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
A mode of applying manufacturing processes to
the preparation of black-lead is described by Dr.
Ure as being adopted in Paris. The mineral, being
reduced to a fine powder, is mixed with very pure
powdered clay, and the two are calcined in a crucible
at a white heat; the proportion of clay employed
is greater as the pencil is required to be harder,
the average being equal parts of both. The
ingredients are ground with a muller on a porphyry slab and
then made into balls, which are preserved in a moist
atmosphere in the form of paste. The paste is pressed
into grooves cut in a smooth board, and another board,
previously greased, is pressed down upon it. When
the paste has had time to dry, the mould or grooved
board is put into a moderately heated oven, by which
the paste, now in the form of square pencils, shrinks
sufficiently to fall out of the grooves. In order to
give solidity to the pencils they are set upright in a
crucible and surrounded with pounded charcoal, fine
sand, or sifted ashes; the crucible, being covered, is
exposed to a degree of heat proportionate to the
hardness required in the pencils, the harder pencils
requiring the higher degree of heat. Some of the
pencils are shaped in a curious manner: models of the
pencils, made of iron, are stuck upright upon an iron
tray, having edges raised as high as the intended
length of the pencils; and a metallic alloy, made of
tin, lead, antimony and bismuth is poured into the
sheet-iron tray. When the alloy has cooled, it is inverted
and shaken off from the model-rods, so as to
form a mass of metal perforated throughout with
tubular cavities corresponding in size with the intended
pencil pieces; the pencil paste is introduced
by pressure into these cavities, and when nearly dry
the pieces shrink sufficiently to be easily removed
from the cavities.
The pencils just described are alike throughout all
their thickness, but in the majority of English pencils
there is a wooden holder to contain a narrow
filament of black lead running down the middle. So
long ago as the year 1618 this mode was adopted; for
Sir John Pettus, who was deputy governor of the
Borrowdale mine under Charles II, in his "Fleta
Minor," while, speaking of black-lead says, that "Of
late it is curiously formed into cases of deal or cedar
and so sold as dry pencils, something more useful than
pen and ink." In a general way modern black-lead
pencils, are made by sawing cedar first into long
planks, and then into smaller rods; grooves are cut
out by means of a cutting machine moved by a fly-
wheel to such a depth as will receive a small layer of
black-lead; the pieces of the mineral are cut into thin
slabs and then into rods the same size as the grooves,
into which they are inserted; the two halves of the
case are then glued together, and the whole is turned
into a cylindrical form by means of a guage.
Public-domain text, read in full here on John Shaqi.
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