Part 314

ORANGE DROPS: See Confectionery.

ORANGE EXTRACT: See Essences and Extracts.

ORANGE FRAPPÉ: See Beverages, under Lemonades.

ORANGE PHOSPHATE: See Beverages.

ORGEAT PUNCH: See Beverages, under Lemonades.

ORTOL DEVELOPER: See Photography.

OXIDIZING: See Bronzing, Plating, Painting.

OXIDE, MAGNETIC: See Rust Preventives.

OXOLIN: See Rubber.

OZONATINE: See Air Purifying.

PACKAGE POP: See Beverages, under Ginger Ale.

PACKAGE WAX: See Waxes. {488}

«PACKINGS:»

«Packing for Stuffing Boxes.»—

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

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

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

PADS OF PAPER: See Paper Pads.

PAIN-SUBDUING OINTMENT: See Ointments.

«PAINTING PROCESSES:»

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

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

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

PAINTING ON LEATHER: See Leather.

«PAINTINGS:»

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

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

«To Renovate Old Oil Paintings.»—When old oil paintings have become dark and cracked, proceed as follows: Pour alcohol in a dish and put the picture over it, face downward. The fumes of the alcohol dissolve the paint of the picture, the fissures close up again, and {489} the color assumes a freshness which is surprising. Great caution is absolutely necessary, and one must look at the painting very often, otherwise it may happen that the colors will run together or even run off in drops.