Tampereen Sanomat 4, 28.1.1873
Tehtailija Henrik Liljeroos nukkui täällä, pitkällisen rintataudin sairastettuansa, kuoleman uneen wiime tiistaina tämän kuun 21 päiwänä. Hän oli syntynyt Kangasalan pitäjään Waralan kylän Saharin talossa joulukuun 26 päiwänä 1828. Isänsä oli mainitun talon omistaja ja elää wielä nytkin yli 80 wuotta wanhana samassa talossa. Wainaja ei saanut mitään perintöä isältänsä, jonkatähden hän käwi 12 wuotiaana oppiin wärjäri Lindfors'ille Tampereella. Sittemmin kisällinä matkusteli hän siellä täällä ja tuli awioliittoon talontyttären Maria Heikintyttären kanssa Urjalasta. Yksikolmatta wuotta takaperin tuli hän mestariksi tähän kaupunkiin, jossa kiitettäwän toimeliaisuutensa
ja hywän neronsa awulla on ammatissansa erittäin hywin onnistunut, ollen kauniina esikuwana muitakin kehoittamaan samallaiseen toimeliaisuuteen, pyrkimään warallisuuteen ja hankkimaan itsellensä ja perheellensä hywää toimeentnloa. Jälkeensä jätti wainaja neljä lasta, kaksi tytärtä ja kaksi poikaa, joista wanhempi on jo täydessä miehen ijässä ja sopii toiwoa taitawan isänsä seuraajata sekä itse ammatissa että muissakin asioissa. Tämä onkin ollut pitemmät ajat ulkomailla oikein perinpohjin oppiaksensa isänsä ammatin. Wainaja oli myöskin useammat kerrat ulkomailla katselemassa ja tutkailemassa ammattiinsa kuuluwia asioita. Näistä matkoista lienee hedelmänä ollut sekin, että wainaja wiime wuonna rupesi rakentamaan werankutomoa wärjäriammattinsa oheen. Tämän hankkeen kuitenkin kuolema keskeytti.
Perhe kaipaa häntä sywällä surulla, joka on sitä luonnollisempi, kun wainaja oli oikea perheenisä, perheenisä, joita peri harwassa tawataan. Wakawa uskonnollinen henki asui hänessä. Tätä koetti hän saada perheensä ja huonewäkensä pysywäksi omaisuudeksi. Muutamat uskowaiset miehet owat niin synkeämielisiä ja jörömäisiä, että he siten tulewat perheellensä oikein wangitsijoiksi ja tekewät seuraelämän heidän kanssansa warsin ikäwästyttäwäksi, mutta Liljeroos-wainaja osasi käyttää itsensä niin, että hän seuranteollansa huwitti ketä hywänsä, sekä lapsia että aikuisia, uskowaisia ja uskottomia. Waikka hän oli sanan täydessä merkityksessä uskowainen, ja "Pyhän Hengen koulua käynyt mies", miten eräs hänen ystäwänsä hänestä kirjoittaa, niin ei se sentään häntä estänyt joskus, missä syytä semmoiseen näki, pistäwintä pilkkaa pistämästä.
Wainaja, miten sanottu, oli oikea perheenisä. Mutta hän ei ollnt ainoastaan se, waan myöskin köyhäin isä. Tämän kirjoittaja näki monta kertaa, tuinka hän heitä hellitteli. Esim. kerran tuli hänen kotiinsa eräs mustalaistyttö Pohjanmaalta likaisissa ja rikkinäisissä ketineissä (pukimessa). Yks kaks siiwoutti hän tytön, antoi eheitä waatteita lisäksi ja pani wanhimman tyttärensä luettamaan tyttöä ennenkuin ruokaa antoi antaa. Tässä olisi esimerkki muillekin köyhäin auttajille, näet, lemmellä kohtelemaan niitä ja jotakin teettämään ennenkun apua antaa. Täten tottuisiwat he awun saamaan ansaitsemalla, ja armosta, eikä pitämään itseänsä sen saantiin oikeutettuina, miten nyt laillinen waiwaishoito ja ymmärtämättömät ihmiset heitä opettawat.
Liljeroos on ollut useimmissa kunnan luottamuswiroissa, joihin hän rehellisyytensä ja
oppinsa wuoksi erittäin sopikin. Hänen oppiansa ja taitawuuttansa todistaa se suuri kirjasto, jota hänen asuinhuonettansa kaunistaa, ja jommoista tawallisten ammattilaisten asunnoilta, walitettamasti, turhaan etsitään. Wainaja oli lähemmä kymmenen wuotta kuntamme waivaishoitokunnan esimiehenä, jonka wiran kuolema häneltä poisotti.
Mitä muutoin hänen hengelliseen puoleensa tulee, antaa tästä muutaman ystäwänsä, joka näkyy wainajan kanssa käyneen käsi kädessä totuuden tuntoon tullaksensa, tähän antama muistopuhe kuwauksen.
Muistopuhe. Kuolema, tuo kaikille tietty, waikka useimmille peljättäwä wieras, käyden sukurakkautta tai muita mielipiteitä lukuun ottamatta yhtä hywin alhaisten asunnoissa kuin mahtawain majoissa, on keskeltämme temmannut yhden kaiwattawan kansalaisen. Tehtaan isäntä ja wärjäri Henrik Liljeroos waipui näinä päiwinä kuoleman uneen. Tämä kuoleman tapaus olisi tietysti useissa herättänyt suurta murhemielisyyttä, jollei wainajan pitkällinen sairaus olisi saattanut ystäwillensä ja sukulaisillensa toiwottawaksi hänen maallisen eronsa, tauti kun sanotaan jo alustapitäin
kääntyneen sille suunnalle, jossa ei paranemisesta ole toiwoa. Nytkin se on kaipausta waikuttawa, mutta se toiwo, että matkamies on saanut laskea matkasauwansa lewolle ja rientää autuitten asuntoihin, muuttaa kaipauksen kyyneleet lohdutuksen wesipisaroiksi.
Wainajan nerokkuus ja kykenewäisyys käytännöllisen elämän alalla on kaupungissamme
hywin tunnettu. Sen jokainen tietää, että hän oli etewimpiä wärjärejä täällä. Hänen
lempeä mielenlaatunsa synnytti hänelle monta ystäwää, kauempaakin, ja saattoi siten hänen toimimaan yhä laweammassa määrässä ammattiinsa kuulumissa kohdissa. Tämä tästä, sillä tarkoitukseni ei ole ruweta maallista tointansa ja kekseliäisyyttänsä arwostelemaan. Kaikilla ihmisillä tulee olla ijäisen edun ja onnen saawuttaminen pää-asiana. Jos tämä on ainoastaan harwoilla päämaalina, ansaitsee se sitä paremmin huomiota. Ja ken tunsi wainajan tarkemmin, tiesi hänen kuuluwan niiden lukuun, jotka ijänkaikkisen elämän tahtowat armosta periä. Wainaja ei ollut niitä, jotka wälttättömästi autuuden uhatta tahtowat omia mielipiteitänsä tunkea kuulijaan — niinkuin willihenget paraillaan keskuudessamme tekewät — , waan ei niitäkään, mitkä päitäpitäin hywäksywät kaikki puheet ja kehoitukset, huolimatta siitä, jos ne owat Jumalan sanassa perusteltu tahi ei, ja josko kaikille ulkonaisen elämän säännöt owat yhtäpitäwästi teroitettawat ja wastaan otettawat. Erinomaisen nöyrä ja alhainen mielenlaatu, ystäwällinen, kohtelias puhetapa, walmis auttamaan tarwitsewia ajallansa ja antamaan lohdutuksen sanan sitä kaipaamille — , siinä mainajan muutamat pää-omaisuudet. Pyhä- ja juhlailtoina piti, niinkuin yleensä tiedetään, omissa huoneissansa raamatunselityksiä, joihin oli kaikilla wapaa pääsy. Sitä paitsi saiwat yksityiset, kuten usea tekikin, käydä erittäin neuwoa kysymässä tai antamassa, kuinka waan asianhaarat myöden antoiwat. Warsinkin tämän suhteen on näiden riwien kirjoittaja selwänä todistuksena, sillä keskustelumme, joka ei aiwan harwoin tapahtunut, oli wapaa, toisillemme muistutuksia antawainen, eikä sentähden wähintäkään erimielisyyttä ilmestynyt.
Wainajan sairauden aika sopi yhteen entisen elämänsä kanssa. Ei hänen sanota olleen kärsimättömän, waan heittäneen kaikki Jumalan tahdon alle. Kun opettaja wähää ennen
kuolemaansa luki Rom. ep:sta 4:n luwun 25:n w.: "joka meidän synteimme tähden on annettu ulos, ja meidän wanhurskauttamisemme tähden herätetty ylös", sanoi hän iloisella mielellä ja rauhoitetulla tunnolla: "ja minunkin synteini tähden". Tämä oli wainajan wiimeisiä sanoja, mutta todistawa lapsenoikeudestansa Jumalassa. — Rauha wainajan tomulle!
Kuolinilmoitus (Wärjärimestari Henrik Liljeroos)
Tampereen Sanomat 4, 28.1.1873
Ilmoitetaan
että
Wärjärimestari
Henrik Liljeroos,
rauhallisesti nukkui kuoleman uneen Tampereen kaupungissa tammikuun 21 päiwänä 1873 kello puoli 4 j. pp., 44 wuoden ja 26 päiwän ikäisenä. Häntä kaipaawat: waimo, 4 lasta, wanha isä, äitipuoli, 2 weljeä ja 2 sisarta sekä monta ystäwää.
Philipp. 1:21.
New Blue.
Scientific American 17, 15.1.1848
A continental paper says that one Rydni, proprietor of a great dyeing establishment near Gottenberg, a famous place for dyers, has invented a mode of dying cottons without indigo; the blue colors obtained by the substance employed is said to be as clear and fast as that obtained by indigo, resisting the strongest lye, potash and sulphuric acid, and costs but one-sixth the price.
These are the tests for permanent colors. The process is kept secret, and it if be true in relation to the price the discovery is a valuable one, if not, no depreciation in the value of indigo may be expected.
A continental paper says that one Rydni, proprietor of a great dyeing establishment near Gottenberg, a famous place for dyers, has invented a mode of dying cottons without indigo; the blue colors obtained by the substance employed is said to be as clear and fast as that obtained by indigo, resisting the strongest lye, potash and sulphuric acid, and costs but one-sixth the price.
These are the tests for permanent colors. The process is kept secret, and it if be true in relation to the price the discovery is a valuable one, if not, no depreciation in the value of indigo may be expected.
To Dye Wool with Animal Substances.
Scientific American 17, 15.1.1848
For the Scientific American.
LAC RED.
Mix oxygenised muriate of tin with lac dye till thick as treacle, and set it aside for six hours. Have a well tinned copper boiler nearly filled with scalding water, into which throw some bran, and a sufficient quantity of newly made nitro-muriate of tin, (tin dissolved in one part nitric and sixteen parts muriatic acid,) add cream of tartar in nearly equal weight to the solution of tin employed, pour in the lac dye, and set aside and work in your wool.
SCARLET.
To a dye prepared as directed for lac red, add either sumac, American bark, or young fustic, in quantity according to the shade required, cool down with cold water, turn in the wool and boil it for an hour, then rinse it and the color will be permanent.
CRIMSON.
Use only half the quantity of tartar specified for lac red, and omit the yellow coloring matter; after rinsing the wool, pass it through a fresh scalding liquor, with archil or cudbear.
PURPLE.
Follow the directions given for crimson, substituting logwood for archil or cudbear.
COCHINEAL RED.
Put two pints of the best Dutch aquafortis into two pints of water, and from one to two ounces of sal-ammoniac in powder; add franulated tin, a small bit at a time, till sufficient is dissolved, and cream of tartar as for lac dye, with well-powdered cochineal in quantity according to the deepness of the shade required. Cool down the preparation with cold water, put in your wool, and boil it for two hours, then rinse in cold water. It is far better, however, to use this quantity in two boils leaving out the cream of tartar in the second, and adding instead starch, and sometimes common salt also.
COCHINEAL CRIMSON.
After rinsing the wool out of the red dye, pass it through a fresh scalding liquor of archil or cudbear as for lac crimson, or through a warm solution of liquid manure from the cow yard.
COCHINEAL PURPLE.
Proceed as for crimson, substituting Saxon blue (sulphate of indigo) for the archil or cudbear.
COCHINEAL SCARLET.
Same as for red, using young fustic, turmeric, or American bark (Quercitron) in the first bath, and omitting it in the second. It is indispensable that for cochineal scarlet the wool should have two boilings.
The colors obtained from cochineal, though superior in brilliancy, have not the permanent qualities of the lac dye or the madder red.
For the Scientific American.
LAC RED.
Mix oxygenised muriate of tin with lac dye till thick as treacle, and set it aside for six hours. Have a well tinned copper boiler nearly filled with scalding water, into which throw some bran, and a sufficient quantity of newly made nitro-muriate of tin, (tin dissolved in one part nitric and sixteen parts muriatic acid,) add cream of tartar in nearly equal weight to the solution of tin employed, pour in the lac dye, and set aside and work in your wool.
SCARLET.
To a dye prepared as directed for lac red, add either sumac, American bark, or young fustic, in quantity according to the shade required, cool down with cold water, turn in the wool and boil it for an hour, then rinse it and the color will be permanent.
CRIMSON.
Use only half the quantity of tartar specified for lac red, and omit the yellow coloring matter; after rinsing the wool, pass it through a fresh scalding liquor, with archil or cudbear.
PURPLE.
Follow the directions given for crimson, substituting logwood for archil or cudbear.
COCHINEAL RED.
Put two pints of the best Dutch aquafortis into two pints of water, and from one to two ounces of sal-ammoniac in powder; add franulated tin, a small bit at a time, till sufficient is dissolved, and cream of tartar as for lac dye, with well-powdered cochineal in quantity according to the deepness of the shade required. Cool down the preparation with cold water, put in your wool, and boil it for two hours, then rinse in cold water. It is far better, however, to use this quantity in two boils leaving out the cream of tartar in the second, and adding instead starch, and sometimes common salt also.
COCHINEAL CRIMSON.
After rinsing the wool out of the red dye, pass it through a fresh scalding liquor of archil or cudbear as for lac crimson, or through a warm solution of liquid manure from the cow yard.
COCHINEAL PURPLE.
Proceed as for crimson, substituting Saxon blue (sulphate of indigo) for the archil or cudbear.
COCHINEAL SCARLET.
Same as for red, using young fustic, turmeric, or American bark (Quercitron) in the first bath, and omitting it in the second. It is indispensable that for cochineal scarlet the wool should have two boilings.
The colors obtained from cochineal, though superior in brilliancy, have not the permanent qualities of the lac dye or the madder red.
Japanning.
Scientific American 17, 15.1.1848
(Concluded from our last.)
The finishing part of Japanning lies in laying on and polishing the outer coats of varnish, which is necessary in all painted or simply ground colored japan work. When brightness and clearness are wanted, the white kind of varnish is necessary, for seed lac varnish, which is the hardest and most tenacious, imparts a yellow tinge. A mixed varnish we believe, is the best fro this purpose, that is, for combining hardness and purity. Take then thre ounces of seed lac picked very carefully from all sticks and dirt and washing it well with cold water, stirring it up and pouring it off, and continuing the process until the water runs off perfectly pure. Dry it then and reduce it to powder and put it with a pint of pure alcohol intoa a bottle, of which it must occupy only two-thirds of its space. This mixture must be shaken well together and the bottle kept at a gentle heat (being corked,) until the lac be dissolved. When this is the case, the clear must be poured off, and the remainder strained through a cloth an all the clear, strained and poured, must be kept in a well stopped bottle. The manner of using this seed lac varnish, is the same as that of using the other, and a fine polishing varnish is made by mixing this with the pure white varnish described in a previous article. The pieces of work to be varnished for finishing should be placed near a stove, or in a warm, dry room, and one cost should be perfectly dry before the other is applied. The varnish is applied by proper brushes, beginning at the middle passing the stroke to one end and with the other stroke from the middle to the other end. Great skill is displayed in laying on these coats of varnish. If possible the skill of hand should never cross, or twice pass over in giving one coat. When one coat is fry another must be laid over it, and so on successively for a number of coats, so that the coating should be sufficiently thick to stand fully all the polishing, so as not to bare the surface of the colored work. When a sufficient number of coats are thus laid on, the work is fit to be polished, which in common cases is commenced with a rag dipped in finely powdered rotten stone, and towards the end of the rubbing a little oil should be used along with the powder, and when the work appears fine and glossy, a little oil should be used alone to clean off the powder and give the work a still brighter hue. In very fine work, French whiting should be used, which should be washed in water to remove any sand that might be in it. Pumice stone ground to a very fine powder is used for the first part of polishing and the finishing done with whiting. It is always best to dry the varnish of all japan work by heat. For wood work, heat must be sparingly used, but for metals, the varnish should be dried in an oven, also for papier mache and leather. The metal will stand the greatest heat and care must be taken not to darken by too high a temperature.
When gold size is used in gilding for japan work, where it is desired not to have the gold shine, or appear burnished, the gold size should be used with a little of the spirits of turpentine and a little oil, but when a considerable degree of lustre is wanted without burnishing, and the preparation necessary for it, a little of the size along with oil alone, should be used.
I now conclude these articles on Japanning and Varnishing. A great deal more might be said, but this may be sufficient for the present. There are other mixtures that can be used, and there are some variety of opinions among practical men. What I have said may be old to some, but presume that much may be new to many and be of some benefit to not a few. At some other period I may again present some more information on the same or other branches in connection with this subject and shall endeacor to be as condensed, plain and practical, as I trust I have been. My honest endeavor at least, being a desire to bring out in public print, something relative to an important art which winds itself round a great number of different trades, and for which I have ever sought in vain for information in any work published in my own lifetime.
M. K.
(Concluded from our last.)
The finishing part of Japanning lies in laying on and polishing the outer coats of varnish, which is necessary in all painted or simply ground colored japan work. When brightness and clearness are wanted, the white kind of varnish is necessary, for seed lac varnish, which is the hardest and most tenacious, imparts a yellow tinge. A mixed varnish we believe, is the best fro this purpose, that is, for combining hardness and purity. Take then thre ounces of seed lac picked very carefully from all sticks and dirt and washing it well with cold water, stirring it up and pouring it off, and continuing the process until the water runs off perfectly pure. Dry it then and reduce it to powder and put it with a pint of pure alcohol intoa a bottle, of which it must occupy only two-thirds of its space. This mixture must be shaken well together and the bottle kept at a gentle heat (being corked,) until the lac be dissolved. When this is the case, the clear must be poured off, and the remainder strained through a cloth an all the clear, strained and poured, must be kept in a well stopped bottle. The manner of using this seed lac varnish, is the same as that of using the other, and a fine polishing varnish is made by mixing this with the pure white varnish described in a previous article. The pieces of work to be varnished for finishing should be placed near a stove, or in a warm, dry room, and one cost should be perfectly dry before the other is applied. The varnish is applied by proper brushes, beginning at the middle passing the stroke to one end and with the other stroke from the middle to the other end. Great skill is displayed in laying on these coats of varnish. If possible the skill of hand should never cross, or twice pass over in giving one coat. When one coat is fry another must be laid over it, and so on successively for a number of coats, so that the coating should be sufficiently thick to stand fully all the polishing, so as not to bare the surface of the colored work. When a sufficient number of coats are thus laid on, the work is fit to be polished, which in common cases is commenced with a rag dipped in finely powdered rotten stone, and towards the end of the rubbing a little oil should be used along with the powder, and when the work appears fine and glossy, a little oil should be used alone to clean off the powder and give the work a still brighter hue. In very fine work, French whiting should be used, which should be washed in water to remove any sand that might be in it. Pumice stone ground to a very fine powder is used for the first part of polishing and the finishing done with whiting. It is always best to dry the varnish of all japan work by heat. For wood work, heat must be sparingly used, but for metals, the varnish should be dried in an oven, also for papier mache and leather. The metal will stand the greatest heat and care must be taken not to darken by too high a temperature.
When gold size is used in gilding for japan work, where it is desired not to have the gold shine, or appear burnished, the gold size should be used with a little of the spirits of turpentine and a little oil, but when a considerable degree of lustre is wanted without burnishing, and the preparation necessary for it, a little of the size along with oil alone, should be used.
I now conclude these articles on Japanning and Varnishing. A great deal more might be said, but this may be sufficient for the present. There are other mixtures that can be used, and there are some variety of opinions among practical men. What I have said may be old to some, but presume that much may be new to many and be of some benefit to not a few. At some other period I may again present some more information on the same or other branches in connection with this subject and shall endeacor to be as condensed, plain and practical, as I trust I have been. My honest endeavor at least, being a desire to bring out in public print, something relative to an important art which winds itself round a great number of different trades, and for which I have ever sought in vain for information in any work published in my own lifetime.
M. K.
The Tyrian Purple.
Scientific American 20, 12.5.1860
It is certainly wonderful that two of the finest colors known - namely, the purple of the ancients and the celebrated Chinese green, or lokao - i. e., the finest color furnished by the animal kingdom, and the finest color furnished by the vegetable kingdom - are produced by the direct agency of light. At the last meeting of the Academy of Sciences, M. Lacaze-Duthiers read a paper upon the production of the Tyrian purple, and has again called attention to the wonderful part light plays in the formation of this color - a fact that has long been well known. The only thing really novel in this long dissertation is the description by its author of the organs which, in certain marine molluscs, secrete the colorless liquid that finally turns to purple when exposed to the air and to daylight. This organ is nothing more than a small cluster of cells, situated at the surface of the animal's body, and quite distinct from the corpus bojani, or kidney of gasteropodous mollusca. The product secreted by this organ in the genera, purpura and murex, is a colorless, whitish, or slightly yellow liquid, which is extremely photogenic. "The action of light upon this liquid," says our author, "has for effect the development of the three simple colors, yellow, blue and red; between which are observed, as effects of mixture, green and violet. When the experiment is made in diffused daylight - that is to say, slowly - the order in which the colors appear is observed in a very perfect manner. But whilst the yellow disappears as the action of the light continues, the blue remains constantly in a certain quantity, so that the red is never to be obtained alone, and the purple produced by these natural means is always more or less violet." M. Lacaze-Duthiers, has, moreover, experimented photographically with this Tyrian purple; he has obtained proofs upon silk batiste, &c., which, although they do not offer the perfections of ordinary photographs, present, nevertheless, in the numerous details, a great strenght of tone. In an image thus obtained, we again meet with the colors above named: a greenish yellow corresponds to the white parts, and a more or less dark violet to the dark portions, or ordinary photographic proofs.
- London Photographic News.
It is certainly wonderful that two of the finest colors known - namely, the purple of the ancients and the celebrated Chinese green, or lokao - i. e., the finest color furnished by the animal kingdom, and the finest color furnished by the vegetable kingdom - are produced by the direct agency of light. At the last meeting of the Academy of Sciences, M. Lacaze-Duthiers read a paper upon the production of the Tyrian purple, and has again called attention to the wonderful part light plays in the formation of this color - a fact that has long been well known. The only thing really novel in this long dissertation is the description by its author of the organs which, in certain marine molluscs, secrete the colorless liquid that finally turns to purple when exposed to the air and to daylight. This organ is nothing more than a small cluster of cells, situated at the surface of the animal's body, and quite distinct from the corpus bojani, or kidney of gasteropodous mollusca. The product secreted by this organ in the genera, purpura and murex, is a colorless, whitish, or slightly yellow liquid, which is extremely photogenic. "The action of light upon this liquid," says our author, "has for effect the development of the three simple colors, yellow, blue and red; between which are observed, as effects of mixture, green and violet. When the experiment is made in diffused daylight - that is to say, slowly - the order in which the colors appear is observed in a very perfect manner. But whilst the yellow disappears as the action of the light continues, the blue remains constantly in a certain quantity, so that the red is never to be obtained alone, and the purple produced by these natural means is always more or less violet." M. Lacaze-Duthiers, has, moreover, experimented photographically with this Tyrian purple; he has obtained proofs upon silk batiste, &c., which, although they do not offer the perfections of ordinary photographs, present, nevertheless, in the numerous details, a great strenght of tone. In an image thus obtained, we again meet with the colors above named: a greenish yellow corresponds to the white parts, and a more or less dark violet to the dark portions, or ordinary photographic proofs.
- London Photographic News.
29.12.08
Tulipalo. (Uutinen)
Savo 25, 27.2.1886
Wiime sunnuntai-iltana k:lo 11 syttyi Jywäskylässä wärjäri Kukkosen wärjäystehdas. Talon asukkaat oliwat jo panneet lewolle, kun waara huomattiin ja lyseiläinen Karikko riensi heitä herättämään. Ennenkuin palokunnat paikalle ehtiwät, oli palaminen jo niin edistynyt, että wiereisten huoneiden suojeleminen waan woi tulla kysymykseen. Tehdas, leipohuone, pienempi warastohuone y. m. paloiwat melkein kokonaan. Yhteydessä olewa ulkohuoneriwi pelastettiin suurella työllä. Rakennus oli wakuutettu kaupunki yhteisessä palowakuutus-yhtiössä 8000 m., irtaimisto eräässä ulkomaisessa wakuutus-yhtiössä. Tulen irti pääseminen on tuntematon. Kummalliselta waan näyttää, kun se alkoi kiwijalasta.
Wiime sunnuntai-iltana k:lo 11 syttyi Jywäskylässä wärjäri Kukkosen wärjäystehdas. Talon asukkaat oliwat jo panneet lewolle, kun waara huomattiin ja lyseiläinen Karikko riensi heitä herättämään. Ennenkuin palokunnat paikalle ehtiwät, oli palaminen jo niin edistynyt, että wiereisten huoneiden suojeleminen waan woi tulla kysymykseen. Tehdas, leipohuone, pienempi warastohuone y. m. paloiwat melkein kokonaan. Yhteydessä olewa ulkohuoneriwi pelastettiin suurella työllä. Rakennus oli wakuutettu kaupunki yhteisessä palowakuutus-yhtiössä 8000 m., irtaimisto eräässä ulkomaisessa wakuutus-yhtiössä. Tulen irti pääseminen on tuntematon. Kummalliselta waan näyttää, kun se alkoi kiwijalasta.
Philosophy of the Use of Blueing in the Starching of Linen.
Scientific American 3, 16.7.1868
It is ofter worth while to think upon and discuss those things which are apparently of small importance. The laws of nature apply to small as well as to large operations, and the explanation of phenomenon of great importance may frequently be found in the investigation of trifling occurences.
Mr. Ruskin, should this meet his eye, would no doubt smile, while he would acknowledge the truth of the statement, that the same natural principled, by the observance of which the great Turner (who he asserts was the only artist who ever did paint water true to nature), obtained his effects, include the one by which a washerwoman makes a bosom assume a whiteness of snowy purity.
All tints are hightened by transmitted light. No artificial pigments or dyes whatever can approach the glory of the prismatic colors; but if artificial colors are laid upon a transparent surface, and light will at once be seen. The stained windows of churches are good illustrations of the increased beauty of color by the transmission of light.
The effect of transparency may however be produced in some degree by artificial means. Light in passing through transparent substances is more or less separated into its primary colors by differences in thickness and density, and the form of the surface. Moreover the color of the transparent body itself has effect in the absorption of other colors, so that light rarely passes through transparent bodies unchanged. It took a long time to discover a means by which the dispersion of light, when it passes through the lenses of optical instruments, could be obviated, so that the image presented to the eye should exhibit the colors of the object inspected by the aid. It is obvious then that if a tint be added to a color so delicately that the impression produced by it does not change the original tint essentially, something of the effect produced by the transmission of light will be attained. The less of admixture with other colors any tint possesses, the more easily will light be transmitted through it; or perhaps it would be proper to say, that unless the mixture be so perfectly compounded that a distinct new tint is produced without a muddy crude appearance, the transmission of light will be more or less interfered with. This perfect blending is what is called by artists purity of tint. It is seen in perfection everywhere in nature, in the clouds, in water, in flowers, leaves, and fruit. An absolute white has a dead, dreary appearance, caused by the utter absence of the effect of transparency. It is, therefore, rarely used in ornamental work unless it be so placed as to be enriched by delicate reflections from adhacent objects. What is generally called a pure white has more or less of a very delicate yellow, green, or blue tint, the absemce of which would be very sensibly felt, although its presence, as a tint, is scarcely perceived. This is why blueing is used in the starching of linen, though we venture to say, that the reason for it has rarely been thought of sufficient importance to repay analysis.
It is ofter worth while to think upon and discuss those things which are apparently of small importance. The laws of nature apply to small as well as to large operations, and the explanation of phenomenon of great importance may frequently be found in the investigation of trifling occurences.
Mr. Ruskin, should this meet his eye, would no doubt smile, while he would acknowledge the truth of the statement, that the same natural principled, by the observance of which the great Turner (who he asserts was the only artist who ever did paint water true to nature), obtained his effects, include the one by which a washerwoman makes a bosom assume a whiteness of snowy purity.
All tints are hightened by transmitted light. No artificial pigments or dyes whatever can approach the glory of the prismatic colors; but if artificial colors are laid upon a transparent surface, and light will at once be seen. The stained windows of churches are good illustrations of the increased beauty of color by the transmission of light.
The effect of transparency may however be produced in some degree by artificial means. Light in passing through transparent substances is more or less separated into its primary colors by differences in thickness and density, and the form of the surface. Moreover the color of the transparent body itself has effect in the absorption of other colors, so that light rarely passes through transparent bodies unchanged. It took a long time to discover a means by which the dispersion of light, when it passes through the lenses of optical instruments, could be obviated, so that the image presented to the eye should exhibit the colors of the object inspected by the aid. It is obvious then that if a tint be added to a color so delicately that the impression produced by it does not change the original tint essentially, something of the effect produced by the transmission of light will be attained. The less of admixture with other colors any tint possesses, the more easily will light be transmitted through it; or perhaps it would be proper to say, that unless the mixture be so perfectly compounded that a distinct new tint is produced without a muddy crude appearance, the transmission of light will be more or less interfered with. This perfect blending is what is called by artists purity of tint. It is seen in perfection everywhere in nature, in the clouds, in water, in flowers, leaves, and fruit. An absolute white has a dead, dreary appearance, caused by the utter absence of the effect of transparency. It is, therefore, rarely used in ornamental work unless it be so placed as to be enriched by delicate reflections from adhacent objects. What is generally called a pure white has more or less of a very delicate yellow, green, or blue tint, the absemce of which would be very sensibly felt, although its presence, as a tint, is scarcely perceived. This is why blueing is used in the starching of linen, though we venture to say, that the reason for it has rarely been thought of sufficient importance to repay analysis.
Black Varnish.
Scientific American 3, 16.7.1868
- An aniline black varnish, of recent Parisian production, is the following: In a liter of alcohol, twelve grammes of aniline blue, three grammes of fuchsine and eight grammes of naphthaline yellow, are dissolved. The whole is dissolved by agitation in less than twelve hours. One application renders an object ebony black; the varnish can be filtered, and will never deposit afterwards.
- An aniline black varnish, of recent Parisian production, is the following: In a liter of alcohol, twelve grammes of aniline blue, three grammes of fuchsine and eight grammes of naphthaline yellow, are dissolved. The whole is dissolved by agitation in less than twelve hours. One application renders an object ebony black; the varnish can be filtered, and will never deposit afterwards.
(Kasku)
Porin Kaupungin Sanomia 33, 16.8.1862
Laki-pöydällä walansa tekewä wärjäri nosti jo sinisen kätensä, mutta palautettiin tuomarilta, joka sanoi: riisukaat sormikkaanne, ystäwäni! — Ottakaat silmälasit,
herra tuomari! — wastasi wärjäri.
Laki-pöydällä walansa tekewä wärjäri nosti jo sinisen kätensä, mutta palautettiin tuomarilta, joka sanoi: riisukaat sormikkaanne, ystäwäni! — Ottakaat silmälasit,
herra tuomari! — wastasi wärjäri.
Notes on Military and Naval Affairs.
Scientific American 25.1.1862
[---]
The price of indigo has risen to such a point that lighter shades of blue cloth are admitted by government for army purposes.
[---]
The price of indigo has risen to such a point that lighter shades of blue cloth are admitted by government for army purposes.
Maalaus säästää taloudellisia arvoja suojelemalla pinnat
Tikkurilan tehtaat
Vernissa-, Väri- ja Lakkatehdas
omistaja
A.B. Schildt 8. Hallberg 0.Y.
Tikkurila
[2]
ULKOMAALAUS
ILMASTOMME VAIHTELEVAISUUS, kesän heloittava auringonpaiste, syksyn tuulet ja sateet, talven lumi ja pakkanen, kuluttaa ja turmelee nopeasti ulkoilmassa olevat pinnat. Ainoa tehokkaaksi havaittu keino pintojen suojelemiseksi on niiden tarkoituksenmukainen ja tarpeen mukaan uudistuva maalaus. Tämä edellyttää kuitenkin, että maalauksessa käytetään ensiluokkaisia ja sopivia maalausaineita, jotka on valmistettu sitä rasitusta silmälläpitäen, joka niiden on ulkoilmassa kestettävä. Koska maaliaineiden laadun arviointi on mahdollista yksinomaan kokemuksen perusteella tullaan tässä esittelyvihkosessa lyhyesti selostamaan niitä erikoismaaliaineita, lakkoja ja peittovärejä, jotka pitkäaikainen kokemus on osoittanut parhaiten tarkoitustaan vastaaviksi.
Tikkurilan Tehtaitten tuotteiden valmistus perustuu monivuotisen, sekä tieteelliseen että käytännölliseen kokemukseen, ensiluokkaisiin raaka-aineisiin ja koeteltuun ammattitaitoon.
Maalauskustannukset supistuvat aivan merkityksettömiksi, jos verrataan niitä siihen taloudelliseen säästöön, jonka ne tuovat mukanaan suojelemalla omaisuutta vahingoittumasta ja turmeltumista. Se suhteellisen vähäinen rahallinen uhraus, jonka maalaus edellyttää, on todellakin katsottava vain vakuutusmaksuksi, joka takaa sen, että omaisuutemme säilyy virheettömässä kunnossa ja sen ikä siten pitenee.
Maalaus on rahansijoitus - ei rahanmeno.
[3]
KATTOVÄRIT
VUOTAVA KATTO voi aiheuttaa sangen epämiellyttäviä yllätyksiä ja ajanmittaan se tulee myöskin hyvin kalliiksi. Varsinkin sadevesi on katon säälimätön vihollinen. Kattoa on senvuoksi alunperin ja jatkuvasti hyvin suojeltava pitämällä se eheässä, virheettömässä maalissa.
TEHO-kattoväri suojelee kattonne pilaantumiselta.
TEHO on erikois-standöljystä valmistettu ja siitä syystä harvinaisen suuressa määrässä vettäläpäisemätön. TEHO on helposti siveltävä eikä muutama tunti sivelyn jälkeen sattunut sade enää vahingoita maalipintaa, vaan jatkuu kuivuminen sateen jälkeen aivan normaalisti. TEHO-kattoväri muodostaa kiiltävän, joustavan ja kestävän pintakalvon. 1 kilolla TEHOa voidaan maalata n. 8-15 m2 peltipintaa ja n. 3-5 m2 huopapintaa.
TEHO-kattokitti tiivistää vedenpitäviksi huopakatoissa esiintyvät suuremmat raot, halkeamat ja jatkokset. Myöskin kaikenlaiset muut vuotopaikat katossa saadaan TEHO‑kattokitillä täysin vedenpitäviksi.
TEHO-kattolakka on hinnaltaan huokea kattomaali. Se on puhdas bitumituote eikä sisällä mitään syövyttäviä aineita, sopien siten sekä pelti- että huopakattojen maalaukseen. Se kestää huomattavasti kauemmin kuin tavalliset asfalttilakat. Väriltään musta.
Maalatut pinnat - säästettyjä arvoja.
[4]
ULKOSEINÄVÄRIT
LAIMINLYÖNTI kostaa aina itsensä. Ellette pidä asianmukaista huolta talonne katosta, ropisee sade häikäilemättä sisään ja ulkoseinien hoidotta jättäminen aiheuttaa seinälaudoituksen mätänemisen muutamassa vuodessa ja taas. on uusi menoerä edessä. Vain maalaus kykenee suojelemaan omaisuuttanne.
TEHO-seinäväri vapauttaa Teidät moneksi vuodeksi niistä huolista, joita talonne julkisivun hoito aiheuttaa. Tämä patentointua panssariöljyä sideaineena käyttäen valmistettu vettäläpäisemätön seinämaali kestää vahingoittumattomana monia vuosia. Sen tiivis, sileä ja joustava pintakalvo eristää seinälaudoituksen täydelleen ulkoilmasta. Auringonpaiste, sadevesi tai pakkanen ei pysty pureutumaan laudoitukseen sen läpitse. — 1 kilo TEHO-seinäväriä peittää n. 5-6m2, mutta sivelkää väriä mieluimmin pariin kolmeen kertaan, jolloin ensimmäistä ja toista sivelyä varten väri voidaan ohentaa vernissalla.
KASELIT-seinäväri, joka on n.k. kylmävesiväri, on halpa, yksinkertainen käyttää, mutta samalla erittäin tarkoituksenmukainen. Se toimitetaan tehtaasta kuivana. Kilo KASELIT-väriä sekoitetaan samaan määrään vettä ja hämmennetään, kunnes värijauhe on läpeensä kostunut. Tahtaan annetaan sitten seinoa n. tunnin ajan, jonka jälkeen siihen lisätään vettä, kunnes saadaan sivelykuntoinen maali. KASELIT on huokea, varsinkin höyläämättömille pinnoille erittäin sopiva seinämaali, kuivuen verrattain nopeasti ja kovettuen veteen liukenemattomaksi pintakalvoksi. 1 kilosta kuivaa KASELITia saadulla maalilla voidaan sivellä n. 6-7m2 höyläämätöntä ja n. 8-10m2 höylättyä pintaa. - Tässä on vihdoinkin huokea ja kestävä seinämaali varsinkin maaseudulla käytettäväksi.
Maalattu pinta - suojeltu pinta.
[5]
SISÄMAALAUS
VIIMEKSI KULUNEINA VUOSINA on yhä enemmän alettu kiinnittää huomiota asuinhuoneistojen suunnitteluun ja viimeistelyyn tarkoituksella saada ne sekä mukavuuksiensa puolesta että terveydellisessä suhteessa kuin myöskin viihtyisyyttä silmälläpitäen nykyajan vaatimuksia vastaaviksi. Tätä samaa periaatetta noudatetaan myöskin sisäpuolisessa viimeistelyssä ja tässä kodin viimeistelyssä on maalauksella arvaamattoman suuri merkitys. Värit ja maalarin sivellin auttavat luomaan asuinhuoneistosta kodin yksilöllisine ilmapiireineen. Asianmukaisesti ja huolella maalatut seinät, katot, lattiat, ovet ja ikkunanpuitteet luovat yhdessä sopusointuisen kokonaisuuden, viihtyisän ja miellyttävän kodin, joka voidaan helposti pitää puhtaana, kauniina ja miellyttävänä.
Hyvän tuloksen saavuttaminen maalauksella edellyttää kuitenkin, paitsi tietysti ammattitaitoa, myöskin sen, että ainoastaan ehdottomasti ensiluokkaisia, kuhunkin tarkoitukseen erikoisesti valmistettuja maaliaineita käytetään. Jälempänä selostetaan lyhyesti niitä Tikkurilan Tehtaitten valmistamia maaliaineita, jotka käytäntö ja kokemus on osoittanut parhaiten vastaavan suuriakin vaatimuksia niin ulkonäköön kuin laatuunkin katsoen.
Sisämaalit, värit ja lakat auttavat Teitä luomaan itsellenne oman viihtyisän kodin.
Maalattu koti - helppo pitää puhtaana.
Puhdas koti - viihtyisä koti.
[6]
SISÄSEINÄVÄRIT
HUONEISTONNE SEINÄT ovat joka päivä silmienne edessä. Senvuoksi vaaditte tietysti, että ne ovat aina siistit, puhtaat ja miellyttävät katsella. Maalauttamalla seinänne pehmeän ja miellyttävän sävyisillä seinäväreillä ovat ne aina moitteettomassa asussa. Ja seinämaalien tärkein ja käytännöllisin ominaisuus on siinä, että maalatut seinät on aina puhtaana pidettävissä.
SIRO-seinäväri on todellinen kodin luoja. Se on pesunkestävä, pehmeän himmeähkö, suhteellisen nopeasti kuivuva öljyväri. Se kuivuu kovaksi muutamassa tunnissa muodostaen kuivuttuaan kauniin samettimaisen himmeän pinnan. SIRO-seinäväriä voidaan sivellä tai ruiskuttaa m.m. laasti-, betoni-, puu-, pahvi- ja tapettipinnoille ollen se varsin sopiva myöskin Enso- ja Takotapettien maalaukseen. 1 kilolla SIRO-väriä voidaan sivellä n. 7-8 m2.
PESTO-seinäväri keventää huomattavasti perheenemännän työtaakkaa. Kun se on valmistettu erikoisesti kestämään kuumia vesihöyryjä sekä pesua voimakkaillakin pesuaineilla, on se korvaamaton keittiöiden, kylpyhuoneiden y.m.s. maalauksessa. Sen sileälle, kiiltävälle pinnalle ei lika helposti tartu ja on se siitä myöskin vähällä vaivalla pestävissä pois. Peittää sangen hyvin, 1 kilolla voidaan sivellä n. 8-10m2.
KEINO´-kosteapintavärillä voidaan maalata vastarapattuja ja vielä kosteita seiniä ja väri kuivuu siitä huolimatta erinomaisesti. Kellarit ja jäähdyttämöt, joille terveydellisessä suhteessa asetetaan erittäin suuria vaatimuksia, on paras maalata KEINO-värillä. Silloin seinäpinnat ovat aina kiiltävät, kestävät ja helposti puhdistettavissa.
Maalaus tehostaa hygienisyyttä.
[7]
LATTIAVÄRIT
LATTIAN PUHTAANAPITO vie suuren osan perheenemännän ajasta, ollen työ monessa tapauksessa myöskin rasittavaa. Lattioiden puhdistus muuttuu helpoksi ja käy joutuisasti kun maalari on viimeisen sivellinvetonsa tehnyt. Maalattu tai lakattu lattia on tasainen, sileä, kiiltävä ja kovapintainen ja sen puhdistus helppoa.
PERMO-lattiaemali tasoittuu ja kuivuu nopeasti sileäksi kiiltäväksi, emalintapaiseksi pinnaksi. Se kestää hyvin kulutusta ja se on helppo vahata samettimaisen pehmeäkiiltoiseksi. Erittäin pitkäaikainen käytännöllinen kokemus on asettanut PERMO-emalin tähtiluokkaan. 1 kilolla voidaan maalata n. 10 m2.
LATTIALAKAT
Usein halutaan lattia kuitenkin säilyttää luonnonvärisenä. Ilman suojaavaa pintaa ei sitä kuitenkaan voida jättää ja silloin käytetään emalivärin asemesta lattialakkoja, jotka muuten ajavat saman asian.
UNICA-lattialakka N:o 109 ja N:o 110 sekä
KIRI-lattialakka N:o 198
ovat kaikki vaaleita, nopeasti kuivuvia, hyvin kovettua lakkoja. Ne muodostavat korkeakiiltoisen, kestävän ja joustavan pinnan, jonka läpitse puun kuvioitus jää näkyviin.
N:o 109 on öljypitoinen, n.s. lihava lakka, joka yhdellä sivelyllä peittää erittäin hyvin. Lakan on annettava kuivua 3 vuorokautta.
N:o 110 on hieman ohuempi, kovettuen jo yhden yön kuluessa, joten lattiaa voidaan käyttää jo seuraavana päivänä.
N:o 198 on n.k. 4-tunnin lakka, jolloin toinen lakkaus voidaan toimittaa jo 4 tuntia ensimäinen jälkeen ja lattia ottaa käytäntöön 6-7 tunnin kuluttua lakkauksesta.
muuten ajavat saman asian.
Maalattu ja lakattu lattia - perheenemännän ilo.
[8]
EMALIVÄRIT
SILMIINPISTÄVIMPIÄ kohtia huoneistossa ovat ovet, ikkunapenkit ja -puitteet. Varsinkin ne on senvuoksi aina pidettävä moitteettomassa maalissa.
UNICA-emali ja YEDDO-emali ovat kuivuttuaan
kiiltäväpintaisia, sileitä ja erittäin kestäviä. Niiden muodostama emalintapainen pinta on helposti puhdistettavissa, niitä on helppo sivellä ja ne kuivuvat n. 8—10 tunnissa.
Tikkurilan Tehtaat valmistavat kaikkia väriteollisuuden tuotteita sekä maalareita että teollisuutta varten.
Ulkolakkoja kaikenlaiseen ulkolakkaukseen, jossa säävaihtelut tulevat kysymykseen.
Vaunulakkoja ajokalujen y.m.s. lakkaukseen.
Venelakkoja, jotka erittäin hyvin kestävät auringonpaistetta ja suolaista merivettä valkenematta.
Autolakkoja, sekä öljy- että selluloosalakkoja, jotka täydelleen vastaavat parhaimpia ulkomaisia laatuja.
Tehtaitten valmistamat
Emalivärit olleet jo kauan tunnettuja kestävinä ja helposti siveltävinä sangen monine värisävyineen samoin myöskin
Selluloosalakat ovat hienoimpien huonekalujen viimeistelyssä.
Huokeampia huonekaluja varten valmistetaan
Öljylakkoja vaaleita, kestäviä, helposti siveltäviä samoinkuin
Petsivärejä huonekalujen petsaukseen.
Tikkurilan Tehtaat antavat pyydettäessä kernaasti lähempiä tietoja tuotteistaan.
Älkää lykätkö uudestimaalausta - maalauttakaa ajoissa.
Helsinki 1940. K. F. Puromiehen Kirjapaino O.-Y.
Mechanical Movements. Steamboat Signals.
Scientific American 7, 6.11.1847
The Admiralty in England having notified that they intended to adopt a green light instead of the usual self-colored light, for steamers, some of the steam packet companies objected to the change, and being furnished with the geen light, tested it with the red and natural colored lights, and the trial resulted in the utter condemnation of the Admiralty green light. The three lights were placed in a line on the coast some miles distant, the green appearing far more distant as well as far less distinct than the rest.
The Admiralty in England having notified that they intended to adopt a green light instead of the usual self-colored light, for steamers, some of the steam packet companies objected to the change, and being furnished with the geen light, tested it with the red and natural colored lights, and the trial resulted in the utter condemnation of the Admiralty green light. The three lights were placed in a line on the coast some miles distant, the green appearing far more distant as well as far less distinct than the rest.
Powder Detonating with a Purple Light.
Scientific American 7, 6.11.1847
Boil four parts of nitric acid on one part of indigo: the solution becomes yellow, and a resinous matter appears on the surface. Stop the boiling; let it cool: remove the resinous matter, and gently evaporate the solution to the consistency of honey. Re-dissolve it in hot water: filter; a solution of potash will throw down yellow spicular crystals coasisting of bitter principle, combined with potash. These crystals have the curious power of detonating with a purple light when wrapped in paper and struck by the hammer. The resin by being treated again with nitric acid, is converted into the same bitter principle.
Boil four parts of nitric acid on one part of indigo: the solution becomes yellow, and a resinous matter appears on the surface. Stop the boiling; let it cool: remove the resinous matter, and gently evaporate the solution to the consistency of honey. Re-dissolve it in hot water: filter; a solution of potash will throw down yellow spicular crystals coasisting of bitter principle, combined with potash. These crystals have the curious power of detonating with a purple light when wrapped in paper and struck by the hammer. The resin by being treated again with nitric acid, is converted into the same bitter principle.
28.12.08
Suomen kieltä ja Suomen tosinetta.
Kansan Lehti 34, 28.8.1869
Keisarillisen isoruhtinallisen Majest. Arm. asetus on korottanut Suomen kieltä julkiseen oikeuteensa. Mutta yhtä rehellinen kuin ennenkin on ruotsinkieli wieläkin Suomessa, ja hätäpä ollessakin, koska useimmat arwokkaammatkin ihmiset pitäwät häntä asioissaan. Eipä tuo häpeä olla könöttämässä tuomarinkaan rinnalla kihlakunnan oikeudessa. Waikka suomalaiset asia-miehet selittäwät suomeksi asiansa niin tuomari kääntää sen ruotsille, niin kuin hywällenkin urolle. Eikös se ole wäärin että suomalaisen asiat on tämän tuntemattoman muukalaisen hallussa, ne ei kuitenkaan sillä parane, waan pikemmin pahenewat. Waikka onhan sen- tähden niitäkin miehiä jotka saawat asiansa toimeen tällä halwalla suomenkielellä ilman tuon muukalaisen armotta; jos kohta niitäkin on jotka tätä muukalaista suosiwat ja pitäwät asioissaan, niin kuin ou täytymyskin, että muka paremmin herraksi huomataan, kun he ruotsia taitawat. Mutta eiköhän wielä tule sekin aika, että tästä arwostaan jääwät taka-pajulle eli jälki-jätteiksi. —
Onpa se talonpoikaisessakin kansassa paha willihenki ja suuri ylenkatse tämän suomen kielen päälle. Se on heillä waan mieli kiihkeenä että muukalaisilla sanoilla, joita wielä paljon on suomen kielen seassa, kaunistella juttujaan, niinkuin lukia tietää. Eipä wielä kaikki tunnekkaan wanhaa perin-pohjaista suomea ja oman äidin kieltä. Esim. kun äskön seurakunnassamme nähtiin eräs lähetys kirje, jonka päälle oli kirjotettu wirkanimeksi: Lankain-painaja. Kaikki tämän kirjeen näkiät tälle pilkaten nauroiwat, kun luuliwat sitä joksikin parjaus sanaksi. Niin muodoin kirjeen wastaan-ottajalle saattoi tyytymättömän mielen. Tämä muka ei ottanut wastaan tätä lankain-painajan nimeä, siitä arwosta kuin se Wärjäli. Mutta eiköhän tämä nimi lankainpainaja ole yhtä merkitsewä, ja paremmin suomen kielen mukainen kuin tuo: Wärjäli. Koska olen wanhain miesten kuullut sanoman että ennen lankoja painettiin, ei märjätty. *)
—kk—.
Suomen ystäwä
* Kuun laehettaejae on taessae aiwan oikeassa. Lankain painaja on suomea ja sopima nimitys. Waerjaeli ja waerjaetty ei ole puhdasta suomea.
Toim.
Keisarillisen isoruhtinallisen Majest. Arm. asetus on korottanut Suomen kieltä julkiseen oikeuteensa. Mutta yhtä rehellinen kuin ennenkin on ruotsinkieli wieläkin Suomessa, ja hätäpä ollessakin, koska useimmat arwokkaammatkin ihmiset pitäwät häntä asioissaan. Eipä tuo häpeä olla könöttämässä tuomarinkaan rinnalla kihlakunnan oikeudessa. Waikka suomalaiset asia-miehet selittäwät suomeksi asiansa niin tuomari kääntää sen ruotsille, niin kuin hywällenkin urolle. Eikös se ole wäärin että suomalaisen asiat on tämän tuntemattoman muukalaisen hallussa, ne ei kuitenkaan sillä parane, waan pikemmin pahenewat. Waikka onhan sen- tähden niitäkin miehiä jotka saawat asiansa toimeen tällä halwalla suomenkielellä ilman tuon muukalaisen armotta; jos kohta niitäkin on jotka tätä muukalaista suosiwat ja pitäwät asioissaan, niin kuin ou täytymyskin, että muka paremmin herraksi huomataan, kun he ruotsia taitawat. Mutta eiköhän wielä tule sekin aika, että tästä arwostaan jääwät taka-pajulle eli jälki-jätteiksi. —
Onpa se talonpoikaisessakin kansassa paha willihenki ja suuri ylenkatse tämän suomen kielen päälle. Se on heillä waan mieli kiihkeenä että muukalaisilla sanoilla, joita wielä paljon on suomen kielen seassa, kaunistella juttujaan, niinkuin lukia tietää. Eipä wielä kaikki tunnekkaan wanhaa perin-pohjaista suomea ja oman äidin kieltä. Esim. kun äskön seurakunnassamme nähtiin eräs lähetys kirje, jonka päälle oli kirjotettu wirkanimeksi: Lankain-painaja. Kaikki tämän kirjeen näkiät tälle pilkaten nauroiwat, kun luuliwat sitä joksikin parjaus sanaksi. Niin muodoin kirjeen wastaan-ottajalle saattoi tyytymättömän mielen. Tämä muka ei ottanut wastaan tätä lankain-painajan nimeä, siitä arwosta kuin se Wärjäli. Mutta eiköhän tämä nimi lankainpainaja ole yhtä merkitsewä, ja paremmin suomen kielen mukainen kuin tuo: Wärjäli. Koska olen wanhain miesten kuullut sanoman että ennen lankoja painettiin, ei märjätty. *)
—kk—.
Suomen ystäwä
* Kuun laehettaejae on taessae aiwan oikeassa. Lankain painaja on suomea ja sopima nimitys. Waerjaeli ja waerjaetty ei ole puhdasta suomea.
Toim.
24.12.08
Kannaksen Värit (mainoskirjanen)
Kannaksen väri Oy Petäjärvi
Kannaksen Värit
Mitä asiantuntijat sanovat niistä
[---]
[---]
KANNAKSEN VÄRI OY.
Sähköosoite VÄRI
PETÄJÄRVI
Puhelin Petäjärvi
Suosittelemme tuotteitamme:
PUNAMULTAA
KELTAMULTAA
RUSKOMULTAA
Värejämme myytävänä
KAIKISSA HYVIN LAJITELLUISSA VÄRl-, RAUTA ja SEKATAVARAKAUPOISSA
VÄRIT SOVELTUVAT ÖLJY- JA VESIVÄREIKSI
[---]
Kauppakirjapaino OY Viipuri
1938
[3]
Otteita analyyseista.
Viipurin
Maanviljelys- ja Kauppakemiallinen
Laboratorio
Viipuri, Punasenlähteenkatu 8.
Puhelin 28 87.
TUTKIMUSTODISTUS N:o 447-415
Kannaksen väri Oy
Petäjärvi.
Jouluk. 21 p:nä 1937 tarkastettaviksi jätetyt 3 kpl. maavärinäytettä antoivat seuraavat tarkastustulokset:
Merkki: rautaoksidi (Fe2O) hienojauhe litran paino
Punamulta N:o 1 ...................... 79,9% 98,5% 0,556 kg.
Keltamulta 1 ...................... 78,3 " 97,2" 0,440"
Punamulta N:o 31. ruskomulta 74,3 " 100,0 " 0,680"
Leima.
Viipurissa tammikuun 11 p. 1938.
Toivo Karttunen.
Laboratorion johtaja.
[4]
[5]
Jäljennöksiä
Helsinki marraskuun I p:nä I937.
KANNAKSEN VÄRI O/Y.
Petäjärvi.
Lähettämänne kelta, ruskea ja punamultavärit olemme kokeilleet. Tuloksena voimme lausua niitten värien hyvät ominaisuudet. Ovat keveitä ja omaavat hyvän peittämis ominaisuuden. Suosittelemme
Kunnioittaen,
Veljekset Nissinen
Maalaamo, puh. 26 375
Ktta Petter Nissinen.
Savonlinnassa
syyskuun 24 p:nä 1937.
KANNAKSEN VÄRI O/Y.
Petäjärvi.
Lähettämänne värinäytteet punanen, keltanen ja ruskea, olen tutkinut ja havainnut erittäin heinoiksi, peittävät hyvin ja kuivavat hyvin öljyvärissä jonka täten saan mielihyvin pyynnöstä todistaa.
Kunnioittaen
Oskar Ronkanen.
Maalariliike.
[6]
Tänään olen kokeillut Kannaksen Väri Oy:n valmistamia kelta- ja ruskomultaväriä, ja totean: että keltamulta vastaa hyvin ranskalaista, niinsanottua viiden kirjaimen, I. C. L. E. S. merkkistä keltamultaväriä, jota on yleensä ja tähän saakka enin käytetty ja parhaana pidetty maassamme.
Samoin myöskin ruskomulta, joka on mielestäni vielä niin kaunisvärinen ja sopiva moneen eri tarkoitukseen lman lisäkuloria. Värit ovat hienoa öljyn kanssa eikä jätä shakkaa purkin pohjalle kuten sanotaan. Senvuoksi ensitilalle käytettäväksi Kannaksen Väri Oy:n valmistamia väriä kaikkialla.
Sakkolassa lokakuun 20 p:nä 1937.
Adolf Pitkänen
kauppias ja maalari
(sinetti)
KANNAKSEN VÄRI O/Y.
Petäjärvi.
Lähettämistänne väri näytteistä puna, kelta ja ruskomullasta olen kokeillut ja havainnut ne omaavan hyvän peitto kyvyn ja kuivuu hyvin, sekä sekaantuu myös hyvin öljyyn ja veteen, väri aines laadultaan hienoa. Joten voin hyvällä syyllä suositella sitä käyttöön.
Jyväskylässä 17. 1I. 1937.
(sinetti)
Auto- ja Kilpimaalaamo
N. Halme.
[7]
Pyynnöstä olen kokeillut Kannaksen Väri Oy:n värejä ja kokeiluna tuloksena voin yllätuoda seuraavaa.
Kelta ja ruskomulta ovat täysin arvostelun kestäviä värejä ja käyttökelpoisia niin sisä kuin ulkotöihin.
Samoin punamulta on hyvin peittokykyinen hiekkavapaa ja erittäin edullinen ulkomaalauksissa.
Sakkolassa 27.9.1937
Valter Aarnio
Maalari.
Olen maalauttanut Autokorjaamoni Kannaksen Väri O/Y:n värillä. Väri on kaunis sekä sitova. Ammattimiesten kesken tarkastettua parhainta, mitä vesiväri voi olla, joten puolestani suosittelen sitä hyvänä laatuvärinä.
Kiviniemessä marrask. 1 p:nä 1937.
Kiviniemen Autokorjaamo
H. Mustonen
KANNAKSEN VÄRI O/Y.
Petäjärvi.
Lähettämistänne värinäytteistä puna-, kelta- ja ruskomulta värejä olen kokeillut ja havainnut niiden omaavan hyvän peitto- ja kuiv. kyvyn niin öljy kuin vesiväreinä.
Samalla saan myöskin mainita, että olen kokeillut niitä peltimaalauksissa, öljy- ja lakkapintoina ja todennut niiden olevan tarpeeksi hienoja ja kuivuvan erittäin hyvin, sekä kaikin puolin käytännössä olevia ulkolaisia värejä vastaaviksi.
Viipurissa, marraskuun 30 päivänä 1937.
Anton Elomaa
Maalarimestari, Viipuri.
[8]
Tampereella, tammikuun 3 p:nä 1938.
KANNAKSEN VÄRI O/Y.
Petäjärvi.
Olemme aikaisemmin vastaan ottaneet teidän lähettämänne värinäytteet kokeiluja varten, ja olemme katsoneet niiden olevan vastaavia tarkoitustaan varten. Ovat kaikki kevyttä laatua ja peittoisaa sekä kevyttä sivellä. Kelt-, rusko- ja punamulta, kelta ja punamulta ovat tummempia kuin muiden (ulkolaisten} tehtaiden tuotteet. Vaaleissa värisekoituksissa ne 'eivät ole niin edullisia kuin ovat edellä mainitut värit. Mutta lattioissa y. m. tummemmissa värisekoituksissa ne vastaavat tarkoituksensa edullisesti. Peitto kyky on hyvä eikä kuivumisessa ole mitään esteitä. Voin suositella Kannaksen Väriä tarvitsijoille, ja tullaan niitä myöskin käyttämään kevätsesongin alettua. Kunnioittaen
Talvio & Viinikainen
E. Talvio.
KANNAKSEN VÄRI O/Y.
Petäjärvi.
Olen kokeillut tehtaanne valmistamia maavärejä, punaista, keltaista ja ruskamultaa. Suosittelen kaikille värien kuluttajille kotimaisen tehtaan tuotteita. Kohtalaisen hyvän peitto ja kuivumiskykynsä vuoksi jotka vastaavat ulkolaisia saman luokan värejä.
Jyväskylässä 29. 12. 1937.
Maalausliike
Jyväskylä
Lauri Keituri.
[9]
Lahti 22.12.1937
KANNAKSEN VÄRI O/Y.
Petäjärvi.
Olen kokeillut lähettämiänne värinäytteitä. Puna, kelta ja ruskomultaa, havaiten niiden täyttävän hyvälle keltamullalle asetettavat vaatimukset. On hienoa, kuivaa ja peittää hyvin.
Maalausliike. Lahti.
K. V. Laaksonen
Turku , 12. 12.1937.
KANNAKSEN VÄRI O/Y.
Olen kokeillut teidän lähettämiä kuivia värejä ja voin niistä mainita seuraavaa. Punamulta on kohtuullisen hienoa, peittää ja kuivaa öljyssä hyvin, ruskomulta tuntuu vähän korkeammalta, peittää ja kuivaa hyvin, on jonkun verran tummempaa kuin ulkolainen multa, keltamulta on hienoa, peittää ja kuivaa hyvin mutta on se vähän tummempi kuin ranskalainen keltamulta. Ulkomaalauksiin, jolloin sitä sekotetaan esimerkiksi lyijyvalkoiseen, tekee se värin kalliimmaksi, koska sitä saa vaan vähemmän määrän siihen lisätä, tummissa väreissä on asia toinen. On tietysti ilolla todettava että maassamme on ruvettu näitä värejä valmistamaan joten ulkolaisia ei enää niin suuressa määrässä tarvitse tuottaa.
Kunnioittaen
Th. Franck.
Maalarimestari.
[10]
Todiste.
Pyynnöstä voin täten todistaa, että Kannaksen Väri O.Y. Sakkolan Petäjärven kylästä, maasta nostamat ja valmistamat maavärit: keltamulta ja punamulta, ovat väriaineeksi sopivia ja kaikinpuolin käyttökelpoisia, sekä öljy- mutta erittäinkin vesiväri sivelyihin ulkopuolisiin töihin. Johon osaltaan on vaikuttamassa värin kestävyys sekä kauniit ulkopuolisiin pintoihin sopivat värisävyt.
Petäjärvellä 24 p:nä toukok. 1937.
Väinö Pekkanen
Maalari, Sakkolassa.
KANNAKSEN VÄRI O/Y.
Petäjärvi.
Olen kokeillut Kannaksen Väri O.Y:n värejä, puna-, kelta- ja ruskomultaa. Värien peittokyky on hyvä ja kuivuvat hyvin, laadultaan ovat värit hienoja, ja keveitä tilavuuteen nähden. Ruskean ominaisuutena voisi vielä mainita sen erikoisen hyvin kuivavuus. Joten voin hyvällä syyllä suositella värejä käyttöön.
Lieksassa 15 p. 1. 1938.
Kunnioittaen
A. Kontturi
Maalausliike
[11]
KANNAKSEN VÄRI O/Y.
Petäjärvi.
Lähettämillänne värinäytteillä puna-, kelta- ja ruskea- mullalla olemme kokeillut useihin erilaisiin maalauksiin ja havainnut ne erikoisen tuntuisiksi ja hyviksi. Jos puna- ja keltamullan voisi saada vaaleammaksi, ennustaisin niille suurta menekkiä. Missä tummat värisävyt tulevat kysymykseen, sopivat yllämainitut maavärit peittävyytensä ja hienoutensa puolesta erinomaisesti, joten niitä kotimaisina värijauheina mielihyvin suosittelemme.
Tampereelle 24 p:nä tammikuuta 1938.
Hj. Lehtonen.
Maalausliike.
KANNAKSEN VÄRI O/Y.
Petäjärvi.
Kokeiltuani jättämillänne värinäytteillä, punaisen, ruskea ja keltanen, olen tullut huomaamaan, että ne liukenevat helposti sekä vernissaan että veteen ja omaavat täysin hyvän peittokyvyn, sekä kestävät laatuunsa nähden vertailun ulkolaisten aineiden kanssa. Tulevaisuuden markkinatuote.
Kiviniemessä 3. 3. 1938.
Juho Pelkinen
Maalari.
[12]
Turku helmikuun 4 p:nä 1938.
KANNAKSEN VÄRI O/Y.
Petäjärvi.
Saan täten pyynnöstä ilmoittaa, että olen tehnyt kokeiluja väreistänne, nimittäin keltamulta, ruskea ja punaväri.
Kokeilun perusteella olen tullut havaitsemaan, että värit ovat käytännöllisen hienoja sekä että kuivuvat hyvin. Olen tehnyt sekoituksia pellava öljyyn, jonka perusteella voin ilmoittaa, että värit kuivuu hyvin ilman kuivikkeita.
Tämän kaiken perusteella voin suositella yllä mainitut värit tarvitseville käytettäviksi.
Merkitsen kunnioittaen
V. Kuusikoski
Kautta
Maalausliike W. Kuusikoski
ja Kumpp.
Viipuri, 9 p:nä maaliskuuta 1938.
KANNAKSEN VÄRI O/Y.
Petäjärvi.
Lähettämistänne värinäytteistä puna-, kelta- ja rusko-multa värejä olen kokeillut ja havainnut niiden omaavan hyvän peitto ja kuivamiskyvyn niin öljy kuin väsiväreissäkin joten suosittelen niitä alan käyttäjille hyvinä maaliaineina.
Maalausliike V:set Mustonen
Juho Mustonen
maalarimestari. Viipuri
[13]
Viipuri 19.2.1938.
Kokeiltuamme Kannaksen Väri Oy. valmistamia kelta-, puna- ja ruskomulta kuivia väriä, toteamme että värit ovat hienoja sekä väriltään moitteettomia jaöljyyn sekoitettuna hienoa ja hyvin kuivaavaa. Joten mielihyvin suosittelemme edellä mainittuja värejä.
Maalaustyö O.Y.
K. Uotinen
KANNAKSEN VÄRI O/Y.
Petäjärvi.
Olen kokeillut lähettämiänne värejä puna-, kelta- ja ruskomultaa. Tuloksena voisi mainita, että värit soveltuvat vesi sekä öljyväri maalaustöissä moitteettomasti. Värit ovat keveitä, hienoja ja hyvin peittäviä. Täten suosittelen Kannaksen Väri O.Y. tuotteita käytettäväksi.
Kiviniemessä 4p. maaliskuuta 1938.
Juho Monenen.
Maalari.
[14]
Helsinki, 19 p:nä maaliskuuta 1938.
KANNAKSEN VÄRI O/Y.
Petäjärvi.
Kokeiltuani Teidän lähettämäänne kelta-, puna- ja ruskomultaa olen tullut siihen kokemukseen, että ne ovat korkealaatuisia värejä, hienous on ensiluokkainen, joten voin mielihyvin suositella niitä ammattimaalareille, soveltuvina niin sisä- kuin ulkokäyttöönkin. On erittäin ilahduttavaa, että kotimaassa pystytään valmistamaan puheena olevia väriaineita, tarvitsematta tuottaa kaikkia multia ulkomailta.
O.Y. Kallion Maalaamo
Jalm. Nikula.
KANNAKSEN VÄRI O/Y.
Petäjärvi.
Olemme kokeilleet lähettämiänne värejä puna-, kelta- ja ruskomultaa. Tuloksista voisimme mainita. Punamulta on laadultaan hienoa, kevyttä ja hyvin kuivuu myös öljyssä, keltanen ja ruskea ovat vähän painavampaa, mutta muuten laadultaan ne myös hienoa ja hyvin kuivuvaa, samoin kun ne sekaantuvat hyvin kaikki öljyyn ja veteen. Joten voi suositella niitä hyvällä syyllä käyttöön.
Kuopiossa 2 p. maaliskuuta 1938.
Maalaushuolto
pl. Olli Salovaara.
[---]
Osta kotimaista
Suosi työtä suomalaista
A Beautiful Dye From Coal Tar.
Scientific American 5, 28.1.1860
The attention of calico-printers and of woolen and cotton manufacturers throughout the world having been for some time directed to n new, beautiful, and permanent violet dye which is obtained from coal tar, we presume many of our readers will be interested in the following article which we translate from Le Gaz, of Nov. 15, 1859, and which contains a brief description from the largest French manufacturers of their mode of producing this new and valuable dye. Is there not an opening for a profitable enterprise in its manufacture from the refuse of our own coal oil and gas-works?
Among the sub-products which are obtained in the manufacture of illuminating gas, there is one, coal tar, which enjoys the privilege of endowing, from time to time, the industrial world with some new substance which signalizes its advent by a marked step in the progress of the arts. We borrow from our colleague, Doctor Quesneville, an article full of interesting details, which he has just published, on the application of nitro-benzine to the dyeing of cloths.
The attention of the industrial world has been for sometime fixed on benzine and nitro-benzine, and on the numerous applications which aniline has received in the printing of fabrics, and in the dyeing of silk, woolen, and cotton.
The violet tints have generally been made with archil, but in consequence of the small stability of that coloring principle, violets thus made change under the influence of light alone, and they are altered by the feeblest acids. Aniline ie now replacing arthil; it constitutes the base of a fast violet color, which does not fade in the light, and which is acted upon by neither acids nor alkalies. It is to this great stability that it owes all its importance. It gives every variety of shade front the most delicate lilac to the deepest violet. Tho apparition of this fixed violet has produced a veritable revolution in dyeing, but its introduction has been obstructed to the present time, by the difficulty of procuring it. Messrs. F. Laurent and Casthelaz, manufacturers of chemical products, of Paris, have for some time been endeavoring to overcome these difficulties, and having succeeded in making important improvements in the mode of manufacture, they have erected apparatus at their works at Aubervilliers for the production of benzine, nitro-benzine, and aniline on a large scale, and will be able henceforth to furnish a supply of these articles. We have the pleasure of publishing the following account, which Messrs. Laurent & Casthelaz have addressed to us on their method of manufacture.
Charcoal has not yet been transformed into diamond, but we have succeeded in extracting from mineral coal a product equal in value to that of gold, of a magnificent tint, and of an extraordinary power of coloration; it is called aniline violet. This substance is designated, by persons who do not keep themselves informed in regard to the progress of science, as the violet of coal or of charcoal. Coal is indeed the primary source of it, but it is only after a long series of operations that this precious color is reached.
1. Distillation of Coal.—Coal must be submitted to distillation; this operation is the base of the manufacture of illuminating gas, and the products to which it gives birth are: First, Coke, a fixed product, which remains in the retort. Second, Coal tar, a semi-liquid product, which passes over in distillation. Third, Ammonical waters, and the sal-ammoniacs. Fourth, Illuminating gas. Gas and coke are the principal, ammonia and coal tar the secondary products; during, a long time, indeed, coal tar was of scarcely any use, anti was burned under the retorts; now it is gathered with care and distilled, and it is this product which particularly interests us in relation to aniline.
2. Distillation of Coal tar.—The presence of aniline has been discovered in coal-tar, but in so small quantities had mingled with so many foreign substances, ammonia, benzine, taluine, phenic-acid, bucoline, naphthaline, brai, &c., that to directly extract it a treatment would be required too long and too expensive. The coal tar is therefore submitted to distillation, and furnishes the following products: First, Dry brai, a product not fixed, which remains in the retort. Second, The volatile oils of coal. We shall occupy ourselves onion witch these latter.
3. The Distillation of Coal Oils.—The volatile oils of coal are very complex products; they contain, in fact, nearly all the products which we have mentioned as constituent parts of coal tar, with the exception of the brai. Submitted to distillation they pass over at divers temperatures, and are thus separated, giving us oils of various densities mid properties. First, Heavy oils. Second, Light oils. The heavy coal oils are but little employed. In consequence of the property which they possess of preserving wood from the attacks of insects, they are used for injecting railroad ties. The light coal oils are mixtures in variable proportions of benzine, toluine, phenic acid, med other substances of less interest. According to their density they serve for the manufacture of phenic acid, of picric acid or of benzine.
4. Distillation of Light Coal Oils. This operation is the base of the preparation of benzine. It is necessary to submit the oils employed to either two or three distillations, according to their purity; bringing them to a density of 27° or 28° Beaumé. The benzines vary much according to the nature of the coals from which they are made, and according to the temperatures at which they are distilled. These diferences are seen both in their odor and volatility, and according to their quality they are applied to various purposes. First, Benzine serves for the dissolving of caoutchouc adn gutta-percha. Second, It enters into the composition of certain varnishes in consequence of its dissolving action on resinous guns. Third, It dissolves fatty substances. and therefore serves for removing grease-spots from cloths. Fourth, It is employed for lighting, in which case it is burned in lamps specially adapted to it, either pure, or mixed with other liquids less carbonized. Filth, It is employed as an agent for carbonizing illuminating gas. By passing gas through benzine it takes up tho particles of carbon, and thus acquires a much more considerable illuminating power. Sixth, It is used in the preparation of nitro-benzine. We have cited only the principal uses of benzine, but these will suffice to show the importance of this product.
5. Transformation of Benzine into Nitro-Benzine.‑Benzine submitted to the action of concentrated nitric acid, or to a mixture of nitric and sulphuric acids, and distilled, gives a reddish liquid which is the crude nitro benzine. Submitting this product to one or two distillations, we obtain a pale yellow liquid, of an agreeable odor, resembling that of bitter almonds, of a density much superior to that of water, marking 20° to 22° of the hydrometer. This is distilled nitro-benzine.
6. Transformation of Nitro-benzine into Aniline.—Nitrobenzine, pure and distilled, being submitted to the action of nascent hydrogen, transforms itself into aniline, which in its turn may be purified by one or two distillations. It presents itself, then, under the form of an oleaginous liquid, white when first obtained, but soon becoming yellow, rose tinted, and then red. It constitutes a volatile salifiable base.
7. Transformation of Aniline into Aniline Violet. - Finally, the white aniline, under the influence of oxydizing agents, is transformed into aniline violet. This substance is sold in several states, as a liquid more or less concentrated, as a paste and as a powder. The following are the comparative prices of the products of which we have spoken:—Coal, 1/4c. per lb.; coal tar, 3/4c. do.; heavy coal oil, 2½c. a 3 3/4c. do.; light coal oil, 6 3/4c. a 10 1/4c.; benzine, 10½c. a 13c.; crude nitro-benzine, 57c. a 61c.; rectified nitro-benzine, 82c. a 96c.; ordinary aniline, $3.27 a $4.90; liquid aniline violet, 28c. a 41c.; carmine aniline violet, 32c. a $1.92; pure aniline violet in powder, $245 a $326.88.
The price of aniline is certainly high, but a small quantity suffices to give much coloration; the value of the violet anilines is always proportioned to the quantity of coloring matter which they contain. The importance of this dye is nor generally recognized : this importance is due to the fixity, the unalterability, and the beauty of all the violet tints which it produces.
The attention of calico-printers and of woolen and cotton manufacturers throughout the world having been for some time directed to n new, beautiful, and permanent violet dye which is obtained from coal tar, we presume many of our readers will be interested in the following article which we translate from Le Gaz, of Nov. 15, 1859, and which contains a brief description from the largest French manufacturers of their mode of producing this new and valuable dye. Is there not an opening for a profitable enterprise in its manufacture from the refuse of our own coal oil and gas-works?
Among the sub-products which are obtained in the manufacture of illuminating gas, there is one, coal tar, which enjoys the privilege of endowing, from time to time, the industrial world with some new substance which signalizes its advent by a marked step in the progress of the arts. We borrow from our colleague, Doctor Quesneville, an article full of interesting details, which he has just published, on the application of nitro-benzine to the dyeing of cloths.
The attention of the industrial world has been for sometime fixed on benzine and nitro-benzine, and on the numerous applications which aniline has received in the printing of fabrics, and in the dyeing of silk, woolen, and cotton.
The violet tints have generally been made with archil, but in consequence of the small stability of that coloring principle, violets thus made change under the influence of light alone, and they are altered by the feeblest acids. Aniline ie now replacing arthil; it constitutes the base of a fast violet color, which does not fade in the light, and which is acted upon by neither acids nor alkalies. It is to this great stability that it owes all its importance. It gives every variety of shade front the most delicate lilac to the deepest violet. Tho apparition of this fixed violet has produced a veritable revolution in dyeing, but its introduction has been obstructed to the present time, by the difficulty of procuring it. Messrs. F. Laurent and Casthelaz, manufacturers of chemical products, of Paris, have for some time been endeavoring to overcome these difficulties, and having succeeded in making important improvements in the mode of manufacture, they have erected apparatus at their works at Aubervilliers for the production of benzine, nitro-benzine, and aniline on a large scale, and will be able henceforth to furnish a supply of these articles. We have the pleasure of publishing the following account, which Messrs. Laurent & Casthelaz have addressed to us on their method of manufacture.
Charcoal has not yet been transformed into diamond, but we have succeeded in extracting from mineral coal a product equal in value to that of gold, of a magnificent tint, and of an extraordinary power of coloration; it is called aniline violet. This substance is designated, by persons who do not keep themselves informed in regard to the progress of science, as the violet of coal or of charcoal. Coal is indeed the primary source of it, but it is only after a long series of operations that this precious color is reached.
1. Distillation of Coal.—Coal must be submitted to distillation; this operation is the base of the manufacture of illuminating gas, and the products to which it gives birth are: First, Coke, a fixed product, which remains in the retort. Second, Coal tar, a semi-liquid product, which passes over in distillation. Third, Ammonical waters, and the sal-ammoniacs. Fourth, Illuminating gas. Gas and coke are the principal, ammonia and coal tar the secondary products; during, a long time, indeed, coal tar was of scarcely any use, anti was burned under the retorts; now it is gathered with care and distilled, and it is this product which particularly interests us in relation to aniline.
2. Distillation of Coal tar.—The presence of aniline has been discovered in coal-tar, but in so small quantities had mingled with so many foreign substances, ammonia, benzine, taluine, phenic-acid, bucoline, naphthaline, brai, &c., that to directly extract it a treatment would be required too long and too expensive. The coal tar is therefore submitted to distillation, and furnishes the following products: First, Dry brai, a product not fixed, which remains in the retort. Second, The volatile oils of coal. We shall occupy ourselves onion witch these latter.
3. The Distillation of Coal Oils.—The volatile oils of coal are very complex products; they contain, in fact, nearly all the products which we have mentioned as constituent parts of coal tar, with the exception of the brai. Submitted to distillation they pass over at divers temperatures, and are thus separated, giving us oils of various densities mid properties. First, Heavy oils. Second, Light oils. The heavy coal oils are but little employed. In consequence of the property which they possess of preserving wood from the attacks of insects, they are used for injecting railroad ties. The light coal oils are mixtures in variable proportions of benzine, toluine, phenic acid, med other substances of less interest. According to their density they serve for the manufacture of phenic acid, of picric acid or of benzine.
4. Distillation of Light Coal Oils. This operation is the base of the preparation of benzine. It is necessary to submit the oils employed to either two or three distillations, according to their purity; bringing them to a density of 27° or 28° Beaumé. The benzines vary much according to the nature of the coals from which they are made, and according to the temperatures at which they are distilled. These diferences are seen both in their odor and volatility, and according to their quality they are applied to various purposes. First, Benzine serves for the dissolving of caoutchouc adn gutta-percha. Second, It enters into the composition of certain varnishes in consequence of its dissolving action on resinous guns. Third, It dissolves fatty substances. and therefore serves for removing grease-spots from cloths. Fourth, It is employed for lighting, in which case it is burned in lamps specially adapted to it, either pure, or mixed with other liquids less carbonized. Filth, It is employed as an agent for carbonizing illuminating gas. By passing gas through benzine it takes up tho particles of carbon, and thus acquires a much more considerable illuminating power. Sixth, It is used in the preparation of nitro-benzine. We have cited only the principal uses of benzine, but these will suffice to show the importance of this product.
5. Transformation of Benzine into Nitro-Benzine.‑Benzine submitted to the action of concentrated nitric acid, or to a mixture of nitric and sulphuric acids, and distilled, gives a reddish liquid which is the crude nitro benzine. Submitting this product to one or two distillations, we obtain a pale yellow liquid, of an agreeable odor, resembling that of bitter almonds, of a density much superior to that of water, marking 20° to 22° of the hydrometer. This is distilled nitro-benzine.
6. Transformation of Nitro-benzine into Aniline.—Nitrobenzine, pure and distilled, being submitted to the action of nascent hydrogen, transforms itself into aniline, which in its turn may be purified by one or two distillations. It presents itself, then, under the form of an oleaginous liquid, white when first obtained, but soon becoming yellow, rose tinted, and then red. It constitutes a volatile salifiable base.
7. Transformation of Aniline into Aniline Violet. - Finally, the white aniline, under the influence of oxydizing agents, is transformed into aniline violet. This substance is sold in several states, as a liquid more or less concentrated, as a paste and as a powder. The following are the comparative prices of the products of which we have spoken:—Coal, 1/4c. per lb.; coal tar, 3/4c. do.; heavy coal oil, 2½c. a 3 3/4c. do.; light coal oil, 6 3/4c. a 10 1/4c.; benzine, 10½c. a 13c.; crude nitro-benzine, 57c. a 61c.; rectified nitro-benzine, 82c. a 96c.; ordinary aniline, $3.27 a $4.90; liquid aniline violet, 28c. a 41c.; carmine aniline violet, 32c. a $1.92; pure aniline violet in powder, $245 a $326.88.
The price of aniline is certainly high, but a small quantity suffices to give much coloration; the value of the violet anilines is always proportioned to the quantity of coloring matter which they contain. The importance of this dye is nor generally recognized : this importance is due to the fixity, the unalterability, and the beauty of all the violet tints which it produces.
Curious Effect or Violet Rays upon the Electric Telegraph.
Scientific American 43, 15.7.1848
It is not perhaps generally known, that it a ray of light of a violet color, enter through a window in the neighborhood of a telegraph needle, magnetism is immediately imparted. We understand that the scientific world is indebted to Mrs Somerville for discovery of the fact that a magnet may be made by the agency of a ray of violet, probably from the orbit of the fair experimenters own blue eyes, but in reality, Mrs. Somerville has succeeded inconverting a common sewing-needle, by a simple process into a magnet by the agency of a ray of violet. Professor Morse has also given attention to the subject. Finding that his telegraphic needles were frequently out of order, from the effect of particular rays of light, he placed before them, in order to neutralize it, a sheet of yellow glass, in front of the apparatus, which does not permit the violet rays to pass, and this he has foned to have the desired effect.
It is not perhaps generally known, that it a ray of light of a violet color, enter through a window in the neighborhood of a telegraph needle, magnetism is immediately imparted. We understand that the scientific world is indebted to Mrs Somerville for discovery of the fact that a magnet may be made by the agency of a ray of violet, probably from the orbit of the fair experimenters own blue eyes, but in reality, Mrs. Somerville has succeeded inconverting a common sewing-needle, by a simple process into a magnet by the agency of a ray of violet. Professor Morse has also given attention to the subject. Finding that his telegraphic needles were frequently out of order, from the effect of particular rays of light, he placed before them, in order to neutralize it, a sheet of yellow glass, in front of the apparatus, which does not permit the violet rays to pass, and this he has foned to have the desired effect.
Royal Blue.
Scientific American 43, 15.7.1848
This is a color which for beauty is unequalled. The true modus operandi is not known to many and in no published work can we find a proper description of the dyeing of it. It is but a few years since it was introduced into this country from England, and the receipts for dyeing it have been sold at from five to twenty five dollars. There are two ways of dyeing dark shades, first by bottoming, as it is technically termed, with logwood and then dyeing with the prussiate of potass, or first dyeing with the prussiate and then topping with the logwood. The latter mode is the best.
For a dark blue the goods do not require to be perfectly white, as the operation strips off old colors, while the blue is gradually becoming combined with the goods. To every pound of Circassian or merino goods, which must be perfectly washed and clean, two ounces of the prussiate of potass is put into the dye kettle along with two ounces of tartar, and nitric and sulphuric acid added until the liquor (after the tartar and prussiate is dissolved tastes like glauber salts. The goods are then entered, if in pieces they must be well salvaged or winched, and if yarn well turned, and the liquor in the dye kettle gradually brought up to the boiling point. The goods are then taken out and a little more sulphuric acid added. After the goods are boiled for twenty minutes or half an hour, a beautiful and rich sky blue will have been imparted to them. They are then taken out of the dye kettle, washed and hung up for a few moments to drip. Another dye kettlewith a small quantity of logwood liquor, (say a teacup full of strength No. 3 in the hydrometer, for every pound of goods,) should be now boiling, to which add a wine glass full of the muriate of tin, stir well and enter the goods. The kettle must tat kept boiling for halt an hour, when it will be found that a deep velvety richness will be imparted to the blue color, and by adding a greater quantity of logwood with a proportional quantity of spirits (muriate of tin) a deep violet color will be the result. If cochineal is used instead of logwood, a clear and beautiful crimson tinge is imparted to the goods. This color may almost be considered permanent—it at least occupies more than a middle place in the scale, between the fugitive and permanent. From its exceeding clear and rich appearance, this color on goods has received the name of royal blue. The stuffs that are employed to dye it are nearly colorless, but their combination forms a salt which is deposited or combined with the woolen goods by means of electricity elicited in the process, and enters minutely into all the fine pores of the goods, and the salt so formed reflects the prismatic blue color.—
Electricity is the prime agent of the dyer and calico printer. For nearly three thousand years the effects of mordaunts have been well known to produce various shades with a single drug. Madder with different mordaunts will produce a bright red, or a deep black—a lilac or a purple. But no theory explanative of these chemical manipulations, that we are aware of, has ever been set forth to reconcile the art of dyeing with the Newtonian theory, only so far as it relates to prismatic reflection—the decomposition and mingling of the different rays. " That colors produced on goods in the process of dyeing, is the result of electric action—a decomposition in the first place, and a deposition in the second—whereby certain salts are deposited on certain animal or vegetable substances to reflect certain prismatic shades," is a theory which we are not aware of ever having seen set forth in any treatise, either by Field, Crum or Thompson, the latter the best writer on the subject in this country, and the fame of Walter Crum as a chemist and dyer, is world wide. The royal blue is a color which at once establishes this theory—the process is like a deposition of metals in their cyanides by the galvanic battery. This theory is backed up by the whole process of steam colors in calico printing, and by Bain's electric telegraph. Electricity is always developed rapidly in steam and the dye kettle is the galvanic battery of the dyer.
To those who have little interest in the abstruse part of this article, we would say that coarse goods dyed by the above receipt, may be made a very deep blue by the greater quantity of logwood used, and if the goods were first of all prepared with a small quantity of the sulphate of iron—so much the better.— The above receipt could not be purchased for less than fire dollars from any dyer, and any person may dye the color perfectly by following our description. As we have advanced a theory different from any that we have ever seen, and as we have much yet to say to explain it fully and establish it, we shall do so in a separate article next week.
R. Bartholomew.
This is a color which for beauty is unequalled. The true modus operandi is not known to many and in no published work can we find a proper description of the dyeing of it. It is but a few years since it was introduced into this country from England, and the receipts for dyeing it have been sold at from five to twenty five dollars. There are two ways of dyeing dark shades, first by bottoming, as it is technically termed, with logwood and then dyeing with the prussiate of potass, or first dyeing with the prussiate and then topping with the logwood. The latter mode is the best.
For a dark blue the goods do not require to be perfectly white, as the operation strips off old colors, while the blue is gradually becoming combined with the goods. To every pound of Circassian or merino goods, which must be perfectly washed and clean, two ounces of the prussiate of potass is put into the dye kettle along with two ounces of tartar, and nitric and sulphuric acid added until the liquor (after the tartar and prussiate is dissolved tastes like glauber salts. The goods are then entered, if in pieces they must be well salvaged or winched, and if yarn well turned, and the liquor in the dye kettle gradually brought up to the boiling point. The goods are then taken out and a little more sulphuric acid added. After the goods are boiled for twenty minutes or half an hour, a beautiful and rich sky blue will have been imparted to them. They are then taken out of the dye kettle, washed and hung up for a few moments to drip. Another dye kettlewith a small quantity of logwood liquor, (say a teacup full of strength No. 3 in the hydrometer, for every pound of goods,) should be now boiling, to which add a wine glass full of the muriate of tin, stir well and enter the goods. The kettle must tat kept boiling for halt an hour, when it will be found that a deep velvety richness will be imparted to the blue color, and by adding a greater quantity of logwood with a proportional quantity of spirits (muriate of tin) a deep violet color will be the result. If cochineal is used instead of logwood, a clear and beautiful crimson tinge is imparted to the goods. This color may almost be considered permanent—it at least occupies more than a middle place in the scale, between the fugitive and permanent. From its exceeding clear and rich appearance, this color on goods has received the name of royal blue. The stuffs that are employed to dye it are nearly colorless, but their combination forms a salt which is deposited or combined with the woolen goods by means of electricity elicited in the process, and enters minutely into all the fine pores of the goods, and the salt so formed reflects the prismatic blue color.—
Electricity is the prime agent of the dyer and calico printer. For nearly three thousand years the effects of mordaunts have been well known to produce various shades with a single drug. Madder with different mordaunts will produce a bright red, or a deep black—a lilac or a purple. But no theory explanative of these chemical manipulations, that we are aware of, has ever been set forth to reconcile the art of dyeing with the Newtonian theory, only so far as it relates to prismatic reflection—the decomposition and mingling of the different rays. " That colors produced on goods in the process of dyeing, is the result of electric action—a decomposition in the first place, and a deposition in the second—whereby certain salts are deposited on certain animal or vegetable substances to reflect certain prismatic shades," is a theory which we are not aware of ever having seen set forth in any treatise, either by Field, Crum or Thompson, the latter the best writer on the subject in this country, and the fame of Walter Crum as a chemist and dyer, is world wide. The royal blue is a color which at once establishes this theory—the process is like a deposition of metals in their cyanides by the galvanic battery. This theory is backed up by the whole process of steam colors in calico printing, and by Bain's electric telegraph. Electricity is always developed rapidly in steam and the dye kettle is the galvanic battery of the dyer.
To those who have little interest in the abstruse part of this article, we would say that coarse goods dyed by the above receipt, may be made a very deep blue by the greater quantity of logwood used, and if the goods were first of all prepared with a small quantity of the sulphate of iron—so much the better.— The above receipt could not be purchased for less than fire dollars from any dyer, and any person may dye the color perfectly by following our description. As we have advanced a theory different from any that we have ever seen, and as we have much yet to say to explain it fully and establish it, we shall do so in a separate article next week.
R. Bartholomew.
Chrome Black on Wool.
Scientific American 13, 18.12.1847
For the Scientific American.
For a long period it had been considered impossible to dye a black, either on cotton or wool, without iron or copper for a basis, or mordaunt. Recent discoveries, however, have brought to light a better method of dyeing black than by any of the old plans, by using the bichromate of potash as a mordaunt, in place of the sulphates of iron or copper.
For a hundred pounds of clean white woollen yarn, use 3 lbs. of tartar, 3 of alum and 4 of bichromate of potash. Boil the yarn in this one hour, handling well, (cloth as well as yarn,) then take it out, wash and boil it one hour more in the liquor of 20 lbs. of logwood, when it will come out a most beautiful black. The bluer the shade that is wanted, the less chrome is used. The goods must be white, or some light color to make good black by this process. This color is not known to a great many practical dyers. It avoids that oxidising corrosiveness which weakens and impairs the strenght of fibre in those goods dyed with solutions of iron.
For the Scientific American.
For a long period it had been considered impossible to dye a black, either on cotton or wool, without iron or copper for a basis, or mordaunt. Recent discoveries, however, have brought to light a better method of dyeing black than by any of the old plans, by using the bichromate of potash as a mordaunt, in place of the sulphates of iron or copper.
For a hundred pounds of clean white woollen yarn, use 3 lbs. of tartar, 3 of alum and 4 of bichromate of potash. Boil the yarn in this one hour, handling well, (cloth as well as yarn,) then take it out, wash and boil it one hour more in the liquor of 20 lbs. of logwood, when it will come out a most beautiful black. The bluer the shade that is wanted, the less chrome is used. The goods must be white, or some light color to make good black by this process. This color is not known to a great many practical dyers. It avoids that oxidising corrosiveness which weakens and impairs the strenght of fibre in those goods dyed with solutions of iron.
Japanning and Varnishing.
Scientific American 13, 18.12.1847
For the Scientific American.
Japanning is the art of covering bodies by grounds of opaque colors in varnish, which may be afterwards decorated by printing or gilding, or left in a plain state. It is also to be looked upon in another sense, as that of ornament coaches, snuff boxes, screens, &c. and it is, therefore, a very important art and of great advantage to our country. I shall therefore, endeavor to give a number of good receipts for the practising of this art, and interline the same with directions regarding the different branches.
All surfaces to be japanned must be perfectly clean and leather should be stretched on frames. Paper should be stiff for japanning, such as papier mache of France.
The French prime all their japanned articles, the English do not. This priming is generally of common size. Those articles that are primed thus, never endure as well as those that receive the japan coating on the first operation, and thus it is that those articles of japan work that are primed with size when they are used for some time, crack, and the coats of japan fly off in flakes. A solution of strong isinglass size and honey, of sugar candy, makes a good japan varnish to cover water colors on gold grounds.
A pure white priming for japanning, for the cheap method, is made with parchment size and one third of isinglass, laid on very thin and smooth. It is the better of three coars, and when the last coat is fry, it is prepared to receive the painting or figures. Previous to the last coat, however, the work should be smoothly polished.
When wood or leather is to be japanned, and no priming used, the best plan is to lay on two or three coats of varnish made of seed lac and rosin, two ounces each, dissolved in alcohol and strained through a cloth. This varnish should be put on in a warm place and the work to be varnished should if possible, be warm also, and all dampness should be avoided, to prevent the varnish from being chilled. When the work is prepared with the above composition and dry, it is fit for the proper japan to be laid on. If the ground is not to be white the best varnish now to be used is made of shellac, as it is the best vehicle for all kind of colors. This is made in the proportions of the best shellac five ounces, made into powder, steeped in a quaer of alcohol and kept at a gentle heat for two or three days and shaken frequently, after which the solution must be filtered through a flannel bag, and kept in a well corked bottle for use. This varnish for hard japanning on copper or tin, will stand for ever, unless fire and a hammer be used to burn or beetle it off.
The color to be used with shellac varnish may be of any pigments whatever to give the desired shade, as this varnish will mix with any color.
White Japan Grounds.
To form a hard perfect white ground is no easy matter, as the substances which are generally used to make the japan hard, have a tendency by a number of coats, to look, or become dull in brightness. One white ground is made by the following composition. White flake or lead washed over and ground up with a sixth of its weight of starch, then dried and mixed with the finest gum ground up in parts of one ounce gum to half an ounce of rectified turpentine mixed and ground thoroughly together. This is to be finely laid on the article to be japanned, dried and then varnished with five or six coarts of the following: two ounces of the whitest seed lac to three ounces of gum anima reduced to a fine powder and dissolved in a quart of alcohol. This lac must be carefully picked. For a softer varnish than this, a little turpentine should be added and less of the gum. A very good varnish and not brittle, may be made by dissolving gum anima in nut oil, boiling it gently as the gum is added and giving the oil as much gum as it will take up. The ground of white varnish may of itself be made of this varnish, by giving two or three coats of it, but when used, it should be diluted with pure turpentine. Although this varnis is not brittle, it is liable to be indented with strokes and it will not bear to be polished, but if well laid on it will not need polishing afterwards. It also takes some time to dry. Heat applied to all oils, however, darkens their color, and oil varnishes for white grow very yellow if not exposed to a full clear light. Gum copal is a fine varnish, and a description of which I shall give in my next.
G. R.
New York, Dec. 13, 1847
For the Scientific American.
Japanning is the art of covering bodies by grounds of opaque colors in varnish, which may be afterwards decorated by printing or gilding, or left in a plain state. It is also to be looked upon in another sense, as that of ornament coaches, snuff boxes, screens, &c. and it is, therefore, a very important art and of great advantage to our country. I shall therefore, endeavor to give a number of good receipts for the practising of this art, and interline the same with directions regarding the different branches.
All surfaces to be japanned must be perfectly clean and leather should be stretched on frames. Paper should be stiff for japanning, such as papier mache of France.
The French prime all their japanned articles, the English do not. This priming is generally of common size. Those articles that are primed thus, never endure as well as those that receive the japan coating on the first operation, and thus it is that those articles of japan work that are primed with size when they are used for some time, crack, and the coats of japan fly off in flakes. A solution of strong isinglass size and honey, of sugar candy, makes a good japan varnish to cover water colors on gold grounds.
A pure white priming for japanning, for the cheap method, is made with parchment size and one third of isinglass, laid on very thin and smooth. It is the better of three coars, and when the last coat is fry, it is prepared to receive the painting or figures. Previous to the last coat, however, the work should be smoothly polished.
When wood or leather is to be japanned, and no priming used, the best plan is to lay on two or three coats of varnish made of seed lac and rosin, two ounces each, dissolved in alcohol and strained through a cloth. This varnish should be put on in a warm place and the work to be varnished should if possible, be warm also, and all dampness should be avoided, to prevent the varnish from being chilled. When the work is prepared with the above composition and dry, it is fit for the proper japan to be laid on. If the ground is not to be white the best varnish now to be used is made of shellac, as it is the best vehicle for all kind of colors. This is made in the proportions of the best shellac five ounces, made into powder, steeped in a quaer of alcohol and kept at a gentle heat for two or three days and shaken frequently, after which the solution must be filtered through a flannel bag, and kept in a well corked bottle for use. This varnish for hard japanning on copper or tin, will stand for ever, unless fire and a hammer be used to burn or beetle it off.
The color to be used with shellac varnish may be of any pigments whatever to give the desired shade, as this varnish will mix with any color.
White Japan Grounds.
To form a hard perfect white ground is no easy matter, as the substances which are generally used to make the japan hard, have a tendency by a number of coats, to look, or become dull in brightness. One white ground is made by the following composition. White flake or lead washed over and ground up with a sixth of its weight of starch, then dried and mixed with the finest gum ground up in parts of one ounce gum to half an ounce of rectified turpentine mixed and ground thoroughly together. This is to be finely laid on the article to be japanned, dried and then varnished with five or six coarts of the following: two ounces of the whitest seed lac to three ounces of gum anima reduced to a fine powder and dissolved in a quart of alcohol. This lac must be carefully picked. For a softer varnish than this, a little turpentine should be added and less of the gum. A very good varnish and not brittle, may be made by dissolving gum anima in nut oil, boiling it gently as the gum is added and giving the oil as much gum as it will take up. The ground of white varnish may of itself be made of this varnish, by giving two or three coats of it, but when used, it should be diluted with pure turpentine. Although this varnis is not brittle, it is liable to be indented with strokes and it will not bear to be polished, but if well laid on it will not need polishing afterwards. It also takes some time to dry. Heat applied to all oils, however, darkens their color, and oil varnishes for white grow very yellow if not exposed to a full clear light. Gum copal is a fine varnish, and a description of which I shall give in my next.
G. R.
New York, Dec. 13, 1847
Discoveries and Inventions Abroad. Purple Color from Quinine.
Scientific American 18, 28.4.1860
- A patent has lately been taken out by C. H. Williams, of London, for obtaining a new coloring substance suitable for dyeing and calico-printing, from quinine, cinchonine, strychine, or brucine. These substances are mixed with caustic alkali, and distilled, by which operation a liquid of an oily appearance passes over. This liquid is then re-distilled at a temperature of 320° and 350°, and it is divided into two substances, the one passing over at the lower and the other at the higher temperature. The substance obtained at the highest heat is treated with an iodide or sulphate, to which are added water and ammonia in excess, when the mixture is boiled until the liquid assumes a deep purple color. When this liquid is afterwards applied to silk, it colors it a brilliant and permanent purple. The coloring matter is applied to the fabric in an alkaline solution, and as the coloring substance is not readily soluble in water, it is kept for constant use in alcohol. The portion of the distillate which has passed over at the lower heat is mixed with any alcohol radical compound, such as amyl, and is heated in a close vessel up to 250°, when water and the red oxyd of mercury are added; the mixture is then boiled, when the liquid passes through the shades of blue and lilac, and finally becomes a deep purple. The brucine to be used for making this color may be obtained from coal tar, by distillation and subsequent purification by sulphuric acid and alkalies, and it is finally distilled again. The coloring matter obtained as described is always dissolved in alcohol before it is used for dyeing; the fabric is boiled in the solution. For calico-printing the extract is required to be considerably concentrated and mixed with albumen.
- A patent has lately been taken out by C. H. Williams, of London, for obtaining a new coloring substance suitable for dyeing and calico-printing, from quinine, cinchonine, strychine, or brucine. These substances are mixed with caustic alkali, and distilled, by which operation a liquid of an oily appearance passes over. This liquid is then re-distilled at a temperature of 320° and 350°, and it is divided into two substances, the one passing over at the lower and the other at the higher temperature. The substance obtained at the highest heat is treated with an iodide or sulphate, to which are added water and ammonia in excess, when the mixture is boiled until the liquid assumes a deep purple color. When this liquid is afterwards applied to silk, it colors it a brilliant and permanent purple. The coloring matter is applied to the fabric in an alkaline solution, and as the coloring substance is not readily soluble in water, it is kept for constant use in alcohol. The portion of the distillate which has passed over at the lower heat is mixed with any alcohol radical compound, such as amyl, and is heated in a close vessel up to 250°, when water and the red oxyd of mercury are added; the mixture is then boiled, when the liquid passes through the shades of blue and lilac, and finally becomes a deep purple. The brucine to be used for making this color may be obtained from coal tar, by distillation and subsequent purification by sulphuric acid and alkalies, and it is finally distilled again. The coloring matter obtained as described is always dissolved in alcohol before it is used for dyeing; the fabric is boiled in the solution. For calico-printing the extract is required to be considerably concentrated and mixed with albumen.
Manufacture of White Lead - New Process.
Scientific American 23, 2.12.1868
For the Scientific American.
The adulteration of white lead with sulphate of baryta has become so common that it is one of the regular steps in its preparation in all factories. The pure white lead of the most finely ground quality is called "Silver White;" when mixed with equal parts finely ground sulphate of baryta it is called, on the European continent, "Venice White." When adulterated with double its weight of sulphate of baryta it is known as "Hamburg White;" and even three parts of the baryta and more to one of lead are frequently used. This adulteration is not entirely a deterioration, and many of these adulterated qualities are preferred for certain purposes to the pure article.
There exists another kind of white lead, called "Kremner White," which owes its pure white color to the original purity of the lead employed (which is free from silver and iron), and the carefulness in the method of manufacture, clearing it from all powdered metallic lead or sulphuret, which, especially the last, even in the smallest quantities, injure many other qualities of white lead.
The method described on page 298 is usually called the Dutch process, and being very injurious to the workmen has in certain localities been supersedes by the so-called French process, of which Thenard first established the principle. It consists in making a solution of a soluble salt of lead, and by passing carbonic acid gas through it the lead is precipitated as a carbonate. This process may be executed on a very small as well as on a large scale, and requires the following steps: first, a saturated solution of acetate of lead (lead sugar) is made, either by dissolving this salt in water, or by heating metallic lead with pure vinegar; this solution is boiled with oxide of lead (litharge) till it cannot dissolve any more of it; one part of pure strong wood vinegar (pyroligneous acid) will dissolve a little less than one part of litharge (oxide of lead) and form a neutral acetate, when dissolving twice that quantity of litharge in it (correctly 60 parts of acetic acid to 112 of litharge, one atom of each) we obtain a socalled subacetate, a basic solution, which colors litmus paper blue, and when dissolving three times this amount of litharge the solution is saturated, and the excess of lead above the netral solution will be readily precipitated as carbonate of lead by passing carbonic acid gas through the solution, till the solution becomes neutral again, or even acid.
This carbonic acid gas may be obtained by the action of sulphuric acid and water on charl or marble, as is done in the preparation of the so-called soda water, or it may be obtained from the combustion of charcoal, but in this case it must be purified, chiefly from sulphur vapors, as these color lead black, and consequently make the precipitate very dirty looking. The best way is to pass the gas resulting from combustion first through a separate solution of lead, before passing it into the receptacle from which the white lead is to be precipitated. As soon as this precipitation is completed the liquid is left to settle, the supernatant neutral acetate of lead solution is decanted off, and boiled with another dose of litharge; thus a limited amount of acetate could be used for an indefinite period, if there were not unacoidable losses during the process, which have to be supplied from time to time with fresh acetic acid. It is clear that during this method of operation, the white lead being obtained from the first in a wet condition, the workmen are not exposed to the poisonous dust, as is the case in the old process described on page 298.
Several modifications of this French process have been proposed; for instance, button and Dyer make a solution of litharge in nitric acid, and precipitate with carbonic acid obtained from the combustion of coke. Richardson uses sulphuric acid to precipitate the solution of acetate of lead, and thus forms not a carbonate but a sulphate of lead; and Leigh precipitates a carbonate from a solution of the chloride of the metal by means of carbonate of ammonia, which is only a more expensive way of operating without compensating benefit. Pattinson has a similar method, but precipitates the white lead by means of a solution of carbonate of magnesia in carbonic acid water, which solution he obtains from the mineral hydrate of magnesia, or from magnedia limestone; the solution he uses contains chloride of lead, and he treats the precipitate with caustic potash or soda, and he asserts that in this way his white lead becomes equal to the best known.
A method was recently patented in England and the United States to simply use an impure ore of lead of such a kind as is soluble in acetic acid, boil it with the acid, decant and filter the solution till clear, and then precipitate with carbonic acid. A common lead ore of this class is a mineral carbonate of lead of a reddish brown or gray color. It is abundantly found in England, but when introducing this method in the United States a great drawback was found to consist in the fact that not such a lead ore had been found here. Fortunately railroad cuttings in Missouri quite recently brought to light large deposits of this mineral, which are now being used for the manufacture of lead, white lead, and other lead compounds.
Dr. Vander Weyde, of New York, recently patented an apparatus by which the wood vinegar necessary for the solution of this ore, could be distilled from the wood at the mine, and the residue of the distillation, the charcoal, while hot in the still, was converted into carbonic acid gas, by simply blowing a current of air through the still, as soon as the volatile products were drifven off by the distillation; this carbonic acid gas, after passing through cooling and washing tubs, is used for the precipitation of the carbonate of lead, the whole process thus being accomplished in one apparatus and one operation.
Ny this process of using the lead ore, the labor of reduction to the metallic state is entirely saved, a labor required when following either the old or so-called Dutch method, or when using the lead sugar, or when dissolving in acetic acid the litharge which is manufactured from the metallic lead.
Generally the white lead obtained after the French method by precipitation, has not the body, or else does not cover so well as that prepared after the old Dutch method; the cause is recealed by the microscope; the precipitated white lead consists of little semi-translucent crystals - the Dutch white lead - out of opaque white grains, but later improvements in the French method have overcome that difficulty to a great degree; they consist in precenting the formation of these small crystals by the use of nitric, sulphuric, and hydrochloric acids, and thus form a compound which consists not only chiefly of a carbonate, but also of a sulphate and chloride, which last two, by themselves, are inferior to the carbonate, but when combined in the formation of the precipitate, appear to improve the pure carbonate in a manner not yet precisely explained.
Chemical analysis has proved that the pure white lead manufactured after the Durch process, is a compound of two atoms of carbonate of lead and one atom of hydrated oxide of lead, therefore is it probable that when the carbonate of lead obtained by precipitation after the French process was boiled with a sufficient quantity of a pure solution of subacetate of lead, it would take from this solution some hydrated oxide of lead, and become also a compound of carbonate and hydrated oxide of lead, and be as opaque, and dense of body as the Kremner white. A hint worth trying.
Of course the white lead manufactured after the French method is also adulterated with sulphate of baryta in different proportions, and this will be the case till a method is found of making pure white lead directly from the ore, and as cheap as the baryta, in which case the adulteration would not pay any more and come to an end.
V.
For the Scientific American.
The adulteration of white lead with sulphate of baryta has become so common that it is one of the regular steps in its preparation in all factories. The pure white lead of the most finely ground quality is called "Silver White;" when mixed with equal parts finely ground sulphate of baryta it is called, on the European continent, "Venice White." When adulterated with double its weight of sulphate of baryta it is known as "Hamburg White;" and even three parts of the baryta and more to one of lead are frequently used. This adulteration is not entirely a deterioration, and many of these adulterated qualities are preferred for certain purposes to the pure article.
There exists another kind of white lead, called "Kremner White," which owes its pure white color to the original purity of the lead employed (which is free from silver and iron), and the carefulness in the method of manufacture, clearing it from all powdered metallic lead or sulphuret, which, especially the last, even in the smallest quantities, injure many other qualities of white lead.
The method described on page 298 is usually called the Dutch process, and being very injurious to the workmen has in certain localities been supersedes by the so-called French process, of which Thenard first established the principle. It consists in making a solution of a soluble salt of lead, and by passing carbonic acid gas through it the lead is precipitated as a carbonate. This process may be executed on a very small as well as on a large scale, and requires the following steps: first, a saturated solution of acetate of lead (lead sugar) is made, either by dissolving this salt in water, or by heating metallic lead with pure vinegar; this solution is boiled with oxide of lead (litharge) till it cannot dissolve any more of it; one part of pure strong wood vinegar (pyroligneous acid) will dissolve a little less than one part of litharge (oxide of lead) and form a neutral acetate, when dissolving twice that quantity of litharge in it (correctly 60 parts of acetic acid to 112 of litharge, one atom of each) we obtain a socalled subacetate, a basic solution, which colors litmus paper blue, and when dissolving three times this amount of litharge the solution is saturated, and the excess of lead above the netral solution will be readily precipitated as carbonate of lead by passing carbonic acid gas through the solution, till the solution becomes neutral again, or even acid.
This carbonic acid gas may be obtained by the action of sulphuric acid and water on charl or marble, as is done in the preparation of the so-called soda water, or it may be obtained from the combustion of charcoal, but in this case it must be purified, chiefly from sulphur vapors, as these color lead black, and consequently make the precipitate very dirty looking. The best way is to pass the gas resulting from combustion first through a separate solution of lead, before passing it into the receptacle from which the white lead is to be precipitated. As soon as this precipitation is completed the liquid is left to settle, the supernatant neutral acetate of lead solution is decanted off, and boiled with another dose of litharge; thus a limited amount of acetate could be used for an indefinite period, if there were not unacoidable losses during the process, which have to be supplied from time to time with fresh acetic acid. It is clear that during this method of operation, the white lead being obtained from the first in a wet condition, the workmen are not exposed to the poisonous dust, as is the case in the old process described on page 298.
Several modifications of this French process have been proposed; for instance, button and Dyer make a solution of litharge in nitric acid, and precipitate with carbonic acid obtained from the combustion of coke. Richardson uses sulphuric acid to precipitate the solution of acetate of lead, and thus forms not a carbonate but a sulphate of lead; and Leigh precipitates a carbonate from a solution of the chloride of the metal by means of carbonate of ammonia, which is only a more expensive way of operating without compensating benefit. Pattinson has a similar method, but precipitates the white lead by means of a solution of carbonate of magnesia in carbonic acid water, which solution he obtains from the mineral hydrate of magnesia, or from magnedia limestone; the solution he uses contains chloride of lead, and he treats the precipitate with caustic potash or soda, and he asserts that in this way his white lead becomes equal to the best known.
A method was recently patented in England and the United States to simply use an impure ore of lead of such a kind as is soluble in acetic acid, boil it with the acid, decant and filter the solution till clear, and then precipitate with carbonic acid. A common lead ore of this class is a mineral carbonate of lead of a reddish brown or gray color. It is abundantly found in England, but when introducing this method in the United States a great drawback was found to consist in the fact that not such a lead ore had been found here. Fortunately railroad cuttings in Missouri quite recently brought to light large deposits of this mineral, which are now being used for the manufacture of lead, white lead, and other lead compounds.
Dr. Vander Weyde, of New York, recently patented an apparatus by which the wood vinegar necessary for the solution of this ore, could be distilled from the wood at the mine, and the residue of the distillation, the charcoal, while hot in the still, was converted into carbonic acid gas, by simply blowing a current of air through the still, as soon as the volatile products were drifven off by the distillation; this carbonic acid gas, after passing through cooling and washing tubs, is used for the precipitation of the carbonate of lead, the whole process thus being accomplished in one apparatus and one operation.
Ny this process of using the lead ore, the labor of reduction to the metallic state is entirely saved, a labor required when following either the old or so-called Dutch method, or when using the lead sugar, or when dissolving in acetic acid the litharge which is manufactured from the metallic lead.
Generally the white lead obtained after the French method by precipitation, has not the body, or else does not cover so well as that prepared after the old Dutch method; the cause is recealed by the microscope; the precipitated white lead consists of little semi-translucent crystals - the Dutch white lead - out of opaque white grains, but later improvements in the French method have overcome that difficulty to a great degree; they consist in precenting the formation of these small crystals by the use of nitric, sulphuric, and hydrochloric acids, and thus form a compound which consists not only chiefly of a carbonate, but also of a sulphate and chloride, which last two, by themselves, are inferior to the carbonate, but when combined in the formation of the precipitate, appear to improve the pure carbonate in a manner not yet precisely explained.
Chemical analysis has proved that the pure white lead manufactured after the Durch process, is a compound of two atoms of carbonate of lead and one atom of hydrated oxide of lead, therefore is it probable that when the carbonate of lead obtained by precipitation after the French process was boiled with a sufficient quantity of a pure solution of subacetate of lead, it would take from this solution some hydrated oxide of lead, and become also a compound of carbonate and hydrated oxide of lead, and be as opaque, and dense of body as the Kremner white. A hint worth trying.
Of course the white lead manufactured after the French method is also adulterated with sulphate of baryta in different proportions, and this will be the case till a method is found of making pure white lead directly from the ore, and as cheap as the baryta, in which case the adulteration would not pay any more and come to an end.
V.
C. M. OTTO ja Kumpp. (mainos)
Kaiku 132, 8.11.1888
Helsingissä, Kluuvikatu 6.
Paketteihin pantuja Värejä.
Täksi vuodenajaksi suljemme taaskin yleisön suosioon tunnetut värimme. Muutamissa lajeissa on tehty muutoksia niin että ne nyt värjäävät suorastaan ilman erityisiä paittomisia ja neljä uutta väri-vivahdusta on tullut lisäksi. Tulevat tilaukset toimitetaan perille ensi tilassa.
HUOM.! Jokaisessa oikeassa paketissa on paitsi tunnettua suojelusmerkkiä
toiminimemme
C. M. OTTO ja Kumpp.
Helsingissä, Kluuvikatu 6.
Polityyrilakan kauppaaminen.
Kaiku 132, 8.11.1888
Senaatiin oli tehty walitus että maahamme on alettu tuoda semmoista polityyrilakkaa suuremmissa ja pienemmissä pulloissa, joissa on alkohoolia, mutta niin wähän hartsi-aineita, ettei sitä woi käyttää puun tahi metallin lakeeraamiseen. Tämä aine onkin paremmin wärjättyä palowiinaa ja wäkijuomaksi siis aijoktukin. Sen kauppaaminen on siis wastoin wiina-asetusta. Senaati on käskenyt kuwernöörien ilmoittaa asianomaisille wiinantarkastajille, kaupunginwiskaaleille ja nimismiehille, että heidän tulee pitää tarkan walwonnan alasina tällaisia polityyrilakkakauppoja, ja missä polityyrilakka wiinaksi huomataan, nostaa kanne.
Senaatiin oli tehty walitus että maahamme on alettu tuoda semmoista polityyrilakkaa suuremmissa ja pienemmissä pulloissa, joissa on alkohoolia, mutta niin wähän hartsi-aineita, ettei sitä woi käyttää puun tahi metallin lakeeraamiseen. Tämä aine onkin paremmin wärjättyä palowiinaa ja wäkijuomaksi siis aijoktukin. Sen kauppaaminen on siis wastoin wiina-asetusta. Senaati on käskenyt kuwernöörien ilmoittaa asianomaisille wiinantarkastajille, kaupunginwiskaaleille ja nimismiehille, että heidän tulee pitää tarkan walwonnan alasina tällaisia polityyrilakkakauppoja, ja missä polityyrilakka wiinaksi huomataan, nostaa kanne.
Corresponderer: How to Make Sulphate of Iron-Copperas. Blue and Red Glass for Chemists' Bottles.
Scientific American 1, 14.1.1862
Corresponderer: How to Make Sulphate of Iron-Copperas.
Messrs. Editors: - This salt is manufactured from a native sulphuret of iron, of which there are great quantities in some parts of the United States. where it forms the principal part of the rocks of whole districts. In England it is made from iron pyrites, which are found in glubular masses in the coal strata. In making the copperas, a quantity of these pyrites are piled upon an inclined platform, and sprinkled with water from time to time. As this drains through them it carries those portions which have been rendered soluble by the action of the atmosphere, the sulphuret having absorbed oxygen, and having thereby been converted into an acidulous sulphate. These drainings are received into large stone cisterns and pumped from thence into leaden pans, where a fire is kept up under them for several days, during which time large quantities of old iron are thrown in to saturate the excess of acid and precipitate any pershulphate that may have formed. When this solution is sufficiently concentrated it is drawn out into stone cisterns, where it cools and crystallizes. In this state it is of a light green color, and is the protosulphate of iron; but by exposure to the air for some time it absorbs the oxygen, and is partially converted into the red persulphate. In a fry atmosphere it effercesces and parts with its water crystallization, and is then a dry powder, and on being dissolved again in water it is found to be composed of the persulphate and protosulphate of iron. When copperas is fresh and green it is then in the best state for deoxdizing indigo in the copperas blue vat of the cotton dyer, but when it is older, or has been oxydized, so as to appear brown or yellow, it is then better adapted for dying black than when fresh and green. The specific gravity of its concentrated solution is 1.753, and of the salt itself 1.850. It is composed of 27.26 of protoxide of iron, 36.30 of sulphuric acid, 42.43 of water in 100 parts.
R. H. Gibson.
Fisherville, N H., Dec 21m 1861.
Blue and Red Glass for Chemists' Bottles.
- It is quite customary with doctors, druggists and photographers, to employ blue glass bottles for the purpose of keeping such chemicals as the nitrate of silver, which is so easily affected with light. It is pretty generally believed that the blue color of the glass counteracts the effects of light, but according to the experiments of M. Dumey, of France, this is not so. He asserts that the blue color foes not interfere with the chemical rays of light, and that white glass and blue glass bottles are alike unfir for containing silver solutions. He states, however, that red glass bottles are perfectly reliable to use for retaining sensitive chemical substances, as this color prevents the light affecting them.
Corresponderer: How to Make Sulphate of Iron-Copperas.
Messrs. Editors: - This salt is manufactured from a native sulphuret of iron, of which there are great quantities in some parts of the United States. where it forms the principal part of the rocks of whole districts. In England it is made from iron pyrites, which are found in glubular masses in the coal strata. In making the copperas, a quantity of these pyrites are piled upon an inclined platform, and sprinkled with water from time to time. As this drains through them it carries those portions which have been rendered soluble by the action of the atmosphere, the sulphuret having absorbed oxygen, and having thereby been converted into an acidulous sulphate. These drainings are received into large stone cisterns and pumped from thence into leaden pans, where a fire is kept up under them for several days, during which time large quantities of old iron are thrown in to saturate the excess of acid and precipitate any pershulphate that may have formed. When this solution is sufficiently concentrated it is drawn out into stone cisterns, where it cools and crystallizes. In this state it is of a light green color, and is the protosulphate of iron; but by exposure to the air for some time it absorbs the oxygen, and is partially converted into the red persulphate. In a fry atmosphere it effercesces and parts with its water crystallization, and is then a dry powder, and on being dissolved again in water it is found to be composed of the persulphate and protosulphate of iron. When copperas is fresh and green it is then in the best state for deoxdizing indigo in the copperas blue vat of the cotton dyer, but when it is older, or has been oxydized, so as to appear brown or yellow, it is then better adapted for dying black than when fresh and green. The specific gravity of its concentrated solution is 1.753, and of the salt itself 1.850. It is composed of 27.26 of protoxide of iron, 36.30 of sulphuric acid, 42.43 of water in 100 parts.
R. H. Gibson.
Fisherville, N H., Dec 21m 1861.
Blue and Red Glass for Chemists' Bottles.
- It is quite customary with doctors, druggists and photographers, to employ blue glass bottles for the purpose of keeping such chemicals as the nitrate of silver, which is so easily affected with light. It is pretty generally believed that the blue color of the glass counteracts the effects of light, but according to the experiments of M. Dumey, of France, this is not so. He asserts that the blue color foes not interfere with the chemical rays of light, and that white glass and blue glass bottles are alike unfir for containing silver solutions. He states, however, that red glass bottles are perfectly reliable to use for retaining sensitive chemical substances, as this color prevents the light affecting them.
Wax - Its Uses And Colors.
Scientific American 8, 18.2.1860
This substance is principally derived from the cells of bees; wax being the mortar which those industrious creatures employ in the formation of their honey-combs. The wax if a bee.cell is of a yellowish brown color, and has a very pleasant odor. In its composition, it is a hydro-carbon of the same nature as tallow and spermaceti, and it has no equal for making beautiful and enduring candles, but they are too expensive for common purposes. To prepare wax for candles and ornamental moldings, such as wax figures (for which it is eminently adapted, owing to its unchanging character), it requires to be deprived of its brown color. For this purpose, the bee-cells are boiled in water several times, and strained through cloth, by which operations the impurities are removed. The finest wax is obtained from the skimmings of what are called "virgin combs." But these manipulations do not change the color of the wax. To do this, it is melted and drawn out into very thin ribbands, and these are laid either upon the grass or upon wobs of canvas, and exposed to sunlight, air and moisture, in the very same manner that linen used to be bleached by the old process. It takes several month to bleach wax by this system, but it is the best that is known, and it may be practiced by any person with a small quantity.
On a large scale, in manufactories, wax is first steamed in close vessels, then run out into thin strips from the bottom of a permornted pan, upon webs of canvas, and these are carried out to the "bleaching greens, " and exposed to the sunlight and air until bleached. The wax is sprinkled, from time to time, with soft water, to aid in bleaching, in exactly the same manenr as ivory is bleached. It might be supposed that chlorine gas, which has revolutionized the method of bleaching cotton and straw, would be applicable to wax, and that it would bleach it in as manhours as it takes months by the old process. This agent has been experimented with, but it injures the quality of the wax while bleaching.
The chlorine is liable to unite with the hydrogen of the wax, and form hydro-chloric acid, thereby changing its composition and injuring its illumination qualities. By submitting it to long exposure to high pressure steam, when in thin films, wax becomes nearly white; also, by boiling it in water, with about 25 per cent of sulphuric acid and the nitrate of soda. The wax must be thoroughly washed after being treated with acid in any manner. Some short and safe method of bleaching wax is a discovert much wanted. At present, the old method is the most generally practiced, because it is the only safe one. Wax tapers are not much employed in our country, but in France and some other European nations the manufacture of wax candles for religious ceremonies forms an immense business.
White wax may be colored blue with ultra-marine, reduced to an impalpable powder and thoroughly incorporated with it when melted. Verdigris, employed in the same manner, will color it green; carmine, a red, and chromate of lead, a bright yellow. Any of the common pigments will color wax. Steel and copperplate engravers employ common beeswax, mixed with Burgundy pitch to cover their plates preparatory to etching them. Wax is very preservative in its nature, and it was much used by the old painters for mixing their colors before the art of oil painting was discovered. It rendered their colors very durable, and it may now be employed with great advantage by all artists in colors. To descend to a more humble use, beeswax forms an excellent preservative of leather, when mixed with tallow or neats-foot oil. About one ounce to the pound of tallow, and the same amount to each pint of oil, is a great improvement to keep leather belting, boots and shoes in a soft, pliable and water-repelling condition.
This substance is principally derived from the cells of bees; wax being the mortar which those industrious creatures employ in the formation of their honey-combs. The wax if a bee.cell is of a yellowish brown color, and has a very pleasant odor. In its composition, it is a hydro-carbon of the same nature as tallow and spermaceti, and it has no equal for making beautiful and enduring candles, but they are too expensive for common purposes. To prepare wax for candles and ornamental moldings, such as wax figures (for which it is eminently adapted, owing to its unchanging character), it requires to be deprived of its brown color. For this purpose, the bee-cells are boiled in water several times, and strained through cloth, by which operations the impurities are removed. The finest wax is obtained from the skimmings of what are called "virgin combs." But these manipulations do not change the color of the wax. To do this, it is melted and drawn out into very thin ribbands, and these are laid either upon the grass or upon wobs of canvas, and exposed to sunlight, air and moisture, in the very same manner that linen used to be bleached by the old process. It takes several month to bleach wax by this system, but it is the best that is known, and it may be practiced by any person with a small quantity.
On a large scale, in manufactories, wax is first steamed in close vessels, then run out into thin strips from the bottom of a permornted pan, upon webs of canvas, and these are carried out to the "bleaching greens, " and exposed to the sunlight and air until bleached. The wax is sprinkled, from time to time, with soft water, to aid in bleaching, in exactly the same manenr as ivory is bleached. It might be supposed that chlorine gas, which has revolutionized the method of bleaching cotton and straw, would be applicable to wax, and that it would bleach it in as manhours as it takes months by the old process. This agent has been experimented with, but it injures the quality of the wax while bleaching.
The chlorine is liable to unite with the hydrogen of the wax, and form hydro-chloric acid, thereby changing its composition and injuring its illumination qualities. By submitting it to long exposure to high pressure steam, when in thin films, wax becomes nearly white; also, by boiling it in water, with about 25 per cent of sulphuric acid and the nitrate of soda. The wax must be thoroughly washed after being treated with acid in any manner. Some short and safe method of bleaching wax is a discovert much wanted. At present, the old method is the most generally practiced, because it is the only safe one. Wax tapers are not much employed in our country, but in France and some other European nations the manufacture of wax candles for religious ceremonies forms an immense business.
White wax may be colored blue with ultra-marine, reduced to an impalpable powder and thoroughly incorporated with it when melted. Verdigris, employed in the same manner, will color it green; carmine, a red, and chromate of lead, a bright yellow. Any of the common pigments will color wax. Steel and copperplate engravers employ common beeswax, mixed with Burgundy pitch to cover their plates preparatory to etching them. Wax is very preservative in its nature, and it was much used by the old painters for mixing their colors before the art of oil painting was discovered. It rendered their colors very durable, and it may now be employed with great advantage by all artists in colors. To descend to a more humble use, beeswax forms an excellent preservative of leather, when mixed with tallow or neats-foot oil. About one ounce to the pound of tallow, and the same amount to each pint of oil, is a great improvement to keep leather belting, boots and shoes in a soft, pliable and water-repelling condition.
The Oxide of Zinc as Paint.
Scientific American 8, 10.11.1849
A correspondent of the United States Gazette, in commenting upon the value of zincwhite as a substitute for white lead, and combatting some objections that have been urged against its use, says that the principal obstacle to its employment has been the difficulty of working the material which arises from the fact, that workmen who are acustomed to a certain routines of practice, are at fault when a new article is set before them, and after attempting to use it according to the method with which they are acquainted, and not finding it to succeed, condemn it as useless. Although persuaded of the beneficial results which would follow from the use of zinc white, the masters will not take the trouble to look into the matter themselves, but rely upon their workmen, and thus the public is persuaded that the application is impracticable.
The first thing is to procure oil as nearly white as possible; this is essential, if a bright color be required, for as the zinc white possesses less body than white lead, colored oil imparts a color to it which tarnishes its brightness; if, however, a yellow color be required, there is no occasion to be so particular about the whiteness of the oil. The most suitable oil - which is generally white enough - is the oil of the black poppy, which may be procured from Flanders and Alsace, where it is in common use. In default of this, any other siccative oil may be used, provided it be white.
The zinc white may be ground, while dry, into a powder, with the mullet; it must then be scraped with a painter's knife into a heap in the middle of which a hollow is to be made to receive a small quantity of oil; the whole is then to be mixed with a knife, so as to bring it to the consistence of thick mortar, or paste, and rather dry than otherwise. This paste is then spread upon a separate pallet, from which a small quantity is taken and put under the mullet and ground. It is scraped up tith the knife, and placed in heaps on the stone, where it is again ground, the bullet being carefully placed upon the centre of the heaps. When, by this means, the color is spread over the whole surface of the stone, three or four times, from one end of the stone to the other, the whole must then be scraped off with a knife. This operation soon becomes easy of perdormance, as zinc white has a fine and easily separated grain. If it be too liquid, it will be necessary to add a sufficient quantity of powder to give it the required consistency, and again grind it. It is then to be put into a clean vessel, containing clean water.
When large surfaces are to be painted, the brushes used must be very soft and not too close in order that the color may be laid equally.
As a substitute for white lead, zinc was first used in France, and the above is a too highly colored picture of its merits taken from a French journal. It will never come into use in this country, for common white, if we have to go to Flanders for poppy oil, nor can it (the zinc) be profitably applied, except mixed with the only oil that should be used, viz., good linseed.
The following is Mons. Rochaz's method of using the white of zinc, as recently patented in England, viz.:
The patentee makes a durable white paint or pigment by taking twenty parts of the oxide of zinc, four parts of resin, two parts turpentine, and one part drying oil.
A correspondent of the United States Gazette, in commenting upon the value of zincwhite as a substitute for white lead, and combatting some objections that have been urged against its use, says that the principal obstacle to its employment has been the difficulty of working the material which arises from the fact, that workmen who are acustomed to a certain routines of practice, are at fault when a new article is set before them, and after attempting to use it according to the method with which they are acquainted, and not finding it to succeed, condemn it as useless. Although persuaded of the beneficial results which would follow from the use of zinc white, the masters will not take the trouble to look into the matter themselves, but rely upon their workmen, and thus the public is persuaded that the application is impracticable.
The first thing is to procure oil as nearly white as possible; this is essential, if a bright color be required, for as the zinc white possesses less body than white lead, colored oil imparts a color to it which tarnishes its brightness; if, however, a yellow color be required, there is no occasion to be so particular about the whiteness of the oil. The most suitable oil - which is generally white enough - is the oil of the black poppy, which may be procured from Flanders and Alsace, where it is in common use. In default of this, any other siccative oil may be used, provided it be white.
The zinc white may be ground, while dry, into a powder, with the mullet; it must then be scraped with a painter's knife into a heap in the middle of which a hollow is to be made to receive a small quantity of oil; the whole is then to be mixed with a knife, so as to bring it to the consistence of thick mortar, or paste, and rather dry than otherwise. This paste is then spread upon a separate pallet, from which a small quantity is taken and put under the mullet and ground. It is scraped up tith the knife, and placed in heaps on the stone, where it is again ground, the bullet being carefully placed upon the centre of the heaps. When, by this means, the color is spread over the whole surface of the stone, three or four times, from one end of the stone to the other, the whole must then be scraped off with a knife. This operation soon becomes easy of perdormance, as zinc white has a fine and easily separated grain. If it be too liquid, it will be necessary to add a sufficient quantity of powder to give it the required consistency, and again grind it. It is then to be put into a clean vessel, containing clean water.
When large surfaces are to be painted, the brushes used must be very soft and not too close in order that the color may be laid equally.
As a substitute for white lead, zinc was first used in France, and the above is a too highly colored picture of its merits taken from a French journal. It will never come into use in this country, for common white, if we have to go to Flanders for poppy oil, nor can it (the zinc) be profitably applied, except mixed with the only oil that should be used, viz., good linseed.
The following is Mons. Rochaz's method of using the white of zinc, as recently patented in England, viz.:
The patentee makes a durable white paint or pigment by taking twenty parts of the oxide of zinc, four parts of resin, two parts turpentine, and one part drying oil.
Tulipalo Kristiinassa.
Lounas 74, 17.9.1887
Tämän kuun 13 p:nä illalla kello 11 1/4 ruwettiin antamaan palomerkkejä, sillä tuli oli walloillaan wärjäri Syrenin wärihuoneissa, jotka paloi poreksi tunnin kuluessa. Kun ihmiset saapuiwat paikalle, niin koko riwi oli jo niin tulen wallassa, että katto oli jo puhkipalanut sekä seinätkin jo hohti läpitse. Tulen irti pääseminen on aiwan tuntematon. Palotornin wartija ei nytkään mitään tiennyt tulipalosta, ennenkuin muut ihmiset antoiwat huomautuksia. Kun torniwartia rupesi kelloa soittamaan, oli tuli jo tunkenut wesikaton läwitse sillä seurauksella, että katto putosi sisälle. Mahdetaanko muissa kaupungeissa suwaita moisia palowartijoita, wai onko se wain tawaksi tullut Kristiinassa? Samonlaisista asioista on ollut jo ennen monta kertaa sanomalehdissä pakinoimista, waan se ei näytä siitä ottawan muuttuakseen, waikka pollisiki on wälistä kepillä woidellut selkää ja tehnyt wartijalle muistutuksia, kun owat tawanneet heitä wartioajalla nukkumassa, ja wieläpä juuri samaa wartijata, joka nytki oli wartiana. Eiköhän tuollaisia olisi welwollisuus eroittaa wiraastaan, wai miten? (K.)
Tämän kuun 13 p:nä illalla kello 11 1/4 ruwettiin antamaan palomerkkejä, sillä tuli oli walloillaan wärjäri Syrenin wärihuoneissa, jotka paloi poreksi tunnin kuluessa. Kun ihmiset saapuiwat paikalle, niin koko riwi oli jo niin tulen wallassa, että katto oli jo puhkipalanut sekä seinätkin jo hohti läpitse. Tulen irti pääseminen on aiwan tuntematon. Palotornin wartija ei nytkään mitään tiennyt tulipalosta, ennenkuin muut ihmiset antoiwat huomautuksia. Kun torniwartia rupesi kelloa soittamaan, oli tuli jo tunkenut wesikaton läwitse sillä seurauksella, että katto putosi sisälle. Mahdetaanko muissa kaupungeissa suwaita moisia palowartijoita, wai onko se wain tawaksi tullut Kristiinassa? Samonlaisista asioista on ollut jo ennen monta kertaa sanomalehdissä pakinoimista, waan se ei näytä siitä ottawan muuttuakseen, waikka pollisiki on wälistä kepillä woidellut selkää ja tehnyt wartijalle muistutuksia, kun owat tawanneet heitä wartioajalla nukkumassa, ja wieläpä juuri samaa wartijata, joka nytki oli wartiana. Eiköhän tuollaisia olisi welwollisuus eroittaa wiraastaan, wai miten? (K.)
Printing in Colors.
Scientific American 7, 11.2.1860
L'Invention, for December, 1859, has an acoount of an improvement in the art of printing calico, paper-hangings, and maps as well as pictures, and which it pronounces of great importance in consequence of the cheapness of the process.
Our readers are aware that very great improvements have been made within a few years in the art of printing in colors by the lithographic process, chromo-lithography as it is called. One firm of lithographers in London have distinguished themselves especially by their improvements in this art. Oil colors are used, and we have seen some of their prints which it was really difficult to distinguish from oil paintings. The process consists in employing a stone of the full size of the print for each color and each shade. To place the paper with great precision on the several stones in succession, small pin points, secured firmly in the stone, project a short distance above its surface and pass through small holes in the paper. It is sair that more than 30 stones were used in re-producing Church's painting of Niagara Falls. The great expense of this process adapts it only to high-priced prints.
The object of the improvement of which we find an account in L'Invention, is to lessen the expense of this process, and the mode in which it is sought to be done is to produce all the colors and shades desired by combinations of the three primitive colors - red, yellow and blue. Our readers are aware that all the colors of the rainbow may be produced by combining these three colors. When a ray of white light passes through a triangular prism of glass, the seven colored rays of which it is composed are bent from their straight course, and as they are bent unequally, they are thus separated from each other. The color which is bent least is the red, and the colors are seen on a screen in this relation: -violet, indigo, blue, green, yellow, red. Now it is found that the red and yellow combined will produce orange, which, it will be seen, is between them in the spectrum. Yellow and blue will produce green, and blue and red will produce indigo and violet. Red, yellow and blue are consequentrly called the primitive colors; the French call them the mother colors. The Messrs. Acril, the inventors of the process of which we have spoken, avail themselves of this prolific property of the primitive colors, to reduce the number of stones, or rather of printing plates. This plan was tried many years ago in application to the printing of line-engravings, but owing to the fact that the sheets of paper must be moistened for printing in line, in order that the paper may be soft enough to be pressed into the channels in the metallic plate, it was found impossible to place them with sufficient accuracy on the successive plates. It is consequently necessary, in order to print several colors in succession, upon one sheet of paper to keep the paper dry, and in order to do this, the Messrs. Avril hit upon the plan of reversin the process of line-engraving - printing from the raised surface and producing the lights from depression as in wood-cuts.
The plan, then is to engrave a copper plate by cutting away the parts intended for the lights in the picture, leaving the parts for the colors raised - to have three of these plates, one for the red, one for the yellow, and one for the blue - and to so arrange these colors that they will overlie each other in a proper manner to produce the various shades and colors desired.
L'Invention, for December, 1859, has an acoount of an improvement in the art of printing calico, paper-hangings, and maps as well as pictures, and which it pronounces of great importance in consequence of the cheapness of the process.
Our readers are aware that very great improvements have been made within a few years in the art of printing in colors by the lithographic process, chromo-lithography as it is called. One firm of lithographers in London have distinguished themselves especially by their improvements in this art. Oil colors are used, and we have seen some of their prints which it was really difficult to distinguish from oil paintings. The process consists in employing a stone of the full size of the print for each color and each shade. To place the paper with great precision on the several stones in succession, small pin points, secured firmly in the stone, project a short distance above its surface and pass through small holes in the paper. It is sair that more than 30 stones were used in re-producing Church's painting of Niagara Falls. The great expense of this process adapts it only to high-priced prints.
The object of the improvement of which we find an account in L'Invention, is to lessen the expense of this process, and the mode in which it is sought to be done is to produce all the colors and shades desired by combinations of the three primitive colors - red, yellow and blue. Our readers are aware that all the colors of the rainbow may be produced by combining these three colors. When a ray of white light passes through a triangular prism of glass, the seven colored rays of which it is composed are bent from their straight course, and as they are bent unequally, they are thus separated from each other. The color which is bent least is the red, and the colors are seen on a screen in this relation: -violet, indigo, blue, green, yellow, red. Now it is found that the red and yellow combined will produce orange, which, it will be seen, is between them in the spectrum. Yellow and blue will produce green, and blue and red will produce indigo and violet. Red, yellow and blue are consequentrly called the primitive colors; the French call them the mother colors. The Messrs. Acril, the inventors of the process of which we have spoken, avail themselves of this prolific property of the primitive colors, to reduce the number of stones, or rather of printing plates. This plan was tried many years ago in application to the printing of line-engravings, but owing to the fact that the sheets of paper must be moistened for printing in line, in order that the paper may be soft enough to be pressed into the channels in the metallic plate, it was found impossible to place them with sufficient accuracy on the successive plates. It is consequently necessary, in order to print several colors in succession, upon one sheet of paper to keep the paper dry, and in order to do this, the Messrs. Avril hit upon the plan of reversin the process of line-engraving - printing from the raised surface and producing the lights from depression as in wood-cuts.
The plan, then is to engrave a copper plate by cutting away the parts intended for the lights in the picture, leaving the parts for the colors raised - to have three of these plates, one for the red, one for the yellow, and one for the blue - and to so arrange these colors that they will overlie each other in a proper manner to produce the various shades and colors desired.
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