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| author | nfenwick <nfenwick@pglaf.org> | 2025-02-05 03:10:20 -0800 |
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| committer | nfenwick <nfenwick@pglaf.org> | 2025-02-05 03:10:20 -0800 |
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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..32db509 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #50564 (https://www.gutenberg.org/ebooks/50564) diff --git a/old/50564-0.txt b/old/50564-0.txt deleted file mode 100644 index 996439f..0000000 --- a/old/50564-0.txt +++ /dev/null @@ -1,2712 +0,0 @@ -The Project Gutenberg eBook, The History of Ink, by Thaddeus Davids - - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - - -Title: The History of Ink - Including Its Etymology, Chemistry, and Bibliography - - -Author: Thaddeus Davids - - - -Release Date: November 27, 2015 [eBook #50564] - -Language: English - -Character set encoding: UTF-8 - - -***START OF THE PROJECT GUTENBERG EBOOK THE HISTORY OF INK*** - - -E-text prepared by Sonya Schermann and the Online Distributed Proofreading -Team (http://www.pgdp.net) from page images generously made available by -Internet Archive (https://archive.org) - - - -Note: Project Gutenberg also has an HTML version of this - file which includes the original illustrations. - See 50564-h.htm or 50564-h.zip: - (http://www.gutenberg.org/files/50564/50564-h/50564-h.htm) - or - (http://www.gutenberg.org/files/50564/50564-h.zip) - - - Images of the original pages are available through - Internet Archive. See - https://archive.org/details/historyofinkincl00davi - - -Transcriber's note: - - Words in fonts different from the main text, - used to denote emphasis, have been surrounded by - _underscores_. - - Superscripts have been indicated by preceding the - superscripted letters with ^. When more than one - character in a row is superscripted, the letters - have been surrounded by {}. - - An attempt has been made to transcribe the handwritten - text in plates used to show the different kinds of ink. - Where the original text was unclear, dots have been - used to mark illegible letters, [] surround illegible - but obvious letters, and <> surround letters deleted by - the original scribe. - - Hyphens have been added at the end of lines where - appropriate. - - Macrons and tildes on consonants within the plates have - not been reproduced. - - Longer illegible sections were replaced by [illegible]. - - In some cases, a descriptive word or phrase has been - added and surrounded by square brackets, for example - [Hieratic text]. - - Some corrections have been made to the original. These - are described in a second transcriber's note at the end - of the text. - - - - - -[Illustration: - - THE - History - OF INK - - VOX DICTA PERIT, LITERA SCRIPTA MANET. - - THADDEUS DAVIDS & CO. - - NEW YORK. - - SNYDER, BLACK & STURM, - - LITHOGRAPHERS, 92 WILLIAM ST. N.Y.] - - -THE HISTORY OF INK - -Including Its Etymology, Chemistry, and Bibliography. - - - - - - - -New-York; -Thaddeus Davids & Co. -127 William Street. - - -[Illustration: - -FRANCIS HART & CO. - -Printers, - -63 Cortlandt St. N.Y.] - - - - - - The History of Ink. - - -Ink IS history, in the common acceptation of the word; for, what is -generally denominated history—is ink diffused on paper in certain -definite lines. Yet ink has no history written or composed hitherto. In -view of this deficiency—which betrays a singular negligence (on the part -of historians and all literary men) and a thoughtless ingratitude to -this indispensable means of accomplishing and preserving their work—we -propose to supply the desideratum, by furnishing, on these little pages, -what is indicated by the above title, in the fullest sense and widest -scope of the term, including its etymology, its chemistry, and all that -can be suggested and justified by the title, or fairly demanded under -it, or claimed from it. - -The great common error of general historians, ancient and modern, (with -a very few exceptions among the moderns,) has been, that they have given -to the world little else than narrations and descriptions of wars and -treaties, of governmental changes and political events, omitting to -record the often far more important facts in the history of literature, -science, and the arts of utility, by which the progress of civilization -and the development of the human race in its higher capacities have been -effected or aided. The great “Instaurator of the Sciences” was the first -to call attention to these omissions and deficiencies in all previous -histories, and to indicate the duty of historians to avoid these -errors,—setting a good example in that respect, in the specimen, or -model work, which he produced as a pattern,—his history of the reign of -Henry the Seventh. Since his time, many special histories of inventions -and of the arts of utility have been written; and the numerous -cyclopaedists have largely contributed to this object; still, however, -leaving many vacancies to be filled in this department of human -knowledge, of which the one before us can not be considered the least -worthy of the labor needful for its investigation. - - - - - DEFINITION. - - -The word INK has been variously defined by lexicographers, cyclopaedists -and chemists; but the following terms may be taken as fully expressing -the common qualities and essential specific characteristics of all -substances included under the name. - -INK is a colored liquid employed in making lines, characters or figures -on surfaces capable of retaining the marks so made. The Encyclopaedia -Britannica, (vol. xii. p. 382, 1856,) gives the following definition: -“INK.—The term ink is usually restricted to the fluid employed in -writing with a pen. Other kinds of ink are indicated by a second word, -such as red ink, Indian ink, marking ink, sympathetic ink, printers’ -ink, etc. Common ink is, however, sometimes distinguished as writing -ink.” - -As to COLOR,—black is and has always been preferred in ordinary uses. -For ornamental purposes and for occasionally useful distinctions, -various other tints have been and are adopted—as blue, red, green, -purple, violet, yellow—and so on, according to the fancy of the maker, -or purchaser, or consumer. - -The substance employed to receive and preserve the marks thus made is -now almost universally Paper. Parchment is still used in many legal -documents and writings of form and ceremony. Cotton, linen and silk, -when woven into fabrics for garments and like uses, are also subjected -to marks of ink for the purpose of identifying property. So are wooden -and leathern surfaces in similar conditions. It is also employed in -writing on stone, in the quite modern art of lithography. - -Though its great original and continual employment is in writing, it -must be remembered that it is also largely used in the delineation of -objects by artists. Ink and paint are mutually convertible to each -other’s uses, but are yet so distinct in character and objects, that no -one regards the words as synonymous, and no precise definition is needed -to teach the distinction between them. As, for instance, in pen-and-ink -drawings and sketches, the ink serves the purpose of paint. So likewise -in the letters on sign-boards, &c. paint may be considered as a -substitute for ink. The artist who traces his name on the canvas in a -corner of his painting, employs paint in a similar manner. Printing-ink -is used as black paint. In the best red inks, carmine (a paint in -water-colors) is the essential ingredient. Indian Ink is used here only -as paint,—in China, as ink. - - - - - ETYMOLOGY. - - -The derivation of the English word “INK,” and of its representatives in -various modern languages, has caused much perplexity to philologists, -and has been the subject of many erroneous conjectures. We suffix the -names by which it is known in those nations who have most employed it: - - English, Ink. - - Low-Dutch, Neder-Duytsch, Hollandisch, Inkt. - - German or Deutsch, Dinte and Tinte. - - Old German, Anker, Tincta, Tinta and Dinde. - - Danish, Norwegian, } Blaek, (India Ink, Tusch.) - Norse, Icelandic, } - - Swedish, Blaeck, (India Ink, Tusk.) - - French, Encre. - - Old French, Enque. - - Italian, Inchiostro. - - Spanish, Tinta. - - Portuguese, Tinta. - - Illyrian, Ingvas. - - Polish, Incaust. - - Basque, Coransia. - - Latin, Atramentum. - - Mediæval Latin, Encaustum. - - Greek, Melan. - - Hebrew, D’yo. - - Chaldee, N’kaso. - - Arabic, Nikson, Anghas. - - Persian, S’y’ah’o. - - Hindustani, } S’yaho, Rosh’na, kali, shira, mas, - and Hindui, } murakkat, kalik, midad. - - Sanscrit, Kali, (Black.) - - Armenian, Syuaghin. - -We might amuse ourselves by extending this tabular list indefinitely. -Enough, however, has been already shown to illustrate a few remarkable -facts which we wish to present that are connected with the etymology of -our subject; but we present a page of Lithographic illustrations which -will enable any “curious reader” to trace the word further. - -No dictionary of the English language gives us any help or light about -the matter. Webster suggests “_inchiostro_,” (the Italian word,) as the -source of derivation; and all the Italian lexicographers agree that -_inchiostro_ is from the later Latin ENCAUSTUM, which is in fact Greek, -Εγκαυστον, (Encauston,) “_burned-in_ or corroded.” Encaustum became -corrupted into “_enchaustrum_,” from which the transition to -“_inchiostro_,” is by the regular form of derivation from the Latin to -the Italian,—the L before a vowel giving place to a short I—as “_piano_” -from PLANUS. (The CH, in Italian is always sounded hard, like the -English K.) - -Leaving the French word _encre_ as on the middle ground between -different etymologies, and affording no light either way,—we find the -Spanish and Portugese “_tinta_,” and the German (a language widely -remote from those of the Iberian peninsula in origin and affinities) -“_dinte, tinte and tincta_,” forcibly reminding us of the Latin -participle TINCTUS, TINCTA, TINCTUM, from the verb TINGO, which is -represented in English by TINGE, and other derivatives, such as -“_tincture_,” &c. We cannot refuse to recognize the Holland-Dutch -“_Inkt_” as from the same root to which we have thus traced the -corresponding word in a language which we may call its “cousin-German;” -and it is hard to exclude the Old French “_Enque_” and modern “_Encre_” -from this circle of relationship. - -Then, we are somewhat impressed by the discovery of the word _Ingvas_ in -the Illyrian, a language of the Slavonic (or more properly Slovenic) -stock, like the Polish,—and, like that, enriched by words derived from -the Latin. The Polish, however, presents us with the actual Graeco-Latin -_Encaustrum_. - -Still more remote from the English and Italian, we find among the -Orientals of the Shemitish race, ANGHAS and NIKSON in the Arabic, and -N’KASHO in the Chaldee, with a manifest resemblance in sound, and with -an actual possession of the same elements and radical letters, N. K. Yet -we do not think of suggesting that these words had a common origin with -the corresponding ones in European Languages, though so nearly -coincident in sound. The case is simply one of accidental resemblance, a -remarkable coincidence,—(because occurring at three different and remote -points,) but yet a coincidence not wholly unparalleled. - -The probability is that the English word, like the Dutch, German, -Spanish, &c., came from the Latin TINCTUM, but it may be left “an open -question;” for if we had not these instances to direct the formation of -our opinions, we should have no hesitation in acknowledging the Italian -_Inchiostro_ as the true ETYMON; just as, if we had neither of these in -view, we might suspect the origin of our word to be in the Oriental -ANGHAS or NIKSON. - -The Ethiopic KALAMA at first sight appears to be related to the -Hindustani KALI; but the latter is merely the word in all the languages -of Hindustan for black,—while the former is but a modification of the -Greek and Latin CALAMUS, a _reed_ or pen,—the instrument (naturally -enough) giving its name to the liquid which was essential to its use. - -The word ENCAUSTUM connects, in a very interesting and instructive -manner, both with the history and the chemistry or manufacture of our -modern inks, and is a satisfactory demonstration of the utility of such -etymological researches as those in which we have been here indulging. - -The one great distinction between the ancient and the modern inks is -this: The old inks were PAINTS; the writing inks now in use by all -nations (excepting those of Southern Asia) are DYES. That is the whole -difference. - -It would be well to give a definition or limitation of the words -“Ancient” and “Modern.” No one has done it hitherto. We will not attempt -to fix the point precisely, but may reasonably say that the period -intervening between September, A.D. 410, (when Rome was taken by ALARIC -and his Visigoths) and December 25, A.D. 800, (when Karl the Great, -otherwise called Charlemagne, was crowned in Rome by Pope Leo with the -title of Emperor of the Holy Roman Empire) contains the interval between -antiquity and modern times. - -The introduction of Paper as the common material upon which significant -characters were to be marked must have had a great agency in producing a -change in the composition of the liquid employed in making the marks. - -PARCHMENT was the substance in use, among all the European nations, as -the substratum of manuscript, from the time when the Egyptian _papyrus_ -went out of fashion. Both the parchment and the papyrus were written -upon, by Romans, Greeks and Hebrews, with pens made of small reeds, -dipped in a fluid composed of _carbon_, (not dissolved, but) held in a -state of suspension by an oil or a solution of gum. - -The letters were originally painted on the surface of the papyrus, -parchment, board, or other material so employed—the ink not being -imbibed or absorbed by the substance on which it was shed, but remaining -on the surface, capable of being removed by washing, scraping, rubbing, -or any similar process. The surface thus cleansed was then in a state to -receive a new inscription; so that erasions and inscriptions might be -indefinitely repeated upon it, as upon a modern sign-board. - -MODERN INK, on the contrary, leaves its marks upon paper, parchment, -&c., by penetrating the material to such a depth that it cannot be -erased (mechanically) without the removal or destruction of the surface -which it has _tinged_. Chemical agency, as of various acids, chlorine -and its compounds, is generally employed, therefore, to discharge the -color from modern writing-ink-marks. CARBON, in all its common forms, -(charcoal, bituminous coal, anthracite, jet, plumbago, lignite, -ivory-black, lamp-black and soot,) is wholly unalterable in color by any -of these chemical means. - -PRINTING INK (which is composed of carbon suspended in a drying oil) is, -in essential characteristics, identical with the writing-inks of the -ancient Romans and Greeks. It is impressed upon the surface of paper, -(that which is _unsized_ or bibulous being commonly preferred,) and is -retained unchanged by the action of moisture, on account of the -insolubility of the carbon and the repulsion between oil and water. -These two forms of ink are therefore the exact opposites of each other, -in the qualities on which their use and permanence depend. The most -important peculiarity of the modern writing-ink, as contrasted with the -ancient, naturally suggested the two names which it bore in the Latin -and Greek of the middle ages, or (to speak more definitely,) the time of -its invention and first employment. It was a _Tincta_, a DYE, or STAIN, -which _tinged_ and _tinctured_ the material on which it was placed, -entering among its fibres as coloring fluids do into cloth in the -ordinary processes of manufacture. It penetrated the substance of the -paper (as caustics or powerful chemical solvents and corrosives act on -the organic fibre): it _bit in_, or _burned in_,—and was therefore well -named ENCAUSTON and _Incaustum_. - - - - - CHEMISTRY or COMPOSITION of INK. - - -We do not propose to furnish recipes, prescriptions, directions or -instructions for the manufacture of this article. No mere statement in -words can enable any one to arrive at perfection, or excellence, or -practical success in the production of this article, or any articles -whatsoever. A skill and carefulness, which can be acquired only by long -and laborious experience, are indispensable to the management of the -various processes. Time is an essential element of success in this -peculiar art; and that makes absolutely requisite also, two other -conditions,—_patience_ and _capital_. We shall therefore be brief on -this point,—referring those who wish for minute details, to the -cyclopaedias, dictionaries of the arts and sciences, and the larger -works on practical chemistry. The following we venture to present as the -most correct account of this subject, derived from the latest scientific -and practical authorities. - -The composition of ink varies according to its colors, and the purposes -to which it is to be applied. - -COMMON BLACK WRITING-INK is the tannate of the sesquoxyd of iron mixed -with a smaller quantity of the gallate of the sesquoxyd of iron. When in -the liquid form, it is generally the tannate and gallate of the -protoxyd; but after being long kept, (or put on the paper and drying -there,) it absorbs more oxygen from the atmosphere; and thus the saline -compounds become the per-tannate and per-gallate, which are blacker than -the tannate and gallate of the protoxyd. It is thus and therefore that -good modern ink is known by the simple test-quality of darkening by age. -On the other hand, when writing becomes yellow, pale or indistinct by -age, it is from the decay of the imperfectly combined vegetable -astringent,—the marks on the paper or parchment being then little more -than the stain of the per-oxyd (that is the sesquoxyd) of iron. If the -written surface be then carefully washed or even moistened with the -infusion of nut-galls, it will be rendered blacker, and if before -indistinct will become legible. This may sometimes be better -accomplished by first applying a weak solution of oxalic acid or very -dilute muriatic (hydro-chloric) acid, and then delicately laying on the -infusion of galls. - -When the writing paper has been made of inferior rags, bleached with -chlorine, the best ink used upon it is liable to become discolored. - -Nut-gulls or gall-nuts (_Gallæ-tinctoriæ_) are excrescences growing upon -the leaves or twigs of oak trees, (especially the _Quercus infectoria_,) -caused by the puncture of an insect (the _Cynips gallæ-tinctoriæ_) which -deposits its eggs in the perforations thus made. The _Quercus -infectoria_ is most abundant in Persia, Mesopotamia, Syria and Asia -Minor, from which countries the galls are brought in large quantities to -the manufactories of Europe and America. The best are called “ALEPPO -galls,” from the name of the Syrian city which is the chief original -market for them. Those from Smyrna are also highly esteemed. - -They contain the vegetable astringent principle called _tannin_ in -greater abundance than any other known substance. This is chemically -resolved into the acids known as the tannic and gallic. All the woods -and barks employed in the manufacture of leather by the tanning of hides -contain this astringent matter in various degrees. The oak and the -hemlock, for instance, are in extensive and familiar use for this -purpose in the United States. The blackness of ink, as has been already -indicated, is derived from the combination of these two acids with -oxydized iron in saline compounds which are insoluble in water, and are -therefore precipitated or deposited at the bottom of the fluid, unless -held mechanically suspended in it, by gum, sugar or some similar -substance which gives the quality of viscidity to its solutions. - -The following will serve as a good formula for making common ink, and -will be enough to give an idea of the ordinary and general mode of its -composition:—“Take of Aleppo galls finely bruised, six ounces,—sulphate -of iron, four ounces,—gum Arabic, four ounces,—water, six pints. Boil -the galls in the water for about two hours, occasionally adding water to -supply the loss from evaporation; then add the other ingredients; and -keep the whole for two months in a wooden or glass vessel, which is to -be shaken at intervals. Then strain the ink into glass bottles, adding a -few drops of creosote to prevent mouldiness.” - -Besides its property of viscidity, the gum possesses the power of -preventing the ink from being too fluid: and it also serves to protect -the vegetable matter from decomposition. The great desideratum or -requisite is that the ink should flow with perfect freedom from the pen, -to allow rapid writing, and that it should adhere to the paper, or “bite -into it,” so as not to be effaceable by washing or sponging. The great -defect to be avoided and prevented is the want of durability. The -writing ink of the ancients was characterized by great permanency, being -composed of finely pulverized carbon mixed with a mucilaginous or -adhesive liquid. INDIA or CHINA INK is of this composition: it is formed -of lamp-black and size or fine animal glue, with the incidental addition -of perfumes. It is used in China with a brush, both for writing and -painting on Chinese paper; and it is employed in other countries for -making drawings in black and white,—the different depths of shade being -produced by varying the degree of dilution in water. - -Inks of other colors than black were anciently used only for purposes of -ornamental and decorative writing. In later and present times, red and -blue inks have been extensively employed in ruling account-books and -other paper for like uses. Blue ink, within ten or more years past, has -been, with many, a preferred fluid for common writing. - -Blue ink, when properly made, flows with great ease and rapidity from -the pen, dries almost instantly on the paper, and has been supposed or -expected to be quite durable, and unchangeable in color, under ordinary -vicissitudes. Yet, experience has demonstrated the contrary,—though -various and well-contrived chemical combinations have been attempted for -the purpose. Blue inks that change to black some time after writing are -very popular. On well-made and high-priced paper, and with gold pens, -such inks, if prepared by good chemists, may ultimately prove worthy of -the high esteem in which they are held; but their absolute and -unchangeable durability is yet to be tested by experience, before they -can be safely employed for writings of permanent value, and relied on -for use in making records designed for preservation and reference during -a long course of years. - -There is a compound of bichromate of potash and extract of logwood, -which forms a very cheap and convenient writing fluid. Dr. Ure -pronounces it “a vile dye.” Yet it may have its utilities, in localities -remote from the centres of civilization and commerce,—as in the new -settlements in western America, in Australia, &c., and for travelers in -Africa, in the Arctic and other barbarous or uninhabited regions. The -following is the best formula which can be given for this compound; and -we present it on the highest chemical authority:—“Take Bichromate of -potash, 1-4 oz.—Extract of logwood 1 oz.—Boiling water, 1 gallon.” - -We have taken the trouble to give this prescription or formula, because -some quacks have been peddling it all over the country, at all sorts of -prices, varying (according to the credulity and liberality of -purchasers) from 50 cents to $250. We give it for just what it is worth; -and that is—exactly what this book costs the reader. - - - - - BIBLIOGRAPHY. - - -The longest and most valuable passage which we find in the writings of -any English author, who has alluded to our subject, is the following, -from “THE ORIGIN AND PROGRESS OF WRITING,” by Thomas Astle, F. R. S., F. -A. S. &c., pp. 209 to 212, 2d edition, London, 1803. - -“OF INKS. Ink has not only been useful in all ages, but still continues -absolutely necessary to the preservation and improvement of every art -and science, and for conducting the ordinary transactions of life. - -“Daily experience shows that the most common objects generally prove -most useful and beneficial to mankind. The constant occasion we have for -Ink evinces its convenience and utility. From the important benefits -arising to society from its use, and the injuries individuals may suffer -from the frauds of designing men in the abuse of this necessary article, -it is to be wished that the legislature would frame some regulation to -promote its improvement, and prevent knavery and avarice from making it -instrumental to the accomplishment of any base purpose. - -“Simple as the composition of Ink may be thought, and really is—it is a -fact well known, that we have at present none equal in beauty and color -to that used by the ancients; as will appear by an inspection of many of -the manuscripts above quoted, especially those written in England in the -times of the Saxons. What occasions so great a disparity? Does it arise -from our ignorance, or from our want of materials? FROM NEITHER, _but -from the negligence of the present race_; as very little attention would -soon demonstrate that we want neither skill nor ingredients to make Ink -as good now as at any former period. - -“It is an object of the utmost importance that the Records of -Parliament, the Decisions and Adjudications of the Courts of Justice, -Conveyances from man to man, Wills, Testaments, and other Instruments -which affect property, should be written with Ink of such durable -quality as may best resist the destructive powers of time and the -elements. The necessity of paying greater attention to this matter may -be readily seen by comparing the Rolls and Records that have been -written from the fifteenth century to the end of the seventeenth, with -the writings we have remaining of various ages from the fifth to the -twelfth century. Notwithstanding the superior antiquity of the latter, -they are in excellent preservation; but we frequently find the former, -though of more modern date, so much defaced that they are scarcely -legible. - -“Inks are of various sorts, as—encaustic or varnish, Indian ink, gold -and silver, purple, black, red, green, and various other colors. There -were also secret and sympathetic Inks. - -“The Ink used by the ancients had nothing in common with ours, but the -color and gum. Gall-nuts, copperas and gum make up the composition of -our Ink; whereas soot, or ivory-black, was the chief ingredient in that -of the ancients; so that very old charters might be suspected, if -written with Ink entirely similar to what we use; but the most acute and -delicate discernment is necessary in this matter; for some of the -[black] Inks formerly used were liable to fade and decay, and are found -to have turned red, yellow or pale. Those imperfections are however rare -in manuscripts prior to the tenth century. - -“There is a method of reviving the writing; but this expedient should -not be hazarded, lest a suspicion of deceit may arise, and the support -depended on [be] lost. - -“GOLDEN Ink was used by various nations, as may be seen in several -libraries, and in the archives of churches. SILVER Ink was also common -in most countries. Red Ink, made of vermilion, cinnabar, or purple, is -very frequently found in manuscripts; but none are found written -entirely with ink of that color. The capital letters, in some, are made -with a kind of varnish, which seems to be composed of vermilion and gum. -Green Ink was rarely used in charters, but often in Latin manuscripts, -especially in those of the latter ages. The guardians of the Greek -emperors [or rather the Regents of the Empire] made use of it in their -signatures, till the latter [the monarchs during minority] became of -age. Blue or Yellow Ink was seldom used but in _manuscripts_.[!!!] The -yellow has not been in use, as far as we can learn, for six hundred -years. - -“Metallic and other characters were sometimes burnished. Wax was used as -a varnish by the Latins and Greeks, but much more by the latter, with -whom it continued a long time. This covering or varnish was very -frequent in the ninth century. - -“COLOR. The color of Ink is of no great assistance in authenticating -manuscripts and charters. There is in my library a long roll of -parchments, at the head of which is a letter that was carried over the -greatest part of England by two devout monks, requesting prayers for -Lucia de Vere, Countess of Oxford, a pious lady, who died in 1199,—who -had formed the house [or convent] of Henningham in Essex, and done many -other acts of piety. This roll consists of many membranes or skins of -parchment sewed together,—all of which, except the first, contain -certificates from the different religious houses that the two monks had -visited them, and that they had ordered prayers to be offered up for the -Countess, and had entered her name on their bead-rolls. It is observable -that time hath had very different effects on the various inks with which -these certificates were written. Some are as fresh and black as if -written yesterday; others are changed brown; and some are of a yellow -hue. It may naturally be supposed that there is a great variety of -handwritings upon this; but the fact is otherwise, for they may be -reduced to three. - -“It may be said in general, that BLACK ink of the seventh, eighth, ninth -and tenth centuries, at least among the Anglo-Saxons, preserves its -original blackness [thereby meaning that its “form had not lost all its -original _brightness_”] much better than that of succeeding ages,—not -even excepting the sixteenth and seventeenth, in which it was frequently -very bad. Pale ink very rarely occurs before the four last centuries. -[Illustration] - -“Peter Caniparius, Professor of Medicine at Venice, wrote a curious book -concerning Ink, which is now scarce, though there is an edition of it -printed in London, in 1660, quarto. The title is—_De Atramentis -cujuscunque generis opus sanè novum. Hactenus à nemine promulgatum._ [A -WORK ACTUALLY NEW, CONCERNING INKS OF EVERY KIND WHATSOEVER,—HITHERTO -PUBLISHED BY NO ONE.] This work is divided into six parts. The _first_ -treats generally of Inks made from PYRITES, [sulphurets of iron and -copper,] stones and metals. The _second_ treats more particularly of -Inks made from metals and CALXES. [Better say _calces_, or, to speak -chemically, crystallized salts deprived of their “water of -crystallization,” or carbonic acid, by the action of heat.]—The _third_ -treats of Ink made from soots and vitriols.—The _fourth_ treats of the -different kinds of Inks used by the _librarii_ or book-writers, -[professional scribes or copyists of manuscripts before the invention of -the art of Printing,] as well as by printers and engravers, and of -staining (or writing upon) marble, stucco or scagliola, and of ENCAUSTIC -modes of writing; as also of liquids for painting or coloring of -leather, cloths made of linen or wool, and for restoring inks that have -been defaced by time, as likewise many methods of effacing -writing—restoring decayed paper—and of various modes of secret -writing.—The _fifth_ part treats of Inks for writing, made in different -countries, of various materials and colors,—as from gums, woods, the -juice of plants, &c., and also of different kinds of varnishes.—The -_sixth_ part treats of the various operations of extracting vitriol, and -of its chemical uses. - -“This work abounds with a great variety of philosophical, chemical and -historical knowledge, and will give great entertainment to those who -wish for information on this subject. - -“Many curious particulars concerning Ink will be found in “_Weckerus de -Secretis_.” (Printed at Basle, in 1612, octavo.)—This gentleman also -gives receipts for making Inks of the color of Gold and Silver, composed -as well with those materials as without them,—also, directions for -making a variety of Inks for secret writing, and for defacing of -[effacing] Inks. There are many marvelous particulars in this last work, -which will not easily gain credit with the judicious part of mankind.” - -We have chosen to give Mr. Astle’s paragraphs on this subject, entire, -“pure and simple,” (with no corrections or alterations, except as to a -few particulars in spelling, punctuation, &c.,) including some -unnecessary formal verbiage,—instead of embodying his facts and -observations in our own language. We shall do likewise with other -authors whose books we use in this work, as the most effectual way of -giving each of them due credit for their several discoveries and -statements, and, at the same time, securing our own just claims to what -we herein present as of our own discovery or production. But we will -give no credit to a mere compiler or plagiarist. - -Mr. Astle was keeper of the ancient Records of the English Government in -the Tower of London, and thus enjoyed extraordinary facilities for -ascertaining such facts, and making such observations as he furnishes in -his very useful, interesting, and elegantly illustrated book. As to what -he says (in his seventh paragraph) about the inexpediency of “hazarding” -any effort to revive writing which has faded or become illegible, from -fear of “a suspicion of deceit,”—the caution must of course be limited -to cases where the words proposed to be restored to legibility have -reference to some question of disputed title, or other matter in -litigation or controversy. Mr. Astle would not have hesitated (any more -than Angelo Mai) to use any possible process for the restoration of a -_palimpsest_ manuscript of a long-lost work of Cicero or Livy, or of any -document worth the labor and the time requisite to revive the letters or -read them. Mr. Astle’s slight lapse of pen or mind in stating (eighth -paragraph) that “Blue or yellow ink was seldom used except in -_manuscripts_,” reminds us of Noah Webster’s reason, given in the first -edition of his quarto dictionary, for the use of the word “Iland” -instead of “Island,” viz., that the latter spelling was “found only in -books.” Perhaps the venerable Mr. Astle would have been as much -astonished to learn that he himself had always written manuscript, -whenever he put pen to paper, as the _Bourgeois Gentilhomme_, in -Moliere’s comedy, was to learn that he “had been speaking prose all his -life.” - -A comparatively recent author gives the following as the sum and -substance of his knowledge on this division of the subject of our book. - - - - - WRITING-INKS. - - -Dark-colored liquids were used to stain letters previously engraved on -some hard substance, long before they were made to flow in the calamus -or pen for forming them on a smooth surface; and the Chinese made their -“Indian Ink” in the same manner as now, 1120 years before the Christian -Era; but, only used it, at that time, to blacken incised characters.[1] -Ink was termed by the ancient Latin authors _atramentum scriborium_,[2] -or _librarium_, to distinguish it from _atramentum sutorium_ or -_calchantum_. It was made of the soot of resin, or pounded charcoal, and -other substances, mixed with gum, and not, like ours, of vitriol, -gall-nuts, alum, &c. The earliest positive mention of ink is perhaps the -passage in Jeremiah, in the Vulgate, “_Ego scribebam in volumine, -atramento_.”[3] - -Footnote 1: - - Here we might add, without fear of contradiction, that _Ink_ is still - extensively used to “blacken characters,” without regard to the depth - of the incision. - -Footnote 2: - - The specimen of the English language which we quote, is not faultless; - and the _Latin_ is execrable. There is no such word as _scriborium_ in - any language, ancient or modern. The Romans called writing-ink - _atramentum scriptorum_. - -Footnote 3: - - _This_ is a very paltry piece of pedantry. Why could not this author - (who shows that he does not understand _Latin_,) give us the text in - English? The passage is in Jeremiah, chap. XXXVI, verse 18: “I wrote - them with _Ink_ in a book.” The only other references in the Bible to - _Ink_, are the following: 2 Corinthians, III, 3: “written not with - _Ink_, but the spirit.” 2 John, XII: “I would write with paper and - _Ink_.” 3 John, XIII: “I had many things to write, but I will not with - _Ink_.” Ezekiel, IX, 2: “with a writer’s _ink_-horn by his side.” - -Gold liquids, and also silver, purple, red, green, and blue inks, were -eventually used in manuscripts after the fourth century,—red and gold -having been employed much earlier. St. Jerome speaks of rich -decorations, which must have been executed with colored inks; but, -before his time, Ovid alludes not only to the purple _charta_, made use -of for fine books, which were also tinged with an oil drawn from -cedar-wood, to preserve them, but, also to titles written in red ink, -which were the first kind of illuminations. The passage occurs in his -first elegy, “Ad Librum:” - - “_Nec te purpureo velent vaccinia succo; - Non est conveniens luctibus ille color. - Nec titulus minio, nec cedro charta notetur. - Candida nec nigra cornua fronte geras._” - -The last line proving, as Casley observes, that Ovid wrote upon a -_roll_. - -This author, not having been kind enough to translate Ovid for us, we -are compelled to do it for him. This “Elegy” of the poet is addressed -“To his Book;” and the following words contain the meaning of the four -lines above quoted: - - _Nor shall huckleberries stain [literally, VEIL] thee with purple juice: - That color is not becoming to lamentations. - Nor shall title (or “head-letter”) be marked with vermilion, or paper - with cedar, - Thou shalt carry neither white nor black horns on thy forehead (or - front, or frontispiece)._ - - The word “huckleberries,” we have rightly spelled here. The - dictionaries generally are wrong in spelling the word - “whortleberry.” Huckleberry, or Hockleberry, is found in the kindred - languages of Northern Europe. - - -Diplomas were seldom written in gold or colored inks; but some charters -of the German Emperors are known, not only in gold, but on purple -vellum; and Leukfeld mentions one of the year 912, ornamented also with -figures; while several early English charters have gold initial letters, -crosses, &c. The black ink that has kept its color best, in mediaeval -manuscripts, is that used from the tenth to the thirteenth century. The -signatures of the Eastern Emperors are frequently in red ink. - -Colored inks were common in mediaeval manuscripts,—the red being most -usual for titles, which has given rise to the term _Rubric_. The writers -of books (that is, the copyists,) often appended their names to the end -of the work, generally in ink of a different color from that of the body -of the work, stating the time and place in which the work was executed. - -To this may be added, with advantage, some instructive account of - - - - - WRITING INSTRUMENTS, - - -whose history is closely connected, to a great extent, with that of -writing FLUIDS. - -The Egyptian, and all other oriental and ancient scribes, who wrote upon -stone, employed (of course) some instrument similar in character to the -chisel of our modern tomb-stone cutters, or monument letterers. So with -the Greeks and Romans, writing on surfaces of wax or wood, the -instruments were the graphium, or glypheion, (the graver,) and the -stilus, or caelum, all of steel or iron. When the use of a dark-colored -liquid or _Ink_ was introduced, there arose a necessity for instruments -of very different material, and great flexibility, in opposition to the -unyielding rigidity of the tools previously employed. Then were invented -the first implements properly called Pens, or really resembling what we -so denominate and use. These were universally made of vegetable -material, growing in the tubular form, of convenient size, as the -_calamus_, _arundo_, _juncus_, and, in general terms, the smaller stems -of various plants called “reeds” and “rushes” in English. We have -already mentioned the uniform employment of the hair-pencil, or brush, -by the Chinese, from the most ancient time of their writing. The quill, -or feather-pen, was introduced during the fourth century. - -We have alluded to the _palimpsest_ manuscripts. This is the term -applied to parchments that have been twice written upon,—the first -writing being effaced to make room for the second. During the period -commonly called “the dark ages,” the monks and other scribes, copyists -or book-makers, were in the habit of effacing the letters from old -manuscripts, in order to make a clean surface for a new writing. In this -way was caused the deplorable destruction of an immense and an -inestimably valuable amount of ancient literature, of Greek and Roman -history, poetry, eloquence and philosophy, merely to make room for -mass-books, and other works of stupid superstition and mis-directed -devotion, or, of scholastic theology and philosophy, now long ago -universally condemned and exploded. Within the past and present -generation, however, the learned world has been delighted by the -surprising recovery of some of these long-lost treasures, through the -skilful and ingenious labors of the deservedly famous Cardinal Angelo -Mai, and others, whose researches in the libraries of Rome, Milan, -Padua, Naples, Florence, and other cities, have resulted in the -restoration of inestimably precious writings, thus partially obliterated -or obscured. - -Brande’s Dictionary of Literature, Science, and Art, gives a brief -summary of the same general facts in the article “Palimpsest.” - -The fullest and most elaborate exposition of the composition and -manufacture of Ink which we have been able to find, however, is in the -great French “Dictionnaire des Arts et Manufactures,” by an association -of distinguished _savans_, in two volumes, imperial octavo, Paris, 1853, -article, ENCRE. - -But, of all articles and treatises on the subject, which we have -examined, that in the English Penny Cyclopaedia has the merit of -containing, if not the best and longest account, a very good and -satisfactory one,—because it expresses all the essential facts in the -fewest and best-chosen because perfectly intelligible words. As we do -not attempt to furnish a text-book for ink-manufacturers, we do not -transcribe in full, or translate, from these and other works of great -value on this subject. - -That modern inks do not resist the decomposing and destructive power of -chemical agents (whether acids, alkalies, saline bodies or elements,) as -well as the ancient inks, is the result of a necessity existing in their -very composition and invention, and even in the use for which they were -designed, and to which they are applied. A _dye_ (like modern ink) is -the result of chemical action, and is therefore subject to chemical -re-agents; yet, when well made, it is proof against mechanical action, -such as washing, rubbing, and scraping; nor can it be removed from paper -to which it is applied, without destroying that material, or rendering -that part of it practically useless. But, on the other hand, the ancient -inks, which resist all chemical processes, can be removed by mechanical -action, such as has been named. If a new ink were compounded of the two, -possessing the best properties of each, any writing executed with it -could be effaced by the joint or successive action of mechanical and -chemical applications. - -It must be borne in mind that the ancient inks had one use for which -writing ink is now never required; and that was in making books, or -multiplying copies of manuscripts indefinitely for _general reading_, or -_publication_. The invention and universal employment of the art of -printing has wholly done away with that. - -Of INDELIBLE INKS, or those used for marking fabrics of cotton, linen, -&c., for the identification of ownership, it is not necessary to give -any particular description. Their ordinary composition is very generally -understood to be a solution of nitrate of silver, or some similar -caustic, applied with a pen of proper material, to a portion of the -surface of the cloth, which has been previously prepared by the -absorption of a gummy or mucilaginous fluid dried upon it under -pressure. - -SYMPATHETIC INKS are fluids employed in coloring drawings made for -parlor amusement, or the diversion of children and youth. As, for -instance, a landscape drawn in ordinary colors with a wintry aspect, -cloudy or sombre sky, snow on the ground, and leafless trees, if -properly touched with sympathetic inks, will, at any time, when brought -near a fire, or otherwise subjected to a certain degree of warmth, -change to the hues of summer, the sky becoming of a clear blue, the -trees in full foliage, and the turf rich with grass, each with its -appropriate shade of verdure, as also flowers of their various natural -colors, &c., according to the fancy of the artist, the whole -disappearing as the picture grows cold. The chloride, the nitrate, the -acetate, and the sulphate of cobalt, form sympathetic inks,—the first, -blue, and (with the addition of nickel,) green; the second, red. -Chloride of copper gives a gamboge yellow; bromide of copper, a fine -rich brown. - -Letters written with a solution of acetate of lead, are invisible until -exposed to the action of sulphuretted hydrogen, which makes them -distinct, with the lustrous greyish black of sulphuret of lead, the same -substance which is called galena when it occurs as lead-ore. A weak -infusion of galls or other vegetable astringent, will, if applied to -paper in the form of letters, become legible when touched with any -solution of iron. If written with a solution of ferro-cyanide of potash, -letters will remain invisible until touched with a solution of sulphate -of iron. - - - - - IMPORTANCE OF GOOD INK. - - -Astle speaks very impressively and justly on this point; and we -contribute to this part of our subject by calling attention to facts -almost daily occurring or brought to notice in this country, especially -in the older cities and states, where town-records, parish-registers, -and other documents of ancient date, and of high importance in history, -chronology, and genealogy, (as well as in regard to the title and -inheritance of estates,) are found obscured and obliterated, causing -losses, public and private, that need but to be mentioned to be properly -estimated. - -In the appendix will be found a fac-simile of a sheet upon which various -specimens of ink were thoroughly and fairly tested, which is a brief but -emphatic demonstration of a difference of qualities by difference of -results. - -To show what can be done in the preservation of writing on material even -frailer than such paper as we employ, we need but produce the specimen -of Egyptian writing on papyrus, pronounced by Champollion to have been -executed more than sixteen hundred (1600) years before the birth of -Christ, yet still in preservation and legible, as may be seen by the -representation we give of it. - -This is undoubtedly as old as any specimen of phonetic characters or -written letters (representing sounds, not ideas or objects,) extant, -made by marking with a fluid upon any substance. There are inscriptions -of letters upon stone, for which an earlier date of 4000 years B.C., is -claimed with truth. But this is INK-writing, absolutely 3500 years old! - -The Chinese assert that they had the art of writing at a period 2950 -years before Christ; but they have no records or monuments of that date; -and their characters even to the present time, are entire words, -representing objects, ideas or things, not sounds. In the art of -printing, they pretend to have preceded the European nations about 2400 -years, dating their invention of it from the tenth century before -Christ. But they have never advanced beyond the first form of the -art—letters engraved on solid wooden blocks—the very method in use by -Koster, and his associates, until the invention of moveable types by -John Gansfleisch, otherwise named John Gutenberg or Guttemberg, in 1435. -In both arts, writing and printing alike, the Chinese have remained -stiff, solid and immovable at the first step, with the characteristic -unchangeability of the yellow races of Eastern Asia, so opposite to the -indefinitely progressive and self-improving energy of the nations whose -progenitors proceeded west from the original source and centre of the -earth’s population. The same ink serves the Chinese both for writing and -printing, as does the same kind of paper. This ink they invented about -the end of the first century of the Christian era; before which time -they wrote on boards or bamboos. Having next proceeded to the use of -silken cloth for these purposes, the preparation of paper from that -material naturally followed. Their ink, being carbonaceous and -oleaginous, is, of course, (like that of the Egyptians and all the other -ancients,) unfading, and unalterable by chemical agencies, though -capable of being effaced or obscured by watery applications or exposure. - -As to their claim of having _invented_ the art of printing, we shall -have something to say hereafter. - -The Aztecs (in Mexico, before the Spanish discovery and conquest,) -extensively employed a picture-writing, as a means of recording events, -during a period not exceeding two centuries before that epoch. They had -the art of manufacturing materials as a basis of such writing, from the -_Agave_ or American aloe, and from cotton, in the form of a very fine -cloth. They also used prepared skins for the same purpose, the best -specimens of which are pronounced to be more beautiful than the finest -vellum. Their manuscripts were sometimes done up in rolls or scrolls, -and frequently on tablets, in the form of a folding-screen. Their inks -appear to have been coloring matters in watery solutions. - -The oldest Phoenician ink-writing of which any specimen has been -preserved, dates no later than the second century before Christ, and may -be much older. - -A fac-simile of a portion of it will be found among our illustrations, -explained by notes referring to each by its number. - -Greek manuscripts in ink (on papyrus), of the third century before -Christ, are in existence. We give specimens of the oldest known,—one -written in Egypt, 260 B.C., being an order from Dioscorides, an officer -of the government of Ptolemy Philadelphus, to another named Dorion. The -translation of the words is “Dioscorides to Dorion, greeting. Of the -letter to Dorion the copy is subjoined.” * * * We add other specimens, -of the same and later periods. - -Of Latin writing with ink, the earliest we can find is the palimpsest of -Cicero’s book, “De Republica,” which had been partly effaced to make -room for a copy of Augustin’s commentary on the Psalms. It is believed -by the learned that the original manuscript was executed at least as -early as the second or third century of the Christian era. The -restoration of this manuscript, and the discovery of this long-lost and -earnestly sought classic gem, were the work of Cardinal Mai, as before -mentioned. The original words are TETERRIMUS ET EX HAC VEL——, and are -written in two columns on the page, while the later writing runs -completely across the page. - -Of the earliest writing executed in France, after that country received -its name from those who conquered it, we give a specimen from the -beginning of a charter of King Dagobert I, executed A.D. 628. The words -are—“QUOTIESCUMQUE PETITIONIBUS”—“However many times to petitions,” &c. -It is a confirmation of a partition of property between two heirs. The -monogrammatic autograph of the Great Karl, (in modern times called -Charlemagne,) we present also as an object of interest. A.D. 800. - -The oldest specimen of writing in Great Britain which has been preserved -to the nineteenth century, was a book believed to be not later than the -year 600 of the Christian era. Astle has preserved an engraved specimen -of it; but the priceless original has since been destroyed by fire in -the British Museum. It was said to be a book of Augustin. A specimen -still in existence, dates between the years 664 and 670. It is a charter -of Sebbi, King of the East Saxons, and is easily read:—“I, Sebbi, King,” -&c. We subjoin a few words from the commencement of a charter of William -the Conqueror, whose reign commenced in England, A.D. 1066:—WILL: DEI -GRA^{TIA} REX, &c., SCIATIS ME CONCESSISSE—“William, by the grace of God, -King &c.: Know ye that I have granted—” - -ISAAC D’ISRAELI, in his Curiosities of Literature, (vol. 2, page 180, of -the Boston edition,) gives a treatise on the “Origin of the Materials of -Writing.” He commences it with these remarkable words: “It is curious to -observe the various substitutes for paper before its discovery.” - -Now, of all “curiosities of literature,” this little sentence is, in -many respects, the most curious. He talks of substitutes for a thing not -in existence, and not even a subject of imagination, conjecture, or -conception. The name of D’Israeli does not indicate an IRISH origin, but -there is a strong affinity between this and those curiosities of -literature commonly called “Irish bulls.” As for instance, it reminds us -of the couplet composed by an Irish officer of a garrison in the -Scottish Highlands, in commemoration of the “good works” of General -Wade, who had caused excellent military roads to be made through some of -the previously almost impassable morasses of that region. - - “_Had you seen these roads before they were made, - You’d have lifted your hands and blessed General Wade._” - -Now, by way of comment on D’ISRAELI, we will say that “it is very -curious,” and moreover very strange, if not ridiculous, that he and -ASTLE, (from whom he copies without a full and fair acknowledgment,) -while “deeply complaining of the inferiority of our inks to those of -antiquity,” have utterly failed to ascertain the cause or even to notice -the occasion of it. They, as well as other writers on the subject, -observe the excellence of the ink employed in manuscripts of earlier -ages, down to the twelfth century, and the inferiority of the ink used -from that period down to the close of the seventeenth century, without -turning attention to the great historical fact that the FIRST PAPER-MILL -in Europe was established in that same twelfth century. - -A peculiar CACHEXY (a variety of the disease known to psycho-nosologists -as the _cacoëthes scribendi_,) seems to be hereditary in the D’Israeli -family. BENJAMIN D’ISRAELI, (the son of Isaac,) late Chancellor of the -Exchequer, &c., when he rose in his place, as the Head or Representative -of Her Majesty’s government in the House of Commons, to pronounce a -eulogy on the recently deceased Duke of Wellington, had the impudence to -repeat, word for word, a very bald translation of the _éloge_ delivered -by Lamartine a few years previous, on occasion of the death of one of -the third-rate marshals of Napoleon I. - -The D’Israeli family are evidently “some” of the children of Israel, -who, (as we are told on good authority,) when they left Egypt _borrowed_ -everything they could get, and never, so far as the record shows, either -returned the articles so obtained, or made proper acknowledgments -therefor. - -The Chinese did manufacture paper from the bark of the small branches of -a tree of the mulberry genus, (_Morus Multicaulis_?) and also from old -rags, silk, hemp, and cotton, as early as the second century of the -Christian era; and it is supposed that from them the Arabs derived their -knowledge of paper-making, an art which they introduced into Europe in -the former half of the twelfth century, when the first paper-mill was -put in operation in Spain, then under the Moorish dominion; and, in -1150, this article, as manufactured by them, had become famous -throughout Christendom. - -[We use the words Arab and Moor indiscriminately here. The former is the -name of the race; the latter is limited to that portion found in -Northern Africa. The Moor is the Arab of the WEST, (Al Mogreb, El -Gharb,) in the Arabic, denominated MOGREBYN,—a word which in Roman and -European mouths has smoothed and softened itself into a form suggestive -of the origin of _Maurus_ and _Mauritania_.] - -Now, without coming to a positive conclusion on this subject, we feel -authorized to pronounce what appears to be a reasonable opinion, derived -from all the facts which we have just placed before the reader,—that the -introduction of writing-paper among Europeans, was the occasion and -cause of the invention and general employment of modern writing-ink by -them. - -The fact that the vegetable astringents form a deep or bluish black -color, when combined with a salt of iron, had been known from time -immemorial. Among the Romans, the _atramentum sutorium_,—“shoemaker’s -ink,”—was applied to a solution of sulphate of iron employed by them, as -it is even to this day, by workers in leather, to blacken the surface of -that material. This it does by uniting chemically with the tannin and -gallic acid, by which the hide was converted into leather, whose -blackened particles are therefore essentially identical with modern ink. -The “copperas-water” is to be found in every shoemaker’s shop, where it -is used to color the cut edges of the heels and the rest of the soles. - -As soon as the difficulty of writing with convenience and rapidity on -paper, with the ancient carbonaceous ink, became manifest, the resort to -the _atramentum sutorium_ as a substitute for the _atramentum -scriptorium_, was a matter of course, and was but a simple adaptation of -a familiar substance to a new purpose, requiring no great ingenuity, and -no invention whatever. - -For a time, perhaps through a period of several centuries, a mixture of -the two kinds of ink was employed by the Romans; and this was -undoubtedly the best composition that was ever invented for the purpose -of deliberate, careful, elegant writing, designed and required to be -permanent and unchangeable under constant exposure and handling,—as in -the case of manuscript books before the art of printing was known. Even -as early as the first century of the Christian era, in the time of Pliny -the Younger, and probably long before that, a solution of sulphate of -iron was commonly or frequently added to the carbonaceous and oleaginous -mixture which we have described as the original writing-ink. In short, -the _atramentum sutorium_ was added, in moderate quantity, to the -_atramentum scriptorium_, thus constituting it a CHEMICAL as well as a -MECHANICAL ink. So, modern ink may be improved in blackness, durability -and beauty, and rendered unchangeable in color under the action of the -chlorides, acids, &c., by the intermixture of a small quantity of the -very finest carbon, in the form of an impalpable powder. But, the great -difficulty is—that the carbon clogs the pen, and renders the ink too -thick to flow easily, so that it can never be used for rapid or ordinary -writing. We can not give, in our own words, a better account of this -matter than we find in the language of a very learned author in the -Edinburgh Review, (volume 48, Dec. 1828). - -The article here cited is entitled “THE RECOVERY OF LOST WRITINGS,” and -is nominally a review of [1]GAII INSTITUTIONUM COMMENTARII: -[2]INSTITUTES DE GAIUS, RECEMMENT DECOUVERTES DANS UN PALIMPSESTE DE LA -BIBLIOTHEQUE DE CHAPITRE DE VERONE. [3]JURISCONSULTI ANTE-JUSTINIANEI -RELIQUIAE INEDITAE, _ex codice rescripto Bibliothecae Vaticanae_, -_curante_ ANGELO MAIO, _Bibliothecae ejusdem Praefecti_. The article -begins on page 348 of this volume of the Review. - -We quote from page 366;—“The ink which the ancients generally used, was -composed of lamp-black mixed with gum, as we are informed by Dioscorides -and others, who give the receipt [recipe?] for making it. Ink of this -kind may be called carbonic: it possesses the advantages of extreme -blackness and durability, the writing remaining fresh so long as the -substance on which it is written exists; but as it does not sink into -the paper, it is liable to the great inconvenience of being easily and -entirely removed; for, if a wet sponge be applied to it, the writing may -be washed away, and no traces of the characters will remain. The -facility with which documents might be thus obliterated, gave occasion -to fraud, as an artful forger was able to remove such portions of the -original writing as he might desire to get rid of, and thus profit by -the absence of material words, or insert in the blanks which he had -made, such interpolations as might serve his turn. Many common -accidents, by which books and writings were exposed to wet, or even to -damp, were also fatal, or at least highly injurious, to compositions and -muniments of great value. Various expedients were therefore attempted to -remedy an imperfection from which many must have suffered severely. -PLINY informs us that it was usual, in his time, to mix vinegar with the -ink, to make it _strike into the paper or parchment_, and that it, in -some degree, answered the purpose. It should seem that vitriolic ink, -such as we use at present, was also adopted soon afterwards, which -possesses, in perfection, the quality that was desired of sinking -instantly into the paper, so as to make it far more difficult to -discharge it without destroying the texture on which it is written, and -of being perfectly secure against water, by which Indian and other -carbonic Inks are so easily effaced. IT IS NOT, however, EQUALLY SECURE -AGAINST THE EFFECTS OF TIME; for vitriolic ink gradually fades away, -becomes paler by degrees, turns brown and yellow, and is scarcely -legible; and sometimes, as the parchment grows yellow and brown with -age, it disappears altogether. A compound kind of ink came next into -use, which united the advantages and avoided the defects of the two -simple sorts. Such a mixed ink was generally used for several centuries; -and with this, the manuscripts that are now most fresh and legible -appear to have been written. It is evident that the ink with which the -original works contained in the Palimpsest manuscripts that have been -deciphered were written, was at least in part vitriolic: for the letters -which had been rubbed out _were rendered legible by the application of -the infusion of galls_. In order to remove the original writing, the -parchments on which the mixed ink had been used were, probably, first -washed to take off the carbon, and thus partially to efface the -characters, and were afterwards scraped or rubbed with pumice, or some -other suitable substance, to complete the process of destruction, by -taking away mechanically the color that the vitriolic portion of the ink -still preserved. It is but too probable that many manuscripts, the -characters of which were entirely formed of the more ancient carbonic -ink, have been entirely destroyed, the letters having been washed off -completely, and by the same simple means as the writing of a school-boy -on a slate; whilst the parchment still remains in our libraries, and is -covered with more modern compositions which have sacrilegiously and too -successfully usurped the place of more ancient and more valuable matter. -The tirades of Cyril or of Jerome, or the tawdry eloquence of -Chrysostom, are perhaps firmly established in quarters from whence [?] -the Margites of Homer, or the comedies of Menander, were miserably -dislodged. - -“A manuscript is called Palimpsest, from the adjective παλιμψαιστος or -παλιμψηστος, signifying twice rubbed; NOT as the glossary of Du Cange -(_membrana iterum abrasa—charta deletilis_) would seem to denote, -because the parchment had twice undergone abrasure, or the writing been -twice obliterated, but because it had been twice prepared for writing, -which was principally effected by rubbing it with pumice, first in the -course of manufacture, after the original skin had been cured, and again -by the same process, after the original writing had been taken away by -washing, or in any other manner. The strict and precise sense of -Palimpsest is therefore ‘twice prepared for writing;’ the repetition of -such preparation being the prevailing idea in the etymology, and _not -erasure_, as some have erroneously supposed. It is said to be easy to -remove from modern parchment, especially if what is written be of some -standing, all traces of writing, by rubbing it with pumice, or similar -substances; and if the surface be afterwards polished, no one, by merely -looking on it, will ever suppose that it had ever been written upon; -but, if it be washed by _an infusion of galls_, the letters will be so -far restored, particularly if it be suffered to remain some time in the -light, that it may be copied by a patient and practiced person, who is -gifted with good eyes:—so deeply had the iron entered into the soul of -the parchment! If the erased letters were written in a bold large hand, -the task of deciphering them will of course be less troublesome, and the -results more sure. And such are the characters of the more ancient -manuscripts; for, the older the manuscript, the better and more legible -is the writing, as approaching more nearly to the ages of civility and -refinement. The method of writing in old times is also favorable, it is -said, to the restoration of works apparently obliterated. The scribe did -not use a flowing ink, nor a finely pointed pen, as modern writers are -wont; nor was a small quantity applied so lightly and sparingly as to -dry almost as fast as it touches the paper. The ancient ink was thick -with gum, and was supplied copiously by a pen with a broad point, -usually made of a reed; and the characters were _painted_ rather than -written, the ink rather resembling paint or varnish than our thin -liquor. As they rarely wrote in books, it was not necessary that the -page should dry speedily, or be dried by means of sand and -blotting-paper, in order to prevent the loss of time, and that the -penman might turn over the leaf immediately; the loose sheets or leaves, -on the contrary, which were only to be bound up when the whole was -completed, were left to dry slowly, so that the pools of ink which -formed the letters, stood long on the surface of the parchment; and that -part of the fluid which was of a penetrating nature was gradually -absorbed, and sunk deeply into the substance of the skin, so as to -preserve to us—if we be not wanting to ourselves in diligence—many -precious relics of ancient lore. The restoration of the original writing -in a palimpsest manuscript will be best explained by referring to one of -the many kinds of sympathetic ink, which is in truth, making common ink -_ex post facto_, or uniting the ingredients of which it is composed, -after the fact of writing. If we write with water in which copperas has -been dissolved, the letters will be invisible; but when the paper has -been washed over with an infusion of galls, they will appear gradually, -and will in time become tolerably legible; the ink being thus formed -upon the paper, although much less perfectly, than in the ordinary -maceration.” - -Little or nothing can be added to the full and elaborate history of -ancient and modern inks which is contained in this extract,—so thorough -and complete in its analysis of the subject, and so clear in its -distinct statements of the results of investigations in which some of -the most acute minds of Europe have long been successfully employed, -that we will not linger upon it with mere verbal criticism. - -We can not present a more striking illustration of the change in the -composition of inks about the time of the invention of the art of -printing, than is furnished by the annexed fac-simile of a page in the -BIBLIA PAUPERUM, (“Bible for poor folks,”) the oldest printed book in -the world. This extraordinary book is of uncertain date. (No printed -book has a date prior to 1457.) There are, as we believe, only two -copies of it in America, one in the possession of JAMES LENOX, of -New-York,—the other in the ASTOR LIBRARY. - -The maker of this book was the unconscious inventor of the art of -printing. Wood-engraving was in use for ages before it occurred to the -mind of man that a letter might be as easily reproduced in that way as a -picture or figure. To convey scriptural history to the minds of the -common people, the wood-engravers (whose art was invented to multiply -and cheapen the production of PLAYING-CARDS) made little pictures -representing scenes described, and events narrated, in the Bible. For -the benefit of the few who could read, it was customary to write on the -margin, or at the foot, of the page on which the woodcut was printed, a -few words descriptive of the subject or object delineated. This was -always done with a pen, by a regular scribe, until, one day, it occurred -to the wood-engraver employed on the _Biblia Pauperum_, that these words -might be as easily engraved as the figures to which they referred, and -of which they were the explanation. He put that idea in practice: and in -an instant the sublime ART OF PRINTING was an “accomplished fact.” - -The advocates of the claims of Koster, Gansefleisch, (or Gutenberg,) -Faust (or Fust,) and Schoeffer, to this invention, have wasted much -labor in bringing forth conflicting testimony about them. The -long-forgotten and now wholly unknown wood-engraver of the _Biblia -Pauperum_ had preceded them by half of a generation. Such books were in -existence before A.D. 1420; and the earliest date which the Haarlaem -Dutchmen set up for the first printing of their fellow-townsman, -Lawrence Koster, is 1428. And his pretensions are after all very -dubious. Indeed they have been generally condemned as utterly fabulous -by bibliographical critics and typographical historians. - -We introduce it here to show the _color_ and the (thereby indicated) -composition of the INK employed. It was _writing-ink_. It contained -sulphate of iron (copperas), in combination with vegetable astringent -matter, and with very little carbon. The vegetable substance, -imperfectly united to the mineral ingredient, has (in obedience to the -laws of organic matter) been decomposed and “resolved into its original -elements.” It has disappeared; but the IRON remains with its yellow -stain, an imperishable memorial of that humble, nameless workman, more -enduring than that which the plaintive man of Uz desired; for if those -words had been “graven with an IRON PEN and lead in the rock _forever_,” -that anticipated eternity might have faded of realization by the action -of the rain, the frost, the dust, and innumerable imaginable atmospheric -vicissitudes, or, (what is worse,) “the wrath of man.”—Some Cambyses -might have demolished the rock itself, and left no more of the -inscription than can now be read of those once carved on the cliffs of -Edom, the God-created walls of Petra in the valley of EL GHOR. - -This pale rusty WORD-STAMPING on the fragile and easily combustible -paper, has outlasted the inscriptions once visible in gigantic -characters on the four sides of the Memphitic pyramids; and it is only -an incidental result of the intelligence diffused and the learning -promoted by the invention thus begun, that we can now read the -long-buried records of Nineveh, the epitaphs of the Thebaic kings, and -the gravings on the precipitous fronts of the mountains which surround -the ruins of Persepolis. - -All writers upon this subject have strangely overlooked the fact that -the art of impressing or printing letters with a metallic stamp or type -on parchment, as a substitute for pen-work, is about a thousand years -older than the period above specified as the date of the invention of -the modern art of printing. The CODEX ARGENTEUS, (the oldest translation -of the entire Bible into any European language,) is a famous book, in -the Library of the University of Upsala in Sweden. - -(We give the particulars of its history in our Appendix.) - -This “antique” is on purple _vellum_, (which is parchment made of -_calf-skin_,) and all the letters are SILVER, (whence the name Codex -Argenteus, the “silver book,”) manifestly impressed on the page by a -metallic stamp or type, each letter evidently being on a separate stock -or handle, and applied by manual pressure. We give a specimen of this -style of work. It may be called printing, but can not be denominated -_manuscript_, for that is (literally) “hand-writing,” which this -certainly is not. - -In our Appendix may be found still earlier instances of this art as -practiced by the ancient Romans on a small scale, in signatures, -trade-marks, &c. - -The Edinburgh review refers to Pliny and Dioscorides, as furnishing -directions for the manufacture of ink. The Edinburgh reviewer says -“receipts,”—not recognizing the broad distinction between a _receipt_ -and a _recipe_. The former of these two words was originally intended to -convey the idea that the person who signs the paper has _got_ something: -the latter word, or its representative initial (℞) means simply, -“_take_.” - -The directions of Pliny are in the following words:— - - C. Plinii Secundi Historia Naturalis. - - Lib. XXXV, §25. - - _ATRAMENTUM._ - - Atramentum quoque inter factitios erit, quanquam est et terra geminæ - originis. Aut enim salsuginis modo emanat, aut terra ipsa sulphurei - coloris ad hoc probatur. Inventi sunt pictores, qui e sepulcris - carbones infectos effoderent. Importuna haec omnia, et novitia. Fit - enim e fuligine pluribus modis, resina vel pice exustis. Propter - quod, officinas etiam aedificavere, fumum eum non emittentes. - Laudatissimum eodem modo fit e tedis. Adulteratur fornacum - balnearumque fuligine, quo ad volumina scribenda utuntur. Sunt qui - et vini faecem exsiccatam excoquant; adfirmantque, si ex bono vino - faex fuerit, Indici speciem id atramentum praebere. Polygnotus et - Micon celeberrimi pictores Athenis, e vinaceis facere: tryginon - appellant. Apelles commentus est ex ebore combusto facere, quod - elephantinum vocavit. Adportatur et Indicum, inexploratae adhuc - inventionis mihi. Fit etiam apud infectores ex flore nigro, qui - adhaerescit aheneis cortinis. Fit et e tedis ligno combusto, - tritisque in mortario carbonibus. Mira in hoc sepiarum natura: sed - ex his non fit. Omne autem atramentum sole perficitur, librarium - gummi, tectorum glutino admixto. Quod autem aceto liquefactum est, - aegre eluitur. - - (TRANSLATION.) - -“INK (or literally) BLACKING.—Ink also may be set down among the -artificial (or compound) drugs, although it is a mineral derived from -two sources. For, it is sometimes developed in the form of a saline -efflorescence,—or is a real mineral of sulphureous color—chosen for this -purpose. There have been painters who dug up from graves colored coals -(CARBON). But all these are useless and new-fangled notions. For it is -made from soot in various forms, as (for instance) of burnt rosin or -pitch. For this purpose, they have built manufactories not emitting that -smoke. The ink of the very best quality is made from the smoke of -torches. An inferior article is made from the soot of furnaces and -bath-house chimneys. There are some (manufacturers) also, who employ the -dried lees of wine; and they DO say that if the lees so employed were -from good wine, the quality of the ink is thereby much improved. -Polygnotus and Micon, celebrated painters at Athens, made their black -paint from burnt grape-vines; they gave it the name of TRYGYNON. -APELLES, we are told, made HIS from burnt ivory, and called it -elephantina “ivory-black.” Indigo has been recently imported,—a -substance whose composition I have not yet investigated. The dyers make -theirs from the dark crust that gradually accumulates on brass-kettles. -Ink is made also from torches (pine-knots), and from charcoal pounded -fine in mortars. “The cuttle-fish” has a remarkable quality in this -respect; but the coloring-matter which it produces is not used in the -manufacture of ink. All ink is improved by exposure to the sun’s rays. -Book-writers’ ink has gum mixed with it,—weaver’s ink is made up with -glue. Ink whose materials have been liquified by the agency of an acid -is erased with great difficulty.” - - -This sounds very much like nonsense: but it is exactly what the “Great -Naturalist,” Pliny, meant when he wrote all that _he_ knew, and probably -all that was then known on the subject of ink, black paints and dyes, -and very dark-colored fluids generally, which were then employed by -painters, dyers, weavers, writers and physicians. To make his chapter on -this subject fully intelligible to us, we must bear in mind the fact, -that the great science of _Chemistry_ had no existence till many -centuries after Pliny wrote. And thus, it never occurred to him that -there was but one substance, (now known to be elementary,) CARBON, which -gave the quality of blackness to all the materials which he names, with -the exception of one salt of copper, and probably one of iron, (the -sulphate,) and INDIGO, a purely vegetable substance, the dried coloring -matter of a plant in India, (_Indicofera anil_,) and named by the Romans -from the country that produced it, and first made it known to them. - -PEDANIUS DIOSCORIDES, born in Anazarbus, (a city of Cilicia, about fifty -miles from TARSUS, the birth-place of the Apostle Paul,) wrote a book on -the Materia Medica, or the qualities of drugs, a little after the time -when Pliny composed his Natural History. Neither of them seems to have -been acquainted with the writings of the other. Apparently, they lived, -wrote and died nearly or actually cotemporary, in the same empire, -utterly ignorant of each other’s existence,—though they are now -universally recognized as the two most eminent writers of all antiquity -on the subjects of Natural History and the Materia Medica. They both -lived in the reign of Nero, and the date of the active or middle part of -both their lives may be reasonably placed at or about the year 100 of -the Christian Era. - -From Dioscorides to LINNÆUS, (in the last century,) the Materia Medica -made no actual progress and received no scientific improvement; yet, -eminent as is Dioscorides, he was so little known to his own generation -or that next following, that it is now impossible to ascertain the exact -date of his birth or of his death, or any facts in his life, but that he -wrote two books, of which that here quoted is the best known, and has -made him known 1700 years after his birth. - -(We may mention that this Dioscorides was, in no traceable degree, -related to the person of the same name, whose manuscript we have copied -in our illustrations as the oldest extant specimen of Greek -ink-writing.) - -We give a translation of his brief but complete description of the ink -used in his time, and the Latin version, that those who wish may satisfy -themselves of the correctness of our rendering. It will be seen that it -occurs at the close of the great work of Dioscorides:— - - Atramentum, quo scribimus, e fuligine taedarum collecta conficitur. - In singulas gummi uncias ternae fuliginis unciae adjiciuntur. Fit - etiam e resinae fuligine et pictoria illa modo dicta. Hujus - fuliginis autem sumi oportet minam unam, gummi sesquilibram, taurini - glutinis et chalcanthi singulorum sesquiunciam. Idoneum est ad - septica; et confert ambustis ex aqua paullo crassius inunctum et - tamdiu dimissum, donec cicatrix obducatur, sanatis nimirum ulceribus - sponte sua excidit. - - Atque jam, carissime Aree, tum pro operis modo, quem proposueramus, - tum pro materiae auxiliorumque copia, quam colligere licuit, - hucusque dicta sufficiant. - - Libri quinti et ultimi de Materia Medica finis. - - Pedanii Dioscoridis Anazarbei De Materia Medica. - - [TRANSLATION.] - -[The] “INK with which we write is composed of the soot of torches, -collected. - -“To each ounce of gum, add three of soot. - -“It is also made of the soot of resin and of that lately called -‘painters’ black.’ Of this soot, however,—take one MINA,—of gum, half a -pound,—of ox-glue and of copperas, each, half an ounce. - -“It is a good application in cases of gangrene, and is useful in scalds, -if a little thickened and employed as a salve, and permitted to remain -until a new cuticle is formed, when it will spontaneously fall off from -the healed sore. - -“And now, my very dear Areas, in due proportion to the work which we had -undertaken, and the quantity of the materials and contributions which we -could gather, what we have thus far said must suffice. - -“End of the fifth and last book on The Materia Medica. - -“[The book] of Pedanius Dioscorides on the Materia Medica.” - -We have followed the text of Karl Gotleib Kuhn. _Medicorum Graecorum, -opera quae extant._ Leipzig, 1829. - -Among the fantastic trifles with which DEAN SWIFT was accustomed to -amuse his leisure, is a little string of verses on this subject which -are appended, not as being of any poetic merit, but as a “curiosity of -literature”—not out of place here:— - - - On Ink. - - _I am jet black, as you may see, - The son of pitch and gloomy night; - Yet all who know me will agree - I’m dead, except I live in light._ - - _Sometimes in panegyric high, - Like lofty Pindar, I can soar, - And raise a virgin to the sky, - Or her to a * * * * *_ - - _My blood this day is very sweet, - To-morrow of a bitter juice; - Like milk, ’tis cried about the street - And so applied to different use._ - - _Most wondrous is my magic power: - For with one color I can paint. - I’ll make the devil a saint this hour, - Next make a devil of a saint._ - - _Through distant regions I can fly, - Provide me with but paper wings, - fairly show a reason why - There should be quarrels among kings._ - - _And, after all, you’ll think it odd, - When learned doctors will dispute, - That I should point the word of God, - And show where they can best confute._ - - _Let lawyers bawl and strain their throats, - ’Tis I that must the lands convey, - And strip their clients to their coats,— - Nay, give their very souls away._ - -We find also in Pope’s epistle of Heloise to Abeillard an allusion to -the power of letters, as conveying ideas, which seems appropriate in -this connexion as illustrating the uses of ink. - - _Heaven first taught letters for some wretch’s aid, - Some banished lover, or some captive maid: - They live, they speak, they breathe what love inspires, - Warm from the soul, and faithful to its fires; - The virgin’s wish without her fears impart, - Excuse the blush, and pour out all the heart, - Speed the soft intercourse from soul to soul, - And waft a sigh from Indus to the pole._ - -The genius of BYRON (in a playful flash) has illuminated our subject -with one of his most brilliant passages:— - - _But words are things: and a small drop of INK, - Falling like dew upon a thought, produces - That which makes thousands (perhaps millions) think._ - -A less distinguished poet has, in expressive, and though in quainter, -humbler, yet in noble strain, said what is equally appropriate in this -place:— - - _Books are a part of man’s prerogative: - In formal INK, they thought and voices hold, - That we to them our solitude may give, - And make time present travel as of old._ - -CELSUS, who lived in this world, about the commencement of the Christian -era, has left a little memorandum on this subject which is worth -quoting. - -We give his words entire:— - -There are two kinds of bald spots occurring on the human head,—one of -them a baldness which creeps over the scalp like a serpent,—the other -showing itself in the form of round spaces uncovered by hair. Some -recommend the use of acrid irritant articles, combined with oils, &c. -But there is nothing better for you than to have the bald place shaved -every day with a [very dull] razor, and, after having done that, you -needn’t do anything else but rub on the place thus shaved a little -_atramentum sutorium_—(“shoemakers’ ink,” “copperas-water,”)—[solution -of the Di-proto sulphate of the (per) sesquoxyd of iron]. - -The editor of the printed copy of the edition of the works of AULUS -CORNELIUS CELSUS which was printed in Padua, made a material error on -this point. - -The word “sutorium” (being unintelligible to the ignorant monk who -superintended the printing) was changed to “scriptorium,”—that is, -“writing-ink,” instead of “shoemakers’-ink.” It is well-known that a -solution of copperas properly made, will remedy or prevent premature -baldness; but we assert that no quantity of lamp-black and gum, or -grease, will be found effectual for that purpose. - -In the time of Celsus, the sulphate of iron (copperas) had not yet -become an essential ingredient of writing-ink; and even after that its -combination with carbonaceous and oleaginous matters entirely -neutralized the power which renders it applicable and useful in such -cases. - - - - - CONCLUSION. - - -We have thus herein attempted the fulfilment of the promise (with which -we began) to produce a “HISTORY OF INK,”—a thing never before done or -even proposed to be done. If not successful in our attempt, we hope that -we have at least, in this little book, furnished hints and suggestions -on this subject which the learned may employ hereafter when the history -of this important material of history shall be undertaken and executed -on a larger scale. In view of which possibility, we may, with a -pardonable self-gratulation, say,—in the words of Martin Luther,—“We -have given to other and higher spirits occasion to reflect.” - -But we are loth to leave this subject (which has grown into our -affections as we have dwelt upon it) without giving a blow or a kick to -one monstrous absurdity which has prevailed among the learned, “falsely -so-called,”—from the time when the Jesuits returned from China with -their “edifying and curious” tales about the huge antiquity of all the -arts and some of the sciences of civilization among the people of what -they called the “Celestial Empire,”—a term wholly unknown to the -Chinese, in any form or variation of expression. - -The simple facts are that—the Chinese derived their knowledge of INK (of -writing with a colored liquid) from Europe. So did they obtain their -knowledge of the art of printing, carried to them by Venetian travelers, -“overland,” just at the moment before the clumsy engraved wood-blocks -were superseded by the moveable types of Gansefleisch or Gutenberg. So -was it with the Mariner’s Compass, the manufacture of gunpowder, and all -their boasted “inventions,”—among which may be included their -calculation of eclipses backward through fabulous cycles of centuries, -and the morals of Confucius or Kong-foo-tsee, a mythical personage -unmentioned in the history of China until the contents of the New -Testament had been made known there,—and _that_—many ages after the date -of his supposed life and death. - -But for their derivation and appropriation or theft of the great arts -from the West, the Chinese and all Oriental nations, from the Euphrates -to the Pacific, including the Japanese, would have remained to this day -in the condition in which the Mexicans and Peruvians were found by the -Spanish and Italian robbers who first explored the Western Hemisphere, -and murdered its inhabitants for their land, and the fruits and the gold -and silver of that land. - -Whatever arts the Chinese or Japanese or Jesuits may have invented or -preserved, the art of TELLING THE TRUTH is evidently, to all of them, -one of “THE LOST ARTS,“—lost irretrievably and forever! - -[Illustration: - - Blackwood’s Black Ink. - - Davids & Co’s Limpid - Writing Fluid.— - - Harrison’s Columbian Ink. - - Steel-Pen Ink, Thaddeus Davids. - - Maynard & Noye’s Black - Writing Ink.— - - Written, Augt. 14, 1855, to test - permanence by long exposure to - Sun & Rain— - - James R. Chilton, MD. - Chemist - - The above is a close fac-simile of - a paper upon which I wrote with Several Kinds - of Ink, as it appeared after being exposed to - the weather for five months. - - James R. Chilton, MD. - Chemist. - - New York, March 15, 1856. - - Snyder, Black & Sturn, 92 William St.] - - - - - DESCRIPTION OF THE PLATES. - - -No. 1.—A fac simile of the oldest Hieratic writing extant—about the 15th -century B.C. The hawk (the emblem of Divinity) and the man stand on -something that “teters”—the circle between them (a serpent biting its -own tail) is the ancient symbol of eternity. The Deity overbalances the -man. - -No. 2.—From a Greek MS. buried at Herculaneum in the year 29 B.C. - -No. 3.—Written on papyrus in Egypt; in the 3d century B.C. - -No. 4.—Written on papyrus 260 years B.C. - -No. 5.—Specimen of a Palimpsest copy of Cicero’s “Republic” in the -Vatican Library. - -No. 6.—Phœnician writing on papyrus. - -No. 7.—From a Pentateuch in the Bib^{e.} Nat^{e.} Paris, A.D. 450. - -No. 8.—From a Greek Copy of the Book of Genesis, written in gold on -purple vellum, A.D. 400. - -No. 9.—From a MS. on papyrus written in Egypt 3d century B.C. - -No. 10.—From a Charter of Childebert III. A.D. 703. - -No. 11.—From a Charter of Charlemagne, about A.D. 785. - -No. 12.—From a Charter of the Emperor Conrad I. A.D. 988. - -No. 13.—Specimen of “Roman Saxon,” A.D. 600. - -No. 14.—From a Charter of Dagobert I. about A.D. 620. - -No. 15.—From an early Gælic MS. - -No. 16.—From a Deed of William the Conqueror. - -No. 17.—The monogram signature to a Charter of Charlemagne about A.D. -785. - -No. 18.—From a Charter of the reign of Hugh Capet, A.D. 988. - -No. 19.—From a Deed of Henry I. - -No. 20.—From a Deed of Stephen, dated A.D. 1139. - -No. 21.—From a Deed of the reign of Richard I. - -No. 22.—From a MS. of Wyckliffe’s translation of the Bible. - -No. 23.—“Set Saxon,” A.D. 850. - -“_Qui sub Pontio Pilato crucifixus est, et sepultus, tertia die -resurrexit._” - -No. 24.—From a Charter of Sebbi, King of the East Saxons, A.D. 664, - -“_Ego Sebbi Rex East Sax(onum) pro—confirmatione Subscripsi._” - -No. 25.—Part of a Charter of Alfred the Great, A.D. 800. - -No. 26.—From a Charter of Edward the Confessor, A.D. 1045. - -No. 27.—From a Deed of the reign of Edward I. - -No. 28.—From a Deed of William the Conqueror. - -No. 29.—From a Deed of the reign of Edward III. - -_Edwardus Dei gratia Rex Anglias Dominus Hiberniæ, Dux Aquitaniæ, &c._ - -No. 30.—From the Will of William Mikelfeld, Nov. 7, 1439. - -No. 31.—From a Deed of the reign of Edward IV. - -No. 32.—From a Grant by William Wallace. - -No. 33.—From a Deed of Richard III. - -No. 34.—From a Deed of the reign of John. - -No. 35.—Autograph of Lord Macaulay. - -No. 36.—From a Deed of Henry VII. - -No. 37.—From an English translation of the works of Chauliac, A.D. 1400. - -No. 38.—From a Deed of Henry VIII. - -No. 39.—From a MS. in the rounded hand of Italy, 15th century. - -No. 40.—Letter from Columbus to the Viceroy of Castile, 15th century. - -No. 41.—Letter of Anne of Brittany, 1514. - -No. 42.—Signature of “Bayard,” the Chevalier. - -No. 43.—Letter from Charles V. to Francis I. - -No. 44.—Letter from Calvin, 1559. - -No. 45.—Letter of the Earl of Essex, 1567. - -No. 46.—Letter of Copernicus, 1473. - -No. 47.—William H. Prescott. - -No. 48.—Letter of Charles the XII of Sweden. - -No. 49.—Rosseau, 1757. - -No. 50.—Letter of Erasmus, 1476. - -No. 51.—Letter of Queen Elizabeth to Henry IV of France. - -No. 52.—Christina of Sweden, 1626. - -No. 53.—Charles I. to his sister. - -No. 54.—Oliver Cromwell, 1643. - -No. 55.—Duke of Marlborough, June, 1706. - -No. 56.—The Empress Catherine II. of Russia, July, 1773. - -No. 57.—Washington, 6th Sept. 1788. - -No. 58.—Louis XVI, June 30, 1773. - -No. 59.—Robespierre. - -No. 60.—Napoleon to Soult. - -No. 61.—Wellington, June 19, 1815. - -No. 62.—Lord Byron, Nov. 4, 1821. - -No. 63.—Voltaire, July 29, 1757. - -No. 64.—Edmund Burke. - -No. 65.—William Pitt, March 27, 1803. - -No. 66.—Wellington, April 21, 1834. - -The colored engraving is an illustration of the picture writing of the -Mexicans, from Lord Kingsborough’s great work. The blue border -represents a series of years, distinguished by the dots. The compartment -with five dots representing the fifth year of the reign, that with ten -the tenth, and so on. The pictures of the acts of the Prince being -connected with each special year by means of a connecting line. The -additional symbols have different significations—that of the flower -signifying a calamitous year, &c. In this plate King Acamapich is -represented in the first and sixth year of his reign; at the top of the -page are warlike instruments, signifying his preparation for war; the -figures below, on the right, are the four cities—Quahnahuac, Mezquic, -Cuitlhuac and Xochimilco—represented by descriptive symbols. The four -heads on the left are those of the respective kings or chiefs of these -cities, beheaded by Acamapich, each distinguished by the iconographic -symbol by which his name was expressed in this system of writing. - - These picture records, which would have illustrated the unknown - history of this continent, were destroyed in “mountain heaps” by the - first Spanish archbishop of Mexico—an act of fanatical vandalism - equalled only by the burning of the Alexandrian Library, and the - vast hoard of Moorish literature at Granada by Ximenes. - -[Illustration: - - Pl. 1. - - 1. - [Hieratic text] - - 2. - ...μασιν.στερον πο.αι - ...ιψόμεθα ὅταν δὲ πε. - ...αν καὶ δόξαν ἐ[κ] τοῦ - μαθήματος φῶσι περιγί- - νεσθαι λέγωμεν ὅτι - <π>κο<λ>ι- - νά τε προφέρονται πολ- - λ<α>ῶν ἐπιτηδευμάτων καὶ - λειπόμενα [π]λειόνων καὶ - - 3. - ναὶ οὐ Ἀλκμὰν ὁ ποιητὴς - οὕτως ἀπεφαίνετο οὐ- - - 4. - Διοσκουρίδης Δωρίωνι χαίρειν. τῆς πρὸς - Δωρίωνα ἐπιστολῆς τὸ ἀντίγραφον ὑπόκει- - - _Snyder Black & Sturn 92 William St_] - -[Illustration: - - Pl. 2. - - 5. - teterrimus - et ex hac vel - - homines heretici maxime - quia non ds illam dedit - -catur; quia et legem ds dedit - -varet propter certam - - 6. - [Phœnician text] - - 7. - κῡ, καὶ προσοίσουσιν - οἱ υἱοὶ Ααρων οἱ ἱερεῖς - - 8. - ἐξῆλθεν δὲ - -τησιν αὐτῷ - - _Snyder Black & Sturn 92 William St_] - -[Illustration: - - Pl. 3. - - 9. - κϛʹ Ξανδικ[ο]ῦ αʹ Θῶυθ κεʹ - - 10. - [flourish representing “I(n) C(hristi) N(omine)”] Childeberths - - 11. - Et nostra indulgentia in aelimosina - - 12. - Et ut huĩs cõplacitationis pceptũ firmũ stabileq; - - 13. - abbas sirum pater - - 14. - quotienscumque petitionib[us] - - _Snyder Black & Sturn 92 William St_] - -[Illustration: - - Pl. 4. - - 15. - Nirsatimini curio annso - - 16. - W rex anglo[rum] - - 17. - KAROLVS - - 18. - in eisdem degentium orem nostre celsitudinis - - 19. - h. dei gra rex - - 20. - S rex—Anno m.cxxix - - 21. - Ricard di gra Rex Angl - - 22. - IN þe biginyng was þe wrd and þe - - _Snyder Black & Sturn 92 William St_] - -[Illustration: - - Pl. 5. - - 23. - qui sub pontio pilato crucifixus: - & sepultus tertia die resurrexit - - 24. - + ego sebbi rex east sax pro - - 25. - dccclxxvo—Ego alfred gratia di rex hanc - - 26. - nomina hic caraxata sunt—EADUUEARDUS - - 27. - Istud starr recog est - - _Snyder, Black & Sturn, 92 William St._] - -[Illustration: - - Pl. 6. - - 28. - Will di gra rex—Sciatis me concessisse - - 29. - [E]dwardus dei gra Rex Angl Dominus Hibnie & Dux A - - 30. - This is the laste Wil ind{en}tid of me Willia Meklfeld Esquyer being - - _Snyder, Black & Sturn, 92 William St._] - -[Illustration: - - Pl. 7. - - 31. - Edwardus dei gr Rex Anglie &c - - 32. - Wlls Walays miles Custos regni - - 33. - Ricardus dei gratia Rex Anglie &c. - - 34. - Johannes Dei Gra Rex Angl - - 35. - T B Macaulay - - 36. - Henricus dei grā Rex Anglie & Francie - - _Snyder, Black & Sturn, 92 William St._] - -[Illustration: - - Pl. 8 - - 37. - it was saide aboue in þe chapitle of - - 38. - Henricus octavus dei grā Angl & Francie rex - - 39. - fecunditatem modo celi per multra - - 40. - Señor - - dejado nō se puede - - 41. - Monsieur mon bon frere - - 42. - Bayart - - _Snyder Black & Sturn, 92 William St._] - -[Illustration: - - Pl. 9. - - 43. - monsr mon bon frer - - Charles - - 44. - le 22 de Decembre 1559 - - 45. - I. Caluin - - 46. - singularj, qua studiosos prosequi solet - - 47. - W H Prescott - - 48. - [illegible] - - _Snyder, Black & Sturn, 92 William St._] - -[Illustration: - - Pl. 10. - - 49. - ne rentre pas dans l’ame aussi - - 50. - at ego nō possum omnem - - 51. - affection & solide Amitie - - 52. - Vostre approbation - - 53. - I cannot refuse this - - 54. - reade and expound the Scriptures - - _Snyder Black & Sturn, 92 William St._] - -[Illustration: - - Pl. 11. - - 55. - happy success in this - - 56. - J’ai lue le memoire - - 57. - well affected to the - - 58. - votre amour pour le bien public - - 59. - Le comite a pris toutes les mesures - - 60. - les anglais ont bombardé Granville - la division de bateaux canonniers ayant - à bord la 24^e légère a marché à eux - - 61. - Wellington - Waterloo, June 19 1815 - - _Snyder Black & Sturn, 92 William St._] - -[Illustration: - - Pl. 12. - - 62. - They are very civil - about “Cain” but alarm^{ed} - at its tendency—as they - - 63. - faites je vous en pris le moins - - 64. - you have an armed Tyranny to deal with; & - - 65. - I conclude from your letter - - 66. - Wellington &c - - _Snyder Black & Sturn, 92 William St._] - -[Illustration] - - - - - FORM OF THE WORD INK - - IN DIFFERENT LANGUAGES - - -Hebrew:__[Illustration] - -Chaldaic:__[Illustration] DȲŌ - -Sanskrit:__[Illustration] - -Greek:__Μελαν (Melan) - -Latin:__ATRAMEUTUM (Scriptorum) - -Mediaeval Latin:__ENCANSTUM - -China:__[Illustration] MĬH SHWUY (liquid Ink) - - " [Illustration] MĬH (Chinese Ink) - -Canton dialect:__ MAK SHUY - -Hindostan:__[Illustration] KALI - -Bengal:__[Illustration] KALI - -Shingalese:__[Illustration] - -Burmese:__[Illustration] - -Malayhim:__[Illustration] - -Persia:__[Illustration] SIYAHI - -Sinic:__[Illustration] - -Turkey:__[Illustration] MUREKKEB - -Armenia:__[Illustration] - -Thibet:__[Illustration] - -Anamitic:__MU^cC VIÊT - -Malay:__[Illustration] DAWĀT - -Japan:__[Illustration] - -Java:__ MANULYSAN - -Egyptian:__[Illustration] - -Coptic:__[Illustration] - -Amharic:__[Illustration] - -Algerian:__[Illustration] SIMEKH - -Aethiopic:__[Illustration] - -Arabic:__[Illustration] HBR, HIBR, HIBAR. - - {Old French__ENQUE} -French:__ENCRE {Breton__LYOU } - {Provincal__ANCRA } - {Low Dutch } -German:__[Illustration] (Tinte.) {Flamande } INK - {Hollandais} - -Spanish:__TINTA - -Portugese:__TINTA - -Italian:__INCHIOSTRO - -Piedmontese:__INCIOSTR. - -Russian:__[Illustration] {Lettish__BLAKKA - {Lettauish__TINTA - -Polish:__INKAUST - -Hungarian:__TENTA - -Bunda or Argolense:__TINTA - -Bohemia:__INGAUST - -Basque:__CORANSIA - -Illyrian:__INGOAS - -Danish:__BLÆC - -Swedish:__BLÄCK - -Laplandish:__BLEKK - -Greenlandish:__BLEK - -Icelandish:__BLEK - -English:__INK {Old English__ENKE, INKE, YNKE - {Anglo-Saxon__BLÆC - -Welsh:__DU, ENGE - -Gaelic:__DUBHADH - -Irish:__[Illustration] DUBH - -Peruvian:__YANATULLPU - -Chilian:__CHILLCAMOM - -Mexican:__THLLI - -Guarani:__TIV_TIRV_ (Tinta) - -Caribee Islands: OÚLITI OR OÚLITACLE - - - - - * * * * * * - - - - -Transcriber's note: - -Some corrections have been made to the original text, including -standardizing the punctuation. Further corrections are listed below: - - p. 12 unparalelled -> unparalleled - - p. 26 Flenningham -> Henningham - - p. 36 Dictionaire -> Dictionnaire - - p. 36 pschyo -> psycho - - p. 46 elogè -> éloge - - p. 77 Macauley -> Macaulay - -Other spelling and hyphenation inconsistencies have been retained as -printed. - - - -***END OF THE PROJECT GUTENBERG EBOOK THE HISTORY OF INK*** - - -******* This file should be named 50564-0.txt or 50564-0.zip ******* - - -This and all associated files of various formats will be found in: -http://www.gutenberg.org/dirs/5/0/5/6/50564 - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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} - h2.pg { font-weight: bold; - font-size: 135%; } - h3.pg { font-weight: bold; - font-size: 110%; } - hr.full { width: 100%; - margin-top: 3em; - margin-bottom: 0em; - margin-left: auto; - margin-right: auto; - height: 4px; - border-width: 4px 0 0 0; /* remove all borders except the top one */ - border-style: solid; - border-color: #000000; - clear: both; } - </style> -</head> -<body> -<h1 class="pg">The Project Gutenberg eBook, The History of Ink, by Thaddeus Davids</h1> -<p>This eBook is for the use of anyone anywhere in the United States -and most other parts of the world at no cost and with almost no -restrictions whatsoever. You may copy it, give it away or re-use it -under the terms of the Project Gutenberg License included with this -eBook or online at <a -href="http://www.gutenberg.org">www.gutenberg.org</a>. If you are not -located in the United States, you'll have to check the laws of the -country where you are located before using this ebook.</p> -<p>Title: The History of Ink</p> -<p> Including Its Etymology, Chemistry, and Bibliography</p> -<p>Author: Thaddeus Davids</p> -<p>Release Date: November 27, 2015 [eBook #50564]</p> -<p>Language: English</p> -<p>Character set encoding: UTF-8</p> -<p>***START OF THE PROJECT GUTENBERG EBOOK THE HISTORY OF INK***</p> -<p> </p> -<h4 class="nf-center">E-text prepared by Sonya Schermann<br /> - and the Online Distributed Proofreading Team<br /> - (<a href="http://www.pgdp.net">http://www.pgdp.net</a>)<br /> - from page images generously made available by<br /> - Internet Archive<br /> - (<a href="https://archive.org">https://archive.org</a>)</h4> -<p> </p> -<table border="0" style="background-color: #ccccff;margin: 0 auto;" cellpadding="10"> - <tr> - <td valign="top"> - Note: - </td> - <td> - Images of the original pages are available through - Internet Archive. See - <a href="https://archive.org/details/historyofinkincl00davi"> - https://archive.org/details/historyofinkincl00davi</a> - </td> - </tr> -</table> -<p> </p> -<div class='box'> - -<p class='c000'><b>Transcriber's Note:</b></p> - -<p class='c000'>Words in fonts different from the main text, -used to denote emphasis, have been represented by italics.</p> - -<p class='c000'>An attempt has been made to transcribe the handwritten text in -plates used to show the different kinds of ink. Where the -original text was unclear, dots have been used to mark illegible letters, -[] surround illegible but obvious letters, and <> -surround letters deleted by the original scribe.</p> - -<p class='c000'>Hyphens have been added at the end of lines -where appropriate.</p> -<p class='c000'>Macrons and tildes -on consonants within the plates have not been reproduced.</p> -<p class='c000'>Longer illegible sections were replaced -by [illegible].</p> - -<p class='c000'>In some cases, a descriptive word or phrase has been -added and surrounded by square brackets, for example [Hieratic text].</p> - -<p class='c000'>Some corrections have been made to the original. These are described -in a second transcriber's note at the end of the text.</p> -</div> -<p> </p> -<hr class="full" /> -<p> </p> -<p> </p> -<p> </p> - -<div class='figcenter id001'> - <span class='pageno' id='Page_1'>1</span> -<img src='images/i_001.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p><span class='sc'>The</span><br />History<br /><span class='fss'>OF</span> INK<br /><br />VOX DICTA PERIT, LITERA SCRIPTA MANET.<br /><br />THADDEUS DAVIDS & CO.<br /><br />NEW YORK.<br /><br />SNYDER, BLACK & STURM,<br /><br />LITHOGRAPHERS, 92 WILLIAM ST. N.Y.</p> -</div> -</div> - -<p class='c000'><span class='pageno' id='Page_3'>3</span></p> -<div class='box'> - -<div> - <h1 class='c001'>THE<br /> <br />HISTORY<br /> <br />OF<br /> <br />INK<br /> <br />INCLUDING ITS<br /> <br />ETYMOLOGY, CHEMISTRY,<br /> <br />AND<br /> <br />BIBLIOGRAPHY.</h1> -</div> - -<hr class='c002' /> - -<div class='nf-center-c0'> -<div class='nf-center c003'> - <div>New-York;</div> - <div><i>THADDEUS DAVIDS & CO.</i></div> - <div><i>127 William Street.</i></div> - </div> -</div> - -</div> - -<p class='c000'><span class='pageno' id='Page_4'>4</span></p> -<div class="back-i"> - <div class="text-i"> - <p class="center"><span class='sc'>Francis Hart & Co.</span><br /> -Printers,<br /> -63 Cortlandt St. N.Y.</p> - </div> -</div> - -<div class='nf-center-c0'> -<div class='nf-center c004'> - <div><span class='pageno' id='Page_5'>5</span><span class='xlarge'>The History of Ink.</span></div> - </div> -</div> - -<div class='c005'> - <img class='drop-capi' src='images/i_005.png' width='108' height='200' alt='' /> -</div><p class='drop-capi0_6'> -Ink <span class='fss'>IS</span> history, in the common -acceptation of the word; for, -what is generally denominated -history—is ink diffused on -paper in certain definite lines. Yet -ink has no history written or composed -hitherto. In view of this -deficiency—which betrays a singular -negligence (on the part of historians and -all literary men) and a thoughtless ingratitude -to this indispensable means of accomplishing -and preserving their work—we -propose to supply the desideratum, by -furnishing, on these little pages, what is -indicated by the above title, in the fullest -sense and widest scope of the term, including -its etymology, its chemistry, and all -that can be suggested and justified by -the title, or fairly demanded under it, or -claimed from it.</p> - -<p class='c000'><span class='pageno' id='Page_6'>6</span>The great common error of general historians, -ancient and modern, (with a very -few exceptions among the moderns,) has -been, that they have given to the world -little else than narrations and descriptions -of wars and treaties, of governmental -changes and political events, omitting to -record the often far more important facts -in the history of literature, science, and the -arts of utility, by which the progress of -civilization and the development of the -human race in its higher capacities have -been effected or aided. The great “Instaurator -of the Sciences” was the first -to call attention to these omissions and -deficiencies in all previous histories, and to -indicate the duty of historians to avoid -these errors,—setting a good example in -that respect, in the specimen, or model -work, which he produced as a pattern,—his -history of the reign of Henry the -Seventh. Since his time, many special -histories of inventions and of the arts of -utility have been written; and the numerous -cyclopaedists have largely contributed -to this object; still, however, leaving many -vacancies to be filled in this department of -human knowledge, of which the one before -us can not be considered the least worthy -of the labor needful for its investigation.</p> - -<div class='chapter'> - <span class='pageno' id='Page_7'>7</span> - <h2 class='c006'>DEFINITION.</h2> -</div> - -<p class='c005'>The word <span class='fss'>INK</span> has been variously defined -by lexicographers, cyclopaedists and chemists; -but the following terms may be taken -as fully expressing the common qualities -and essential specific characteristics of all -substances included under the name.</p> - -<p class='c000'><span class='sc'>Ink</span> is a colored liquid employed in -making lines, characters or figures on surfaces -capable of retaining the marks so -made. The Encyclopaedia Britannica, -(vol. xii. p. 382, 1856,) gives the following -definition: “<span class='fss'>INK.</span>—The term ink is -usually restricted to the fluid employed in -writing with a pen. Other kinds of ink -are indicated by a second word, such as -red ink, Indian ink, marking ink, sympathetic -ink, printers’ ink, etc. Common -ink is, however, sometimes distinguished -as writing ink.”</p> - -<p class='c000'>As to <span class='fss'>COLOR</span>,—black is and has always -been preferred in ordinary uses. For -ornamental purposes and for occasionally -useful distinctions, various other tints -have been and are adopted—as blue, red, -green, purple, violet, yellow—and so on, -according to the fancy of the maker, or -purchaser, or consumer.</p> - -<p class='c000'>The substance employed to receive and -preserve the marks thus made is now -<span class='pageno' id='Page_8'>8</span>almost universally Paper. Parchment is -still used in many legal documents and -writings of form and ceremony. Cotton, -linen and silk, when woven into fabrics for -garments and like uses, are also subjected -to marks of ink for the purpose of identifying -property. So are wooden and -leathern surfaces in similar conditions. It -is also employed in writing on stone, in -the quite modern art of lithography.</p> - -<p class='c000'>Though its great original and continual -employment is in writing, it must be -remembered that it is also largely used in -the delineation of objects by artists. Ink -and paint are mutually convertible to each -other’s uses, but are yet so distinct in character -and objects, that no one regards the -words as synonymous, and no precise definition -is needed to teach the distinction -between them. As, for instance, in pen-and-ink -drawings and sketches, the ink -serves the purpose of paint. So likewise -in the letters on sign-boards, &c. paint may -be considered as a substitute for ink. The -artist who traces his name on the canvas -in a corner of his painting, employs paint -in a similar manner. Printing-ink is used -as black paint. In the best red inks, carmine -(a paint in water-colors) is the essential -ingredient. Indian Ink is used here -only as paint,—in China, as ink.</p> - -<div class='chapter'> - <span class='pageno' id='Page_9'>9</span> - <h2 class='c006'>ETYMOLOGY.</h2> -</div> - -<p class='c005'>The derivation of the English word -“<span class='fss'>INK</span>,” and of its representatives in various -modern languages, has caused much perplexity -to philologists, and has been the -subject of many erroneous conjectures. We -suffix the names by which it is known in -those nations who have most employed it:</p> - -<table class='table0' summary=''> - <tr> - <td class='c007'>English,</td> - <td class='c008'>Ink.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Low-Dutch, Neder-Duytsch, Hollandisch,</td> - <td class='c008'>Inkt.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>German or Deutsch,</td> - <td class='c008'>Dinte and Tinte.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Old German,</td> - <td class='c008'>Anker, Tincta, Tinta and Dinde.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Danish, Norwegian, }</td> - <td class='c008'>Blaek, (India Ink, Tusch.)</td> - </tr> - <tr> - <td class='c007'>Norse, Icelandic, }</td> - <td class='c008'></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Swedish,</td> - <td class='c008'>Blaeck, (India Ink, Tusk.)</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>French,</td> - <td class='c008'>Encre.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Old French,</td> - <td class='c008'>Enque.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Italian,</td> - <td class='c008'>Inchiostro.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Spanish,</td> - <td class='c008'>Tinta.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Portuguese,</td> - <td class='c008'>Tinta.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Illyrian,</td> - <td class='c008'>Ingvas.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Polish,</td> - <td class='c008'>Incaust.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Basque,</td> - <td class='c008'>Coransia.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Latin,</td> - <td class='c008'>Atramentum.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Mediæval Latin,</td> - <td class='c008'>Encaustum.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Greek,</td> - <td class='c008'>Melan.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Hebrew,</td> - <td class='c008'>D’yo.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Chaldee,</td> - <td class='c008'>N’kaso.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Arabic,</td> - <td class='c008'>Nikson, Anghas.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Persian,</td> - <td class='c008'>S’y’ah’o.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Hindustani, }</td> - <td class='c008'>S’yaho, Rosh’na, kali, shira, mas,</td> - </tr> - <tr> - <td class='c007'>and Hindui, }</td> - <td class='c008'>murakkat, kalik, midad.</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Sanscrit,</td> - <td class='c008'>Kali, (Black.)</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c007'>Armenian,</td> - <td class='c008'>Syuaghin.</td> - </tr> -</table> - -<p class='c000'><span class='pageno' id='Page_10'>10</span>We might amuse ourselves by extending -this tabular list indefinitely. Enough, -however, has been already shown to illustrate -a few remarkable facts which we wish -to present that are connected with the -etymology of our subject; but we present -a page of Lithographic illustrations which -will enable any “curious reader” to trace -the word further.</p> - -<p class='c000'>No dictionary of the English language -gives us any help or light about the matter. -Webster suggests “<i><span lang="it" xml:lang="it">inchiostro</span></i>,” (the Italian -word,) as the source of derivation; and -all the Italian lexicographers agree that -<i><span lang="it" xml:lang="it">inchiostro</span></i> is from the later Latin <span class='fss'>ENCAUSTUM</span>, -which is in fact Greek, Εγκαυστον, (Encauston,) -“<em>burned-in</em> or corroded.” Encaustum became -corrupted into “<i>enchaustrum</i>,” from which -the transition to “<i><span lang="it" xml:lang="it">inchiostro</span></i>,” is by the regular -form of derivation from the Latin to -the Italian,—the L before a vowel giving -place to a short I—as “<i><span lang="it" xml:lang="it">piano</span></i>” from <span class='fss'>PLANUS</span>. -(The <span class='fss'>CH</span>, in Italian is always sounded -hard, like the English K.)</p> - -<p class='c000'>Leaving the French word <i><span lang="fr" xml:lang="fr">encre</span></i> as on -the middle ground between different etymologies, -and affording no light either -way,—we find the Spanish and Portugese -“<i><span lang="es" xml:lang="es">tinta</span></i>,” and the German (a language -widely remote from those of the Iberian -peninsula in origin and affinities) “<i>dinte, -<span class='pageno' id='Page_11'>11</span>tinte and tincta</i>,” forcibly reminding us of -the Latin participle <span class='fss'>TINCTUS, TINCTA, TINCTUM</span>, -from the verb <span class='fss'>TINGO</span>, which is represented -in English by <span class='fss'>TINGE</span>, and other -derivatives, such as “<em>tincture</em>,” &c. We -cannot refuse to recognize the Holland-Dutch -“<i><span lang="nl" xml:lang="nl">Inkt</span></i>” as from the same root -to which we have thus traced the corresponding -word in a language which we -may call its “cousin-German;” and it -is hard to exclude the Old French “<i>Enque</i>” -and modern “<i><span lang="fr" xml:lang="fr">Encre</span></i>” from this circle of -relationship.</p> - -<p class='c000'>Then, we are somewhat impressed by -the discovery of the word <i>Ingvas</i> in the -Illyrian, a language of the Slavonic (or -more properly Slovenic) stock, like the -Polish,—and, like that, enriched by words -derived from the Latin. The Polish, -however, presents us with the actual -Graeco-Latin <i>Encaustrum</i>.</p> - -<p class='c000'>Still more remote from the English and -Italian, we find among the Orientals of -the Shemitish race, <span class='fss'>ANGHAS</span> and <span class='fss'>NIKSON</span> in -the Arabic, and <span class='fss'>N’KASHO</span> in the Chaldee, -with a manifest resemblance in sound, and -with an actual possession of the same elements -and radical letters, N. K. Yet -we do not think of suggesting that these -words had a common origin with the corresponding -ones in European Languages, -<span class='pageno' id='Page_12'>12</span>though so nearly coincident in sound. The -case is simply one of accidental resemblance, -a remarkable coincidence,—(because -occurring at three different and remote -points,) but yet a coincidence not wholly -<a id='unpar'></a>unparalleled.</p> - -<p class='c000'>The probability is that the English word, -like the Dutch, German, Spanish, &c., came -from the Latin <span class='fss'>TINCTUM</span>, but it may be left -“an open question;” for if we had not these -instances to direct the formation of our -opinions, we should have no hesitation in -acknowledging the Italian <i><span lang="it" xml:lang="it">Inchiostro</span></i> as the -true <span class='fss'>ETYMON</span>; just as, if we had neither of -these in view, we might suspect the origin -of our word to be in the Oriental <span class='fss'>ANGHAS</span> or -<span class='fss'>NIKSON</span>.</p> - -<p class='c000'>The Ethiopic <span class='fss'>KALAMA</span> at first sight appears -to be related to the Hindustani <span class='fss'>KALI</span>; -but the latter is merely the word in all the -languages of Hindustan for black,—while -the former is but a modification of the Greek -and Latin <span class='fss'>CALAMUS</span>, a <em>reed</em> or pen,—the instrument -(naturally enough) giving its -name to the liquid which was essential to -its use.</p> - -<p class='c000'>The word <span class='fss'>ENCAUSTUM</span> connects, in a very -interesting and instructive manner, both -with the history and the chemistry or manufacture -of our modern inks, and is a satisfactory -demonstration of the utility of such -<span class='pageno' id='Page_13'>13</span>etymological researches as those in which -we have been here indulging.</p> - -<p class='c000'>The one great distinction between the -ancient and the modern inks is this: The -old inks were <span class='fss'>PAINTS</span>; the writing inks now -in use by all nations (excepting those of -Southern Asia) are <span class='fss'>DYES</span>. That is the -whole difference.</p> - -<p class='c000'>It would be well to give a definition or -limitation of the words “Ancient” and -“Modern.” No one has done it hitherto. -We will not attempt to fix the point precisely, -but may reasonably say that the period -intervening between September, A.D. -410, (when Rome was taken by <span class='fss'>ALARIC</span> and -his Visigoths) and December 25, A.D. -800, (when Karl the Great, otherwise called -Charlemagne, was crowned in Rome by -Pope Leo with the title of Emperor of the -Holy Roman Empire) contains the interval -between antiquity and modern times.</p> - -<p class='c000'>The introduction of Paper as the common -material upon which significant characters -were to be marked must have had a great -agency in producing a change in the composition -of the liquid employed in making -the marks.</p> - -<p class='c000'><span class='sc'>Parchment</span> was the substance in use, -among all the European nations, as the substratum -of manuscript, from the time when -the Egyptian <em>papyrus</em> went out of fashion. -<span class='pageno' id='Page_14'>14</span>Both the parchment and the papyrus -were written upon, by Romans, Greeks and -Hebrews, with pens made of small reeds, -dipped in a fluid composed of <em>carbon</em>, (not -dissolved, but) held in a state of suspension -by an oil or a solution of gum.</p> - -<p class='c000'>The letters were originally painted on -the surface of the papyrus, parchment, -board, or other material so employed—the -ink not being imbibed or absorbed by -the substance on which it was shed, but -remaining on the surface, capable of being -removed by washing, scraping, rubbing, -or any similar process. The surface -thus cleansed was then in a state to -receive a new inscription; so that erasions -and inscriptions might be indefinitely -repeated upon it, as upon a modern sign-board.</p> - -<p class='c000'><span class='sc'>Modern Ink</span>, on the contrary, leaves its -marks upon paper, parchment, &c., by penetrating -the material to such a depth that -it cannot be erased (mechanically) without -the removal or destruction of the surface -which it has <em>tinged</em>. Chemical agency, as of -various acids, chlorine and its compounds, -is generally employed, therefore, to discharge -the color from modern writing-ink-marks. -<span class='sc'>Carbon</span>, in all its common forms, -(charcoal, bituminous coal, anthracite, jet, -plumbago, lignite, ivory-black, lamp-black -<span class='pageno' id='Page_15'>15</span>and soot,) is wholly unalterable in color by -any of these chemical means.</p> - -<p class='c000'><span class='sc'>Printing Ink</span> (which is composed of carbon -suspended in a drying oil) is, in essential -characteristics, identical with the writing-inks -of the ancient Romans and Greeks. -It is impressed upon the surface of paper, -(that which is <em>unsized</em> or bibulous being -commonly preferred,) and is retained unchanged -by the action of moisture, on account -of the insolubility of the carbon and -the repulsion between oil and water. These -two forms of ink are therefore the exact -opposites of each other, in the qualities on -which their use and permanence depend. -The most important peculiarity of the -modern writing-ink, as contrasted with the -ancient, naturally suggested the two names -which it bore in the Latin and Greek of the -middle ages, or (to speak more definitely,) -the time of its invention and first employment. -It was a <em>Tincta</em>, a <span class='fss'>DYE</span>, or <span class='fss'>STAIN</span>, -which <em>tinged</em> and <em>tinctured</em> the material on -which it was placed, entering among its -fibres as coloring fluids do into cloth in the -ordinary processes of manufacture. It -penetrated the substance of the paper (as -caustics or powerful chemical solvents and -corrosives act on the organic fibre): it <em>bit in</em>, -or <em>burned in</em>,—and was therefore well named -<span class='fss'>ENCAUSTON</span> and <i><span lang="it" xml:lang="it">Incaustum</span></i>.</p> - -<div class='chapter'> - <span class='pageno' id='Page_16'>16</span> - <h2 class='c006'>CHEMISTRY or COMPOSITION of INK.</h2> -</div> - -<p class='c005'>We do not propose to furnish recipes, -prescriptions, directions or instructions for -the manufacture of this article. No mere -statement in words can enable any one to -arrive at perfection, or excellence, or practical -success in the production of this article, -or any articles whatsoever. A skill and carefulness, -which can be acquired only by long -and laborious experience, are indispensable -to the management of the various processes. -Time is an essential element of -success in this peculiar art; and that -makes absolutely requisite also, two other -conditions,—<em>patience</em> and <em>capital</em>. We shall -therefore be brief on this point,—referring -those who wish for minute details, to the -cyclopaedias, dictionaries of the arts and -sciences, and the larger works on practical -chemistry. The following we venture -to present as the most correct account of -this subject, derived from the latest scientific -and practical authorities.</p> - -<p class='c000'>The composition of ink varies according -to its colors, and the purposes to which -it is to be applied.</p> - -<p class='c000'><span class='sc'>Common black writing-ink</span> is the tannate -of the sesquoxyd of iron mixed with a -smaller quantity of the gallate of the -<span class='pageno' id='Page_17'>17</span>sesquoxyd of iron. When in the liquid -form, it is generally the tannate and gallate -of the protoxyd; but after being long -kept, (or put on the paper and drying there,) -it absorbs more oxygen from the atmosphere; -and thus the saline compounds become -the per-tannate and per-gallate, which -are blacker than the tannate and gallate of -the protoxyd. It is thus and therefore -that good modern ink is known by the simple -test-quality of darkening by age. On -the other hand, when writing becomes yellow, -pale or indistinct by age, it is from -the decay of the imperfectly combined vegetable -astringent,—the marks on the paper -or parchment being then little more than -the stain of the per-oxyd (that is the sesquoxyd) -of iron. If the written surface -be then carefully washed or even moistened -with the infusion of nut-galls, it will be -rendered blacker, and if before indistinct will -become legible. This may sometimes be -better accomplished by first applying a -weak solution of oxalic acid or very dilute -muriatic (hydro-chloric) acid, and then delicately -laying on the infusion of galls.</p> - -<p class='c000'>When the writing paper has been made -of inferior rags, bleached with chlorine, the -best ink used upon it is liable to become -discolored.</p> - -<p class='c000'>Nut-gulls or gall-nuts (<i><span lang="la" xml:lang="la">Gallæ-tinctoriæ</span></i>) -<span class='pageno' id='Page_18'>18</span>are excrescences growing upon the leaves -or twigs of oak trees, (especially the <i>Quercus -infectoria</i>,) caused by the puncture of an insect -(the <i>Cynips gallæ-tinctoriæ</i>) which deposits -its eggs in the perforations thus -made. The <i>Quercus infectoria</i> is most abundant -in Persia, Mesopotamia, Syria and -Asia Minor, from which countries the galls -are brought in large quantities to the manufactories -of Europe and America. The -best are called “<span class='sc'>Aleppo</span> galls,” from the -name of the Syrian city which is the chief -original market for them. Those from -Smyrna are also highly esteemed.</p> - -<p class='c000'>They contain the vegetable astringent -principle called <em>tannin</em> in greater abundance -than any other known substance. This is -chemically resolved into the acids known -as the tannic and gallic. All the woods and -barks employed in the manufacture of -leather by the tanning of hides contain this -astringent matter in various degrees. The -oak and the hemlock, for instance, are in -extensive and familiar use for this purpose -in the United States. The blackness of -ink, as has been already indicated, is derived -from the combination of these two acids -with oxydized iron in saline compounds -which are insoluble in water, and are therefore -precipitated or deposited at the bottom -of the fluid, unless held mechanically -<span class='pageno' id='Page_19'>19</span>suspended in it, by gum, sugar or some -similar substance which gives the quality -of viscidity to its solutions.</p> - -<p class='c000'>The following will serve as a good formula -for making common ink, and will be -enough to give an idea of the ordinary -and general mode of its composition:—“Take -of Aleppo galls finely bruised, six -ounces,—sulphate of iron, four ounces,—gum -Arabic, four ounces,—water, six pints. -Boil the galls in the water for about two -hours, occasionally adding water to supply -the loss from evaporation; then add the -other ingredients; and keep the whole for -two months in a wooden or glass vessel, -which is to be shaken at intervals. -Then strain the ink into glass bottles, -adding a few drops of creosote to prevent -mouldiness.”</p> - -<p class='c000'>Besides its property of viscidity, the -gum possesses the power of preventing -the ink from being too fluid: and it also -serves to protect the vegetable matter from -decomposition. The great desideratum or -requisite is that the ink should flow with -perfect freedom from the pen, to allow -rapid writing, and that it should adhere to -the paper, or “bite into it,” so as not to be -effaceable by washing or sponging. The -great defect to be avoided and prevented is -the want of durability. The writing ink -<span class='pageno' id='Page_20'>20</span>of the ancients was characterized by great -permanency, being composed of finely pulverized -carbon mixed with a mucilaginous or -adhesive liquid. <span class='sc'>India</span> or <span class='sc'>China Ink</span> is of -this composition: it is formed of lamp-black -and size or fine animal glue, with the incidental -addition of perfumes. It is used in China -with a brush, both for writing and painting -on Chinese paper; and it is employed in other -countries for making drawings in black and -white,—the different depths of shade being -produced by varying the degree of dilution -in water.</p> - -<p class='c000'>Inks of other colors than black were anciently -used only for purposes of ornamental -and decorative writing. In later and present -times, red and blue inks have been extensively -employed in ruling account-books -and other paper for like uses. Blue ink, -within ten or more years past, has been, with -many, a preferred fluid for common writing.</p> - -<p class='c000'>Blue ink, when properly made, flows with -great ease and rapidity from the pen, dries -almost instantly on the paper, and has -been supposed or expected to be quite durable, -and unchangeable in color, under ordinary -vicissitudes. Yet, experience has demonstrated -the contrary,—though various and -well-contrived chemical combinations have -been attempted for the purpose. Blue inks -that change to black some time after writing -<span class='pageno' id='Page_21'>21</span>are very popular. On well-made and high-priced -paper, and with gold pens, such inks, -if prepared by good chemists, may ultimately -prove worthy of the high esteem in -which they are held; but their absolute and -unchangeable durability is yet to be tested -by experience, before they can be safely -employed for writings of permanent value, -and relied on for use in making records designed -for preservation and reference during -a long course of years.</p> - -<p class='c000'>There is a compound of bichromate of -potash and extract of logwood, which forms -a very cheap and convenient writing fluid. -Dr. Ure pronounces it “a vile dye.” Yet it -may have its utilities, in localities remote -from the centres of civilization and commerce,—as -in the new settlements in western -America, in Australia, &c., and for travelers -in Africa, in the Arctic and other -barbarous or uninhabited regions. The -following is the best formula which can be -given for this compound; and we present it -on the highest chemical authority:—“Take -Bichromate of potash, 1-4 oz.—Extract of -logwood 1 oz.—Boiling water, 1 gallon.”</p> - -<p class='c000'>We have taken the trouble to give this -prescription or formula, because some quacks -have been peddling it all over the country, -at all sorts of prices, varying (according to -the credulity and liberality of purchasers) -<span class='pageno' id='Page_22'>22</span>from 50 cents to $250. We give it for -just what it is worth; and that is—exactly -what this book costs the reader.</p> - -<div class='chapter'> - <h2 class='c006'>BIBLIOGRAPHY.</h2> -</div> - -<p class='c005'>The longest and most valuable passage -which we find in the writings of any English -author, who has alluded to our subject, -is the following, from “<span class='sc'>The Origin and -Progress of Writing</span>,” by Thomas Astle, -F. R. S., F. A. S. &c., pp. 209 to 212, -2d edition, London, 1803.</p> - -<p class='c000'>“<span class='sc'>Of Inks.</span> Ink has not only been useful -in all ages, but still continues absolutely -necessary to the preservation and improvement -of every art and science, and for conducting -the ordinary transactions of life.</p> - -<p class='c000'>“Daily experience shows that the most -common objects generally prove most useful -and beneficial to mankind. The constant -occasion we have for Ink evinces its -convenience and utility. From the important -benefits arising to society from its -use, and the injuries individuals may suffer -from the frauds of designing men in the -abuse of this necessary article, it is to be -wished that the legislature would frame -some regulation to promote its improvement, -and prevent knavery and avarice -from making it instrumental to the accomplishment -of any base purpose.</p> - -<p class='c000'><span class='pageno' id='Page_23'>23</span>“Simple as the composition of Ink -may be thought, and really is—it is a fact -well known, that we have at present none -equal in beauty and color to that used by -the ancients; as will appear by an inspection -of many of the manuscripts above -quoted, especially those written in England -in the times of the Saxons. What occasions -so great a disparity? Does it arise -from our ignorance, or from our want of -materials? <span class='sc'>From neither</span>, <em>but from the -negligence of the present race</em>; as very little -attention would soon demonstrate that we -want neither skill nor ingredients to make -Ink as good now as at any former period.</p> - -<p class='c000'>“It is an object of the utmost importance -that the Records of Parliament, the -Decisions and Adjudications of the Courts -of Justice, Conveyances from man to man, -Wills, Testaments, and other Instruments -which affect property, should be written -with Ink of such durable quality as may -best resist the destructive powers of time -and the elements. The necessity of paying -greater attention to this matter may be -readily seen by comparing the Rolls and -Records that have been written from the -fifteenth century to the end of the seventeenth, -with the writings we have remaining -of various ages from the fifth to the twelfth -century. Notwithstanding the superior -<span class='pageno' id='Page_24'>24</span>antiquity of the latter, they are in excellent -preservation; but we frequently find the -former, though of more modern date, so -much defaced that they are scarcely legible.</p> - -<p class='c000'>“Inks are of various sorts, as—encaustic -or varnish, Indian ink, gold and silver, -purple, black, red, green, and various other -colors. There were also secret and sympathetic -Inks.</p> - -<p class='c000'>“The Ink used by the ancients had -nothing in common with ours, but the color -and gum. Gall-nuts, copperas and gum -make up the composition of our Ink; -whereas soot, or ivory-black, was the chief -ingredient in that of the ancients; so that -very old charters might be suspected, if -written with Ink entirely similar to what -we use; but the most acute and delicate -discernment is necessary in this matter; for -some of the [black] Inks formerly used -were liable to fade and decay, and are found -to have turned red, yellow or pale. Those -imperfections are however rare in manuscripts -prior to the tenth century.</p> - -<p class='c000'>“There is a method of reviving the writing; -but this expedient should not be -hazarded, lest a suspicion of deceit may -arise, and the support depended on [be] lost.</p> - -<p class='c000'>“<span class='sc'>Golden</span> Ink was used by various nations, -as may be seen in several libraries, -and in the archives of churches. <span class='sc'>Silver</span> -<span class='pageno' id='Page_25'>25</span>Ink was also common in most countries. -Red Ink, made of vermilion, cinnabar, or -purple, is very frequently found in manuscripts; -but none are found written entirely -with ink of that color. The capital letters, -in some, are made with a kind of varnish, -which seems to be composed of vermilion -and gum. Green Ink was rarely used in -charters, but often in Latin manuscripts, -especially in those of the latter ages. The -guardians of the Greek emperors [or rather -the Regents of the Empire] made use of it -in their signatures, till the latter [the -monarchs during minority] became of age. -Blue or Yellow Ink was seldom used but -in <em>manuscripts</em>.[!!!] The yellow has not -been in use, as far as we can learn, for six -hundred years.</p> - -<p class='c000'>“Metallic and other characters were -sometimes burnished. Wax was used as -a varnish by the Latins and Greeks, but -much more by the latter, with whom it -continued a long time. This covering or -varnish was very frequent in the ninth -century.</p> - -<p class='c000'>“<span class='sc'>Color.</span> The color of Ink is of no great -assistance in authenticating manuscripts -and charters. There is in my library a long -roll of parchments, at the head of which is -a letter that was carried over the greatest -part of England by two devout monks, -<span class='pageno' id='Page_26'>26</span>requesting prayers for Lucia de Vere, -Countess of Oxford, a pious lady, who died -in 1199,—who had formed the house [or -convent] of <a id='henn'></a>Henningham in Essex, and -done many other acts of piety. This roll -consists of many membranes or skins of -parchment sewed together,—all of which, -except the first, contain certificates from the -different religious houses that the two -monks had visited them, and that they had -ordered prayers to be offered up for the -Countess, and had entered her name on their -bead-rolls. It is observable that time hath -had very different effects on the various -inks with which these certificates were -written. Some are as fresh and black as -if written yesterday; others are changed -brown; and some are of a yellow hue. It -may naturally be supposed that there is a -great variety of handwritings upon this; -but the fact is otherwise, for they may be -reduced to three.</p> - -<p class='c000'>“It may be said in general, that <span class='fss'>BLACK</span> -ink of the seventh, eighth, ninth and tenth -centuries, at least among the Anglo-Saxons, -preserves its original blackness [thereby -meaning that its “form had not lost all its -original <em>brightness</em>”] much better than that -of succeeding ages,—not even excepting the -sixteenth and seventeenth, in which it was -frequently very bad. Pale ink very rarely -<span class='pageno' id='Page_27'>27</span>occurs before the four last centuries. -<img src='images/i_027.png' class='c009' alt='Illustration' /></p> - -<p class='c000'>“Peter Caniparius, Professor of Medicine -at Venice, wrote a curious book concerning -Ink, which is now scarce, though -there is an edition of it printed in London, -in 1660, quarto. The title is—<i><span lang="la" xml:lang="la">De Atramentis -cujuscunque generis opus sanè novum. -Hactenus à nemine promulgatum.</span></i> [<span class='sc'>A work -actually new, concerning inks of every kind -whatsoever,—hitherto published by no one.</span>] -This work is divided into six parts. The -<em>first</em> treats generally of Inks made from -<span class='sc'>Pyrites</span>, [sulphurets of iron and copper,] -stones and metals. The <em>second</em> treats more -particularly of Inks made from metals -and <span class='sc'>Calxes</span>. [Better say <em>calces</em>, or, to speak -chemically, crystallized salts deprived of -their “water of crystallization,” or carbonic -acid, by the action of heat.]—The <em>third</em> -treats of Ink made from soots and vitriols.—The -<em>fourth</em> treats of the different kinds -of Inks used by the <i><span lang="la" xml:lang="la">librarii</span></i> or book-writers, -[professional scribes or copyists of manuscripts -before the invention of the art of -Printing,] as well as by printers and engravers, -and of staining (or writing upon) -marble, stucco or scagliola, and of <span class='sc'>Encaustic</span> -modes of writing; as also of liquids -for painting or coloring of leather, cloths -made of linen or wool, and for restoring -inks that have been defaced by time, as -<span class='pageno' id='Page_28'>28</span>likewise many methods of effacing writing—restoring -decayed paper—and of various -modes of secret writing.—The <em>fifth</em> part -treats of Inks for writing, made in different -countries, of various materials and -colors,—as from gums, woods, the juice of -plants, &c., and also of different kinds of -varnishes.—The <em>sixth</em> part treats of the -various operations of extracting vitriol, -and of its chemical uses.</p> - -<p class='c000'>“This work abounds with a great variety -of philosophical, chemical and historical -knowledge, and will give great entertainment -to those who wish for information on -this subject.</p> - -<p class='c000'>“Many curious particulars concerning -Ink will be found in “<i>Weckerus de Secretis</i>.” -(Printed at Basle, in 1612, octavo.)—This -gentleman also gives receipts for -making Inks of the color of Gold and -Silver, composed as well with those materials -as without them,—also, directions for -making a variety of Inks for secret writing, -and for defacing of [effacing] Inks. -There are many marvelous particulars in -this last work, which will not easily gain -credit with the judicious part of mankind.”</p> - -<p class='c000'>We have chosen to give Mr. Astle’s -paragraphs on this subject, entire, “pure -and simple,” (with no corrections or alterations, -except as to a few particulars in -<span class='pageno' id='Page_29'>29</span>spelling, punctuation, &c.,) including some -unnecessary formal verbiage,—instead of -embodying his facts and observations in our -own language. We shall do likewise with -other authors whose books we use in -this work, as the most effectual way of -giving each of them due credit for their -several discoveries and statements, and, at -the same time, securing our own just claims -to what we herein present as of our own -discovery or production. But we will give -no credit to a mere compiler or plagiarist.</p> - -<p class='c000'>Mr. Astle was keeper of the ancient -Records of the English Government in the -Tower of London, and thus enjoyed extraordinary -facilities for ascertaining such -facts, and making such observations as he -furnishes in his very useful, interesting, and -elegantly illustrated book. As to what he -says (in his seventh paragraph) about the -inexpediency of “hazarding” any effort to -revive writing which has faded or become -illegible, from fear of “a suspicion of deceit,”—the -caution must of course be limited -to cases where the words proposed to be -restored to legibility have reference to some -question of disputed title, or other matter -in litigation or controversy. Mr. Astle -would not have hesitated (any more than -Angelo Mai) to use any possible process -for the restoration of a <em>palimpsest</em> manuscript -<span class='pageno' id='Page_30'>30</span>of a long-lost work of Cicero or -Livy, or of any document worth the labor -and the time requisite to revive the letters -or read them. Mr. Astle’s slight lapse of -pen or mind in stating (eighth paragraph) -that “Blue or yellow ink was seldom used -except in <em>manuscripts</em>,” reminds us of Noah -Webster’s reason, given in the first edition -of his quarto dictionary, for the use of the -word “Iland” instead of “Island,” viz., -that the latter spelling was “found only in -books.” Perhaps the venerable Mr. Astle -would have been as much astonished to -learn that he himself had always written -manuscript, whenever he put pen to paper, -as the <i><span lang="fr" xml:lang="fr">Bourgeois Gentilhomme</span></i>, in Moliere’s -comedy, was to learn that he “had been -speaking prose all his life.”</p> - -<p class='c000'>A comparatively recent author gives the -following as the sum and substance of his -knowledge on this division of the subject -of our book.</p> - -<div class='chapter'> - <h2 class='c006'>WRITING-INKS.</h2> -</div> - -<p class='c005'>Dark-colored liquids were used to stain -letters previously engraved on some hard -substance, long before they were made to -flow in the calamus or pen for forming -them on a smooth surface; and the Chinese -made their “Indian Ink” in the same -<span class='pageno' id='Page_31'>31</span>manner as now, 1120 years before the -Christian Era; but, only used it, at that -time, to blacken incised characters.<a id='r1' /><a href='#f1' class='c010'><sup>[1]</sup></a> Ink -was termed by the ancient Latin authors -<i><span lang="la" xml:lang="la">atramentum scriborium</span></i>,<a id='r2' /><a href='#f2' class='c010'><sup>[2]</sup></a> or <i><span lang="la" xml:lang="la">librarium</span></i>, to distinguish -it from <i><span lang="la" xml:lang="la">atramentum sutorium</span></i> or <i><span lang="la" xml:lang="la">calchantum</span></i>. -It was made of the soot of -resin, or pounded charcoal, and other substances, -mixed with gum, and not, like -ours, of vitriol, gall-nuts, alum, &c. The -earliest positive mention of ink is perhaps -the passage in Jeremiah, in the Vulgate, -“<i><span lang="la" xml:lang="la">Ego scribebam in volumine, atramento</span></i>.”<a id='r3' /><a href='#f3' class='c010'><sup>[3]</sup></a></p> - -<div class='footnote' id='f1'> -<p class='c000'><a href='#r1'>1</a>. Here we might add, without fear of contradiction, -that <em>Ink</em> is still extensively used -to “blacken characters,” without regard to -the depth of the incision.</p> -</div> - -<div class='footnote' id='f2'> -<p class='c000'><a href='#r2'>2</a>. The specimen -of the English language which we quote, -is not faultless; and the <em>Latin</em> is execrable. -There is no such word as <i><span lang="la" xml:lang="la">scriborium</span></i> in any -language, ancient or modern. The Romans -called writing-ink <i><span lang="la" xml:lang="la">atramentum scriptorum</span></i>.</p> -</div> - -<div class='footnote' id='f3'> -<p class='c000'><a href='#r3'>3</a>. <em>This</em> is a very paltry piece of pedantry. -Why could not this author (who -shows that he does not understand <em>Latin</em>,) -give us the text in English? The passage -is in Jeremiah, chap. <span class='fss'>XXXVI</span>, verse 18: “I -wrote them with <em>Ink</em> in a book.” The -only other references in the Bible to <em>Ink</em>, -are the following: 2 Corinthians, <span class='fss'>III</span>, 3: -“written not with <em>Ink</em>, but the spirit.” 2 -John, <span class='fss'>XII</span>: “I would write with paper -and <em>Ink</em>.” 3 John, <span class='fss'>XIII</span>: “I had many -things to write, but I will not with <em>Ink</em>.” -Ezekiel, <span class='fss'>IX</span>, 2: “with a writer’s <em>ink</em>-horn by -his side.”</p> -</div> - -<p class='c000'><span class='pageno' id='Page_32'>32</span>Gold liquids, and also silver, purple, -red, green, and blue inks, were eventually -used in manuscripts after the fourth century,—red -and gold having been employed -much earlier. St. Jerome speaks of rich -decorations, which must have been executed -with colored inks; but, before his time, -Ovid alludes not only to the purple <i>charta</i>, -made use of for fine books, which were -also tinged with an oil drawn from cedar-wood, -to preserve them, but, also to titles -written in red ink, which were the first -kind of illuminations. The passage occurs -in his first elegy, “Ad Librum:”</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>“<i><span lang="la" xml:lang="la">Nec te purpureo velent vaccinia succo;</span></i></div> - <div class='line'><i><span lang="la" xml:lang="la">Non est conveniens luctibus ille color.</span></i></div> - <div class='line'><i><span lang="la" xml:lang="la">Nec titulus minio, nec cedro charta notetur.</span></i></div> - <div class='line'><i><span lang="la" xml:lang="la">Candida nec nigra cornua fronte geras.</span></i>”</div> - </div> - </div> -</div> - -<p class='c011'>The last line proving, as Casley observes, -that Ovid wrote upon a <em>roll</em>.</p> - -<p class='c000'>This author, not having been kind -enough to translate Ovid for us, we are -compelled to do it for him. This “Elegy” -of the poet is addressed “To his Book;” -and the following words contain the meaning -of the four lines above quoted:</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='pageno' id='Page_33'>33</span><i>Nor shall huckleberries stain [literally, <span class='fss'>VEIL</span>] thee with purple juice:</i></div> - <div class='line'><i>That color is not becoming to lamentations.</i></div> - <div class='line'><i>Nor shall title (or “head-letter”) be marked with vermilion, or paper with cedar,</i></div> - <div class='line'><i>Thou shalt carry neither white nor black horns on thy forehead (or front, or frontispiece).</i></div> - </div> - </div> -</div> - -<p class='c012'>The word “huckleberries,” we have rightly spelled here. The dictionaries generally -are wrong in spelling the word “whortleberry.” Huckleberry, or Hockleberry, -is found in the kindred languages of Northern Europe.</p> - -<p class='c005'>Diplomas were seldom written in gold -or colored inks; but some charters of the -German Emperors are known, not only in -gold, but on purple vellum; and Leukfeld -mentions one of the year 912, ornamented -also with figures; while several early -English charters have gold initial letters, -crosses, &c. The black ink that has kept -its color best, in mediaeval manuscripts, is -that used from the tenth to the thirteenth -century. The signatures of the Eastern -Emperors are frequently in red ink.</p> - -<p class='c000'>Colored inks were common in mediaeval -manuscripts,—the red being most usual for -titles, which has given rise to the term -<i>Rubric</i>. The writers of books (that is, the -copyists,) often appended their names to -the end of the work, generally in ink of a -different color from that of the body of -the work, stating the time and place in -which the work was executed.</p> - -<p class='c000'><span class='pageno' id='Page_34'>34</span>To this may be added, with advantage, -some instructive account of</p> - -<div class='chapter'> - <h2 class='c006'>WRITING INSTRUMENTS,</h2> -</div> - -<p class='c013'>whose history is closely connected, to a -great extent, with that of writing <span class='fss'>FLUIDS</span>.</p> - -<p class='c000'>The Egyptian, and all other oriental -and ancient scribes, who wrote upon stone, -employed (of course) some instrument similar -in character to the chisel of our modern -tomb-stone cutters, or monument letterers. -So with the Greeks and Romans, writing -on surfaces of wax or wood, the instruments -were the graphium, or glypheion, -(the graver,) and the stilus, or caelum, all -of steel or iron. When the use of a dark-colored -liquid or <em>Ink</em> was introduced, there -arose a necessity for instruments of very -different material, and great flexibility, in -opposition to the unyielding rigidity of the -tools previously employed. Then were -invented the first implements properly -called Pens, or really resembling what we -so denominate and use. These were universally -made of vegetable material, growing -in the tubular form, of convenient -size, as the <i>calamus</i>, <i>arundo</i>, <i>juncus</i>, and, in -general terms, the smaller stems of various -plants called “reeds” and “rushes” in -English. We have already mentioned the -<span class='pageno' id='Page_35'>35</span>uniform employment of the hair-pencil, or -brush, by the Chinese, from the most ancient -time of their writing. The quill, or -feather-pen, was introduced during the -fourth century.</p> - -<p class='c000'>We have alluded to the <i>palimpsest</i> manuscripts. -This is the term applied to -parchments that have been twice written -upon,—the first writing being effaced to -make room for the second. During the -period commonly called “the dark ages,” -the monks and other scribes, copyists or -book-makers, were in the habit of effacing -the letters from old manuscripts, in order -to make a clean surface for a new writing. -In this way was caused the deplorable -destruction of an immense and an inestimably -valuable amount of ancient literature, -of Greek and Roman history, poetry, eloquence -and philosophy, merely to make -room for mass-books, and other works of -stupid superstition and mis-directed devotion, -or, of scholastic theology and philosophy, -now long ago universally condemned -and exploded. Within the past and present -generation, however, the learned world -has been delighted by the surprising recovery -of some of these long-lost treasures, -through the skilful and ingenious labors of -the deservedly famous Cardinal Angelo -Mai, and others, whose researches in the -<span class='pageno' id='Page_36'>36</span>libraries of Rome, Milan, Padua, Naples, -Florence, and other cities, have resulted -in the restoration of inestimably precious -writings, thus partially obliterated or -obscured.</p> - -<p class='c000'>Brande’s Dictionary of Literature, -Science, and Art, gives a brief summary -of the same general facts in the article -“Palimpsest.”</p> - -<p class='c000'>The fullest and most elaborate exposition -of the composition and manufacture -of Ink which we have been able to find, -however, is in the great French <a id='dict'></a>“Dictionnaire -des Arts et Manufactures,” by an -association of distinguished <i>savans</i>, in two -volumes, imperial octavo, Paris, 1853, -article, <span class='fss'>ENCRE</span>.</p> - -<p class='c000'>But, of all articles and treatises on the -subject, which we have examined, that in -the English Penny Cyclopaedia has the -merit of containing, if not the best and -longest account, a very good and satisfactory -one,—because it expresses all the -essential facts in the fewest and best-chosen -because perfectly intelligible words. As -we do not attempt to furnish a text-book -for ink-manufacturers, we do not transcribe -in full, or translate, from these and other -works of great value on this subject.</p> - -<p class='c000'>That modern inks do not resist the -decomposing and destructive power of -<span class='pageno' id='Page_37'>37</span>chemical agents (whether acids, alkalies, -saline bodies or elements,) as well as the -ancient inks, is the result of a necessity -existing in their very composition and -invention, and even in the use for which -they were designed, and to which they are -applied. A <em>dye</em> (like modern ink) is the -result of chemical action, and is therefore -subject to chemical re-agents; yet, when -well made, it is proof against mechanical -action, such as washing, rubbing, and -scraping; nor can it be removed from paper -to which it is applied, without destroying -that material, or rendering that part of it -practically useless. But, on the other -hand, the ancient inks, which resist all -chemical processes, can be removed by -mechanical action, such as has been named. -If a new ink were compounded of the two, -possessing the best properties of each, any -writing executed with it could be effaced -by the joint or successive action of mechanical -and chemical applications.</p> - -<p class='c000'>It must be borne in mind that the -ancient inks had one use for which writing -ink is now never required; and that was -in making books, or multiplying copies of -manuscripts indefinitely for <em>general reading</em>, -or <em>publication</em>. The invention and universal -employment of the art of printing has -wholly done away with that.</p> - -<p class='c000'><span class='pageno' id='Page_38'>38</span>Of <span class='sc'>Indelible Inks</span>, or those used for -marking fabrics of cotton, linen, &c., for -the identification of ownership, it is not -necessary to give any particular description. -Their ordinary composition is very -generally understood to be a solution of -nitrate of silver, or some similar caustic, -applied with a pen of proper material, to -a portion of the surface of the cloth, which -has been previously prepared by the absorption -of a gummy or mucilaginous -fluid dried upon it under pressure.</p> - -<p class='c000'><span class='sc'>Sympathetic Inks</span> are fluids employed -in coloring drawings made for parlor -amusement, or the diversion of children -and youth. As, for instance, a landscape -drawn in ordinary colors with a wintry -aspect, cloudy or sombre sky, snow on the -ground, and leafless trees, if properly -touched with sympathetic inks, will, at -any time, when brought near a fire, or -otherwise subjected to a certain degree of -warmth, change to the hues of summer, -the sky becoming of a clear blue, the trees -in full foliage, and the turf rich with -grass, each with its appropriate shade of -verdure, as also flowers of their various -natural colors, &c., according to the fancy -of the artist, the whole disappearing as -the picture grows cold. The chloride, the -nitrate, the acetate, and the sulphate of -<span class='pageno' id='Page_39'>39</span>cobalt, form sympathetic inks,—the first, -blue, and (with the addition of nickel,) -green; the second, red. Chloride of copper -gives a gamboge yellow; bromide of copper, -a fine rich brown.</p> - -<p class='c000'>Letters written with a solution of acetate -of lead, are invisible until exposed to -the action of sulphuretted hydrogen, which -makes them distinct, with the lustrous -greyish black of sulphuret of lead, the same -substance which is called galena when it -occurs as lead-ore. A weak infusion of -galls or other vegetable astringent, will, if -applied to paper in the form of letters, -become legible when touched with any -solution of iron. If written with a solution -of ferro-cyanide of potash, letters will -remain invisible until touched with a solution -of sulphate of iron.</p> - -<div class='chapter'> - <h2 class='c006'>IMPORTANCE OF GOOD INK.</h2> -</div> - -<p class='c005'>Astle speaks very impressively and -justly on this point; and we contribute to -this part of our subject by calling attention -to facts almost daily occurring or brought -to notice in this country, especially in the -older cities and states, where town-records, -parish-registers, and other documents of -ancient date, and of high importance in -<span class='pageno' id='Page_40'>40</span>history, chronology, and genealogy, (as -well as in regard to the title and inheritance -of estates,) are found obscured and -obliterated, causing losses, public and private, -that need but to be mentioned to be -properly estimated.</p> - -<p class='c000'>In the appendix will be found a fac-simile -of a sheet upon which various specimens -of ink were thoroughly and fairly -tested, which is a brief but emphatic demonstration -of a difference of qualities by -difference of results.</p> - -<p class='c000'>To show what can be done in the preservation -of writing on material even -frailer than such paper as we employ, we -need but produce the specimen of Egyptian -writing on papyrus, pronounced by Champollion -to have been executed more than -sixteen hundred (1600) years before the -birth of Christ, yet still in preservation -and legible, as may be seen by the representation -we give of it.</p> - -<p class='c000'>This is undoubtedly as old as any specimen -of phonetic characters or written -letters (representing sounds, not ideas or -objects,) extant, made by marking with a -fluid upon any substance. There are inscriptions -of letters upon stone, for which -an earlier date of 4000 years B.C., is -claimed with truth. But this is <span class='fss'>INK</span>-writing, -absolutely 3500 years old!</p> - -<p class='c000'><span class='pageno' id='Page_41'>41</span>The Chinese assert that they had the -art of writing at a period 2950 years -before Christ; but they have no records or -monuments of that date; and their characters -even to the present time, are entire -words, representing objects, ideas or things, -not sounds. In the art of printing, they -pretend to have preceded the European -nations about 2400 years, dating their -invention of it from the tenth century -before Christ. But they have never advanced -beyond the first form of the art—letters -engraved on solid wooden blocks—the -very method in use by Koster, and his -associates, until the invention of moveable -types by John Gansfleisch, otherwise -named John Gutenberg or Guttemberg, -in 1435. In both arts, writing and -printing alike, the Chinese have remained -stiff, solid and immovable at the first step, -with the characteristic unchangeability of -the yellow races of Eastern Asia, so opposite -to the indefinitely progressive and self-improving -energy of the nations whose -progenitors proceeded west from the original -source and centre of the earth’s population. -The same ink serves the Chinese -both for writing and printing, as does -the same kind of paper. This ink they -invented about the end of the first century -of the Christian era; before which time -<span class='pageno' id='Page_42'>42</span>they wrote on boards or bamboos. Having -next proceeded to the use of silken cloth -for these purposes, the preparation of -paper from that material naturally followed. -Their ink, being carbonaceous and -oleaginous, is, of course, (like that of the -Egyptians and all the other ancients,) -unfading, and unalterable by chemical -agencies, though capable of being effaced -or obscured by watery applications or -exposure.</p> - -<p class='c000'>As to their claim of having <em>invented</em> the -art of printing, we shall have something -to say hereafter.</p> - -<p class='c000'>The Aztecs (in Mexico, before the -Spanish discovery and conquest,) extensively -employed a picture-writing, as a -means of recording events, during a period -not exceeding two centuries before that -epoch. They had the art of manufacturing -materials as a basis of such writing, -from the <em>Agave</em> or American aloe, and -from cotton, in the form of a very fine -cloth. They also used prepared skins for -the same purpose, the best specimens of -which are pronounced to be more beautiful -than the finest vellum. Their manuscripts -were sometimes done up in rolls or scrolls, -and frequently on tablets, in the form of a -folding-screen. Their inks appear to have -been coloring matters in watery solutions.</p> - -<p class='c000'><span class='pageno' id='Page_43'>43</span>The oldest Phoenician ink-writing of -which any specimen has been preserved, -dates no later than the second century -before Christ, and may be much older.</p> - -<p class='c000'>A fac-simile of a portion of it will be -found among our illustrations, explained -by notes referring to each by its number.</p> - -<p class='c000'>Greek manuscripts in ink (on papyrus), -of the third century before Christ, are in -existence. We give specimens of the oldest -known,—one written in Egypt, 260 -B.C., being an order from Dioscorides, an -officer of the government of Ptolemy Philadelphus, -to another named Dorion. The -translation of the words is “Dioscorides -to Dorion, greeting. Of the letter to Dorion -the copy is subjoined.” * * * We add -other specimens, of the same and later -periods.</p> - -<p class='c000'>Of Latin writing with ink, the earliest -we can find is the palimpsest of Cicero’s -book, “De Republica,” which had been -partly effaced to make room for a copy of -Augustin’s commentary on the Psalms. -It is believed by the learned that the original -manuscript was executed at least as -early as the second or third century of the -Christian era. The restoration of this -manuscript, and the discovery of this long-lost -and earnestly sought classic gem, were -the work of Cardinal Mai, as before mentioned. -<span class='pageno' id='Page_44'>44</span>The original words are <span class='fss'>TETERRIMUS -ET EX HAC VEL——</span>, and are written in two -columns on the page, while the later writing -runs completely across the page.</p> - -<p class='c000'>Of the earliest writing executed in -France, after that country received its -name from those who conquered it, we give -a specimen from the beginning of a charter -of King Dagobert I, executed A.D. 628. -The words are—“<span class='fss'>QUOTIESCUMQUE PETITIONIBUS</span>”—“However -many times to petitions,” -&c. It is a confirmation of a partition -of property between two heirs. The monogrammatic -autograph of the Great Karl, -(in modern times called Charlemagne,) we -present also as an object of interest. A.D. -800.</p> - -<p class='c000'>The oldest specimen of writing in Great -Britain which has been preserved to the -nineteenth century, was a book believed to -be not later than the year 600 of the -Christian era. Astle has preserved an engraved -specimen of it; but the priceless -original has since been destroyed by fire in -the British Museum. It was said to be -a book of Augustin. A specimen still in -existence, dates between the years 664 and -670. It is a charter of Sebbi, King of -the East Saxons, and is easily read:—“I, -Sebbi, King,” &c. We subjoin a few -words from the commencement of a charter -<span class='pageno' id='Page_45'>45</span>of William the Conqueror, whose reign commenced -in England, A.D. 1066:—<span class='sc'>Will: -dei gra<sup>tia</sup> rex</span>, &c., <span class='sc'>Sciatis me concessisse</span>—“William, -by the grace of God, King -&c.: Know ye that I have granted—”</p> - -<p class='c000'><span class='sc'>Isaac D’Israeli</span>, in his Curiosities of -Literature, (vol. 2, page 180, of the Boston -edition,) gives a treatise on the “Origin -of the Materials of Writing.” He commences -it with these remarkable words: -“It is curious to observe the various substitutes -for paper before its discovery.”</p> - -<p class='c000'>Now, of all “curiosities of literature,” -this little sentence is, in many respects, the -most curious. He talks of substitutes for -a thing not in existence, and not even a -subject of imagination, conjecture, or conception. -The name of D’Israeli does not -indicate an <span class='sc'>Irish</span> origin, but there is a -strong affinity between this and those curiosities -of literature commonly called “Irish -bulls.” As for instance, it reminds us of -the couplet composed by an Irish officer -of a garrison in the Scottish Highlands, in -commemoration of the “good works” of -General Wade, who had caused excellent -military roads to be made through some of -the previously almost impassable morasses -of that region.</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'>“<i>Had you seen these roads before they were made,</i></div> - <div class='line'><i>You’d have lifted your hands and blessed General Wade.</i>”</div> - </div> - </div> -</div> - -<p class='c000'><span class='pageno' id='Page_46'>46</span>Now, by way of comment on <span class='sc'>D’Israeli</span>, -we will say that “it is very curious,” and -moreover very strange, if not ridiculous, -that he and <span class='sc'>Astle</span>, (from whom he copies -without a full and fair acknowledgment,) -while “deeply complaining of the inferiority -of our inks to those of antiquity,” -have utterly failed to ascertain the cause -or even to notice the occasion of it. They, -as well as other writers on the subject, -observe the excellence of the ink employed -in manuscripts of earlier ages, down to the -twelfth century, and the inferiority of the -ink used from that period down to the close -of the seventeenth century, without turning -attention to the great historical fact that -the <span class='fss'>FIRST PAPER-MILL</span> in Europe was established -in that same twelfth century.</p> - -<p class='c000'>A peculiar <span class='fss'>CACHEXY</span> (a variety of the -disease known to <a id='psy'></a>psycho-nosologists as the -<i>cacoëthes scribendi</i>,) seems to be hereditary in -the D’Israeli family. <span class='sc'>Benjamin D’Israeli</span>, -(the son of Isaac,) late Chancellor of the -Exchequer, &c., when he rose in his place, -as the Head or Representative of Her -Majesty’s government in the House of -Commons, to pronounce a eulogy on the -recently deceased Duke of Wellington, had -the impudence to repeat, word for word, a -very bald translation of the <i><a id='elo'></a>éloge</i> delivered -by Lamartine a few years previous, on occasion -<span class='pageno' id='Page_47'>47</span>of the death of one of the third-rate -marshals of Napoleon I.</p> - -<p class='c000'>The D’Israeli family are evidently -“some” of the children of Israel, who, (as -we are told on good authority,) when they -left Egypt <em>borrowed</em> everything they could -get, and never, so far as the record shows, -either returned the articles so obtained, or -made proper acknowledgments therefor.</p> - -<p class='c000'>The Chinese did manufacture paper -from the bark of the small branches of a -tree of the mulberry genus, (<i>Morus Multicaulis</i>?) -and also from old rags, silk, -hemp, and cotton, as early as the second -century of the Christian era; and it is -supposed that from them the Arabs -derived their knowledge of paper-making, -an art which they introduced into Europe -in the former half of the twelfth century, -when the first paper-mill was put -in operation in Spain, then under the -Moorish dominion; and, in 1150, this -article, as manufactured by them, had -become famous throughout Christendom.</p> - -<p class='c000'>[We use the words Arab and Moor indiscriminately -here. The former is the -name of the race; the latter is limited to -that portion found in Northern Africa. -The Moor is the Arab of the <span class='sc'>West</span>, (Al -Mogreb, El Gharb,) in the Arabic, denominated -<span class='sc'>Mogrebyn</span>,—a word which in Roman -<span class='pageno' id='Page_48'>48</span>and European mouths has smoothed and -softened itself into a form suggestive of -the origin of <i>Maurus</i> and <i>Mauritania</i>.]</p> - -<p class='c000'>Now, without coming to a positive conclusion -on this subject, we feel authorized -to pronounce what appears to be a reasonable -opinion, derived from all the facts -which we have just placed before the -reader,—that the introduction of writing-paper -among Europeans, was the occasion -and cause of the invention and general -employment of modern writing-ink by -them.</p> - -<p class='c000'>The fact that the vegetable astringents -form a deep or bluish black color, when -combined with a salt of iron, had been -known from time immemorial. Among -the Romans, the <i>atramentum sutorium</i>,—“shoemaker’s -ink,”—was applied to a solution -of sulphate of iron employed by -them, as it is even to this day, by workers -in leather, to blacken the surface of that -material. This it does by uniting chemically -with the tannin and gallic acid, by -which the hide was converted into leather, -whose blackened particles are therefore -essentially identical with modern ink. The -“copperas-water” is to be found in every -shoemaker’s shop, where it is used to color -the cut edges of the heels and the rest of -the soles.</p> - -<p class='c000'><span class='pageno' id='Page_49'>49</span>As soon as the difficulty of writing -with convenience and rapidity on paper, -with the ancient carbonaceous ink, became -manifest, the resort to the <i>atramentum sutorium</i> -as a substitute for the <i>atramentum -scriptorium</i>, was a matter of course, and was -but a simple adaptation of a familiar substance -to a new purpose, requiring no great -ingenuity, and no invention whatever.</p> - -<p class='c000'>For a time, perhaps through a period of -several centuries, a mixture of the two -kinds of ink was employed by the Romans; -and this was undoubtedly the best -composition that was ever invented for the -purpose of deliberate, careful, elegant -writing, designed and required to be permanent -and unchangeable under constant -exposure and handling,—as in the case of -manuscript books before the art of printing -was known. Even as early as the first -century of the Christian era, in the time of -Pliny the Younger, and probably long -before that, a solution of sulphate of iron -was commonly or frequently added to the -carbonaceous and oleaginous mixture which -we have described as the original writing-ink. -In short, the <i>atramentum sutorium</i> -was added, in moderate quantity, to the -<i>atramentum scriptorium</i>, thus constituting it -a <span class='fss'>CHEMICAL</span> as well as a <span class='fss'>MECHANICAL</span> ink. -So, modern ink may be improved in blackness, -<span class='pageno' id='Page_50'>50</span>durability and beauty, and rendered -unchangeable in color under the action of -the chlorides, acids, &c., by the intermixture -of a small quantity of the very finest -carbon, in the form of an impalpable powder. -But, the great difficulty is—that the -carbon clogs the pen, and renders the ink -too thick to flow easily, so that it can -never be used for rapid or ordinary writing. -We can not give, in our own words, a -better account of this matter than we find -in the language of a very learned author -in the Edinburgh Review, (volume 48, -Dec. 1828).</p> - -<p class='c000'>The article here cited is entitled “<span class='sc'>The -Recovery of Lost Writings</span>,” and is -nominally a review of [1]<span class='sc'>Gaii Institutionum -Commentarii</span>: [2]<span class='sc'>Institutes de Gaius, recemment -decouvertes dans un Palimpseste -de la Bibliotheque de Chapitre de Verone</span>. -[3]<span class='sc'>Jurisconsulti Ante-Justinianei reliquiae -ineditae</span>, <i><span lang="la" xml:lang="la">ex codice rescripto Bibliothecae Vaticanae</span></i>, -<i><span lang="la" xml:lang="la">curante</span></i> <span class='sc'>Angelo Maio</span>, <i><span lang="la" xml:lang="la">Bibliothecae -ejusdem Praefecti</span></i>. The article begins on -page 348 of this volume of the Review.</p> - -<p class='c000'>We quote from page 366;—“The ink -which the ancients generally used, was -composed of lamp-black mixed with gum, -as we are informed by Dioscorides and -others, who give the receipt [recipe?] for -making it. Ink of this kind may be -<span class='pageno' id='Page_51'>51</span>called carbonic: it possesses the advantages -of extreme blackness and durability, the -writing remaining fresh so long as the substance -on which it is written exists; but as -it does not sink into the paper, it is liable -to the great inconvenience of being easily -and entirely removed; for, if a wet sponge -be applied to it, the writing may be washed -away, and no traces of the characters will -remain. The facility with which documents -might be thus obliterated, gave occasion -to fraud, as an artful forger was able -to remove such portions of the original -writing as he might desire to get rid of, -and thus profit by the absence of material -words, or insert in the blanks which he had -made, such interpolations as might serve -his turn. Many common accidents, by -which books and writings were exposed to -wet, or even to damp, were also fatal, or at -least highly injurious, to compositions and -muniments of great value. Various expedients -were therefore attempted to remedy -an imperfection from which many must -have suffered severely. <span class='sc'>Pliny</span> informs us -that it was usual, in his time, to mix vinegar -with the ink, to make it <em>strike into the -paper or parchment</em>, and that it, in some -degree, answered the purpose. It should -seem that vitriolic ink, such as we use at -present, was also adopted soon afterwards, -<span class='pageno' id='Page_52'>52</span>which possesses, in perfection, the quality -that was desired of sinking instantly into -the paper, so as to make it far more difficult -to discharge it without destroying the -texture on which it is written, and of being -perfectly secure against water, by which -Indian and other carbonic Inks are so -easily effaced. <span class='sc'>It is not</span>, however, <span class='fss'>EQUALLY -SECURE AGAINST THE EFFECTS OF TIME</span>; for -vitriolic ink gradually fades away, becomes -paler by degrees, turns brown and yellow, -and is scarcely legible; and sometimes, as -the parchment grows yellow and brown with -age, it disappears altogether. A compound -kind of ink came next into use, which -united the advantages and avoided the defects -of the two simple sorts. Such a mixed -ink was generally used for several centuries; -and with this, the manuscripts that are now -most fresh and legible appear to have been -written. It is evident that the ink with -which the original works contained in the -Palimpsest manuscripts that have been -deciphered were written, was at least in -part vitriolic: for the letters which had -been rubbed out <em>were rendered legible by the -application of the infusion of galls</em>. In order -to remove the original writing, the parchments -on which the mixed ink had been -used were, probably, first washed to take -off the carbon, and thus partially to efface -<span class='pageno' id='Page_53'>53</span>the characters, and were afterwards scraped -or rubbed with pumice, or some other suitable -substance, to complete the process -of destruction, by taking away mechanically -the color that the vitriolic portion -of the ink still preserved. It is -but too probable that many manuscripts, -the characters of which were entirely -formed of the more ancient carbonic ink, -have been entirely destroyed, the letters -having been washed off completely, and by -the same simple means as the writing of -a school-boy on a slate; whilst the parchment -still remains in our libraries, and is -covered with more modern compositions -which have sacrilegiously and too successfully -usurped the place of more ancient -and more valuable matter. The tirades -of Cyril or of Jerome, or the tawdry eloquence -of Chrysostom, are perhaps firmly -established in quarters from whence [?] the -Margites of Homer, or the comedies of -Menander, were miserably dislodged.</p> - -<p class='c000'>“A manuscript is called Palimpsest, -from the adjective παλιμψαιστος or παλιμψηστος, -signifying twice rubbed; <span class='fss'>NOT</span> as the glossary -of Du Cange (<i><span lang="la" xml:lang="la">membrana iterum abrasa—charta -deletilis</span></i>) would seem to denote, because -the parchment had twice undergone -abrasure, or the writing been twice obliterated, -but because it had been twice prepared -<span class='pageno' id='Page_54'>54</span>for writing, which was principally effected -by rubbing it with pumice, first in the -course of manufacture, after the original -skin had been cured, and again by the -same process, after the original writing had -been taken away by washing, or in any -other manner. The strict and precise -sense of Palimpsest is therefore ‘twice -prepared for writing;’ the repetition of -such preparation being the prevailing idea -in the etymology, and <em>not erasure</em>, as some -have erroneously supposed. It is said to -be easy to remove from modern parchment, -especially if what is written be of some -standing, all traces of writing, by rubbing -it with pumice, or similar substances; and -if the surface be afterwards polished, no -one, by merely looking on it, will ever suppose -that it had ever been written upon; -but, if it be washed by <em>an infusion of galls</em>, -the letters will be so far restored, particularly -if it be suffered to remain some time -in the light, that it may be copied by a -patient and practiced person, who is gifted -with good eyes:—so deeply had the iron -entered into the soul of the parchment! -If the erased letters were written in a bold -large hand, the task of deciphering them -will of course be less troublesome, and the -results more sure. And such are the characters -of the more ancient manuscripts; -<span class='pageno' id='Page_55'>55</span>for, the older the manuscript, the better -and more legible is the writing, as approaching -more nearly to the ages of -civility and refinement. The method of -writing in old times is also favorable, it is -said, to the restoration of works apparently -obliterated. The scribe did not use -a flowing ink, nor a finely pointed pen, as -modern writers are wont; nor was a small -quantity applied so lightly and sparingly -as to dry almost as fast as it touches the -paper. The ancient ink was thick with -gum, and was supplied copiously by a pen -with a broad point, usually made of a reed; -and the characters were <em>painted</em> rather than -written, the ink rather resembling paint or -varnish than our thin liquor. As they -rarely wrote in books, it was not necessary -that the page should dry speedily, or be -dried by means of sand and blotting-paper, -in order to prevent the loss of time, and -that the penman might turn over the leaf -immediately; the loose sheets or leaves, on -the contrary, which were only to be bound -up when the whole was completed, were -left to dry slowly, so that the pools of ink -which formed the letters, stood long on the -surface of the parchment; and that part -of the fluid which was of a penetrating -nature was gradually absorbed, and sunk -deeply into the substance of the skin, so as -<span class='pageno' id='Page_56'>56</span>to preserve to us—if we be not wanting to -ourselves in diligence—many precious relics -of ancient lore. The restoration of -the original writing in a palimpsest manuscript -will be best explained by referring to -one of the many kinds of sympathetic ink, -which is in truth, making common ink <i><span lang="la" xml:lang="la">ex -post facto</span></i>, or uniting the ingredients of -which it is composed, after the fact of -writing. If we write with water in which -copperas has been dissolved, the letters will -be invisible; but when the paper has been -washed over with an infusion of galls, they -will appear gradually, and will in time -become tolerably legible; the ink being thus -formed upon the paper, although much less -perfectly, than in the ordinary maceration.”</p> - -<p class='c000'>Little or nothing can be added to the -full and elaborate history of ancient and -modern inks which is contained in this -extract,—so thorough and complete in its -analysis of the subject, and so clear in its -distinct statements of the results of investigations -in which some of the most acute -minds of Europe have long been successfully -employed, that we will not linger -upon it with mere verbal criticism.</p> - -<p class='c000'>We can not present a more striking -illustration of the change in the composition -of inks about the time of the invention -<span class='pageno' id='Page_57'>57</span>of the art of printing, than is furnished -by the annexed fac-simile of a page in the -<span class='sc'>Biblia Pauperum</span>, (“Bible for poor folks,”) -the oldest printed book in the world. This -extraordinary book is of uncertain date. -(No printed book has a date prior to -1457.) There are, as we believe, only -two copies of it in America, one in the -possession of <span class='sc'>James Lenox</span>, of New-York,—the -other in the <span class='sc'>Astor Library</span>.</p> - -<p class='c000'>The maker of this book was the unconscious -inventor of the art of printing. -Wood-engraving was in use for ages -before it occurred to the mind of man that -a letter might be as easily reproduced in -that way as a picture or figure. To convey -scriptural history to the minds of the -common people, the wood-engravers (whose -art was invented to multiply and cheapen -the production of <span class='fss'>PLAYING-CARDS</span>) made little -pictures representing scenes described, -and events narrated, in the Bible. For -the benefit of the few who could read, it -was customary to write on the margin, or -at the foot, of the page on which the woodcut -was printed, a few words descriptive -of the subject or object delineated. This -was always done with a pen, by a regular -scribe, until, one day, it occurred to the -wood-engraver employed on the <i><span lang="la" xml:lang="la">Biblia Pauperum</span></i>, -that these words might be as easily -<span class='pageno' id='Page_58'>58</span>engraved as the figures to which they -referred, and of which they were the explanation. -He put that idea in practice: and -in an instant the sublime <span class='fss'>ART OF PRINTING</span> -was an “accomplished fact.”</p> - -<p class='c000'>The advocates of the claims of Koster, -Gansefleisch, (or Gutenberg,) Faust (or -Fust,) and Schoeffer, to this invention, -have wasted much labor in bringing forth -conflicting testimony about them. The -long-forgotten and now wholly unknown -wood-engraver of the <i><span lang="la" xml:lang="la">Biblia Pauperum</span></i> had -preceded them by half of a generation. -Such books were in existence before A.D. -1420; and the earliest date which the -Haarlaem Dutchmen set up for the first -printing of their fellow-townsman, Lawrence -Koster, is 1428. And his pretensions -are after all very dubious. Indeed -they have been generally condemned as -utterly fabulous by bibliographical critics -and typographical historians.</p> - -<p class='c000'>We introduce it here to show the <em>color</em> -and the (thereby indicated) composition of -the <span class='fss'>INK</span> employed. It was <em>writing-ink</em>. -It contained sulphate of iron (copperas), -in combination with vegetable astringent -matter, and with very little carbon. The -vegetable substance, imperfectly united to -the mineral ingredient, has (in obedience to -the laws of organic matter) been decomposed -<span class='pageno' id='Page_59'>59</span>and “resolved into its original elements.” -It has disappeared; but the -<span class='fss'>IRON</span> remains with its yellow stain, an -imperishable memorial of that humble, -nameless workman, more enduring than -that which the plaintive man of Uz desired; -for if those words had been “graven -with an <span class='fss'>IRON PEN</span> and lead in the rock <em>forever</em>,” -that anticipated eternity might have -faded of realization by the action of the -rain, the frost, the dust, and innumerable -imaginable atmospheric vicissitudes, or, -(what is worse,) “the wrath of man.”—Some -Cambyses might have demolished -the rock itself, and left no more of the -inscription than can now be read of those -once carved on the cliffs of Edom, the God-created -walls of Petra in the valley of -<span class='sc'>El Ghor</span>.</p> - -<p class='c000'>This pale rusty <span class='fss'>WORD-STAMPING</span> on the -fragile and easily combustible paper, has -outlasted the inscriptions once visible in -gigantic characters on the four sides of the -Memphitic pyramids; and it is only an -incidental result of the intelligence diffused -and the learning promoted by the invention -thus begun, that we can now read the long-buried -records of Nineveh, the epitaphs -of the Thebaic kings, and the gravings on -the precipitous fronts of the mountains -which surround the ruins of Persepolis.</p> - -<p class='c000'><span class='pageno' id='Page_60'>60</span>All writers upon this subject have -strangely overlooked the fact that the art of -impressing or printing letters with a metallic -stamp or type on parchment, as a substitute -for pen-work, is about a thousand -years older than the period above specified -as the date of the invention of the modern -art of printing. The <span class='sc'>Codex Argenteus</span>, -(the oldest translation of the entire Bible -into any European language,) is a famous -book, in the Library of the University of -Upsala in Sweden.</p> - -<p class='c000'>(We give the particulars of its history -in our Appendix.)</p> - -<p class='c000'>This “antique” is on purple <i><span lang="la" xml:lang="la">vellum</span></i>, -(which is parchment made of <em>calf-skin</em>,) and -all the letters are <span class='fss'>SILVER</span>, (whence the name -Codex Argenteus, the “silver book,”) -manifestly impressed on the page by a -metallic stamp or type, each letter evidently -being on a separate stock or handle, -and applied by manual pressure. We -give a specimen of this style of work. It -may be called printing, but can not be -denominated <em>manuscript</em>, for that is (literally) -“hand-writing,” which this certainly -is not.</p> - -<p class='c000'>In our Appendix may be found still -earlier instances of this art as practiced by -the ancient Romans on a small scale, in -signatures, trade-marks, &c.</p> - -<p class='c000'><span class='pageno' id='Page_61'>61</span>The Edinburgh review refers to Pliny -and Dioscorides, as furnishing directions -for the manufacture of ink. The Edinburgh -reviewer says “receipts,”—not recognizing -the broad distinction between a -<em>receipt</em> and a <em>recipe</em>. The former of these -two words was originally intended to convey -the idea that the person who signs the -paper has <em>got</em> something: the latter word, -or its representative initial (℞) means simply, -“<em>take</em>.”</p> - -<p class='c000'>The directions of Pliny are in the following -words:—</p> - -<div class='nf-center-c0'> -<div class='nf-center c014'> - <div>C. Plinii Secundi Historia Naturalis.</div> - <div class='c015'>Lib. XXXV, §25.</div> - <div class='c015'><span class='large'><i>ATRAMENTUM.</i></span></div> - </div> -</div> - -<p class='c012'>Atramentum quoque inter factitios erit, quanquam -est et terra geminæ originis. Aut enim salsuginis -modo emanat, aut terra ipsa sulphurei coloris ad hoc -probatur. Inventi sunt pictores, qui e sepulcris carbones -infectos effoderent. Importuna haec omnia, et -novitia. Fit enim e fuligine pluribus modis, resina -vel pice exustis. Propter quod, officinas etiam aedificavere, -fumum eum non emittentes. Laudatissimum -eodem modo fit e tedis. Adulteratur fornacum balnearumque -fuligine, quo ad volumina scribenda utuntur. -Sunt qui et vini faecem exsiccatam excoquant; adfirmantque, -si ex bono vino faex fuerit, Indici speciem id -atramentum praebere. Polygnotus et Micon celeberrimi -pictores Athenis, e vinaceis facere: tryginon appellant. -Apelles commentus est ex ebore combusto facere, -quod elephantinum vocavit. Adportatur et Indicum, -inexploratae adhuc inventionis mihi. Fit etiam apud -<span class='pageno' id='Page_62'>62</span>infectores ex flore nigro, qui adhaerescit aheneis cortinis. -Fit et e tedis ligno combusto, tritisque in mortario carbonibus. -Mira in hoc sepiarum natura: sed ex his -non fit. Omne autem atramentum sole perficitur, librarium -gummi, tectorum glutino admixto. Quod -autem aceto liquefactum est, aegre eluitur.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>(TRANSLATION.)</div> - </div> -</div> - -<p class='c000'>“<span class='sc'>Ink</span> (or literally) <span class='sc'>Blacking</span>.—Ink also -may be set down among the artificial (or -compound) drugs, although it is a mineral -derived from two sources. For, it is sometimes -developed in the form of a saline -efflorescence,—or is a real mineral of sulphureous -color—chosen for this purpose. -There have been painters who dug up from -graves colored coals (<span class='fss'>CARBON</span>). But all -these are useless and new-fangled notions. -For it is made from soot in various forms, -as (for instance) of burnt rosin or pitch. -For this purpose, they have built manufactories -not emitting that smoke. The -ink of the very best quality is made from -the smoke of torches. An inferior article -is made from the soot of furnaces and -bath-house chimneys. There are some -(manufacturers) also, who employ the dried -lees of wine; and they <span class='fss'>DO</span> say that if the -lees so employed were from good wine, the -quality of the ink is thereby much improved. -Polygnotus and Micon, celebrated -painters at Athens, made their black paint -from burnt grape-vines; they gave it the -<span class='pageno' id='Page_63'>63</span>name of <span class='fss'>TRYGYNON</span>. <span class='sc'>Apelles</span>, we are told, -made <span class='fss'>HIS</span> from burnt ivory, and called it -elephantina “ivory-black.” Indigo has -been recently imported,—a substance whose -composition I have not yet investigated. -The dyers make theirs from the dark crust -that gradually accumulates on brass-kettles. -Ink is made also from torches (pine-knots), -and from charcoal pounded fine in -mortars. “The cuttle-fish” has a remarkable -quality in this respect; but the coloring-matter -which it produces is not used -in the manufacture of ink. All ink is -improved by exposure to the sun’s rays. -Book-writers’ ink has gum mixed with it,—weaver’s -ink is made up with glue. Ink -whose materials have been liquified by the -agency of an acid is erased with great -difficulty.”</p> - -<p class='c005'>This sounds very much like nonsense: -but it is exactly what the “Great Naturalist,” -Pliny, meant when he wrote all that -<em>he</em> knew, and probably all that was then -known on the subject of ink, black paints -and dyes, and very dark-colored fluids -generally, which were then employed by -painters, dyers, weavers, writers and physicians. -To make his chapter on this subject -fully intelligible to us, we must bear in -mind the fact, that the great science of <em>Chemistry</em> -<span class='pageno' id='Page_64'>64</span>had no existence till many centuries -after Pliny wrote. And thus, it never -occurred to him that there was but one -substance, (now known to be elementary,) -<span class='fss'>CARBON</span>, which gave the quality of blackness -to all the materials which he names, -with the exception of one salt of copper, -and probably one of iron, (the sulphate,) -and <span class='sc'>Indigo</span>, a purely vegetable substance, -the dried coloring matter of a plant in -India, (<i>Indicofera anil</i>,) and named by the -Romans from the country that produced -it, and first made it known to them.</p> - -<p class='c000'><span class='sc'>Pedanius Dioscorides</span>, born in Anazarbus, -(a city of Cilicia, about fifty miles -from <span class='sc'>Tarsus</span>, the birth-place of the Apostle -Paul,) wrote a book on the Materia Medica, -or the qualities of drugs, a little after -the time when Pliny composed his Natural -History. Neither of them seems to have -been acquainted with the writings of the -other. Apparently, they lived, wrote and -died nearly or actually cotemporary, in the -same empire, utterly ignorant of each -other’s existence,—though they are now -universally recognized as the two most -eminent writers of all antiquity on the -subjects of Natural History and the Materia -Medica. They both lived in the -reign of Nero, and the date of the active -or middle part of both their lives may be -<span class='pageno' id='Page_65'>65</span>reasonably placed at or about the year -100 of the Christian Era.</p> - -<p class='c000'>From Dioscorides to <span class='sc'>Linnæus</span>, (in the -last century,) the Materia Medica made -no actual progress and received no scientific -improvement; yet, eminent as is Dioscorides, -he was so little known to his own -generation or that next following, that it -is now impossible to ascertain the exact -date of his birth or of his death, or any -facts in his life, but that he wrote two -books, of which that here quoted is the -best known, and has made him known -1700 years after his birth.</p> - -<p class='c000'>(We may mention that this Dioscorides -was, in no traceable degree, related to the -person of the same name, whose manuscript -we have copied in our illustrations -as the oldest extant specimen of Greek -ink-writing.)</p> - -<p class='c000'>We give a translation of his brief but -complete description of the ink used in his -time, and the Latin version, that those -who wish may satisfy themselves of the -correctness of our rendering. It will be -seen that it occurs at the close of the great -work of Dioscorides:—</p> - -<p class='c012'>Atramentum, quo scribimus, e fuligine taedarum -collecta conficitur. In singulas gummi uncias ternae -fuliginis unciae adjiciuntur. Fit etiam e resinae fuligine -et pictoria illa modo dicta. Hujus fuliginis autem -<span class='pageno' id='Page_66'>66</span>sumi oportet minam unam, gummi sesquilibram, -taurini glutinis et chalcanthi singulorum sesquiunciam. -Idoneum est ad septica; et confert ambustis ex -aqua paullo crassius inunctum et tamdiu dimissum, -donec cicatrix obducatur, sanatis nimirum ulceribus -sponte sua excidit.</p> - -<p class='c012'>Atque jam, carissime Aree, tum pro operis modo, -quem proposueramus, tum pro materiae auxiliorumque -copia, quam colligere licuit, hucusque dicta sufficiant.</p> - -<p class='c012'>Libri quinti et ultimi de Materia Medica finis.</p> - -<p class='c012'>Pedanii Dioscoridis Anazarbei De Materia Medica.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>[TRANSLATION.]</div> - </div> -</div> - -<p class='c000'>[The] “<span class='sc'>Ink</span> with which we write is -composed of the soot of torches, collected.</p> - -<p class='c000'>“To each ounce of gum, add three of -soot.</p> - -<p class='c000'>“It is also made of the soot of resin -and of that lately called ‘painters’ black.’ -Of this soot, however,—take one <span class='fss'>MINA</span>,—of -gum, half a pound,—of ox-glue and of -copperas, each, half an ounce.</p> - -<p class='c000'>“It is a good application in cases of -gangrene, and is useful in scalds, if a little -thickened and employed as a salve, and -permitted to remain until a new cuticle is -formed, when it will spontaneously fall off -from the healed sore.</p> - -<p class='c000'>“And now, my very dear Areas, in due -proportion to the work which we had undertaken, -and the quantity of the materials -and contributions which we could gather, -what we have thus far said must suffice.</p> - -<p class='c000'><span class='pageno' id='Page_67'>67</span>“End of the fifth and last book on The -Materia Medica.</p> - -<p class='c000'>“[The book] of Pedanius Dioscorides on -the Materia Medica.”</p> - -<p class='c000'>We have followed the text of Karl Gotleib -Kuhn. <i><span lang="la" xml:lang="la">Medicorum Graecorum, opera quae -extant.</span></i> Leipzig, 1829.</p> - -<p class='c000'>Among the fantastic trifles with which -<span class='sc'>Dean Swift</span> was accustomed to amuse his -leisure, is a little string of verses on this -subject which are appended, not as being -of any poetic merit, but as a “curiosity of -literature”—not out of place here:—</p> - -<h3 class='c016'>On Ink.</h3> - -<div class='lg-container-b c015'> - <div class='linegroup'> - <div class='group'> - <div class='line'><i>I am jet black, as you may see,</i></div> - <div class='line'><i>The son of pitch and gloomy night;</i></div> - <div class='line'><i>Yet all who know me will agree</i></div> - <div class='line'><i>I’m dead, except I live in light.</i></div> - </div> - <div class='group'> - <div class='line'><i>Sometimes in panegyric high,</i></div> - <div class='line'><i>Like lofty Pindar, I can soar,</i></div> - <div class='line'><i>And raise a virgin to the sky,</i></div> - <div class='line'><i>Or her to a * * * * *</i></div> - </div> - <div class='group'> - <div class='line'><i>My blood this day is very sweet,</i></div> - <div class='line'><i>To-morrow of a bitter juice;</i></div> - <div class='line'><i>Like milk, ’tis cried about the street</i></div> - <div class='line'><i>And so applied to different use.</i></div> - </div> - <div class='group'> - <div class='line'><i>Most wondrous is my magic power:</i></div> - <div class='line'><i>For with one color I can paint.</i></div> - <div class='line'><i>I’ll make the devil a saint this hour,</i></div> - <div class='line'><i>Next make a devil of a saint.</i></div> - </div> - <div class='group'> - <div class='line'><i>Through distant regions I can fly,</i></div> - <div class='line'><i>Provide me with but paper wings,</i></div> - <div class='line'><i>fairly show a reason why</i></div> - <div class='line'><i>There should be quarrels among kings.</i></div> - </div> - <div class='group'> - <div class='line'><span class='pageno' id='Page_68'>68</span><i>And, after all, you’ll think it odd,</i></div> - <div class='line'><i>When learned doctors will dispute,</i></div> - <div class='line'><i>That I should point the word of God,</i></div> - <div class='line'><i>And show where they can best confute.</i></div> - </div> - <div class='group'> - <div class='line'><i>Let lawyers bawl and strain their throats,</i></div> - <div class='line'><i>’Tis I that must the lands convey,</i></div> - <div class='line'><i>And strip their clients to their coats,—</i></div> - <div class='line'><i>Nay, give their very souls away.</i></div> - </div> - </div> -</div> - -<p class='c000'>We find also in Pope’s epistle of Heloise -to Abeillard an allusion to the power of -letters, as conveying ideas, which seems -appropriate in this connexion as illustrating -the uses of ink.</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'><i>Heaven first taught letters for some wretch’s aid,</i></div> - <div class='line'><i>Some banished lover, or some captive maid:</i></div> - <div class='line'><i>They live, they speak, they breathe what love inspires,</i></div> - <div class='line'><i>Warm from the soul, and faithful to its fires;</i></div> - <div class='line'><i>The virgin’s wish without her fears impart,</i></div> - <div class='line'><i>Excuse the blush, and pour out all the heart,</i></div> - <div class='line'><i>Speed the soft intercourse from soul to soul,</i></div> - <div class='line'><i>And waft a sigh from Indus to the pole.</i></div> - </div> - </div> -</div> - -<p class='c000'>The genius of <span class='sc'>Byron</span> (in a playful flash) -has illuminated our subject with one of his -most brilliant passages:—</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'><i>But words are things: and a small drop of INK,</i></div> - <div class='line'><i>Falling like dew upon a thought, produces</i></div> - <div class='line'><i>That which makes thousands (perhaps millions) think.</i></div> - </div> - </div> -</div> - -<p class='c000'>A less distinguished poet has, in expressive, -and though in quainter, humbler, -yet in noble strain, said what is equally -appropriate in this place:—</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'><i>Books are a part of man’s prerogative:</i></div> - <div class='line'><i>In formal INK, they thought and voices hold,</i></div> - <div class='line'><i>That we to them our solitude may give,</i></div> - <div class='line'><i>And make time present travel as of old.</i></div> - </div> - </div> -</div> - -<p class='c000'><span class='pageno' id='Page_69'>69</span><span class='sc'>Celsus</span>, who lived in this world, about -the commencement of the Christian era, -has left a little memorandum on this subject -which is worth quoting.</p> - -<p class='c000'>We give his words entire:—</p> - -<p class='c000'>There are two kinds of bald spots -occurring on the human head,—one of them -a baldness which creeps over the scalp like -a serpent,—the other showing itself in the -form of round spaces uncovered by hair. -Some recommend the use of acrid irritant -articles, combined with oils, &c. But -there is nothing better for you than to have -the bald place shaved every day with a -[very dull] razor, and, after having done -that, you needn’t do anything else but rub -on the place thus shaved a little <i>atramentum -sutorium</i>—(“shoemakers’ ink,” “copperas-water,”)—[solution -of the Di-proto -sulphate of the (per) sesquoxyd of iron].</p> - -<p class='c000'>The editor of the printed copy of the -edition of the works of <span class='sc'>Aulus Cornelius -Celsus</span> which was printed in Padua, made -a material error on this point.</p> - -<p class='c000'>The word “sutorium” (being unintelligible -to the ignorant monk who superintended -the printing) was changed to “scriptorium,”—that -is, “writing-ink,” instead -of “shoemakers’-ink.” It is well-known -that a solution of copperas properly made, -will remedy or prevent premature baldness; -<span class='pageno' id='Page_70'>70</span>but we assert that no quantity of lamp-black -and gum, or grease, will be found -effectual for that purpose.</p> - -<p class='c000'>In the time of Celsus, the sulphate of -iron (copperas) had not yet become an -essential ingredient of writing-ink; and -even after that its combination with carbonaceous -and oleaginous matters entirely -neutralized the power which renders it -applicable and useful in such cases.</p> - -<div class='chapter'> - <h2 class='c006'>CONCLUSION.</h2> -</div> - -<p class='c005'>We have thus herein attempted the fulfilment -of the promise (with which we -began) to produce a “<span class='sc'>History of Ink</span>,”—a -thing never before done or even proposed to -be done. If not successful in our attempt, -we hope that we have at least, in this little -book, furnished hints and suggestions on -this subject which the learned may employ -hereafter when the history of this important -material of history shall be undertaken -and executed on a larger scale. In -view of which possibility, we may, with a -pardonable self-gratulation, say,—in the -words of Martin Luther,—“We have -<span class='pageno' id='Page_71'>71</span>given to other and higher spirits occasion -to reflect.”</p> - -<p class='c000'>But we are loth to leave this subject -(which has grown into our affections as we -have dwelt upon it) without giving a blow -or a kick to one monstrous absurdity which -has prevailed among the learned, “falsely -so-called,”—from the time when the Jesuits -returned from China with their -“edifying and curious” tales about the -huge antiquity of all the arts and some of -the sciences of civilization among the people -of what they called the “Celestial -Empire,”—a term wholly unknown to the -Chinese, in any form or variation of expression.</p> - -<p class='c000'>The simple facts are that—the Chinese -derived their knowledge of <span class='sc'>Ink</span> (of writing -with a colored liquid) from Europe. So did -they obtain their knowledge of the art of -printing, carried to them by Venetian travelers, -“overland,” just at the moment -before the clumsy engraved wood-blocks -were superseded by the moveable types of -Gansefleisch or Gutenberg. So was it -with the Mariner’s Compass, the manufacture -of gunpowder, and all their boasted -“inventions,”—among which may be included -their calculation of eclipses backward -through fabulous cycles of centuries, -and the morals of Confucius or Kong-foo-tsee, -<span class='pageno' id='Page_72'>72</span>a mythical personage unmentioned in -the history of China until the contents of -the New Testament had been made -known there,—and <em>that</em>—many ages after -the date of his supposed life and death.</p> - -<p class='c000'>But for their derivation and appropriation -or theft of the great arts from the -West, the Chinese and all Oriental nations, -from the Euphrates to the Pacific, including -the Japanese, would have remained -to this day in the condition in which the -Mexicans and Peruvians were found by -the Spanish and Italian robbers who first -explored the Western Hemisphere, and -murdered its inhabitants for their land, and -the fruits and the gold and silver of that -land.</p> - -<p class='c000'>Whatever arts the Chinese or Japanese -or Jesuits may have invented or preserved, -the art of <span class='fss'>TELLING THE TRUTH</span> is evidently, -to all of them, one of “<span class='fss'>THE LOST ARTS</span>,“—lost -irretrievably and forever!</p> - -<div class='figcenter id002'> -<img src='images/i_073.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>Blackwood’s Black Ink.<br /><br />Davids & Co’s Limpid<br />Writing Fluid.—<br /><br />Harrison’s Columbian Ink.<br /><br />Steel-Pen Ink, Thaddeus Davids.<br /><br />Maynard & Noye’s Black<br />Writing Ink.—<br /><br />Written, Augt. 14, 1855, to test<br />permanence by long exposure to<br />Sun & Rain—<br /><br />James R. Chilton, MD.<br />Chemist<br /><br />The above is a close fac-simile of<br />a paper upon which I wrote with Several Kinds<br />of Ink, as it appeared after being exposed to<br />the weather for five months.<br /><br />James R. Chilton, MD.<br />Chemist.<br /><br />New York, March 15, 1856.<br /><br />Snyder, Black & Sturn, 92 William St.</p> -</div> -</div> - -<div class='chapter'> - <h2 class='c006'>DESCRIPTION OF THE PLATES.</h2> -</div> - -<p class='c005'><a href='#pl01'>No. 1.</a>—A fac simile of the oldest Hieratic writing -extant—about the 15th century B.C. The hawk -(the emblem of Divinity) and the man stand on -something that “teters”—the circle between them -(a serpent biting its own tail) is the ancient symbol -of eternity. The Deity overbalances the man.</p> - -<p class='c000'><a href='#pl01'>No. 2.</a>—From a Greek MS. buried at Herculaneum -in the year 29 B.C.</p> - -<p class='c000'><a href='#pl01'>No. 3.</a>—Written on papyrus in Egypt; in the 3d -century B.C.</p> - -<p class='c000'><a href='#pl01'>No. 4.</a>—Written on papyrus 260 years B.C.</p> - -<p class='c000'><a href='#pl02'>No. 5.</a>—Specimen of a Palimpsest copy of Cicero’s -“Republic” in the Vatican Library.</p> - -<p class='c000'><a href='#pl02'>No. 6.</a>—Phœnician writing on papyrus.</p> - -<p class='c000'><a href='#pl02'>No. 7.</a>—From a Pentateuch in the Bib<sup>e.</sup> Nat<sup>e.</sup> -Paris, A.D. 450.</p> - -<p class='c000'><a href='#pl02'>No. 8.</a>—From a Greek Copy of the Book of Genesis, -written in gold on purple vellum, A.D. 400.</p> - -<p class='c000'><a href='#pl03'>No. 9.</a>—From a MS. on papyrus written in Egypt -3d century B.C.</p> - -<p class='c000'><a href='#pl03'>No. 10.</a>—From a Charter of Childebert III. A.D. -703.</p> - -<p class='c000'><a href='#pl03'>No. 11.</a>—From a Charter of Charlemagne, about -A.D. 785.</p> - -<p class='c000'><a href='#pl03'>No. 12.</a>—From a Charter of the Emperor Conrad I. -A.D. 988.</p> - -<p class='c000'><a href='#pl03'>No. 13.</a>—Specimen of “Roman Saxon,” A.D. 600.</p> - -<p class='c000'><a href='#pl03'>No. 14.</a>—From a Charter of Dagobert I. about -A.D. 620.</p> - -<p class='c000'><a href='#pl04'>No. 15.</a>—From an early Gælic MS.</p> - -<p class='c000'><a href='#pl04'>No. 16.</a>—From a Deed of William the Conqueror.</p> - -<p class='c000'><a href='#pl04'>No. 17.</a>—The monogram signature to a Charter of -Charlemagne about A.D. 785.</p> - -<p class='c000'><a href='#pl04'>No. 18.</a>—From a Charter of the reign of Hugh -Capet, A.D. 988.</p> - -<p class='c000'><a href='#pl04'>No. 19.</a>—From a Deed of Henry I.</p> - -<p class='c000'><a href='#pl04'>No. 20.</a>—From a Deed of Stephen, dated A.D. -1139.</p> - -<p class='c000'><a href='#pl04'>No. 21.</a>—From a Deed of the reign of Richard I.</p> - -<p class='c000'><a href='#pl04'>No. 22.</a>—From a MS. of Wyckliffe’s translation of -the Bible.</p> - -<p class='c000'><a href='#pl05'>No. 23.</a>—“Set Saxon,” A.D. 850.</p> - -<p class='c000'><b>“<i><span lang="la" xml:lang="la">Qui sub Pontio Pilato crucifixus est, et sepultus, tertia die resurrexit.</span></i>”</b></p> - -<p class='c000'><a href='#pl05'>No. 24.</a>—From a Charter of Sebbi, King of the -East Saxons, A.D. 664,</p> - -<p class='c000'><b>“<i><span lang="la" xml:lang="la">Ego Sebbi Rex East Sax(onum) pro—confirmatione Subscripsi.</span></i>”</b></p> - -<p class='c000'><a href='#pl05'>No. 25.</a>—Part of a Charter of Alfred the Great, -A.D. 800.</p> - -<p class='c000'><a href='#pl05'>No. 26.</a>—From a Charter of Edward the Confessor, -A.D. 1045.</p> - -<p class='c000'><a href='#pl05'>No. 27.</a>—From a Deed of the reign of Edward I.</p> - -<p class='c000'><a href='#pl06'>No. 28.</a>—From a Deed of William the Conqueror.</p> - -<p class='c000'><a href='#pl06'>No. 29.</a>—From a Deed of the reign of Edward III.</p> - -<p class='c000'><b><i><span lang="la" xml:lang="la">Edwardus Dei gratia Rex Anglias Dominus Hiberniæ, Dux Aquitaniæ, &c.</span></i></b></p> - -<p class='c000'><a href='#pl06'>No. 30.</a>—From the Will of William Mikelfeld, -Nov. 7, 1439.</p> - -<p class='c000'><a href='#pl07'>No. 31.</a>—From a Deed of the reign of Edward IV.</p> - -<p class='c000'><a href='#pl07'>No. 32.</a>—From a Grant by William Wallace.</p> - -<p class='c000'><a href='#pl07'>No. 33.</a>—From a Deed of Richard III.</p> - -<p class='c000'><a href='#pl07'>No. 34.</a>—From a Deed of the reign of John.</p> - -<p class='c000'><a href='#pl07'>No. 35.</a>—Autograph of Lord <a id='mac'></a>Macaulay.</p> - -<p class='c000'><a href='#pl07'>No. 36.</a>—From a Deed of Henry VII.</p> - -<p class='c000'><a href='#pl08'>No. 37.</a>—From an English translation of the -works of Chauliac, A.D. 1400.</p> - -<p class='c000'><a href='#pl08'>No. 38.</a>—From a Deed of Henry VIII.</p> - -<p class='c000'><a href='#pl08'>No. 39.</a>—From a MS. in the rounded hand of -Italy, 15th century.</p> - -<p class='c000'><a href='#pl08'>No. 40.</a>—Letter from Columbus to the Viceroy of -Castile, 15th century.</p> - -<p class='c000'><a href='#pl08'>No. 41.</a>—Letter of Anne of Brittany, 1514.</p> - -<p class='c000'><a href='#pl08'>No. 42.</a>—Signature of “Bayard,” the Chevalier.</p> - -<p class='c000'><a href='#pl09'>No. 43.</a>—Letter from Charles V. to Francis I.</p> - -<p class='c000'><a href='#pl09'>No. 44.</a>—Letter from Calvin, 1559.</p> - -<p class='c000'><a href='#pl09'>No. 45.</a>—Letter of the Earl of Essex, 1567.</p> - -<p class='c000'><a href='#pl09'>No. 46.</a>—Letter of Copernicus, 1473.</p> - -<p class='c000'><a href='#pl09'>No. 47.</a>—William H. Prescott.</p> - -<p class='c000'><a href='#pl09'>No. 48.</a>—Letter of Charles the XII of Sweden.</p> - -<p class='c000'><a href='#pl10'>No. 49.</a>—Rosseau, 1757.</p> - -<p class='c000'><a href='#pl10'>No. 50.</a>—Letter of Erasmus, 1476.</p> - -<p class='c000'><a href='#pl10'>No. 51.</a>—Letter of Queen Elizabeth to Henry IV -of France.</p> - -<p class='c000'><a href='#pl10'>No. 52.</a>—Christina of Sweden, 1626.</p> - -<p class='c000'><a href='#pl10'>No. 53.</a>—Charles I. to his sister.</p> - -<p class='c000'><a href='#pl10'>No. 54.</a>—Oliver Cromwell, 1643.</p> - -<p class='c000'><a href='#pl11'>No. 55.</a>—Duke of Marlborough, June, 1706.</p> - -<p class='c000'><a href='#pl11'>No. 56.</a>—The Empress Catherine II. of Russia, -July, 1773.</p> - -<p class='c000'><a href='#pl11'>No. 57.</a>—Washington, 6th Sept. 1788.</p> - -<p class='c000'><a href='#pl11'>No. 58.</a>—Louis XVI, June 30, 1773.</p> - -<p class='c000'><a href='#pl11'>No. 59.</a>—Robespierre.</p> - -<p class='c000'><a href='#pl11'>No. 60.</a>—Napoleon to Soult.</p> - -<p class='c000'><a href='#pl11'>No. 61.</a>—Wellington, June 19, 1815.</p> - -<p class='c000'><a href='#pl12'>No. 62.</a>—Lord Byron, Nov. 4, 1821.</p> - -<p class='c000'><a href='#pl12'>No. 63.</a>—Voltaire, July 29, 1757.</p> - -<p class='c000'><a href='#pl12'>No. 64.</a>—Edmund Burke.</p> - -<p class='c000'><a href='#pl12'>No. 65.</a>—William Pitt, March 27, 1803.</p> - -<p class='c000'><a href='#pl12'>No. 66.</a>—Wellington, April 21, 1834.</p> - -<p class='c000'>The colored engraving is an illustration of the -picture writing of the Mexicans, from Lord Kingsborough’s -great work. The blue border represents a -series of years, distinguished by the dots. The compartment -with five dots representing the fifth year -of the reign, that with ten the tenth, and so on. -The pictures of the acts of the Prince being connected -with each special year by means of a connecting -line. The additional symbols have different -significations—that of the flower signifying a calamitous -year, &c. In this plate King Acamapich is -represented in the first and sixth year of his reign; -at the top of the page are warlike instruments, signifying -his preparation for war; the figures below, -on the right, are the four cities—Quahnahuac, -Mezquic, Cuitlhuac and Xochimilco—represented by -descriptive symbols. The four heads on the left are -those of the respective kings or chiefs of these cities, -beheaded by Acamapich, each distinguished by the -iconographic symbol by which his name was expressed -in this system of writing.</p> - -<p class='c000'><b>These picture records, which would have illustrated the unknown history of -this continent, were destroyed in “mountain heaps” by the first Spanish archbishop -of Mexico—an act of fanatical vandalism equalled only by the burning -of the Alexandrian Library, and the vast hoard of Moorish literature at Granada -by Ximenes.</b></p> - -<div id='pl01' class='figcenter id003'> -<img src='images/i_079.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>Pl. 1.<br /><br />1.<br />[Hieratic text]<br /><br />2.<br />...μασιν.στερον πο.αι<br />...ιψόμεθα ὅταν δὲ πε.<br />...αν καὶ δόξαν ἐ[κ] τοῦ<br />μαθήματος φῶσι περιγί-<br />νεσθαι λέγωμεν ὅτι<br /><π>κο<λ>ι-<br />νά τε προφέρονται πολ-<br />λ<α>ῶν ἐπιτηδευμάτων καὶ<br />λειπόμενα [π]λειόνων καὶ<br /><br />3.<br />ναὶ οὐ Ἀλκμὰν ὁ ποιητὴς<br />οὕτως ἀπεφαίνετο οὐ-<br /><br />4.<br />Διοσκουρίδης Δωρίωνι χαίρειν. τῆς πρὸς<br />Δωρίωνα ἐπιστολῆς τὸ ἀντίγραφον ὑπόκει-<br /><br /><i>Snyder Black & Sturn 92 William St</i></p> -</div> -</div> - -<div id='pl02' class='figcenter id004'> -<img src='images/i_081.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>Pl. 2.<br /><br />5.<br />teterrimus<br />et ex hac vel<br /><br />homines heretici maxime<br />quia non ds illam dedit<br />-catur; quia et legem ds dedit<br />-varet propter certam<br /><br />6.<br />[Phœnician text]<br /><br />7.<br />κῡ, καὶ προσοίσουσιν<br />οἱ υἱοὶ Ααρων οἱ ἱερεῖς<br /><br />8.<br />ἐξῆλθεν δὲ<br />-τησιν αὐτῷ<br /><br /><i>Snyder Black & Sturn 92 William St</i></p> -</div> -</div> - -<div id='pl03' class='figcenter id005'> -<img src='images/i_083.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>Pl. 3.<br /><br />9.<br />κϛʹ Ξανδικ[ο]ῦ αʹ Θῶυθ κεʹ<br /><br />10.<br />[flourish representing “I(n) C(hristi) N(omine)”] Childeberths<br /><br />11.<br />Et nostra indulgentia in aelimosina<br /><br />12.<br />Et ut huĩs cõplacitationis pceptũ firmũ stabileq;<br /><br />13.<br />abbas sirum pater<br /><br />14.<br />quotienscumque petitionib[us]<br /><br /><i>Snyder Black & Sturn 92 William St</i></p> -</div> -</div> - -<div id='pl04' class='figcenter id006'> -<img src='images/i_085.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>Pl. 4.<br /><br />15.<br />Nirsatimini curio annso<br /><br />16.<br />W rex anglo[rum]<br /><br />17.<br />KAROLVS<br /><br />18.<br />in eisdem degentium orem nostre celsitudinis<br /><br />19.<br />h. dei gra rex<br /><br />20.<br />S rex—Anno m.cxxix<br /><br />21.<br />Ricard di gra Rex Angl<br /><br />22.<br />IN þe biginyng was þe wrd and þe<br /><br /><i>Snyder Black & Sturn 92 William St</i></p> -</div> -</div> - -<div id='pl05' class='figcenter id007'> -<img src='images/i_087.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>Pl. 5.<br /><br />23.<br />qui sub pontio pilato crucifixus:<br />& sepultus tertia die resurrexit<br /><br />24.<br />+ ego sebbi rex east sax pro<br /><br />25.<br />dccclxxvo—Ego alfred gratia di rex hanc<br /><br />26.<br />nomina hic caraxata sunt—EADUUEARDUS<br /><br />27.<br />Istud starr recog est<br /><br /><i>Snyder, Black & Sturn, 92 William St.</i></p> -</div> -</div> - -<div id='pl06' class='figcenter id007'> -<img src='images/i_089.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>Pl. 6.<br /><br />28.<br />Will di gra rex—Sciatis me concessisse<br /><br />29.<br />[E]dwardus dei gra Rex Angl Dominus Hibnie & Dux A<br /><br />30.<br />This is the laste Wil ind{en}tid of me Willia Meklfeld Esquyer being<br /><br /><i>Snyder, Black & Sturn, 92 William St.</i></p> -</div> -</div> - -<div id='pl07' class='figcenter id003'> -<img src='images/i_091.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>Pl. 7.<br /><br />31.<br />Edwardus dei gr Rex Anglie &c<br /><br />32.<br />Wlls Walays miles Custos regni<br /><br />33.<br />Ricardus dei gratia Rex Anglie &c.<br /><br />34.<br />Johannes Dei Gra Rex Angl<br /><br />35.<br />T B Macaulay<br /><br />36.<br />Henricus dei grā Rex Anglie & Francie<br /><br /><i>Snyder, Black & Sturn, 92 William St.</i></p> -</div> -</div> - -<div id='pl08' class='figcenter id008'> -<img src='images/i_093.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>Pl. 8<br /><br />37.<br />it was saide aboue in þe chapitle of<br /><br />38.<br />Henricus octavus dei grā Angl & Francie rex<br /><br />39.<br />fecunditatem modo celi per multra<br /><br />40.<br />Señor<br /><br />dejado nō se puede<br /><br />41.<br />Monsieur mon bon frere<br /><br />42.<br />Bayart<br /><br /><i>Snyder Black & Sturn, 92 William St.</i></p> -</div> -</div> - -<div id='pl09' class='figcenter id009'> -<img src='images/i_095.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>Pl. 9.<br /><br />43.<br />monsr mon bon frer<br /><br />Charles<br /><br />44.<br />le 22 de Decembre 1559<br /><br />45.<br />I. Caluin<br /><br />46.<br />singularj, qua studiosos prosequi solet<br /><br />47.<br />W H Prescott<br /><br />48.<br />[illegible]<br /><br /><i>Snyder, Black & Sturn, 92 William St.</i></p> -</div> -</div> - -<div id='pl10' class='figcenter id007'> -<img src='images/i_097.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>Pl. 10.<br /><br />49.<br />ne rentre pas dans l’ame aussi<br /><br />50.<br />at ego nō possum omnem<br /><br />51.<br />affection & solide Amitie<br /><br />52.<br />Vostre approbation<br /><br />53.<br />I cannot refuse this<br /><br />54.<br />reade and expound the Scriptures<br /><br /><i>Snyder Black & Sturn, 92 William St.</i></p> -</div> -</div> - -<div id='pl11' class='figcenter id010'> -<img src='images/i_099.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>Pl. 11.<br /><br />55.<br />happy success in this<br /><br />56.<br />J’ai lue le memoire<br /><br />57.<br />well affected to the<br /><br />58.<br />votre amour pour le bien public<br /><br />59.<br />Le comite a pris toutes les mesures<br /><br />60.<br />les anglais ont bombardé Granville<br />la division de bateaux canonniers ayant<br />à bord la 24<sup>e</sup> légère a marché à eux<br /><br />61.<br />Wellington<br />Waterloo, June 19 1815<br /><br /><i>Snyder Black & Sturn, 92 William St.</i></p> -</div> -</div> - -<div id='pl12' class='figcenter id007'> -<img src='images/i_101.jpg' alt='' class='ig001' /> -<div class='ic001'> -<p>Pl. 12.<br /><br />62.<br />They are very civil<br />about “Cain” but alarm<sup>ed</sup><br />at its tendency—as they<br /><br />63.<br />faites je vous en pris le moins<br /><br />64.<br />you have an armed Tyranny to deal with; &<br /><br />65.<br />I conclude from your letter<br /><br />66.<br />Wellington &c<br /><br /><i>Snyder Black & Sturn, 92 William St.</i></p> -</div> -</div> - -<div class='figcenter id011'> -<img src='images/i_103.jpg' alt='' class='ig001' /> -</div> - -<div class='chapter'> - <h2 class='c006'>FORM OF THE WORD INK<br /> <br />IN DIFFERENT LANGUAGES</h2> -</div> - -<p class='c005'>Hebrew:__<img src='images/i_105_1.png' class='c017' alt='Illustration' /></p> - -<p class='c000'>Chaldaic:__<img src='images/i_105_2.png' class='c017' alt='Illustration' /> DȲŌ</p> - -<p class='c000'>Sanskrit:__<img src='images/i_105_3.png' class='c017' alt='Illustration' /></p> - -<p class='c000'>Greek:__Μελαν (Melan)</p> - -<p class='c000'>Latin:__ATRAMEUTUM (Scriptorum)</p> - -<p class='c000'>Mediaeval Latin:__ENCANSTUM</p> - -<p class='c000'>China:__<img src='images/i_105_4.png' class='c018' alt='Illustration' /> MĬH SHWUY (liquid Ink)</p> - -<p class='c000'> " <img src='images/i_105_5.png' class='c019' alt='Illustration' /> MĬH (Chinese Ink)</p> - -<p class='c000'>Canton dialect:__ MAK SHUY</p> - -<p class='c000'>Hindostan:__<img src='images/i_105_6.png' class='c017' alt='Illustration' /> KALI</p> - -<p class='c000'>Bengal:__<img src='images/i_105_7.png' class='c018' alt='Illustration' /> KALI</p> - -<p class='c000'>Shingalese:__<img src='images/i_105_8.png' class='c019' alt='Illustration' /></p> - -<p class='c000'>Burmese:__<img src='images/i_105_10.png' class='c017' alt='Illustration' /></p> - -<p class='c000'>Malayhim:__<img src='images/i_105_9.png' class='c017' alt='Illustration' /></p> - -<p class='c000'>Persia:__<img src='images/i_105_11.png' class='c017' alt='Illustration' /> SIYAHI</p> - -<p class='c000'>Sinic:__<img src='images/i_105_12.png' class='c019' alt='Illustration' /></p> - -<p class='c000'>Turkey:__<img src='images/i_105_13.png' class='c017' alt='Illustration' /> MUREKKEB</p> - -<p class='c000'>Armenia:__<img src='images/i_105_14.png' class='c017' alt='Illustration' /></p> - -<p class='c000'>Thibet:__<img src='images/i_107_1.png' class='c018' alt='Illustration' /></p> - -<p class='c000'>Anamitic:__MU<sup>c</sup>C VIÊT</p> - -<p class='c000'>Malay:__<img src='images/i_107_2.png' class='c018' alt='Illustration' /> DAWĀT</p> - -<p class='c000'>Japan:__<img src='images/i_107_3.png' class='c017' alt='Illustration' /></p> - -<p class='c000'>Java:__ MANULYSAN</p> - -<p class='c000'>Egyptian:__<img src='images/i_107_4.png' class='c009' alt='Illustration' /></p> - -<p class='c000'>Coptic:__<img src='images/i_107_5.png' class='c009' alt='Illustration' /></p> - -<p class='c000'>Amharic:__<img src='images/i_107_6.png' class='c017' alt='Illustration' /></p> - -<p class='c000'>Algerian:__<img src='images/i_107_7.png' class='c019' alt='Illustration' /> SIMEKH</p> - -<p class='c000'>Aethiopic:__<img src='images/i_107_8.png' class='c018' alt='Illustration' /></p> - -<p class='c000'>Arabic:__<img src='images/i_107_9.png' class='c018' alt='Illustration' /> HBR, HIBR, HIBAR.</p> - -<div class='lg-container-l c020'> - <div class='linegroup'> - <div class='group'> - <div class='line in15'>{Old French__ENQUE}</div> - <div class='line'>French:__ENCRE {Breton__LYOU }</div> - <div class='line in15'>{Provincal__ANCRA }</div> - </div> - </div> -</div> - -<div class='lg-container-l c020'> - <div class='linegroup'> - <div class='group'> - <div class='line in22'>{Low Dutch }</div> - <div class='line'>German:__<img src='images/i_107_10.png' class='c017' alt='Illustration' /> (Tinte.) {Flamande } INK</div> - <div class='line in22'>{Hollandais}</div> - </div> - </div> -</div> - -<p class='c000'>Spanish:__TINTA</p> - -<p class='c000'>Portugese:__TINTA</p> - -<p class='c000'>Italian:__INCHIOSTRO</p> - -<p class='c000'>Piedmontese:__INCIOSTR.</p> - -<div class='lg-container-l c020'> - <div class='linegroup'> - <div class='group'> - <div class='line'>Russian:__<img src='images/i_107_11.png' class='c019' alt='Illustration' /> {Lettish__BLAKKA</div> - <div class='line in13'>{Lettauish__TINTA</div> - </div> - <div class='group'> - </div> - </div> -</div> - -<p class='c000'>Polish:__INKAUST</p> - -<p class='c000'>Hungarian:__TENTA</p> - -<p class='c000'>Bunda or Argolense:__TINTA</p> - -<p class='c000'>Bohemia:__INGAUST</p> - -<p class='c000'>Basque:__CORANSIA</p> - -<p class='c000'>Illyrian:__INGOAS</p> - -<p class='c000'>Danish:__BLÆC</p> - -<p class='c000'>Swedish:__BLÄCK</p> - -<p class='c000'>Laplandish:__BLEKK</p> - -<p class='c000'>Greenlandish:__BLEK</p> - -<p class='c000'>Icelandish:__BLEK</p> - -<div class='lg-container-l c020'> - <div class='linegroup'> - <div class='group'> - <div class='line'>English:__INK {Old English__ENKE, INKE, YNKE</div> - <div class='line in14'>{Anglo-Saxon__BLÆC</div> - </div> - </div> -</div> - -<p class='c000'>Welsh:__DU, ENGE</p> - -<p class='c000'>Gaelic:__DUBHADH</p> - -<p class='c000'>Irish:__<img src='images/i_109.png' class='c017' alt='Illustration' /> DUBH</p> - -<p class='c000'>Peruvian:__YANATULLPU</p> - -<p class='c000'>Chilian:__CHILLCAMOM</p> - -<p class='c000'>Mexican:__THLLI</p> - -<p class='c000'>Guarani:__TIV_TIRV_ (Tinta)</p> - -<p class='c000'>Caribee Islands: OÚLITI OR OÚLITACLE</p> - -<div class='box'> - -<p class='c000'><b>Transcriber's Note:</b></p> - -<p class='c000'>Some corrections have been made to the original text, including -normalizing the punctuation. Further corrections are listed below:</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'><a href='#unpar'>p. 12</a> unparalelled -> unparalleled</div> - <div class='line'><a href='#henn'>p. 26</a> Flenningham -> Henningham</div> - <div class='line'><a href='#dict'>p. 36</a> Dictionaire -> Dictionnaire</div> - <div class='line'><a href='#psy'>p. 36</a> pschyo -> psycho</div> - <div class='line'><a href='#elo'>p. 46</a> elogè -> éloge</div> - <div class='line'><a href='#mac'>p. 77</a> Macauley -> Macaulay</div> - </div> - </div> -</div> - -<p class='c000'>Other spelling and hyphenation inconsistencies have been retained -as printed.</p> - -</div> - -<p> </p> -<p> </p> -<hr class="full" /> -<p>***END OF THE PROJECT GUTENBERG EBOOK THE HISTORY OF INK***</p> -<p>******* This file should be named 50564-h.htm or 50564-h.zip *******</p> -<p>This and all associated files of various formats will be found in:<br /> -<a href="http://www.gutenberg.org/dirs/5/0/5/6/50564">http://www.gutenberg.org/5/0/5/6/50564</a></p> -<p> -Updated editions will replace the previous one--the old editions will -be renamed.</p> - -<p>Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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