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Undoubtedly, alchemy includes a section devoted to the creation of megaliths, but the "philosopher's stone" is not the main task of this science. It is so multifaceted and deep that all modern knowledge in physics, chemistry, astronomy, geology and anthropology does not contain even a tenth of what alchemy does. I talk about her in the present tense because I am sure that she has not gone anywhere today. It develops in its own way, without advertising its activities. Only sometimes, some of its branches come to light, such as DNA genealogy and genetic engineering, including cloning technologies.
Why are you so, Megalith?
But, despite the departure of alchemy underground, for quite a long time, some of its secrets continued to remain accessible. For example, back in 1931, a very mysterious book was published in Leningrad, which should have revolutionized the scientific world.
Should have, but did not …
Promotional video:
See for yourself. Here is one of the sections of the book dedicated to the creation of a "philosopher's stone" of various types:
I. Artificial marble and granite
Artificial marble by Borchardt
1.1. The mass is prepared from pure quartz sand, carbonic lime, talc and gypsum, to which finely ground coloring matter can be added. The sand used must consist of pure silica, and for this purpose it is washed and cleaned of all organic constituents. After complete drying of the sand, 5-6% of tripoli is added to it. Then, 6-7 carbon dioxide, 3 talc, 4 gypsum, 3 feldspar are added as a binding agent for every 100 sand. All components are mixed together with a small amount of water. The resulting mass is laid out in molds and, after complete drying, is fired in hot white heat in an oven without a blower.
1.2. Take 80 gypsum and 20 carbonic lime, finely grind, mix and knead with a mixture consisting of 1000 distilled water, 1080 sulphate lime.
1.3. They take 1000 water, 1440 glue, 1000 sulfuric acid. Then they put the dough in molds and, when it hardens, take it out, dry it for two hours, grind and polish in the usual way. Finally, the object is dipped in a 70 ° heat linseed oil bath, after which it is dried and smeared with stearin. Aniline paints are recommended for coloring.
1.4. Artificial marble pale yellow to white. 30 coarse white sand, 42 chalk, 24 rosin, 4 burnt lime.
1.5. Greenish. 28 coarse white sand, 42 chalk, 2 ultramarine blue, 24 rosin, 4 burnt lime.
1.6. Bodily. 28 coarse white sand, 42 chalk, 1 ultramarine blue, 1 cinnabar, 24 rosin, 4 burnt lime.
Imitation marble
2.1. According to Van der Steen. First, prepare water in which gypsum must be ground by adding wood glue and resin to it; the glue is usually dissolved in warm water, and the resin in a warm turpentine bath. In the water prepared in this way, gypsum is diluted so that the entire mass is sufficient to fill the mold. After that, the paints necessary for coloring the marble are added to the mixture; paints should be prepared in special containers. Prepared in this way and colored marble is then poured into molds of plaster, cement or rubber for even plates on glass or stone boards. This marble layer is applied 4 mm thick, then a layer of dry gypsum is sieved to remove the excess water used to dissolve the colored gypsum. As soon as this layer of powdered gypsum is thoroughly moistened with water,contained in excess in colored gypsum, a thin layer of well-dissolved, but not colored gypsum is poured onto it, and a canvas or thinner is poured onto it. Then follows a layer of dissolved gypsum, to which crushed rubble is mixed. This last layer depends on the thickness you want to give to the object made of reconstituted marble. As soon as the mass hardens enough (after 6-8 hours), it is removed from the plate or taken out of the mold, wiped with pumice and the pores in the mass are filled with dissolved gypsum, painted in the main color of the cast object. To make the surface waterproof, it is treated with potassium silicate, and either immersed in a bath or smeared with liquid with a brush. When the mass is completely dry, the surface is polished, and the novelty of the polishing process is that it is polished with a swab,wrapped in a rag and soaked in specially formulated polishes:
2.1.1. White polish for light artificial marble: 100 bleached gummilac, 600 alcohol, 25 finely ground plaster.
2.1.2. Brown varnish: 100 orange gummilac, 600 alcohol, 25 finely ground gypsum. First, the polished object is wiped with a swab soaked in alcohol, then the polish is applied with another swab and continue to rub with a swab until some adhesion is noticeable. The resulting layer of polish is treated with the first swab soaked in alcohol until a completely smooth surface is obtained.
2.1.3. Black varnish. To do this, take a little black aniline paint on a rag. To achieve an even and very shiny polish, it is necessary to moisten the cloth covering the tampon from time to time with a few drops of oil.
2.2. By Size. Items made from ordinary limestone - vases, figures, etc., are heated for 12 hours, at a pressure of 5 atmospheres, with boiling water or steam. Then they are placed in a bath consisting of a solution of alum at 5 ° B., in which they remain from 1 day to several weeks. In this way, the stone acquires greater hardness and ability to perceive polish. If they want to paint the stone, then aniline dyes dissolved in water are added to the mass.
2.3. According to Ostermeier. Lime milk is mixed with finely crushed marble, or milk of lime with chalk, until a kind of gruel is obtained. Based on the study of Pompeian cement, Ostermeier recommends adding to this mass a sufficient amount of coarsely crushed limestone. This cement dries and hardens soon.
Imitation granite
Mix clean fine sand, pyrite or some other mass containing flint with freshly burnt and crushed lime in the following proportion: 10 sand or pyrite and 1 lime. Lime, quenched by the moisture content of the sand, corrodes the flint and forms a thin layer around each silicon grain. Upon cooling, the mixture is softened with water. Then take 10 crushed granite and 1 lime and knead into place. Both mixtures are placed in a metal mold so that the mixture of sand and lime forms the very middle of the object, and the mixture of granite and lime forms an outer shell from 6 to 12 mm (depending on the thickness of the prepared object). Finally, the mass is pressed and hardened by air drying. The coloring agent is iron ore and iron oxide, which are hot mixed with granular granite.
If they want to impart special hardness to objects formed from the above composition, then they are placed in potassium silicate for an hour and subjected to a heat of 150 ° C.
II. Various artificial masses
Albolite
To make this mass, magnesite is crushed and fired in pieces the size of a fist in retort furnaces, which are used in gas factories. Iron magnesite is ground on runners, sieved through a hair sieve and mixed with the appropriate amount of tripoli. From this cement powder, dissolved in water, ornaments can be made, as from plaster, but it cannot compete with plaster. But it has the invaluable property of giving, in combination with a moderately strong solution of chlorine magnesium, a solid and plastic mass. Mixed in the correct proportions albolite-cement mass, depending on its purpose, should have the consistency of a more or less thick slurry, which, under the influence of the temperature at which they work, gradually thickens, and after 6 hours. hardens. When the mass hardens so much that nail marks are still visible on it,then a self-heating process takes place in it, which is different depending on the size and thickness of the object being made; thick slabs are heated, for example, above 100 ° C. When casting large objects, this is a difficult drawback, and adhesive molds can only be used with great care. It is necessary to remove the object from the adhesive molds before the heating process begins. When casting small objects, heating is negligible, and therefore does not present an obstacle. The plasticity of the mass is unusually high. For plaster ornaments, the albolite mass has the advantage that if the plaster ornament is covered with a thin layer of albolite, repeating this until nothing else is absorbed, then the ornament becomes more hard from the outside.thick slabs are heated, for example, above 100 ° C. When casting large objects, this is a difficult drawback, and adhesive molds can only be used with great care. It is necessary to remove the object from the adhesive molds before the heating process begins. When casting small objects, heating is negligible, and therefore does not present an obstacle. The plasticity of the mass is unusually high. For plaster ornaments, the albolite mass has the advantage that if the plaster ornament is covered with a thin layer of albolite, repeating this until nothing else is absorbed, then the ornament becomes more hard from the outside.thick slabs are heated, for example, above 100 ° C. When casting large objects, this is a difficult drawback, and adhesive molds can only be used with great care. It is necessary to remove the object from the adhesive molds before the heating process begins. When casting small objects, heating is negligible, and therefore does not present an obstacle. The plasticity of the mass is unusually high. For plaster ornaments, the albolite mass has the advantage that if the plaster ornament is covered with a thin layer of albolite, repeating this until nothing else is absorbed, then the ornament becomes more hard from the outside.than the heating process will begin. When casting small objects, heating is negligible, and therefore does not present an obstacle. The plasticity of the mass is unusually high. For plaster ornaments, the albolite mass has the advantage that if the plaster ornament is covered with a thin layer of albolite, repeating this until nothing else is absorbed, then the ornament becomes more hard from the outside.than the heating process will begin. When casting small objects, heating is negligible, and therefore does not present an obstacle. The plasticity of the mass is unusually high. For plaster ornaments, the albolite mass has the advantage that if the plaster ornament is covered with a thin layer of albolite, repeating this until nothing else is absorbed, then the ornament becomes more hard from the outside.
In the same way, other materials can be given greater strength. There is no material more suitable for repairing sandstone than albolite cement. Years of experience have shown the practicality of lubricating houses with albolite. Inside houses it is very practical to lubricate stair treads, floors, etc. Wooden stairs outside are recommended to be coated with a layer of albolite.
Beerite
Beerite is a sculptural material invented by the sculpture Beer in Paris, suitable for both the smallest castings and the largest castings, conveying contours and lines with an accuracy that can never be achieved with plaster. The surface of the castings, which can also be polished, is pure white and has almost the same gloss and light reflections as natural marble. This mass is especially good for casting statues, giving, like marble, an impression of softness and vitality, thanks to the play of light and shadows. In fractures, beerite has a crystalline structure, which is characterized by a rather high hardness. The molded mass hardens after 1 hour and only in rare cases requires further processing. Beerite is composed of 100 marble dust, 10-25 glass powder, 5-10 powdered sieved lime,dissolved in liquid glass.
Marmorite
According to Losse, it is made from equal parts of finely ground, elutriated and red-hot magnesite and from a solution of magnesium sulfate. Both parts are mixed well and the mixture is poured into oiled molds. After hardening, the mass can be washed with warm soapy water. The solidified mass has the appearance of white marble and over time acquires its hardness, so that it can be used for casting busts, statues, etc. In this case, the same forms can be used that are used for plaster work.
III. Solid gypsum masses
Lime plaster
To harden the gypsum with lime, the fatty lime is carefully slaked to break up into a fine powder, and the extracted powder is mixed in an amount of 10% of the gypsum weight with the latter. For a tight mix, the powders are best mixed in a rotating barrel, as uneven mass distribution would cause unevenness in the cast mass. The limestone gypsum must be carefully protected from air so that the lime cannot attract carbon monoxide. After a few months, objects cast from limestone become harder by the attraction of carbon dioxide anhydride from the air than things cast from ordinary gypsum.
Alum plaster
For the manufacture of alum gypsum, finely ground alabaster is ground and closely mixed in a rotating barrel with 1/12 of its weight with alum, crushed into a fine powder. The mixture is then lightly burned in small pans, resulting in a slightly yellow mass that is easy to turn back into powder. When rubbing alum plaster with water, a slurry is obtained, which hardens only after 40-60 minutes. A weakly burnt mass hardens faster than a mass that has been burnt more strongly. A good alum-gypsum mass can also be prepared from ordinary calcined gypsum, if instead of plain water you add water to it, in which equal parts of alum and ammonia are dissolved.
Sulfuric acid gypsum
Can only be prepared from lime-free gypsum. To free it from it, when mixing gypsum mass with potassium sulfate, they use not pure water, but acidified with sulfuric acid. Fine powder of potassium sulfate and gypsum flour are mixed, as with lime plaster, in a rotating barrel. Items cast from calcium sulphate plaster are slightly translucent and have a special gloss.
Zinc-vitriol gypsum
It turns out as follows: in the water used for grinding gypsum, zinc sulfate (zinc sulfate) is dissolved and gypsum is treated with this solution.
Burogypsum mass
It turns out as follows: first prepare a cold saturated solution of borax, dissolving in boiling water as much borax as it can dissolve. The solution is then left to stand for 48 hours. and the solution is drained from the crystallized borax. Fired pieces of gypsum are placed in this solution, left in it all day and, after drying, are fired again. At the same time, they are heated to a red-hot heat in order to expel all crystallization water from the borax. After that, grind pieces of gypsum and grind them with water, in which 10 sodium or potassium carbonate is dissolved in 100 water, and then cast into molds. The brown gypsum mass hardens very slowly, but after a while it acquires such hardness that it can be ground and polished like natural limestone.
Solid gypsum mass according to Julia
6 parts of gypsum are mixed well with 1 finely sieved freshly slaked lime and this mixture is treated like ordinary gypsum. After the mass dries well, the finished object is impregnated with a solution of iron or zinc sulfate, the base of which is precipitated with lime and gives an insoluble precipitate. The lime contained between the pores of the gypsum decomposes vitriol, forming two insoluble bodies, namely, calcium sulfate and metal oxides, which completely fill the pores of the object. When zinc sulfate is consumed, the mass remains white. With iron vitriol, it first acquires a greenish color, and upon drying it acquires the characteristic color of iron oxide. The hardest mass is obtained with iron; its resistance is 20 times greater than that of ordinary gypsum. To achieve maximum hardness and strength, you needas soon as possible, stir the lime-gypsum mixture with the required amount of water. Before hardening with vitriol, the mass must be well dried so that the solution can easily soak it. The solution should be saturated, and the object is immersed in it for no longer than two hours.
The plaster made in this way can no longer be scratched with a fingernail. If the immersion in the solution lasted too long, then the gypsum becomes crumbly; if, after the first immersion, he has dried up, then touching the water does not cause him any harm. If you add too much lime, it happens that the surface is so compacted that it does not absorb any water or oil. The surface, however, is made so hard that it can be sanded with glass sandpaper, like marble, but the disadvantage is that the hard layer is not more than 2 mm thick, which is why the mass does not have sufficient resistance to compression.
The proportions of lime and gypsum can vary widely, but Yule achieved the best results with a ratio of 1: 6. Plaster objects hardened with iron vitriol have a rusty-brown color, but if they are soaked in boiled linseed oil, which has turned brown from heating, they get a mahogany color. If they are still covered with copal varnish, then they acquire a very beautiful appearance.
Solid gypsum mass according to Heinemann
Objects prepared by this method from raw gypsum stone are first heated to 100-120 ° C to remove part of its crystallization water. Then the items are placed in a concentrated solution of calcium chloride and, after saturation, in a hot concentrated solution of magnesium sulfate. This separates the calcium sulfate salt inside the gypsum, which replaces the crystallization water removed during the first heating, and the objects become denser, with great resistance, while the resulting magnesium chloride is released by immersing objects in water. This treatment is followed by reheating, saturation in calcium chloride solution and precipitation with magnesium sulfate.
This processing can be repeated several times. With this reheating, the temperature can be raised so that it can eventually reach 400 ° C. After the items have been impregnated with the above method, they are treated alternately with glue and tannin solutions, each time from 1 to 4 days, depending on the size of the items, and then dried in a drying oven at gradually decreasing heat. Instead of wood glue, you can use such substances that, with dehydrated calcium sulfate salt, give insoluble compounds in water, such as, for example. blood serum, gluten in liquid form, drying oils, etc. In the same way, you can call the combination of glue with calcium sulfate salt with a solution of alum.
For the manufacture of colored marble, a solution of calcium chloride is mixed with such metal chlorides, which upon subsequent processing with metal salts give colored, insoluble precipitates, instead of expelled crystallization water. If, for example, a solution of calcium chloride was combined with ferric chloride, then by treatment with potassium chromate, a brown insoluble precipitate of ferric chromate is obtained during the formation and release of potassium chromate. Further processing is otherwise similar to that described above.
Denstedt solid gypsum mass
A hot saturated barium solution has not yet been recommended for hardening hypos castings; however, subject to known precautions, the barium solution can be used and gives very satisfactory results. When using this solution, it is necessary, chiefly. Thus, prevent the precipitation of barium crystals during application of the solution. This is achieved by the fact that the objects are heated to 60-80 ° C before soaking. This simultaneously achieves the fact that the applied solution is pressed by external air pressure to a considerable depth. When cooled, barium crystals are released in this case inside the mass and do not protrude to the surface when dried, but remain inside and form insoluble compounds.
The difficulty lies in the fact that ordinary brushes or sponges cannot be used to apply the solution, since they are instantly corroded by a caustic liquid. Therefore, brushes with glass threads are used. They are prepared by gluing the threads into glass tubes with glue consisting of liquid glass and oyster shells. A number of thin brushes are connected in one wide glass tube and glued together with the same glue. To achieve greater hardness, either free silicic acid or metal salts are mixed with the gypsum, which form such a reaction with barium that, along with the insoluble barium salt, insoluble metal oxides or oxide hydrates are released. When free silicic acid is used, it is mixed with gypsum in a dusty state before shaping. You can increase its amount up to 50%,without reducing the ability of the gypsum to harden. Cast and dried items are heated to 60 - 70 ° and soaked in a hot barium solution. Instead of free silicic acid, it is also possible to use glaze sand used in porcelain production, obtained from the transformation into powder of burnt silica. Under the influence of atmospheric carbon dioxide, barium combines with carbon dioxide hydrate into a solid mass, just as lime combines with sand. The metal salts mentioned above are mainly metal sulfates (zinc, cadmium, magnesium, copper, iron, aluminum, chromium, cobalt, nickel).obtained from the transformation into powder of burnt quartz. Under the influence of atmospheric carbon dioxide, barium combines with carbon dioxide hydrate into a solid mass, just as lime combines with sand. The metal salts mentioned above are mainly metal sulfates (zinc, cadmium, magnesium, copper, iron, aluminum, chromium, cobalt, nickel).obtained from the transformation into powder of burnt quartz. Under the influence of atmospheric carbon dioxide, barium combines with carbon dioxide hydrate into a solid mass, just as lime combines with sand. The metal salts mentioned above are mainly metal sulfates (zinc, cadmium, magnesium, copper, iron, aluminum, chromium, cobalt, nickel).
Gypsum dissolves with these salts, or cast objects are impregnated with solutions of these salts. After they are carefully dried and then heated to 60-70 °, they are treated with a hot barium solution.
Some of the above salts cause coloration of objects at the same time. A completely uniform color can be achieved if lime is used instead of barium hydrate. In this case, the process is reversed. Burnt lime (up to 5%) is added to the gypsum before dissolving, or even better, the gypsum is dissolved with milk of lime and the cast objects are soaked after drying with solutions of the above salts.
Keating solid gypsum mass
Gypsum is reported to be of greater hardness and strength if it is put in a borax solution. To do this, dissolve 5 borax in 45 water, put pieces of gypsum into this solution so that they are completely covered with it and leave it so until they are completely saturated with the solution, after which they are subjected to strong heating for 6 hours. and converted to powder on cooling.
An even better strength is obtained if you dissolve by heating 4 tartar and 4 borax in 72 water. Upon dissolution, proceed as described above.
Winkler solid gypsum mass
Gypsum (alabaster) is dried by subjecting it to the ordinary heat of a Russian oven, which is required for baking bread; at the same time, for a piece that is not thicker than 30 cm, 3 hours are enough, after which it is cooled, soaked in water for 30 seconds, exposed for a few more seconds to the air and wet again for 2 seconds. in water. In conclusion, it is exposed to air for several days, from which the gypsum is made hard, like marble.
IV. Imitation of building stones
Fake diamond
1.1. 2 hydraulic lime, mixed with a solution of alum in 15 times the amount of water, 10 sand and 1 cement are mixed into a mass, which is pressed in molds and removed after 24 hours. The stones are ready for use after 14 days, but only become hard over time.
1.2. A mixture of 1 cement and 3 sand is dissolved with dilute sulfuric acid (100 water for 2 acids) and pressed under strong pressure. The stones are air-dried for two days, placed in dilute sulfuric acid (2 acids per 100 water) for 12 hours and dried again.
1.3. 2 Portland cement, 1 sand and 1 slag are mixed dry and then moistened with an aqueous solution of ferrous sulfate. The thick solution is pressed into molds, dried for weeks, two in a warm place, then dipped in water for 24 hours and finally dried for 4 weeks.
1.4. 10 quicklime is thoroughly mixed in 3-4 water, then 40-60 dry sand and 2.5-10 hydraulic cement are added and again well ground. Then the mass is pressed into molds.
1.5. 1 leached ash, 1 resin, 1/8 - 1/4 of flaxseed oil are heated in a kettle, with constant stirring, and poured into molds.
1.6. 15 l of glue water, 1/4 l of water, in which the wood glue was dissolved, and 1/8 kg of borax in powder are mixed with such an amount of gypsum to form a doughy mass suitable for pressing. By mixing dyes, a colored mass is obtained.
1.7. Mix 300 kg of sand or crushed stone, 75 kg of resin and 20 liters of wood tar with a sufficient amount of ground stones and add, depending on the desired color, Venetian red or gypsum, and heat up strongly.
1.8. 4 gravel and 1 cement, with the addition, if desired, of crushed stone, etc. are diluted with water. The mass is laid out in a mold, where a layer, approximately 1/2 cm thick, of 2 fine sand, 1 cement and 1 dry mineral paint in powder is placed on its surface. If they want to decorate the stone with a pattern on the surface, then the corresponding pattern is embedded on the bottom of the mold and the mentioned colored layer is placed on it. When the stone is almost dry, its surface is coated with diluted liquid glass. (Some streets in New York are paved with such slabs).
1.9. 30 silica sand and 1 lead oxide are mixed with 10 water glass and, if necessary, with a suitable coloring matter, pressed into molds, and then for 2 hours. exposed to red heat.
1.10. The hydraulic lime is placed in a basket that holds approximately 1/8 ton and immersed in a vessel of water, leaving in it until no more air bubbles rise. Then remove the basket from the water, allow the water to drain and cover the basket with an inverted iron cauldron. The edges of the boiler, standing on the floor, are sprinkled with ash all around so that air exchange does not occur under the boiler. The lime is left to stand for 12 hours, after which it turns into a fine powder. This powder is used for the manufacture of stones. 1 of this lime is mixed with water so that a liquid porridge is formed and then 2 1/2 crushed stone and 1/2 ash from coal, peat or leached wood ash are added. Stir the mass well and add more water so that the total amount of water used is 4 times the amount of lime. Pour the mixture into molds, where it soon hardens.
Volcanic building stones by Schroeder
The so-called volcanic building stones are prepared from coal slag and ash with the addition of hydraulic lime and other binders. The shredder uses 16 hydraulic lime and 1 Portlan cement for 100 coal ash or coal slag. This mass is milled, mixed well, and then pressed into molds. The advantage of this method consists in the advantageous use of unnecessary waste, the constantly increasing amount of which is often burdensome, in the significant strength of these stones with relative lightness, in high resistance to atmospheric influences and in low cost of manufacture. Many massive residential buildings and vaulted buildings have been built in Germany from these volcanic building stones.
Stone mass according to Mayer
First, mix 5 slaked lime with 5 previously highly hot lime. 1 of this mixture is mixed with 1 chalk, 2 sand, 2 quartz or glass powder, 6 crushed fluorspar into a powder and so much potash water glass (1.3 spar) is added to form a mushy mass that easily pours into molds and solidifies at 10-40 minutes. After drying in air, the cast objects are impregnated alternately with diluted water glass and hydrofluorosilicic acid. Similarly, you can treat a mixture of equal parts of glass in powder and fluorspar with concentrated water glass. For colored mass, Mayer recommends a mixture of 2 fluorspar, 1 quartz or glass, and 1 paint, ground with a concentrated solution of water glass.
Stone mass according to Steyer
Take fine quartz sand and add, depending on the desired degree of hardness, from 2 to 10% of finely ground lead oxide. The harder the stones should be, the more lead oxides are taken. To obtain a colored stone mass, add, depending on the desired color, the corresponding finely ground metal oxide. The entire mixture is then sieved to mix well. Then the mixture is only moistened with sodium or potassium water glass, stirred well again, pressed tightly or tamped into a mold and dried at moderate temperature. After drying, the mixture is fired, depending on the degree of hardness that they want to give to the manufactured object, in a more or less intense heat. It should also be noted that the liquid glass should not be contaminated with sodium sulfate, otherwise the stones will be weathered out already upon drying.
Stone mass according to Gefer
A fairly soft mixture of cement lime with potash water glass is suitable for this, to which a little river sand is added. The proportion of cement lime to river sand is 2: 1. When using this cement mass for repairing stone stairs, it is not necessary to beat off the trampled steps. The damaged places are moistened with liquid glass and a freshly prepared mass is applied to them, which is given the necessary shape of the steps. The mass dries up after 6 hours. and becomes hard like limestone.
Stone mass according to Schulte
4-6 sand is mixed with 1 hydraulic lime and 6% of dry liquid glass is added to the mixture, possibly finer than ground into powder. Then they are still thoroughly stirred and moistened with such an amount of water that from this mass it is possible to form stones of the desired shape. Approximately 10% water is required. The stones made of this mass are allowed to harden, which will take 1 -4 days, after which they are placed in a vat of water. Under the pressure of water, liquid glass powder, evenly distributed throughout the mass, dissolves and combines with lime, which also dissolves from water in a small amount into silica salt. When, after a few days, the water glass dissolves and turns an equivalent amount of lime into insoluble silicate salt, the stones are placed in water containing a 5% sodium carbonate solution. This converts the remainder of free lime into carbonic lime, while sodium oxide hydrate dissolves and is washed off by thoroughly washing the already hardened stones in water. The stones are then air dried. When using this method, an essential condition is that the water glass is in an undissolved state in the form of a powder, and then the stones should be treated with a solution of sodium carbonate only after all the water glass has dissolved and forms a silicic calcium salt with lime.and then the stones should be treated with a solution of sodium carbonate only after all the water glass has dissolved and forms a silicate salt with lime.and then the stones should be treated with a solution of sodium carbonate only after all the water glass has dissolved and forms a silicate salt with lime.
Stone mass according to Hayton
This method, used by the Victoria Stone Company in London, consists in mixing small fragments of granite with hydraulic cement and then, after forming and hardening, the mass is immersed in a solution of water glass. The fragments of granite are crushed, and for every 4 granite, 1 Portland cement is added and the dough is kneaded with water. This mass is poured into molds, left to stand for 4 days, and then poured over with 25% sodium silicate solution for two days. The artificial stones produced in this way are mainly used as building stones, stair slabs and sidewalks.
Stone mass according to Dumenil
1,100 gypsum, 10 hydraulic lime, 5 gelatin and 500 water. Gypsum and hydraulic lime are diluted in a vessel with gelatin and water, stirred well and the homogeneous mass is poured into wooden detachable molds, greased with gray soap. After 20-22 minutes. remove the stone from the mold and air dry it, which will take 14 days. If desired, drying can be accelerated with artificial heat. The stones can be painted in any color by adding a dye to the mass.
These artificial stones can be used for all kinds of construction work - for residential buildings, bridges, water pipes, etc. The stones cast from this mass have the same strength as natural stones, and, which is especially important, the walls built from such stones do not suffer from dampness. It goes without saying that the mass can be cast in any shape, and in this way a variety of architectural details can be produced.
Stone mass according to Lebrun
This method consists in the fact that hydraulic limestone is converted into fine powder, mixed with charcoal powder (3-4 hydraulic limestone per 1 coal powder). The mixture is ground with water into a dough and bricks are formed from it, which are fired in a lime kiln. After firing, the mass is turned back into a fine powder, and this powder, which Lebrun calls hydro, is the main material of his manufacture. The stones he produces are of two types. One grade consists of a mixture of hydro with sand in a ratio of 1: 3 and is used for the manufacture of architectural ornaments - columns, brackets, parapets, etc. The second grade, consisting only of densely rammed hydro, is used for paving slabs, etc. molded in iron molds with the addition of as much water as the molders use to wet the sand. Proventhat objects prepared from this mass retain their regular shape, resist friction and pressure, and are also insensitive to atmospheric influences.
V. Stone masses for different purposes
Stone mass for Petri filters
To make a porous mass suitable for filters, vessels, etc., take dried quartz sand and mix it with sulfur (1 in 4 sand), turned into powder. The mixture is heated in a flat kettle with constant stirring until the sulfur is almost ignited. When the mass acquires the character of damp sand, it is transferred to a nearby flat-shaped cauldron, which, although not so much, is nevertheless heated enough to preserve the sulfur acquired by heating it softness and brown. In this cauldron, the mixture is pounded even finer, and then placed in the form it should take, it is quickly pressed in and immediately poured with cold water, which penetrates the porous mass and pours out through the holes below in the form. Do not pour too much water at first,so that too much steam does not form inside the mass. Instead of cooling with water, it is possible, in certain cases, to provide the form below with an appendage into which excess sulfur is drained. The object then has the same appendage, which is then cut off.
Instead of sulfur alone, you can use a mixture of sulfur and clay. For some purposes, it is recommended to add a certain amount (1-10%) of resin, var, gutta-percha, etc. to the mass. One or another substance is first thoroughly mixed in warmth with sand, and then sulfur is added. If they want to get a waterproof mass that resists the influence of strong acids, then as a material mixed with sulfur, they take fine or coarse sand or crushed stone and add even larger pebbles to it, the thickness of which, however, should not exceed 1/8 of the wall thickness of the produced items. This mass is mixed in warmth with so much pure sulfur or mixed with clay (or, as the case may be, with resin) so that the sulfur fills all the gaps between the particles of the mass; when the sulfur reaches a highly liquid state, the mass is spread into a mold. It is also recommended to make vessels and tubes from this mass for chemical purposes.
Stone mass for whetstones
The engineers of Keppel and Kübler from Stuttgart recommend the following simple method for making a good grindstone: 2 Portland cement and 1 finely ground stone: 2 Portland cement and 1 finely ground quartz are kneaded in water to obtain a liquid paste-like mass, which is then poured into the appropriate molds of the required size and dried for 12 days. When the mass prepared in this way is dry, it is taken out of the mold and immersed for a while in a solution of equal parts of copper sulfate and zinc sulfate; in this solution, all the pores of the molded mass are filled, and the stone receives the properties of the best natural grinding or polishing stone.
Artificial lithographic stones
The mass consists of Portland cement, sand, hydrated lime and clay. Portland cement itself already has approximately the constituent parts necessary for lithographic stone - it contains lime and alumina.
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As we can see, artificial stone casting was not a prerogative of secret laboratories in Jesuit monasteries. In the Soviet Union, competent specialists were highly valued, and it never occurred to anyone to hide anything from the people. Except for issues related to politics, of course, and potentially dangerous to society. But I found the times when all over Moscow there were cubic urns made of red polished granite.
Something like this:
And they were monolithic, without seams, which would have been impossible when trying to make these objects from natural stone by cutting it. Therefore, we can say that fragmentary knowledge about what is now patented by the Swiss Joseph Davidovitz as geo-polymer concrete was not invented by him, and not even by Soviet scientists. These technologies were widely used in the construction of many famous architectural masterpieces of the eighteenth and nineteenth centuries.
Fot some bright illustrations sent to me from the Grand Opera (Paris, France). Photo by Christina Fet:
There is hardly a person in his right mind who would believe the guide's words that it was carved from natural marble with a hammer and chisel. It is quite obvious that the balusters are made by casting into molds made from one impression. They are absolutely identical except for the texture.
Well, here and no comment. Analogue of the bust of Montferrand in St. Isaac's Cathedral:
If it was created by Falletti, with the help of hand tools … Then let someone create something like that in this way! But they don't. And they do not make gigantic columns of malachite. And no one can repeat the vase made of the "monolithic piece of malachite" that is in the Hermitage. Why?
It is obvious that in nature there are no samples of a homogeneous mineral of such huge dimensions. Few people believe in the tales that all of them have been found and used a long time ago, and only small stones remain. If such existed, they would certainly be to this day. However, no one has come across bus-sized gold nuggets, and no one has seen monolithic blocks of azurite or malachite, from which one could carve a solid column five to seven meters high. All this is done as described in the Handicraft Handbook. Well, or close to that.
But what artifacts are stored in the Louvre (photo by Christina Fet):
Not a single company engaged in the production of natural stone products today will undertake to repeat this sarcophagus. You will be told that it is possible to create a similarity from several parts. But the tools that make it possible to make an internal cavity from a monolith with right angles simply do not exist. Let me remind you that the sarcophagus is made of diorite, which is considered one of the hardest natural minerals. It practically does not lend itself to processing with hand tools.
All this is also diorite. The inscriptions cannot be punched out with a percussion instrument. This can only be done by printing on soft material, or by using a relief on the inside of the investment ring into which the filling was made. As an explanation, 3D printer, CNC laser machine, and aliens with chronauts are not suggested.
A logical question arises: - Egyptian sarcophagi and other "pans" made of diorite, in fact, are as ancient as scientists say, or are they roughly the same age as the artifacts in the Grand Opera? We are convinced that they are a myriad of millennia, and I see eighteenth century technology.
After all, it turns out that most of what is now shamelessly passed off as antiquity was actually created only at the end of the nineteenth - the beginning of the twentieth century, on gigantic lathes, driven by steam engines, and with the help of a mechanical tool set in motion compressed air energy.
Continued: Part 10.
Author: kadykchanskiy