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PIGMENTS (Lat. pigmentum, from pinger...

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Originally appearing in Volume V21, Page 598 of the 1911 Encyclopedia Britannica.
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PIGMENTS (Lat. pigmentum, from pingere, to paint). It is convenient to distinguish between pigments and paints, the latter being prepared from the former by the addition of a vehicle or medium. Nor are pigments and dyes identical, although there are cases in which the same colouring matter which yields a dye or stain may give rise to a pigment. A pigment is, in fact, a substance which is insoluble in the vehicle with which it is mixed to make a paint,. while a dye is soluble. Pigments exhibit various degrees of transparency and opacity, and ought to possess such qualities as these: ease in working, chemical indifference to each other and, generally, to the vehicles employed, also stability under exposure to light and air. As a rule, it is desirable that pigments should not be seriously affected in hue by the vehicle; at all events, whatever change does occur ought to admit of calculation. In the case of oil colours it should be remembered that a thorough drying of the paint is preferable to the formation of a surface-skin, and that a few pigments, notably white lead, possess properties conducing to this desirable result. It is scarcely necessary to add to these general observations concerning pigments that their artistic value depends primarily upon the nature and amount of the optical sensation which they are competent to produce. Although the number of available pigments is great, the number of chemical elements which enter into their composition is not large. Very many richly-coloured compounds Sources. cannot be employed because they lack the properties of insolubility, inertness and stability. Pigments are drawn from various sources. Some are natural, some artificial; some are inorganic, some organic, some are elements, some mixtures, some compounds. It is not unusual to arrange them into two groups, substantive and adjective. Amongst the members of the former group such a pigment as vermilion, where each particle is homogeneous, may be cited as an example. Amongst the adjective pigments rose-madder may be named, for each particle consists of a colourless base on which a colouring matter (alizarin) has been thrown. Most of the inorganic pigments, whether natural or artificial, belong to the substantive group; while there are many organic pigments, notably those of artificial origin, which are of adjective character. The following table presents a summary classification of pigments according to their source or origin: Mineral pigments Natural; as terre verte. Artificial; as aureolin. Animal; as carmine. Vegetable; as madder-lake. Artificial; as alizarin-orange. A variety of processes are in use in order to fit natural coloured substances for employment as pigments. The first step is, Organic pigments in many cases, to select, or " pick over," the raw material, recognized in adulterated terre verte by the addition of dilute hydrochloric acid, which destroys the colour of the adulterant and causes an abundant evolution of the evil-smelling sulphuretted hydrogen. Moreover, nothing is easier than the recognition of indigo in vine or charcoal-black, for the dry powder, heated in a glass tube, gives off purple vapours of indigo, which condense in the cooler part of the tube into a blackish sublimate. A word must be said here as to the adulteration of white lead, and the examination of this most important pigment. The best variety of white lead or flake white contains two molecules of lead carbonate to one of lead hydrate, and is wholly soluble in dilute nitric acid, while barium sulphate, its most frequent adulterant, is wholly insoluble. China-clay and lead sulphate will also remain undissolved; but whitening or chalk cannot be detected in this way—indeed, the thorough examination of white lead, not only for sophistications but also for correspondence with the best type in composition, cannot be carried out save by a skilled chemist. Pigments may be classified on two systems: (I) based on the chemical composition; (2) based on the colour. On the first system pigments fall into nine groups, seven of which are fairly well defined, but the eighth and tion. assitica-~' ninth have a somewhat miscellaneous character. The groups of elements, oxides, sulphides, hydrates, carbonates and silicates present this characteristic, namely, that each member of any one group is without action upon the other members of the group; any two or more may therefore be mixed together without fear of mutual injury. The same statement may be made with reference to the various inorganic salts of Group VIII. and to the organic compounds of Group IX., although in this large final group there are two pigments containing copper (verdigris and emerald green) which must be regarded with suspicion. The inertness of the members of the same group towards each other may be explained in the majority of cases by the following consideration. An oxide does not act upon an oxide, nor does a sulphide affect a sulphide, because all the pigment oxides have taken up their full complement of oxygen, and can neither give nor lose this element to similar oxides; so also with sulphur in the sulphides. A few details regarding the several members of the nine groups are now offered: rejecting whatever impurities may weaken or injure the char- acteristic hue of the product. It is occasionally Prepare- necessary to treat the finely-ground substance with lion. water by the method of elutriation or washing-over; the wash-waters will then deposit, on standing, various grades of the coloured body required. With rare exceptions native pigments need careful grinding, either by means of a muller on a slab or by edge rollers, or horizontal mill-stones, or special machines. The substance is usually ground in spirits of turpentine, or alcohol, or water; oil-paints are of course finally ground in a drying-oil, such as linseed oil or poppy oil; water-colours require gum-water, or gum-water and glycerin if they are to be " moist " paints. In the case of all pigments, whether mineral or organic, whether natural or artificial, it is of the highest importance to make sure that they are free from saline matters soluble in water. Such salts are removed by thorough washing with distilled water. A treatment of this kind is essential in the case of a large number of pigments formed by chemical reactions in the " wet way." Characteristic examples are furnished by Prussian blue, viridian and lakes. Sometimes it is necessary to remove dangerous impurities by solvents other than water, such as carbon bisulphide, which is used to extract free sulphur from cadmium yellow. Mention may here be made of another kind of preparative treatment which is adopted with some pigments: they are subjected to the action of heat—moderate in some cases, strong in others. Thus, a few substances, such as ivory black and yellow ochre, which in ordinary circumstances contain much non-essential moisture, before they are ground in oil may with advantage be gently dried at a temperature not above that of boiling water. Again, there are pigments, such as Prussian brown, light red and burnt sienna, which owe their hues to a process of actual calcination, the first of these being thus made from Prussian blue, the second from yellow ochre, and the third from raw sienna. The pigments known as burnt carmine and burnt madder are prepared at a much lower temperature, and ought to be described as roasted rather than as burnt. The substitution of one pigment for another is rarely practised, but it is not so unusual to find that a costly substance has received an admixture of something cheaper, and Adaltera- that an inferior grade of a genuine pigment has had lion. its hue exalted or enhanced by some unlawful or dangerous addition. In fact, these two kinds of sophistication are often associated. Thus vermilion is adulterated with red lead, with red antimony sulphide, or with baryta white and lead sulphate, and then the hue of the mixture is restored to the proper pitch by the introduction of the powerful but fugitive colouring matter eosin. Amongst other adulterations which may be named here are the addition of chrome-yellow (lead chromate) to yellow ochre, of green ultramarine to terre verte, and of indigo to ivory black; this last mixture being a substitute for vine-black, the natural blue-black. The detection of the above-named sophistications is by no means difficult even in the hands of persons unacquainted with chemical manipulation, but it needs a trained analyst when quantitative results are required. If we are dealing with an oil-colour, the first step is to remove the oil by means of a solvent, such, for example, as ether. The residual pigment is then allowed to dry, and the dry powder submitted to the appropriate physical and chemical tests. Thus a suspected vermilion, having been freed from oil, is heated in a small hard glass bulb-tube: it should prove practically volatile, leaving a mere trace of residue. In this particular case the presence of a red hue in the ether-extract affords evidence of adulteration with an organic colouring matter, such as eosin. Then, again, we may detect the presence in yellow ochre of lead chromate by pouring a little sulphuretted hydrogen water and dilute hydrochloric acid upon one portion of the dry pigment, and boiling another portion with dilute sulphuric acid and some alcohol: in the former experiment blackening will occur, in the Iatter the liquid part of the mixture will acquire a greenish tint. So also green ultramarine may be
End of Article: PIGMENTS (Lat. pigmentum, from pingere, to paint)

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