Prussian Blue - History

History

Prussian blue ₃] was probably synthesized for the first time by the paint maker Diesbach in Berlin around the year 1706. Most historical sources do not mention a first name of Diesbach. Only Berger refers to him as Johann Jacob Diesbach. It was named "Preußisch blau" and "Berlinisch Blau" in 1709 by its first trader. The pigment replaced the expensive Lapis lazuli and was an important topic in the letters exchanged between Johann Leonhard Frisch and the president of the Royal Academy of Sciences, Gottfried Wilhelm Leibniz, between 1708 and 1716. It is first mentioned in a letter written by Frisch to Leibniz, from March 31, 1708. Not later than 1708, Frisch began to promote and sell the pigment across Europe. By August 1709, the pigment had been termed "Preussisch blau"; by November 1709, the German name "Berlinisch Blau" had been used for the first time by Frisch. Frisch himself is the author of the first known publication of Prussian blue in the paper Notitia Coerulei Berolinensis nuper inventi in 1710, as can be deduced from his letters. Diesbach had been working for Frisch since about 1701.

In 1731, Georg Ernst Stahl published an account of the first synthesis of Prussian blue. The story involves not only Diesbach but also Johann Konrad Dippel. Diesbach was attempting to create a red lake pigment from cochineal but obtained the blue instead as a result of the contaminated potash he was using. He borrowed the potash from Dippel, who had used it to produce his "animal oil". No other known historical source mentions Dippel in this context. It is therefore difficult to judge the reliability of this story today. In 1724, the recipe was finally published by John Woodward.

To date, the "Entombment of Christ", dated 1709 by Pieter van der Werff (Picture Gallery, Sanssouci, Potsdam) is the oldest known painting where Prussian blue was used. Around 1710, painters at the Prussian court were already using the pigment. At around the same time, Prussian blue arrived in Paris, where Antoine Watteau and later his successors Nicolas Lancret and Jean-Baptiste Pater used it in their paintings.

This Prussian blue pigment is significant since it was the first stable and relatively lightfast blue pigment to be widely used following the loss of knowledge regarding the synthesis of Egyptian blue. European painters had previously used a number of pigments such as indigo dye, smalt, and Tyrian purple, which tend to fade, and the extremely expensive ultramarine made from lapis lazuli. Japanese painters and woodblock print artists likewise did not have access to a long-lasting blue pigment until they began to import Prussian blue from Europe.

In 1752 the French chemist Pierre J. Macquer made the important step of showing the Prussian blue could be reduced to a salt of iron and a new acid, which could be used to reconstitute the dye. The new acid, hydrogen cyanide, first isolated from Prussian blue in pure form and characterized about 1783 by the Swedish chemist Carl Wilhelm Scheele, was eventually given the name Blausäure (literally "Blue acid") because of its derivation from Prussian blue, and in English became known popularly as Prussic acid. Prussian blue would also give the name to the ferrocyanide and cyanide family of compounds. Ferrocyanide (which is yellow) was coined as Neo Latin for "iron-containing blue material", since it was first isolated from Prussian blue. Cyanide, a colorless anion that forms in the process of making Prussian Blue, was named, in turn, for hydrogen cyanide (also colorless), and ultimately from ferrocyanide. It is for this reason that cyanide, even though the name of a colorless radical, is a Latinized form of the Greek word for "dark blue."