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
William Inglis Clark in 1879 submitted to the Edinburgh
University a thesis entitled "An Attempt to
Place the Manufacture of Ink on a Scientific Basis,"
and which very justly received the commendation of
the University authorities. His researches and rational
deductions are of the greatest possible value
judged from a scientific standpoint. The introduction
of blue-black ink is a phase of the development towards
modern methods which he discusses at much
length.
The object of adding a dye in moderation, he
asserts, is to give temporary color to the ink and
where indigo-paste is used, it has been assumed that
it kept the iron gallo-tannate in solution, whereas any
virtue of this kind which indigo-paste possesses is
more likely due to the sulphuric acid which it contains
than to the indigo itself. The essential part of the
paste required is the sulpho-indigodate of sodium, now
commonly called indigo-carmine. He further remarks
that the stability of an ink precipitate depends upon
the amount of iron which it contains and which on no
account should be less than eight per cent; he adds
rightly, if gallic acid be preferably used in substitution
for tannin, "no precipitate is obtained under
precisely similar conditions." This point followed up
explains in a measure why a gall infusion prepared
with hot water is not suitable for a blue-black, while
a cold water infusion is. In the latter case a
comparatively small percentage of tannin is extracted
from the galls, while much is extracted with hot water
and the consequence is, on adding the indigo blue the
color is not brought out as it should be. Substantially
the same thing occurs with ink made with the respective
acids, although the blue color remains for a time unimpaired
in the tannin ink, apparently due to the fact that
ferrous-tannate reduces indigo blue to indigo white, a
change which the low reducing power of ferrous-
gallate does little to effect. The vegetable matter in
common inks facilitates the destruction, or rather
alteration and precipitation of the indigo, for the dye
appears in the iron precipitate and may be extracted
from it with boiling water.
Dr. Clark's investigations seek to demonstrate the
superiority of tannin and gallic acid over infusions of
the natural galls, and he undertakes to determine the
correct ratio of tannin and sulphate of iron to be used
as ink. His experiments in this line show that:
1. The amount of precipitate increases as the proportion
of iron to tannin is increased.
2. The composition of the precipitate is so valuable
as to preclude the possibility of its being a definite
body. Increase of iron in the solution has not at first
any effect on the composition of the precipitate, but
afterwards iron is found in it in greater but not proportional
amount.
3. At one point the proportions of iron in the precipitate
and in solution are the same, and this is at
between 6 and 10 parts of iron to 100 parts of tannin.
Public-domain text, read in full here on John Shaqi.
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