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causes a deposition of ligneous matter, and also very materially
increases the adhesive power of such solutions.
Air Bubbles In Gelatin.—The presence of minute air bubbles in
cakes of commercial gelatin often imparts to them an unpleasant
cloudy appearance. These minute air bubbles are the result of the
rapid, continuous process of drying the sheets of gelatin by a
counter-current of hot air. Owing to the rapid drying a hard skin is
formed on the outside of the cake, leaving a central layer from which
the moisture escapes only with difficulty, and in which the air
bubbles remain behind. Since the best qualities of gelatin dry most
rapidly, the presence of these minute bubbles is, to a certain extent,
an indication of superiority, and they rarely occur in the poorer
qualities of gelatin. If dried slowly in the old way gelatin is liable to
be damaged by fermentation; in such cases large bubbles of gas are
formed in the sheets, and are a sign of bad quality.

GEMS, ARTIFICIAL:
See also Diamonds.
The raw materials for the production of artificial gems are the
finest silica and, as a rule, finely ground rock crystals; white sand
and quartz, which remain pure white even at a higher temperature,
may also be used.
Artificial borax is given the preference, since the native variety
frequently contains substances which color the glass. Lead
carbonate or red lead must be perfectly pure and not contain any
protoxide, since the latter gives the glass a dull, greenish hue. White
lead and red lead have to dissolve completely in dilute nitric acid or
without leaving a residue; the solution, neutralized as much as
possible, must not be reddened by prussiate of potash. In the
former case tin is present, in the latter copper. Arsenious acid and
saltpeter must be perfectly pure; they serve for the destruction of
the organic substances. The materials, without the coloring oxide,
furnish the starting quantity for the production of artificial gems;
such glass pastes are named “strass.”
The emerald, a precious stone of green color, is imitated by
melting 1,000 parts of strass and 8 parts of chromic oxide. Artificial
emeralds are also obtained with cupric acid and ferric oxides,
consisting of 43.84 parts of rock crystal; 21.92 parts of dry sodium
carbonate; 7.2 parts of calcined and powdered borax; 7.2 parts of
red lead; 3.65 parts of saltpeter; 1.21 parts of red ferric oxide, and
0.6 parts of green copper carbonate.
Agates are imitated by allowing fragments of variously colored
pastes to flow together, and stirring during the deliquation.
The amethyst is imitated by mixing 300 parts of a glass frit with
0.6 parts of gray manganese ore, or from 300 parts of frit containing
0.8 per cent of manganic oxide, 36.5 parts of saltpeter, 15 parts of
borax, and 15 parts of minium (red lead). A handsome amethyst is
obtained by melting together 1,000 parts of strass, 8 parts of
manganese oxide, 5 parts of cobalt oxide, and 2 parts of gold
purple.
Latterly, attempts have also been made to produce very hard
glasses for imitation stones from alumina and borax with the
requisite coloring agents.
Besides imitation stones there are also produced opaque glass
pastes bearing the name of the stones they resemble, e. g.,
aventurine, azure-stone (lapis lazuli), chrysoprase, turquoise,
obsidian, etc. For these, especially pure materials, as belonging to
the most important ingredients of glassy bodies, are used, and
certain quantities of red lead and borax are also added.
GEM CEMENTS: See Adhesives, under Jewelers’ Cements.
GERMAN SILVER: See Alloys.
GERMAN SILVER SOLDERS: See Solders.
GILDING: See Paints, Plating, and Varnishes.
GILDING GLASS: See Glass.
GILDING, TO CLEAN: See Cleaning Preparations and Methods.
GILDING, RENOVATION OF: See Cleaning Compounds.
GILDING SUBSTITUTE: See Plating.
GILT, TEST FOR: See Gold.
GILT WORK, TO BURNISH: See Gold. {371}
GINGERADE: See Beverages.
GINGER ALE AND GINGER BEER: See Beverages.
GINGER CORDIAL: See Wines and Liquors.
GINGER EXTRACTS: See Essences and Extracts.

GLASS
Bent Glass.—This was formerly used for show cases; its use in
store fronts is becoming more and more familiar, large plates being
bent for this purpose. It is much used in the construction of
dwellings, in windows, or rounded corners, and in towers; in coach
fronts and in rounded front china closets. Either plain glass or
beveled glass may be bent, and to any curve.
The number of molds required in a glass-bending establishment is
large.
The bending is done in a kiln. Glass melts at 2,300° F.; the heat
employed in bending is 1,800° F. No pyrometer would stand long in
that heat, so the heat of the kiln is judged from the color of the
flame and other indications. Smaller pieces of glass are put into the
molds in the kilns with forks made for the purpose. The great molds
used for bending large sheets of glass are mounted on cars, that
may be rolled in and out of kilns. The glass is laid upon the top of
the mold or cavity, and is bent by its own weight. As it is softened by
the heat it sinks into the mold and so is bent. It may take an hour or
two to bend the glass, which is then left in the kiln from 24 to 36
hours to anneal and cool. Glass of any kind or size is put into the
kilns in its finished state; the great heat to which it is subjected does
not disturb the polished surface. Despite every precaution more or
less glass is broken in bending. Bent glass costs about 50 per cent
more than the flat.
The use of bent glass is increasing, and there are 4 or 5 glass-
bending establishments in the United States, of which one is in the
East.
Colored Glass.—R. Zsigmondy has made some interesting
experiments in coloring glass with metallic sulphides, such as
molybdenite, and sulphides of antimony, copper, bismuth, and nickel.
Tests made with batches of 20 to 40 pounds and with a heat not too
great, give good results as follows:
Sand, 65 parts; potash, 15 parts; soda, 5 parts; lime, 9 parts;
molybdenite, 3 parts; sulphide of sodium, 2 parts, gave a dark
reddish-brown glass. In thinner layers this glass appeared light
brownish yellow. Flashed with opal, it became a smutty black brown.
Sand, 50 parts; potash, 15 parts; soda, 5 parts; lime, 9 parts;
molybdenite, 1 part; sulphide of sodium, 2 parts, gave a yellow
glass.
Sand, 10 parts; potash, 3.3 parts; soda, 0.27 parts; lime, 1.64
parts; molybdenite, 0.03 parts, gave a reddish-yellow glass with a
fine tinge of red.
Sand, 100 parts; potash, 26 parts; soda, 108 parts; lime, 12 parts;
sulphide of copper, 1.7 parts; sulphide of sodium, 2.3 parts, gave a
dark-brown color, varying from sepia to sienna. In thick layers it was
no longer transparent, but still clear and unclouded. When heated
this glass became smutty black brown and clouded.
A fine copper red was obtained from sand, 10 parts; potash, 3
parts; lime, 1.2 parts; soda, 0.25 parts; sulphide of copper, 7.5
parts; sulphide of sodium, 10.5 parts; borax, 9.5 parts.
Attempts to color with sulphides of antimony and bismuth failed.
But the addition of 7 per cent of sulphide of nickel to an ordinary
batch gave a glass of fine amethyst color.
 Coloring Electric-Light Bulbs And Globes.—Two substances
suggest themselves as excellent vehicles of color, and both water
soluble—water glass (potassium or sodium silicate) and gelatin. For
tinting, water-soluble aniline colors should be tried. The thickness of
the solution must be a matter of experimentation. Prior to dipping
the globes they should be made as free as possible from all grease,
dirt, etc. The gelatin solution should not be so thick that any
appreciable layer of it will form on the surface of the glass, and to
prevent cracking, some non-drying material should be added to it,
say glycerine.
Rose-Tint Glass.—Selenium is now used for coloring glass. Rose-
tinted glass is made by adding selenium directly to the ingredients in
the melting pot. By mixing first with cadmium sulphide, orange red is
produced. This process is stated not to require the reheating of the
glass and its immersion in the coloring mixture, as in the ordinary
process of making red glass.
Cutting, Drilling, Grinding, And Shaping Glass:
To Cut Glass.—I.—Glass may be cut without a diamond. Dip a piece
of {372} common string in alcohol and squeeze it reasonably dry.
Then tie the string tightly around the glass on the line of cutting.
Touch a match to the string and let it burn off. The heat of the
burning string will weaken the glass in this particular place. While it
is hot plunge the glass under water, letting the arm go well under to
the elbow, so there will be no vibration when the glass is struck.
With the free hand strike the glass outside the line of cutting, giving
a quick, sharp stroke with a stick of wood, a long-bladed knife, or
the like, and the cut will be as clean and straight as if made by a
regular glass cutter.
The same principle may be employed to cut bottles into vases,
and to form all sorts of pretty things, such as jewelry boxes, picture
panes, trays, small tablets, windows for a doll house, etc.
 II.—Scratch the glass around the shape you desire with the corner
of a file or graver; then, having bent a piece of wire into 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 will rarely fail to break perfectly true.
To Cut Glass Under Water.—It is possible to cut a sheet of glass
roughly to any desired shape with an ordinary pair of scissors, if the
operation be performed under water. Of course, a smooth edge
cannot be obtained by such means, but it will be found satisfactory.
Drilling, Shaping, And Filing Glass.—Take any good piece of steel
wire, file to the shape of a drill, and then hold it in a flame till it is at
a dull red heat; then quench in metallic mercury. A piece of good
steel, thus treated, will bore through glass almost as easily as
through soft brass. In use, lubricate with oil of turpentine in which
camphor has been dissolved. When the point of the drill has touched
the other side put the glass in water, and proceed with the drilling
very slowly. If not possible to do this, reverse the work—turn the
glass over and drill, very carefully, from the opposite side. By
proceeding with care you can easily drill three holes through glass
3
/16 inch thick 1/4 of an inch apart. In making the drill be careful not
to make the point and the cutting edges too acute. The drill cuts
more slowly, but more safely, when the point and cutting edges are
at a low angle.
To Make Holes In Thin Glass.—To produce holes in panes of thin or
weak glass, provide the places to be perforated with a ring of moist
loam, whose center leaves free a portion of glass exactly the size of
the desired hole. Pour molten lead into the ring, and the glass and
lead will fall through at once. This process is based upon the rapid
heating of the glass.
To Grind Glass.—For the grinding of glass, iron, or steel laps and
fine sand are first used; after that, the sand is replaced by emery.
Then the polishing is started with pure lead or pure tin laps, and
finished with willow wood laps. The polishing powder is tin putty, but
peroxide of iron or dioxide of tin is a good polishing medium.
Pohl asserts that if glass is polished with crocus (Paris red) it
appears of a dark or a yellowish-brown tint. He contends that the
crocus enters the pores of the glass, and, to prevent this, he uses
zinc white with the most satisfactory results.
A Home-Made Outfit For Grinding Glass.—Provide two pieces of cork,
one concave and one convex (which may be cut to shape after
fitting to the lathe). Take a copper cent or other suitable article and
soft-solder a screw to fit the lathe, and then wax it to the cork; get a
cheap emery wheel, such as is used on sewing machines. Polish the
edge on the zinc collar of the emery wheel (or use a piece of zinc).
The other cork should be waxed to a penny and centered. Spectacle
lenses may be cut on the same emery wheel if the wheel is attached
to the lathe so as to revolve. Another method is to take a common
piece of window glass (green glass is the best) and make a
grindstone of that, using the flat surface for grinding. Cement it on a
large chuck, the glass being from 2 to 2 1/2 inches in diameter.
To Drill Optical Glass.—A graver sharpened to a long point is
twisted between the fingers, and pressed against the glass, the point
being moistened from time to time with turpentine. When the hole is
finished half way, the drilling should be commenced from the other
side. The starting should be begun with care, as otherwise the
graver is likely to slide out and scratch the lens. It is advisable to
mark the point of drilling with a diamond, and not to apply too great
a pressure when twisting the graver.
Lubricants For Glass Drilling.—I.—Put garlic, chopped in small
pieces, into spirit of turpentine and agitate the {373} mixture from
time to time. Filter at the end of a fortnight, and when you desire to
pierce the glass dip your bit or drill into this liquid, taking care to
moisten it constantly to prevent the drill, etc., from becoming
heated.
II.—Place a little alum in acetic acid, dip your drill into this and put
a drop of it on the spot where the glass is to be pierced.
Gilding Glass.
When it is desired to gild glass for decorative purposes use a
solution of gelatin in hot water, to which an equal quantity of alcohol
has been added. The glass to be gilded is covered with this solution
and the gold leaf put on while wet. A sheet of soft cotton must be
pressed and smoothed over the leaf until the gelatin below is evenly
distributed. This prevents spots in gilding. Careful apportionment of
the gelatin is necessary. If too much be used, the gold may become
spotted; if too little, the binding may be too weak to allow the gold
to be polished. The glass should be cleaned thoroughly before
gilding. After the gold leaf is put on the whole is allowed to dry for
10 or 20 minutes, when the luster of the gold can be raised by a
cautious rubbing with cotton. Then another layer of gelatin is spread
on with one stroke of a soft brush, and, if especially good work be
required, a second layer of gold is put on and covered as before. In
this case, however, the gelatin is used hot. After the gilding has
become perfectly dry the letters or ornamentation are drawn and the
surplus gold around the edges is taken off. The gilding does not
become thoroughly fixed until after several months, and until then
rough handling, washing, etc., should be avoided.
The best backing for glass gilding is asphaltum, with a little
lampblack, this to be mixed up with elastic varnish; outside finishing
varnish is the best, as the addition of this material gives durability.
Glass Manufacturing:
See also Ceramics.
The blue tint of the common poison bottle is got by the addition of
black oxide of cobalt to the molten glass; the green tint of the actinic
glass bottle is obtained in the same way by the addition of
potassium bichromate, which is reduced to the basylous condition,
and the amber tint is produced by the addition of impure manganese
dioxide, a superior tint being produced by suphur in one form or
another. The formulas for various kinds of bottle glass, which
indicate the general composition of almost all glasses, are:
White Glass for Ordinary Molded Bottles.—
Sand 64 parts by weight
Lime 6 parts by weight
Carbonate of sodium 23 parts by weight
Nitrate of sodium 5 parts by weight
White Flint Glass Containing Lead.—
Sand 63 parts by weight
Lime 5 parts by weight
Carbonate of sodium 21 parts by weight
Nitrate of sodium 3 parts by weight
Red lead 8 parts by weight
Ordinary Green Glass for Dispensing Bottles.—
Sand 63 parts by weight
Carbonate of sodium 26 parts by weight
Lime 11 parts by weight
A mixture for producing a good green flint glass is much the same
as that for the ordinary white flint glass, except that the lime,
instead of being the purest, is ordinary slaked lime, and the sodium
nitrate is omitted. Sand, lime, and sodium carbonate are the
ordinary bases of glass, while the sodium nitrate is the decolorizing
agent.
Glass Refractory to Heat.—Fine sand, 70 parts; potash, 30 parts;
kaolin, 25 parts.
Transparent Ground Glass.—Take hold of the glass by one corner
with an ordinary pair of fire tongs. Hold it in front of a clear fire, and
heat to about 98° F., or just hot enough to be held comfortably in
the hand. Then hold the glass horizontally, ground side uppermost,
and pour in the center a little photographer’s dry-plate negative
varnish. Tilt the glass so that the varnish spreads over it evenly, then
drain back the surplus varnish into the bottle from one corner of the
glass. Hold the glass in front of the fire again for a few minutes and
the varnish will crystallize on its surface, making it transparent. The
glass should not be made too hot before the varnish is put on, or the
varnish will not run evenly. This method answers very well for self-
made magic-lantern slides. Ground glass may be made temporarily
transparent by wiping with a sponge dipped in paraffine or glycerine.
Water-Tight Glass:
Water-Tight Glass Roofs.—Glass roofs, the skeletons of which are
constructed {374} of iron, are extremely difficult to keep water-tight,
as the iron expands and contracts with atmospheric changes. To
meet this evil, it is necessary to use an elastic putty, which follows
the variations of the iron. A good formula is: Two parts rosin and
one part tallow, melted together and stirred together thoroughly
with a little minium. This putty is applied hot upon strips of linen or
cotton cloth, on top and below, and these are pasted while the putty
is still warm, with one edge on the iron ribs and the other, about
one-fourth inch broad, over the glass.
Tightening Agent For Acid Receptacles.—Cracked vessels of glass or
porcelain, for use in keeping acids, can be made tight by applying a
cement prepared in the following manner: Take finely sifted sand,
some asbestos with short fiber, a little magnesia and add enough
concentrated water glass to obtain a readily kneadable mass. The
acid renders the putty firm and waterproof.
Pencils For Marking Glass:
See also Etching and Frosted Glass.
Crayons for Writing on Glass.—I.—The following is a good formula:
 Spermaceti 4 parts
Tallow 3 parts
Wax 2 parts
Red lead 6 parts
Potassium carbonate 1 part
Melt the spermaceti, tallow, and wax together over a slow fire,
and when melted stir in, a little at a time, the potassium carbonate
and red lead, previously well mixed. Continue the heat for 20 or 30
minutes, stirring constantly. Withdraw from the source of heat, and
let cool down somewhat, under constant stirring, at the temperature
of about 180° F.; before the mixture commences to set, pour off into
molds and let cool. The latter may be made of bits of glass tubing of
convenient diameter and length. After the mixture cools, drive the
crayons out by means of a rod that closely fits the diameter of the
tubes.
II.—Take sulphate of copper, 1 part, and whiting, 1 part. Reduce
these to a fine powder and mix with water; next roll this paste into
the shape of crayons and let dry. When it is desired to write on the
glass use one of these crayons and wipe the traced designs. To
make them reappear breathe on the glass.
III.—Melt together, spermaceti, 3 parts; talc, 3 parts, and wax, 2
parts. When melted stir in 6 parts of minium and 1 part of caustic
potash. Continue heating for 30 minutes, then cast in suitable molds.
When formed and ready to be put away dust them with talc powder,
or roll each pencil in paraffine powder.
Prevention Of Fogging, Dimming, And Clouding.
I.—Place a few flat glass or porcelain dishes with calcium chloride
in each window. This substance eagerly absorbs all moisture from
the air. The contents of the dishes have to be renewed every 2 or 3
days, and the moist calcium chloride rigorously dried, whereupon it
may be used over again.
 II.—Apply to the inside face of the glass a thin layer of glycerine,
which does not permit the vapor to deposit in fine drops and thus
obstruct the light. Double glass may also be used. In this way the
heat of the inside is not in direct contact with the cold outside.
III.—By means of the finger slightly moistened, apply a film of
soap of any brand or kind to the mirror; then rub this off with a
clean, dry cloth; the mirror will be as bright and clear as ever;
breathing on it will not affect its clearness.
IV.—Window glass becomes dull during storage by reason of the
presence of much alkali. This can be avoided by taking sand, 160
parts; calcined sodium sulphate, 75; powdered marble, 50; and
coke, 4 to 5 parts. About 3 parts of the sodium sulphate may be
replaced by an equal quantity of potash.
Frosted Glass.
I.—A frosted appearance may be given to glass by covering it with
a mixture of
Magnesium sulphate 6 ounces
Dextrin 2 ounces
Water 20 ounces
When this solution dries, the magnesium sulphate crystallizes in
fine needles.
II.—Another formula directs a strong solution of sodium or
magnesium sulphate, applied warm, and afterwards coated with a
thin solution of acacia.
III.—A more permanent “frost” may be put on the glass by
painting with white lead and oil, either smooth or in stipple effect.
The use of lead acetate with oil gives a more pleasing effect,
perhaps, than the plain white lead.
IV.—If still greater permanency is desired, the glass may be
ground by rubbing with some gritty substance. {375}
V.—For a temporary frosting, dip a piece of flat marble into glass
cutter’s sharp sand, moistened with water; rub over the glass,
dipping frequently in sand and water. If the frosting is required very
fine, finish off with emery and water. Mix together a strong, hot
solution of Epsom salt and a clear solution of gum arabic; apply
warm. Or use a strong solution of sodium sulphate, warm, and when
cool, wash with gum water. Or daub the glass with a lump of
glazier’s putty, carefully and uniformly, until the surface is equally
covered. This is an excellent imitation of ground glass, and is not
disturbed by rain or damp.
VI.—This imitates ground glass:
Sandarac 2 1/2 ounces
Mastic 1/ ounce
2
Ether 24 ounces
16 to 18
Benzine
ounces
VII.—Take white lead ground in a mixture of 3/4 varnish and 1/4 oil
of turpentine, to which burnt white vitriol and white sugar of lead
are added for drier. The paint must be prepared exceedingly thin and
applied to the glass evenly, using a broad brush. If the windows
require a new coat, the old one is first removed by the use of a
strong lye, or else apply a mixture of hydrochloric acid, 2 parts;
vitriol, 2 parts; copper sulphate, 1 part; and gum arabic 1 part, by
means of a brush. The production of this imitation frosting entails
little expense and is of special advantage when a temporary use of
the glass is desired.
VIII.—A little Epsom salt (sulphate of magnesia) stirred in beer
with a small dose of dextrin and applied on the panes by means of a
sponge or a brush permits of obtaining mat panes.
Hoarfrost Glass.—The feathery foams traced by frost on the inside
of the windows in cold weather may be imitated as follows:
The surface is first ground either by sand-blast or the ordinary
method, and is then covered with a sort of varnish. On being dried
either in the sun or by artificial heat, the varnish contracts strongly,
taking with it the particles of glass to which it adheres; and as the
contraction takes places along definite lines, the pattern given by the
removal of the particles of glass resembles very closely the
branching crystals of frostwork. A single coat gives a small, delicate
effect, while a thick film, formed by putting on 2, 3 or more coats,
contracts so strongly as to produce a large and bold design. By using
colored glass, a pattern in half-tint may be made on the colored
ground, and after decorating white glass, the back may be silvered
or gilded.
Engraving, Matting, And Frosting.—Cover the glass with a layer of
wax or of varnish on which the designs are traced with a graver or
pen-point; next, hydrofluoric acid is poured on the tracings. This acid
is very dangerous to handle, while the following process, though
furnishing the same results, does not present this drawback: Take
powdered fluoride of lime, 1 part, and sulphuric acid, 2 parts. Make
a homogeneous paste, which is spread on the parts reserved for the
engraving or frosting. At the end of 3 or 4 hours wash with water to
remove the acid, next with alcohol to take off the varnish, or with
essence of turpentine if wax has been employed for stopping off.
To Render Window Panes Opaque.—I.—Panes may be rendered mat
and non-transparent by painting them on one side with a liquid
prepared by grinding whiting with potash water-glass solution. After
one or two applications, the panes are perfectly opaque, while
admitting the light.
II.—Paint the panes with a solution of
Dextrin 200 parts by weight
Zinc vitriol 800 parts by weight
Bitter salt 300 parts by weight
In water 2,000 parts by weight
III.—For deadening panes already set in frames the following is
suitable: Dissolve 1 part of wax in 10 parts of oil of turpentine,
adding 1 part of varnish and 1 part of siccative. With this mixture
coat the panes on the outside and dab, while still wet, with a pad of
cotton wadding. If desired small quantities of Paris blue, madder
lake, etc., may be added to the wax solution.
IV.—For deadening window panes in factories and workshops: To
beeswax dissolved in oil of turpentine, add some dryer and varnish
to obtain a quicker drying and hardening. After the window pane has
been coated with this mixture on the outside, it is dabbed uniformly
with a pad of wadding. The wax may be tinted with glazing colors.
Frosted Mirrors.—I.—Cover with a solution of Epsom salts in stale
beer; apply with a sponge to the mirror, first wiping it clean and dry.
On drying, the Epsom salt crystallizes, giving very handsome frosted
effects, but the solution must not be applied on humid days {376}
when the glass is liable to be damp, for in that case the effect will be
a blurred one. When it is desirable to remove the coating, lukewarm
water will serve the purpose without damage to the luster of the
mirror.
II.—The following mixture, when applied to a mirror and left to
dry, will form in many shapes, all radiating from a focus, this focus
forming anywhere on the glass, and when all dry tends to form a
most pleasing object to the eye.
Sour ale 4 ounces
Magnesium sulphate 1 ounce
Put on the mirror with a small, clean sponge and let dry. It is now
ready for the artist, and he may choose his own colors and subject.
Crystalline Coatings Or Frostwork On Glass Or Paper.—Dissolve a
small quantity of dextrin (gum arabic and tragacanth are not so
suitable) in aqueous salt solution as concentrated as possible, for
instance, in sulphate of magnesia (bitter salt), sulphate of zinc or
any other readily crystallizing salt; filter the solution through white
blotting paper and coat glass panes uniformly thin with the clear
filtrate, using a fine, broad badger brush; leave them lying at an
ordinary medium temperature about one-quarter hour in a horizontal
position.
As the water slowly evaporates during this short time, handsome
crystalline patterns, closely resembling frostwork, will develop
gradually on the glass panes, which adhere so firmly to the glass or
the paper (if well-sized glazed paper had been used) that they will
not rub off easily. They can be permanently fixed by a subsequent
coat of alcoholic shellac solution.
Especially handsome effects are produced with colored glass
panes thus treated, and in the case of reflected light by colored
paper.
For testing crystals as regards their optical behavior, among others
their behavior to polarized light, it is sufficient to pour a solution of
collodion wool (soluble peroxide lime for the preparation of
collodion) over the surface of glass with the crystalline designs, and
to pull off the dry collodion film carefully. If this is done cautiously it
is not difficult to lift the whole crystalline group from the glass plate
and to incorporate it with the glass-like, thin collodion film.
Removing Window Frost.
Here are fourteen methods of preventing frost on windows,
arranged in the order of their efficacy: 1, Flame of an alcohol lamp;
2, sulphuric acid; 3, aqua ammonia; 4, glycerine; 5, aqua regia; 6,
hydrochloric acid; 7, benzine; 8, hydriodic acid; 9, boric acid; 10,
alcohol; 11, nitric acid; 12, cobalt nitrate; 13, infusion of nutgalls;
14, tincture of ferrous sulphate. By the use of an alcohol lamp
(which, of course, has to be handled with great care) the results are
immediate, and the effect more nearly permanent than by any other
methods. The sulphuric acid application is made with a cotton cloth
swab, care being taken not to allow any dripping, and so with all
other acids. The effect of the aqua ammonia is almost
instantaneous, but the window is frosted again in a short time. With
the glycerine there are very good results—but slight stains on the
window which may be easily removed.
The instructions for glycerine are: Dissolve 2 ounces of glycerine
in 1 quart of 62 per cent alcohol containing, to improve the odor,
some oil of amber. When the mixture clarifies it is rubbed over the
inner surface of the glass. This, it is claimed, not only prevents the
formation of frost, but also prevents sweating.
To Prevent Dimming Of Eyeglasses, Etc.—Mix olein-potash soap with
about 3 per cent of glycerine and a little oil turpentine. Similar
mixtures have also been recommended for polishing physicians’
reflectors, show-windows, etc., to prevent dimming.
Writing On Glass:
See also Etching and Inks.
Composition For Writing On Glass.—To obtain mat designs on glass,
take sodium fluoride, 35 parts; potassium sulphate, 7 parts; zinc
chloride, 15 parts; hydrochloric acid, 65 parts; distilled water, 1,000
parts. Dissolve the sodium fluoride and the potassium sulphate in
half the water; dissolve the zinc chloride in the remaining water and
add the hydrochloric acid. Preserve these two solutions separately.
For use, mix a little of each solution and write on the glass with a
pen or brush.
Ink For Writing On Glass.—

Shellac 20 parts
Alcohol 150 parts
Borax 35 parts
Water 250 parts
Water-soluble dye sufficient to color.
Dissolve the shellac in the alcohol, the borax in the water, and
pour the shellac {377} solution slowly into that of the borax. Then
add the coloring matter previously dissolved in a little water.
GLASS AND GLASSWARE CEMENT: See Adhesives and Amalgams.
GLASS CLEANERS: See Cleaning Preparations and Methods.
GLASS, COPPERING, GILDING, AND PLATING: See Plating.
GLASS ETCHING: See Etching.
GLASS, HOW TO AFFIX SIGN-LETTERS ON: See Adhesives under Sign-Letter Cements.
GLASS, FASTENING METALS ON: See Adhesives.
GLASS LETTERING: See Lettering.
GLASS LUBRICANTS: See Lubricants.
GLASS, PERCENTAGE OF LIGHT ABSORBED BY: See Light.
GLASS POLISHES: See Polishes.
GLASS, SILVERING OF: See Mirrors.
GLASS SOLDERS: See Solders.
GLASS, SOLUBLE, AS A CEMENT: See Adhesives.
GLASS, TO AFFIX PAPER ON: See Adhesives, under Water-Glass Cements.
GLASS, TO SILVER: See Silver.

GLAZES
(See also Ceramics, Enamels, Paints, and Varnishes.)
Glazes For Cooking Vessels.—Melt a frit of red lead, 22.9 parts
(by weight); crystallized boracic acid, 31 parts; enamel soda, 42.4
parts; cooking salt, 10 parts; gravel, 12 parts; feldspar, 8 parts.
According to the character of the clay, this frit is mixed with varying
quantities of sand, feldspar and kaolin, in the following manner:
Frit 84 84 84 84
Red lead 1.5 1.5 1.5 1.5
Gravel 8 6 3 ───
Feldspar ─── 2 5 8
Kaolin, burnt 6.5 6.5 6.5 6.5
Glazes which are produced without addition of red lead to the frit,
are prepared as follows. Melt a frit of the following composition: Red
lead, 22.9 parts (by weight); boracic acid in crystals, 24.8 parts;
enamel soda, 37.1 parts; calcined potash, 6.9 parts; cooking salt, 10
parts; chalk, 10 parts; gravel, 12 parts; feldspar, 8 parts.
From the frit the following glazes are prepared:
Frit 86.5 86.5 86.5 86.5
Gravel 7 4.5 3 ───
Feldspar ─── 2.5 4 7
Kaolin, burnt 6.5 6.5 6.5 6.5
Glazing On Size Colors.—The essential condition for this work is
a well-sized foundation. For the glazing paint, size is likewise used as
a binder, but a little dissolved soap is added, of about the strength
employed for coating ceilings. Good veining can be done with this,
and a better effect can be produced in executing pieces which are to
appear in relief, such as car-touches, masks, knobs, etc., than with
the ordinary means. A skillful grainer may also impart to the work
the pleasant luster of natural wood. The same glazing method is
applicable to colored paintings. If the glazing colors are prepared
with wax, dissolved in French turpentine, one may likewise glaze
with them on a size-paint ground. Glazing tube-oil colors thinned
with turpentine and siccative, are also useful for this purpose. For
the shadows, asphalt and Van Dyke brown are recommended, while
the contour may be painted with size-paint.
Coating Metallic Surfaces With Glass.—Metallic surfaces may
be coated with glass by melting together 125 parts (by weight) of
flint-glass fragments, 20 parts of sodium carbonate, and 12 parts of
boracic acid. The molten mass is next poured on a hard and cold
surface, stone or metal. After it has cooled, it is powdered. Make a
mixture of 50° Bé. of this powder and sodium silicate (water glass).
The metal to be glazed is coated with this and heated in a muffle or
any other oven until the mixture melts and can be evenly
distributed. This glass coating adheres firmly to iron and steel.
 Glaze For Bricks.—A glazing color for bricks patented in
Germany is a {378} composition of 12 parts (by weight) lead; 4 parts
litharge; 3 parts quartzose sand; 4 parts white argillaceous earth; 2
parts kitchen salt; 2 parts finely crushed glass, and 1 part saltpeter.
These ingredients are all reduced to a powder and then mixed with a
suitable quantity of water. The color prepared in this manner is said
to possess great durability, and to impart a fine luster to the bricks.
GLAZES FOR LAUNDRY: See Laundry Preparations.
GLOBES, HOW TO COLOR: See Glass-Coloring.
GLOBES, PERCENTAGE OF LIGHT ABSORBED BY: See Light.
GLOBES, SILVERING OF: See Mirrors.
GLOSS FOR PAPER: See Paper.
GLOVE-CLEANERS: See Cleaning Compounds.
GLOVES, SUBSTITUTE FOR RUBBER: See Antiseptics.
GLOVES, TESTING: See Rubber.
GLUCOSE IN JELLY: See Foods.

GLUE
(Formulas for Glues and methods of manufacturing Glue will be
found under Adhesives.)
Rendering Glue Insoluble In Water.—Stuebling finds that the
usual mixture of bichromate and glue when used in the ordinary way
does not possess the waterproof properties with which it is generally
credited. If mixed in the daylight, it sets hard before it can be
applied to the surfaces to be glued, and if mixed and applied in the
dark room it remains just as soluble as ordinary glue, the light being
unable to penetrate the interior of the joints. Neither is a mixture of
linseed oil and glue of any use for this purpose. Happening to upset
a strong solution of alum—prepared for wood staining—into an
adjacent glue pot, he stirred up the two together out of curiosity and
left them. Wishing to use the glue a few days later, he tried to thin it
down with water, but unsuccessfully, the glue having set to a
waterproof mass. Fresh glue was then mixed with alum solution and
used to join two pieces of wood, these resisting the action of the
water completely.
To Bleach Glue.—Dissolve the glue in water, by heat, and while
hot, add a mixture in equal parts of oxalic acid and zinc oxide, to an
amount equal to about 1 per cent of the glue. After the color has
been removed, strain through muslin.
Method Of Purifying Glue.—The glue is soaked in cold water
and dissolved in a hot 25 per cent solution of magnesium sulphate.
The hot solution is filtered, and to the filtrate is added a 25 per cent
solution of magnesium sulphate containing 0.5 per cent of
hydrochloric acid (or, if necessary, sulphuric acid). A white flocculent
precipitate is obtained which is difficult to filter. The remainder of the
glue in the saline solution is extracted by treatment with magnesium
sulphate.
The viscous matter is washed, then dissolved in hot water, and
allowed to cool, a quantity of weak alcohol acidulated by 1 per cent
of hydrochloric acid being added just before the mass solidifies.
From 2 to 3 parts, by volume, of strong alcohol (methyl or ethyl) are
then added and the solution filtered, charcoal being used if
necessary. The glue is finally precipitated from this solution by
neutralizing with ammonia and washing with alcohol or water.
To Distinguish Glue And Other Adhesive Agents.—The
product to be examined is heated with hydrofluoric acid (50 per
cent). If bone glue is present in any reasonable quantity, an intense
odor of butyric acid arises at once, similar to that of Limburger
cheese. But if dextrin or gum arabic is present, only an odor of
dextrine or fluorhydric acid will be perceptible. Conduct the reaction
with small quantities; otherwise the smell will be so strong that it is
hard to remove from the room.
GLUE CLARIFIER: See Gelatin.
 GLYCERINE
Recovering Glycerine From Soap Boiler’s Lye.—I.—Glycerine
is obtained as a by-product in making soap. For many years the lyes
were thrown away as waste, but now considerable quantities of
glycerine are recovered, which are much used in making explosive
compounds.
When a metallic salt or one of the alkalies, as caustic soda, is
added to tallow, a stearite of the metal (common soap is stearite of
sodium) is formed, whereby the glycerine is eliminated. {379} This
valuable by-product is contained in the waste lye, and has formed
the subject of several patents.
Draw the lye off from the soap-pans; this contains a large quantity
of water, some salt and soap and a small quantity of glycerine, and
the great trouble is to concentrate the lye so that the large quantity
of water is eliminated, sometimes 10 to 12 days being occupied in
doing this. The soap and salt are easily removed.
To remove the soap, run the lye into a series of tanks alternating
in size step-like, so that as the first, which should be the largest,
becomes full, the liquor will flow into the second, from that into the
third, and so on; by this arrangement the rosinous and albuminous
matters will settle, and the soap still contained in the lyes will float
on the surface, from which it is removed by skimming.
After thus freeing the lye of the solid impurities, convey the
purified lye to the glycerine recovering department (wooden troughs
or pipes may be used to do this), and after concentrating by heating
it in a steam-jacketed boiler, and allowing it to cool somewhat, ladle
out the solid salt that separates, and afterwards concentrate the lye
by allowing it to flow into a tank, but before doing so let the fluid
come in contact with a hot blast of air or superheated steam,
whereby the crude discolored glycerine is obtained. This is further
purified by heating with animal charcoal to decolorize it, then
distilling several times in copper stills with superheated steam. The
chief points to attend to are: (1) The neutralizing and concentrating
the lye as much as possible and then separating the salts and solid
matters; (2) concentrating the purified lye, and mixing this fluid with
oleic acid, oil, tallow, or lard, and heating the mixture to 338° F., in a
still, by steam, and gradually raise the heat to 372° F.; (3) stirring
the liquor while being heated, and allowing the aqueous vapor to
escape, and when thus concentrated, saponifying the liquid with
lime to eliminate the glycerine; water is at the same time expelled,
but this is removed from the glycerine by evaporating the mixture.
II.—In W. E. Garrigues’s patent for the recovering of glycerine
from spent soap lyes, the liquid is neutralized with a mineral acid,
and after separation of the insoluble fatty acids it is concentrated
and then freed from mineral salts and volatile fatty acids, and the
concentrated glycerine solution treated with an alkaline substance
and distilled. Thus the soap lye may be neutralized with sulphuric
acid, and aluminum sulphate added to precipitate the insoluble fatty
acids. The filtrate from these is concentrated and the separated
mineral salts removed, after which barium chloride is added and
then sufficient sulphuric acid to liberate the volatile fatty acids
combined with the alkali. These acids are partially enveloped in the
barium sulphate, with which they can be separated from the liquid
by filtration, while the remaining portion can be expelled by
evaporating the liquid in a vacuum evaporator. Finally, the solution is
treated with sodium carbonate, and the glycerine distilled.
Glycerine Lotion.—
Glycerine 4 ounces
Essence bouquet 1/ ounce
4
Water 4 ounces
Cochineal coloring, a sufficient quantity.
(See also Cosmetics for Glycerine Lotions.)
GLYCERINE APPLICATIONS: See Cosmetics.
GLYCERINE AS A DETERGENT: See Cleaning Preparations and Methods.
GLYCERINE PROCESS: See Photography.
GLYCERINE SOAP: See Soap.
GLYCERINE DEVELOPER: See Photography.

GOLD
(See also Jewelers’ Formulas.)
Gold Printing On Oilcloth And Imitation Leather.—Oilcloth
can very easily be gilt if the right degree of heat is observed. After
the engraving has been put in the press, the latter is heated slightly,
so that it is still possible to lay the palm of the hand on the heated
plate without any unpleasant sensation. Go over the oilcloth with a
rag in which a drop of olive oil has been rubbed up, which gives a
greasy film. No priming with white of egg or any other priming agent
should be done, since the gold leaf would stick. Avoid sprinkling on
gilding powder. The gold leaf is applied directly on the oilcloth; then
place in the lukewarm press, squeezing it down with {380} a quick
jerky motion and opening it at once. If the warm plate remains too
long on the oilcloth, the gold leaf will stick. When the impression is
done, the gold leaf is not swept off at once, but the oilcloth is first
allowed to cool completely for several minutes, since there is a
possibility that it has become slightly softened under the influence of
the heat, especially at the borders of the pressed figures, and the
gold would stick there if swept off immediately. The printing should
be sharp and neat and the gold glossy. For bronze printing on
oilcloth, a preliminary treatment of printing with varnish ground
should be given. The bronze is dusted on this varnish.
Imitation leather is generally treated in the same manner. The
tough paper substance is made to imitate leather perfectly as
regards color and pressing, especially the various sorts of calf, but
the treatment in press gilding differs entirely from that of genuine
leather. The stuff does not possess the porous, spongy nature of
leather, but on the contrary is very hard, and in the course of
manufacture in stained-paper factories is given an almost waterproof
coating of color and varnish. Hence the applied ground of white of
egg penetrates but slightly into this substance, and a thin layer of
white of egg remains on the surface. The consequence is that in
gilding the gold leaf is prone to become attached, the ground of
albumen being quickly dissolved under the action of the heat and
put in a soft sticky state even in places where there is no engraving.
In order to avoid this the ground is either printed only lukewarm, or
this imitation leather is not primed at all, but the gold is applied
immediately upon going over the surface with the oily rag. Print with
a rather hot press, with about the same amount of heat as is
employed for printing shagreen and title paper. A quick jerky
printing, avoiding a long pressure of the plate, is necessary.
Liquid Gold.—Take an evaporating dish, put into it 880 parts, by
weight, of pure gold; then 4,400 parts, by weight, of muriatic acid,
and 3,520 parts, by weight, nitric acid; place over a gas flame until
the gold is dissolved, and then add to it 22 parts, by weight, of pure
tin; when the tin is dissolved add 42 parts, by weight, of butter of
antimony. Let all remain over the gas until the mixture begins to
thicken. Now put into a glass and test with the hydrometer, which
should give about 1,800 specific gravity. Pour into a large glass and
fill up with water until the hydrometer shows 1090; pour all the
solution into a chemical pot and add to it 1,760 parts, by weight,
balsam of sulphur, stirring well all the while, and put it over the gas
again; in an hour it should give, on testing, 125° F.; gradually
increase the heat up to 185° F., when it should be well stirred and
then left to cool about 12 hours. Pour the watery fluid into a large
vessel and wash the dark-looking mass 5 or 6 times with hot water;
save each lot of water as it contains some portion of gold. Remove
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