Transcriber's Note: The Table of Contents is located at the back
of the book on page 139.
* * * * *
THE PROGRESS
OF THE MARBLING ART
FROM
TECHNICAL SCIENTIFIC PRINCIPLES
BY JOSEF HALFER
WITH A SUPPLEMENT ON THE
DECORATION OF BOOK EDGES
Translated by Herman Dieck, Philadelphia
BUFFALO, N. Y.:
THE AMERICAN BOOKBINDER CO.
1894.
Copyright, 1893,
By LOUIS H. KINDER.
PREFACE
TO THE FIRST EDITION.
No product finds so many and ample applications as color. Nearly every
trade requires it for the decoration of its products so as to adapt them
more generally and pleasantly to the present demands.
The art of marbling is that branch of our trade, in which color is
brought into use for the decoration of bindings, yet it has not found
the desirable general introduction into our book-binderies because
practical men have not so intently employed their time and endeavors, to
overcome the difficulties, which resist its general application.
Who could solve easier and more correctly than the mechanics, to whom
these difficulties and obstacles offer themselves in practice? He is the
only one to find the remedy, scientific men not possessing sufficient
technical knowledge. Only he is ready and able to stand up for such
special trades, to work and to fight for them, who is himself interested
and who not only learned to understand the art of marbling from former
instructions and traditions, but from his own practical experience.
To him only, will it be possible to gain by close study true points, on
which to further develop the whole subject.
My original plan was, not only to remove the technical difficulties of
the art of marbling, but also to ascertain the correct colors from the
mass at present manufactured, for the purpose of manufacturing marbling
colors.
But in this I did not succeed as easily as I expected. Every color
manufactory possesses another system to produce its products, and after
thousands of experiments I was finally forced to resort to chemistry for
the purpose of gaining a knowledge of the raw products viz: earths,
metals, acids, bases and their conditions and qualities in order to
study their compositions and precipitations, the coloring composite of
lake colors and their bodies, and to subject them to investigation on
their effects on marbling size.
This was a tiresome work which demanded much patience and pertinacity.
During these investigations, I have learned to know the influence of
sizing upon colors and how it hindered or expedited a beautiful marbling
or comb edging.
Through these experiments I unexpectedly gained a certain knowledge
which enabled me to overcome the technical difficulties of the marbling
art. The greater the difficulties the more they aroused my zeal to
surmount them and the greater my joy when victory was won. During my
investigations I saw, that not the color itself, but its body, to which
the color is bound either in a natural or chemical way, forms the
important part of the colors necessary to our purpose. No branch puts so
many critical demands upon the preparation of colors as the art of
marbling, because, aside from the most careful grating which can only be
done by using the best of painter's colors, there must be a great power
of divisibility and excellent covering qualities so that the pigments do
not turn pale by the propelling power of the ox-gall expanding on the
size, but retain in a dry state, their full lustre. It is therefore
impossible without a more thorough knowledge of the chemistry of colors
to find from the legion of colors, which are thrown upon the market, the
ones best adapted to our art. So much more so as, in most recent times,
by simplification in the manufacture of most colors their quality, for
marbling, has most essentially deteriorated.
Colors which are used for painting, lithography and printing with the
greatest success may be entirely unfit for marbling. The cause is not to
be found in their preparation for our purposes, but in the manufacture
itself, as the qualities, which are indispensable are not known.
The main attention in the manufacture is directed to the finding of
colors free from poison and which will not fade, when exposed to light,
if they are intended for a wholesale consumption in painting and the
graphical art.
All colors which we intend to use for marbling purposes must have body,
because bodiless colors become mixed with the size and run off from the
paper in marbling, they therefore can be designated as useless for our
purpose. The most important composite parts of colors for marbling are
certain substances, among which hydrates of argillaceous earths, tin and
lead oxides and sulphate of barium are named as the best.
A great number of coloring matters of organic origin, which are soluble
in water, have the propensity in mixing with a solution of salts of
lead, tin, and argillaceous earths, with a metallic oxide to form a
compound which is soluble with difficulty (and is termed insoluble,)
when the latter is precipitated from the solution by an alkali. The
precipitations which are obtained in this way are known as lake dyes. Of
greater importance for the quality of the marbling colors are the
physical conditions of these precipitates, they are either crystallized
or amorphous, the former not possessing any value to us.
The serviceable, i. e. the amorphous precipitates, by their quality of
great divisibility give excellent colors.
Among the great number of numeral colors there are many which in spite
of their amorphous properties are bad marbling colors, such as the
compounds of copper, zinc and arsenic. Often it depends upon the manner
of manufacturing, even if the color have a good body whether it can be
used by us, as, for instance, white lead and barium both of which can be
produced as good or useless colors.
The general idea, that light colors are the best, is erroneous, even
heavy oxides of metal being excellent colors. Not in weight but in
divisibility rests the excellence, for instance I mention pure oxide of
iron, cadmium, sulphate of mercury and mercury iodide. These are all
heavy metallic oxides and good colors.
Exclusive of the colors the different ways of sizing are most essential
parts of marbling. They exercise a great influence on the success of
beautiful edges and for that reason I directed my closest attention to
them. The more homogeneous and the smaller the viscosity of the mucilage
of the sizing, the better for comb, peacock and bouquet edging.
Marbled and veined edges demand more viscosity of the mucilage, which,
if the sizing does not possess it, is usually formed during the first
stage of decomposition, when the normal time for using it for comb edges
has passed. I will mention further on the ox-gall and the sprinkling
water, which are indispensable on account of their binding and expanding
powers for the purposes of marbling.
It is an easy manipulation to prepare ox-gall, so that it does not
decompose, but on the other hand a much greater attention must be paid
to the binding and expanding powers of the same, as they may have, in
spite of its excellent qualities for color, by insufficient caution in
their handling the most deleterious influences on the colors as well, as
on the sizing and in most cases are the causes of the failure of the
edging. There are several substances, which possess qualities similar to
ox-gall and many others which possess only its expansibility.
To the former belong resins which are insoluble but which can be
dissolved by the addition of ammonia or borax, to the latter fatty acids
of alkali, which we know by the name of soaps and which I shall describe
in the article on ox-gall.
Sprinkling-water is mostly used on account of its greater expansibility
and its propensity to form circular spots on the marbling ground,
(sizing) for veined edges, or as an addition to the ground color of the
marble edge. Although it does not possess the binding power of ox-gall
for colors in such a degree, it is nevertheless, worthy of our
attention. It was the aim of my investigations during many years to
bring this all into a harmonious ensemble, and produce a fine and paying
work.
In composing this book, I have aimed to arrange it in such a way, that
it will be a guide not only to the uninitiated, but also to the
practical mechanic. For this reason the book will only give such methods
of the marbling as will be crowned with sure success and which have
given me satisfactory results.
As books, which are intended for practical men, can only obtain an
intrinsic value by combination of facts, gained by practical experience,
with scientific principles, I have attempted to attain this object and I
hope to have created a lasting work of our trade-literature.
Budapest.
JOSEF HALFER,
BOOKBINDER.
May, 1884.
PREFACE
TO THE SECOND EDITION.
It is a pleasure and a satisfaction to every author to write the preface
to the second edition of his work, as the sale of the first proves
sufficiently, that it has found recognition and commendation.
In the second edition, I have given the results of my uninterrupted
studies and the new observations I have made during the last five years.
It is my hope not only, that I shall make the study easier to the
inexperienced, but also to offer to the experienced marbler a practical
compendium in cases of frequently arising difficulties.
The publisher of this new edition has added to it a number of samples,
which were collected under my supervision and which certainly will be
highly welcome.
I hope and wish that the new edition with its practical arrangement,
with its description of my newest observations and with its tables of
samples and the other additions and improvements, will find the approval
of the trade and will increase the number of friends and patrons of the
marbling art.
Budapest,
Very respectfully,
JOSEF HALFER.
October, 1890.
HISTORICAL.
HISTORICAL.
Every branch of industrial art possesses its champions and originators,
who have employed their whole intellectual and physical powers to solve
problems for the purpose of enhancing and furthering their material
welfare.
Often from small beginnings, within a longer or shorter period of time,
great enterprises spring into existence, which greatly further our
development in culture, science and arts, and are blessings to the whole
civilized world. The material welfare arising from them renders it
necessary that new champions continuously enter the arena and combat in
the cause of progressive industry.
The industries of color and paper making which play most important parts
in the art of marbling shall be the first subjects of my essay.
The paper industry which is very highly developed will have a much
better future on account of its possibilities in the line of
improvement. To-day, in the iron-age, we speak of a paper-age, and for
good reasons, because there hardly passes a year which does not bring
new discoveries, showing the extraordinary adaptability of paper. One
branch of the paper industry which to-day is considered as an especial
part of the industry is the manufacture of colored paper, the origin of
which, as far as our literature is able to state, extends as far back as
the first part of the last century.
From it springs the art of marbling, which in latter years was
introduced into our trade.
The manufacture of colored paper makes a second branch of industry
indispensable and one which stands on as high a stage of development as
the paper industry; this is the manufacture of colors, which deserve the
greatest attention on our part on account of the marbling art.
There is hardly a second branch of chemistry which is of such a great
old age, historically proven, as the color industry.
We hardly know of a nation on the whole globe which does not make use of
color in some way. The use of color for the purpose of embellishment and
adornment dates back to historical times. Nature itself, by the beauty
of the colors of her flowers and minerals acted as a teacher in the
artistic development of the human race.
Egyptian wall paintings show richly developed forms and figures adorned
with multi-colored fabrics.
This is a proof that the Egyptians not only understood the art of the
manufacture of colors but that they also knew the much higher art of
fastening the color on textile fabrics, i. e., the art of dyeing.
In olden times for the coloring of objects, mineral colors which occur
in nature the result of a decomposition of metals and earths and had
only to be put through a sieve and washed to adapt them to the painters
use, were exclusively used.
To alchemy, which was the origin of Chemistry of to-day, we owe a
surprisingly large number of artificial mineral colors, for the reason
that with predilection it brought metals, earths and mineral compounds
within the sphere of its researches which were aimed at the production
of gold, but which all were ineffective in this direction. But the time
and labor, which were employed in these investigations, were not thrown
away. By alchemy an immense number of chemical compounds became known,
without which knowledge the chemistry of to-day would not have reached
its exalted stage of perfection.
Exclusive of mineral colors several organic colors came into use, the
most being applied in the dyeing establishments as they were bodiless
colors and at that time the art of binding them to metallic oxides was
unknown.
By and by it became known in what way to bind the coloring matter of
plants to bodies and to make them serviceable in the art of painting and
the graphic arts. Since that time progress in this field has been so
rapid that we gaze in astonishment upon the achievements of the color
chemistry of to-day.
The progress which developed industrial art and caused it to flourish,
was enhanced by a new and highly important invention, the industry of
tar colors.
It is wonderful how man through the vigor of his intellect, tears from
nature her hidden treasures which have lain in obscurity for thousands
and thousands of years.
Who would have thought, that the antediluvian vegetation with its
splendor of thousands of colors should celebrate its resurrection in
aniline colors which by their splendid qualities of richness and
intensity over-shadowed everything before them? It is a pity that we are
only able to use these colors in limited numbers in our trade.
Up to this time they are used more for dyeing purposes, because they are
without body and possess two apparently insurmountable proclivities,
1st, they do not mix so intimately with oxides of metal as the organic
coloring stuffs of plants and they cannot for a long period withstand
the influence of light.
In the meantime it is to be hoped with confidence, that science will
soon find the solution for these difficulties. Already the forerunners
of body colors have been discovered, a few which could withstand light
have followed, as geranium lake in which the coloring matter is only
bound to oxide of lead by surface adhesion. Furthermore scarlet lake,
which, although bound to oxide of lead, has been put in such a state
that it does not run and lastly the artificial krapp-(madder) lake and
indigo, which have been produced from coal-tar and nearly equal to the
good color lakes of the animal and floral kingdoms.
The main attention in the production of these colors is directed to the
end of finding those which are free of poison and will not fade, to make
them serviceable to the historic art of painting.
For the aniline color there is therefore a wide field open to
experiment.
Whether our interests and demands in regard to colors will be fulfilled
is a question of time.
Even the newer productions of the animal and vegetable kingdom already
differ in quality from those indispensable to the art of marbling.
I recommend to my honored colleagues to read my book with attention, so
that the intended gain shall not be missed and the beautiful art of
marbling may attain a larger circle of friends.
THE AUTHOR.
THE SIZE.
THE SIZE.
The first process in marbling is the preparation of THE SIZE on which
the colors are to be floated.
By the name of size is meant a consistent glutinous mass, which is
obtained by boiling or dissolving with water certain bodies derived from
the vegetable kingdom.
Mucilage is found in many plants, especially in the outer skin of seeds,
also in many roots, barks, stems and leaves, but its solubility and
consistency are very much varied.
Generally the mucilage of plants is classed among the gums; but there is
a large difference from them in this, that it will not give a perfect,
diaphanous and homogeneous solution, but only swells in it to a thick,
massy and viscous fluid, which is similar to starch paste. It is
composed of small quantities of gum, starch, sugar and consistent
plant-mucilage. If prepared from certain plants, for example the algae
of the sea, it also contains small quantities of iodine.
Starch swells in hot water, while with mucilage the same result is
achieved by using cold water.
Smaller quantities of mucilage are found in every plant, but larger in
gum tragacanth, carrageen or Iceland moss, salep, the leaves of
mallows, or of colts foot or tussilage, the roots of marsh mallow,
seeds of plantago-psyllium, (flea-bane) linseed and quinces.
Of this number but few are of interest to us, which I shall mention
further on.
The density and proper consistency of the size depends on the bodies,
from which the viscous or glutinous substance is derived and also from
the quantity of water, in which it is dissolved. The consistency of the
size is also materially influenced by the temperature, the warmer, the
less substantial and the more pliable; the colder, the more consistent
and stiff it is.
A good marbling size should be an entirely homogeneous mucilage, i. e.,
a solution, which should be free of any vestiges of seeds or strings
undissolved. A less viscous size is more adapted to the production of
comb-edges, while a more viscous size to the production of marbled or
veined edges. The consistency of the mucilage of every kind of size will
soon experience an essential change, which becomes apparent by the fact,
that the size becomes less consistent, until finally an acid reacting
fluid remains, which has no more value for marbling purposes.
This chemical process is produced by the transformation of the sugar
parts of the dissolved starch contained in the size into acid and
lactic-acid. The more starch and sugar that is contained in the size,
the sooner the acid will be generated, while pure plant mucilage
containing but little sugar and starch will resist much longer
disintegration.
All plant-mucilages, which are soluble in cold water, i. e., swell, will
keep much longer than those dissolved in boiling water, because the
soluble parts remain inclosed in one cell which is only broken by the
boiling heat or by the formation of acid. This is the reason why they
only swell up in cold solution.
A homogeneous mucilage will serve for marbling much better, than that,
which is produced by swelling, because the latter has an injurious
influence on the fine distribution of color for veined, comb and other
edges. Although the surface of such a size seems to be smooth, the eye
will discover on closer investigation the undissolved bodies in the
small granules of the size.
The mucilages obtained by swelling are always milky-cloudy and never
permit the colors distributed upon them to expand with the same purity
and smoothness as the homogeneous varieties, on account of the small
granules hindering the drawing of the colors on their surface. On the
other hand there are varieties of size, which are very viscous on
account of a too homogeneous mucilage and therefore from their nature
are not adaptable to any kinds of edging which must be drawn by the
stylus. The colors can simply not be drawn on the surface, because this
very viscous mucilage is drawn along by the stylus instead of being cut
by it.
In investigating the different varieties of size I have noticed a very
surprising action of the extremely viscous mucilage, which nearly
confused me for the moment. I have scalded with boiling water
plantago-psyllium (flea-bane) and have beaten it with wicker-rods tied
together so as to produce in a better manner, the mucilage found on the
outside of the seed. After cooling it off, I filtered it through a linen
cloth and poured it into the trough but have not waited till the very
viscous thread of mucilage parted after the trough was filled to a
certain height, but have placed the vessel on the floor and to my utter
surprise the thread of the size spread out and reached the vessel on the
floor, becoming gradually thicker until finally the whole size flowed in
a white stream with great velocity over the rim of the trough (2 inches
high) and returned to the vessel standing on the floor until the trough
emptied. This was done in a very short time. The cause of my surprise
was in the very consistent mucilage which took along ever-increasing
quantities of the size and finally entirely emptied the trough.
Prepared colors, which on a less viscous size are normally distributed
expand with a greater velocity to a greater extent on a more viscous
size and therefore become pale.
For such kinds of sizes the earth colors are preferable but only for
marbled edges.
The normal strength of size can be discerned without araometer or other
recommended apparatus. My opinion is that 2/5 of an ounce of good
carrageen moss to a quart of water are sufficient, as carrageen excels
all other glutinous bodies by the quantity of mucilage contained in it.
To test the correct strength of the size pour some of it into a flat
vessel, as a plate or dish, and throw a drop of color upon it; if the
color does not spread out, but rather sinks down a drop of ox-gall must
be added. Renew the test and so on until the color spreads out to about
2 inches, then take the stylus and draw the color into lines as in
producing comb-edges. If the size be too thick the color will be drawn
along by the stylus and cannot be cut clean through. On the other hand
if the size be too thin it can be seen immediately in its quivering and
the running of the color, which cannot be drawn into straight lines. In
the former case some clean water must be added to the size, in the
latter case which, if the size be well boiled, seldom occurs, thick size
must be added by boiling more. The real consistency of the size is so
easily learned in practice that a mere feeling with the fingers will be
sufficient.
The preparation of the colors is carried on separately on a small part
of the size, so that the whole quantity is not rendered useless. If the
colors are rightly prepared in proportion to their expansibilities in
relation to each other, the new size is to be poured into the trough and
the marbling may begin.
The mistake which is commonly made in marbling is, that too little
attention is paid to the size and color. Frequently the size is soiled
and the colors are spoiled by adding too much gall before an edge is
produced. For this there are generally three causes, either the size is
too fresh, too thick or the colors have been prepared on the same size
by which the edges are to be produced.
Each size which is boiled should only be taken into use after perfect
cooling and after several hours have elapsed, since in a warm state it
would not permit the colors to expand even by adding a large quantity of
gall. Only after the expiration of ten or twelve hours after boiling
will it have the correct quantity of mucilage and then only the size
possesses its full value. This time having elapsed, the size is filtered
through a cloth and is then ready for use.
A size when too thick, allows the colors to expand only with great
difficulty and demands a three fold larger quantity of gall than when it
possesses its normal consistency. It is very difficult to remove from a
too consistent size the remnants of colors.
They always unite with the size and in this way the size not only
becomes soiled but it is impregnated with a large quantity of gall. As I
said before, the colors should always be prepared on a separate size
which can be poured into a flat vessel as it is nearly impossible to
prevent several drops of color sinking to the bottom.
If this precaution be taken and if the colors are prepared according to
their relative expansibilities as they are used in the order prescribed,
the process will not meet with any obstruction or difficulty. As the
size plays such an important part in marbling, great attention must be
paid to its preparation if it is desired to make a good base for the
colors. I especially recommend to laymen that they direct their
attention to the consistency of the size, as this is always the key to
the production of good edges.
The different peculiarities of the varieties of sizes, viz; evaporation,
influence of temperature, starry formation of colors, formation of
angular scales in comb-edges, and all other things which have influence
on colors, will be treated of in a special article on the varieties of
size.
CARRAGEEN MOSS.
CARRAGEEN MOSS.
The Carrageen or Iceland moss, or lichen is one of the algae of the sea.
Chondrus Crispus grows on the cliffs of the Atlantic Ocean and the North
Sea. Carrageen smells slightly of iodine and when uncleaned tastes
offensively salty. Like all seaweeds it contains a great quantity of
mucilage and small quantities of salts of iodine and bromine. When
washed in sweetened water it becomes nearly tasteless and is without
smell. On account of the great quantity of mucilage contained in it, and
of its action as an alleviative to pulmonary complaints it has found
many applications in medicinal practice and is given to the patient
boiled in water, milk or bouillon or as gelatine in cases of coughs and
diarrhoea, being a slightly nutritious substance.
The carrageen moss or Iceland moss or weed is a lichen and consists of a
tuft of flat deeply divided cartilaginous fronds of an olive brown,
sometimes yellowish or reddish white color; the tuft is sometimes 2 to 5
inches long.
The moss is used in many ways; as size for marbling edges, for
clarifying beer, as linen-weavers starch, for finishing cloth and in the
production of iodine.
The good pure carrageen is horn-like, yellowish-white, contains a great
quantity of mucilage and gives the best size for marbling, as it
complies with all the requirements of a good size. It is homogeneous, of
great consistency, not extraordinarily viscous and cheaper than all the
other materials containing mucilage which are used for marbling, but is
inferior to gum tragacanth as far as durability is concerned, and that
it must be subjected to boiling, but this trouble is amply repaid by the
beauty of the productions.
On this size all varieties of edges can be produced, and by its
diaphanous watery mucilage it gives an excellent ground to work upon.
The preparation of carrageen size is confined to one ever recurring
manipulation, which must be repeated every eight days, if an always good
and useful size is desired; the expenses are very trifling, a few cents
for the best kind of carrageen. If bought in larger quantities the
expenses for carrageen can still be reduced. For the preparation of the
size take a new pot, which must always be used for this purpose
exclusively, pour in six quarts of water, which quantity is sufficient
to twice or three times fill the usual marbling trough, add 2-1/2 ounces
of Carrageen moss and boil until the water bubbles up several times. A
longer boiling is injurious because the mucilage becomes flaky and
muddy. 2/5 of an ounce of Carrageen to one quart of water is fully
sufficient to produce a consistent size, provided that only the best
Carrageen is used.
Soft water or rain water was formerly used exclusively for preparing the
size, as by using it a greater durability was obtained.
During my researches, regarding the durability of the varieties of
sizes, I found means by which the influence of hard water on the ground
can be suspended, so that spring and pump water can now be used without
any danger.
Every kind of hard water contains mineral salts, spring water especially
containing lime in smaller or larger quantities. This can be seen, when
the soap, which is used in such water, curdles, because of the
ingredients of soap stearine palmitic or fatty acids of sodium or
potassium, form a combination with the lime, to carbonate of lime, and
the potash soap is converted into an insoluble lime soap. If we add to
hard water a quantity of sodium or potassium, the carbonate of lime is
precipitated as a white or yellowish powder, according to the quantity
of iron contained in the water, and a soft water remains.
The sun produces on a great scale in nature, what the chemist achieves
on a smaller scale by evaporation or precipitation and cooling of steam,
a water free of all mineral salts, which we call distilled water. Rain
water is the same, but the flowing water derived from a river already
contains mineral salts in greater or smaller quantities, which are
brought into it by different springs and substances. The water gained by
precipitations is considered soft. Carbonates of sodium or potassium are
strong bases, exactly the opposite of acids, and they therefore prohibit
the oxidation in plant mucilages. This chemical reaction against the
formation of acids I used for the purpose of prohibiting a deterioration
of the size by adding sodium, in which I was thoroughly successful, as
it can easily be preserved in a cool place for even eight or ten days.
Two obstacles offered themselves, which I have overcome after a tireless
and thorough investigation, first the strongly alkaline property of the
size which was generated by the added carbonate of sodium and second the
fermentation of lactic acid which occurred notwithstanding the sodium
and made the size useless.
The presence of alkalies was injurious to such colors, chemically bound
to bodies, among which red is most affected. The coloring matter was
removed from the bodies and became mixed by running with the size,
causing the size to become soiled. Even the shade of the color was
changed to another which was nearer to purple, and in this way, the
beauty of the color was greatly lessened. The second obstacle is the
fermentation of lactic acids which always occurs where starch flour is
in the solution, causing in consistent sizes a gradual thinning out and
even a destruction of the size.
It was not my aim to save the size from destruction forever, as this is
impossible (laws of nature cannot be obliterated at will) but to keep it
useful for a certain period of time, and this I achieved after many
experiments by using borax.
Borax is a neutral salt of strongly antiseptic properties, prohibiting
fermentation and decomposition where neither base nor acid predominate.
Borax is produced by neutralization of boracic acid with carbonate of
sodium and can be bought at every drug-store.
This salt is sold in crystals of the size of walnuts; for our purpose it
is ground to powder and is kept for use in a closed vessel. The size is
first used without any addition of borax as it is then better adapted
for producing comb and other drawn edges, and only after some time has
elapsed, in summer 36, in winter 48 hours, are 150 grains of borax added
to the size, whereupon the size, having been repeatedly stirred to
dissolve the salt, will keep entirely good and useful for a period of
eight days without doing any harm to the colors. On a size which
contains borax, the colors expand in a much greater degree than upon
unadulterated size, without impairing the consistency of the mucilage.
An unadulterated size is therefore, better for marbled and veined edges,
but if it be desired to produce only marbled and veined edges on the
size, it is advisable to add borax to the water before boiling the
carrageen moss.
As the influence of temperature is important in marbling, and the
production of beautiful edges is often jeopardized by it, it should
therefore have the most careful attention. Every glutinous mass
acquires, according to the difference of the temperature of the size and
air, in one-half to one-quarter of a minute, a film (top) which forms
through natural evaporation.
On a size which has such a film, or top, the colors do not spread out in
such circular forms as on a size on which the colors are quickly thrown
right after the film (top) has been taken off, but form star-like veined
spots which are torn by the film in all directions.
Even in the normal expansion of the drops of color, it often happens,
that the rim of the drop is jagged, the cause being that the size
already possessed a thin top, which was not yet sufficient to prevent
the expanding of the colors. If the size be left standing for a
half-hour or an hour before throwing on the color without having at
first removed the top of the size, the drop will tear a hole into this
film and will sink, even if quite a large quantity of gall had been
added. This explains the contraction and the sinking down of colors on a
still warm size, inasmuch as the top is formed by evaporation of the
warm mucilage, so quickly and so thick, that the color which had already
begun to spread out is pressed together by it and is forced to sink.
The greater the difference of temperature between the size and air, the
quicker is the top formed. It is therefore a rule, that the size should
be allowed to cool off in the same room, in which the marbling occurs,
because in this way a symmetrical degree of heat or cold of the size and
air will be gained. On such a size, the formation of the top is much
slower and thinner, so that even after one to one and a half minutes
after removal of the top of the size, the colors can be thrown on
without the occurrence of the starry formation.
I will here mention a fact to show the importance of temperature. As
this point has given me much trouble and has taken much time and labor,
it was my aim to find that mysterious effect which I was unable to
overcome despite my numerous chemical experiments, until my eyes became
opened and I saw accidentally that this obstacle was the difference of
temperature of size and air. From that time on I was able to prosecute
my labors without the slightest difficulty.
To show the excellence of my marbling colors, I used a great number of
samples, perhaps several thousand, and in order to produce them I worked
on Sunday so that I could employ my whole time to the good purpose. It
was winter; on every Saturday I ordered two pots of size to be boiled,
and to cool them off I placed them in a room, in which there was no
heat. On Sunday morning I filtered the size through a loose linen cloth;
it was as clear as crystal, it possessed the necessary consistency, and
I was much pleased with the results, which I had expected to achieve.
I commenced the preparation of the colors in a separate flat vessel,
using but little size, so as to keep the rest from being soiled, but I
was greatly astonished, when the colors in spite of the addition of
gall, which of course was carefully done by drops, first spread out and
then again were contracted, the starry formation of the colors took
place, whenever I was not quick enough after the taking off of the top
to throw on the colors.
I was dumbfounded and could give no explanation for it; the size was
sufficiently cooled off, it had been standing the proper length of time,
the mucilage was excellent but in spite of all that, these difficulties
occurred.
Thinking that I might be more successful, if I should do the marbling in
the trough where there is more surface offered to the color to spread
out, I filled the trough with size of a sufficient height and then
commenced the marbling, but immediately after the first trial I
instantly recognized that even here my experiments would have the same
result. Although I threw on the color with great alacrity, right after
the top had been taken off, the first drop spread out normally 4 inches,
the second but three, the third two, and the fifth and sixth only one
inch. In this way I received instead of an equally wide band of thrown
on color, one which tapered to a point. If I had not worked according
to the system which I shall describe in the chapter of throwing on of
colors, I would have received already with the fourth drop, a star-like
formation.
Whatever I did to avoid this obstacle was worthless, it was and remained
a mystery and I was unable on that day to produce anything beautiful or
worthy of consideration. This happened several times until, by accident,
and through careful study I found the cause which was nothing but the
fact, that the size was much colder than the air in the room in which I
worked. The evaporation on the surface of the size was so great, that
the top was formed nearly as quick as on warm size and therefore a
favorable result was impossible.
Another abnormity which arises from cold temperature acting on the size
is the fig-like formation occurring during the drawing of the colors.
The cold in some way seasons the surface; this surface becomes mixed in
filtering with the liquid part of the size in numberless small particles
which although the size is well stirred up in the trough by the fingers,
are not dissolved and this hinders the drawing of the colors.
They adhere to the stylus and follow it and arrange themselves between
the color lines in a way similar to a green fig, having a broad upper
and a pointed lower end. Such an edge traversed by the comb will give an
ugly result. A difference of temperature of the size and the air can
also occur when the working room is suddenly heated, or, when in summer
time, the size is kept in a cold cellar. To effectively obviate this
difficulty it is necessary to bring the temperatures of the air and size
carefully to the same height which is made easy by leaving the size,
after boiling, in the room, where the marbling is executed.
In winter, when the room is heated, the size should be poured into the
trough one hour before using, in summer the thing regulates itself
because it is then unnecessary to keep the size in a cool place, the
addition of borax being a sufficient protection against spoiling. But in
spite of it all, in winter-time when in drawing the colors the fig-like
formation should occur, it is advisable to return the size to the pot
and to warm it up slightly so that the seasoned particles are dissolved,
until an equal temperature is reached, whereupon after the lapse of one
hour the marbling can again be proceeded with.
Should the size be too thick the trouble can be remedied by the addition
of some warm water.
The quantity of mucilage contained in carrageen moss varies greatly, and
the consistency of the size often depends upon the quality of the moss.
The quantity which I gave as essential to the preparation of the size
means first class moss.
Should the consistency of the size be insufficient after the first trial
then from 1/2 to 1 ounce of moss should be added as it is clear that
the carrageen moss is not of prime quality. Before I speak of another
variety of size, I will repeat the main condition which should meet with
the attention of every layman and which are as follows; the size must
not boil too long, in order that it may not become flaky and muddy, it
should remain for cooling in the same room in which the marbling is
carried on, so that the temperature of of it and the air are the same;
the colors should be prepared separately on a small quantity of size so
that the whole size cannot become soiled and, lastly, the top of the
size should be taken off before the colors are thrown on, so that no
film can form before the colors cover the surface of the size.
The quicker the manipulation of marbling is executed the prettier are
the edges produced. As soon as the size is covered with color, the
formation of the film is prevented.
As the size is one of the most important parts in the process of
marbling, I recommend these main points to the special consideration of
the reader.
GUM TRAGACANTH.
GUM TRAGACANTH.
Gum tragacanth, also called gum-dragon, is the product of various
species of astragalus which is found in Greece and Turkey and is a
natural exudation of shrubs and from exudations resulting from incisions
made in the stem near the root. This shrub is from 28 to 35 inches high
and two inches in diameter. It is collected in July and August after the
exudations have ceased. It is a hard, tough substance more or less white
according to its purity in very irregular flattened shapes and in
tortuous vermicular filaments. It contains aside from a little gum and
starch, a consistent plant-mucilage without smell or taste and it is
used in technical ways, in printing of textile fabrics and finishing, in
producing plastic masses, as a binding medium for the production of
confections and in the book-bindery for marbling size.
The leaf tragacanth of Smyrna is the best. It is brought to the markets
of the world via Constantinople or via Smyrna in boxes of 100 to 200
lbs.
It forms flat ribbon-like pieces which consist of peculiar layers of
horn-like consistency, white and diaphanous; when broken it is dull and
splintered.
An inferior quality is the tragacanth of Morea, which generally comes
from Greece via Trieste. This consists of oddly shaped, peculiarly
twisted pieces, partly of pure white, partly of yellowish and brownish
colors. For a long while, tragacanth was known as a good material for
marbling size and, for that reason, it is used to-day in a good many of
our book-binderies for this purpose.
It is much more liked than carrageen moss because the consistency of its
mucilage and its durability are great and the preparation of the colors
does not demand such great attention. But since my experiments and
investigations upon the excellent effects of borax on the durability of
carrageen size have become known, tragacanth has lost much of its
popularity, because with it the edges can never be produced in a similar
fine way as with carrageen size and besides the price is higher.
Tragacanth is one of these short-viscous plant mucilages which swell in
cold water but do not give a perfectly homogeneous solution. The
mucilage consists of innumerable small granules, in which the starch is
enclosed by cells.
These small granules prohibit, within the first two or three days of a
fresh tragacanth size, the drawing of edges, as they make the colors
thrown on appear rugged, and in drawing injure the fine hair lines. Five
or six days after the dissolving of the tragacanth, the mucilage becomes
more homogeneous and therefore better adapted for marbling.
If the swelled up mucilage is boiled, after the first or second day,
then the solution will become perfectly homogeneous and will be as good
as carrageen size except that the colors, which normally spread out on
carrageen size, will expand much more on tragacanth size as it possesses
more consistency and therefore they will become paler. The more dense
the size, the thicker colors and the less gall is necessary to produce a
normal expansion. The same difference in the power of expansion of the
colors as in carrageen and the tragacanth is noticed in colors which
normally spread out on tragacanth but which, very largely, expand on the
size of plantago-psyllium (flea-bane) because the latter has the most
consistency and homogeneity of them all. The different effects of the
varieties of size on the colors are due to the consistency and to the
different conditions of gravity. The objections of the consumers of my
marbling colors who use tragacanth, are, that they consider the edges
too pale. The cause of this is that my products are only prepared for
carrageen size, inasmuch as my investigations have shown that it is the
best, the cheapest and the most adapted for all varieties of edges.
The homogeneousness of the tragacanth mucilage in cold solution comes
naturally after the size is five or six days old, because within this
time fermentation of lactic acid occurs, which opens the cells of the
small granules of starch while at the same time boiling heat has an
immediate result in the same direction.
As soon as these cells are opened the formation of acids of the sugary
parts and the fermentation of lactic acid of the starch contained in the
size take place as fast as in any other variety of size, hence the size
of tragacanth has no superiority over any other, besides the best, or
picked-leaf tragacanth of Smyrna costs about four times the price of the
best Carrageen.
For the preparation of the size, take 3 ounces of tragacanth, pour two
quarts of water over it, leave it stand for 24 hours, then stir well and
leave it standing for 12 hours more, repeat this until the homogeneous
thick mucilage has been produced, then add 4 quarts of water, again stir
it up well and filter it and the size is ready for the marbling process.
For tragacanth size, colors of great consistency, mostly fine earth
colors are the best. They must be ground exceedingly well and very
little ox-gall is to be added. But as these earth colors lack in the
power to spread out and in divisibility, a characteristic of colors
prepared for carrageen size, and as they never will have such fineness
and smoothness, always appearing rugged, it is impossible for me to
recommend gum tragacanth for the preparation of size.
I must mention further an effect, which earth colors exert on tragacanth
size, viz., that they can be used on paper not prepared with alum,
without running, while this is not the case with colors, which were
prepared for the Carrageen size. In another chapter upon ox-gall I shall
explain why the colors used with Carrageen size must be transferred on
alum paper.
Salep, Plantago-Psyllium.
SALEP, PLANTAGO-PSYLLIUM (Flea-bane) AND THE OTHER GELATINOUS BODIES.
Radix salep are called the dried tubers of several species of orchids,
they are round, quite flat, yellowish white, horn-like, semi-diaphanous,
very hard and without taste or smell. Formerly salep was imported mostly
from Persia, but now the tubers of orchids grown at home are collected
and do not in any way differ from those coming from Asia. They contain a
good quantity of gum and on that account are used for finishing silks
and for medicinal purposes. It is sold ground, or as powder and can be
bought at every drug-store. As marbling size, salep possesses very
excellent properties, similar to carrageen moss, but its high price
prohibits its general application. In preparing size, use, to 6 quarts
of water 2-1/2 ounces of powdered salep which must be well boiled for a
long period so that it may become entirely dissolved. After standing 24
hours, it can be used in the same way, as carrageen size.
Plantago-Psyllium (Flea-bane, Flohsamen, Flohkrautsamen) is the seed of
different species of Way Bread belonging to the family of the
plantaginea viz., plantago-psyllium, Pl-Arenaria, Pl-Cynops, the second
of which is found in Eastern Germany, Switzerland, Hungary, etc. on
sandy fields, the other two on the sea-shores of southern Europe.
The seed is small with one side flat and the other concave and has a
furrow upon which is located the eye or navel. It is lustrous and of a
reddish brown color, the best varieties coming from southern France. In
consequence of the great quantity of plant-mucilage or gum, that it
contains, by treating with hot water a consistent mucilage or size is
obtained and used in the manufacture of marbled paper and for finishing
textile fabrics.
To prepare the size, place 4 ounces of flea-bane in a wide wooden tub,
pour 6 quarts of boiling water over it and beat well with a switch of
wicker-rods until the gum is entirely separated from the seeds, allow it
to cool and after 10 or 12 hours filter through a linen cloth, when it
is ready for use. The mucilage of flea-bane is quite homogeneous and of
great consistency, is very viscous, forming strings very readily and is
therefore not used for drawn edges since the colors will be drawn along
by the stylus without being cut. It is mostly used for producing thickly
veined, ordinary marbled edges, but flea-bane size is also much more
expensive than that of carrageen moss and on the other hand its quality
is so much inferior to that of the other that I cannot recommend it for
use as size.