See also:

• INK (from Late Lat. encaustum, Gr. gysavorov, the purple ink used by Greek and Roman emperors, from iyKaiew, to burn in)

INK (from See also:

• LATE

Late See also:

• LAT

Lat. encaustum, Gr. gysavorov, the See also:

• PURPLE

purple ink used by See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek and See also:

• ROMAN

Roman emperors, from iyKaiew, to See also:

• BURN, RICHARD (1709-1785)

burn in)  , in its widest signification, a substance employed for producing graphic tracings, See also:

• INSCRIPTIONS (from Lat. inscribere, to write upon)

inscriptions, or impressions on See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper or similar materials . The See also:

• TERM

term includes two distinct conditions of pigment or colouring See also:

• MATTER

matter: the one fluid, and prepared for use with a See also:

• PEN (Lat. penna, a feather, pen)

pen or See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush, as See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing See also:

• INK (from Late Lat. encaustum, Gr. gysavorov, the purple ink used by Greek and Roman emperors, from iyKaiew, to burn in)

ink; the other a glutinous adhesive See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass, See also:

• PRINTING (from Lat. imprimere, O. Fr. empreindre)

printing ink, used for transferring to paper impressions from types, engraved plates and similar surfaces . The See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient Egyptians prepared and used inks (See also:

• FLINDERS, MATTHEW (1774-1814)

Flinders See also:

• PETRIE, GEORGE (179o-1866)
• PETRIE, WILLIAM MATTHEW FLINDERS (1853– )

Petrie discovered a See also:

• PAPYRUS

papyrus bearing written characters as old as 2500 B.C.), and in See also:

• CHINA

China the invention of an ink is assigned to Tien-Tcheu, who lived between 2697 B.C. and 2597 B.C . These See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early inks were prepared from See also:

• CHARCOAL

charcoal or See also:

• SOOT (0. Eng. sot, cf. Icel. sot, Dan. sod; possibly from root sed, to sit)

soot mixed with See also:

• GUM (Fr. gomme, Lat. gommi, Gr. Kµµ1, possibly a Coptic word; distinguish " gum," the fleshy covering of the base of a tooth, in O. Eng. gbma, palate, cf. Ger. Gaumen, roof of the mouth; the ultimate origin is probably the root gha, to open wide, seen in

gum, See also:

• GLUE (from the O. Fr. glu, bird-lime, from the Late Lat. gluten, glus, glue)

glue or See also:

• VARNISH

varnish . See also:

• SEPIA (Gr. a iria, cuttlefish)

Sepia (q.v.), the See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black pigment secreted by the cuttle-See also:

• FISH (O. Eng. fist, a word common to Teutonic languages, cf. Dutch visch, Ger. Fisch, Goth. fisks, cognate with the Lat. piscis)
• FISH, HAMILTON (1808-1893)

fish, was used as a writing fluid by the See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans . The See also:

• IRON [symbol Fe, atomic weight 55.85 (0=16)]

iron-See also:

• GALL (a word common to many Teutonic languages, cf. Dutch gal, and Ger. Galle; the Indo-European root appears in Gr. xoXi,, and Lat. fel; possibly connected with " yellow," with reference to the colour of bile)
• GALL, FRANZ JOSEPH (1758-1828)

gall ink, i.e. an ink prepared from an iron See also:

• SALT (a common Teutonic word, cf. Dutch zout, Ger. Salz, Scand. salt; cognate with Gr. &Xs, Lat. sal)
• SALT, SIR TITUS, BART

salt and See also:

• TANNIN, or TANNIC ACID

tannin, appears to have been first described by the See also:

• MONK (O.Eng. munuc; this with the Teutonic forms, e.g. Du. monnik, Ger. Witch, and the Romanic, e.g. Fr. moine, Ital. monacho and Span. monje, are from the Lat. monachus, adaptedfrom Gr. µovaXos, one living alone, a solitary; Own, alone)
• MONK (or MONCK), GEORGE
• MONK, JAMES HENRY (1784-1856)
• MONK, MARIA (c. 1817—1850)

monk See also:

• THEOPHILUS

Theophilus, who lived in the x 1th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century A.D., although See also:

• PLINY, THE ELDER
• PLINY, THE YOUNGER

Pliny, in the 1st century A.D., was acquainted with the blackening of paper containing See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green See also:

• VITRIOL

vitriol by See also:

• IMMERSION (Lat. immersio, dipping),

immersion in an infusion of See also:

• NUT
• NUT (0. Eng. knutu, cf. Dutch noot, Ger. Nuss; allied with Gael. cno; it is not of the same form as Lat. nux)

nut-See also:

• GALLS

galls . Iron-gall inks, prepared by mixing extracts of galls, barks, &c., with green vitriol, subsequently came into See also:

• COMMON

common use, and in the 16th century recipes for their preparation were given in domestic encyclopaedias . Their scientific investigation was first made by See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• LEWIS, HENRY CARVILL
• LEWIS, JOHN FREDERICK (180 1876)
• LEWIS, MATTHEW GREGORY (1775-1818)
• LEWIS, MERIWETHER (1774-1809)
• LEWIS, SIR GEORGE CORNEWALL, BART

Lewis in 1748 . The earlier iron-inks were essentially a suspension of the pigment in See also:

• WATER

water . In the early See also:

• PART

part of the 19th century the See also:

• FIRM

firm of See also:

• STEPHENS, ALEXANDER HAMILTON (1812-1883)
• STEPHENS, JOHN LLOYD (1805–1852)

Stephens introduced the first of the so-called See also:

• BLUE (common in different forms to most European languages)

blue-black inks under the name of " Stephens' writing fluid." Solutions of green vitriol and tannin, coloured by See also:

• INDIGO (earlier indico, from Lat. indicum, the Indian sub-stance or dye; the Sans. name was niti, from nila, dark blue, and this through Arab. al-nil, annil, gives " aniline ")

indigo and See also:

• LOGWOOD (so called from the form in which it is imported)

logwood, were prepared, which wrote with a blue tint and blackened on exposure, this See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change being due to the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of the pigment within the pores of the paper . The " See also:

• ALIZARIN, or I

alizarin " inks, patented by Leonhardi in 1856, are similar inks with the addition of a little See also:

• MADDER

madder . The application of See also:

• ANILINE, PHENYLADIINE, or AMINOBENZENE, (C6H5NH2)

aniline See also:

• COLOURS, MILITARY

colours to ink manufacture in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England See also:

• DATES

dates from Croc's patent of 1861 .

Writing Inks.—Writing inks are fluid substances which contain colouring matter either in See also:

• SOLUTION (from Lat. solvere, to loosen, dissolve)

solution or in suspension, and commonly partly in both conditions . They may be prepared in all shades of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, and contain almost every pigment which can be dissolved or suspended in a suitable See also:

• MEDIUM

medium . The most important of all varieties is black ink, after which red and blue are most commonly employed . Apart from colour there are See also:

• SPECIAL

special qualities which recommend certain inks for limited applications, such as marking inks, ineradicable ink, sympathetic ink, &c . A See also:

• GOOD, JOHN MASON (1764-1827)

good writing ink for See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary purposes should continue limpid, and flow freely and uniformly from the pen; it should not throw down a thick sludgy See also:

• DEPOSIT (Lat. depositurn, from deponere, to lay down, to put in the care of)

deposit on exposure to the See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air; nor should a coating of See also:

• MOULD

mould See also:

• FORM (Lat. forma)

form on its See also:

• SURFACE

surface . It should yield distinctly legible characters immediately on writing, not fading with See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age; and the fluid ought to penetrate into the paper without spreading, so that the characters will neither See also:

• WASH, THE

wash out nor be readily removed by erasure . Further, it is desirable that ink should be non-poisonous, that it should as little as possible corrode See also:

• STEEL, FLORA ANNIE (1847– )

steel pens, that characters traced in it should dry readily on the application of blotting paperwithout smearing, and that the writing should not See also:

• PRESENT

present a glossy, varnished See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance . Tannin Inks.—These inks are prepared from galls, or other See also:

• SOURCES

sources of tannin, and a salt of iron, with the addition of some agglutinant .in the See also:

• CASE
• CASE, JOHN (d. 1600)

case of the so-called oxidized inks, or a colouring matter in the case of unoxidized inks . Such mixtures form the See also:

• STAPLE

staple black inks of See also:

• COMMERCE
• COMMERCE (Lat. commercium, from, cum, together, and rnerx, merchandise)

commerce; they are essentially an insoluble iron gallate in extremely See also:

• FINE

fine See also:

• DIVISION (from Lat. dividere, to break up into parts, separate)

division held in suspension in water or a soluble See also:

• COMPOUND
• COMPOUND (from Lat. componere, to combine or put together)

compound dissolved in water . On See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long exposure to air, as in inkstands, or otherwise, tannin inks gradually become thick and See also:

• ROPY

ropy, depositing a slimy sediment . This change on exposure is inevitable, resulting from the See also:

• GRADUAL (Med. Lat. gradualis, of or belonging to steps or degrees; gradus, step)

gradual oxidation of the ferrous compound, and it can only be retarded by permitting See also:

• ACCESS (Lat. accessus)

access of air to as small surfaces as possible . The inks also have a tendency to become mouldy, an evil which may be obviated by the use of a See also:

• MINUTE
• MINUTE (Lat. minutes, small; minuere, to make less)

minute proportion of carbolic See also:

• ACID (from the Lat. root ac-, sharp; acere, to be sour)

acid; or salicylic acid may be used .

The essential ingredients of ordinary black ink are—first, tannin-yielding bodies, for which See also:

• ALEPPO (native Haleb)

Aleppo or See also:

• CHINESE, JAPANESE AND

Chinese galls are the most eligible materials; second, a salt of iron, ferrous sulphate (green vitriol) being alone employed; and third, a gummy or mucilaginous See also:

• AGENT (from Lat. agere, to act)

agent to keep in suspension the insoluble tinctorial matter of the ink . For ink-making the tannin has first to be transformed into gallic acid . In the case of Aleppo galls this change takes See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place by See also:

• FERMENTATION

fermentation when the solution of the galls is exposed to the air, the tannin splitting up into gallic acid and See also:

• SUGAR

sugar . Chinese galls do not contain the ferment necessary for inducing this change; and to induce the See also:

• PROCESS

process yeast must be added to their solution . To prepare a solution of Aleppo galls for ink-making, the galls are coarsely powdered, and intimately mixed with chopped See also:

• STRAW

straw . This mixture is thrown into a narrow deep See also:

• OAK (O. Eng., (lc)

oak vat, provided with a perforated false bottom, and having a tap at the bottom for See also:

• DRAWING

drawing off liquid . Over the mixture is poured lukewarm water, which, percolating down, extracts and carries with it the tannin of the galls . The solution is See also:

• DRAWN

drawn off and repeatedly run through the mixture to See also:

• EXTRACT (from Lat. extrahere, to draw out)

extract the whole of the tannin, the water used being in such proportion to the galls as will produce as nearly as possible a solution having 5% of tannin . The See also:

• OBJECT

object of using straw in the extraction process is to maintain the porosity of the mixture, as powdered galls treated alone become so slimy with mucilaginous extract that liquid fails to percolate the mass . For each litre of the 5% solution about 45 grammes of the iron salt are used, or about too parts of tannin for 90 parts of crystallized green vitriol . These ingredients when first mixed form a clear solution, but on their exposure to the air oxidation occurs, and an insoluble blue-black ferrosoferric gallate in extremely fine division, suspended in a coloured solution of ferrous gallate, is formed . To keep the insoluble portion suspended, a mucilaginous agent is employed, and those most available are gum See also:

• SENEGAL

senegal and gum arabic .

An ink so prepared develops its intensity of colour only after some exposure; and after it has partly sunk into the paper it becomes oxidized there, and so mordanted into the fibre . As the first faintness of the characters is a disadvantage, it is a common practice to add some See also:

• ADVENTITIOUS (from Lat. adventicius, coming from abroad)

adventitious colouring matter to give immediate distinctness, and for that purpose either extract of logwood or a solution of indigo is used . When logwood extract is employed, a smaller proportion of extract of galls is required, logwood itself containing a large percentage of tannin . For making an unoxidized or blue-black ink indigo is dissolved in strong sulphuric acid, and the ferrous sulphate, instead of beiiag used See also:

• DIRECT

direct, is prepared by placing in this indigo solution a proper quantity of scrap iron . To See also:

• FREE

free the solution from excess of uncombined acid, See also:

• CHALK

chalk or powdered See also:

• LIMESTONE

limestone is added, whereby the free acid is fixed and a deposit of sulphate of See also:

• LIME
• LIME (O. Eng. lim, Lat. limes, mud, from linere, to smear)

lime formed . A solution so prepared, mixed with a tannin solution, yields a very limpid See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea-green writing fluid, and as all the constituents remain in solution, no gum or other suspending medium is necessary . In consequence the ink flows freely, is easily dried and is free from the glossy appearance which arises through the use of gum . China ink or See also:

• INDIAN

Indian ink is the form in which ink was earliest prepared, and in which it is still used in China and See also:

• JAPAN

Japan for writing with small brushes instead of pens . It is extensively used by architects, See also:

• ENGINEERS, MILITARY

engineers and artists generally, and for various special uses . China ink is prepared in the form of sticks and cakes, which are rubbed down in water for use . It consists essentially of See also:

• LAMP (from Gr. Xag ras, a torch, Xaµaav, to shine)

lamp-black in very fine See also:

• CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition, baked up with a glutinous substance; and the finer See also:

• ORIENTAL

Oriental kinds are delicately perfumed . The following description of the manufacture as conducted in japan is from a native source: " The See also:

• BODY

body of the ink is soot obtained from See also:

• PINE (Lat. Pinus, Gr. srlrur)

pine See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood or See also:

• ROSIN (a later variant of " resin," q.v.)

rosin, and lamp-black from sesamum oil for the finest sort .

This is mixed with liquid glue made of ox-skin . This operation is effected in a large See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round See also:

• COPPER (symbol Cu, atomic weight 63.1, H=1, or 63.6, O = 16)

copper bowl, formed of two spherical vessels, placed r in. apart, so that the space between can be filled up with hot water to prevent the glue from hardening during the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time it is being mixed by See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand with the lamp-black . The cakes are formed in wooden moulds, and dried between paper and ashes . Camphor, or a See also:

• PECULIAR

peculiar mixture of scents which comes from China, and a small quantity of carthamine (the red colouring substance of See also:

• SAFFLOWER (ultimately from the Arabic safra, yellow)

safflower), are added to the best kinds for improving the colour as well as for scenting the ink . There is a See also:

• GREAT

great difference both in See also:

• PRICE
• PRICE, BARTHOLOMEW (1818–1898)
• PRICE, BONAMY (1807-1888)
• PRICE, RICHARD (1723-1791)

price and in quality of the various kinds of ink, the finest See also:

• ARTICLE (from Lat. articulus, a joint)

article being rather costly." It is said that the See also:

• SIZE

size used in Chinese kinds is of See also:

• VEGETABLE

vegetable origin . Logwood Ink.—Under the name of chrome ink a black ink was discovered by Runge, which held out the promise of cheapness combined with many excellent qualities . It is prepared by dissolving 15 parts of extract of logwood in goo parts of water, to which 4 parts of crystallized See also:

• SODIUM [symbol Na, from Lat. natrium; atomic weight 23.00 (0=16)]

sodium carbonate are added . A further solution of 1 part of See also:

• POTASSIUM [symbol K (from kalium), atomic weight 39.114 0=16)]

potassium chromate (not bichromate) in See also:

• ROC

roc parts of water is prepared, and is added very gradually to the other solution with See also:

• CONSTANT, BENJAMIN (1845-1902)

constant agitation . The ink so obtained possesses an intense blue-black colour, flows freely and dries readily, is neutral in reaction and hence does not corrode steel pens, and adheres to and sinks into paper so that See also:

• MANUSCRIPTS

manuscripts written with it may be freely washed with a sponge without danger of smearing or spreading . It forms a good copying ink, and it possesses all the qualities essential to the best ink; but on exposure to air it very readily undergoes decomposition, the colouring matter separating in broad flakes, which swim in a clear menstruum . It is affirmed by Viedt that this See also:

• DRAWBACK

drawback maybe overcome by the use of soda, a method first suggested by Bottger . Logwood forms the See also:

• PRINCIPAL

principal ingredient in various other black inks used, especially as copying ink .

A very strong decoction of logwood or a strong solution of the extract with ammonium-See also:

• ALUM

alum yields a See also:

• VIOLET

violet ink which darkens slowly on exposure . Such an ink is costly, on See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the concentrated condition in which the logwood must be used . If, however, a metallic salt is introduced, a serviceable ink is obtained with the See also:

• EXPENDITURE

expenditure of much less logwood . Either sulphate of copper or sulphate of iron may be used, but the former, which produces a pleasing blue-black colour, is to be preferred . The following is the See also:

• FORMULA
• FORMULA (Lat. diminutive of forma, shape, pattern, &c., especially used of rules of judicial procedure)

formula most highly recommended for this ink . A clear solution of 20 kilos of extract of logwood in 200 litres of water is obtained, to which is added, with agitation, ro kilos of ammonium-alum dissolved in 20 litres of boiling water . The solution is acidified with 0'2 kilo of sulphuric acid, which has the effect of preventing any deposit, and finally there is added a solution of 1.5 kilos of sulphate of copper dissolved in 20 litres of water . This compound is exposed to the air for a few days to allow the colour to develop by oxidation, after which it is stored in well-corked bottles . The acid condition of this ink has a corrosive See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence on steel pens; in all other respects it is a most valuable writing fluid . Aniline Inks.—Solutions of aniline dye-stuffs in water are widely used as inks, especially coloured varieties . They are usually fugitive . Nigrosine is a black ink, which, although not producing a black so intense as common ink, possesses various advantages .

Being perfectly neutral, it does not attack pens; it can easily be kept of a proper consistency by making up with water; and its colour is not injuriously affected by theaction of acids . Its ready flow from stylographic pens led to the name " stylographic ink." Other aniline inks are mentioned below . Copying Ink.—Ink which yields by means of pressure an impression, on a See also:

• SHEET

sheet of damped See also:

• TISSUE (Fr. tissu, tissue, participle of tisser, Lat. texere, to weave)

tissue paper, of characters written in it is called copying ink . Any ink soluble in water, or which retains a certain degree of solubility, may be used as copying ink . Runge's chrome ink, being a soluble compound, is, therefore, so available; and the other logwood inks as well as the ordinary ferrous gallate inks contain also soluble constituents, and are essentially soluble till they are oxidized in and on the paper after exposure to the air . To render these available as copying inks it is necessary to add to them a sub-stance which will retard the oxidizing effect of the air for some time . For this purpose the bodies most serviceable are gum arabic or senegal, with See also:

• GLYCERIN, GLYCERINE

glycerin, dextrin or sugar, which last, however, renders the ink sticky . These substances See also:

• ACT (Lat. actus, actum)

act by forming a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of glaze or varnish over the surface of the ink which excludes the air . At the same time when the See also:

• DAMP

damp sheet of tissue paper is applied to the writing, they dissolve and allow a portion of the yet soluble ink to be absorbed by the moistened tissue . As copying ink has to yield two or more impressions, it is necessary that it should be made stronger, i.e. that it should contain more pigment or body than common ink . It, therefore, is prepared with from 30 to 40% less of water than non-copying kinds; but otherwise, except in the presence of the ingredients above mentioned, the inks are the same . Copying ink pencils consist of a See also:

• BASE

base of See also:

• GRAPHITE

graphite and See also:

• KAOLIN

kaolin impregnated with a very strong solution of an aniline colour, pressed into sticks and dried .

Red Ink.—The pigment most commonly employed as the basis of red ink is See also:

• BRAZIL
• BRAZIL, or BRASIL

Brazil-wood . Such an ink is prepared by adding to a strong decoction of the wood a proportion of stannous chloride (See also:

• TIN (Lat.- stannum, whence the chemical symbol " Sn "; atomic weight =117.6, 0=16)

tin See also:

• SPIRITS

spirits), and thickening the resulting fluid with gum arabic . In some instances alum and cream of See also:

• TARTAR

tartar are used instead of the stannous chloride . See also:

• COCHINEAL

Cochineal is also employed as the tinctorial basis of red ink; but, while the resulting fluid is much more brilliant than that obtained from Braziiwood, it is not so permanent . A very brilliant red ink may be prepared by dissolving See also:

• CARMINE

carmine in a solution of See also:

• AMMONIA (NH3)

ammonia, but this preparation must be kept in closely stoppered bottles . A useful red ink may also be made by dissolving the rosein of See also:

• BROOK

Brook, See also:

• SIMPSON, MATTHEW (1811-1884)
• SIMPSON, SIR JAMES YOUNG (1811-1870)
• SIMPSON, THOMAS (1710-1761)

Simpson and Spiller in water, in the proportion of r to from 150 to 200 parts . Blue Ink.—For the production of blue ink the pigment principally used is Prussian blue . It is first digested for two or three days with either strong hydrochloric acid, sulphuric acid or nitric acid, the digested mass is next very largely diluted with water, and after settling the supernatant liquid is siphoned away from the sediment . This sediment is repeatedly washed, till all traces of iron and free acid disappear from the water used, after which it is dried and mixed with oxalic acid in the proportion of 8 parts of Prussian blue to 1 of the acid, and in this condition the material is ready for dissolving in water to the degree of colour intensity necessary . An aniline blue ink may be prepared by dissolving 1 part of bleu de See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris in from 200 to 250 parts of water . Marking Ink.—The ink so called, used principally for marking See also:

• LINEN

linen, is composed of a salt of See also:

• SILVER

silver, usually the nitrate, dissolved in water and ammonia, with a little provisional colouring matter and gum for thickening . The colour resulting from the silver salt is See also:

• DEVELOPED

developed by See also:

• HEAT (0. E. haktu, which like " hot," Old Eng. hat, is from the Teutonic type haita, hit, to be hot; cf. Ger. hitze, heiss; Dutch, hitte, heet, &c.)

heat and See also:

• LIGHT

light; and the stain it makes; although exceedingly obstinate, gradually becomes a faint brownish-yellow .

The following yields a good marking ink . Equal parts of nitrate of silver and dry tartaric acid are triturated in a See also:

• MORTAR

mortar, and treated with water, when a reaction takes place, resulting in the formation of tartrate of silver and the liberation of nitric acid . The acid is neutralized, and at the same time the silver tartrate is dissolved by the addition of ammonia, and this solution with colouring matter and gum forms the ink, which may be used with an ordinary steel pen . Many vegetable juices, e g. of Coriarta thymifolia, Semecar pus snacardium.Anacardium occidentale (Cashew), are inks of this type . See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

Gold and silver inks are writing fluids in which gold and silver, or imitations of these metals, are suspended in a See also:

• STATE
• STATE, GREAT OFFICERS OF

state of fine division . In place of gold, Dutch See also:

• LEAF (O. Eng. leaf, cf. Dutch loof, Ger. Laub, Swed. lof, &c.; possibly to be referred to the root seen in Gr. Ma-eta, to peel, strip)

leaf or See also:

• MOSAIC (corresponding to Lat. opus musivum, from Gr. µovoeiov, an artificial grotto often decorated with mosaics; the word is only found in the sense of mosaic in late Greek, which generally uses k oXI yrlµa)

mosaic gold is frequently substituted, and See also:

• BRONZE

bronze powders are used for preparing a similar kind of ink . The metallic See also:

• FOIL

foil is first carefully triturated into a fine See also:

• PASTE (O. Fr. paste, modern pate, Late Lat. pasta, whence also in Span., Port. and Ital., from Gr. 1r&vrrl or 1raara, barley porridge, or salted pottage, ir&ao'ety, to sprinkle with salt)

paste with See also:

• HONEY (Chin. me ; Sansk. madhu, mead, honey; cf. A.S. medo, medu, mead; Gr. p Xt, in which 0 or b is changed into X; Lat. mel ; Fr. miel ; A.S. hung ; Ger. Honig)

honey, after which it is boiled in water containing a little See also:

• ALKALI

alkali, and then repeatedly washed in hot water and dried at a See also:

• GENTLE (through the Fr. gentil, from Lat. gentilis, belonging to the same gens, or family)

gentle heat . A solution is prepared consisting of i part of pure gum arabic and i part of soluble potash See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass in 4 parts of distilled water, into which the requisite quantity of the metallic See also:

• POWDER (through O. Fr. puldre, modern poudre, from Lat. pulvis, pulveris, dust)

powder prepared is introduced . Owing to the See also:

• SUPERIOR

superior covering nature of pure gold, less of the See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal is required than is necessary in the case of silver and other foils . In See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general r part of foil to 3 or 4 parts of solution is sufficient . The metallic lustre of writing done with this solution may be greatly heightened by gently polishing with a burnishing point . Another gold ink depends upon the formation of See also:

• PURPLE

purple of See also:

• CASSIUS
• CASSIUS, AVIDIUS (d. A.D. 175)
• CASSIUS, GAIUS

Cassius; the linen is mordanted with stannous chloride, and the gold applied as a gummy solution of the chloride .

Indelible or incorrodible ink is the name given to various combinations of lamp-black or other carbonaceous material with resinous substances used for writing which is exposed to the See also:

• WEATHER (O. Eng. weder; the word is common to Teutonic languages; cf. Du. weder, Dan. veir, Icel. ve8r, and Ger. Wetter and Gewitter, storm; the root is wa- to blow, from which is derived " wind ")

weather or to the See also:

• ACTION

action of strong acids or alkaline solutions . An ink having great resisting See also:

• POWERS, HIRAM (1805-1873)

powers may be conveniently prepared by rubbing down Indian ink in common ink till the mixture flows easily from the pen . Other combinations have more the See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of coloured varnishes . Sympathetic inks are preparations used for forming characters which only become visible on the application of heat or of some chemical reagent . Many chemicals which form in themselves colourless solutions, but which develop colour under the influence of reagents, may be used as sympathetic ink, but they are of little See also:

• PRACTICAL

practical utility . Characters written in a weak solution of galls develop a dark colour on being treated with a solution of See also:

• COPPERAS (Fr. couperose; Lat. cupri rosa. the flower of copper)

copperas; or, See also:

• VICE

vice versa, the writing may be done in copperas and developed by the galls solution . Writing done in various preparations develops colour on See also:

• HEATING

heating which fades as the paper cools . Among such substances are solutions of the chlorides of See also:

• COBALT (symbol Co, atomic weight 59)

cobalt and of See also:

• NICKEL
• NICKEL (symbol Ni, atomic weight 58.68 (0=16))

nickel . Very dilute solutions of the See also:

• MINERAL

mineral acids and of common salt and a solution of equal parts of sulphate of copper and sal-ammoniac act similarly . Writing with See also:

• RICE (Greek 6p6 a, Latin oryza, French riz, Italian riso, Spanish arroz, derived from the Arabic)
• RICE, EDMUND IGNATIUS (1762-1844)
• RICE, JAMES (1843-1882)

rice water and developing with See also:

• IODINE (symbol I, atomic weight '26.92)

iodine was a See also:

• DEVICE

device much used during the Indian See also:

• MUTINY
• MUTINY (from an old verb " mutine," O. Fr. mutin, meutin, a sedition; cf. mod. Fr. emeute; the original is the Late Lat. mota, commotion, from movere, to move)

Mutiny . Printing Inks.—Printing inks are essentially mixtures of a pigment and a varnish . The varnish is prepared from See also:

• LINSEED

linseed oil, rosin and See also:

• SOAP

soap; the oil must be as old as possible; the rosin may be black or See also:

• AMBER

amber; and the soap, which is indispensable since it causes the ink to adhere uniformly to the type and also to leave the type clean after taking an impression, is yellow, or See also:

• TURPENTINE (in M. Eng. turbentine, adapted through the O. Fr. turbentine or terebentine from Lat. terebinthina, sc. resina, resin of the terebinth, Gr. eepiOtvOos or eippavOos)

turpentine soap for dark inks, and curd soap for light inks .

The varnish is prepared as follows: The oil is carefully heated until it " strings " properly, i.e. a drop removed from the See also:

• VESSEL (O. Fr. vaissel, from a rare Lat. vascellum, dim. of vas, vase, urn)

vessel on a See also:

• ROD (O.E. rodd, probably related to Norw. rudda, stick, rodda, stake)
• ROD, EDOUARD (1857-1910)

rod, when placed upon a See also:

• PLATE

plate and the rod drawn away, forms a See also:

• THREAD (0. Eng. praed, literally, that which is twisted, prawan, to twist, to throw, cf. " throwster," a silk-winder, Ger. drehen, to twist, turn, Du. draad, Ger. Draht, thread, wire)

thread about z in. long . The rosin is carefully and slowly added and the mixture well stirred . The soap is then stirred in . The ink is prepared by mixing the varnish with the pigment, and grinding the mass to impalpable fineness either in a levigating See also:

• MILL
• MILL (O. Eng. mylen, later myln, or miln, adapted from the late Lat. molina, cf. Fr. moulin, from Lat. mola, a mill, molere, to grind; from the same root, mol, is derived " meal;" the word appears in other Teutonic languages, cf. Du. molen, Ger. muhle)
• MILL, JAMES (1773-1836)
• MILL, JOHN (c. 1645–1707)
• MILL, JOHN STUART (1806-1873)

mill or by a See also:

• STONE
• STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
• STONE, CHARLES POMEROY (1824-1887)
• STONE, EDWARD JAMES (1831-1897)
• STONE, FRANK (1800-1859)
• STONE, GEORGE (1708—1764)
• STONE, LUCY [BLACKWELL] (1818-1893)
• STONE, MARCUS (184o— )
• STONE, NICHOLAS (1586-1647)

stone and See also:

• MULLER, FERDINAND VON, BARON (1825–1896)
• MULLER, FRIEDRICH (1749-1825)
• MULLER, GEORGE (1805-1898)
• MULLER, JOHANNES PETER (18o1-1858)
• MULLER, JOHANNES VON (1752-1809)
• MULLER, JULIUS (18oi-1878)
• MULLER, KARL OTFRIED (1797-1840)
• MULLER, LUCIAN (1836-1898)
• MULLER, WILHELM (1794-1827)
• MULLER, WILLIAM JAMES (1812-1845)

muller . For black ink, lamp-black mixed with a little indigo or Prussian blue is the pigment employed; for wood engravings it may be mixed with See also:

• IVORY (Fr. ivoire, Lat. ebur)
• IVORY, SIR JAMES (1765-1842)

ivory black, and for copper plates with ivory or Frankfurt black; for lithographic reproductions Paris black is used . Red inks are made with carmine or cochineal; red See also:

• LEAD
• LEAD (pronounced iced)

lead is used in cheap inks, but it rapidly blackens . Blue inks are made with indigo or Prussian blue; yellow with lead chromate or yellow ochre; green is made by mixing yellow and blue; and' purple by mixing red and blue . Sec C . A . See also:

• MITCHELL
• MITCHELL, DONALD GRANT (1822—1908)
• MITCHELL, MARIA (1818—1889)
• MITCHELL, SILAS WEIR (1830-)
• MITCHELL, SIR THOMAS LIVINGSTONE (1792-1855)

Mitchell and T . C . Hepworth, Inks, their See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

Composition and Manufacture (1904); S .

Lehner, Ink Manufacture (1902); A . F . Gonillon, Enures et cirages (1906) ; L . E .