("Tips and Trips", Vol. XXXIII/10, October 2004, page 10.) 

"Organize and catalog your collection"

Hello everyone. This month we will discuss some of the various ways that you can organize and catalog your collection. It is sad to see a collection of beautiful mineral micromounts with no organization to the collection. When I first started out as a micromounter one of my mentors was a retired gentleman who had a fantastic collection of world class micromounts. But he had no formal catalog of his collection. He did have a label for each mount which helped a bit. However when you consider that his collection had over 10,000 micromounts you can imagine the problem in trying to find a specific specimen. My point in relating this story is to stress that a specimen label does not a catalog make. Like mounting techniques I suspect that there are as many ways to catalog a collection as there are micromounters. Over the years I have tried a number of ways of cataloging my own collection and to this day that effort continues to evolve as my collecting interests change.  In its basic form a catalog for your micromount collection consists of two basic parts: (1) The label on the micromount itself, and (2) an external list of the specimens in your collection. Let’s look at each of these elements individually:

The Label:
At a minimum the data you place on the micromount label should be the mineral name (spelled correctly, of course), location where the specimen was found, and a catalog number. Some micromounters also record the chemical formula along with the mineral name and locality information. Since I hand letter my labels, that is a bit much for me to put on my own micromount labels. Now I choose to go against convention and I mount in the lid of the micromount box. I use plastic micromount boxes with lack lids. So when I mount the “lid” now becomes the “base”. I mount this way because I use a home-brew gimbal stage with my microscope and this way just works better for me. I place a self adhesive with dot in the upper right corner of the clear lid of the box. In that white dot I carefully write the specimen number. I choose to use a consecutive numbering system. Some collectors use a Dana system and some use a combination of letters and numbers. The point here is to provide a way to quickly locate the specimen when it is stored in whatever drawer arrangement you use. Then using a larger rectangular label I write the mineral
name and locality information in ink on the label. This prepared label is attached to the top of the micromount box. On the bottom of the box, I use a smaller rectangular self adhesive label and enter the specimen number on this label. That way if the lid and the base become separated I can always match them up. If the specimen is of special note, I sometimes place a colored adhesive dot in the upper left-hand corner of the box lid. (The same colored dot is placed in the catalog as well) As a final step, I coat all the labels with a thin coat of Modge Podge. This is a decoupage fluid that you can buy at craft stores. What this coating does is prevents the adhesive from out-gassing becoming brittle and falling off over time. Now, we are not done yet!

The Catalog:
Currently I use sheets of college ruled notebook paper organized in a three-ring binder as my external catalog. The specimen number is entered on the left side of the page and then the mineral name and detailed locality information is entered on the same line following the number. I used to enter the chemical formula but this got to be too time consuming. If I need the mineral chemistry, I’ll look it up! I try and enter as much precise locality detail as I can. For me this adds to the enjoyment of the specimen. The internet is invaluable here. If you have not already seen it there is a site at http://www.mindat.org that has excellent locality detail for quite a few mineral species and localities. Often if you enter the name of the mine, a wealth of precise locality data comes up. I have a second external catalog that lists the specimen number and the chemical class of the specimen. For example I have a separate section for silicates, sulfides, arsenates, etc. Yea I know it all sounds like a lot of work, but it is fun (well it is for me anyway!) and adds immeasurably to the enjoyment of a mineral collection. What ever technique you use to organize your collection, I encourage you catalog your specimens, after all a specimen without a label and a catalog entry is just “a pretty rock”. Until next time, may all your skies be blue and all your vugs be crystal-filled.

In this installment of the Micromount Corner, I want to share another way of enjoying mineral micromounts. We know that one of the attractions of mineral micromounts is the perfection of crystal form and presence of subtle crystal sub-faces that are typically washed out as the crystal grows larger.  There is a way that you can capture the subtlety and perfection of crystal form in mineral micromounts that also harkens back to a time before mineralogists had photography as a tool. This technique is called "Image Superposition".  The technique takes a little practice but once mastered some amazing crystal drawings can be created.  In that time before photography, scientists used a device called a "Camera Lucida" to draw what they saw in the microscope. A Camera Lucida (sometimes this device is called a “Drawing Tube”) is a mirror affixed to the microscope such that images reflected from the mirror are directed into the right stereomicroscope ocular. Meanwhile, the left microscope ocular is directed through the microscope objective at the specimen under observation. In the brain, the image from the mirror and the image from the specimen are superimposed on top of each other. If a sheet of paper is placed under the mirror, the image of the specimen will appear to float on the surface of the paper. It is then a simple matter of following the outlines of the specimen to create a very accurate drawing of the specimen.  Unfortunately a microscope fitted with a Camera Lucida is not an inexpensive item. What I will share with you is a very inexpensive way to create a "virtual" Camera Lucida by using one of the oculars in a stereomicroscope, a sheet of paper and a good light source. This arrangement will enable you, with practice, to create some amazing crystal drawings. The advantage of this technique is the ability to capture the crystal form with a very high degree of accuracy without the cost of photographic equipment. There are two basic optical arrangements for stereomicroscopes, the straight through ocular to objective arrangement and the tilted ocular through prisms to the objective arrangement. The technique is slightly different depending on the optical arrangement in your scope.

Basically here is how it works:

• First you place the specimen on the microscope stage and focus the scope.
• Second, position the light source so it illuminates both the specimen and a sheet of paper placed on the table on the right side of the scope. (NOTE: If your scope has tilted oculars you will need to place the paper in a surface with the same tilt angle as the oculars.) Position the paper as close to the microscope as you can.
• Third, look through the RIGHT ocular with your LEFT eye and look at the paper with your RIGHT eye.

• Fourth, using a sharp pencil, carefully trace the specimen outline on the paper.

If you try this technique I would like to hear how it worked out for you. 

This is the first in a regular series of columns about mineral micromounting. This being the first column, a few definitions and introductions are in order. So what is a micromount anyway? There are two terms that we need to define first. These terms are: "Micro-mineral" and "micromount". The accepted definition of a micro-mineral is "any mineral specimen that requires a microscope to see clearly." By this definition the mineral specimen could be the size of the head of a pin or could be tiny crystals nestled in a vug in a fist sized host rock. If you have a collection of cabinet size mineral specimens you most likely also have micro-minerals as well. A micromount is defined as a micro-mineral which has been mounted in a small container, usually a box, to make viewing with a microscope much easier. Mineral micromounts offer the advantages of small size, low cost, and perfection of crystal form. When minerals are in micro form they often exhibit crystal forms that are washed out as the crystals grow larger and more dominant crystal faces take over. Another interesting aspect is that of the over 3500 known mineral species, only a few hundred crystallize in a large enough form to be viewed without magnification. With improvements in digital imaging technology it is now possible to image from the microscope with a digital camera and display the image on a monitor screen. This is sort of like having a cabinet specimen "once removed!"

Now that we have some definitions explained, an introduction is in order. My name is Dave Babulski and I am the chair person of the Georgia Mineral Society Micromount section. I have been a micromount collector for about 27 years. My collection numbers about 1500 cataloged specimens and growing. Although I teach electronics, mechanics and electro-mechanics in industry, my real passion is mineralogy. I have found a way to "scratch that itch" with the Georgia Mineral Heritage Project. Check with Georgia Mineral Society web page for an explanation of the project.

The goal of the micromount section is to share experiences, specimens, techniques, etc. concerning micro minerals. If you have an interest in this area, I encourage you to join us in the mineral world of the very small. In next months column we will talk about some of the equipment that is needed to enjoy mineral micromounting. Until then, may all the vugs you find be crystal filled.

In the last column we learned a bit about the "what and why" of mineral micromounting. This month we will discuss some of the equipment required to participate in this aspect of mineral collecting. The central piece of equipment is, of course, the microscope. In micromounting, the microscope type of choice is the stereo microscope. A stereo microscope is really two monocular microscopes placed side to side such that there is an eyepiece for each eye. Each eyepiece looks through its own objective lens. In this way each eye sees the specimen from a slightly different angle.  When the two images are combined in the brain, a magnified 3D image appears.  The type of instrument you should select can be summed up in three words: “Optics, Optics, Optics”. I highly recommend that you buy the best optics that you can afford. The least amount you can expect to pay for good optics is a little less than $200. Of course you can spend as much as $6,000 for high quality optics with all the “whistles and bells”. I use an inexpensive fixed 20X stereomicroscope to initially examine specimens during the mounting process. I also use an Edmund Scientific trinocular stereo microscope fitted with a Nikon SLR camera for taking photomicrographs of micromounts. A third instrument, a Motic K4000 stereo microscope is fitted with a camera lucida for use in the art studio. This instrument is used when creating paintings of micro- minerals. (Both of these instruments are in the $1000 class) A good starter microscope is the Edmund Scientific A81- 273. This is a fixed 20X stereo microscope which can be had for about $195.00. (The web address for
Edmund Scientific is; http://www.edmundoptics.com Another low cost entry level stereo microscope is the Wolfe S10. This is another fixed 20X instrument. Additional accessories are available to increase the magnification. I do not recommend the higher magnifications as the optics in the Wolfe instrument are a bit marginal. You will find that for most micromounts a magnification of 20X is sufficient. This microscope is available from Carolina Scientific for about $135. The web address for Carolina is: http://www.carolina.com .  Another important piece of equipment for mineral micromounting is a good light source.  A good place to start is an inexpensive halogen desk lamp. This has the advantage that the lamp can be used for other purposes as well. I have developed an inexpensive color corrected miniature light source for use with the microscope. An article describing construction of this light source is being published in the July/August issue of Rocks and Minerals magazine. O.K. so now that you have the microscope and the light source, what about the minerals?  Micromounts can be found in the same places that cabinet size specimens are found. You must just look more carefully. A good hand lens is indispensable when collecting in the field. Another source is mineral dealers.  Most mineral dealers at shows will have flats of thumbnail size minerals. These are excellent sources for micromounts. In most cases, a good thumbnail can yield as many as six good micromounts. Of course the larger size specimens must be broken down to micromount size, but that is a topic for the next column. Until next month, may all your vugs be crystal filled.

In the last column we discussed techniques for mounting microminerals to convert them to "micromounts". This month we look at some basic techniques and tools used to convert "big ones" to "micromount size".  Before we discuss techniques for breaking down larger specimens to micromount size we need to note the leave it as it is specimen. On occasion you will find a particularly fine crystal group within a much larger specimen. Typically the idea is to break down the larger specimen to recover that fine crystal group. However, there are times when doing so would destroy the very crystal group you are trying to recover. In these cases it is best to leave it as it is. There is no need to be enslaved by the little plastic micromount box! I have a special drawer in my own collection set aside just for the “leave it as it is” specimens. Having said all this, you will find that at least 90% of the time you will be able to safely break down the specimen.  Now we need to define the term “breakdown”. Please note that this term does NOT ALWAYS mean "smack it with a hammer".  The brute force method is a sure way to destroy any delicate crystal groups that may be enclosed by the specimen matrix. The best way to break down a larger specimen is to start with thumbnail size specimens to begin with. Of course the thumbnail collectors out there shudder when you talk about breaking down from thumbnail to micromount size. I know, I can hear you saying, "O.K., Coach so just how do I get from "small boulder” to "thumbnail size"? The answer is by careful application of directed impact energy. A good set of tempered cold chisels can be used to concentrate the impact of a hammer to a small area of a specimen. In this way you can more safely break down a larger specimen to thumbnail size pieces. CAUTION: When doing this SAFETY GLASSES are a necessity to protect your eyes from flying rock chips. Note this operation generates large amounts of noise, dust and vibration and as a result is best done outdoors. In my backyard I have installed a bench supported by a large, treated post driven into the ground. The post serves to absorb the kinetic energy from hammer blows. Once a larger piece is broken down into smaller bits, they are brought inside and broken down further with the rock trimmer. For this additional breakdown operation, I highly recommend you invest in a screw type rock trimmer. These devices use a captured lead screw to move a hardened steel chisel toward a fixed hardened steel chisel in the base of the device. The specimen to be broken down is placed between the two chisel points. The lead screw is advanced until the specimen breaks. I recommend placing a blanket of thin foam sheeting in the bottom of the device to cushion pieces of the specimen as they fall after being broken. My own rock trimmer is fastened inside an aluminum cake pan with the foam blanket covering the bottom of the pan. The sides of the aluminum pan effectively catch any stray pieces as the specimen is broken. I have been known to spend up to 45 minutes just examining a specimen to determine the best way to break it down to micromount size. It is a very satisfying feeling when the specimen breaks down, properly exposing a new crystal filled vug or parts into two perfect micromounts. 

Expect to pay about $100 to $400 for a rock trimmer. I recommend spending the money to get a good device that will last a lifetime. Another useful tool is a pair of tile nippers. These can sometimes be used to trim smaller specimens. A small pair of diagonal cutters used for electronics work is also useful when trimming very small specimens.  I do not recommend handling micromount specimens with the fingers. Two things happen here: 1) the finger oils from your hands are slightly acidic and can, over time, damage delicate specimens and 2) It is very difficult to avoid crushing very small and delicate specimens when handling them with your fingers. A good pair of forceps is highly recommended. (Forceps are just a large pair of tweezers. For most cases a pair of tweezers is too small to handle micromount specimens.) It will take a little practice to learn to use the forceps under the microscope.  Another very useful tool is what I call a "glue dauber", which is nothing more than a “Q-tip®” with one of the cotton tips cut off. I carve the end of the stick to a flat paddle shape. This is used to transfer a dab of glue to the pedestal when fastening the specimen in place. I keep a roll of toilet paper handy at the workbench to wipe off the glue dauber after each use. I must say that the sight of the roll of toilet paper with its holder attached to the front of the workbench does generate some interesting comments! 

As you work with mineral micromounts, you will develop your own set of “special tools” in addition to the usual set of tools.  Before we leave this discussion we should discuss tools used to cut and shape the pedestal material. I use two primary tools for this task; a Razor Saw and a number eleven X-Acto® hobby blade. The razor saw is used to cut cork pedestals to the correct length. The X-Acto blade is used for any carving of the cork pedestal.  Once you have the micromount safely mounted in the box, there is the matter of the label. There have to be as many different labeling schemes as there are micromounters. The label is important, as a specimen without a label is just another pretty rock!  My collection is a working collection used to select specimens for conversion to micromineral paintings. Some collectors collect specific species or divide their collection into species groups. Again whatever works for you is the correct way. I use a sequential numbering system with the specimen number placed on the top and bottom of the box. I also place the name of the mineral on both the top and bottom of the box. This helps keep the two halves of the box together. There are several good books on micromounting that have some good suggestions about ways to label your specimens. I take the additional step of logging each specimen into a written sequentially numbered log. In this log I list the following for each entry: mineral name, chemical formula, specimen location, specimen number and drawer number, a description of the specimen under the microscope, date secured and how obtained, and lastly a note about fluorescence. I also keep a cross-referenced catalog arranged by chemical class and another by mineral name. All this work pays off for a working collection.

Next month we will discuss some sources for micromount specimens. Until then, may the sky always be blue and may all the vugs you find be crystal filled.

This month we will look at sources for mineral micromounts. But first, some breaking news. For those of you out there who are looking for a good inexpensive microscope I have some good news.  David Shannon, a mineral dealer in Arizona, is now a U.S.  distributor for Motic microscopes. I use a Motic K400 myself. While this is a more expensive scope, this manufacturer makes several good beginner stereo microscopes. One word of caution however.  The advertisement for Motic microscopes on page 281 of the latest issue of Rocks and Minerals magazine is misleading. The microscope shown in the picture is NOT the Motic S-10-P model but is instead a more expensive model. I would recommend the Motic S-20-LO model. It is a few dollars more than the $139.50 amount quoted in the ad, but the optics are first rate and well worth the few extra dollars. Now back to the program already in progress.  Where do you go for mineral micromounts? The answer to this question is really twofold: (1) you can collect them yourself (more on this at a later date) and, (2) You can purchase specimens from a dealer. [ed. — or, (3) someone can give them to you]. A quick look at the internet shows a host of dealers who specialize in micromounts or who sell micromounts as a side line. I prefer to purchase thumbnail size specimens and break them down myself.  This, for me, is part of the fun of micromounting. You will find that micromounts per se are a bit more expensive than if you break down and mount them yourself. Another source for specimens is mineral dealers at gem and mineral shows. I have found that if you let the dealer know you are looking for micromount material they will often show you specimens they have in stock that are good micromount material. I have many a specimen in my own collection obtained in this way. Another guideline when purchasing specimens is purchase more than one! By purchasing more than one you increase your chances of several really first class mounts.
I make it a practice to purchase at least two of any given specimen.  After you break them down to micromount size you may have as many as 8 to 10 micromount-size specimens.  Now comes the hard part. Set the specimens aside for a few days and come back and examine them again. Set aside those that do not meet your mounting requirements for trading or give away.  Then set the selected specimens aside for another day or so and come back and re-select again. You should have the selection whittled down to 2 or 3 specimens. If you don’t cull at the beginning you will come back to those specimens that looked so good early on and ask, “Now why did I keep this again?”  I have digressed a bit, so back to the mineral dealers. For my money, I find that David Shannon Minerals and Simkev Micromounts have the greatest selection and about the best value for the money. I used to buy a lot of specimens from Robert Eaton, but I have not seen ads for his business in the last few years so I assume that he is no longer in business. This is a shame because he would send you a thumbnail size specimen in a micromount box.  There are two new dealers, ELEMENT 51 and The Complete Micromounter (Open for business in September 2002 says their web site). I have not tried them as yet, but if you have or if you have a favorite dealer, please drop me a line (my e-mail address is on the newsletter mast head) and I will include the information in the Micromount Corner.  One of the real joys of micromounting for me is when the box of specimens comes in the mail. The box is opened and there are all the specimens all neatly wrapped in paper like so many tiny gifts.  The heart beats a bit faster as each package is carefully unwrapped not knowing what new treasure awaits to be discovered.

May the sky be blue and all the vugs you find be crystal filled,

Most of the people in attendance were from the Southeast, however, one fellow came all the way from England to attend the symposium. Many new friendships were made along with a great many warm memories.

In these modern times when mineralogists routinely use X-ray diffraction, the electron microprobe, and spectroscopic techniques for the identification of a mineral species, qualitative analysis harkens back to a much simpler time. In the very early days of mineralogy, simple chemical methods were used to determine the presence of key elements in a mineral specimen. Information on the physical nature of a mineral specimen, when combined with confirmation of elemental composition, provided positive identification of a mineral species. Chemical assay techniques could then be employed to provide quantitative data on the composition of a mineral specimen. For the mineral collector, the primary interest is in positive identification of a mineral specimen. Clearly for the vast majority of cases physical characteristics of a mineral specimen can be used to identify the mineral species. However, in some cases the use of qualitative analytical techniques can provide positive identification where physical characteristics alone do not afford a positive identification. In addition these qualitative analytical techniques can deepen an understanding of mineral chemistry, are a lot of fun and can provide an extra measure of enjoyment to mineral collecting. 

To better understand the techniques of qualitative analysis for minerals, we need to first take a trip back in time to the mid 1700s in Sweden. In these early days of mineralogy, minerals were largely described by physical characteristics alone. Many scientists of the day began to apply the science of chemistry to the study of minerals. The Swedish chemist and mineralogist Baron Axel Fredric Croenstedt made a discovery that would change the young science of mineralogy forever. Croenstedt discovered that when intense heat was directed at a small sample of a mineral, certain elements in the mineral reacted in characteristic ways. Temperatures in the range of 1500 to 2000°C could be obtained with a simple device called a blowpipe. This device was nothing more than a curved tapering brass tube that was used to direct a blast of air into a candle or lamp flame. The extra oxygen supplied to the flame increased its temperature, and the movement of air through the flame changed its shape and direction. Specific elements, when excited by the high flame temperature, would color the flame in a way that was characteristic of that element. In some cases, the vapors created and the oxides or metallic substances left behind were also characteristic of a specific element. Artisans of the time had been using variations on the blowpipe for some time to work with metals, but Croenstedt was the first to apply this tool to mineral analysis in a systematic way. The makers of stained glass had known for some time that certain metals could be introduced in small amounts into a glass melt to impart color to the glass. Borrowing a page from the stained glass makers, Croenstedt also discovered the ability of specific elements to impart a characteristic color to the glass created when reactive fluxes such as borax where heated in the blowpipe flame. Enough information was gained about minerals through this new blowpipe technique that Cronstedt felt justified in suggesting that minerals be classified not only according to their appearance but also according to their chemical composition. Cronstedt wrote a book detailing this new form of classification that was published in 1758. Although Cronstedt is primarily credited with the discovery of the element nickel, he is also considered the father of systematic blowpipe analysis. 

Now we move forward in time to the mid 1800s to Yale University in the United States. A giant in the science of mineralogy was a professor of Physics at Yale University, James Dwight Dana. Earlier discoveries in mineralogy were combined with considerable research of his own and contributions from most notably G.V. Brush and S.L. Penfield to create the Manual of Mineralogy published in 1843. In this classic work, Dana combined an understanding of crystallography, physical characteristics of minerals, and mineral chemistry to produce a system of mineral analysis and identification that is still used today. Brush and Penfield also published a separate work on using the blowpipe in the analysis of minerals. This publication is considered the seminal work on the subject. James Dana’s son, Edward Salisbury Dana followed in his father’s footsteps to publish Minerals and How to Study Them in 1895. This was the first book specifically targeted to the non-professional. This classic book has been updated by Hurlburt and Sharp and re- issued in 1998 as Dana’s Minerals and How to Study Them. At a cost of only $40.00, it is highly recommended for the bookshelf of every serious student of mineralogy. 

This presentation will examine some of the techniques used by mineralogists in the days before electronic instrumentation and how the mineral collector can enhance the study of minerals and increase the enjoyment of the mineral hobby by using some of these time honored analytical techniques.   The most fundamental analytical techniques for minerals are their physical characteristics. It is important that a complete understanding of the following mineral physical characteristics is obtained before moving on to more involved chemical techniques. Very often a preliminary identification of a mineral species can be made from the physical characteristics alone, leaving chemical techniques to be used in a confirmatory role.

THE IMPORTANT PHYSICAL CHARACTERISITCS OF MINERALS:
Crystal Form Cleavage Parting Fracture Hardness Tenacity Specific Gravity Color Streak Luster Fluorescence Taste and Odor Magnetic Characteristics

A detailed discussion of these physical characteristics is beyond the scope of this presentation. Our purpose here is to examine some of the chemical techniques that can be used by the mineral collector. Perhaps the most readily available technique is Blowpipe Analysis. The equipment necessary for this technique is readily available, and it contributes immensely to the enjoyment of the mineral hobby. 

There are four groups of blowpipe tests:

• Fusibility - This is a measure of how easily a small fragment of a mineral melts in the blowpipe flame. 
• Flame Colors - These are tests in which a small amount of powdered mineral is introduced into the flame and the resulting flame color observed. Only a few of the elements so excited will yield a flame color.
• Bead Tests - These are tests in which a small amount of powdered mineral is caused to react in the blowpipe flame with a molten reactive flux of borax or sodium ammonium phosphate. Specific elements will impart a characteristic color to the resulting glass bead. 
• Charcoal Block Tests - In these tests a small amount of powdered mineral is roasted in a small depression in the charcoal block. Some minerals will produce sublimates on the block, specific odors, characteristic oxides, or metal residues.

The mineral specimen was tested for fusibility and was subjected to a borax bead test and charcoal block test. Before we begin a word about safety is in order. When conducting any of these mineral tests, always wear SAFETY GLASSES. WARNING: Always conduct tests involving open flame in a fireproof area and always have a fire extinguisher in the immediate area.

a. Fusibility: The mineral was found to be infusible in the blowpipe flame. Flame color observed: light green color, very pale and only present for a brief time. These are suggestive of the element copper.
A small sample of the mineral was pulverized and ground to a fine powder with a mortar and pestle. A small amount of this powdered mineral is mixed with distilled water to make a paste. This is placed into a small divot carved on one end of a charcoal block. The mineral is heated very strongly with the blowpipe oxidizing flame. This action removes any volatile compounds and converts any metal elements present to oxides. The next series of tests are bead tests that respond best to oxides of metallic elements.
A small amount of the powdered mineral roasted on the charcoal block is attached to the platinum loop by first moistening the loop with HCl (dilute hydrochloric acid) and then reintroduced into the blowpipe flame and any flame color was observed. Flame color observed: A deep azure blue color for a brief period. This test again suggested the presence of the element copper in the specimen.

b. Borax Bead Test: A clean platinum loop was heated in the blowpipe flame and then dipped into powdered borax and reintroduced in to the flame. This was repeated until a clear glass bead was present in the loop. The bead was re-heated and a small amount of powdered mineral previously roasted on the charcoal block was attached to the molten bead. This was then re- heated to allow the borax flux to react with the mineral.
Oxidizing Flame: Bead,Hot: Pale green Bead Cold: Pale blue Reducing Flame: Bead Hot: Colorless Bead Cold: Slightly Reddish
It is important to know the difference between the oxidizing and reducing portions of the blowpipe flame. The oxidizing portion is just outside of the hottest part of flame, while the reducing flame is just outside the blue cone in the flame. These beads tests again strongly indicated the presence of the element copper in the specimen.

c. Charcoal Block Test:
In this test, a small amount of the powdered mineral was roasted with the blowpipe flame in a small depression in a charcoal block. Any fumes, sublimates, or residue were observed. Since the blowpipe bead tests were positive for copper, the mineral will be roasted on the block and then moistened with HCl, and then re-treated with the flame. The chloride ion in HCl will combine with any copper present to create copper chloride. A bright deep azure blue flame color is characteristic of copper chloride and is a positive test for Copper. Upon heating the treated sample with the blowpipe flame, a bright azure blue flame color was observed. Note that this is essentially the same result as the flame test conducted earlier. So once again we have a positive test for the element copper.

The results of blowpipe tests show a strong indication for the presence of the element copper in the mineral specimen. Based on this information and observations of its physical characteristics I tentatively identified the mineral specimen as chrysocolla. Now that we have a good idea of some chemical elements in the mineral and a tentative identification, the next step is to use some wet chemical tests to confirm our observations. A number of entrepreneurs have developed mineral testing “kits” for the mineral prospector and mineral collector. These kits are relatively inexpensive and include enough materials for quite a few tests. A note about chemicals is in order here. In today’s world, most chemical supply houses will not sell chemicals to an individual not connected with an education institution or industry. This is particularly true for acids used in mineral analysis. Hydrochloric acid can be purchased from most building supply stores as muriatic acid for swimming pools. In most cases this is the only acid you will need, and then it should be in dilute form. A word of WARNING here; When diluting acid, always add acid to the water. NEVER add water to the acid. Adding water to acid will cause the water to react violently resulting in splashing and acid burns. You should use a solution that is 50% hydrochloric acid and 50% distilled water. Nitric acid and sulfuric acid are difficult to obtain as just a private citizen. If you can find a source for these acids, try to obtain them in dilute form. You will not need very much as there are only a few tests that require these two acids. Acids are dangerous chemicals and MUST be handled with great care. Wear protective clothing and gloves when working with acids or other chemicals. Make sure to wash your hands after performing tests in which chemicals are used.

When conducting wet chemical tests for determinative mineralogy, two approaches are commonly used. The first approach is to use a testing protocol that looks for the presence of one or more of the forty elements commonly found in minerals. In this approach, a series of 36 tests are performed and the results of each test recorded. The data is then collected and a determination of elements present is made. Typically, the tests must be conducted in a specific order because the results of each test are used in conducting the next test. It should be noted here that you do not need large amounts of specimen material for this testing protocol. Each test uses a tiny amount of specimen material. This is the approach used with some of the testing "kits" found in today's market place. The second approach is to use selective tests indicated by the physical characteristics of the mineral, initial blowpipe observations and its mineral associations. For our example we used the second approach.  Since we have tentatively identified the mineral as chrysocolla, we will look for the presence of silica and copper with the wet chemical tests.

TEST FOR SILICA:
Since we know that chrysocolla is a Hydrated copper silicate (CuSiO3 – nH2O) a test for the presence of silica was performed:  A small amount of the powdered mineral was mixed with 5 parts of sodium carbonate and roasted on the charcoal block. The fused mass was pulverized and ground to a powder. A small amount of this powder was placed in the bottom of a test tube to which 2 cc of dilute hydrochloric acid (HCl) was added. The solution was heated to just boiling and poured into an evaporation dish. As the solution evaporated, a bit of insoluble gelatinous material was left behind. The results of this test are characteristic for silica.

TEST FOR COPPER:
A small amount of the powdered mineral was placed in the bottom of a test tube and about 2 cc of dilute hydrochloric acid (HCl) was added. After a few minutes the solution was a pale green color. The addition of 6 cc of ammonia changes the color of the solution to blue. This is a positive test for copper.  Since both tests are positive, we have confirmed the mineral identification as chrysocolla. The mineral specimen is a little harder than is typically the case for chrysocolla. This specimen is most probably tending more toward a copper- bearing Chalcedony than true chrysocolla. Examination of a number of individual specimens showed an apparent gradation from chalcedony to copper-bearing chalcedony to true chrysocolla. Not only did we positively identify the mineral species, we have had a lot of fun and enjoyment in the process. For the mineral collector, using the analytical techniques of old can provide another rewarding aspect to mineral collecting.

POSTSCRIPT:
This specimen is one of the few reported occurrences of the mineral chrysocolla in Gwinnett County, Georgia. The speculation is that the copper is derived from the dissolution of the chalcopyrite found in the host rocks. The silica most likely derives from dissolution of silicates in the host rock. Microscope examination shows tiny gypsum crystals on top of some of the Chrysocolla. Oxidation of both Pyrite and Chalcopyrite found in the formation may have provided source material for the gypsum crystals.

SOURCES OF MATERIALS:
Mineral Test Kit: A Field test kit is available for $122.50 from:
Delos Toole Gold Books 5564 Lloyd CT SE Salem, Oregon 97301
This is a fairly complete kit. However, I recommend purchasing separately a good brass blowpipe, charcoal blocks and platinum wire for bead tests, as those supplied in this kit are not very useful. Acids, hydrochloric, nitric and sulfuric and the base ammonia are listed as reagents but are not included in the kit. (Dropper bottles for these reagents are included however.) No information is given on the recommended strength of the reagents. Some chemicals are supplied in powder form to be reconstituted with distilled water. Instructions are provided for purchase of additional powdered chemicals. The kit also includes a copy of “Duke’s Short Course in Prospecting and Mineral Identification”. This is a multi-step testing protocol using the blowpipe and chemical tests. This qualitative testing protocol is well written; it emphasizes performing the tests under field conditions.
Mineral Testing Supplies: A good brass blowpipe, charcoal blocks, materials for borax bead tests, and other supplies, other than chemicals, can be purchased from:
Miners Incorporated 35 Pollock Road P.O. Box 1301 Riggins, Idaho 83530 – 1301
(ed: A book with a good discussion of these chemical tests is: A Field Guide to Rocks and Minerals by Frederick H. Pough.)

BIBLIOGRAPHY:
Books:
Anthony, L.M., Introductory Prospecting and Mining, 1997, Mining and Petroleum Training Service, University of Alaska, Anchorage, 155 Smithway, Suite 101, Soldotna, AK 99669
This book is primarily a basic primer on prospecting and mining with a very nicely written "Summary of Chemical and Blowtorch Tests for the more Important Elements". The testing protocol used here is geared toward individual tests rather than a series of interdependent tests.
Brush, G.J, Penfield, S.L., Manual of Determinative Mineralogy with an Introduction on Blowpipe Analysis, 16th Edition, 1926, John Wiley and Sons, London
This is the seminal book on the subject of Blowpipe Analysis. The book is long out of print but can be found in most university libraries.
Hurlbut, S. and Sharp, W.E., Dana’s Minerals and How to Study Them, 4th Edition, 1998, John Wiley and Sons, Inc., New York (ISBN # 0-471- 15677-9)
This is one of the best reference works for the mineral collector. Most bookstores can order this book for you. Be prepared to wait a few weeks as the demand for this book is not great. Most book distributors must special order the book.
Lewis, J.V., Hawkins, A.C., A Manual of Determinative Mineralogy with Tables, Fourth edition, 1931, John Wiley and Sons, New York
The fold-out tables in this book are a fascinating look back at a time when blowpipe and wet chemical analysis were the primary tools of the mineralogist. This is another book long out of print. You should be able to find a copy at a university library or on the used and rare book market.
LaRune, T.D., Rockpecker, A Mineral Prospectors Primer, 1993, Skill Quest Co., 675 Fairview Drive, #246, Carson City, Nevada 89701 (ISBN # 1-886499-00-4)
This appears to be a self-published book composed of four parts. The first part deals with basic geology and mineralogy with an emphasis on gold prospecting. The second part deals with prospecting techniques for gold. The third part discusses physical identification of minerals, and Part four deals with blowpipe and wet chemical tests for minerals. This fourth section is difficult to use. Many of the test procedures use a complex testing protocol with a confusing scheme of reference to previous tests. The tes ting protocol seems to be geared more toward the gold prospector.
Madonna, J.A., Ph.D., A Prospector's Guide to The Physical and Chemical Identification of Minerals, 1997, Alaskan Prospectors Publishing, 504 College Road, Fairbanks, Alaska.
This is a clearly written spiral-bound booklet that details physical Identification and wet chemical and blowpipe tests for the elements found in the common ore minerals. Also included is a simple method for the determination of specific gravity.
Internet Resources
http://webmineral.com
This site offers a complete mineral data base and some excellent information on blowpipe tests. Of particular interest, is a color borax bead chart.
http://www.stonetrails.com/testing/flame.htm
A very nice site on flame tests for minerals.
http://www.rockhounds.com
This is the site for Bob's Rock Shop. This is one of the better internet sites for mineral collectors. This site also includes information on flame tests for minerals.