Pigments, Paint and Painting: A practical book for practical men — John Shaqi
Pigments, Paint and Painting: A practical book for practical menTerry, George
Science
Pigments, Paint and Painting: A practical book for practical men
Terry, George
Paint; Painting, Industrial; Pigments
(4) Binder’s process is as follows:--Dissolve by boiling 6 lb. alum,
free from iron, in a leaden or earthenware vessel, and filter it into
a vat 5½ ft. high and 3 ft. across, one-third full of clean water.
Precipitate the alumina by solution of potash, fill up the vat with
water, settle, decant the clear liquor, and wash repeatedly till
barium chloride gives no precipitate. Dissolve ½ lb. sesquioxide
of cobalt in 1½ lb. hydrochloric acid at 22° B., and evaporate to
dryness. Dissolve the residue in 3 lb. hydrochloric acid, and pass
a stream of sulphuretted hydrogen through it, to throw down any
foreign metals. Filter clear, evaporate again to dryness, and dissolve
the residue in enough water to produce 4½-5 lb. of solution. Next
precipitate the cobalt solution (3 to 6 lb., according to depth of
tint required) by ammonia, avoiding excess. Wash the precipitate, and
add it to the water, holding the gelatinous alumina in suspension,
stirring thoroughly for ½ an hour. A reddish tint in the supernatant
liquor shows that some of the cobalt has been dissolved. Add a little
ammonia, and allow the precipitate to settle. Decant and add new waters
repeatedly. Finally collect on a fine filter cloth, drain, press, stove
dry, and calcine for 2-2½ hours at red heat in clay crucibles: then
cool, grind first in a mill and then on a slab, and sift.
SMALTS.--This pigment has not maintained its position in
competition with artificial ultramarine. Formerly it was very largely
used to correct the yellow tone of cottons, papers, and pottery. It has
a pale violet-blue tint, which, however, is not constant in artificial
light. Being a silicate it is very permanent, and proof against the
action of acids, alkalies, and sunlight, besides being inert when
mixed with other pigments. It can be used with either water or oil as
a medium, but is not a successful paint owing to its weak colouring
power. It is virtually a double silicate of cobalt and potash, or a
cobalt glass, containing a few impurities, of which the chief are
aluminium, iron, and lead oxides. The colour varies somewhat according
as these impurities fluctuate, and the finest ground sample is always
the palest. It is hardly ever adulterated, and the chief point to
secure is that it be ground to the finest possible degree.
Its manufacture is most extensively and successfully carried on in
Saxony. The raw materials used are cobalt speiss (an arsenide of cobalt
and iron), potash, and sand. The ore is broken up into convenient sized
pieces and roasted at red heat in a reverberatory furnace provided with
a tall shaft for discharging the sulphurous and arsenical fumes at a
high altitude. When the evolution of these fumes has ceased and the
mass begins to assume a pasty consistence, the roasted ore is removed
from the furnace, cooled, reduced to a fine pulverulent condition (then
known as “zaffre”) and passed through a silken sieve. Should it be
necessary,
[Illustration: Fig. 12.--FURNACE FOR ROASTING COBALT ORES.]
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account