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LUMINOUS PAINT.It is now nearly four years since, under the title of “Cold Light,” we first noticed the practical outcome of Mr. W. H. Balmain’s beautiful discovery by which he fixed the luminosity of certain phosphorescent substances, and rendered them available as practical light-giving agents. That outcome we need hardly state was luminous paint, and the conclusions we drew at the time from an investigation of the subject were that the invention possessed great merit, and could not fail to prove a practical success. The four years which have elapsed have seen our prediction fully verified, although we do not take much credit for this, as the merits of the invention were so palpable and the sphere of its application so wide. Still, it is satisfactory to find it has proved so successful, and in view of its very success we think well to notice a few of its special applications, some of which were quite unthought of when the invention was first brought before the public as a commercial enterprise. First, however, we would refer to the nature of the paint itself in order to correct one or two mistaken notions which have very naturally got abroad since the paint has obtained such widespread notoriety. For instance, it is often supposed—and we have more than once heard the supposition expressed in the luminous cottage at the Crystal Palace—-that the paint is simply a compound of phosphorus and oil. Nothing is more erroneous, as any one can prove for themselves if they like to try the dangerous experiment of incorporating these two substances. Luminous paint contains no phosphorus whatever, its chief components being lime and sulphur, the remarkable results of their combination being the effect of special manipulation. The bases are compounded with the usual carriers of paints, and the paint is similarly applied. The oil form of paint when properly used does not vitiate the atmosphere. The light it emits is not caused through combustion, but just as a bell when struck vibrates and produces waves of air resulting in notes of sound, so on a similar principle the molecules of the paint are struck by any rays of light (natural or artificial), causing them to vibrate and give forth waves of light. Thus a painted board is, as it were, a bell of light; it is silent and dark until any rays of light fall upon it, when immediately it becomes active^ remaining under favourable conditions luminous all night; ana so continuing without further painting, night after night, taking up solar light during the day and giving it off at night, and thus acting solong as any particle of the paint exists. In working out his invention, Mr. Balmain kept in view what is known as Canton’s phosphorescence, which he aimed at, and eventually succeeded in, superseding. Canton’s phosphorescence for more than 200 years was but a laboratory experiment, never coming into practical use, as it emitted no useful amount of light, the phosphorescence lasting but a, few minutes. Balmain, however, succeeded in making a luminous paint, the luminosity of which is permanent and of practical utility. It is to be regretted that Mr. Balmain did not long survive the fruition of his ideas.With regard to the practical applications of luminous paint, we can only say that their name is legion, We will, however, indicate a few of the.more special uses to which it has been put. For indicating dangerous rocks and headlands it has found a use, a large rock having been painted with it to indicate its position. Mooring buoys, life-buoys, and the numoers of vessels are also rendered visible at night by its aid. Perhaps the most striking and, at the same time, most recent application is the painting of the mariner’s compass for use on board ship, by which means it is rendered clearly visible at night, and the course can be kept should the lamp be extinguished. The applications which might be suggested for luminous paint are every whit as numerous as those which have already been effected. Those who move about much either by land or by water, or by both, will find applications suggest themselves at every point, as they nave to us. To begin with water, we may observe that as the oil paint acts well under water, the piers and buttresses of bridges might be painted so as to guide craft through on dark nights. In the construction of harbours or in carrying out other submarine work at night, large stones might be painted so that they could the better be adjusted into positiont whilst for the guidance of workmen hand rails and staging at danger points might be similarly treated. A luminous band, say a foot in depth, painted all round a vessel would show its position, and vessels laying along a quay-side on a dark night would often escape damage. Vessels having a broad band of, say, 6 feet all round, would be seen from a distance should the lamps happen to go out. Under favourable conditions such a surface on a dark night would be visible over a mile—a vessel so painted and becoming a derelict would automatically light itself up, and might prevent fast-going steamers from wrecking themselves, by running into such derelicts. The handrails about landing stages might also be painted luminous. On board ship a wooden board 3 feet by 2 feet well painted would act as a portable lantern for the lamp and spirit room and powder magazine, and small boards 2 feet square hanging on the wall m passengers’ cabins, where lamps are prohibited, would prove most useful, affording light without combusfiop in a confined space. Again, if
Newspaper Details
Iron
London, Middlesex, GB
Fri, Feb 29, 1884
Page 26
Full Page
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Los A.
CA, USA 19 Nov 2024
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