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By F. W. Bloecher, A. M. Gaudin

Using an adsorption-column technique the partition of dodecylamine between quartz and water has been determined at concentrations ranging from 0.5 to 4000 mg per liter. The adsorption varies as the square root of the concentration. Attachment of dodecylamine to quartz is reversible. The amount adsorbed in a flotation operation giving almost complete recovery is under 5 pct of the amount required for a monolayer.

Jan 4, 1950

AS I have told you before, "alloy" here signifies nothing but the mixture of one metal with another in friendly companionship. Whenever you wish to do this, you should consider the purpose that moves you, whether it is to increase the quantities, or for corruption. Then you should choose whatever has by its nature more affinity with what you wish to alloy, or whatever is best for your purpose. Give it in the melt the proportion that you wish or as much as it can support without being entirely removed from its first nature, as [73v] water is in wine or white in black if too much is added. However, you must make the proportion with a definite ratio by weight and not by chance in order that you may bring your work to the degree of perfection that you desire. For he who, proceeds with his eyes closed not only stumbles many times but frequently falls. Therefore you must know first that gold does not join in an alloy with any metal other than silver and copper. Thus if you wish to make a work of gold or to have it made, and begrudge the expense of having it fine, or if you find that you do not have enough, or if you do not care about such fineness, you must decide exactly how many carats less than perfectly fine you wish it to be, or by what weight you wish it to be increased. In order to do this accurately weigh the fine gold that you have and accompany it with silver or fine copper in the quantity that you wish to give it, and melt both these things together very well. So that you may understand the procedure better, let us suppose that you wish your gold to be 23 carats. You are to imagine that the whole quantity is twenty-four parts because this is the final limit at which the gold can be perfect. Now if this were the case, you would put in one part, which corresponds to one twenty-fourth of the whole quantity. You will have taken away one carat of the value of its fineness and increased it another in quantity. In the same way it will happen if you put in two or three or four or six. Up to the limit of one-half, you will always have gold according to the denomination of the lesser virtue and the greater quantity. Surpassing one-half, so that there are eleven parts of silver and thir-

Jan 1, 1942

EXCEPT for the material, the same method that you used in alloying gold is used in alloying silver, but its alloy is fine copper. Just as the silver does in gold, so copper in silver diminishes and lowers its fineness and increases its quantity. If half the value is surpassed it is no longer called silver but copper containing silver, as I told you of gold. But in my opinion one could also say silver of 5,4, or 3 leghe or even of one. How- ever, these terms are of no importance for our purpose. It is enough that you suppose that the whole quantity of silver that you have is twelve parts. If you put one part of copper in h with the melt, you will say [74] that you have 11-lega silver and that it is in weight thirteen of the first parts† and so on, when you add two to ten and four to eight, always naming the quantity of the fine silver just as you did with the gold, either

Jan 1, 1942

IT is customary to make an alloy of copper in the same way, not to increase its quantity as with gold or silver, but to corrupt it for the art of casting and to destroy a certain natural viscosity in it. For this result it is accompanied by tin and also, sometimes, brass. But its proper and true alloy is fine tin, except, however, when you wish to make hammered works. For these, copper must be pure and without any trace [of impurity], otherwise it cannot be hammered thin, gilded in the fire, drawn into a wire, or made into vessels for use as is customary; but in casting, tin is almost essential. When you come to this association, just as it changes nature and appearance according to the proportion of tin which you give it, so it changes name and is no longer called copper but bronze, or, for a greater distinction of the quantity of tin for every hundred or more of copper, it is called by skilled workmen metal of more or less fineness as it contains more or less tin. This is recognized by the whiteness and brittleness: changing from red, which is the color of copper, it becomes white; from soft and flexible it becomes hard and brittle as glass. This admixture removes it so far from its original nature that one who does not know that it is a compound material believes it to be one of the number of metals engendered by Nature. Now, so that you may understand well, I tell you that various kinds of this are made, all according to the proportions of the quantities and according to the kind of work. For one kind of bronze is desired by those who make statues; this is not desired by those who make artillery or by those who make bells, mortars, basins, and similar cast objects. Now in order to alloy it into the species of bronze, eight, nine, ten, up to twelve pounds of tin are put with every hundred pounds of copper. Those who want it to make bells put twenty-three, twenty-four, twenty-five, and twenty-six, depending on the tone, on whether they are large or small in form, and on whether they wish to make the tone deep or sharp and clear. From twelve upwards is used for all other works that need it, either for hardness or to give them fluidity in casting by surpassing the degree of

Jan 1, 1942

LEAD and tin mixed together make an alloy through an attachment of natural affinity which they have with each other, so that when they are mixed it is difficult to recognize by the sight which one it is, if the essences of their qualities are not surpassed by more than half. If, indeed, one can be recognized, it is the tin which gives off a certain sharp odor to the sense of smell, besides having a greater hardness and whiteness. The best of these is the one that is the purest in its kind. In the alloy of tin it is the one that is the whitest and hardest, or, when it is bent or some thin end of it is held tightly by the teeth, is heard to crackle as frozen water does. Because this happens more with this than with other metals, I do not wish now to inquire into it. It is enough that it be a sign for recognizing when tin is pure or mixed. Pewterers say that it should be joined in alloy with lead and that it is better for working when it contains four or six pounds to the hundred because it makes it softer to the hammer and more fluid in casting. But I do not like to hear this, even if all they say is true, for I see that the tin that comes from England, when worked as well as in cakes that show it to be pure, is much more beautiful and better in all works than is that made in Venice. And I believe that it is not better for any work when mixed than when pure, except for the advantage of the master who, if he does nothing else, sells lead that is worth little for tin that is worth much. I find that when mixed it serves in only two things. One is when it is wished to make a solder for copper, for use when it is not worth while to solder the bottoms and large pieces of vessels with low-grade silver as should be done. The other is when master potters calcine it in order to make glazes and to apply white to their vases. I consider lead to be useless in all other works of any kind of metal, since it unites with none of the other metals of good company except tin.

Jan 1, 1942

SINCE I have mentioned the art of alchemy in. many parts of this treatise of mine, especially when 'came to the description of the practice of various operations,* I do not here intend to argue as to whether it may be called true or not. But in case it is true, inasmuch as it is seen in operation to be a result dependent on the actions and virtues of fires, I should not pass by in silence without speaking at all of this art here, nor would I wish to do so, especially since I think that you do not really know what it is except in so far as common report is heard everywhere to the effect that whoever carries it to completion makes silver and gold with it. Because of this belief, many seek it with much time, labor, and expense, as I know you have often heard related, if not elsewhere, by me in the chapter on gold that I have written in this volume. Now do not think that I wish to teach you this art here, for I am one of those who do not know it. Therefore I shall tell you here, so that you may know more, only. that those workers who so eagerly follow after and seek it proceed by just two pathways. One is that which takes its enlightenment from the words of the wise philosophers, by means of which they think to attain it. This they call the just, holy, and good way, and they, say that in this they are but imitators and assistants of Nature, indeed, manipulators and true physicians-of .mineral bodies, purging them of superfluities and assisting them by augmenting their virtue and freeing them from their defects. In this way they sometimes proceed to corrupt these bodies in order to be able to separate the elements they contain so as to reduce them, if possible, to their primary materials, as they call them, or sometimes they convert them into new substances by means of this art or by adding another spirit different from the first one. Thus they seek in this way to bring these materials to a certain point of corruption or to a separation of elements, or to remove or add spirits to things, or to make coarse materials subtle and sometimes to make subtle materials coarse. Therefore, as you can understand, these persons, with bridle broken, run a circular track night and day, without ever having rest; and surely I do not know whether anyone has ever arrived at the desired goal. Nevertheless, even though the goal of this art were emptiness, as many

Jan 1, 1942

IT is necessary that all men who wish to bring things to a certain end should think of the agents needed to attain this. Now whichever one of the above processes you wish to use you must consider the nature of the material and see whether it is disposed to render what you wish to extract. Then you must see whether you have the other agents sufficiently powerful and proportioned to attain this result, for if the things were not in harmony your work would be vain and very laborious. Therefore, if you should wish to make waters or oils by way of distilla-

Jan 1, 1942

A GREAT labor, surely, is that of the coppersmith, since his every work must be hewn from the mass of copper by force of the hammer. At the beginning, middle, and, end all his works are inconvenient pieces and unpleasant to handle. If the work is done on the forge with the fire, it is done in order to refine or compose it into masses again, for drawing these out while hot with the blows of some heavy hammer, or in order to put the works in a condition that allows them to be drawn out while cold and worked. In this he puts all his labor and industry. He who works at this art often makes use of large hammers, sometimes of small ones, and sometimes of those that have a long iron head and a short handle. With these he is obliged ever to proceed in one of these activities, either extending the work lengthwise, narrowing it, or widening it. This is achieved by the manner and direction of striking and therefore it is sometimes hammered on the inside, sometimes on the outside, sometimes with the peen, and sometimes with the flat head. For instance, when he wishes to close it up he strikes it on the outside with the peen, and if he wishes to widen it he strikes it on the inside with either the flat head or the peen. In this way he proceeds to shape it with constant patience, and to make all the vessels that he works graceful. This metal, as I have told you, is soft, flexible, and tenacious under the hammer. It yields with a certain toughness, provided, however, that it is fine and without admixture of a trace of tin or other metal. That craftsman is a good master of this art who best makes every desired work

Jan 1, 1942

IN discussing the art of the goldsmith, it is apparent that it is an art requiring skill. He who wishes to be acclaimed a good master therein must be a good universal master in several arts, for the different kinds of work that come to his hands to be done are infinite. Those who work in gold and silver must outdistance all other craftsmen in learning and achievement to the same degree that their materials outdistance other metals in nobility. Therefore, it is necessary first of all to be a good designer, because design is the key that opens the doors not only to the goldsmith's craft but to all others. Then it is necessary that he understand melting and that he know well how to work with a hammer and how to use flat gravers and burins in engraving, as well as files and chisels. He must also possess certain secrets that are needful to the art, which in truth are parts of alchemy, such as softening gold when it is brittle and raw, coloring it when it has little color, soldering, enameling, working in niello, blanching, gilding, and an infinite number of things which must all be known in detail. But above all he who wishes to do this art well must be very patient in working, must know how to mould and how to proceed with the melt and with the file, hammer, chisel, or other implements for bringing his gold or silver work to the final state which he plans. He must also have good judgment in gems and know well how to recognize every [134v] good or defective quality they possess, and to distinguish the false gem from the true, either when set or when unmounted, as there is need; also how to value them both in buying or selling and in satisfying others who seek his appraisal. He should also be experienced not only in the technique of melting but also in the methods of assaying, parting, refining, cementing, and the like, and still many others. But if I wished to tell you of every part

Jan 1, 1942

HAVING told you of the practices of the arts involving other metals, I wish to tell you also of the practice of that of tin.* Indeed, since this is an easily melted metal, in common use for the utensils which are made for human needs, it is an art known not only to skilled men but also almost to children, wherefore I could proceed with- out telling of it. However, besides the production of plates and bowls and many other dishes for eating from and keeping things in, this embraces two other arts, both of which you should know about because they are useful and beautifid. One of these is the art .of making the letters with which books are printed, and the other is that of making the sheets from which organ pipes are built. The vessels, as perhaps you have seen, are cast one by one in moulds made of white tuff. Several pieces fastened together are then put on the iron axle of a wheel rotated by hand, and [138v] they are turned with a slightly bent tool which has a cutting edge. In this way they are made thin and of a good shape. Then they are polished with a piece of linen cloth and a little powdered tripoli, and thus they are finished. The letters for printing books are made of a composition of three parts of fine tin, an eighth part of black lead, and another eighth part of fused marcasite of antimony.t The desired quantities of these metals are melted

Jan 1, 1942

THE task of the smith who works in iron is very laborious, indeed far more so than that of the coppersmith just described. For he also handles heavy weights continually, and stands constantly erect be- fore the fire of the forge, since the hardness of the iron cannot be softened except by means of heating and boiling it well. In this place he continually moves his body, now thrusting the iron into the heart of the fire with large thick tongs, now removing it to look at it and to put sand, tuff, or other earth over it, now putting on fresh charcoal, now moistening and slowing down the fire, and now cleaning it. Finally, while the iron is hot

Jan 1, 1942

By Angus Hellawell

The application of the common tangent principle to free energy - composition surfaces is considered. It is shown that the construction requires that single phase surfaces on either side of a two phase volume must always exhibit the same sign of curvature - contrary to that shown in many published phase diagrams. In general, these curvatures will be such that the surfaces are mutually concave towards the more stable phase. A number of examples are discussed.

Jan 1, 1991

BEFORE I go any farther, I wish to show you the different kinds of guns, as I have been able to understand them from the finished works, for no one is found to have written or spoken of this. To my knowledge, it is not universally known who was the inventor of this horrible and fearful instrument. It is believed that it came from. Germany, discovered by chance at least three hundred years ago, according to Cornazzano, * from a crude and small beginning like the printing of letters. I believe, .indeed it seems to me certain, that guns evolved from the effect of powder, and then the forms were varied and changed according to the desires and different abilities of those who made or wished to use them. †

Jan 1, 1942

IT may perhaps seem to you that I have deviated from sequence by having entered into the narration of this arrangement of the bellows, but, although they are not furnaces or vessels for containing the melts, they are essential agents for bringing to port the bark of your labors. Returning to our regular pathway, and supposing that, besides making the moulds, you have melted and cast not only statues and bells but also guns, it is true that a certain procedure is required in order to finish them. For this you should have the moulds full, and they should have come out very well, for in truth reason does not allow that they turn out otherwise for one who uses precaution. [II2V] Then you have taken your casting from the pit and have freed it of clay. Since I have told you nothing beyond this, do not be dismayed if you see the castings so rough and in a form that scarcely shows what they really are, for I wish to open up part of the way into the great labor of finishing them so that it may seem to you that you have been somewhat helped by me. Therefore, when it is a gun, first see that the iron spindle that has been placed in the middle of the core is taken out. You can do this easily by striking the heel of the core, especially if the spindle had first been covered with ashes, hemp, or a little rope. Then saw off the feeding head above the mouth, using either a dun steel saw with tiny straight teeth that has been tempered with oil or some other fat, or a hay sickle whose edge is gently hit by a little hammer. Then have the clay that is attached to the curls or other bronze parts lifted away with a chisel. Then with a scouring brush and water uncover the emblems, coats of arms, borders, and cornices that you made as ornaments. Striking it with a hammer, push inwards every superfluous bit of bronze. Finally, having cleaned the bronze by washing, scraping, and cutting away every bit of clay, strike its surfaces gently with a large hammer and thus make it very smooth. Likewise finish the mouth and all its cornices as exactly and completely as possible with files and any other instrument that serves best. Then take a long, powerful tool that has some steel on the point, made like a chisel and somewhat bent, or with three points like the iron blade

Jan 1, 1942

I AM sure, that you understand that of all the things created by the most high God Himself or by Nature at His command, not one-even though it be an atom or the smallest worm-has been produced without some particular gift. And if we do not always discern this in every thing, the cause lies in our defective vision, in our little knowledge, and in our lack of careful thought concerning the necessity of seeking hidden things. Certainly those things that have such inner powers, like herbs, fruits, roots, animals, precious stones, metals, or other stones, can be understood only through oft-repeated experience. [37] Others do not need so much knowledge and belief for their, powers are obvious and shown to us at all times by their effects. They reveal themselves to us through the sense of sight by their splendor and variety of colors, through the sense of smell by their odors, through the sense of hearing by the melody of the harmonious or unpleasantly discordant repercussions. of the air. They likewise manifest themselves by. their softness or harshness. As you see, all those things, according to. their limits, are conveyed .by the ordinary senses to the mind, by whose distinctions all their species, both harmful and beneficial, are discerned. Then they are reviewed by the judgment in all their degrees of perfection and imperfection, so that whoever seeks them with careful study or with experience often finds them. Now, in order to shorten this discourse, since I wished to speak to you of lodestone and its properties, I tell you that it is one of those things that show their apparent effects to our sight by a particular virtue hidden in such a way that its cause, as far as I know, has never been known to the very wise natural speculators who have spoken on every other subject. Thus one who considers its actions carefully must surely marvel, for it appears that Nature has put into this stone a certain spirit of vivacity, so that it seems to have-I would like to say-hands, although they are not seen. For I see that it not only attracts iron but also takes hold of it and keeps it attached to itself. This action is certainly great enough to bear certain witness to the virtues possessed by other created things that do not manifest their powers to the external senses. In order not to prolong this discussion, I tell you the following. This stone is found in various places and of different colors and properties. The

Jan 1, 1942

MANY kinds of marcasite* are found since every metallic mineral, and perhaps some of the semiminerals, produces its own. I believe that [28v] rnarcasites are nothing other than the secondary materials and the menses of the conception of metals which, through insufficient time, have yet to arrive at their perfect age; and thus, because of

Jan 1, 1942

AS you have been able to observe, I have up to the present demonstrated as, well as I knew how in writing the art of casting- and the methods of making moulds and of baking them; then the arrangements of the furnaces for melting the materials, including those made for melting by reverberation of flames or with bellows and charcoal, and the hearth, basket, ladle, and other similar instruments customary in such operations. Now I wish to show you how to bring to their conclusion the works for which these instruments are made, and show

Jan 1, 1942

HAVING told you about steel in the previous chapter, it seems to me necessary to speak here of brass for the same reason, for it bears the same relation to copper that steel does to iron. It is the opinion of some concerning both of these that they are true minerals because Pliny in his Natural History calls it aurichalcum and says that it has its own ore; he does not say, however, where it is found, and I have not heard from anyone else that it has been found anywhere, and, surely, if it had been found when he wrote, it would also be found today. Since I have no knowledge other than that gained through my own eyes, I tell you as a certainty that just as steel is iron converted by art into almost another kind of metal, so also brass is copper given a yellow color by art. Surely it was a splendid discovery, for which we must praise the alchemists,* although perhaps whoever discovered it was deceived, thinking that he had made gold from copper. Now, in short, this work requires infinite labor, and is carried out in various places, for instance, in Flanders, Cologne, Paris, and in many other countries, and also in the city of Milan in Italy, where I have seen a

Jan 1, 1942

ALTHOUGH it might seem more fitting to discuss this subject in the Ninth Book in connection with the smelting of iron where I had thought to treat of it in detail, this process of making steel appears to be almost a branch of the above chapter on iron itself; hence I did not wish to separate these two so far that they might seem to be [18v] different things. Therefore I wish to write of it here and to tell you that steel is nothing other than iron, well purified by means of art and given a more perfect elemental mixture and quality by the great decoction of the fire than it had before. By the attraction of some suitable substances in the things that are added to it, its natural dryness is mollified by a certain amount of moisture and it becomes whiter and more dense so that it seems almost to have been removed from its original nature. Finally, when its pores have been well dilated and softened by the strong fire and the heat has been driven out of them by the violence of the coldness of the

Jan 1, 1942

THE assay of all metal ores is made by means of fusion and they are brought to their fineness in the same way as if they were a large quantity. However, I have told you of lead, tin, copper, and iron in their own places, that they are smelted in order to obtain a good assay so that one may know from its weight whether the quantity justifies the expense. This is their assay, for it does not matter whether it be done with great exactness. But the eye is turned with much more care to the assaying of silver and gold, since they are things of value, and one tries to have a more exact knowledge of them. Thus, when you have found the mountain and the vein of ore in it, and have also uncovered it or extracted it from the mine, it is necessary to make an assay of it, for though it is often apparent to the experts what kind of metal it contains, nevertheless they do not know for sure what virtues or evilness it may have unless the light of the assay itself shows them. Therefore it is necessary to extract a quantity in some way that is as free from rock and as good as possible. To a part of this, without any addition, a smelting fire must be applied in order to see whether it can be smelted easily. If it does not smelt by itself, you must consider and try to understand what causes this, for many times it comes from the rock which accompanies it and which contains much dryness and earthiness. I do not believe that one can know this with other judgment than by experiment with powerful and strong fires. Therefore, if the efforts of ordinary methods do not succeed, it is necessary to try to soften them by means of the company of fusible things-now with marble, now with ground glass, now with lead, galena,* or litharge from lead, or with iron scale, or else with the slag of other ores. With small operations even borax, saltpeter, or ochre is used and similar things, as I shall tell you in detail in the discussion of the preparation of ores for smelting. In short, try to see whether they can be overcome by adjustment of the fires or by virtue of the means

Jan 1, 1942