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Solutions to Chapter 8

1. Determine the output of the following code when the input is (a) –1, (b) 0, and (c) 12XY

try {
number = Integer.parseInt(
JOptionPane.showInputDialog(null, "input"));
if (number != 0) {
throw new Exception("Not Zero");
}
} catch (NumberFormatException e) {
System.out.println("Cannot convert to int");
} catch (Exception e) {
System.out.println("Error: " + e.getMessage());

a) Error: Not Zero

b) no output
c) Cannot convert to int

2. Determine the output of the following code when the input is (a) –1, (b) 0, and (c) 12XY.
This is the same question as Exercise 1, but the code here has the finally clause.

try {
number = Integer.parseInt(
JOptionPane.showInputDialog(null, "input"));
if (number != 0) {
throw new Exception("Not Zero");
}
} catch (NumberFormatException e) {
System.out.println("Cannot convert to int");
} catch (Exception e) {
System.out.println("Error: " + e.getMessage());
} finally {
System.out.println("Finally Clause Executed");
}

a) Error: Not Zero

Finally Clause Executed
b) Finally Clause Executed
c) Cannot convert to int
Finally Clause Executed

3. Why is the following code not a good use of the assertion?

public void compute(int size) {

assert size > 0;
//computation code comes here
 }

We should throw an exception because the argument is invalid instead of using an assertion.
Remember: use assertions to detect internal errors and use exceptions to notify the client
programmers of the misuse of our class.

4. Modify the following code by adding the assert statement. The value of gender is either
MALE or FEMALE if the program is running correctly.

switch (gender) {
case MALE: totalFee = tuition + parkingFee;
break;
case FEMALE: totalFee = tuition + roomAndBoard;
break;
}

We can add a control flow invariant as follows:

switch (gender) {
case MALE: totalFee = tuition + parkingFee;
break;
case FEMALE: totalFee = tuition + roomAndBoard;
break;
default: assert false:
"Value of gender " +
"is invalid. Value = " +
gender;
}

5. Modify the following method by adding the assert statement. Assume the variable factor is
a data member of the class.

public double compute(double value) {

return (value * value) / factor;
}

We can add a precondition assertion as follows:

public double compute(double value) {

assert factor != 0 :
"Serious Error – factor == 0, which will lead "
"to a division by zero";
return (value * value) / factor;
}

6. Modify the getInput method of the InputHandler class from Section 8.7 so that the
method will throw an exception when an empty string is entered for the name, room, or
password. Define a new exception class EmptyInputException.
 public void getInput( ) {
throws new EmptyInputException
name = JOptionPane.showInputDialog(null, "Enter Name:");
if (name.trim().equals(""))
throw new EmptyInputException("Name should not be empty");
room = JOptionPane.showInputDialog(null, "Enter Room No.:");
if (room.trim().equals(""))
throw new EmptyInputException("Room should not be empty");
pwd = JOptionPane.showInputDialog(null, "Enter Password:");
if (pwd.trim().equals(""))
throw new EmptyInputException("Password should not be
empty");
}

class EmptyInputException extends Exception {

private static final String DEFAULT_MESSAGE = "Empty input
string";

public EmptyInputException (String msg) {

super(msg);
}
}

7. The user module of the keyless entry system in Section 8.7 does not include any logic to
terminate the program. Modify the program so it will terminate when the values Admin,
X123, and $maTrix%TwO$ are entered for name, room, and password, respectively.

This only requires changing the validate method in Ch8EntranceMonitor, and possibly
adding some new constants.
See Ch8EntranceMonitor.java

Development Exercises
8. In the sample development, we developed the user module of the keyless entry system. For
this exercise, implement the administrative module that allows the system administrator to
add and delete Resident objects and modify information on existing Resident objects. The
module will also allow the user to open a list from a file and save the list to a file. Is it
proper to implement the administrative module by using one class? Wouldn’t it be a better
design if we used multiple classes with each class doing a single well-defined task?

The solution here splits the problem into two classes, one to handle functionality and one to
handle the interface.
See files AdminHandler.java and Ch8EntranceAdmin.java

9. Write an application that maintains the membership lists of five social clubs in a dormitory.
The five social clubs are the Computer Science Club, Biology Club, Billiard Club, No Sleep
Club, and Wine Tasting Club. Use the Dorm class to manage the membership lists.
Members of the social clubs are Resident objects of the dorm. Use a separate file to store
the membership list for each club. Your program should be able to include a menu item for
each social club. When a club is selected, open a ClubFrame frame that will allow the user
to add, delete, or modify members of the club. The program can have up to five ClubFrame
frames opened at the same time. Make sure you do not open multiple instances of
ClubFrame for the same club.

See files ClubFrame.java, ClubKeeper.java, Dorm.java, DormAdmin.java, and

Resident.java
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 V.— Talcum 8 ounces
Starch 8 ounces
Oil of neroli 10 drops
Oil of ylang-ylang 5 drops
VI.— Talcum 12 ounces
Starch 4 ounces
Orris root 2 ounces
Oil of bergamot 12 drops
VII.— Talcum 14 ounces
Starch 2 ounces
Lanolin 1/ ounce
2
Oil of rose 10 drops
Oil of neroli 5 drops

Toilet Vinegars:
Pumillo Toilet Vinegar.—

Alcohol, 80 per cent 1,600 parts

Vinegar, 10 per cent 840 parts
Oil of pinu spumillo 44 parts
Oil of lavender 4 parts
Oil of lemon 2 parts
Oil of bergamot 2 parts
Dissolve the oils in the alcohol, add the vinegar, let stand for a
week and filter.
Vinaigre Rouge.—

Acetic acid 24 parts

Alum 3 parts
Peru balsam 1 part
Carmine, No. 40 12 parts
Ammonia water 6 parts
Rose water, distilled 575 parts
Alcohol 1,250 parts
 Dissolve the balsam of Peru in the alcohol, and the alum in the
rose water. Mix the two solutions, add the acetic acid, and let stand
overnight. Dissolve the carmine in the ammonia water and add to
mixture. Shake thoroughly, let stand for a few minutes, then decant.
Toilet Waters:
“Beauty Water.”—

Fresh egg albumen 500 parts

Alcohol 125 parts
Lemon oil 2 parts
Lavender oil 2 parts
Oil of thyme 2 parts
Mix the ingredients well together. When first mixed the liquid
becomes flocculent, but after standing for 2 or 3 days clears up—
sometimes becomes perfectly clear, and may be decanted. It forms a
light, amber-colored liquid that remains clear for months.
At night, before retiring, pour about a teaspoonful of the water in
the palm of the hand, and rub it over the face and neck, letting it
dry on. In the morning, about an hour before the bath, repeat the
operation, also letting the liquid dry on the skin. The regular use of
this preparation for 4 weeks will give the skin an extraordinary
fineness, clearness, and freshness.
Rottmanner’s Beauty Water.—Koller says that this preparation
consists of 1 part of camphor, 5 parts of milk of sulphur, and 50
parts of rose water.
Birch Waters.—Birch water, which has many cosmetic applications,
especially as a hair wash, or an ingredient in hair washes, may be
prepared as follows:
 I.— Alcohol, 96 per cent 3,500 parts
Water 700 parts
Potash soap 200 parts
Glycerine 150 parts
Oil of birch buds 50 parts
Essence of spring flowers 100 parts
Chlorophyll, quantity sufficient to color.
Mix the water with 700 parts of the alcohol, and in the mixture
dissolve the soap. Add the essence of spring flowers and birch oil to
the remainder of the alcohol, mix well, and to the mixture add, little
by little, and with constant agitation, the soap mixture. Finally, add
the glycerine, mix thoroughly, and set aside for 8 days, filter and
color the filtrate with chlorophyll, to which is added a little tincture of
saffron. To use, add an equal volume of water to produce a lather.
II.— Alcohol, 96 per cent 2,000 parts
Water 500 parts
Tincture of cantharides 25 parts
Salicylic acid 25 parts
Glycerine 100 parts
Oil of birch buds 40 parts
Bergamot oil 30 parts
Geranium oil 5 parts
Dissolve the oils in the alcohol, add the acid and tincture of
cantharides; mix the water and glycerine and add, and, finally, color
as before.
 III.— Alcohol 30,000 parts
Birch juice 3,000 parts
Glycerine 1,000 parts
Bergamot oil 90 parts
Vanillin 10 parts
Geranium oil 50 parts
Water 14,000 parts
IV.— Alcohol 40,000 parts
Oil of birch 150 parts
Bergamot oil 100 parts
Lemon oil 50 parts
Palmarosa oil 100 parts
Glycerine 2,000 parts
Borax 150 parts
Water 20,000 parts
Violet Ammonia Water.—Most preparations of this character consist
of either coarsely powdered ammonium carbonate, with or without
the addition of ammonia water, or of a coarsely powdered mixture,
which slowly evolves the odor of ammonia, the whole being
perfumed by the addition of volatile oil, pomade essences, or
handkerchief extract. The following are typical formulas:
I.—Moisten coarsely powdered ammonium carbonate, contained in
a suitable bottle, with a mixture of concentrated tincture of orris
root, 2 1/2 ounces; aromatic spirit of ammonia, 1 drachm; violet
extract, 3 drachms.
II.—Fill suitable bottles with coarsely powdered ammonium
carbonate and add to the salt as much of the following solution as it
will absorb: Oil of orris, 5 minims; oil of lavender flowers, 10 minims;
violet extract, 30 minims; stronger water of ammonia, 2 fluidounces.
III.—The following is a formula for a liquid preparation: Extract
violet, 8 fluidrachms; extract cassia, 8 fluidrachms; spirit of rose, 4
fluidrachms; tincture of orris, 4 fluidrachms; cologne spirit, 1 pint;
spirit of ammonia, 1 ounce. Spirit of ionone may be used instead of
extract of violet.
 Violet Witch-Hazel.—

Spirit of ionone 1/

drachm
2
Rose water 6 ounces
Distilled extract of witch-hazel
16 ounces
enough to make

COTTON
Bleaching Of Cotton:
I.—Bleaching by Steaming.—The singed and washed cotton goods
are passed through hydrochloric acid of 2° Bé. Leave them in heaps
during 1 hour, wash, pass through sodium hypochlorite of 10° Bé.
diluted with 10 times the volume of water. Let the pieces lie in heaps
for 1 hour, wash, pass through caustic soda lye of 38° Bé. diluted
with 8 times its volume of water, steam, put again through sodium
chloride, wash, acidulate slightly with hydrochloric acid, wash and
dry. Should the whiteness not be sufficient, repeat the operations.
II.—Bleaching with Calcium Sulphite.—The cotton goods are
impregnated with 1 part, by weight, of water, 1 part of caustic lime,
and 1/2 part of bisulphite of 40° Bé.; next steamed during 1–2 hours
at a pressure of 1/2 atmosphere, washed, acidulated, washed and
dried. The result is as white a fabric as by the old method with
caustic lime, soda, and calcium chloride. The bisulphite may also be
replaced by calcium hydrosulphite, and, instead of steaming, the
fabric may be boiled for several hours with calcium sulphite.
III.—Bleaching of Vegetable Fibers with Hydrogen Peroxide.—Pass
the pieces through a solution containing caustic soda, soap,
hydrogen peroxide, and burnt magnesia. The pieces are piled in
heaps on carriages; the latter are shoved into the well-known
apparatus of Mather & Platt (kier), and the liquid is pumped on for 6
hours, at a pressure of 2/3 atmosphere. Next wash, acidulate, wash
and dry. The bleaching may also be done on an ordinary reeling vat.
For 5 pieces are needed about 1,000 parts, by weight, of water; 10
parts, by weight, of solid caustic soda; 1 part of burnt magnesia; 30
parts, by weight, of hydrogen peroxide. After 3–4 hours’ boiling,
wash, acidulate, wash and dry. The bleaching may also be
performed by passing through barium peroxide, then through
sulphuric acid or hydrochloric acid, and next through soda lye. It is
practicable also to commence with the latter and finally give a
treatment with hydrogen peroxide.
The whiteness obtained by the above process is handsomer than
that produced by the old method with hypochlorites, and the fabric
is weakened to a less extent.
Tests For Cotton.
I.—Cotton, when freed from extraneous matter by boiling with
potash, and afterwards with hydrochloric acid, yields pure cellulose
or absorbent cotton, which, according to the U. S. P., is soluble in
copper ammonium sulphate solution. The B. P. is more specific and
states that cotton is soluble in a concentrated solution of copper
ammonium sulphate. The standard test solution (B. P.) is made by
dissolving 10 parts of copper sulphate in 160 parts of distilled water,
and cautiously adding solution of ammonia to the liquid until the
precipitate first formed is nearly dissolved. The product is then
filtered and the filtrate made up to 200 parts with distilled {246}
water. The concentrated solution is prepared by using a smaller
quantity of distilled water.
II.—Schweitzer’s reagent for textile fibers and cellulose is made by
dissolving 10 parts of copper sulphate in 100 parts of water and
adding a solution of 5 parts of potassium hydrate in 50 parts of
water; then wash the precipitate and dissolve in 20 per cent
ammonia until saturated. This solution dissolves cotton, linen, and
silk, but not wool. The reagent is said to be especially useful in
microscopy, as it rapidly dissolves cellulose, but has no action on
lignin.
 III.—Jandrier’s Test for Cotton in Woolen Fabrics.—Wash the
sample of fabric and treat with sulphuric acid (20 Bé.) for half an
hour on the water bath. To 100 to 200 parts of this solution add 1
part resorcin, and overlay on concentrated sulphuric acid free from
nitrous products. The heat developed is sufficient to give a color at
the contact point of the liquids, but intensity of color may be
increased by slightly heating. If the product resulting from treating
the cotton is made up 1 in 1,000, resorcin will give an orange color;
alphanaphtol a purple; gallic acid a green gradually becoming violet
down in the acid; hydroquinone or pyrogallol a brown; morphine or
codeine, a lavender; thymol or menthol a pink. Cotton may be
detected in colored goods, using boneblack to decolorize the
solution, if necessary.
IV.—Overbeck’s test for cotton in woolen consists in soaking the
fabric in an aqueous solution of alloxantine (1 in 10), and after
drying expose to ammonia vapor and rinse in water. Woolen material
is colored crimson, cotton remains blue.
V.—Liebermann’s Test.—Dye the fabric for half an hour in fuchsine
solution rendered light yellow by caustic soda solution and then
washed with water—silk is colored dark red; wool, light red; flax,
pink; and cotton remains colorless.
To Distinguish Cotton from Linen.—Take a sample about an inch
and a half square of the cloth to be tested and plunge it into a tepid
alcoholic solution of cyanine. After the coloring matter has been
absorbed by the fiber, rinse it in water and then plunge into dilute
sulphuric acid. If it is of cotton the sample will be almost completely
bleached, while linen preserves the blue color almost unchanged. If
the sample be then plunged in ammonia, the blue will be strongly
reinforced.
Aromatic Cotton.—Aromatic cotton is produced as follows: Mix
camphor, 5 parts; pine-leaf oil, 5 parts; clove oil, 5 parts; spirit of
wine (90 per cent), 80 parts; and distribute evenly on cotton, 500
parts, by means of an atomizer. The cotton is left pressed together
in a tightly closed tin vessel for a few days.
Cotton Degreasing.—Cotton waste, in a greasy condition, is
placed in an acid-proof apparatus, where it is simultaneously freed
from grease, etc., and prepared for bleaching by the following
process, which is performed without the waste being removed from
the apparatus: (1) treatment with a solvent, such as benzine; (2)
steaming, for the purpose of vaporizing and expelling from the
cotton waste the solvent still remaining in it after as much as
possible of this has been recovered by draining; (3) treatment with a
mineral acid; (4) boiling with an alkali lye; (5) washing with water.

COTTONSEED HULLS AS STOCK FOOD.

Cottonseed hulls or other material containing fiber difficult of
digestion are thoroughly mixed with about 5 per cent of their weight
of hydrochloric acid (specific gravity, 1.16), and heated in a closed
vessel, provided with a stirrer, to a temperature of 212° to 300° F.
The amount of acid to be added depends on the material employed
and on the duration of the heating. By heating for 30 minutes the
above percentage of acid is required, but the quantity may be
reduced if the heating is prolonged. After heating, the substance is
ground and at the same time mixed with some basic substances
such as sodium carbonate, chalk, cottonseed kernel meal, etc., to
neutralize the acid. During the heating, the acid vapors coming from
the mixture may be led into a second quantity of material contained
in a separate vessel, air being drawn through both vessels to
facilitate the removal of the acid vapors.
COTTONSEED OIL: See Oil.
COTTONSEED OIL IN FOOD, TESTS FOR: See Foods.
COTTONSEED OIL IN LARD, DETECTION OF: See Foods and Lard.
COUGH CANDY: See Confectionery.
COUGH MIXTURES FOR CATTLE: See Veterinary Formulas. {247}
COUGH MIXTURES AND REMEDIES: See Cold and Cough Mixtures.

COURT PLASTERS
(See also Plasters.)
Liquid Court Plaster.—I.—If soluble guncotton is dissolved in
acetone in the proportion of about 1 part, by weight, of the former
to 35 or 40 parts, by volume, of the latter, and half a part each of
castor oil and glycerine be added, a colorless, elastic, and flexible
film will form on the skin wherever it is applied. Unlike ordinary
collodion it will not be likely to dry and peel off. If tinted very slightly
with alkanet and saffron it can be made to assume the color of the
skin so that when applied it is scarcely observable. A mixture of
warm solution of sodium silicate and casein, about 9 parts of the
former to 1 part of the latter, gelatinizes and forms a sort of liquid
court plaster.
II.—In order to make liquid court plaster flexible, collodion, U. S.
P., is the best liquid that can possibly be recommended. It may be
made by weighing successively into a tarred bottle:
Collodion 4 av. ounces
Canada turpentine 95 grains
Castor oil 57 grains
Before applying, the skin should be perfectly dry; each application
or layer should be permitted to harden. Three or four coats are
usually sufficient.
III.—Procure an ounce bottle and fill it three-fourths full of flexible
collodion, and fill up with ether. Apply to cuts, bruises, etc., and it
protects them and will not wash off. If the ether evaporates, leaving
it too thick for use, have more ether put in to liquefy it. It is a good
thing to have in the house and in the tool chest.
COW DISEASES AND THEIR REMEDIES: See Veterinary Formulas.
CRAYONS: See Pencils.

CRAYONS FOR GRAINING AND MARBLING.

Heat 4 parts of water and 1 part of white wax over a fire until the
wax has completely dissolved. Stir in 1 part of purified potash. When
an intimate combination has taken place, allow to cool and add a
proportionate quantity of gum arabic. With this mixture the desired
colors are ground thick enough so that they can be conveniently
rolled into a pencil with chalk. The desired shades must be
composed on the grinding slab as they are wanted, and must not be
simply left in their natural tone. Use, for instance, umber, Vandyke
brown, and white lead for oak; umber alone would be too dark for
walnut use. All the earth colors can be conveniently worked up. It is
best to prepare 2 or 3 crayons of each set, mixing the first a little
lighter by the addition of white lead and leaving the others a little
darker. The pencils should be kept in a dry place and are more
suitable for graining and marbling than brushes, since they can be
used with either oil or water.
CRAYONS FOR WRITING ON GLASS: See Etching, and Glass.

CREAM
(See also Milk.)
Whipped Cream.—There are many ways to whip cream. The
following is very highly indorsed: Keep the cream on ice until ready
to whip. Take 2 earthen vessels about 6 inches in diameter. Into 1
bowl put 1 pint of rich sweet cream, 2 teaspoonfuls powdered sugar,
and 5 drops of best vanilla extract. Add the white of 1 egg and beat
with large egg beater or use whipping apparatus until 2 inches of
froth has formed; skim off the froth into the other vessel and so
proceed whipping and skimming until all the cream in the first vessel
has been exhausted. The whipped cream will stand up all day and
should be let stand in the vessel on ice.
Special machines have been constructed for whipping cream, but
most dispensers prepare it with an ordinary egg beater. Genuine
whipped cream is nothing other than pure cream into which air has
been forced by the action of the different apparatus manufactured
for the purpose; care must, however, be exercised in order that
butter is not produced instead of whipped cream. To avoid this the
temperature of the cream must be kept at a low degree and the
whipping must not be too violent or prolonged; hence the following
rules must be observed in order to produce the desired result: {248}
1. Secure pure cream and as fresh as possible.
2. Surround the bowl in which the cream is being whipped with
cracked ice, and perform the operation in a cool place.
3. As rapidly as the whipped cream arises, skim it off and place it
in another bowl, likewise surrounded with ice.
4. Do not whip the cream too long or too violently.
5. The downward motion of the beater should be more forcible
than the upward, as the first has a tendency to force the air into the
cream, while the second, on the contrary, tends to expel it.
6. A little powdered sugar should be added to the cream after it is
whipped, in order to sweeten it.
7. Make whipped cream in small quantities and keep it on ice.
I.—Cummins’s Whipped Cream.—Place 12 ounces of rich cream on
the ice for about 1 hour; then with a whipper beat to a consistency
that will withstand its own weight.
II.—Eberle’s Whipped Cream.—Take a pint of fresh, sweet cream,
which has been chilled by being placed on the ice, add to it a
heaping ta­ble­spoon­ful of powdered sugar and 2 ounces of a solution
of gelatin (a spoonful dissolved in 2 ounces of water), whip slowly
for a minute or two until a heavy froth gathers on top. Skim off the
dense froth, and put in container for counter use; continue this until
you have frothed all that is possible.
 III.—Foy’s Whipped Cream.—Use only pure cream; have it ice
cold, and in a convenient dish for whipping with a wire whipper. A
clear, easy, quick, and convenient way is to use a beater. Fill about
one-half full of cream, and beat vigorously for 2 or 3 minutes; a little
powdered sugar may be added before beating. The cream may be
left in the beater, and placed on ice.
IV.—American Soda Fountain Company’s Whipped Cream.—Take 2
earthen bowls and 2 tin pans, each 6 or 8 inches greater in diameter
than the bowls; place a bowl in each pan, surround it with broken
ice, put the cream to be whipped in 1 bowl, and whip it with a
whipped cream churn. The cream should be pure and rich, and
neither sugar nor gelatin should be added to it. As the whipped
cream rises and fills the bowl, remove the churn, and skim off the
whipped cream into the other bowl.
The philosophy of the process is that the churn drives air into the
cream, and blows an infinity of tiny bubbles, which forms the
whipped cream; therefore, in churning, raise the dasher gently and
slowly, and bring it down quickly and forcibly. When the second bowl
is full of whipped cream, pour off the liquid cream, which has settled
to the bottom, into the first bowl, and whip it again. Keep the
whipped cream on ice.
The addition of an even teaspoonful of salt to 1 quart of sweet
cream, before whipping, will make it whip up very readily and stiff,
and stand up much longer and better.

CRESOL EMULSION.
One of the best starting points for the preparation is the
“creosote” obtained from blast furnaces, which is rich in cresols and
contains comparatively little phenols. The proportions used are:
Creosote, 30 parts; soft soap, 10 parts; and solution of soda (10 per
cent), 30 parts. Boil the ingredients together for an hour, then place
aside to settle. The dark fluid is afterwards drained from any oily
portion floating upon the top.
CREAM, COLD: See Cosmetics.
CREAMS FOR THE FACE AND SKIN: See Cosmetics.
CREOSOTE SOAP: See Soap.
CROCKERY: See Ceramics.
CROCKERY CEMENTS: See Adhesives.

CROCUS.
The substance known as “crocus,” which is so exceedingly useful
as a polishing medium for steel, etc., may be very generally obtained
in the cinders produced from coal containing iron. It will be easily
recognized by its rusty color, and should be collected and reduced to
a powder for future use. Steel burnishers may be brought to a high
state of polish with this substance by rubbing them upon a buff
made of soldiers’ belt or hard wood. After this operation, the
burnisher should be rubbed on a second buff charged with jewelers’
rouge.
CRYSTAL CEMENTS FOR REUNITING BROKEN PIECES: See Adhesives, under Cements.
{249}

CRYSTALLIZATION, ORNAMENTAL: See Gardens, Chemical.

CUCUMBER ESSENCE: See Essences and Extracts.
CUCUMBER JELLY, JUICE, AND MILK: See Cosmetics.
CURAÇOA CORDIAL: See Wines and Liquors.
CURTAINS, COLORING OF: See Laundry Preparations.
CURRY POWDER: See Condiments.

CUSTARD POWDER:
 Corn flour 7 pounds
Arrowroot 8 pounds
Oil of almond 20 drops
Oil of nutmegs 10 drops
Tincture of saffron to color.
Mix the tincture with a little of the mixed flours; then add the
essential oils and make into a paste; dry this until it can be reduced
to a powder, and then mix all the ingredients by sifting several times
through a fine hair sieve.
CUTLERY CEMENTS: See Adhesives.
CYLINDER OIL: See Lubricants.
CYMBAL METAL: See Alloys.

DAMASKEENING
Damaskeening, practiced from most ancient times, consists in
ornamentally inlaying one metal with another, followed usually by
polishing. Generally gold or silver is employed for inlaying. The
article to be decorated by damaskeening is usually of iron (steel) or
copper; in Oriental (especially Japanese) work, also frequently of
bronze, which has been blackened, or, at least, darkened, so that the
damaskeening is effectively set off from the ground. If the design
consists of lines, the grooves are dug out with the graver in such a
manner that they are wider at the bottom, so as to hold the metal
forced in. Next, the gold or silver pieces suitably formed are laid on
top and hammered in so as to fill up the opening. Finally the surface
is gone over again, so that the surface of the inlay is perfectly even
with the rest. If the inlays, however, are not in the form of lines, but
are composed of larger pieces of certain outlines, they are
sometimes allowed to project beyond the surface of the metal
decorated. At times there are inlays again in the raised portions of
another metal; thus, Japanese bronze articles often contain figures
of raised gold inlaid with silver.
 Owing to the high value which damaskeening imparts to articles
artistically decorated, many attempts have been made to obtain
similar effects in a cheaper manner. One is electro-etching, described
further on. Another process for the wholesale manufacture of
objects closely resembling damaskeened work is the following: By
means of a steel punch, on which the decorations to be produced
project in relief, the designs are stamped by means of a drop
hammer or a stamping press into gold plated or silver plated sheet
metal on the side which is to show the damaskeening, finally
grinding off the surface, so that the sunken portions are again level.
Naturally, the stamped portion, as long as the depth of the stamping
is at least equal to the thickness of the precious metal on top, will
appear inlaid.
It is believed that much of the early damaskeening was done by
welding together iron and either a steel or an impure or alloyed iron,
and treating the surface with a corroding acid that affected the steel
or alloy without changing the iron.
The variety or damaskeening known as koftgari or kuft-work,
practiced in India, was produced by rough-etching a metallic surface
and laying on gold-leaf, which was imbedded so that it adhered only
to the etched parts of the design.
Damaskeening By Electrolysis.—Damaskeening of metallic
plates may be done by electrolysis. A copper plate is covered with an
isolating layer of feeble thickness, such as wax, and the desired
design is scratched in it by the use of a pointed tool. The plate is
suspended in a bath of sulphate of copper, connecting it with the
positive pole of a battery, while a second copper plate is connected
with the negative pole. The current etches grooves wherever the
wax has been removed. When enough has {250} been eaten away,
remove the plate from the bath, cleanse it with a little hydrochloric
acid to remove any traces of oxide of copper which might appear on
the lines of the design; then wash it in plenty of water and place it in
a bath of silver or nickel, connecting it now with the negative pole,
the positive pole being represented by a leaf of platinum. After a
certain time the hollows are completely filled with a deposit of silver
or nickel, and it only remains to polish the plate, which has the
appearance of a piece damaskeened by hand.
Damaskeening On Enamel Dials.—Dip the dial into molten
yellow wax, trace on the dial the designs desired, penetrating down
to the enamel. Dip the dial in a fluorhydric acid a sufficient length of
time that it may eat to the desired depth. Next, wash in several
waters, remove the wax by means of turpentine, i. e., leave the
piece covered with wax immersed in essence of turpentine. By filling
up the hollows thus obtained with enamel very pretty effects are
produced.
DANDRUFF CURE: See Hair Preparations.

DECALCOMANIA PROCESSES:
See also Chromos, Copying Processes, and Transfer Processes.
The decalcomania process of transferring pictures requires that
the print (usually in colors) be made on a specially prepared paper.
Prints made on decalcomania paper may be transferred in the
reverse to china ware, wood, celluloid, metal, or any hard smooth
surface, and being varnished after transfer (or burnt in, in the case
of pottery) acquire a fair degree of permanence. The original print is
destroyed by the transfer.
Applying Decalcomania Pictures On Ceramic Products
Under A Glaze.—A biscuit-baked object is first coated with a
mixture of alcohol, shellac, varnish, and liquid glue. Then the
prepared picture print is transferred on to this adhesive layer in the
customary manner. The glaze, however, does not adhere to this
coating and would, therefore, not cover the picture when fused on.
To attain this, the layer bearing the transfer picture, as well as the
latter, are simultaneously coated with a dextrin solution of about 10
per cent. When this dextrin coating is dry, the picture is glazed. The
mixing proportions of the two solutions employed, as well as of the
adhesive and the dextrin solutions, vary somewhat according to the
physical conditions of the porcelain, its porosity, etc. The following
may serve for an example: Dissolve 5 parts of shellac or equivalent
gum in 25 parts of spirit and emulsify this liquid with 20 parts of
varnish and 8 parts of liquid glue. After drying, the glaze is put on
and the ware thus prepared is placed in the grate fire.
The process described is especially adapted for film pictures, i. e.,
for such as bear the picture on a cohering layer, usually consisting of
collodion. It cannot be employed outright for gum pictures, i. e., for
such pictures as are composed of different pressed surfaces,
consisting mainly of gum or similar material. If this process is to be
adapted to these pictures as well, the ware, which has been given
the biscuit baking, is first provided with a crude glaze coating,
whereupon the details of the process are carried out as described
above with the exception that there is another glaze coating
between the adhesive coat and the biscuit-baked ware. In this case
the article is also immediately placed in the grate fire. It is
immaterial which of the two kinds of metachromatypes (transfer
pictures) is used, in every case the baking in the muffle, etc., is
dropped. The transfer pictures may also be produced in all colors for
the grate fire.
Decalcomania Paper.—Smooth unsized paper, not too thick, is
coated with the following solutions:
I.—Gelatin, 10 parts, dissolved in 300 parts warm water. This
solution is applied with a sponge. The paper should be dried flat.
II.—Starch, 50 parts; gum tragacanth, dissolved in 600 parts of
water. (The gum tragacanth is soaked in 300 parts of water; in the
other 300 parts the starch is boiled to a paste; the two are then
poured together and boiled.) The dried paper is brushed with this
paste uniformly, a fairly thick coat being applied. The paper is then
allowed to dry again.
III.—One part blood albumen is soaked in 3 parts water for 24
hours. A small quantity of sal ammoniac is added.
The paper, after having been coated with these three solutions
and dried, is run through the printing press, the pictures, however,
being printed reversed so that it may appear in its true position
when transferred. Any colored inks may be used. {251}
IV.—A transfer paper, known as “décalque rapide,” invented by J.
B. Duramy, consists of a paper of the kind generally used for making
pottery transfers, but coated with a mixture of gum and arrowroot
solutions in the proportion of 2 1/2 parts of the latter to 100 of the
former. The coating is applied in the ordinary manner, but the paper
is only semi-glazed. Furthermore, to decorate pottery ware by
means of this new transfer paper, there is no need to immerse the
ware in a bath in order to get the paper to draw off, as it will come
away when moistened with a damp sponge, after having been in
position for less than 5 minutes, whereas the ordinary papers require
a much longer time.
Picture Transferrer.—A very weak solution of soft soap and
pearlashes is used to transfer recent prints, such as illustrations from
papers, magazines, etc., to unglazed paper, on the decalcomania
principle. Such a solution is:
1/
I.— Soft soap 2ounce
Pearlash 2 drachms
Distilled water 16 fluidounces
The print is laid upon a flat surface, such as a drawing board, and
moistened with the liquid. The paper on which the reproduction is
required is laid over this, and then a sheet of thicker paper placed on
the top, and the whole rubbed evenly and hard with a blunt
instrument, such as the bowl of a spoon, until the desired depth of
color in the transferrer is obtained. Another and more artistic
process is to cover the print with a transparent sheet of material
coated with wax, to trace out the pictures with a point and to take
rubbings of the same after powdering with plumbago.
II.— Hard soap 1 drachm
Glycerine 30 grains
Alcohol 4 fluidrachms
Water 1 fluidounce
Dampen the printed matter with the solution by sponging, and
proceed as with I.
DEHORNERS: See Horn.
DELTA METAL: See Alloys.
DEMON BOWLS OF FIRE: See Pyrotechnics.
DENTAL CEMENTS: See Cements.

DENTIFRICES
Tooth Powders:
A perfect tooth powder that will clean the teeth and mouth with
thoroughness need contain but few ingredients and is easily made.
For the base there is nothing better than precipitated chalk; it
possesses all the detergent and polishing properties necessary for
the thorough cleansing of the teeth, and it is too soft to do any
injury to soft or to defective or thinly enameled teeth. This cannot
be said of pumice, cuttlebone, charcoal, kieselguhr, and similar
abradants that are used in tooth powders. Their use is reprehensible
in a tooth powder. The use of pumice or other active abradant is well
enough occasionally, by persons afflicted with a growth of tartar on
the teeth, but even then it is best applied by a competent dentist.
Abrading powders have much to answer for in hastening the day of
the toothless race.
Next in value comes soap. Powdered white castile soap is usually
an ingredient of tooth powders. There is nothing so effective for
removing sordes or thickened mucus from the gums or mouth. But
used alone or in too large proportions, the taste is unpleasant. Orris
possesses no cleansing properties, but is used for its flavor and
because it is most effective for masking the taste of the soap. Sugar
or saccharine may be used for sweetening, and for flavoring almost
anything can be used. Flavors should, in the main, be used singly,
though mixed flavors lack the clean taste of simple flavors.
The most popular tooth powder sold is the white, saponaceous,
wintergreen-flavored powder, and here is a formula for this type:
I.— Precipitated chalk 1 pound
White castile soap 1 ounce
Florentine orris 2 ounces
Sugar (or saccharine, 2
1 ounce
grains)
Oil of wintergreen 1/ ounce
4

The first four ingredients should be in the finest possible powder

and well dried. Triturate the oil of wintergreen with part of the chalk,
and mix this with the balance of the chalk. Sift each ingredient
separately through a sieve (No. 80 or finer), and mix well together,
afterwards sifting the mixture 5 or 6 times. The finer the sieve and
the more the mixture is sifted, the finer and lighter the powder will
be. {252}
This powder will cost about 15 cents a pound.
Pink, rose-flavored powder of the Caswell and Hazard, Hudnut, or
McMahan type, once so popular in New York. It was made in two
styles, with and without soap.
 II.— Precipitated chalk 1 pound
Florentine orris 2 ounces
Sugar 1 1/2 ounces
White castile soap 1 ounce
No. 40 carmine 15 grains
Oil of rose 12 drops
Oil of cloves 4 drops
Dissolve the carmine in an ounce of water of ammonia and
triturate this with part of the chalk until the chalk is uniformly dyed.
Then spread it in a thin layer on a sheet of paper and allow the
ammonia to evaporate. When there is no ammoniacal odor left, mix
this dyed chalk with the rest of the chalk and sift the whole several
times until thoroughly mixed. Then proceed to make up the powder
as in the previous formula, first sifting each ingredient separately
and then together, being careful thoroughly to triturate the oils of
rose and cloves with the orris after it is sifted and before it is added
to the other powders. The oil of cloves is used to back up the oil of
rose. It strengthens and accentuates the rose odor. Be careful not to
get a drop too much, or it will predominate over the rose.
Violet Tooth Powder.—

Precipitated chalk 1 pound

Florentine orris 4 ounces
Castile soap 1 ounce
Sugar 1 1/2 ounces
Extract of violet 1/ ounce
4
Evergreen coloring, R. & F., quantity sufficient.
Proceed as in the second formula, dyeing the chalk with the
evergreen coloring to the desired shade before mixing.
 III.— Precipitated chalk 16 pounds
Powdered orris 4 pounds
Powdered cuttlefish bone 2 pounds
Ultramarine 9 1/2 ounces
Geranium lake 340 grains
Jasmine 110 minims
Oil of neroli 110 minims
Oil of bitter almonds 35 minims
Vanillin 50 grains
Artificial musk (Lautier’s) 60 grains
Saccharine 140 grains
Rub up the perfumes with 2 ounces of alcohol, dissolve the
saccharine in warm water, add all to the orris, and set aside to dry.
Rub the colors up with water and some chalk, and when dry pass all
through a mixer and sifter twice to bring out the color.
Camphorated And Carbolated Powders.—A camphorated tooth
powder may be made by leaving out the oil of wintergreen in the
first formula and adding 1 1/2 ounces of powdered camphor.
Carbolated tooth powder may likewise be made with the first
formula by substituting 2 drachms of liquefied carbolic acid for the
oil of wintergreen. But the tooth powder gradually loses the odor
and taste of the acid. It is not of much utility anyway, as the castile
soap in the powder is of far greater antiseptic power than the small
amount of carbolic acid that can safely be combined in a tooth
powder. Soap is one of the best antiseptics.
Alkaline salts, borax, sodium bicarbonate, etc., are superfluous in
a powder already containing soap. The only useful purpose they
might serve is to correct acidity of the mouth, and that end can be
reached much better by rinsing the mouth with a solution of sodium
bicarbonate. Acids have no place in tooth powders, the French
Codex to the contrary notwithstanding.
 Peppermint As A Flavor.—In France and all over Europe peppermint
is the popular flavor, as wintergreen is in this country.
English apothecaries use sugar of milk and heavy calcined
magnesia in many of their tooth powders. Neither has any particular
virtue as a tooth cleanser, but both are harmless. Cane sugar is
preferable to milk sugar as a sweetener, and saccharine is more
efficient, though objected to by some; it should be used in the
proportion of 2 to 5 grains to the pound of powder, and great care
taken to have it thoroughly distributed throughout.
An antiseptic tooth powder, containing the antiseptic ingredients of
listerine, is popular in some localities.
IV.— Precipitated chalk 1 pound
Castile soap 5 drachms
Borax 3 drachms
Thymol 20 grains
Menthol 20 grains
Eucalyptol 20 grains
Oil of wintergreen 20 grains
Alcohol 1/ ounce
2

Dissolve the thymol and oils in the alcohol, and triturate with the
chalk, and proceed as in the first formula. {253}
One fault with this powder is the disagreeable taste of the thymol.
This may be omitted and the oil of wintergreen increased to the
improvement of the taste, but with some loss of antiseptic power.
Antiseptic Powder.—

V.— Boric acid 50 parts

Salicylic acid 50 parts
Dragon’s blood 20 parts
Calcium carbonate 1,000 parts
Essence spearmint 12 parts
Reduce the dragon’s blood and calcium carbonate to the finest
powder, and mix the ingredients thoroughly. The powder should be
used twice a day, or even oftener, in bad cases. It is especially
recommended in cases where the enamel has become eroded from
the effects of iron.
Menthol Tooth Powder.—Menthol leaves a cool and pleasant
sensation in the mouth, and is excellent for fetid breath. It may be
added to most formulas by taking an equal quantity of oil of
wintergreen and dissolving in alcohol.
Menthol 1 part
Salol 8 parts
Soap, grated fine 20 parts
Calcium carbonate 20 parts
Magnesia carbonate 60 parts
Essential oil of mint 2 parts
Powder finely and mix. If there is much tartar on the teeth it will
be well to add to this formula from 10 to 20 parts of pumice,
powdered very finely.
Tooth Powders And Pastes.—Although the direct object of these is
to keep the teeth clean and white, they also prevent decay, if it is
only by force of mere cleanliness, and in this way (and also by
removing decomposing particles of food) tend to keep the breath
sweet and wholesome. The necessary properties of a tooth powder
are cleansing power unaccompanied by any abrading or chemical
action on the teeth themselves, a certain amount of antiseptic power
to enable it to deal with particles of stale food, and a complete
absence of any disagreeable taste or smell. These conditions are
easy to realize in practice, and there is a very large number of
efficient and good powders, as well as not a few which are apt to
injure the teeth if care is not taken to rinse out the mouth very
thoroughly after using. These powders include some of the best
cleansers, and have hence been admitted in the following recipes,
mostly taken from English collections.
 I.—Charcoal and sugar, equal weights. Mix and flavor with clove
oil.
 II.— Charcoal 156 parts
Red kino 156 parts
Sugar 6 parts
Flavor with peppermint oil
III.— Charcoal 270 parts
Sulphate of quinine 1 part
Magnesia 1 part
Scent to liking.
IV.— Charcoal 30 parts
Cream of tartar 8 parts
Yellow cinchona bark 4 parts
Sugar 15 parts
Scent with oil of cloves.
V.— Sugar 120 parts
Alum 10 parts
Cream of tartar 20 parts
Cochineal 3 parts
VI.— Cream of tartar 1,000 parts
Alum 190 parts
Carbonate of magnesia 375 parts
Sugar 375 parts
Cochineal 75 parts
Essence Ceylon cinnamon 90 parts
Essence cloves 75 parts
Essence English
45 parts
peppermint
VII.— Sugar 200 parts
Cream of tartar 400 parts
Magnesia 400 parts
Starch 400 parts
Cinnamon 32 parts
Mace 11 parts
Sulphate of quinine 16 parts
Carmine 17 parts
Scent with oil of peppermint and oil of rose.
 VIII.— Bleaching powder 11 parts
Red coral 12 parts
IX.— Red cinchona bark 12 parts
Magnesia 50 parts
Cochineal 9 parts
Alum 6 parts
Cream of tartar 100 parts
English peppermint oil 4 parts
Cinnamon oil 2 parts
Grind the first five ingredients separately, then mix the alum with
the cochineal, and then add to it the cream of tartar and the bark. In
the meantime the magnesia is mixed with the essential oils, and
finally the whole mass is mixed through a very fine silk sieve.
 X.— Whitewood charcoal 250 parts
Cinchona bark 125 parts
Sugar 250 parts
Peppermint oil 12 parts
Cinnamon oil 8 parts
XI.— Precipitated chalk 750 parts
Cream of tartar 250 parts
Florence orris root 250 parts
Sal ammoniac 60 parts
Ambergris 4 parts
Cinnamon 4 parts
Coriander 4 parts
Cloves 4 parts
Rosewood 4 parts
XII.— Dragon’s blood 250 parts
Cream of tartar 30 parts
Florence orris root 30 parts
Cinnamon 16 parts
Cloves 8 parts
XIII.— Precipitated chalk 500 parts
Dragon’s blood 250 parts
Red sandalwood 125 parts
Alum 125 parts
Orris root 250 parts
Cloves 15 parts
Cinnamon 15 parts
Vanilla 8 parts
Rosewood 15 parts
Carmine lake 250 parts
Carmine 8 parts
XIV.— Cream of tartar 150 parts
Alum 25 parts
Cochineal 12 parts
Cloves 25 parts
Cinnamon 25 parts
Rosewood 6 parts
 Scent with essence of rose.
XV.— Coral 20 parts
Sugar 20 parts
Wood charcoal 6 parts
Essence of vervain 1 part
XVI.— Precipitated chalk 500 parts
Orris root 500 parts
Carmine 1 part
Sugar 1 part
Essence of rose 4 parts
Essence of neroli 4 parts
XVII.— Cinchona bark 50 parts
Chalk 100 parts
Myrrh 50 parts
Orris root 100 parts
Cinnamon 50 parts
Carbonate of ammonia 100 parts
Oil of cloves. 2 parts
XVIII. Gum arabic 30 parts
— Cutch 80 parts
Licorice juice 550 parts
Cascarilla 20 parts
Mastic 20 parts
Orris root 20 parts
Oil of cloves 5 parts
Oil of peppermint 15 parts
Extract of amber 5 parts
Extract of musk 5 parts
XIX.— Chalk 200 parts
Cuttlebone 100 parts
Orris root 100 parts
Bergamot oil 2 parts
Lemon oil 4 parts
Neroli oil 1 part
Portugal oil 2 parts
 XX.— Borax 50 parts
Chalk 100 parts
Myrrh 25 parts
Orris root 22 parts
Cinnamon 25 parts
XXI.— Wood charcoal 30 parts
White honey 30 parts
Vanilla sugar 30 parts
Cinchona bark 16 parts
Flavor with oil of peppermint.
XXII.— Syrup of 33° B. 38 parts
Cuttlebone 200 parts
Carmine lake 30 parts
English oil of peppermint 5 parts
XXIII. Red coral 50 parts
— Cinnamon 12 parts
Cochineal 6 parts
Alum 2 1/8 parts
Honey 125 parts
Water 6 parts
Triturate the cochineal and the alum with the water. Then, after
allowing them to stand for 24 hours, put in the honey, the coral, and
the cinnamon. When the effervescence has ceased, which happens
in about 48 hours, flavor with essential oils to taste.
 XXIV.— Well-skimmed honey 50 parts
Syrup of peppermint 50 parts
Orris root 12 parts
Sal ammoniac 12 parts
Cream of tartar 12 parts
Tincture of cinnamon 3 parts
Tincture of cloves 3 parts
Tincture of vanilla 3 parts
Oil of cloves 1 part
XXV.— Cream of tartar 120 parts
Pumice 120 parts
Alum 30 parts
Cochineal 30 parts
Bergamot oil 3 parts
Clove 3 parts
Make to a thick paste with honey or sugar.
XXVI.— Honey 250 parts
Precipitated chalk 250 parts
Orris root 250 parts
Tincture of opium 7 parts
Tincture of myrrh 7 parts
Oil of rose 2 parts
Oil of cloves 2 parts
Oil of nutmeg 2 parts
XXVII. Florentine orris 6 parts
— Magnesium carbonate 2 parts
Almond soap 12 parts
Calcium carbonate 60 parts
Thymol 1 part
Alcohol, quantity sufficient.
Powder the solids and mix. Dissolve the thymol in as little alcohol
as possible, and add perfume in a mixture in equal parts of oil of
peppermint, oil of clove, oil of lemon, and oil of eucalyptus. About 1
minim of each to every ounce of powder will be sufficient.
 XXVIII.—Myrrh, 10 parts; sodium chloride, 10 parts; soot, 5 parts;
soap, 5 parts; lime carbonate, 500 parts.
XXIX.—Camphor, 5 parts; soap, 10 parts; saccharine, 0.25 parts;
thymol, 0.5 parts; lime carbonate, 500 parts. Scent, as desired, with
rose oil, sassafras oil, wintergreen oil, or peppermint oil.
XXX.—Powdered camphor, 6 parts; myrrh, 15 parts; powdered
Peruvian bark, 6 parts; distilled water, 12 parts; alcohol of 80° F., 50
parts. Macerate the powders in the alcohol for a week and then filter.
XXXI.—Soap, 1; saccharine. 0.025; thymol, 0.05; lime carbonate,
50; sassafras essence, enough to perfume.
XXXII.—Camphor, 0.5; soap, 1; saccharine, 0.025; calcium
carbonate, 50; oil of sassafras, or cassia, or of gaultheria, enough to
perfume.
XXXIII.—Myrrh, 1; sodium chloride, 1; soap, 50; lime carbonate,
50; rose oil as required.
XXXIV.—Precipitated calcium carbonate, 60 parts; quinine
sulphate, 2 parts; saponine, 0.1 part; saccharine, 0.1 part; carmine
as required; oil of peppermint, sufficient.
XXXV.—Boracic acid, 100 parts; powdered starch, 50 parts; quinine
hydrochlorate, 10 parts; saccharine, 1 part; vanillin (dissolved in
alcohol), 1.5 parts.
Neutral Tooth Powder.—Potassium chlorate, 200 parts; starch, 200
parts; carmine lake, 40 parts; saccharine (in alcoholic solution), 1
part; vanillin (dissolved in alcohol), 1 part.
Tooth Powder For Children.—

Magnesia carbonate 10 parts

Medicinal soap 10 parts
Sepia powder 80 parts
Peppermint oil, quantity sufficient
to flavor.
Flavorings For Dentifrice.—