Conversations on Chemistry Part 87

_Camphor_ seems to be a substance of its own kind, remarkable by many peculiarities. But if not exactly of the same nature as volatile oil, it is at least very a.n.a.logous to it. It is obtained chiefly from the camphor-tree, a species of laurel which grows in China, and in the Indian isles, from the stem and roots of which it is extracted. Small quant.i.ties have also been distilled from thyme, sage, and other aromatic plants; and it is deposited in pretty large quant.i.ties by some volatile oils after long standing. It is extremely volatile and inflammable. It is insoluble in water, but is soluble in oils, in which state, as well as in its solid form, it is frequently applied to medicinal purposes.

Amongst the particular properties of camphor, there is one too singular to be pa.s.sed over in silence. If you take a small piece of camphor, and place it on the surface of a bason of pure water, it will immediately begin to move round and round with great rapidity; but if you pour into the bason a single drop of any odoriferous fluid, it will instantly put a stop to this motion. You can at any time try this very simple experiment; but you must not expect that I shall be able to account for this phenomenon, as nothing satisfactory has yet been advanced for its explanation.

CAROLINE.

It is very singular indeed; and I will certainly try the experiment.

Pray what are _resins_, which you just now mentioned?

MRS. B.

They are volatile oils, that have been acted on, and peculiarly modified, by oxygen.

CAROLINE.

They are, therefore, oxygenated volatile oils?

MRS. B.

Not exactly; for the process does not appear to consist so much in the oxygenation of the oil, as in the combustion of a portion of its hydrogen, and a small portion of its carbon. For when resins are artificially made by the combination of volatile oils with oxygen, the vessel in which the process is performed is bedewed with water, and the air included within is loaded with carbonic acid.

EMILY.

This process must be, in some respects, similar to that for preparing drying oils?

MRS. B.

Yes; and it is by this operation that both of them acquire a greater degree of consistence. Pitch, tar, and turpentine, are the most common resins; they exude from the pine and fir trees. Copal, mastic, and frankincense, are also of this cla.s.s of vegetable substances.

EMILY.

Is it of these resins that the mastic and copal varnishes, so much used in painting, are made?

MRS. B.

Yes. Dissolved either in oil, or in alcohol, resins form varnishes. From these solutions they may be precipitated by water, in which they are insoluble. This I can easily show you. --If you will pour some water into this gla.s.s of mastic varnish, it will combine with the alcohol in which the resin is dissolved, and the latter will be precipitated in the form of a white cloud--

EMILY.

It is so. And yet how is it that pictures or drawings, varnished with this solution, may safely be washed with water?

MRS. B.

As the varnish dries, the alcohol evaporates, and the dry varnish or resin which remains, not being soluble in water, will not be acted on by it.

There is a cla.s.s of compound resins called _gum-resins_, which are precisely what their name denotes, that is to say, resins combined with mucilage. Myrrh and a.s.saftida are of this description.

CAROLINE.

Is it possible that a substance of so disagreeable a smell as a.s.saftida can be formed from a volatile oil?

MRS. B.

The odour of volatile oils is by no means always grateful. Onions and garlic derive their smell from volatile oils, as well as roses and lavender.

There is still another form under which volatile oils present themselves, which is that of _balsams_. These consist of resinous juices combined with a peculiar acid, called the benzoic acid. Balsams appear to have been originally volatile oils, the oxygenation of which has converted one part into a resin, and the other part into an acid, which, combined together, form a balsam; such are the balsams of Peru, Tolu, &c.

We shall now take leave of the oils and their various modifications, and proceed to the next vegetable substance, which is _caoutchouc_. This is a white milky glutinous fluid, which acquires consistence, and blackens in drying, in which state it forms the substance with which you are so well acquainted, under the name of gum-elastic.

CAROLINE.

I am surprised to hear that gum-elastic was ever white, or ever fluid!

And from what vegetable is it procured?

MRS. B.

It is obtained from two or three different species of trees, in the East-Indies, and South-America, by making incisions in the stem. The juice is collected as it trickles from these incisions, and moulds of clay, in the form of little bottles of gum-elastic, are dipped into it.

A layer of this juice adheres to the clay and dries on it; and several layers are successively added by repeating this till the bottle is of sufficient thickness. It is then beaten to break down the clay, which is easily shaken out. The natives of the countries where this substance is produced sometimes make shoes and boots of it by a similar process, and they are said to be extremely pleasant and serviceable, both from their elasticity, and their being water-proof.

The substance which comes next in our enumeration of the immediate ingredients of vegetables, is _extractive matter_. This is a term, which, in a general sense, may be applied to any substance extracted from vegetables; but it is more particularly understood to relate to the extractive _colouring matter_ of plants. A great variety of colours are prepared from the vegetable kingdom, both for the purposes of painting and of dying; all the colours called _lakes_ are of this description; but they are less durable than mineral colours, for, by long exposure to the atmosphere, they either darken or turn yellow.

EMILY.

I know that in painting, the lakes are reckoned far less durable colours than the ochres; but what is the reason of it?

MRS. B.

The change which takes place in vegetable colours is owing chiefly to the oxygen of the atmosphere slowly burning their hydrogen, and leaving, in some measure, the blackness of the carbon exposed. Such change cannot take place in ochre, which is altogether a mineral substance.

Vegetable colours have a stronger affinity for animal than for vegetable substances, and this is supposed to be owing to a small quant.i.ty of nitrogen which they contain. Thus, silk and worsted will take a much finer vegetable dye than linen and cotton.

CAROLINE.

Dying, then, is quite a chemical process?

MRS. B.

Undoubtedly. The condition required to form a good dye is, that the colouring matter should be precipitated, or fixed, on the substance to be dyed, and should form a compound not soluble in the liquids to which it will probably be exposed. Thus, for instance, printed or dyed linens or cottons must be able to resist the action of soap and water, to which they must necessarily be subject in was.h.i.+ng; and woollens and silks should withstand the action of grease and acids, to which they may accidentally be exposed.

CAROLINE.

But if linen and cotton have not a sufficient affinity for colouring matter, how are they made to resist the action of was.h.i.+ng, which they always do when they are well printed?

MRS. B.

When the substance to be dyed has either no affinity for the colouring matter, or not sufficient power to retain it, the combination is effected, or strengthened, by the intervention of a third substance, called a _mordant_, or basis. The mordant must have a strong affinity both for the colouring matter and the substance to be dyed, by which means it causes them to combine and adhere together.

CAROLINE.