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. SNYDER,BLACK & STURN,
ITHOGRAPHERS, 92 WILLIAM ST. RLY. -

THE

SCH SH OI

OF

INCLUDING ITS

BT YMOLOGY, CHEMISTRY,

AND

BIBLIOGRAPHY,

Hew-Hork ;

THADDEUS OAVIOS § CO.
127 William Street.

Printers,
63 Cortlandt St. N.Y.

Bhe Bistory of Gok.

>

NK os history, in the commen
acceptation of the word, for,
Pee what x generally denominated
Wine. Aistory—is ink diffused on
a ; fhaper in certain definite lines. SUfet

ma” ink has no history uritten of com-
hosed hitherto. In weuw of this

y = defictencu—uhich betrays a sinqular
neqliqence (on the part of histosians and
all literary. men) and a thoughtless. inqrat-
tude to this tndishensalile means of accom-
plishing and frreseruing thew worle—iue
frrofrase ta supply the desideratum, ly
furnishing, on these little pages, what 1s
indicated ly the akoue title, in the fullest
sense and uudest scope of the term, imelud-
ing tts etymoloqy, tts chemistry, and all
that can te suqqested and justified ly
the title, or fairly. demanded under it, or
claimed from. tt.

6 THE HISTORY OF INK.

The qreat common error of general his-
forians, ancient and medern, (uuth a uery
feu exceptions amang the maderns,) has
heen, that they haue qiuen ta the world
little else than narrations and descriptions
of wars and treaties, of qouernmental
changes. and political euents, omitting. to
KFecord the often far more unprortant facts
in the history of literature, science, and the
arts. of utility, ly uthich the progress. of
cunlization and the deuelefment of the
human race in tts higher capacities haue
been effected of aided. The qreat “ In-
staurator of the Fcetences”’ was the first
ta call attention to these omissions and
deficiencies in. all fprewious. histories, and ta
indicate the duty of historians ta auaid
these errors,—setting a qood example in
that respect, in the sfecumen, of model
work, uthich he produced as a pattern,—
his history. of the reiqn of SHtenry. the
Seventh. Fince his time, many sfectal
histories of tnuentions and of the arts of
utility. haue teen uritten; and the numer-
ous. cyclopaedists haue larqely contriluted
to- this alyect; still, howeuer, leaving many
vacancies. to le filled in this department of:
human knouledqe, of uthich the one tefore
us can not le considered the least worthy
of the lator needful for its tnuestiqation.

THR HISTORY OF INK. 7

DEFINITION.

The word INK has teen variously defined
by lexicographers, cyclopaedists and chem-
ists; but the follouung terms may le taken
as fully expressing the cammon qualities
and essential shectfic characteristics of all
sulsstances. tncluded under the name.

Ink ts a colored lguid employed in
making. lines, characters of fiqures on. siur-
faces. capalie of retaining the marks. se
made. Dhe §¢neyclopaedia Hritannica,
(uol. xt. p. 382, 78 5b,) qives the follou-
ing. definition: “INK—TDhe term ink ts
usually restricted to. the fluid employed in
writing uth a fen. Other kinds of ink
are indicated ly. a second word, such as
red ink, Sndian ink, marking. ink, sym-
pathetic ink, printers’ ink, ete. Yommon
inke ts, howeuer, sometimes. distinguished
as. writing ink.”

sts to coLOR—lachk ts and has aluays
been preferred in ordinary uses. Gor
ornamental purposes and for occasionally
useful distinctions, uarious. other tints
haue teen and are adofited—as. tlue, red,
qreen, purple, uiolet, yelloun—and so. on,
according. to the fancy. of the maker, oF
furchaser, of consumer,

Fhe sulistance employed ta receiue and
fireserue the marks thus made ts nou:

g THE HISTORY OF INK.

almost un.uersally Paper. Parchment is
still used in many. leqal documents and
writings of form and ceremony. /Gotton,
linen and silk, when wouen tnte falsics for
qarments and like uses, are also sulyected
ta marks of ink for the purpose of tden-
Lifying property. Fa ate wooden and
leathern surfaces in similar conditions. Ft
ts also employed tn uuiting on stone, tn
the quite modern art of lithography.

Though tts qreat ortqinal and con-
tinualemployment ts in uriting, t must le
Fememlered that tt ts also larqely used in
the delineation of olyects ly artists. —Inke
and fraint are mutually conuertille ta each
others. uses, Lut are yet so distinct in char-
acter and alyects, that no one reqards the
words as synonymous, and no precise defi-
nition tw needed ta teach the distinction
hetureen them. ss, for instance, tn fen-
and-ink. drawings and sketches, the ink
serues. the purhose af paint. Fa lkeuuse
in. the letters on siqn-laards, Xtc. paint may
be cansidered as a sulstitute for ink. The
artist utha traces his name on the canvas
in. a. co¥ner of his. painting, employs paint
ina siunilark manner. Printing-ink. ts used
as black faint. _$n the lest red inks, car-
mine (a fraint in. water-colors) ts the essen-
lial ingredient. Indian Snk 1s used here
only as paint,—in fghina, as ink.

THER HISTORY OF INK. 9

ETYMOLOGY.

The deruation of the ¢nglish word
“nk,” and of ts refpresentatiues. in. uaKLOUs
ackbere lanquaqes, has. caused much per-
plexity. to philologists, and has teen the
sulyect of many er*Kaneaus congectures. We
suffix the names ly uhich it ts knewn in
those nations utha haue most employed tt:

finglish, ; Ink.
Low-(Dutch, ‘MedentDuytgols ticki acalieAtes : Inkt
German or Weutsch, Denes and “inte.
Old German, . fnker, J Pinot Tinta and Dinde.

- ager Ae Blaek, (India Ink, Tusch )
. ?

Swedish, ’ . Blaeck, (India Ink, Tusk.)
french, . Hinecre.
Old French, : : Finque.
Italian, : : . Inchtostro.
Spanish, ; : Tinta.
Portuguese, , . . Tinta.
lliyrian, ; ‘ . Ingvas.
Polish, 5 ; ; Incaust.
Sasque, : Coransia.
Latin, ; . fAltramentum.
Medical Leta . ee ; Lincaustum.
Greek, : ; Melan.
Seb. ; ; ; WD’ yo.
Chaldee, : N kaso.
#rabic, Nikson, inghas.
Persian, ee S’y’ah’'o.
Hindustani, S’yaho, Fron ts tey, eon) shira, mas,
and Hindut, murakkat, aie midad.
Sanscrit, Kalt, Biddy)

Armenian, : : Syuaghin.

10 THE HISTORY OF INK.

MWe might amuse ourselues ly extend-
ing this talular list indefinitely. Gnough,
howeuer, has teen already. shoun to. tllus-
trate a feu remarkalle facts uhich we uush
to. fresent that are connected uuth the
etymology. of our sulyect ; but we present
a page of Lithographic dlustrations which
ull enalle any “curious reader” to trace
the word further.

Neo dictionary of the gnqlish lanquage
qines usany help or light about the matter.
| Welister suqqests “inchiostro,” (the Stalian
word,) as the source of derimation,; and
all the Stalan lexicoqraphers. aqree that
inchiostro ts from the later Latin ENCAUSTUM,
uthich ts tn fact 4G.V-eele y Evyxavdrov, ( ¢neauston re)
“burned-in oF corroded.” G¢neaustum became
corrupted inta “ enchaustrum,” from which
the transition to. “inchiostro,” is ly the req-
ular form of deriuation from the Latin to
the Stalian,—the £ before a vowel qiuing
flace to.a short $—as “piano” from PLANnus.
(The cu, in Stalian ts always sounded
hard, like the Gnqlish #.)

Leaving. the French word encre, as on
the middle qround letween different ety-
moloqies, and affording no light etther
way,—wue find the Spantsh and Portu-
qese “tinta,” and the German (a lanquage
uudely remote from those of the Skerran
freninsula in otiqin and affinities) “ dinte,

THE HISTORY OF INE. ts

tinte and tincta,” foreildy reminding. us of:
the Latin participle TINCTUS, TINCTA, TINC-
tum, from the uerl TINGO, uthich ts refpre-
sented in g¢nqlish ty tinee, and other
derivatives, such as “tincture,” &e. SWe
cannot refuse ta recaqnize the Solland-
Dutch “Inkt” as from the same root
to uhich we haue thus traced the cortes-
fronding word in a lanquage which we
may. call its “cousin-,German ,” and tt
ts hard to exclude the Old French. “ Enque’’
and modern “ Encre”’ from this circle of
telationship.

Then, we are sameuhat impressed lay
the discauery. of the word Ingvas in the
Sllysian, a lanquage of the Slavonie (or
more properly Flouente) stock, like the
Polish,—and, like that, enriched ly words
dertued from the Latin. Dhe Polish,
haweuer, presents us with the actual
4taeco-Latin. Encaustrum.

Still more remote from the Gnqlish and
Stalian, we find among the Ortentals of
the Shemitish race, ANGHAS and NIKSON in
the straluc, and wkAsHo in the <¢haldee,
uth a manifest resemldance in sound, and
uuth an actual pessession of the same ele-
ments and radical letters, NM. KF. Yet
we da not think of suqqesting that these
words. had a commen oriqin uuth the cor-
resfronding. ones in Guropean Sanquages,

42 THE HISTORY OF INK.

though so nearly coincident in sound. _Dhe
case 1s sumfly one of accidental Kesem-
Llance, a remarkalle coincidence,—(lkecause
occurring. at three different and remote
froints,) tut yet a cotnetdence not uholly
unparalelled,

The protatulity ts that the Gnqlish ward,
like the Dutch, German, Fpansh, Xec., came
from the Latin tinctum, but t may be left
“an ofren question,” for if we had not these
instances. ta. direct the formation of eur
ofinions, ute should haue no hesitation in
acknoutledqing the Stalian Inchiostro as the
true ETYMON; just as, tf we had nether of
these in. weut, we might suspect the origin
of our uord to be in the Cxental ANGHAS oF
NIKSON.

The ¢thiopic KALAMA at first sight af-

ears to le related to the Hindustant KALI;
hut the latter is merely the word in.all the
lanquagqes of Hindustan for tlack,—while
the former ts tut a modification of the Greek
and Latin CALAMUS, a reed oF fren,—the in-
sttument (naturally. enough) qwiwing its
name to the liguid which was essential to
ws use.

The word ENCAUSTUM connects, in a wery,
interesting and instructine manner, both
uuth the history and the chemistry ot man-
ufacture of our modern inks, and 1s a satis-
factery demonstration of the utility of such

THER HISTORY OF INK. 13

elymoloqical researches as those tn uhich
we haue teen here tndulqing.

Fhe one qreat distinction- between the
ancient and the modern tnks.ts this: Dhe
ald inks. were PAINTS; the writing inks nou
in use ly all nations (excepting those of
Southern stsia) are pves. Dhat ts the
whole difference.

St would te well to que a definition of
limitation of the words “<tnctent” and
“ Modern.” No ane has done tt hitherto.
MWe uull not attempt to fix the poimt prre-
cisely, Lut may reasonally say that the pe-
trod intervening lLetueen September, A.D.
470, (uhen Stome was taken ly Avaric and
his Wtsiqoths) and Decemler 25, Ht. D.
S00, (when Harlthe Great, otheruusecalled
/(Ghatlemaqne, was crowned in SRome ly
Pape Leo uth the title of Gmperor of the
Stoly Roman Fmpwre) contains the tnterual
betureen antiguuty and modern times.

— Dheintroduction of Paperasthecommon

material ufron uthich siqnificant characters
were to le marked, must have had a qreat
aqency in frroducing a change in the com-
frasition of the liguid employed in making
the marks.

Parcument was the sulkstance in use,
among allthe Guropean nations, as the sul-
stratum of manuscript, fromthe tume uzhen
the ¢quptian papyrus ucent aut of fashion.

14 THE HISTORY OF INK

Roth the parchment and the papyrus
were uritten ufron, ly Romans, Greeks and
Seliveus, uth pens made of small reeds,
dipped in a fluid composed of carbon, (nat
dissolued, hut) held in a state of suspension
Ly an aul et a solution of qum. :

The letters were orrqinally painted on
the surface of the papyrus, parchment,
hoard, oF other material so employed—the
inte not being unlubed oF aksorked ly
the sulistance on uhich tt was shed, tut
remand on the surface, capatle of being
Kemoued ly usashing, scraping, ruldung,
oF any sunilar process. Dhe surface
thus cleansed was then in a state. to
receie a new. inscription; so that erasions
and inscriptions might te indefinitely
repeated upon tt, as upon a modern siqn-
Loard.,

Movern Ink, on the contrary, leaues tts
marks upon paper, parchment, &c., ly pen-
etrating the material to such a depth that
tL cannot be erased (mechanically) uuthout
the remoual of destruction of the surface
uthich tt has tinged. fhemtical aqency,as of
various acids, chlorine and its compounds,
is qenerally employed, therefore, ta dis-
charqe the color from modern writing-ink-
marks, CaArBoN, tn all its common forms,
(charcoal, lutuminous ceal, anthracite, fet,

flumbago, lanite, wory-llack, lamp-llack

THE HISTORY OF INK. 15

and soot,) ts utholly unalteralde in color ly
any of these chemical means.

Printine Ink (uthich ts composed of car-
ton suspended tn. a drying oil) 18, in essential
characteristics, identical uuth the uriting-
inks of the anctent Shomans and /Greeks.
St is infressed upon the surface of paper,
(that which ts unsized oF ltulalous teing
commonly preferred,) and ts retained un-
changed ly the action of moisture, on ac-
count of the insolululity of the carten and
the refuulsion letueen oil and water, These
tuo. forms of ink. are therefore the exact
opposites of each other, in the qualities on
uthich ther use and permanence depend.
TDhe most iunfrortant freculiarity O £ the
modern writing-ink, as contrasted uuth the
ancient, naturally suqqested the tua names
which tt lore in the Latinand Greek of the
middle aqes, or (to speak. mare definitely,)
the time af ds tnuention and first employ-
ment. —_St uas a Tincta, @ DYE, oF STAIN,
uthich tinged and tinctured the material en
uthich wt was placed, entering among tts
files as. coloring fluids do tnto cloth in the
ordinary. processes. of manufacture. _St
frenetrated the sulistance of the paper (as
caustics of powerful chemical soluents and
corrosiues. act on the orqane filre): tt bit in,
ot burned in,—and was therefore urell named
ENCAUSTON and Incaustum.

16 THE HISTORY OF INK.

CHEMISTRY or COMPOSITION of INK.

We do not propose to furnish rectfes,
prescriptions, directions af instructions for
the manufacture of this article. No mere
statement in words can enalle any one to
arriuue at frerfection, or excellence, oF prac-
tical success inthe production of this article,
orany articles whatsoever, tskilland care-
fulness, uthich can te acgutred only ly long
and laborious. experience, are tndispensalde
to. the management of the various pro-
cesses. Jime ws an essential element of
success in. this freculiar art, and that
makes. alsolutely requisite also, tuto other
conditions,—patience and capital. We shall .
therefore le lrtef on. this. point,—referring
those who uush for minute detatls, ta the
cyclopaedias, dictionaries of the arts and
sciences, and the larger works on practt-
cal chemistry. —Dhe follouung we uenture
to. present as the mast correct account of
this. sulyect, dertued from the latest scien-
tific and practical authorities.

The composition of ink. varies. according
fo its colors, and the purposes to which
it 1s to ke appled.

COMMON BLACK WRITING-INK 1s the tannate
of the sesquoxyd of! tron mixed uuth a

smaller quantity of the qallate of the

THER HISTORY OF INE. LF

sesquoxyd of ton. /When in the lgud
form, tt ts qenerally the tannate and qal-
late of the protoxyd; tut after lemng long
heft, (ot put on the paperand drying there, )
it alsorls. more oxyqen from the atmos-
phere; and thus the saline compounds. le-
come the per-tannate and per-qallate, uhich
are llacker than the tannate and qallate of
the protoxyd. St ts thus and therefore
that qood modern inte is. kneun ly the sim-
fle test-gquality of darkening ly age. Cn
the other hand, when writing Lecomes. yel-
lou, pale or indistinct ly age, it ts from
the decay. of the unperfectly comluned ueqe-
talle astringent,—the marks. an the paper
oF farchment tend then little more than
the stain of the per-oxyd (that 1s the ses-
guoxyd) of tron. Sf the written surface
he then carefully washed oF even moistened
with the wmfusion of nut-qalls, t uull be
-endered llacker, and tf lefore indistinct will
hecome leqille. This. may. sametimes le
Letter accomplished ly furst applying a
weak. solution of oxalic acid of very dilute
murtatic (hydro-chlaric) acid, and then deli-
cately laying on the infusion of qalls.

NWWhen the uriting paper has teen made
of infertor raqs, lleached uuth chlorine, the
best inke used upon tt ts Laldle to tecome
discolored.

Nut-qalls or qall-nuts (Galle-tinctorie)

18 THH HISTORY OF INK.

are excrescences qrouunqg upon the leaues
or tugs of oak trees, (especially the Quercus
infectoria,) caused ly the fpuncture of an in-
sect (the Cynips galle-tinctoria) which de-
posits its eqqs in the perforations thus
made. The Quercus infectoria ts mast alkun-
dant in Persia, Mesopotamia, Syria and
stsia_flinor, from uhich countries the qalls
are lrought in large quantities ta the man-
ufactories of Gurope and slmerica. The
lest are called “Atepro qalls,” from the
name of the Fyr.an city uhich ts the chief
oriqinal market for them. Those from
Imuyrna are also highly esteemed. .
They contamn the ueqetalle astringent
principle called tannin in. qreater alundance
than any other knoun substance. This ts
chemically resolued inte the acids knoun
as the tannicand qallic. stllthe uoods and
harks employed in the manufacture of
leather by the tanning of hides contain this
astringent matter in various degrees. The
oak and the hemlock, for stance, are in
extensine and familiar use for this. purpose
in the Stlnited States. The llackness of
ink, as has. teen already indicated, 1s deriued
from the comlunation of these two acids
with oxydized uon im saline compounds
uthich. are tnsolulle in water, and are there-
fore precipitated ar deposited at the lat-
tom of the fluid, unless held mechanically

Ps Toby OR. TNE, 19

susfrended in tt, lag qum, sugar of some
sumtlar sulistance uthich quues the quality
of wscdity to Hs solutions,

The follouung uull serie asa qood form-
ila for making common ink, and uull te
enough ta que an tdea of the ordinary
and qeneral mode of ts composition :—
“ Fake of stleppo qalls finely trused, six
aunces,—silphate of ton, four ounces,—
qum straluc, four ounces,—water, tx fints.
Fhoul the qalls in the water for akout two
hours, occasionally adding water ta supply
the loss from evaporation ; then add the
other ingredients» and keep the uhole for
tuto. months in a utooden cr glass ues-
sel, uthich ts ta te shaken at interiuals.
Then strain the mk inte qlass tottles,
adding a feu: drofis of creosote to. frrewent
mouldiness.”’

Fhesides its property. of vascidity, the
qum frossesses the frower of preventing
the inke from leng too fluid: and tt also
serues. to. protect the weqetalle matter from
decomposition. The qreat desideratum or
requisite 1s that the ink should flou: uuth
perfect freedom from the fren, to allow
Kapuid usiting, and that tt should adhere ta
the paper, or “lute tnta tt,” sa as not ta te
ef facealle ly washing. oF sfanging. The
qreat defect to. le auotded and prevented ts
the want of duralulity. The uuviting wk

20 THE HISTORY OF INE.

of the ancients ucas. characterized ly qreat
permanency, Leing. compased of finely fruul-
uertzed carbon meced uuth a muciaqinous of
adhesiue Lig uud. L NDIA oF Cuwa Inx is of
this composition : it 1s formed of lampf-llack
and size orfineanimmal qlue, uth the inciden-
taladdttion of perfumes. St ts used infghina
uth a lush, both for u riting and fainting
onfGhinesehaper; andit 1s employed in other
countries. for making drauungs in black and
uthite,—the different depths of shade leing
jeroduced ly varying. the deqree of dilution
“2 usater.

Snhes of other colors than bait uere AN-
clently used only fo tfurhoses of oxynamental
and decoratiwe uriting. In later and pres-
ent times, red and blue inks have been ex-
tensiuely employed in ruling account-lLooks
and other paper for lke uses. +8lue ink,
uuthin ten or more years fast, has teen, ith
many, a preferred fluid for common. writing.

F$lue ink, when ie erly. made, flours uth
qreat ease aaa Fafudity from the pen, dries
almost instantly. on Fie paper, and has
been suftfprosed of ex: jrected tole guiteduralle,
and unchanqealle in color, under ordinary
wicissitudes, SVYfet, expertence has demon-
strated the contrary,—though various and
well-conttiued chemical comlinations hate
Leen attempted for the fru ‘jlose. Flue inks
that change to llack some time after usriting

THER. HISTORY OF INK. Al

are very popular. On well-made and high-
priced paper, and uuth qold pens, such inks,
if prepared ly qood chemists, may ulti-
mately proue worthy of the high esteem in
which they areheld ; tut theiralksolute and
unchanqealle duralulity is. yet to he tested
ly. experience, before they can le safely
employed for writings of permanent ualue,
and relied on for use in making. records de-
siqned for preservation and reference during
a. long. course of years.

TDhere ts a compound of tichromate of
frotash and extract of loquood, uhich forms
a uery. cheap. and conuentent writing fluid.
Dr, llre pronounces tt “a utle dye.” SYfet tt
may. haue ts utilities, in localities remote
from. the centres of cuulization and com-
merce,—as inthe neu settlements in. uestern
Stmerica, in ftustralia, &c., and for trau-
elers in Stfrica, in the strctic and other
barbarous. of uninhaluted reqions. The
Jollouung. ts the lest formula uthich. can te
quuen for this compound ; and we present tt
onthe highest chemical authority :—“ Dake
FRichromate of potash, 1-4 0%.—¢atract of
loqwood T 0%.—foiling water, 7 qallon.

We haue taken the troulle to que this
[prescription af formula,because some quacks.
haue Leen peddling ut all ouer the country,
at all sorts of prices, varying (according ta

the credulity. and liberality. of purchasers )

93) THE HISTORY OF INK.

from 350 cents to $250. Ie que it for
yust uthat it is worth; and that is—exact Luy
what this toak casts ‘the reader.

BIBLAG GRAPHY.

The lonqest and most ualualle passage
which ure Jind « in the uuritings of any ¢ng-
lish author, uthe has alluded ta our sulyect,

is the following , fram “ THE ORIGIN AND

Progress or Writine, ly Dhomas ststle,
FG.RS, GAF. he, pp. 209 to 27,
2d iditiny, Fondon, 7803.

“Or Inxs. Ink has not only been use-
ful in all ages, tut still continues aksolutely
necessarily La the jereseruation and imhroue-
ment of every art and science, and for con-
ducting the ordinary. transactions of life.

“Daily experience shous that the most
common. alyects: qenerally. fproue mast use-
ful and Leneficial to. mankind. The con-
stant occasion ue haue for Ink. evinces its
conuentence and utility. Brom the tmn-
frortant benefits AMLSLng. Ta sactely from its
use, and the myuries induuduals may suffer
from the frauds of desiqning men in the
abuse of this necessary article, tt 1s ta be
uushed that the leqislature would frame
some Frequlation ta fromote its un fpuroue-
ment, and prevent knauery and auarice
[rom ‘jnakeing it insttumental to the accom-
frlishment of! any. Lase purpose.

THH HISTORY OF INK. 28

“ Fimpile as the composition of Ink
may. be thought, and really is—tt 1s. a fact
well noun, that we haue at present none
equal in Leauty. and color to that used lu
the ancients; as. uull appear ly an inspec-
tion of many of the manuscripts atoue
quoted, especially. those written in. ¢nqland
in. the times of the Saxons. SWhat occa-
sions sa qreat a disparity? Does tt arise
from. our tqnorance, oF from aur want of
materials? From neiTHeR, but from the
negligence of the present race; as uery. little
attention would soen demonstrate that we
want neither skill nor ingredients ta make
Ink. as. qood nour as. at any former period.

“ $t 1s an. alyect of the utmast umfart-
ance that the Shecords of Parliament, the
Decisions and stdjudications of the ourts
of fustice, onueyances from man to man,
Wills, Testaments, and other Instruments
uhich affect property, should ke written
uuth Inte of such duralle quality. as may.
Lest resist the destructine powers of time
andthe elements. The necessity of paying
qreater attention to this matter may le
readily. seen. ly. comparing. the Rolls and
SRecords. that haue teen uuritten from. the
fifteenth century. to the end of the seuen-
teenth, uuth the writings we haue remainin
of various ages from the fifth to.the twelfth
century. _Notuuthstanding. the superior

2A THH HISTORY OF INE,

antigutty. of the latter, they. are in excellent
fireseruation; lut we frequently. find the
former, though of mare modern date, sa
much. defaced that they. are scarcely leqille.

“Inks are of warious sorts, as—encaustic
oF varmsh, Indian ink, qold and siluer,
purple, lack, red, qreen, and warious. ether
colors. Dhere were also secret and sym-
pathetic Inks.

“Fhe Ink used ly the ancients had
nothing wn. common. uuth. ours, lat the color
and qum. /gall-nuts, copperas and qum
make uf. the composition of our Ink;
whereas. scat, of mory-llack, was the chief’
ingredient in that of the ancients; sa that
uery. old charters might le susfected, tf
written with Ink entirely. sunilar ta uhat
we use; Lut the mast acute and delicate
discernment ts necessary inthis matter ; for
same of the [hlack| Snks formerly used
were Lialle to fade and decay,and are found
to. haue turned red, yellous or pale. Those
inferfections are howeuer rare ut mani
scrifits prior ta the tenth century.

“ Dhere 1s a method of reviuing. the uu-
ting; lut this expedient should not be
hazatded, lest a suspicion of decett may.
arise, and the support depended on [le] lost.

“GoLDEN _Snke was used ly uatious na-
tions, as may be seen in several llrvaries,
and in the archines of churches, SILVER

THE HISTORY OF INK. 25

Inte was also cammon in most counties.
SRed Ink, made of uermilion, cinnatar, oF
purple , us uery frequently found in manu-
scripts; Lut none are faund written entirely
uth ink of that color. The ne pee letters,
in. same, are made uuth a kind of varnish,
uthich seems to. te camposed of vermilton
and qum. /Green Ink. ucas rarely. used in
charters, Lut often in Latin manuscripts,
eshecially in thase of the latter aqes. The
quardians of the Greek emperors [or rather
the Sheqents of the ¢mpuire| made use of: tt
in. ther siqnatures, till the latter [the
monarchs. during. minority | tecame of age.
FRlue or Yellour $nke was seldom used tut
in. manuscripts. [//!| _Dhe yellow has not
heen in use, as far as ue can learn, for six
hundred years.

“ Metallic and other characters were
sometimes. turnished. Nl’ax was used as
auarnish. ly the Latins and Greeles, lut
much more ty the latter, uuth ushom it
continued a long time. This cowering of
varnish uas. uery frequent in the ninth
century.

“ Cotor. Dhe color of Ink ts of no qreat
assistance wm. authenticating manuscripts
and charters. Therews un my lilrary along
roll of parchments, at the head of! which is
a. letter that was carried ouer the qreatest

fart cf ¢nqland ty twa devout manks,

26 THE HISTORY OF INK.

requesting. prayers for Lucia de Vere,
fgountess. of Oxford, a pious lady, uho died
m717199,—uho had formed the house \or
pile of Blenningham in ¢ssex, and
done many other acts of prety. This roll
consists of many memlranes or skins of
farchment sewed together, —all of uthich,
except the first, cantain certificates from wes
different reliqious houses that the tuo
monks. had usited them, and that they had
ordered prayers. to le offered ufr for the
fgountess,and had entered her name on theu
tead-rolls, _#t 1s olserualle that time hath
had uery. different effects on the various
inks. uuth which these certificates urere
uurttten. Fome are as fresh and llack as
if written yesterday; others are changed
Lroun, and some are of a yellou hue. St
mal. naturally Le supposed that there ts a
qreat uarteti UO ft handuritings upon this ;

but the fact ts otheruuse, for they may he
reduced to three.

“ It may te said im qeneral, that BLACK
ink, of the seventh, eighth, ninth and tenth
centurtes, at least among the stnqlo-Saxons,
pureserues its original ldackness [therelu
meaning that its “ form had not lost all tts
oriqinal brightness’’ | much letter than that
of succeeding aqes,—noat ellen. excepting the
sixteenth and sexenteenth, in uhich tt was

frequently uery lad. Pale ink. very rarely

THE HISTORY OF INK. 27

occurs. Lefore the four last centusrres,~—

“ Peter Cantparius, Professor of Med-
icine at JVenice, urote a curious. Look con-
cerning. Ink, uthich ts nou. scarce, though
there ts an edition of tt printed in London,
in 1660, quarto. The title is—De Atra-
mentis cujuscunque generis opus sané novum.
Hactenus a nemine promulgatum. [A worK
ACTUALLY NEW, CONCERNING INKS OF EVERY KIND
WHATSOEVER,—HITHERTO PUBLISHED BY NO ONE. |
This work, ts. divided into six parts. The
Jirst treats qenerally. of Inks. made from
Pyrites, [sulphurets of won and copper,|
stones and metals. he second treats more
particularly. of’ Inks made from metals
and Caixes. [§etter say calces, or, to speak
chemically, crystallized salts depriued of
ther “mater of crystallization,” oF cartonic
acid, ly the action of heat.\—TDhe third
treats of Inle made from seots and witriols.
— he fourth treats of the different kinds
of Inks used ty the librarii ot took-uyiters,
[ professional scrilies of cafyssts of manu-
sciipits before the inuention of the art of
Printing,| as well as ty printers and en-
qrauers, and ef staining. (of writing. upon)
martle, stucco or scaqhola, and of! Encaus.
Tic modes of usiting; as also of lguids
for painting oF coloring of leather, cloths
made of linen of wool, and for restoring
inks that hawe teen defaced ly tune, as

28 THE HISTORY OF INK.

likewise many. methods of effacing writing
—restoring decayed paper—and of various
modes of secret wriuting.—The fifth part
treats of Inks for writing, made in differ-
ent countries, of various materials and
colors,—as from qums, uoods, the juice of
plants, &c., and also of different kinds of
warnishes,— TDhe sixth part treats of the
warious ofrerations of extracting uttrol,
and of its chemical uses.

“ his work abounds uutha qreat variety
of philosophical, chemical and historical
kenoutledqe, and uull que qreat entertain-
ment to. thase utha uush for information on.
this. sulyect,

Many curious particulars concerning.
Inte uull be found in “ Weckerus de Secretis.’’
(Printed at SRasle, in 1672, actauo. )—
This. qentleman also ques receipts for
malaung. Inks of the color of 4old and
Piluer, composed as utell uuth those mate-
rials as utthout them,—alsa, directions for
making a wariety. of Inks for secret usi-
ting, and for defacing of [effacing| Inks.
There are many maruelous. particulars in
this last work, uthich uull not easily qain
credit uuth the judicious part of mankind.”

MWe haue chosen ta que Mr, Astle’s
faraqraphs on this sulyect, enture, “pure
and simple,” (uuth no corrections oF alter-
ations, except as to a feur frarticulars in

THH HISTORY OF INE. 29

shelling, punctuation, &c.,) including. some
unnecessary. formal uetluaqge,—instead of
embodying his facts and olseruations in our
aun lanquaqe. SWe shall do likeuuse uuth
other authors uhose looks we use in
this work, as the most effectual way of
quung each of them due credit for thew
several discouertes and statements, and, at
the same time, securing our oun ust claims
fo. uthat we herein firesent as of our oun
discouery. oF production. SRut ure uull que
ia. cFedit to a mere compiler oF prlaqiarist.
Mr. ststle was keeper of the anctent
SRecords of the Gnqlish <GGouernment tn the
Tower of London, and thus enjoyed extta-
ordinary. facilities for ascertaining such
facts, and making such olseruations as he
furnshes in his very useful, interesting, and
eleqantly tllustrated look. <s to what he
says (in his seventh paragraph) akout the
inexpediency of “hazarding.” any effort to
Feuuue uriting which has faded or tecome
Meqitle, from fear of “a suspicion of de-
ceit,”’—the caution must of course Le limited
to. cases uthere the words proposed to te
restored to. leqilulity. hauwe reference to. some
guestion of disputed title, ot other matter
in. litigation oF controuersy. Mr. SAstle
would not have hesitated (any more than
stnqelo Mar) to use any possilde process

for the restoration of a palimpsest manu- —

30 THH HISTORY OF INE.

script of a long-lost ware of ¥icero oF
Liu, or of any. document worth the lator
and the time regutsite ta rewue the letters
or Kead them. Mr, <tstle’s sliaht lapse of
fren ar mind in stating (eighth paragraph)
that “Rlue or yellous ink. was seldom used
except in manuscripts,” reminds. us of Noah
Welister’s reason, qucen in the first edition
of his quarto dictionary, for the use of the
uord “ Hand” tstead of “_fsland,” w15.,
that the latter shelling was “found only in
books.” Perhaps the veneralle Mr, ststle
mould have teen as much astonished ta
learn that he himself had always uuttten
manuscript, utheneuer he put fren to. paper,
as. the Bourgeois Gentilhomme, tn Moliere’s
comedy, was to learn that:he “had teen
sheaking frose all hus life.”

St comparatiunely recent author ques. the
follouung as the sum and sulstance of his
kenoutledqe on this diuwiston of the sulyect
of our look.

WRITING-INKS.

Dark-colored liquids were used ta stain
letters. previously enqraued on some hard
substance, long lefore they. were made to
flow in the calamus or fren for forming
them onasmooth surface; and the /hinese—
made ther “Indian nk’ in the same

THE HISTORY OF INK. ay,

manner as nou, 1720. years before the
Phristian gra; tut, only used tt, at that
time, to. llacken sone eeek Ghewracherd: Cl Inte
was. termed ly the ancient Latin authors
atramentum scriborium,”! ak librarium, ta dis-
tinquish tt from atramentum sutorium af cal-
chantum. St was made of the soot of
resin, or founded charcoal, and other sul-
stances, mixed uuth qum, and not, lke
ours, of vatriol, gall-nuts , alum, Me. The
earliest frost e mention of inte is. perhaps
the passage in _feremiah, in the Vulgate,
“ Ego scribebam in volumine, atramento.’™:

Ll Hore ue might add, TY fear of con-
tradiction, that Ink ts still extensiuely. used
to. “llacken characters,’ , ’ utthout regard to
the depth of the incision. ”! Dhe specimen
of the ¢nqlish lanquaqe uhich we quote,
is not faultless ; y and the Latin ts execralle,
There ts no such uord as. scriborium tn any
lanquaqge, anctent or modern. Dhe Ro-
mans. called writing-inle atramentum scripto-
rum. “This is a uery jraltry piece of. pe-
dantry. /Why. alll not this author (utho
shows that he does not understand Latin,)
que us the text in ¢nglish? The passage
in _feremtah, chafr. XXXVi, verse 18: “_F
ukote them uuth Ink wm a look. —Dhe
only. other references. in the LRilde ta Ink,
are the follouung: 2 forinthians, m1, 3:
—“uuatten not uuth Ink, tut the sfurt. » 2

82 THE HISTORY OF INK.

Sohn, xu: “_F% would uste uuth paper
and Ink.”’ 3 fohn, xm: “_£ had many
things to urite, tut £ ull not with Ink.”
Gxehuel, 1x, 2: “uuth a writers ink-horn ly
huis. side,” 7

Gold liquids, and also siluer, purple,
red, qareen, and tlue inks, were eventual
used in manuscripts after the fourth cen-
tury,—red and qald having teen employed
much earlier, Ft. ferame speaks of rich
decorations, uhich must hane teen executed
uth colored inks; tut, before his time,
Ouid alludes. not only to the purple charta,
made use of for fine looks, uthich were
also tinged uuth an ol draunm from cedar-
usood, to preserue them, tut, also ta titles
uuitten in red ink, uhich were the first
kind of tluminations. The passage occurs
in his first elequ, “std Liluum:”

‘* “Nee.te purptreo velent vaccinia euccds
Non est conveniens luctibus ille color.

Nec titulus minio, nec cedro charta notetur.
Candida nec nigra cornua fronte geras,”

The last line proving, as fYasley olserues,
that Od uote upon a roll.

TDhis author, not hang teen bind
enough to. translate Cid for us, ue are
compelled ta doit for hun. TDlhis “ §lequy.”
of the poet ts addressed “ Fa his Lhook ;”
and the following uords contain the mean-
ing. of the four lines alboue quoted:

THH HISTORY OF INK. 53

Nor shall huckleberries stain [literally, vE1L| 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 dictiovaries gene-
rally are wrong in spelling the word ‘‘whortleberry ” Huckleberry, or Hockleberry,
is found in the kindred languages of Northern Europe.

Diplomas usere seldom usritten in. qold
oF colored inks; tut some charters of the
German. ¢gmfrerors are kenoum, not ent in
qold, tut on purple vellum; and Leulefeld
mentions one of the year 772, o¢namented
also uuth fiqures;, while seueral carly
gnqlish charters have qold mitial letters,
crosses, ke. The llack ink that has kept
its. color best, in mediaeval manuscripts, ts
that used from the tenth ta the thirteenth
century. The siqnatures of the ¢astern
¢mperors. are frequently in red ink.

(Volored inks were common tn mediaeval
manuscrifits,—the red Leing mast usual for
titles, which has quien rise to the term
Rubric. The writers of looks (that ts, the
cofryists,) often appended ther names. to
the end of the work, qenerally. in ink of a
different color from that of the lody of
the work, stating the tume and place in
uthich. the uorke was executed.

84 THER HISTORY OF INE.

Fo. this may te added, uuth adwantage,

some instFéuctiute account of

WRITING INSTRUMENTS,

uthose history 1s closely connected, to a
qreat extent, uuth that of uviting FLUIDS.
The §¢ayptian, and all cther ortental
and ancient scrites, uhe urote upon stone,
employed (of course) some tnsttument simt-
lar in character to the chisel of our modern
taml-stone cutters, o¢ monument letterers.
Fa uuth the 4zreeks and Romans, uriting
on surfaces. of wax oF uood, the instru-
ments. were the qraphiuum, ot qalypheion,
(the qrauer,) and the stilus, oF caelum, all
of steel of tron. /lt’hen the use of a dark-
colored liguid or Ink was introduced, there
arose a necessity for instruments of uery
different material, and qreat flexilulity, im
opposition to the unytelding riqudity of the
tools frreuiously employed. Dhen were
inuented the first iunfilements properly
called Pens, or really resemlling uthat we
so. denaminate and use. These were unt-
uersally made of weqetalle material, qrou-
ing in the tulular form, of cenuentent
size, as the calamus, arundo, guncus, and, tin
qeneral terms, the smaller stems of various
plants. called “reeds”” and “rushes”’ in

gnqlish. We haue already. mentioned the

THR HISTORY OF INK. 385

uniform employment of the hau-fpencil, oF
brush, ly the f¢hinese, from the mast an-
clent time of ther uuiting. The quill, or
feather-hpen, uas. introduced during the
fourth century.

We haue alluded to the palimpsest manu-
scuifits. This is the term afiplied ta
farchments that haue teen tuuce urttten
upon,—the first writing leng effaced ta
make room for the second. During the
freriod eye called “the dark aqes,’’
the monks. and other scrihes, copyists of
took-makers, were in the halut of effacing
the letters from old manuscripts, in order
to make a clean surface for a new writing.
In this way was caused the defloralle
destruction of an unmense and an. tnestim-
ally walualle amount of ancient literature,
of Greek and Soman. history, poetry, elo-
guence and philosophy, merely. ta make
room for mass-looks, and ather works of:
stupid superstition and mis-directed deuo-
tion, oF, of scholastic theology and phile-
softhy, nour long aqe unimersally condemned
and exploded. Within the past and pres-
ent qeneration, houeuer, the learned warld
has been delighted ly the surprising. Fecou-

‘ery. of some of these long-lost treasures,
through the skilful and inqentous lators of
the deseruedly famous ardinal stnqelo
flat, and others, uhase researches. in. the

36 THE HISTORY OF INE.

likvaries of Rame, Milan, Padua, Najrles,
Florence, and other ctties, haue resulted
in. the restoration of imestunally prrectaus
writings, thus partially oltiterated ar
olscured.,

FRrande’s' QDictionary of Literature,
Feience, and rt, ques a lrtef summar.
of the same qeneral facts in the article
“ Palimpsest.”’

The fullest and most elakorate expasi-
tion. of the composition and manufacture
of Snle uhich we have teen alle ta find,
howeuer, ts tn the qreat French “ Dictian-
aire des fA¥ts et Manufactures,” ly an
association of distinguished savans, tn. tura
uolumes, tnfrertal actaue, Paris, 7853,
article, ENCRE.

FRut, of all articles and treatises an the
sulyect, which we haue examined, that in
the Gnqlish Penny. yclopaedia has the
merit of containing, if not the lest and
lonqest account, a very. qood and satisfac-
tory. one—lecause i expresses all the
essential facts in the fewest and best-chasen
because perfectly intelliqille words. sts
we do not attempt ta furnsh a text-look
for ink-manufacturers, we da not transerike
in full, or translate, from these and other
works. of qreat ualue on this sulyect.

Ghat modern tnks da not resist the
decomposing and destructiwe frouer of

THH HISTORY OF INK. 37

chemical aqents. (uhether acids, alkalzes,
saline lodtes of elements,) as utell as the
ancient inks, ts the result of a necessity
existing. in ther uery composition and
inuention, and even in the use for uhich
they uere desiqned, and ta which they are
ajiplted. t dye (like modern ink) is the
result of chemical action, and ts therefore
sulyect to. chemical re-aqents,; yet, when
well made, it ts proof against mechanical
action, such as washing, ruling, and
scraping; nor can tt Le remoued from paper
to which it is applted, uuthout destroying
that material, or rendering that part of it
frractically useless, Rut, on the other
hand, the anctent inks, uthich resist all
chemical processes, can te remoued ly
mechanical action, such as has teen named.
If a neu. ink were compounded of the tuo,
frossessing the test properties of each, any
writing executed uuth tt could te effaced
ly the point of successie action of mecha-
nical and chemical applications.

It must te lorne in mind that the
ancient inks. had one use for which uviting
ink. is. nou. newer required; and that was
in. making. looks, or multiplying. copes of
manuscripts indefinitely for general reading,
oF publication. The wnuention and unmersal
employment of the art of frinting has
wholly done auay wth that.

38 THE HISTORY OF INK.

Of Inpeuiie Inks, of those used for
marking. falrics of cotten, linen, Xe, for
the identification of aumership, tt ts not
necessary. ta qiue any fprarticular descrip-
tion. Sher ordinary. composition ts wert
qenerally understood ta te a solution of
nitrate of siluer, or some similar caustic,
applied uuth a pen of proper material, to
a frortion of the surface of the cloth, uthich
has. teen preuiously prepared ly the ak-
sorption of a qummy oF muctlagineus
Jluud dried upon tt under pressure.

SympatTuetic Inxs ate fluids employed
in coloring drawings made for poe
amusement, oF the diuersion of children
and youth. ss, for instance, a landscape

un in akdinary. colors uuth a uuntry
asfect, cloudy of somlre sky, snou. an the
ground, and leafless trees, if properly
touched uuth sympathetic inks, uull, at
any. time, uthen lrought near a fire, oF
otheruuse sulyected to a certain deqree of
warmth, change to the hues of summer,
the sky lecaming of a clear llue, the trees
in full foliage, and the turf rch uuth
qrass, each with its appropriate shade of:
uerdure, as alsa flowers of thew various.
natural colors, &c., according to. the fancy
of the artist, the whole disappearing as
the picture qrowus. cold. Dhe chloride, the
nitrate, the acetate, and the sulphate of

THH HISTORY OF INK. 39

colalt, form sympathetic tnks,—the first,
blue, and (uuth the addition of nickel,)
qreen; the second, red. ¢hloride of copper
ques a qamtoqge yellow; lramide of cop-
fret, a fine rich brown.

Letters. uuritten uuth a solution of ace-
tate of lead, are tnutsilde until exposed ta
the action of a Piece twa hydrogen, uthich.
makes them distinct, uuth the lustrous
greyish lack of sulphuret of lead, the same
sulistance uthich ts. called qalena when. it
occurs as lead-ore. t weak infusion of
qalls of other ueqetalle astringent, uull, of
apiflted ta japer in the form of letters,
Lecome leqille when touched uuth any
solution of wren. $f written uuth a solu-
tion. af ferro-cyanide of potash, letters ull
Kerman. tnutsilde until touched uuth a solu-

tion of sulphate cf tran.

IMPORTANCE OF GOOD INK.

Ststle sheaks uery tmpressively. and
sgustly an this point; and we contrilute to
this. part of our sulgect ly calling attention
ta facts almost day eccurring. oF brought
ta notice in this country, especially in the
older cities and states, uthere town-Kecards,
farish-requsters, and other documents. of!
ancient date, and of high tmpertance in

40 THE HISTORY OF INE.

history, chronology, and qenealoqy, (as
well as in reqard to the title and tnhert-

ance of estates,) are found olscured and
olliterated, causing losses, pulilic and pri-
uate, that need lut to te mentioned ta le
furoperly estimated.

In the appendix uull le found a fac-
sumtle of a sheet upon uhich various sfe-
cumens. of ink were thoroughly and fairly
tested, uthich is a lsrtef tut emphatic de-
monstration of a difference of qualities ly
difference of results.

Te shou. uhat can te done in the pre-—
seruation of utriting on material euen
fratler than such paper as we employ, we
need liut produce the specimen of ¢qyuptian
writing on papyrus, pronounced ly f~ham-
frollion to haue teen executed more than
sixteen hundred (7 600 ) years Lefore the
lurth of hrist, yet still in preseruation
and leqille, as may. Le seen ly the repre-
sentation we que of tt.

This ts. undoultedly as old as any sfe-
cumen of frhonetic characters of uuittten
letters. (refuresenting. sounds, not ideas of
alyects,) extant, made ly marking. uuth a
fluid upon any sulstance. Dhere are in-
scriptions of letters ufron stone, fork uhich
an earlier date of 4000 years 44. &, ts
claimed uuth truth. hut this ts INK-
uriting, alsolutely 3500 years old!

THR HIBLORY OF INK. Al

The ¢hinese assert that they. had the
art of writing at a fperod 2950 years
before ¢hrist ; tut they haue no records. oF
monuments of that date; and ther charac-
ters even ta the present time, are entire
words, representing olyects, ideas o¥ things,
not sounds, _Sn the art of printing, they
firetend ta haue preceded the ¢uropean
nations about 2400 years, dating thew
inuention of tt from the tenth century
lefore ~hrist. +hut they have neuer ad-
uanced teyond the first form of the art—
letters enqraued on solid wooden locks—
the uery method in use ly Koster, and his
associates, until the tnuention af mouealle
types ly foehn Gansfletsch, otheriusse
named fohn /Gutenkerq or sGuttemlera,
in T4395. In loth arts, wrting and

unting alike, the ¢hinese have remained
stiff, solid and immaualle at the first step,
uuth the characteristic unchanqealulity of
the yellou: races. of astern stsia, so. ofifro-
site ta the indefinitely. progressive and self-
infroung enerqy. of the nations ushose
feroqgenttors. proceeded west from the or-
qinal source and centre of the earth’s popu-
lation. The same ink. series the f¢hinese
both for usiting and printing, as does
the same kind of paper. This ink they
tnuented akout the end of the first century
of the Yhristian era, before uthich time

AZ THH HISTORY. OF INE.

they. urote on loards ar Lamtoas. Sauing
next frroceeded ta the use of silken cloth
for these purposes, the ae onset of
faper from that material naturally fol-
lowed. Their ink, being carbonaceous an
oleaqinaus, 1s, of course, (like that of the
¢quptians and all the other anctents,)
unfading, and unalteralle ly chemical
aqencies, though capalde of Leng effated
oF olscured ly watery applications oF
exposure.

sts ta ther claim of hauing invented the
art of printing, ue shall haue something
fa. say. hereafter.

The <tztecs (in Mexico, lefore the
SFhansh discovery and conguest,) exten-
siely employed a fpuicture-uriting, as a
means. of recording. events, during a period
not exceeding two centuries lefore that
efach. Dhey had the art of manufactur-
ing materials as a lasis of such uyiting,
from the Agave or smerican aloe, and
from cotton, in the form of a uery fine
cloth. They alsa used prepared skins for
the same purpose, the lest sfhecumens of
uhich are pronounced ta te more teautiful
than the finest vellum. The manuscripts
uere sometimes. done ufr in rolls oF scrolls,
and frequently on taldets, in the form of a
folding-screen, Ther inks. appear to hare

heen coloring matters. in watery solutions.

THE HISTORY OF INK. AB

The oldest Phoentcian wnk-uyiting of
uhich any sfecumen has teen preserued,
dates no. later than the second century
hefore ehrist, and may. le much alder.

St fac-simile of a portion of it uull ke
found among our tllustrations, explained
lu. notes. referring. to each ly its numler.

Greek manuscripts. in inte (on papyrus),
of the third century. before f¢hrist, are in
extstence. /lWe que specimens of the ald-
est known,—one written in Equpt, ZOO
4h. @., teing. an order from Dioscorides, an
officer of the qouernment of Ptolemy. Phil-
adelphus, to. another named Dorion. The
translation of the wards 1s. “ Dioscorides
ta Dorion, qreeting. Of the letter te. Dorian
the copy. 1s sulyoined,”” * * * JSWeadd
ather shecimens, of the same and later
freriods.

Of Latin writing uth ink, the earliest
we can find ts the palimpsest af (Gtcera’s
loak, “De Skepullica,” which had teen
partly. effaced to. make room. for a copy. of

uqustin’s commentary. on the Psalms.
St is. believed ly the learned that the or-
qiunal manuscript was. executed at least as
early as the second oF third century of the
Christian era. The restoration of this
manuscript, and the discouery of this. long-
last and earnestly sought classic gem, were

the uark. of ffardinal flat, as before men-

Ld THE HISTORY OF INK.

tioned. Dhe ortqinal words are TETERRIMUS
ET EX HAC VEL , and are written in two
columns on the paqe, uhile the later uviting
runs. completely. across the page.

Of the earliest uyiting executed im
France, after that country receued ts
name from those uthe conquered it, we qiue
a shecunen from the Leqinning of a charter
of Sing DHaqolert I, executed 4. D. O28.

he words are ——QUOTIESCUMQUE PETITIONI-
Bus’’—“ Jloweuer many. times to. petitions,”
Me. _ft 1s a confirmation of a partition
of property. Letuseen twa hers. The mon-
aoqrammatic autograph of the Great Karl,
(2 modern times called ¢harlemaqne,) we
bag also as an alyect of interest. A.D.

00.

The oldest specimen of uriting. ur Great
Britain which has teen preserued ta the
nineteenth century, was a lool telieued ta
le not later than the year 600 of the
hristian era. <tstle has preserued an en-
qraued specimen of tt; tut the priceless
oriqinal has since Leen destroyed ly fire in
the SRritish Museum. ft was said to le
a look of stuqustin. ¢ shecunen. still in
existence, dates between the years bb4 and
670. St is a charter of Seldi, King of
the Gast Saxons, and ts easily. read:—“_S,
Fellu, Hing,” ke. /We sulyoin a feu

words from the commencement o f° a charter

THH HISTORY OF INE. 45

of William the onguerar, whose reign com-
menced tn ¢nqland, A. D. 7066:—Wiux:
DEI GRAT4 REX, Mec., SCIATIS ME CONCESSISSE—
‘William, ly the qrace of God, Hing
de: Snow ye that 4 haue qranted—”’

[saac DIsraeti, m2 lus uriosities \ of
Literature, (uol. 2, page 180, of the as-
ton edition, ) ques a treatise on the “Origin
of the Materials of Writing.” Sle com-
mences. tl uth these remarkalle words:
“ $t 1s curtous te olserue the various sul-
stitutes for paper before its discouery.”’

Nout, of all “ curtostties of literature,”’
this little sentence ts, in many resfrects, the
most curious. Sle talks of sulstitutes for
a thing not m existence, and not even a
sulyect of tmaqination, canpecture, a con-
ception. Dhe name of D’ Ssraelt does not
indicate an Irisu ortqin, Lut there is a
strong affinity letuween this and these curt-
asities of literature commonly called “ Srish
bulls.’”’ ts for mstance, tt reminds us of
the couplet composed ty an Irish officer
of a garrison in the Fcottish Highlands, in
commemoration of the “qood works’ of
General Wade, who had caused excellent
military roads to te made through same of
the prewiously almost unpassalle morasses
of that reqion.

‘* Had you seen these roads before they were made,
You'd have lifted your hands and blessed General Wade,”

46 THE HISTORY OF INK.

Now, ly way of comment on D Israewt,
we ull say that “tt is very curious,’ and
moreouer uery. strange, tf not ridiculous,
that he and Astur, (from uhom he copies
uuthout a full and far acknouledqment, )
uthile “deefly complaming of the tnfe-
rrority. of aur inks to thase of antiquity,”
haue utterly failed to ascertain the cause
ar euen ta notice the accasion of tt. They,
as well as other uuriters an the sulyect,
oliserue the excellence of the ink employed
in manuscrifits of earlier aqes, down ta the
twelfth century, and the infertority. of the
ink used from that period doun to the close
of the seuenteenth century, uuthout turning
attention ta the qreat historical fact that
the FIRST PAPER-MILL tn G¢usofre was. estal-
lished tn that same twelfth century.

St peculiar cAcHEXY (a variety of the
disease known ta pschyo-nosaloqists as the
cacoéthes scribendi,) seems ta. le hereditary in
the Db)’ Fsraeli family. BensAmin D’ Isr ae1t,
(the san of _Ssaac,) late Zhancellor of the
gucheguer, &c., when he rose in his place,
as the Stead of SRepresentatime of Ser
_Mayesty’s qouernment in the louse of
/Fommons, ta frronounce a euloqy an the
recently deceased Duke of Wellingten, had
the umpudence ta repeat, word for word, a
wery bald translation of the elogé deliuered
ly Lamartine a few years fprewious, an ac-

THE HISTORY OF INK. 47

casion of the death of ane of the third-rate
marshals of Napfaleon I.

The D’ Fsraei family are eutdently
“some” of the children of Ssrael, utho, (as
ue are told on qood autharity,) when they
left Gayupt borrowed euerything. they could
get, and neuer, sa far as the record shows,
either returned the articles sa oltained, at
made proper acknowledqaments therefar.

The <~hinese did manufacture paper
from the lark of the small tranches of a
tree of the mutlherry. qenus, (Morus Multi-
caulis?) and alsa from ald raqs, silk,
hemp, and cotton, as early as the second
century. of the hristian era; and tt ts
suftfased that from them the sraks
deriued ther knoudledqe of paper-making,
an art uthich they introduced inta Furepe
in the foemer half of the twelfth cen-
tury, uhen the first fpraper-mull was rut
in operation in Fpaim, then under the
_Moortsh dominion; and, in 7730, this
article, as manufactured ly them, had
Lecome fameus throughout hristendom.

[We use the words strak and Moor tn-
discriminately here. The former is the
name of the race; the latter ts limited ta
that frortion found in_Northern Africa.
TDhe Moar is the strat of the West, (sl
Mogrel, Gl Ghart,) inthe straluc, denom--

nated Mocresyn,—a. word uhich in SKaman

48 THH HISTORY OF INE.

and ¢urofpean mouths has smoothed and
softened itself into a form suqqestiue of
‘ the ariqun. of Maurus and Mauritania. |

Neu, uutheut coming toa posite con-
clusion on this sulyect, ue feel authorized
fo. fronounce uthat appears to te a reason-
alle ofuunion, deriued fram all the facts
which we haue yust placed tefore the
reader,—that the introduction of uuiting-
fapfer among Furofeans, was the eccasion
and cause of the inuention and qeneral
employment of modern uvriting-ink ly
them.

The fact that the ueqetalle astringents
form a deef. of tlush tlack calor, uthen
comluned uuth a salt of won, had teen
knoun from time unmemorial. stmong
the SRomans, the atramentum . sutorium,—
“shoemaker’s ink,”’—was apflted ta a so-
lution of sulphate of ton employed ly
them, as it ts even to this day, ly workers
in leather, ta llacken the surface of that
material, TDhis tt does ly uniting chemi-
cally with the tannin.and qallic acid, ly
uthich the hide was conuerted inta leather,
uthose blackened particles are therefore
essentially identical uuth modern ink. The
“coppperas-uater”’ ts to. le found in every
shoemaker s. shofr, uthere tt 1s. used ta color
the cut edges of the heels and the rest of:
the sales,

THER HISTORY OF INE, AQ

és soon as the difficulty of uuviting
uuth conuentence and rafudity on paper,
uuth the ancient carbonaceous ink, became
manifest, the resort to. the atramentum suto-
rium as a substitute fork the atramentum
scriptorium, was. a matter of course, and mwas
hut a simple adaptation of a familiar sul-
stance ta a neut fpurhose, requiring no qreat
inqeniuty, and no tnuention uthateuer.

For atime, perhaps thraugh a period of
several centuries, a mixture of the twa
funds. of ink was employed ly the SRo-
mans; and this was undoultedly the lest
composition that was ever tnuented for the
fuurhose of deliherate, careful, eleqant
writing, designed and required ta te per-
manent and unchanqealle under constant
expasure and handling,—as in the case of
manuscript looks tefore the art of printing
was knoun. ¢uen as early as the first
century. of the Christian era, in. the tume of
Pliny the SYounger, and prokally long
Lefore that, a solution of sulphate of tron
was commonly or frequently. added ta the
cartonaceous and oleaqinous mixture uthich
we haue descriled as the otiqinal uriting-
ink, _In short, the atramentum sutorium
was. added, in moderate quantity, ta the
atramentum scriptorium, thus constituting. ut
@ CHEMICAL as well as a@ MECHANICAL uth.

Fo, modern ink. may ke impsoaued tn tlach-

50 THE HISTORY OF INE

ness, duralulity and leauty, and rendered
unchangealle in. calo¢ under the action of
the chlorides, acids, &c., ty the intermix-
ture of a small guantity of the uery finest
carton, tn the form of an unfralpalle pou-
der. +hut, the qreat difficulty ts—that the
carton. clogs the pen, and renders the ink
toa thick to flow easily, sa that wt can
neuer le used for rafud af ordinary uyriting.
We can not qiue, tn eur awn words, a
better account of this. matter than we find
in. the language of a uery. learned author
in the ¢dinlurgh SRewiew, (ualume 48,
Dec. 18 2S).

The article here cited ts entitled “ Tur
Recovery or Lost Weritines,”’ and ts
nominally a reueu of “Gan Instirutionum
Commentary: “\InstTiTUTES DE G‘AIUS, RE-
CEMMENT DECOUVERTES DANS UN ALIMPSESTE
DE LA BIBLIOTHEQUE DE CHAPITRE DE VERONE.
[3] JuRISCONSULTI ANTE-JUSTINIANEI RELIQUIAE
INEDITAE, ex codice rescripto Bibliothecae Vati-
canae, curante AneeLo Maio, Bibliothecae
ejusdem Praefecti. The article leqins on
frage 348 of this uolume of the Greweu.

MWe quote from paqe 3 6b ;— Fhe ink
which the ancients qenerally used, was
composed of lamp-ldack mixed uuth qum,
as we are informed ly Diascorides and
others, wha que the receipt [recipe?| for
making. tt. Ink of this kind may le

THR HISTORY OF INK. al

_ called carbone: tt possesses the aduantaqes
of extreme llackness and duralulity, the
writing. Kemaming fresh so long as the sul-
stance on uhich tt ts written exists ; tut as
tt does. not sink inta the paper, tt ts Lalde
lo. the qreat incanuentence of leing easily
and entirely. remoued; for, of a wet shonge
he applied ta tt, the writing may le washed
away, and no traces of the characters uull
Fema. Dhe facality with uthich docu-
ments. might le thus alliterated, qaue occa-
sion to fraud, as an artful forqer was alle
ta remoue such portions of the original
usiting as. he might desire ta qet rd of,
and thus. profit ly the aksence of material
words, oF tnsert in the llanks uhich he had
made, such interpolations as might serue
jus. turn. Many common. accidents, ly
uthich looks and writings were exposed to
wet, oF even to damp, were alsa fatal, or at
least highly tiyurious, ta. compositions and
muninents. of qreat value. /Various expe-
dients. uere therefore attempted to. remedy
an unferfection from uthich many must
haue suffered seuerely. Puiny informs us
that it was usual, in his time, to. mix. uine-
qar uth the ink, ta make tt strike into the
paper or parchment, and that tt, in some
deqree, ansucered the purpose. St should
seem that wittiolic tink, such as we use at
fresent, was alsa adopied soan afteruards,

52 THE HISTORY OF INK

which possesses, in perfection, the quality
that was desired of sinking instantly ite
the paper, sa as to make tt far more diffi-
cult te. discharge tt uuthout destroying the
texture on. uthich tt ts uritten, and of lLeing
frerfectly secure against water, ly uchich
Indian and other cartenic Inks are sa
easily effaced. It 1s not, housever, EQUALLY
SECURE AGAINST THE EFFECTS OF TIME; fok
uitriolic ink qradually fades away, tecames
fraler ly. degrees, turns lroum and yellau,
and ws. scarcely leqille; and sometimes, as.
the parchment qrous yellou.and lrounuuth
aqe, tt disappears altogether. 5 com-
found kind of ink came next into use, uchich
untted the aduantaqes and auotded the de-
fects. of the tia simple sorts. Sucha mixed
inte was. qenerally used for seweral centuries;
and uuth this, the manuscripts that are nour
most fresh and leqilde appear to haue teen
uuttten. ft ts eudent that the ink uuth
which the ortqinal works contained in the
Palimpsest manuscrifits that haue teen
deciphered were usritten, uzas at least in
fart witriolic: for the letters uhich had
Leen rulhed out were rendered legible by the
application of the infusion of galls Sn arder
to. remoue the original uyiting, the parch-
ments. on uthich the mixed ink. had teen
used were, prolally, first washed ta take
ff the carton, and thus partially to. efface

THH HISTORY OF' INE. 58

the characters,and were afterwards. scrafred
at rulhed with pumice, ar some other sust-
alle sulistance, ta com/lete the process
of destruction, ly. taking away mecha-
nically the color that the wtriolic pror-
tion of the ink still preserued. _Sft ts
Lut toa protalle that many manuscripts,
the characters of uthich were entuely
formed of the more ancient carkonic ink,
haue teen entirely. destroyed, the letters
hauing. Leen washed off completely, and ly
the same sunfile means. as the writing of:
a school-loy ona slate; uhilst the parch-
ment still remains. in. our lilevartes, and ts
couered with more modern compositions
uhich haue sacrileqiously and taa success-
fully. usurped the flace of more ancient
and more walualle matter. The tiurades
of eyril or of _ferome, ot the tawdry. elo-
guence of hrysostom, are perhaps firmly
estallished in quarters from uthence |? the
_Marqites of Somer, or the camedtes of
_Menander, were miserally dislodqed.

“- manuscript ts called Palimpsest,
from the adyectiue radMpnLaisros OF rariwnpnoros,
siqnifying. tusice rulhed,; not as the qloss-
ary. of Du ange (membrana iterum abrasa—
charta deletilis) uould seem ta denote, le-
cause the parchment had tuuce undergone
alvasure, of the uyiting. Leen tuuce olliter-
ated, Lut because tt had teen tuuce prepared

54 THE HISTORY OF INK.

for uriting, which was principally effected
hy ruldung wt uuth pumuice, first in the
course of manufacture, after the orginal
shin had teen cured, and again ly the
same frrocess, after the ariqinal writing had
Leen. taken away ly washing, ef in any
other manner, —Dhe strict and precise
sense of Palimpsest is. therefore ‘tuuce
prepared for uuiting,;’ the repetition of
such preparation. being the preuatling tdea
in. the etymology, and not erasure, as some
haue erroneously supposed, _St 1s said to
be easy to. remoue from modern parchment,
eshecially if uhat is written le of some
standing, all traces. of writing, ly ruldung
it uuth pumice, oF similar sulistances; and
Uf the surface ke afterwards polished, na
ane, ly merely. looking on it, uull ever supr-

ase that tt had exer been usitten upon,
hut, of tt ke washed ly an infusion of galls,
the letters uull te so. far restored, particu-
larly uf it le suffered ta remain same time
in. the light, that it may le cofuted ly a
patient and practiced person, utho 1s qifted
uth qood eyes:—sa deeply had the won
entered into the soul of the parchment!
If the erased letters uere uuritten in. a told
larqe hand, the task of deciphering. them
will of caurse le less troullesame, and the
results more sure. tnd such are the char-
acters. of the more ancient manuscripts ;

THE HISTORY OF INE. d6

for, the older the manuscript, the letter
and more leqilde is the uuiting, as ap-
froaching more nearly. ta the ages of
cudlity. and refinement. The method of
writing in old tunes ts alsa fauoralle, tt 1s
said, to the restoration of uorks afpar-
ently olditerated. Dhe scrite did not use
a flouung ink, nor a finely. painted fren, as
modern unriters. are wont; nok was. asm

guantity yeah so lightly and sparingly
as to dry ost as fast as tt touches the
paper. Dhe anctent ink. was. thick uuth
qum, and was supplied copiously ly a fen
uuth a lroad point, usually made of a reed ;
and the characters were painted rather than
written, the ink. rather resemlling faint ar
uwarnish than our thin lguor, sts they
Farely. usrote in Looks, tt was not necessary.
that the page should diy speedily, ar le
dried ly means of sand and tlotting-haper,
in. arder to. prenent the lass of tume, and
that the penman might turn over the leaf
ummediately ; the loose sheets ar leaues, an
the contrary, which were only ta te taund
up. uhen the whole was completed, urere
left to dry. slouly, sa that the poals of’ inte
which formed the letters, stood long on the
surface of the parchment; and that fart
of the fluid uhich was of a prenetrating
nature was. gradually alsorked, and sunk
deeply. into. the sulistance of the skin, sa. as

56 THER HISTORY OF INK.

ta freserue to us—if we le not wanting ta
ourselues in diliqence—many. frrrectous Fe-
lics of ancient lore. Dhe restoration of
the oriqinal usiting in a palimpsest manu-
scrifit uull ke lest explained ly referring to.
one of the many. kinds. of sympathetic ink,
which ts in truth, making. common ibe ex
post facto, or uniting the ingredients of
which wt ts composed, after the fact of
writing. Sf we ustte with water in uhich
cofpperas has teen dissalued, the letters uull
he wnuisilde; tut when the paper has. keen
washed ouer uth an infusion of qalls, they
ull appear qradually, and uull in tune
hecome tolerally leqille; the ink leing thus
formed upon the paper, although much less
ferfectly, than in the ordinary. macera-
tion.”’

Little or nothing. can te added to. the
full and elaborate history. of anctent and
modern inks which ts contained in. this
extract,—so thorough and complete in tts
analysis of the sulyect, and sa clear in tts
distinct statements of the results. of tnues-
tigations in uthich some of the mast acute
minds of Gurope haue long. been success-
fully. employed, that we uull not linger
ufron tt with mere uertal criticism.

SWe can not [enans a more striking
illustration of the change mn the compasi-
tion of inks about the time of the tnuention.

THH HISTORY OF INE. 57

of the art of printing, than ts furnished
ly. the annexed fac-simile of a page in the
BisiiaA Pavrervm, (“Bille for paar folks,’’)
the oldest printed Look in the world. This
extraordinary. look 1s. of uncertain. date.
(No printed look has a date prior ta
7457.) There are, as we telieue, only
tuto cofutes af it in stmerica, one in the
fossession of James Lenox, of New-/York,
—the other in the Astor Lisrary.

Dhe maker of this. took was the uncon-
scious inuenter of the art of frinting.
-/Woaed-enqraung was in use for aqes
before tt occurred to the mind of man that
a letter might ke as easily reproduced tn
that way.as a ficture or fiqure. Do. con-
uey scriptural history to the minds. of the
common. freafile, the wood-enqrauers (uthose
art was. tnuented toa multiply and cheapen
the production of PLAYING - CARDS) made Lit-
tle fpuctures. representing. scenes. descriled,
and euents narrated, in the Rille. For
the lenefit of the few uha could read, ut
was customary. to. urite on the marqin, oF
at the foot, of the page on uhich the wood-
cut was. printed, a feur wards. descriptinue
of the sulyect ar alyect delineated. This
was. almays done uuth a pen, ly a reqular
sctilie, until, one day, tt occurred ta the
wood-enqrauer employed on. the Biblia Pau-
perum, that these words might le as. easily

58 THH HISTORY OF INE.

enqraued as the fiqures ta which they
referred, and of uthich they were the ohehe
nation. Sle put that idea in practice: and
in. an instant the suldime ART OF PRINTING
was. an “accomplished fact.’

The aduocates of the claims of Hoster,
fgansefleisch, (or <gutenkerq,) Faust (or
FGust,) and Fchoeffer, ta this tnuention,
haue wasted much lalkar in lringing forth
conflicting testumony. alout them. The
long-forqotten and nou wholly unknown
utood-enqrauer of the Biblia Pauperum had
frreceded them luy half: af a qeneration.
Such looks were in existence tefore 4. D.
7420; and the earliest date which the
Ca ee Dutchmen set uf. for the first
frrint ce Fai ther Jellow-townsman, Lau-
Fence Hosters, ts eae. tnd his. preten-
sions are after all uery. duluous. Indeed
they haue teen qenerally condemned as
utterly. falulous lu lukhographical CHILEICS.
and t ‘YU pographical huistoMans.

e introduce tt here to. shout the color
and the (therely wndicated) composition. of
the 1nK employed. _St was writing-ink.
St contained sulphate of tron (copperas),
in. comlunation uuth ueqetalle astringent
matter, and with wery little carton. The
ueg wteckehe sulistance, unfperfectly united to
the mineral ingred.ent, has (in oledtence to
the laws of arqanic matter) keen decam-

THE HISTORY OF INK. 59

frased and “resalued into tts ariqinal ele-
ments.”’ _It has disappeared; lut the
mrRoN Femains uuth its yellow stam, an
umperishalle memorial of that humlde,
nameless workman, more enduring than
that uthich the flaintiwe man. of lz de-
sired; for if thase utards had keen “qrauen
uth an ron PEN and lead in the rock. for-
ever,” that anticipated eternity. might haue
faded of realization ly the action of the
rain, the frost, the dust, and tnnumeralle
umaqinalle atmosphere uictssitudes, ats,
(what 1s worse,) “the wrath of man.’’—
Fome amlyses might haue demolished
the rock ttself, and left no more of the
inscription than can nour te read of those
ance carued on the cliffs of Gdom, the 4,od-
created walls of Petra in the ualley. of
Ei Guor.

Fhis pale rusty. word-STAMPING an the
fraqile and easily. camlustilile paper, has
autlasted the inscriptions ance wisilile in
quqantic characters. on the four sides af the
Memphitic pyramids; and it ts only an
incidental result of the intelligence diffused
and the learning. promoted ty the nuention
thus lLequn, that we can naw read the lanqg-
buried records of Nineueh, the efttaphs
of the Dhekaic kings, and the qrauings on
the precipitous fronts. of the mauntains
which surround the ruins of Persepolis.

60 THE HISTORY OF INK

Stl writers upon this sulyect haue
strangely ouerlooked the fact that the art of
impressing oF printing letters uuth a metal-
lic stamp of type on parchment, as a sul-
stitute for pen-work, ts alout a thousand
years. alder than the period aloue specified
as the date of the tnuention of the modern
art of printing. -Dhe Copex ARGENTEUS,
(the oldest translation of the entire Bille
inte any. Guropean lanquage,) ts a famous
look, in the Lilvary. of the SUniwersity of
Stlpsala in Pueden.

(We que the particulars of its history
inour sthpendix.)

This “antique” ts on purple vellum,
(which is parchment made of: calf-skin,) and
all the letters are siLvER, (uthence the name
fgodex trqenteus, the “siluer laak,’’)
manifestly unfressed an the page ly a
metallic stamp. oF type, each letter eu-
dently teing on a separate stock ar handle,
and applied ly manual pressure. /We
que a specimen of this style of work. St
may te called printing, tut can not ke
denominated manuscript, for that ts (liter-
ally) “hand-uuiting,” uhich this. certainly
ts not. |

In our Appendix may. te found still
earlier instances of this art as practiced ly
the ancient FRomans on a small scale, in
siqnatures, trade-marks, Ke.

THE HISTORY OF INE. 61

The Gdinlurgh Rewiew refers ta Pliny
and Dioscorides, as furnishing directions
for the manufacture of ink. —Dhe ¢din-
burgh Reuteuwer says “receifits,’’—not re-
coqnizing. the lroad distinction ketween a
receipt and a recipe. The former of these
two words was originally intended ta con-
uey the idea that the person ucha siqns the
paper has got something: the latter ward,
ar its Fepresentatuze initial (%) means sim-

fly, “take.”
The directions of Pliny are in the fol-

louung usords :—

CG. Plinii Secundi Historia Naturalis.
Lib, XXXV, §25.
ATRAMENTUM.

fitramentum quoque inter factitios erit, quanquam
est et terra gemine originis. fut enim salsuginis
modo emanat, aut terra ipsa sulphurei coloris ad hoc
probatur. Inventt sunt pictores, qui e sepulcris car-
bones infectos effoderent. Importuna haec omnia, et
novitia. Lit enim e fuligine pluribus modis, resina
vel pice exustis. ropter quod, officinas etiam aedifi-
cavere, fumum eum non emittentes. Laudatissimum
eodem modo fit e tedis. f#dulteratur fornacum balnea-
rumque fuligine, quo ad volumina scribenda utuntur.
Sunt gut et vint faecem exsiccatam excoquant ; adfirm-
antque, st ex bono vino faex fuerit, Indici speciem id
atramentum praebere. Polygnotus et Micon celeber-
rimti pictores #Hthenis, e vinaceis facere: tryginon appel-
lant. #pelles commentus est ex ebore combusto facere,
quod elephantinum vocavit. Adportatur et Indicum,
inexzploratae adhuc inventionis mihi. Fit etiam apud

62 THE HISTORY OF INK.

infectores ex flore nigro, qui adhaerescit aheneis cortinis.
fit et e tedis ligno combusto, tritisque in mortario car-
bonibus. Mira itn hoc seplarum natura: sed ex his
non fit. Omne autem atramentum sole perficitur, li-
brarium gummi, tectorum glutino admizxto. Quod
autem aceto liquefactum est, aegre eluitur.

( TRANSLATION.) ,

“Ink (ar Literally) Buackxine.—_Snk. also
may. le set doun among the arttfictal (or
compound) druqs, although tt ts a mineral
deriued from tuto sources. Gat, tt ts some-
times. deuelofped in the form of a saline
efflorescence,—or ts a real mineral of sul-

ureous colo¢—chasen for this purpose.
There haue teen painters who dug up from
qraues. colored coals (cArBon) hut all
these are useless and neuw-fanqled notions.
For tt ts made from. seat tn various forms,
as. (for instance) of lLurnt rosin aF ftch.
For this purpose, they haue luult manu-
factories not emitting that smoke. The
ink of the very lest quality 1s made from
the smoke of torches. stn inferior article
is made from the saoct of furnaces and
hath-house chimneys. There are some
(manufacturers) alsa, whe employ the dried
lees of uune; and they vo say that if the
lees sa employed were from good uune, the
guality of the ink. ts thereluy much un-
fproued. Polyqnotus.and Micon, celelrated
fainters at stthens, made ther klack paint
from lurnt qrape-uines ; they qaue tt the

THE HISTORY OF INE. 63

name of TRYGYNON. APELLES, we are told,
made us from lurnt wory, and called it
elehhantina “wory-llack.’’ _Sndiqa has
been recently. unported,—a sulistance uthose
composition £ haue not yet mnuestiqated.
The dyers. make theirs from the dark crust
that qradually accumulates. on. brass-ket-
les. Ink is made alsa fram torches (pine-
knots), and fram charcoal pounded fine in
mortars. “The cuttle-fish” has a remark-
alle quality in this respect; tut the color-
inq-matter which it produces. ts not used
in. the manufacture of ink. All ink ts
umproued ly exposure ta the sun’s rays.
Fhook-uriters’ ink. has qum mixed uuth tt,
—weauers’ ink is made uf. uuth qlue. nk
uthose materials haue been lguified ly the
aqency of an acid is erased uuth qreat

difficulty.”’

This. sounds. uery. much like nonsense:
but ct is exactly uhat the ‘Great Natural-
ist,””? Pliny, meant when he urate all that
he knew, and protakly all that was then
known on the sulyect of ink, tlack paints
and dyes, and uery dark-colored. fluids
qenerally, uthich usere then employed ky
frainters, dyers, weauers, writers and phy-
sicians. Jo make his chapter on this sul-
yect fully. intelliquile ta us, uce must lear in
mind the fact, that the qreat science af! Che-

64 THE HISTORY OF INK

mistry had na existence till many centuries
after Pliny urote. tnd thus, it neuer
occurred to. him that there was tut one
sulistance, (nou. knoun ta te elementary,)
CARBON, which qaue the quality of lack-
ness to. all the materials uthich he names,
uth the excefptian of one salt of capper,
and frokally ane of wen, (the sulphate,)
and Inpico, a purely. ueqetalle substance,
the dried coloring matter of a plant in
India, (Indicofera anil,) and named ly the
SRomans from the country. that produced
it, and first made itt known ta them.
Pepawnius Dioscoriwes, torn in stnazar-
bus, (a city of ¥ilicia, akout fifty miles
from Tarsus, the lurth-place of the fhastle
Paul,) usrote a look on the Materia Me-
dica, or the qualities. of druqs, a little after
thetime when Pliny composed his Natural
Slistory. _Netther of them seems ta haue
heen acquainted uuth the writings. of the
other, fthparently, they lined, wrote and
died nearly. ot actually. cotemporary, in the
same emfure, utterly. tqnorant of each
other's. existence,—though they are now
uniuersally recognized as the twa mast
eminent usriters of all antiquity. on the
sulyects of Natural History and the Ma-
terra Medica. TDhey loth liued in the
reign of Nero, and the date of the actiue
ar middle part of loth thew lues may ke

THR HISTORY OF INK. 65

Feasonally placed at of akout the year
700 of the (Christian §¢ra.

From Dioscorides to Linneévs, (in the
last century,) the Materia Medica made
no. actual progress. and recetued na sctenti-
fic unfrauement ; yet, eminent as 1s Dias-
corides, he uas so little known to his oun
qeneration af that next following, that it
is nou. unpossilile to. ascertain. the exact
date of his. lurth oF of his death, or any
facts in hus. life, tut that he urote two
Looks, of which that here quoted ts the
lest known, and has made him knoun
7700 years after his lurth.

(We may. mention that this Dioscarides
was, in na tracealle deqree, related ta the
herson of the same name, whose manu-
script we haue cofited in our lustrations
as the aldest extant shecimen of Greek
ink-uriting. )

We que a translation of his titef but
complete description of the ink used in his
time, and the Latin uersion, that thase
uha uush may. satisfy themselues of the
correctness. of aur rendering. ft uull le
seen that tt accurs. at the clase of the qreat
work, of Diroscorides :—

fitramentum, quo scribimus, e fuligine taedarum
collecta conficitur. In singulas gummi uncias ternae
fuliginis unciae adjictuntur. Fit etiam e resinae fuli-
gine et pictoria illa modo dicta, Hujus fuliginis au-

denied

66 THH HISTORY OF INK

tem sumi oportet minam unam, gummi sesquilibram,
taurint glutinis et chaleantht singulorum sesquiun-
clam Idoneum est ad septica; et confert ambustis ex
aqua paullo crasstus inunctum et tamdiu dimissum,
donec cicatriz obducatur, sanatis nimirum ulceribus
sponte sua excidit.

fitque jam, carissime free, tum pro operis modo,
quem proposueramus, tum pro materiae auxrtliorumque
copia, quam colligere licuit, hucusque dicta sufficiant.

Libri quints et ultimi de Materia Medica finis.
Pedanii (Dioscoridis Anazarbet (De Materia Medica.

[TRANSLATION.] ,

[Dhe| “Ink with uhich we uwtite ts
composed of the soot of torches, collected.

“ Fo each ounce of qum, add three of
soot.

“ St 1s alsa made of the soot of resin
and of that lately called ‘painters’ llack.’
Of this. soot, houeuer,—take one minA,—of
qum, half a peund,—of ox-qlue and of
cofiperas, each, half an ounce.

“ St is a qood application im cases of
qanqrene, and ts useful in scalds, of a Little
thickened and employed as a salue, and
permitted to remain until a neu cuticle ts
formed, uthen tt uull spontaneously fall off
from the healed sore.

“And now, my. uery dear streus, in due
proportion to. the uorke uhich we had un-
dertaken, and the quantity of the materials
and contrilutions which we could qather,
uhat we haue thus far said must suffice.

THE HISTORY OF INE. 67

“End of the fifth and last look on The

Materia Medica.

[ The took] of Pedanius Dioscorides on
the Materia Medica.”

SWe haue followed the text of Hart Got-

leith Kuhn. Medicorum Graecorum, opera quae
extant. Leipzig, 182.
Stmong the fantastic trifles. uuth uhich

EAN Swirt was accustomed ta amuse his

leisure, ts a little string of uerses. on. this
sulyect uhich are ng toe , not as. being
of any poetic merit, Lut as a “curtosity. of
literatusre’’—not out of place here:—

On Suk.

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. eink: her to-a: 3% om

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.

Pil 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,
And fairly show a reason why

There should be quarrels among kings.

4

68 THE HISTORY OF INK

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.

MWe find also in Pope's efutstle of Seloise
to. jthelard an allusion ta the power of
letters as conueying tdeas, uthich seems
appropriate in this connexion as lustrat-
ing 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 qenius of Brron(ina playful flash)
has tlluminated our sulyect uuth 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.

SA less distinquished poet has, in ex-
fressiue, and thaugh tn guatnter, humller,
yet in nolde strain, said uthat ts 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. —

,

THH HISTORY OF INE. 69

Cexisus, wha lied in this uorld, alout
the commencement of the ~hrstian. era,
has. left a little memorandum. en this sul-
gect uthich 1s worth quoting.

We quue his. words entire :—

There are twa kinds of lald shots
acewrring on. the human head,—one of them
a taldness which creeps ouer the scalp like
a. serpent,—the other shouung itself in the
form of round sfaces uncouered ty har
Fome recommend the use of acrid uritant
articles, comluned uuth oils, &c. ut
there is. nothing letter for you than to haue
the lald place shaued every. day uth a
[uery. dull] razor, and, after hauing. done
that, you needn’t do anything else tut ruk
on. the filace thus shaued a little atramen-
tum sutorium—(“shoemakers’ ink,’’ “cop-

reras-uater,’’ —[ solution. of the Di-proto
sulphate - the (per) sesquoxyd of wan].

The editor of the printed copy of the
edition. ef the works of Autus CorNELIvs
Cexsus uthich was printed in Padua, made
a material error on this point.

The word “sutorum”’ (being untntelli-
qilde to. the tqnorant monk utha superin-
tended the printing) was changed to.“ scrip-
tartum,”’—that is, “writing-ink,”’ instead
of “shoemakers’-ink.”” _$t ts usell-kenoun
that a solution of copperas properly. made,
uull remedy ar preuent premature taldness ,

70 THE HISTORY OF INK.

but we assert that no guantity. of lamp-
llack, and qum, oF qrease, uull ke found
effectual far that purpose.

In the time of f¥elsus, the sulphate of
won. (copperas) had not yet kecome an
essential ingredient of uuiting-ink; and
even after that its comlunation uuth car-
Lonaceaus and aleaqinaus. matters. entirely.
neutralized the fpouer which renders it
applicalle and useful in such cases. ‘

CONCLUSION,

MWe haue thus herein attempted the ful-
filment of! the promise (uth uthich we
leqan) to. produce a “ History or Inx,’’—a
thing. neuer before dane af even froprased to
ledone. Sf not successful in our attempt,
ue hape that we haune at least, in this little
Look, furnished hints and suqqestions on
this. sulyect uthich the learned may employ
hereafter uthen the history. of this umpaor-
tant material of histery shall lke under-
taken and executed on a larqer scale. _In
uieut of which possilulity, we may, uuth a
fardonalle self-qratulation, say,—in. the
words. of Martin Luther, —“/We haue

THE HISTORY OF INK. 71

quien to other and higher sfurits. occasion
ta reflect.’

FRut ute are loth ta leave this sulyect
(uthich has qroun inte our affections as ute
haue duelt upon tt) uuthout qwing allow
oF a kick to one monstrous absurdity uthich
has preuatled among the learned, “ falsely
so-called,’’—from. the tume uhen the _fe-
suits. returned from ehina uuth ther
“edifying and curtous”’ tales akout the
huge antiquity of all the arts and some of
the sciences of cuulzation among the peo-
file of what they called the “ elestial
gmfure,’—a term wholly unknown ta the
(hinese, in any form of uartation of ex-
/t¥esslon.

The simple facts are that—the ¢hinese
deried their knoutledqe of InK (of! writing
uth a colored liquid) from Gurope. Fo did
they olttain ther knoutledqe of the art of
printing, carried to them ly /Venetian tra-
uelers, “auerland,” yust at the moment
before the clumsy engraued utood-llacks
were sufrerseded ly the mouealle types of
Winachioiceh oF Gutenlerq. Fo usas tt
uuth the Mariners Kompass, the manu-
facture of qunpowuder, and all ther toasted
“nuentions, —amonqg uhich may. te in-
cluded their calculation of eclipses lLack-
ward through falulous cycles of! centuries,
and the morals of Gonfucius or Hang-foo-

72 THE HISTORY OF INK

tsee, a mythical personage unmentioned in
the history of f¢hina until the contents of
the Neu Jestament had teen made
knoun there,—and that—many aqes after
the date of his supposed life and death.

Shut for ther deriuation and appropri-
ation oF theft of the qreat arts from the
Nest, the fZhinese and all Orental nations,
from the ¢uphrates ta the Pacific, includ-
ing. the fapanese, would have remained
fa this day in the condition in uthich the
Mexicans and Peruuans were found tk
the Spansh and _Stalian rokhers utha first
explored the /Western Semisphere, and
murdered its inhalutants for ther land, and
the fruits and the qold and siluer of that
land.

SWhateuer arts the ¢hinese or fapanese
or fesuts may, haue tnuented ar fpreserued,
the art of TELLING THE TRUTH ts. eitdently,
to all of them, one of “ THE LOST ARTS,’—
lost rvetrievally. and foreuer!

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SeAipeaeds x 6075 Ley eb
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DESCRIPTION OF THE PLATES.

—S ROEIDERD.OUS—

No. 1.— fac simile of the oldest Hieratie writing
extant—about the 15th century Bf. C. Lhe hawk
(the emblem of Wivinity) and the man stand on
something that ‘teters’—-the circle between them
(a serpent biting its own tail) is the ancient symbol
of eternity. Lhe Weity overbalances the man.

No. 2—From a Greek MB. buried at Herculanewm
in the year 29 B.C.

No. 8.—Written on papyrus in Egypt, in. the &d
century B. C.

No. 4.—Written on papyrus 260 years B.C.

No. 5.—Specimen of a Palimpsest copy of Cicero’s
“ Pepublic” in the Vatican Library.

No. 6.—Phenician writing on papyrus.

No. 7.—From a CPentatewch in the Bib* Naté
Paris, #. DW. 450.

No. &—From a Greek Copy of the Book of Genesis,
written in gold on purple vellum, # W@W. 400.

No. 9.—From a MS. on papyrus written in Hgypt
6a century B£.C.

No. 10.—From a Charter of Childebert III. A. @.
708.

No. 11.—From a Charter of Charlemagne, about
eC). 7&S,

No. 12.—From a Charter of the Himperor Conrad I.
B.D: QFE.

Fe

2)
os
oh

DESCRIPTION OF THE PLATES.

—SRMNBS ERMAN —

No. 1.— fac simile of the oldest Hieratic writing
extant—about the 15th century B.C. Lhe hawk
(the emblem of Wivinity) and the man stand on
something that ‘teters”’—-the circle between them
(a serpent biting its own tail) is the ancient symbol
of eternity. Lhe Weity overbalances the man. |

No. 2—From a Greek MB. buried at Herculaneum
in the year 29 B.C.

No. 8.—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
“ Pepublic” in the Vatican Library.

No. 6.—Phenician writing on papyrus.

No. 7.—From a Pentateuch in the Bib* Nat+
Paris, #. OD. 460.

No. &—From a Greek Copy of the Book of Genesis,
written in gold on purple vellum, # W. 400.

No. 9.—From a MS. on papyrus written in Haeypt
8a century £.C.

No. 10.—From a Charter of Childebert III. £. @.
708.

No. 11.—From a Charter of Charlemagne, about
Rod... T&S.

No. 12.—From a Charter of the Eimperor Conrad I.
ff. DO. IRE.

2 @MESCRIPTION OF THE PLATES.

No. 18.—Specimen of “ Roman Saxon,” #.@. 600.

No. 14.—From a Charter of WMagobert IL. about
me CD. 080. |

No. 18.—From an early Gelic MB.

No. 16.—From a Weed of William the Conqueror.

No 17.—TLhe monogram signature to a Charter of
Charlemagne, about #.0. 7&5.

No. 18.—From a Charter of the reign of Hugh
Capet, A.@0. 9&8. |

No. 19.—From a Weed of Henry I.

No. 20.—From a Weed of Stephen, dated #. O.
1189

No. 21.—From a Weed of the reign of Richard I.

No. 22.—From a MBS. of Wyckliffe’s translation of
the Huble.

No. 238.—‘ Set Saxon,” A. O. FSO.

“ Qui sub Pontio Pilato crucifixus est, et sepultus, tertia die resurrexit.”

No. 24.—From a Charter of Sebbi, King of the
Hiast Saxons, #. WD. 664,

“ Ego Sebbi Rex East Sax (onum) pro—confirmatione Subscripsi.”

No 28.—Part of a Charter of Alfred the Great,

f.@0. &00.
No. 26.—From a Charter of Hdward the Confessor,
ft. D. L045. |
No. 27.—From a Weed of the reign of Edward I.
No. 28.—From a Weed of William the Conqueror.
No. 29.—From a Weed of the reign of Hdward III.

Edwardus Dei gratia Rex Anglias Dominus Hibernia, Dux Aquitania, &c.

No. 30.—From the Will of William Mikelfeld,
Nov. 7, 1489.

No. 81.—From a Weed of the reign of Hdward IV.

No. 282.—From a Grant by William Wallace.

No 83.—From a Weed of Richard III.

@ESCRIPTION OF THE PLATES. 3

No. 84.—From a Weed of the reign of John.

No. 85.—futograph of Lord Macauley.

No. 86.—From a Weed of Henry VII.

No. 87.—From an English translation of the
works of Chauliac, #. DW. 1400.

No 8&—From a Weed of Henry VIII.

No. 89.—From a M8. 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 Hrittany, 1514.

No. 42.—Signature of “ Bayard,” the Chevalier.

No. 48.—Letter from Charles V. to Francis I.

No. 44.—Letter from Calvin, 1589.

No. 45,—Letter of the Harl of Hssex, 1567.

No. 46.—Letter of Copernicus, 1472.

No. 47.—William H. Prescott.

No. 4&.—Letter of Charles the XII of Sweden.

No. 49.—Rosseau, 1757.

No. 50,—Letter of Hrasmus, 1476.

No. 51.—Letter of Queen Hlizabeth to Henry IV
of France,

No. 52.—Christina of Sweden, 1626.

No. 85.—Charles I. to his sister.

No. 54.—Oliver Cromwell, 16428.

No. 55.—Quke of Marlborough, June, 1706,

No, 66.—Lhe Hmpress. Catherine II. of Russia,
July, 1778. /

No. 57.—Washington, 6th Sept, 1788,

No, 58,—Lowis XVI, June 80, 1778,

No, &9,—fobespierre,

No, 60,—Napoleon ta Soult,

4 @MESCRIPLTION OF THE PLATES.

No. 61.—Wellington, June 19, 1818.

No. 62.—Lord Byron, Nov. 4, 1821.

No. 638.—Voltaire, July 29, 1757.

No, 64,—Edmund Burke,

No. 65.—William Pitt, March 27, 1808.

No. 66.—Wellington, April Z1, 1884.

The colored engraving is an illustration of the
picture writing of the Mexicans, from Lord King's-
borough’s great work. Lhe blue border represents a
series of years, distinguished by the dots. Lhe com-
partment 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 con-
nected with each special year by means of a connect-
ing line. The additional symbols have different
significations—that of the flower signifying @ cal-
amitous year, Ye. In this plate King #eamapich is
represented in the first and sixth year of his reign;
at the top of the page are warlike instruments, sig-
nifying his preparation for war; the figures below,
on the right, are the four cities— Quahnahwac,
Mezquic, Cuitlhwac 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 #camapich, each distinguished by the
iconegraphic 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 arch-

bishop 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. |

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FORM OF THE WORD INK

IN DIFFERENT LANGUAGES

Hebrew: 7)
tChaldaic:— wy pYO
Sanskrit: wer

Greek: Mtiay/Melan/

Latin :— ATRAMEUTUM/Scriptorum/

Mediaeval Latin: ENCANSTUM

China 3s ™K wiv SHWUY liquid Inke/
» win (Chinese Ink: /

Canton dialect: MAK SHUY

Hindostan “ft KALI

Bengal: Sq} KALI

ShIRGACSC: Ae

Burmese: 9€

Malavhim: oe |

Maratha: IN%

Forsta:_pwo StYAHI

STUIC : om

Turkey: Sy MUREKKEB

ATMENIA: Yeah

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'N DIFFERENT LANGUAGES
Thibet: YE

al
Anamitec: MUC VIET

Malay :2\,) DAWAT

Sapar WK I

Java :—_ MANULYSAN

Lgvpttan :_ BRKOST

Coptic :_ RPHOTT

Ancharic :_ ®?AF?

Algerian pe SIME KH
ASdhiopic: InP?

Arabic: P&™ WBR,HIBR, HIBAR,
French :_ EWORE Virion 2M, |
German: fiuta (Tinte/ eran /INK
Spanish : TINTA |
fortiugese:— TINTA

Italian :— INCHIOSTRO
Predimontese :_. \NCIOSTR-

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Hungarian: TENTA
Funda orArgolense: TINTA
Bohenua.— (\NGAUST
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Silyrian: _ \NGOAS

Danish: BLEC —

Swedish: — BLACK
Laplandish : BLEKK
Greenlandish: BLEK
lcelandish: BLEEK

Enilish : _ INK fps sient “sy INKE YNKE
Nelsh:._ DU, ENGE

Guctic: DUBHADH

Trish: —Oub. DUBH

Peruvian’. YANATULLPU
Chilian . CHILLCAMOM
Mexican: TALLI

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4