Now when the odor of lavender and odor of cloves are mixed, they produce a new fragrance, i.e. Rondeletia! It is such combinations that constitute in reality "a new perfume," which, though often advertised, is very rarely attained. Jasmine and patchouly produce a novel aroma, and many others in like manner; proportion and relative strength, when so mixed, must of course be studied, and the substances used accordingly. If the same quantity of any given otto be dissolved in a like proportion of spirit, and the solution be mixed in equal proportions, the strongest odor is instantly indicated by covering or hiding the presence of the other. In this way we discover that patchouly, lavender, neroli, and verbena are the most potent of the vegetable odors, and that violet, tubereuse, and jasmine are the most delicate.

Many persons will at first consider that we are asking too much, when we express a desire to have the same deference paid to the olfactory nerve, as to the other nerves that influence our physical pleasures and pains. By tutoring the olfactory nerve, it is capable of perceiving matter in the atmosphere of the most subtle nature: not only that which is pleasant, but also such as are unhealthful. If an unpleasant odor is a warning to seek a purer atmosphere, surely it is worth while to cultivate that power which enables us to act up to that warning for the general benefit of health.

To return, however, to Rondeletia: it will be seen by the annexed formulae, that, besides the main ingredients to which it owes its peculiar character—that is, cloves and lavender—it contains musk, vanilla, &c. These substances are used in these as in nearly all other bouquets for the sole purpose of fixing the more volatile odors to the handkerchief.

ESSENCE OF RONDELETIA.

Spirit (brandy 60 o.p.), 1 gallon. Otto of lavender, 2 oz. " cloves, 1 oz. " roses, 3 drachms. " bergamot, 1 oz. Extract of musk, } " vanilla, } each, 1/4 pint. " ambergris, }

The mixture must be made at least a month before it is fit for sale. Very excellent Rondeletia may also be made with English spirit.

BOUQUET ROYAL.

Extract of rose (from pomade), 1 pint. Esprit de rose, triple, 1/2 " Extract of jasmine, } from pomade, each, 1/2 " " violet, } " verbena, } each, 2-1/2 oz. " cassie, } Otto of lemons, } each, 1/4 oz. " bergamot, } Extract of musk, } each, 1 oz. " ambergris, }

SUAVE.

Extract of tubereuse, } " jasmine, } from pomade, each, 1 pint. " cassie, } " rose, } " vanilla, 5 oz. " musk, } each, 2 oz. " ambergris, } Otto of bergamot, 1/4 oz. " cloves, 1 drachm.

SPRING FLOWERS.

Extract of rose, } from pomade, each, 1 pint. " violet, } " rose, triple, 2-1/2 oz. " cassie, 2-1/2 oz. Otto of bergamot, 2 drachms. Extract of ambergris, 1 oz.

The just reputation of this perfume places it in the first rank of the very best mixtures that have ever been made by any manufacturing perfumer. Its odor is truly flowery, but peculiar to itself. Being unlike any other aroma it cannot well be imitated, chiefly because there is nothing that we are acquainted with that at all resembles the odor of the esprit de rose, as derived from macerating rose pomade in spirit, to which, and to the extract of violet, nicely counterpoised, so that neither odor predominates, the peculiar character of "Spring Flowers" is due; the little ambergris that is present gives permanence to the odor upon the handkerchief, although from the very nature of the ingredients it may be said to be a fleeting odor. "Spring Flowers" is an Englishman's invention, but there is scarcely a perfumer in Europe that does not attempt an imitation.

TULIP NOSEGAY.

Nearly all the tulip tribe, although beautiful to the eye, are inodorous. The variety called the Duc Van Thol, however, yields an exquisite perfume, but it is not used by the manufacturer for the purpose of extracting its odor. He, however, borrows its poetical name, and makes an excellent imitation thus:—

Extract of tubereuse, } from pomade each, 1 pint. " violet, } " rose, 1/2 " " orris, 3 oz. Otto of almonds, 3 drops.

VIOLETTE DES BOIS.

Under the head Violet, we have already explained the method of preparing the extract or essence of that modest flower. The Parisian perfumers sell a mixture of violet, which is very beautiful, under the title of the Violet des Bois, or the Wood Violet, which is made thus:—

Extract of violet, 1 pint. " orris, 3 oz. " cassie, 3 oz. " rose (from pomade) 3 oz. Otto of almonds, 3 drops.

This mixture, in a general way, gives more satisfaction to the customer than the pure violet.

WINDSOR CASTLE BOUQUET.

Alcohol, 1 pint. Otto of neroli, } " rose, } each, 1/4 oz. " lavender, } " bergamot, } " cloves, 8 drops. Extract of orris, 1 pint. " jasmine, } each, 1/4 " " cassie, } " musk, } each, 2-1/2 oz. " ambergris, }

YACHT CLUB BOUQUET.

Extract of santal, 1 pint. " neroli, 1 " " jasmine, } each, 1/2 " " rose triple, } " vanilla, 1/4 " Flowers of benzoin, 1/4 oz.

We have now completed the branch of the Art of Perfumery which relates to handkerchief perfumes, or wet perfumery. Although we have rather too much encroached upon the space of this work in giving the composition of so many bouquets, yet there are many left unnoticed which are popular. Those that are given are noted more particularly for the peculiar character of their odor, and are selected from more than a thousand recipes that have been practically tried.

Those readers who require to know anything about the simple extracts of flowers are referred to them under their respective alphabetical titles.



SECTION VII.

The previous articles have exclusively treated of Wet Perfumes; the present matter relates, to Dry Perfumes,—sachet powders, tablets, pastilles, fumigation by the aid of heat of volatile odorous resins, &c. &c. The perfumes used by the ancients were, undoubtedly, nothing more than the odoriferous gums which naturally exude from various trees and shrubs indigenous to the Eastern hemisphere: that they were very extensively used and much valued, we have only to read the Scriptures for proofs:—"Who is this that cometh ... perfumed with myrrh and frankincense, with all the powders of the merchant?" (Song of Solomon, 3:6.) Abstaining from the use of perfume in Eastern countries is considered as a sign of humiliation:—"The Lord will take away the tablets, and it shall come to pass that instead of a sweet smell there shall be a stink." (Exod. 35:22; Isaiah 3:20, 24.) The word tablets in this passage means perfume boxes, curiously inlaid, made of metal, wood, and ivory. Some of these boxes may have been made in the shape of buildings, which would explain the word palaces, in Psalm 14:8:—"All thy garments smell of myrrh, and aloes, and cassia, out of the ivory palaces, whereby they have made thee glad." From what is said in Matt. 2:11, it would appear that perfumes were considered among the most valuable gifts which man could bestow;—"And when they (the wise men) had opened their treasures, they presented unto him (Christ) gifts; gold, and frankincense, and myrrh." As far as we are able to learn, all the perfumes used by the Egyptians and Persians during the early period of the world were dry perfumes, consisting of spikenard (Nardostachys jatamansi), myrrh, olibanum, and other gum-resins, nearly all of which are still in use by the manufacturers of odors. Among the curiosities shown at Alnwick Castle is a vase that was taken from an Egyptian catacomb. It is full of a mixture of gum-resin, &c., which evolve a pleasant odor to the present day, although probably 3000 years old. We have no doubt that the original use of this vase and its contents were for perfuming apartments, in the same way that pot pourri is now used.

SACHET POWDERS.

The French and English perfumers concoct a great variety of these substances, which being put into silk bags, or ornamental envelopes, find a ready sale, being both good to smell and economical as a means of imparting an agreeable odor to linen and clothes as they lie in drawers. The following formula shows their composition. Every material is either to be ground in a mill, or powdered in a mortar, and afterwards sifted.

SACHET AU CYPRE.

Ground rose-wood, 1 lb. " cedar-wood, 1 lb. " santal-wood, 1 lb. Otto of rhodium, or otto of rose, 3 drachms.

Mix and sift; it is then fit for sale.

SACHET A LA FRANGIPANNE.

Orris-root powder, 3 lbs. Vitivert powder, 1/4 lb. Santal-wood powder, 1/4 lb. Otto of neroli, } " rose, } of each, 1 drachm. " santal, } Musk-pods, ground, 1 oz.

The name of this sachet has been handed down to us as being derived from a Roman of the noble family of Frangipani. Mutio Frangipani was an alchemist, evidently of some repute, as we have another article called rosolis, or ros-solis, sun-dew, an aromatic spirituous liquor, used as a stomachic, of which he is said to be the inventor, composed of wine, in which is steeped coriander, fennel, anise, and musk.

HELIOTROPE SACHET.

Powdered orris, 2 lbs. Rose leaves, ground, 1 lb. Tonquin beans, ground, 1/2 lb. Vanilla beans, 1/4 lb. Grain musk, 1/4 oz. Otto of almonds, 5 drops.

Well mixed by sifting in a coarse sieve, it is fit for sale.

It is one of the best sachets made, and is so perfectly au naturel in its odor to the flower from which it derives its name, that no person unacquainted with its composition would, for an instant, believe it to be any other than the "real thing."

LAVENDER SACHET.

Lavender flowers, ground, 1 lb. Gum benzoin, in powder, 1/4 lb. Otto of lavender, 1/4 oz.

SACHET A LA MARECHALE.

Powder of santal-wood, 1/2 lb. " orris-root, 1/2 lb. Rose-leaves, ground, 1/4 lb. Cloves, ground, 1/4 lb. Cassia-bark, 1/4 lb. Grain musk, 1/2 drachm.

SACHET A LA MOUSSELAINE.

Vitivert, in powder, 1 lb. Santal-wood, } Orris, } each, 1/2 lb. Black-currant leaves (casse), 1/2 lb. Benzoin, in powder, 1/4 lb. Otto of thyme, 5 drops. " roses, 1/2 drachm.

MILLEFLEUR SACHET.

Lavender-flowers, ground, } Orris, } each, 1 lb. Rose-leaves, } Benzoin, } Tonquin, } Vanilla, } each, 1/4 lb. Santal, } Musk and civet, 2 drachms. Cloves, ground, 1/4 lb. Cinnamon, } each, 2 oz. Allspice, }

PORTUGAL SACHET.

Dried orange-peel, 1 lb. " lemon-peel, 1/2 lb. " orris-root, 1/2 lb. Otto of orange-peel, 1 oz. " neroli, 1/4 drachm. " lemon-grass, 1/4 "

PATCHOULY SACHET.

Patchouly herb, ground, 1 lb. Otto of patchouly, 1/4 drachm.

Patchouly herb is often sold in its natural state, as imported, tied up in bundles of half a pound each.

POT POURRI.

This is a mixture of dried flowers and spices not ground.

Dried lavender, 1 lb. Whole rose-leaves, 1 lb. Crushed orris (coarse), 1/2 lb. Broken cloves, } " cinnamon, } each, 2 oz. " allspice, } Table salt, 1 lb.

We need scarcely observe that the salt is only used to increase the bulk and weight of the product, in order to sell it cheap.

OLLA PODRIDA.

This is a similar preparation to pot pourri. No regular form can be given for it, as it is generally made, or "knocked up," with the refuse and spent materials derived from other processes in the manufacture of perfumery; such as the spent vanilla after the manufacture of tincture or extract of vanilla, or of the grain musk from the extract of musk, orris from the tincture, tonquin beans, after tincturation, &c. &c., mixed up with rose-leaves, lavender, or any odoriferous herbs.

ROSE SACHET.

Rose heels or leaves, 1 lb. Santal-wood, ground, 1/2 lb. Otto of roses, 1/4 oz.

SANTAL-WOOD SACHET.

This is a good and economical sachet, and simply consists of the ground wood. Santal-wood is to be purchased from some of the wholesale drysalters; the drug-grinders are the people to reduce it to powder for you—any attempt to do so at home will be found unavailable, on account of its toughness.

SACHET (without a name).

Dried thyme, } " lemon thyme, } of each, 1/4 lb. " mint, } " marjoram, } " lavender, 1/2 lb. " rose heels, 1 lb. Ground cloves, 2 oz. Allspice, 2 oz. Musk in grain, 1 drachm.

VERVAIN SACHET.

Lemon-peel, dried and ground, 1 lb. " thyme, 1/4 lb. Otto of lemon-grass, 1 drachm. " " peel, 1/2 oz. " bergamot, 1 oz.

VITIVERT SACHET.

The fibrous roots of the Anthoxanthum muricatum being ground, constitute the sachet, bearing the name as above, derived from the Tamool name, vittie vayer, and by the Parisian vetiver. Its odor resembles myrrh. Vitivert is more often sold tied up in bunches, as imported from India, than ground, and is used for the prevention of moth, rather than as a perfume.

VIOLET SACHET.

Black-currant leaves (casse), 1 lb. Rose heels or leaves, 1 lb. Orris-root powder, 2 lbs. Otto of almonds, 1/4 drachm. Grain musk, 1 " Gum benzoin, in powder, 1/2 lb.

Well mix the ingredients by sifting; keep them together for a week in a glass or porcelain jar before offering for sale.

There are many other sachets manufactured besides those already given, but for actual trade purposes there is no advantage in keeping a greater variety than those named. There are, however, many other substances used in a similar way; the most popular is the

PEAU D'ESPAGNE.

Peau d'Espagne, or Spanish skin, is nothing more than highly perfumed leather. Good sound pieces of wash leather are to be steeped in a mixture of ottos, in which are dissolved some odoriferous gum-resins, thus:—Otto of neroli, otto of rose, santal, of each half an ounce; otto of lavender, verbena, bergamot, of each a quarter of an ounce; otto of cloves and cinnamon, of each two drachms; with any others thought fit. In this mixture dissolve about two ounces of gum benzoin; now place the skin to steep in it for a day or so, then hang it over a line to dry. A paste is now to be made by rubbing in a mortar one drachm of civet with one drachm of grain musk, and enough solution of gum acacia or gum tragacantha to give it a spreading consistence; a little of any of the ottos that may be left from the steep stirred in with the civet, &c., greatly assists in making the whole of an equal body; the skin being cut up into pieces of about four inches square are then to be spread over, plaster fashion, with the last-named compost; two pieces being put together, having the civet plaster inside them, are then to be placed between sheets of paper, weighed or pressed, and left to dry thus for a week; finally, each double skin, now called peau d'Espagne, is to be enveloped in some pretty silk or satin, and finished off to the taste of the vender.

Skin or leather thus prepared evolves a pleasant odor for years, and hence they are frequently called "the inexhaustible sachet." Being flat, they are much used for perfuming writing-paper.

The lasting odor of Russia leather is familiar to all and pleasing to many; its perfume is due to the aromatic saunders-wood with which it is tanned, and to the empyreumatic oil of the bark of the birch tree, with which it is curried. The odor of Russia leather is, however, not recherche enough to be considered as a perfume; but, nevertheless, leather can be impregnated by steeping in the various ottos with any sweet scent, and which it retains to a remarkable degree, especially with otto of santal or lemon-grass (Verbena). In this manner the odor of the peau d'Espagne can be greatly varied, and gives great satisfaction, on account of the permanence of its perfume.

PERFUMED LETTER-PAPER.

If a piece of peau d'Espagne be placed in contact with paper, the latter absorbs sufficient odor to be considered as "perfumed;" it is obvious that paper for writing upon must not be touched with any of the odorous tinctures or ottos, on account of such matters interfering with the fluidity of the ink and action of the pen; therefore, by the process of infection, as it were, alone can writing paper be perfumed to advantage.

Besides the sachets mentioned there are many other substances applied as dry perfumes, such as scented wadding, used for quilting into all sorts of articles adapted for use in a lady's boudoir. Pincushions, jewel cases, and the like are lined with it. Cotton, so perfumed, is simply steeped in some strong essence of musk, &c.

PERFUMED BOOK-MARKERS.

We have seen that leather can be impregnated with odoriferous substances, in the manufacture of peau d'Espagne; just so is card-board treated prior to being made up into book-marks. In finishing them for sale, taste alone dictates their design; some are ornamented with beads, others with embroidery.

CASSOLETTES AND PRINTANIERS.

Cassolettes and Printaniers are little ivory boxes, of various designs, perforated in order to allow the escape of the odors contained therein. The paste used for filling these "ivory palaces whereby we are made glad," is composed of equal parts of grain musk, ambergris, seeds of the vanilla-pod, otto of roses, and orris powder, with enough gum acacia, or gum tragacantha, to work the whole together into a paste. These things are now principally used for perfuming the pocket or reticule, much in the same way that ornamental silver and gold vinagrettes are used.

PASTILS.

There is no doubt whatever that the origin of the use of pastils, or pastilles, as they are more often called, from the French, has been derived from the use of incense at the altars of the temples during the religious services:—"According to the custom of the priest's office, his lot (Zacharias') was to burn incense when he went into the temple of the Lord." (Luke 1:9.) "And thou shalt make an altar to burn incense.... And Aaron shall burn thereon sweet incense every morning when he dresseth the lamps, and at even when he lighteth the lamps he shall burn incense upon it." (Exodus 30.)

An analogous practice is in use to the present day in the Roman Catholic churches, but, instead of being consumed upon an altar, the incense is burned in a censer, as doubtless many of our readers have seen. "As soon as the signal was given by the chief priest the incense was kindled, the holy place was filled with perfume, and the congregation without joined in prayers." (Carpenters Temple service of the Hebrews.)

THE CENSER.

"On the walls of every temple in Egypt, from Meroee to Memphis, the censer is depicted smoking before the presiding deity of the place; on the walls of the tombs glow in bright colors the preparation of spices and perfumes." In the British Museum there is a vase (No. 2595) the body of which is intended to contain a lamp, the sides being perforated to admit the heat from the flame to act upon the projecting tubes; which are intended to contain ottos of flowers placed in the small vases at the end of the tubes; the heat volatilizes the ottos, and quickly perfumes an apartment. This vase or censer is from an Egyptian catacomb.



The Censer, as used in the "holy places," is made either of brass, German silver, or the precious metals; its form somewhat resembles a saucer and an inverted cup, which latter is perforated, to allow the escape of the perfume. In the outer saucer is placed an inner one of copper, which can be taken out and filled with ignited charcoal. When in use, the ignited carbon is placed in the censer, and is then covered with the incense; the heat rapidly volatilizes it in visible fumes. The effect is assisted by the incense-bearer swinging the censer, attached to three long chains, in the air. The manner of swinging the censer varies slightly in the churches in Rome, in France, and in England, some holding it above the head. At LA MADELEINE the method is always to give the censer a full swing at the greatest length of the chains with the right hand, and to catch it up short with the left hand.

Several samples of "incense prepared for altar service," as sent out by Mr. Martin, of Liverpool, appear to be nothing more than gum olibanum, of indifferent quality, and not at all like the composition as especially commanded by God, the form for which is given in full in Exodus.

The pastils of the moderns are really but a very slight modification of the incense of the ancients. For many years they were called Osselets of Cyprus. In the old books on pharmacy a certain mixture of the then known gum-resins was called Suffitus, which being thrown upon hot ashes produced a vapor which was considered to be salutary in many diseases.

It is under the same impression that pastils are now used, or at least to cover the mal odeur of the sick-chamber.

There is not much variety in the formula of the pastils that are now in use; we have first the

INDIAN, OR YELLOW PASTILS.

Santal-wood, in powder, 1 lb. Gum benzoin, 1-1/2 lb. " Tolu, 1/4 lb. Otto of santal, } " cassia, } each, 3 drachms. " cloves, } Nitrate of potass, 1-1/2 oz. Mucilage of tragacantha, q.s. to make the whole into a stiff paste.

The benzoin, santal-wood, and Tolu, are to be powdered and mixed by sifting them, adding the ottos. The nitre being dissolved in the mucilage, is then added. After well beating in a mortar, the pastils are formed in shape with a pastil mould, and gradually dried.

The Chinese josticks are of a similar composition, but contain no Tolu. Josticks are burned as incense in the temples of the Buddahs in the Celestial Empire, and to such an extent as to greatly enhance the value of santal-wood.

DR. PARIS'S PASTILS.

Benzoin, } Cascarilla, } of each, 1/4 lb. Myrrh, 1-1/4 oz. Charcoal, 1-1/2 lb. Otto of nutmegs, } of each, " cloves, } 3/4 oz. Nitre, 2 oz.

Mix as in the preceding.

PERFUMER'S PASTILS.

Well-burned charcoal, 1 lb. Benzoin, 3/4 lb. Tolu, } Vanilla pods, } of each, 1/4 lb. Cloves, } Otto of santal, } " neroli, } of each, 2 dr. Nitre, 1-1/2 oz. Mucilage tragacantha, q.s.

PIESSE'S PASTILS.

Willow charcoal, 1/2 lb. Benzoic acid, 6 oz. Otto of thyme, } " caraway, } " rose, } of each, 1/2 dr. " lavender,} " cloves, } " santal, }

Prior to mixing, dissolve 3/4 oz. nitre in half a pint of distilled or ordinary rose water; with this solution thoroughly wet the charcoal, and then allow it to dry in a warm place.

When the thus nitrated charcoal is quite dry, pour over it the mixed ottos, and stir in the flowers of benzoin. When well mixed by sifting (the sieve is a better tool for mixing powders than the pestle and mortar), it is finally beaten up in a mortar, with enough mucilage to bind the whole together, and the less that is used the better.

A great variety of formulae have been published for the manufacture of pastils; nine-tenths of them contain some woods or bark, or aromatic seeds. Now, when such substances are burned, the chemist knows that if the ligneous fibre contained in them undergoes combustion—the slow combustion—materials are produced which have far from a pleasant odor; in fact, the smell of burning wood predominates over the volatilized aromatic ingredients; it is for this reason alone that charcoal is used in lieu of other substances. The use of charcoal in a pastil is merely for burning, producing, during its combustion, the heat required to quickly volatilize the perfuming material with which it is surrounded. The product of the combustion of charcoal is inodorous, and therefore does not in any way interfere with the fragrance of the pastil. Such is, however, not the case with any ingredients that may be used that are not in themselves perfectly volatile by the aid of a small increment of heat. If combustion takes place, which is always the case with all the aromatic woods that are introduced into pastils, we have, besides the volatilized otto which the wood contains, all the compounds naturally produced by the slow burning of ligneous matter, spoiling the true odor of the other ingredients volatilized.

There are, it is true, certain kinds of fumigation adopted occasionally where these products are the materials sought. By such fumigation, as when brown paper is allowed to smoulder (undergo slow combustion) in a room for the purpose of covering bad smells. By the quick combustion of tobacco, that is, combustion with flame, there is no odor developed, but by its slow combustion, according to the method adopted by those who indulge in "the weed," the familiar aroma, "the cloud," is generated, and did not exist ready formed in the tobacco. Now a well-made pastil should not develope any odor of its own, but simply volatilize that fragrant matter, whatever it be, used in its manufacture. We think that the fourth formula given above carries out that object.

It does not follow that the formulae that are here given produce at all times the odor that is most approved; it is evident that in pastils, as with other perfumes, a great deal depends upon taste. Many persons very much object to the aroma of benzoin, while they greatly admire the fumes of cascarilla.

THE PERFUME LAMP.

Shortly after the discovery of the peculiar property of spongy platinum remaining incandescent in the vapor of alcohol, the late Mr. I. Deck, of Cambridge, made a very ingenious application of it for the purpose of perfuming apartments. An ordinary spirit lamp is filled with Eau de Cologne, and "trimmed" with a wick in the usual manner. Over the centre of the wick, and standing about the eighth of an inch above it, a small ball of spongy platinum is placed, maintained in its position by being fixed to a thin glass rod, which is inserted into the wick.



Thus arranged, the lamp is to be lighted and allowed to burn until the platinum becomes red hot; the flame may then be blown out, nevertheless the platinum remains incandescent for an indefinite period. The proximity of a red-hot ball to a material of the physical quality of Eau de Cologne, diffused over a surface of cotton wick, as a matter of course causes its rapid evaporation, and as a consequence the diffusion of odor.

Instead of the lamp being charged with Eau de Cologne, we may use Eau de Portugal, vervaine, or any other spirituous essence. Several perfumers make a particular mixture for this purpose, which is called

EAU A BRULER.

Eau de Cologne, 1 pint. Tincture of benzoin, 2 oz. " vanilla, 1 oz. Otto of thyme, } " mint, } of each, 1/2 drachm. " nutmeg, }

Another form, called

EAU POUR BRULER.

Rectified spirit, 1 pint. Benzoic acid, 1/2 oz. Otto of thyme, } of each, 1 drachm. " caraway, } " bergamot, 2 oz.

Persons who are in the habit of using the perfume lamps will, however frequently observe that, whatever difference there may be in the composition of the fluid introduced into the lamp, there is a degree of similarity in the odor of the result when the platinum is in action. This arises from the fact, that so long as there is the vapor of alcohol, mixed with oxygen-air, passing over red-hot platinum, certain definite products always result, namely, acetic acid, aldehyde, and acetal, which are formed more or less and impart a peculiar and rather agreeable fragrance to the vapor, but which overpowers any other odor that is present.

FUMIGATING PAPER.

There are two modes of preparing this article:—

1. Take sheets of light cartridge paper, and dip them into a solution of alum—say, alum, one ounce; water, one pint. After they are thoroughly moistened, let them be well dried; upon one side of this paper spread a mixture of equal parts of gum benzoin, olibanum, and either balm of Tolu or Peruvian balsam, or the benzoin may be used alone. To spread the gum, &c., it is necessary that they be melted in an earthenware vessel and poured thinly over the paper, finally smoothing the surface with a hot spatula. When required for use, slips of this paper are held over a candle or lamp, in order to evaporate the odorous matter, but not to ignite it. The alum in the paper prevents it a to certain extent from burning.

2. Sheets of good light paper are to be steeped in a solution of saltpetre, in the proportions of two ounces of the salt to one pint of water, to be afterwards thoroughly dried.

Any of the odoriferous gums, as myrrh, olibanum, benzoin, &c., are to be dissolved to saturation in rectified spirit, and with a brush spread upon one side of the paper, which, being hung up, rapidly dries.

Slips of this paper are to be rolled up as spills, to be ignited, and then to be blown out.

The nitre in the paper causes a continuance of slow combustion, diffusing during that time the agreeable perfume of the odoriferous gums. If two of these sheets of paper be pressed together before the surface is dry, they will join and become as one. When cut into slips, they form what are called Odoriferous Lighters, or Perfumed Spills.



SECTION VIII.

PERFUMED SOAP.

The word soap, or sope, from the Greek sapo, first occurs in the works of Pliny and Galen. Pliny informs us that soap was first discovered by the Gauls, that it was composed of tallow and ashes, and that the German soap was reckoned the best. According to Sismondi, the French historian, a soapmaker was included in the retinue of Charlemagne.

At Pompeii (overwhelmed by an eruption of Vesuvius A.D. 79), a soap-boiler's shop with soap in it was discovered during some excavations made there not many years ago. (Starke's Letters from Italy.)

From these statements it is evident that the manufacture of soap is of very ancient origin; indeed, Jeremiah figuratively mentions it—"For though thou wash thee with natron, and take thee much soap, yet thine iniquity is marked before me." (Jer. 2:22.)

Mr. Wilson says that the earliest record of the soap trade in England is to be found in a pamphlet in the British Museum, printed in 1641, entitled "A short Account of the Soap Business." It speaks more particularly about the duty, which was then levied for the first time, and concerning certain patents which were granted to persons, chiefly Popish recusants, for some pretended new invention of white soap, "which in truth was not so." Sufficient is said here to prove that at that time soap-making was no inconsiderable art.

It would be out of place here to enter into the details of soap-making, because perfumers do not manufacture that substance, but are merely "remelters," to use a trade term. The dyer purchases his dye-stuffs from the drysalters already fabricated, and these are merely modified under his hands to the various purposes he requires; so with the perfumer, he purchases the various soaps in their raw state from the soap-makers, these he mixes by remelting, scents and colors according to the article to be produced.

The primary soaps are divided into hard and soft soaps: the hard soaps contain soda as the base; those which are soft are prepared with potash. These are again divisible into varieties, according to the fatty matter employed in their manufacture, also according to the proportion of alkali. The most important of these to the perfumer is what is termed curd soap, as it forms the basis of all the highly-scented soaps.

CURD SOAP is a nearly neutral soap, of pure soda and fine tallow.

OIL SOAP, as made in England, is an uncolored combination of olive oil and soda, hard, close grain, and contains but little water in combination.

CASTILE SOAP, as imported from Spain, is a similar combination, but is colored by protosulphate of iron. The solution of the salt being added to the soap after it is manufactured, from the presence of alkali, decomposition of the salt takes place, and protoxide of iron is diffused through the soap of its well-known black color, giving the familiar marbled appearance to it. When the soap is cut up into bars, and exposed to the air, the protoxide passes by absorption of oxygen into peroxide; hence, a section of a bar of Castile soap shows the outer edge red-marbled, while the interior is black-marbled. Some Castile soap is not artificially colored, but a similar appearance is produced by the use of a barilla or soda containing sulphuret of the alkaline base, and at other times from the presence of an iron salt.

MARINE SOAP is a cocoanut-oil soap, of soda containing a great excess of alkali, and much water combination.

YELLOW SOAP is a soda soap, of tallow, resin, of lard, &c. &c.

PALM SOAP is a soda soap of palm oil, retaining the peculiar odor and color of the oil unchanged. The odoriferous principle of palm oil resembling that from orris-root, can be dissolved out of it by tincturation with alcohol; like ottos generally, it remains intact in the presence of an alkali, hence, soap made of palm oil retains the odor of the oil.

The public require a soap that will not shrink and change shape after they purchase it. It must make a profuse lather during the act of washing. It must not leave the skin rough after using it. It must be either quite inodorous or have a pleasant aroma. None of the above soaps possess all these qualities in union, and, therefore, to produce such an article is the object of the perfumer in his remelting process.

Prior to the removal of the excise duty upon soap, in 1853, it was a commercial impossibility for a perfumer to manufacture soap, because the law did not allow less than one ton of soap to be made at a time. This law, which, with certain modifications had been in force since the reign of Charles I, confined the actual manufacture of that article to the hands of a few capitalists. Such law, however, was but of little importance to the perfumer, as a soap-boiling plant and apparatus is not very compatible with a laboratory of flowers; yet, in some exceptional instances, these excise regulations interfered with him; such, for instance, as that in making soft soap of lard and potash, known, when perfumed, as Creme d'Amande; or unscented, as a Saponaceous Cream, which has, in consequence of that law, been entirely thrown into the hands of our continental neighbors.

FIG SOFT SOAP is a combination of oils, principally olive oil of the commonest kind, with potash.

NAPLES SOFT SOAP is a fish oil (mixed with Lucca oil) and potash, colored brown for the London shavers, retaining, when pure, its unsophisticated "fishy" odor.

The above soaps constitute the real body or base of all the fancy scented soaps as made by the perfumers, which are mixed and remelted according to the following formula:—

The remelting process is exceedingly simple. The bar soap is first cut up into thin slabs, by pressing them against a wire fixed upon the working bench. This cutting wire (piano wire is the kind) is made taut upon the bench, by being attached to two screws. These screws regulate the height of the wire from the bench, and hence the thickness of the slabs from the bars. The soap is cut up into thin slabs, because it would be next to impossible to melt a bar whole, on account of soap being one of the worst conductors of heat.

The melting pan is an iron vessel, of various sizes, capable of holding from 28 lbs. to 3 cwt., heated by a steam jacket, or by a water-bath. The soap is put into the pan by degrees, or what is in the vernacular called "rounds," that is, the thin slabs are placed perpendicularly all round the side of the pan; a few ounces of water are at the same time introduced, the steam of which assists the melting. The pan being covered up, in about half an hour the soap will have "run down." Another round is then introduced, and so continued every half hour until the whole "melting" is finished. The more water a soap contains, the easier is it melted; hence a round of marine soap, or of new yellow soap, will run down in half the time that it requires for old soap.

When different soaps are being remelted to form one kind when finished, the various sorts are to be inserted into the pan in alternate rounds, but each round must consist only of one kind, to insure uniformity of condition. As the soap melts, in order to mix it, and to break up lumps, &c., it is from time to time "crutched." The "crutch" is an instrument or tool for stirring up the soap; its name is indicative of its form, a long handle with a short cross—an inverted 'T', curved to fit the curve of the pan. When the soaps are all melted, it is then colored, if so required, and then the perfume is added, the whole being thoroughly incorporated with the crutch.



The soap is then turned into the "frame." The frame is a box made in sections, in order that it can be taken to pieces, so that the soap can be cut up when cold; the sections or "lifts" are frequently made of the width of the intended bar of soap.



Two or three days after the soap has been in the frame, it is cool enough to cut into slabs of the size of the lifts or sections of the frame; these slabs are set up edgeways to cool for a day or two more; it is then barred by means of a wire. The lifts of the frame regulate the widths of the bars; the gauge regulates their breadth. The density of the soap being pretty well known, the gauges are made so that the soap-cutter can cut up the bars either into fours, sixes, or eights; that is, either into squares of four, six, or eight to the pound weight. Latterly, various mechanical arrangements have been introduced for soap-cutting, which in very large establishments, such as those at Marseilles in France, are great economisers of labor; but in England the "wire" is still used.



For making tablet shapes the soap is first cut into squares, and is then put into a mould, and finally under a press—a modification of an ordinary die or coin press. Balls are cut by hand, with the aid of a little tool called a "scoop," made of brass or ivory, being, in fact, a ring-shaped knife. Balls are also made in the press with a mould of appropriate form. The grotesque form and fruit shape are also obtained by the press and appropriate moulds. The fruit-shaped soaps, after leaving the mould, are dipped into melted wax, and are then colored according to artificial fruit-makers' rules.



The "variegated" colored soaps are produced by adding the various colors, such as smalt and vermilion, previously mixed with water, to the soap in a melted state; these colors are but slightly crutched in, hence the streaky appearance or party color of the soap; this kind is also termed "marbled" soap.

ALMOND SOAP.

This soap, by some persons "supposed" to be made of "sweet almond oil," and by others to be a mystic combination of sweet and bitter almonds, is in reality constituted thus:—

Finest curd soap, 1 cwt. " oil soap, 14 lbs. " marine, 14 lbs. Otto of almonds, 1-1/2 lb. " cloves, 1/4 lb. " caraway, 1/2 lb.

By the time that half the curd soap is melted, the marine soap is to be added; when this is well crutched, then add the oil soap, and finish with the remaining curd. When the whole is well melted, and just before turning it into the frame, crutch in the mixed perfume.

Some of the soap "houses" endeavored to use Mirabane or artificial essence of almonds (see ALMOND) for perfuming soap, it being far cheaper than the true otto of almonds; but the application has proved so unsatisfactory in practice, that it has been abandoned by Messrs. Gibbs, Pineau (of Paris), Gosnell, and others who used it.

CAMPHOR SOAP.

Curd soap, 28 lbs. Otto of rosemary, 1-1/4 lb. Camphor, 1-1/4 lb.

Reduce the camphor to powder by rubbing it in a mortar with the addition of an ounce or more of almond oil, then sift it. When the soap is melted and ready to turn out, add the camphor and rosemary, using the crutch for mixing.

HONEY SOAP.

Best yellow soap, 1 cwt. Fig soft soap, 14 lbs. Otto of citronella, 1-1/2 lb.

WHITE WINDSOR SOAP.

Curd soap, 1 cwt. Marine soap, 21 lbs. Oil soap, 14 lbs. Otto of caraway, 1-1/2 lbs. " thyme, } " rosemary, } of each 1/2 lb. " cassia,} " cloves,} of each 1/4 lb.

BROWN WINDSOR SOAP.

Curd soap, 3/4 cwt. Marine soap, 1/4 " Yellow soap, 1/4 " Oil soap, 1/4 " Brown coloring (caramel), 1/2 pint. Otto of caraway, } " cloves, } " thyme, } each, 1/2 lb. " cassia, } " petit grain, } " French lavender, }

SAND SOAP.

Curd soap, 7 lbs. Marine soap, 7 lbs. Sifted silver sand, 28 lbs. Otto of thyme, } " cassia, } " caraway, } each, 2 oz. " French lavender, }

FULLER'S EARTH SOAP.

Curd soap, 10-1/2 lbs. Marine soap, 3-1/2 lbs. Fuller's earth (baked), 14 lbs. Otto of French lavender, 2 oz. " origanum, 1 oz.

The above forms are indicative of the method adopted for perfuming soaps while hot or melted.

All the very highly scented soaps are, however, perfumed cold, in order to avoid the loss of scent, 20 per cent. of perfume being evaporated by the hot process.

The variously named soaps, from the sublime "Sultana" to the ridiculous "Turtle's Marrow," we cannot of course be expected to notice; the reader may, however, rest assured that he has lost nothing by their omission.

The receipts given produce only the finest quality of the article named. Where cheap soaps are required, not much acumen is necessary to discern that by omitting the expensive perfumes, or lessening the quantity, the object desired is attained. Still lower qualities of scented soap are made by using greater proportions of yellow soap, and employing a very common curd, omitting the oil soap altogether.

SCENTING SOAPS HOT.

In the previous remarks, the methods explained of scenting soap involved the necessity of melting it. The high temperature of the soap under these circumstances involves the obvious loss of a great deal of perfume by evaporation. With very highly scented soaps, and with perfume of an expensive character, the loss of ottos is too great to be borne in a commercial sense; hence the adoption of the plan of

SCENTING SOAPS COLD.

This method is exceedingly convenient and economical for scenting small batches, involving merely mechanical labor, the tools required being simply an ordinary carpenter's plane, and a good marble mortar, and lignum vitae pestle.

The woodwork of the plane must be fashioned at each end, so that when placed over the mortar it remains firm and not easily moved by the parallel pressure of the soap against its projecting blade.

To commence operations, we take first 7 lbs., 14 lbs., or 21 lbs. of the bars of the soap that it is intended to perfume. The plane is now laid upside down across the top of the mortar.

Things being thus arranged, the whole of the soap is to be pushed across the plane until it is all reduced into fine shavings. Like the French "Charbonnier," who does not saw the wood, but woods the saw, so it will be perceived that in this process we do not plane the soap, but that we soap the plane, the shavings of which fall lightly into the mortar as quickly as produced.



Soap, as generally received from the maker, is the proper condition for thus working; but if it has been in stock any time it becomes too hard, and must have from one to three ounces of distilled water sprinkled in the shaving for every pound of soap employed, and must lay for at least twenty-four hours to be absorbed before the perfume is added.

When it is determined what size the cakes of soap are to be, what they are to sell for, and what it is intended they should cost, then the maker can measure out his perfume.

In a general way, soaps scented in this way retail from 4s. to 10s. per pound, bearing about 100 per cent. profit, which is not too much considering their limited sale. The soap being in a proper physical condition with regard to moisture, &c., is now to have the perfume well stirred into it. The pestle is then set to work for the process of incorporation. After a couple of hours of "warm exercise," the soap is generally expected to be free from streaks, and to be of one uniform consistency.

For perfuming soap in large portions by the cold process, instead of using the pestle and mortar as an incorporator, it is more convenient and economical to employ a mill similar in construction to a cake chocolate-mill, or a flake cocoa-mill; any mechanical apparatus that answers for mixing paste and crushing lumps will serve pretty well for blending soap together.

Before going into the mill, the soap is to be reduced to shavings, and have the scent and color stirred in; after leaving it, the flakes or ribands of soap are to be finally bound together by the pestle and mortar into one solid mass; it is then weighed out in quantities for the tablets required, and moulded by the hand into egg-shaped masses; each piece being left in this condition, separately laid in rows on a sheet of white paper, dries sufficiently in a day or so to be fit for the press, which is the same as that previously mentioned. It is usual, before placing the cakes of soap in the press, to dust them over with a little starch-powder, or else to very slightly oil the mould; either of these plans prevents the soap from adhering to the letters or embossed work of the mould—a condition essential for turning out a clean well-struck tablet.

The body of all the fine soaps mentioned below should consist of the finest and whitest curd soap, or of a soap previously melted and colored to the required shade, thus:—

ROSE-COLORED SOAP is curd soap stained with vermilion, ground in water, thoroughly incorporated when the soap is melted, and not very hot.

GREEN SOAP is a mixture of palm oil soap and curd soap, to which is added powdered smalt ground with water.

BLUE SOAP, curd soap colored with smalt.

BROWN SOAP, curd soap with caramel, i.e. burnt sugar.

The intensity of color varies, of course, with the quantity of coloring.

Some kinds of soap become colored or tinted to a sufficient extent by the mere addition of the ottos used for scenting, such as "spermaceti soap," "lemon soap," &c., which become of a beautiful pale lemon color by the mere mixing of the perfume with the curd soap.

OTTO OF ROSE SOAP.

(To retail at 10s. per pound.)

Curd soap (previously colored with vermilion), 4-1/2 lbs. Otto of rose, 1 oz. Spirituous extract of musk, 2 oz. Otto of santal, 1/4 oz. " geranium, 1/4 oz.

Mix the perfumes, stir them in the soap shavings, and beat together.

TONQUIN MUSK SOAP.

Pale brown-colored curd soap, 5 lbs. Grain musk, 1/4 oz. Otto of bergamot, 1 oz.

Rub the musk with the bergamot, then add it to the soap, and beat up.

ORANGE-FLOWER SOAP.

Curd soap, 7 lbs. Otto of neroli, 3-1/2 oz.

SANTAL-WOOD SOAP.

Curd soap, 7 lbs. Otto of santal, 7 oz. " bergamot, 2 oz.

SPERMACETI SOAP.

Curd soap, 14 lbs. Otto of bergamot, 2-1/2 lbs. " lemon, 1/2 lb.

CITRON SOAP.

Curd soap, 6 lbs. Otto of citron, 3/4 lb. " verbena (lemon-grass), 1/2 oz. " bergamot, 4 oz. " lemon, 2 oz.

One of the best of fancy soaps that is made.

FRANGIPANNE SOAP.

Curd soap (previously colored light brown), 7 lbs. Civet, 1/4 oz. Otto of neroli, 1/2 oz. " santal, 1-1/2 oz. " rose, 1/4 oz. " vitivert, 1/2 oz.

Rub the civet with the various ottos, mix, and beat in the usual manner.

PATCHOULY SOAP.

Curd soap, 4-1/2 lbs. Otto of patchouly, 1 oz. " santal, } " vitivert, } of each, 1/4 oz.

SAPONACEOUS CREAM OF ALMONDS.

The preparation sold under this title is a potash soft soap of lard. It has a beautiful pearly appearance, and has met with extensive demand as a shaving soap. Being also used in the manufacture of EMULSINES, it is an article of no inconsiderable consumption by the perfumer. It is made thus:—

Clarified lard, 7 lbs. Potash of lye (containing 26 per cent. of caustic potash), 3-3/4 lbs. Rectified spirit, 3 oz. Otto of almonds, 2 drachms.

Manipulation.—Melt the lard in a porcelain vessel by a salt-water bath, or by a steam heat under 15 lbs. pressure; then run in the lye, very slowly, agitating the whole time; when about half the lye is in, the mixture begins to curdle; it will, however, become so firm that it cannot be stirred. The creme is then finished, but is not pearly; it will, however, assume that appearance by long trituration in a mortar, gradually adding the alcohol, in which has been dissolved the perfume.

SOAP POWDERS.

These preparations are sold sometimes as a dentifrice and at others for shaving; they are made by reducing the soap into shavings by a plane, then thoroughly drying them in a warm situation, afterwards grinding in a mill, then perfuming with any otto desired.

RYPOPHAGON SOAP.

Best yellow soap, } Fig soft soap, } equal parts melted together.

Perfume with anise and citronella.

AMBROSIAL CREAM.

Color the grease very strongly with alkanet root, then proceed as for the manufacture of saponaceous cream. The cream colored in this way has a blue tint; when it is required of a purple color we have merely to stain the white saponaceous cream with a mixture of vermilion and smalt to the shade desired. Perfume with otto of oringeat.

TRANSPARENT SOFT SOAP.

Solution caustic potash (Lond. Ph.), 6 lbs. Olive oil, 1 lb.

Perfume to taste.

Before commencing to make the soap, reduce the potash lye to one half its bulk by continued boiling. Now proceed as for the manufacture of saponaceous cream. After standing a few days, pour off the waste liquor.

TRANSPARENT HARD SOAP.

Reduce the soap to shavings, and dry them as much as possible, then dissolve in alcohol, using as little spirit as will effect the solution, then color and perfume as desired, and cast the product in appropriate moulds; finally dry in a warm situation.

Until the Legislature allows spirit to be used for manufacturing purposes, free of duty, we cannot compete with our neighbors in this article.

JUNIPER TAR SOAP.

This soap is made from the tar of the wood of the Juniperus communis, by dissolving it in a fixed vegetable oil, such as almond or olive oil, or in fine tallow, and forming a soap by means of a weak soda lye, after the customary manner. This yields a moderately firm and clear soap, which may be readily used by application to parts affected with eruptions at night, mixed with a little water, and carefully washed off the following morning. This soap has lately been much used for eruptive disorders, particularly on the Continent, and with varying degrees of success. It is thought that the efficient element in its composition is a rather less impure hydrocarburet than that known in Paris under the name huile de cade. On account of its ready miscibility with water, it possesses great advantage over the common tar ointment.

MEDICATED SOAPS.

Six years ago I began making a series of medicated soaps, such as SULPHUR SOAP, IODINE SOAP, BROMINE SOAP, CREOSOTE SOAP, MERCURIAL SOAP, CROTON OIL SOAP, and many others. These soaps are prepared by adding the medicant to curd soap, and then making in a tablet form for use. For sulphur soap, the curd soap may be melted, and flowers of sulphur added while the soap is in a soft condition. For antimony soap and mercurial soap, the low oxides of the metals employed may also be mixed in the curd soap in a melted state. Iodine, bromine, creosote soap, and others containing very volatile substances, are best prepared cold by shaving up the curd soap in a mortar, and mixing the medicant with it by long beating.

In certain cutaneous diseases the author has reason to believe that they will prove of infinite service as auxiliaries to the general treatment. It is obvious that the absorbent vessels of the skin are very active during the lavoratory process; such soap must not, therefore, be used except by the special advice of a medical man. Probably these soaps will be found useful for internal application. The precedent of the use of Castile soap (containing oxide of iron) renders it likely that when prejudice has passed away, such soaps will find a place in the pharmacopoeias. The discovery of the solubility, under certain conditions, of the active alkaloids, quinine, morphia, &c., in oil, by Mr. W. Bastick, greatly favors the supposition of analogous compounds in soap.



SECTION IX.

EMULSINES.

From soaps proper we now pass to those compounds used as substitutes for soap, which are classed together under one general title as above, for the reason that all cosmetiques herein embraced have the property of forming emulsions with water.

Chemically considered, they are an exceedingly interesting class of compounds, and are well worthy of study. Being prone to decomposition, as might be expected from their composition, they should be made only in small portions, or, at least, only in quantities to meet a ready sale.

While in stock they should be kept as cool as possible, and free from a damp atmosphere.

AMANDINE.

Fine almond oil, 7 lbs. Simple syrup,[E] 4 oz. White soft soap, or saponaceous cream, i.e. } Creme d'Amande, } 1 oz. Otto of almonds, 1 oz. " bergamot, 1 oz. " cloves, 1/2 oz.

Rub the syrup with the soft soap until the mixture is homogeneous, then rub in the oil by degrees; the perfume having been previously mixed with the oil.



In the manufacture of amandine (and olivine) the difficulty is to get in the quantity of oil indicated, without which it does not assume that transparent jelly appearance which good amandine should have. To attain this end, the oil is put into "a runner," that is, a tin or glass vessel, at the bottom of which is a small faucet and spigot, or tap. The oil being put into this vessel is allowed to run slowly into the mortar in which the amandine is being made, just as fast as the maker finds that he can incorporate it with the paste of soap and syrup; and so long as this takes place, the result will always have a jelly texture to the hand. If, however, the oil be put into the mortar quicker than the workman can blend it with the paste, then the paste becomes "oiled," and may be considered as "done for," unless, indeed, the whole process be gone through again, starting off with fresh syrup and soap, using up the greasy mass as if it were pure oil. This liability to "go off," increases as the amandine nears the finish; hence extra caution and plenty of "elbow grease" must be used during the addition of the last two pounds of oil. If the oil be not perfectly fresh, or if the temperature of the atmosphere be above the average of summer heat, it will be almost impossible to get the whole of the oil given in the formula into combination; when the mass becomes bright and of a crystalline lustre, it will be well to stop the further addition of oil to it.

This and similar compounds should be potted as quickly as made, and the lids of the pots banded either with strips of tin-foil or paper, to exclude air. When the amandine is filled into the jars, the top or face of it is marked or ornamented with a tool made to the size of half the diameter of the interior of the jar, in a similar way to a saw; a piece of lead or tortoise-shell, being serrated with an angular file, or piece of an "old saw," will do very well; place the marker on the amandine, and turn the jar gently round.

OLIVINE.

Gum acacia, in powder, 2 oz. Honey, 6 oz. Yolk of eggs, in number, 5. White soft soap, 3 oz. Olive oil, 2 lbs. Green oil, 1 oz. Otto of bergamot, 1 oz. " lemon, 1 oz. " cloves, 1/2 oz. " thyme and cassia, each, 1/2 drachm.

Rub the gum and honey together until incorporated, then add the soap and egg. Having mixed the green oil and perfumes with the olive oil, the mixture is to be placed in the runner, and the process followed exactly as indicated for amandine.

HONEY AND ALMOND PASTE. (Pate d'Amande au Miel.)

Bitter almonds, blanched and ground, 1/2 lb. Honey, 1 lb. Yolk of eggs, in number, 8. Almond oil, 1 lb. Otto of bergamot, 1/4 oz. " cloves, 1/4 oz.

Rub the eggs and honey together first, then gradually add the oil, and finally the ground almonds and the perfume.

ALMOND PASTE.

Bitter almonds, blanched and ground, 1-1/2 lb. Rose-water, 1-1/2 pint. Alcohol (60 o.p.), 16 oz. Otto of bergamot, 3 oz.

Place the ground almonds and one pint of the rose-water into a stewpan; with a slow and steady heat, cook the almonds until their granular texture assumes a pasty form, constantly stirring the mixture during the whole time, otherwise the almonds quickly burn to the bottom of the pan, and impart to the whole an empyreumatic odor.

The large quantity of otto of almonds which is volatilized during the process, renders it essential that the operator should avoid the vapor as much as possible.

When the almonds are nearly cooked, the remaining water is to be added; finally the paste is put into a mortar, and well rubbed with the pestle; then the perfume and spirit are added. Before potting this paste, as well as honey paste, it should be passed through a medium fine sieve, to insure uniformity of texture, especially as almonds do not grind kindly.

Other pastes, such as Pate de Pistache, Pate de Cocos, Pate de Guimauve, are prepared in so similar a manner to the above that it is unnecessary to say more about them here, than that they must not be confounded with preparations bearing a similar name made by confectioners.

ALMOND MEAL.

Ground almonds, 1 lb. Wheat flour, 1 lb. Orris-root powder, 1/4 lb. Otto of lemon, 1/2 oz. " almonds, 1/4 drachm.

PISTACHIO NUT MEAL, OR ANY OTHER NUT.

Pistachio nuts (decorticated as almonds } are bleached), } 1 lb. Orris powder, 1 lb. Otto of neroli, 1 drachm. " lemons, 1/2 oz.

Other meals, such as perfumed oatmeal, perfumed bran, &c., are occasionally in demand, and are prepared as the foregoing.

All the preceding preparations are used in the lavatory process as substitutes for soap, and to "render the skin pliant, soft, and fair!"

EMULSIN AU JASMIN.

Saponaceous cream, 1 oz. Simple syrup, 1-1/2 oz. Almond oil, 1 lb. Best jasmine oil, 1/2 lb.

EMULSIN A LE VIOLETTE.

Saponaceous cream, 1 oz. Syrup of violets, 1-1/2 oz. Best violet oil, 1-1/2 lb.

Emulsin of other odors can be prepared with tubereuse, rose, or cassie (acacia) oil (prepared by enfleurage or maceration).

For the methods of mixing the ingredients, see "Amandine," p. 195.

On account of the high price of the French oils, these preparations are expensive, but they are undoubtedly the most exquisite of cosmetiques.



SECTION X.

MILK, OR EMULSIONS.

In the perfumery trade, few articles meet with a more ready sale than that class of cosmetiques denominated milks. It has long been known that nearly all the seeds of plants which are called nuts, when decorticated and freed from their pellicle, on being reduced to a pulpy mass, and rubbed with about four times their weight of water, produce fluid which has every analogy to cow's milk. The milky appearance of these emulsions is due to the minute mechanical division of the oil derived from the nuts being diffused through the water. All these emulsions possess great chemical interest on account of their rapid decomposition, and the products emanating from their fermentation, especially that made with sweet almonds and pistachios (Pistachia vera).

In the manufacture of various milks for sale, careful manipulation is of the utmost importance, otherwise these emulsions "will not keep;" hence more loss than profit.

"Transformation takes place in the elements of vegetable caseine (existing in seeds) from the very moment that sweet almonds are converted into almond-milk."—LIEBIG. This accounts for the difficulty many persons find in making milk of almonds that does not spontaneously divide, a day or so after its manufacture.

MILK OF ROSES.

Valencia almonds (blanched), 1/2 lb. Rose-water, 1 quart. Alcohol (60 o.p.), 1/4 pint. Otto of rose, 1 drachm. White wax, spermaceti, oil soap, each, 1/2 oz.

Manipulation.—Shave up the soap, and place it in a vessel that can be heated by steam or water-bath; add to it two or three ounces of rose-water. When the soap is perfectly melted, add the wax and spermaceti, without dividing them more than is necessary to obtain the correct weight; this insures their melting slowly, and allows time for their partial saponification by the fluid soap; occasional stirring is necessary. While this is going on, blanch the almonds, carefully excluding every particle that is in the least way damaged. Now proceed to beat up the almonds in a scrupulously clean mortar, allowing the rose-water to trickle into the mass by degrees; the runner, as used for the oil in the manufacture of olivine, is very convenient for this purpose. When the emulsion of almonds is thus finished, it is to be strained, without pressure, through clean washed muslin (new muslin often contains starch, flour, gum, or dextrine).

The previously-formed saponaceous mixture is now to be placed in the mortar, and the ready-formed emulsion in the runner; the soapy compound and the emulsion is then carefully blended together. As the last of the emulsion runs into the mortar, the spirit, in which the otto of roses has been dissolved, is to take its place, and to be gradually trickled into the other ingredients. A too sudden addition of the spirit frequently coagulates the milk and causes it to be curdled; as it is, the temperature of the mixture rises, and every means must be taken to keep it down; the constant agitation and cold mortar effecting that object pretty well. Finally, the now formed milk of roses is to be strained.

The almond residue may be washed with a few ounces of fresh rose-water, in order to prevent any loss in bulk to the whole given quantity. The newly-formed milk should be placed into a bottle having a tap in it about a quarter of an inch from the bottom. After standing perfectly quiet for twenty-four hours it is fit to bottle. All the above precautions being taken, the milk of roses will keep any time without precipitate or creamy supernatation. These directions apply to all the other forms of milk now given.

MILK OF ALMONDS.

Bitter almonds (blanched), 10 oz. Distilled (or rose) water, 1 quart. Alcohol (60 o.p.), 3/4 pint.[F] Otto of almonds, 1/2 drachm. " bergamot, 2 drachms. Wax, spermaceti, } Almond oil, curd soap, } each, 1/2 oz.

MILK OF ELDER.

Sweet almonds, 4 oz. Elder-flower water, 1 pint. Alcohol (60 o.p.), 8 oz. Oil of elder flowers, prepared by maceration, 1/2 oz. Wax, sperm, soap, each, 1/2 oz.

MILK OF DANDELION.

Sweet almonds, 4 oz. Rose-water, 1 pint. Expressed juice of dandelion root, 1 oz. Esprit tubereuse, 8 oz. Green oil, wax, } Curd soap, } each 1/2 oz.

Let the juice of the dandelion be perfectly fresh pressed; as it is in itself an emulsion, it may be put into the mortar after the almonds are broken up, and stirred with the water and spirit in the usual manner.

MILK OF CUCUMBER.

Sweet almonds, 4 oz. Expressed juice of cucumbers, 1 pint. Spirit (60 o.p.), 8 oz. Essence of cucumbers, 1/4 pint. Green oil, wax, } Curd soap, } each 1/2 oz.

Raise the juice of the cucumbers to the boiling point for half a minute, cool it as quickly as possible, then strain through fine muslin; proceed to manipulate in the usual manner.

ESSENCE OF CUCUMBERS.

Break up in a mortar 28 lbs. of good fresh cucumbers; with the pulp produced mix 2 pints rectified spirit (sp. gr. .837), and allow the mixture to stand for a day and night; then distil the whole, and draw off a pint and a half. The distillation may be continued so as to obtain another pint fit for ulterior purposes.

CREME DE PISTACHE. (Milk of Pistachio Nuts.)

Pistachio nuts, 3 oz. Orange-flower water, 3-1/4 pints. Esprit neroli, 3/4 pint. Palm soap, } Green oil, wax, } each, 1 oz. Spermaceti, }

LAIT VIRGINAL.

Rose-water, 1 quart. Tincture benzoin, 1/2 oz.

Add the water very slowly to the tincture; by so doing an opalescent milky fluid is produced, which will retain its consistency for many years; by reversing this operation, pouring the tincture into the water, a cloudy precipitate of the resinous matter ensues, which does not again become readily suspended in the water.

EXTRACT OF ELDER FLOWERS.

Elder-flower water, 1 quart. Tincture benzoin, 1 oz.

Manipulate as for virgin's milk.

Similar compounds may, of course, be made with orange-flower and other waters.



SECTION XI.

COLD CREAM.

GALEN, the celebrated physician of Pergamos, in Asia, but who distinguished himself at Athens, Alexandria, and Rome, about 1700 years ago, was the inventor of that peculiar unguent, a mixture of grease and water, which is now distinguished as cold cream in perfumery, and as Ceratum Galeni in Pharmacy.

The modern formula for cold cream is, however, quite a different thing to that given in the works of Galen in point of odor and quality, although substantially the same—grease and water. In perfumery there are several kinds of cold cream, distinguished by their odor, such as that of camphor, almond, violet, roses, &c. Cold cream, as made by English perfumers, bears a high reputation, not only at home, but throughout Europe; the quantity exported, and which can only be reckoned by jars in hundreds of dozens, and the repeated announcements that may be seen in the shops on the Continent, in Germany, France, and Italy, of "Cold Creme Anglaise," is good proof of the estimation in which it is held.

ROSE COLD CREAM.

Almond oil, 1 lb. Rose-water, 1 lb. White wax, } spermaceti, } each, 1 oz. Otto of roses, 1/2 drachm.

Manipulation.—Into a well-glazed thick porcelain vessel, which should be deep in preference to shallow, and capable of holding twice the quantity of cream that is to be made, place the wax and sperm; now put the jar into a boiling bath of water; when these materials are melted, add the oil, and again subject the whole to heat until the flocks of wax and sperm are liquefied; now remove the jar and contents, and set it under a runner containing the rose-water: the runner may be a tin can, with a small tap at the bottom, the same as used for the manufacture of milk of roses. A stirrer must be provided, made of lancewood, flat, and perforated with holes the size of a sixpence, resembling in form a large palette-knife. As soon as the rose-water is set running, the cream must be kept agitated until the whole of the water has passed into it; now and then the flow of water must be stopped, and the cream which sets at the sides of the jar scraped down, and incorporated with that which remains fluid. When the whole of the water has been incorporated, the cream will be cool enough to pour into the jars for sale; at that time the otto of rose is to be added. The reason for the perfume being put in at the last moment is obvious—the heat and subsequent agitation would cause unnecessary loss by evaporation. Cold cream made in this way sets quite firmly in the jars into which it is poured, and retains "a face" resembling pure wax, although one-half is water retained in the interstices of the cream. When the pots are well glazed, it will keep good for one or two years. If desired for exportation to the East or West Indies, it should always be sent out in stoppered bottles.

COLD CREAM OF ALMONDS

Is prepared precisely as the above; but in place of otto of roses otto of almonds is used.

VIOLET COLD CREAM.

Huile violette, 1 lb. Rose-water, 1 lb. Wax and spermaceti, each, 1 oz. Otto of almonds, 5 drops.

VIOLET COLD CREAM. IMITATION.

Almond oil, 3/4 lb. Huile cassie, 1/4 lb. Rose-water, 1 lb. Sperm and wax, 1 oz. Otto of almonds, 1/4 drachm.

This is an elegant and economical preparation, generally admired.

TUBEREUSE, JASMINE, AND FLEUR D'ORANGE COLD CREAMS.

Are prepared in similar manner to violet (first form); they are all very exquisite preparations, but as they cost more than rose cold cream, perfumers are not much inclined to introduce them in lieu of the latter.

CAMPHOR COLD CREAM. (Otherwise Camphor Ice.)

Almond oil, 1 lb. Rose-water, 1 lb. Wax and Spermaceti, 1 oz. Camphor, 2 oz. Otto of rosemary, 1 drachm.

Melt the camphor, wax, and sperm, in the oil, then manipulate as for cold cream of roses.

CUCUMBER COLD CREAM. (Creme de Concombre.)

Almond oil, 1 lb. Green oil, 1 oz. Juice of cucumber, 1 lb. Wax and sperm, each, 1 oz. Otto of neroli, 1/4 drachm.

The cucumber juice is readily obtained by subjecting the fruit to pressure in the ordinary tincture press. It must be raised to a temperature high enough to coagulate the small portion of albumen which it contains, and then strained through fine linen, as the heat is detrimental to the odor on account of the great volatility of the otto of cucumber. The following method may be adopted with advantage:—Slice the fruit very fine with a cucumber-cutter, and place them in the oil; after remaining together for twenty-four hours, repeat the operation, using fresh fruit in the strained oil; no warmth is necessary, or at most, not more than a summer heat; then proceed to make the cold cream in the usual manner, using the almond oil thus odorized, the rose-water, and other ingredients in the regular way, perfuming, if necessary, with a little neroli.

Another and commoner preparation of cucumber is found among the Parisians, which is lard simply scented with the juice from the fruit, thus:—The lard is liquefied by heat in a vessel subject to a water-bath; the cucumber juice is then stirred well into it; the vessel containing the ingredients is now placed in a quiet situation to cool. The lard will rise to the surface, and when cold must be removed from the fluid juice; the same manipulation being repeated as often as required, according to the strength of odor of the fruit desired in the grease.

PIVERS' POMADE OF CUCUMBER.

Benzoinated lard, 6 lbs. Spermaceti, 2 lbs. Essence of cucumbers, 1 lb.

Melt the stearine with the lard, then keep it constantly in motion while it cools, now beat the grease in a mortar, gradually adding the essence of cucumbers; continue to beat the whole until the spirit is evaporated, and the pomade is beautifully white.

Melons and other similar fruit will scent grease treated in the same way. (See "Essence of Cucumbers," p. 204.)

POMADE DIVINE.

Among the thousand and one quack nostrums, pomade divine, like James's powder, has obtained a reputation far above the most sanguine expectations of its concoctors. This article strictly belongs to the druggist, being sold as a remedial agent; nevertheless, what is sold is almost always vended by the perfumer. It is prepared thus:—

Spermaceti, 1/4 lb. Lard, 1/2 lb. Almond oil, 3/4 lb. Gum benzoin, 1/4 lb. Vanilla beans, 1-1/2 oz.

Digest the whole in a vessel heated by a water-bath at a temperature not exceeding 90 deg. C. After five or six hours it is fit to strain, and may be poured into the bottles for sale. (Must be stamped if its medicinal qualities are stated.)

ALMOND BALLS.

Purified suet, 1 lb. White wax, 1/2 lb. Otto of almonds, 1 drachm. " cloves, 1/4 drachm.

CAMPHOR BALLS.

Purified suet, 1 lb. White wax, 1/2 lb. Camphor, 1/4 lb. Otto of French lavender or rosemary, 1/2 oz.

Both the above articles are sold either white or colored with alkanet root. When thoroughly melted, the material is cast in a mould; ounce gallipots with smooth bottoms answer very well for casting in. Some venders use only large pill-boxes.

CAMPHOR PASTE.

Sweet almond oil, 1/2 lb. Purified lard, 1/4 lb. Wax and spermaceti, } Camphor, } each, 1 oz.

GLYCERINE BALSAM.

White wax, } Spermaceti, } each, 1 oz. Almond oil, 1/2 lb. Glycerine, 2 oz. Otto of roses, 1/4 drachm.

Of the remedial action of any of the above preparations we cannot here discuss; in giving the formulae, it is enough for us that they are sold by perfumers.

ROSE LIP SALVE.

Almond oil, 1/2 lb. Spermaceti and wax, each, 2 oz. Alkanet root, 2 oz. Otto of roses, 1/4 drachm.

Place the wax, sperm, and oil on to the alkanet root in a vessel heated by steam or water-bath; after the materials are melted, they must digest on the alkanet to extract its color for at least four or five hours; finally, strain through fine muslin, then add the perfume just before it cools.

WHITE LIP SALVE.

Almond oil, 1/4 lb. Wax and Spermaceti, each, 1 oz. Otto of almonds, 1/2 drachm. " geranium, 1/4 "

After lip salve is poured into the pots and got cold, a red-hot iron must be held over them for a minute or so, in order that the heat radiated from the irons may melt the surface of the salve and give it an even face.

COMMON LIP SALVE

Is made simply of equal parts of lard and suet, colored with alkanet root, and perfumed with an ounce of bergamot to every pound of salve.



SECTION XII.

POMADES AND OILS.

The name of pomatum is derived from pomum, an apple, because it was originally made by macerating over-ripe apples in grease.

If an apple be stuck all over with spice, such as cloves, then exposed to the air for a few days, and afterwards macerated in purified melted lard, or any other fatty matter, the grease will become perfumed. Repeating the operation with the same grease several times, produces real "pomatum."

According to a recipe published more than a century ago the form given is:—"Kid's grease, an orange sliced, pippins, a glass of rose-water, and half a glass of white wine, boiled and strained, and at last sprinkled with oil of sweet almonds." The author, Dr. Quincy, observes, that "the apple is of no significance at all in the recipe," and, like many authors of the present day, concludes that the reader is as well acquainted with the subject as the writer, and therefore considers that the weights or bulk of the materials in his recipe are, likewise, of no significance. According to ancient writers, unguent, pomatum, ointment, are synonymous titles for medicated and perfumed greases. Among biblical interpreters, the significant word is mostly rendered "ointment;" thus we have in Prov. 27:9, "Ointment and perfume rejoice the heart;" in Eccles. 9:8, "Let thy head lack no ointment."

Perfumers, acting upon their own or Dr. Quincy's advice, pay no regard to the apples in the preparation of pomatum, but make it by perfuming lard or suet, or a mixture of wax, spermaceti, and oil, or some of them or all blended, to produce a particular result, according to the name that it bears.

The most important thing to consider in the manufacture of pomatum, &c., is to start off with a perfectly inodorous grease, whatever that grease may be.

Inodorous lard is obtained thus:—Take, say 28 lbs. of perfectly fresh lard, place it in a well-glazed vessel, that can be submitted to the heat of a boiling salt-water bath, or by steam under a slight pressure; when the lard is melted, add to it one ounce of powdered alum and two ounces of table salt; maintain the heat for some time, in fact till a scum rises, consisting in a great measure of coagulated proteine compounds, membrane, &c., which must be skimmed off; when the liquid grease appears of a uniform nature it is allowed to grow cold.

The lard is now to be washed. This is done in small portions at a time, and is a work of much labor, which, however, is amply repaid by the result. About a pound of the grease is now placed on a slate slab a little on the incline, a supply of good water being set to trickle over it; the surface of the grease is then constantly renewed by an operative working a muller over it, precisely as a color-maker grinds paints in oil. In this way the water removes any traces of alum or salt, also the last traces of nitrogenous matter. Finally, the grease, when the whole is washed in this way, is remelted, the heat being maintained enough to drive off any adhering water. When cold it is finished.

Although purifying grease in this way is troublesome, and takes a good deal of time, yet unless done so, it is totally unfit for perfuming with flowers, because a bad grease will cost more in perfume to cover its mal odeur than the expense of thus deodorizing it. Moreover, if lard be used that "smells of the pig," it is next to impossible to impart to it any delicate odor; and if strongly perfumed by the addition of ottos, the unpurified grease will not keep, but quickly becomes rancid. Under any circumstances, therefore, grease that is not perfectly inodorous is a very expensive material to use in the manufacture of pomades.

In the South and flower-growing countries, where the fine pomades are made by ENFLEURAGE, or by MACERATION[G] (see pp. 37, 38), the purification of grease for the purpose of these manufactures is of sufficient importance to become a separate trade.

The purification of beef and mutton suet is in a great measure the same as that for lard: the greater solidity of suets requires a mechanical arrangement for washing them of a more powerful nature than can be applied by hand labor. Mr. Ewen, who is undoubtedly the best fat-purifier in London, employs a stone roller rotating upon a circular slab; motion is given to the roller by an axle which passes through the centre of the slab, or rather stone bed, upon which the suet is placed; being higher in the centre than at the sides, the stream of water flows away after it has once passed over the suet; in other respects the treatment is the same as for lard. These greases used by perfumers have a general title of "body," tantamount to the French nomenclature of corps; thus we have pomades of hard corps (suet), pomades of soft corps (lard). For making extraits, such as extrait de violette, jasmin, the pomades of hard corps are to be preferred; but when scented pomade is to be used in fabrication of unguents for the hair, pomades of soft corps are the most useful.

The method of perfuming grease by the direct process with flowers having already been described under the respective names of the flowers that impart the odor thereto, it remains now only to describe those compounds that are made from them, together with such incidental matter connected with this branch of perfumery as has not been previously mentioned.

ACACIA POMADE, commonly called CASSIE POMATUM, is made with a purified body-grease, by maceration with the little round yellow buds of the Acacia Farnesiana.

Black currant leaves, and which the French term cassie, have an odor very much resembling cassie (acacia), and are used extensively for adulterating the true acacia pomades and oils. The near similarity of name, their analogous odor (although the plants have no botanical connection), together with the word cassia, a familiar perfume in England, has produced generally confused ideas in this country as to the true origin of the odor now under discussion. Cassie, casse, cassia, it will be understood now, are three distinct substances; and in order to render the matter more perspicuous in future, the materials will always be denominated ACACIA, if prepared from the Acacia Farnesiana; CASSE, when from black currant; and CASSIA, if derived from the bark of the Cinnamomum Cassia.

BENZOIN POMADE AND OIL.

Benzoic acid is perfectly soluble in hot grease. Half an ounce of benzoic acid being dissolved in half a pint of hot olive or almond oil, deposits on cooling beautiful acicular crystals, similar to the crystals that effloresce from vanilla beans; a portion of the acid, however, remains dissolved in the oil at the ordinary temperature, and imparts to it the peculiar aroma of benzoin; upon this idea is based the principle of perfuming grease with gum benzoin by the direct process, that is, by macerating powdered gum benzoin in melted suet or lard for a few hours, at a temperature of about 80 deg. C. to 90 deg. C. Nearly all the gum-resins give up their odoriferous principle to fatty bodies, when treated in the same way; this fact becoming generally known, will probably give rise to the preparation of some new remedial ointments, such as Unguentum myrrhae, Unguentum assafoetida, and the like.

TONQUIN POMADE, and TONQUIN OIL, are prepared by macerating the ground Tonquin beans in either melted fat or warm oil, from twelve to twenty-eight hours, in the proportion of

Tonquin beans, 1/2 lb. Fat or oil, 4 lbs.

Strain through fine muslin; when cold, the grease will have a fine odor of the beans.

VANILLA OIL AND POMADE.

Vanilla pods, 1/4 lb. Fat or oil, 4 lbs.

Macerate at a temperature of 25 deg. C. for three or four days; finally strain.

These pomatums and oils, together with the French pomades and huiles already described, constitute the foundation of the preparations of all the best hair greases sold by perfumers. Inferior scented pomatums and oils are prepared by perfuming lard, suet, wax, oil, &c., with various ottos; the results, however, in many instances more expensive than the foregoing, are actually inferior in their odor or bouquet—for grease, however slightly perfumed by maceration or enfleurage with flowers, is far more agreeable to the olfactory nerve than when scented by ottos.

The undermentioned greases have obtained great popularity, mainly because their perfume is lasting and flowery.

POMADE CALLED BEAR'S GREASE.

The most popular and "original" bears' grease is made thus:—

Huile de rose, } " fleur d'orange, } " acacia, } of each, 1/2 lb. " tubereuse and jasmin,} Almond oil, 10 lbs. Lard, 12 lbs. Acacia pomade, 2 lbs. Otto of bergamot, 4 oz. " cloves, 2 oz.

Melt the solid greases and oils together by a water-bath, then add the ottos.

Bears' grease thus prepared is just hard enough to "set" in the pots at a summer heat. In very warm weather, or if required for exportation to the East or West Indies, it is necessary to use in part French pomatums instead of oils, or more lard and less almond oil.

CIRCASSIAN CREAM.

Purified lard, 1 lb. Benzoin suet, 1 lb. French rose pomatum, 1/2 lb. Almond oil, colored with alkanet, 2 lbs. Otto of rose, 1/4 oz.

BALSAM OF FLOWERS.

French rose pomatum, 12 oz. " violet pomatum, 12 oz. Almond oil, 2 lbs. Otto of bergamot, 1/4 oz.

CRYSTALLIZED OIL. (First quality).

Huile de rose, 1 lb. " tubereuse, 1 lb. " fleur d'orange, 1/2 lb. Spermaceti, 8 oz.

CRYSTALLIZED OIL. (Second quality.)

Almond, 2-1/2 lbs. Spermaceti, 1/2 lb. Otto of lemon, 3 oz.

Melt the spermaceti in a vessel heated by a water-bath, then add the oils; continue the heat until all flocks disappear; let the jars into which it is poured be warm; cool as slowly as possible, to insure good crystals; if cooled rapidly, the mass congeals without the appearance of crystals. This preparation has a very nice appearance, and so far sells well; but its continued use for anointing the hair renders the head scurfy; indeed, the crystals of sperm may be combed out of the hair in flakes after it has been used a week or two.

CASTOR OIL POMATUM.

Tubereuse pomatum, 1 lb. Castor oil, 1/2 lb. Almond oil, 1/2 lb. Otto of bergamot, 1 oz.

BALSAM OF NEROLI.

French rose pomatum, 1/2 lb. " jasmine pomatum, 1/2 lb. Almond oil, 3/4 lb. Otto of neroli, 1 drachm.

MARROW CREAM.

Purified lard, 1 lb. Almond oil, 1 lb. Palm oil, 1 oz. Otto of cloves, 1/2 drachm. " bergamot, 1/2 oz. " lemon, 1-1/2 oz.

MARROW POMATUM.

Purified lard, 4 lbs. " suet, 2 lbs. Otto of lemon, 1 oz. " bergamot, 1/2 oz. " cloves, 3 drachms.

Melt the greases, then beat them up with a whisk or flat wooden spatula for half an hour or more; as the grease cools, minute vesicles of air are inclosed by the pomatum, which not only increase the bulk of the mixtures, but impart a peculiar mechanical aggregation, rendering the pomatum light and spongy; in this state it is obvious that it fills out more profitably than otherwise.

COMMON VIOLET POMATUM.

Purified lard, 1 lb. Washed acacia pomatum, 6 oz. " rose pomatum, 4 oz.

Manipulate as for marrow pomatum.

In all the cheap preparations for the hair, the manufacturing perfumers used the washed French pomatums and the washed French oils for making their greases. Washed pomatums and washed oils are those greases that originally have been the best pomatums and huiles prepared by enfleurage and by maceration with the flowers; which pomades and huiles have been subject to digestion in alcohol for the manufacture of essences for the handkerchief. After the spirit has been on the pomatums, &c., it is poured off; the residue is then called washed pomatum, and still retain an odor strong enough for the manufacture of most hair greases.

For pomatums of other odors it is only necessary to substitute rose, jasmine, tubereuse, and others, in place of the acacia pomatum in the above formulae.

POMADE DOUBLE, MILLEFLEURS.

Rose, jasmine, fleur d'orange, violet, tubereuse, &c., are all made in winter, with two-thirds best French pomatum, one-third best French oils; in summer, equal parts.

POMADE A LA HELIOTROPE.

French rose pomade, 1 lb. Vanilla oil, 1/2 lb. Huile de jasmine, 4 oz. " tubereuse, 2 oz. " fleur d'orange, 2 oz. Otto of almonds, 6 drops. " cloves, 3 drops.

HUILE ANTIQUE. (A la Heliotrope.)

Same as the above, substituting rose oil for the pomade.

PHILOCOME.

The name of this preparation, which is a compound of Greek and Latin, signifying "a friend to the hair," was first introduced by the Parisian perfumers; and a very good name it is, for Philocome is undoubtedly one of the best unguents for the hair that is made.

PHILOCOME. (First quality.)

White wax, 10 oz. Fresh rose-oil, 1 lb. " acacia oil, 1/2 lb. " jasmine oil, 1/2 lb. " fleur d'orange oil, 1 lb. " tubereuse oil, 1 lb.

Melt the wax in the huiles by a water-bath, at the lowest possible temperature. Stir the mixture as it cools; do not pour out the Philocome until it is nearly cool enough to set; let the jars, bottles, or pots into which it is filled for sale be slightly warmed, or at least of the same temperature as the Philocome, otherwise the bottles chill the material as it is poured in, and make it appear of an uneven texture.

PHILOCOME. (Second quality.)

White wax, 5 oz. Almond oil, 2 lbs. Otto of bergamot, 1 oz. " lemon, 1/2 oz. " lavender, 2 drachms. " cloves, 1 drachm.

FLUID PHILOCOME.

Take 1 ounce of wax to 1 pound of oil.

POMMADE HONGROISE. (For the Moustache.)

Lead plaster, 1 lb. Acacia huile, 2 oz. Otto of roses, 2 drachms. " cloves, 1 drachm. " almonds, 1 drachm.

Color to the tint required with ground amber and sienna in oil; mix the ingredients by first melting the plaster in a vessel in boiling water. Lead plaster is made with oxide of lead boiled with olive oil: it is best to procure it ready made from the wholesale druggists.

HARD OR STICK POMATUMS.

Purified suet, 1 lb. White wax, 1 lb. Jasmine pomatum, 1/2 lb. Tubereuse pomatum, 1/2 lb. Otto of rose, 1 drachm.

ANOTHER FORM,—cheaper.

Suet, 1 lb. Wax, 1/2 lb. Otto of bergamot, 1 oz. " cassia, 1 drachm.

The above recipes produce WHITE BATONS. BROWN and BLACK BATONS are also in demand. They are made in the same way as the above, but colored with lamp-black or umber ground in oil. Such colors are best purchased ready ground at an artist's colorman's.

BLACK AND BROWN COSMETIQUE.

Such as is sold by RIMMEL, is prepared with a nicely-scented soap strongly colored with lamp-black or with umber. The soap is melted, and the coloring added while the soap is soft; when cold it is cut up in oblong pieces.

It is used as a temporary dye for the moustache, applied with a small brush and water.



SECTION XIII.

HAIR DYES AND DEPILATORY.

By way of personal adornment, few practices are of more ancient origin than that of painting the face, dyeing the hair, and blackening the eyebrows and eyelashes.

It is a practice universal among the women of the higher and middle classes in Egypt, and very common among those of the lower orders, to blacken the edge of the eyelids, both above and below the eye, with a black powder, which they term kohhl. The kohhl is applied with a small probe of wood, ivory, or silver, tapering towards the end, but blunt. This is moistened sometimes with rose-water, then dipped in the powder, and drawn along the edges of the eyelids. It is thought to give a very soft expression to the eye, the size of which, in appearance, it enlarges; to which circumstances probably Jeremiah refers when he writes, "Though thou rentest thy face (or thine eyes) with painting, in vain shalt thou make thyself fair."—Jer. 4:30. See also LANE'S Modern Egyptians, vol. i, p. 41, et seq.

A singular custom is observable both among Moorish and Arab females—that of ornamenting the face between the eyes with clusters of bluish spots or other small devices, and which, being stained, become permanent. The chin is also spotted in a similar manner, and a narrow blue line extends from the point of it, and is continued down the throat. The eyelashes, eyebrows, and also the tips and extremities of the eyelids, are colored black. The soles, and sometimes other parts of the feet, as high as the ankles, the palms of the hands, and the nails, are dyed with a yellowish-red, with the leaves of a plant called Henna (Lawsonia inermis), the leaf of which somewhat resembles the myrtle, and is dried for the purposes above mentioned. The back of the hand is also often colored and ornamented in this way with different devices. On holidays they paint their cheeks of a red brick color, a narrow red line being also drawn down the temples.

In Greece, "for coloring the lashes and sockets of the eye they throw incense or gum labdanum on some coals of fire, intercept the smoke which ascends with a plate, and collect the soot. This I saw applied. A girl, sitting cross-legged as usual on a sofa, and closing one of her eyes, took the two lashes between the forefinger and thumb of her left hand, pulled them forward, and then, thrusting in at the external corner a sort of bodkin or probe which had been immersed in the soot, and withdrawing it, the particles previously adhering to the probe remained within the eyelashes."—CHANDLER'S Travels in Greece.

Dr. Shaw states that among other curiosities that were taken out of the tombs at Sahara relating to Egyptian women, he saw a joint of the common reeds, which contained one of these bodkins and an ounce or more of this powder.

In England the same practice is adopted by many persons that have gray hair; but instead of using the black material in the form of a powder, it is employed as a crayon, the color being mixed with a greasy body, such as the brown and black stick pomatums, described in the previous article.

TURKISH HAIR DYE.

In Constantinople there are some persons, particularly Armenians, who devote themselves to the preparation of cosmetics, and obtain large sums of money from those desirous of learning this art. Amongst these cosmetics is a black dye for the hair, which, according to Landerer, is prepared in the following manner:—

Finely pulverized galls are kneaded with a little oil to a paste, which is roasted in an iron pan until the oil vapors cease to evolve, upon which the residue is triturated with water into a paste, and heated again to dryness. At the same time a metallic mixture, which is brought from Egypt to the commercial marts of the East, and which is termed in Turkish Rastiko-petra, or Rastik-Yuzi, is employed for this purpose. This metal, which looks like dross, is by some Armenians intentionally fused, and consists of iron and copper. It obtains its name from its use for the coloration of the hair, and particularly the eyebrows—for rastik means eyebrows, and yuzi stone. The fine powder of this metal is as intimately mixed as possible with the moistened gall-mass into a paste, which is preserved in a damp place, by which it acquires the blackening property. In some cases this mass is mixed with, the powder of odorous substances which are used in the seraglio as perfumes, and called harsi, that is, pleasant odor; and of these the principal ingredient is ambergris. To blacken the hair a little of this dye is triturated in the hand or between the fingers, with which the hair or beard is well rubbed. After a few days the hair becomes very beautifully black, and it is a real pleasure to see such fine black beards as are met with in the East among the Turks who use this black dye. Another and important advantage in the use of this dye consists therein, that the hair remains soft, pliant, and for a long time black, when it has been once dyed with this substance. That the coloring properties of this dye are to be chiefly ascribed to the pyrogallic acid, which can be found by treating the mass with water, may be with certainty assumed.

LITHARGE HAIR DYE.

Powdered litharge, 2 lbs. Quicklime, 1/2 lb. Calcined magnesia, 1/2 lb.

Slake the lime, using as little water as possible to make it disintegrate, then mix the whole by a sieve.

ANOTHER WAY.

Slaked lime, 3 lbs. White lead in powder, 2 lbs. Litharge, 1 lb.

Mix by sifting, bottle, and well cork.

Directions to be sold with the above.—"Mix the powder with enough water to form a thick creamy fluid; with the aid of a small brush; completely cover the hair to be dyed with this mixture; to dye a light brown, allow it to remain on the hair four hours; dark brown, eight hours; black, twelve hours. As the dye does not act unless it is moist, it is necessary to keep it so by wearing an oiled silk, india-rubber, or other waterproof cap.

"After the hair is dyed, the refuse must be thoroughly washed from the head with plain water; when dry, the hair must be oiled."

SIMPLE SILVER DYE. (Otherwise "Vegetable Dye.")

Nitrate of silver, 1 oz. Rose-water, 1 pint.

Before using this dye it is necessary to free the hair from grease by washing it with soda or pearlash and water. The hair must be quite dry prior to applying the dye, which is best laid on with an old tooth-brush. This dye does not "strike" for several hours. It needs scarcely be observed that its effects are more rapidly produced by exposing the hair to sunshine and air.

HAIR DYE, WITH MORDANT. (Brown.)

Nitrate of silver, 1 oz., blue bottles. Rose-water, 9 oz. " The mordant.—Sulphuret of potassium, 1 oz., white bottles. " Water, 8 oz. "

HAIR DYE, WITH MORDANT. (Black.)

Nitrate of silver, 1 oz., blue bottles. Water, 6 oz. " The mordant.—Sulphuret of potassium, 1 oz., white bottles. " Water, 6 oz. "

The mordant is to be applied to the hair first; when dry, the silver solution.

Great care must be taken that the sulphuret is fresh made, or at least, well preserved in closed bottles, otherwise, instead of the mordant acting to make to make the hair black, it will tend to impart a yellow hue. When the mordant is good, it has a very disagreeable odor, and although this is the quickest and best dye, its unpleasant smell has given rise to the

INODOROUS DYE.

Blue bottles.—Dissolve the nitrate of silver in the water as in the above, then add liquid ammonia by degrees until the mixture becomes cloudy from the precipitate of the oxide of silver, continue to add ammonia in small portions until the fluid again becomes bright from the oxide of silver being redissolved.

White bottles.—Pour half a pint of boiling rose-water upon three ounces of powdered gall-nuts; when cold, strain and bottle. This forms the mordant, and is used in the same way as the first-named dye, like the sulphuret mordant. It is not so good a dye as the previous one.

FRENCH BROWN DYE.

Blue Bottles.—Saturated solution of sulphate of copper; to this add ammonia enough to precipitate the oxide of copper and redissolve it (as with the silver in the above), producing the azure liquid.

White Bottles.—Mordant.—Saturated solution of prussiate of potass.

Artificial hair, for the manufacture of perukes, is dyed in the same manner as wool.

There are in the market several other hair dyes, but all of them are but modifications of the above, possessing no marked advantage.

LEAD DYE.

Liquid hair dye, not to blacken the skin, may be thus prepared:—Dissolve in one ounce of liquor potassae as much freshly-precipitated oxide of lead as it will take up, and dilute the resulting clear solution with three ounces of distilled water. Care must be taken not to wet the skin unnecessarily with it.

QUICK DEPILATORY OR RUSMA. (For removing hair.)

As the ladies of this country consider the growth of hair upon the upper lip, upon the arms, and on the back of the neck, to be detrimental to beauty, those who are troubled with such physical indications of good health and vital stamina have long had recourse to rusma or depilatory for removing it.

This or analogous preparations were introduced into this country from the East, rusma having been in use in the harems of Asia for many ages.

Best lime slaked, 3 lb. Orpiment, in powder, 1/2 lbs.

Mix the material by means of a drum sieve; preserve the same for sale in well-corked or stoppered bottles.

Directions to be sold with the above. Mix the depilatory powder with enough water to render it of a creamy consistency; lay it upon the hair for about five minutes, or until its caustic action upon the skin renders it necessary to be removed; a similar process to shaving is then to be gone through, but instead of using a razor, operate with an ivory or bone paper-knife; then wash the part with plenty of water, and apply a little cold cream.

The precise time to leave depilatory upon the part to be depilated cannot be given, because there is a physical difference in the nature of hair. "Raven tresses" require more time than "flaxen locks;" the sensitiveness of the skin has also to be considered. A small feather is a very good test for its action.

A few readers will, perhaps, be disappointed in finding that I have only given one formula for depilatory. The receipts might easily have been increased in number, but not in quality. The use of arsenical compounds is objectionable, but it undoubtedly increases the depilating action of the compounds. A few compilers of "Receipt Books," "Supplements to Pharmacopoeias," and others, add to the lime "charcoal powder," "carbonate of potass," "starch," &c.; but what action have these materials—chemically—upon hair? The simplest depilatory is moistened quicklime, but it is less energetic than the mixture recommended above; it answers very well for tanners and fellmongers, with whom time is no object.