P. (continued 2)

The paper stuff or pulp is allowed to flow from the vat A, fig. 788., on to the surface of the endless wire-web, as this is moving along. The lines o, o, fig. 788. show the course of the motion of the web, which operates as a sieve, separating to a certain degree the water from the pulp, yet leaving the latter in a wet state till it arrives at the first pair of pressing rollers H, H, between which the web with its sheet of paper is squeezed. Thick paper, in passing through these rollers, was formerly often injured by becoming water-galled, from the greater retention of water in certain places than in others. But Messrs. Donkin’s cylinder, as above described, has facilitated vastly the discharge of the water, and enabled the manufacturer to turn off a perfectly uniform smooth paper.

In fig. 788., immediately below the perforated cylinder, there is a wooden water-trough. Along one side of the trough a copper pipe is laid, of the same length as the cylinder, and parallel to it; the distance between them being about one fourth of an inch. The side of the pipe facing the cylinder is perforated with a line of small holes, which transmit a great many jets of water against the surface of the cylinder, in order to wash it and keep it clean during the whole continuance of the process.

The principle adopted by John Dickinson, Esq., of Nash Mill, for making paper, is different from that of Fourdrinier. It consists in causing a polished hollow brass cylinder, perforated with holes or slits, and covered with wire cloth, to revolve over and just in contact with the prepared pulp; so that by connecting the cylinder with a vessel exhausted of its air, the film of pulp, which adheres to the cylinder during its rotation, becomes gently pressed, whereby the paper is supposed to be rendered drier, and of more uniform thickness, than upon the horizontal hand moulds, or travelling wire cloth of Fourdrinier. When subjected merely to agitation, the water is sucked inwards through the cylindric cage, leaving the textile filaments so completely interwoven as, if felted among each other, that they will not separate without breaking, and, when dry, they will form a sheet of paper of a strength and quality relative to the nature and preparation of the pulp. The roll of paper thus formed upon the hollow cylinder is turned off continuously upon a second solid one covered with felt, upon which it is condensed by the pressure of a third revolving cylinder, and is thence delivered to the drying rollers.

Such is the general plan of Mr. Dickinson’s paper machines, into which he has introduced numerous improvements since its invention in 1809, many of them secured by patent right; whereby he has been enabled to make papers of first-rate quality, more particularly for the printing-press. See infrà.

In July 1830, Mr. Ibotson of Poyle, paper manufacturer, obtained a patent, see B, fig. 788., which has proved very successful, for a peculiar construction of a sieve or strainer. Instead of wire meshes, he uses a series of bars of gun-metal, laid in the bottom of a box, very closely together, so that the upper surfaces or the flat sides may be in the same plane, the edge of each bar being parallel with its neighbour, leaving parallel slits between them of from about 1-70th to 1-100th of an inch in width, according to the fineness or coarseness of the paper-stuff to be strained. As this stuff is known to consist of an assemblage of very fine flexible fibres of hemp, flax, cotton, &c., mixed with water, and as, even in the pulp of which the best paper is made, the length of the said fibres considerably exceeds the diameter of the meshes of which common strainers are formed, consequently the longest and most useful fibres were formerly lost to the paper manufacturer. Mr. Ibotson’s improved sieve is employed to strain the paper-stuff previously to its being used in the machine above described. (see its place at B in the vat.) When the strainer is at work, a quick vertical and lateral jogging motion is given to it, by machinery similar to the joggling-screens of corn mills.

Since the lateral shaking motion of the wire-web in the Fourdrinier machine, as originally made, was injurious to the fabric of the paper, by bringing its fibres more closely together breadthwise than lengthwise, thus tending to produce long ribs, or thick streaks in its substance, Mr. George Dickinson, of Buckland Mill, near Dover, proposed, in the specification of a patent obtained in February, 1828, to give a rapid up-and-down movement to the travelling web of pulp. He does not, however, define with much precision any proper mechanism for effecting this purpose, but claims every plan which may answer this end. He proposes generally to mount the rollers, which conduct the horizontal endless web, upon a vibrating frame. The forepart of this frame is attached, to the standards of the machine, by hinge joints, and the hinder part, or that upon which the pulp is first poured out, is supported by vertical rods, connected with a crank on a shaft below. Rapid rotatory motion being given to this crank-shaft, the hinder part of the frame necessarily receives a quick up-and-down vibratory movement, which causes the water to be shaken out from the web of pulp, and thus sets the fibres of the paper with much greater equality than in the machines formerly constructed. A plan similar to this was long ago introduced into Mr. Donkin’s machines, in which the vibrations were actuated in a much more mechanical way.

John Dickinson, Esq., of Nash Mill, obtained a patent in October, 1830, for a method of uniting face to face two sheets of pulp by means of machinery, in order to produce paper of extraordinary thickness. Two vats are to be supplied with paper stuff as usual; in which two hollow barrels or drums are made to revolve upon axles driven by any first mover; an endless felt is conducted by guide rollers, and brought into contact with the drums; the first drum gives off the sheet of paper pulp from its periphery to the felt, which passing over a pressing roller, is conducted by the felt to that part of a second drum which is in contact with another pressing roller. A similar sheet of paper pulp is now given off from the second drum, and it is brought into contact with the former by the pressure of its own roller. The two sheets of paper pulp thus united are carried forward by the felt over a guide roller, and onward to a pair of pressing rollers, where by contact the moist surfaces of the pulp are made to adhere, and to constitute one double thick sheet of paper, which, after passing over the surfaces of hollow drums, heated by steam, becomes dry and compact. The rotatory movements of the two pulp-lifting drums must obviously be simultaneous, but that of the pressing rollers should be a little faster, because the sheets extend by the pressure, and they should be drawn forward as fast as they are delivered, otherwise creases would be formed. Upon this invention is founded Mr. Dickinson’s ingenious method of making safety-paper for Post-office stamps, by introducing silk fibres, &c., between the two laminæ.

The following contrivance of the same inventive manufacturer is a peculiarly elegant mechanical arrangement, and is likely to conduce to the perfection of machine-made paper. I have already described Mr. Ibotson’s excellent plan of parallel slits, or gridiron strainers, which has been found to form paper of superior quality, because it permits all the elongated tenacious fibres to pass, which give strength to the paper, while it intercepts the coarser knots and lumps of the paste, that were apt to spoil its surface. Mr. Turner’s circular wire sieves, presently to be noticed, may do good work, but they cannot compete with Mr. Dickinson’s present invention, which consists in causing the diluted paper pulp to pass between longitudinal apertures, about the hundred-and-fifteenth part of an inch wide, upon the surface of a revolving cylinder.

The pulp being diluted to a consistency suitable for the paper machine, is delivered into a vat, of which the level is regulated by a waste pipe, so as to keep it nearly full. From this vat there is no other outlet for the pulp, except through the wire-work periphery of the revolving cylinder, and thence out of each of its ends into troughs placed alongside, from which it is conducted to the machine destined to convert it into a paper web.

The revolving cylinder is constructed somewhat like a squirrel cage, of circular rods, or an endless spiral wire, strengthened by transverse metallic bars, and so formed that the spaces between the rings are sufficient to allow the slender fibres of the pulp to pass through, but are narrow enough to intercept the knots and other coarse impurities, which must of course remain, and accumulate in the vat. The spaces between the wires of the squirrel cage may vary from the interval above stated, which is intended for the finest paper, to double the distance for the coarser kinds.

It has been stated that the pulp enters the revolving cylinders solely through the intervals of the wires in the circumference of the cylinder; these wires or rods are about three-eighths of an inch broad without, and two-eighths within, so that the circular slits diverge internally. The rods are one quarter of an inch thick, and are riveted to the transverse bars in each quadrant of their revolution, as well as at their ends to the necks of the cylinder.

During the rotation of the cylinder, its interstices would soon get clogged with the pulp, were not a contrivance introduced for creating a continual vertical agitation in the inside of the cylinder. This is effected by the up-and-down motion of an interior agitator or plunger, nearly long enough to reach from the one end of the cylinder to the other, made of stout copper, and hollow, but water-tight. A metal bar passes through it, to whose projecting arm at each end a strong link is fixed; by these two links it is hung to two levers, in such a way that when the levers move up and down, they raise and depress the agitator, but they can never make it strike the sides of the cylinder. Being heavier than its own bulk of water, the agitator, after being lifted by the levers, sinks suddenly afterwards by its weight alone.

The agitator’s range of up-and-down movement should be about one inch and a quarter, and the number of its vibrations about 80 or 100 per minute; the flow of the pulp through the apertures is suddenly checked in its descent, and promoted in its ascent, with the effect of counteracting obstructions between the ribs of the cylinder.

The sieve cylinder has a toothed wheel fixed upon the tubular part of one of its ends, which works between two metal flanches made fast to the wooden side of the vat, for the purpose of keeping the pulp away from the wheel; and it is made to revolve by a pinion fixed on a spindle, which going across the vat, is secured by two plummer blocks on the outside of the troughs, and has a rotatory motion given to it by an outside rigger or pulley, by means of a strap from the driving shaft, at the rate of 40 or 50 revolutions per minute. This spindle has also two double eccentrics fixed upon it, immediately under the levers, so that in every revolution it lifts those levers twice, and at the same time lifts the agitator.

The diameter of the sieve cylinder is not very material, but 14 inches have been found a convenient size; its length must be regulated according to the magnitude of the machine which it is destined to supply with pulp. One, four feet long in the cage part, is sufficient to supply a machine of the largest size in ordinary use, viz., one capable of making paper 4 feet 6 inches wide. When the cylinder is of this length, it should have a wheel and pinion at each end.

Metal flanches are firmly fixed to the sides of the vat, with a water-tight joint, and form the bearings in which the cylinder works.

Mr. Turner of Bermondsey, paper-maker, obtained a patent in March, 1831, for a peculiar strainer, designed to arrest the lumps mixed with the finer paper pulp, whereby he can dispense with the usual vat and hog in which the pulp is agitated immediately before it is floated upon the endless wire-web of the Fourdrinier apparatus. His strainer may also be applied advantageously to hand paper machines. He constructs his sieves of a circular form, by combining any desirable number of concentric rings of metal, with small openings between them, from the 50th to the 100th part of an inch wide. In order to facilitate the passage of the fine pulp and water, the sieves receive a vibratory motion up and down, which supersedes the hog employed in other paper-making machines.

A mechanism to serve the same purpose as the preceding, in which Mr. Ibotson’s plan of a parallel rod-strainer is modified, was made the subject of a patent by Mr. Henry Brewer, of Surrey Place, Southwark, in March, 1832. He constructs square boxes with gridiron bottoms, and gives a powerful up-and-down vibration in the pulp tub, by levers, rotatory shafts, and cranks.

As the contrivance is not deficient in ingenuity, and may be useful, I shall describe this mode of adapting his improved strainers to a vat in which paper is to be made by hand moulds. A hog (or churning rotator) is employed for the purpose of agitating the pulp at the bottom of the vat, in which the sieve is suspended from a crank-shaft, or in any other way, so as to receive the up-and-down vibratory motion for the purpose of straining the pulp. The pulp may be supplied from a chest, and passed through a cock into a trough, by which it is conveyed to the strainers.

A pipe from the bottom of the vat leads into a lifter-box, which is designed to convey thin pulp into the sieve, in order to dilute that which is delivered from the chest. This pipe also allows the small lumps, called rolls, to be re-sifted. The pressure of the pulp and water in the vat forces the pulp up the pipe into the lifter-box, whence it is taken by rotatory lifters, and discharged into a trough, where it runs down and mixes with the thick pulp from the chest, as before mentioned. By these means the contents of the vat are completely strained or sifted over again in the course of almost every hour.

A patent was obtained for a paper-pulp strainer by Mr. Joseph Amies, of Loose, in the county of Kent, paper manufacturer, who makes the bottoms of his improved strainers with plates of brass or other suitable metal, and forms the apertures for the fine fibres of pulp to pass through, by cutting short slits through such plates, taking care that as much metal is left between the ends of each short slit and the next following as will properly brace or stiffen the ribs of the strainer; and he prefers that the end of one slit shall be nearly opposite to the middle of the two slits next adjoining it, which is commonly called blocking the joints. This is for giving rigidity to the bottom of the strainer, and constitutes the main feature of his improvement. The bottoms of sieves previously constructed with long metallic rods, he considers to be liable to lateral vibration in use, and thus to have permitted knots and lumps to pass through their expanded intervals. This objection is not applicable to Mr. Dickinson’s squirrel-cage strainer, of which the ribs may be made rigid by a sufficient number of transverse bars; nor in fact is it applicable to Mr. Ibotson’s original strainer, as it is admirably constructed by Messrs. Donkin and Co. Each bar which they make being inflexible by a feathered rib, is rendered perfectly straight in its edge by grinding with emery upon a flat disc-wheel of block tin, and of invariable length, by a most ingenious method of turning each set of bars in a lathe. The bars are afterwards adjusted in the metallic sieve-frame, or chest, at any desired distance apart, from the 120th to the 60th of an inch, in such a manner as secures them from all risk of derangement by the vibratory or jogging motion in shaking the pulpy fibres through the lineal intervals between them.

Mr. James Brown, paper manufacturer, of Esk mills, near Edinburgh, obtained a patent in May, 1836, for a particular mode of applying suction to the pasty web in the Fourdrinier’s machine. He places a rectangular box transversely beneath the horizontal wire cloth, without the interposition of any perforated covering, such as had been tried in the previously constructed vacuum machines, and which he considers to have impeded their efficacy in condensing the pulp and extracting the water.

Upon this and all similar contrivances for making a partial vacuum under the pulpy paper web, it may be justly remarked, that they are more apt to injure than improve the texture of the article; since when the suction is unequally operative, it draws down not only the moisture, but many of the vegetable fibres, causing roughnesses, and even numerous small perforations in the paper.

A modification of Mr. Dickinson’s cylinder-mould continuous paper machine was made the subject of a patent in Nov. 1830, by Mr. John Hall, jun., of Dartford, as communicated to him by a foreigner residing abroad. The leading feature of the invention is a mode of supplying the vat in which the wire cylinder is immersed with a copious flow of water, for the purpose of creating a considerable pressure upon the external surface of the cylinder, and thereby causing the fibres of the paper pulp to adhere to the mould.

There is a semi-cylindrical trough, in which the mould is immersed, and made to revolve by any convenient means. The pulp is transferred from the vat into that vessel at its bottom part. On the side of the drum-mould opposite to the vat, there is a cistern into which a copious flow of water is delivered, which passes thence into the semi-cylindrical trough. In the interior of the cylindrical mould, a bent or syphon tube is introduced, on the horizontal part of which tube, inside, the mould revolves. This tube is connected at the outside to a pump, by which the water is drawn from the interior of the cylindrical mould. Thus the water in the semi-cylindrical trough, on the outside of the drum, is kept at a considerably higher level than it is within; and consequently the pressure of the water, as it passes through the wire gauze, will, it is supposed, cause the fibres of the paper pulp to adhere to the circumference of the mould. The water which is withdrawn from the interior of the drum by the recurved tube, is conducted round into the cistern, where its discharge is impeded by several vertical partitions, which make the water flow in a gentle stream into the semi-cylindrical mould vat. In order to keep the pulp properly agitated in the mould vat, a segment frame, having rails extended across the vat, is moved to and fro; as the drum mould goes round, the fibres of the pulp are forced against its circumference, and as the water passes through, the fibres adhere, forming the sheet of paper, which, on arriving at a couching roller above, is taken up as usual by an endless felt, conducted away to the drying apparatus, and thence to the reel to be wound up.

The patentee claims merely the application of a pump to draw the water from the interior of the mould drum, and to throw it upon its external surface.

A rag-cutting and lacerating machine was patented by Mr. Henry Davy, of Camberwell, in September, 1833, being a communication from a foreigner residing abroad. The machine consists of an endless feeding-cloth, by which the rough rags supplied by the attendants are progressively conducted forwards to a pair of feed-rollers (see Cotton, spinning), and on passing through these rollers, the rags are subjected to the operation of rotatory cutters, acting against a fixed or ledger blade, which cut and tear them to pieces. Thence the rags pass down an inclined sieve, upon which they are agitated to separate the dust. The cleaned fragments are delivered on to a horizontal screen or sorting table, to suffer examination. When picked here, they are ready for the pulp-engine. A distinct representation of this machine is given in Newton’s Journal, conjoined series, vol. iv. pl. IX. fig. 1.

Mr. Jean Jacques Jequier obtained a patent in August, 1831, for a mode of making paper on the continuous machine with wire-marks. The proposed improvement consists merely in the introduction of a felted pressing roller, to act upon the paper after it has been discharged from the mould, and need not therefore be particularly described.

In August, 1830, Mr. Thomas Barratt, paper-maker, of St. Mary Cray, in the county of Kent, obtained a patent for an apparatus by which paper may be manufactured in a continuous sheet, with the water-mark and maker’s name, so as to resemble in every respect paper made by hand, in moulds the size of each separate sheet. On the wire web, at equal distances apart, repetitions of the maker’s name or other device is placed, according to the size of the paper when cut up into single sheets. In manufacturing such paper, the ordinary method of winding upon a reel cannot be employed; and therefore the patentee has contrived a compensating reel, whose diameter diminishes at each revolution, equal to the thickness of a sheet of paper. See Newton’s Journal, C. S. vol. vii. p. 285.

For Mr. Lemuel Wellman Wright’s series of improvements in the manufacture of paper, specified in his patent of November, 1834, I must refer to the above Journal, C. S., vol. viii. p. 86.

A committee of the Société d’Encouragement, of Paris, made researches upon the best composition for sizing paper in the vat, and gave the following recipe:—

100 kilogrammes of dry paper stuff.

12 — starch.

1 — rosin, previously dissolved in 500 grammes of carbonate of soda.

18 pails of water.

M. Braconnot proposed the following formula in the 23d volume of the Annales de Chimie et de Physique:—To 100 parts of dry stuff, properly diffused through water, add a boiling uniform solution of 8 parts of flour, with as much caustic potash as will render the liquor clear. Add to it one part of white soap previously dissolved in hot water. At the same time heat half a part of rosin with the requisite quantity of weak potash lye for dissolving the rosin; mix both solutions together, and pour into them one part of alum dissolved in a little water.

Those who colour prints, size them previously with the following composition:—4 ounces of glue, and 4 ounces of white soap dissolved in 3 English pints of hot water. When the solution is complete, two ounces of pounded alum must be added, and as soon as the composition is made homogeneous by stirring, it is ready for use. It is applied cold with a sponge, or rather with a flat camel’s hair brush. Ackermann’s liquor, as analyzed by Vauquelin, may be made for sizing paper as follows:—

100 kilogrammes of dry stuff.

4 — glue.

8 — resinous soap.

8 — alum.

The soap is made from 4·8 kilos. of pounded rosin, and 2·22 crystals of carbonate of soda, dissolved in 100 litres of water. It is then boiled till the mixture becomes quite uniform; the glue, previously softened by 12 hours’ maceration in cold water, is to be next added; and when this is totally dissolved, the solution of alum in hot water is poured in. Three quarts of this size were introduced into the vat with the stuff, and well mixed with it. The paper manufactured with this paste seemed to be of excellent quality, and well sized.

The Chinese, in manufacturing paper, sometimes employ linen rags, as we do; at other times, the fibres of the young bamboo; of the mulberry; the envelope of the silk-worm cocoon; also a tree, unknown to our botanists, which the natives call chu or ko-chu; cotton down, and especially the cotton tree. The processes pursued in China to make paper with the inner bark of their paper-tree (Broussonetia-papyrifera,) or Chinese mulberry, have been described at great length in the bulletin of the Société d’Encouragement, for 1826, p. 226; but they will hardly prove serviceable to a European manufacturer. That tree has been acclimated in France.

Chinese paper is not so well made as the good paper of Europe; it is not so white, it is thinner, and more brittle, but extremely soft and silky. The longitudinal tenacity of its filaments, however, renders it fitter for the engraver than our best paper. The Chinese, after triturating, grinding, and boiling the bamboo, set the paste to ferment in a heap covered with mats. Chinese paper is readily recognised, because it is smooth on one side, and bears on the other, the marks of the brush with which it is finished, upon smooth tables, in order to dry it flat. The kind employed for engravings is in sheets four feet long, and two broad. It is made of the bamboo; their myrtle-tree paper would be too strong for this purpose.

Tracing Paper.

The best paper of this kind, sometimes superfluously called vegetable paper, is made of the refuse of the flax mills, and prepared by the engine without fermentation. It thus forms a semi-transparent paste, and affords a transparent paper. Bank-note paper is made of the same materials, but they always undergo a bleaching with chloride of lime. Great nicety is required in drying this kind of paper. For this purpose, each sheet must be put between two sheets of gray paper in the press; and this gray paper must be renewed several times, to prevent the bank-note paper from creasing.

Paper of Safety or Surety; Papier de Sureté.

This subject has occupied the attention of the French Academy for many years, in consequence of the number of frauds committed upon the stamp revenue in France. One of the best methods of making a paper which would evince whether any part of a writing traced upon it had been tampered with or discharged, is to mix in the vat two kinds of pulp, the one perfectly white, the other dyed of any colour easily affected by chlorine, acids, and alkalis. The latter stuff being mingled with the former in any desired proportion, will furnish a material for making a paper which will contain coloured points distributed throughout all its substance, ready to show, by the changes they suffer, whether any chemical reaction has been employed.

Quantity of Paper charged with Duties of Excise, in the United Kingdom, in

1834. 1835. 1836.

lbs. lbs. lbs.

First class 54,053,721 56,179,555 66,202,689

Second class 16,552,168 7,863,095 15,906,258

Pasteboard, millboard, &c. 49,392 49,772 36,340

yards. yards. yards.

Stained 8,749,144 8,247,931 8,032,577

£ s. d. £ s. d. £ s. d.

Amount of duty, first class 675,671 10 0 702,244 9 0 651,699 0 0

— second class 103,451 0 0 111,644 0 0 99,414 0 0

— pasteboard, &c. 54,689 0 0 54,548 15 0 39,557 0 0

— stained 63,795 16 0 60,141 0 0 22,112 0 0

The late reduction of the duty, from 3d. to 1¹⁄₂d. per lb., upon paper of the first class, viz., on all descriptions of it, except that made out of tarred ropes only, has been already attended with considerable benefit to the manufacture, and would have acted with much greater effect, but for the American crisis. The gross amount of the paper duty in the year ending 5th January, 1836, was 831,057l., and in the year ending 5th January, 1838, it was 554,497l.; instead of being little more than one half, as might have been the case from the reduction of the duty, which only came into full operation in the year 1837. At the same time that the tax on common paper was reduced, that upon stained paper was repealed altogether. The effect of the diminution consequently made in the price of paper-hangings, has been so great as nearly to double the consumption of the country, while the manufacture appears to be still rapidly on the increase.

Declared Value of Stationery and Printed Books exported in

Years. Stationery. Printed Books. Total.

1827 £195,110 £107,199 £302,309

1828 208,532 102,874 311,406

1829 190,652 109,878 300,530

1830 171,848 95,874 267,722

1831 179,216 101,110 280,326

1832 177,718 93,038 270,756

1833 211,518 124,535 336,053

1834 211,459 122,595 334,054

1835 259,105 148,318 407,423

1836 301,121 178,945 480,066

Till the paper trade shall escape entirely from the clutches of its antient dry-nurse, the excise, neither it nor the book trade can acquire the same ascendancy in exportation which all other articles of British manufactures have over the French.

The Value of Stationery exported in France, from 1833, was,—

Cartons lustrés (polished pasteboards for the cloth manufacture) 18,992 francs

Cartons en feuilles (pasteboard in sheets) 6,352 —

Cartons moulés (papier-maché) 215,376 —

Cartons coupés et assemblés 54,184 —

Wrapping paper 178,544 —

White paper, and rayé (ruled) pour musique 2,903,075 —

Coloured paper in reams 58,541 —

Stained paper (paper hangings) in rouleaux, 1,885,387 —

Silk paper 3,240 —

Total (= £208,000) 5,323,621 francs.

PARAFFINE. Distil beech-tar to dryness, rectify the heavy oil which collects at the bottom of the receiver, and when a thick matter begins to rise, set aside what is distilled, and urge the heat moderately as long as any thing more distils. Pyrélaine passes over, containing crystalline scales of paraffine. This mixture being digested with its own volume of alcohol of 0·833, forms a limpid solution, which is to be gradually diluted with more alcohol, till its bulk becomes 6 or 8 times greater. The alcohol, which at first dissolves the whole, lets the paraffine gradually fall. The precipitate being washed with cold alcohol till it becomes nearly colourless, and then dissolved in boiling alcohol, is deposited on cooling in minute spangles and needles of pure paraffine.

Or the above mixture may be mixed with from ¹⁄₄ to ¹⁄₂ its weight of concentrated sulphuric acid, and subjected for 12 hours to digestion, at a heat of 150° F., till, on cooling, crystals of paraffine appear upon the surface. These are to be washed with water, dissolved in hot alcohol, and crystallized. Paraffine is a white substance, void of taste and smell, feels soft between the fingers, has a specific gravity of 0·87, melts at 112° Fahr., boils at a higher temperature with the exhalation of white fumes, is not decomposed by dry distillation, burns with a clear white flame without smoke or residuum, does not stain paper, and consists of 85·22 carbon, and 14·78 hydrogen; having the same composition as olefiant gas. It is decomposed neither by chlorine, strong acids, alkalis, nor potassium; and unites by fusion with sulphur, phosphorus, wax, and rosin. It dissolves readily in warm fat oils, in cold essential oils, in ether, but sparingly in boiling absolute alcohol. Paraffine is a singular solid bicarburet of hydrogen; it has not hitherto been applied to any use, but it would form admirable candles.

PARCHMENT. (Parchemin, Fr.; Pergament, Germ.) This writing material has been known since the earliest times, but is now made in a very superior manner to what it was anciently, as we may judge by inspection of the old vellum and parchment manuscripts. The art of making parchment consists in certain manipulations necessary to prepare the skins of animals of such thinness, flexibility, and firmness, as may be required for the different uses to which this substance is applied. Though the skins of all animals might be converted into writing materials, only those of the sheep or the she-goat are used for parchment; those of calves, kids, and dead-born lambs for vellum; those of the he-goat, she-goat, and wolves for drum-heads; and those of the ass for battledores. All these skins are prepared in the same way, with slight variations, which need no particular detail.

They are first of all prepared by the leather-dresser. After they are taken out of the lime-pit, shaved, and well washed, they must be set to dry in such a way as to prevent their puckering, and to render them easily worked. The small manufacturers make use of hoops for this purpose, but the greater employ a herse, or stout wooden frame. This is formed of two uprights and two cross-bars solidly joined together by tenons and mortises, so as to form a strong piece of carpentry, which is to be fixed up against a wall. These four bars are perforated all over with a series of holes, of such dimensions as to receive slightly tapered box-wood pins, truly turned, or even iron bolts. Each of these pins is transpierced with a hole like the pin of a violin, by means of which the strings employed in stretching the skin may be tightened. Above the herse, a shelf is placed, for receiving the tools which the workman needs to have always at hand. In order to stretch the skin upon the frame, larger or smaller skewers are employed, according as a greater or smaller piece of it is to be laid hold of. Six holes are made in a straight line to receive the larger, and four to receive the smaller skewers or pins. These small slits are made with a tool like a carpenter’s chisel, and of the exact size to admit the skewer. The string round the skewer is affixed to one of the bolts in the frame, which are turned round by means of a key, like that by which pianos and harps are tuned. The skewer is threaded through the skin in a state of tension.

Every thing being thus prepared, and the skin being well softened, the workman stretches it powerfully by means of the skewers; he attaches the cords to the skewers, and fixes their ends to the iron pegs or pins. He then stretches the skin, first with his hand applied to the pins, and afterwards with the key. Great care must be taken that no wrinkles are formed. The skin is usually stretched more in length than in breadth, from the custom of the trade; though extension in breadth would be preferable, in order to reduce the thickness of the part opposite the backbone.

The workman now takes the fleshing tool represented under Currying. It is a semi-circular double-edged knife, made fast into a double wooden handle. Other forms of the fleshing-knife edge are also used. They are sharpened by a steel. The workman seizes the tool in his two hands, so as to place the edge perpendicularly to the skin, and pressing it carefully from above downwards, removes the fleshy excrescences, and lays them aside for making glue. He now turns round the herse upon the wall, in order to get access to the outside of the skin, and to scrape it with the tool inverted, so as to run no risk of cutting the epidermis. He thus removes any adhering filth, and squeezes out some water. The skin must next be ground. For this purpose it is sprinkled upon the fleshy side with sifted chalk or slaked lime, and then rubbed in all directions with a piece of pumice-stone, 4 or 5 inches in area, previously flattened upon a sandstone. The lime gets soon moist from the water contained in the skin. The pumice-stone is then rubbed over the other side of the skin, but without chalk or lime. This operation is necessary only for the best parchment or vellum. The skin is now allowed to dry, upon the frame; being carefully protected from sunshine, and from frost. In the arid weather of summer a moist cloth needs to be applied to it from time to time, to prevent its drying too suddenly; immediately after which the skewers require to be tightened.

When it is perfectly dry, the white colour is to be removed by rubbing it with the woolly side of a lambskin. But great care must be taken not to fray the surface; a circumstance of which some manufacturers are so much afraid, as not to use either chalk or lime in the polishing. Should any grease be detected upon it, it must be removed by steeping it in a lime-pit for 10 days, then stretching it anew upon the herse, after which it is transferred to the scraper.

This workman employs here an edge tool of the same shape as the fleshing-knife, but larger and sharper. He mounts the skin upon a frame like the herse above described; but he extends it merely with cords, without skewers or pins, and supports it generally upon a piece of raw calfskin, strongly stretched. The tail of the skin being placed towards the bottom of the frame, the workman first pares off, with a sharp knife, any considerable roughnesses, and then scrapes the outside surface obliquely downwards with the proper tools, till it becomes perfectly smooth: the fleshy side needs no such operation; and indeed were both sides scraped, the skin would be apt to become too thin, the only object of the scraper being to equalize its thickness. Whatever irregularities remain, may be removed with a piece of the finest pumice-stone, well flattened beforehand upon a fine sandstone. This process is performed by laying the rough parchment upon an oblong plank of wood, in the form of a stool; the plank being covered with a piece of soft parchment stuffed with wool, to form an elastic cushion for the grinding operation. It is merely the outside surface that requires to be pumiced. The celebrated Strasburgh vellum is prepared with remarkably fine pumice-stones.

If any small holes happen to be made in the parchment, they must be neatly patched, by cutting their edges thin, and pasting on small pieces with gum water.

The skins for drum-heads, sieves, and battledores are prepared in the same way. For drums, the skins of asses, calves, or wolves are employed; the last being preferred. Ass skins are used for battledores. For sieves, the skins of calves, she-goats, and, best of all, he-goats, are employed. Church books are covered with the dressed skins of pigs.

Parchment is coloured only green. The following is the process. In 500 parts of rain water, boil 8 of cream of tartar, and 30 of crystallized verdigris; when this solution is cold, pour into it 4 parts of nitric acid. Moisten the parchment with a brush, and then apply the above liquid evenly over its surface. Lastly, the necessary lustre may be given with white of eggs, or mucilage of gum arabic.

PARTING (Départ, Fr.; Scheidung, Germ.), is the process by which gold is separated from silver. See Assay, Gold, Refining, and Silver.

PASTEL, is the French name of coloured crayons.

PASTEL, is a dye-stuff, allied to Indigo, which see.

PASTES, or FACTITIOUS GEMS. (Pierres précieuses artificielles, Fr.; Glaspasten, Germ.) The general vitreous body called Strass, (from the name of its German inventor,) preferred by Fontanier in his treatise on this subject, and which he styles the Mayence base, is prepared in the following manner:—8 ounces of pure rock-crystal or flint in powder, mixed with 24 ounces of salt of tartar, are to be baked and left to cool. The mixture is to be afterwards poured into a basin of hot water, and treated with dilute nitric acid till it ceases to effervesce; and then the frit is to be washed till the water comes off tasteless. This is to be dried, and mixed with 12 ounces of fine white-lead, and the mixture is to be levigated and elutriated with a little distilled water. An ounce of calcined borax being added to about 12 ounces of the preceding mixture in a dry state, the whole is to be rubbed together in a porcelain mortar, melted in a clean crucible, and poured out into cold water. This vitreous matter must be dried, and melted a second and a third time, always in a new crucible, and after each melting poured into cold water, as at first, taking care to separate the lead that may be revived. To the third frit, ground to powder, 5 drachms of nitre are to be added; and the mixture being melted for the last time, a mass of crystal will be found in the crucible, of a beautiful lustre. The diamond may be well imitated by this Mayence base. Another very fine white crystal may be obtained, according to M. Fontanier, from 8 ounces of white-lead, 2 ounces of powdered borax, ¹⁄₂ grain of manganese, and 3 ounces of rock crystal, treated as above.

The colours of artificial gems are obtained from metallic oxides. The oriental topaz, is prepared by adding oxide of antimony to the base; the amethyst, by manganese with a little of the purple of Cassius; the beryl, by antimony and a very little cobalt; yellow artificial diamond and opal, by horn-silver (chloride of silver); blue-stone or sapphire, by cobalt. The following proportions have been given:—

For the yellow diamond. To 1 ounce of strass add 24 grains of chloride of silver, or 10 grains of glass of antimony.

For the sapphire. To 24 ounces of strass, add 2 drachms and 26 grains of the oxide of cobalt.

For the oriental ruby. To 16 ounces of strass, add a mixture of 2 drachms, and 48 grains of the precipitate of Cassius, the same quantity of peroxide of iron prepared by nitric acid, the same quantity of golden sulphuret of antimony and of manganese calcined with nitre, and 2 ounces of rock crystal. Manganese alone, combined with the base in proper quantity, is said to give a ruby colour.

For the emerald. To 15 ounces of strass, add 1 drachm of mountain blue (carbonate of copper), and 6 grains of glass of antimony; or, to 1 ounce of base, add 20 grains of glass of antimony, and 3 grains of oxide of cobalt.

For the common opal. To 1 ounce of strass, add 10 grains of horn-silver, 2 grains of calcined magnetic ore, and 26 grains of an absorbent earth (probably chalk-marl) Fontanier.

M. Douault-Wiéland, in an experimental memoir on the preparation of artificial coloured stones, has offered the following instructions, as being more exact than what were published before.

The base of all artificial stones is a colourless glass, which he calls fondant, or flux; and he unites it to metallic oxides, in order to produce the imitations. If it be worked alone on the lapidary’s wheel, it counterfeits brilliants and rose diamonds remarkably well.

This base or strass is composed of silex, potash, borax, oxide of lead, and sometimes arsenic. The siliceous matter should be perfectly pure; and if obtained from sand, it ought to be calcined, and washed, first with dilute muriatic acid, and then with water. The crystal or flint should be made redhot, quenched in water, and ground, as in the potteries. The potash should be purified from the best pearlash; and the borax should be refined by one or two crystallizations. The oxide of lead should be absolutely free from tin, for the least portion of this latter metal causes milkiness. Good red-lead is preferable to litharge. The arsenic should also be pure. Hessian crucibles are preferable to those of porcelain, for they are not so apt to crack and run out. Either a pottery or porcelain kiln will answer, and the fusion should be continued 24 hours; for the more tranquil and continuous it is, the denser is the paste, and the greater its beauty. The following four recipes have afforded good strass:—

Grains.

No. I.

Or, Rock crystal 4056

Minium 6300

Pure potash 2154

Borax 276

Arsenic 12

No. II.

Sand 3600

Ceruse of Clichy (pure carbonate of lead) 8508

Potash 1260

Borax 360

Arsenic 12

No. III.

Rock crystal 3456

Minium 5328

Potash 1944

Borax 216

Arsenic 6

No. IV.

Rock crystal 3600

Ceruse of Clichy 8508

Potash 1260

Borax 360

Topaz.

Grains.

Very white paste 1008

Glass of antimony 43

Cassius purple 1

Or,

Paste 3456

Oxide of iron, called saffron of Mars 36

Ruby.

M. Wiéland succeeded in obtaining excellent imitations of rubies, by making use of the topaz materials. It often happened that the mixture for topazes gave only an opaque mass, translucent at the edges, and in thin plates of a red colour. 1 part of this substance being mixed with 8 parts of strass, and fused for 30 hours, gave a fine yellowish crystal-like paste, and fragments of this fused before the blowpipe, afforded the finest imitation of rubies. The result was always the same.

The following are other proportions for rubies:—

Grains.

Or, Paste 2880

Oxide of manganese 72

Emerald.

Or, Paste 4608

Green oxide of pure copper 42

Oxide of chrome 2

Sapphire.

Grains.

Or, Paste 4608

Oxide of cobalt 68

This mixture should be carefully fused in a luted Hessian crucible, and be left 30 hours in the fire.

Amethyst.

Grains.

Paste 4608

Oxide of manganese 36

Oxide of cobalt 24

Purple of Cassius 1

Syrian Garnet, or Antient Carbuncle.

Grains.

Paste 512

Glass of Antimony 256

Cassius purple 2

Oxide of manganese 2

Beryl, or Aqua Marina.

Grains.

Paste 3456

Glass of antimony 24

Oxide of cobalt 1¹⁄₂

In all these mixtures, the substances should be mixed by sifting, fused very carefully, and cooled very slowly, after having been left in the fire from 24 to 30 hours.

M. Lançon has also made many experiments on the same subject. The following are a few of his proportions:—

Paste.

Grains.

Litharge 100

White sand 75

White tartar, or potash 10

Amethyst.

Grains.

Paste 9216

Oxide of manganese from 15 to 24

Oxide of cobalt 1

Emerald.

Grains.

Paste 9216

Acetate of copper 72

Peroxide of iron, or saffron of Mars 1·5

PASTILLE, is the English name of small cones made of gum benzoin, with powder of cinnamon, and other aromatics, which are burned as incense, to diffuse a grateful odour, and conceal unpleasant smells in apartments. See Perfumery.

PASTILLE, is the French name of certain aromatic sugared confections; called also tablettes.

PEARLASH, a commercial form of Potash, which see.

PEARLS (Perles, Fr.; Perlen, Germ.); are the productions of certain shell-fish. These molluscæ are subject to a kind of disease caused by the introduction of foreign bodies within their shells. In this case, their pearly secretion, instead of being spread in layers upon the inside of their habitation, is accumulated round these particles in concentric layers. Pearl consists of carbonate of lime, interstratified with animal membrane.

The oysters whose shells are richest in mother of pearl, are most productive of these highly prized spherical concretions. The most valuable pearl fisheries are on the coast of Ceylon, and at Olmutz in the Persian Gulf, and their finest specimens are more highly prized in the East than diamonds, but in Europe they are liable to be rated very differently, according to the caprice of fashion. When the pearls are large, truly spherical, reflecting and decomposing the light with much vivacity, they are much admired. But one of the causes which renders their value fluctuating, is the occasional loss of their peculiar lustre, without our being able to assign a satisfactory reason for it. Besides, they can be now so well imitated, that the artificial pearls have nearly as rich an appearance as the real.

PEARLS, ARTIFICIAL. These are small globules or pear-shaped spheroids of thin glass, perforated with two opposite holes, through which they are strung, and mounted into necklaces, &c., like real pearl ornaments. They must not only be white and brilliant, but exhibit the iridescent reflections of mother of pearl. The liquor employed to imitate the pearly lustre, is called the essence of the east (essence d’orient), which is prepared by throwing into water of ammonia the brilliant scales, or rather the lamellæ, separated by washing and friction, of the scales of a small river fish, the blay, called in French ablette. These scales digested in ammonia, having acquired a degree of softness and flexibility which allow of their application to the inner surfaces of the glass globules, they are introduced by suction of the liquor containing them in suspension. The ammonia is volatilized in the act of drying the globules.

It is said that some manufacturers employ ammonia merely to prevent the alteration of the scales; that when they wish to make use of them, they suspend them in a well clarified solution of isinglass, then pour a drop of the mixture into each bead, and spread it round the inner surface. It is doubtful whether by this method, the same lustre and play of colours can be obtained as by the former. It seems moreover to be of importance for the success of the imitation, that the globules be formed of a bluish, opalescent, very thin glass, containing but little potash and oxide of lead. In every manufactory of artificial pearls, there must be some workmen possessed of great experience and dexterity. The French are supposed to excel in this ingenious branch of industry.

PEARLWHITE, is a submuriate of bismuth, obtained by pouring a solution of the nitrate of that metal into a dilute solution of sea salt, whereby a light and very white powder is obtained, which is to be well washed and dried. See Bismuth.

PECTIC ACID (Acid pectique, Fr.; Gallertsaüre, Germ.); so named on account of its jellying property, from πηκτις, coagulum, exists in a vast number of vegetables. The easiest way of preparing it, is to grate the roots of carrots into a pulp, to express their juice, to wash the marc with rain or distilled water, and to squeeze it well; 50 parts of the marc are next to be diffused through 300 of rain-water, adding by slow degrees a solution of one part of pure potash, or two of bicarbonate. This mixture is to be heated, so as to be made to boil for about a quarter of an hour, and is then to be thrown boiling-hot upon a filter cloth. It is known to have been well enough boiled, when a sample of the filtered liquor becomes gelatinous by neutralizing it with an acid. This liquor contains pectate of potassa, in addition to other matters extricated from the root. The pectate may be decomposed by a stronger acid, but it is better to decompose it by muriate of lime; whereby a pectate of lime, in a gelatinous form, quite insoluble in water, is obtained. This having been washed with cold water upon a cloth, is to be boiled in water containing as much muriatic acid as will saturate the lime. The pectic acid thus liberated, remains under the form of a colourless jelly, which reddens litmus paper, and tastes sour, even after it is entirely deprived of the muriatic acid. Cold water dissolves very little of it; it is more soluble in boiling water. The solution is colourless, does not coagulate on cooling, and hardly reddens litmus paper; but it gelatinizes when alcohol, acids, alkalis, or salts are added to it. Even sugar transforms it, after some time, into a gelatinous state, a circumstance which serves to explain the preparation of apple, cherry, raspberry, gooseberry, and other jellies.

PECTINE, or vegetable jelly, is obtained by mixing alcohol with the juice of ripe currants, or any similar fruit, till a gelatinous precipitate takes place; which is to be gently squeezed in a cloth, washed with a little weak alcohol, and dried. Thus prepared, pectine is insipid, without action upon litmus, in small pieces, semi-transparent, and of a membranous aspect, like isinglass. Its mucilaginous solution in cold water is not tinged blue with iodine. A very small addition of potash, or its carbonate, converts pectine into pectic acid; both of which substances are transformed into mucic and oxalic acids by the nitric.

PELTRY (Pelleterie, Fr.; Pelzwerk, Germ.); is nearly synonymous with fur, and comprehends the skins of different kinds of wild animals that are found in high northern latitudes, particularly in the American continent; such as the beaver, bear, moosedeer, marten, mink, sable, woolverin, wolf, &c. When these skins have received no preparation but from the hunters, they are most properly called peltry; but when they have had the inner side tawed or tanned (see Leather) by an aluminous process, they may then be denominated furs.

The scouring or cleaning of peltry is performed in a large cask, or truncated cone laid on its side, and traversed by a revolving shaft, which is furnished with a few rectangular rounded pegs. These are intended to stir round the skins, while they are dusted over with Paris plaster, whitening, or sometimes sand, made as hot as the hand can bear. The bottom of the cask should be grated, to allow the impurities to fall out. The lustrage, which the cleansed skins next undergo, is merely a species of dyeing, either topical to modify certain disagreeable shades, or general to impart a more beautiful colour to the fur. Under the articles Dyeing, and the several colours, as also Hair and Morocco, sufficient instructions will be found for dyeing fur. The mordants should be applied pretty hot by a brush, on the hair of the skin, stretched upon a solid table; and after two or three applications, with drying between, the tinctorial infusions may be rubbed on in the same way. The hair must be freed beforehand from all greasiness, by lime water, or a weak solution of carbonate of soda; then well washed. Much nicety, and many successive applications of the dye-stuff, are sometimes requisite to bring out the desired shade.

Under Hat Manufacture, I referred to this article for a description of the process of secrétage, whereby the hairs of rabbit and hare skins are rendered fit for felting. Dissolve 32 parts of quicksilver in 500 of common aquafortis; and dilute the solution with one half or two thirds of its bulk of water, according to the strength of the acid. The skin being laid upon a table with the hair side uppermost, a brush, made with the bristles of the wild boar, is to be slightly moistened with the mercurial solution, and passed over the smooth surface of the hairs with strong pressure. This application must be repeated several times in succession, till every part of the fur be equally touched, and till about two thirds of the length of the hairs be moistened, or a little more, should they be rigid. In order to complete this impregnation, the skins are laid together in pairs with the hairy sides in contact, put in this state into the stove-room, and exposed to a heat higher in proportion to the weakness of the mercurial solution. The drying should be rapidly effected, otherwise the concentration of the nitrate will not take due effect in causing the retraction and curling of the hairs.

No other acid, or metallic solution, but the above, has been found to answer the desired purpose of the hatmaker. After the hairs are properly secreted, they are plucked off by hand, or shorn off by a machine.

PENCIL MANUFACTURE. (Crayons, fabrique de, Fr.; Bleistifte, verfertigung, Germ.) The word pencil is used in two senses. It signifies either a small hair brush employed by painters in oil and water colours, or a slender cylinder of black lead or plumbago, either naked or enclosed in a wooden case, for drawing black lines upon paper. The last sort, which is the one to be considered here, corresponds nearly to the French term crayon, though this includes also pencils made of differently coloured earthy compositions. See Crayon.

The best black-lead pencils of this country are formed of slender parallelopipeds, cut out by a saw from sound pieces of plumbago, which have been previously calcined in close vessels at a bright red heat. These parallelopipeds are generally enclosed in cases made of cedar wood, though of late years they are also used alone, in peculiar pencil-cases, under the name of ever-pointed pencils, provided with an iron wire and screw, to protrude a minute portion of the plumbago beyond the tubular metallic case, in proportion as it is wanted.

In the year 1795, M. Conté, a French gentleman, well acquainted with the mechanical arts, invented an ingenious process for making artificial black-lead pencils of superior quality, by which he and his successor and son-in-law, M. Humblot, have realized large fortunes.

Pure clay, or clay containing the smallest proportion of calcareous or siliceous matter, is the substance which he employed to give aggregation and solidity, not only to plumbago dust, but to all sorts of coloured powders. That earth has the property of diminishing in bulk, and increasing in hardness, in exact proportion to the degree of heat it is exposed to, and hence may be made to give every degree of solidity to crayons. The clay is prepared by diffusing it in large tubs through clear river water, and letting the thin mixture settle for two minutes. The supernatant milky liquor is drawn off by a syphon from near the surface, so that only the finest particles of clay are transferred into the second tub, upon a lower level. The sediment which falls very slowly in this tub, is extremely soft and plastic. The clear water being run off, the deposit is placed upon a linen filter, and allowed to dry. It is now ready for use.

The plumbago must be reduced to a fine powder in an iron mortar, then put into a crucible, and calcined at a heat approaching to whiteness. The action of the fire gives it a brilliancy and softness which it would not otherwise possess, and prevents it from being affected by the clay, which it is apt to be in its natural state. The less clay is mixed with the plumbago, and the less the mixture is calcined, the softer are the pencils made of it; the more clay is used the harder are the pencils. Some of the best pencils made by M. Conté, were formed of two parts of plumbago and three parts of clay; others of equal parts. This composition admits of indefinite variations, both as to the shade and hardness; advantages not possessed by the native mineral. While the traces may be made as black as those of pure plumbago, they have not that glistening aspect which often impairs the beauty of black-lead drawings. The same lustre may, however, be obtained by increasing the proportion of powdered plumbago relatively to the clay.

The materials having been carefully sifted, a little of the clay is to be mixed with the plumbago, and the mixture is to be triturated with water into a perfectly uniform paste. A portion of this paste may be tested by calcination. If on cutting the indurated mass, particles of plumbago appear, the whole must be further levigated. The remainder of the clay is now to be introduced, and the paste is to be ground with a muller upon a porphyry slab, till it be quite homogeneous, and of the consistence of thin dough. It is now to be made into a ball, put upon a support, and placed under a bell glass inverted in a basin of water, so as to be exposed merely to the moist air.

Small grooves are to be made in a smooth board, similar to the pencil parallelopipeds, but a little longer and wider, to allow for the contraction of volume. The wood must be boiled in grease, to prevent the paste from sticking to it. The above described paste being pressed with a spatula into these grooves, another board, also boiled in grease, is to be laid over them very closely, and secured by means of screw-clamps. As the atmospheric air can get access only to the ends of the grooves, the ends of the pencil-pieces become dry first, and by their contraction in volume get loose in the grooves, allowing the air to insinuate further, and to dry the remainder of the paste in succession. When the whole piece is dried, it becomes loose, and might be turned out of the grooves. But before this is done, the mould must be put into an oven moderately heated, in order to render the pencil pieces still drier. The mould should now be taken out, and emptied upon a table covered with cloth. The greater part of the pieces will be entire, and only a few will have been broken, if the above precautions have been duly observed. They are all, however, perfectly straight, which is a matter of the first importance.

In order to give solidity to these pencils, they must be set upright in a crucible till it is filled with them, and then surrounded with charcoal powder, fine sand, or sifted wood ashes. The crucible, after having a luted cover applied, is to be put into a furnace, and exposed to a degree of heat regulated by the pyrometer of Wedgewood; which degree is proportional to the intended hardness of the pencils. When they have been thus baked, the crucible is to be removed from the fire, and allowed to cool with the pencils in it.

Should the pencils be intended for drawing architectural plans, or for very fine lines, they must be immersed in melted wax or suet nearly boiling hot, before they are put into the cedar cases. This immersion is best done by heating the pencils first upon a gridiron, and then plunging them into the melted wax or tallow. They acquire by this means a certain degree of softness, are less apt to be abraded by use, and preserve their points much better.

When these pencils are intended to draw ornamental subjects with much shading, they should not be dipped as above.

Second process for making artificial pencils, somewhat different from the preceding.—All the operations are the same, except that some lamp-black is introduced along with the plumbago powder and the clay. In calcining these pencils in the crucible, the contact of air must be carefully excluded, to prevent the lamp-black from being burned away on the surface. An indefinite variety of pencils, of every possible black tint, may thus be produced, admirably adapted to draw from nature.

Another ingenious form of mould is the following:

Models of the pencil-pieces must be made in iron, and stuck upright upon an iron tray, having edges raised as high as the intended length of the pencils. A metallic alloy is made of tin, lead, bismuth, and antimony, which melts at a moderate heat. This is poured into the sheet-iron tray, and after it is cooled and concreted, it is inverted, and shaken off from the model bars, so as to form a mass of metal perforated throughout with tubular cavities, corresponding to the intended pencil-pieces. The paste is introduced by pressure into these cavities, and set aside to dry slowly. When nearly dry, the pieces get so much shrunk that they may be readily turned out of the moulds upon a cloth table. They are then to be completely desiccated in the shade, afterwards in a stove-room, next in the oven, and lastly ignited in the crucible, with the precautions above prescribed.

M. Conté recommends the hardest pencils of the architect to be made of lead melted with some antimony and a little quicksilver.

In their further researches upon this subject, M. Conté and M. Humblot found that the different degrees of hardness of crayons could not be obtained in a uniform manner by the mere mixture of plumbago and clay in determinate doses. But they discovered a remedy for this defect in the use of saline solutions, more or less concentrated, into which they plunged the pencils, in order to modify their hardness, and increase the uniformity of their texture. The non-deliquescent sulphates were preferred for this purpose; such as sulphate of soda, &c. Even syrup was found useful in this way.

PENS, STEEL. The best metal, made from Dannemora or hoop (L) iron, is selected, and laminated into slips about 3 feet long, and 4 inches broad, of a thickness corresponding to the desired stiffness and flexibility of the pens. These slips are subjected to the action of a stamping-press, somewhat similar to that for making buttons. (See Button, and Plated Ware.) The point destined for the nib is next introduced into an appropriate gauged hole of a little machine, and pressed into the semi-cylindrical shape; where it is also pierced with the middle slit, and the lateral ones, provided the latter are to be given. The pens are now cleaned, by being tossed about among each other, in a tin cylinder, about 3 feet long, and 9 inches in diameter; which is suspended at each end upon joints, to two cranks, formed one on each of two shafts. The cylinder, by the rotation of a flywheel, acting upon the crank-shafts, is made to describe such revolutions as agitate the pens in all directions, and polish them by mutual attrition. In the course of 4 hours several thousand pens may be finished upon this machine.

PEPPER. (Poivre, Fr.; Pfeffer, Germ.), Black pepper is composed, according to M. Pelletier, of the vegetable principle, piperine, of a very acrid concrete oil, a volatile balsamic oil, a coloured gummy matter, an extractive principle analogous to legumine, malic and tartaric acids, starch, bassorine, ligneous matter, with earthy and alkaline salts in small quantity. Cubebs pepper has nearly the same composition.

Pepper imported for home consumption,

in 1835, 1836, 1837.

Lbs. 2,359,573; 2,800,980; 2,626,298.

—Duty 6d. per lb.

PERFUMERY, ART OF (Parfumerie, Fr.; Wohlriechende-kunst, Germ.); consists in the preparation of different products, such as fats or pommades, essential oils, distilled spirits, pastes, pastilles, and essences.

Fats ought to be pounded in a marble mortar, without addition of water, till all the membranes be completely torn; then subjected to the heat of a water-bath in a proper vessel. The fat soon melts, and the albumen of the blood coagulating, carries with it all the foreign substances; the liquid matter should be skimmed, and passed through a canvas filter.

Of pommades by infusion.—Rose, orange-flower, and cassia. Take 334 pounds of hog’s lard, and 166 of beef suet. These 500 pounds are put into a pan called bugadier; and when melted, 150 pounds of rose-leaves nicely plucked are added, taking care to stir the mixture every hour. The infusion thus prepared is to remain at rest for 24 hours; at the end of this time, the pommade is again melted, and well stirred to prevent its adherence to the bottom of the melting-pan. The mass is now to be poured out into canvas, and made into rectangular bricks or loaves, which are subjected to a press, in order to separate the solid matter from the soft pommade. These brick-shaped pieces being put into an iron-bound barrel perforated all over its staves, the pommade is to be allowed to exude on all sides, and flow down into a copper vessel placed under the trough of the press. This manipulation should be repeated with the same fat ten or twelve times; or in other words, 3000 pounds of fresh rose-leaves should be employed to make a good pommade.

The pommade of orange-flowers is made in the same manner, as also the pommade of cassia.

Of pommades without infusion.—Jasmin, tuberose, jonquil, narcissus, and violet.

A square frame, called tiame, is made of four pieces of wood, well joined together, 2 or 3 inches deep, into which a pane of glass is laid, resting upon inside ledges near the bottom. Upon the surface of the pane the simple pommade of hog’s lard and suet is spread with a pallet knife; and into this pommade the sweet-scented flowers are stuck fresh in different points each successive day, during two or three months, till the pommade has acquired the desired richness of perfume. The above-described frames are piled closely over each other. Some establishments at Grasse possess from 3000 to 4000 of them.

Of oils.—Rose, orange-flower, and cassia oils, are made by infusion, like the pommades of the same perfumes; taking care to select oils perfectly fresh. As to those of jasmin, tuberose, jonquil, violet, and generally all delicate flowers, they are made in the following manner. Upon an iron frame, a piece of cotton cloth is stretched, imbued with olive oil of the first quality, and covered completely with a thin bed of flowers. Another frame is similarly treated,—and in this way a pile is made. The flowers must be renewed till the oil is saturated with their odour. The pieces of cotton cloth are then carefully pressed to extrude the oil. This last operation requires commonly 7 or 8 days.

Of distillation.—The essential oils or essences, of which the great manufacture is in the south of France, are of rose, neroli, lavender, lemon thyme, common thyme, and rosemary. For the mode of distilling the essential oils, see Oils, Essential.

The essence of roses being obtained in a peculiar manner, I shall describe it here. Put into the body of a still 40 pounds of roses, and 60 quarts of water; distil off one half of the water. When a considerable quantity of such water of the first distillation is obtained, it must be used as water upon fresh rose leaves; a process of repetition to be carried to the fifth time. In the distillation of orange-flower, to obtain the essence of neroli, the same process is to be followed; but if orange-flower water merely be wanted, then it is obtained at one distillation, by reserving the first fifth part of water that comes over. What is called the essence of petit-grain, is obtained by distilling the leaves of the orange shrub. The essences of lavender, thyme, &c., present nothing peculiar in their mode of extraction.

OF SCENTED SPIRITS,

From oil of rose, orange, jasmin, tuberose, cassia, violet, and other flowers.

Into each of three digesters, immersed in water-baths, put 25 lbs. of any one of these oils, and pour into the first digester 25 quarts of spirit of wine; agitate every quarter of an hour during three days, and at the end of this period, draw off the perfumed spirit, and pour it into the second digester; then transfer it after 3 days into the third digester, treating the mixture in the same way; and the spirit thus obtained will be perfect. The digesters must be carefully covered during the progress of these operations. On pursuing the same process with the same oil and fresh alcohol, essences of inferior qualities may be obtained, called Nos. 2, 3, and 4.

Some perfumers state that it is better to use highly scented pommades than oils; but there is probably little difference in this respect.

Esprit de suave.

7 Eng. qrts. of spirit of jasmin, 3d operation.

7 — cassia, —

3 — wine.

2 — tuberose, —

1 ¹⁄₂ ounce essence of cloves.

¹⁄₂ ounce fine neroli.

1 ¹⁄₂ ounce essence of bergamote.

8 ounces essence of musk, 2d infusion.

3 quarts rose water.

Spirit of Cytherea.

1 quart spirit of violets.

1 — jasmin, 2d operation.

1 — tuberose, —

1 — clove gilly flower.

1 — roses, 2d operation.

1 — Portugal.

2 — orange-flower water.

Spirit of flowers of Italy.

2 quarts spirit of jasmin, 2d operation.

2 — roses —

2 — oranges, 3d —

2 — cassia, 2d operation.

1 ¹⁄₂ — orange-flower water.

The above spirits mark usually 28 alcometric degrees of Gay Lussac. See Alcohol.

POMMADES.

No less than 20 scented pommades are distinguished by the perfumers of Paris. The essences commonly employed in the manufacture of pommades, are those of bergamote, lemons, cédrat, limette (sweet lemon), Portugal, rosemary, thyme, lemon thyme, lavender, marjoram, and cinnamon.

The following may serve as an example:—

Pommade à la vanille, commonly called Roman.

12 pounds of pommade à la rose.

3 — oil à la rose.

1 — vanilla, first quality, pulverized.

6 ounces bergamote.

The pommade being melted at the heat of a water-bath, the vanilla is to be introduced with continual stirring for an hour. The mixture is left to settle during two hours. The pommade is then to be drawn off, and will be found to have a fine yellow colour, instead of the brown shade which it commonly has.

In making odoriferous extracts and waters, the spirits of the flowers prepared by macerating the flowers in alcohol should be preferred to their distillation, as forming the foundation of good perfumery. The specific gravity of these spirits should be always under 0·88.

Extract of nosegay (bouquet).

2 quarts spirit of jasmin, 1st operation.

2 — extract of violets.

1 — spirit of cassia 1st —

1 — roses, 1st —

1 — orange, 1st —

1 — extract of clove gilly flower.

4 drms. of flowers of benzoin (benzoic acid).

8 ounces of essence of amber, 1st infusion.

Extract of peach blossoms.

6 quarts of spirits of wine.

6 pounds of bitter almonds.

2 quarts of spirits of orange flower, 2d operation.

4 drachms of essence of bitter almonds.

4 drachms of balsam of Peru.

4 ounces of essence of lemons.

Eau de Cologne.

Two processes have been adopted for the preparation of this perfume, distillation and infusion; the first of which, though generally abandoned, is, however, the preferable one. The only essences which should be employed, and which have given such celebrity to this water, are the following; bergamote, lemon, rosemary, Portugal, neroli. The whole of them ought to be of the best quality, but their proportions may be varied according to the taste of the consumers.

Thirty different odours are enumerated by perfumers; the three following recipes will form a sufficient specimen of their combinations.

Honey-water.

6 quarts of spirit of roses, 3d operation.

3 quarts do.spirit ofjasmin.

3 quarts do.spirit ofspirits of wine.

3 ounces essence of Portugal.

4 drachms flowers of benzoin.

12 ounces of essence of vanilla, 3d infusion.

12 ouncesdo.essence of musk,3d indo.

3 quarts good orange-flower water.

Eau de mille fleurs.

18 quarts of spirits of wine.

4 ounces balsam of Peru.

8 oudo.esessence of bergamote.

4 oudo.es essence ofcloves.

1 oudo.esordinary neroli.

1 oudo.es essence ofthyme.

8 oudo.es essence ofmusk, 3d infusion

4 quarts orange-flower water.

Eau de mousseline.

2 quarts spirit of roses, 3d infusion.

2 quartsdo.irit ofjasmin, 4thinfdo.

1 quartsdo.irit ofclove gilly flower.

2 quartsdo.irit oforange flower, 4th do.

2 ounces essence of vanilla, 3d infusion.

2 ounces do.sence ofmusk,3d infdo.

4 drachms of sanders wood.

1 quart of orange-flower water.

Almond pastes.

These are, gray, sweet white, and bitter white.

The first is made either with the kernels of apricots, or with bitter almonds. They are winnowed, ground, and formed into loaves of 5 or 6 pounds weight, which are put into the press in order to extract their oil; 300 pounds of almonds affording about 130 of oil. The pressure is increased upon them every two hours during three days; at the end of which time the loaves or cakes are taken out of the press to be dried, ground, and sifted.

The second paste is obtained by boiling the almonds in water till their skins are completely loosened; they are next put into a basket, washed and blanched; then dried, and pressed as above.

The third paste is prepared like the second, only using bitter almonds.

Liquid almond pastes, such as those of the rose, orange, vanilla, and nosegay.—The honey paste is most admired. It is prepared as follows:—

6 pounds of honey.

6 poudo.s ofwhite bitter paste.

12 pounds oil of bitter almonds.

26 yolks of eggs.

The honey should be heated apart and strained; 6 pounds of almond paste must then be kneaded with it, adding towards the conclusion, alternately, the quantity of yolks of eggs and almond oil indicated.

Pastilles à la rose, orange flower, and vanilla.

Pastilles à la rose.

12 ounces of gum.

12 oundo. of olibanum, in tears.

12 oundo. of storax,um, indo.

8 oundo. of nitre.

16 oundo. of powder of pale roses.

3 pounds 14 oundo. of charcoal powder.

1 oundo. of essence of roses.

Pastilles of orange flower.

12 ounces of gum galbanum.

12 oundo. of olibanum, in tears.

12 oundo. of storax, do.

8 oundo. of nitre.

1 pound of pure orange powder.

3 pdo.ds14 ounces charcoal powder.

1 ounce superfine neroli.

Pastilles à la vanille.

12 ounces of gum galbanum.

12 oudo.s of olibanum, in tears.

12 oudo.s of storaxum, in do.

8 oudo.s of nitre.

8 oudo.s of cloves.

16 ounces powder of vanilla.

3 pounds 14 ounces charcoal powder.

4 drms. essence of cloves.

8 ouncessse do. of vanilla, 1st infusion.

The above mixture in each case is to be thickened with 2 ounces of gum tragacanth dissolved in 2 pints of rose-water. It is needless to say that the ingredients of the mixture should be impalpable powders.

Scented cassolettes.

8 pounds of black amber (ambergris).

4 poudo.s ofrose powder.

2 ounces of benzoin.

1 ounce essence of roses.

1 do. gum tragacanth.

A few drops of the oil of sanders wood.

These ingredients are pulverized, and made into a cohesive paste with the gum.

ESSENCES BY INFUSION.

Essence of musk.

5 ounces of musk from the bladder, cut small.

1 oudo.s of civet.

4 quarts of spirit of ambrette (purple sweet sultan).

The whole are put into a matrass, and exposed to the sun for two months during the hottest season of the year. In winter, the heat of a water-bath must be resorted to.

Essence of vanilla.

3 pounds of vanilla in branches, 1st quality, cut small.

4 quarts spirit of ambrette.

2 drachms of cloves.

¹⁄₂ drado.ms ofmusk from the bladder.

The same process must be followed as for the essence of musk.

Essence of ambergris.

4 ounces of ambergris.

2 ounces of bladder musk.

8 quarts of spirit of ambrette.

Treat as above.

Spirit of ambrette (purple sweet sultan).

25 pounds of ambrette are to be distilled with 25 quarts of spirits of wine, adding 12 quarts of water, so as to be able to draw off the 25 quarts.

PERRY, is the fermented juice of pears, prepared in exactly the same way as Cyder.

PERSIAN BERRIES. See Berries, Persian.

PETROLEUM. See Naphtha.

PE-TUNT-SE, is the Chinese name of the fusible earthy matter of their porcelain. It is analogous to our Cornish stone.

PEWTER, PEWTERER. (Potier d’étain, Fr.) Pewter is, generally speaking, an alloy of tin and lead, sometimes with a little antimony or copper, combined in several different proportions, according to the purposes which the metal is to serve. The English tradesmen distinguish three sorts, which they call plate, trifle, and ley pewter; the first and hardest being used for plates and dishes; the second for beer-pots; and the third for larger wine measures. The plate pewter has a bright silvery lustre when polished; the best is composed of 100 parts of tin, 8 parts of antimony, 2 parts of bismuth, and 2 of copper. The trifle is said by some to consist of 83 of tin, and 17 of antimony; but it generally contains a good deal of lead. The ley pewter is composed of 4 of tin, and 1 of lead. As the tendency of the covetous pewterer is always to put in as much of the cheap metal as is compatible with the appearance of his metal in the market, and as an excess of lead may cause it to act poisonously upon all vinegars and many wines, the French government long ago appointed Fourcroy, Vauquelin, and other chemists, to ascertain by experiment the proper proportions of a safe pewter alloy. These commissioners found that 18 parts of lead might, without danger of affecting wines, &c., be alloyed with 82 parts of tin; and the French government in consequence passed a law, requiring pewterers to use 83¹⁄₂ of tin in 100 parts, with a tolerance of error amounting to 1¹⁄₂ per cent. This ordonnance, allowing not more than 18 per cent. of lead at a maximum, has been extended to all vessels destined to contain alimentary substances. A table of specific gravities was also published, on purpose to test the quality of the alloy; the density of which, at the legal standard, is 7·764. Any excess of lead is immediately indicated by an increase in the specific gravity above that number.

The pewterer fashions almost all his articles by casting them in moulds of brass or bronze, which are made both inside and outside in various pieces, nicely fitted together, and locked in their positions by ears and catches or pins of various kinds. The moulds must be moderately heated before the pewter is poured into them, and their surfaces should be brushed evenly over with pounce powder (sandarach) beaten up with white of egg. Sometimes a film of oil is preferred. The pieces, after being cast, are turned and polished; and if any part needs soldering, it must be done with a fusible alloy of tin, bismuth, and lead.

Britannia metal, the kind of pewter of which English tea-pots are made, is said to be an alloy of equal parts of brass, tin, antimony, and bismuth; but the proportions differ in different workshops, and much more tin is commonly introduced. Queen’s metal is said to consist of 9 parts of tin, 1 of antimony, 1 of bismuth, and 1 of lead; it serves also for teapots and other domestic utensils.

A much safer and better alloy for these purposes may be compounded by adding to 100 parts of the French pewter, 5 parts of antimony, and 5 of brass to harden it. The English ley pewter contains often much more than 20 per cent. of lead. Under Tin, will be found the description of an easy method of analyzing its lead alloys.

PHOSPHORIC ACID, is the acid formed by the vivid combustion of

PHOSPHORUS. This interesting simple combustible, being an object of extensive consumption, and therefore of a considerable chemical manufacture, I shall describe the requisite manipulations for preparing it at some detail. Put 1 cwt. of finely ground bone-ash, such as is used by the assayers, into a stout tub, and let one person work it into a thin pap with twice its weight of water, and let him continue to stir it constantly with a wooden bar, while another person pours into it, in a uniform but very slender stream, 78 pounds of concentrated sulphuric acid.

The heat thus excited in the dilution of the acid, and in its reaction upon the calcareous base, is favourable to the decomposition of the bone phosphate. Should the resulting sulphate of lime become lumpy, it must be reduced into a uniform paste, by the addition of a little water from time to time. This mixture must be made out of doors, as under an open shed, on account of the carbonic acid and other offensive gases which are extricated. At the end of 24 hours, the pap maybe thinned with water and, if convenient, heated, with careful stirring, to complete the chemical change, in a square pan made of sheet lead, simply folded up at the sides. Whenever the paste has lost its granular character, it is ready for transfer into a series of tall casks, to be further diluted and settled, whereby the clear superphosphate of lime may be run off by a syphon from the deposit of gypsum. More water must then be mixed with the precipitate, after subsidence of which, the supernatant liquor is again to be drawn off. The skilful operator employs the weak acid from one cask to wash the deposit in another, and thereby saves fuel in evaporation.

The collected liquors being put into a leaden, or preferably a copper pan, of proper dimensions, are to be concentrated by steady ebullition, till the calcareous deposit becomes considerable; after the whole has been allowed to cool, the clear liquor is to be run off, the sediment removed, and thrown on a filter. The evaporation of the clear liquor is to be urged till it acquires the consistence of honey. Being now weighed, it should amount to 37 pounds. One fourth of its weight of charcoal in fine powder, that is, about 9 pounds, are then to be incorporated with it, and the mixture is to be evaporated to dryness in a cast-iron pot. A good deal of sulphurous acid is disengaged along with the steam at first, from the reaction of the sulphuric acid upon the charcoal, and afterwards some sulphuretted hydrogen. When the mixture has become perfectly dry, as shown by the redness of the bottom of the pot, it is to be allowed to cool, and packed tight into stoneware jars fitted with close covers, till it is to be subjected to distillation. For this purpose, earthen retorts of the best quality, and free from air-holes, must be taken, and evenly luted over their surface with a compost of fire-clay and horse-dung. When the coating is dry and sound, the retort is to be two-thirds filled with the powder, and placed upon proper supports in the laboratory of an air-furnace, having its fire placed not immediately beneath the retort, but to one side, after the plan of a reverberatory; whereby the flame may play uniformly round the retort, and the fuel may be supplied as it is wanted, without admitting cold air to endanger its cracking. The gallery furnace of the palatinate (under Mercury) will show how several retorts may be operated upon together, with one fire.

To the beak of the retort properly inclined, the one end of a bent copper tube is to be tightly luted, while the other end is plunged not more than one quarter of an inch beneath the surface of water contained in a small copper or tin trough placed beneath, close to the side of the furnace, or in a wide-mouthed bottle. It is of advantage to let the water be somewhat warm, in order to prevent the concretion of the phosphorus in the copper tube, and the consequent obstruction of the passage. Should the beak of the retort appear to get filled with solid phosphorus, a bent rod of iron may be heated, and passed up the copper tube, without removing its end from the water. The heat of the furnace should be most slowly raised at first, but afterwards equably maintained in a state of bright ignition. After 3 or 4 hours of steady firing, carbonic acid and sulphurous acid gases are evolved in considerable abundance, provided the materials had not been well dried in the iron pot; then sulphuretted hydrogen makes its appearance, and next phosphuretted hydrogen, which last should continue during the whole of the distillation.

The firing should be regulated by the escape of this remarkable gas, which ought to be at the rate of about 2 bubbles per second. If the discharge comes to be interrupted, it is to be ascribed either to the temperature being too low, or to the retort getting cracked; and if upon raising the heat sufficiently no bubbles appear, it is a proof that the apparatus has become defective, and that it is needless to continue the operation. In fact, the great nicety in distilling phosphorus lies in the management of the fire, which must be incessantly watched, and fed by the successive introduction of fuel, consisting of coke with a mixture of dry wood and coal.

We may infer that the process approaches its conclusion by the increasing slowness with which gas is disengaged under a powerful heat; and when it ceases to come over, we may cease firing, taking care to prevent reflux of water into the retort, from condensation of its gaseous contents, by admitting air into it through a recurved glass tube, or through the lute of the copper adopter.

The usual period of the operation upon the great scale is from 24 to 30 hours. Its theory is very obvious. The charcoal at an elevated temperature disoxygenates the phosphoric acid with the production of carbonic acid gas at first, and afterwards carbonic oxide gas, along with sulphuretted, carburetted, and phosphuretted hydrogen, from the reaction of the water present in the charcoal upon the other ingredients.

The phosphorus falls down in drops, like melted wax, and concretes at the bottom of the water in the receiver. It requires to be purified by squeezing in a shamoy leather bag, while immersed under the surface of warm water, contained in an earthen pan. Each bag must be firmly tied into a ball form, of the size of the fist, and compressed, under the water heated to 130°, by a pair of flat wooden pincers, like those with which oranges are squeezed.

The purified phosphorus is moulded for sale into little cylinders, by melting it at the bottom of a deep jar filled with water, then plunging the wider end of a slightly tapering but straight glass tube into the water, sucking this up to the top of the glass, so as to warm it, next immersing the end in the liquid phosphorus, and sucking it up to any desired height.

The tube being now shut at bottom by the application of the point of the left index, may be taken from the mouth and transferred into a pan of cold water to congeal the phosphorus; which then will commonly fall out of itself, if the tube be nicely tapered, or may at any rate be pushed out with a stiff wire. Were the glass tube not duly warmed before sucking up the phosphorus, this would be apt to congeal at the sides, before the middle be filled, and thus form hollow cylinders, very troublesome and even dangerous to the makers of phosphoric match-bottles. The moulded sticks of phosphorus are finally to be cut with scissors under water to the requisite lengths, and put up in phials of a proper size; which should be filled up with water, closed with ground stoppers, and kept in a dark place. For carriage to a distance, each phial should be wrapped in paper, and fitted into a tin-plate case.

Phosphorus has a pale yellow colour, is nearly transparent, brittle when cold, soft and pliable, like wax, at the temperature of 70° F., crystallizing in rhombo-dodecahedrons out of its combination with sulphur, and of specific gravity 1·77. It exhales white fumes in the air, which have a garlic smell, appear luminous in the dark, and spontaneously condense into liquid phosphorous acid. Phosphorus melts in close vessels, at 95°. F., into an oily-looking colourless fluid, begins to evaporate at 217·5°, boils at 554°, and if poured in the liquid state into ice-cold water, it becomes black, but resumes its former colour when again melted and slowly cooled. It has an acrid disagreeable taste, and acts deleteriously in the stomach, though it has been administered as a medicine by some of the poison-doctors of the present day. It takes fire in the open air at the temperature of 165°, but at a lower degree if partially oxidized, and burns with great vehemence and splendour.

Inflammable match-boxes (briquets phosphoriques) are usually prepared by putting into a small phial of glass or lead a bit of phosphorus, and oxidizing it slightly by stirring it round with a redhot iron wire. The phial should be unstoppered only at the instant of plunging into it the tip of the sulphur match which we wish to kindle. Bendix has given the following recipe for charging such match-phials. Take one part of fine dry cork raspings, one part of yellow wax, eight parts of petroleum, and four of phosphorus, incorporate them by fusion, and when the mixture has concreted by cooling, it is capable of kindling a sulphur match dipped into it. Phosphorus dissolves in fat oils, forming a solution luminous in the dark at ordinary temperatures. A phial half filled with this oil, being shaken and suddenly uncorked, will give light enough to see the dial of a watch by night.

There are five combinations, of phosphorus and oxygen:—1. the white oxide; 2. the red oxide; 3. hypophosphorous acid; 4. phosphorous acid; 5. phosphoric acid. The last is the only one of interest in the arts. It may be obtained from the syrupy superphosphate of lime above described, by diluting it with water, saturating with carbonate of ammonia; evaporating, crystallizing, and gently igniting the salt in a retort. The ammonia is volatilized, and may be condensed into water by a Woulfe’s apparatus, while the phosphoric acid remains in the bottom of the retort. Phosphoric acid may be more readily produced by burning successive bits of phosphorus in a silver saucer, under a great bell jar inverted upon a glass plate, so as to admit a little air to carry on the combustion. The acid is obtained in a fine white snowy deposit; consisting, in this its dry state, of 44 of phosphorus and 56 of oxygen. That obtained from the syrupy solution is a hydrate, and contains 9·44 per cent. of water. If the atom of phosphorus be called 32 upon the hydrogen radix, then 5 atoms of oxygen = 40 will be associated with it in the dry acid, = 72; and an additional atom of water = 9, in the hydrate, will make its prime equivalent 81. Phosphorous acid seems to contain no more than 3 atoms of oxygen.

The only salts of this acid much in demand, are the phosphate of soda, and the ammonia phosphate of soda. The former is prepared by slightly supersaturating superphosphate of lime with crystals of carbonate of soda; warming the solution, filtering, evaporating, and crystallizing. It is an excellent purgative, and not unpalatable. The triple phosphate is used in docimastic operations; and is described under Metallurgy.

PICAMARE, is a thick oil, one of the six new principles detected by M. Reichenbach, in wood-tar. See Creosote and Paraffine. Picamare constitutes 1-6th of beech-tar.

PICROMEL, is the name given by M. Thenard to a black bitter principle which he supposed to be peculiar to the bile. MM. Gmelin and Tiedemann have since called its identity in question.

PICROTOXINE, is an intensely bitter poisonous vegetable principle, extracted from the seeds of the Menispermum cocculus, (Cocculus Indicus). It crystallizes in small white needles, or columns; dissolves in water and alcohol. It does not combine with acids, but with some bases, and is not therefore of an alkaline nature, as had been at first supposed.

PIGMENTS, VITRIFIABLE, belong to five different styles of work: 1. to enamel painting; 2. to painting on metals; 3. to painting on stoneware; 4. to painting on porcelain; 5. to stained glass.

PIMENTO; Myrtus pimenta, or Jamaica pepper; consists, according to Bonastre’s complicated analysis, of:—

Shells or Capsules. Kernels.

Volatile oil 10·0 5·0

Soft green resin 8·0 2·5

Fatty concrete oil 0·9 1·2

Extract containing tannin 11·4 39·8

Gum 3·0 7·2

Brown matter dissolved in potash 4·0 8·0

Resinoid matter 1·2 3·2

Extract containing sugar 3·0 8·0

Gallic and malic acids 0·6 1·6

Vegetable fibre 50·0 16·0

Ashes charged with salts 2·8 1·9

Moisture and loss 4·1 4·8