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C++ Programming: From Problem Analysis to Program Design, Eighth Edition 9-1

Chapter 9
Records (structs)
A Guide to this Instructor’s Manual:

We have designed this Instructor’s Manual to supplement and enhance your teaching
experience through classroom activities and a cohesive chapter summary.

This document is organized chronologically, using the same headings that you see in the
textbook. Under the headings, you will find lecture notes that summarize the section, Teacher
Tips, Classroom Activities, and Lab Activities. Pay special attention to teaching tips and
activities geared towards quizzing your students and enhancing their critical thinking skills.

In addition to this Instructor’s Manual, our Instructor’s Resources also contain PowerPoint
Presentations, Test Banks, and other supplements to aid in your teaching experience.

At a Glance

Instructor’s Manual Table of Contents

• Overview

• Objectives

• Teaching Tips

• Quick Quizzes

• Class Discussion Topics

• Additional Projects

• Additional Resources

• Key Terms

© 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part, except for use as permitted in a
license distributed with a certain product or service or otherwise on a password-protected website for classroom use.
C++ Programming: From Problem Analysis to Program Design, Eighth Edition 9-2

Lecture Notes

Overview
In Chapter 9, students will be introduced to a data type that can be heterogeneous. They
will learn how to group together related values that are of differing types using records,
which are also known as structs in C++. First, they will explore how to create
structs, perform operations on structs, and manipulate data using a struct.
Next, they will examine the relationship between structs and functions and learn
how to use structs as arguments to functions. Finally, students will explore ways to
create and use an array of structs in an application.

Objectives
In this chapter, the student will:
• Learn about records (structs)
• Examine various operations on a struct
• Explore ways to manipulate data using a struct
• Learn about the relationship between a struct and functions
• Examine the difference between arrays and structs
• Discover how arrays are used in a struct
• Learn how to create an array of struct items
• Learn how to create structs within a struct

Teaching Tips
Records (structs)

1. Define the C++ struct data type and describe why it is useful in programming.

Discuss how previous programming examples and projects that used parallel
Teaching
arrays or vectors might be simplified by using a struct to hold related
Tip
information.

2. Examine the syntax of a C++ struct.

3. Using the examples in this section, explain how to define a struct type and then
declare variables of that type.

© 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part, except for use as permitted in a
license distributed with a certain product or service or otherwise on a password-protected website for classroom use.
C++ Programming: From Problem Analysis to Program Design, Eighth Edition 9-3

Accessing struct Members

1. Explain how to access the members of a struct using the C++ member access
operator.
2. Use the code snippets in this section to illustrate how to assign values to struct
members.

Mention that the struct and class data types both use the member access
operator. Spend a few minutes discussing the history of the struct data type
and how it relates to C++ classes and object-oriented programming. Note that the
struct is a precursor to the class data type. Explain that the struct was
introduced in C to provide the ability to group heterogeneous data members
together and, for the purposes of this chapter, is used in that manner as well.
Teaching However, in C++, a struct has the same ability as a class to group data and
Tip
operations into one data type. In fact, a struct in C++ is interchangeable with
a class, with a couple of exceptions. By default, access to a struct from
outside the struct is public, whereas access to a class from outside the
class is private by default. The importance of this will be discussed later in the
text. Memory management is also handled differently for structs and
classes.

Quick Quiz 1
1. True or False: A struct is typically a homogenous data structure.
Answer: False

2. The components of a struct are called the ____________________ of the struct.

Answer: members

3. A struct statement ends with a(n) ____________________.

Answer: semicolon

4. True or False: A struct is typically defined before the definitions of all the functions
in a program.
Answer: True

Assignment

1. Explain that the values of one struct variable are copied into another struct
variable of the same type using one assignment statement. Note that this is equivalent to
assigning each member variable individually.

© 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part, except for use as permitted in a
license distributed with a certain product or service or otherwise on a password-protected website for classroom use.
C++ Programming: From Problem Analysis to Program Design, Eighth Edition 9-4

Note how memory is handled in assignment operations involving struct

Teaching
variables of the same type; namely, that the values of the members of one
Tip
struct are copied into the member variables of the other struct.

Comparison (Relational Operators)

1. Emphasize that no relational aggregate operations are allowed on structs. Instead,

comparisons must be made member-wise, similar to an array.

Ask your students why they think assignment operations are permitted on
Teaching
struct types, but not relational operations. Discuss the issue of determining
Tip
how to compare a data type that consists of other varying data types.

Input/Output

1. Note that unlike an array, aggregate input and output operations are not allowed on
structs.

Mention that the stream and the relational operators can be overloaded to provide
Teaching
the proper functionality for a struct type and, in fact, that this is a standard
Tip
technique used by C++ programmers.

struct Variables and Functions

1. Emphasize that a C++ struct may be passed as a parameter by value or by reference,

and it can also be returned from a function.

2. Illustrate parameter passing with structs using the code snippets in this section.

Arrays versus structs

1. Using Table 9-1, discuss the similarities and differences between structs and arrays.

Spend a few minutes comparing the aggregate operations that are allowed on
Teaching structs and arrays. What might account for the differences? Use your previous
Tip exposition on the history of structs and memory management to facilitate this
discussion.

© 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part, except for use as permitted in a
license distributed with a certain product or service or otherwise on a password-protected website for classroom use.
C++ Programming: From Problem Analysis to Program Design, Eighth Edition 9-5

Arrays in structs

1. Explain how to include an array as a member of a struct.

2. Using Figure 9-5, discuss situations in which creating a struct type with an array as a
member might be useful. In particular, discuss its usefulness in applications such as the
sequential search algorithm.

Ask your students to think of other applications in which using an array as a

member of a struct might be useful. For example, are there applications in
Teaching
which parameter passing might be reduced by using struct members in
Tip
conjunction with arrays? Also, are there other data members that would be useful
to include in the listType struct presented in this section?

3. Discuss situations in which a struct should be passed by reference rather than by

value. Use the sequential search function presented in this section as an example.

structs in Arrays

1. Discuss how structs can be used as array elements to organize and process data
efficiently.

2. Examine the employee record in this section as an example of using an array of

structs. Discuss the code for the struct as well as the array processing code. Use
Figure 9-7 to clarify the code.

Emphasize that using a structured data type, such as a struct or class, as the
Teaching element type of an array is a common technique. Using the vector class as an
Tip example, reiterate that object-oriented languages typically have containers such
as list or array types that in turn store objects of any type.

structs within a struct

1. Discuss how structs can be nested within other structs as a means of organizing
related data.

2. Using the employee record in Figure 9-8, illustrate how to reorganize a large amount of
related information with nested structs.

3. Encourage your students to step through the “Sales Data Analysis” Programming
Example at the end of the chapter to consolidate the concepts discussed in this chapter.

© 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part, except for use as permitted in a
license distributed with a certain product or service or otherwise on a password-protected website for classroom use.
C++ Programming: From Problem Analysis to Program Design, Eighth Edition 9-6

Quick Quiz 2
1. What types of aggregate operations are allowed on structs?
Answer: assignment

2. Can struct variables be passed as parameters to functions? If so, how?

Answer: struct variables can be passed as parameters either by value or by reference.

3. True or False: A variable of type struct may not contain another struct.
Answer: False

4. True or False: A variable of type struct may contain an array.

Answer: True

Class Discussion Topics

1. With the advent of object-oriented programming, is it ever necessary to use C-type
structs rather than classes? If so, when? What are the advantages or disadvantages of
each approach?

2. Discuss how the object-oriented concept of reusability relates to structs, structs

within arrays, arrays within structs, and structs within structs. Ask students to
think of some applications in which defining these data types for later use would be
beneficial.

Additional Projects
1. Write a program that reads students’ names followed by their test scores. The program
should output each student’s name followed by the test scores and the relevant grade. It
should also find and print the lowest, highest, and average test score. Output the name
of the students having the highest test score.

Student data should be stored in a struct variable of type studentType, which has
four components: studentFName and studentLName of type string, testScore
of type int (testScore is between 0 and 100), and grade of type char. Suppose
that the class has 20 students. Use an array of 20 components of type studentType.

2. Write a program that lists all the capitals for countries in a specific region of the world.
Use an array of structs to store this information. The struct should include the
capital, the country, the continent, and the population. You might include additional
information as well, such as the languages spoken in each capital. Output the countries
with the smallest and largest populations.

© 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part, except for use as permitted in a
license distributed with a certain product or service or otherwise on a password-protected website for classroom use.
C++ Programming: From Problem Analysis to Program Design, Eighth Edition 9-7

Additional Resources
1. Data Structures:
http://www.cplusplus.com/doc/tutorial/structures/

2. struct (C++):
https://msdn.microsoft.com/en-us/library/64973255.aspx

3. Classes, Structures, and Unions:

https://msdn.microsoft.com/en-us/library/4a1hcx0y.aspx

Key Terms
 Member access operator: the dot (.) placed between the struct and the name of one
of its members; used to access members of a struct
 struct: a collection of heterogeneous components in which the components are
accessed by the variable name of the struct, the member access operator, and the
variable name of the component

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license distributed with a certain product or service or otherwise on a password-protected website for classroom use.
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is applied at a temperature of 150° F. and a pressure of 200 pounds
per square inch.
XVII.—The vulcanizing process of treating timber consists
essentially in subjecting it to a baking process in hot air which is
heated to a temperature of about 500° F. by passing over steam
coils. The heat coagulates the albumen, expels the water from the
cells, kills the organisms therein, and seals the cells by transforming
the sap into a preservative compound. This method is used with
success by the elevated railway systems of several cities.
XVIII.—A durable coating for wood is obtained by extracting
petroleum asphalt, with light petroleum, benzine, or gasoline. For
this purpose the asphalt, coarsely powdered, is digested for 1 to 2
days with benzine in well-closed vessels, at a moderately warm spot.
Petroleum asphalt results when the distillation of petroleum
continued until a glossy, firm, pulverizable mass of conchoidal
fracture and resembling colophony in consistency remains. The
benzine dissolves from this asphalt only a yellowish-brown dyestuff,
which deeply enters the wood and protects it from the action of the
weather, worms, dry rot, etc. The paint is not opaque, hence the
wood retains its natural fiber. It is very pleasant to look at, because
the wood treated with it keeps its natural appearance. The wood can
be washed off with soap, and is especially suited for country and
summer houses.
XIX.—A liquid to preserve wood from mold and dry rot which
destroys the albuminous matter of the wood and the organisms
which feed on it, so there are neither germs nor food for them if
there were any, is sold under the name of carbolineum. The specific
gravity of a carbolineum should exceed 1.105, and should give the
wood a fine brown color. It should, too, be perfectly waterproof. The
three following recipes can be absolutely relied on: a. Heat together
and mix thoroughly 95 pounds of coal-tar oil and 5 pounds of
asphalt from coal tar. b. Amalgamate together 30 pounds of heavy
coal-tar oil, 60 pounds of crude wood-tar oil, and 25 pounds of
heavy rosin oil. c. Mix thoroughly 3 pounds of asphalt, 25 pounds of
heavy coal-tar oil, and 40 pounds of heavy rosin oil.
XX.—Often the wooden portions of machines are so damaged by
dampness prevailing in the shops that the {780} following compound
will be found useful for their protection: Melt 375 parts of colophony
in an iron vessel, and add 10,000 parts of tar, and 500 parts of
sulphur. Color with brown ocher or any other coloring matter diluted
with linseed oil. Make a first light application of this mixture while
warm, and after drying apply a second coat.
XXI.—For enameling vats, etc., 1,000 parts of brown shellac and
125 parts of colophony are melted in a spacious kettle. After the
mass has cooled somewhat, but is still thinly liquid, 6.1 parts of
alcohol (90 per cent) is gradually added. In order to prevent the
ignition of the spirit vapor, the admixture of spirit is made at a
distance from the stove. By this addition the shellac swells up into a
semi-liquid mass, and a larger amount of enamel is obtained than by
dissolving it cold. The enamel may be used for wood or iron.
The wood must be well dried; only then will the enamel penetrate
into the pores. Two or three coats suffice to close up the pores of
the wood thoroughly and to render the surface smooth and glossy.
Each coating will harden perfectly in several hours. The covering
endures a heat of 140° to 150° F. without injury. This glaze can also
be mixed with earth colors. Drying quickly and being tasteless, its
applications are manifold. Mixed with ocher, for instance, it gives an
elegant and durable floor varnish, which may safely be washed off
with weak soda solution. If it is not essential that the objects be
provided with a smooth and glossy coating, only a preservation
being aimed at the following coat is recommended by the same
source: Thin, soluble glass (water glass) as it is found in commerce,
with about 24 per cent of water, and paint the dry vessel rather hot
with this solution. When this has been absorbed, repeat the
application, allow to dry, and coat with a solution of about 1 part of
sodium bicarbonate in 8 parts of water. In this coating silicic acid is
separated by the carbonic acid of the bicarbonate; from the water
glass (sodium silicate) absorbed by the pores of the wood, which, as
it were, silicifies the wooden surfaces, rendering them resistive
against the penetration of liquids. The advantages claimed for both
processes are increased durability and facilitated cleaning.
XXII.—Tar paints, called also mineral or metallic paints, are sold in
barrels or boxes, at varying prices. Some dealers color them—yellow
ocher, red ocher, brown, gray, etc. They are prepared by mixing
equal parts of coal tar and oil of turpentine or mineral essence
(gasoline). The product, if it is not colored artificially, is of a brilliant
black, even when cold. It dries in a few hours, especially when
prepared with oil of turpentine. The paints with mineral essence are,
however, generally preferred, on account of their lower cost. Either
should be spread on with a hard brush, in coats as thin as possible.
They penetrate soft woods, and even semi-hard woods sufficiently
deep, and preserve them completely. They adhere perfectly to
metals. Their employment can, therefore, be confidently advised, so
far as concerns the preservation directly of iron cables, reservoirs,
the interior surface of generators, etc. However, it has been shown
that atmospheric influence or variations of temperature cause the
formation of ammoniacal solutions, which corrode the metals.
Several companies for the care and insurance of steam engines have
for some time recommended the abandonment of tar products for
applications of this kind and the substitution of hot linseed oil.
XXIII.—Coal-tar paints are prepared according to various formulas.
One in current use has coal tar for a base, with the addition of gum
rosin. It is very black. Two thin coats give a fine brilliancy. It is
employed on metals, iron, sheet iron, etc., as well as on wood. It
dries much quicker than the tars used separately. Its preserving
influence against rust is very strong.
The following Tissandier formula has afforded excellent results. Its
facility of preparation and its low cost are among its advantages. Mix
10 parts of coal tar, 1 to 1.6 parts of slaked lime, 4,000 parts of oil of
turpentine, and 400 parts of strong vinegar, in which 1/5 part of
cupric sulphate has been previously boiled. The addition of 2 or 3
cloves of garlic in the solution of cupric sulphate aids in producing a
varnish, brilliant as well as permanent. The compound can be
colored like ordinary paints.
XXIV.—Rectified rosinous oil for painting must not be confounded
with oils used in the preparation of lubricants for metallic surfaces
exposed to friction. It contains a certain quantity of rosin in solution,
which, on drying, fills the pores of the wood completely, and
prevents decomposition from the action of various saprophytic fungi.
It is well adapted to the preservation of pieces to be buried in the
ground or exposed to the inclemency {781} of the weather. Paints can
also be prepared with it by the addition of coloring powders, yellow,
brown, red, green, blue, etc., in the proportion of 1 kilo to 5 liters of
oil. The addition ought to take place slowly, while shaking, in order
to obtain quite a homogeneous mixture. Paints of this kind are
economical, in consequence of the low price of rosin, but they
cannot be used in the interior of dwellings by reason of the strong
and disagreeable odor disengaged, even a long time after their
application. As an offset, they can be used like tar and carbonyl, for
stalls, stables, etc.
To Prevent Warping.—Immerse the wood to be worked upon in a
concentrated solution of sea salt for a week or so. The wood thus
prepared, after having been worked upon, will resist all changes of
temperature.
Stains For Wood.
In the staining of wood it is not enough to know merely how to
prepare and how to apply the various staining solutions; a rational
exercise of the art of wood staining demands rather a certain
acquaintance with the varieties of wood to be operated upon, a
knowledge of their separate relations to the individual stains
themselves; for with one and the same stain very different effects
are obtained when applied to the varying species of wood.
Such a diversity of effects arises from the varying chemical
composition of wood. No unimportant rôle is played by the presence
in greater or lesser quantities of tannin, which acts chemically upon
many of the stains and forms with them various colored varnishes in
the fibers. Two examples will suffice to make this clear. (1) Let us
take pine or fir, in which but little of the tanning principle is found,
and stain it with a solution of 50 parts of potassium chromate in
1,000 parts of pure water; the result will be a plain pale yellow color,
corresponding with the potassium chromate, which is not fast and as
a consequence is of no value. If, with the same solution, on the
contrary, we stain oak, in which the tanning principle is very
abundant, we obtain a beautiful yellowish-brown color which is
capable of withstanding the effects of both light and air for some
time; for the tannin of the oak combines with the penetrating
potassium chromate to form a brown dyestuff which deposits in the
woody cells. A similar procedure occurs in the staining of mahogany
and walnut with the chromate because these varieties of wood are
very rich in tannin.
(2) Take some of the same pine or fir and stain it with a solution
of 20 parts of sulphate of iron in 1,000 parts of water and there will
be no perceptible color. Apply this stain, however, to the oak and we
get a beautiful light gray, and if the stain be painted with a brush on
the smoother oaken board, in a short time a strong bluish-gray tint
will appear. This effect of the stain is the result of the combination of
the green vitriol with the tannin; the more tannin present, the darker
the stain becomes. The hardness or density of the wood, too, exerts
a marked influence upon the resulting stain. In a soft wood, having
large pores, the stain not only sinks further in, but much more of it
is required than in a hard dense wood; hence in the first place a
stronger, greasier stain will be obtained with the same solution than
in the latter.
 From this we learn that in soft woods it is more advisable to use a
thinner stain to arrive at a certain tone; while the solution may be
made thicker or stronger for hard woods.
The same formula or the same staining solution cannot be relied
upon to give the same results at all times even when applied to the
same kinds of wood. A greater or lesser amount of rosin or sap in
the wood at the time the tree is felled, will offer more or less
resistance to the permeating tendencies of the stain, so that the
color may be at one time much lighter, at another darker. Much after
the same manner we find that the amount of the tanning principle is
not always equal in the same species of wood.
Here much depends upon the age of the tree as well as upon the
climatic conditions surrounding the place where it grew. Moreover,
the fundamental color of the wood itself may vary greatly in
examples of the same species and thus, particularly in light, delicate
shades, cause an important delay in the realization of the final color
tone. Because of this diversification, not only in the different species
of wood, but even in separate specimens of the same species, it is
almost impossible always, and at the first attempt, to match a
certain predetermined color.
It is desirable that trials at staining should first be made upon
pieces of board from the same wood as the object to be stained; the
results of such experiments furnishing exact data concerning the
strength and composition of the stain to be employed for the exact
reproduction of a prescribed color. {782} Many cases occur in which
the color tone obtained by staining cannot always be judged directly
after applying the stain. Especially is this the case when stain is
employed which slowly develops under the action of the air or when
the dyestuff penetrates only slowly into the pores of the wood. In
such cases the effect of the staining may only be fully and
completely appreciated after the lapse of 24 or 48 hours.
Wood that has been stained should always be allowed 24 or 48
hours to dry in ordinary temperatures, before a coat of varnish,
polish, or wax is applied. If any dampness be left in the wood this
will make itself apparent upon the varnish or polish. It will become
dull, lose its glossy appearance, and exhibit white spots which can
only be removed with difficulty. If a certain effect demand the
application of two or more stains one upon the other, this may only
be done by affording each distinct coat time to dry, which requires at
least 24 hours.
Not all the dyes, which are applicable to wood staining, can be
profitably used together, either when separately applied or mixed.
This injunction is to be carefully noted in the application of coal tar
or aniline colors.
Among the aniline dyes suitable for staining woods are two groups
—the so-called acid dyes and the basic dyes. If a solution of an acid
dye be mixed with a basic dye the effect of their antagonistic
dispositions is shown in the clouding up of the stain, a fine
precipitate is visible and often a rosin-like separation is noticeable.
It is needless to say that such a staining solution is useless for any
practical purpose. It cannot penetrate the wood fibers and would
present but an unseemly and for the most part a flaky appearance.
In preparing the stains it is therefore of the greatest importance that
they remain lastingly clear. It would be considerably of advantage,
before mixing aniline solutions of which the acid or basic
characteristics are unknown, to make a test on a small scale in a
champagne glass and after standing a short time carefully examine
the solution. If it has become cloudy or wanting in transparency it is
a sign that a separation of the coloring matter has taken place.
The mixing of acid or basic dyestuffs even in dry powdered form is
attended with the same disadvantages as in the state of solubility,
for just as soon as they are dissolved in water the reactions
commence and the natural process of precipitation takes place with
all its attending disagreeable consequences.
Color Stains:
 Bronze.—I.—Prepare first a thin glue size by soaking good animal
glue over night in cold water and melting it next morning in the
usual water bath. Strain it, before using, through old linen or cheese
cloth into a clean vessel. Sandpaper smooth and dust the articles,
then apply with a soft bristle brush 2 or 3 coats of the size, allowing
sufficient time for each coat to harden before applying the next.
Now, a ground coat made by thoroughly mixing finely bolted gilders’
whiting and glue size is applied, and when this has become hard it is
rubbed to a smooth, even surface with selected fine pumice, and
then given 1 coat of thin copal varnish. When this is nearly but not
quite dry, the bronze powder is applied with a suitable brush or wad
of cotton, and when dry the surplus bronze is removed with the
same tool. If collected on clean paper, the dusted-off bronze powder
may be used again.
II.—Diluted water-glass solution makes a good ground for bronze.
Bronze powder is sprinkled on from a wide-necked glass tied up with
gauze, and the excess removed by gently knocking. The bronze
powder adheres so firmly after drying that a polish may be put on by
means of an agate. The process is especially useful for repairing
worn-off picture frames, book ornamentations, etc. The following
bronze ground also yields good results: Boil 11,000 parts of linseed
oil with 25 parts of impure zinc carbonate, 100 parts of red lead, 25
parts of litharge, and 0.3 parts of mercuric chloride, until a drop
taken out will stand like a pea upon a glass surface. Before complete
cooling, the mass is diluted with oil of turpentine to a thick syrup.
Ebony Stains.—I.—To 1 pint of boiling water add 3/4 ounce of
copperas and 1 ounce logwood chips. Apply this to the wood hot.
When the surface has dried thoroughly wet it with a solution
composed of 7 ounces steel filings dissolved in 1/4 pint of vinegar.
II.—Give the wood several applications of a stout decoction of
logwood chips, finishing off with a free smear of vinegar in which
rusty nails have been for some time submerged.
 III.—In 1 quart of water boil 1/4 pound of logwood chips,
subsequently adding 1/2 ounce pearl ash, applying the mixture {783}
hot. Then again boil the same quantity of logwood in the same
quantity of water, adding 1/4 ounce of verdigris and 1/4 ounce of
copperas, after which strain and put in 1/4 pound of rusty steel
filings. With this latter mixture coat the work, and, should the wood
not be sufficiently black, repeat the application.
Metallic Luster.—A valuable process to impart the luster of metal to
ordinary wood, without injuring its natural qualities, is as follows:
The wood is laid, according to its weight, for 3 or 4 days in a caustic
alkaline solution, such as, for instance, of calcined soda, at a
temperature of 170° F. Then it is at once placed in a bath of calcium
hydrosulphite, to which, after 24 to 36 hours, a saturated solution of
sulphur in caustic potash is added. In this mixture the wood is left
for 48 hours at 100° to 120° F. The wood thus prepared, after
having been dried at a moderate temperature, is polished by means
of a smoothing iron, and the surface assumes a very handsome
metallic luster. The effect of this metallic gloss is still more pleasing if
the wood is rubbed with a piece of lead, zinc, or tin. If it is
subsequently polished with a burnisher of glass or porcelain, the
wood gains the brilliancy of a metallic mirror.
Nutwood.—One part permanganate of potassium is dissolved in 30
parts clear water; with this the wood to be stained is coated twice.
After an action of 5 minutes, rinse off with water, dry, oil, and polish.
It is best to prepare a fresh solution each time.
Oak.—I.—Water-color stains do not penetrate deep enough into
wood to make the effect strong enough, hence solutions of other
material than color are being employed for the purpose. Aqua
ammonia alone, applied with a rag or brush repeatedly, will darken
the color of oak to a weathered effect, but it is not very desirable,
because of its tendency to raise the grain. Bichromate of potash,
dissolved in cold water, applied in a like manner, until the desired
depth is obtained, will serve the purpose. These washes or solutions,
however, do not give the dark, almost black, effect that is at the
present time expected for weathered oak, and in order to produce
this, 4 ounces of logwood chips and 3 ounces of green copperas
should be boiled together in 2 quarts of water for 40 minutes and
the solution applied hot. When this has dried it should be gone over
with a wash made from 4 ounces steel filings and 1 pint of strong
vinegar. The steel filings are previously put into the vinegar and
allowed to stand for several days. This will penetrate into the wood
deeply, and the stain will be permanent. Picture-frame
manufacturers use a quick-drying stain, made from aniline blacks.
II.—Dissolve 1/4 part of permanganate of potassium in 1,000 parts
of cold water and paint the wood with the violet solution obtained.
As soon as the solution comes in contact with the wood it
decomposes in consequence of chemical action, and a handsome
light-brown precipitate is produced in the wood. The brushes used
must be washed out immediately, as the permanganate of potassium
destroys animal bristles, but it is preferable to use sponges or
brushes of glass threads for staining. Boil 2 parts of cutch in 6 parts
of water for 1 hour, stir while boiling, so that the rosiniferous
catechu cannot burn on the bottom of the vessel; strain the liquid as
soon as the cutch is dissolved, through linen, and bring again to a
boil. Now dissolve therein 1/5 part of alum, free from iron; apply the
stain while hot, and cover after the drying, with a solution of 1 part
of bichromate of potassium in 25 parts of water.
Rosewood.—First procure 1/2 pound logwood, boiling it in 3 pints
water. Continue the boiling until the liquid assumes a very dark color,
at which point add 1 ounce salt of tartar. When at the boiling point
stain your wood with 2 or 3 coats, but not in quick succession, as
the latest coat must be nearly dry before the succeeding one is
applied. The use of a fiat graining brush, deftly handled, will produce
a very excellent imitation of dark rosewood.
Silver Gray.—This stain is prepared by dissolving 1 part of
pyrogallic acid in 25 parts of warm water and the wood is coated
with this. Allow this coating to dry and prepare, meanwhile, a
solution of 2 parts of green vitriol in 50 parts of boiling water, with
which the first coating is covered again to obtain the silver-gray
shade.
Walnut.—I.—Prepare a solution of 6 ounces of a solution of
permanganate of potassium, and 6 ounces of sulphate of magnesia
in 2 quarts of hot water. The solution is applied on the wood with a
brush and the application should be repeated once. In contact with
the wood the permanganate decomposes, and a handsome, lasting
walnut color results. If small pieces of wood are to be thus stained,
a very dilute bath is prepared {784} according to the above
description, then the wooden pieces are immersed and left therein
from 1 to 5 minutes, according to whether a lighter or darker
coloring is desired.
II.—One hundredweight Vandyke brown, ground fine in water, and
28 pounds of soda, dissolved in hot water, are mixed while the
solutions are hot in a revolving mixer. The mixture is then dried in
sheet-iron trays.
Yellow.—The wood is coated with a hot concentrated solution of
picric acid, dried, and polished. (Picric acid is poisonous.)
Imitation Stains.
Yellow, green, blue, or gray staining on wood can be easily
imitated with a little glazing color in oil or vinegar, which will prove
better and more permanent than the staining. If the pores of the
wood are opened by a lye or a salt, almost any diluted color can be
worked into it. With most stains the surface is thus prepared
previously.
 Light-Fast Stains.—Stains fast to light are obtained by saturating
wood in a vacuum chamber, first with dilute sulphuric acid, then with
dilute alkali to neutralize the acid, and finally with a solution with or
without the addition of a mordant. The action of the acid is to
increase the affinity of the wood for dye very materially. As wood
consists largely of cellulose, mercerization, which always increases
the affinity of that substance for dyes, may be caused to some
extent by the acid.
Spirit Stains:
Black.—

I.— White shellac 12 ounces

Vegetable black 6 ounces
Methylated spirit 3 pints
II.— Lampblack 1 pound
Ground iron scale 5 pounds
Vinegar 1 gallon
Mahogany Brown.—Put into a vessel, say 4 pounds of bichromate
of potash, and as many ounces of burnt umber, let it stand a day or
two, then strain or lawn for use.
Vandyke Brown.—

Spirit of wine 2 pints

Burnt umber 3 ounces
Vandyke brown color 1 ounce
Carbonate of soda 1 ounce
Potash 1/ ounce
2

Mahogany.—Rub the wood with a solution of nitrous acid, and

then apply with a brush the following:
I.— Dragon’s blood 1 ounce
Sodium carbonate 6 drachms
Alcohol 20 ounces
Filter just before use.
 II.—Rub the wood with a solution of potassium carbonate, 1
drachm to a pint of water, and then apply a dye made by boiling
together:
Madder 2 ounces
Logwood chips 1/ ounce
2
Water 1 quart
Maple.—

I.— Pale button lac 3 pounds

Bismarck brown 1/ ounce
8
Vandyke brown 1/ ounce
2
Gamboge 4 ounces
Methylated spirit 1 gallon
II.—Use 1 gallon of methylated spirit, 4 ounces gamboge
(powdered), 1/2 ounce Vandyke brown, 1 drachm Bismarck brown, 3
pounds shellac.
Maroon.—To produce a rich maroon or ruby, steep red Janders
wood in rectified naphtha and stir into the solution a little cochineal;
strain or lawn for use.
Turpentine Stains.—Turpentine stains are chiefly solutions of oil-
soluble coal-tar dyes in turpentine oil, with small quantities of wax
also in solution. They do not roughen the wood, making a final
polishing unnecessary. They enter the wood slowly, so that an even
stain, especially on large surfaces, is secured. The disadvantages of
turpentine stains are the lack of permanence of the coloring, when
exposed to light and air, and their high price.
Varnish Stains.—Shellac is the chief article forming the basis of
varnish stains the coloring matter being usually coal tar or aniline
dyes, as they give better results than dye wood tincture. To prevent
the varnish stain being too brittle, the addition of elemi rosin is a
much better one than common rosin, as the latter retards the drying
quality, and if too much be used, renders the stain sticky.
 Water Stains.—Water stains are solutions of chemicals, dye
extracts, astringent substances, and coal-tar dyes in water. They
roughen the wood, a disadvantage, however, which can be remedied
to a large extent by previous treatment, as follows: The wood is
moistened with a wet sponge, allowed to dry, {785} and then rubbed
with sandpaper, or made smooth by other agencies. This almost
entirely prevents roughening of the surface by the stain. Another
disadvantage of these stains is that they are rapidly absorbed by the
wood, which makes an even staining of large surfaces difficult. For
this too there is a remedy. The surface of the wood is rubbed all
over evenly with raw linseed oil, applied with a woolen cloth, allowed
to dry, and then thoroughly smoothed with sandpaper. The water
stain, applied with a sponge, now spreads evenly, and is but slightly
absorbed by the wood.
Among good water stains are the long-known Cassel brown and
nut brown, in granules. Catechine is recommended for brown
shades, with tannin or pyrogallic acid and green vitriol for gray. For
bright-colored stains the tar-dyes azine green, croceine scarlet,
Parisian red, tartrazine, water-soluble nigrosin, walnut, and oak
brown are very suitable. With proper mixing of these dyes, all colors
except blue and violet can be produced, and prove very fast to light
and air, and superior to turpentine stains. Only the blue and violet
dyes, methyl blue, naphthol blue, and pure violet, do not come up to
the standard, and require a second staining with tannin.
A very simple method of preparing water stains is as follows:
Solutions are made of the dyes most used, by dissolving 500 parts of
the dye in 10,000 parts of hot water, and these are kept in bottles or
casks. Any desired stain can be prepared by mixing proper quantities
of the solutions, which can be diluted with water to make lighter
stains.
Stains For Wood Attacked By Alkalies Or Acids.—
 Solution A
Copper sulphate 125 grams
Potassium chlorate 125 grams
Water 1,000 cu. cm.
Boil until all is dissolved.
Solution B
Aniline hydrochloride 150 grams
Water 1,000 cu. cm
Apply Solution A twice by means of a brush, allowing time to dry
after each coat; next, put on Solution B and let dry again. On the
day following, rub on a little oil with a cloth and repeat this once a
month.
Substitutes For Wood.
I.—Acetic paraldehyde or acetic aldehyde respectively, or
polymerized formaldehyde is mixed with methylic alcohol and
carbolic acid, as well as fusel oil saturated with hydrochloric acid gas
or sulphuric acid gas or methylic alcohol, respectively, are added to
the mixture. The mass thus obtained is treated with paraffine. The
final product is useful as a substitute for ebonite and wood as well
as for insulating purposes.
II.—“Carton Pierre” is the name of a mass which is used as a
substitute for carved wood. It is prepared in the following manner:
Glue is dissolved and boiled; to this, tissue paper in suitable quantity
is added, which will readily go to pieces. Then linseed oil is added,
and finally chalk is stirred in. The hot mass forms a thick dough
which crumbles in the cold, but softens between the fingers and
becomes kneadable, so that it can be pressed into molds (of glue,
gypsum, and sulphur). After a few days the mass will become dry
and almost as hard as stone. The paper imparts to it a high degree
of firmness, and it is less apt to be injured than wood. It binds well
and readily adheres to wood.
 III.—Wood Pulp.—The boards for painters’ utensils are
manufactured in the following manner: The ordinary wood fiber (not
the chemical wood cellulose) is well mixed with soluble glass of 33°
Bé., then spread like cake upon an even surface, and beaten or
rolled until smooth. Before completely dry, the cake is removed,
faintly satined (for various other purposes it is embossed) and finally
dried thoroughly at a temperature of about 133° F., whereupon the
mass may be sawed, carved, polished, etc., like wood.
Any desired wood color can be obtained by the admixture of the
corresponding pulverized pigment to the mass. The wood veining is
produced by placing a board of the species of timber to be imitated,
in vinegar, which causes the soft parts of the wood to deepen, and
making an impression with the original board thus treated upon the
wood pulp when the latter is not quite hard. By means of one of
these original boards (with the veins embossed), impressions can be
made upon a large number of artificial wood plates. The veins will
show to a greater advantage if the artificial wood is subsequently
saturated and treated with colored oil, colored stain and colored
polish, as is done with palettes.
WOOD, ACID-PROOF: See Acid-Proofing.
WOOD CEMENTS: See Adhesives. {786}
WOOD, CHLORINE-PROOFING: See Acid-Proofing.
WOOD, FIREPROOFING: See Fireproofing.
WOOD GILDING: See Plating.
WOOD, IMITATION: See Plaster.
WOOD POLISHES: See Polishes.
WOOD RENOVATORS: See Cleaning Preparations and Methods under Paint, Varnish, and
Enamel Removers.
WOOD, SECURING METALS TO: See Adhesives.
WOOD, WATERPROOFING: See Waterproofing.
WOOD’S METAL: See Alloys.
WOOL FAT: See Fats.
WORM POWDER FOR STOCK: See Veterinary Formulas.

WRITING, RESTORING FADED:

Writing on old manuscripts, parchments, and old letters that has
faded into nearly or complete invisibility can be restored by rubbing
over it a solution of ammonium sulphide, hydrogen sulphide or of
“liver of sulphur.” On parchment the restored color is fairly
permanent but on paper it does not last long. The letters however
could be easily retraced, after such treatment, by the use of India
ink and thus made permanent. This treatment will not restore faded
aniline ink. It only works with ink containing a metal-like iron that
forms a black sulphide.
WRINKLES, REMOVAL OF: See Cosmetics.

YEAST
Dry Yeast.
Boil together for 1/2 hour, 95 parts of the finest, grated hops and
4,000 parts of water. Strain. Add to the warm liquor 1,750 parts of
rye meal or flour. When the temperature has fallen to that of the
room add 167 parts of good yeast. On the following day the mass
will be in a state of fermentation. While it is in this condition add
4,000 parts of barley flour, so as to form a dough. This dough is cut
up into thin disks, which are dried as rapidly as possible in the open
air or sun. For use, the disks are broken into small pieces and
soaked overnight in warm water. The yeast can be used on the
following day as if it were ordinary brewers’ yeast.
Preservation Of Yeast.
I.—The yeast is laid in a vessel of cold water which is thereupon
placed in a well-ventilated, cool spot. In this manner the yeast can
be preserved for several weeks. In order to preserve the yeast for
several months a different process must be followed. The yeast,
after having been pressed, is thoroughly dried. For this purpose the
yeast is cut up into small pieces which are rolled out, placed on
blotting paper, and allowed to dry in a place which is not reached by
the sun. These rolls are then grated, again dried, and finally placed
in glass bottles. For use, the yeast is dissolved, whereupon it
immediately regains its freshness. This process is particularly to be
recommended because it preserves the yeast for a long period.
II.—For liquid yeast add one-eighth of its volume in glycerine. In
the case of compressed yeast, the cakes are to be covered with
glycerine and kept in closed vessels. Another method of preserving
compressed yeast is to mix it intimately with animal charcoal to a
dough, which is to be dried by exposure to sunlight. When it is to be
used, it is treated with water, which will take up the ferment matter,
while the charcoal will be deposited. Liquid and compressed yeast
have been kept for a considerable time, without alteration, by
saturating the former with chloroform and keeping the latter under
chloroform water.
Yeast Tests.
I.—Pour a few drops of yeast into boiling water. If the yeast sinks,
it is spoiled; if it floats, it is good.
II.—To 1 pound yeast add 1/2 ta­ble­spoon­ful of corn whisky or
brandy, a pinch of sugar, and 2 ta­ble­spoon­fuls of wheat flour. Mix
thoroughly and allow the resultant compound to stand in a warm
place. If the yeast is good it will rise in about an hour.
YEAST AND FERTILIZERS: See Fertilizers.
YELLOW (CHROME), TEST FOR: See Pigments. {787}
 INDEX
A
Absinthe, 765
Absolute Alcohol, 45
Abrasion Remedy, 225, 486
Acacia, Mucilage of, 43
Acid-free Soldering Fluid, 659
Acid-proof Alloy, 62
— Cement, 26
— Corks, 10
— Glass, 374
Acid-proofing, 9
Acid-proof Pastes, 38
— Putty, 607
— Table Top, 9
Acid Receptacles, Lining for, 10
Acid-resisting Paint, 499
Acids, Soldering, 656
Acid Stains Removed, 184
— Test for Gold, 432
— — — for Vinegar, 358
Aconite-Monkshood Poison, 93
Adhesion, 105
— Belt Pastes for Increasing, 105
Adhesive Paste, 37, 39
Adhesives, 10
Advertising Matter, to Scent, 510
Adulterants in Foods, 348
Adulteration of Linseed Oil, 460
— of Wax, 753
Adurol Developer, 527
Affixing Labels to Glass, 42
Agar Agar Paste, 37
Agate, Buttons of Artificial, 44
Agate (Imitation), 370
Age of Eggs, 283
Aging of Silk, 639
Agricultural Sources of Industrial Alcohol, 668
Air Bath, 44
— Bubbles in Gelatine, 370
— Exclusion of, 553
Air-purifying, 44
Albata Metal, 63
Albumen, 34
— in Urine, Detection of, 44
— Paste, 37
Alcohol, 44
— Absolute, 45
— Defined, 667
— Deodorized, 45, 514
— Dilution of, 45, 703
— in Beer, 45
— Manufacture, 667, 674
— Solid, 45
— Tests for Absolute, 45
Ale, 46
— Ginger, 107
Alfenide Metal, 63
Alkali Blue and Nicholson’s Blue Dye, 267
Alkalis and Their Salts Poison, 93
Alkaline Glycerine of Thymol, 100
Alkaloids, Antidotes to, 102
Alkermes Cordial, 763
Alloy, Acid-proof, 62
— for Caliper and Gage-rod Castings, 80
— for Watch Pinion Sockets, 736
— Lipowitz’s, 61
— Moussets’, 76
Alloys, 47
— Copper, Silver, Cadmium, 76
— for Casting Coins, etc., 62
— for Cementing Glass, 52
— for Drawing Colors on Steel, 80
— for Metal Foil, 474
— for Small Casting Molds, 80
— having a Density, 48
— Silver, Nickel, Zinc, 76
— Tin, 77
— Unclassified, 80
Almond Blossom Perfumery, 518
— Cold Cream, 235
— Extracts, 312
— Powders for the Toilet, 242
Altars, to Clean, 185
Alum, 80
— Baking Powder, 102
— Bath, 535
— Process of Water Purification, 340
Aluminum Alloys, 48
— Electrical Conductivity of, 50
Aluminum-brass, 50
Aluminum Bronze, 56, 657
— Castings, 150
Aluminum-Copper, 50
Aluminum Gilding, 576
— Gold, 68
— Etching Fluid for, 324
— How to Color, 80
— Lacquer for, 438
— Paper, 507
— Plating, 572, 581
— Polishes, 590
Aluminum-Silver, 50, 75
Aluminum Solders, 657
Aluminum-Tin, 50
Aluminum, to Clean, 204
— Toughness, Density and Tenacity, 83
Aluminum-Tungsten, 50
Aluminum Varnish, 725
— Working of Sheet, 83
Aluminum-Zinc, 50
Amalgam for Cementing Glass, etc., 90
— for Plaster, 65
— for Silvering Glass Balls, 90
— for the Rubber of Electric Machines, 90
— Gold Plating, 576
Amalgams, 64, 85
— for Mirrors, 72
Amber, 90
— Cements, 26
— Varnish, 718
Ambrosia Powder, 628
American Champagne, 118
— Factory Cheese, 176
— Lemonade, 110
— Soda Fountain Company’s Whipped Cream, 248
Amethyst (Imitation), 370
Amidol Developer, 528
Ammon-carbonite, 331
Ammonia, 91
— for Fixing Prints, 536
— Household, 91
— Poison, 93
— Violet Color for, 91
— Water, 245, 519
— — Perfumed, 91
Anchovies, Essence of, 98
Anchovy Paste, 98
— Preparations, 98
— Sauce, Extemporaneous, 98
Angostura Bitters, 762
Anise Cordial, 763
Aniline, 266
— Black Dye, 266, 279
— — — Substitutes, 279
— Black Lake Dye, 278
— Blue Dye, 268
— Green Dye for Wool, 269
— — — for Silk, 269
— in Pigments, Tests for, 560
— Scarlet Dye, 271
— Stains, to Remove, 185
— Yellow Dye, 271
Animals, Fly Protection for, 419
Ankara, 142
Annealing Bronze, 56
— Copper, 219
Annealing of Steel, Wire, etc., 681
Anodynes, 486
Ansco Platinum Paper, 529
Ant Destroyers, 420
Anti-corrosive or Asiatic Ink, 414
Antidotes for Belladonna, 93
— for Poisons, 92
Anti-ferments, 97
Anti-fouling Compositions, 498
Anti-freezing Solution, 362, 363
— for Automobilists, 363
Anti-friction Bearing or Babbitt Metals, 50
— Metal, 58
Anti-frost Solution, 363
Anti-leak Rubber Tire, 708
Antimony Poison, 93
— Baths, 581
Antique Bronzes, 566
— Silver, 587, 639
— — — Imitation of, 640
Antiques, to Preserve, 98
Anti-rust Compositions, 625
— Paper for Needles, 625
— Pastes, 625
Antiseptic Bromine Solution, 100
— Enamel, 720
— Nervine Ointment, 487
— Oil of Cinnamon, 100
— Paste (Poison), 99
— Pencils, 99
— Powders, 98
— Soap, 644
— Solution, Coloring for, 100
— Tooth Powder, 253
Antiseptics, 98
— for Caged Birds, 729
— Mouth, 99
Aphtite, 70
Apollinaris Lemonade, 110
— Water, 740
Apple Extract, 312
— Syrup, 312
Applications for Prickly Heat, 398
— of Barium Amalgams, 86
— of Bismuth Amalgams, 88
— of Cadmium Amalgams, 87
— of Copper Amalgams, 87
— of Gold Amalgams, 89
— of Lead Amalgams, 88
— of Manganese Amalgams, 87
Applications of Potassium Amalgams, 86
— of Silver Amalgams, 88
— of Sodium Amalgams, 86
— of Strontium Amalgams, 86
— of Tin Amalgams, 87
— of Zinc Amalgams, 87
Applying Decalcomania Pictures, 250
Apricot Extract, 312
Aquarium Putty, 608
Argentan, 69
Arguzoid, 70
Armenian Cement, 20
Arms, Oil for, 460
Arnica Salve, 486
Aromatic Cod-Liver Oil, 482
— Cotton, 246
— Rhubarb Remedy, 180
— Vinegar, 735
Arsenic Alloys, 63, 75
Arsenic Poison, 93, 614
Art Bronzes, 57, 556
— of Lacquering, 437
Artificial Aging of Fabrics, 639
— Beeswax, 754
— Butter, 142
— Ciders, 181
— Coloring of Flowers, 346
— Egg Oil, 284
— Fertilizers for Pot Plants, 336
— Flowers, Dyes for, 272
— Flower Fertilizer, 337
— Horn, 396
— Leather, 447
— Marbles, 699
— Rubber, 618
— “Rubbered” Silk, 639
— Slate, 643
— Violet Perfumery, 518
— Water, 739
Asbestos Cement, 30
— Fabric, 342
Asphalt and Pitch, 33
— as Ingredient of Rubber, 619
— in Painting, 718
— Varnishes, 718
Assaying of Gold, 381
Asthma Cures, 101
— Fumigating Powders, 101
— in Canaries, 728
— Papers, 101
Astringent for Horses, 730
— Wash for Flabby Skin, 234
Atomic Weights, 758
Atomizer Liquid for Sick Rooms, 264
Attaching Enamel Letters to Glass, 19
— by Cement, 17
Atropine, Antidote to, 102
Aqua Aromatica, 102
— Fortis for the Touchstone, 383
— — — Poison, 92
— Regia, 102
Aquarium Cements, 31
Automobile Engines, Cooling, 363
Automobiles, Anti-freezing Solution, 363
Axle Grease, 462

B
Babbitt-Metals, 50
Baking Powders, 102
Balance Spring, 738
Baldness, 392
Balkan Paste, 38
Ball Blue, 281, 444
Ball-Room Floor Powder, 345
Balsam, Birch, 103
— of Sulphur, 380
— Spray Solution, 103
Balsam, Stains, to Remove, 194
— Wild-cherry, 103
Balsams, 102
Balsamic Cough Syrup, 211
Banana Bronzing Solution, 489
— Cream, 115
— Trick, the Burning, 611
— Syrup, 312
Banjo Sour, 110
Barbers’ Itch, 486
— Powder, 243
Barium Amalgams, 86
— Poison, 615
Barometers (Paper), 402
Bath, Air, 44
— Metal, 63
— Powder, 242
— Tablets, Effervescent, 103
Bath-tub Enamel, 721
— Paint, 501
Batteries, Solution for, 104
Basis for Effervescent Salts, 627
Baudoin Metal, 63
Bavaroise au Cognac, 118
Bay Rum, 104, 513
Bear Fat, 333
Bearing Lubricant, 461
— Metal, 50
Beauty Cream, 231
— Water, 244
Bedbug Destroyers, 420
Beechwood Furniture Polish, 593
Beef and Iron, 771
— Iron, and Wine, 104
Beef-marrow Pomade, 227
Beef Peptonoids, 509
— Preservatives, 360
— Tea, 112
Beer, 118
— Ginger, 108
— Lemon, 108
— Restoration of Spoiled, 105
— Spruce, 119
— Treacle, 119
— Weiss, 119
Beers, Alcohol in, 45
Beetle Powder, 425
Bees, Foul Brood in, 105
Beeswax, Artificial, 754
Belladonna, Antidotes to, 93
Bell Metal, 51
Belt Cement, 31
— Glue, 15
— Lubricant, 462
— Pastes for Increasing Adhesion, 105
Bénédictine, 769
Bengal Lights, 609
Bent Glass, 371
Benzine, 106
— Cleaning with, 209
— Purification of, 106
— to Color Green, 106
Benzoic Acid, Detection of, 350
— in Food, 350
Benzoic-acid Pastilles, 211
Benzoin-Glycerine Soap, 652
Benzoparal, 107
Berge’s Blasting Powder, 330
Beverages, 107
— Yellow Coloring for, 119
Bibra Alloy, 71
Bicycle Dipping Varnish, 719
Bicycle-tire Cement, 23
Bicycle Varnishes, 719
Bicycles, Black Paint for, 495
Bidery Metal, 80
Billiard Balls, 148, 428
Birch Balsam, 103
Birch-Bud Water, 519
Birch Water, 244, 389
Bird Diseases, Remedies, 728
— Foods, 120, 729
Bird Lime, 458
— Paste, 145
— Tonic, 729
Birds, Antiseptic Wash for, 729
— Constipation in, 729
— Diarrhœa in, 729
Biscuit, Dog, 265
Bismarck Brown Dye, 267
Bismuth, 49
— Alloys, 52
— Amalgams, Applications of, 88
— Bronze, 70
— Purification of, 380
— to Purify, 380
Biting Off Red-hot Iron, 612
Bitter Almond Oil Poison, 93
Bitters, 762
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