coloriasto

Varupriserna i Amsterdam (Väriaineiden hintoja 1878)

2009-11-09T11:33:00.002+02:00

Morgonbladet 258, 5.11.1878

Morocco Leather Dressing.

2009-11-02T22:51:00.000+02:00

Scientific American 19, 3.11.1860

Although enameled oilcloth, having its surface finished to imitate morocco leather, has come into very extensive use during the past five years, still it does not seem to have njured the manufacture of the genuine article. Morocco dressing establishements are still increasing in number and extent. Real morocco leather is made of tanned goatskin; but the term is now, in a general manner, also applied to tanned sheepskin, which is colored and dressed with a polished and corded surface in imitation of morocco. Having been informed that the manufacture of sheepskin into colored leather was carried on extensively and in a superior manner, in Albany, N. Y., by the firm of A. Williamson & Sons - old and experienced leather dressers - we recently embraced on opportunity of visiting their establishment, while briefly sojouring in the capital of the empire State. It is situated near the upper extremity of a street called Broadway, and although this street is very unlike its great namesake in New York, it can boast of a good morocco factory, in which some new and improved processes are carried on. Colored sheepskin is principally used for shoe bindings, and, in this establishments, the majority of the pelts are obtained gree nfrom sheep and lambs slaughtered in the vicinity. About 100,000 skins are dressed annually in it, and from these about half a million pounds of wool are obtained and sold.

The first process through which they are made to pass is that of soaking and softening by water, to fit them for receiving the unhairing preparation. Formerly hydrate of lime was sprinkled in the inside of each pelt; it was then folded over with the wool side out and laid down on the floor, sometimes called "the pit." In this manner a whole pile or heap was made, and a heating action was engendered by which the roots of the wool were loosened, so that the fleece could be easily pulled or scraped off on a table afterwards. This method of loosening the roots of the wool was redious, occupying several days to complete, and the skins required constant watching, as they were liable to overheat and injury both to the wool and the gelatinous tissue. This was especially the case in warm weather; but the remedy for this trouble and these ills was lately introduced by the senior member of the firm, and is one of the most important improvements made, for many years, in this art. This is effected by a calcium orpiment compound, which they import and have also introduced among other manufacturers. It is made up into a thick creamy consistency, then applied to the inside of the skins which are folded over, wool side out, and laid in a heap, as before described. In twenty-four hours afterwards the skins can be deprived of their wool, and if they have to lie longer, no injury will result. In all cases the depilatory action is certain without injury to wool or skin tissue.

The next operation is that of washing the skins prior to unwooling them. This latter manipulation is executed by placing them upon an inelined bench, and rubbing off the wool with a blunt tool. The flesh side of the skins is also scraped to remove slime and loose flesh, after which they are ready for the liming operation. They are now placed in vats containing milk of lime (slacked lime mixed with water), in which they are treated for about two weeks. The office of the lime appears to be that of a corrosive agent for the removal of grease in the skins, as it would prevent the action of the tannic acid afterwards. The lime does not act upon the gelatinous tissue, which alone forms the leather when combined with a tanning agent. A new discovery to shorten and cheapen this part of the process would be invaluable.

The next operation consists in passing the skins through a bath of hen or pigeon manure, mixed with water, which softens them. After this they are washed and passed through a sour of dilute sulphuric acid, which neutralizes all hte lime that may remain in the pores of the skin, converting it into a sulphate, which is easily removed by a good washing in moderately warm water. After this they are dipped into a solution of common salt, sewed up at the edges with the grain side out, to form bags partly filled with tanning liquor, inflated and tied. They are now placed in a tub containing an extract of Sicily sumac, in which they float and are kept in constant motion for several hours; and when they have absorbed a sufficient amount of the tannic acid in the sumac to convert the skin into leather, they are taken out, drained and rinsed; and if not to be colored, they are ripped out and dried in the atmosphere in sheds constructed for the purpose. They are stretched on boards, rubbed out to render them smooth, and tacked down so as to dry without wrinkling. These skins are generally filled three times with fresh liquor to tan them fully.

The next operation is that of coloring. If the color is to be applied topically by putting it on the surface with a sponge, the skins are first dried. If they are to be dyed in liquors, they are sewed so as to have the grain side out, then mordanted, and afterwards handled in a tub containing the coloring agents. Prussian blue colors are imparted by handling the skins first in a dilute solution of nitrate of iron for about an hour, then in a warm bath containing the cyanide of potash and a little sulphuric acid. A beautiful blue is thus dyed. A scarlet is prepared with a mordant of the muriate of tin and cream of tartar; the red color is afterwards obtained by handling them in an extract liquor or cochineal. Purple is dyed by applying a cochineal color on the top of a prussian blue. Bronze is obtained from a strong extract of logwood and alum. After being dyed, the skins are rinsed, stretched on boards, rubbed smoothly down, tacked around their edges and dried.

Topical applications of color are given to the grain surfaces in many instances. They simply consist of a strong extract applied with a sponge or a piece of cotton cloth; almost any color can thus be put on. A scarlet color is made by a topical application of an extract of turmeric upon a dyed cochineal red. To enable some of the coloring agents to go on evenly, milk and the white of eggsa re frequently mixed with them. These applications also serve to impart a metallic luster to the surface. Prior to rolling, and dyed skins are slightly shaved on the wrong side and trimmed at the edges.

The subsequent finishing operations consist in rolling the skins on a table under a small weighted roller having a grooved face, and which is attached to a suspended arm which the operator moves back and forth until the roller has traversed the entire surface. This operation imparts a glossy cordovan surface to the leather. A second rolling, with the grooves running in an agular direction, gives the surface a diamond corded finish - the true morocco style. Formerly these skins were all finished by hand labor. The operatives stretched them on inclined boards, and rubbed over their surface with grooved balls of ebony held in the hand. Sometimes and extra finish is still imparted in this manner to skins.

In this factory we saw the first aniline (popularly called Magenta) colors on morocco that have been applied in this country. The senior partner had been on a European tour last summer, and obtained the new color from abroad. It produces the most beautiful shades of purple, lavender and lilac upon leather. No coloring agent hitherto known can equal it.

All processes for making leather from skins is not tanning, although most persons so term them. White leather is prepared with alum, and in some instances with a paste of flour. These are tawing, not tanning processes. It requires an agent, such as hemlock, oak or sumne, containing tannic acid, brought into contact with gelatinous tissue, to constitute the tanning process.

Heavy sheepskins are frequently split by machinery, and for some purposes such leather is more suitable than any other kind. In thisfactory, a new machine for splitting had just arrived from England, and we were surprised to learn that, although it did not split so many skins in the same space of time as the American splitting machines, it was preferred because its work was of a superior quality. The cutting knife moves with a reelprocating sawing action, and is driven with a very high velocity.

We have in this brief description of morocco dressing mentioned three new improvements not to be found in works published on the subject, viz.: the depilatory process, the cleansing operations with dilute sulphuric acid, and the new styles of colors. Morocco leather dressing proper is principally carried on in out cities on the sraborad or in their immidiate vicinity, as the goat skins are all imported from India, Africa, &c., and the sumac for tanning them from the island of Sicily - that land to which the eyes of the whole civilized world have recently been directed, on account of the wonderful exploits of Garibaldi and his heroic followers, fighting for the freedom of Italy.

Toimiston muutos! (ilmoitus)

2009-11-02T20:01:00.002+02:00

Mikkelin Sanomat 46, 18.11.1886

Wärjärin toimistoni joka tähän saakka on ollut kauppias N. Hartosella on muutettu kauppias W. A. Rönnmarkin luokse, joka wastaan ottaa ja ulosantaa minulle tulewia töitä, työt walmistan joutuun ja kunnollisesti.
Mikkeli, marrask. 17 p. 1886.
W. Jacklin.
Wärjäri Mäntyharjusta.

To Dye Silk a Brilliant Silver Color.

2009-11-02T19:58:00.000+02:00

Scientific American 32, 1.5.1847

Proceed as directed in the last experiment, only use the nitrate of silver, instead of nitro muriate of hold. The process of crystalising, redissolving, &c., is the same. But the crystals of silver differ in color, being white, whereas those produced from gold are yellow. If a jar or boc be filled with hydrogen gas, and the silk suspended in it, the action of the gas, and consequently the revivification of the metals will be more uniform. For small figures, however, it may be as well to fix a stopper in the flask, having a small orifice through it, that the gas may be thrown with some force on the silk and will have more certain effect. A solution of muriate of tin may be managed in a similar manner, but none of these solutions can be thus revived on paper.

To Dye Silk a Brilliant Gold Color.

2009-11-02T19:57:00.000+02:00

Scientific American 32, 1.5.1847

Take any quantity of nitro muriate of gold, and evaporate by exposing it to a gentle heat in a glass tumbler or phial; the gold will form itself in crystals on the bottom and sides of the vessel; collect these crystals and dissolve them in ten times their weight of pure water. Then put a gill of water into a common flask and add one ounce of graduated zinc, and one fourth of an ounce of sulphuric acid. Hydrogen gas will be evolved, and rise through the neck of the flask, which must not be stopped. Immerse a piece of white silk in the above mentioned aqueous solution of gold, and expose it, while wet, to the current of gas as it rises from the flask; the gold will soon be revived and the silk will become beautifully and permanently gilt. Any letters or flowers may be drawn on the silk with a camel hair pencil dipped in the solution, and on being exposed to the action of the gas, will be revived and shine with metallic brilliancy. The silk must be kept moist with water till the gold is revived. Zinc may be prepared for the above purpose, by melting it and stirring it continually with a stick or iron rod while it is cooling; or it may be pulverized with a hammer as soon as it becomes solid.

The Art of Painting. Plain Painting in Oil Colors.

2009-11-02T19:55:00.000+02:00

Scientific American 32, 1.5.1847

(Continued from No. 31)

Plain Painting in Oil Colors.

The beauty of this kind of painting depends principally on the uniformity of its finish; and this is effected by distributing the paint equally on every part of the work, and finishing by drawing the brush lightly and steadilu over the work, in the direction of the grain of the wood. Care is required to avoid leaving a superfluous quantity of paint in the quirks and corners; all such accumulations must be brushed out. In painting houses outside, the workman should be particularly careful to paint the edges of the clapboards and all the hollow corners; and for this purpose, the brush must be held with the handle inclining downward, that the brush part may work upward, filling the edges and corners. Paint, for inside work, usually requires and ingredient more drying than raw linseed oil; and for this purpose, and article called litharge, being finely ground, is added to the paint, in the proportion of one ounce to each pound of paint; more or less according to circumstances. This litgarge is evidently the best dryer for floor paint that is known; paints tempered with this, dry harder, and wear better, than any other: but painters have in general use a fluid article, called drying japan, which is very convenient as a dryer, and is excellent for carriage and ornamental work, but is in more general use than it should be in house painting. This japan consists of oil, hum shellac, litgarge and red lead, united by being boiled together. Red lead is, of itself, a good dryer, in such colors as are not injured by its use; but when a delicate white is required, a sulphate of zinc, known as white vitriol, must be used. It is a general custom with painters, however, to prepare a drying oil, by boiling it, that it may the more readily dry, even without any other dryer. The usual mode of boiling the oil, is to place several gallons in an iron kettle over a slow fire, and when it begins to boil, add four ounces of litharge and an equal quantity of red lead, to each gallon of oil: the oil is continued boiling, being almost constantly stirred with a stick, for about half an hour, or until it boils clear without frothing; it is then taken off to cool. This oil can be always procured ready boiled at the paint shops; but paints mixed with this, will not prove so durable when exposed to the weather or to wear, as those ground in raw oil, and having good opportunity to dry. Raw oil, with litharge for a dryer, is best for floors or other inside work, in warm, dry weather. In giving the work a second or third coat, however, it is requisite to mix spirits of turpentine with the oil, to prevent too sharp a gloss, and render the paint more firm and hard. The paint is first mixed with oil and the spirits of turpentine is added, in the proportion of a pint to two quarts of oil; the proportion varying, however, according to circumstances. If the paint is required to be left flat, or without any gloss, the spirits may be used in the proportion of one half, or even two to one: but such paint will not wear so well. Alcohol is sometimes used instead of spirits of turpentine; but neither of these should be used in any considerable quantity on outside work in warm weather: in cold weather they are convenient to make the paint flew more freely. As a general rule, after the first cost of paint is dry, and when the second is to be applied, the work must be examined, and all the cracks, seams and holes filled up smoothly with putty, (a simple mixture of oil and Spanish whiting,) and all the rough parts smoothed with sand-paper or glass-paper; and after smoothing, the dust must be carefully removed with a dry brush. A general, but improper custom, which prevails with most painters, is to apply the putty with the fingers merely, in filling the cavities of nails and brads; but instead of this, the putty should always be smoothed with a chisel-shaped piece of wood. When any uneven part of the surface is to be smoothed, the putty should have a little white lead paint mixed with it, to make it adhere better. If an old room is to be painted, such parts of the surface as have been discolored with smoke, or have been exposed to wear, should be washed over with a dilute mixture of lime and water, and allowed to dry before the paint is applied: and such parts of a floor as have become bare, or from which the paint is worn off, should be first painted with very thin or dilute paint, and become dry before the whole is painted: as the same paint cannot be suitable for the painted and the unpainted parts. We shall now proceed to instructions in

Producing and Compounding Colors.

White is considered as not only a principal color in painting, but the base or foundation of all light colored paints. White lead is the principal white in use, though a more delicate white called slake white, is used in ornamental work. Several common colors, known as lead color, slate color, &c., are produced by mixing lampblack with white lead in different proportions. A small quantity of Prussian blue, finely ground and added to white lead, constitutes the common sky blue. Minute quantities of blue and yellow added to white, produce the delicate pearl color, so much in vogue for parlors and halls. Straw color is produced by the addition of a little chrome yellow to white: and pead green by addition of Paris green. A beautiful light purple or peach blossom color is produced, by adding to white lead, small quantities of ultramarine blue, and drop lake. It is needless to specify the exact proportion of the ingredients in these compounds; the only rule being to add the coloring ingredients in minute quantities till the required color is produced. The most common color for floors, is composed of white lead and yellow ochre, in about equal quantities by weight, with the addition of one ounce of red lead to each pound of the mixture. In painting carriages or ships, a great variety of compound colors are used, a few of which may be here noticed. The best black is composed of lampblack and Prussian blue. A dark green consists of a mixture of chrome green and Prussian blue. A brilliant plum color is produced by a mixture of lampblack and vermillion. Olive color is produced by mixing lampblack and chrome yellow. A brilliant orange color is produced by mixing chrome yellow and orange lead - (a pigment similar to red lead, but more refined.) A stone brown is composed of lampblack, yellow ochre and Venetian red, equal parts: the addition of white to this compound reduces this color to a drab, or light stone color. A mixture of lamp black with Venetian red, constitute the chocolate color. A bright rose color, which is much used in ornamenting, is composed of white lead and drop lake. As a general rule, the colors should be mixed with oil and ground separately before being compounded, or mixed together; but should not be diluted any more than is required for grinding, until the color is perfected. We shall proceed with some instruction in carriage painting in our next number.

(To be continued.)

Walkea tuli eilen wallalleen... (uutinen)

2009-11-02T19:53:00.000+02:00

Länsi-Suomi 9, 2.3.1878
Walkea tuli eilen wallalleen noin kello 12:n aikana päiwällä wärjäri Stenbergin perillisten wärjäyslaitoksessa ensimmäisessä kaupungin osassa. Tulipalo ei kestänyt pitkää aikaa, waan sammutusmiesten täytyi kuitenkin repiä rautainen katto rikki, että sen kautta saiwat wettä ruiskutetuksi tulen sammuttamiseksi. Syytä tulen irtipääsöön emme warmaan tunne, mutta arwattawasti oli tuli päässyt irti jostakin takkatorwen reiästä ja siten sytyttänyt kuiwaushuoneen wälikaton tai seinän.

Black Walnut Polish.

2009-11-02T19:50:00.001+02:00

Scientific American 8, 17.2.1866

Messrs. Editors: - Edward Everett, in your paper of Feb. 3d, inquires how to give to black walnut a dark, smooth, dead surface. Let him try the following method: -

Take asphaltum, pulverize it, place it in a har or bottle, pour over it about twice its bulk of turpentine or benzile, put it in a warm place, and shake it from time to time. When dissolved strain it and apply it to the wood with a cloth or stiff brush. If it should make too dark a stain, thin it with turpentine or benzole. This will dry in a few hours.

If it is desired to bring out the grain still more, apply a mixture of boiled oil and turpentine; this is better than oil alone. put no oil with the asphaltum mixture, as it will dry very slowly. When the oil is dry the wood can be polished with the following: - Shellac varnish, of the usual consistency, two parts: boiled oil, one part. Shake it well before using. Apply it to the wood by putting a few drops on a cloth and rubbing brisky on the wood for a few moments. This polish works well on old varnished furniture.

Lyijyvalkoista käyttäen parempiin työtuloksiin ja suurempiin ansioihin

2009-08-08T17:09:00.001+03:00

Lyijyvalkoista käyttäen parempiin työtuloksiin ja suurempiin ansioihin...

Lyijyvalkomainonnasta on hyötyä maalareille...
Lyijyvalkomainonta on saanut yleisön ymmärtämään maalauksen suuren merkityksen rakennusten, laivojen, siltojen tm. rautarakenteiden suojana. Omistajat ovat oppineet pitämään rakennuksensa hyvässä kunnossa ja maalauttamaan niitä kaikkeen ulkomaalaukseen parhaiten soveluvalla värillä, lyijyvalkoisella. Ilmoittelussa painostetaan ammattimaalarien välttämättömyyttä maalaustöiden suorituksessa - täten tarjoutuu myöskin maalareille uusia työtilaisuuksi ja lisää ansioita.
Tukekaa Tekin puolestanne lyijyvalkoimainontaa!

Lyijyvalkomainonta lisää työtilaisuuksia!

Lyijyvalkoilmoituksia v.1932-38
ILMO
Oy. Suomen Ilmoituskeskus
Helsinki 1939

Hyötykää lyijyvalkomainonnasta - maalatkaa lyijyvalkoisella!
Suositelkaa lyijyvalkoista kaikkeen ulkomaalaukseen!

Black Dye For Wood.

2009-08-08T17:06:00.000+03:00

The Manufacturer and Builder 3, 1883.

First sponge the wood with a solution of chlorhydrate of aniline in water, to which a small quantity of copper chloride is added. Allow it to dry, and go over it with a solution of potassium bichromate. Repeat the process two or three times, and the wood will take a fine black color, unaffected by light or chemicals.

Sekasanomia. Merkilliset sormikkaat.

2009-08-08T17:03:00.000+03:00

Savonlinna 12, 23.6.1876

(Lähetetty.)
Muutaman wärjärin piti oikeudessa todistaman eräässä riita-asiassa ja walaa tehdessä käski tuomari lain mukaan panna sormet kirjalle, jonka hän wiipymättä tekikin.
Tuomari. "Ottake handsikka pois".
Wärjäri. "Pankaapas lasit silmillenne."
Tuomari. "Mine sano teitill toisti kerta ottake handsikka pois".
Wärjäri. "Kyll' en ota, ennenkun otatte silmälasit."
Tuomari. Tuskastuneena alkoi ärjyä: "Mine sano teitill kolmas kerta, ottake handsikka pois, — elle mine kuttu fiskali paikall".
Wärjäri. "Hywä! kutsukaa maikka kaksi".
Tuomari. Wiskalin saapumille tultua, sanoi tuomari: "teme kumma mees ei otta handsikka pois; waikka mine käski kolme kerta, — ja nyt mine tahto sakotta hän — miks hän pilkka oikeutt ja komenteera minu panna lasi päähän."
Wiskali. "Minkätähden ette täyttäneet tuomarinkäskiä?"
Wärjäri. "Minkämoista käskyä?"
Wiskali. "Ette riisuneet sormikkaitanne walaa tehdessä."
Wärjäri. "Eihän minulla mitä sormikkaita olekaan, kotiinhan ne unohtui."
Wiskali. Huomattuaan asian haarat, selitti ruotsiksi tuomarille, jotta epähuomio oli tapahtunut asiassa.
Tuomari. "Miks teitti ei sano minull esken, ett teitill ei ole handsikka?"
Wärjäri. "Ettehän sitä ole minulta kysyneetkään."
Tuomari. "Astuka ulos".
Ja tämäpä sormikasseikka loukkasi tuomaria niin, jotta lyhyen ajan kuluttua otti wirka-eron.

Wähäsen kewätkuoseista.

2009-07-22T14:40:00.002+03:00

Päivän Uutiset 95, 25.4.1888

Kun kewätaika nyt alkaa, omat waatetehtaat ja kuosipuodit Pariisissa täydessä toimessaan.

Täksi kewääksi on "keksitty" uusi wäri, n. k. hedelmän wihreys, (fruit-vert) joka on wiheriänharmaata, ja jota ei saa waihettaa tähän asti kuosina olleeseen sinisenharmaaseen.

Hatut saawat kapotti-muodon wähän enemmän à la diadem ja warustetaan sywillä silkki- tai harso-poimuilla, ja oikean siwun alasyrjään pannaan wähän tummemman wärinen sulka kuin hattu on, kaikki hedelmänwiheriäistä wäriä, sen pitäisi sopiman melkein jokaiselle.

Hedelmänwiheriäiset puwut niiyttäwät parhaimmilta tehtyinä yksiwärisestä, mutta kuitenkin kuosinmukaisesta kankaasta. Hameet, nyöreillä kirjailtuina, tulewat tänä kewännä kaikkein uusimman kuosisiksi.

Kankaista pidetään parhaimpana tuo sangen soma n. k. Lady Harstorf, hauskan näköinen, englantilainen malli, jossa on kapeita monen wärisiä juowia.

Kaunistakaa Kotinne.

2009-07-22T14:40:00.001+03:00

Lounas 96, 12.12.1890

Keinona kietoa ihmissydäntä on kiinnittää se kotiinsa ja siteittten wahwistamiseksi on koti tehtäwä niin hauskaksi, mukawaksi ja kauniiksi kuin mahdollista, ja löytyy tuhat tapaa aikaan saada tämä wähillä kustannuksilla, wähällä ajalla ja wähällä taidolla. Se nopeus, jolla me woimme koristaa kotimme, on suuri-arwoinen ja paljon enemmänkin pienet kustannukset.

Yksi näitä äärettömän monia keinoja siihen, jotka nyt owat naisten ja jopa poikain ja tyttöjenkin käytettawinä, on emaljoitsemis taito.

Se emalji, jota on helpoin käyttää, on äskettäin keksitty "Aspinall'in emailji". Sitä on yhtä helppo käyttää kuin tawallista wäriä ja tekee pinnan yhtä kauniin kowaksi ja kiiltäwäksi kuin mikä lakeeraus tahansa — Tuskinpa löytyy yhtään esinettä taloudessa, jota tällä ei woitaisi siistitä tai muuttaa niitä wiehättäwämmäksi koristeeksi. Muutamat naiset owat emaljoineet makuhuoneensa huonekalut siinä tarkotuksessa että ne sopusointuisiwat wärillään muutamiin kallisarwoisiin poimutelmiin, ja moni esine, olkoonpa kuinka wanha ja ruma tahansa, woidaan wähällä kustannuksella muuttaa uudeksi, somaksi esineeksi.

Luku hyödyllisiä keinoja, joilla Aspinallin emaljia woidaan käyttää, woitaisiin lukea äärettömiin saakka, tarwitsee waan alkaa ja yksi aate toisensa perästä syntyy wähemminkin nerokkaassa päässä. Saadakseen toimeen helppoja lahjoja on emailji werrattoman arwokas, kun jokainen wanha esine woidaan niin kaunistaa, että lahjan ikää ei koskaan woida huomata.

Jokainen, jota on käyttänyt herra Aspinall'in emaljia, osottaa kernaasti hänelle kiitostansa, ja ennemmin tai myöhemmin on warmaan herra Aspinall'ille jokaisessa hauskassa perheessä, missä yksi purkki hänen emaljiaan on auttanut werhoomaan paljon wiallisuuksia, pystytettäwä kiitollisuuden muistomerkki."

Edellä olewa kiittäwä lausunto on ollut luettawana eräässä italialaisessa lehdessä.

Täällä Porissa myöpi tätä näin kiitettyä koristus-ainetta kapteeni Oscar Heine, joka asuu kauppias Alfthanin talossa raastuwantorin kulmassa.

A Lost Art.

2009-07-22T14:10:00.000+03:00

Chambers's Edinburgh Journal.

New Series.

Conducted by
William and Robert Chambers,
Editors of Chambers's Educational Course, 'Information For The People,' &c.

Volume XVI.

Nos. 382 to 417. July December, 1851.

Edinburgh:
Published by William and Robert Chambers,
and W. S. Orr, London.
1852.

Chambers's Edinburgh Journal. No. 411. New Series.
Saturday, November 15, 1851.

In No. 407 of this Journal there is an article entitled 'A Lost Art,' in which is mentioned the juggling trick of swallowing water, and then vomiting it again under the semblance of wine, &c. On reading it I remembered having read an explanation of this feat somewhere, and on examination found an account of it in an intelligent little book for its time, 'Experimental Philosophy, by Henry Power, Doctor of Physick. London, 1664.' His account, after describing the changes produced in vegetable infusions by acids, &c. is as follows: - 'By which ingenious commixtion of spirits and liquors did Floram Marchand, that famous waterfrinker, exhibit those rare tricks and curiositys at London of vomiting all kind of liquors at his mouth. For, first, before he mounts the stage, he always drinks in his private chamber, fasting, a gill of the decoction of Brasil; tehn, making his appearance, he presents you with a pailful of lukewarm water, and twelve or thirteen glasses, some washed in vinegar, others with oyl of tartar and oyl of vitriol; then he drinks four-and-twenty glasses of the water, and carefully taking up the glasse which was washed with oyl of tartar, he vomits a reddish liquor into it, which presently is brightened up and tinged into perfect and lovely claret. After this first assay, he drinks six or seven glasses more (the better to provoke his vomiting), as also the more to dilute and empale the Brasil decoction within him; and then he takes a glass rinsed in vinegar, and vomits it full, which instantly, by its acidity, is transcoloured into English beer, and vomiting also at the same time into another glass - which he washes in fair water - he presents the spectators with a glass of paler claret or Burgundian wine; then drinking again as before, he picks out the glass washed with oyl of vitriol, and, vomiting a faint Brasil-water into it, it presently appears to be sack - and perchance if he washed the one half of the glass with spirit of sack, it would have a faint odour and flavour of that wine also. He then begins his carouse again, and drinking fifteen or sixteen glasses, till he has almost extinguished the strength and tincture of his Brasil-water; he then vomits into a vinegar-glass again, and that presents white wine. At the next disgorgement - when his stomach is full of nothing but clear water, indeed, which he has filled so by the exceeding quantity of water which at every interval he frinks. he then deludes the spectators by vomiting rose-water, angelica-water, and cinnamon-water, into those glasses which have been formerly washed with those spirits. And thus was that famous cheat performed, and indeed acted with such a port and floweing grace by that Italian bravado, that he did not onely strike an admiration into vulgar heads and common spectators, but even into the judicious and more knowing part of men, who could not readily find out the ingenuity of his knavery. From this it would appear that the method used was the same with that of the Wizards of the present day; with this difference - that, in accordance with the tastes of a ruder age, they formerly used their stomachs as receptacles for the liquor, whereas in the present more fastidious age they are contented with a bottle. The art of vomiting and spouting the water would of course require considerable practice, and I should think would not be very conducive to the health of the operators. - From a Correspondent.

Complementary Colours.

2009-07-22T14:09:00.001+03:00

New Art of Silvering Glass.

2009-07-22T14:05:00.001+03:00

Chambers's Edinburgh Journal.

New Series.

Conducted by
William and Robert Chambers,
Editors of Chambers's Educational Course, 'Information For The People,' &c.

Volume XV.

Nos. 366 to 391. January-June, 1851.

Edinburgh:
Published by William and Robert Chambers,
and W. S. Orr, London.
1851.

Chambers's Edinburgh Journal. No. 369. New Series.
Saturday, January 25, 1851.

Of all the fabrics that now contend for the palm of beauty in art manufacture, glass is at once the most elegant and the most superb. Coloured or gilt, our modern works in this pure and fragile material begin to excite just admiration, owing especially to the almost perfect quality of British glass. This circumstance has enabled out glass-stainers, with their improved artistical taste and chemical skill, to compete with and distance completely the antique productions in stained-glass, some of which have long remained the wonders of art, from their imperishable quality of colour an quaint expression of character or design. In common coloured ornaments, formed of glass pervaded by colour, the Bohemians have long eclipsed the world, and we had till lately no expectation of being able to compete with them in any department of ornamental glass manufacture, although their material, as stated in the 'Revue Polytechnique' is understoof to hide its imperfections under the cloak of the colour interfused. A recent invention by Mr Hale Thomson will henceforth place the British manufacturer far ahead of all such competition in the production of ornamental glass. It consists in coating the inner or reverse surface with pure silver. To this process it is that we owe the gorgeous orbs that begin to appear in London and Edinburgh drawing-rooms as pendants to the gaselier. The exhibition of the varied results and applications of this novelty in art is, however, still comparatively unknown, being almost limited in London to the private friends of the patentees, and in Edinburgh only displayed at one establishment in Princes Street (Mr Millar's). The extraordinary reflective power of the surface, and its capacity to throw back rays without more cleaning or polishing than might be required by a window-pane or common tumbler, render the process specially applicable for the reflectors used in railway signal lamps and in lighthouses. It is contemplated even to employ it in the construction of astronomical instruments, and not only so, but already have its extraordinary powers in the multiplication and reflection of light been rendered available in surgery as an important auxiliary in conducting the most difficult operations.

The dull amalgam applied to ordinary looking-glasses, and which derives nearly all its lustre from the glass, the back being opaque, and devoid of radiance, can bear no comparison with this silvering, which is effectually beyond the reach or possibility of being tarnished or impaired, except by the destruction of the object into whose supersicies it is interfused. A sparkling warmth emanated from the metallic radiance, contrasted with the Bohemian glass is merely pretty or tinselly. The gorgeous glow of the antique Venetian glass, the secret of which is now a lost art, seems here restored; but even the Venetian absorbed the light, and before its exquisite beauties could be described, had to be held up, whereas the English silvered glass flashes back the light, and at night, when surrounding objects are obscured in partial gloom, is then most radiant and conspicuous. Professor Donaldson, in a recent address to the Royal Architectural Society, in advocating the use of this gorgeous material in shop fronts - which would give us indeed brystal commercial palaces, and exlipse in London the --- of Augustus at Rome, of having found it built of brick, and left it of marble - pointed out that, independently of the silvering, many of the tints produced are entirely new, and such as no combination of prismatic hues had hitherto disclosed to the most experienced colourist. The nomenclature of art has in fact at present no vocabulary expressive of these novel results. But purples, sapphires, pinks, vermilions, pearls, bronzes, and every chromatic hue from brightest steel to deepest gold, are thrown up in this new argentine reflection. Another characteristic never, according to the German prints, attempted since the discovery of glass itself by Hermes the Syrian, distinguishes this manufacture - that is, embossing. The thing, it is true, is an optical delusion. To the touch, the apparenty raised or sunken surface, dead or frosted, cut or burnished, does not exit. But the eye nevertheless beholds such results.

Crystal silver cups, goblets lined with burnished gold, epergnes, candelabra, wine-coolers, salts, tazzas, ink-stands, ewers, sugar-boxes, and all sorts of ornaments, are the objects to which we have seen this invention applied. Candlesticks it seems impossible to distinguish from actual silver; and looking-glasses, with frames made in the same piece, are warmly praised by the Liverpool press, where it has been stated that frame and glass together, composed of embossed and variegated glass, have also been prepared expressly from the residences of certain eminent London artists from designs furnished by themselves, and are perhaps a greater source of astonishment than any of the smaller achievements in chimney, toilet, or table ornaments. But the mirror globes which we have already mentioned are in their exquisite simplicity the gems of the whole collection. Of all sizes, of all colours; from two to thirty inches in diameter; from the capacity of half a pint to that of forty gallons, those magnificent mirror balls, places on the shoulders of an Atlas or under the talons of an eagle of bronze, are at once the type and glory of this exquisite art.

Irtautuwa kalkkirappaus.

2009-07-22T01:21:00.001+03:00

Savo-Karjala 53, 10.7.1888

Tuo tuulen, pakkasen ja kostean ilman waikutuksessa olewa kalttirappaus rakennuksissa ja muureissa hywin usein halkeilee ja irroittuukin. Kuten tunnettu, koetetaan tätä estää jättämällä rappauksen pinnan silittämättömäksi, s. o. ryhmyiseksi, joten ilmalle jääpi suurempi pinta-ala sen kuiwaamiseen. Täten on kalkki
tilaisuudessa imemään ilmasta suuremman määrän hiilihappoa ja pikemmin kowenemaan. Mieluummin kumminkin toiwoisi rappauksen pinnan tasaiseksi, jos se sitten ei niin pahoin halkeilisi ja murtuisi. Eräs saksalainen sanomalehti kehoittaa tähän tarkoitukseen täyttämään eräänlaista sementtisekoitusta, jossa on 1 osa kalkkia, 2—4 osaa sementtiä ja 6—12 osaa hietaa. Ja yhä etuisampaa on, jos rappausta wielä muutamia kertoja kostutetaan weteen sulatetulla rautawihtrillillä. Neljännen kostuttamisen jälkeen, jos pinta ei enää ota tummaa, wiheriään wiwahtawaa wäriä, on silloin rappauksen pinta jo täynnä sekoitusta. Tämän jälkeen hiwellään rappausta kaksi kertaa saippua sekoituksella (5 osaa saippuata ja 100 osaa wettä), jolloin rappaus tulee weden läpilaskemattomaksi ja waatepalalla eli porstalla hangattuna saa se aiwan öljywärin kalttaisen kiillon.

Ulkomaalta. (Kangassanomalehti)

2009-07-22T01:18:00.001+03:00

Tähti 19, 13.5.1864

Parisissa on herrat Willemessant ja Lecond antaneet wiimes huhtikuun 22 päiwänä ensimäisen numeron uutta sanomalehteä, joka ei ole painettu paperille niinkuin muut sanomat. Se on nimittäin painettu puumuli-waatteelle ja sellaisella painemustalla että koko paine saadaan pesemällä helposti pois, että, niin pian kuin tällainen sanomalehti on luettu, sen woi panna waatteeksi. Ne luetut sanomalehdet eiwät sillä tawoin mene hukkaan: ne saattaa umpeluttaa paidoiksi. Mikä armoton wiisas neuwo! Lukia woipi tästä arwata sanoma-kirjallisuuden tulewaisuuden. (S:tar.)

Wärjättyä kahwia.

2009-07-22T01:17:00.002+03:00

Tapio 73, 19.9.1885

Turusta kertoo S. T. Olemme olleet tilaisuudessa näkemään eräältä täkäläiseltä kauppiaalta ostettua kahwia, jota on lähetetty tarkastettawaksi kemiallis- ja siementarkastuslaitokseen tässä kaupungissa, syystä että se epäiltiin olewan wärjättyä. Kahwia mainitussa laitoksessa tarkastettaessa on huomattu että sitä on wärjätty "berlinisinillä" ja eräällä keltaisella wäriaineella, mahdollisesti "curcumaa", jonka wuoksi tarkastuslaitos todistaa, että tämä kahwi on ellei suoraan myrkyllistä, niin kuitenkin semmoista laatua, että ehdottomasti waroitetaan sitä käyttämästä.
Kysymyksessä olewalle kauppiaalle on annettu tieto tästä todistuksesta, jota siis pitäisi estäwän häntä wast'edes myymästa tätä kahwilajia. Syystä että tämmöistä
kahwia kentiesi löytyy muillakin myytäwänä, niin kehoitamme ostajia, jos he epäilewät
että kahwi on wärjätty, ennen käyttämistä pesemään sitä puhtaaksi taikka antamaan sitä kemiallisesti tarkastaa.

Erityisiä ilmoituksia. Punamultaa...

2009-07-22T01:15:00.000+03:00

Suomen Julkisia Sanomia 34, 30.4.1857

Punamultaa
walmistetaan Walkealan howissa Walkealan pitäjässä Wiipurin lääniä. Tämä multa on kaunista ja sopiwata niin puuhuoneitten wesimaalaamiseksi, kuin myös öljymaalaukseksi puuhun ja metalliin, jota monta rakennusta paikalla ja myös julkiset ja yksityiset rakennukset niin maaseuduilla kuin kaupungeissakin osottawat, ja on ymmärtäwäisiltä todistettu ruotsin punamultaa mukaisemmaksi puuta märkänemisestä säilyttämään. Tätä tawarata myydään paikalla 7 ja 10 leiwiskää painawissa tynnyreissä. Näytteeksi sitä löytyy Kotimaisen Teollisuuden varastossa (Depôt för Inhemska Industrialster) Helsingissä, Tammisaarella konsuli Hultmanin, Porkoossa konsuli Orrmanin, Lowiisassa konsuli Sucksdorffin, Haminassa kauppiaan Ahlqvistin, Wiipurissa kauppiaan Alfthanin, Lappeenrannalla kauppaneuwoksen Savanderin, Mikkelissä kauppiaan Kiurun, Sawonlinnassa kauppiaan Hypeläisen, Kuopiossa kauppiaan Pauloffin, Heinolassa kauppiaan Wahlmanin, Hämeenlinnassa kauppiaan Lönnholtzin, Tampereella kauppiaan Hildenin ja Jywäskylässä kauppiaan Forsblomin tykönä. Paikalta kuletetaan sitä huokealla maksulla haluawille.

Tampereen Werkatehdas-Osakeyhtiön hiljakkoin perustama Kauno-värjäys (mainos)

2009-07-22T01:14:00.002+03:00

Tampereen Sanomat 37, 8.5.1880

Tampereen Werkatehdas-Osakeyhtiön hiljakkoin perustama Kauno-värjäys ja Kemiallinen pesulaitos
vastaanottaa tehtaan puodissa kauno värjättäväksi, pestäväksi, puhdistettavaksi, prässättäväksi ja likapilkkuja poisotettavaksi.
Nais- ja Miesväen vaatteita, Gardinia ja huonekalujen päälliskankaita, Vilttiä, Pöytäliinoja, Mattoja, Saarlia, Pää- ja Kaulaliinoja, Nauhoja y.m. Silkkisiä, puolisilkkisiä, Villasia ja puolivillasia, jotka takaisin jätetään täydellisessä tilassa huokeata maksoa vastaan. Jos joku vaate tarvitsee ratkoa, tulee siitä vastaanotettaissa ilmoittaa.

H. Saastamoinen Kuopiossa (mainos)

2009-07-22T01:12:00.003+03:00

Savo 26, 29.4.1884

H. Saastamoinen Kuopiossa
myöpi suurissa ja wähissä määrin:
Zinkkiwalkiaa,
Lyijywalkiaa,
Lumiwalkiaa,
Lithoponea,
Liitua,
Keltamultaa,
Punamultaa,
Ruuniokraa,
Hiilimustaa,
Luumustaa,
Kimröökiä,
Lyijyhartsia,
Kasseiruunia,
Terra,
Umbra,
Kromikeltaa,
Sinoperi wiheriää,
Waunuwiheriää,
Zinkkiwiheriää,
Permanent wiher.,
Victoria ",
Berliner punasta,
Italian ",
Caput mort. (Todinkopf),
Mönjaa,
Rautamönjaa,
Lysokeria,
Boraksia,
Tulikiweä,
Berlinersinistä,
Kaboltsinistä,
Pariisin mustaa,
Mahogniruunia,
Terra japonica,
Parisin sinistä,
Mustaa stoftia,
Peso-sinistä,
Schmaltzia,
Ultramariinia,
Violett-lakkaa,
Terra Sienna,
Crom punasta,
Kelta Filling,
Harmaa Filling,
Siuatif pulweria,
Walkeaa Alunaa,
Wiheriää Alunaa,
Rauta-wihtrilliä,
Sandeli-wäriä,
Pimpsikiweä,
Kupariwihtrilliä,
Krappia,
Orleana,
Weriliwesuolaa,
Kanpheria,
Chrystalli Tattaria,
Harmaa Cochinellia,
Mustaa samoin,
Galläppeliä,
Curcuma,
Aneliniwäriä,
Walkiaa wiinakiwiä,
Punasta sam.,
Chromsyraa,
Lahoruunia, (Bresilja)
Hartsia,
Arabic-gummia,
Liimaa,
Borsyl. Mangan Oryd,
Gelatin,
Santapaperia,
Teräskampoja,
Punasta liitua,
Kultapronssia,
Metallikultaa,
Ehto-kultaa,
Ehto-hopeaa,
Lehtikultaa ja hopeaa,
Metalli-hopeaa,
Metallia,
Mustaa liitua,
Tusch'ia,
Wärilootia,
Kaikenlaisia maalarin penseleitä sekä harjoja,
Liinaöljyä keitettyä ja keittämätöintä,
Punasta, ruunia, sinistä, mustaa, harmaata, wiheriää ja walkiaa walmista maalia, 1, 2, 5, 10, 20, 30 ja 60 #[leiviskä] metalliastioissa,
Wesilasia,
Posliinilakkaa,
Crystallilakkaa,
Damarlakkaa,
Kupalilakkaa,
Lattialakkaa,
Xerotinia,
Ruusalakkaa,
Florentinlakkaa,
Asfaltlakkaa,
Waununwoidetta,
Lakkafernissaa, walkeaa, punasta ja keltasta, ¼ ½ ja 1 #[leiviskä] pullossa,
Polityra ¼ ½ ja 1 #[leiviskä] pullossa,
Pale Chrystall fernissa,
Pale Waering Body,
Kultafernissaa,
Saft-fernissaa,
Japansk gold size,
Saft punasta,
Kartta-fernissaa,
Fuchsin,
Dalia,
Cerice,
Mahognibets,
Walnötsbets,
Stand Olja,
Stempel-wäriä,
Woi-wäriä,
Sulattua liimaa.
H. Saastamoinen.

The Herball or Generall Historie of Plantes: Of Madder. Chap. 444.

2009-07-22T01:08:00.001+03:00

Teksti ilmestynyt kirjassa:
The Herball or Generall Historie of Plantes. Gathered by John Gerarde of London Master in Chirvrgeria,

Imprinted at London by Iohn Norton. 1597

Of Madder. Chap. 444.

The kindes.
There is but one kinde of Madder onely: but if all those that are like unto it in leaues and maner of growing were referred thereto, there should be many sorts: as Goose grasse, soft Cliuer, our Ladies Bedstraw, Woodroose, and Crossewoort, all which are like to Madder in leaues, and therefore they be thought to be wilde kinds thereof.

The description
The garden or manured madder, hath long stalkes or trailing branches dispersed farre abroade uppon the grounde, square, rough, and ful of ioints, at euery ioint ser rounde with greene rough leaues, in maner of a starre, or as those of Woodroofe: the flowers growe at the top of the branches; of a faint yellowe colour: after which come the seede, rounde, greene at the forst; afterwarde red, and lastly of a blacke colour: the roote long, fat, full of substance, creepeth farre abroade withinthe upper crust of the earth, and is of a reddish colour, when it is greene and fresh.

Wilde madder is like informe unto that of the garden, but altogither smaller, and not so rough: the flowers are white: the roots is verie finall and tender, and oftentimes of a reddish colour.

Sea Madder hath a roote two foote long, with many dry threds hanging thereat, of a reddish colour like Alkanet, on the outside of the same forme and bignes, but within it of the colour of the scrapings of Iuniper, or Cedar wood, sending foorth diuers slender stalkes rounde and full of ioints: from which come foorth small thin leaues, stiffe and sharpe pointed, somewhat hairy, in number commonly sower, standing like a Burgonion crosse; from the bosome of which come foorth certaine tufts of smaller leaues thrust togither upon a heape: the flowers grow at the top of the stalkes of a pale yellowish colour.

The place
Madder is planted in gardens, and is very common in most places of England.
The seconde groweth in moist meadowes, in moorish grounds, and under bushes almost euerie where.
The last groweth by the sea side on most places.

The time.
They flourish from Maie unto the end of August: the rootes are gathered and dried in Autumn, and solde tothe use of Diers, and Medicine.

The names.
Madder is called in Greeke ----,Erythoradanum: in Latine Rubia, and Rubeis: in shops Rubia tinctorum: Paulus AEgineta sheweth that it is named Thapson which the Diers use, and the Romaines call it Herba Rubia: in Italian Rubbia, and Robbia: in Spanish Ruuia, Roya, and Garanza: in French Garance: in high Dutch Rotte: in lower Dutch B[?]ee, and B[?]ee crappen: in English Madder, and red Madder.

The temperature.
Of the temperature of Madder, it hath beene disputed among the learned, and as yet not censured, whether it do binde or open; some say both, diuers diuersly deeme: a great Phisition (I do not say the great learned) called me to account as touching the faculties heereof, although he had no commission so to do, notwithstanding I was content to be examined upon the point, what the nature of Madder was, bicause I haue written that it performeth contrary effects, as shall be shewed: the rootes of Madder, which both Phisitions and Diers do use, as they have an obscure binding power and force; so they likewise of nature and temperature colde and drie: they are withall of diuers thin parts, by reason whereof their colour doth easily pearce: yet haue they at the first a certaine little sweetenes, with an harsh binding qualitie presently following it; which not onely we out selues haue obserued, but also Anicen the prince of Pisitions, (the great Phisitions master) who in his 58. Chapter hath written, that the roote of Madder hath a rough and harsh taste: nowe Master Doctor, whether it binde or open I haue answered, attending your censure: but if I haue erred, it is with the multitude, and those of the best, and best learned.

The vertues.
The decoction of the rootes of Madder is euery where commended for those that are busten, brused, wounded, and that haue fallen from high places.

It stranchech bleeding, mitigateth inflammations, and helpeth those parts that be hurt and brused.

For these causes they be mixed with potions, which the later Phisitions call wound drinkes in which there is such force and vertue, as Mathiolus also reporteth, that there is likewise great hope of curing of deadly wounds in the chest and intrails.

Our opinion and iudgement is confirmed by that most expert man, somtimes Phisition of London Johannes Springus, who in his Rapsodes hath noted, that the decoction fo Madder giuen with Triphera, that great composition is singular good to stay the reds, the hemorrhoides and boudie flixe, and the same approoued by diuers experiments: which confirmeth Madder to be of an astringgent and binding qualitie.

Of the same opinion as it seemeth is also Eros Iulia hir freed man (commonly called Trotula) who in composition agains untimely birth doth use the same: for if he had thought that Madder were of such a qualitie as Dioscorides writeth it to be of, he woulde not in any wife haue added to those medicines which are good against an untimely birth.

For Dioscorides reporteth, that the roote of Madder doth plentifuly prouke urine, and that grosse and thicke, and oftentimes bloud also, and it is so great an opener, that being but onely applied, it bringeth downe the menses, the birth, and afterbirth: but the extreme rednes of the urine deceiued him, that immediately followeth the taking of Madder, which rednes came as he thought, from bloud mixed therewith, which notwithstanding commeth no otherwise then from the colour of the Madder.

For the roote hereof taken any maner of way dot by & by make the urine extreme red: no otherwise then Rubarb doth make the same yellow, not changing in the mean time the substance therof, nor making it thicker then it was before, which is to be understoode in those which are in perfect health, which thing doth rather shew that it doth not open, but binde, no other wise then Rubarbe doth; for by reason of his binding qualitie the waterish humours do for a while keepe their colour. For colours mixed with binding things do longer remain in the things colored, and do not so soon vade: this thing they well knowe that gather colours out of the iuices of flowers and herbes, for with them they mixe allume, to the end that the colour may be retained and kept the longer, which otherwise woulde be quickly lost. By these things it manifestlty appeereth that Madder doth nothing vehemently either clense or open, and that Dioscorides hath rashly attributed unto it this kinde of qualitie, and after him Galen and the rest that followed, standing stiffely to his opinion.

Plinie saith, that the stalkes with the leaues of Madder, are used against serpents.

The roote of Madder boiled in Meade or honied water, and drunken, openeth the stoppings of the liuer, the milt and kidneies, and is good against the iaundise.

The same taken in like maner prouoketh urine vehemently, insomuch that the often use thereof causeth one to pisse bloud, as some haue dreamed.

Langius and other excellent Phisitions haue experimented the same to amende the lothsome colour of the Kings euill, and helpeth the ulcers of the mouth; if unto the decoction be added a little allume and honie of Roses.

The Herball or Generall Historie of Plantes: Of Alkanet or wilde Buglosse. (Chap. 271.)

2009-07-22T01:06:00.000+03:00

Teksti ilmestynyt kirjassa:
The Herball or Generall Historie of Plantes. Gathered by John Gerarde of London Master in Chirvrgeria,

Imprinted at London by Iohn Norton. 1597

Of Alkanet or wilde Buglosse. (Chap. 271.)

The kindes.
There ne sundrie plants diuersly called, and yet euerie of them comprehended or conteined among the kindes of wilde Buglosses, whose figures to setsoorth particularly would both require cost and also much labour, and yet to small purpose; so that it shal suffice to set foorth the pictures of some and the bare descriptions of the rest: where of there be according to Dioscorides three kindes (besides the commong Buglosse and Landebeuf) that is to say, Onoclia, Alcibiadion, and the third without a name which we make to be Onosma. And first of
1. Anchusa Alcibiadion, Red Alkanet
2. Anchusa lutea, Yellow Alkanet

The description
These herbes comprehended under the name of Anchusa were so called of the Greeke word ---- i. illinere succo, vel pigmentis, that is to colour or paint any thing whereupon these plants were called Anchusa of that flourishing and bright red colour which is in the roote, euen as red as pure and cleere blood: for that is the onely note or marke whereby to distinguish these herbes from those which e called Echy, Lycopsis, and Buglossa, whereof they make a great resemblance: I haue therefore expressed sower differences of this plant Anchusa or Alkanet from the other kinds, by the leaues, flowers, and bignesse.

1. The first kinde of Alkanet hath many leaues like Echium, or small Buglosse, couered ouer with a prickly hoarines, hauing commonly but one stalk, which is round, rough, & a cubite high. The cups of the flowers are of a skie colour tending to purple, not unlike the flowers of Echium; the seede is small, somewhat long, and of a pale colour: the roote is a finger thicke, the pith or inner part therof is woodie substance, dying the hands or whatfoeuer thoucheth thesame, of a bloodie colour, or of the colour of saunders.

2. The second kinde of Anchisa or Alkanet, is of greater beutie and estimation than the first; the branches are lesle and more bushie in the top: it hath also greater plentie of leaues, and those more woolly or hairie: the stalke groweth to the height of two cubits: at the top growe flowers of a yellowe colour, farre different from the other: the roote is more shining, of an excellent delicate purplish colour, and more full of iuice then the first.

There is a small kinde of Alkanet, whose roote is greater and more full of iuice and substaunce then the rootes of the other kinds; in all other respects it is lesse, from the leaues are narrower, smaller, tenderer, and in number more, very greene like unto Borage, yeelding foorth many little tender stalks: the flowers are lesse then of the small Buglosse, and red of colour: the seede is of an ashe colour somewhat long and slender, hauing the taste of Buglosse.

There is also another kinde of Alkanet, which is as the others before mentioned, a kind of wilde Buglosse, notwithstanding for distionction sake, I haue separated and seuered them. This last Anchusa hath narrowe leaues, much like unto our common sommer Sauorie. The stalkes are two handfuls high, bearing very small flowers, and of a blewish or skie colour: the roote is of a darke brownish red colour, fying the hands little or nothing at all, and of a woodie substance.

The place
These plants do grow in the fieldes of Narbone, and about Montpelier, and many other parts of Fraunce: I found these plants growing in the Ile of Thanet neere unti the sea, bewixt the house sometime belonging to sir Henric Crispe, and Margate: where I founde some in their naturall ripenes, yet scarcely any that were come to that beautiful colour of Alkanet: but such as is solde for very good in out Apothecaries shops, I found there in great plentie.

The time.
The Alkanets flower and flourish in the sommer moneths: the rootes do yeelde their bloody iuice in haruest time, as Dioscorides writeth.

The names.
Alkanet is called in Greeke ---- in Latine also Anchusa, of diuers Fucus herba, and Onocleia, Buglossa Hispanica, or Spanish Buglosse: in Spanish Soagem: in French Orchanett: and in English likewise Orchanet, and Alkanet.

The temperature.
The rootes of Alkanet are cold and drie as Galen writeth, and binding, and bicause it is bitter it clenseth awaie cholericke humours, and leaues be not so forceable, yet do they likewise binde and drie.

The vertues.
Dioscorides saith, that the roote being made up into a cerote, or serecloth with oile, is very good for old uleers; that with parched barley meale it is good for the leprie, & for tetters or ring wormes.
That being used as a pessarie it bringeth foorth the dead birth.
The decoction being inwardly taken with meade or honied water, cureth the yellowe iaundise, diseases of the kidneies, the spleene and agues.
It is used in ointments for womens paintings: and the leaues drunke in wine is good against the laske.
Diuers of the later Phisitions do boile with the roote of Alkanet and wine, sweete butter, such as hath in it no salt at all, untill such time as it becommeth red, which they call red butter / give it not onely to those that haue fallen from some high place, but also report it to bee good to driue foorth the measels and small poxe, if it be drunke in the beginning with hot beere.
The rootes of these plants are used to colour sirups, waters, gellies, and such like confections, as Turnsoleis.
John of Arderne hath set downe, a composition called Sanguis veneris, which is most singular in deepe punctures or wounds made with thrufts, as followeth: Take of oile Oliue a pint, the rootes of Alkanet two ounces, earth woormes purged, in number of twentie, boile them togither and keepe it to the use aforesaid.
The gentlewomen of Fraunce fo paint their faces with these rootes, as it is said.

The Herball or Generall Historie of Plantes: Of Gum Lack and his rotten tree. Chap. 142.

2009-07-22T01:05:00.000+03:00

Teksti ilmestynyt kirjassa:
The Herball or Generall Historie of Plantes. Gathered by John Gerarde of London Master in Chirvrgeria,

Imprinted at London by Iohn Norton. 1597

Of Gum Lack and his rotten tree. Chap. 142.

Lacca cum suis bacillis.
Gum Lack with his staffe, or sticke.

The description
The tree that bringeth foorth that excrementall substance, lacced lacca both in the shops of Europe and elsewhere, is called of the Arabians, Persians and Turkes Lac Sumutri, as who should say Laccaof Sumutra: some which haue to termed it, haue thought that the first plentie thereof came from Sumutra, but herein they haue erred; for the abundant store thereof came from Pegu, where the inhabitants thereof do call it Lac, and others of the same prouince tree. The historie of which tree, according to that famous Herbarist Clusius is as followeth: There is in the country of Pegu and Malabar, a great tree, whose leaues are like them of the Plum tree, hauing many small twiggie branches; when the trunke or body of the tree waxeth olde, it rotteth in sundrie places, wherein do breede certaine great ants of Pismires, which continually worke and labour in the time of haruest and somer against the penuerie of winter: such is the diligence of these Ants, or such is lumpe or masse of substance, which is of a crimson colour, so beautifull and so faire, as in the whole world the like cannot be seene, which ferueth not onely to phisicall uses, but is a perfect and costly colour for Painters, called by us Indian Lack. The Pismires (as I said) worke out this colour, by sucking the substance of matter of Lacca from the tree, as Bees do make honie and waxe, by sucking the matter thereof from all herbes, trees, and flowers, and the inhabitants of that countrie, do as diligently search for this Lacca, as we in England and other countries, seeke in the woods for honie; which Lacca after they haue found, they take from the tree, and drie it into a lumpe; among which someimes there come ouer some sticks and peeces of the tree with the wings of the Ants, which have fallen amongst it, as we daily see.

The place
The tree which beareth Lacca groweth in Zeilan and Malauar, and in other partes of the East Indies.

The time.
Of the time we haue no certaine knowledge.

The names.
Indian Lack is called in shops Lacca: Italian Lachetta: Anicem calleth it Luch: Paulus and Dioscorides Cancamum: the other names are expressed in the description.

The temperature and vertues.
Lack or Lacca is hot in the second degree, it comforteth the hart and liuer, openeth obstructions, expelleth urine, and preuaileth against the dropsie.

There is an artificiall lack made of the scrapings of Brasil and Saffron, which is used of painters, and not to be used in physicke as the other naturall Lacca.