Adulteration is a term not only applied in its proper sense to the fraudulent mixture of articles of commerce, food, drink, drugs, seeds, etc, with noxious or inferior ingredients, but also by magistrates and analysts to accidental impurity, and even in some cases to actual substitution.
The chief objects of adulteration are to increase the weight or volume of the article, to give a colour which either makes a good article more pleasing to the eye or else disguises an inferior one, to substitute a cheaper form of the article, or the same substance from which the strength has been extracted, or to give it a false strength.
Among the adulterations which were commonly practised around 1905 for the purpose of fraudulently increasing the weight or volume of an article are the following: Bread was adulterated with alum or sulphate of copper, which gives solidity to the gluten of damaged or inferior flour; with chalk or carbonate of soda to correct the acidity of such flour; and with boiled rice or potatoes, which enables the bread to carry more water, and thus to produce a larger number of loaves from a given quantity of flour. Wheatflour is adulterated with other inferior flours, as the flour from rice, bean, Indian-corn, potato, and with sulphate of lime, alum, etc. Milk was usually adulterated with water. The adulterations generally present in butter consisted of an undue proportion of salt and water, lard, tallow, and other fats; when of poor quality it was frequently coloured with a little annatto, and, at times, with the juice of carrots. Genuine butter should not contain less than 80 percent of butter-fat. Cheese was also coloured with annatto and other substances. Tea was adulterated chiefly in China with sand, iron-filings, chalk, gypsum, Chinaclay, exhausted tea leaves, and the leaves of the sycamore, horse-chestnut, and plum, whilst colour and weight were added by black-lead, indigo, Prussian-blue (one of the deleterious ingredients used by the Chinese in converting the lowest qualities of black into green teas), gum, turmeric, soapstone, catechu, and other substances.
Confections were adulterated with flour and sulphate of lime. Preserved vegetables were kept green and poisoned by salts of copper. The acridity of mustard is commonly reduced by flour, and the colour of the compound is improved by turmeric. Pepper was adulterated with linseed-meal, flour, mustard husks, etc. Colour was given to pickles by salts of copper, acetate of copper, etc. Ale was adulterated with common salt, Cocculus Indicus, grains of paradise, quassia, and other bitters, sulphate of iron, alum, etc. Porter and stout were mixed with sugar, treacle, salt, and an excess of water. Brandy was diluted with water, and burned sugar was added to improve the colour; sometimes bad whisky was flavoured and coloured so as to resemble brandy, and sold under its name.
Gin was mixed with excess of water, and flavouring matters of various kinds, with alum and tartar, were added. Rum was diluted with water, and the flavour and colour kept up by the addition of cayenne and burned sugar. For champagnegooseberry and other inferior wines were often substituted. Port was manufactured from red Cape and other inferior wines, the body, flavour, strength, and colour being produced by gum-dragon, the washings of brandy casks, and a preparation of German bilberries. Cheap brown sherry was mixed with Cape and other low-priced brandies, and was flavoured with the washings of brandy casks, sugar-candy, and bitter almonds. Pale sherries were produced by gypsum, by a process called plastering, which removes the natural acids as well as the colour of the wine. Other wines were adulterated with elderberry, logwood, Brazil-wood, cudbear, red beetroot, etc, for colour; with lime or carbonate of lime, carbonate of soda, carbonate of potash, and litharge, to correct acidity; with catechu, sloe-leaves, and oak-bark for astringency; with sulphate of lime and alum for removing colour; with cane-sugar for giving sweetness and body; with alcohol for fortifying; and with ether, especially acetic ether, for giving bouquet and flavour.
Medicines, such as jalap, opium, rhubarb, cinchonabark, scammony, aloes, sarsaparilla, squills, etc, were mixed with various foreign substances. Castor-oil has been adulterated with other oils; and inferior oils were often. mixed with cod-liver oil. Cantharides were often mixed with golden-beetle and also artificially-coloured glass.
The adulteration of seeds was largely practised also, the seed which forms the adulterant being of course of the most worthless kind that can be had. Thus turnip-seed was mixed with rape, wild mustard, or charlock, which are steamed and kiln-dried to destroy their vitality, so as to evade detection in the progress of growth; old and useless turnip-seed was also used fraudulently mixed with fresh seeds. Clover was also much mixed with plantain and mere weeds.
Acts against adulteration have been passed in various countries and at various times. In Britain there was a law against it as early as 1267. Research Adulteration
Cologne yellow is a pigment consisting of two parts yellow chromate of lead, one of sulphate of lead, and seven of sulphate of lime or gypsum. It is prepared by precipitating a mixture of nitrate of lead and nitrate of lime with sulphate of soda and chromate of potash. Research Cologne Yellow
Fresco Painting is a method of mural painting in water colours on fresh or wet grounds of lime or gypsum. Mineral or earthy pigments are employed, which resist the chemical action of lime. In drying, the colours are incorporated with the plaster, and are thereby rendered as permanent as itself.
In producing fresco paintings, a finished drawing on paper, called a cartoon, exactly the size of the intended picture, is first made, to serve as a model. The artist then has a limited portion of the wall covered over with a fine sort of plaster, and upon this he traces from his cartoon the part of the design suited fur the space. As it is necessary to the success and permanency of his work that the colours should be applied while the plaster is yet damp, no more of the surface is plastered at one time than what the artist can finish in one day. A portion of the picture once commenced, needs to be completely finished before leaving it, as fresco does not admit of retouching after the plaster has become dry. On completing a day's work, any unpainted part of the plaster is removed, cutting it neatly along the outline of a figure or other definite form, so that the joining of the plaster for the next day's work may be concealed.
The art is very ancient, remains of it being found in India, Egypt, Mexico, etc. Examples of Roman frescoes are found in Pompeii and other places. After the beginning of the 15th century fresco painting became the favourite process of the greatest Italian masters, and many of their noblest pictorial efforts are frescoes on the walls of palaces and churches. Some ancient wall-paintings are executed in what is called Fresco Secco, which is distinguished from true fresco by being executed on dry plaster, which is moistened with lime-water before the colours are applied. Fresco painting was revived during the 19th century, and works of this kind were executed in the British Houses of Parliament and other public and private buildings, more especially in Germany. Research Fresco
Green Paints are for the most part compounds of copper and of chromium. The best known greens are the following: Bremen green, or verditer, consisting mainly of a basic carbonate of copper. Brunswick green, a hydrated oxychloride of copper; but the name is sometimes given to a hydrated basic carbonate, also known as mountain green. Chrome and emerald green are oxide of chromium. Emerald green is also used as synonymous with Schweinfurt green. English green is a mixture of Scheele's green with gypsum. Guignets green is oxide of chromium prepared in a peculiar way. Hungary green is a kind of malachite found in Hungary. Rinman's green is obtained by heating zincoxide with a cobaltcompound. Saxony green is an indigo colour used in printing. Scheele's green is arsenite of copper, and Schweinfurt green, Veronese green, and Vienna green, are also compounds of arsenic and copper. Verdigris is a hydrated basic carbonate of copper, often seen in copper coins. Besides these are green colours derived from plants. Of these may be mentioned chlorophyll, the green colour of leaves: sap green, the juice of Rhamnus catharticus or buckthorn, made into a green lake with alumina; Chinese indigo-green, etc. Research Green Paint
Calcium is a lustrous silver-white brittle alkaline metal element with the symbolCa. Its oxide occurs widely in nature as lime. It is a member of the alkaline earth group of elements.
Calcium occurs widely in nature, as in its compounds calcium carbonate or limestone,
calcium sulphate or gypsum, calcium fluoride (fluorspar), and calcium phosphate (apatite). Research Calcium
Dentl plaster is an unmodified hemi-hydrate gypsum plaster similar to plaster of Paris, but much more finely ground and generally produced from pure gypsum to produce a very good white colour. Dental plaster is generally used for dental surgery, but is also used in the paining and decorating trade. Research Dental Plaster
Plaster of paris is a form of hemhydrate plaster derived from rock gypsum crushed and heated to a temperature of 170 degrees celsius. This process removes some 75 percent of the water in the plaster, which when mixed with water sets (hydrates) very quickly. Research Plaster of Paris
Since the Middle Ages the term alabaster has been applied to a compact variety or sulphate of lime, or gypsum, of a fine texture, and usually white and translucent, but sometimes yellow, red, or grey. It is carved into vases, mantel ornaments, etc. In ancient times the term alabaster was applied to a hard, compact variety of carbonate of lime (onyx), somewhat translucent, or of banded shades of colour. A variety of carbonate of lime, closely resembling alabaster in appearance, is used for similar purposes under the name of Oriental alabaster. It is usually stalagmitic or stalactitic in origin and is often of a yellowish colour. It may be distinguished from true alabaster by being too hard to be scratched with the nail. Research Alabaster
The Probert Encyclopaedia was designed, edited and programed by
Matt and Leela Probert
Abbreviations
Research Adulteration
