26.5.11

A Dictionary of Arts: Sepia.


A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice

by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.

Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.

New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII

1847

SEPIA, is a pigment prepared from a black juice secreted by certain glands of the cuttle-fish, which the animal ejects to darken the water when it is pursued. One part of it is capable of making 1000 parts of water nearly opaque. All the varieties of this mollusca secrete the same juice; but the Sepia officinalis, The Sepia ioligo, and the Sepia tunicata, are chiefly sought after for making the pigment. The first, which occurs abundantly in the Mediterranean, affords most color; the sac containing it being extracted, the juice is to be dried as quickly as possible, because it runs rapidly into putrefaction. Though insoluble in water, it is extremely diffusible through it, and is very slow deposited. Caustic alkalis dissolve the sepia, and turn it brown; but in proportion as the alkali becomes carbonated by exposure to air, the sepia falls to the bottom of the vessel. Chlorine blanches it slowly. It consists of carbon in an extremely divided state, along with albumine, gelatine, and phosphate of lime.

The dried native sepia is prepared for the painter, by first triturating it with a little caustic ley, then adding more ley, boiling the liquid for half an hour, filtering, next saturating the alkali with an acid, separating the precipitate, washing it with water, and finally drying it with a gentle heat. The pigment is of a brown color, and a fine grain.

25.5.11

A Dictionary of Arts: Sealing-wax.


A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice

by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.

Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.

New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII

1847

SEALING-WAX. (Cire à cacheter, Fr.; Siegellack, Germ,) The Hindoos from time immemorial have possessed the resin lac, and were long accustomed to use it for sealing manuscripts before it was known in Europe. It was first imported from the East into Venice, and then into Spain; in which country sealing-wax became the object of considerable commerce, under the name of Spanish wax.

If shellac be compounded into sealing-wax, immediately after it has been separated by fusion from the palest qualities of stick or seed lac, it then form a better and less brittle article, than when the shellac is fused a second time. hence sealing-wax, rightly prepared in the East Indies, deserves a preference over what can be made in other countries, where the lac is not indigenous. Shellac can be restored in some degree, however, to a plastic and tenacious state by melting it with a very small portion of turpentine. The palest shellac is to be selected for eight-colored sealing-wax, the dark kind being reserved black.

The following prescription may be followed for making red sealing-wax: - Take 4 ounces of shellac, ounce of Venice turpentine (some say 1½ ounces), and 3 ounces of vermillion. Melt the lac in a copper pan suspended over a clear charcoal fire, then pour the turpentine slowly into it, and soon afterwards add the vermilion, stirring briskly all the time of the mixture with a rod in either hand. In forming the round sticks of sealing-wax, a certain portion of the mass should be weighed while it is ductile, divided into the desired number of pieces, and then rolled out upon a wam marble slab, by means of a smooth wooden block, like that used by apothecaries for rolling the mass of pills. The oval sticks of sealing-wax are cast in moulds, with the above compound in a state of fusion. The marks of the lines of junction of the mould-box may be afterwards removed by holding the sticks over a clear fire, or passing them over a blue gas-flame. Marbled sealing-wax is made by mixing two, three, or more coloured kinds of it, while they are in a semi-fluid state. From the viscidity of the several masses, their incorporation is left incomplete, so as to produce the appearance of marbling. Gold sealing-wax is made simply by stirring gold-colored mica spangles into the melted resins. Wax may be scented by introducing a little essential oil, essence of musk, or other perfume. If 1 part of balsam of Peru be melted along with 99 parts of the sealing-wax composition, an agreeable fragnance will be exhaled in the act of sealing with it. Either lamp black or ivory black serves for the coloring-matter of black wax. Sealing-wax is often adulterated with rosin; in which case it runs into thin drops at the flame of a candle.

24.5.11

A Dictionary of Arts: Schweinfurth Green.


A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice

by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.

Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.

New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII

1847

SCHWEINFURTH GREEN is a more beautiful and velvety pigment than the preceding, which was discovered in 1814, by MM. Rusz and Sattler, at Schweinfurth, and remained for many years a profitable secret in their hands. M. Liebig having made its composition known, in 1822, it has been since prepared in a great many colour-works. Braconnot published, about the same time, another process for manufacturing the same pigment. Its preparation is very simple; but its formation is accompanied with some interesting circumstances. On mixing equal parts of acetate of copper and arsenious acid, each in a boiling concentrated solution, a bulky olive-green precipitate s immediately produced; while much acetic acid is set free. The powder thus obtained, appears to be a compound of arsenious acid and oxide of copper, in a peculiar state; since when decomposed by sulphuric acid, no acetic odor is exhaled. But, if it be boiled in the acidulous liquor from which it was precipitated, it soon changes its color, as well as its state of aggregation, and forms a new deposite in the form of dense granular beautiful green powder. As fine a colour is produced by ebullition during five or six minutes, as is obtained at the end of several hours by mixing the two boiling solutions, and allowing the whole to cool together. In the latter case, the precipitate, which is slight and flocky at first, becomes denser by degrees; it next betrays green spots, which progressively increase, till the mass grows altogether of a crystalline constitution, and of a still more beautiful tint than if formed by ebullition.

When cold water is added to the mixed solutions, immediately after the precipitate takes place, the development of the colour is retarded, with the effect of making it much finer. The best mode of procedure, is to add to the blended solution, their own bulk of cold water, and to fill a globe up to the neck with the mixture, in order, to prevent the formation of any such pellicle on the surface as might, by falling to the bottom, excite premature crystallization. Thus the reaction continues during two or three days merely from the different sizes of the crystalline particles; for when the several powders are levigated upon a porphyry slab to the same degree, they have the same shade. Schweinfurth green, according to M. Eherman's researches, in the 31st Bulletin de laSociété Industrielle de Mulhausen, consists of, oxide of copper 31.666, arsenious acid 58.699, acetic acid 10.294. Kastner has given the following prescription for making theis pigment: - For 8 parts of arsenious acid, take from 9 to 10 of verdigris; diffuse the latter through water at 120° F., and pass the pap through a sieve; then mix it with the arsenical solution, and set the mixture aside, till the reaction of the ingredients shall produce the wished-for shade of color. If a yellowish tint be desired, more arsenic must be used. By digesting Scheele's green in acetic acid, a variety of Schweinfurth green may be obtained.

Both of the above colours are rank poisons. The first was detected a few years ago, as the colouring-matter of some Parisian bonbons, by the conseil de salubrité; since which the confectioners were prohibited from using it, by the French government.

23.5.11

A Dictionary of Arts: Scheele's Green.


A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice

by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.

Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.

New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII

1847

SCHEELE'S GREEN is a pulverulent arsenite of copper, which may be prepared as follows: - Form, first, an arsenite of potassa, by adding gradually 11 ounces of arsenious acid to 2 pounds of carbonate of potassa, dissolved in 10 pounds of boiling water; next, dissolve 2 pounds of crystallized sulphate of copper in 30 pounds of water; filter each solution, then pour the first progressively into the second, as long as it produces a rich grass-green precipitate. This being thrown upon a filter-cloth, and edulcorated with warm water, will afford 1 pound 6 ounces of this beautiful pigment. It consists of, oxide of copper 28.51, and of arsenious acid 71.46. This green is applied by an analogous double decomposition to cloth. See CALICO-PRINTING.

22.5.11

A Dictionary of Arts: Scarlet Dye.


A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice

by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.

Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.

New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII

1847

SCARLET DYE. Teinture en écarlate, Fr.; Scharlachfärberei, Germ.) Scarlet is usually given at two successive operations. The boiler (see figs. 364, 365, article DYEING,) is made of block tin, but its bottom is formed occasionally of copper.

1. The bouillon, or the coloring-bath. - For 100 pounds of cloth, put into the water, when it is little more than lukewarm, 6 pounds of argal, and stir it well. When the water becomes too hot for the hand, throw into it, with agitation, one pound of cochineal in fine powder. An instant afterwards, pour in 5 pounds of the clear mordant G (see TIN MORDANTS,) stir the whole thoroughly as soon as the bath begins to boil, introduce the cloth, and wince it briskly for two or three rotations, and then more slowly. At the end of a two hour's boil, the cloth is to be taken out, allowed to become perfectly cool, and well washed at the river, or winced in a current of pure water. (See an automatic plan of washing described under the article RINSING MACHINE.)

2. The rougie, or finishing dye. - The bouillon bath is emptied, and replaced with water, for the rougie. When it is on the point of boiling, 5½ pounds of cochineal in fine powder are to be thrown in, and mixed with care; when the crust, which forms upon the surface, opens of itself in several places, 14 pounds of solution of tin (as above) are to be added. Should the liquor be likely to boil over the edges of the kettle, it must be refreshed with a little cold water. When the bath has become uniform, the cloth is to be put in, taking care to wince it briskly for two or three turns; then to boil it bodily for an hour, thrusting it under the liquor with a rod whenever it rises to the surface. It is lastly taken out, aired, washed at the river, and dried.

As no person has done more for the improvement of the scarlet dyes than Poërner, I shall here give his processes in detail.

[Bouillon, or coloring. - For every pound of cloth or wool, take 14 drachms of cream of tartar. When the bath is boiling, and the tartar all dissolved, pour in successively 14 drams of solution of tin (Mordant F, TIN), and let the whole boil together during a few minutes. Now introduce the cloth, and boil it for 2 hours; then take it out, and let it drain and cool.

Rougie, or dye. - For every pound of woollen stuff, take 2 drachms of cream of tartar. When the bath begins to boil, add 1 ounce of cochineal reduced to fine powder, stir the mixture well with rod of willow or any white wood, and let it boil for a few minutes. Then pour in, by successive portions, 1 ounce of solution of tin (Mordant F), stirring continually with the rod. Lastly, dye as quickly as possible. The colour will be a beautiful scarlet.

Second scarlet process of Poërner, the bouillon being the same as above given, and always estimated for 1 pound of cloth or wool. Rougie. - Take 1 ounce of cochineal in fine powder, and 2 ounces of solution of tin without tartar.

Third scarlet process of Poërner; the bouillon being as above. Rougie for a pound of cloth. - Take two drachms of cream of tartar, one ounce of cochineal, one ounce of solution of tin, and 2 ounces of sea salt; dye as in proces 1. The salt helps the dye to penetrate into the cloth.

TABLES of the COMPOSITION of the BOUILLON and ROUGIE, by different Authors, for 100 pounds of Cloth or Wool.

Composition of the Bouillon.

Names of the Authors. | Starch. [lb. - oz.] | Cream of Tartar. [lb. - oz.] | Cochineal. [lb. - dr.] | Solution of Tin. [lb. - oz.] | Common Salt. [lb. - oz.]
Berthollet | 0 0 | 6 0 | 8 9 | 5 0 | 0 0
Hellot | 0 0 | 12 8 | 18 6 | 12 8 | 0 0
Scheffer | 9 6 | 9 6 | 12 4 | 9 6 | 0 0
Poërner | 0 0 | 0 15 | 0 0 | 10 15 | 0 0

Composition of the Rougie.

Names of the Authors. | Starch. [lb. - oz.] | Cream of Tartar. [lb. - oz.] | Cochineal. [lb. - dr.] | Solution of Tin. [lb. - oz.] | Common Salt. [lb. - oz.]
Berthollet | 0 0 | 0 0 | 5 8 | 14 0 | 0 0
Hellot | 3 2 | 0 0 | 7 4 | 12 8 | 0 0
Scheffer | 3 2 | 3 2 | 5 7½ | 4 11 | 0 0
Poërner | 0 0 | 1 8 | 6 4 | 6 4 | 0 0
-"- | 0 0 | 0 0 | 6 4 | 12 8 | 0 0
-"- | 0 0 | 1 8 | 6 4 | 6 4 | 12 8

M. Lenormand states that he has made experiments of verification upon all the formulas of the preceding tables, and declares his conviction that the finest tint may be obtained by taking the bouillon of Scheffer, and the rougie No. 4. of Poërner. The solution which produced the most brilliant red, is that made according to the process of mordant B (TIN.) M. Robiquet has given the following prescription for making a printing scarlet, for well-whitened woollen cloth.

Boil a pound of pulverized cochineal in four pints of water down to 2 pints, and pass the decoction through a sieve. Repeat the boiling three times upon the residuum, mix the eight pints of decoction, thicken them properly with two pounds of starch, and boil into a paste. Let it cool down to 104° F., then add four ounces of the subjoined solution of tin, and two ounces of ordinary salt of tin (muriate). When a ponçeau red is wanted, two ounces of pounded curcuma (turmeric) should be added.

The solution of tin above prescribed, is made by taking - one ounce of nitric acid, of specific gravity 36° B, = 1.33; one ounce of sal ammoniac; four ounces of grain tin. The tin is to be divided into eight portions, and one of them is to be put into the acid mixture every quarter of an hour.

A solution of chlorate of potassa (chloride ?) is said to beautify scarlet cloth in a remarkable manner.

Bancroft proposed to supplant the nitro-muriatic acid, by a mixture of sulphuric and muriatic acids, for dissolving tin; but I do not find that he succeeded in persuading scarlet-dyers to adopt his plans. In fact the proper base is, in my opinion, a mixture of the protoxide and peroxyde of tin; and this cannot be obtained by acting upon the metal with the murio-sulphuric acid. He also prescribed the extensive use of the quercitron yellow to change the natural crimson of the cochineal into scarlet, thereby economizing the quantity of this expensive dye-stuff. See LAC DYE.

21.5.11

A Dictionary of Arts: Satin


A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice

by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.

Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.

New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII

1847

SATIN (Eng., Fr., and Germ.), is the name of a silk stuff, first imported from China, which is distinguished by its very smooth, polished, and glossy surface. It is woven upon a loom with at least five-leaved healds or heddles, and as many corresponding treddles. These are so mounted as to rise and fall four at a time, raising and depressing alternately four yarns of the warp, across the whole of which the weft is thrown by the shuttle, so as to produce a uniform smooth texture, instead of the checkered work resulting from intermediate decussations, as in common webs. See TEXTILE FABRICS. Satins are woven with the glossy or right side undermost, because the four-fifths of the warp, which are always left there during the action of the healds, serve to support the shuttle in its race. Were they woven in the reserve way, the scanty fifth part of the warp threads could either not support, or would be too much worn by the shuttle.

20.5.11

A Dictionary of Arts: Sapan wood.


A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice

by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.

Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.

New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII

1847

SAPAN WOOD, is a species of the Cæsalpinia genus, to which Brazil wood belongs. It is so called by the French, because it comes to them from Japan, which they corruptly pronounce Sapan. As all the species of this tree are natives of either the East Indies or the New World, one would imagine that they could have not been used as dye-stuffs in Europe before the beginning of the 16th century. Yet the author of the article "Brazil," in Rees' Cyclopædia, and Mr. Southey, in his History of Brazil, say that Brazil wood is mentioned nearly one hundred years before the discoveries of Columbus and Vasco de Gama, by Chaucer, who died in 1400; that it was known many ages before his time; and that it gave the name to the country, instead of the country giving name to the wood, as I have stated, with Berthollet and other writers on dyeing. The Cæsalpinia sappan, being a native of the Coromandel coast, may possibly have been transported along with other Malabar merchandise to the Mediterranean marts in the middle ages; but the importation of so lumbering an article in any considerable quantity by that channel, is so improbable, that I am disposed to believe that Brazil wood was not commonly used by the dyers of Europe before the discovery of the New World.

19.5.11

A Dictionary of Arts: Sandarach.


A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice

by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.

Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.

New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII

1847

SANDARACH, is a peculiar resinous substance, the product of the Thuya articulata, a small tree of the coniferous family, which grows in the northern parts of Africa, especially round Mount Atlas.

The resin comes to us in pale yellow, transparent, brittle, small tears, of a spherical or cylindrical shape. It has a faint aromatic smell, does not soften, but breaks between the teeth, fuses readily with heat, and has a specific gravity of from 1.05 to 1.09. It contains three different resins; one soluble in spirit of wine, somewhat resembling picric acid (see TURPENTIN;); one not soluble in that menstruum; and a third, soluble only in alcohol of 90 per cent. It is used as pounce-powder for strewing over paper erasures as incense, and in varnishes.

18.5.11

A Dictionary of Arts: Sandal or Red Saunders Wood.


A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice

by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.

Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.

New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII

1847

SANDAL or RED SAUNDERS WOOD (Santal, Fr.; Sandelholz, Germ.), is the wood of the Pterocarpus santalinus, a tree which grows in Ceylon, and on the coast of Coromandel. The old wood is preferred by dyers. Its colouring matter is of a resinous nature; and is, therefore, quite soluble in alcohol, essential oils, and alkaline leys; but sparingly in boiling water, and hardly if at all in cold water. the colouring matter which is obtained by evaporating the alcoholic infusion to dryness, has been called santaline; it is a red resin, which is fusible at 212° F. It may also be obtained by digesting the rasped sandal wood in water of ammonia, and afterwards saturating the ammonia with an acid. The santaline falls, and the supernatant liquor, which is yellow by transmitted, appears blue by reflected light. Its spirituous solution affords a fine purple precipitate with the protochloride of tin, and a violet one with the salts of lead. Santaline is very soluble in acetic acid, and the solution forms permanent stains upon the skin.

Sandal wood is used in India, along with one tenth of sapan wood (the Caesalpinia sapan of Japan, Java, Siam, Celebes, and the Philippine isles), principally for dyeing silk and cotton. Trommsdorf dyed wool, cotton, and linen a carmine hue by dipping them alternately in alkaline solution of the sandal wood, and in an acidulous bath. Bancroft obtained a fast and brilliant reddish-yellow, by preparing wool with an alum and tartar bath, and then passing it through a boiling bath of sandal wood and sumac. Pelletier did not succeed in repeating this experiment. According to Togler, wool, silk, cotton, and linen, mordanted with salt of tin, and dipped in a cold alcoholic tincture of the wood, or the same tincture mixed with 8 parts of boiling water, become of a superb ponceau-red color. With alum, they took a scarlet-red; with sulphate of iron, a deep violet, or brown-red. Unluckily, these dyes do not stand exposure to light well.

17.5.11

A Dictionary of Arts: Saffron


A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice

by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.

Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.

New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII

1847

SAFFRON (Saffran, Fr. and Germ.) is a filamentous cake, composed of the stigmata of the flowers of the Crocus sativus. It contains a yellow matter called polychroite, because a small quantity of it is capable of colouring a great body of water. This is obtained by evaporating the watery infusion of saffron to the consistence of an extract, digesting the extract with alcohol and concentrating the alcoholic solution. The polychroite remains in the form of a brilliant mass, of a reddish-yellow color, transparent, and of the consistence of honey. It has the agreeable smell, with the bitter pungent taste, of saffron. It is very soluble in water; and if it be stove-dried, it deliquesces speedily in the air. According to M. Henry père, polychroite consists of eighty parts of colouring matter, combined with 20 parts of a volatile oil, which cannot be separated by distillation till the colouring matter has been combined with alkali. By mixing one part of shred saffron with eight parts of saturated brine, and one half part of caustic ley, and distilling the mixture, the oil comes over into the receiver, and leaves the colouring matter in the retort, which may be precipitated from the alkaline solution by an acid. The pure colouring matter, when dried, is of a scarlet hue, and then readily dissolved in alcohol, as also in the fat and volatile oils, but sparingly in water. Light blanches the reddish-yellow of saffron, even when it is contained in a full vial well corked. Polychroite, when combined with fat oil, and subjected to dry distillation, affords ammonia, which shows that azote is one of its constituents. Sulphuric acid colours the solution of polychroite indigo blue, with a lilac cast; nitric acid turns it green, of various shades, according to the state of dilution. Protochloride (muriate) of tin produces a reddish precipitate.

Saffron is employed as a seasoning in French cookery. It is also used to tinge confectionary articles, liqueurs, and varnishes; but rarely as a pigment.

16.5.11

A Dictionary of Arts: Rouge.


A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice

by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.

Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.

New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII

1847

ROUGE (Fard, Fr.) The only cosmetic which can be applied without injury to brighten a lady's complexion, is that prepared, by the following process, from safflower (Carthamus tinctorius). The flowers, after being washed with pure water till it comes off colourless, are dried, pulverized, and digested with a weak solution of crystals of soda, which assumes thereby a yellow colour. Into this liquor a quantity of finely carded white cotton wool is plunged, and then so much lemon juice or pure vinegar is added as to supersaturate the soda. The colouring matter is disengaged, and falls down in an impalpable powder upon the cotton filaments. The cotton, after being washed in cold water, to remove some yellow colouring particles, is to be treated with a fresh solution of carbonate of soda, which takes up the red colouring matter in a state of purity. Before precipitating this pigment a second time by the acid of lemons, some soft powdered talc should be laid in the bottom of the vessel, for the purpose of absorbing the fine rouge, in proportion as it is separated from the carbonate of soda, which now holds it dissolved. The coloured mixture must be finally triturated with a few drops of olive oil, in order to make it smooth and marrowy. Upon the fineness of the talc, and the proportion of the safflower precipitate which it contains, depend the beauty and value of the cosmetic. The rouge of the above second precipitation is received sometimes upon bits of fine twisted woollen stuff, called crepons, which ladies rub upon their cheeks.

15.5.11

A Dictionary of Arts: Realgar


A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice

by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.

Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.

New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII

1847

REALGAR, Red Orpiment. (Arsenic rouge sulphuré, Fr.; rothes schwefelarsenik, Germ.) This ore occurs in primitive mountains, associated sometimes with native arsenic, under the form of veins, efflorescences, very rarely crystalline; as also in volcanic districts; for example, at Solfaterra near Naples; or sublimed in the shape of stalactites, in the rents and craters of Etna, Vesuvius, and other volcanoes. Its spec. grav. varies from 3.3. to 3.6. It has a fine scarlet colour in mass, but orange-red in powder, whereby it is distinguishable from cinnabar. It is soft, sectile, readily scratched by the nail; its fracture is vitreous and conchoidal. It volatilizes easily before the blowpipe, emitting the garlic smell of arsenic, along with that of burning sulphur. It consists of, arsenic 70, sulphur 30, in 100 parts. It is employed sometimes as a pigment. Factitious orpiment is made by distilling, in an earthen retort, a mixture of sulphur and arsenic, of orpiment and sulphur, or of arsenious acid, sulphur, and charcoal. It has not the rich colour of the native pigment, and is much more poisonous; since, like factitious orpiment, it always contains more or less arsenious acid.

14.5.11

A Dictionary of Arts: Queen's Yellow. Quercitron.


A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice

by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.

Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.

New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII

1847

QUEEN'S YELLOW is an ancient name of Turbith Mineral, or yellow subsulphate of mercury.

QUERCITRON is the bark of the Quercus nigra, or yellow oak, a tree which grows in North America. The colouring principle of this yellow dye-stuff has been called Quercitrin, by its discoverer Chevreul. It forms small pale yellow spangles, like those ofAurum musivum, has a faint acid reaction, is pretty soluble in alcohol, hardly in ether, and little in water. Solution of alum developes from it, by degrees, a beautiful yellow dye. SEE CALICO-PRINTING and YELLOW DYE.

13.5.11

A Dictionary of Arts: P. Pearl White. Pigments, vitrifiable. Purple of Mollusca. Purpuric acid. Purpurine.


A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice

by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.

Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.

New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII

1847

PEARL WHITE, is a submuriate of bismuth obtained by pouring a solution of the nitrate of that metal into a dilute solution of sea salt, whereby a light and very white powder is obtained, which is to be well washed and dried. See BISMUTH.

PIGMENTS, VITRIFIABLE, belong to five different styles of work: 1. to enamel painting; 2. to painting on metals; 3. to painting on stoneware; 4. to painting on porcelain; 5. to stained glass.

PURPLE OF MOLLUSCA is a viscid liquor, secreted by certain shell-fish, the Buccinum lapillus, and others, which dyes wool, &c. of a purple color, and is supposed to be the substance of the Tyrian dye, so highly prized in ancient Rome for producing the imperial purple. See DYEING.

PURPURIC ACID is an acid obtained by treating uric or lithic acid with dilute of nitric acid. It has a fine purple color; but has hitherto been applied to no use in the arts.

PURPURINE is the name of a colouring principle, supposed by Robiquet and Colin to exist in madder. Its identity is questionable.

12.5.11

A Dictionary of Arts: Purple of Cassius.


A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice

by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.

Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.

New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII

1847

PURPLE OF CASSIUS. Gold purple (Pourpre de Cassius, Fr.; Gold-purpur, Germ.), is a vitrifiable pigment, which stains glass and porcelain of a beautiful red or purple hue. Its preparation has been deemed a process of such nicety, as to be liable to fail in the most experienced hands. The following observations will, I hope, place the subject upon a surer footing.

The proper pigment can be obtained only by adding to a neutral muriate of gold a mixture of the protochloride and perchloride of tin. Everything depends upon this intermediate state of the tin; for the protochloride does not afford, even with a concentrated solution of gold, either a chestnut-brown, a blue, a green, a metallic precipitate, or one of a purple tone; the perchloride occasions no precipitate whatever, whether the solution of gold be strong or dilute; but a properly neutral mixture, of 1 part of crystallized protochloride of tin, with 2 parts of crystallized perchloride, produces, with 1 part of crystallized chloride of gold (all being in solution), a beautiful purple-colored precipitate. An excess of the protosalt of tin gives a yellow, blue, or green cast; an excess of the persalt gives a red and violet cast; an excess in the gold salt occasions, with heat (but not otherwise), a change from the violet and chestnutbrown precipitate into red. According to Fuchs, a solution of the sesquioxyde of tin in muriatic acid, or of the sesquichloride in water, serves the same purpose, when dropped into a very dilute solution of gold.

Buisson prepared gold-purple in the following way. He dissolves, first, 1 gramme of the best tin in a sufficient quantity of muriatic acid, taking care that the solution is neutral; next, 2 grammes of tin in aqua regia, composed of 3 parts of nitric acid, and 1 part of muriatic, so that the solution can contain no protoxide; lastly, 7 grammes of fine gold in a mixture of 1 part of nitric acid, and 6 of muriatic, observing to make the solution neutral. This solution of gold being diluted with 3½ litres of water (about three quarts), the solution of the perchloride of tin is to be added at once, and afterwards that of the protochloride, drop by drop, till the precipitate thereby formed acquires the wished-for tone; after which it should be edulcorated by washing, as quickly as possible.

Frick gives the following prescription: - Let tin be set to dissolve in very dilute aqua regia without heat, till the fluid becomes faintly opalescent, when the metal must be taken out, and weighed. The liquor is to be diluted largely with water, and a definite weight of a dilute solution of gold, and dilute sulphuric acid, is to be simultaneously stirred into the nitro-muriate of tin. The quantity of solution of gold to be poured into the tin liquor must be such, that the gold in the one is to the tin in the other in the ratio of 36 to 10.

Gold-purple becomes brighter when it is dry, but appears still as a dirty-brown powder. Muriatic acid takes the tin out of the fresh-made precipitate, and leaves the gold either in the state of metal or of a blue powder. At a temperature between 212° and 300° Fahr., mercury dissolves out all the gold from the ordinary purple of Cassius.

Relative to the constitution of gold-purple, two views are entertained: according to the first, the gold is associated in the metallic state along with the oxide of tin; according to the second, the gold exists as a purple oxide along with the sesquioxyde or peroxyde of tin. Its composition is differently reported by different chemists. The constituents, according to -
Oberkampf, in the purple precipitate, are - Gold 39.82 | Tin oxide 60.18
. violet ditto - 20.58 | 79.42
Berzelius - 30.725 | 69.275
Buisson - 30.19 | 69.81
Gay Lussac - 30.89 | 69.11
Fuchs - 17.57 | 82.13

If to a mixture of protochloride of tin, and perchloride of iron, a properly diluted solution of gold be added, a very beautiful purple precipitate of Cassius will immediately fall, while the iron will be left in the liquid in the state of a protochloride. The purple thus prepared keeps in the air for a long tie without alteration. Mercury does not take from it the smallest trace of gold. -Fuchs' Journal für Chemie, t. xv.

11.5.11

A Dictionary of Arts: Prussian blue, and Prussiate of Potash.


A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice

by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.

Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.

New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII

1847

PRUSSIAN BLUE, and PRUSSIATE OF POTASH, are two important articles of chemical manufacture, which must be considered together. The first is called by English chemists, Ferrocyanodide of iron, the Cyanure ferroso-ferrique of Berzelius, Eisenblausaures eisenoxyd, or eisencyanür + eisencyanid, Germ.; the second is called Ferrocyanodide of potassium, the Cyanure ferroso-potassique of Berzelius; Eisencyanur-kalium, cyaneisen + cyankalium or Blausaures eisenoxydul-kali, Germ.

Prussian blue (Berliner-blau, Germ.), is a chemical compound of iron and cyanogen. When organic matters, abounding in nitrogen, as dried blood, horns, hair, skins, or hoofs of animals, are triturated along with potash in a strongly ignited iron pot, a dark gray mass is obtained, that affords to water the liquor originally called lixivium sanguinis, or blood-ley, which, by evaporation, yields lemon-colored crystals in large rectangular tables, bevelled at the edges. This salt is called in commerce, prussiate of potash, and has for its ultimate constituents, potassium, iron, oxygen, and hydrogen (the latter two in such proportions as to form water), and the peculiar compound Cyanogen the blaustoff of the Germans.

These crystals consist, in 100 parts, of potassium 37.02, iron 12.82, cyanogen 37.40, water 12.76; or, cyanide of potassium 61.96, cyanide of iron 25.28, and water 12.76. They may be represented also by the following composition: 44.58 of potassa, 38.82 of hydrocyanic or prussic acid, and 16.60 of oxide of iron, in 100 parts; but the first appears to be their true chemical constitution. Dry ferrocyanodide of potassium is a compound of one atom of cyanide of iron, 54=(28+26), and 2 atoms of cyanide of potassium, 132,=(26x2+40x2); the sum being 186; hydrogen being 1.0 in the scale of equivalents. The crystals of prussiate of potash are nearly transparent, soft, of a sweetish saline and somewhat bitterish taste, soluble in 4 parts of water at 52° F., and in 1 part boiling water, but insoluble in alcohol. They are permanent in the air at ordinary temperatures, but in a moderately warm stove-room they part with 12 3/4 per cent. of water, without losing their form or coherence, and becomes thereby a white friable anhydrous ferrocyanodide of potassium, consisting of 42.44 potassium, 42.87 cyanogen, and 14.69 iron, in 100 parts.

This salt is an excellent reagent for distinguishing metals from each other, as the following TABLE of the precipitates which it throws down from their saline solutions will show:-

Metallic solutions. - colour of precipitate.
Antimony - white.
Bismuth - white.
Cadmium - white, a little yellowish.
Cerium (protoxide) - white, soluble in acids.
Cobalt - green, soon turning to reddish-gray.
Copper (protoxide) - white, changing to red.
- Do. (peroxyde) - brown-red.
Iron (protoxide) - white, rapidly turning blue.
- Do. (peroxyde) - dark blue.
Lead - white, with a yellowish cast.
Manganese (protoxide) - white, turning quickly peach or blood-red.
Manganese (deutoxide) - greenish-gray.
Mercury (protoxide) - white.
- Do. (peroxyde) - white, turning blue.
Molybdenum - dark brown.
Nickel (oxyde) - white, turning greenish.
Palladium (protoxide) - green (gelatinous.)
Silver - white, turning brown in the light.
Tantalum - yellow, dark burned color.
Tin (protoxide) - white, (gelatinous.)
- Do. (peroxyde) - yellow, do.
Uranium - red-brown.
Zinc - white.

No precipitations ensue with solutions of the alkaline or earthy salts, except that of yttria, which is white; nor with those of gold, platinum, rhodium, iridium, osmium, (in concentrated solutions) tellurium, chromium, tungsterium. All the precipitates by the ferrocyanodide of iron, are double compounds of cyanide of iron with cyanide of the metal thrown down, which is produced by the reciprocal decomposition of the cyanide of potassium and the peculiar metallic oxide present in the solution. The precipitate from the sulphate of copper has a fine brown color, and has been used as a pigment; but it is somewhat transparent, and therefore does not cover well. The precipitate from the peroxyde salts of iron is a very intense Prussian blue, called on the continent, Paris blue. It may be regarded as a compound of prussiate of protoxide and prussiate of peroxyde of iron; or as a double cyanide of the protoxide and peroxyde of iron, as the denomination cyanure ferroso-ferrique denotes. In numbers, its composition may be therefore stated thus: prussic or hydrocyanic acid, 48.48; protoxide of iron, 20.73; peroxyde of iron, 30.79; or cyanogen, 46.71; iron, 37.36; water, 15.93; which represent its constitution when it is formed by precipitation with the prussiate of potash or a salt of iron that contains no protoxide. If the iron be but partially peroxidized in the salt, it will afford a precipitate, at first pale blue, which turns dark blue in the air, consisting of a mixture of prussiate of protoxide and prussiate of peroxyde. In fact, the white cyanide of iron (the prussiate of the pure protoxide), when exposed to the air in a moist condition, becomes, as above stated, dark blue; yet the new combination formed in this case through absorption of oxygen, is essentially different from that resulting from the precipitation by the peroxyde of iron, since it contains an excess of the peroxyde in addition to the usual two cyanides of iron. It has been therefore called called Prussian blue, and, from its dissolving in pure water, soluble Prussian blue.

Both kinds of Prussian blue agree in being void of taste and smell, in attracting humidity from the air when they are artificially dried, and being decomposed at a heat above 348° F. The neutral or insoluble Prussian blue is not affected by alcohol; the basic, when dissolved in water, is not precipitated by that liquid. Neither is acted upon by dilute acids; but they form with concentrated sulphuric acid a white pasty mass, from which they are again reproduced by the action of cold water. They are decomposed by strong sulphuric acid at a boiling heat, and by strong nitric acid at common temperatures; but they are hardly affected by the muriatic. They become green with chlorine, but resume their blue colour when treated with disoxidizing reagents. When Prussian blue is digested in warm water along with potash, soda, or lime, peroxyde of iron is separated, and a ferroprussiate of potash, soda, or lime remains in solution. If the Prussian blue has been previously purified by boiling in dilute muriatic acid, and washing with water, it will afford by this treatment a solution of ferrocyanodide of potassium, from which by evaporation this salt may be obtained in its purest crystalline state. When the powdered Prussian blue is diffused in boiling water, and digested with red oxide of mercury, it parts with all its oxide of iron, and forms a solution of bi-cyanodide, improperly called prussiate of mercury; consisting of 79.33 mercury, and 20.67 cyanogen; or, upon the hydrogen equivalent scale, of 200 mercury, and 52=(26x2) cyanogen. When this salt is gently ignited, it affords gaseous cyanogen. Hydrocyanic or prussic acid, which consists of 1 atom of cyanogen = 26, +1 of hydrogen = 1, is prepared by distilling the mercurial bi-cyanide in a glass retort with the saturating quantity of dilute muriatic acid. Prussic acid may also be obtained by precipitating the mercury by sulphureted hydrogen gas from the solution of its cyanide; as also by distilling the ferrocyanide of potassium along with dilute sulphuric acid. Prussic acid is a very volatile light fluid, eminently poisonous, and is spontaneously decomposed by keeping, especially when somewhat concentrated.

Having expounded the chemical constitution of Prussian blue and prussiate of potash, I shall now treat of their manufacture upon the commercial scale.

1- Of blood-ley, the phlogisticated alkali of Scheele. Among the animal substances used for the preparation of this lixivium, blood deserves the preference, where it can be had --- enough[?]. It must be evaporated to perfect dryness, reduced to powder, and sifted. Hoofs, parings of horns, hides, old woollen rags, and other animal offals, are, however, generally had recourse to, as condensing most azotized matter in the smallest bulk. Dried funguses have been also prescribed. These animal matters may either be first carbonized in cast iron cylinders, as for the manufacture of sal ammoniac (which see), and the residual charcoal may be then taken for making the ferroprussiate; or the dry animal matters may be directly employed. The latter process is apt to be exceedingly offensive to the workmen and neighborhood, from the nauseous vapors that are exhaled in it. Eight pounds of horn (hoofs), or ten pounds of dry blood, afford upon an average one pound of charcoal. This must be mixed well with good pearlash, (freed previously from most of the sulphate of potassa, with which it is always contaminated), either in the dry way, r by soaking the bruised charcoal with a strong solution of the alkali; the proportion being one part of carbonate of potassa from 1½ to 2 parts of charcoal, or to about eight parts of hard animal matter. Gautier has proposed to calcine three parts of dry blood with one of nitre; with what advantage to the manufacturer, I cannot discover.



The pot for calcining the mixture of animal and alkaline matter is egg-shaped as represented at a, fig. 928, and is considerably narrowed at the neck e, to facilitate the closing of the mouth with a lid i. It is made of cast iron, about two inches thick in the belly and bottom; this strength being requisite because the chemical action of the materials wears the metal fast away. It should be built into the furnace in a direction sloping downwards, (more than is shown in the figure), and have a strong knob b, projecting from its bottom to support it upon the back wall, while its should is embraced at the arms c, c, by the brickwork in front. The interior of the furnace is so formed as to leave but a space of a few inches round the pot, in order to make the flame play closely over its whole surface. The fire-door f, and the draughthole z, of the ash-pit, are placed in the posterior part of the furnace, in order that the workmen may not be incommoded by the heat. The smoke vent o, issues through the arched top h of the furnace, towards the front, and is thence led backwards by a flue to the main chimney of the factory. d is and iron or stone shelf, inserted before the mouth of the pot, to prevent loss in shovelling out the semi-liquid paste. The pot may be half filled with the materials.

The calcining process is different, according as the animal substances are fresh or carbonized. In the first case, the pot must remain open, to allow of diligent stirring of its contents, with a slightly bent flat iron bar or scoop, and of introducing more of the mixture as the intumescence subsides, during a period of five or six hours, till the nauseous vapors cease to rise, till the flame becomes smaller and brighter, and till a smell of ammonia be perceived. At this time, the heat should be increased, the mouth of the pot should be shut, and opened only once every half hour, for the purpose of working the mass with the iron paddle. When on opening the mouth of the pot, and stirring the pasty mixture, no more flame rises, the process is finished.

If the animal ingredients are employed in a carbonized state, the pot must be shut as soon as its contents are brought to ignition by a briskly urged fire, and opened for a few seconds only every quarter of an hour, during the action of stirring. At first, a body of flame bursts forth every time that the lid is removed; but by degrees this ceases, and the mixture soon agglomerates, and then softens into a paste. Though the fire be steadily kept up, the flame becomes less and less each time that the pot is opened; and when it ceases, the process is at an end. The operation, with a mass of 50 pounds of charcoal and 50 pounds of purified pearlash, lasts about 12 hours, the first time that the furnace is kindled; but when the pot has been previously brought to a state of ignition, it takes only 7 or 8 hours. In a well-appointed factory, the fire should be invariably maintained at the proper pitch, and the pots should be worked with relays of operatives.

The molten mass is now to be scooped out with an appropriate iron shovel, having a long shank, and caused to cool in small portions, as quickly as possible; but not by throwing it into water, as has sometimes been prescribed; for in this way a good deal of the cyanogen is converted into ammonia. If it be heaped up and kept hot in contact with air, some of the ferrocyanide is also decomposed, with diminution of the product. The crude mass is to be then put into a pan with cold water, dissolved by the application of a moderate heat, and filtered through cloths. The charcoal which remains upon the filter possesses the properties of decoloring sirups, vinegars, &c., and of destroying smells in a pre-eminent degree. It may also serve, when mixed with fresh animal coal, for another calcining operation.

As the iron requisite for the formation of the ferrocyanide is in general derived from the sides of the pot, this is apt to wear out into holes, especially at its under side, where the heat is greatest. In this event, it may be taken out of the furnace, patched up with iron-rust cement, and re-inserted with the sound side undermost. The erosion of the pot may be obviated in some measure by mixing iron borings or cinder (hammerschlag) with the other materials, to the amount of one or two hundredths of the potash.

The above lixivium is not a solution of pure ferroprussiate; it contains not a little cyanide of potassium, which in the course of the process had not absorbed the proper dose of iron to form a ferrocyanide; it contains also more or less carbonate of potash, with phosphate, sulphate, hydrogenated sulphuret, muriate, and sulpho-cyanide of the same base, as well as phosphate of lime; substances derived partly from the impure potash, and partly from the incinerated animal matters. Formerly that very complex impure solution was employed directly for the precipitation of Prussian blue; but now, in all well regulated works, it is converted by evaporation and cooling into crystallized ferroprussiate of potash. The mother-water is again evaporated and crystallized, whereby a somewhat inferior ferroprussiate is obtained. Before evaporating the ley, however, it is advisable to add as much solution of green sulphate of iron to it, as will re-dissolve the white precipitate of cyanide of iron which first falls, and thereby convert the cyanide of potassium, which is present in the liquor, into ferrocyanide of potassium. The commercial prussiate of potash may be rendered chemically pure by making its crystals effloresce in a stove, fusing them with a gentle heat in a glass retort, dissolving the mass in water, neutralizing any carbonate and cyanide of potash that may be present with acetic acid, then precipitating the ferroprussiate of potash by the addition of a sufficient quantity of alcohol, and finally crystallizing the precipitated salt over in water. The sulphate of potassa may be decomposed by acetate of baryta, and the resulting acetate of potassa removed by alcohol.

2. The precipitation of Prussian blue. - Green sulphate of iron is always employed by the manufacturer, on account of its cheapness, for mixing with solution of the ferroprussiate, in forming Prussian blue, though the red sulphate, nitrate, or muriate of iron would afford a much richer blue pigment. Whatever salt of iron be preferred, should be carefully freed from any cupreous impregnation, as this would give the pure blue a dirty brownish cast. The green sulphate of iron is the most advantageous precipitant, on account of its affording protoxide, to convert into ferrocyanide any cyanide of potassium that may happen to be present in the uncrystallized lixivium. The carbonate of potash in that lixivium might be saturated with sulphuric acid before adding the solution of sulphate of iron; but it is more commonly done by adding a certain portion of alum; in which case, alumina falls along with the Prussian blue; and though it renders it somewhat paler, yet it proportionally increases its weight; whilst the acid of the alum saturates the carbonate of potash, and prevents its throwing down iron-oxyde, to degrade by its brown-red tint the tone of the blue. For every pound of pearlash used in the calcination, from two to three pounds of alum are employed in the precipitation. When a rich blue is wished for, the free alkali in the Prussian ley may be partly saturated with sulphuric acid, before adding the mingled solutions of copperas and alum. One part of the sulphate of iron is generally allowed for 15 or 20 parts of dried blood, and 2 or 3 of horn-shavings of hoofs. But the proportion will depend very much upon the manipulations, which, if skilfully conducted, will produce more of the cyanides of iron, and require more copperas to neutralize them. The mixed solutions of alum and copperas should be progressively added to the ley as long as they produce any precipitate. This is not a t first a fine blue, but a greenish gray, in consequence of the admixture of some white cyanide of iron; it becomes gradually blue by the absorption of oxygen from the air, which is favored by agitation of the liquor. Whenever the colour seems to be as beautiful as it is likely to become, the liquor is to be run off by a spigot or cock from the bottom of the precipitation vats, into flat cisterns, to settle. The clear supernatant fluid, which is chiefly a solution of sulphate of potash, is then drawn off by a syphon; more water is run on with agitation to wash it, which after settling is again drawn off; and whenever the washings become tasteless, the sediment is thrown upon filter sieves, and exposed to dry, first in the air of a stove, but finally upon slabs of chalk or Paris plaster. But for several purposes, Prussian blue may be best employed in the fresh pasty state, as it then spreads more evenly over paper and other surfaces.

A good article is known by the following tests: it feels light in the hand, adheres to the tongue, has a dark lively blue color, and gives a smooth deep trace; it should not effervesce with acids, as when adulterated with chalk; nor become pasty with boiling water, as when adulterated with starch. The Paris blue, prepared without alum, with a peroxyde salt of iron, displays, when rubbed, a copper-red lustre, like indigo. Prussian blue, degraded in its colour by an admixture of free oxide of iron, may be improved by digestion in dilute sulphuric or muriatic acid, washing, and drying. Its relative richness in the real ferroprussiate of iron may be estimated by the quantity of potash or soda which a given quantity of it requires to destroy its blue color.

Sulphureted hydrogen passed through Prussian blue diffused in water, whitens it; while prussic acid is eliminated, sulphur is thrown down, and the sesquicyanide of iron is converted into the single cyanide. Iron and tin operate in the same way. When Prussian blue is made with two atoms of ferrocyanide of potassium, instead of one, it becomes soluble in water.

For the mode of applying this pigment in dyeing, see Calico-printing.

Sesquiferrocyanate of potash is prepared by passing chlorine gas through a solution of ferrocyanide of potassium, till it becomes red, and ceases to precipitate the peroxyde salts of iron. The liquor yields, by evaporation, prismatic crystals, of a ruby-red transparency. They are soluble in 38 parts of water, and consist of 40-42 parts of sesquicyanide of iron, and 59-58 of cyanide of potassium. The solution of this salt precipitates the following metals, as stated in the table: -
Bismuth - pale yellow.
Cadmium - yellow.
Cobalt - dark brown-red.
Copper (protoxide) - red-brown.
- Do. (peroxyde) - yellow-green.
Iron, protoxide salts of - blue.
Manganese - brown.
Mercury (protoxide) - red-brown.
Mercury (peroxyde) - yellow.
Molybdenum - red-brown.
Nickel - yellow-green.
Silver - red-brown.
Tin (protoxide) - white.
Uranium - red-brown.
Zinc - orange-yellow.

10.5.11

A Dictionary of Arts: Printing machine.


A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice

by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.

Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.

New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII

1847

PRINTING MACHINE. (Typographie mécanique, Fr.; Druckmaschine, Germ.) In reviewing those great eras of national industry, when the productive arts, after a long period of irksome vassalage, have suddenly achieved some new conquest over the inertia of matter, the contemplative mind cannot fail to be struck with the insignificant part which the academical philosopher has generally played in such memorable events.

Engrossed with barren syllogisms, or equational theorems, often little better than truisms in disguise, he nevertheless believes in the perfection of his attainments, and disdains to soil his hands with those handicraft operations at which all improvements in the arts must necessarily begin. He does not deem a manufacture worthy of his regard, till he has worked out its own grandeur and independence with patient labor and consummate skill. In this spirit the men of speculative science neglected for 60 years the steam engine of Newcomen, till the artisan Watt transformed it into an automatic prodigy; they have never deigned to illustrate by dynamical investigations the factory mechanisms of Arkwright, yet nothing in the whole compass of art deserves it so well; and though perfectly aware that revolvency is the leading law in the system of the universe, they have never thought of showing the workman that this was also the true principle of every automatic machine.

These remarks seem to be peculiarly applicable to book-printing, an art invented for the honor of learning and the glory of the learned, though they have done nothing for its advancement; yet by the overruling bounty of Providence it has eventually served as the great teacher and guardian of the whole family of man.


*On the recent improvements in printing, first delivered at the Royal Institution, February 22, 1828.
It has been justly observed by Mr. Cowper, in his ingenious lecture,* that no improvement had been introduced in this important art, from its invention till the year 1798, a period of nearly 350 years. In Dr. Dibdin's interesting account of printing, in the Bibliographical Decameron, may be seen representations of the early printing-presses, which exactly resemble the wooden presses in use at the present day. A new era has, however, now arrived, when the demands for prompt circulation of political intelligence require powers of printing newspapers beyond the reach of the most expeditious hand presswork.


** Lord Stanhope is the only man of learning whose name figures in the annals of typography.
For the first essential modification of the old press, the world is indebted to the late Earl Stanhope.** His press is formed of iron, without any wood; the table upon which the form of types is laid, as well as the platen or surface which immediately gives the impression, is of cast iron, made perfectly level; the platen being large enough to print a whole sheet at one pull. The compression is applied by a beautiful combination of levers, which give motion to the screw, cause the platen to descend with progressively increasing force till it reaches the type, when the power approaches the maximum; upon the infinite lever principle, the power being applied to straighten an obtuse-angled jointed lever. This press, however, like all its flat-faced predecessors, does not act by a continuous, but a reciprocating motion, and can hardly be made automatic; nor does it much exceed the old presses in productiveness, since it can turn off only 250 impressions per hour.



The first person who publicly projected a self-acting printing-press, was Mr. William Nicholson, the able editor of the Philosophical Journal, who obtained a patent in 1790-1, for imposing types upon a cylindrical surface; this disposition of types, plates, and blocks, being a new invention (see fig. 913); 2, for applying the ink upon the surface of the types, &c., by causing the surface of a cylinder smeared with the coloring-matter to roll over them; or else causing the types to apply themselves to the said cylinder. For the purpose of spreading the ink evenly over this cylinder, he proposed to apply three or more distributing rollers longitudinally against the inking cylinder, so that they might be turned by the motion of the latter. ***
The black parts in these little diagrams, 913-922, indicate the inking apparatus; the diagonal lines, the cylinders upon which the paper to be printed is applied; the perpendicular lines, the plates or types and the arrows show the track pursued by the sheet of paper.
3. "I perform," he says, "all my impressions by the action of a cylinder, or cylindrical surface; that is, I cause the paper to pass between two cylinders, one of which has the form of types attached to it, and forming part of its surface; and the other is faced with cloth, and serves to press the paper so as to take off an impression of the colour previously applied; or otherwise I cause the form of types, previously colored, to pass in close and successive contact with the paper wrapped round a cylinder with woollen." (See figs. 913 and 914.)***

In this description Mr. Nicholson indicates pretty plainly the principal parts of modern printing machines; and had he paid the same attention to any one part of his invention which he fruitlessly bestowed upon attempts to attach types to a cylinder, or had he bethought himself of curving stereotype plates, which were then beginning to be talked of, he would in all probability have realized a working apparatus, instead of scheming merely ideal plans.

The first operative printing machine was undoubtedly contrived by, and constructed under the direction of, M. König, a clockmaker from Saxony, who, so early as the year 1804, was occupied in improving printing-presses. Having failed to interest the continental printers in his views, he came to London soon after that period, and submitted his plans to Mr. T. Bensley, our celebrated printer, and to Mr. R. Taylor, now one of the editors of the Philosophical Magazine.

These gentlemen afforded Mr. König and his assistant Bauer, a German mechanic, liberal pecuniary support. In 1811, he obtained a patent for a method of working a common hand-press by power; but after much expense and labor he was glad to renounce the scheme. He then turned his mind to the use of a cylinder for communicating the pressure, instead of a flat plate; and he finally succeeded, some time before the 28th November, 1814, in completing his printing automaton; for on that day the editors of the Times informed their readers that they were perusing for the first time a newspaper printed by steam-impelled machinery; it is a day, therefore, which will be ever memorable in the annals of typography.



In that machine the form of type was made to traverse horizontally under the pressure cylinder, with which the sheet of paper was held in close embrace by means of a series of endless tapes. The ink was placed in a cylindrical box, from which it was extruded by means of a powerful screw, depressing a well-fitted piston; it then fell between two iron rollers, and was by their rotation transferred to several other subjacent rollers, which had not only a motion round their axes, but an alternating traverse motion (endwise). This system of equalizing rollers terminated in two which applied the ink to the types. (See. fig. 915.) This plan of inking evidently involved a rather complex mechanism, was hence difficult to manage, and sometimes required two hours to get into good working trim. It has been superseded by a happy invention of Mr. Cowper, to be presently described.

In order to obtain a great many impressions rapidly from the same form, a paper-conducting cylinder (one embraced by the paper) was mounted upon each side of the inking apparatus, the form being made to traverse under both of them. This double-action machine threw off 1100 impressions per hour when first finished; and by a subsequent improvement, no less than 1800.

Mr. König's next feat was the construction of a machine for printing both sides of the newspaper at each complete traverse of the forms. This resembled two single machines, placed with their cylinders towards each other, at a distance of two or three feet; the sheet was conveyed from one paper cylinder to another, as before, by means of tapes; the track of the sheet exactly resembled the letter S laid horizontally, thus, on; and the sheet was turned over or reversed in the course of its passage. At the first paper cylinder it received the impression from the first form, and at the second it received t from the second form; whereby the machine could print 750 sheets of book letter-press on both sides in an hour. The new register apparatus was erected for Mr. T Bensley, in the year 1815, being the only machine made by Mr.König for printing upon both sides. See fig. 916.



Messrs. Donkin and Bacon had for some years previous to this date been busily engaged with printing machines, and had indeed, in 1813, obtained a patent for an apparatus, in which the types were placed upon the sides of a revolving prism; the ink was applied by a roller, which rose and fell with the eccentricities of the prismatic surface, and the sheet was wrapped upon another prism fashioned so as to coincide with the eccentricities of the type prism. One such machine was erected for the University of Cambridge. (See Fig. 917.) It was a beautiful specimen of ingenious contrivance and good workmanship. Though it was found to be too complicated for common operatives, and defective in the mechanism of the inking process; yet it exhibited for the first time the elastic inking rollers, composed of glue combined with treacle, which alone constitute one of the finest inventions of modern typography. In König's machine the rollers were of metal covered with leather, and never answered their purpose very well.



Before proceeding further, I may state that the above elastic composition, which resembles caoutchouc not a little, but is not so firm, is made by dissolving with heat in two pounds of ordinary treacle, one pound of good glue, previously soaked during a night in cold water.

In the year 1815, Mr. Cowper turned his scientific and inventive mind to the subject of printing machines, and has since, in co-operation with his partner, Mr. Applegath, carried them to an unlooked-for degree for perfection. In 1815 Mr. Cowper obtained a patent for curving stereotype plates, for the purpose of fixing them on a cylinder Several machine so mounted, capable of printing 1000 sheets per hour upon both skies, are at work at the present day; twelve machines on this principle having been made for the Directors of the Bank of England a short time previous to their re-issuing gold. See figs. 918, and 919.



It deserves to be remarked here, that the same object seems to have occupied the attention of Nicholson, Donkin, Bacon, and Cowper; viz., the revolution of the form of types. Nicholson sought to effect this by giving to the shank of a type a shape like the stone of an arch; Donkin and Bacon by attaching types to the sides of a revolving prism; and Cowper, more successfully, by curving a stereotype plate. (see fig. 918.) In these machines Mr. Cowper places two paper cylinders side by side, and against each of them a cylinder for holding the plates; each of these four cylinders is about two feet in diameter. Upon the surface of the stereotype-plate cylinder, four or five inking rollers of about three inches in diameter are placed; they are kept in their position by a frame at each end of the said cylinder, and the axles of the rollers rest in vertical slots of the frame, whereby, having perfect freedom of motion, they act by their gravity alone, and require no adjustment.

The frame which supports the inking rollers, called the waving-frame, is attached by hinges to the general framework of the machine; the edge of the stereotype-plate cylinder is indented, and rubs against the waving-frame, causing it to vibrate to and fro, and consequently to carry the inking rollers with it, so as to give them an unceasing traverse movement. These rollers distribute the ink over three fourths of the surface of the cylinder, the other quarter being occupied by the curved stereotype plates. The ink is contained in a trough, which stands parallel to the said cylinder, and is formed by a metal roller revolving against the edge of a plate of iron; in its revolution it gets covered with a thin film of ink, which is conveyed to the plate cylinder by a distributing roller vibrating between both. The ink is diffused upon the plate cylinder as before described; the plates in passing under the inking rollers become charged with the coloured varnish; and as the cylinder continues to revolve, the plates come into contact with a sheet of paper on the first paper cylinder, which is then carried by means of tapes to the second paper cylinder, where it receives an impression upon its opposite side from the plates upon the second cylinder.

Thus the printing of the sheet is completed. Though the above machine be applicable only to stereotype plates, it has been of general importance, because it formed the foundation of the future success of Messrs. Cowper and Applegath's printing machinery, by showing them the best method of serving out, distributing, and applying the coloured varnish to the types.

In order to adapt this method of inking to a flat type-form machine, it was merely requisite to do the same thing upon an extended flat surface or table, which had been performed upon an extended cylindrical surface. Accordingly, Messrs. Cowper and Applegath constructed a machine for printing both sides of the sheets from type, including the inking apparatus, and the mode of conveying the sheet from the one paper cylinder to the other, by means of drums and tapes. It is highly creditable to the scientific judgment of these patentees, that in new modelling the printing machine they dispensed with forty wheels, which existed in Mr. König's apparatus, when Mr. Bensley requested them to apply their improvements to it.

The distinctive advantages of these machines, and which have not hitherto been equalled, are the uniform distribution of the ink, the equality as well as delicacy with which it is laid upon the types, the diminution in its expenditure, amounting to one half upon a given quantity of letter-press, and the facility with which the whole mechanism is managed. The band inking-roller and distributing-table, now so common in every printing-office in Europe and America, is the invention of Mr. Cowper, and was specified in his patent. The vast superiority of the inking apparatus in his machines, over the balls used of old, induced him to apply it forthwith to the common press, and most successfully for the public; but with little or no profit to the inventor, as the plan was unceremoniously infringed throughout the kingdom, by such a multitude of printers, whether rich or poor, as to render all attempts at reclaiming his rights by prosecution hopeless. See fig. 920.



To construct a printing machine which shall throw off two sides a a time with exact register, that is, with the second side placed precisely upon the back of the first, is a very difficult problem, which was first practically solved by Messrs. Applegath and Cowper. It is comparatively easy to make a machine which shall print the one side of a sheet of paper first, and then the other side, by the removal of one form, and the introduction of another; and thus far did Mr. König advance. A correct register requires the sheet, after it has received its first impression from one cylinder, to travel round the peripheries of the cylinders and drums, at such a rate as to meet the types of the second side at the exact point which will ensure this side falling with geometrical nicety upon the back of the first. For this purpose, the cylinders and drums must revolve at the very same speed as the carriage underneath; hence the least incorrectness in the workmanship will produce such defective typography as will not be endured in book-printing at the present day, though it may be tolerated in newspapers. An equable distribution of the ink is of no less importance to beautiful letter-press. See figs. 921, 922.





The machines represented in figs. 923, 924, 925, are different forms of those which have been patented by Messrs. Applegath and Cowper. That shown in figs. 923 and 925, prints both sides of the sheet during its passage, and is capable of throwing off nearly 1000 finished sheets per hour. The moistened quires of blank paper being piled upon a table A, the boy, who stands on the adjoining platform, takes up one sheet after another, and lays them upon the feeder B, which has several linen girths passing across its surface, and round a pulley at each end of the feeder; so that whenever the pulleys begin to revolve, the motion of the girths carries forward the sheet, and delivers it over the entering roller E, where it is embraced between two series of endless tapes, that pass round a series of tension rollers. These tapes are so placed as to fall partly between, and partly exterior to, the pages of the printing; whereby they remain in close contact with the sheet of paper on both of its sides during its progress through the machine. The paper is thus conducted from the first printing cylinder F, to the second cylinder G, without having the truth of its register impaired, so that the coincidence of the two pages is perfect. * I have witnessed with much pleasure the turning of these great cylinders in Messrs. Cowper's factory at Manchester. These two great cylinders, or drums, are made of cast iron, turned perfectly true upon a self-acting lathe;* they are clothed in these parts, corresponding to the typographic impression, with fine woollen cloth, called blankets by the pressmen, and revolve upon powerful shafts which rest in brass bearings of the strong framing of the machine. These bearings, or plummer blocks, are susceptible of any degree of adjustment, by set screws. The drums H and I are made of wood; they serve to conduct the sheet evenly from the one printing cylinder to the other.

One series of tapes commences at the upper part of the entering drum E, proceeds in contact with the right-hand side and under surface of the printing cylinder F, passes next over the carrier-drum H, and under the carrier-drum I, then encompassing the left-hand side and under portion of the printing drum G, it passes in contact with the small tension rollers a, b, c, d, fig.925, and finally arrives at the roller E, which may be called the commencement of the one series of endless tapes. The other series may be supposed to commence at the roller h; it has an equal number of tapes, and corresponds with the former in being placed upon the cylinders so that the sheets of paper may be held securely between them. This second series descends from the roller h, fig. 925, to the entering drum E, where it meets and coincides with the first series in such a way that both sets of tapes proceed together under the printing cylinder F, over H, under I, and round O, until they arrive at the roller i, fig. 923, where they separate, after having continued in contact, except at the places where the sheets of paper are held between them. The tapes descent from the roller i, to a roller at k, and, after passing in contact with rollers at l, m, n, they finally arrive at the roller h, where they were supposed to commence. Hence two series of tapes act invariably in contact, without the least mutual interference, as may be seen by inspection of the figs. 923, 934, 925.



The various cylinders and drums revolve very truly by means of a system of toothed wheels and pinions mounted at their ends. Two horizontal forms of types are laid at a certain distance apart upon the long carriage M, adjoining to each of which there is a flat metallic plate, or inking table, in the same plane. The common carriage, bearing its two forms of type and two inking tables, is moved backwards and forwards, from one end of the printing machine to the other, upon rollers attached to the frame-work, and in its traverse brings the types into contact with the sheet of paper clasped by the tapes round the surfaces of the printing cylinders. This alternate movement of the carriage is produced b a pinion working alternately into the opposite sides of a rack under the table. The pinion is driven by the bevel wheels K.

The mechanism for supplying the ink, and distributing it over the forms, is one of the most ingenious and valuable inventions belonging to this incomparable machine, and is so nicely adjusted, that a single grain of the pigment may suffice for printing one side of a sheet. Two similar sets of inking apparatus are provided; one at each end of the machine, adapted to ink its own form of type. The metal roller L, called the ductor roller, as it draws out the supply of ink, has a slow rotatory motion communicated to it by a catgut cord, which passes round a small pulley upon the end of the shaft of the printing cylinder G. A horizontal plate of metal, with a straight-ground edge, is adjusted by set screws, so as to stand nearly in contact with the ductor roller. This plate has an upright ledge behind, converting it into a sort of trough or magazine, ready to impart a coating of ink to the roller, as it revolves over the table. Another roller, covered with elastic composition (see suprà), called the vibrating roller, is made to travel between the ductor roller and the inking table; the vibrating roller, as it rises, touches the ductor roller for an instant, abstracts a film or ink from it , and then descends to transfer it to the table. There are 3 or 4 small rollers of distribution, placed somewhat diagonally across the table at M, (inclined only 2 inches from a parallel to the end of the frame,) furnished with long slender axles, resting in vertical slots, whereby they are left at liberty to revolve and to traverse at the same time; by which compound movement they are enabled to efface all inequality in the surface of the varnish, or to effect a perfect distribution of the ink along the table. The table thus evenly smeared, being made to pass under the 3 or 4 proper inking rollers N, fig. 924, imparts to them a uniform film of ink, to be immediately transferred by them to the types. Hence each time that the forms make a complete traverse to and fro, which is requisite for the printing of every sheet, they are touched no less than eight times y the inking rollers. Both the distributing and inking rollers turn in slots, which permit them to rise and fall so as to bear with their whole weight upon the inking table and the form, whereby they never stand in need of any adjustment by screws, but are always ready for work when dropped into their respective places.



Motion is given to the whole system of apparatus by a strap from a steam engine going round a pulley placed at the end of the axle at the back of the frame; one steam-horse power being adequate to drive two double printing machines; while a single machine may be driven by the power of two men acting upon a fly-wheel. In Messrs. Clowes' establishment, in Stamford-street, two five-horse engines actuate nineteen of the above described machines.

The operation of printing is performed as follows: - See fig. 926.

The sheets being carefully laid, one by one, upon the linen girths, at the feeder B, the rollers C and D are made to move, by means of a segment wheel, through a portion of a revolution. This movement carries on the sheet of paper sufficiently to introduce it between the two series of endless tapes at the point where they meet each other upon the catering drum E. As soon as the sheet is fairly embraced between the tapes, the rollers C and D are drawn back, by the operation of a weight, to their original position, so as to be ready to introduce another sheet into the machine. The sheet, advancing between the endless tapes, applies itself to the blanket upon the printing cylinder F, and as it revolves meets the first form of types, and receives their impression; after being thus printed on one side, it is carried, over H and under I, to the blanket upon the printing cylinder G, where it is placed in an inverted position; the printed side being now in contact with the blanket, and the white side being outwards, meets the second form of types at the proper instant, so as to receive the second impression, and get completely printed. The perfect sheet, on arriving at that point i, where the two series of tapes separate, is tossed out by the centrifugal force in the hands of a boy.



The diagram, fig. 926, shows the arrangement of the tapes, agreeably to the preceding description; the feeder B, with the rollers C and D, is seen to have an independent endless girth.



The diagram, fig. 927, explains the structure of the great machine contrived by Messrs. Applegath and Cowper for printing the Times newspaper. Here are four places to lay on the sheets, and four to take them off; consequently, the assistance of eight lads is required. P, P, P, P, are the four piles of paper; F, F, F, F, are the four feeding-boards; E, E, E, E, are the four entering drums, upon which the sheets are introduced between the tapes t, t, t, t, whence they are conducted to the four printing cylinders 1, 2, 3, 4; T is the form of type, I, I, are two inking tables of which one is placed at each end of the form. The inking apparatus is similar to that above described, with the addition of two central inking rollers R, which likewise receive their ink from the inking tables. The printing cylinders 1, 2, 3, 4, are made to rise and fall about half an inch; the first and third simultaneously, as also the second and fourth. The form of type, in passing from A to B, prints sheets at 1 and 3; in returning from B to A, it prints sheets at 4 and 2; while cylinder alternately falls to give the impression, and rises to permit the form to pass untouched.

Each of the lines marked t, consists of two endless tapes, which run in contact at the parts shown, but separate at the entering drums E, and at the taking off parts o, o, o, o. The return of the tapes to the entering drum is omitted in the diagram, to avoid confusion of the lines.

The sheets of paper laid upon their perspective feeding-boards, with the fore edges just in contact with the entering drum, a small roller, called the drop-down roller, falls, at proper intervals, down upon the edges of the sheets; the drum and the roller being then removed, instantly carry on the sheet, between the tapes t, downwards to the printing cylinder, and thence upwards to o, o, o, o, where the tapes are parted, and the sheet falls into the hands of the attendant boy. This noble mechanism is so perfectly equipped, that it is generally in full work within four minutes after the form is brought into the machine-room. The speed of König's machine, by which the Times was formerly printed, was such as to turn out 1800 papers per hour; that of Applegath and Cowper throws off 4200 per hour, and it has been daily in use during eight years.

9.5.11

A Dictionary of Arts: Printing ink.


A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice

by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.

Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.

New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII

1847

PRINTING INK. (Encre d'imprimerie, Fr., Buchdruckerfarbe, Germ.)
* In his work on the Preparation of Printing Ink: 8vo. , London. 1832.
After reviewing the different prescriptions given by Moxon, Breton, Papillon, Lewis, those in Nicholson's and the Messrs. Aikins' Dictionaries, in Rees' Cyclopedia, and in the French Printer's Manual, Mr. Savage* says, that the Encyclopædia Britannica is the only work, to his knowledge, which has given a recipe by which a printing ink might be made, that could be used, though it would be of inferior quality, as acknowledged by the editor; for it specifies neither the qualities of the materials, nor their due proportions. The fine black ink made by Mr. Savage, has, he informs us, been pronounced by some of our first printers to be unrivalled; and has procured for him the large medal from the Society for the Encouragement of Arts.

1. Linseed oil. Mr. Savage says, that the linseed oil, however long boiled, unless set fire to, cannot be brought into a proper state for forming printing ink; ant that the flame may be most readily extinguished by the application of a pretty tight tin cover to the top of the boiler, which should never be more than half full. The French prefer nut oil to linseed; but if the latter be old, it is fully as good, and much cheaper, in this country at least.

2. Black rosin is an important article in the composition of good ink; as by melting it in the oil, when that ingredient is sufficiently boiled and burnt, the two combine, and form a compound approximating to a natural balsam, like that of Canada, which it itself one of the best varnishes that can be used for printing ink.

3. Soap. - This is a most important ingredient in printers' ink, which is not even mentioned in any of the recipes prior to that in the Encyclopædia Britannica. For want of soap, ink accumulates upon the face of the types, so as completely to clog them up after comparatively few impressions have been taken; it will not wash off without alkaline leys, and it skins over very soon in the pot. Yellow rosin soap is the best for black inks; for those of light and delicate shades, white curd soap is preferable. Too much soap is apt to render the impression irregular, and to prevent the ink from drying quickly. The proper proportion has been hit, when the ink works clean, without clogging the surface of the types.

4. Lamp black. - The vegetable lamp black, sold in firkins, takes by far the most vanish, and answers for making the best ink. See BLACK.

5. Ivory black is too heavy to be used alone as a pigment for printing ink; but it may be added with advantage by grinding a little of it upon a muller with the lamp black, for certain purposes; for instance, if an engraving on wood is required to be printed so as to produce the best possible effect.

6. Indigo alone, or with an equal weight of Prussian blue, added in small proportion, takes off the brown tone of certain lamp black inks. Mr. Savage recommends a little Indian red to be ground in with the indigo and Prussian blue, to give a rich tone to the black ink.

7. Balsam of capivi, as sold by Mr. Allen, Plough-court, Lombard-street, mixed, by a stone and a muller, with a due proportion of soap and pigment, forms an extemporaneous ink, which the printer may employ very advantageously when he wishes to execute a job in a peculiarly neat manner. Canada balsam does not answer quite so well.

After the smoke begins to rise from the boiling oil, a bit of burning paper stuck in the cleft end of a long stick should be applied to the surface, to set it on fire, as soon as the vapor will burn; and the flame should be allowed to continue (the pot being meanwhile removed from over the fire, or the fire taken from under the pot), till a sample of varnish, cooled upon a pallet-knife, draws out into string of about half an inch long between the fingers. To six quarts of linseed oil thus treated, six pounds of rosin should be gradually added, as soon as the froth of the ebullition has subsided. Whenever the rosin is dissolved, one pound and three quarters of dry brown soap, of the best quality, cut into slices, is to be introduced cautiously, for its water of combination causes a violent intumescence. Both the rosin and soap should be well stirred with the spatula. The pot is to be now set upon the fire, in order to complete the combination of all the constituents.

Put next of well ground indigo and Prussian blue, each2&rac12; ounces, into an earthen pan, sufficiently large to hold all the ink, along with 4 pounds of the best mineral lamp black, and 3½ pounds of good vegetable lamp black; then add the warm varnish by slow degrees, carefully stirring, to produce a perfect incorporation of all the ingredients. This mixture is next to be subjected to mill, or slab and muller, till it be levigated into a smooth uniform paste.

One pound of a superfine printing ink may be made by the following recipe of Mr. Savage: - Balsam of capivi, 9 oz., lamp black, 3 oz.; indigo and Prussian blue, together, p. æq. 1¼ oz., Indian red, 3/4 oz.; turpentine (yellow) soap, dry, 3 oz. This mixture is to be ground upon a slab, with a muller, to an impalpable smoothness. The pigments used for coloured printing inks are, carmine, lakes, vermilion, red lead, Indian red, Venetian red, chrome yellow, chrome red or orange, burnt terra di Sienna, gall-stone, Roman ochre, yellow ochre, verdigris, blues and yellows mixed for greens, indigo, Prussian blue, Antwerp blue, lustre, umber, sepia, browns mixed with Venetian red, &c.