Experiments and Considerations Touching Colours (1664)

by Robert Boyle

firm'd in my former Opinion, of the Sulphureous Nature of these Salts. And so, whereas it is much doubted by Some Modern Chymists to what sort of Salt, that which is Prædominant in Quick-lime belongs, we have been perswaded to referr it rather to Lixiviate than Acid Salts, by having observ'd, that though an Evaporated Infusion of it will scarce yield such a Salt, as Ashes and other Alcalizate Bodyes are wont to do, yet if we deprive our Nephritick Tincture of its Blewness by just so much Distill'd Vinegar as is requisite to make that Colour Vanish, the Lixivium of Quick-lime will immediately upon its Affusion recall the Banished Colour; but not so Powerfully as either of the Sulphureous Liquors formerly mention'd. And therefore I allow my self to guess at the Strength of the Liquors examin'd by this Experiment, by the Quantity of them which is sufficient to Destroy or Restore the Cæruleous Colour of our Tincture. But whether concerning Liquors, wherein neither Acid nor Alcalisate Salts are Eminently Prædominant, our Tincture will enable us to conjecture any thing more than that such Salts are not Prædominant in them, I take not upon me to determine here, but leave to further Tryal; For I find not that Spirit of

Wine, Spirit of Tartar freed from Acidity, or Chymical Oyl of Turpentine, (although Liquors which must be conceiv'd very Saline, if Chymists have, which is here no place to Dispute, rightly ascrib'd tasts to the Saline Principle of Bodyes,) have any Remarkable Power either to deprive our Tincture of its Cæruleous Colour, or restore it, when upon the Affusion of Spirit of Vinegar it has disappear'd.

EXPERIMENT XI.

And here I must not omit, Pyrophilus, to inform You, that we can shew You even in a Mineral Body something that may seem very near of Kin to the Changeable Quality of the Tincture of Lignum Nephriticum, for we have several flat pieces of Glass, of the thickness of ordinary Panes for Windows one of which being interposed betwixt the Eye and a clear Light, appears of a Golden Colour, not much unlike that of the moderate Tincture of our Wood, but being so look'd upon as that the Beams of light are not so much Trajected thorough it as Reflected from it to the Eye, that Yellow seems to degenerate into a pale Blew, somewhat like that of a Turquoise. And what which may also appear strange, is this,

that if in a certain posture you hold one of these Plates Perpendicular to the Horizon, so that the Sun-beams shine upon half of it, the other half being Shaded, You may see that the part Shin'd upon will be of a much Diluter Yellow than the Shaded part which will appear much more Richly Colour'd; and if You alter the Posture of the Glass, so that it be not held Perpendicular, but Parallel in reference to the Horizon, You may see, (which perhaps you will admire) the Shaded part look of a Golden Colour, but the other that the Sun shines freely on, will appear considerably Blew, and as you remove any part of the Glass thus held Horizontally into the Sun-beams or Shade, it will in the twinkling of an Eye seem to pass from one of the above mention'd Colours to the other, the Sun-beams Trajected through it upon a sheet of White Paper held near it, do colour it with a Yellow, somewhat bordering upon a Red, but yet the Glass may be so oppos'd to the Sun, that it may upon Paper project a mix'd Colour here and there more inclin'd to Yellow, and here and there more to Blew. The other Phænomena of this odd Glass, I fear it would be scarce worth while to Record, and therefore I shall rather advertise You, First that in the trying of these Experiments

with it, you must take notice that one of the sides has either alone, or at least principally its Superficial parts dispos'd to the Reflection of the Blew Colour above nam'd, and that therefore you must have a care to keep that side nearest to the Eye. And next, that we have our selves made Glasses not unfit to exhibit an Experiment not unlike that I have been speaking of, by laying upon pieces of Glass some very finely foliated Silver, and giving it by degrees a much stronger Fire than is requisite or usual for the Tinging of Glasses of other Colours. And this Experiment, not to mention that it was made without a Furnace in which Artificers that Paint Glass are wont to be very Curious, is the more considerable, because, that though a Skilfull Painter could not deny to me that 'twas with Silver he Colour'd his Glasses Yellow; yet he told me, that when to Burn them (as they speak) he layes on the plates of Glass nothing but a Calx of Silver Calcin'd without Corrosive Liquors, and Temper'd with Fair Water, the Plates are Ting'd of a fine Yellow that looks of a Golden Colour, which part soever of it you turn to or from the Light; whereas (whether it be what an Artificer would call Over-doing, or Burning, or else the imploying the Silver

Crude that makes the Difference,) we have found more than once, that some Pieces of Glass prepar'd as we have related, though held against the Light they appear'd of a Transparent Yellow, yet look'd on with ones back turn'd to the Light they exhibited an Untransparent Blew.

EXPERIMENT XII.

If you will allow me, Pyrophilus, for the avoiding of Ambiguity, to imploy the Word Pigments, to signifie such prepared materials (as Cochinele, Vermilion, Orpiment,) as Painters, Dyers and other Artificers make use of to impart or imitate particular Colours, I shall be the better understood in divers passages of the following papers, and particularly when I tell you, That the mixing of Pigments being no inconsiderable part of the Painters Art, it may seem an Incroachment in me to meddle with it. But I think I may easily be excus'd (though I do not altogether pass it by) if I restrain my self to the making of a Transient mention of some few of their Practices about this matter; and that only so far forth, as may warrant me to observe to you, that there are but few Simple and Primary Colours (if I may so call them)

from whose Various Compositions all the rest do as it were Result. For though Painters can imitate the Hues (though not always the Splendor) of those almost Numberless differing Colours that are to be met with in the Works of Nature, and of Art, I have not yet found, that to exhibit this strange Variety they need imploy any more than White, and Black, and Red, and Blew, and Yellow; these five, Variously Compounded, and (if I may so speak) Decompounded, being sufficient to exhibit a Variety and Number of Colours, such, as those that are altogether Strangers to the Painters Pallets, can hardly imagine.