But what perfectly proves that sand, and even flint and glass, exist in clay, is, that the action of fire, by uniting the parts, restores it to its original form. Clay, if heated to the degree of calcination, will cover itself with a very hard enamel; if it is not vitrified internally, it nevertheless will have acquired a very great hardness, so as to resist the file; it will emit fire
under the hammer, and it has all the properties of flint; a greater degree of heat causes it to flow, and converts it into real glass.
Clay and sand are therefore matters perfectly analogous, and of the same class; if clay, by condensing, may become flint and glass, why may not sand, by dissolution, become clay? Glass appears to be true elementary earth, and all mixed substances disguised glass. Metals, minerals, salts, &c. are only vitrifiable earth; common stone and other matters analogous to it, and testaceous and crustaceous shells, &c. are the only substances which cannot be vitrified, and which seem to form a separate class. Fire, by uniting the divided parts of the first, forms an homogeneous matter, hard and transparent, without any diminution of weight, and to which it is not possible to cause any alteration; those, on the contrary, in which a greater quantity of active and volatile principles enter, and which calcine, lose more than one-third of their weight in the fire, and retake the form of simple earth, without any other alteration than a disunion of their different parts: these bodies excepted, which are no great number, and whose combinations produce no great varieties in nature, every other substance, and particularly
clay, may be converted into glass, and are consequently only decomposed glass. If the fire suddenly causes the form of these substances to change, by vitrifying them, glass itself, whether pure, or in the form of sand or flint, naturally, but by a slow and insensible progress, changes into clay.
Where flint is the predominant stone, the country is generally strewed with parts of it, and if the place is uncultivated, and these stones have been long exposed to the air, without having been stirred, their upper superficies is always white, whereas the opposite side, which touches the earth, is very brown, and preserves its natural colour. If these flints are broken, we shall perceive that the whiteness is not only external, but penetrates internally, and there forms a kind of band, not very deep in some, but which in others occupies almost the whole flint. This white part is somewhat grainy, entirely opaque, as soft as freestone, and adheres to the tongue like the boles; whereas the other part is smooth, has neither thread nor grain, and preserves its natural colour, transparency, and hardness. If this flint is put into a furnace, its white part becomes of a brick colour, and its brown part
of a very fine white. Let us not say with one of our most celebrated naturalists, that these stones are imperfect flints of different ages, which have not acquired their perfection; for why should they be all imperfect? Why should they be imperfect only on the side exposed to the weather? It, on the contrary, appears to me more reasonable that they are flints changed from their original state, gradually decomposed, and assuming the form and property of clay or bole. If this is thought to be only conjecture, let the hardest and blackest flint be exposed to the weather, in less than a year its surface will change colour; and if we have patience to pursue this experiment, we shall see it by degrees lose its hardness, transparency, and other specific characters, and approach every day nearer and nearer the nature of clay.
What happens to flint happens to sand; each grain of sand may possibly be considered as a small flint, and each flint as a mass of extremely fine grains of sand. The first example of the decomposition of sand is found in the brilliant opaque powder called Mica, in which clay and slate are always diffused. The entirely transparent flints, the Quartz, produce, by decomposition, fat and soft talks, such as those of
Venice and Russia, which are as ductile and vitrifiable as clay: and it appears to me, that talk is a mediate between glass, or transparent flint, and clay; whereas coarse and impure flint, by decomposing, passes to clay without any intermedium.
Our factitious glass undergoes the same alterations: it decomposes and perishes, as it were, in the air. At first, it assumes a variety of colours, then exfoliates, and by working it, we perceive brilliant scales fall off; but when its decomposition is more advanced, it crumbles between the fingers, and is reduced into a very white fine talky powder. Art has even imitated nature in the decomposition of glass and flint. "Est etiam certa methodus solius aquæ communis ope, silices & arenam in liquorem viscosum, eumdemque in sal viride convertendi, & hoc in aleum rubicundum, &c. Solius ignis & aqua ope, speciali experimento, durissimos quosque lapides in mucorem resolvo, qui distillan subtilem spiritum exhibet & oleum nullus laudibus prœdicabile[218:A]."
These matters more particularly belong to metals, and when we come to them, shall be fully treated on, therefore we shall content