Page:The New International Encyclopædia 1st ed. v. 07.djvu/781

* FLAME. 7 the ordinary illuminants contain a high percent- age of hydrogen, the i mnt of carbonic acid produced during their combustion is relativelj small; or, in other words, the partial pressure of carbonic acid in the Hanie is low and its degree of dissociation is correspondingly high, as much as one-tenth of the carbonic acid being often broken up according to the above reaction. The amount of sensible heat thus consumed is there- fore very considerable. Luminosity. The luminosity of flames, such as those obtained by burning coal-gas or a cam lie, is due mainly to the incandescence of the carbon particles produced by the chemical decomposition of the combustible gases. If enough air is mixed with the latter previous to their entering the (lame, complete combustion takes place as soon as the hot part of the flame is reached ; there is, consequently, no separation of solid carbon, and the flame is practically non-luminous throughout. This is the principle of the well-known Bunsen burner. That solid carbon exists in an ordinary luminous Same may be readily shown by hold- ing in it a glass rod or a piece of white porce- lain, a coating of carbon being then deposited in the form of 30ot. A certain amount of light, however, is also produced by the in- candescence of the gases themselves ; this amount of light emitted is proportional to the ca- pacity of the gases for absorbing the same kind of light at the temperature of the flame. The luminosity of a flame depends greatly on its temperature, and increases even more rapidly than the latter; the luminosity of ordinary flames is considerably diminished by the dissociation of carbonic acid, since the dissociation causes a fall of temperature. Another one of the factors de- termining the luminosity of a flame is the den- sity of the medium in which combustion take3 place, an increase of density usually causing a corresponding increase of luminosity. Thus in air kept under a constant pressure of about 10 atmospheres, hydrogen burns with a bright flame; on the contrary, under sufficiently diminished pressures a candle may burn with a pale, non- luminous flame. The size of a flame depends on the pressure, the temperature, and the diffusi- bility of the reacting substances, on the form of burner used, etc. Color. The color of a flame is determined mainly by the nature of the substances that may be introduced into it. Thus sodium imparts to a flame a bright yellow color, potassium a char- acteristic violet color, copper usually a green color, strontium a crimson color, etc. Many chemical substances may be identified by intro- ducing them into the colorless flame of a Bunsen burner, the color imparted to the flame often re- vealing the nature of the substance. See Analy- sis, Chemical. FLAMEL, fla'mel', Nicolas (c.1330-1418). A French calligrapher, legal writer to the Uni- versity of Paris. He was born of humble parents, probably at Pontoise, at a time when beautiful penmanship, the illuminating of manuscripts, and similar work, ranked high in art. He began business in two stalls near the Church of Saint- Jacques-la-Boueherie. Paris, and succeeded so well that in the same locality he afterwards built a house with a highly decorative exterior, which was called Thostel Flamel.' He took day pupils and boarders, sons of the aristocracy, and it was II FLAMENS. rumored that he combined money lending with art and literature. However, he gained great wealth, wherewith he built churches, endowed religious bouses, and was munificent in his eh ties, inspired partly by ostentatious vanity. He and his wile are personally represented in the ornamentation ol son t his donations. The common people looked upon him with awe, as one who had found the ecref of eternal life and the art of turning all he touched to gold, bui -it his death he was found to have been ]e-> wealthy than was generally supposed, lie wrote a sum- mary of his philosophy and two treatises on al- chemy. FLAMENG, fla'maN', Francois (1856—). A French figure painter, born in Paris. He was the son and pupil of Leopold Flameng, and after- wards studied painting under Cabanel, Laurens, and Hedouin. In 1879 he exhibited "The Gi- rondins Summoned," which created much ment. This ambitious work was followed by "The Conquerors of the Bastile" (1S81| ; ".Marie Antoinette on Her Way to the Scaffold" ( 1885) ; "The Duel" (1883) ; and "Waterloo" (1898), all marked by excellent color ami spirited execution. His important decorations for the stairway of the Sorbonne consist of seven subjects from the history of that institution. He also painted por- traits. FLAMENG, Leopold (1831—). A French engraver, born in Brussels. He was the pupil of Calamatta in Brussels, and then went to Paris (1853), where he worked at first in water- color. At this time he began his connection with the well-known journal, the Gazette dex Beaux- Arts. The most remarkable feature of Flameng's plates is the facility with which he interprets artists working in every style and all kinds of pic- tures, ancient or modern. Among his plates are: "The Death of the Virgin," after Martin Sehoen; "The Charge of the Artillery," after Schreyer ; "Phryne," after GOrome ; "Miss Graham," "and the "Blue Boy," after Gainsborough ; "The Source," after Ingres; "The Hundred Florin Piece," after Rembrandt; and "The Death of Sainte Genevieve," after Laurens. His other works include forty water-colors for Blanc's QCuvre complet de Rembrandt ( 1859), and thirty- two water-colors for the Theatre complet de Moliere (1876-83). FLAMENG, Marie Auguste (1843—). A French painter, born at Jouy-aux-Arehes, near Metz. He studied under various masters, ending with Delaunay and Puvis de Chavannes, and began to exhibit in 1870. After 1874 he devoted himself to marines. His "Fishing Boat at Dieppe" (1881). in the Luxembourg, is a good example of his vigorous, fresh treatment of sea subjects. FLA'MENS (of doubtful origin: by some con- nected with Skt. bra h ma n, priest, from barh, to be great; by others compared with Goth, bltitan. AS. blotan, to reverence, or with Lat. flagrare, to blaze. Gk. <p£yav, phli gein, to burn. Skt. bhraj, to be bright : hardly related to Lat. flare, to blow, OHG. blajan, Ger. blcihen, AS. blawan, Eng. blow). In the Roman religion, sacrificial priests, each of some special divinity. They were some- times chosen for life, sometimes annually: some- times were attached to collegia; sometimes, espe- cially outside of Rome, were independent. The most