originis. Aut enim salsuginis modo emanat, aut terra ipsa sulphurei
coloris ad hoc probatur. Inventi sunt pictores, qui e sepulcris
carbones infectos effoderent. Importuna haec omnia, et novitia. Fit
enim e fuligine pluribus modis, resina vel pice exustis. Propter
quod, officinas etiam aedificavere, fumum eum non emittentes.
Laudatissimum eodem modo fit e tedis. Adulteratur fornacum
balnearumque fuligine, quo ad volumina scribenda utuntur. Sunt qui
et vini faecem exsiccatam excoquant; adfirmantque, si ex bono vino
faex fuerit, Indici speciem id atramentum praebere. Polygnotus et
Micon celeberrimi pictores Athenis, e vinaceis facere: tryginon
appellant. Apelles commentus est ex ebore combusto facere, quod
elephantinum vocavit. Adportatur et Indicum, inexploratae adhuc
inventionis mihi. Fit etiam apud infectores ex flore nigro, qui
adhaerescit aheneis cortinis. Fit et e tedis ligno combusto,
tritisque in mortario carbonibus. Mira in hoc sepiarum natura: sed
ex his non fit. Omne autem atramentum sole perficitur, librarium
gummi, tectorum glutino admixto. Quod autem aceto liquefactum est,
aegre eluitur.
(TRANSLATION.)
“INK (or literally) BLACKING.—Ink also may be set down among the
artificial (or compound) drugs, although it is a mineral derived from
two sources. For, it is sometimes developed in the form of a saline
efflorescence,—or is a real mineral of sulphureous color—chosen for this
purpose. There have been painters who dug up from graves colored coals
(CARBON). But all these are useless and new-fangled notions. For it is
made from soot in various forms, as (for instance) of burnt rosin or
pitch. For this purpose, they have built manufactories not emitting that
smoke. The ink of the very best quality is made from the smoke of
torches. An inferior article is made from the soot of furnaces and
bath-house chimneys. There are some (manufacturers) also, who employ the
dried lees of wine; and they DO say that if the lees so employed were
from good wine, the quality of the ink is thereby much improved.
Polygnotus and Micon, celebrated painters at Athens, made their black
paint from burnt grape-vines; they gave it the name of TRYGYNON.
APELLES, we are told, made HIS from burnt ivory, and called it
elephantina “ivory-black.” Indigo has been recently imported,—a
substance whose composition I have not yet investigated. The dyers make
theirs from the dark crust that gradually accumulates on brass-kettles.
Ink is made also from torches (pine-knots), and from charcoal pounded
fine in mortars. “The cuttle-fish” has a remarkable quality in this
respect; but the coloring-matter which it produces is not used in the
manufacture of ink. All ink is improved by exposure to the sun’s rays.
Book-writers’ ink has gum mixed with it,—weaver’s ink is made up with
glue. Ink whose materials have been liquified by the agency of an acid
is erased with great difficulty.”
This sounds very much like nonsense: but it is exactly what the “Great
Naturalist,” Pliny, meant when he wrote all that _he_ knew, and probably
all that was then known on the subject of ink, black paints and dyes,
and very dark-colored fluids generally, which were then employed by
painters, dyers, weavers, writers and physicians. To make his chapter on
this subject fully intelligible to us, we must bear in mind the fact,
that the great science of _Chemistry_ had no existence till many
centuries after Pliny wrote. And thus, it never occurred to him that
there was but one substance, (now known to be elementary,) CARBON, which
gave the quality of blackness to all the materials which he names, with
the exception of one salt of copper, and probably one of iron, (the
sulphate,) and INDIGO, a purely vegetable substance, the dried coloring
matter of a plant in India, (_Indicofera anil_,) and named by the Romans
from the country that produced it, and first made it known to them.
PEDANIUS DIOSCORIDES, born in Anazarbus, (a city of Cilicia, about fifty
miles from TARSUS, the birth-place of the Apostle Paul,) wrote a book on
the Materia Medica, or the qualities of drugs, a little after the time
when Pliny composed his Natural History. Neither of them seems to have
been acquainted with the writings of the other. Apparently, they lived,
wrote and died nearly or actually cotemporary, in the same empire,
utterly ignorant of each other’s existence,—though they are now
universally recognized as the two most eminent writers of all antiquity
on the subjects of Natural History and the Materia Medica. They both
lived in the reign of Nero, and the date of the active or middle part of
both their lives may be reasonably placed at or about the year 100 of
the Christian Era.
From Dioscorides to LINNÆUS, (in the last century,) the Materia Medica
made no actual progress and received no scientific improvement; yet,
eminent as is Dioscorides, he was so little known to his own generation
or that next following, that it is now impossible to ascertain the exact
date of his birth or of his death, or any facts in his life, but that he
wrote two books, of which that here quoted is the best known, and has
made him known 1700 years after his birth.
(We may mention that this Dioscorides was, in no traceable degree,
related to the person of the same name, whose manuscript we have copied
in our illustrations as the oldest extant specimen of Greek
ink-writing.)
We give a translation of his brief but complete description of the ink
used in his time, and the Latin version, that those who wish may satisfy
themselves of the correctness of our rendering. It will be seen that it
occurs at the close of the great work of Dioscorides:—
Atramentum, quo scribimus, e fuligine taedarum collecta conficitur.
In singulas gummi uncias ternae fuliginis unciae adjiciuntur. Fit
etiam e resinae fuligine et pictoria illa modo dicta. Hujus
fuliginis autem sumi oportet minam unam, gummi sesquilibram, taurini
glutinis et chalcanthi singulorum sesquiunciam. Idoneum est ad
septica; et confert ambustis ex aqua paullo crassius inunctum et
tamdiu dimissum, donec cicatrix obducatur, sanatis nimirum ulceribus
sponte sua excidit.
Atque jam, carissime Aree, tum pro operis modo, quem proposueramus,
tum pro materiae auxiliorumque copia, quam colligere licuit,
hucusque dicta sufficiant.
Libri quinti et ultimi de Materia Medica finis.
Pedanii Dioscoridis Anazarbei De Materia Medica.
[TRANSLATION.]
[The] “INK with which we write is composed of the soot of torches,
collected.
“To each ounce of gum, add three of soot.
“It is also made of the soot of resin and of that lately called
‘painters’ black.’ Of this soot, however,—take one MINA,—of gum, half a
pound,—of ox-glue and of copperas, each, half an ounce.
“It is a good application in cases of gangrene, and is useful in scalds,
if a little thickened and employed as a salve, and permitted to remain
until a new cuticle is formed, when it will spontaneously fall off from
the healed sore.
“And now, my very dear Areas, in due proportion to the work which we had
undertaken, and the quantity of the materials and contributions which we
could gather, what we have thus far said must suffice.
“End of the fifth and last book on The Materia Medica.
“[The book] of Pedanius Dioscorides on the Materia Medica.”
We have followed the text of Karl Gotleib Kuhn. _Medicorum Graecorum,
opera quae extant._ Leipzig, 1829.
Among the fantastic trifles with which DEAN SWIFT was accustomed to
amuse his leisure, is a little string of verses on this subject which
are appended, not as being of any poetic merit, but as a “curiosity of
literature”—not out of place here:—
On Ink.
_I am jet black, as you may see,
The son of pitch and gloomy night;
Yet all who know me will agree
I’m dead, except I live in light._
_Sometimes in panegyric high,
Like lofty Pindar, I can soar,
And raise a virgin to the sky,
Or her to a * * * * *_
_My blood this day is very sweet,
To-morrow of a bitter juice;
Like milk, ’tis cried about the street
And so applied to different use._
_Most wondrous is my magic power:
For with one color I can paint.
I’ll make the devil a saint this hour,
Next make a devil of a saint._
_Through distant regions I can fly,
Provide me with but paper wings,
fairly show a reason why
There should be quarrels among kings._
_And, after all, you’ll think it odd,
When learned doctors will dispute,
That I should point the word of God,
And show where they can best confute._
_Let lawyers bawl and strain their throats,
’Tis I that must the lands convey,
And strip their clients to their coats,—
Nay, give their very souls away._
We find also in Pope’s epistle of Heloise to Abeillard an allusion to
the power of letters, as conveying ideas, which seems appropriate in
this connexion as illustrating the uses of ink.
_Heaven first taught letters for some wretch’s aid,
Some banished lover, or some captive maid:
They live, they speak, they breathe what love inspires,
Warm from the soul, and faithful to its fires;
The virgin’s wish without her fears impart,
Excuse the blush, and pour out all the heart,
Speed the soft intercourse from soul to soul,
And waft a sigh from Indus to the pole._
The genius of BYRON (in a playful flash) has illuminated our subject
with one of his most brilliant passages:—
_But words are things: and a small drop of INK,
Falling like dew upon a thought, produces
That which makes thousands (perhaps millions) think._
A less distinguished poet has, in expressive, and though in quainter,
humbler, yet in noble strain, said what is equally appropriate in this
place:—
_Books are a part of man’s prerogative:
In formal INK, they thought and voices hold,
That we to them our solitude may give,
And make time present travel as of old._
CELSUS, who lived in this world, about the commencement of the Christian
era, has left a little memorandum on this subject which is worth
quoting.
We give his words entire:—
There are two kinds of bald spots occurring on the human head,—one of
them a baldness which creeps over the scalp like a serpent,—the other
showing itself in the form of round spaces uncovered by hair. Some
recommend the use of acrid irritant articles, combined with oils, &c.
But there is nothing better for you than to have the bald place shaved
every day with a [very dull] razor, and, after having done that, you
needn’t do anything else but rub on the place thus shaved a little
_atramentum sutorium_—(“shoemakers’ ink,” “copperas-water,”)—[solution
of the Di-proto sulphate of the (per) sesquoxyd of iron].
The editor of the printed copy of the edition of the works of AULUS
CORNELIUS CELSUS which was printed in Padua, made a material error on
this point.
The word “sutorium” (being unintelligible to the ignorant monk who
superintended the printing) was changed to “scriptorium,”—that is,
“writing-ink,” instead of “shoemakers’-ink.” It is well-known that a
solution of copperas properly made, will remedy or prevent premature
baldness; but we assert that no quantity of lamp-black and gum, or
grease, will be found effectual for that purpose.
In the time of Celsus, the sulphate of iron (copperas) had not yet
become an essential ingredient of writing-ink; and even after that its
combination with carbonaceous and oleaginous matters entirely
neutralized the power which renders it applicable and useful in such
cases.
CONCLUSION.
We have thus herein attempted the fulfilment of the promise (with which
we began) to produce a “HISTORY OF INK,”—a thing never before done or
even proposed to be done. If not successful in our attempt, we hope that
we have at least, in this little book, furnished hints and suggestions
on this subject which the learned may employ hereafter when the history
of this important material of history shall be undertaken and executed
on a larger scale. In view of which possibility, we may, with a
pardonable self-gratulation, say,—in the words of Martin Luther,—“We
have given to other and higher spirits occasion to reflect.”
But we are loth to leave this subject (which has grown into our
affections as we have dwelt upon it) without giving a blow or a kick to
one monstrous absurdity which has prevailed among the learned, “falsely
so-called,”—from the time when the Jesuits returned from China with
their “edifying and curious” tales about the huge antiquity of all the
arts and some of the sciences of civilization among the people of what
they called the “Celestial Empire,”—a term wholly unknown to the
Chinese, in any form or variation of expression.
The simple facts are that—the Chinese derived their knowledge of INK (of
writing with a colored liquid) from Europe. So did they obtain their
knowledge of the art of printing, carried to them by Venetian travelers,
“overland,” just at the moment before the clumsy engraved wood-blocks
were superseded by the moveable types of Gansefleisch or Gutenberg. So
was it with the Mariner’s Compass, the manufacture of gunpowder, and all
their boasted “inventions,”—among which may be included their
calculation of eclipses backward through fabulous cycles of centuries,
and the morals of Confucius or Kong-foo-tsee, a mythical personage
unmentioned in the history of China until the contents of the New
Testament had been made known there,—and _that_—many ages after the date
of his supposed life and death.
But for their derivation and appropriation or theft of the great arts
from the West, the Chinese and all Oriental nations, from the Euphrates
to the Pacific, including the Japanese, would have remained to this day
in the condition in which the Mexicans and Peruvians were found by the
Spanish and Italian robbers who first explored the Western Hemisphere,
and murdered its inhabitants for their land, and the fruits and the gold
and silver of that land.
Whatever arts the Chinese or Japanese or Jesuits may have invented or
preserved, the art of TELLING THE TRUTH is evidently, to all of them,
one of “THE LOST ARTS,“—lost irretrievably and forever!
[Illustration:
Blackwood’s Black Ink.
Davids & Co’s Limpid
Writing Fluid.—
Harrison’s Columbian Ink.
Steel-Pen Ink, Thaddeus Davids.
Maynard & Noye’s Black
Writing Ink.—
Written, Augt. 14, 1855, to test
permanence by long exposure to
Sun & Rain—
James R. Chilton, MD.
Chemist
The above is a close fac-simile of
a paper upon which I wrote with Several Kinds
of Ink, as it appeared after being exposed to
the weather for five months.
James R. Chilton, MD.
Chemist.
New York, March 15, 1856.
Snyder, Black & Sturn, 92 William St.]
DESCRIPTION OF THE PLATES.
No. 1.—A fac simile of the oldest Hieratic writing extant—about the 15th
century B.C. The hawk (the emblem of Divinity) and the man stand on
something that “teters”—the circle between them (a serpent biting its
own tail) is the ancient symbol of eternity. The Deity overbalances the
man.
No. 2.—From a Greek MS. buried at Herculaneum in the year 29 B.C.
No. 3.—Written on papyrus in Egypt; in the 3d century B.C.
No. 4.—Written on papyrus 260 years B.C.
No. 5.—Specimen of a Palimpsest copy of Cicero’s “Republic” in the
Vatican Library.
No. 6.—Phœnician writing on papyrus.
No. 7.—From a Pentateuch in the Bib^{e.} Nat^{e.} Paris, A.D. 450.
No. 8.—From a Greek Copy of the Book of Genesis, written in gold on
purple vellum, A.D. 400.
No. 9.—From a MS. on papyrus written in Egypt 3d century B.C.
No. 10.—From a Charter of Childebert III. A.D. 703.
No. 11.—From a Charter of Charlemagne, about A.D. 785.
No. 12.—From a Charter of the Emperor Conrad I. A.D. 988.
No. 13.—Specimen of “Roman Saxon,” A.D. 600.
No. 14.—From a Charter of Dagobert I. about A.D. 620.
No. 15.—From an early Gælic MS.
No. 16.—From a Deed of William the Conqueror.
No. 17.—The monogram signature to a Charter of Charlemagne about A.D.
785.
No. 18.—From a Charter of the reign of Hugh Capet, A.D. 988.
No. 19.—From a Deed of Henry I.
No. 20.—From a Deed of Stephen, dated A.D. 1139.
No. 21.—From a Deed of the reign of Richard I.
No. 22.—From a MS. of Wyckliffe’s translation of the Bible.
No. 23.—“Set Saxon,” A.D. 850.
“_Qui sub Pontio Pilato crucifixus est, et sepultus, tertia die
resurrexit._”
No. 24.—From a Charter of Sebbi, King of the East Saxons, A.D. 664,
“_Ego Sebbi Rex East Sax(onum) pro—confirmatione Subscripsi._”
No. 25.—Part of a Charter of Alfred the Great, A.D. 800.
No. 26.—From a Charter of Edward the Confessor, A.D. 1045.
No. 27.—From a Deed of the reign of Edward I.
No. 28.—From a Deed of William the Conqueror.
No. 29.—From a Deed of the reign of Edward III.
_Edwardus Dei gratia Rex Anglias Dominus Hiberniæ, Dux Aquitaniæ, &c._
No. 30.—From the Will of William Mikelfeld, Nov. 7, 1439.
No. 31.—From a Deed of the reign of Edward IV.
No. 32.—From a Grant by William Wallace.
No. 33.—From a Deed of Richard III.
No. 34.—From a Deed of the reign of John.
No. 35.—Autograph of Lord Macaulay.
No. 36.—From a Deed of Henry VII.
No. 37.—From an English translation of the works of Chauliac, A.D. 1400.
No. 38.—From a Deed of Henry VIII.
No. 39.—From a MS. in the rounded hand of Italy, 15th century.
No. 40.—Letter from Columbus to the Viceroy of Castile, 15th century.
No. 41.—Letter of Anne of Brittany, 1514.
No. 42.—Signature of “Bayard,” the Chevalier.
No. 43.—Letter from Charles V. to Francis I.
No. 44.—Letter from Calvin, 1559.
No. 45.—Letter of the Earl of Essex, 1567.
No. 46.—Letter of Copernicus, 1473.
No. 47.—William H. Prescott.
No. 48.—Letter of Charles the XII of Sweden.
No. 49.—Rosseau, 1757.
No. 50.—Letter of Erasmus, 1476.
No. 51.—Letter of Queen Elizabeth to Henry IV of France.
No. 52.—Christina of Sweden, 1626.
No. 53.—Charles I. to his sister.
No. 54.—Oliver Cromwell, 1643.
No. 55.—Duke of Marlborough, June, 1706.
No. 56.—The Empress Catherine II. of Russia, July, 1773.
No. 57.—Washington, 6th Sept. 1788.
No. 58.—Louis XVI, June 30, 1773.
No. 59.—Robespierre.
No. 60.—Napoleon to Soult.
No. 61.—Wellington, June 19, 1815.
No. 62.—Lord Byron, Nov. 4, 1821.
No. 63.—Voltaire, July 29, 1757.
No. 64.—Edmund Burke.
No. 65.—William Pitt, March 27, 1803.
No. 66.—Wellington, April 21, 1834.
The colored engraving is an illustration of the picture writing of the
Mexicans, from Lord Kingsborough’s great work. The blue border
represents a series of years, distinguished by the dots. The compartment
with five dots representing the fifth year of the reign, that with ten
the tenth, and so on. The pictures of the acts of the Prince being
connected with each special year by means of a connecting line. The
additional symbols have different significations—that of the flower
signifying a calamitous year, &c. In this plate King Acamapich is
represented in the first and sixth year of his reign; at the top of the
page are warlike instruments, signifying his preparation for war; the
figures below, on the right, are the four cities—Quahnahuac, Mezquic,
Cuitlhuac and Xochimilco—represented by descriptive symbols. The four
heads on the left are those of the respective kings or chiefs of these
cities, beheaded by Acamapich, each distinguished by the iconographic
symbol by which his name was expressed in this system of writing.
These picture records, which would have illustrated the unknown
history of this continent, were destroyed in “mountain heaps” by the
first Spanish archbishop of Mexico—an act of fanatical vandalism
equalled only by the burning of the Alexandrian Library, and the
vast hoard of Moorish literature at Granada by Ximenes.
[Illustration:
Pl. 1.
1.
[Hieratic text]
2.
...μασιν.στερον πο.αι
...ιψόμεθα ὅταν δὲ πε.
...αν καὶ δόξαν ἐ[κ] τοῦ
μαθήματος φῶσι περιγί-
νεσθαι λέγωμεν ὅτι
<π>κο<λ>ι-
νά τε προφέρονται πολ-
λ<α>ῶν ἐπιτηδευμάτων καὶ
λειπόμενα [π]λειόνων καὶ
3.
ναὶ οὐ Ἀλκμὰν ὁ ποιητὴς
οὕτως ἀπεφαίνετο οὐ-
4.
Διοσκουρίδης Δωρίωνι χαίρειν. τῆς πρὸς
Δωρίωνα ἐπιστολῆς τὸ ἀντίγραφον ὑπόκει-
_Snyder Black & Sturn 92 William St_]
[Illustration:
Pl. 2.
5.
teterrimus
et ex hac vel
homines heretici maxime
quia non ds illam dedit
-catur; quia et legem ds dedit
-varet propter certam
6.
[Phœnician text]
7.
κῡ, καὶ προσοίσουσιν
οἱ υἱοὶ Ααρων οἱ ἱερεῖς
8.
ἐξῆλθεν δὲ
-τησιν αὐτῷ
_Snyder Black & Sturn 92 William St_]
[Illustration:
Pl. 3.
9.
κϛʹ Ξανδικ[ο]ῦ αʹ Θῶυθ κεʹ
10.
[flourish representing “I(n) C(hristi) N(omine)”] Childeberths
11.
Et nostra indulgentia in aelimosina
12.
Et ut huĩs cõplacitationis pceptũ firmũ stabileq;
13.
abbas sirum pater
14.
quotienscumque petitionib[us]
_Snyder Black & Sturn 92 William St_]
[Illustration:
Pl. 4.
15.
Nirsatimini curio annso
16.
W rex anglo[rum]
17.
KAROLVS
18.
in eisdem degentium orem nostre celsitudinis
19.
h. dei gra rex
20.
S rex—Anno m.cxxix
21.
Ricard di gra Rex Angl
22.
IN þe biginyng was þe wrd and þe
_Snyder Black & Sturn 92 William St_]
[Illustration:
Pl. 5.
23.
qui sub pontio pilato crucifixus:
& sepultus tertia die resurrexit
24.
+ ego sebbi rex east sax pro
25.
dccclxxvo—Ego alfred gratia di rex hanc
26.
nomina hic caraxata sunt—EADUUEARDUS
27.
Istud starr recog est
_Snyder, Black & Sturn, 92 William St._]
[Illustration:
Pl. 6.
28.
Will di gra rex—Sciatis me concessisse
29.
[E]dwardus dei gra Rex Angl Dominus Hibnie & Dux A
30.
This is the laste Wil ind{en}tid of me Willia Meklfeld Esquyer being
_Snyder, Black & Sturn, 92 William St._]
[Illustration:
Pl. 7.
31.
Edwardus dei gr Rex Anglie &c
32.
Wlls Walays miles Custos regni
33.
Ricardus dei gratia Rex Anglie &c.
34.
Johannes Dei Gra Rex Angl
35.
T B Macaulay
36.
Henricus dei grā Rex Anglie & Francie
_Snyder, Black & Sturn, 92 William St._]
[Illustration:
Pl. 8
37.
it was saide aboue in þe chapitle of
38.
Henricus octavus dei grā Angl & Francie rex
39.
fecunditatem modo celi per multra
40.
Señor
dejado nō se puede
41.
Monsieur mon bon frere
42.
Bayart
_Snyder Black & Sturn, 92 William St._]
[Illustration:
Pl. 9.
43.
monsr mon bon frer
Charles
44.
le 22 de Decembre 1559
45.
I. Caluin
46.
singularj, qua studiosos prosequi solet
47.
W H Prescott
48.
[illegible]
_Snyder, Black & Sturn, 92 William St._]
[Illustration:
Pl. 10.
49.
ne rentre pas dans l’ame aussi
50.
at ego nō possum omnem
51.
affection & solide Amitie
52.
Vostre approbation
53.
I cannot refuse this
54.
reade and expound the Scriptures
_Snyder Black & Sturn, 92 William St._]
[Illustration:
Pl. 11.
55.
happy success in this
56.
J’ai lue le memoire
57.
well affected to the
58.
votre amour pour le bien public
59.
Le comite a pris toutes les mesures
60.
les anglais ont bombardé Granville
la division de bateaux canonniers ayant
à bord la 24^e légère a marché à eux
61.
Wellington
Waterloo, June 19 1815
_Snyder Black & Sturn, 92 William St._]
[Illustration:
Pl. 12.
62.
They are very civil
about “Cain” but alarm^{ed}
at its tendency—as they
63.
faites je vous en pris le moins
64.
you have an armed Tyranny to deal with; &
65.
I conclude from your letter
66.
Wellington &c
_Snyder Black & Sturn, 92 William St._]
[Illustration]
FORM OF THE WORD INK
IN DIFFERENT LANGUAGES
Hebrew:__[Illustration]
Chaldaic:__[Illustration] DȲŌ
Sanskrit:__[Illustration]
Greek:__Μελαν (Melan)
Latin:__ATRAMEUTUM (Scriptorum)
Mediaeval Latin:__ENCANSTUM
China:__[Illustration] MĬH SHWUY (liquid Ink)
" [Illustration] MĬH (Chinese Ink)
Canton dialect:__ MAK SHUY
Hindostan:__[Illustration] KALI
Bengal:__[Illustration] KALI
Shingalese:__[Illustration]
Burmese:__[Illustration]
Malayhim:__[Illustration]
Persia:__[Illustration] SIYAHI
Sinic:__[Illustration]
Turkey:__[Illustration] MUREKKEB
Armenia:__[Illustration]
Thibet:__[Illustration]
Anamitic:__MU^cC VIÊT
Malay:__[Illustration] DAWĀT
Japan:__[Illustration]
Java:__ MANULYSAN
Egyptian:__[Illustration]
Coptic:__[Illustration]
Amharic:__[Illustration]
Algerian:__[Illustration] SIMEKH
Aethiopic:__[Illustration]
Arabic:__[Illustration] HBR, HIBR, HIBAR.
{Old French__ENQUE}
French:__ENCRE {Breton__LYOU }
{Provincal__ANCRA }
{Low Dutch }
German:__[Illustration] (Tinte.) {Flamande } INK
{Hollandais}
Spanish:__TINTA
Portugese:__TINTA
Italian:__INCHIOSTRO
Piedmontese:__INCIOSTR.
Russian:__[Illustration] {Lettish__BLAKKA
{Lettauish__TINTA
Polish:__INKAUST
Hungarian:__TENTA
Bunda or Argolense:__TINTA
Bohemia:__INGAUST
Basque:__CORANSIA
Illyrian:__INGOAS
Danish:__BLÆC
Swedish:__BLÄCK
Laplandish:__BLEKK
Greenlandish:__BLEK
Icelandish:__BLEK
English:__INK {Old English__ENKE, INKE, YNKE
{Anglo-Saxon__BLÆC
Welsh:__DU, ENGE
Gaelic:__DUBHADH
Irish:__[Illustration] DUBH
Peruvian:__YANATULLPU
Chilian:__CHILLCAMOM
Mexican:__THLLI
Guarani:__TIV_TIRV_ (Tinta)
Caribee Islands: OÚLITI OR OÚLITACLE
* * * * * *
Transcriber's note:
Some corrections have been made to the original text, including
standardizing the punctuation. Further corrections are listed below:
p. 12 unparalelled -> unparalleled
p. 26 Flenningham -> Henningham
p. 36 Dictionaire -> Dictionnaire
p. 36 pschyo -> psycho
p. 46 elogè -> éloge
p. 77 Macauley -> Macaulay
Other spelling and hyphenation inconsistencies have been retained as
printed.