The practice of blueing the paper pulp had its origin in a singularly accidental circumstance, which not merely as an historical fact, but as forming an amusing anecdote, is perhaps worth mentioning. It occurred about the year 1790, at a paper mill belonging to Mr. Buttenshaw, whose wife, on the occasion in question, was superintending the washing of some fine linen, when accidentally she dropped her bag of powdered blue into the midst of some pulp in a forward state of preparation, and so great was the fear she entertained of the mischief she had done, seeing the blue rapidly amalgamated with the pulp, that all allusion to it was studiously avoided; until, on Mr. Buttenshaw’s inquiring in great astonishment what it was that had imparted the peculiar colour to the pulp, his wife, perceiving that no very great damage had been done, took courage and at once disclosed the secret, for which she was afterwards rewarded in a remarkable manner by her husband, who being naturally pleased with an advance of so much as four shillings per bundle, upon submitting the improved make to the London market, immediately purchased a costly scarlet cloak, (somewhat more congenial to taste in those days, it is presumed, than it would be now,) which he carefully conveyed home, and presented with much satisfaction to the sharer of his joy.
Although the practice of blueing paper is not, perhaps, so customary now as was the case a few years back, the extent to which it is still carried may be a matter of considerable astonishment. On its first introduction, when, as regards colour, the best paper was anything but pleasing, so striking a novelty would no doubt be hailed as a great improvement, and as such received into general use, but when we contrast a first class paper now (8), without any colouring matter whatever, and without any superfluous marks upon its surface, with the miserable blue tints one so frequently sees, it becomes a source of surprise, that the superior delicacy of the former is not more generally appreciated.
The only objection which can be urged against the use of a colourless paper is, its comparative transparency when glazed in the ordinary way: but this is by no means essential. A finished surface imparted by calendering, when contrasted with one more highly glazed, will be found wholly superior for a writing paper, and unobjectionable as regards opaqueness.
In paper making, there has seldom, perhaps, arisen a greater difficulty than in furnishing a supply suited to the purposes of photography. Unquestionably, great care is requisite in the selection of the materials, their preparation, and subsequent manufacture. But the difficulty is owing more to the want of positive information on the part of the photographer, than to failure in the exertions of the Paper Maker. I have recently been informed by a gentleman who has devoted much time and attention to this particular class of paper, that after forwarding specimens to many score members of that profession, and inviting observations and suggestions thereon, not one in ten favoured him with any reply, and of those who did, although many first-rate names might be mentioned, the conclusions to which they severally came were totally adverse.
It is not my intention to wander further into the field of paper and paper making than to mark the boundary which has been set up by Act of Parliament, in the form of Excise Regulations, with a few general observations upon the varieties and peculiarities of manufactured paper, as a becoming and at the present time somewhat important termination to our subject.
Manufactured paper, independently of the miscellaneous kinds, such as blotting, filtering, and the like, which are rendered absorbent by the free use of woollen rags, may be divided into three distinct classes, viz., writing, printing, and wrapping. The former again into five, cream wove (8), yellow wove (17), blue wove (7), cream laid (16), and blue laid (5). The printing into two, laid and wove, and the latter into four, blue (22), purple (24), brown (25), and whited brown (23), as it is commonly termed. Each of these sorts ought again to be classified, until it would appear as if not merely all the wants, wishes, and fancies of mankind had been fully studied and provided for, but that even the utmost bounds of variety in like manner had been included, in order to test the comprehensiveness of human caprice.
To give a simple definition of the mode adopted for distinguishing the various kinds, I must include, with the class denominated writing papers, those which are used for drawing, which being sized in like manner, and with the exception of one or two larger kinds, of precisely the same dimensions as those passing by the same name, which are used strictly for writing purposes, (the only distinction, in fact, being, that the drawings are cream wove, while the writings are laid,) there would of course be no necessity for separating them. Indeed, since many of the sizes used for printing are exactly the same as those which would be named as writing papers, for the sake of abridgment I will reduce my distinctions of difference to but two heads, fine and coarse; under the latter, including the ordinary brown papers, the whited brown, or small hand quality, and the blues and purples, used by grocers. The smallest size of the fine quality, as sent from the mill, measures 12½ by 15 inches, and is termed Pot; next to that Foolscap, 17 by 13½; then Post, 18¾ by 15¼; Copy, 20 by 16; Large Post, 20¾ by 16½; Medium Post, 18 by 23; Sheet-and-third Foolscap, 23 by 13¼; Sheet-and-half Foolscap, 24½ by 13¼; Double Foolscap, 27 by 17; Double Pot, 30 by 25; Double Post, 30½ by 19; Double Crown, 20 by 30; Demy, 20 by 15½; ditto Printing, 22½ by 17¾; Medium, 22 by 17½; ditto Printing, 23 by 18½; Royal, 24 by 19; ditto Printing, 25 by 20; Super Royal, 27 by 19; ditto Printing, 21 by 27; Imperial, 30 by 22; Elephant, 28 by 23; Atlas, 34 by 26; Columbier, 34½ by 23½; Double Elephant, 26¾ by 40; and Antiquarian, 53 by 31. The different sizes of letter and note paper ordinarily used are prepared from those kinds by the stationer, whose business consists chiefly in smoothing the edges of the paper, and afterwards packing it up in some tasteful form, which serves to attract attention.
Under the characteristic names of coarse papers may be mentioned Kent Cap, 21 by 18; Bag Cap, 19½ by 24; Havon Cap, 21 by 26; Imperial Cap, 22 by 29; Double 2-lb., 17 by 24; Double 4-lb., 21 by 30; Double 6-lb., 19 by 28; Casing of various dimensions, also Cartridges, with other descriptive names, besides Middle Hand, 22 by 16; Lumber Hand, 19½ by 29; Royal Hand, 20 by 25; Double Small Hand, 19 by 29; and of the purples, such significations as Copy Loaf, 16¾ by 21¾, 38-lb.; Powder Loaf, 18 by 26, 58-lb.; Double Loaf, 16½ by 23, 48-lb.; Single Loaf, 21½ by 27, 78-lb.; Lump, 23 by 33, 100-lb.; Hambro’, 16½ by 23, 48-lb.; Titler, 29 by 35, 120-lb.; Prussian or Double Lump, 32 by 42, 200-lb.; and so forth, with glazed boards, of various sizes, used chiefly by printers, for pressing, which are manufactured in a peculiar manner by hand, the boards being severally composed of various sheets made in the ordinary way, but turned off the mould one sheet upon another, until the required substance be attained; a felt is then placed upon the mass and another board formed. By this means, the sheets, when pressed, adhere more effectually to each other, and the boards consequently become much more durable than would be the case if they were produced by pasting. Indeed, if any great amount of heat be applied to pasteboards, they will split, and be rendered utterly useless. The glazing in this case is accomplished by friction.