The Chemical History of a Candle - Michael Faraday (best free ebook reader for android .txt) 📗

the basin and conveyed it to the floor, because it happened to be thrown over the side in such a way as to serve the purpose of a syphon.[5] That you may the better see the way in which the substances act one upon another, I have here a vessel made of wire gauze filled with water, and you may compare it in its action to the cotton in one respect, or to a piece of calico in the other. In fact, wicks are sometimes made of a kind of wire gauze. You will observe that this vessel is a porous thing; for if I pour a little water on to the top, it will run out at the bottom. You would be puzzled for a good while if I asked you what the state of this vessel is, what is inside it, and why it is there? The vessel is full of water, and yet you see the water goes in and runs out as if it were empty. In order to prove this to you, I have only to empty it. The reason is this,—the wire, being once wetted, remains wet; the meshes are so small that the fluid is attracted so strongly from the one side to the other, as to remain in the vessel although it is porous. In like manner the particles of melted tallow ascend the cotton and get to the top; other particles then follow by their mutual attraction for each other, and as they reach the flame they are gradually burned.

Here is another application of the same principle. You see this bit of cane. I have seen boys about the streets, who are very anxious to appear like men, take a piece of cane, and light it and smoke it, as an imitation of a cigar. They are enabled to do so by the permeability of the cane in one direction, and by its capillarity. If I place this piece of cane on a plate containing some camphin (which is very much like paraffin in its general character), exactly in the same manner as the blue fluid rose through the salt will this fluid rise through the piece of cane. There being no pores at the side, the fluid cannot go in that direction, but must pass through its length. Already the fluid is at the top of the cane: now I can light it and make it serve as a candle. The fluid has risen by the capillary attraction of the piece of cane, just as it does through the cotton in the candle.

Now, the only reason why the candle does not burn all down the side of the wick is, that the melted tallow extinguishes the flame. You know that a candle, if turned upside down, so as to allow the fuel to run upon the wick, will be put out. The reason is, that the flame has not had time to make the fuel hot enough to burn, as it does above, where it is carried in small quantities into the wick, and has all the effect of the heat exercised upon it.

There is another condition which you must learn as regards the candle, without which you would not be able fully to understand the philosophy of it, and that is the vaporous condition of the fuel. In order that you may understand that, let me shew you a very pretty, but very common-place experiment. If you blow a candle out cleverly, you will see the vapour rise from it. You have, I know, often smelt the vapour of a blown-out candle—and a very bad smell it is; but if you blow it out cleverly, you will be able to see pretty well the vapour into which this solid matter is transformed. I will blow out one of these candles in such a way as not to disturb the air around it, by the continuing action of my breath; and now, if I hold a lighted taper two or three inches from the wick, you will observe a train of fire going through the air till it reaches the candle. I am obliged to be quick and ready, because, if I allow the vapour time to cool, it becomes condensed into a liquid or solid, or the stream of combustible matter gets disturbed.

Now, as to the shape or form of the flame. It concerns us much to know about the condition which the matter of the candle finally assumes at the top of the wick—where you have such beauty and brightness as nothing but combustion or flame can produce.

[Illustration: Fig. 2.]

You have the glittering beauty of gold and silver, and the still higher lustre of jewels, like the ruby and diamond; but none of these rival the brilliancy and beauty of flame. What diamond can shine like flame? It owes its lustre at night-time to the very flame shining upon it. The flame shines in darkness, but the light which the diamond has is as nothing until the flame shine upon it, when it is brilliant again. The candle alone shines by itself, and for itself, or for those who have arranged the materials. Now, let us look a little at the form of the flame as you see it under the glass shade. It is steady and equal; and its general form is that which is represented in the diagram, varying with atmospheric disturbances, and also varying according to the size of the candle. It is a bright oblong—brighter at the top than towards the bottom—with the wick in the middle, and besides the wick in the middle, certain darker parts towards the bottom, where the ignition is not so perfect as in the part above.

[Illustration: Fig. 3.]

I have a drawing here, sketched many years ago by Hooke, when he made his investigations. It is the drawing of the flame of a lamp, but it will apply to the flame of a candle. The cup of the candle is the vessel or lamp, the melted spermaceti is the oil, and the wick is common to both. Upon that he sets this little flame, and then he represents what is true—a certain quantity of matter rising about it which you do not see, and which, if you have not been here before, or are not familiar with the subject, you will not know of. He has here represented the parts of the surrounding atmosphere that are very essential to the flame, and that are always present with it. There is a current formed, which draws the flame out—for the flame which you see is really drawn out by the current, and drawn upward to a great height—just as Hooke has here shewn you by that prolongation of the current in the diagram. You may see this by taking a lighted candle, and putting it in the sun so as to get its shadow thrown on a piece of paper. How remarkable it is that that thing which is light enough to produce shadows of other objects, can be made to throw its own shadow on a piece of white paper or card, so that you can actually see streaming round the flame something which is not part of the flame, but is ascending and drawing the flame upwards. Now, I am going to imitate the sunlight, by applying the voltaic battery to the electric lamp. You now see our sun, and its great luminosity; and by placing a candle between it and the screen, we get the shadow of the flame.

[Illustration: Fig. 4.]

You observe the shadow of the candle and of the wick; then there is a darkish part, as represented in the diagram, and then a part which is more distinct. Curiously enough, however, what we see in the shadow as the darkest part of the flame is, in reality, the brightest part; and here you see streaming upwards the ascending current of hot air, as shewn by Hooke, which draws out the flame, supplies it with air, and cools the sides of the cup of melted fuel.

I can give you here a little further illustration, for the purpose of shewing you how flame goes up or down; according to the current. I have here a flame—it is not a candle flame—but you can, no doubt, by this time, generalise enough to be able to compare one thing with another. What I am about to do is to change the ascending current that takes the flame upwards into a descending current. This I can easily do by the little apparatus you see before me. The flame, as I have said, is not a candle flame, but it is produced by alcohol, so that it shall not smoke too much. I will also colour the flame with another substance[6], so that you may trace its course; for with the spirit alone you could hardly see well enough to have the opportunity of tracing its direction. By lighting this spirit-of-wine, we have then a flame produced; and you observe that when held in the air, it naturally goes upwards.

[Illustration: Fig. 5]

You understand now easily enough why flames go up under ordinary circumstances—it is because of the draught of air by which the combustion is formed. But now, by blowing the flame down, you see I am enabled to make it go downwards into this little chimney—the direction of the current being changed. Before we have concluded this course of lectures, we shall shew you a lamp in which the flame goes up and the smoke goes down, or the flame goes down and the smoke goes up. You see, then, that we have the power in this way of varying the flame in different directions.

There are now some other points that I must bring before you. Many of the flames you see here vary very much in their shape by the currents of air blowing around them in different directions; but we can, if we like, make flames so that they will look like fixtures, and we can photograph them—indeed, we have to photograph them—so that they become fixed to us, if we wish to find out everything concerning them. That, however, is not the only thing I wish to mention. If I take a flame sufficiently large, it does not keep that homogeneous, that uniform condition of shape, but it breaks out with a power of life which is quite wonderful. I am about to use another kind of fuel, but one which is truly and fairly a representative of the wax or tallow of a candle. I have here a large ball of cotton, which will serve as a wick. And, now that I have immersed it in spirit and applied a light to it, in what way does it differ from an ordinary candle? Why, it differs very much in one respect, that we have a vivacity and power about it, a beauty and a life entirely different from the light presented by a candle. You see those fine tongues of flame rising up. You have the same general disposition of the mass of the flame from below upwards; but, in addition to that, you have this remarkable breaking out into tongues which you do not perceive in the case of a candle. Now, why is this? I must explain it to you, because when you understand that perfectly, you will be able to follow me better in what I have to say hereafter. I suppose some here will have made for themselves the experiment I am going to shew you. Am I right in supposing that anybody here has played at snapdragon? I do not know a more beautiful illustration of the philosophy of flame, as to a certain part of its history, than the game of snapdragon. First, here is the dish; and let me say, that when you play snapdragon properly, you ought to have the dish well-warmed; you ought also to have warm plums and warm brandy, which, however, I have not got. When you have put the spirit into the dish, you have the cup and the fuel; and are not the raisins acting like the wicks? I now throw the plums into the dish, and light the spirit, and you see those beautiful tongues of flame that I refer to. You have the air creeping in over the edge of the dish forming these tongues. Why? Because, through the force of the current and the irregularity of the action of the flame, it cannot flow in one uniform stream. The air flows in so irregularly that you have what would otherwise be a single image, broken up into a variety of forms, and each of these little tongues has an independent existence of its