Forty Centuries of Ink: Or, A chronological narrative concerning ink and its backgrounds, introducing incidental observations and deductions, parallels of time and color phenomena, bibliography, chemistry, poetical effusions, citations, anecdotes and curiosa together with some evidence respecting the evanescent character of most inks of to-day and an epitome of chemico-legal ink.Carvalho, David Nunes
History
Forty Centuries of Ink: Or, A chronological narrative concerning ink and its backgrounds, introducing incidental observations and deductions, parallels of time and color phenomena, bibliography, chemistry, poetical effusions, citations, anecdotes and curiosa together with some evidence respecting the evanescent character of most inks of to-day and an epitome of chemico-legal ink.
Carvalho, David Nunes
Ink
"From their high price, however, and that of
galls generally, sumach, logwood, and even oak
bark are too frequently substituted in the manufacture
of inks, but it need scarcely be said always
injuriously. Ink made according to the receipt
given above is much more rich and powerful than
many of those commonly made. To reduce it to
their standard one half more water may be safely
added; or even twenty gallons of tolerable ink may
be made from the same weight of materials.
Sumach and logwood admit of only about one-half
or less of the green copperas that galls will take,
to bring out the maximum amount of black colour.
The colour of black ink gradually darkens in
consequence of the peroxidation of the iron in it on
exposure to the air, but it affords a more durable
writing when used pale; its particles being then
finer, penetrate the paper more intimately, and on
its oxidation is mordanted into it. It is advisable
so soon as the ink has acquired a moderately deep
tint, to draw it off clear into bottles and cork them
well.
"According to the most accurate experiments
on the preparation of black writing inks, it appears
that the proportion of the green copperas ought to
be, and not to exceed, a third of the decoction of
galls used; but the proportions used vary according
to the practical experience of ink-makers, who
have all receipts of their own, which they deem
best, and, of course, keep secret. In the precipitate
an excess of colouring matter, which is necessary
for its durability, is preserved in it. The
blue galls alone ought to be employed in making
the best quality of black ink. Logwood is a useful.
ingredient, because its colouring matter unites
with the sulphate of iron and renders it not only of
a very dark colour, but also less capable of change
from the action of acids or of the atmosphere.
Many attempts have been made by amateurs to
make a good permanent black ink. A good story
is told of Professor Traill. He had succeeded,
after a long series of experiments, in producing an
ink which he deemed to be in all respects A 1,
and which resisted the action of all acids and
alkalies alike. The pleased savant sent samples
of it for trial to several banks and schools, where
it gave general satisfaction; but, alas, an experimenting
scribbler, thoughtlessly or otherwise, applied
a simple test undreamt of by the Professor,
and with a wet sponge completely washed off his
'indelible,' and thereby finished his career as an
amateur ink-maker!"
* * * * * * *
"Nicholson, in his Dictionary of Chemistry, an
old but valuable work, says that Ribaucourt found
vitriol of copper, in a certain proportion, to give
depth and firmness to the colour of black ink;
but, from whatever cause, this has not taken a
place among the commonly-used ink-making ingredients--
probably because it acts injuriously on
steel pens."
* * * * * * *
Public-domain text, read in full here on John Shaqi.
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