then occupy the position shown by the dotted lines G′ G′. When the cabinet is again opened the woman, placed at A, is hidden by the two mirrors; but the appearance of the interior of the cabinet is not changed, since the spectators see the image of each side reflected from the corresponding mirror, and this looks to them like the back of the cabinet.
In the first cabinet described (Fig. 1), when the exhibitor closes the doors on the young woman, she pulls toward her two mirrors represented in Fig. 2 by the lines G G. These mirrors are hinged at O O, and when they swing outward, their outer edges rest against the bar P, taking the position shown by the dotted lines G′ G′. When the cabinet is reopened, the woman, positioned at A, is concealed by the two mirrors; however, the interior of the cabinet appears unchanged, as the audience sees the reflection from each side in the corresponding mirror, which looks like the back of the cabinet to them.
The illusion is perfect. When the experiment is ended and the mirrors are again swung against the sides, at G G, the spectators see nothing but the backs of them, which are covered with wood; the cabinet is really empty, and no one can discover what modification has taken place in its interior during the disappearance of the woman.
The illusion is flawless. When the experiment is over and the mirrors are turned back against the sides at G G, the spectators see nothing but the wooden backs of the mirrors; the cabinet is actually empty, and no one can figure out what change occurred inside during the woman's disappearance.

FIG. 3.—SECTION EXPLANATORY OF THE CABINET.
FIG. 3.—SECTION EXPLAINING THE CABINET.
In the second arrangement, which is shown in vertical section in Fig. 3, the young man gets up onto the shelf c n, at the upper part of the cabinet, by the aid of the bracket T, and then pulls down over him the mirror b c, which was fastened to the top of the cabinet. This mirror being inclined at an angle of 45 deg. reflects the top, and the spectators imagine that they see the back of the cabinet over the shelf just as they did before.
In the second setup, shown in vertical section in Fig. 3, the young man climbs onto the shelf c n at the top of the cabinet using the bracket T. He then pulls the mirror b c, which is attached to the top of the cabinet, down over him. This mirror is angled at 45 degrees and reflects the top, making the viewers think they see the back of the cabinet over the shelf just like they did before.
The box which the harlequin enters is based upon precisely the same principle. Its interior is hung with paper banded alternately blue and white. When the harlequin enters it he places himself in one of the angles and pulls toward him two mirrors which hide him completely, and which reflect the opposite side of the box, so that the spectator is led to believe that he sees the back of it. In this case one of the angles at the back of the box is not apparent, but the colored stripes prevent the spectator from noticing the fact.
The box that the harlequin enters works on the same principle. Its inside is covered with paper striped alternately in blue and white. When the harlequin steps in, he positions himself in one of the corners and pulls two mirrors toward himself that completely hide him and reflect the opposite side of the box, making it seem like the audience is looking at the back of it. In this setup, one of the back corners of the box isn’t visible, but the colored stripes distract the audience from noticing it.
The Magic Portfolio.
This is an apparatus which an itinerant physicist might have been seen a few years ago exhibiting in the squares and at street corners. His method was to have a spectator draw a card, which he then placed between the four sheets of paper which, folded crosswise, formed the flaps of his portfolio. When he opened the latter again a few instants afterward the card had disappeared, or rather had become transformed. Profiting then by the surprise of his spectators the showman began to offer them his magic portfolio at the price of five sous for the small size and ten for the large.
This is a device that a traveling scientist might have been seen showcasing a few years ago in plazas and on street corners. His approach involved having a spectator pick a card, which he then placed between the four sheets of paper that, folded crosswise, made up the flaps of his portfolio. When he opened it again shortly after, the card had vanished, or rather had been transformed. Taking advantage of the surprise from his audience, the performer began to offer his magic portfolio for five sous for the small size and ten for the large.
This constituted, after a manner, a double hinge that permitted of the portfolio being opened from both sides. To one pair of strings there were glued, back to back, two sheets of paper, which, when folded over, formed the flaps of the portfolio. It was only necessary, then, to open the latter in one direction or the other to render it impossible to open more than one of the two sets of flaps.
This formed, in a way, a double hinge that allowed the portfolio to be opened from both sides. To one pair of strings, two sheets of paper were glued back to back, which, when folded over, created the flaps of the portfolio. It was only necessary to open it in one direction or the other, making it impossible to open more than one of the two sets of flaps at a time.
This device is one that permits of a large number of tricks being performed, since every object put under one of the sets of flaps will apparently disappear or be converted into something else, at the will of the prestidigitator (Fig. 4).
This device allows for a wide range of tricks to be performed, as any object placed under one of the sets of flaps seems to disappear or transform into something else, depending on the magician's intention (Fig. 4).
Magic Envelopes.
This trick is a simplification of the foregoing. The affair consists of several sheets of paper of different colors folded over, one upon the other. A card inclosed within the middle envelope, over which have been folded all the others, is found to have disappeared when the flaps are opened again. The secret of the trick is very simple. One of the inner sheets of paper—the second one, usually—is double, and, when folded, forms two envelopes that are back to back. It is only necessary then to open one or the other of these latter to cause the appearance or disappearance or transformation of such objects as have been inclosed within it. (Fig. 4.)
This trick simplifies the previous one. It involves several sheets of paper in different colors, folded over each other. A card placed inside the middle envelope, which is covered by all the other envelopes, appears to disappear when the flaps are opened again. The secret of the trick is very straightforward. One of the inner sheets of paper—the second one, in most cases—is doubled, and when folded, it creates two back-to-back envelopes. You only need to open one of these to make the objects inside appear, disappear, or transform. (Fig. 4.)

FIG. 4.—MAGIC PORTFOLIO, ENVELOPES, AND BOXES.
FIG. 4.—MAGIC PORTFOLIO, ENVELOPES, AND BOXES.
Magic Boxes.
Magic boxes are of several styles, according to the size of the objects that one desires to make disappear.
Magic boxes come in different styles, depending on the size of the objects you want to make disappear.
There is no one who has not seen a magician put one or more pigeons into the drawer of one of these boxes, and after closing it open it to find that the birds have disappeared. Such boxes contain, as shown in Fig. 4, two drawers, which, when pulled out, seem to be but one; and it is only necessary, then, to pull out the inner one or leave it closed in order to render the inclosed birds visible or invisible.
There isn't anyone who hasn't watched a magician put one or more pigeons into the drawer of one of these boxes, and after closing it, open it to discover that the birds have vanished. These boxes have, as shown in Fig. 4, two drawers that, when pulled out, appear to be just one; and all that's needed is to pull out the inner one or leave it closed to make the enclosed birds visible or invisible.
In order to cause the disappearance of smaller objects trick performers often employ a jewel box, and, after putting the object (a ring, for example) into this, they hand it to some person and ask him to hold it, requesting him at the same time to wrap it up in several sheets of paper. But this simple motion has permitted the performer to cause the ring to drop into his hand through a small trap opening beneath the box. Yet, while he is doing this, the spectators think that they hear the noise made by the ring striking against the sides of the box. But that is only a delusion; for the noise that is heard proceeds from a small hammer which is hidden within the cover under the escutcheon, and which is rendered immovable when the latter is pressed upon by the performer. The box can thus be shaken without any noise being heard within it, and the spectators are led to believe that the object has disappeared.
To make smaller objects disappear, trick performers often use a jewel box. They put the object, like a ring, inside the box, hand it to someone, and ask them to hold it while wrapping it in several sheets of paper. This simple action allows the performer to drop the ring into their hand through a small trap door at the bottom of the box. Meanwhile, the audience thinks they hear the ring hitting the sides of the box, but that’s just an illusion. The sound actually comes from a small hammer hidden inside the lid under the latch, which stays in place when the lid is pressed down by the performer. This way, the box can be shaken without making any noise inside, leading the audience to believe that the object has vanished.
Double-bottomed boxes are so well known that it is useless to describe them. Sometimes the double bottom is hidden in the cover, and at others it rests against one of the sides. Such boxes permit of the disappearance or substitution of objects that are not very thick, such as a note, an image, or a card.—La Nature.
Double-bottomed boxes are so familiar that there's no need to describe them. Sometimes the double bottom is concealed in the lid, and other times it’s positioned against one of the sides. These boxes allow for the hiding or swapping of thin objects, like a note, a picture, or a card.—La Nature.
The Swinging Half Lady.
An arrangement is made similar to a hammock, which is attached to the back of the cabinet, and is then affixed to a false wooden bust made to fit the bust of the lady. It should be thickly padded where the part of her body rests upon it, and should be tightly strapped to the lady across the shoulders and back. The bust is covered with silk, satin, or any fine dress material, and trimmed to represent a lady’s low-necked dress bodice with short shoulder sleeves. The remaining portion of the lady is encased in a dark-colored skirt (black velvet is the best), and her feet are firmly strapped to a wood rest at the back of the cabinet, as shown in Fig. 2. The bust is supported upon a swing, in the front of the cabinet. Four brass chains support a slab of wood about 28 inches long by about 8 or ten inches in width.
An arrangement is created similar to a hammock, which is attached to the back of the cabinet and then fixed to a false wooden bust designed to fit the bust of the lady. It should be well-padded where her body rests on it and securely strapped to her across the shoulders and back. The bust is covered with silk, satin, or any nice fabric, and trimmed to mimic a lady’s low-neck dress bodice with short shoulder sleeves. The rest of the lady is dressed in a dark-colored skirt (black velvet is the best choice), and her feet are firmly strapped to a wooden rest at the back of the cabinet, as shown in Fig. 2. The bust is supported on a swing at the front of the cabinet. Four brass chains support a wooden slab that’s about 28 inches long and about 8 to 10 inches wide.

FIG. 1.
FIG. 1.
Midway up the chains at each side is a cross piece of wood fixed to the chains by which, when the lady grasps them with her hands, she can easily lift the bust from the wood slab, allowing a sword to be passed beneath the bottom of the bust and the top of the wood slab. When the lady is supported upon the swing she cannot swing forward, but can only swing with a slight sideway motion, because if she attempted to swing forward the slab of wood would then no longer support the bust, and the performer would be in danger of breaking her back, as she would have no other support to sustain her, except the back of the cabinet to which her feet are strapped.
Midway up the chains on each side is a crosspiece of wood attached to the chains. When the lady grips them with her hands, she can easily lift the bust off the wooden slab, which allows a sword to be passed underneath the bottom of the bust and the top of the wooden slab. When the lady is supported on the swing, she cannot swing forward but can only move slightly sideways, because if she tried to swing forward, the wooden slab would no longer support the bust, putting her at risk of breaking her back, as she wouldn't have any other support except for the back of the cabinet to which her feet are strapped.
The slab of wood forming the swing is made in some cases with two half-round holes, to allow the lady to place her hands through, to show that she can pass her hands beneath her.
The piece of wood that makes up the swing sometimes has two half-round holes, letting the woman put her hands through to show that she can pass her hands underneath.
The interior of the cabinet should be of one uniform color, if possible of a dark blue or dark maroon. It should be about six feet in depth by about five to seven feet across the front, according to fancy. The front should have either dark blue, maroon, or green baize curtains, so made as to draw right across. On each side of the cabinet are affixed two lamps, as in Fig. 1, with large plated reflectors about 10 or 12 inches in diameter. These should be so fixed that the curtains can be drawn at the back of them; and thus, when lighted, reflect a strong and powerful light outward, throwing the interior of the cabinet into deep and gloomy shadow. It must be evident, therefore, to the reader that the four lamps and reflectors play a very important part in making this illusion perfect, because in consequence of a strong, bright, and dazzling light being reflected into the eyes of the spectators it is impossible for them to distinguish anything inside the cabinet, beyond the bust and head of the lady.
The inside of the cabinet should be one consistent color, preferably a dark blue or dark maroon. It should be about six feet deep and five to seven feet wide at the front, depending on personal preference. The front should have dark blue, maroon, or green baize curtains that can be drawn all the way across. On each side of the cabinet, there are two lamps, as shown in Fig. 1, with large reflectors about 10 or 12 inches in diameter. These should be positioned so the curtains can be drawn at the back of them; this way, when lit, they reflect a strong and bright light outward, casting the inside of the cabinet into deep, dark shadow. It's clear, then, that the four lamps and reflectors play a crucial role in making this illusion work perfectly because the intense, bright light reflected into the viewers' eyes makes it impossible for them to see anything inside the cabinet except for the bust and head of the lady.

FIG. 2.
FIG. 2.
The position for the lady performing is one of pain. In the first place she has to be tightly strapped to the bust, which causes difficulty in breathing and talking; and, again, the head must be held well back to make it appear from the front as if the false bust and neck were completely one and upright.
The position for the lady performing is one of discomfort. First, she has to be tightly strapped at the bust, which makes it hard to breathe and talk; additionally, her head must be held back to make it look from the front like the fake bust and neck are completely one and upright.
Many ladies performing this illusion cannot help showing in their look the pain and suffering they are experiencing even when before their audiences, thereby spoiling the effect the illusion would have had if their features had been composed and the face wreathed with smiles.
Many women doing this illusion can’t hide the pain and suffering in their expressions, even when they're in front of an audience, which ruins the impact the illusion could have had if their faces were calm and smiling.
The Aerial Suspension.
This trick has been before the public for many years, but when performed still causes considerable sensation. The apparatus required is, first, a kind of iron corset, for which the performer doing this trick must be properly measured and accurately fitted with it, according to his or her size and build. This corset is strapped upon the body, and attached to it is a rod passing down the right side from beneath the arm, almost to the right knee. Below the arm is a projecting piece so made as to fit into a socket, and almost in the shape of a crutch; and the rod passing down the side of the performer is so constructed that when a person has this apparatus strapped securely upon him or her, and the projecting piece under the arm is fitted into the socket of the pole, the body can be raised, and the toes in rising will describe an arc of about 90 deg., assuming the position shown in the figure. To effect this two poles are required of the same length, one made of wood and the other of iron; the latter being fitted into a socket in the stand, and having also a socket in the top, in which is fixed the projecting piece under the arm, and this rod therefore supports the whole weight of the body during the performance. The two poles are both painted the same color, and to the audience both appear to be the same.
This trick has been around for many years, but it still creates a lot of excitement when performed. The equipment needed includes a type of iron corset, which the performer must be measured for and fitted properly according to their size and shape. This corset is strapped onto the body, and attached to it is a rod that runs down the right side from just under the arm to almost the right knee. Below the arm, there's a protruding piece designed to fit into a socket, resembling a crutch; and the rod that runs down the side of the performer is constructed so that when it's securely strapped on and the protruding piece under the arm is fitted into the socket of the pole, the body can be lifted, causing the toes to trace an arc of about 90 degrees, taking the position shown in the figure. To accomplish this, two poles of the same length are needed, one made of wood and the other of iron; the iron pole fits into a socket in the stand and also has a socket at the top where the protruding piece under the arm is fixed, thus supporting the entire weight of the body during the performance. Both poles are painted the same color, making them appear identical to the audience.

The performer will have to provide a specially made costume to suit the working of the apparatus. The young lady (we will imagine that it is a lady who performs this suspension feat) is brought forward by the professor, and the two rods are shown, and a stool is placed on the stand on which the lady steps. The iron rod is now placed in position and fixed under the right arm, and the wood rod is placed under the left; the professor, now making a few passes with his hands, apparently sends the lady performer into a mesmeric sleep, and gently draws the rod from under the left arm and lays it down. Making a few more passes he gradually raises the body of the lady into a horizontal position, and she will appear to be suspended almost in the air. With a little practice the body can be placed into any position. When the lady has been suspended long enough, make a few more passes and gently lower the body until in an upright position, and again place the wood rod under the left arm and place the stool beneath her feet, and taking a handkerchief wipe the lady’s face, and she will appear to awaken and will step down from her exalted position.
The performer will need to wear a custom-made costume to work with the apparatus. The young woman (let’s assume it’s a woman doing this suspension act) is introduced by the professor, and he shows two rods while a stool is set up on the stand for her to step onto. The iron rod is positioned and secured under her right arm, while the wooden rod goes under her left. The professor then makes a few hand movements that seem to put the performer into a hypnotic state, and he carefully removes the rod from under her left arm and sets it aside. With a few more hand movements, he gradually lifts her body into a horizontal position, making it look like she’s floating in mid-air. With a bit of practice, her body can be positioned in various ways. After she’s been suspended for enough time, he makes a few more hand movements and gently lowers her back to an upright position, replaces the wooden rod under her left arm, and puts the stool underneath her feet. He then takes a handkerchief to wipe her face, and she appears to wake up and steps down from her elevated position.
An improvement has lately been introduced in the apparatus; the iron column is hollow, and through the center another rod is worked from beneath the stage, and in the socket of the iron rod at the top are placed a number of teeth which catch corresponding teeth in the projecting piece under the arm, and this being worked from below the stage will cause the body of the lady to slowly rise into a horizontal position without being so placed by the professor. This is certainly a very great improvement in the mode of working, as while the professor simply makes a few passes with his hands the body gradually rises, apparently to the audience without any visible means whatever.
Recently, there has been an upgrade to the apparatus; the iron column is now hollow, and a rod is operated from below the stage through the center. At the top of the iron rod, there are several teeth that engage with corresponding teeth on the projecting piece under the arm. By operating this from below the stage, the lady's body will gradually rise into a horizontal position without any direct action from the professor. This is definitely a significant improvement in the way it works, as the professor only has to make a few hand motions while the body slowly rises, seemingly to the audience without any visible means at all.
The Ghost Illusion.
This illusion, which created so much sensation in London and first known here as “Pepper’s Ghost,” I will endeavor to explain, and make the working of it as clear as I possibly can to the reader. It is caused by the figure of a man or woman being reflected upon a sheet of glass, and the audience looking through this glass, apparently see the figure upon the stage, but in reality it is not so, being only upon the glass. In the first place a sheet of plate glass perfectly clear and without a blemish must be procured, and of such a size that it will show the image or reflection of the performer who impersonates the ghost. This glass is fixed at the front of the stage and inclined slightly toward the audience. In front and below the stage a chamber is made, completely concealed from the eyes of the audience, but having an opening at the upper part, through which the reflection of the person below is thrown upward upon the sheet of glass. The reader can understand the position better by referring to the accompanying cut. The body of the person to be reflected is against an inclined plane, which is covered with black cloth. This inclined plane is fixed upon castors, and the person leaning against it, moving this slightly with his feet, either to the right or left, will cause it to appear as if the ghost was either walking forward or backward. Below the stage a person is placed with a powerful lantern, and the light from it is thrown upon the figure representing the ghost, thus causing it to be reflected strongly and brightly against the glass fixed above. The stage must be darkened and dimly lighted, otherwise the ghost will hardly be visible. In making various motions of the body the ghost actor must reverse his movements; for example, if he raises his left arm the figure reflected above will appear to raise its right arm. The glass, as I stated before, must be without a blemish, and fixed at an angle of 20 deg., inclining forward toward the audience, and the nearer the audience are seated to it the larger the glass must be. The size of the glass depends upon the height of the figure to be reflected and the size of the stage and the theater or hall in which it is exhibited. This again will be understood by referring to the figure, in which A represents the eyes of that part of the audience seated in the lower portion or body of the hall, while B represents the eyes of those who are seated in the boxes or gallery, thus showing the angle by which the height of the glass is determined, as the angles of incidence are always equal to the angles of reflection; and the same angles of incidence are likewise equal to the corresponding angles of the reflected figure.
This illusion, which created a lot of buzz in London and was first known here as “Pepper’s Ghost,” I will try to explain, making how it works as clear as possible for the reader. It happens when the figure of a man or woman is reflected on a sheet of glass, and the audience, looking through this glass, seemingly sees the figure on stage, but in reality, it’s just on the glass. First, you need a sheet of perfectly clear plate glass without any blemishes, and it should be large enough to show the image or reflection of the performer pretending to be the ghost. This glass is positioned at the front of the stage and tilted slightly toward the audience. In front and below the stage, a chamber is created that’s completely hidden from the audience but has an opening at the top, through which the reflection of the person below is projected upward onto the glass. The reader can understand this setup better by looking at the accompanying diagram. The person being reflected is positioned against an inclined plane covered with black cloth. This inclined plane is mounted on casters, and the person leaning against it can move it slightly with their feet, either to the right or left, making it seem like the ghost is walking forward or backward. Below the stage, someone is stationed with a strong lantern, and the light from it shines on the figure acting as the ghost, making it reflect brightly and clearly on the glass above. The stage needs to be dark and dimly lit; otherwise, the ghost will barely be visible. While making various movements, the ghost actor must reverse their motions; for example, if they raise their left arm, the reflected figure above will seem to raise its right arm. The glass, as I mentioned earlier, must be flawless and set at a 20-degree angle, leaning forward toward the audience, and the closer the audience is to it, the larger the glass must be. The size of the glass depends on the height of the figure being reflected and the size of the stage, as well as the theater or hall where it’s being shown. This can be clarified by looking at the illustration, where A represents the eyes of the audience members seated in the lower part of the hall, while B represents the eyes of those sitting in the boxes or gallery, thus showing the angle that determines the height of the glass, as the angles of incidence are always equal to the angles of reflection; and the same angles of incidence are also equal to the corresponding angles of the reflected figure.

This illusion was invented in 1863 by Prof. Pepper, by whom it was patented, and for a long period it was exhibited at the Polytechnic in London, in various forms and guises, and drew thousands from all parts to see this wonderful exhibition. Although it cannot now be classed as a “novelty,” yet it still creates a great sensation whenever and wherever it is exhibited.
This illusion was created in 1863 by Prof. Pepper, who patented it. For a long time, it was showcased at the Polytechnic in London, in various forms and styles, attracting thousands from all over to experience this amazing exhibition. While it may not be considered a “novelty” anymore, it still generates a huge buzz whenever and wherever it is displayed.
[If the reader desires to pursue this subject further he is referred to “The Art of Modern Conjuring,” by Prof. Henri Garenne, to whom we are indebted for much that we present here. Ward, Lock & Co., publishers, New York and London.]
[If you want to explore this topic more, check out “The Art of Modern Conjuring” by Prof. Henri Garenne, who has contributed a lot to what we’ve shared here. Ward, Lock & Co., publishers, New York and London.]
PART III.—MEDICAL.
Prescriptions of Eminent Physicians.
ARRANGED AND REVISED BY
FRANK V. LUSE, M. D., Chicago, Ill.
ARRANGED AND REVISED BY
FRANK V. LUSE, M.D., Chicago, IL.
AUTHORITIES. | |
Agnew. | Hazard. |
Atthill. | Hebra. |
Bartholow. | Liebreich. |
Basham. | Luse. |
Beasley. | |
Bibron. | Mackenzie. |
Brande. | Milton. |
Browne. | Mitchell, R. W. |
Brown-Séquard. | |
Pancoast. | |
Chapman. | Porcher. |
Da Costa. | Ricord. |
Dewees. | Ringer. |
Ellis. | Schafhirt. |
Smith. | |
Fenner. | Squibbs. |
Gerhard. | Tanner. |
Getchell. | Thornton. |
Gross. | Trousseau. |
Guy. | |
Waring. | |
Hartshorne. |
Albuminuria (Bright’s Disease).
℞ Iron Chloride Tincture | f Ʒiij. |
Diluted acetic acid | f Ʒij. |
Simple syrup | f ℥iss. |
Ammonium Acetate Solutionq. s. | ad f ℥iv.—M. |
Sig. Take a dessertspoonful every six hours. Basham.
Sig. Take a dessert spoonful every six hours. Basham.
Alcoholism (Chronic).
Capsicum Tincture | |
Ginger tincture | āā f ℥j. |
Valerian tincture ammo | |
Gentian Tincture comp | āā f ℥ij.—M. |
Sig. Take a dessertspoonful in a teacupful of hop tea three or four times a day. Gerhard.
Take a dessert spoonful in a teacup of hop tea three or four times a day. Gerhard.
Amenorrhœa (Absence of Menstrual Flow).
℞ Myrrh | gr. viij. |
Jalap Powder | gr. xv. |
Dried Ferric Sulphate | |
Aloe and Cinnamon Powder | āā Ʒj. |
Simple syrup | q. s. |
Fiat massa et divide in pilulas l.
Fiat massa et divide in pilulas l.
Sig. Take two or three pills at bedtime, for several nights successively. N. Chapman.
Sig. Take two or three pills at bedtime for several consecutive nights. N. Chapman.
Asthma.
℞ Potassium Iodide | Ʒiij. |
Belladonna extract liquid | f Ʒj. |
Lobelia fluid extract | f Ʒij. |
Grindelia fluid extract | f ℥ss. |
Glycerin | |
Distilled water | āā f ℥iss.—M. |
Sig. Take a tablespoonful every two, three, or four hours, as necessary. Bartholow.
Sig. Take a tablespoon every two, three, or four hours, as needed. Bartholow.
℞ Belladonna Leaves | |
Hyoscyamus leaves | āā gr. iij. |
Aquatic opium extract | gr. one-fifth. |
Cherry laurel | q. s. |
Moisten the leaves with a solution of the opium extract in the cherry-laurel water. Let them dry thoroughly and roll into a cigarette. Two to four of these cigarettes may be smoked every day. Trousseau.
Moisten the leaves with a solution of opium extract in cherry-laurel water. Let them dry completely and roll them into a cigarette. You can smoke two to four of these cigarettes each day. Bridal trousseau.
Biliousness.
℞ Resin of Podophyllum | gr. 14 |
Jalap resin | |
Extract of colocynth composite | |
Gamboge | āā gr. iiss. |
Juniper Oil | q. s. |
Misce et fiant pilulæ No. ii.
Misce and make pills No. ii.
Sig. One dose, at bedtime. Guy.
Take one dose at bedtime. Guy.
Burns and Scalds.
℞ Plumbum Carbonate | ℥iv. |
Olei Lini | q. s. |
There is a simulation and let it be grease. |
Sig. Apply liberally on linen or lint. Gross.
Sig. Apply generously on linen or gauze. Eww.
℞ Salicylic Acid | Ʒj |
Olive Oil | f ℥viij.—M. |
Sig. Apply to burn, covering with linen or lint. Bartholow.
Sig. Apply to burn, covering with cloth or lint. Bartholow.
Biliary Calculi (Stone in the Bile Duct).
℞ Purified chloroform | Ʒij. |
Cinnamon Oil | gtt. viij. |
Camphor Spirit | |
Deodorized Opium Tincture | āā f Ʒiss. |
Alcohol Spirits | f Ʒiij.—M. |
Sig. Dose, from five to thirty drops, in sweetened water, every hour or two. Hartshorne.
Sig. Dose, from five to thirty drops, in sweetened water, every hour or two. Hartshorne.
Renal or Vesical Calculi (Stone in Kidney or Bladder).
℞ Potassium Bicarbonate | f ℥ss. |
Hops Tincture | f ℥iss. |
Calumba infusion | f ℥iv. |
Syrup of Bitter Orange Peel | f ℥ij. |
Fiat mistura.
Fiat mix.
Sig. Take a tablespoonful three times daily. H. Green.
Sig. Take a tablespoon three times a day. H. Green.
Cancer.
℞ Arsenic Iodide | gr. j. |
Extracti Conii | ℈ij. |
Fiat massa, et divide in pilulas xvi.
Fiat massa, et divide in pilulas xvi.
Sig. Take one pill morning and night. Marsden.
Sig. Take one pill in the morning and one at night. Marsden.
Carbuncle.
℞ Quinine Hydrochloride | gr. xxiv. |
Potassium Chlorate | Ʒij. |
Hydrochloric Acid | ♏ xl (!) |
Iron(III) Chloride Solution | f Ʒij. |
Cardamom Tincture | f ℥iss. |
Distilled waterq. s. | ad f ℥vj.—M. |
Sig. Take a tablespoonful every three hours, diluted. Gerhard.
Sig. Take a tablespoon every three hours, diluted. Gerhard.
Nasal Catarrh.
℞ Soda bicarbonate | |
Soda beverage | āā Ʒ ij. |
Chlorinated soda solution | ℥ ss.–Ʒij. |
Glycerin | ℥ j. |
Aquaticad | ℥ vj.—M. |
Sig. Apply cold by means of a hand-spray apparatus. Pugin Thornton.
Sig. Apply cold using a hand-held spray device. Pugin Thornton.
℞ Borax | Ʒ iij. |
Salicylic acid | Ʒ ij. |
Glycerin | ℥ ijss. |
Water, for making | ℥ iij. |
Sig. From one to two drachms in one-half pint of water, applied by means of a douche. Is especially useful in catarrh with ulceration, usually due to syphilis.
Sig. Use one to two drachms in half a pint of water, applied with a douche. It's particularly effective for catarrh with ulceration, typically caused by syphilis.
For simple catarrh use the following:
For simple catarrh, use the following:
℞ Ammonium chloride | |
Borax | āā gr. x. |
Aquatic | Οss.—M. |
Sig. Use with a douche, spray-producer, or by means of insufflation. Lennox Browne.
Sig. Use with a douche, spray producer, or by means of insufflation. Lennox Browne.
Cholera.
℞ Opium Tincture | |
Chili tincture | |
Camphor spots | āā ℥j. |
Chloroform | f Ʒiij. |
Alcoholismq.s. | ad. ℥v.—M. |
Sig. Dose five drops to one teaspoonful. Squibbs.
Sig. Dose five drops to one teaspoon. Squibbs.
In time of epidemic cholera, or diarrhœa, when any person has two movements of the bowels more than natural within the twenty-four hours, the second one should be followed by a dose of this mixture to be repeated after every movement that follows. If the movements increase in frequency or in copiousness after the second dose of the medicine has been taken a physician should be sent for at once, and a double dose be taken after each movement until he arrives. Immediately after taking the first dose the person should go to bed and remain there for twelve hours after the diarrhœa has entirely ceased.
In times of an epidemic of cholera or diarrhea, if anyone has two bowel movements more than usual within a 24-hour period, they should take a dose of this mixture after the second movement and continue to take it after each subsequent movement. If the frequency or volume of the movements increases after taking the second dose of the medicine, a doctor should be called immediately, and a double dose should be taken after each movement until the doctor arrives. Right after taking the first dose, the person should go to bed and stay there for twelve hours after the diarrhea has completely stopped.
℞ Sulfuric Acid | Ʒss. |
Morphine Sulfate | gr. 13. |
French Brandy | f Ʒiss. |
Distilled water | f ℥iij.—M. |
Sig. Inject under the skin of the arms, legs, and over the stomach every hour until the symptoms are relieved. (When rice-water discharges, vomiting, cramps, and shrinkage of the extremities supervene.) R. W. Mitchell, Memphis, Tenn.
Sig. Inject under the skin of the arms, legs, and over the stomach every hour until the symptoms improve. (When rice-water stools, vomiting, cramps, and shrinkage of the limbs occur.) R. W. Mitchell, Memphis, TN
℞ Creasoti | gtt. j. |
Camphor water | |
Gentian root infusion | āā f Ʒvj.—M. |
Sig. One dose every two hours. (In the cold stage.) J. T. Jones, Nashville, Tenn.
Sig. Take one dose every two hours. (During the cold stage.) J.T. Jones, Nashville, TN
Cholera Infantum.
℞ Lead Acetate | gr. viij. |
Diluted Acetic Acid | gtt. vj. |
Deodorized Opium Tincture | gtt. iv. |
Simple syrup | |
Peppermint Leaf | āā f ℥ss.—M. |
Sig. Dose a teaspoonful every two or three hours. (For a child two years old.) Da Costa.
Sig. Take a teaspoonful every two or three hours. (For a child two years old.) Da Costa.
℞ Cannabis Indica | gr. j. |
Opium Powder | gr. ss. |
Camphor | gr. ij. |
Misce et fiat pilula.
Mix and make a pill.
Sig. Take at bedtime. Lombe Atthill.
Take at bedtime. Lombe Atthill.
Constipation.
℞ Stillingia fluid extract | f Ʒv. |
Belladonna tincture | |
Strychnine tincture | |
Physostigmine tincture | āā f Ʒj.—M. |
Sig. Dose, twenty drops in water, three times a day before meals. (In habitual constipation.) Bartholow.
Sig. Dose: twenty drops in water, three times a day before meals. (For habitual constipation.) Bartholow.
Cascara Cordial | ℥ij. |
Sig. Teaspoonful three times a day before meals. Luse.
Sig. One teaspoon three times a day before meals. Luse.
General Debility.
℞ Aloe Powder | ℥j. |
Zedoary Powder | |
Gentian root | |
Crosstown | |
Rhubarb Powder | |
Agarici | āā Ʒj. |
French Brandy | Οij. |
Macera per dies septem, cola, et adde— | |
Simple syrup | f ℥ij.—M. |
Sig. Dose, a tablespoonful three times a day in water. (This is the celebrated Baûme de Vie, or Elixir of Life.)
Sig. Dose, a tablespoon three times a day in water. (This is the famous Baûme de Vie, or Elixir of Life.)
Delirium Tremens.
℞ Hydrochloride of Quinine | ℈ij. |
Dilute hydrochloric acid | f Ʒiss. |
Ginger Syrup | f ℥iss. |
Distilled waterqs. | ad f ℥iv.—M. |
Sig. Dose, a dessertspoonful in hop tea every two hours. (In the preliminary stage known as horrors.) Gerhard.
Sig. Dose, a dessert spoonful in hop tea every two hours. (In the initial stage referred to as horrors.) Gerhard.
℞ Chloral Hydrate | Ʒss. |
Distilled water | f Ʒij.—M. |
Sig. One dose. (To enforce sleep.) Liebreich.
Sig. One dose. (To induce sleep.) Liebreich.
℞ Antimony and Potassium Tartrate | gr. j. |
Aconite root tincture | f Ʒss. |
Opium Tincture | f Ʒij. |
Distilled waterq. s. | ad f ℥iv.—M. |
Sig. Dose, a dessertspoonful in porter every two or three hours. (In strong and robust patients with boisterous delirium.) Ringer.
Sig. Dose, a dessert spoonful in porter every two or three hours. (In strong and robust patients with intense delirium.) Ring in.
Diarrhœa (Children.)
℞ Bismuth Subnitrate | gr. x. |
Calcium Phosphate Powder | gr. xij. |
Lactose | Ʒss. |
Misce et fiant chartulæ No. x.
Misce et fiant chartulæ No. x.
Sig. One powder after each evacuation. (In wasting diarrhœa of children.) Hazard.
Sig. One powder after each bowel movement. (In wasting diarrhea of children.) Danger.
℞ Sodium Bicarbonate | Ʒss. |
Catechu Tincture | f Ʒij. |
Syrup of aromatic rhubarb | |
Cinchona compound tincture | āā f ℥ss. |
Camphorated Opium Tincture | f ℥j.—M. |
Sig. Dose, for a child two or three years old, a teaspoonful every two or three hours. Getchell.
Sig. Dose, for a child two or three years old, a teaspoon every two or three hours. Getchell.
Diarrhœa (Adults).
℞ Copper sulfate | |
Morphine Sulfate | āā gr. j. |
Quinine Sulfate | gr. xxiv. |
Misce et fiant pilulæ No. xii.
Misce et fiant pilulæ No. xii.
Sig. Take one pill three times a day. (In chronic cases). Bartholow.
Sig. Take one pill three times a day. (In chronic cases). Bartholow.
Aromatic powder | Ʒiij. |
Aromatic Ammonium Spirit | f Ʒiij. |
Catechu Tincture | f Ʒx. |
Cardamom tincture | f Ʒvj. |
Deodorized Opium Tincture | f Ʒj. |
Mistura Cretæq.s. | ad f ℥xx.—M. |
Sig. Dose, eight drachms for an adult; four drachms for a child of twelve years; two drachms for seven years old, after each liquid motion. (General cholera and diarrhœa mixture.) Henery Beasley.
Sig. Dose: eight grams for an adult; four grams for a twelve-year-old child; two grams for a seven-year-old child, after each liquid movement. (General cholera and diarrhea mixture.) Henery Beasley.
Dysentery.
℞ Tincture of deodorized opium | f Ʒij. |
Vini Ipecacuanha | f Ʒij. |
Castor Oil | f ℥ij. |
Acacia Powder | |
Simple syrup | |
Cinnamon Water | āā q. s. |
Fiat emulsio, secundum artem, ad f ℥vj.
Fiat emulsio, according to the art, for f ℥vj.
Sig. Take a tablespoonful every two hours. Gerhard.
Sig. Take a tablespoon every two hours. Gerhard.
Witch hazel tincture | f Ʒss. |
Simple elixir | f Ʒiiiss. |
Syrup of simple syrup | f ℥ss. |
Distilled water | f ℥j.—M. |
Sig. Dose, a teaspoonful every two or three hours. (Where there is much blood.) Ringer.
Sig. Dose, a teaspoonful every two or three hours. (Where there is a lot of blood.) Ringer.
Dysmenorrhœa (Difficult Menstruation.)
℞ Camphor | ℈j. |
Alcoholismq. s. | ut fiat pulvis. |
Dein adde— | |
Acacia Powder | |
White sugar | āā Ʒj. |
Cinnamon Water | f ℥j. |
Fiat mistura.
Cash mix.
Sig. Dose, the one-half the instant pain is felt; if not relieved in an hour or two, give the remainder. Dewees.
Sig. Dose, take half the dose as soon as you feel pain; if it’s not better in an hour or two, take the rest. Dewees.
℞ Gelsemium fluid extract | f Ʒiiss. |
Simple elixir | f Ʒvss. |
Orange Peel Syrup | f ℥j.—M. |
Sig. Take a teaspoonful every two hours. Porcher.
Sig. Take a teaspoon every two hours. Porcher.
℞ Tincture of Deodorized Opium | f Ʒij. |
Cimicifuga extract | f ℥ss. |
Simple syrup | f Ʒx.—M. |
Sig. Take a teaspoonful every three or four hours. (To restore the menstrual flow after suddenly checked.) Ringer.
Sig. Take a teaspoon every three or four hours. (To restore the menstrual flow after it has been suddenly interrupted.) Ringer.
Dyspepsia.
Rhubarb Root Powder | Ʒj. |
Aloe Powder | ℈ij. |
Sodium Bicarbonate | Ʒij. |
Valerian root | |
Serpent stings | |
Crushed Gentian | |
Quasi emotional | āā ℥ss. |
Whiskey | Οij. |
Macera in vaso leviter clauso per horas bis quatuor viginta, et cola.
Macera in a lightly closed vessel for a total of forty-eight hours, and then strain.
Sig. Dose, a wineglassful three times a day. Liebreich.
Sig. Dose, a wineglass full three times a day. Liebreich.
Epilepsy.
℞ Ammonium Bromide | |
Potassium Iodide | āā ℈viij. |
Potassium Bromide | Ʒvj. |
Sodium Bicarbonate | Ʒij. |
Calumbo tincture | f ℥ij. |
Distilled water | f ℥vj.—M. |
Sig. Take a dessertspoonful after each meal, and a tablespoonful at bedtime. Brown-Séquard.
Take a dessert spoonful after each meal and a tablespoonful at bedtime. Brown-Séquard.
Eyes (Inflammation of).
℞ Morph. Sulfur | gr. iij. |
Zinc Sulfate | gr. ij. |
Distilled water | ℥j.—M. |
Sig. Apply two drops directly to the eye. Luse.
Sig. Put two drops directly in the eye. Luse.
Frost-bite.
℞ Iodine | ℈j. |
Potassium Iodide | gr. iv. |
Distilled water | ♏vj. |
Adipose | ℥j.—M. |
Sig. Apply once daily. (With unbroken skin.) Hebra.
Sig. Apply once a day. (On unbroken skin.) Hebra.
℞ Fellis Bovini recentis | f Ʒiij. |
Peruvian Balsam | f Ʒj.—M. |
Sig. Apply two or three times a day. (With broken or unbroken skin.) Hugh Smith.
Sig. Apply two or three times a day. (With broken or unbroken skin.) Hugh Smith.
Gonorrhœa and Gleet.
Potassium carbonate solution | f Ʒj. |
Copaiba Balsam | f ℥ss. |
Cubeb tincture | f Ʒvj. |
Morphine Sulfate Solution | f ℥j. |
Camphor waterq. s. | ad f ℥vj.—M. |
Sig. Take a tablespoonful four times a day. D. Hayes Agnew.
Take a tablespoon four times a day. D. Hayes Agnew.
℞ Hydrastis | Ʒj. |
Acacia mucilage | f ℥iv.—M. |
Sig. A half ounce as an injection. (In chronic gonorrhœa and gleet.) Bartholow.
Sig. A half ounce as an injection. (In chronic gonorrhea and gleet.) Bartholow.
℞ Zinci Sulphate | |
Tannic acids | āā gr. xv. |
Rose Water | f ℥vj.—M. |
Sig. A half ounce as an injection two or three times daily. (In gleet.) Ricord.
Sig. A half ounce as an injection two or three times a day. (For gleet.) Remember.
℞ Morphine Acetate | gr. vj. |
Lead(II) acetate | |
Zinc Sulfate | āā gr. viij. |
Creasoti | gtt. viij. |
Distilled water | f ℥vj.—M. |
Sig. As an injection twice daily. H. H. Smith.
Sig. Inject twice a day. H. H. Smith.
℞ Zinc Sulfate | ℥j. |
Aluminum | ℥iij.—M. |
Sig. Dissolve a teaspoonful in one pint of water and inject three times a day. (In females.) Hazard.
Sig. Dissolve a teaspoon in one pint of water and inject three times a day. (For females.) Risk.
Hay Fever.
℞ Potassium arsenite | gr. xv. |
Distilled water | f ℥j. |
Solve.
Solve.
Unsized white paper to be thoroughly moistened with this solution, cut into twenty equal parts, and each part rolled into a cigarette, two or three of which may be smoked daily. Trousseau.
Unsized white paper should be thoroughly soaked with this solution, cut into twenty equal sections, and each section rolled into a cigarette, two or three of which can be smoked daily. Wedding wardrobe.
℞ Tincture of Aconite Root | f Ʒiss. |
Glycerin | f Ʒiiss.—M. |
Sig. Apply to outside of nose. Ringer.
Sig. Apply to the outside of the nose. Ringer.
Headache (See Liniments).
℞ Ætheris | |
Aromatic ammonia spirit | āā f Ʒj. |
Camphor Water | f Ʒx. |
Cardamom tincture | f Ʒj. |
Misce pro haustu.
Mix for drinking.
Sig. Take two to three times a day. (In nervous headache.) Brande.
Take two to three times a day. (For nervous headache.) Brande.
℞ Atropine Sulfate | gr. ss. |
Chinoidinae | Ʒj. |
Misce et fiant pilulæ No. lx.
Misce and make tablets No. 60.
Sig. One pill twice or thrice a day. (In sick headache.) Bartholow.
Sig. Take one pill two to three times a day. (For sick headache.) Bartholow.
Hemorrhoids (Piles).
℞ Jalap Powder | |
Potassium Bitartrate | |
Potassium Nitrate | āā ℥ss. |
Sennæ Confections | ℥j. |
Simple syrup | q. s. |
Misce et fiat electuarium.
Mix and make the elixir.
Sig. A bolus the size of a hazel-nut three times a day. Ellis.
Sig. A dose the size of a hazelnut three times a day. Ellis.
℞ Fluid Extract Ohio Buckeye | ℥j. |
Fluid Ext. Horse Chestnut | ℥j. |
Alcohol | ℥iv. |
Water | ℥iv. |
Basic Elixir | ℥vi. |
Sig. Dose, one teaspoonful. Mackenzie.
Sig. Dose, one teaspoon. Mackenzie.
℞ Cocoa oil | ℥ss. |
Extract of Krameria | ℈ij. |
Opium powder | gr. v. |
Misce secundum artem, et fiant suppositoria No. x.
Misce according to the recipe, and make suppositories No. x.
Sig. Use one morning and night. J. Pancoast.
Sig. Use once in the morning and once at night. J. Pancoast.
Impotence and Sexual Debility.
Cantharides Powder | gr. xviij. |
Opium Powder | |
Camphor Powder | āā gr. xxxvj. |
Rose Confections | q. s. |
Misce et fiant pilulæ No. xxxvi.
Misce and make pills No. xxxvi.
Sig. Take one pill at night. (From general debility.) Hazard.
Sig. Take one pill at night. (For general weakness.) Risk.
Vanilla extract | f ℥j. |
Sig. Dose, a teaspoonful at night. (In old people.) Gerhard.
Sig. Dose, a teaspoonful at night. (For older adults.) Gerhard.
℞ Phosphorus | gr. ss. |
Aetheris | f ℥ss. |
Solve, et adde— | |
Cantharidin tincture | |
Tincture of Strychnine | āā f ℥ss.—M. |
Sig. Take thirty drops three or four times a day. Vogt.
Sig. Take thirty drops three or four times a day. Vogt.
℞ Liquid Extract of Damiana1 | ounce. |
Dialyzed Iron 12 | ounce. |
Tincture of Cantharides 12 | ounce. |
Diluted Phosphoric Acid 12 | ounce. |
Lemon juice 12 | ounce. |
Glycerin2 | ounces. |
Simple Elixir, as needed to make1 | pint. |
Sig. Dose, one teaspoonful three times a day. (Useful in all cases of sexual debility. A most efficient nerve tonic.) Kilner’s Formulary.
Sig. Dose, one teaspoon three times a day. (Useful for all cases of sexual weakness. A highly effective nerve tonic.) Kilner’s Formulary.
Leuchorrhœa.
℞ Zinc Sulfate | |
Aluminum | āā Ʒiss. |
Glycerin | f ℥vj.—M. |
Sig. Add a tablespoonful to a pint of water and inject night and morning. Hazard.
Sig. Mix a tablespoon into a pint of water and inject it morning and night. Danger.
Menorrhagia (Excessive Menstrual Flow).
℞ Tincture of Iron Chloride | f Ʒiiss. |
Dilute Phosphoric Acid | f Ʒiiiss. |
Citric acid syrupq. s. | ad f ℥iv.—M. |
Sig. Take a dessertspoonful three times a day. (When pale and debilitated.) Gerhard.
Sig. Take a tablespoon three times a day. (When pale and weak.) Gerhard.
℞ Gallic Acid | gr. xv. |
Aromatic sulfuric acid | ♏xv. |
Cinnamon Tincture | f Ʒij. |
Distilled water | f ℥ij.—M. |
Sig. One dose, to be taken every four hours until bleeding ceases. (In profuse bleeding.) Hazard.
Sig. One dose, to be taken every four hours until the bleeding stops. (In cases of heavy bleeding.) Danger.
Neuralgia (See Liniments).
℞ Strychnine Sulfate | gr. j. |
Morphine Sulfate | |
Arsenic acid | āā gr. iss. |
Extract of Aconite | gr. xv. |
Quinine Sulfate | Ʒj. |
Misce et fiant pilulæ No. xxx.
Misce and make pills No. xxx.
Sig. Take one pill three times a day. S. D. Gross.
Sig. Take one pill three times a day. S.D. Gross.
Nymphomania (Excessive Sexual Desire).
℞ Potassium Bromide | Ʒvj. |
Distilled water | f ℥v.—M. |
Sig. Three teaspoonfuls before dinner and four at bedtime. Brown-Séquard.
Sig. Three teaspoons before dinner and four at bedtime. Brown-Séquard.
Rattlesnake Bite.
℞ Corrosive Mercury Chloride | gr. ij. |
Potassium Iodide | gr. iv. |
Distilled water | ♏v. |
Solve et adde— | |
Bromine | Ʒv.—M. |
Sig. Take ten drops in a tablespoonful of wine or brandy every fifteen or twenty minutes. (Recommended by Bibron, Prince Paul of Wuertemberg, W. A. Hammond, and others.) Bibron.
Sig. Take ten drops in a tablespoon of wine or brandy every fifteen or twenty minutes. (Recommended by Bibron, Prince Paul of Wuertemberg, W. A. Hammond, and others.) Bibron.
Rheumatism (See Liniments).
Sodium Bicarbonate | Ʒij. |
Salicylic Acid | Ʒiij. |
Glycerin | |
Purified water | āā f ℥ij.—M. |
Sig. One teaspoonful every four hours. N. B. Kennedy.
Sig. One teaspoon every four hours. N. B. Kennedy.
Guaiacum resin powder | |
Potassium Iodide | āā gr. x. |
Colchicum Seed Tincture | f Ʒss. |
Cinnamon Water | |
Simple syrupāā q. | s. ad f ℥j.—M. |
Sig. A dessertspoonful to a tablespoonful thrice daily. (In chronic rheumatism.) Philadelphia Hospital.
Sig. A dessert spoonful to a tablespoonful three times a day. (In chronic rheumatism.) Philly Hospital.
Sciatica.
℞ Belladonna Extract | gr. one-sixth. |
Stramonium Extract | gr. one-fifth. |
Extract of Indica Cannabis | gr. 14. |
Extract of Aconite | gr. 13. |
Opiate Extraction | gr. 12. |
Hyoscyamus extract | gr. 23. |
Extracti Conii | gr. j. |
Licorice Root | q. s. |
Misce et fiat pilula.
Mix and make the pill.
Sig. Take three, four, and even five pills a day. pro re nata. Brown-Séquard.
Sig. Take three, four, or even five pills a day. as needed. Brown-Séquard.
Spermatorrhœa (See Impotence).
℞ Quinine Sulfate | gr. vj. |
Dilute sulfuric acid | f Ʒj. |
Cardamom tincture | f Ʒiij. |
Cinnamon Water | f ℥vss.—M. |
Sig. Two tablespoonfuls twice daily. Milton.
Sig. Two tablespoons twice daily. Milton.
℞ Opium Powder | gr. v. |
Camphor | ℈iv. |
Acacia Powder | |
Simple syrup | āā q. s. |
Fiat massa in pilulas No. xl. dividenda.
Fiat massa in pilulas No. xl. dividenda.
Sig. Take two pills three times a day. Waring.
Sig. Take two pills three times a day. Warning.
℞ Potassium Bromide | ℥j. |
Distilled waterq. s. | ad f ℥ij.—M. |
Sig. Take a teaspoonful three times a day. (In the strong and plethoric). Bartholow.
Sig. Take a teaspoon three times a day. (In individuals with robust health and excess blood volume). Bartholow.
Syphilis.
“Ricord’s Mixture,” which has been so highly recommended in syphilitic affections is composed as follows:
“Ricord’s Mixture,” which has been highly praised for treating syphilis, is made up of the following ingredients:
℞ Mercury Iodide red | gr. iv. |
K Potassium Iodide | ℥j. |
Fl. Ext. Sarsaparilla comp | ℥j. |
Waterq. s. | ad ℥v.—M. |
Sig. Teaspoonful.
Sig. Teaspoon.
℞ Potassium Iodide | Ʒij. |
Mercury(II) iodide | gr. ss. |
Syr. Orange. Short | ℥j. |
Tincture of orange peel | Ʒj. |
Waterad | ℥iv.—M. |
Sig. Teaspoonful in water after eating. (Mixed treatment.) Keyes.
Sig. Teaspoonful in water after eating. (Mixed treatment.) Keyes.
℞ Mercury Chloride Corrosive | gr. ij. |
Potassium Iodide | Ʒij. |
Tr. Cinchona Co | ℥ij. |
Aquae dist | ℥ij.—M. |
Sig. Take one drachm three times a day. Discontinue when gums get sore and resume again when soreness is gone. Luse.
Sig. Take one gram three times a day. Stop when your gums feel sore and start again when the soreness is gone. Luse.
℞ Diluted Nitromuriatic Acid | f Ʒiiss. |
Syrupi Stillingiae compositi | f Ʒxiiiss. |
Distilled water | f ℥ij.—M. |
Sig. Dose, one to two teaspoonfuls three times a day, with denutrition. (In cases saturated with the approved remedies, but still presenting patches on the skin and mucous membranes.) Bartholow.
Sig. Dose, one to two teaspoons three times a day, with malnutrition. (In cases where the approved treatments are being used but there are still spots on the skin and mucous membranes.) Bartholow.
Tapeworm.
℞ Pomegranate Bark Extract | ℥ss. |
Pumpkin Seeds | ℥j. |
Extract of sea fern | f Ʒj. |
Ergot powder | Ʒj. |
Acacia Powder | Ʒij. |
Olei Tiglii | ♏ij. |
Thoroughly bruise the granate bark and pumpkin-seed, and with the ergot boil in eight ounces of water for fifteen minutes, and strain through a coarse cloth. Rub up well the croton oil and extract of male fern with the acacia, and form into an emulsion with the decoction. Take at one dose at 10 o’clock in the morning, having eaten no breakfast and having taken a full dose of Rochelle salts the previous night. This expels the worm alive and entire within two hours, the head firmly fastened to the side of its own body. Schafhirt.
Thoroughly crush the granate bark and pumpkin seeds, and boil them with the ergot in eight ounces of water for fifteen minutes, then strain through a coarse cloth. Mix the croton oil and male fern extract well with the acacia, and create an emulsion using the decoction. Take the entire dose at 10 o’clock in the morning after skipping breakfast and having taken a full dose of Rochelle salts the night before. This will expel the worm alive and intact within two hours, with the head still firmly attached to its body. Shepherd.
℞ Kamal powder | gr. v-x. |
Syrup of Orange Flowers | f Ʒss. |
Gum Tragacanth | Ʒj. |
Distilled water | f ℥j. |
Misce et fiat haustus.
Mix and take a drink.
Sig. Take early in the morning four hours after a purge. (For a child two to five years. Tapeworm.). Tanner.
Sig. Take early in the morning four hours after a cleanse. (For a child two to five years old. Tapeworm.). Tanner.
SYMBOLS OR SIGNS USED IN PRESCRIPTIONS.
♏. | Minim, 1-60 part of a fluid drachm, |
gtt. | Gutta, drop; guttæ, drops. |
℈j. | Scrupulus vel scrupulum, a scruple=20 grains. |
Ʒj. | Drachma, a drachm=60 grains. |
f Ʒj. | Fluidrachma, a fluid or measured drachm. |
℥j. | Uncia, a troyounce=480 grains. |
f ℥j. | Fluiduncia, a fluidounce. |
lbj. | Libra, a pound, understood in prescription to apply to an officinal pound of 5,760 grains. |
Οj. | Octarious, a pint. |
gr. | Granum, a grain; plural grana, grains. |
ss. | Semis, half, affixed to signs as above. |
PHRASES AND ABBREVIATIONS USED IN PRESCRIPTIONS.
APPROXIMATE MEASURES.
A drop=usually about 12 minim.
A teaspoonful=60 drops f Ʒj.
A dessertspoonful=f Ʒij.
A tablespoonful=f ℥ss.
A wineglassful=f ℥ij.
A teacupful=f ℥ix.
A drop is usually about 12 minim.
A teaspoonful equals 60 drops f Ʒj.
A dessertspoonful equals f Ʒij.
A tablespoonful equals f ℥ss.
A wineglassful equals f ℥ij.
A teacupful equals f ℥ix.
TABLE TO ASSIST THE BEGINNER IN PRESCRIBING LIQUIDS.
Having fixed upon the bulk of his liquid he will remember that there are in
Having settled on the majority of his liquid, he will recall that there are in
1 fluid ounce, 8 teaspoonfuls each 1 fluid drachm.
2 fluid ounces, 15 teaspoonfuls each 1 fluid drachm.
4 fluid ounces, 30 teaspoonfuls each 1 fluid drachm.
4 fluid ounces, 15 dessertspoonfuls each 2 fluid drachms.
6 fluid ounces, 20 dessertspoonfuls each 2 fluid drachms.
6 fluid ounces, 12 tablespoonfuls each 12 fluid ounce.
8 fluid ounces, 15 tablespoonfuls each 12 fluid ounce.
1 pint, 30 tablespoonfuls, each 12 fluid ounce.
1 pint, 8 wineglassfuls each 2 fluid ounces.
1 fluid ounce, 8 teaspoons per 1 fluid drachm.
2 fluid ounces, 15 teaspoons per 1 fluid drachm.
4 fluid ounces, 30 teaspoons per 1 fluid drachm.
4 fluid ounces, 15 dessert spoons per 2 fluid drachms.
6 fluid ounces, 20 dessert spoons per 2 fluid drachms.
6 fluid ounces, 12 tablespoons per ½ fluid ounce.
8 fluid ounces, 15 tablespoons per ½ fluid ounce.
1 pint, 30 tablespoons, each ½ fluid ounce.
1 pint, 8 wine glasses, each 2 fluid ounces.
TABLE FOR CALCULATING THE PERIOD OF UTERO-GESTATION.
NINE CALENDAR MONTHS. | TEN LUNAR MONTHS. | |||
From | To | Days. | To | Days. |
January 1 | September 30 | 273 | October 7 | 280 |
February 1 | October 31 | 273 | November 7 | 280 |
March 1 | November 30 | 275 | December 5 | 280 |
April 1 | December 31 | 275 | January 5 | 280 |
May 1 | January 31 | 276 | February 4 | 280 |
June 1 | February 28 | 273 | March 7 | 280 |
July 1 | March 31 | 274 | April 6 | 280 |
August 1 | April 30 | 273 | May 7 | 280 |
September 1 | May 31 | 273 | June 7 | 280 |
October 1 | June 30 | 273 | July 7 | 280 |
November 1 | July 31 | 273 | August 7 | 280 |
December 1 | August 31 | 274 | September 6 | 280 |
The above Obstetric “Ready Reckoner” consists of two columns, one of calendar, the other of lunar months, and may be read as follows: A patient has ceased to menstruate on the first day of July; her confinement may be expected at soonest about the 31st of March (the end of nine calendar months); or at latest, on the 6th of April (the end of ten lunar months). Another has ceased to menstruate on the 20th of January; her confinement may be expected on the 30th of September, plus 20 days (the end of nine calendar months), at soonest; or on the 7th of October, plus 20 days (the end of ten lunar months), at latest.
The Obstetric “Ready Reckoner” above has two columns, one for calendar months and the other for lunar months, and can be read like this: A patient stopped menstruating on July 1st; her delivery might happen as early as March 31st (the end of nine calendar months); or at the latest, on April 6th (the end of ten lunar months). Another patient stopped menstruating on January 20th; her delivery might be expected on September 30th plus 20 days (the end of nine calendar months), at the earliest; or on October 7th plus 20 days (the end of ten lunar months), at the latest.
COMMON NAMES OF CHEMICAL SUBSTANCES.
COMMON NAMES. | CHEMICAL NAMES. |
Nitric acid | Nitric Acid. |
Aqua Regia | Nitro-Muriatic Acid. |
Copper Sulfate | Sulphate of Copper. |
Cream of Tartar | Bitartrate Potassium. |
Calomel | Chloride of Mercury. |
Chalkboard | Carbonate Calcium. |
Potassium hydroxide | Hydrate Potassium. |
Chloroform | Chloride of Gormyle. |
Table Salt | Chloride of Sodium. |
Copperas, or Green Vitriol | Sulphate of Iron. |
Corrosive Sublimate | Bi-Chloride of Mercury. |
Diamond | Pure Carbon. |
Dry Aluminum Sulfate | Sulphate Aluminum and Potassium. |
Epsom Salt | Sulphate of Magnesia. |
Ethiopian Mineral | Black Sulphide of Mercury. |
Fire Gas | Light Carburetted Hydrogen. |
Galena | Sulphide of Lead. |
Glauber's Salt | Sulphate of Sodium. |
Sugar | Grape Sugar. |
Goulard Water | Basic Acetate of Lead. |
Fool's Gold | Bi-Sulphide Iron. |
Jeweler's Putty | Oxide of Tin. |
King's Yellow | Sulphide of Arsenic. |
Nitrous Oxide | Protoxide of Nitrogen. |
Lime | Oxide of Calcium. |
Lunar Caustic | Nitrate of Silver. |
Mosaic Gold | Bi-Sulphide of Tin. |
Lime Chloride | Chloride of Calcium. |
Saltpeter | Nitrate of Potash. |
Sulfuric acid | Sulphuric Acid. |
Potassium salt | Oxide of Potassium. |
Realgar | Sulphide of Arsenic. |
Red Lead | Oxide of Lead. |
Iron Rust | Oxide of Iron. |
Sal ammoniac | Muriate of Ammonia. |
Cream of Tartar | Carbonate of Potassa. |
Slacken Lime | Hydrate Calcium. |
Soft drink | Oxide of Sodium. |
Hartshorn Spirits | Ammonia. |
Salt Spirit | Hydrochloric or Muriatic Acid. |
Stucco or gypsum plaster | Sulphate of Lime. |
Lead Sugar | Acetate of Lead. |
Verdigris | Basic Acetate of Copper. |
Vermilion | Sulphide of Mercury. |
Vinegar | Acetic Acid (Diluted). |
Volatile Base | Ammonia. |
Water | Oxide of Hydrogen. |
White Residue | Ammoniated Mercury. |
White Vitriol | Sulphate of Zinc. |
Proprietary and Elegant Preparations.
MEDICATED PADS.
Medicated pads are quite popular with many who have tried them, and a multitude of remarkable cures are attributed to their use. We here present formulas equal to the best, and as they are quite simple to prepare they can now be tried with but little expense:
Medicated pads are really popular among those who have used them, and many amazing remedies are credited to their effectiveness. We present formulas that are just as good as the best, and since they are easy to make, you can try them now for very little cost:
Liver Pad.
Red Cinchona Bark (powder)4 | ounces. |
Fenugreek Seed (powder)1 | ounce. |
Mandrake Root Powder1 | ounce. |
Black Root Powder1 | ounce. |
Guaic gum (powder)3 | ounces. |
Bayberry Bark Powder4 | drachms. |
Eucalyptus Oil4 | drachms. |
Grind the drugs with the powdered guaiac and add the oil. The above is sufficient for two pads, which should be made into an oblong or diamond shape, with linen or muslin, and worn over the pit of the stomach. Liver pads are recommended for all diseases arising from a disordered liver.
Grind the drugs with the powdered guaiac and mix in the oil. This is enough for two pads, which should be shaped into either an oblong or diamond shape using linen or muslin, and worn over the stomach area. Liver pads are suggested for any illnesses caused by a dysfunctional liver.
Kidney Pad.
Useful in all diseases of the kidneys.
Useful in all kidney conditions.
Digitalis leaves2 | ounces. |
Black Cohosh1 | ounce. |
Benzoin Gum (powdered)1 | ounce. |
Gum Guaiacum (powdered)1 | ounce. |
Juniper berries1 | ounce. |
Meadow Queen1 | ounce. |
Juniper Oil2 | ounces. |
Grind the drugs to a moderately fine powder, and mix with the oils and gums. Make an oblong pad and wear over the kidneys.
Grind the drugs into a moderately fine powder and mix them with the oils and gums. Shape it into an oblong pad and place it over the kidneys.
Lung Pad.
Useful in consumption and diseases of the lungs.
Useful for consumption and lung diseases.
Grindelia robusta1 | ounce. |
Skullcap Leaves1 | ounce. |
Blueberry Root 12 | ounce. |
Bloodroot 12 | ounce. |
Yerba Santa1 1/2 | ounces. |
Gum ammoniac1 | ounce. |
White Pine Tar1 1/2 | ounces. |
Tar Oil1 | ounce. |
Eucalyptus Oil1 | ounce. |
Sassafras Oil1 | ounce. |
Grind the drugs to a moderately fine powder and mix them with the oils and gums. Make an oblong pad and wear well up to the throat.
Grind the drugs into a moderately fine powder and mix them with the oils and gums. Create an oblong pad and wear it snugly up to the throat.
Liniments.
Wonder Liniment.
Sassafras Oil8 | ounces. |
Clove Oil2 | ounces. |
Turpentine Oil4 | ounces. |
Stronger Ammonium Hydroxide1 | ounce. |
Sulfuric Ether4 | ounces. |
Chloroform2 | ounces. |
Camphor2 | ounces, av. |
Strong enough to get drunk1 | gallon. |
Mix and dissolve.
Mix and dissolve.
As a universal liniment for both internal and external use this is without an equal for relieving pain. It is used where any liniment is likely to do good in all aches and pains. Preparations of this nature when used externally should be applied plentifully and vigorously. This is the reason why itinerant venders of liniments under various titles such as Wizard Oil, Pain Killer, Instant Relief, etc., produce such remarkable cures in public. Their remedies all possess more or less remedial value, but without brisk and patient rubbing they would do as little good when applied externally as so much cold water. Now that a reliable formula is at hand a quantity of this Wonder Liniment can be prepared at a minimum cost without paying for bottles, labels, advertising, salaries, rents, etc., which are the necessary expenses of all medicine firms, and which ultimately are borne by the consumer.
As a universal remedy for both internal and external use, this product stands out for pain relief. It can be used wherever a liniment might be effective for any aches and pains. When applied externally, it should be used generously and vigorously. This explains why traveling sellers of liniments with various names like Wizard Oil, Pain Killer, Instant Relief, etc., are able to showcase such impressive results in public. Their products all have some level of healing properties, but without consistent and thorough rubbing, they’d be just as ineffective as plain cold water when used externally. Now that a reliable formula is available, a significant quantity of this Wonder Liniment can be produced at a low cost, without the need to pay for bottles, labels, advertising, salaries, rent, and other expenses that all medicine companies incur—which ultimately gets passed on to the consumer.
Liquid Lightning.
An excellent liniment for external application, which has been sold under various names, is prepared as follows:
An excellent topical liniment, sold under different names, is made as follows:
Aconite2 | grains. |
Glycerin2 | ounces. |
Drinks4 | ounces. |
Mix, and apply by rubbing with the hand. This is useful in rheumatism, neuralgia, headache, toothache, and all nervous pains.
Mix and apply by rubbing it in with your hand. This is helpful for rheumatism, neuralgia, headaches, toothaches, and all nerve-related pain.
Perry Davis’ Pain Killer.
Camphor Spirits2 | ounces. |
Capsicum tincture;Modernize it into contemporary English. | ounce. |
Guaiac Tincture 12 | ounce. |
Myrrh Tincture 12 | ounce. |
Alcohol4 | ounces. |
Mix.
Blend.
Hamlin’s Wizard oil.
Camphor tincture1 | ounce. |
Aqueous Ammonia 12 | ounce. |
Sassafras Oil 12 | ounce. |
Clove Oil1 | drachm. |
Chloroform2 | drachms. |
Turpentine1 | drachm. |
Drinks3 ½ | ounces. |
Mix.
Blend.
Mexican Mustang Liniment.
Oil | ![]() | Equal parts and mix. |
Olive Oil | ||
Ammonium carbonate |
Merchant’s Gargling Oil.
Flaxseed Oil2 1/2 | pints. |
Turpentine Spirits2 1/2 | pints. |
Western Petroleum1 | pint. |
Lye1 | ounce. |
Sap Green1 | drachm. |
Mix.
Blend.
Radway’s Ready Relief.
This remedy, according to Peckolt, is an ethereal tincture of capsicum with alcohol and camphor.
This remedy, according to Peckolt, is an alcoholic tincture of capsicum mixed with camphor.
Liver Regulator.
Senna Alex12 | drachms. |
Podophyllin3 | drachms. |
Leptandria Virg3 | drachms. |
Virginia Snake Root6 | drachms. |
Ginseng3 | drachms. |
Drinks6 | ounces. |
Boil water to make1 | quart. |
Dose, teaspoonful to one-half wineglassful, as needed. For all bilious diseases or disorders arising from torpidity of the liver, dyspepsia, bilious headache, costiveness, sour stomach, jaundice, heartburn, nervousness, restlessness, etc.
Dose: a teaspoonful to one-half of a wineglassful, as needed. For all bile-related diseases or issues caused by sluggishness of the liver, indigestion, bile-induced headaches, constipation, upset stomach, jaundice, heartburn, anxiety, restlessness, etc.
Elixir Cascara Sagrada Compound.
Cascara Liquid Extract4 | ounces. |
Nux Vomica Tincture1 | drachm. |
Glycerin2 | ounces. |
Ginger Syrup2 | ounces. |
Peppermint Water4 | ounces. |
Easy Elixir to create1 | pint. |
Mix and filter.
Mix and strain.
Dose, one teaspoonful before eating. For headache, constipation, biliousness, dyspepsia, or all diseases arising from torpidity of the liver. Kilner’s Formulary.
Dose, one teaspoon before eating. For headache, constipation, upset stomach, or any issues caused by sluggishness of the liver. Kilner’s Formulary.
Dr. Hamilton’s Blood Purifier.
Better than S. S. S. or any blood medicine on the market. A specific for scrofula, syphilis, rheumatism, and all impurities of the blood:
Better than S. S. S. or any blood medicine available today. A remedy for scrofula, syphilis, rheumatism, and all blood impurities:
Black Cohosh1 | ounce. |
Bloodroot 12 | ounce. |
Pokeweed1 | drachm. |
Elderflower1 1/2 | ounces. |
Sassafras Root Bark 12 | ounce. |
Spikenard Root1 1/2 | ounces. |
Drinks4 | ounces. |
Water4 | ounces. |
Simple Elixir, as needed to make1 | pint. |
Macerate the drugs with alcohol and water, and after a few days transfer to percolator. Percolate till clear, and then add to simple elixir.
Macerate the drugs with alcohol and water, and after a few days, transfer them to a percolator. Percolate until clear, and then add to the simple elixir.
Dose, one to two teaspoonfuls three times a day.
Dose: one to two teaspoons three times a day.
Blood Purifying Tea.
Burdock Root, chopped2 | ounces. |
Blue Flag Root, chopped2 | ounces. |
Dandelion Root, chopped1 1/2 | ounces. |
Sassafras Root, chopped 12 | ounce. |
Sarsaparilla root, cut2 | ounce. |
Wild Cherry Bark, chopped1 | ounce. |
Yellow Dock Root, chopped 12 | ounce. |
Mix thoroughly. Take two ounces of the tea and steep in a quart of water, with gentle heat, for two hours; strain off 1 12 pints into a quart bottle and add half a pint of alcohol and 4 ounces of sugar. The dose is a wineglassful for adults before meals and at bedtime; children, in proportion to age.
Mix well. Take two ounces of tea and steep it in a quart of water over low heat for two hours; strain off 1/2 pints into a quart bottle and add half a pint of alcohol and 4 ounces of sugar. The dosage is a wineglassful for adults before meals and at bedtime; for children, adjust based on their age.
Warner’s Safe Kidney and Liver Cure.
In Germany each maker of patents must furnish the Government with the formula for the patent he makes. This is the one furnished by Warner for “Safe Kidney and Liver Cure.” Each bottle contains:
In Germany, every patent creator must provide the government with the formula for the patents they create. This is the one provided by Warner for the “Safe Kidney and Liver Cure.” Each bottle contains:
Extract of Lycopus virginicus (the herb)308 | grains. |
Hepatica extract232 | grains. |
Gaultheria Extract7 1/2 | grains. |
KNO339 | grains. |
90% Alcohol2 1/2 | ounces. |
Glycerol10 | drachms. |
Water, enough to make1 | pint. |
Any one can now make this preparation equally as well as Warner. Fenner’s Formulary.
Anyone can now make this preparation just as well as Warner. Fenner’s Formulary.
Electric Catarrh Remedy.
This remedy, under various electrical names, is inclosed in a closely stoppered bottle or box containing a bit of zinc and copper to which is attached a piece of cotton or sponge saturated with the preparation, which is very volatile and irritating to the mucuous membrane, and produces by inhalation a decided effect at once. The patient is led to believe that there is some electrical value attached to the combination, and, strange to say, in the face of such absurdity it has many votaries; however, notwithstanding the electrical deception it has merits as an inhalant, and remarkable cures of catarrh, headache, neuralgia, etc., are ascribed to its use. The following is the required formula:
This remedy, known by various electrical terms, comes in a tightly sealed bottle or box that contains a piece of zinc and copper attached to a piece of cotton or sponge soaked with the solution, which is very volatile and irritating to the mucous membrane and has an immediate effect when inhaled. The patient is led to believe there's some electrical benefit to the combination, and surprisingly, despite its absurdity, it has many followers; however, despite the electrical illusion, it has benefits as an inhalant, and notable improvements in conditions like catarrh, headaches, neuralgia, etc., are attributed to its use. Here’s the formula you need:
Mustard Essential Oil1 | ounce. |
Phenol1 | ounce. |
Hemlock Oil1 | ounce. |
Camphor1 | ounce. |
Alcohol4 | ounces. |
Mix and dissolve. This can also be used as an external application, though not so good as another under the head of “Liquid Lightning” (see page 119).
Mix and dissolve. This can also be used externally, although it's not as effective as another product under the title "Liquid Lightning" (see page 119).
Catarrh Snuff.
Calomel1 | drachm. |
Powdered camphor1 | drachm. |
Acacia tree2 | drachms. |
Catarrh Salve.
The following remedy for catarrh, and other uses for which it is recommended, was patented by William H. Thomas of Los Angeles, Cal. From the nature of its ingredients and mode of preparation we are led to believe that it is the most elegant and effective of all the “salve catarrh remedies” that have been brought to our notice:
The following remedy for catarrh, and other uses for which it is recommended, was patented by William H. Thomas of Los Angeles, California. Based on its ingredients and how it’s made, we believe that it is the most refined and effective of all the “salve catarrh remedies” that have come to our attention:
Petroleum jelly1 | ounce. |
Allspice (pimento)4 | grains. |
Thymol4 | grains. |
Boric Acid2 | grains. |
Bismuth Subnitrate2 | grains. |
Wintergreen Spirit3 | drops. |
Cassia Lanceolata Leaves (senna) 14 | ounce. |
The boracic acid, subnitrate of bismuth, thymol, and pimento is placed in a mortar and reduced to a fine powder. The leaves of the cassia lanceolata are subjected with the petrolatum to a sufficient degree of heat to extract the active principles of the leaves, after which the petrolatum is strained off and added to the powdered substances before mentioned with the spirit of wintergreen, the whole being thoroughly commingled and mixed in any convenient manner. In using the compound it is applied locally in the usual manner by means of the fingers or any material by which the application can be thoroughly effected. As an ointment it is especially applicable to the treatment of catarrh, malignant sores, abrasions, and other affections where a local remedy can be applied.
The boracic acid, subnitrate of bismuth, thymol, and pimento are placed in a mortar and ground into a fine powder. The leaves of the cassia lanceolata are heated with petrolatum to a sufficient temperature to extract the active ingredients from the leaves. After that, the petrolatum is strained off and mixed with the previously powdered substances and the spirit of wintergreen, all of which are thoroughly combined. When using the compound, it's applied locally in the usual way with fingers or any material that can ensure proper application. As an ointment, it’s particularly suitable for treating catarrh, serious sores, abrasions, and other conditions where a local remedy is required.
Rubber Patching and Waterproofing.
Capt. Paul Boyton, the famous aquatic voyager in his rubber suit, has furnished us two practical suggestions in regard to patching rubber boots, coats, etc., and also to waterproof sails, tents, awnings, and similar fabrics.
Capt. Paul Boyton, the well-known aquatic adventurer in his rubber suit, has provided us with two useful tips for patching rubber boots, coats, and other items, as well as for waterproofing sails, tents, awnings, and similar materials.
To Patch a Rubber Boot or Garment.

Take a piece of sand-paper and roughen the edges of the break as far around as the size of the patch. Next apply rubber cement to the roughened surface, and at the same time cement a piece of rubber cloth or cloth well coated with the cement. Let both remain for four hours in a place free from dust. Then put on another thin coat of cement and let them lay for about two hours. Next place the patch carefully over the break and hammer well together. Let stand for a few hours and the place will be as strong and tight as ever. Be sure the patch and the article to be patched are perfectly dry before applying the cement.
Take a piece of sandpaper and roughen the edges of the break as far around as the size of the patch. Next, apply rubber cement to the roughened surface, and at the same time, stick down a piece of rubber cloth or cloth coated well with the cement. Let both sit for four hours in a dust-free area. Then, put on another thin coat of cement and let them sit for about two hours. After that, carefully place the patch over the break and hammer it together well. Let it sit for a few hours, and the area will be as strong and tight as ever. Make sure the patch and the item being patched are completely dry before applying the cement.
Pure natural rubber or rubber cement can be obtained at any rubber store, also prepared patch cloth.
Pure natural rubber or rubber cement can be found at any rubber store, along with ready-to-use patch cloth.
To Make Rubber Cement.
Take half a pound of pure natural rubber, cut it into small pieces, and dissolve it in a sufficient quantity of 100 proof naptha. It will take from two to three days to dissolve properly.
Take half a pound of pure natural rubber, cut it into small pieces, and dissolve it in enough 100 proof naphtha. It will take about two to three days to dissolve completely.
To Waterproof Canvas or Cloth.
Take one pound of yellow paraffine wax and dissolve in one quart of benzine. Apply with a brush.
Take one pound of yellow paraffin wax and dissolve it in one quart of benzene. Apply with a brush.
To Make Tissues Incombustible.
The Societé d’Encouragement of Paris has recently awarded a prize of 2,000 francs to J. A. Martin of Paris for the following preparations for making tissues fire-proof. The conditions under which the award was offered were as follows: The ingredients constituting the preparations must be cheap and easily applied, must neither injure the tissues themselves nor their colors, must be neither of a poisonous nor caustic nature, must not change in a very moist nor very dry atmosphere, and finally the impregnated tissues and wood must remain incombustible after they have been exposed for one month to a temperature of 100° to 120° Fahr. It was found that Martin’s fluids made the tissues and the surface of wood incombustible, that they do not attack the tissues and their colors, and that they remained incombustible after having been exposed for several months in a drying chamber to a temperature of 97° Fahr. The experiments were made by the Society and at the same time in the different Paris theaters.
The Société d’Encouragement of Paris recently awarded a prize of 2,000 francs to J. A. Martin of Paris for his preparations for making fabrics fireproof. The conditions for the award were as follows: The ingredients used in the preparations must be inexpensive and easy to apply, must not damage the fabrics or their colors, must not be poisonous or caustic, must not change in humid or dry conditions, and finally, the treated fabrics and wood must stay fireproof after being exposed for one month to temperatures between 100° and 120° Fahrenheit. It was found that Martin’s solutions rendered the fabrics and the surface of wood fireproof, did not harm the fabrics or their colors, and remained fireproof after being exposed for several months in a drying chamber at a temperature of 97° Fahrenheit. The experiments were conducted by the Society and simultaneously in various theaters across Paris.
For all Light Tissues.
Ammonium sulfate8 | parts. |
Ammonium Carbonate2 1/2 | parts. |
Boric Acid3 | parts. |
Starch2 | parts. |
Water100 | parts. |
Two-fifths part of dextrine (or the same quantity of gelatine) may be substituted for the 2 parts of starch. The fluid is heated to 85° Fahr. and the tissues immersed in it until they are thoroughly permeated. They are then slightly wrung and dried sufficiently for ironing. The quantity of the starch or dextrine or gelatine may be changed according as the tissues are to be more or less stiff.
Two-fifths of dextrin (or the same amount of gelatin) can replace the 2 parts of starch. The liquid is heated to 85° Fahrenheit, and the materials are soaked in it until they are completely saturated. They are then gently wrung out and dried enough for ironing. The amount of starch, dextrin, or gelatin can be adjusted depending on whether you want the materials to be stiffer or softer.
For Painted Decorations and Wood.
Sal ammoniac15 | parts. |
Borax5 | parts. |
Adhesive50 | parts. |
Gelatin1 1/2 | parts. |
Water100 | parts. |
Add sufficient powdered talc to give the mass the necessary consistency. For use it is heated to 120° or 140° Fahr. and applied with a brush. For decorations already painted it suffices to apply it to the back and wooden frames.
Add enough powdered talc to achieve the right consistency for the mixture. Before use, heat it to 120° or 140° Fahrenheit and apply it with a brush. For decorations that are already painted, just apply it to the back and the wooden frames.
For Coarse Linen, Ropes, Straw, and Wood.
Sal ammoniac15 | parts. |
Boric Acid6 | parts. |
Boric acid3 | parts. |
Water100 | parts. |
The fluid is heated to 220° Fahr. and the articles are submerged in it for 15 to 20 minutes, wrung out slightly, and dried.—Techno-Chemical Receipt Book.
The liquid is heated to 220° Fahrenheit, and the items are submerged in it for 15 to 20 minutes, wrung out a little, and dried.—Techno-Chemical Receipt Book.
Gold and Silver Inks.
Take equal parts of gold leaf (or silver leaf) and honey. Triturate them in a mortar until perfectly fine, add about 30 parts hot water, and triturate. Allow to settle and pour off the water. Triturate again with fresh hot water. Allow to settle and pour off as before. Repeat the washing several times until the honey is all washed out, then dry the powdered gold leaf and mix it with water and gum arabic. It must be shaken occasionally while writing. Very fine bronze may be made into ink by adding water and gum arabic and shaking occasionally while writing. (For other inks see page 20.)
Take equal parts of gold leaf (or silver leaf) and honey. Grind them in a mortar until they are completely fine, then add about 30 parts of hot water and grind again. Let it settle and pour off the water. Grind again with fresh hot water. Let it settle and pour off as before. Repeat the washing several times until all the honey is removed, then dry the powdered gold leaf and mix it with water and gum arabic. It should be shaken occasionally while writing. Very fine bronze can be made into ink by adding water and gum arabic and shaking occasionally while writing. (For other inks see page 20.)
Worcestershire Sauce.
The composition of this sauce is a trade secret, but a variety of similar sauces are found on the market. A good imitation may be made as follows:
The recipe for this sauce is a trade secret, but you can find various similar sauces on the market. A decent imitation can be made like this:
Chop the green outer covering of unripe walnuts 5 pounds, bruise them to a pulp in a mortar, pour upon them 6 pints of good strong vinegar, and after standing a day heat to boiling and strain with strong pressure. To the liquid thus obtained add garlic, grated to a pulp, 2 ounces; capsicum, in fine powder, 2 ounces; black pepper, 1 ounce; cinnamon, 1 12 ounces; nutmeg, 12 ounce; allspice, 1 ounce; cloves, 12 ounce, all in fine powder; salt, 12 ounces; brown sugar, 8 ounces, and enough good vinegar to make 1 gallon of the finished product. This is to stand for some time, with frequent agitation, and then be put up in bottles.
Chop the green outer skin of 5 pounds of unripe walnuts, mash them into a pulp in a mortar, pour 6 pints of strong vinegar over them, and let it sit for a day. Then heat it to a boil and strain it with strong pressure. To the liquid you get, add 2 ounces of garlic, mashed into a pulp; 2 ounces of finely powdered capsicum; 1 ounce of black pepper; 1½ ounces of cinnamon; ½ ounce of nutmeg; 1 ounce of allspice; ½ ounce of cloves, all in fine powder; 12 ounces of salt; 8 ounces of brown sugar; and enough good vinegar to make 1 gallon of the final product. Let this sit for a while, shaking it frequently, then bottle it up.
Butter Color.
Annatto, fresh and of good quality, 2 pounds; salad oil of good quality without flavor (purified cotton-seed oil is best), sufficient to make 1 gallon. Rub the annatto with a portion, about one-third, of the oil and macerate it by the heat of a water-bath for 12 hours, stirring occasionally, pour off the liquid and add to the residue another portion, about one-third of the oil, and macerate as before, adding the product of the portion before reserved, then add the remainder of the oil to the sediment, macerate as before and add the product to the reserved portions to make 1 gallon of butter color.—Fenner’s Formulary.
Annatto, fresh and good quality, 2 pounds; flavorless salad oil (purified cottonseed oil is best), enough to make 1 gallon. Rub the annatto with about one-third of the oil and let it soak in a water bath for 12 hours, stirring occasionally. Pour off the liquid and add another third of the oil to the leftover material, soaking it again as before. Then add the remaining oil to the sediment, soak again, and combine the product with the earlier reserved portions to make 1 gallon of butter color.—Fenner’s Formulary.
Rarey’s Original Horse Liniment.
95% Alcohol8 | ounces. |
Turpentine Spirit8 | ounces. |
Sassafras Oil1 | ounce. |
Pennyroyal Oil1 | ounce. |
Oregano oil1 | ounce. |
UK Oil1 | ounce. |
Arnica tincture1 | ounce. |
Cantharides Tincture1 | ounce. |
Camphor tincture1 | ounce. |
Ammonia solution1 | ounce. |
Mix them, and make a liniment.
Mix them together to create a liniment.
Hog Cholera Cure.
Powdered mandrake, 4 pounds; powdered charcoal, 2 pounds; powdered resin, 1 pound; powdered saltpetre, 1 pound; powdered madder, 1 pound; powdered bicarbonate of soda, 11 pounds. Mix thoroughly. Give a tablespoonful daily in feed; as a preventive, give twice a week.
Powdered mandrake, 4 pounds; powdered charcoal, 2 pounds; powdered resin, 1 pound; powdered saltpeter, 1 pound; powdered madder, 1 pound; powdered baking soda, 11 pounds. Mix well. Add a tablespoon daily to feed; for prevention, give twice a week.
DAVID’S Short Rule Math and Accountant’s Referee Designed for use in connection with any general arithmetic in schools and business colleges and for special teaching. Arranged and explained particularly for self-instruction. |
BUSINESS ADDITION.
+Grouping Method+ and Practical Proof. The only method of PRACTICAL RAPID ADDITION By which a column of figures can be added as quickly as a sentence of words of the same length can be pronounced. |
Not a collection of special rules and
tricks, but an original system of
practical reckoning easy, simple, and
general in its adaptability to the requirements
of actual business in this busy age.
RAPID DISCOUNT AND BOOK-KEEPERS’ SUBTRACTION. |
RAPID MULTIPLICATION. A Short and Simple General Rule. Look at the illustration and see the difference between the the old and new way. Extra cloth, fine gilt, beautifully illustrated. By mail, post-paid, $1.50 Address the author, Lock Box 507, Chicago. DAVID’S DECIMAL INTEREST RULE. A decided revolution in computing INTEREST and TIME. |
THE ADDING METHOD OF DIVISION—NEW
METHODS IN MIXED NUMBERS
AND FRACTIONS—NEW DECIMAL
ABBREVIATIONS—PRACTICAL
MEASUREMENTS OF AREAS AND
VOLUMES—CHRONOLOGY, OR TIME
MEASUREMENT,
And a vast number of other original short rules, mathematical data, double-disk perpetual calendar, and labor-saving tables all contained in this new and wonderful book. Do you wish to increase your ability by becoming more FAST in your daily figuring? If so, send for a copy and learn these Shortcut routes to your answers. |
Perpetual Disk Charm Calendar.
(Actual size and shape.) A beautiful metal pendant for watch chain or necklace. Sent by mail, together with a large, perpetual calendar on heavy cardboard for hanging on wall, price, $1.00. |
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Typographic corrections:
impotance —> impotence
corrossve —> corrosive
ounoe —> ounce
herd —> herb
remakable —> remarkable
indellible —> indelible
flower —> flour
childen —> children
tranfer —> transfer
maxing —> making
diciduous —> deciduous
proscrastination —> procrastination
cusiness —> business
flowder —> flower
thiir —> their
examins —> examine
Sprupi —> Syrupi x2
or —> of
natual —> natural
Alluminum —> Aluminum
Morhinæ —> Morphinæ
Potasssii —> Potassii
Potassi —> Potassii
Patassii —> Potassii
Postassii —>Potassii
Brown-Sequard —> Brown-Séquard
geletine —> gelatine
competion —> competition
Leibreich —> Liebreich
destilatæ —> destillatæ
‘ n’ —> ‘in’
‘ nch’ —> ‘inch’
‘ earned’ —> ‘learned’
‘ t’ —> ‘it’
‘ orm’ —> ‘form’
‘nam ’ —> ‘name’
14 —> 41
36 —> 35
20 —> 10
Typographic corrections:
importance —> impotence
corrosive —> corrosive
ounce —> ounce
herb —> herb
remarkable —> remarkable
indelible —> indelible
flour —> flour
children —> children
transfer —> transfer
making —> making
deciduous —> deciduous
procrastination —> procrastination
business —> business
flower —> flower
their —> their
examine —> examine
Syrupi —> Syrupi x2
of —> of
natural —> natural
Aluminum —> Aluminum
Morphinæ —> Morphinæ
Potassii —> Potassii
Potassi —> Potassii
Potassii —> Potassii
Postassii —> Potassii
Brown-Séquard —> Brown-Séquard
gelatine —> gelatine
competition —> competition
Liebreich —> Liebreich
destillatæ —> destillatæ
‘in’ —> ‘in’
‘inch’ —> ‘inch’
‘learned’ —> ‘learned’
‘it’ —> ‘it’
‘form’ —> ‘form’
‘name’ —> ‘name’
41 —> 41
35 —> 35
10 —> 10
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