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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..0a56ceb --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #53797 (https://www.gutenberg.org/ebooks/53797) diff --git a/old/53797-0.txt b/old/53797-0.txt deleted file mode 100644 index df388f4..0000000 --- a/old/53797-0.txt +++ /dev/null @@ -1,5466 +0,0 @@ -The Project Gutenberg EBook of The Dyer's Guide, by Thomas Packer - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Dyer's Guide - -Author: Thomas Packer - -Release Date: December 23, 2016 [EBook #53797] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE DYER'S GUIDE *** - - - - -Produced by Deaurider, Chris Pinfield and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - -Transcriber's Note. - -Apparent typographical errors have been corrected. The use of hyphens has -been rationalised. - -Italics are indicated by _underscores_. Small capitals have been -replaced by full capitals. - - - - - THE DYER'S GUIDE. - EPITOME OF COLOURS. - - -_Colours obtained by_ SIR ISAAC NEWTON'S _method of decomposing the rays -of light, the least refrangible being placed first, the most refrangible -last._ See p. 18. - - [Illustration: - RED. ORANGE. YELLOW. GREEN. - BLUE. INDIGO. VIOLET.] - - - THE DYER'S COLOURS AND THEIR CHIEF COMPOUNDS. - SIMPLE COLOURS. - - BLUE, YELLOW, RED, BLACK[1]. - RED _includes_ CRIMSON, SCARLET, MAROON, PINK, &c. - - - COMPOUND COLOURS. - - GREEN is made with BLUE and YELLOW. - - ORANGE with RED and YELLOW. - - PURPLE ⎫ - VIOLET ⎬ with BLUE and RED. - LILAC ⎠- - GREYS with BLACK, BLUE, and RED. - - ⎧ BLUE, YELLOW, and BLACK; - OLIVES with ⎨ or - ⎩ BLUE, YELLOW and RED. - - -[1] BLACK according to the theory of Newton, denotes the _absence_, and -WHITE the _presence_ of all colours. - - - - - THE - DYER'S GUIDE; - - BEING A - _COMPENDIUM OF THE ART OF DYEING_ - LINEN, COTTON, SILK, WOOL, MUSLIN, DRESSES, - FURNITURE, &c. &c. - - WITH THE METHOD OF - SCOURING WOOL, BLEACHING COTTON, &c. - - AND - DIRECTIONS FOR UNGUMMING SILK, AND FOR WHITENING - AND SULPHURING SILK AND WOOL. - - AND ALSO - _AN INTRODUCTORY EPITOME OF THE LEADING FACTS IN CHEMISTRY, - AS CONNECTED WITH THE ART OF DYEING._ - - - BY THOMAS PACKER, - DYER AND PRACTICAL CHEMIST. - - - "Cet arte est un des plus utiles et des plus merveilleux qu'on - connoisse." - CHAPTAL. - - "There is no art which depends so much on chemistry as dyeing." - GARNETT. - - - _SECOND EDITION_, - CORRECTED AND MATERIALLY IMPROVED. - - LONDON: - PRINTED FOR SHERWOOD, GILBERT, AND PIPER, - PATERNOSTER-ROW. - - 1830. - - - - -PREFACE. - - -To insist on the utility of the present Manual is, assuredly, -superfluous. The favourable reception of the first edition, sometime -since out of print, has stimulated the author to revise the work -throughout, and to render it more deserving the public approbation. The -_Appendix_ to the first edition now forms a part of the _Introductory -Chapter_, to which it naturally belongs; to the whole have been added -such improvements as the present advanced state of knowledge, and -particularly chemical knowledge, has rendered absolutely necessary; and -which the _practical dyer_ will find of considerable importance and much -utility. - -The following _letter_ from the late SIR HUMPHRY DAVY, the first chemist -of the age, appeared in the Preface to the first edition; it is here -again reprinted as some proof of the sufficiency of that learned man's -judgment, at least concerning the chemical theory of the art of dyeing. - - - _No. 16, Berkeley Square_, - _June 18, 1823_. - - SIR, - -I am very much obliged to you for your liberal communication on a subject -of my Lectures: I will attend to the information you are so good as to -give me in the next Edition. - - I am Sir, - Your obliged and obedient servant, - H. DAVY. - - MR. T. PACKER, - _Stamford Street, Black-Friars Road_. - -The author has only to add, that an Index is now appended to the work, by -which every article may be most readily and conveniently found. - - _London, Nov. 1829._ - - - ERRATUM. - Page 22, line 3, for _proximate_ read _ultimate_. - - - - -CONTENTS. - - -CHAPTER I. - -INTRODUCTORY. - - PAGE - - On the different branches of dyeing—On the drugs used in - dyeing—On vegetable and animal substances—On substantive and - adjective colours, and mordants—And on the leading facts of - chemical science as connected with the art of dyeing—On the - calico printer's mordant for yellow and red, and on compound - colours—On bleaching—On the theory of fast and fugitive - colours—On dye-houses and water—Miscellaneous observations 1 - - -CHAPTER II. - -ON DYEING COTTON. - - To dye cotton a Saxon or chemic blue—Sulphate of Indigo—Saxon or - chemic green—To set a cold indigo vat—Another Indigo vat—To dye - cotton a fast green with the cold indigo vat and weld—Another - cold blue vat for linen and cotton—solution of indigo for - penciling printed muslin, &c.—To dye cotton a fast buff—To dye - cotton pink 47 - - -CHAPTER III. - -ON DYEING SILK. - - To alum silk—The blue vat of indigo for silk—Another blue vat - for silk—To dye silk violet, royal purple, &c.—To dye silk - lilac—Another process for lilac—Another process for dyeing - muslin, &c. lilac—To dye silk a violet or purple with logwood—To - dye silk violet with Brazil wood and logwood—To dye silk violet - or purple with Brazil wood and archil 63 - - -CHAPTER IV. - -ON SCOURING AND DYEING WOOL. - - On the action of alum and tartar upon wool—A pastil or woad vat - for blue—To prepare the indigo mentioned in the preceding - directions—Rules to judge of the state of the vat—Indications - when a vat has had too much or too little lime—To work a vat - which is in proper order—On the putrefaction of the woad - vat—Methods of dyeing blues—To dye wool with lac-dye, scarlet, - or crimson—To dye worsted yarn a crimson—A preparation of archil - to finish the crimson—on dyeing wool scarlet—To dye wool - maroon—To dye wool yellow—To dye wool brown or of a fawn - colour—To dye wool purple, &c.—To dye wool green—A chemic vat - for green woollen—A chemic vat for blue woollen—To dye wool - orange, gold colour, &c.—To dye wool black—Another process for - black without a blue ground—To dye wool a grey—Mixture of black - or grey with red and blue—On browns, fawns, greys, &c.—On the - yellow of Quercitron bark—On a full bright yellow from the same - bark—Bancroft's murio-sulphate of tin—To dye wool buff—To dye - wool peach—To set an indigo vat for worsted, serge, &c. 70 - - -CHAPTER V. - -ON DYEING SILK AND COTTON BLACK. - - To dye silk black for velvets—To dye silk black _London - process_—On dyeing cotton black at _Rouen_—To dye cotton black, - _London process_—For dyeing black, particularly cotton velvets, - at _Manchester_—On dyeing silk and cotton black with a blue - ground—Another iron liquor—To dye cotton black by using the - preceding solution—to dye cotton violet—To dye cotton red—To - dye cotton an Adrianople or Turkey red—Miscellaneous observations - relative to Adrianople red 105 - - -CHAPTER VI. - -ON DYEING COTTON AND SILK. - - To dye skein cotton yellow—On dyeing and re-dyeing cotton - furniture yellow—to dye cotton skein a duck's wing green and - olive—Of browns, maroons, coffee colours, &c.—Observations on - silk—On ungumming and boiling silk—Whitening—Sulphuring—On - aluming silk—Skein silk for yellow—Preparation of annatto for - aurora or orange, moidore, gold colour, and chamois—To dye silk - aurora or orange—To dye moidore—Process for orange—To dye silk - poppy or coquelicot—A cheaper poppy with annatto and Brazil - wood—On dyeing, silk a fine crimson—Composition for dyeing silks - scarlet or crimson with cochineal—Another process for - crimson—Another process for crimson by Brazil wood—Of fine - violet—Observations on crimson and scarlet upon silk—On dyeing - silk green—On olives—On dyeing silk grey—Nut grey—Black - greys—Iron greys—On dyeing silk of a Prussian blue - colour—Chromate of lead for yellow on silk or cotton—Conclusion 123 - -Index 153 - - - - -THE DYER'S GUIDE. - - - - -CHAPTER I. - -INTRODUCTORY. - -_On the different branches of dyeing—On the drugs used in dyeing—On -vegetable and animal substances—On substantive and adjective colours and -mordants, and on the leading facts of chemical science, as connected with -the art of dyeing—On the Calico-Printers' mordant for yellow and red, -and on compound colours—On bleaching—On the theory of fast and fugitive -colours—On dye-houses and water—Miscellaneous observations._ - - -The trade of a Dyer is, in this country, subdivided into several distinct -branches. Thus we have _woollen dyers_, who are occupied solely in the -colours obtained from _cochineal_, such as _scarlet_, _crimson_, -_orange_, _buff_, _&c._; likewise _purple_, or _royal purple_, obtained -from _cochineal_ and _indigo_. They are called, also, _grain dyers_, from -the circumstance of the colouring material, cochineal, being in small -grains[2]. Yet it ought to be observed, that the term _dyed in grain_ is -applied by the public generally in a very different sense, namely, to -those cloths the raw material of which is dyed previously to being spun -into thread, or at least before woven into cloth; and hence such dyes are -usually more permanent than those which are dyed after the materials are -woven into cloth. This class of dyers generally dye cloth in the piece, -or a number of pieces of cloth tacked together, and worked over a winch -in a suitable copper. - -There are dyers who likewise dye worsted and woollen yarn of those grain -colours, but they are generally a distinct branch. The yarn is dyed in -hanks, upon sticks; and, when in the copper, the hanks are changed end -for end, so that they may be kept even; such changing being performed -five or six times to each turning in. - -There are also silk dyers who are grain dyers. These dye in the skein, -chiefly for new goods. Some silk, and some mixed silk and worsted goods, -are dyed in the piece. - -In _dyeing cotton_, the _Adrianople_ or _Turkey Red_ is, in many cases, a -branch of itself, and comes the nearest to what may be called grain or -scarlet dyeing upon cotton, because cochineal cannot be applied to cotton -to any advantage; yet cotton is occasionally dyed with this material. - -In woollen another branch consists of the _woad dyers_. These often -superintend the black dye on woollen cloth, as well as the blue from woad -and indigo. There is the same distinction among _worsted yarn dyers_, -they having likewise to do slates, greys, &c. Nearly the same may be said -of the _silk skein dyers_. - -In many places, particularly in the country, browns, drabs, -stone-colours, &c. constitute a branch in woollen. The same colours form -also a branch in calico and muslin; but _black_, in calico and muslin, is -a distinct branch. - -The dyers (whether in London or provincial towns) who keep shops, and -take in garments, furniture, &c. to be dyed, are termed by the trade -_Rag-dyers_. - -There are a few dyers in the metropolis who dye _black_ on woollen, silk, -cotton, &c. for the dye-shops, many of these putting all their black out -to be dyed. - -There are one or two dyers famous for dyeing silk stockings _black_; -these constitute a particular branch. Dyeing bombasins black is also -another branch. - -The following constitute also particular branches: _black hats,—hats of -fancy colours,—fur,—chip and straw,—feathers,—leather, Morocco and -Spanish, and kid leather for shoes and gloves_. Many other branches of -the dye-trade might be enumerated, but more detail does not appear -necessary. - -Concerning all these different branches, one general observation will -suffice; namely, that those who are concerned in them have, for the most -part, obtained, their knowledge of the art of dyeing, not from theories -adapted to explain the different processes, but from practice in that -branch in which they are occupied. They usually, therefore, perform those -processes which they have been shewn and told, without any inquiry into -the causes which produce the results. There are, it is admitted, -exceptions to this, men of general information and knowledge being -occasionally found in the various branches of dyeing, but they are so -few, that it may be questioned, when compared with the great body -employed in the art, whether they amount to one in a thousand. This is -not, however, to be attributed to any indifference in such persons to -acquire a correct knowledge of the art, but is chiefly owing to a -deficiency of the ready means of acquiring such information; which -information it is the design of the present Treatise to supply; there not -being, as far as the present writer knows, any such work, at a moderate -price, to be obtained in the English language. - -It is true many of the _Cyclopædias_ furnish us with much useful -information on the subject of dyeing: one of these, JENNINGS'S _Family -Cyclopædia_, may be particularly mentioned as containing such; but it is -scattered about in these dictionaries in various ways, at once -troublesome and unpleasant to obtain. Dr. BANCROFT'S work on the -philosophy of _Permanent Colours_, in two octavo volumes, will also -supply much valuable information; so also will the edition, some time -since published, of BERTHOLLET'S _Elements of the art of Dyeing_, with -the addition of valuable _Notes_ by Dr. URE. Dr. URE'S _Chemical -Dictionary_ is also very useful to the dyer, us well as many detached -papers in several of our English publications. A _Treatise on Printing -and Dyeing Silks, &c._ lately published by H. M'KERNAN, is also valuable, -and should be consulted by the curious in this art. But all these works -are expensive, and such as few dyers will be disposed to obtain; hence -the necessity of the present Manual, the author of which has not -servilely followed the directions or recommendations of any previous -writer; but from his own practice, a practice of more than thirty years, -has laid down such rules as he knows to be at once practical and -efficient. At the same time he thinks it right to state, that he has not -only consulted all the works mentioned above, but also _Hellot, Macquer, -&c._ adopting all that appeared essential in these, and giving such -additions as accord with the present improved state of chemistry and -dyeing; and, as far as was possible, in the limits prescribed for this -work, so that it may be within the reach of every dyer in the kingdom, as -well as every journeyman and apprentice in all the various branches of -this truly extensive and mysterious art, as carried on in London, -Norwich, Yorkshire, Gloucestershire, and various other parts of the -British dominions. - -The author has, in treating of the various matters to be dyed, adopted -nearly the same arrangement as that which appears in the _Title_, taking -_Cotton_ first, in consequence of its having the least affinity for -dyeing bodies. He has taken _Silk_ next, which has a greater affinity for -many dyes, and, when dyed, yields colours more permanent than cotton. - -_Wool_ he has not placed entirely last, although many of the colours -which it receives from the dyer are complex. The _black dyeing_ of -_cotton_ and _silk_ is placed after the processes of black for wool, as -likewise the _Turkey red_, _&c._ these being naturally difficult to -perform. - -_White_ and _black_ have been considered colours by dyers, and with -propriety, black forming a part of slate, grey, &c. White is seldom pure; -in proportion to its clearness and purity will the colours be with which -it is dyed. - -In regard to _black dye_, and particularly _cotton black dye_, the author -does not know any simple and concise theory, consistent with chemical -principles. He flatters himself, however, that from his extensive -experience, his observations are founded on interesting facts. Cotton, -for instance, will take fast blues from the cold indigo vat; this vat, -with the combination of iron, and in a heat no greater than the hand can -bear, will easily produce all shades of grey, slate, &c. Many of these -colours may be done by logwood instead of the blue vat, and in the same -heat of the dye bath; so cotton likewise, whether in pieces or skeins, -may be dyed brown, fawn, drab, &c. in consequence of the great affinity -which cotton has for acetate and sulphate of iron. - -With respect to _black_, it should be also observed, that few substances -are known which yield _by themselves_ a good black. The juice of the -_cashew nut_ communicates, however, a black colour, which resists not -only washing, but even boiling with soap and alkaline leys. It is used -for marking linen. The _Toxicodendron_ yields a juice which produces -nearly the same effect. Some other vegetables also produce black dyes, -but all of them in such small quantities as not to be available for the -purposes of art; nor do they, besides, produce blacks equal to those -formed in the dye-house. - -_Blue_, _red_, and _yellow_ are admitted to be three distinct colours. In -many of the _browns_, red and yellow are combined naturally in the drugs -from which they are produced, and so they are in logwood. Blue, red, and -yellow, are developed by _iron_, whether in the state of an acetate or -sulphate. - -It may be useful, before we proceed any farther in noticing the theories -of dyeing, to give a brief description of the - - -_Drugs Applicable to Dyeing._ - -ALUM, or _potash-sulphate of alumina_, is a concrete salt, composed of -alumina or clay, potash, and sulphuric acid. It is found native in some -places; but the greatest part of the alum of commerce is prepared by a -peculiar management of schistose pyritic clays, usually denominated _alum -ores_. Alum is made at Civita Vecchia, in Italy, and also at many other -places on the continent; at Hurlett near Glasgow, at Whitby in Yorkshire, -&c. Its form and appearance are both too well known to need being -described. Its chemical composition is as follows: sulphate of alumina, -36.70; sulphate of potash, 18.88; and water, 44.42—together 100. The -alum called in commerce _Roch alum_, said to be obtained from Roccha, in -Syria, is in smaller crystals than common alum, and has a reddish hue, -but does not appear to be essentially different from the common alum. -Common alum requires sixteen parts of water, at a temperature of 60°. to -dissolve one of it; but there is another kind not generally made or -known, containing _soda_ instead of potash, and hence with propriety -named _soda-sulphate of alumina_, which is soluble in less than its own -weight of water, and which, on this account, may become valuable in some -processes of dyeing.—URE. - -ACETATE OF ALUMINA is prepared in large quantities for the calico -printers, by decomposing alum with acetate of lead, or more economically -with aqueous acetate of lime, having a specific gravity of about 1.050, a -gallon of which, equivalent to nearly half a pound avoirdupoise of dry -acetic acid, is employed for every 2½ lbs. of alum. A sulphate of lime -is formed by complex affinity which precipitates, and an acetate of -alumina floats.—URE. - -ARCHIL, ARCHILLA, ROCELLA, ORSEILLE, or LITMUS, is said to be a whitish -lichen growing upon rocks in the Canary and Cape Verd islands, which -yields a rich purple tincture, fugitive, but extremely beautiful. It is -brought to this country as it is gathered; it is prepared here for the -dyer, by grinding it between stones, so as thoroughly to bruise but not -to reduce it into powder; it is moistened occasionally with a strong -spirit of urine, or urine itself, mixed with quicklime; in a few days it -acquires a purplish red, and at length a blue colour; in the first state -it is called _archil_, in the latter _lacmus_ or _litmus_. The dyers -rarely employ this drug by itself, on account of its dearness and the -perishableness of its beauty. Its chief use is to give a bloom to other -colours, as pinks, &c. - -CUDBEAR is also manufactured in this country from archil, and is in -repute for dyeing various shades, from pink and crimson to a mazarine -blue; it is said these colours are very permanent. - -ARGOL, or TARTAR, is a crystalline substance deposited in wine casks -during the fermentation of the wine, from the juice of the grape, in -which it exists in considerable abundance. It is an impure _supertartate -of potash_; that is, potash combined with a superabundant quantity of -_tartaric acid_. Algol is found in commerce of two colours, _white_ and -_red_. _Cream of tartar_ is the same substance freed from colouring and -other extraneous matter. - -BLOOD. See ADRIANOPLE RED. - -BRAN acts in some peculiar way on colouring matter, but scarcely on the -mordants. It seems to loosen and remove the colouring matter; as also to -alter its hue in some cases, an effect obvious in the bran pinks.—URE. - -CHLORINE. See OXYMURIATIC ACID. - -COCHINEAL is the female insect of the _coccus cacti_ found on the _cactus -coccinellifer_ and _cactus opuntia_, _Prickly pear_ or _Indian fig_, -natives of South America, the West Indies, and other tropical regions. -The female of the insect is the true cochineal; in her full sized, -pregnant, and torpid state, she bears so small a proportion to her former -or creeping state, that her antennæ, legs and proboscis are scarcely -discernible; her whole appearance is that of a whitish berry, and so it -was formerly regarded. This insect is found in a wild state in Mexico, -Georgia, South Carolina, and some of the West India Islands, feeding on -several species of the _cactus_; but in some of the Spanish settlements, -as well as in Mexico, the insect is domesticated, and fed on the cactus -coccinellifer, which is cultivated for the purpose, on which it attains a -much larger size than in its wild state. Cochineal is also obtained from -the East Indies; but East Indian cochineal has not yet attained the -quality of that produced in the West Indies and America. Its use, as a -colour for dyeing many shades of red, &c. is great and important. - -COPPER is also used in dyeing, in the state of a _sulphate_ or _blue -copperas_, a _nitrate_, and also as an _acetate_. See VERDIGRIS. - -The GALL or BILE of ANIMALS consists of a saponaceous bitter, yellowish -fluid, secreted by the liver, and found in the sac usually called the -gall-bladder. It is sometimes preferred to soap for cleansing cloths by -the dyer and the scourer. - -GALLS are excrescences produced on the _quercus infectoria_, a species of -oak growing throughout Asia Minor. The gall grows on the shoots of the -young boughs, and is produced by an insect, the _cynips quercusfolii_; -this insect punctures the tender shoot with its sting and deposits its -egg in the puncture; the egg is soon hatched, and the irritation of the -maggot feeding on the plant produces the wen or gall-nut. When the nuts -are gathered before the worm within changes to a fly, and not yet having -eaten its way out, they are of a dusky green colour, and are called in -commerce _blue_ galls, and are by far the best. Those collected after the -fly has eaten its way out have a hole in each, are of a whitish yellow -colour, considerably lighter than the blue-galls, and of an inferior -quality: they are brought to this country chiefly from Aleppo. They are -used in large quantities in the arts, principally for dyeing, and making -ink. They contain a large quantity of _Tannin_ and _Gallic acid_. - -INDIGO is a well known deep blue substance, obtained from the _Indigofera -tinctoria_ or Indigo bearing plant, a native of the East Indies, which is -propagated by seed and will thrive in most tropical climates; hence we -have good indigo from South America, the East Indies, Carolina, &c. The -chief criterion of the goodness of indigo is, if, when cut with a knife, -it exhibits a reddish copper-like appearance; where this shade is not, or -only very slight, the indigo is of inferior value. It is prepared by -macerating the leaves in water, whence is obtained the blue feculence or -indigo. Indigo is insoluble in water, but soluble in sulphuric acid, -hence a solution of it in this acid, forming a _sulphate of indigo_, is -well known in the art of dyeing. - -The best indigo is that called _Flora_, which floats in water, all the -other kinds sink in that fluid. - -The constituent parts of indigo are Carbon, 73.22, Nitrogen 11.26, Oxygen -12.60, and Hydrogen, 2.92, = 100. - -When indigo is digested in concentrated sulphuric acid, it is converted -into a peculiar blue substance, commonly called _sulphate of indigo_; -this colouring matter has been, however, lately named CERULIN, by MR. W. -CRUM, who has made many experiments on it; (see notes to _Bertholet_, -vol. ii. p. 357. et seq.) he observes that _cerulin_ dissolves more -abundantly in sulphuric acid than water; but this does not prove the -formation of a compound entitled to be called sulphate of indigo; that, -such a solution differs in no respect from that of resins in acids or in -alcohol. Another substance has been also obtained from indigo by MR. -CRUM, of a purple colour, which he calls _Phenicin_; it dissolves both in -water and alcohol. - -IRON rarely in its metallic state enters into the manipulations of -dyeing, but its _sulphate_, _muriate_, _acetate_, &c. as well as its -_oxides_ contribute largely to the dyer's art. - -SULPHATE OF IRON, or _green copperas_, as it is commonly called, is too -well known to need description; it is in green crystals of different -sizes, and is used for various purposes in dyeing, &c. - -PERACETATE OF IRON, or ACETATE OF IRON, forms a reddish-brown -uncrystallizable solution, much used by the calico printers, and is -prepared by keeping iron turnings or pieces of old iron for six months -immersed in redistilled pyrolignous acid. It may be also prepared in a -more expeditious way by boiling filings of iron with the acid. - -LAC DYE and LAC LAKE are two articles now regularly imported from the -East Indies, and employed for dyeing scarlet. They both appear to be the -colouring matter of seed-lac, obtained from it in India by a process not -generally known. Both these articles are in lumps or cakes of a -dark-reddish or blackish colour. - -MURIATIC ACID, or _spirit of salt_, as it was formerly called, is -obtained from common salt or muriate of soda, by distillation with -sulphuric acid. When this acid is pure it is perfectly colourless, but it -generally has a yellow hue arising from a little iron. It gives out, at -all temperatures, a large quantity of a fuming suffocating gas of a -peculiar smell. Its usual specific gravity is about 1.160. For the basis -of this acid see OXYMURIATIC ACID. - -NITRIC ACID is composed of oxygen and nitrogen: it is usually obtained -from _nitre_, (the chemical name of which is _nitrate of potash_,) by -distilling three parts of it with two of sulphuric acid. When pure, -nitric acid is a colourless, extremely sour, and corrosive liquor. Its -specific gravity is 1.42; it always contains more or less water, which -modifies its specific gravity. It is usually coloured with nitrous acid -gas. It forms a variety of compounds with numerous other bodies. _Aqua -fortis_ is this acid diluted more or less with water; when strong it is -called _double_, when weak _single aqua fortis_. For NITROGEN, _see -forwards_. - -NITRO-MURIATIC ACID, or AQUA REGIA, is a mixture of nitric and muriatic -acids. It is usually made by dissolving sal ammoniac or common salt in -nitric acid. When the former is employed the usual proportion is one of -the salt to four of the acid; but equal parts will be necessary to -dissolve _platinum_. _Aqua regia_ is the only menstruum which will -dissolve gold. - -ORPIMENT, REALGAR, or SULPHURET of ARSENIC has been lately applied to the -purposes of dyeing a yellow colour. Sulphur may be combined with arsenic -in different proportions. Realgar is red, and occurs native in Germany -and Switzerland; it is also produced by art. Orpiment is commonly -produced by art and is of a yellowish colour; native orpiment is also -occasionally found; it is of a bright lemon colour. - -OXYMURIATIC ACID, or as it is now more correctly termed CHLORINE, from -its yellowish green colour, is an elastic gaseous fluid of a pungent -disagreeable smell, and highly injurious to animal life, even when -largely diluted with atmospheric air. Mixed with hydrogen, and exposed to -light, they combine and produce a sour compound called _muriatic acid_ -gas; this gas is greedily absorbed by water, which takes up 480 times its -bulk, and has its specific gravity increased from 1 to 1.210. Thus -dissolved in water it forms the _liquid muriatic acid_ mentioned in a -preceding article. - -Chlorine forms combination, besides, with several other bodies; many of -its combinations are termed _oxymuriates_, or more properly, _chlorides_: -some of these are extremely useful in bleaching, dyeing, &c. The -_muriatic acid_ appears to be the only acid of any consequence into which -oxygen does not enter. - -OXIDE is the combination of oxygen with some base, without being in the -state of acid; it is most commonly applied to the combination of oxygen -with metals; most of the different rusts of metals are oxides. As oxygen -combines with the metals and other bodies in different proportions, its -combinations are distinguished by different prefixes, thus: _protoxide_ -denotes an oxide containing the least quantity of oxygen: _deutoxide_ the -next larger quantity; _tritoxide_ the next; and _peroxide_ the largest -possible quantity of oxygen in the compound when it is not acid. For -OXYGEN _see forwards_. - -POT-ASHES and PEARL-ASHES (one of the fixed alkalies) are both impure -_carbonates of potash_ obtained from the ashes of innumerable vegetables, -over which water is poured which dissolves the salts, and by evaporating -the water leaving the salt, a dry powdery white mass is obtained. The -chief difference between pot-ashes and pearl-ashes consists in the -superior whiteness of the latter, and in the former being of a more dirty -colour, and more caustic than the latter; hence it is not so highly -saturated with carbonic acid. For many purposes in the arts such caustic -potash is to be preferred. - -QUERCITRON, or AMERICAN-BARK is obtained from the _quercus nigra_ or -black oak, a native of North America. It is used for dyeing yellow, and -was brought into notice by DR. BANCROFT, who obtained the exclusive -privilege of using it as a dye by an Act of Parliament, passed in the -25th year of the reign of George III. - -SAFFLOWER, _bastard-saffron_ or _carthamus_, is obtained from one or two -plants, species of the _carthamus_ genus, natives of the South of Europe -and the Mediterranean coasts. This dyeing material consists of two -colouring substances, a yellow and a red. The former is of little value, -the latter which is soluble in alkalies forms, by precipitation with -acids, a beautiful red pigment sometimes used for silk dyeing, but more -commonly in the preparation of _rouge_. - -SODA, called sometimes mineral alkali, is another of the fixed alkalies; -it forms the basis of common salt, that being a muriate of soda; soda, -under the name of _barilla_, is used in making soaps, and also in dyeing. - -SULPHUR, or BRIMSTONE, is scarcely used for dyeing in its crude state, -but when combined with oxygen forming _sulphuric acid_, as well as when -that acid is combined with various bases, as _iron_, _alumina_, &c. it -becomes of great importance in this art; see SULPHURIC ACID. - -SULPHATE OF IRON, see IRON above. - -SULPHURIC ACID was for many years, and still is called by the vulgar, -_oil of vitriol_, because it was formerly obtained from green vitriol or -sulphate of iron, but the more simple and ingenious processes of modern -chemistry have superseded the old methods; sulphuric acid is now obtained -by burning sulphur with a certain portion of saltpetre in large leaden -cisterns. The acid fumes sink into the water placed at the bottom of the -cistern, the water being afterwards boiled away: the acid is afterwards -purified by retorts, placed in a sand heat. The specific gravity of good -sulphuric acid should be 1.85. - -SUMACH is the production of the _rhus coriaria_, a shrub which grows -naturally in Syria, Palestine, Spain, and Portugal. It is cultivated in -the two last countries with great care. Its shoots are cut down every -year quite to the root, and after being dried are reduced to powder, and -thus prepared for the purposes of dyeing, &c. Sumach bears a great -resemblance, as an astringent, to galls. Sumach alone gives a brown and a -fawn colour, but cotton stuffs impregnated with acetate of alumina take a -durable yellow from it. - -TARTAR, see ARGOL. - -TIN, dissolved in nitric or muriatic acid, forms solutions of great -importance in many processes of dyeing, particularly scarlet. These -solutions are called respectively _nitrate_ and _muriate of tin_. - -TURMERIC is a root obtained from a plant growing both in the East and -West Indies. The root is used chiefly for dyeing yellow; but it is a -fugacious colour. - -VERDIGRIS is a crude _acetate of copper_, obtained by exposing copper -plates to the husks, &c. of grapes, which containing considerable acetic -acid, the acid combines with the surface of the copper plates, forming a -blueish green rust, which is scraped off, and forms the verdigris of -commerce. A still more complete acetate of copper is obtained in -_distilled verdigris_, which is in elegant green crystals. The best -verdigris is made in France; some is now also made in this country. - -WELD, sometimes called improperly WOULDS, _dyer's-weed_, or _Reseda -luteola_, is a plant found wild, in this country, but cultivated for the -purposes of the dyer; it is much used for yellows. - -WOAD, or PASTEL, is obtained from a plant growing in various parts of -Europe and also in this country; it is the _Isatis tinctoria_, and is -cultivated with care for the dyeing matter which it affords, and which is -obtained from the leaves of the plant, collected and prepared in a -particular manner. Woad gives a full-bodied and fast blue to wool, yet -not very bright, so that it is usually mixed with indigo[3]. - -Besides the preceding substances we may mention that _annatto_ is used -for dyeing several colours; _kermes_, _madder_, and _Brazil wood_ for -_reds_; _logwood_ for _purple_ and _black_; _peach-wood_ for _maroon_, -&c.; _fustic_, _dyer's-broom_, _saw-wort_, _French-berries_, &c. for -_yellow_; _walnut-root_, and the outside _green shell of the nuts_ for -_browns_. We may also mention _prussiate of potash_, _acetate of lead_, -commonly called _sugar of lead_, and _oxide of manganese_, as occasional -articles used for various purposes by the dyer. Several other substances -are also used in dyeing, which we cannot enumerate; some are mentioned in -the subsequent pages. We may, however, name _cam-wood_, _bar-wood_, -_redsanders_, and _myrobolans_. We ought also to observe that how -desirable soever it may be to have all _woods_ for dyeing, in powder, in -order to obtain the greatest quantity of colouring matter from them by -decoction or otherwise, yet, as in a _powdered_ state they are much more -likely to be adulterated than in _chips_, it is most advisable to -purchase them in this last state; _logwood_ in particular ought never to -be purchased in powder. - - -_On the Component Parts of Vegetable and Animal substances._ - -In order more correctly to understand the theory and practice of dyeing, -it is essential that the pupil should become acquainted with the nature -of the substances upon which and with which he must necessarily operate. -We shall not enter into the theories of _light_ and of _colours_, as -propounded by Sir Isaac Newton, as well as many illustrious chemists, who -have already done so much for the art of dyeing, but shall simply refer -to such writers as URE, BANCROFT, BERTHOLLET, BRANDE, &c. from whom may -be learnt what is of most importance to be known concerning this curious -subject. - -We may just add, however, in regard to _light_, that Sir Isaac Newton -proved it consists of rays differing from each other in their relative -refrangibilities. By causing light to pass through a hole in a -window-shutter into a darkened room, and receiving that light on a glass -prism, the rays, in passing through the prism, not only became -_refracted_, that is, thrown out, of the rectilinear direction, but also -_separated_ into seven distinct colours, namely, _red_, _orange_, -_yellow_, _green_, _blue_, _indigo_, and _violet_. The red being the -least refracted and violet the most. If these prismatic, or _primary_ -colours, as they are usually called, be divided into 360 equal parts, the -red rays will occupy 45 of these parts, the orange 27, the yellow 48, the -green 60, the blue 60, the indigo 40, and the violet 80, and, what is -very remarkable, these colours, when mixed in the proportions here set -down, produce _white_. This may be readily proved by mixing seven powders -of the colours and quantity mentioned, or by painting a wheel with the -same proportions of the different colours and making it revolve rapidly. -But it should be noted, that, in either case, the _white_ will not be so -pure and delicate, as that produced by the mixture of the rays of light. -Upon these phenomena is founded the Newtonian theory of colours. Thus -green bodies reflect the green rays and absorb the others. All the rays -are reflected by white bodies, and absorbed by those which are black. - -It is, notwithstanding, highly necessary that the learner should know -that portion of _modern chemistry_ which will lead him to the best -secrets of his art, and hence assure him of that which was only before -conjecture. And it cannot be sufficiently impressed upon him, that if our -theory be not true, we work from wrong _data_; we may, it is true, -approach the truth; be right in some things and wrong in others, and our -uncertainty and mistakes will be accordingly; yet the most complete dyer -must be he, who with extensive practice combines a knowledge of the true -principles of his art, to which modern chemistry is, doubtless, the key. - -It is scarcely necessary to insist further on the importance of a -knowledge of the constituent parts of vegetable and animal bodies, as -well as those inorganic substances with which chemistry has so largely to -deal; but it will be seen, in the course of our subsequent observations, -what difficulty there is in _dyeing cotton_ of a red colour, similar to -that produced by cochineal on _wool_; how, in dyeing _cotton yarn_ an -_Adrianople red_, the intestinal liquor of the sheep, and the dung and -the blood of the same animal are used, and have been found so important -by the dyers of Asia; hence the colour is called the _Adrianople_ or -_Turkey red_. - -It is found by experience, and particularly in hot climates, that -substances containing _ammonia_ (volatile alkali) quite developed, have -the property of raising and rendering more intense the red colours. It -has been found, too, that the bones of animals retain the colour of -_madder_ very strongly, when they have been given that colouring -material; and the vivacity of the colour has been attributed in such -cases, it is presumed with truth, to the ammonia which the bones contain. - -There are, therefore, in regard to _vegetables_ in particular, some -things, the nature and properties of which it is absolutely necessary -that the dyer should understand: for want of a knowledge of one of them, -it is a fact that losses are very often sustained to a serious amount. It -may seem surprising, but the author has not seen in any writer on dyeing -or chemistry, a proper method of working the pastil or _woad vat_; nor -how to renew and work it down, again and again, with an assurance that it -will be neither decomposed nor spoiled; and which, for want of a proper -knowledge, it has often been. We shall therefore endeavour to give some -directions by which those fatal and expensive disasters may be avoided. - -Although, at first sight, it seems easy to distinguish the three kingdoms -of nature from each other, yet there is such an imperceptible transition -from one to the other, that it will be difficult to give such a -definition as shall embrace all the individuals of each, and, at the same -time, exclude those of the other kingdoms. On examination, indeed, we do -find that there is in fact no natural distinction of this kind; and that -there is scarcely a function common to vegetables and minerals which some -of the animal tribe do not enjoy, and _vice versâ_. Yet it must, however, -be noted, that most animals have the power of voluntary loco-motion, and -are thus rendered peculiarly different from all other bodies which we -find upon or in the earth. - -The substances constituting _vegetable_ differ from those constituting -_mineral_ bodies, in their being of a more complex kind; and though -vegetables are extremely susceptible of decomposition in various ways, -not one can be, by any art, synthetically produced. Yet, although what -are called by chemists the _proximate constituents of vegetables_ are -numerous, such are _water_, _starch_, _sugar_, _gum_, _gluten_, _wax_, -_oil_, _camphor_, _resins_, _colouring matter_, _extractive matter_, -_several acids_, &c. &c. all of which are capable of being decomposed, -the _ultimate constituents of vegetables_ are very few; the chief are -_carbon_, _hydrogen_, and _oxygen_; some afford _nitrogen_; in some are -traces of _sulphur_, _potassa_, _lime_, _soda_, _magnesia_, _silica_, -&c.; in nearly all vegetables are traces of _iron_; in many _manganese_. - -As the _proximate principles_ of vegetables are chiefly carbon, hydrogen, -and oxygen, it will be useful to inquire how vegetables obtain these -materials. Water, which is composed of hydrogen and oxygen, is a ready -source whence both its constituents may be obtained; and it is concluded -that it is decomposed in the glands of vegetables, assisted by solar -light, and becomes fixed in them in the state of _oil_, _extract_, -_mucilage_, &c. The greatest part, however, of vegetables consists of -_carbon_, or, to make ourselves more intelligible, _pure charcoal_; the -carbon, notwithstanding its solidity in the shape of charcoal, most -readily combines with oxygen, and hence it forms, as carbonic acid, a -small portion of atmospheric air, from which source the carbon of plants -is in part at least derived. Another source from which plants derive -their carbon is the earth, and decaying vegetable matters; the dung of -animals supplies also some of the constituents of vegetables. Indeed, in -the application of dung and other matters, so as to promote the healthy -and vigorous growth of vegetables, does the science of agriculture -chiefly consist. It appears, however, that nourishment is received -principally, if not entirely, by plants in a liquid or gaseous form. It -should be noticed too, that few, if any, healthy vegetables will grow any -where except in _light_, a powerful stimulant at all times, not only to -plants but to animals; such are its effects, that many _dyes_ in cloth -are materially altered, nay, sometimes destroyed by it. - -_Animal substances_ thus differ from vegetables: they afford a -considerable quantity of _ammonia_, (which is, it is now known, a -compound body consisting of _hydrogen_ and _nitrogen_), and very fetid -products, either by the action of fire, or by the putrid fermentation. -They also putrify more readily and speedily than vegetables, and give out -a very disagreeable smell. They also contain a considerable quantity of -_nitrogen_, the presence of which constitutes the most striking -peculiarity of animal compared with vegetable bodies; but as some -vegetables contain nitrogen, so there are certain animal principles into -the composition of which nitrogen does not enter. The chief _ultimate -principles_ then of animal matter are carbon, hydrogen, oxygen, and -nitrogen; but _phosphorus_ and _sulphur_ are also often contained in it. -_Lime_ also exists in animal bones and shells in considerable quantity, -usually, however, in combination with the _phosphoric_ and the _carbonic -acid_. The chief _proximate principles_ of animal matter are _blood_, -_albumen_, _gelatine_, _colouring matter_, _milk_, _bile_, _lymph_, -_urine_, _skin_, _muscle_, _horn_, _hair_, _fat_, _cerebral substance_, -_shell_, and _bone_, &c. - -The differences between vegetable and animal bodies appear to depend upon -animal matter containing _nitrogen_ in much greater abundance than it is -found in vegetables; and hence the decomposition of animal matter by -destructive distillation is characterized by the presence of _ammonia_, -which is formed by the union of the hydrogen with the nitrogen; and it is -sometimes so abundantly generated as to be the leading product: thus when -_horns_, _hoofs_, or _bones_ are distilled by themselves, a quantity of -solid carbonate of ammonia and of the same substance combined with a -fÅ“tid oil, and dissolved in water, are obtained. Hence the preparations -called _salt_ and _spirit of hartshorn_ and _animal oil_. - -The principal animal fluids are _blood_, _milk_, and _bile_. The blood, -soon after it is taken from the living animal, separates into two parts, -one called the _crassamentum_, which is _red_, and the other _serum_, -which is a fluid, and of a pale straw-colour; the crassamentum is a more -firm and consistent mass than the serum, by which it is usually, when -cool, surrounded. _Milk_ consists of _serum_ or _whey_, _butter_, which -while floating on the milk is called _cream_, and _curd_ or _cheese_, -which has the leading properties of coagulated albumen. The _bile_, as -has been before stated, is a saponaceous fluid consisting chiefly of -_albumen_, _soda_, a _bitter resin_, _water_, and some other saline -matter. _Fat_, in the dead animal, is merely animal oil in a concrete or -hardened state. - -The principal animal solids besides _bone_, are _albumen_, _gelatine_, -and _fibrin_. These substances, in certain states of concretion and -combination, form all the solids of animals, and are separable from each -other by easy analysis. - -By whatever means we deprive animal substances of their nitrogen, we -reduce them to a state similar to that of vegetables. The muscular fibre, -or _flesh_ as it is usually called, when excluded from the air, but -particularly if in contact with water, parts with its nitrogen, and is -converted into a substance resembling spermaceti, which in its analysis -agrees with vegetable expressed oil. - -When vegetables and animals are deprived of life, their various parts, -and especially their fluids, sooner or later, spontaneously assume -processes which terminate in their total decomposition. The earlier -stages which lead to their decomposition are termed _fermentation_. Of -this there are three kinds; the first, or _vinous fermentation_, takes -place in vegetable juices which contain a considerable quantity of sugar, -such are the juices of the _grape_ forming _wine_, of the _apple_ forming -_cyder_, &c. In this fermentation a considerable quantity of carbonic -acid gas is disengaged; this gas is very destructive to animal life, no -one can live for a minute in it. If, after the vinous fermentation is -completed, the liquor be exposed for some time to atmospheric air, -another fermentation takes place, oxygen is absorbed, and the liquor -becomes _vinegar_, hence called the _acetous fermentation_. The _putrid -fermentation_ generally takes place in animal bodies very soon after -death, so that neither of the other processes, certainly not the vinous, -the acetous rarely, becomes a condition of animal matter. - -The chief product of the vinous fermentation is an intoxicating, -colourless, volatile, and highly inflammable liquor called _alcohol_; in -common language _rectified spirits of wine_. It may be obtained by -distillation from wine, cyder, perry, brandy, &c. &c.; and from whatever -liquor it be obtained, when freed from extraneous matter, it is in every -case the same. Alcohol consists of hydrogen, carbon, and oxygen. Its -usual specific gravity is 825, water being 1000. - -After vegetables have passed through these fermenting processes, the -decomposition continuing, unless checked by extraneous means, the -remainder of their constituents become separated, many of them being -volatilized in the form of gas, and nothing remains but a black or brown -residuum called mould, consisting of carbon, some salts, a little oil, -and extractive matter. - -In the decomposition of animal substances, we perceive the union of -hydrogen and nitrogen forming _ammonia_; the combination of carbon with -oxygen produces carbonic acid; and nitric acid arises from the union -oxygen and nitrogen. A quantity of hydrogen is also extricated in the -form of gas, carrying off with it sulphur and phosphorus, which produce -together the disagreeable smell arising from animal putrefaction. Nothing -now remains but a portion of carbon mixed with phosphate of soda and -phosphate of lime. - -Hence we see that, by the processes of fermentation, complex bodies are -converted into more simple substances, and that nature restores, in the -new combinations, the principles which she had borrowed from the -atmosphere for the formation of both animals and vegetables; and that she -accomplishes a perpetual circle of ever-changing being, at once -demonstrating the fecundity of her resources, and the grandeur and -simplicity of her operations. - - -_On substantive and adjective colours, and the mordants, &c. used in -dyeing; and on the leading facts of chemical science as connected with -this art._ - -The substances commonly dyed are either _animal_, as _wool_, _silk_, -_hair_, _leather_, and skins of all kinds; or _vegetable_, as _cotton_, -_flax_, _hemp_, _&c._ Great differences exist between the affinities for -colouring matter possessed by these substances, so that a process which -perfectly succeeds in dyeing wool may fail when applied to cotton. Wool -has generally the strongest affinity for colour; silk and other animal -substances come next; cotton next, and hemp and flax last. - -Of the numerous known dyes, few can be applied to either animal or -vegetable fibre without some preparation beyond that of cleansing the -stuff, and immersing it in the dyeing liquor. When colours can be fixed -on cloth without any previous preparation, they are called _substantive_ -colours, such is _indigo_; when they cannot be so fixed, but require to -be saturated with some preparation, such as acetate of alumina, or a -metallic oxide, &c. they are called _adjective_ colours; of this kind are -madder, cochineal, &c. The substances with which cloths are impregnated, -previously to being dyed, are called _mordants_, because they are -supposed to bite or lay hold of the colour which is applied. - -The chief difference between vegetable and animal substances is, that -animal (as for instance wool) contains a small portion of carbon, and a -large quantity of hydrogen and nitrogen; while vegetables contain a very -large proportion of carbon, less hydrogen, and, in general, no nitrogen. - -It is the interest of every dyer to acquire as much information as -possible concerning the nature of alum, iron, carbon, nitrogen, hydrogen, -the alkalies, acids, &c. in order to prevent or obviate the consequences -of an incorrect application of these agents in the various departments of -his art, and also to apply them with the greatest success. We shall, -therefore, enter a little into the nature and combinations of some of -these bodies, and state some of the leading facts with which the modern -discoveries in chemistry have made us acquainted. - -_Carbon_, or charcoal, is considered an elementary body, because, as yet, -no means have been found adequate to decompose it; it forms the skeleton -of vegetables or their woody fibre. - -We must now direct the attention of the reader to _oxygen gas_, the -discovery of which was made by Dr. Priestley in the year 1774, and by him -called _dephlogisticated air_; the most important discovery that was, -perhaps, ever made in chemistry. When a metal is exposed to atmospheric -air, at almost every temperature, it loses its metallic lustre, and -acquires the form and appearance of an earthy substance. If this change -be produced in a given quantity of air, the _oxidation_ can only be -carried on to a certain degree; and on examining the air which remains, -we shall find that it has lost the whole of its oxygen, and that nothing -remains but nitrogen gas. What was formerly called the _calcination_ of -metals is nothing but the process of their union with oxygen, which is -now therefore properly called their _oxidation_. - -If charcoal be mixed with the metallic oxide, and a suitable heat be -applied to the mixture, it will unite with the oxygen and form carbonic -acid, which will fly off in the form of gas, while the metal will assume -its metallic form. From this we learn that _oxygen_ is a part of -atmospheric air, and that _nitrogen_ constitutes another portion of the -same air. _Ammonia_ is a combination of nitrogen and hydrogen. -_Combustion_, or the burning of any combustible body, cannot take place, -at least under ordinary circumstances, without the presence of oxygen. -_Nitrogen gas_, (called by its discoverers _azotic gas_), constitutes -about three fourths of atmospheric air; the other fourth consists of -oxygen, besides a small fraction of carbonic acid gas. Oxygen decomposes -and destroys all fugitive colours. Oxygen is, besides, the basis of -almost all the acids, and hence is one of the most universal agents in -nature. - -_Hydrogen_, formerly called _inflammable air_, was discovered by Mr. -Cavendish in 1767; it is called hydrogen, because it is one of the -component parts of water; or, more properly, it is the base of water. It -is obtained in the most pure state from the decomposition of water by -means of metals, thus: pass one hundred parts of water through a red hot -iron tube, a gun barrel for instance, fifteen parts of hydrogen gas will -be produced, while the inside of the tube will be found converted into an -oxide, and to have gained eighty five parts in weight. - -Again, when eighty five parts of oxygen gas are burned with fifteen of -hydrogen gas, both gases vanish, and one hundred parts of water are the -result. Hydrogen gas, when in a pure state, is about fifteen times -lighter than atmospheric air; hence its use for inflating balloons. -Hydrogen, if inhaled, destroys animal life; combined with _nitrogen_, it -forms ammonia, or the _volatile alkali_, as we have before stated. - -We have mentioned the _fixed alkalies_ in a preceding section. We may add -here, that by the discoveries of Sir Humphry Davy, in the year 1807, the -base of caustic, or pure _potash_, is now known to consist of a light, -white metallic substance, to which the name of _potassium_ has been -given; it is of the consistence of soft wax; at a freezing temperature it -is hard, brittle, and solid; when thrown upon water it instantly takes -fire, hydrogen gas escapes, and an _oxide of potassium_, or caustic -pot-ash, is produced. The potash and pearl-ash of the shops we must not -forget, are combinations of _carbonic acid_ and pot-ash, hence they -effervesce with all the acids; but caustic pot-ash, containing no -carbonic acid, combines with any of the acids without effervescence. - -The SODA, as obtained from barilla, is a carbonate of soda; pure soda, or -caustic soda, was, till the discoveries of Sir Humphry Davy, supposed to -be, as well as potash, a simple substance. It is now, however, known to -consist of a metallic substance of the colour of lead, but, nevertheless, -lighter than water; upon which, when thrown, it produces, like potassium, -violent action, yet does not, in general, like potassium, inflame. It is -called _sodium_; pure soda consists therefore of sodium and oxygen, hence -it is an _oxide of sodium_. These discoveries of the composition of the -fixed alkalies are of infinite importance in the arts. The alkalies -contain some very striking properties: - -_Their taste is acrid, burning and urinous. They generally change the -blue colours of vegetable infusions green. When mixed with silex or -flint, by exposure to great heat they form glass, and they render oils -miscible with water, and hence combine with them forming soaps. They -effervesce_ (_when combined with carbonic acid_,) with many other acids, -and form neutral salts with all the acids. The _volatile alkali_ or -_ammonia_, on exposure to air, flies entirely away. Pot-ash, either in -its caustic state, or in that of a carbonate, absorbs moisture from the -air, and liquifies. While soda, on the contrary, and many of its -combinations, effloresce in the air; they, nevertheless, effervesce, and -combine with the acids in a similar way to pot-ash. - -We have mentioned how pot-ash is obtained in a preceding section. Soda is -commonly procured from the ashes of marine plants; the _barilla_ of -commerce is obtained, it is said, in Spain, chiefly from many species of -the _salsola_, or salt-wort. Barilla is an impure subcarbonate of soda, -it is used largely in the manufacture of soap. - -We now proceed to notice the nature of _acids_. - -_They excite a particular sensation on the palate, which we call sour. -They change the blue colour of vegetables red._ All of them, except the -carbonic acid, effervesce with the _volatile_ as well as the _fixed -alkalies when in the state of carbonates, as they are most commonly found -in commerce_. Oxygen is the principle of almost all acids; their -difference depends upon the base combined with the oxygen: thus oxygen -combined with carbon or pure charcoal, forms _carbonic acid_; with -nitrogen the _nitric acid_; with sulphur the _sulphuric acid_, _&c._ _&c._ - -_Gas_ is a term implying the same as _air_; but as the term air, when -used, is liable to be misunderstood for the air of the atmosphere, which -is, as we have seen, a compound body, the term gas is more appropriately -applied to all elastic fluids of a specific kind. Thus we say _carbonic -acid gas_, _oxygenous gas_. The difference between carbonic acid and -carbonic acid gas, and oxygen and oxygenous gas, consists in the latter -being combined with _heat_ only, and in the state of air, while in the -former they are fixed in some body, as in carbonate of pot-ash and oxide -of lead, in both which cases the carbonic acid exists in a fixed state, -or combined with the pot-ash, and the oxygen is in a fixed state, or -combined with the lead. - -We may now treat of _carbonic acid gas_, which is thus produced, as well -as in many other ways: when charcoal is burned in oxygen gas, exactly -sufficient for its combustion, both the charcoal and oxygen disappear, -and an elastic fluid is found in the vessel, which is equal in weight to -both. This air or gas is carbonic acid gas; it combines with lime, the -alkalies, and pure or burnt magnesia: it constitutes a considerable -portion of the weight of chalk, limestone and marble, as is readily seen -by comparing these bodies before and after their conversion into -quicklime. It is frequently combined with hydrogen. The gas with which -the streets are now lighted is chiefly carburetted hydrogen. - -Carbonic acid gas has the following properties. It extinguishes flame, -and, like nitrogen and hydrogen, kills animals immersed in it. It is -heavier than common air, and may therefore be poured out of one vessel -into another like water. Cider, wine, beer and other fermented liquors -owe their briskness to the carbonic acid which they contain; soda-water -also owes its briskness entirely to the quantity of carbonic acid gas -which it contains, a small quantity of heat being sufficient to give the -acid the gaseous state. - -_Sulphur_ has been mentioned before; it is well known to be a very -combustible substance; it is found in great quantities throughout nature; -the sulphur of commerce comes either from Italy or Sicily; or from the -isle of Anglesea, where it is obtained from the smelting of sulphuret of -copper; the best, however, comes from Sicily. It is, sometimes, found -pure; but often combined with some of the metals, forming _sulphurets_. -It is also frequently obtained by the decomposition of animal and -vegetable substances; it is sometimes found combined with hydrogen (hence -called sulphuretted hydrogen), in the human stomach, more frequently in -the intestines. Sulphur combined with a small dose of oxygen, forms a -volatile suffocating acid, called the _sulphureous acid_; with a large -dose it forms _sulphuric acid_, or oil of vitriol. - -For the _nitric_ and _muriatic acids_, see a preceding section. We may, -however, mention here, that nitric acid has the peculiar property of -staining the _scarf skin_ of the human body a dull yellow, of such -permanence, that it can scarcely, by any means, be destroyed, it usually -remaining till the skin wears or peels off. - -The principal vegetable acids are the _tartaric_ and the _acetic_. The -tartaric acid exists in superabundance in tartar, and particularly in -cream of tartar, which is nothing more than a purified tartar. See -_argol_ in a preceding section. - -The _acetic acid_ constitutes the vinegar both common and distilled; it -is found in a very concentrated state in the shops, under the name of -_aromatic vinegar_. It is also now obtained in large quantities, and of -great strength from _wood_ by distillation, or burning, in vessels, -adapted for the purpose, hence called the _pyrolignous_ acid, but -essentially the acetic acid. This last is now used by Calico-Printers to -make acetate of iron. See a preceding section. - -_Alumina_, or earth of alumina, sometimes called _argil_, is soft to the -touch, adheres to the tongue, and hardens in the fire, contracting its -dimensions: it constitutes the greatest part of clays. With sulphuric -acid and pot-ash, it forms the common alum of the shops. Alum dissolves -in about sixteen times its weight of cold water. For _acetate of alum_ -see _alum_ in a preceding section. - -Agriculturists and agricultural chemists know that _alumina_ constitutes -three eighths or more of a fruitful soil; some vegetables, likewise, -contain this earth in their composition. _Iron_ is also a component part -of many soils, particularly those in which a _red_ colour is predominant; -hence it is, probably, a component part of all drugs used for browns, -fawns, and blacks. It will be seen what affinity cotton has for _iron_ in -the dye of _buff_[4] upon cotton; and it seems reasonable to conclude -that this metal not only produces the black, grey, and brown hues, but, -with lime, forms a component part of the drugs themselves which give the -brown dyes. It may be here also mentioned, that the _red_ colour of the -blood has been by many chemists supposed to arise from the iron which it -contains; MR. BRANDE, however, does not, from his own experiments, -conclude this to be the fact. The blood of animals is, nevertheless, -occasionally used for dyeing, as will be seen under _Adrianople red_. See -KIRWAN _on Manures_, _&c._ and DAVY'S _Agricultural Chemistry_. - -From the acids or oxygen combined with alkalies, earths, or metals, -almost innumerable mordants, as we have seen, are formed; and upon the -correct and proper application of these to the cloth or other matters to -be dyed, depends the goodness and permanence of the colours. The dyer -cannot, therefore, be too scrupulously attentive to this portion of his -art. - -In dyeing the student ought also to remember, that the material to be -dyed combines intimately, in numerous instances, with alumina or other -mordants; in the case of alumina it, in some instances, takes up from one -twelfth to one fourth of its weight of alum, leaving the alum bath nearly -tasteless. So also will rich extract of American bark, or even weld, when -the proportion of weld is in weight more than two to one of the wool, -form a triple compound with the cloth and alum, of permanent duration. - -All these preliminaries the author considers of the first importance to -be understood, and he has, therefore, mentioned them again and again. For -so doing he is sure that he shall be excused in the dye-house, although -not perhaps by the critics, whose candour he nevertheless respectfully -solicits. - -We now proceed to the _application of mordants_. In regard to muslins and -calicoes, the alum is to be mixed with gum and carried to the piece, as -will be described below in the _Calico-Printers' mordant_, and then -immersed in the dye-bath: it thus receives the base or mordant. If the -base be alum and the dye-bath madder, then, where the block strikes the -pattern with the alumine base, the colour will come out _red_; the other -parts will clean and bleach white. If alum and iron form the base, the -colour will be purple; if iron alone be applied, and galls, sumach, -logwood, &c. are the component parts of the dye-bath, then it will be -_black_. - - -_The Calico-Printers' mordant or base of alum for yellow and red goods, -either for printing or dyeing; and on compound colours._ - -Take one gallon of soft and pure water, of a heat of 150°, three pounds -of common alum, one pound and a half of sugar (acetate) of lead; mix -these together, and let them stand for two or three days, so that they -may incorporate, often stirring them during that interval; then add two -ounces of pearl-ash, and the same quantity of clean powdered chalk or -whiting. After a time the clear liquor, now become _an acetate of alum_, -must be drawn off. When used, it is thickened either with paste, flour, -or gum arabic, or senegal; four pounds of either of the gums to each -gallon of liquor[5]. A block or a press similar to a copper-plate press -for paper, but much larger, and having the copper plates in proportion, -is employed to spread the acetate of alum from a utensil called a sieve, -which is, however, not porous, while a boy or girl called a _Teerer_, -works it smooth; when smooth on the sieve, the printer applies his block, -and charges it with the acetate of alum; the block thus charged, is -correctly put on the cotton cloth, which is laid upon a blanket spread -upon a table; it is then struck with a mallet once or twice, by which, or -by the pressure of the rolling-press, if copper-plate, the acetate of -alum is driven into the pores of the cloth. The cloth thus prepared, is -hung up in a hot stove, and dried by a high degree of heat. The goods are -now ready, if for _red_, for the _madder_; and if for _yellow_, for the -_weld_ copper. Sometimes, however, lately, the colour is previously -prepared, and applied at once in more instances than are prudent. To the -above mordant, _M'Kernan_ adds three ounces of _sulphate of copper_, -omitting the potash; and he adds, "When the colour is wanting on the -scarlet cast, omit the sulphate of copper." - -Wool readily takes the alum at a boiling heat; _common alum_ is in many -instances proper for wool; and in others, where it might be improper, it -is corrected by the use of argol or cream of tartar. - -_Yellow_ and _red_ produce _orange_; _red_ and _blue_, _purple_; but upon -_cotton_, a scarlet, purple, or crimson cannot be produced in any way -equal to those colours in wool or silk. _Yellow_ and _blue_ form the -_green_. - - -_On Bleaching Linen, Cotton, &c._ - -We cannot enter with much minuteness into this part of the subject, more -especially as the _art of bleaching_ is usually a separate one from that -of _dyeing_. Yet as in fact the arts of _dyeing_ and of _bleaching_ -depend in a great degree on the same principles, some notice of -bleaching, in a treatise on dyeing, seems absolutely necessary. - -Linen, cotton, and other cloths, were for ages deprived of their colour, -in other words, bleached, rendered white, by a tedious process. Thus, the -article to be bleached being boiled in a solution of pot-ash, was washed, -and then spread on the grass in a field, watered occasionally, and, thus -exposed to the atmosphere for two or three months, became white. This -method is, however, in part, if not now entirely, dispensed with. M. -Berthollet, an ingenious French chemist, to whose valuable work on dyeing -we have before alluded, employed what was then called _oxygenated -muriatic acid_, now _chlorine_, to perform in a few days what before took -months to accomplish. His method was as follows. To six pints of powdered -oxide of manganese he added sixteen of muriate of soda, (common salt) and -twelve of concentrated sulphuric acid diluted with an equal quantity of -water. These were placed in a leaden retort and distilled: the product -was _oxygenated muriatic acid_, or _chlorine_, which being conducted to a -vessel containing the material to be dyed, produced the same effects as -the former tedious process, and bleached as much, in two or three days, -as was before done in two or three months. This process has been since -much further improved by the use of a combination of chlorine with lime, -called _chloride_, or _oxymuriate of lime_. This article is at present -used in almost all the bleaching grounds in the United Kingdom. It -appears, therefore, that upon the use of the agent, _chlorine_, does the -expedition and whiteness of modern bleaching principally depend. Yet it -ought, nevertheless, to be stated, that although, in the hands of -scientific and judicious persons, chlorine is one of the most powerful -agents in bleaching that ever was discovered, still, in the hands of -bungling and avaricious persons, it may contribute greatly to the -destruction of the cloth; and therefore, even now, a demand is -occasionally heard for the old method of bleaching. - -These processes constitute the art of the bleacher; the dyer has seldom -any thing to do with them except in piece-goods or rough cambric, which -he has sometimes to dye black as they come from the bleacher's in a state -which they call _once boucked_; and sometimes he has them just as they -come from the weaver; in which case, if for black, they need not be -bleached white, but should be boiled in pot-ash, to take out the grease, -&c. - - -_On the theory relative to fast and fugitive colours._ - -Many attempts have been made by chemical philosophers to account for the -permanence or want of permanence of various colours, when imparted to -cloths and other bodies as a dye. Among these, HELLOT, D'APLIGNY, and -others of the old, and BERTHOLLET, BANCROFT, HENRY, and others of the -modern school, may be mentioned. - -The power of resisting vegetable acids, alkalies, and soap, and, above -all, the action of air and light, constitutes the durability of a colour. -But this property has a very unequal standard, according to the nature of -the colour and the species of the stuff. - -There is no obscurity in the action of water, alkalies, acids, and soap: -for a solution is effected by means of these agents, or a small portion -of acid or alkali unites to the combination, which forms the colour. But -this is not the case with the action of light and air. Till lately, -however, it was not known in what this action consisted. - -Of the two principles which compose atmospheric air, it is only the -_oxygen_ gas which acts on the colouring particles. It combines with -them, and thus impairs their colour or makes them fade. But its action is -soon chiefly exerted on the hydrogen which enters into their composition, -and it thereby forms water. This effect may be compared to a feeble -combustion. Hence the carbon, which enters into the composition of the -colouring particles, becomes predominant, and the colour usually passes -to yellow, dun, or brown, or other appearances. - -Light promotes this decomposition of the colouring particles, which -frequently takes place only with its concurrence, and thus it contributes -to the destruction of the colour. Heat also favours the same result, but -less efficaciously so, unless it have a certain intensity. - -It is concluded, therefore, that colours are more or less fixed in the -air, according to the greater or less tendency which the colouring -particles have to undergo this change[6]. Hence the utility of _mordants_ -in rendering _fugitive_ colours _fast_. - - -_To prove the colours of Dyed Stuffs, &c._ - -The natural proofs of a dye's being effectual, are exposure to the air, -to the sun, or to rain. If the colour be not changed by such exposure -after twelve or fourteen days, it may be considered as fixed. These -proofs are not, however, adapted to every colour: for some resist the -action of air, light, and rain, yet are nevertheless injured by certain -acids. There are also colours which do not resist the natural proofs and -yet remain unchanged by acids. - -Colours may be arranged in this respect in three classes: the first class -is tried with _alum_, the second with _soap_, the third with _tartar_. -For the proof with _alum_, half an ounce of this salt must be dissolved -in a pint of water in an earthen pipkin, and into this liquor is to be -put half a quarter of an ounce of the dyed thread or stuff, the whole -being boiled about five minutes; it is then to be washed clean with -water. Thus are tried _crimson_, _scarlet_, _flesh-colour_, _violet_, -_ponceau_, _peach-blossom_, different shades of _blue_, and other colours -bordering on these. - -The next proof consists in boiling a quarter of an ounce of _soap_ in a -pint of water, with half a quarter of an ounce of the dyed stuff or -thread for five minutes. With this proof all sorts of _yellow_, _green_, -_madder-red_, _cinnamon_, and similar colours are to be tried. - -The proof with _tartar_ consists in boiling one ounce of that salt, -previously powdered very fine, with a quarter of an ounce of dyed thread -or stuff, in a pint of water for five minutes. This proof is used for all -colours bordering upon _fallow_, or _hair-brown_.—_Journal of Science_, -vol. xxii. 219. - -But notwithstanding these general rules may be given for _dye-tests_, yet -so many are the niceties in this art, that, after all, nothing but long -practice combined with scientific knowledge, will enable the dyer to -become in this respect, a complete and successful artist. - - -_On dye-houses and the water proper for dyeing._ - -The _dye-house_ should be as spacious as possible, according to the -quantity of work intended to be done in it; it should be also as near as -possible to a clear running stream. The floor should be a mixture of lime -and cement, and sufficiently inclining, so that water, the old contents -of the vats, &c. &c. may run off freely when thrown down. - -A dyer cannot be too particular in regard to the _water_ which he uses. -Some pump, well, and other spring waters, contain _iron_; this is -injurious to many colours, while for black, brown, slates, and grey, it -is very advantageous. It has been supposed that some dyers succeed in -dyeing even the very same colour in a superior manner, in consequence of -the peculiar purity or other properties of the water which they use. - -To discover whether water contains iron or not, a little tincture of -galls or prussiate of potash must be dropped into it; if a purple or blue -tinge be produced in the water, we may be assured that it does contain -iron. - -For dyeing delicate colours, the water, which ought to be chosen for such -purpose the purest and best, should be heated with bran in a bag, when -much of the contents of the water inimical to dyeing will rise to the top -in the form of a scum, and should be taken off just before the water -boils. Instead of bran, a little alum will answer the same purpose when -it is not inimical to the colour intended to be dyed. - -The boiling point of water is at the degree of 212° of _Fahrenheit's -thermometer_; the freezing point is at 32° of the same instrument; blood -heat is at 98°. - - -_Miscellaneous observations._ - -The limits and price of this manual preclude the possibility of our -giving plates to explain some of the machinery and utensils which are now -employed in dyeing. To inform a _dyer_ what kind of coppers, casks, and -vats are necessary, would seem to be superfluous; and the pupil may soon -acquire such knowledge in the dye-house. Should a dyer find it his -interest to undertake a branch of his art of which he has not any -previous knowledge, he had better engage a man who understands it; if, -however, he thinks himself competent to manage it, but is unacquainted -with the best modern utensils appropriated to that particular branch, he -had better get a dyer's labourer who has been used to it; a man of -sufficient intelligence may be found with due encouragement to perform -this part. It may just be added, that _Ure's Berthollet_ and Mr. -_M'Kernan's_ work, both contain numerous explanatory _plates_ of the -utensils and machinery which are described and recommended in those works. - -All solutions and decoctions of _Brazil wood_, _logwood_, _fustic_, _&c_. -should always be prepared in the same quantity and proportion, and one -measure be invariably set apart for each. This observation is meant more -particularly to apply to drugs in stock, always kept in a state of -preparation ready for any process or work which may occur. The drugs just -named may be kept in a prepared state; but _weld boiled_ will not keep, -nor will some others which are mentioned in the body of the work. - -_Weld_, as it will not keep, should be used thus: a copper in proportion -to the size of the work should always be used; and as weld will bear -boiling and re-boiling, it can be boiled by the half bundle or more -according as it may be wanted, whether you work little or much. If you -are exact and near in your estimate, practice will soon render you -perfect in any branch. It should be observed too, that to _dye to -pattern_ cannot be the result of a receipt, without a great latitude be -left for the judgment. - -The most difficult part of dyeing is that of _light drabs_, _stone -drabs_, _&c_. - -Nothing but _practice_ will qualify you for this and all pattern dyeing: -the way, and the only good way to obtain practice, is to work with all -possible regularity. In the dyeing of fancy cloths in the clothing -districts of Yorkshire, Gloucestershire, and other fine cloth -manufactories, the _manufacturers_ who dye their own cloths, as well as -_dyers_ of the greatest eminence, always number, measure, weigh, and time -all the component parts of their various processes of dyeing. Such in -fact ought to be the universal practice; and then a person of ordinary -abilities may soon be able to perfect his processes and obtain the best -results. - -Hence, however, it is very necessary that the dyer should have a -competent knowledge of chemistry and drugs, that he may be able to judge -of the goodness of the articles which he uses, and of the numerous and -extraordinary combinations into which they enter. To _chemistry_, in -particular, every able and scientific dyer must be largely indebted; for -this reason it is that we have endeavoured, in this _introductory -chapter_, to sketch some of the most important facts in this universal -and interesting science. - -In possession of these qualifications, and working upon the above plan, -the dyer can never be far from the desired result in all his processes. -His deviations, if any, will be few, as from his knowledge, he will soon -perceive the first approach of any incorrectness, and be able to adjust -it generally without much inconvenience. - -The _chemical terms_ now introduced into treatises on dyeing are chiefly -taken from the Greek language, and are used in such a manner as to -convey, by their etymology, an idea of the nature of the substances to -which they are applied. _Oxygen_ implies the producer of acid: -_hydrogen_, the producer of _water_; _nitrogen_, the producer of _nitre_, -&c. The term _gas_ has been explained above. _Caloric_ is a term used by -chemists for heat; but caloric is used in a more extensive signification -than the term heat, thus: although a gas might possess no sensible heat, -yet being in a gaseous state, it is assumed to contain a certain portion -of caloric which keeps it in its gaseous state; the same observation will -apply to liquids whether aqueous, oleous, or metallic. - -_All the measures mentioned in this work unless otherwise described, are -those usually called in this country_ WINE MEASURE, _and not those which -have been introduced by a late act of parliament_, _called_ IMPERIAL -MEASURES. - -[2] Cochineal was at first supposed to be a _grain_, which name it still -retains by way of eminence among dyers. URE. - -[3] For the cultivation of Woad in England, see Parish's paper in vol. -xii. of the Bath Society's Report, or Tilloch's Mag. vol. xxxviii. - -[4] What are called _iron moulds_ in cotton, linen, &c. are, it is well -known, nothing but the marks of a _buff_ colour, usually left by ink and -other matters which contain iron: acids, of course, dissolve, and -discharge these buff colours; the _oxalic acid_ does so without -decomposing the cloth. - -[5] "_Acetate of Alumina_ is now most frequently made for the -Calico-Printers by dissolving alum in a solution of crude acetate of -lime, (pyrolignite); a gallon of the acetate, of specific gravity, 1.050 -or 1.060, being used with two pounds and three-quarters of alum. A -sulphate of lime is formed, which precipitates, while an acetate of -alumina mixed with some alum floats above. The acetate of alumina -employed as a mordant for chintz, is still commonly made by the mutual -decomposition of alum and acetate of lead."—_Ure's Berthollet_, vol. ii. -p. 331. - -[6] Berthollet. - - - - -CHAPTER II. - -ON DYEING COTTON. - -_To dye cotton a Saxon or chemic blue—Sulphate of indigo—Saxon or -chemic green—To set a cold indigo vat—Another indigo vat—To dye cotton -a fast green with the cold indigo vat and weld—Another cold blue vat for -linen and cotton—Solution of indigo for penciling printed muslin, -&c.—To dye cotton a fast buff—To dye cotton pink._ - - -We refer the reader to the preceding chapter for many observations -relative to _cotton_, with which, in order to understand correctly the -best method of dyeing this material, it is necessary that he should -become acquainted: indeed, the whole of that chapter ought to be well -studied by every one desirous of becoming an expert dyer. - - -_To dye cotton of a Saxon or chemic blue._ - -This is performed with the _sulphate of indigo_ thus:—put into a brown -stone glazed earthen pot four pounds of good sulphuric acid, add to it -twelve ounces of good indigo finely powdered, stirring the mixture very -quickly and frequently: break the lumps, if it should get lumpy before it -is thoroughly mixed, with a glass rod, or with a stick, the bark of which -has been taken off: if for wool or silk, the solution will be fit for use -in forty-eight hours, but if for cotton it will not be fit for use till -the acid is neutralized by an _alkali_. Some persons, however, use -_whiting_, but this precipitates and wastes the indigo; others use -magnesia, but this is expensive: some, again, use pure or caustic potash -prepared thus—take American pot or pearl-ash about seven pounds, put -some of it into a brown stone glazed jar, or rather an open pan; upon the -ashes put some quicklime recently burnt, and then alternately ashes and -lime, slacking the lime with water as it is put on the ashes; let the -whole stand together for about two hours: provide now another brown stone -earthen vessel with a hole in the bottom, of larger dimensions than the -other, put into this a piece of coarse linen to prevent the lime, the -impurities, or any foreign body from running through the hole, then upon -the bottom put some of the previously mixed lime and ashes, well -incorporated, and placed gently upon the linen so as to be sure of its -keeping its place and letting the liquor pass through clear. As the -mixture is put in add some water occasionally, so as to keep it just -covered, and leave room at the top for the swelling of the materials, as -the lime especially will increase in bulk. Water must fill the whole, and -cover the lime, &c. which will be known by the bubbles ceasing to rise. -When it has stood twelve or fourteen hours, water being occasionally -added as it is absorbed, some may be drawn out. - -To determine whether the carbonic acid has entirely quitted the potash, -(and for which purpose the quicklime, having a greater affinity with the -carbonic acid than potash has, is specifically applied,) take some of the -fluid in a wine glass and drop a drop of sulphuric acid into it; if the -carbonic acid has entirely combined with the lime, the sulphuric acid -will enter the fluid in the glass quietly, and without any other -appearance than so much water; if you still doubt add more drops of the -sulphuric acid successively. If the carbonic acid has not entirely left -the potash when the sulphuric acid is dropped into the liquor, an -effervescence or fermentation will be seen in it. Whenever this is the -case the liquor must be returned to the mixture for a longer time, and, -if necessary, more lime be added. - -When the liquor or ley is fit for use, all of it is to be drawn off, and -more water may be added and remain on the ingredients till it is wanted. -It is best to keep it close from the air, because as the air contains a -certain portion of carbonic acid, the liquor would in time absorb it, and -the ley, instead of containing caustic potash, would become a solution of -carbonate of potash, and consequently not answer the end designed. - -To know when the _alkali_ of the mixture is exhausted, take a piece of -paper stained with the juice of the blue flowers of violets, or the -blossom of the mallow, which is thus prepared—pound the blossoms in a -glass mortar with a glass pestle, and squeeze the juice into a tea-cup, -then, with a small hair pencil, cover a sheet of white paper with the -juice, and dry it for use. All acids will turn it _red_, and all alkalies -will turn it _green_; and, therefore, as long as any of the alkali -remains in the liquor, the paper thus prepared will, when immersed in it, -be stained green. - -The comparative strength of such solutions may also be ascertained thus: -take a wine-glass full of the liquor, drop into it a few drops of -sulphuric acid, stirring it with a glass rod or clean bit of -tobacco-pipe, and then apply a bit of test paper; if it appear green more -acid must be added and stirred again; apply the test paper a second time, -if it be still stained green, a few drops more of the acid must be added, -and thus continue till the colour of the paper is neither altered to -green nor red: the liquor will then be neither acid nor alkaline, but -contain a neutral salt consisting of a combination of the acid and the -alkali. By adding, however, a few more drops of the acid, this last will -be found predominant, and the test paper, being immersed in the liquor, -will be stained red. - -By treating different leys in this manner, and counting the number of -drops necessary to neutralize each, the strongest ley will always be -found that which requires the greatest quantity of acid for the purpose. - -Alkaline leys are also to be judged of by their weight compared with that -of water; a wine pint of water usually weighs about sixteen ounces -avoirdupoise; all alkaline leys are _heavier than water_, and the heavier -they are the more alkali they necessarily contain. A wine pint of some of -them will weigh more than seventeen ounces. - -To return to the dyeing of cotton a chemic blue: (to which a knowledge of -these chemical processes, as well as of other processes in our work, is -essentially necessary,) take some of the blue liquid prepared with indigo -and sulphuric acid, as before directed, and put it into a vessel large -enough to hold two or three times as much as is intended to be put in, in -order that there may be room to stir it; add some of the potash, or -alkaline liquor, by degrees till, after several trials, the mixture -ceases to be sour; or, if you do not like to taste it, take a small slip -of cotton or muslin and dip it in, after having wetted it out in warm -water. If the acid be neutralized the cotton will be sound, if not it -will be tender _when dried_: if the acid predominates much the cotton -will be as rotten as tinder; when the cotton is perfectly strong and -sound after being dried, the liquid is in a proper state to dye both -cotton and muslin. - -The goods to be dyed must first be wetted out and wrung, then work them -in the flat tub with water, with a little of this blue added, and well -stirred in proportion to the shade wanted. From half a pint to a pint of -the liquid blue is sufficient for two pieces of twenty-four or -twenty-eight yards each, if not of a very full pattern. - -Blue, when dyed, should be dried in a cool stove, and if book-muslins, -framed; furniture should be stiffened, glazed, or calendered. - -The preceding are essentially the same directions for preparing and -dyeing with the _chemic blue_ which were given in the first edition of -this work, and which we see no reason to alter. As, however, for _silk_ -in particular, another method has been given in the late work of Mr. -M'KERNAN, we give his processes below. - - -_Sulphate of Indigo._ - -"Take one pound of the best flora indigo in very fine powder, put this -into a stone-ware or lead vessel, then add gradually three pounds of the -best sulphuric acid, specific gravity 1.800; mix well and stir often, and -in twenty-four hours the indigo will be dissolved. Adding three ounces of -sulphur to the acid, and heating it to 180°; then, when cooled to 100°, -pouring the acid off the sediment, and then adding to it the indigo, is -considered the best way of opening or dissolving the indigo. When the -indigo and acid have been mixed twenty-four hours, add three pints of -boiling water; stir often; when cold it will be fit for use." - - -_To neutralize the sulphate of indigo._ - -"Take six pounds of alum and dissolve it in two gallons of water at 120°, -when dissolved add, by degrees, five pounds of pearl-ashes until the acid -of the alum is neutralized and the alumine formed, then put the whole on -a piece of calico that has been hooked in a square frame, or tied over a -vessel; when the liquor has run off then add one gallon of boiling water -on the alumine and stir it up well. When the water has gone through the -calico; the alumine is fit for use. Then add a part of this alumine to -some of the sulphate of indigo until the acid is neutralized." - - -_Saxon or chemic_ GREEN. - -The same blue vat will do for _green_; but it is best to make another by -putting only eight ounces of indigo instead of twelve to four pounds of -sulphuric acid. If the preparation has been made two or three months it -is the better, having been often stirred before it was neutralized with -the alkali. - -Prepare a strong decoction[7] of old fustic, which should always be ready -at hand as a store, keeping plenty according to the work to be done, -including cotton, silk, and worsted goods. - -Mix some of the chemic blue with the decoction of fustic in the following -manner: put into a tub six pails of soft clear water, to which add a pint -of the neutralized blue; and six pails of the decoction of fustic; stir -all well together. Some dyers add a little weak alum liquor till it just -tastes before they put in the blue; it should be but little, otherwise it -will precipitate the fustic. This mixture should stand two hours to -settle. - -The muslin or calico, say two pieces of twenty-four yards each, should, -with the usual precautions, be passed through a strong decoction of old -fustic or turmeric as hot as the hand will bear. They are then to be -taken out and submitted to a quantity of the green mixture above, -described, in proportion to the fulness of the green required. When -finished, whether for the calenderer or glazer, they should be dried in a -moderately warm stove. - -These two colours are very fugitive, especially upon _cotton goods_; but -sometimes the customer will not go to the price of the fast green or -blue, hereafter to be described. - - -_To set a cold indigo vat for cotton, &c._ - -Put three pounds of slacked lime, sifted, into six quarts or more of -boiling water; stir the mixture well for some time, and after it has -settled, draw off the clear liquid, to which add three pounds of sulphate -of iron, stirring it well till all is dissolved; let it settle till the -next day; have ready a deal cask, because one made of oak would blacken -and otherwise injure the dye, in consequence of the affinity between the -tannin, &c. of the oak and the sulphuric acid. Put into the cask -seventy-five gallons of water, to which add the mixture of lime and -sulphate of iron; take now three pounds of indigo, well ground and ready -at hand, dissolved in three pints of strong solution of potash, such as -was directed to be prepared for neutralizing the chemic blue. Put this -solution of indigo and potash into the tub with the water, lime, &c.; -after it is well stirred, and left to settle, it produces a deal of -froth; but the liquor takes a fine green colour, which turns to blue when -exposed to the air. - -_Soda_ may be used instead of potash, if treated the same way. Soda, it -may be observed, forms the usual ley of the soap manufacturer; and -answers for _soap_ much better than potash, because its combinations do -not usually absorb moisture from the air: potash, and several of its -combinations, do so. - - -_Another indigo vat._ - -Take five hundred quarts of water; indigo seven or right pounds. The -boiler must be iron. - -Boil the indigo with sixteen pounds of a liquor made with potash and -eight pounds of lime. After the lime and potash have been in contact, as -in all these instances they should be, from twelve to twenty-four hours, -to take away the carbonic acid from the potash, the clear liquor of this -mixture is what must be used. The indigo must be previously powdered, and -ground extremely fine in water before it is put into the alkaline liquor. -The mixture must now be added to the five hundred quarts of water, and -the whole boiled till the indigo rises to the surface like cream, and -till, in striking the bottom of the boiler with a stick, it is found to -contain no solid substance. - -While the indigo is boiling, another eight pounds of lime must be slacked -in about twenty quarts of warm water; dissolve in this lime-water sixteen -pounds of sulphate of iron. The vat being half filled with water, the -solution of lime and sulphate of iron is to be put into it; the indigo -solution is now also to be added. The vat, being thus filled to within -about three or four inches of the edge, must be stirred two or three -times a day till it is fit for dyeing, which it will be in about -forty-eight hours, and sometimes sooner, according to the temperature of -the air, by which the completion of the process is more or less -accelerated. - -When the strength of the vat is exhausted, it must be, of course, -replenished. If the liquor becomes black, it wants sulphate of iron; if -yellow, lime is required. When the indigo is far spent, more must be -added in the same manner as at first. - -In this vat, as respects the blue dye, if it be for muslin, calico, &c., -the form should be square, about two yards long, one yard to one and a -half wide, and from seven to eight feet deep; the pieces of cloth are to -be hooked into a frame. - -Where much work is done, it will be necessary to have two or three such -vats, in order that they may be worked in succession: by stirring them -some hours previously to working, the weaker will do for the lighter -shades, the stronger for the fuller colours. If the vat is in proper -order, the goods always come out green, and turn blue in the air. This -should be ascertained by small patterns previously to working the whole. -When any goods are dyed in these vats, if not full enough at one dip, -they may be left a certain time, and then be dipped again, once or more, -as they appear to require it. - -When they are blue enough, and fully aired, they must be taken from the -hooks, and well washed off in two or three fresh clean waters, or at a -wash wheel in a clear running stream. When perfectly clean, they are -ready for the calenderer or glazer. - - -_To dye cotton a_ FAST GREEN, _with the cold indigo vat and weld._ - -After dyeing muslin blue in the blue vat, weld must be boiled in the same -manner as for fast yellow. The quantity of weld to be used, must be -according to the fulness of the blue ground, and of what shade the green -is to be; a proportion of alum must also be used. The goods, after being -worked in the same manner by the selvage, must be washed off, and -stiffened, if for the glazer, but not if for dress, but be framed by the -muslin dresser. - - -_Another cold_ BLUE _vat for linen and cotton._ - -The indigo is to be powdered, and put into warm water with sulphate of -iron, in quantity twice the weight of the indigo, to which is also to be -added, the same weight of fresh-burnt lime. The water should be only -sufficient to mix it thick at first; keep it stirred; and, as it becomes -dissolved and green under the surface, increase the water, often stirring -and trying the mixture, by putting in a pattern between the stirrings, at -some hours distance, between each pattern, and increasing the water: in -twenty-four hours it will be fit for use. - - -_Solution of indigo for penciling printed muslin, &c._ - -To twenty-five gallons of water, add sixteen pounds of indigo, and thirty -pounds of carbonate of potash; when mixed, and placed over the fire, as -soon as the mixture begins to boil, add quicklime, by a little at a time, -to render the alkali caustic; then twelve pounds of red orpiment, and -boil till it will give a yellow colour to transparent glass. - -This form is from _Haussman_. Were the author to make this solution of -indigo, he would first make the alkali caustic with lime, and then put -the clear liquor to the other materials. - -Mr. _M'Kernan_ gives another form for _pencil blue_ with indigo: the -principal differences between which and the above, consist in adding -equal parts of brown sugar and _gum senegal_ to it, which, in regard to -the addition of the gum, is, we presume, a great improvement. - -Dr. URE (_Notes to Berthollet_, vol. ii. page 437.) gives a similar form -from _Vitalis_, for _topical_ or _pencil blue_; but he adds, it was much -used formerly. Another blue, of less permanence but more brilliance, is -now preferred; it is made thus:— - -Into an earthen pot four ounces of finely ground and sifted Prussian blue -are to be put. Over this must be slowly poured, stirring all the while, -sufficient muriatic acid to bring it to the consistence of syrup. The -mixture is to be stirred every hour for a day, and afterwards thickened -with from four to eight pots (of two _litres_ each; a litre _French_ -contains about two wine pints;) of gum-water, according to the shade -wanted. - - -_To dye cotton a_ FAST BUFF. - -Take a brown stone pan or pipkin, glazed. It must not be the common -glazed wares, because these are glazed with _lead_, and the acids will -dissolve the lead; if, therefore, such are used, the lead being -dissolved, will be mixed with the dyeing materials, and sometimes totally -spoil the dye. Stone-ware, if used with care, will bear the fire: such -ware is usually glazed with muriate of soda or common salt. - -Having a proper vessel capable of holding from two quarts to a gallon, -fill it half-full of strong _nitric acid_, to which add, in small -quantities at a time, either _old horse-shoe nails_ from the farrier, -they being the purest iron, or the _cuttings of tin-plate_ from the -tin-man's, for this is also very pure iron, although covered with tin; -but the small portion of tin in the iron is not inimical to the dye. Be -careful not to put too much in at a time, nor to stoop near to it while -the solution is going on, as the red fumes arising are very noxious; and -if the iron be added in large quantity, so much effervescence would be -produced, that a considerable part of the liquor would be thrown over the -top of the vessel. - -When this solution is prepared in haste the air is greatly contaminated, -and therefore it is best to prepare it long before it is wanted, and -slowly, by dropping hourly small quantities of the iron into the acid, -and then little if any perceptible fumes will arise. Continue this -process till, by stirring with a glass rod or tobacco-pipe, you find the -iron dissolves more slowly: by keeping a little iron at the bottom, and -occasionally adding the acid, you may always have this preparation at -hand. - -It is to be used thus:—having a copper of hot water ready, put a part of -it to some cold in a flat tub till the mixture is as hot as the hand will -bear; then, according to the paleness or fulness of your pattern, add -some of the solution of iron, and mix it well by stirring: begin with -about half a pint for two pieces of twenty-four yards each: it is best to -add a smaller quantity than is necessary first, as you can make another -addition as you please, but, if you add the solution in excess, to -diminish it is by no means so easy. Now, having ready a flat tub with -water of as hot a temperature as the hand will bear, put into it a clear -solution of pearl-ash, and have also ready another tub of clear cold -water to wash off in; then pass the pieces (always taking care to have -them well wetted out in one of the tubs of hot water before either the -solution of iron or pearl-ash is put into either of them) through the -solution of iron six or seven times, edging them over by the selvage to -keep them even; next, folding them first even upon a board, wring them -out, wash them off and pass them through the solution of pearl-ash; -lastly, wash them off again in fresh and clean water: a permanent and -bright buff will be found, and as good a colour as can be dyed upon -cotton. - -We here see what an affinity iron and cotton have for each other when the -iron is combined with an acid and the combination in a liquid state. -Although the colour is not so beautiful in every instance, yet, be the -acid which dissolves the iron what it may, cotton imbibes the iron from -it. - -What is left of the solutions of iron and the pearl-ash may each be kept -in a separate _deal_ tub for use. - - -_To dye cotton_ PINK. - -Take _safflower_ in proportion to its goodness and the quantity of work -to be dyed; put it into pure and clear water; tread it in the water till -the water becomes fully charged with a kind of extractive yellow colour. -It is best to put the safflower into a strong linen bag or sack; a sack -containing sixty pounds will take a man two days to wash it clean: if -done in a clear running stream the yellow colour will of course run away; -if you have a small quantity in a tub it must be let out at a plughole, -which every flat tub should have. _The safflower must be worked or trod -till all the yellow colour is got out of it, or the_ pink _to be obtained -from it afterwards will not be bright._ - -When the safflower is thoroughly washed, take it out of the bag and put -it into a deal tub or trough, and add to it _pearl-ash_ in the proportion -of six pounds to one hundred pounds of the safflower, which should be -weighed before it is wetted. Let the potash be well dissolved in water; -pour part of the clear solution off, and mix it thoroughly with the -safflower; after having stood for some time strain the liquor through a -cloth or sieve into another deal trough. The whole solution of pearl-ash -should not be put in at once, but at different times. If there should be -reason to believe that the safflower will yield more colouring matter by -a farther addition of the solution of pearl-ash, such additional solution -may be made. The water for the solution and the solution to the safflower -should both be applied cold. Carbonate or mild potash is better than the -caustic. By putting the solution of pearl-ash on the safflower at -different times it will be readily seen when the fluid passes through the -cloth or sieve free from colour. - -The colour is of a cherry hue, and is resinous, therefore the water -dissolves but little of it; the carbonate of potash is added to dissolve -this resin. - -To overcome the influence of the pearl-ash, which tinges the red of a -yellow colour, some cream of tartar must be finely powdered and dissolved -in boiling water, and added to the liquor when it is nearly cold. In the -South of France lemon juice is used. - -The colour, being thus raised by the cream of tartar, is now to be mixed -with cold water in proportion to the fulness of the pattern desired, and -the cloth must be worked six or seven times in it, as in other colours. - -What is left of the colour must be taken up with some skein cotton, and -dried; this may be added to water upon another occasion by saturating the -acid with a solution of pearl-ash, which will abstract the dye from the -cotton. - -The solution of tartar will again redden the colour from the yellow of -the pearl-ash; this must be done if any remain, for it will not keep in a -fluid state. - -We shall not here describe any other process with cotton till we have -treated of wool and silk. - -For dyeing cotton _black_, and some other colours, see the chapters V. -and VI. - - -[7] The difference between _decoction_ and _infusion_ should be always -carefully observed: a _decoction_ is made by _boiling_ the ingredient or -ingredients in any liquor; an _infusion_ is that in which the ingredients -are put but _not boiled_. - - - - -CHAPTER III. - -ON DYEING SILK. - -_To alum silk—The blue vat of indigo for silk—Another blue vat for -silk—To dye silk violet, royal purple, &c.—To dye silk lilac—Another -process for lilac—Another process for dyeing muslin, &c. lilac—To dye -silk a violet or purple with logwood—To dye silk violet with Brazil wood -and logwood—To dye silk violet or purple with Brazil wood and archil._ - - -_To alum silk._ - -Forty or fifty pounds of alum being dissolved in a copper of hot water, -the solution is to be poured into a tub containing forty or fifty pails -of cold water; during the mixing of the solution of alum with the water -it should be well stirred lest the cold water should crystallize the alum -and spot the silk; when, however, this happens, dipping silk in warm -water will dissolve the alum. The silk should be alumed cold, for, if -hot, the lustre of the silk will be injured. Alum is used for certain -reds and yellows but not for blue. See also chapter VI. - -When silk is deprived of its gum so as to acquire the greatest possible -degree of whiteness, it is still necessary to have different shades of -white, some yellow, some blue, and others reddish; these are known under -five denominations, namely, _China white_, _India white_, _thread or milk -white_, _silver and azure white_. All these whites, although differing -from each other by _very slight shades_, are nevertheless apparent, -especially when compared with each other, which will be seen in the -processes of dyeing silk. - -For _ungumming and boiling, whitening and sulphuring silk_, see chapter -VI. - -We have described _M'Kernan's_ method of preparing and neutralizing -sulphate of indigo in pages 51 and 52, to which the reader will be kind -enough to refer: the following _blue vat_ is from _Macquer_. - - -_The_ BLUE _vat of indigo for silk._ - -This should be so contrived that heat may be applied to it, which it now -mostly is, by steam, as well for woollen woad vats as for indigo vats. -For silk, take eight pounds of the finest indigo and six pounds of the -best pearl-ash, and from three to four ounces of madder for every pound -of ash, besides eight pounds of bran for the whole, washed in several -waters to take the flour out. When washed, and the water squeezed out, -the bran is to be put at the bottom of the vat; the pearl-ash and the -madder being mixed by bruising them roughly together, are now to be -boiled a quarter of an hour in a copper containing two-thirds of the vat; -the fire being damped, the liquor is then suffered to rest. Two or three -days previous to this the indigo is to be steeped in a bucket of warm -water, and washed well, the water being changed once or more. Some dyers -begin by boiling the indigo in a ley made with one pound of pearl-ash and -two buckets of water; they afterwards pound it in a mortar quite wet, -and, when it becomes like paste, fill the mortar with the liquor before -boiled, and still hot, stirring it for some time. It is then suffered to -stand a few moments, and then the clear is poured off into a separate -boiler or into the vat. The same quantity of the mixture is then poured -upon the indigo remaining in the mortar and mixed as before; again the -clear is poured off into the boiler, and the operation is repeated till -the whole of the indigo is dissolved in the liquor. The whole of the -liquor in the boiler is now to be gradually poured into the vat on the -bran at the bottom, adding afterwards the remainder of the composition, -grounds and all. - -After stirring and raking for some time, the mixture is left to cool till -it will bear the hand in it, when a little heat is added to keep it in -this state, and so continued till it begins to turn green, which is -easily known by trying it with a little silk. When the green begins to -appear it should be stirred with the rake, then suffered to stand till -the brown and coppery scum which rises upon the surface shews that the -vat is come to; or, in other words, the preparation of this part of the -process is complete. But as it is necessary to be very certain of this, -the scum should be well examined; and if, when blown aside, a fresh scum -is immediately formed it is as it ought to be. In this state it is to -remain for three or four hours, when a new composition is thus made:— - -Put as much water as is requisite to fill the vat into a copper, boiling -it with two pounds of pearl-ashes and four ounces of madder as at first. -This new liquor is to be poured into the vat, raked and mixed, and being -left to stand for four hours it is then ready for dyeing. - -When a vat or vats are set for _green_, double the quantity of madder -must be added. (See Chap. VI.) - -The size of the vat for the above quantity of indigo, should be about -five feet deep, two feet or two feet and a half in diameter at the top, -and one foot and a half or two feet in diameter at the bottom: the form -of an inverted frustum of a cone; or of a sugar loaf inverted, with the -pointed top cut off. - -In order to produce different shades of blue, the silk intended for the -darkest, should be first dipped in the fresh vat and so on to the -lightest; as the vat weakens the silk should be kept in longer, till the -vat, being exhausted, serves only for the lightest shades. When it begins -not only to be weak but dull, it is then necessary to feed the vat with -the following composition: - -Take of the decoction of pearl-ash with indigo one pound; of madder, two -ounces; and a handful of washed bran; boil them together for a quarter of -an hour, either in water or a portion of the same vat if yet sufficiently -full to afford it; after this mixture is added, it should be well raked -and suffered to rest two or three hours, more or less, before the dyeing -is resumed. - -For the finest blues, however, a fresh vat is the best; and if only pale -blues are required, a vat set on purpose with less indigo will answer -better than a strong vat which has been weakened, because though weak it -will give more vivid colours. - - -_Another_ BLUE _vat for silk._ - -Take fifty pounds of good indigo in fine powder; fifty pounds of fresh -slacked stone lime; one hundred pounds of sulphate of iron; and five -pounds or more of pearl-ashes. Stir often for three or four days till -there is a fine copper-colour scum on the top of the liquor in the vat. -The vat is of course to be set with water in the usual way. - -The substance of this form is from _M'Kernan_; we cannot, however, avoid -thinking, that his directions for this vat are very vague. - - -_To dye silk a_ VIOLET, ROYAL PURPLE, &c. - -Boil archil with water in a copper; the quantity of archil according to -the colour required must be from two to four times the weight of the -silk. When the archil has boiled about ten minutes the fire must be -damped, the archil left to subside, and the clear liquor put into a -vessel of a convenient size, in which the silk is to be immersed and -worked with care. - -You must have a small corresponding pattern that you intend for purple, -which at times you must put into the blue vat to regulate the depth of -the archil ground, as the purple is a compound colour, arising from the -blue of the indigo and the red of the archil. When the red of the archil -is deep enough, you must wash it off and put it into the blue vat with -proper precaution. The fulness of the archil ground and the depth of the -blue, must be regulated according to the patterns which are to be matched. - - -_To dye silk_ LILAC. - -_Lilac_ is and should be a bright light shade of violet or purple; to -give it the blue requires great management. The vats being generally too -strong, it is best to mix a little of the new rich vat with some -pearl-ash in clean cold water, and so prepare a liquor on purpose, by -which the lilacs may be blued or reddened at pleasure. When this liquor -is first mixed it becomes of a green colour; the silks therefore should -not be dipped till the liquor begins to lose its green colour and -inclines to blue. Pearl-ash added to this liquor helps to blue the -archil, because the effect of the alkali upon red is to render it violet. - - -_Another process for_ LILAC. - -Consists in simply using the _chemical blue_ with archil according to the -shade required. - - -_Another process for dyeing muslin, &c._ LILAC. - -This is accomplished by mixing the neutralized chemic blue for cotton -with the pink dye of safflower, according to the shade required. - - -_To dye silk a_ VIOLET _or_ PURPLE _with Logwood._ - -The silk should be alumed and washed. The logwood should be boiled in -large quantities like fustic, as as directed for green; but it should not -be kept longer than two or three weeks; it is far better used cold than -hot. - - -_To dye silk_ VIOLET _with Brazil wood and Logwood._ - -The silk must be alumed and cooled as usual; it is then to be alumed and -dyed in a liquor made of Brazil wood of the common heat, then in the cold -logwood liquor, and lastly, a solution of pearl-ash must be added to the -liquor in which the silk is last dyed. It is afterwards to be washed and -dried; but for some shades it is best to have fresh liquor, particularly -for the warm Brazil, the cold logwood, and the solution of pearl-ash: in -this case the quantity of each may be much better regulated. - - -_To dye silk_ VIOLET _or_ PURPLE _with Brazil wood and Archil._ - -The silk when alumed is to be dyed in the decoction of Brazil wood -according to the shade required; it is then to be washed and dyed in -archil: and it is afterwards washed a second time. After this it is -dipped in the blue vat, and wrung and dried with the same accuracy used -in greens and blues. - -For dyeing silk _black_ and some other colours, see Chapters V. and VI. - - - - -CHAPTER IV. - -ON SCOURING AND DYEING WOOL. - -_On the action of alum and tartar upon wool—A pastil or woad vat for -blue—To prepare the indigo mentioned in the preceding directions—Rules -to judge of the state of the vat—Indications when a vat has had too much -or too little lime—To work a vat which is in proper order—On the -putrefaction of the woad vat—Methods of dyeing blues—To dye wool, with -lac-dye, scarlet, or crimson—To dye worsted yarn a crimson—A -preparation of archil to finish the crimson—On dyeing wool scarlet—To -dye wool maroon—To dye wool yellow—To dye wool brown or of a fawn -colour—To dye wool purple, &c.—To dye wool green—A chemic vat for -green woollen—A chemic vat for blue woollen—To dye wool orange, gold -colour, &c.—To dye wool black—another process for black without a blue -ground—To dye wool grey—Mixture of black or grey with red and blue—On -browns, fawns, greys, &c.—On the yellow of quercitron bark—On a full -bright yellow from the same bark—Bancroft's murio-sulphate of tin—To -dye wool buff—To dye wool peach—To set an Indigo vat for worsted, -serge, &c._ - - -Wool is usually scoured for being dyed with stale urine, the staler the -better: it is used in the proportion of one part to three parts of water, -full as hot as the hands can bear when the wool is worked about in the -fluid.—If the wool be in the fleece, what is called its natural yolk, -and which is said to preserve the wool from the moth, is of a greasy -nature, and is scoured out by the volatile alkali in the urine. If the -wool be in the state of spun yarn it has gallipoli, or rape oil, in its -thread, the spinner, or rather the comber, using it to render the wool -more flexible, &c. It is absolutely necessary that wool, (as indeed every -other material to be dyed) should be made very clean and white, if any -brilliant or bright colour is to be imparted to it. For this reason it is -that the wool is passed two, three, and in some instances even four times -through fresh scouring liquors; in the last, and sometimes in that which -precedes the last, soap is used in the proportion of from seven to -fourteen pounds, and in some instances to twenty one pounds or more, to, -a pack of two hundred and forty pounds of wool, according as it is fine -or coarse: for superfine colours more than common is used. Worsted -requires less than coarse yarn, having less grease and dirt in it. - -It ought, however, to be known, that _boiling_ wool _for a long time_ in -any alkaline liquors, or a liquor made of soap, tends greatly to the -decomposition of the cloth; indeed long boiling in any strong alkaline -ley converts wool into a kind of soap, and, hence, it is easy to see why -such processes injure wool or cloths made with it. - -The preceding observations apply to the alkalies in a _caustic_ state, or -in the state of _carbonate_, not when they are neutralized by powerful -acids: for wool, when fit to receive the dyes, and if it is designed to -be dyed _yellow_, should boil two hours with one-twelfth or one-tenth of -its weight, of sulphate of alum (common alum) observing proper -precautions, and the use of a sufficient quantity of prepared weld plant -boiled, &c.: or of quercitron bark, as will be shown in the processes of -the different yellows. If it were yarn, and the threads cut in two, it -would be found dyed throughout, and of a body and richness in proportion -to the correct application of the various ingredients, and with due -regard to time, weight, measure, &c. - -In the process just mentioned, we may observe, that the quantity of alum -and of the weld plant used will be found very considerable: from one -twelfth to a fourth of alum, and, according to the French method, four or -five times more weld than the quantity of the wool. - -When a process of dyeing has been scientifically conducted, the wool will -take so much of the alum that the bath will hardly taste of it; and -afterwards take the colour of the dye bath out of it; so that the -remaining liquor put into a glass will be nearly like water. - - -_The action of alum and tartar upon wool._ - -From the experiments of Dr. URE, (_Notes to Berthollet_, vol. ii. p. -323.) it appears that alum has the property of increasing the solubility -of cream of tartar; that as, in using alum and tartar, the wool is -impregnated with alum and a large quantity of tartaric acid, these two -salts should never be employed together, except when the colour is -susceptible of being heightened and rendered brighter by acids, as is the -case with cochineal, madder, and kermes. On the contrary, alum should -never be employed for wools intended to be dyed with woad, or Brazil -wood, the colour of which is easily destroyed or altered by acids. - -To conclude these preliminary observations, wool has a strong and -powerful affinity for _all_ dyeing materials; and, therefore, the -processes for dyeing wool are, in general, by no means so complicated as -those for dyeing _cotton_, _silk, &c._; although some colours, even to -these, are readily, and without a complication of processes, imparted. - - -_A pastil, or woad vat for_ BLUE. - -Take, upon as small a scale as can conveniently be tried, a copper -vessel, which will contain about twelve gallons, two thirds full of soft -water, and one ounce of madder. Fix this small copper in a larger copper -of water, so that the heat may be applied to keep the liquor in the -smaller copper at a proper temperature; it will be then, in fact, a -_water bath_. - -Having kindled the fire in the afternoon, put in a good handful of bran -and five pounds of woad; at five o'clock in the evening let it be well -stirred and covered over, the liquor being about blood-warm; let the same -heat be continued as nearly as possible, at least so as not to be lower -than _summer heat_ by the thermometer, nor higher than _fever heat_ by -the same instrument. The vat must again be well stirred at seven, at -nine, at twelve at night, at two in the morning, and at four. - -_Hellot_, describing this process, observes, that "the woad then working, -some air bubbles began to rise pretty large, but few in number, and of a -very faint colour; it had then two ounces of lime added, and was stirred; -this was four o'clock in the morning; at five a pattern was put in, and -at six it was taken out and the vat stirred. This pattern had received -some colour. At seven o'clock another pattern was put in, and at eight it -was stirred again. The second pattern was tolerably bright. An ounce of -_prepared indigo_, (see p. 75.) was then added; at nine o'clock another -pattern was put in; at ten it was stirred again, taking the pattern out, -and putting in an ounce of lime because it began to smell sweetish; at -eleven another pattern; at twelve at noon it was stirred again. This -process was continued till five o'clock in the evening; then were added -three ounces of prepared indigo; at six another pattern was tried, and at -seven it was stirred again; the last pattern came out of a very good -green, and became a bright blue. One ounce of lime was added to sustain -it till nine o'clock the next morning; patterns were put in from time to -time: the last was very beautiful. The vat was then filled up with water -and a small quantity of bran and stirred; after which patterns were tried -every hour till five o'clock in the evening, when, being in a proper -state, it was immediately worked. Some lime was then added to preserve -it; it was stirred and left to another opportunity to reheat." - - -_To prepare the indigo mentioned in the preceding directions._ - -Boil, in a gallon of water, for three quarters of an hour, two ounces of -pot-ash, three quarters of an ounce of madder, and one ounce of bran; -then let the whole settle for half an hour. After all is settled and -taken out of the boiler, and put into another copper with four ounces of -indigo finely powdered, the liquor should be kept stirred, and very hot, -but not be boiled. At intervals some lixivium of lime should be put into -it, and that being cold will keep the liquor from boiling, and render the -pot-ash more active. - -As soon as the indigo is dissolved and properly diluted, damp the fire -and cover over the solution; after it is settled put in a pattern, which, -when taken out, will turn blue on being exposed to the air; if it does -not, more clear lixivium must be added. Of this solution of indigo such -proportions are to be added to the woad vat as are directed in the -preceding process. - - -_Rules to judge of the state of the woad vat._ - -The vat is ready for working, and to dye blue, when the sediment at the -bottom, on being taken out of the vat changes to a fine brown-green. When -the froth which rises in great bubbles on the surface is of a fine -Prussian-blue, and when the pattern which has been steeped an hour, comes -out of a dark grass-green, and changes in the air to a blue; when the -liquor is clear and reddish, and the drops which stick to the rake are -brown; when the sediment changes colour on being taken out of the liquor, -and becomes brown on exposure to the open air: when the liquor is neither -harsh nor greasy to the feel, and neither smells of lime nor of ley, the -vat is known to be in a proper state for working. - - -_Indications when a vat has had too much or too little lime._ - -These extremes ought to be carefully avoided. When the lime is deficient, -or a pattern comes out of a dirty grey, and the sediment does not change -its colour, there is scarcely any effervescence on the vat; the liquor -smells only of lime, or of the lixivium of lime. - - -_To remedy the deficiency of lime._ - -If the vat be not too far gone, after the addition of a little bran, -madder, and some woad, then try the patterns from hour to hour; thus you -will be enabled to judge. - -A _deficiency_ of lime is evident when there is no effervescence on the -liquor; and when, by dashing about the surface of the liquor, it makes a -hissing noise, and by the bursting of a number of small air bubbles, -which as soon as they are formed break, and appear tarnished, and are not -large, nor of a fine colour; the liquor too has an offensive smell, like -rotten eggs; it is harsh and dry to the feel, and the sediment, as has -been before observed, does not change colour when taken out of the liquor. - -Sometimes such a condition of the vat is absolutely irremediable; but -when not gone too far, sprinkle some lime into the liquor, and stir it. -If you can thus remedy the defect, and bring the liquor to smell of lime, -and to feel soft, cover the vat, and let it stand. If, at the expiration -of an hour and a half, the effervescence begin, you may put in a pattern; -in an hour afterwards, it may be taken out, and regulate your process by -the degree of green which the pattern has imbibed; but, in general, when -vats are thus out of order, they are not so soon recovered. - - -_To work a vat which is in proper order._ - -The vat being in a proper state, the cross suspended, and thirty ells of -cloth ready, or scoured wool in proportion, designed for black, by dyeing -it of a blue grey; and having passed and repassed the cloth through the -liquor for a full half-hour, it is to be wound round the winch, and -thrown off into the barrow, and aired by the listings to change the green -to blue. After this, a second piece may be dyed by the same process. - -Having made this overture, or _first stirring_, as it is also called, the -vat must be stirred afresh, adding lime; but not so much as to destroy -the proper smell and feel. If the vat be in a good state, on the first -day, it may be stirred three or four times; but it must not be -overworked, particularly on the second day. - -_Concerning the colours to be obtained to the best possible advantage -from a fresh vat on the first day_,—the first is for _black_, the next -for _royal blue_, and the third a _brown green_. On the _second_ day, -_violet_, _purple_, and _Turkey blues_ in the last stirring. On the -_third_ day, if the liquor be too much diminished, it must be filled up -with hot water. At the end of the week _light blues_ may be done, and on -Saturday night add rather more lime, to preserve the vat till Monday -morning. On Monday morning add more indigo, and stir the paste; keep the -vat liquor at a proper distance from the top. Cover it for two hours; -then put in a pattern, and in an hour take it out; add lime according to -the green shade of the pattern, and in an hour or two, if your vat has -not suffered, you may begin working it afresh. - -To keep the cloth, &c. from the sediment, there is always let down into -the vat, before the work is begun, an iron circle, with cords fastened -from the circumference to the centre. - - -_On the putrefaction of the woad vat._ - -Whatever be the cause, most certain it is, that the woad vat, even when -prepared in the most careful and scientific manner, is soon disposed, _if -not used_, to go into the putrid fermentation; of this we may be -satisfied, when it smells like rotten eggs, as stated above. - -The loss of a woad vat to dyers is extremely serious, both from the -quantity of woad, as well as of indigo, which it contains: these articles -being always expensive. The woad vat being worked by heat directly -applied from an open fire, (the old method of heating it,) was much more -liable to be lost than if it remained cold, or was worked _continually_, -as it usually now is in _London_; added to which, the more equable -application of heat by _steam_, there is not now the danger which there -was in cessation, at uncertain times, and in uncertain states of the vat, -as to richness or poorness of woad or of indigo. - -But a dyer in the _country_, whose business is barely sufficient to keep -a vat going, will find more difficulty in this respect. If, therefore, he -does a small batch of work on Monday, but has not half worked down his -vat, and has no prospect for two or three days of doing any more work, he -may possibly try to keep it with lime for a day or two: he may do so, and -in the issue, in some instances, _too much lime_ is the consequence. We -consider, however, that when the vat can be worked daily, and replenished -as it is worked down, as is the case in London, with care and attention, -there is no danger of the loss of a woad vat: in London, such an accident -now seldom happens. The author is, notwithstanding, persuaded that all -the art of man cannot always keep a vat from the state of having either -too much or too little lime, _when heated but seldom_, under a short -course of work: for when a vat is in order, it is like a ripe vegetable; -you must gather it, or it passes the time of its perfection; it may even -be rotten ripe. We say, therefore, WORK THE VAT: withdraw from it, upon -your cloth, its colour, which, as soon as you expose it to the -atmosphere, will combine with its oxygen,—the oxygen with the carbon of -the indigo and the woad. If you play with it too long, the putrid -fermentation will begin, and the vat will be spoiled. The smell of rotten -eggs always proclaims the approach of the mischief. - -No one, therefore, should attempt to have a woad vat or vats, unless he -can keep them nearly always at work. When worked down in a moderate time, -and replenished with lime, woad, indigo, &c., working out and -replenishing in, there can be no danger. On the other hand, in proportion -as the vat is out of condition, although partially recovered, it must -always be with more or less loss. - - -_Methods of dyeing_ BLUES. - -Whether the goods be cloth, or skeins of yarn, they must, in all cases, -be first wetted out and wrung, and then put into the vat, worked in it, -taken out and aired, that they may turn from green to blue; and, if -necessary, they must be put in again. - -There is no difficulty in dyeing _dark blues_, by repeated dippings; but -if _light blues_ be dyed in vats which are nearly exhausted, they will -not be bright. - -Blue vats, upon a large scale, are now mostly heated by steam; they are -then, with little trouble, always in a state for working, without the -necessity of re-heating. They are very convenient for light colours, even -after they become very weak. In some instances, in order to dye light -colours to the best advantage, it would be advisable to set a vat on -purpose, which should be strong in woad and weak in indigo; because the -colour would be given more slowly, and the light colour obtained from -them with much more facility. - - -_To dye wool with lac-dye,_ SCARLET _and_ CRIMSON. - -We have mentioned _lac-lake_ and _lac-dye_ in page 12. Lac-lake is of -very uncertain quality, having many heterogeneous substances mixed with -it. _Lac-dye_ is very superior to lac-lake. Lac-dye is much used for -dyeing woollen yarn scarlet and crimson, for carpets and hearthrugs. It -is used with a peculiar spirit, which may be purchased of the -dry-salters. Some think that this colouring material is nearly equal to -cochineal; the author has, however, never seen any thing dyed with it -equal to the colour obtained from cochineal, although it affords, -nevertheless, a good scarlet. - -Lac-dye is used by being powdered and put into a stone pan, (the quantity -must be in proportion to what is likely to be used), with a portion of -the above-named _lac-spirit_ sufficient to make it about as fluid as -treacle; it must be stirred with a glass-rod or a tobacco-pipe. Some use -alum and tartar as a preparation, and some not. After putting the mixture -of lac-lake and spirit in the copper with a proper quantity of water, add -the goods and work them at a boiling heat. For _scarlet_ add quercitron -bark, for crimson, _archil_. - -Lac-dye may be, however, prepared for dyeing, by submitting it, in -_powder_, in a leaden vessel, to the action of sulphuric acid, in the -proportion of not more than one part to two of the dye; and after the -lac-dye is dissolved, the acid may be neutralized by carbonate of soda. -With suitable mordants to the cloth or yarn, the colour may be then -applied. Other processes for the employment of this dye are also adopted, -but we have no room to detail them. (See _Ure's Notes on Berthollet_.) - - -_To dye worsted yarn a_ CRIMSON. - -Proportion of wool, one pound; of _alum_, two ounces and a half; of -_white tartar_ in powder, one ounce and a half. Having the water properly -cleared by bran, let the alum and tartar be boiled in it; when it begins -to boil, stir the mixture well, and put in the worsted, which boil in the -liquor for two hours; then prepare a fresh liquor for the _cochineal_, -one ounce of which, in powder, is to be used for every pound of wool; -when it begins to boil, stir it well, put in the worsted, and boil it -till the liquor in the vessel is free from colour, it having parted with -the colouring matter of the cochineal, which should now all be upon the -worsted. If a series of shades be required, less quantities of cochineal, -alum, and tartar, must be used; the lightest shade is dyed first. - - -_The preparation of archil to finish the_ CRIMSON. - -Put as much archil as the goods may require, and according to the -deepness or lightness of the shades of the crimson required, into a -copper of water of a suitable size, and boil it, (the best canary archil -will bear boiling); damp the fire, let the archil settle, and then have a -fresh liquor for the goods to be put in, to receive a proportion of -archil according to the pattern desired to be matched. Begin with the -lightest and end with the deepest, reserving the remains of the archil -liquor, if it be not all spent, for common compound colours of such -shades as it will be advantageous to use it in. (_See the next article._) - - -_On dyeing wool_ SCARLET. - -Scarlet owes its beauty to a solution of tin in muriatic acid. For this -purpose some use muriate of ammonia, commonly called sal-ammoniac, others -use common salt. It is of little consequence whether common salt or -sal-ammoniac be used: different preparations are employed by different -persons. The author has found the following to answer every expectation. - -Melt an ounce of grain tin in an iron ladle, till an oxide is formed on -the surface; then pour it from a height or distance into cold water. Pour -the water from it, and it is fit for use, being then called _feathered -tin_. Put this tin into a glass vessel or stone jar, and add to it eight -ounces of nitric acid, eight ounces of water, half an ounce of -sal-ammoniac, and two drachms of nitrate of potash. This preparation is -better if made some time before it is used; it is a compound of nitrate -and muriate of tin. - -Should any one prefer a pure _muriate of tin_, the method of making it -will be found in the last chapter, in _observations on crimson and -scarlet upon silk_. - -Into a copper of cleared boiling water, the heat being reduced, and -having the worsted wetted out ready; for every pound of which (dry) put -two ounces of _cream of tartar_ or _white tartar_ in powder, and one -drachm and a half of _cochineal_ in powder. When the liquor is ready to -boil, add two ounces and a half of the first-mentioned solution of tin, -which immediately changes the colour; stir it well: as soon as the liquor -boils put in the worsted, and boil it till the colour of the cochineal is -taken up by it. The worsted must now be taken out, when it will be of a -flesh-colour, the water in the copper having lost its colouring matter. -To finish the worsted, another quantity of clean water is made warm, into -which six drachms and a half of cochineal are to be put; just before it -boils, two ounces of the same solution of tin are to be poured in, the -liquor undergoing a similar change as before. The worsted is again put -in, and boiled till it has imbibed the colour; it is then taken out, -wrung, and rinsed in clean water, when the scarlet is in perfection. - -_One ounce_ of cochineal to a _pound_ of wool, will impart a colour -sufficiently deep, if managed according to the method above described, no -colour being left in the remaining liquor. - -For many _shades of scarlet_ it will be, however, necessary, and, in a -fresh liquor, to add either a certain portion of _turmeric_ or _young -fustic_, to give the scarlet that fiery red which some scarlets have. If -not in an entire fresh liquor, a part of the old liquor must be taken out -before the yellow is added. - -When it is wished to dye a regular series of scarlet shades in worsted, -half the quantity or less, for some of the lightest, will be sufficient -of the solution of tin, the tartar, the cochineal, &c. The worsted should -be separated into divisions corresponding with the shades required; the -lightest is of course to be done first: if any deficiency be in the -shade, it may have another dip. This deficiency is easily perceived, and -a very little practice will enable the operator to assort them perfectly. - -_It should be noted, that the vessel most proper to dye scarlet in ought -to be made of block tin; such as are used by the scarlet dyers for the -East India Company._ - -When woollen cloth is to be dyed scarlet, to every hundred pounds of -cloth put six pounds of tartar and eighteen pounds of the solution of tin -at first; the same quantity in the completion; and in each operation, six -pounds and a quarter of cochineal. - -For the accommodation of those who would make small experiments, one -ounce of cream of tartar, six ounces of solution of tin, and one ounce of -cochineal, may be used for every pound of worsted or cloth, putting -two-thirds of the solution of tin and the tartar, and a quarter of the -cochineal, into the preparation, and the remainder to the completion. - -_Observe_, that although we have given processes for dyeing woollen cloth -crimson as well as scarlet, yet _crimson_ may be obtained in another way: -for alum, the salts in general with an earthy base, and the fixed and -volatile alkalies, possess the property of changing the colour of scarlet -into crimson, the natural colour of the cochineal. The cloth which is -dyed scarlet has only to be boiled, therefore, for about an hour, in a -solution, more or less charged with alum, according as a deeper or -lighter crimson is wanted. When a piece of scarlet has any defects, it is -set apart for crimson. Soap and potash will also produce crimson from -scarlet, but not of so bright a colour as from alum. Hence also we learn -the necessity, in, at any time, working _scarlet_ cloth, to avoid boiling -it with soap or pot-ash, &c. if we desire the scarlet to remain. - - -_To dye wool_ MAROON. - -The worsted or yarn must be boiled for an hour or two in one twelfth its -weight of alum and the same quantity of white argol. It is best, when -there is a large quantity of yarn, to do this on the preceding day: if -your copper hold a pack of two hundred and forty pounds, it will be cold -enough to handle after remaining with the fire out during the night. - -When the skeins, &c. are taken out and arranged upon poles or sticks, -have a fresh water ready in the copper, into which put about thirty -pounds of chipped peach-wood, and when it has boiled half an hour, pour -in some water to cool it down, and add fifteen pounds of crop madder; -work the yarn in this liquor rather under a boiling heat. When it is full -enough, for some shades you must add archil. As the whole pack is dyed at -four or five turnings in, some of the parcels may be varied in the hues -instead of confining them all to one shade. The various turnings will -take the greater part of the day to perform. When you choose to have as -many shades as there are turnings in, you divide the drugs into different -portions for different periods of the time, to be used according to the -patterns required. The most economical method of using the drugs being to -follow the patterns one after the other: practice will teach the operator -to do this most advantageously. - -More madder than peach-wood gives a lively red; more peach-wood than -madder gives a bright maroon red, bordering on crimson, but more so -without any madder; with the addition of archil it gives a crimson, but -by no means to be compared with the crimson of cochineal. Urine with the -archil renders a less quantity of archil necessary. - - -_To dye wool_ YELLOW. - -The proportion of _alum_ used by dyers in these processes varies from -one-fourth down to one-twelfth, of _tartar_ one-sixteenth is used, for -every pound of cloth. _Equal parts_ of alum and tartar are used for -_worsted_ and _yarn_, each of which (alum and tartar) is only from -one-twelfth to one-tenth of the weight of the material to be dyed. - -The shades of yellow are _straw_ yellow, _pale_ yellow, _lemon_ yellow, -and _full_ yellow. - -In order that the cloth should be properly impregnated with the mordants -of alum and tartar, according to what is allotted to the shade, whether -light or full, it should be boiled in the preparation at least one hour; -two hours for a full yellow; then a fresh liquor is to be made to receive -the weld, which must be previously boiled: for a full yellow four or five -pounds of weld will be required to one pound of cloth or worsted; for the -lighter shades less of course: but a sufficient quantity only of weld -should be used, and this should be boiled and re-boiled, as it will keep -but a very little time after boiling. If you have a gradation of shades -you will save drugs and expense by dyeing the fullest shades first, and -the lightest last; but by this method the lightest will not be so bright -as if they were done first, and the liquor renewed with fresh boiled -weld, and so on to the fullest shade. At last you must have for the goods -a preparation weak or strong according to the light or full colour of -which they are to be. The last dyeing, whether of cloth or yarn, will -assuredly take all the colour out of the liquor of any consequence. - -While expense is not an object, it is best, not only for yellows, but for -all other colours, to have the preparation and the dye proportioned to -the shade, the colour done at once, and the remaining liquor thrown away; -but as the price usually paid for dyeing will not enable the dyer so to -do, he commonly dyes his shades in succession, as above, and with the -utmost economy. - - -_To dye wool_ BROWN, _or of a_ FAWN COLOUR. - -These shades are extremely various, and are dyed without any preparation -with alder-bark, red sanders, sumach, galls, madder, &c. and under a -boiling heat, although it is occasionally necessary to boil some of the -ingredients together previous to the dyeing: for instance, red sanders -will give its colour out best when boiled with galls, alder-bark, sumach, -&c. Cam-wood, bar-wood, walnut rinds, roots, &c. are used in some of -these shades, the varieties of which are almost infinite. Practice is -required in this branch of dyeing equal to or beyond any other. - - -_To dye wool_ PURPLE, _&c._ - -Pass the goods through _archil_, next through the _blue vat_, with the -usual precautions, then through hot water. For some shades they should be -alumed, and then dyed with cochineal for the crimson part of the purple. -_Blue_ and _crimson_ make purple, violet, &c. according to the patterns -required. - - -_To dye wool_ GREEN. - -The shades of this colour are very numerous, as _yellow_ green, _pale_ -green, _bright_ green, _grass_ green, _laurel_ green, _olive_ green, -_sea_ green, _parrot_ green, _cabbage_ green, _duck's-wing_ green, &c. - -The goods must first have a blue ground from the woad vat, light or full -according to the pattern, they are afterwards to be prepared with alum -and tartar, weak or strong according to the lightness or fulness of the -pattern, and are afterwards dyed in weld liquor. Many of the shades of -green are more readily done by dyeing the wool first yellow with old -fustic, with a preparation of alum and tartar, and using the chemic blue -vat made with sulphuric acid and indigo. See page 47. - - -_A chemic vat for_ GREEN WOOLLEN. - -Prepare in the manner described for cotton (page 52.), eight ounces of -indigo and four pounds of sulphuric acid. This preparation need not, -however, be neutralized for wool as described for cotton. In some -instances the preparation is to be for the yellow of fustic one-twelfth -of alum, the same quantity of tartar, and in some cases one-twelfth of -alum only. - - -_A chemic vat for_ BLUE WOOLLEN. - -This is to be made the same as for green; it need not be neutralized as -for cotton. For _blue_, however, _twelve_ ounces of indigo are necessary -to four pounds of sulphuric acid. In dyeing the heat must be much under -boiling, or the using of a high heat would give the blue a green tinge. -This blue colour is very bright, yet not fast, but no preparation is of -any advantage to either its fastness or brightness. Some put alum and -tartar, and some use one, and some the other, to prevent a green cast: -if, however, the wool be fine, white, and worked _much below_ the boiling -point of heat, it will not turn green although neither be used. - - -_To dye wool_ ORANGE, GOLD COLOUR, _&c._ - -The processes of crimson, scarlet, and of yellow united produce the -various shades of these colours, _leaving archil out_. See _buff, peach, -&c. on wool_. - - -_To dye wool_ BLACK. - -Black includes a prodigious number of shades, beginning from the lightest -grey or pearl colour to the most intense shade of black. On account of -these shades it is classed by dyers among their chief or primitive -colours[8]; for the greater number of browns, of whatsoever shade they -be, are finished in the same dye as would dye white wool a grey more or -less dark. This operation is called _browning_. The best superfine black -should have a full ground of _mazarine blue_ previously to being finished -black. - -A great quantity of cloth and other articles have, however, no indigo -ground, but a ground of logwood, or of logwood and alder-bark, or of -logwood and old fustic, or of logwood, alder-bark, and old fustic, all -boiled together, and sometimes they are boiled in a decoction of oak -saw-dust. - -Indigo for the ground is the richest drug, in carbon, that is or can be -used; logwood is next to it: too much logwood, however, whether indigo be -used with it or not, gives the black a foxy hue; alder-bark and old -fustic modify this effect, and are used in small quantities for this -purpose, because the dye from these, as well as that from oak saw-dust, -will produce a soot or dead black. - -A _jet_ black is required full and rich, therefore old fustic and oak -saw-dust are only used to modify the richness of the ground as it regards -the blue, whether of indigo or of logwood; for logwood especially, -without these, if overcome with sumach and sulphate of iron only, would -be foxy, purplish, or have a reddish cast. - -So many different grounds being used for blacks, and every dyer thinking -his own the best, is the occasion of such a great variety of hues, even -of black, being found in the market. It is, therefore, thought -unnecessary to describe the various methods of dyeing black which are -pursued by different dyers, and which would be, in fact, impossible. But -the author has done what is of much greater importance to the student, -who, after a little practice, let him have a pattern of black to dye, -will know how to do it, let who may have dyed it. - -Even a blue-ground is, according to some, dyed afterwards in a decoction -of logwood and galls, or logwood and sumach, and two pounds of verdigris -for a hundred pounds of cloth. Thus, ten pounds of logwood and ten of -galls, are to form the decoction, and are boiled previously for twelve -hours. One third of it with the verdigris is used first, and then the -cloth, after boiling in it for two hours, is aired; it is then passed -through one third more of the decoction of logwood and galls, having -previously had eight pounds of sulphate of iron dissolved in it, and the -scum arising from the solution taken off. The goods are to be worked in -this one hour at a boiling heat, then aired again by turning them about -on a stone floor. The remainder of the decoction of logwood and galls is -then added, with fifteen or twenty pounds of sumach; boil it some time, -and then add five pounds of sulphate of iron; scum it, and let the liquor -cool down, then put the goods in, and work them at a boiling heat an hour -or two, taking them out once or twice, at least, in the time, to air and -cool; they are then to be well washed, and passed through a decoction of -weld liquor, to soften the black, which will be very fine. This process -is chiefly from _Hellot_; but the quantity of sulphate of iron is more by -three pounds than he directs. - -When the cloth is blue, it is usually boiled two hours in a decoction of -galls, then washed and aired, when sulphate of iron and logwood are added -to the liquor, and the goods worked in it for two hours, and then washed. - -The above have been the processes in practice for a century past in -France, where the galls were not so dear as they now are in England: -sumach is here, therefore, now most commonly used as a substitute for -galls. - - -_Another process for_ BLACK _without a blue ground._ - -To dye one hundred weight of cloth, take thirty pounds of chipped -logwood, half a bushel of alder-bark, and six pounds of sumach, and boil -them together in a proper quantity of water for half an hour; then cool -the decoction down with cold water, enter the cloth, turning it on the -winch; bring it to a boil, having the sumach in a bag; boil and keep the -cloth turning for one hour and a half: this is the ground. Have now ready -fourteen pounds of sulphate of iron dissolved in water, which is to be -laded into the copper by one man, while another turns the cloth for an -hour at a boiling heat; it is then to be taken out, cooled, and aired, -returned to the copper, and boiled gently for two hours, and then cooled -again. - -While the cloth is cooling, six pounds of logwood, ten pounds of -alder-bark, two pounds of argol, ten of soda, or common pot-ashes, and -three pounds of sulphate of iron, are to be added to the liquor in the -copper, and boiled one hour, when the goods must be turned and worked one -hour; and, lastly, taken out and aired. This black is said to be of the -hue of a raven's feather. _This process is from_ HEIGH. - -The _argol_ is professed to be put in to counteract the sulphuric acid of -the sulphate of iron; the _alkali_ is said to cause the logwood to retain -its natural violet colour: and if too great a quantity of logwood be not -used, the result would be as above stated. But the author presumes that -such a black would not be at this time much esteemed. We object to the -introduction of so much, indeed of any alkali or argol, as the time -employed in performing the process is wasted. Alkali is good, however, -where a chemic green is to be dyed black. - -Wool will take up whatever the copper contains necessary to dye black; -but, for the beauty of the colour and the durability of the cloth, it is -best to let it have most of its ground of vegetable colour before it has -the sulphate of iron, which blackens that ground, with sumach instead of -galls; and even in some instances, dyeing some goods without the sumach. - -Were the author, however, to direct the dyeing of black cloth, such as -should be of the best kind, he would have _an indigo ground with logwood -and alder-bark, without old fustic or oak saw-dust; and to finish the -cloth he would use sumach, sulphate of iron, and a small quantity of -verdigris. He would give it the blue ground first; then the logwood, -alder-bark, and verdigris; and then finish it with sumach and sulphate of -iron._ - -If the blue ground were omitted, he should dye the cloth twice, giving it -more of logwood and alder-bark, but verdigris the same; and finish it -with sumach and sulphate of iron. Nevertheless, when we dye to a pattern, -the pattern must be our guide. - -Different goods will require different quantities of drugs. Logwood -should be about one-fourth of the weight of the goods; the sulphate of -iron about one-fifth of the logwood; alder-bark, when used, about the -same quantity as sulphate of iron; but for some yarns this bark is not -used, nor is it necessary; and where fustic or oak saw-dust is used, -there is the less necessity for using alder-bark. The sumach must be -about the same quantity as sulphate of iron. Remember that carbon is -generally considered as that which makes the richness of a dye. That it -is the iron in the sulphate of iron, combined with the tannin and gallic -acid which are assumed to be in the sumach and logwood, that produces the -blackness of the dye; but this _theory_ is questionable. See _below_. - -The way to ascertain when the quantities of drugs are most appropriate -for producing the desired effect is as follows:— - -First, ground with different quantities of drugs, from three to five or -seven patterns, and use from one third to one fifth of sulphate of iron -and sumach to the grounding; afterwards finish with the remainder of the -sulphate of iron and sumach: the fuller the ground the richer will be the -black, if the logwood be not in excess, and the quantities be used as -thus stated. - -We ought also to state here (from _Berthollet_, vol. ii. p. 4.) that -commonly more simple processes than any of those above described are -employed for black. Thus the blue cloth is simply turned through a bath -of gallnuts, when it is boiled for two hours. It is next passed through a -bath of logwood and sulphate of iron for two hours without boiling, after -which it is washed and fulled. - -A black may also be dyed _without a blue ground_ with walnut rinds or the -roots of the walnut tree; in this case the cloth receives a dun ground -from the walnut husks or roots, and is afterwards made black in the -manner above described, with logwood and sulphate of iron. - -The blacks, however, _without_ the blue ground are only given in general -to inferior cloths. - -The _colouring principle of logwood_ is called _hematin_; it is -crystalline, of a rosy-white, and, viewed through a lens, very brilliant; -its taste is slightly astringent, bitter and acrid; exposed to the action -of fire in a retort it affords all the products of animal substances, and -also a small quantity of ammonia, which proves that it contains nitrogen. -It dissolves easily in boiling water; on adding some acid very gradually, -it changes to yellow and then red. Potash and ammonia give the solution -of hematin a purple red; if a great excess of these alkalies be added, -the colour becomes violet-blue, then brown-red, and finally yellow-brown. -In this state it is decomposed and cannot be recovered by any acids. -Protoxide of lead, protoxide of tin, hydrate of tritoxide of iron, -hydrate of copper, oxide of zinc and its hydrate, flowers of antimony and -oxide of bismuth combine with hematin and give it a blue colour, with the -loss of the violet shade. See _notes_ to _Ure's Berthollet_, vol. ii. p. -420. See the explanation of _protoxide_, &c. under OXIDE in Chapter I. - -The above facts concerning logwood may, by the ingenious dyer, be applied -on many occasions with great success. - - -_To dye wool_ GREY. - -All greys, from the darkest to the lightest, are composed of black in -varying proportions. They are of great use in dyeing, not only for their -own colours, but also when applied to other colours, which operation is -called _saddening_ or _darkening_. - -Some greys have a woad ground of blue, then of logwood, sumach or -sulphate of iron, of which decoctions of the three last, for expedition, -should be in readiness when wanted. When a succession of light shades, in -particular, is required, in some instances the chemic blue is used: when -we treat of the mixture of black, or rather grey with red and blue, the -utility of grey will be seen. - - -_Mixture of_ BLACK _or_ GREY _with_ RED _and_ BLUE. - -These produce an infinite number of all shades of grey as _sage_ grey, -_slate_ and _lead colour_, and others still darker. - - -_On_ BROWNS, FAWNS, OLIVES, _&c._ - -_Browns_ and _Fawns_ owe, in all probability, their colour to the _iron_ -which their dyes contain. Iron is so universally diffused throughout -nature, that it, very likely, enters into the composition of many other -colours; it exists in blood, in water, and in innumerable vegetable and -animal substances, as well as in earths and many minerals. Hence we ought -not to be surprised that _blue_, _red_, and _fawn_ produce _olives_ from -the darkest to the lightest; as well as _slate_ and _lavender_ when the -shade is very light. - -_Fawn_ and _yellow_ produce the _feuille-morte_ or _dead-leaf_. - -_Fawn_ and _red_ produce _cinnamon_, _tobacco_, _chestnut_, _&c._ - -_Fawn_ and _black_ produce _coffee_, _maroon_, _&c._ - -_Blue_, _yellow_, and _black_ produce all the _dark greens_, even to -black. - -_Blue_, _fawn_, and _black_ produce _dark olives_ and _greenish greys_. -_Red_, _yellow_, and _fawn_ produce _orange_, _gold colour_, -_withered-leaf_, _carnation_, _burnt cinnamon_ and _tobacco_ colours of -all kinds. - -_Yellows_, _fawn_, and _black_ produce _hair colour_, _nut-brown_, _&c._ - -This enumeration is meant only to give a general idea of the ingredients -proper for the production of shades composed of several colours. - -Where red forms a component part of the colour wanted, the goods must -have a preparation of alum and argol, strong or weak, according to the -fulness or weakness of the red which forms a part of the compound dye, -such as the half or quarter of the quantity which is required for a full -colour of red; the same as to yellow, and, in proportion, when red and -yellow are joined. - - -_On the_ YELLOW _of the Quercitron or American bark._ - -The quercitron bark is said to yield from eight to ten times more colour -than weld, and about four times more than old fustic; this was, however, -Dr. Bancroft's account, who had a strong interest in this dyeing drug, as -stated in the first chapter. He also asserts, that one pound of bark with -muriate of tin, will dye forty pounds of woollen a bright golden yellow, -which afterwards becomes a beautiful and durable scarlet, with a fourth -part less cochineal than is usually employed on other occasions for such -a colour. But Bancroft did not succeed in doing away the old method of -saving tartar and cochineal. - -His fullest _yellow_ upon cloth, the author has, however, often tried and -found it rich and golden; the process is as follows: - -Cloth one hundred pounds; bark in powder, and in a bag, ten pounds; -muriate of tin, or _murio-sulphate of tin_, (_for which see forward_,) -ten pounds. The bark in the bag must be first immersed in the proper -sized vessel for six or eight minutes; then add the solution of tin and -stir it well for two or three minutes, when the cloth must be put in, and -kept in motion by two or three men working over the winch from end to -end; then proceed to boil; and, in _fifteen minutes_ boiling, the highest -yellow is produced; a longer time would turn the yellow brown. - -When a very bright yellow, approaching less to orange, is wanted, seven -or eight pounds of solution of tin, five pounds of alum, and ten pounds -of bark, will do for a hundred pounds of cloth. In this process, boil the -bark first in a bag for a few minutes, then add the solution of tin and -the alum, and the cloth afterwards, as before directed; less body -requires less quantities of course. - - -_For a full_ BRIGHT YELLOW _delicately inclining to a greenish tinge._ - -Use eight pounds of quercitron bark, to six of muriate of tin, six pounds -of alum, and four pounds of white tartar, for cloth as before. The alum -and tartar render the yellow more delicate, and give it more of the lemon -or greenish tinge; where this is wanted in the greatest perfection -proceed as follows: - -Take ten pounds of bark, ten of muriate of tin, or murio-sulphate of tin, -ten of alum, and ten of tartar. For cloth three or four times the -quantity of the preceding processes may be taken, namely three or four -hundred pounds. - -In this process the bark must be boiled fifteen minutes in water only, -and then the other ingredients be added and mixed in the liquor by -stirring. The cloth is next to be put into it, _the liquor being first -cooled a little_; it is then immediately to be turned briskly on the -winch till the colour is sufficiently raised. - -When a variety of shades are wanted, in working the bark, (contrary to -the processes for many other colours) the higher shades should, in this -colour, be dyed first, and the weaker afterwards. When about two-thirds -of the quantity of the cloth have been dyed, it will be generally found -that the liquor, by continuing to extract colouring matter from the bark, -has acquired an over proportion, and wants a small quantity of muriate of -tin, of alum, and of tartar, perhaps a pound of each, to enable the bark -at last, as well as at first, to give the same delicate, pale and -greenish tinge. A surer way, however, is to boil the bark in a small -quantity of water, separately, for six or eight minutes; and then to add -to it the solution of tin, alum, and tartar, and boil them with the bark -together for fifteen minutes, and then damp the fire; then have the cloth -in a proper sized vessel, supplied with boiling water, and the cloth -moving on the winch; after it has gone a few turns round, and is -thoroughly wetted out (which it should be before, and now again) lest any -part should be dry, add the supplies of the yellow liquor above -described, by little and little as they may be wanted: in this way -expectation is surpassed by the beauty produced. - - -_Bancroft's murio-sulphate of tin_ - -is made thus:—Take of muriatic acid, three pounds; of feathered tin, as -described in the process of _dyeing wool scarlet_, fourteen ounces; to -the tin add gradually the muriatic acid; afterwards, with due and great -precaution, by degrees, in the course of a day or two, two pounds of -sulphuric acid. Care must be taken that the vessel in which this -operation is conducted, be of _stone ware_ or of _glass_. These acids -being mixed with the tin, should be left to saturate themselves with it, -which they will do in time, without artificial heat; but the dissolution -of the tin will be rapidly promoted by a sand heat. This murio-sulphuric -solution of tin, thus made, will be perfectly transparent and colourless, -and will probably remain so for years, without suffering any -precipitation of the metal. - - -_To dye wool_ BUFF. - -This is done with the most economy after scarlet, and, in such case, -requiring very little addition (in some cases none) of cochineal. The -wool, having an alum preparation, it may be requisite to add some fresh -prepared decoction of young fustic or weld. _See the next article._ - - -_To dye wool_ PEACH. - -This process is the same as the last; that is, after scarlet; but the -wool is not to be alumed: in some cases, a little tartar and cochineal is -added. - -_Observe_, that the cochineal and tartar being added, the previous -preparation must be according to the fulness or faintness of the shade -wanted, whether of _buff_, _peach_, or _flesh_, all of which require, -essentially, the same process. By such means, a pattern of any shade, -compounded of red and yellow, from scarlet to the weakest buff and flesh, -may be produced. - - -_To set an indigo vat for worsted, serge, &c._ - -The vat being five feet high, and two feet in diameter at top, you may -use for it from two to six pounds of indigo, according as you set it -light or full. - -Boil two pounds of potash, two ounces of madder, and a handful of bran, -in fifteen gallons of clear soft water, for half an hour. - -The indigo must be powdered; after which it must be levigated in a -peculiar circular cast-iron mill, having a contrivance for two large -round stones, or cast iron balls, which are kept in a perpetual circular -motion while the indigo is ground. Water it, and put it into the mill, -and as the balls run round, the indigo in the water is reduced to a fine -flowery paste. There are mills more convenient than these, but, perhaps, -none more simple for a small concern. - -When the indigo is thus prepared, boil it in the copper with the grounds -of the madder and the potash, which fell to the bottom; it is all, then, -to be put into the vat at the same time with the indigo; the whole is to -be stirred, the vat covered, and heat applied to make it more than blood -warm, and to keep it so. The vat should be stirred twice, slightly, both -the second and third day, the heat remaining the same; when a brassy -scum, divided and interrupted in many places, begins to appear on the -surface. On the fourth day, the heat being continued, the scum becomes -more perfect and less broken, the froth which rises, upon stirring, is -more blue, and the vat a deep green. - -When it becomes green in this manner, it is an indication that it must be -filled; to do which, boil half an ounce of madder, and one pound of -potash, in five gallons of water; put in this liquor, and stir it; if it -produce much froth, stir it again, and the next day it will be fit for -working; which, however, will be sufficiently known by the quantity of -froth, and by the brassy and scaly crust on the surface of the liquor, on -blowing or stirring which, the liquor beneath is green, although the -surface appears brown or blue. - -When the vat has worked about forty or fifty pounds of serge or worsted, -it may be necessary to replenish it with one pound of potash, half an -ounce of madder, and a handful of bran; these being boiled a quarter of -an hour, are added to the vat. - -When this vat wants replenishing with indigo, which may be known by the -liquor being no longer green, but brown, blue, or almost black, -two-thirds of it must be put into a copper; when ready to boil, the scum -on the top must be taken off by a sieve, after which it should be -suffered to boil, with the addition of two handfuls of bran, a quarter of -a pound of madder, and two pounds of potash; soon after it has boiled, it -is to be put into the vat with one pound of indigo, prepared as before; -the vat being again stirred, and covered, the heat always remaining -between blood and fever heat. - -When an indigo vat has been several times re-heated, it should be emptied -out entirely, and set anew, because the colour becomes dull. _The -preceding process is from Hellot._ - -[8] It is necessary that the student should not confound the terms -_primitive_ colours here with the _prismatic_ or _primary_ colours, for -the discovery of which we are indebted to Sir Isaac Newton. See _the -Introductory Chapter_. - - - - -CHAPTER V. - -ON DYEING SILK AND COTTON BLACK, &c. - -_To dye silk black for velvets—To dye silk black, London process—On -dyeing cotton black at Rouen—To dye cotton black, London process—For -dyeing black, particularly cotton velvets, at Manchester—On dyeing silk -and cotton black, with a blue ground—Another iron liquor—To dye cotton -black, by using the preceding solution—To dye cotton violet—To dye -cotton red—To dye cotton an Adrianople or Turkey red—Miscellaneous -observations relative to Adrianople red._ - - -Some of the more simple and less difficult processes of dyeing both -_cotton_ and _silk_, are described in the preceding chapters; we shall -now describe those, not only for black, but for some other colours, which -require more care and attention. _For ungumming and boiling silk, &c. see -Chap. VI._ - -Silk has a strong affinity for galls, and advantage is sometimes taken of -this: for silk, being a valuable article, is often galled to excess, -merely to increase its weight. - -Cotton has a strong affinity for iron, and iron has the same for _gallic -acid_, wherever it may be found; therefore, in sumach, alder-bark, &c., -iron unites with the acid, whenever both are connected by the medium of -water. _Tannin_, doubtless, has also some share in such dyeing processes, -although what does not even now appear to be well understood. - -Black, MACQUER observes, is rather difficult to be dyed upon silk; or, at -least, there is reason to think so, from the numberless experiments which -have been found necessary to the attainment of a good black, as well as -from the multitude of heterogeneous ingredients which Macquer admitted -into the composition of his various processes for this dye, some of which -consisted of arsenic, corrosive sublimate, litharge, antimony, plumbago, -and about ten other ingredients! we shall not, therefore, detail such -preposterous mixtures; one, however, we may just put down by way of -showing what the art was in Macquer's time. - -Take twenty quarts of strong vinegar, one pound of black nut galls -pounded, and five pounds of iron filings; these ingredients are to be -mixed in one vessel. - - -_To dye skein silk_ BLACK _for velvets, Genoa process, (from Macquer.)_ - -The silk should be ungummed by boiling it four hours with a quarter of -its weight of white soap, and afterwards to be well cleared from the soap. - -Take, for every hundred pounds of silk, twenty pounds of galls in powder, -and boiled one hour; two pounds of sulphate of iron; twelve pounds of -iron filings; and twenty pounds of gum arabic or senegal. - -This process is very simple: here are the gallic acid and tannin of the -galls, and the iron of the sulphate and the filings. But we must proceed -to a more modern process. - - -_To dye silk_ BLACK, _the London process._ - -Take of wove silk, _twilled sarsenet_, one hundred and fifty yards. Boil, -for three hours, of alder bark one bushel and a half; of logwood fourteen -pounds; and of iron filings one pound. Then let the fire be damped; -dissolve four ounces of sulphate of copper in water; wet out the silk in -hot water; after which put the solution of sulphate of copper into the -liquor and stir it only; then put the silk into the copper, and work it -from end to end four times; after which take it out in the air; now put -it in again and work it as before; take it out again and let it be aired -on the floor, opening it from time to time till it is cold; repeat the -same thing twice more, in all _four times_. This is termed four wets. -While the last wet is cooling and airing, dissolve and put into the -copper three pounds of sulphate of iron, and then give the silk two more -wets, which make the number of wets six. The drugs are now left to boil -as much as they will during the night, being left so to do, because in a -large business, this part of the process would close the day's work. - -The next morning give the silk four or five wets more, and leave it in -the copper all the following night, observing when it is left in, and -always when it is worked in, that the heat, must be considerably under -the boiling point, and the silk kept covered by the liquor: for _if any -part be exposed to the air it will be marked_. - - -_On dyeing cotton_ BLACK _at Rouen, (from D'Apligny.)_ - -Take one hundred quarts of sour wine, bad vinegar, or small beer; put to -either of these twenty-five pounds of old iron hoops rusted by the air or -dew; twelve pounds of rye meal or coarse bran; put the whole into a -copper and heat it rather more than blood warm. In the summer it would do -exposed to the sun and air with a porous cloth over it, to let in the -air, but keep out dirt, &c.; the older this solution is the better; but -it should be at least _two months old_. - -Cotton skeins are galled by being worked in a solution of galls; alumed -and then dyed in weld liquor; this in the result is yellow; they are then -passed through a decoction of logwood, and after that of sulphate of -iron, a quarter of a pound to every pound of cotton; they are then dyed -in madder, half a pound to every pound of cotton. - -We cannot recommend this process, although we give it, as much better -methods are now known. - - -_To dye cotton_ BLACK—_the London process_—_used by various calico -printers in the suburbs._ - -Cotton cambric piece-goods are passed through a blotching machine to -receive a mordant of acetate of iron, and galled slightly; sumach is used -instead when galls are dear; the cotton is then passed through logwood, -or logwood and fustic, and then through sumach; so that it is possible -thus to give them the mordant sufficiently in proportion to the iron -liquor at first; proceed as in dyeing afterwards, at a heat approaching -boiling or even boiling. You may now proceed by adding first the galling -or sumach slightly; afterwards the logwood, &c.; and then the remainder -of the galling or sumach may be used to finish it; and thus dye the goods -black by the quickest possible process. - -It should be observed respecting the last process and the process which -precedes it, that in dyeing black alum is inimical to the colour. -Therefore D'Apligny's is not now esteemed. Alum for black is as improper, -as it is proper and essential for red and yellow. - -In regard to giving the acetate of iron for black at once, as the second, -or _London_ process directs, it may be done by having the proportions -full; by _full_ is meant that the mordant should be full enough; then, -after the slight galling, as directed in giving the logwood and alder -bark decoction, or logwood and fustic, be sure to have that decoction -strong enough. This might be called the ground; and the most perfect -judgment might be formed of it by having a part of a piece, or one piece -of a batch dried in the stove: for, according to the fullness of the -ground, so will the black be rich and perfect or otherwise. - -The alder bark and fustic are used only to prevent the hue of the logwood -from being predominant. If the ground be a full and rich brown, the -second full galling or sumaching will bring it to a full and rich black; -but, if the ground be poor, these processes will cut or destroy the -ground, and the black will be foxy, nasty, and poor; and not only so, but -the material dyed will soon wear rotten, because having an over-dose of -iron, the iron will tend to decompose the cotton. Therefore the following -process is most esteemed. - - -_For dyeing_ BLACK _(particularly cotton velvets) at Manchester._ - -In a large dye-house where much business is done, a great many wine-pipes -or other large tubs, or any substitutes are arranged in an appropriate -place. Into these are put old iron hoops, rusted in the air, and cut into -short pieces; a layer of the iron pieces and a layer of the alder bark, -again a layer of iron and a layer of the bark, and so on in succession -from the bottom to the top. When the pipes are all thus filled, water is -poured into them till they are filled up; they remain in this state for -six weeks or two months according to the season, whether summer or winter. - -The same process will do for any other cotton goods as well as velvets, -such as calicoes, cambric, and jaconot muslins, cotton in the skein, &c. - -In some cases there are persons who pass the goods through the _liquor_ -of the aforesaid black vat. The colour of this liquor when it is fit for -use is purplish, particularly after being once used and returned to the -vat again, which it always is. Others begin by passing the goods through -a decoction of logwood and sumach, then through sulphate of iron, then -wash off through logwood only; then through sulphate of iron; always -washing off from this last; the goods are then dried, and this is called -the _first time of saddening_. - -They are next passed through logwood, then through sulphate of iron, then -washed off, then again through logwood, then sulphate of iron, and then -washed off; and then dried. This is called the _second time of saddening_. - -Supposing the goods to consist of a hundred or a thousand pieces, after -drying the second time they are brought in lots to the foreman for -examination, and assorted into lots one, two, and three. All that is fit -for lot one is full enough and has ground enough, and is of a rich -full-bodied brown, ready for galling or _sumaching_: sumach being the -substitute for galls, this process is termed in the dye-house, _macing_. -Lot two is not full enough, and must pass through logwood, then sulphate -of iron, and then be washed off. Lot three is still more deficient; this -must be passed through logwood and the sulphate of iron twice and then -washed off, and both lots two and three dried again. - -Lot one is now to be sumached for the _first_ time: that is, passed -through a decoction of sumach, then through sulphate of iron, and then -washed off: if the decoction of sumach be kept up strong after all of -them are once sumached, they may be dried. Lots two and three, when they -are dry, are also to be sumached the same as lot one, and dried. - -As soon as any of them are dry they are ready to be sumached the _second_ -time by passing them through the decoction as before; but instead of -sulphate of iron, some of the alder bark and _iron liquor_ are used; or -as we shall term it, the _liquor of the black vat_. They are then to be -washed off and dried. If the black liquor and the sumaching be powerful, -some of the goods will be finished when dry. Such are examined by the -foreman; those which are not finished must go through the last process -again. The finished goods are well and repeatedly washed off in fresh -clear soft water two or three times and then dried. - -The _cambric muslins_ are sent to be calendered to imitate silk sarsenets. - -_Book-muslins_ must be sent to the muslin dressers, except where, in some -cases, they sarsenet and dry their own goods. - -By the above method the ground is secured, and so is the black, and also -the strength of the goods. - - -_On dyeing silk and cotton_ BLACK _with a blue ground._ - -It is remarkable, that although an indigo ground for wool enriches the -black, yet for silk and cotton it is not generally considered necessary. -Latterly, however, we believe the dyers of black on cotton do first give -it an indigo ground before the black is given. This is, nevertheless, not -a new method, for D'Apligny describes the process in his Art of Dyeing, -_for linen and cotton yarns_; these are first dyed sky-blue in the vat, -then wrung out and set to dry. They are galled in the proportion of one -part galls to four of yarn, being left twenty-four hours in the gall -liquor, wrung out anew, and set to dry: about ten pints of iron liquor to -every pound of yarn are then poured into a tub, in this the yarn is -turned on sticks, and worked with the hand for a quarter of an hour, it -is then wrung out and aired. This operation is twice repeated, adding -each time a new dose of the iron liquor; the yarn is aired once more, -then wrung out, well washed, and dried. To complete the dyeing of the -yarn a weight of alder-bark equal to that of the yarn is boiled with a -sufficient quantity of water for an hour; to this is added one half of -the bath which has served for the galling and sumach. The whole is boiled -for two hours. When cold the yarn is put in and worked, aired -occasionally, and then left in the bath for twenty-four hours, when it is -wrung out and dried. To complete it, it is steeped and worked in the -residue of a bath of weld, to which a little logwood is added; it is then -taken out, wrung, and immediately passed through a tub of warm water, -into which one part of olive oil to sixteen of yarn has been poured. It -is finally wrung out and dried. See URE'S _Berthollet_, vol. ii. page 18. - - -_Another iron liquor; pyrolignite or acetate of iron._ - -Although we have described an _iron liquor_ in a preceding section, it -may be useful to give the following process for another here. Fill a -cast-iron boiler with pyrolignous acid, add to it old iron well oxidized, -and boil. The solution of the oxide will take place rapidly. When the -iron grows clean, and the solution black as ink, throw the whole into a -cask, to be employed as occasion shall require. - - -_To dye cotton_ BLACK, _by using the preceding solution._ - -Prepare the cotton as usual, by giving it a blue ground; gall it, and -pass it through a bath of the solution of pyrolignite of iron diluted -with lukewarm water. Renew the gallings and the passings through the bath -of pyrolignite of iron till a deep and brilliant black is obtained. -Finish by passing the cotton through olive oil thus: throw on some -lukewarm water a little olive oil, pass the cotton through it; the cotton -absorbs the oil, but it must be worked a long time in the bath to diffuse -the oil equally. Dry in the shade. The cotton is now a perfect and very -durable black. - -Every time the bath of pyrolignite is used, what remains must be thrown -away; the old baths are never added to the cask. - -The application of oil, which heightens the black, and imparts softness -to the stuffs, is given to such articles as cotton velvet by means of -brushes, which are slightly imbued with it. _Berthollet._ - -We may add here, that an iron liquor called _tar-iron liquor_, prepared -from the acid obtained from tar, (the acetic acid we presume) is now well -known in commerce, but we have not room, nor does it appear necessary, to -describe the method of making it; it is much used in preparing mordants -for black and other colours by the dyers and printers of silk. This iron -liquor may be obtained of Blake, North Street, Back Church Lane, St. -George's in the East, London. See _M'Kernan_. - - -_To dye cotton_ VIOLET. - -Pass the skeins through the black vat and dry them, then pass them -through a decoction of galls and dry them again, then through a decoction -of logwood, then of alum and verdigris, washed off, and dried. - -Or thus: by the black vat liquor, that is, the liquor of old iron and -alder bark in some cases. Let the vat liquor be prepared from the iron -hoops, vinegar, rye, or coarse bran, described in page 108. By this -liquor it is easy to procure all the violet shades from the pansy flower -up to the lilac and violet. - -The goods must be first blue-vatted and dried, then galled and dried, -then passed through the iron liquor, then maddered, then washed off, and -dried; the liquor must always be kept much below a boiling heat, as this -heat makes the colour obtained from madder brown: whatever drugs require -boiling must be prepared by a decoction previously made. - -For some shades sulphate of copper is used; for others verdigris, -saltpetre, and alum. - -To dye to the pattern the preparations should be always of one given -strength, and all solutions of mordants the same. The time of working the -goods in the dye must be regulated by the fulness or lightness of the -pattern; and the quantities of the various drugs, &c. used much or little -accordingly, reserving patterns of processes, with the particulars of -such processes noted down. In proportion to the number of these upon -record, and with strict attention to the subject, a good pattern dyer is -formed. Time and practice are, however, absolutely necessary, with a -delight in the business: for without a pleasure in dyeing no one can -become a good or an eminent dyer. In many of the branches of this art -there are, it is true, labour and pains in abundance; but there is also a -portion, and that not a small one, of pleasure in others, which will -counterbalance the care, anxiety, labour, and fatigue inseparable from -this useful and important occupation, and which so strikingly exhibits -the science and ingenuity of man. - - -_To dye cotton_ RED. - -If the cotton skein has not been cleansed since it was spun it must be -cleansed by being boiled in a solution of potash, one ounce of which, if -good, to a pail of water may be enough, or more than enough. The cotton -must be put into bags when boiled, then washed off and passed through -clean water, scoured with a little sulphuric acid, and then washed off -again; then galled, washed off, and dried. The galls should be white -galls: for twenty pounds of cotton five pounds of bruised galls are -boiled in about one hundred and twenty quarts of water for two hours. - -After galling, the cotton must be alumed: four ounces of Roche alum for -every pound of cotton. When alumed it must be washed off and dried. - -The cotton is now to be dyed in a copper containing six pounds and a -quarter of best crop madder, with a sufficiency of water. The heat is -kept under that of boiling for three quarters of an hour. After being -aired, washed, &c. it is put in, worked, and boiled for twelve or fifteen -minutes. Some dye it again two days after, because the longer to a -certain degree between aluming, dyeing, and drying, and between one -dyeing and another, the better. The second time of dyeing eight ounces of -madder are used for every pound of cotton. Some dyers gall it twice, and -consequently dry it as often, then dye it at once in the madder, having a -proportion accordingly. This is a red full-bodied colour. - - -_To dye cotton an_ ADRIANOPLE _or_ TURKEY RED. - -For one hundred pounds of unbleached cotton, take the following articles -and pursue the described processes. - -Lixivium No. 1. Dissolve one hundred and fifty pounds of alicant soda, -(barilla) in three hundred quarts of river water. There must be no more -water than enough to dissolve the salt. An egg must float on it or it -will not be strong enough. - -Lixivium No. 2. One hundred and fifty pounds of fresh wood ashes, and -three hundred quarts of water. - -Lixivium No. 3. Seventy-five pounds of quicklime, and three hundred -quarts of water. - -The cotton is to be boiled three hours in a liquor composed of equal -parts of each of the above solutions, taken from them when clear and in a -settled state. The liquor must be replenished occasionally, so that it -shall always cover the cotton during the whole time it is boiling; after -which it must be taken out, washed, and dried in the air. - -Into one hundred and thirty quarts of a mixture consisting of equal parts -of the above three lixiviums, put twenty five pounds of sheep's dung and -part of the intestinal liquor, previously well mixed by means of a wooden -pestle, and the whole strained through a hair sieve. Then twelve pounds -and a half of good olive oil is poured into the mixture, when it -instantly forms a soapy liquor. - -Into this liquor the cotton should be worked hank by hank, often stirring -it; the cotton, after all the hanks have been worked separately first, is -then left in the liquor for twelve hours; it is then taken out, lightly -wrung and dried. The liquor is put by for brightening. This process is -repeated three times during the working; and by the time the solution is -all worked four hundred quarts might be used, but that will not injure -the clear of it from being applied in brightening; and it must be -reserved for that purpose. - -When the cotton has been three times dipped in this soapy water, and -three times dyed, the same process is repeated, except that the sheep's -dung is left out; the liquor is also preserved for brightening. The -cotton, having gone through these processes, should be as white as if it -had been bleached. - -When dry it is to be galled, using a quarter of a pound of galls to every -pound of cotton; after this it is dried, then take six ounces of alum for -the first aluming; it is then to be dried again, and to hang three or -four days in the air, and then, when dry, to be alumed again; four ounces -of alum, and four of the lixivium may be added to the last alum water. - -The madder used for this red is called _lizary_, which furnishes a dye -incomparably finer than that produced by any other madder. Of lizary -madder, therefore, take two pounds for every pound of cotton, and twenty -pounds of liquid sheep's blood well mixed with the water in the copper -before the madder is put in. The butcher should stir the blood to prevent -its coagulating; the copper should be carefully skimmed; the madder -should not boil, but be brought during the process from blood-heat to -within a few degrees of the boiling point: if it boil at last, as some -prefer it, it should only be for a few minutes. - -In order to brighten the colour, the cotton is dipped in a lixivium of -fresh wood ashes, and five pounds of _white_ soap: yellow or mottled soap -is improper. When the cotton has been well worked in this liquor, it is, -with the liquor itself, put into a copper sufficiently large to hold it -with some addition of water, and made to boil over a slow fire, for -three, four, or more hours. The liquor must be covered with coarse white -linen cloths, to keep as much steam in as possible. - -Some of the skeins of cotton must be taken out from time to time, and -washed perfectly; when the red is judged perfect and sufficiently bright, -the fire is withdrawn. - -If instead of the wood-ash lixivium and soap, the two reserved liquors -and soap are used, the red will be much brighter than the finest -Adrianople carnation. - - -_Miscellaneous observations relative to_ ADRIANOPLE RED. - -In regard to the above processes, we may observe, that those given for -Adrianople red in _Ure's Berthollet_, are more numerous, being regularly -numbered to the _seventeenth_, or last operation called _brightening_. -After a careful attention to those processes we see no reason to alter -our own, yet we nevertheless advise the dyer to become acquainted with -what is stated in that work, many details being there given for which we -have not room, particularly for making _different shades_ of the colour. -We add, however the following from vol. ii. p. 140. - -"Cotton dyed red, may, moreover, be made to pass through all the shades, -down to the palest orange, thus: pure nitric acid is diluted with -two-fifths of water; chips of tin are oxidized in it till the liquor -grows opal; the solution is employed at different strengths; the colour -varies according to the concentration of the solution: when it is strong, -shades are obtained which have some relation to those of scarlet. - -"In general, when brilliant colours are desired, we must not charge them -too much with oil; we must give feeble leys long repeated, charge little -with alum, employ the best madders, and, at last, brighten powerfully -without sparing soap." - -We have directed _good_ olive oil; but M. VITALIS directs fat oil, -(_gallipoli_) to be used in the processes for dyeing Adrianople red, and -Berthollet says, it must not be a _fine oil_, but one containing a strong -portion of the extractive principle. - -A factory for dyeing this red was first established in this country in -1790, by M. PAPILLON, who obtained a premium from the Commissioners and -Trustees for Manufactures in Scotland, for communicating the details of -it on condition it should not be divulged for a term of years, during -which _M. Papillon_ was to have the sole use of his secret. This term -being expired the process was published. See vol. xviii. of _Tilloch's -Magazine_. - -M. VITALIS, (in his work on Dyeing published in 1823) has given, at -length, the _mode of dyeing Turkey red at Rouen_. It differs in many -particulars from Berthollet and others. We learn from him that two -systems for imparting this colour are in use at Rouen. The first is -called the _grey course_ from the cotton being subjected to the maddering -immediately after it has received the oily preparations, and the mordants -of galls and alum which give it a _grey_ colour. The _yellow course_, is -so called from the cotton, after having received a first time the oily -preparations, as well as the mordants of galls and alum, _not_ being -exposed to the maddering till it has passed a second time through the -same preparations, and the same mordants which give it _a yellow_ colour. -This second manner of working the Turkey red is called, in the dye-house, -_remounting on the galls_. Dr. URE, in a note to Berthollet, vol. ii. p. -378, has detailed these two courses, and made, besides many valuable -observations on them, and the dyeing of Adrianople red generally, for -which we must refer to the work, as our limits prevent the possibility of -any further notice of them here, except to add, that a _process for -dyeing cotton of a smoke red_; and another for _dyeing cotton a cherry -red_, is well deserving the attention of the dyer. - -In regard to the _blood_ used in dyeing Adrianople red, Dr. Ure decidedly -affirms, that "_it adds no colouring matter to the madder in the dyeing -operation_;" in this he is countenanced by the observations of Chaptal, -see Berthollet, vol. ii. p. 141. "To the use of blood in the madder -copper," says Dr. Ure, "I attribute nothing, as from the rancid and -putrid state in which I have seen it used, were it not for the prejudice -of the operator, it might be safely dispensed with." A very eminent -calico manufacturer, whom Dr. Ure consulted, assured him, that in the -Turkey red process the only essential mordants were oil and alumina; and -that bright and fast reds, equal to any produced by the complicated -processes of sheep's dung, galls and blood may be obtained without those -articles. - -We make no comments on these observations, but leave them to the good -sense and intelligence of the dyer: they deserve the utmost attention. - -_Linen yarn_ takes a colour almost as brilliant as that of cotton, but it -must be passed through a double number of oils and leys. The latter must -even be very strong, otherwise the oil flows out at the surface. The -greatest attention must be bestowed on the scouring out first: for the -yarn mingles and entangles by the heat to such a degree, that it -sometimes can be neither dipped nor unravelled. - -It should be mentioned that the large dyers of Adrianople red, now obtain -their soda for lixivium No. 1, by using common salt in solution, to which -is added a solution of pearl-ashes. On boiling these together a muriate -of potash is formed, which is taken out of the liquor with a skimmer; a -_carbonate of soda_ remains dissolved in the liquor, and is, of course, -applied to the same purpose as, and at a much cheaper rate than, the -Alicant soda. - - - - -CHAPTER VI. - -ON DYEING COTTON AND SILK. - -_To dye skein cotton yellow—On dyeing and re-dyeing cotton furniture -yellow—To dye cotton skein a duck's wing green and olive—Of browns, -maroons, coffee colours, &c.—Observations on silk—On ungumming and -boiling silk—Whitening—Sulphuring—On aluming silk—Skein silk for -yellow—Preparation of annatto, for aurora, orange, moidore, gold colour, -and chamois—To dye silk aurora or orange—To dye moidore—Process for -orange—To dye silk poppy or coquelicot—A cheaper poppy with annatto and -Brazil wood—On dyeing silk a fine crimson—Composition for dyeing silk -scarlet or crimson, with cochineal—Another process for crimson—Crimson by -Brazil wood—Of fine violet—Observations on crimson and scarlet upon -silk—On dyeing silk green—On olives—On dyeing silk grey—Nut-Grey—Black -greys—Iron greys—On dyeing silk of a Prussian blue colour—Chromate of -lead for yellow on silk or cotton—Conclusion._ - - -We have in several preceding chapters treated of both _cotton_ and -_silk_; we shall here treat of certain processes and colours relative to -both these substances, which are most conveniently arranged in this -chapter. - -The simpler processes for _cotton_ will be found in the _second_ chapter, -the more complex in the _fifth_; the simpler processes for _silk_ are -given in the _third_ chapter, the more complex in the _fifth_; the -remaining processes for both in the present chapter, will conclude the -work. - - -_To dye skein cotton_ YELLOW. - -The same operations as those in the first common red dye are to be used -here; to one pound of cotton four ounces of roche alum, and from one to -four pounds of weld. - -When dyed the cotton is to be worked in hot, but not boiling, liquor, -consisting of four ounces of sulphate of copper to every pound of cotton; -it is then to be boiled for three hours in a solution containing four -ounces of soap to every pound of cotton. - -When a dark or _jonquil colour_ is wanted, no alum is used; of weld take -two pounds and a half, very little verdigris, or a little alum in its -stead, but nothing else. For brightening, however, boiling in a solution -of soap is in all cases necessary. - - -_On dyeing and re-dyeing cotton furniture_ YELLOW. - -If the furniture, such as rough or finished cotton or cambric, intended -for yellow linings for bed or window curtains, be in a perfectly bleached -state, which is now generally the case, according to the number of the -pieces, so must the size of the copper be to boil the weld in for the -yellow dye. A small copper holding four or five pails would do for three -pieces of twenty eight yards each. The weld may be purchased by the half -bundle, the bundle, or the load. Half a bundle would be enough for the -above quantity of cotton, if a moderate yellow is wanted. The weld must -be increased or decreased according as the pattern approaches a straw, a -canary, a lemon, or towards a gold colour or orange. - -The weld must be boiled about twenty minutes, the liquor then strained -off into a proper tub, and the weld boiled again. While the boilings are -going on, three tubs, being wine pipes cut in two, must be got ready and -made particularly clean, being also previously seasoned for the work. One -is to receive the boiled weld with some cold water to regulate it to the -heat which the hand will bear; the other is for water, and as much alum -liquor as will colour it and make it taste strong; and the third is to -contain clear water to wash the furniture off. - -Whatever yellow is in _fashion_ (or indeed any fashionable colour,) has -commonly a _fashionable name_. But if the dyer can, by his experience, -proportion his drugs to the weakest, and from that to the strongest -shade, let the name be what it may, after he has a set of patterns of his -own dyeing, he will see, upon the first sight of any colour, how to set -about it. - -In the present instance let the pattern be a moderately pale colour of -yellow; then put all the first boiling of the weld in the first tub, and -cool down as above directed. Two or three persons should then work the -pieces quick from end to end by the selvages, that they may be even, two -may do this; one of whom must be an expeditious hand to work them and -keep them even. When they have been edged over six or seven times, they -are to be folded out upon a board laid over the tub, and wrung as dry as -possible by two persons. When they are all out, they are passed in the -same manner through the tub of alum, and, after six or seven turns, they -are to be taken out of the alum liquor, wrung as before, and then washed -off. - -By this time the second weld liquor will be boiled; some of the first -must be thrown away, and the second weld liquor added in its place. The -goods are then passed through as before, and wrung out; the alum liquor -being strengthened, they are passed through it, wrung out as before, and -then washed off: the water in the wash tub having been changed. - -In some instances verdigris is used instead of alum; and in other cases -it is used in addition to the alum. For some shades old fustic is used -instead of weld, and sulphate of copper instead of verdigris. - -The alum solution, and the sulphate of copper, and the verdigris, or -acetate of copper should be always ready. It is necessary to have a tub -for each, in size proportioned to the work to be done; but larger for the -alum than for the other two. - -Sulphate of iron is also used in some dark greys, browns, slates, and in -all blacks; this will require a tub as large or larger than that for alum. - -When the yellows are dyed and wrung as dry as possible, they should be -taken into a close room or stove to dry, particularly in _London_, -because of the smoke, especially in winter. A German, or other stove, -should be placed in the room, the size of which, as well as the number of -the stoves, must be regulated by the quantity of the work. When the goods -are dry they must be sent to the callenderers, if directed to be -callendered; but the general and better way is to stiffen them with -starch after they are dyed, and before they are dry; and when dry they -should be sent to the glazers, instead of the callenderers, except when -both branches are carried on by the same person. - -When furniture, originally yellow, has become faded, it may be re-dyed -thus: In this case it should be dyed rather of a fuller shade than the -original. A large flat tub, such as described above, is to be filled -three parts full of water, to which sufficient sulphuric acid must be -added to make it taste strongly sour. After being well stirred, the -pieces are to be put in, and worked in this sour liquor; and the yellow -dye in consequence is stripped off. If the acid liquor be not strong -enough more acid must be added, with the precaution of well mixing it -with the water, and the goods must be passed through the liquor again: by -these means the yellow is discharged. They are then to be taken out on a -board upon the tub and wrung by two persons; then to be washed off and -wrung, washed and wrung again, when they are fit to be dyed. - -It is still to be remembered that any faded or worn out colour, or that -goods more or less decayed, seldom become so bright as the colour which a -new piece of goods receives from the same dye. - -Some cloths for re-dyeing require the application of oxymuriate or -chloride of lime to discharge their colours, particularly when madder or -galls, &c. form the constituent parts of the dye. In this case if a -_bleacher_ be near it might be best to let him perform the process with -the oxymuriate of lime; not only from the pernicious nature, but also -from the expense of it, which, unless the business be upon a large scale, -will not pay the dyer for his trouble. - -However, if the dyer thinks proper to perform this operation, then the -oxymuriate of lime or bleacher's ashes, &c. may be obtained at the dry -salters and dissolved in a cask, and the clear liquor used in proportion -to the quantity of goods, the colour of which is intended to be -discharged, which, when done, should be washed off in two waters at least -before they are dyed. - - -_To dye cotton skein a_ DUCK'S WING GREEN _and_ OLIVE. - -This is performed by a blue ground, next galling, dipping in the black -vat, then in the weld dye, then in verdigris, remembering to wash off -previously to performing each process. - -_Olive_ is to be performed with weld or old fustic, verdigris, and Brazil -wood. - - -_Of_ BROWNS, MAROONS, COFFEE-COLOURS, _&c._ - -It would answer little purpose to enlarge this treatise with a detail of -all the possible methods of producing the various shades of these several -colours, the whole consisting in the use of galls, verdigris, sulphate of -copper, weld, and madder. - -By welding a stuff previously maddered for _red_ you may produce a _gold_ -colour; and by dipping the same red in a blue vat you obtain a _plum_ -colour. - - -_Observations on_ SILK. - -Silk, as it is obtained from the cocoons of the worm, is generally of an -orange or yellow colour, more or less dark; in the South of France it is -generally very dark: its natural shade is unfavourable to almost all -other colours. It is also imbued with a kind of varnish or gum, which -makes it stiff and hard; this stiffness is improper in the fabrication of -most silk stuff, it is therefore _ungummed_, as it is called, by the -following processes. - - -_On ungumming and boiling silk._ - -_Observe_, that throughout the following processes for silk _white_ soap -is directed to be used; and, generally speaking, we believe it will be -found the best, more especially for the more delicate operations. Yet -_Mr. M'Kernan_, in his process for ungumming silk, directs yellow soap -and soft soap in equal parts, and of the same weight as the silk to be -used: he adds, however, that different sorts of silk require more or less -soap; the best rule he finds, nevertheless, is _the same weight of soap -as of silk_: and he says also, that yellow soap and soft soap of the best -quality he finds the best for this purpose. - -The silk is divided into hanks, each hank is tied with a string, several -of these are tied together (a handful of them) by putting a piece of -string through each separate skein, and tying the piece of string in a -long tie to slip easily when they are wanted to be untied. - -A liquor is prepared of thirty pounds of _white_ soap to a hundred pounds -of silk; the soap is cut into small pieces and boiled in water, when it -is dissolved the fire is damped. - -While the liquor is preparing the skeins of silk are put on rods; as soon -as the soap liquor becomes a little below boiling heat (for it should not -boil, as boiling would tangle the silk) the silk is to be put into it in -an oblong copper, being nearly full; it is to remain in the liquor till -its gummy matter has left it, which will be seen by its whiteness and -flexibility. It is then turned end for end on the rods, that the part -above the liquor may undergo the same operation. As soon as this is -accomplished the silk is taken out of the copper, the hanks which were -first turned being soonest done. - -The hanks are now to be taken from the rods to the peg, disentangled, and -nine or ten of them put on one cord, this cord passing through the string -that tied each hank. When the whole is corded it is put into pockets of -coarse strong white linen fifteen inches wide and five feet long, closed -at each end and on one side; when the silk is put in, the pocket is sewed -all along the other side with packthread, and fastened with a knot; four -pockets will hold the whole hundred pounds. - -The pockets being thus ready another liquor is prepared like the first. -When ready, and the boiling checked with cold water, the pockets are put -in and boiled well for a quarter of an hour, checking with cold water in -order to prevent its boiling over; it is necessary also to turn the bags -about often with a pole, or rather let two persons have a pole each for -this purpose. This operation is called boiling. - -In addition to the processes of boiling with soap, as above directed, -_Mr. M'Kernan_ recommends that the silk should be winched through a -copper of water at the heat of 160°, having two pounds of soda (barilla) -dissolved in it, then winch or wash in water, and wring and dry. - -In the boiling of silks for common colours twenty pounds of soap will do -for a hundred weight of silk; but, as in this case, the silk is not -ungummed, it should boil for three hours and a half, adding water to -supply the evaporation. - -The silks intended for the greatest degree of white, either to remain -white, or for the fabrication of white stuff, are boiled twice in soap -and water; those that are to be dyed of different colours are boiled but -once, and with a smaller quantity of soap, because the little remaining -redness is by no means prejudicial to many colours. Different quantities -of soap are, however, necessary for different colours. - -Silk designed for blue, iron grey, brimstone, or any other colour -requiring a very white ground, should be done according to the preceding -process, and have thirty pounds of soap. - -When the silk is boiled it is taken out of the copper by two men with -poles, and placed in a clean barrow; they are then taken to a long -shallow trough, from which the water may run away, the pockets are -opened, and the silks examined; such as have yellow or lemon colour spots -remaining are boiled again for some time, till the spots are removed. -After unpocketing, the whole is dressed on the pegs. - -Silk loses from twenty-five to twenty-eight per cent. of its weight in -ungumming and whitening. The bags of silk should never be suffered to lie -long together before they are emptied after being boiled, as their doing -so would make the silk hard. - -_White_ silk, as before observed, is distinguished into five principal -shades, namely, _China white_, _India white_, _thread_ or _milk white_, -_silver white_, and _azure white_. - -The three first are prepared and boiled as has already been shewn. Silver -and azure white in the preparation or ungumming thus: take fine powdered -indigo, put it into water boiling hot, when settled the liquor is called -_azure_. - -_To azure the silk_ it is taken from the ungumming copper after it is -dressed and put into a trough of water; after it is worked, drained, and -again dressed, it is ready for the - - -_Whitening_. - -Put into a copper with thirty pails of water half a pound of soap; when -it boils, and the soap dissolved, add for _China white_ a little -_prepared annatto_, (of which hereafter.) The silk, being on rods, is now -to be put into the copper and kept turning end for end without -intermission till the shade is uniform. For _India white_ a little azure -is added, to give the blue shade: for _thread white_ and others a little -azure is also to be added. - -_Observe_, the liquor should be very hot, but not boiling; the turnings -five times repeated, by which the shade is made even. When finished it is -taken out, wrung, Spread on poles to dry, and that part of it required -for _sulphuring_ must be put upon rods or slight poles. - - -_Sulphuring._ - -The hanks, being upon poles seven or eight feet from the ground, in an -appropriate room, one pound and a half or two pounds of roll brimstone -will sulphur a hundred weight of silk. - -Put the brimstone, coarsely powdered, into an earthen pipkin with a -little charcoal or small coal at bottom. Light one of the bits with a -candle, which will kindle all the rest. - -The room should be close, the chimney, if any, being closed up; the -sulphur should burn under the silk all night. The next morning the -windows should be opened to let out the smoke and admit the air, which, -in summer, will be sufficient to dry the silk; but in winter, as soon as -the sulphurous fumes are dissipated, the windows must be shut and a fire -kindled in the stove or stoves to dry the silk. - -_Observe_, if the room for sulphuring does not admit of openings -sufficient for the dissipation of the sulphuric fumes, the work-people -will be in danger of suffocation. - -When the sulphur is consumed it leaves a black crust which will light the -future sulphur like spirit of wine. - -If, in dressing, the silk sticks together, it is not sufficiently dry. - -Silk, which has been sulphured, has a rustling, which, for some things, -is esteemed; but this would not do for silk to be watered. If silk, which -has been sulphured is to be dyed, it must, for many colours, be -unsulphured. - -Silks for lace, gauze, &c. are neither boiled nor ungummed; silks which -are naturally the whitest are the best for those articles. It is -sufficient to dip the silks in warm water, and wring them; then sulphur -them, afterwards azure them, again wring them, sulphur them a second -time, or soak them in soap and water, those for whitening hot enough to -bear the hand, adding azure, if necessary, and turning and re-turning the -silk in this liquor. - -The fine silk of _Nankin_ requires no whitening. - - -_On aluming silk._ - -We have treated of this before at the commencement of the third chapter, -but a few more observations may be useful. - -The silk being first well washed and beetled, and the hanks tied loose so -that every thread may take alike, should be turned and re-turned in the -alum liquor and worked, cooled in it, at intervals, from morning till -night, afterwards taken out, beetled, and rinsed. - -The above proportion of alum will do for a hundred and fifty pounds of -silk, before you need replenish it; when this is necessary add -twenty-five pounds more of alum, as at first directed in Chapter III., -and so continue to replenish it till it gets a bad smell. When this is -the case you may dip for browns, maroons, &c.; and afterwards throw the -liquor away; the trough is then to be rinsed for a fresh liquor. - -Remember always to alum _cold_ or you will spoil the lustre of the silk. - - -_Skein silk for_ YELLOW. - -This is to be boiled with about twenty pounds of soap for every hundred -pounds of silk. When boiled it is to be washed and alumed, and again -washed, dressed, and put on the rod, seven or eight ounces to a rod, and -then dipped and re-turned in the yellow liquor, in the proportion of two -pounds of weld to one pound of silk. - -The liquor is not to be hotter than the hand can bear while the silk is -in it. The silk, when in the vessel for dyeing, should cause the liquor -to float within two inches of the edge. The silk must be taken out and -the liquor strengthened, if the pattern is to be very full; when full -enough, one pound of pearl-ash for every twenty pounds of silk must be -dissolved in some warm water; about a quarter of this liquor is put into -the dye bath: take the silk out while you put in the liquor, stir the -mixture well. Put in the silk and work it, turning and re-turning it as -at first. After seven or eight re-turns, one of the hanks is to be taken -out, wrung, and tried at the peg, and, if sufficiently full and bright, -all is well; if not enough so, some more pearl-ash liquor must be added, -and the silk worked as before, till the shade required is obtained. - -For _jonquil_ it may be necessary to add some annatto when you put in the -pearl-ash. - -To make the light shades, such as _canary_ or _lemon_, perfectly white, -they must be boiled with thirty pounds of soap to a hundred of silk; and -if these be not _azured_ to be dyed, they must have a little of the blue -vat, and a little of the weld liquor in water, (the whole mixture being -as hot, but no hotter than the hand will bear,) and the silk ready on -rods, must be quickly worked through and out. For deeper lemons the same -process must be used as for the fuller yellows; only less weld, and -twenty pounds of soap will do for a hundred pounds of silk in whitening -it. - -The blue of the vat is only used for such articles as are to have a green -cast, and that extremely light; the aluming also should be in a weaker -alum liquor: for light lemons it should be prepared in a separate liquor. - - -_Preparation of annatto for_ AURORA, ORANGE, MOIDORE, GOLD COLOUR _and_ -CHAMOIS. - -You must have a colander proportioned to the size of the copper in which -you boil the annatto. To every pound of annatto put from twelve ounces to -one pound of pearl-ashes, which last dissolve in water, and add the -solution, by degrees, to the solution of annatto as it boils and -dissolves, for which purpose the annatto must be suspended in the -colander over the copper by a flat stick about six inches broad, run -through a flat handle on each side of the colander, by which means the -colander is kept sunk in the water with the annatto in it, till it is all -dissolved, except some little foreign matters. The holes in the colander -should be moderately small. - -Dissolved in this manner the annatto, if kept clean, will keep as long as -you please. - - -_To dye silk_ AURORA _or_ ORANGE. - -These require but twenty pounds of soap for boiling white. To dye -_aurora_ the silk must be prepared the same as for yellow. - -Annatto _prepared_ (as directed in the last article) and settled, is then -put into a copper of hot water, in quantity according to the shade -required; having mixed it well, the liquor being as hot as the hand will -bear, put the silk into it; when one hank is tried, as in the yellow, if -it be not full enough, the liquor must be strengthened till the colour is -brought to the shade required. When finished the whole must be washed -twice and beetled. The _aurora_ serves as a ground for _moidore_. - - -_To dye_ MOIDORE. - -As fustic and logwood are to form part of this dye upon the annatto -ground, the silk must be alumed, then washed from the alum, in order that -the superflux of the alum may not render the dye uneven. A fresh liquor -is then prepared, rather hot, to which must be added a little of the -decoction of logwood, and of the decoction of young fustic. The silk is -re-turned in this liquor, but if apparently too red, you may put in a -very little of solution of sulphate of iron, which will make it -sufficiently yellow. - -When the silk is dyed with the gum, in the raw state, the annatto must be -used nearly cold, or the elasticity of the silk will be destroyed. - - -_Process for_ ORANGE. - -After dyeing aurora with annatto, it is necessary to redden the annatto -ground with vinegar, alum or lemon juice. - -For the brightest oranges, and up to scarlets and poppy, &c. silk should -have an annatto ground three or four shades under that of aurora. There -is no occasion for alum when the silk has been grounded and washed off. -If for _orange_ a liquor which has been used for poppy will be -sufficiently strong to finish it, or for light cherry, rose, &c. For -_flesh_, the lightest of these colours is so delicate that a little of -the soap water used for boiling should be added to the liquor, to prevent -the silk from taking the colour too quickly or unevenly. - -Liquors having safflower or weld in their composition, require to be -immediately worked, as by keeping they lose their colour, that is, the -safflower and its compounds, and are entirely spoiled. They are also -always used _cold_, as the safflower cannot bear heat. - -The _safflower_ preparation has been before described in Chapter II. -where the process of _cotton pink_ is performed by its solution. - - -_To dye silk_ POPPY, called by the French _coquelicot_. - -When the silk has received the annatto ground three shades less than for -aurora, the safflower preparation must be ready, and turned by the -solution of tartar as before described; the silk must also be well washed -from the annatto ground; that the alkali used with the annatto may not -counteract the tartar of the safflower, a bath of which must be prepared -as strong as possible, through which the silk must be worked six or seven -times: for a full poppy it is necessary to pass the silk through four or -five such liquors. Poppy is the deepest colour which can be done with the -safflower. It has been before observed, that the liquors from the poppy, -if used directly, will serve for orange, cherry, flesh, &c. - -Archil, as described for crimson, with cochineal for wools as before -described, is to be used on some occasions. In other cases some patterns -have no ground of annatto. - - -_A cheaper_ POPPY _with annatto and Brazil wood._ - -The silk is to be grounded with annatto as before; when well washed off -it must be alumed and washed off again; then passed through the decoction -of Brazil wood, washed off again, again passed through a fresh decoction -of Brazil wood; and every time that goods are passed through the dye, as -has been before stated, they must be worked from end to end of the -skeins, from five to seven times, to have them even, and to give them a -full opportunity of combining with the colouring materials of the dye. - -These repetitions must of course be in number proportionate to the -slightness or intensity of the colour wanted. With the Brazil decoction -it is necessary to mix well a little soap liquor, about five quarts to -thirty pounds of silk. This keeps the alum used to receive the Brazil -decoction not only from producing a stiffness, but, on the contrary, -preserves the silk soft and pliant. - -The above poppy serves for a ground for _brown red_ colours, by the -addition of logwood. A decoction of logwood, Brazil wood, and old fustic, -as has been before observed, should always be kept ready boiled. - - -_On dyeing silk a_ FINE CRIMSON. - -Silk intended for the crimson of cochineal should have only twenty pounds -of soap to one hundred pounds of silk, and no azure, because the natural -yellow of the silk which remains is favourable to the intended colour. - -The silk is to be strongly alumed and left in the alum from seven to -eight hours, then washed and twice beetled at the river. _Remember_ how -the alum is to be worked, as to the manual part. - -While this is doing, a liquor is to be thus got ready: take of blue and -white galls from one to two ounces to each pound of silk, let them be -well powdered and sifted; of fine cochineal, also well powdered and -sifted, from two to three ounces, for every pound of silk; put these -articles into pure soft water, and in a _boiler made of grain-tin_, (and -not in what is commonly called tin, which is iron covered with tin, and -which would utterly spoil the dye.) Neither would copper or brass suit as -well as grain-tin. This has been observed before, (page 84.) in the -article _on dyeing wool scarlet_. It ought, nevertheless, to be stated, -that such tin boilers are difficult to be made of a certain size, and -being liable, besides, to be melted without great care. Many dyers -therefore, still use _copper_ boilers. When the cochineal and galls have -boiled you add to the liquor for every pound of cochineal, about one -ounce of solution of tin, which is called _composition_, and is made in -the following manner: - - -_Composition for dyeing silk_ SCARLET _or_ CRIMSON _with cochineal_. - -Take one pound of nitric acid, two ounces of muriate of ammonia, six -ounces of fine tin, prepared as mentioned under _dyeing wool scarlet_, -water twelve ounces. - -The muriate of ammonia, the prepared tin, and the water, are put into a -stone jar, to which the nitric acid, is added, and the whole left to -dissolve. - -This composition contains much more tin and sal-ammoniac than is used for -the scarlet of cochineal upon wool; it is, however, absolutely necessary. - -An ounce of this composition, for every pound of silk, is to be added to -the galls and cochineal when boiling. The boiler is then cooled down a -little, the fire-door thrown open, the silk put in and worked from five -to seven times, when the silk will have become pretty even as far as it -is dyed. The copper is now again to be brought to boil; it should -continue boiling, and the silk kept turning, for two hours; the fire is -then taken from under the copper, and the silk is immersed entirely and -left all night, or for seven or eight hours at least; it thus takes a -full half shade. In the morning it is washed, twice beetled, wrung as -usual, and hung up to dry. - -The least tincture of sulphate of iron in the water saddens the crimsons, -takes off their yellow, and gives the violet cast; but if too much of the -yellow is carried off, it may be restored by fustic. Nothing but sulphate -of iron will sadden grain scarlets, logwood being quite useless for this -purpose; sulphate of iron darkens greatly with galls. _Macquer_. - - -_Another process for_ CRIMSON. - -When the silk is boiling in the soap-liquor, add one ounce of annatto, -for every pound of silk, working it through the colander as directed, -(page 136.) but without the composition or tartar: in some shades, -however, both composition and tartar are admitted. The solution applied -to cochineal with worsted has a considerable effect, changing it from a -crimson, its natural colour, to a very bright fire colour; but it -produces only a crimson when applied to silk; it gives, however, this -colour a very beautiful tint; for, uniting with the tartar, it increases -the effect without impoverishing the colour, and saving the annatto -ground. _Macquer_. - - -CRIMSON _by Brazil wood_. - -The silk should be first alumed, and then passed through a strong -decoction of Brazil wood, half a pail to a pound of silk, which is to be -worked, and put through an additional and strengthened dye of Brazil -wood, and then washed off: if in _hard_ water this will generally crimson -the Brazil wood sufficiently; but if in soft water a little pearl-ash -must be added; about one pound of the clear solution of pearl-ash, or -rather the clear solution of a pound of pearl-ash, as one pound of water -will not, we believe, dissolve a pound of pearl-ash: this is enough for -forty pounds of silk. - -_The decoction of Brazil wood_ is prepared thus: one hundred and fifty -pounds of Brazil wood chips are put into a copper which holds about sixty -buckets of water; the copper is then filled with water and boiled for -three hours, the waste by evaporation being occasionally supplied. The -fire is now damped, the clear liquor drawn off, the copper filled again, -and again boiled for three hours more. This process is repeated four -times in all, when the dye of the wood will be fully extracted. - -_Logwood_ and _old fustic_ are treated in the same manner, but only two -boilings are required for these. - -In regard to crimson generally, see forward, _observations on dyeing silk -crimson and scarlet_, and also some _observations_ on the _dyeing of wool -scarlet_, page 85. - - -_Of fine_ VIOLET. - -For this colour the common boiling is enough, the silk is alumed the same -as for fine scarlet, washed and twice beetled. Thus prepared, two ounces -of cochineal are given to it, with the same precaution as usual, but no -composition nor tartar. Being worked moderately warm, in working it must -be expeditiously turned; after a quarter of an hour the liquor should be -brought to boil, when the turning need not be so expeditious, but it -should, nevertheless, be continued for two hours. After being washed the -silk is dipped in the vat, more or less strong, according to the shade -required. - -Washing and drying are done in the same manner as for blues and greens, -and in general for all colours _dipped_ in the vat, namely, a small -quantity at a time, in order that the silk may be kept open to the air, -and that the greening of the vat may pass correctly and equally to blue. -For some shades archil forms a part of this dye. For other _violets on -silk_ see Chapter III. - - -_Observations on_ CRIMSON _and_ SCARLET _upon silk_. - -Crimson upon silk is produced at Norwich, London, and many other places, -by using a much larger quantity of cochineal than that which is directed -by Macquer: for in some cases, as much as a guinea a pound, has, it is -said, been paid for dyeing silk crimson at Norwich. Archil has been used, -likewise, in crimson, and the time of boiling is not so long. In some -shades a little of the composition and tartar may be admitted, but in a -small degree. It should be stated, however, that _scarlet upon silk_, is -often done by annatto and safflower. - -_Observe_, that although we have given the preceding processes for -crimson and scarlet, yet many others might be mentioned. What has been -said in regard to _dyeing scarlet on woollen_, (page 85.) should also be -carefully attended to, particularly relative to the conversion of scarlet -into crimson by alum, soap, and the alkalies. And though we have given -directions for the preparation of a _nitro-muriate of tin_, yet pure - - -_Muriate of tin_ - -is now very often used for dyeing silk red. MR. M'KERNAN, gives us the -following process for preparing it: - -Take of fine muriatic acid, of the specific gravity of 1.120, two quarts; -add by degrees, one ounce at a time, of feathered tin, for twenty-four -hours. Put the vessel in a sand heat and bring it gently to boil, -observing to add more tin as that in the acid becomes dissolved. There -should be some tin left undissolved when the liquor is cold, thus -indicating that the acid is perfectly neutralized by the tin. Bottle for -use. - - -_On dyeing silk_ GREEN. - -This colour is composed of _blue_ and _yellow_. It is with difficulty -produced on silk, because the blue vat is liable to spot and give a party -colour, an inconvenience to which green is more liable than blue, and -more perceptible. The boiling of silk for greens is the same as for -common colours. - -The silk being alumed as usual rather strongly, is washed off and divided -on the sticks into small hanks of about four or five ounces, that it may -be equally and easily managed in the working, from the yellow to green, -in the blueing from the blue vat. - -Weld is then boiled as stated in the article concerning _yellow_; when -boiled, a liquor of it is prepared strong enough to give a lemon ground; -the silk is then turned with all the expedition, care, and caution -possible, that it may be even. When it appears full enough, some of the -threads are to be separated and dipped in the vat, to determine this. If -not full enough, more of the weld liquor must be added to the dye bath, -and the silk returned and tried again, and so on; when the colour is -right, the silk is washed off and beetled. It is then wrung and formed -into hanks, and dipped skein by skein in the blue vat, the same as the -blue and the purple should be; it must be wrung with equal care and -dispatch. - -This green is a kind of _sea-green_, of which there are upwards of twenty -shades. The lighter shades, when taken out of the vat, are not washed but -the silk must be worked in the hands by clapping it between them, and -then be carefully opened and aired. A few threads are then washed, or -rinsed; if the colour be right the whole is washed. - -For the dark shades, when the weld is exhausted a little logwood is added -to the liquor; in some cases, old fustic, in some annatto. - -For _very dark-wing_ or _bottle-green_ shades, a little sulphate of iron -is required. - - -OLIVES. - -Proceed in aluming, &c. the same as for other colours; the weld liquor -being stronger, some logwood must be added. When the weld and logwood are -exhausted a very small quantity of each must be added, which green the -liquor, when the silk being passed through, a _greenish olive_ is -produced. - -A _reddish olive_ requires fustic, instead of logwood and pearl-ash, both -of these being omitted. - -Fustic gives a colour commonly called _drab-olive_ upon cloth, because -generally made to match with olive, this is commonly redder than the -preceding. - - -_On dyeing silk_ GREY. - -All the _greys_, namely, _nut-greys_, _thorn-greys_, _black_ and -_iron-greys_, and others of the same hue, black-grey excepted, are -produced without aluming. The silk being washed from the soap and drained -on the peg, a liquor is made of fustic, archil, logwood and sulphate of -iron: fustic gives the ground, archil the red, logwood darkens, and the -sulphate of iron softens all these colours, turns them grey, and, at the -same time, serves instead of alum as a mordant. - -As there is an infinite variety of greys, without any positive names, -produced by the same methods, it would be endless to enter into details, -which would prolong this treatise to little purpose. - -For _reddish-grey_ the archil should predominate; for those more grey, -the logwood; and for those rather greenish, the fustic. - -Care should be taken not to use the logwood too much, as with the -sulphate of iron it darkens more than most drugs: therefore the black -vat, made either with alder-bark, or the other preparation mentioned in -dyeing cotton, is preferable to the sulphate of iron. - - -NUT-GREY. - -The fustic decoction, archil, and a little logwood are put into water -moderately hot, the silk is then returned, and when the liquor is -exhausted, the silk is taken out, and to soften the colour the solution -of sulphate of iron, or the black vat, is used. The silk is then returned -once more, and if the colour does not appear sufficiently even, some red -spots still remaining, it may be concluded that it requires a little more -sulphate of iron. - -_Observe_ that, as sulphate of iron is the general base of all greys, if -this be deficient in quantity, the colour is apt to change in dyeing, and -to become rough and uneven. - -To know whether the colour be sufficiently softened, it should be -examined, and if it wet easily, after having been wrung on the peg, it -wants sulphate of iron. On the contrary, if it wets with a little -difficulty, the colour is sufficiently softened. - -Too much sulphate of iron stiffens the silk considerably, making it -harsh, and even depriving it of a part of its lustre; to remedy this it -must be extra washed and wrung at the peg; this process carries off the -sulphate of iron. - - -BLACK-GREYS. - -These are alumed and welded as for yellow, and, when the liquor is -exhausted, part of it is thrown away, and some logwood is added; when the -logwood is exhausted, sulphate of iron is added, sufficient to blacken -the colour, the silk is then washed, wrung, and finished in the usual way. - - -IRON-GREY. - -For iron-grey it is necessary to boil the same as for blues: this colour -is much more beautiful when laid on a very white ground. - -By having the drugs made into decoctions before-hand, greys either in -woollen, silk, or cotton, may be dyed at a heat not much above what the -hand will bear; and in a rotation of shades from light to dark, and -varied, blue, red, yellow, brown, &c. with ease and with pleasure; so -may, likewise, many stone-drabs, and other light brown drabs, as the -mixture of yellow, fawn, and black, produces nut-browns, &c. - - -_On dyeing silk of a_ PRUSSIAN-BLUE COLOUR. - -The application of colours derived from the mineral kingdom to dyeing is -one of the most striking modern improvements in our art. MR. RAYMOND -received from the French government in 1801, eight thousand francs, (more -than three hundred pounds sterling,) as a reward for communicating to the -public his process for dyeing silk of a uniform fast and bright -_Prussian-blue colour_ by the application of that well known pigment. His -process is as follows. - -He first converts, by a gentle calcination, sulphate of iron into a red -sulphate of iron: this he dissolves in sixteen times its weight of warm -water and filters. The silk, prepared as for indigo dye, is put into the -solution of iron, and left there for a shorter or longer time, according -to the shade of blue that is wanted; it is then taken out and wrung very -dry over a pole placed above the vat. It is then thoroughly cleansed by -being twice beetled, plunging and agitating it each time in running -water. Dissolve in pure water heated to 167°, and put into a deal vat, -one ounce of _ferroprussiate_ of _potash_, for every twelve ounces of -silk to be dyed. When the prussiate is dissolved add one part, or even -rather more, of muriatic acid, stirring the mixture well. When the liquor -has acquired a greenish colour, and about 144° of heat, the silk must be -immediately plunged into it and stirred about for some minutes. The silk -having received the dye in an equal manner, it is taken out of the vat, -well wrung on a pole above the vat, and then taken to the stream to -receive two or three beetlings, and be plunged and agitated in the water, -in order that it may be entirely freed from any portion of the prussiate -of iron not truly combined with it. - -Lastly, the silk being well washed in the stream, and thoroughly wrung, -is to be placed loosely on the poles, as in the preceding operations; -after which it must be well agitated in a large vessel three-fourths -filled with cold water, to which must be added, for a hundred pounds of -silk, two pounds of water of ammonia. The blue colour immediately becomes -many shades deeper, of a much richer and brighter tint, and at the same -time is fixed more perfectly in the silks. This change is effected in a -few minutes. The silk must then be wrung by the hand and rinsed in the -running water without beating. After this, it is dried on the poles in -the same manner as other dyed silks. It need not be left on the poles -more than twenty-four hours: but, nevertheless, this colour so far from -fading in the drying, as is the case with many colours, is improved by it. - -The solution of a little soap added cold to the ammonia bath, improves -it, giving also softness to the silk, and rendering it more easy to -separate. The soap should be uniformly dissolved. - -For the substance of the above process, we are indebted to Dr. URE'S -_notes on Berthollet_, vol. ii. p. 422. The _prussiate of potash_ is now -to be obtained as a regular article of trade from the dry-salters in this -country. - -_Woollen cloth_ takes also the above dye, but it must be left longer than -silk in the iron mordant. - - -_Chromate of lead for_ YELLOW _on_ SILK _and_ COTTON. - -_Chromate of lead_, as a pigment has been for some time in use; _M. -Lassaigne_, in 1820, made public a process for dyeing cloth with this -article, which has since become pretty common in this country. - -Immerse hanks of scoured silk for a quarter of an hour in a weak solution -of _acetate of lead_ at the ordinary temperature; take them out and wash -them in a great deal of water: then dip them into a weak solution of -_chromate of potash_. They immediately take a fine yellow colour; at the -end of ten minutes the effect is complete. From this colour being -decomposed in part by soap and water, it is chiefly applicable to silks. -But by applying, however, a mordant of acetate or nitrate of lead, and -passing the goods through bichromate of potash, a very beautiful and -sufficiently fast yellow is now given to _cotton goods_ in this country. - - -_Conclusion._ - -We cannot conclude our work without observing, that from the researches -continually going on in _botany_ and other branches of natural history, -and, more especially, from those in _chemistry_, there can be no doubt -that discoveries, which will materially improve the art of dyeing, must, -from time to time, be made. Some of these, not yet generally known, in -the hands of a few persons, have already been found useful; but -individual interest is, of course, a great enemy to their being made -public. Others, although public, are, as yet, of too doubtful a utility -to be noticed here. - -If we have not given forms for the employment of some articles in use by -certain dyers, such as _kermes_ for _reds_; _French Berries, (rhamnus -infectorius,)_ the _Canada golden rod (solidago Canadensis,)_ the -_Barberry (Berberis vulgaris,)_ and the _French marygold, (Tagetes -patula,)_ for _yellows_, &c. &c.; it is not to be concluded that such are -not good in their kind, and might not be used occasionally with -advantage. But as our object has been to give the _best_ methods of -dyeing the various colours, it would be impossible to notice many others -in a manual of this kind, and in the limits within which we are -necessarily confined. To mention those substances recently introduced -into dyeing, the utility of which is not confirmed by extensive practice, -would be injudicious, and tend to lead the young dyer astray; those, -however, who have leisure and inclination, and are, besides, able to run -the risk of the failure of new processes, may, and no doubt will, make -experiments with them by which our art must be eventually served and -improved. - - - - -INDEX. - - - Acetate of alumina, 8, 36 - copper, 16 - lead, 17 - - Acid, the acetic, 33 - carbonic, 32 - Gallic, 10 - muriatic, 12 - nitric, ib. - nitro-muriatic, 13 - pyrolignous, 33 - sulphuric, 15 - Tartaric, 33 - - Acids, what, 31 - - Adjective colours, 27 - - Adrianople red, 117 - - Albumen, 24 - - Alcohol, what, and how obtained, 25 - - Alkali, volatile, 23, 30 - - Alkalies, the fixed, 14, 30 - - Alum, common, 7 - roche, ib. - - Alumina, ib. - acetate of, 8 - - American bark, 15 - - Ammonia, 23 - carbonate of, ib. - - Animal substances, analysis of, 18 - oil, 24 - - Annatto, preparation of, 136 - - Aqua fortis, 13 - regia, ib. - - Archil, 8 - - Argol, ib. - - Aurora, to dye silk, 137 - - Azotic gas, 29 - - - Bancroft's dyeing, 4 - - Bancroft's murio-sulphate of tin, 101 - - Barilla, 15 - - Bastard saffron, ib. - - Berthollet's dyeing, 4 - - Bile, 10 - - Black on silk, 106, 107, 108 - to dye, on cotton, Rouen process, 108 - London process, ib. - - Black, to dye, on cotton velvets at Manchester, 110 - silk and cotton with a blue ground, 112 - another for cotton, 114 - on wool, 90, 93 - - Bleaching, 37 - - Blood used in dyeing, 119 - its constituents, 24 - - Blue, 111 - to dye, on cotton, 47 - silk, 64 - wool, 73, 80 - linen and cotton, 57 - chemic, 47 - copperas or vitriol, 10 - - Bran, 9 - - Brimstone, 15 - - Brown, to dye wool, 97 - cotton, 128 - - Buff, to dye cotton a fast, 58 - wool, 101 - - - Calcination, 28 - - Calico printers' mordant, 36 - - Carbon, or charcoal, 28 - - Carbonic acid, 32 - - Carbonate of ammonia, 23 - potash, 14 - soda, 31 - - Carthamus, 15 - - Cerulin, 11 - - Chemic blue, 47 - green, 52 - - Chemical terms, 45 - - Chemistry, leading facts in, 26 - - Chlorine, 9, 13 - - Chloride of lime, 38 - - Cochineal, 9 - - Colours, on fast and fugitive, 39 - for dyeing, 6 - Sir I. Newton's primary, 18 - to prove, 41 - - Composition for dyeing silk scarlet, 141 - - Combustion, 28 - - Copper, 10 - - Copper, acetate of, 10 - sulphate of, ib. - - Coquelicot, to dye silk, 138 - - Cotton, on dyeing, 47, 104, 123 - to dye chemic or Saxon blue, 47 - black, 108, 110, 114 - green, 52 - a fast green, 56 - buff, 58 - green with indigo and weld, 56 - pink, 60 - violet, 115 - duck's-wing green or olive, 128 - brown, maroon, &c., ib. - red, 116, 117 - yellow by chromate of lead, 151 - skein, to dye, yellow, 124 - furniture, to dye, yellow, ib. - the same to re-dye, 127 - - Cream of Tartar, 9 - - Crimson, to dye, by archil on wool, 80 - lac dye on wool, ib. - worsted yarn, 81 - on silk, 140 - - Cudbear, 8 - - - Decoction, what, 53 - - Distilled verdigris, 17 - - Drugs used in dyeing, 7 - - Dye-houses, 42 - - Dyer, the trade of a, 1 - - Dyers of Adrianople red, 2 - black, 3 - grain, 1 - silk, skein, 3 - rag, ib. - woad, 2 - woollen, 1 - worsted yarn, 3 - weed, 17 - - - Fawn, to dye wool, 88 - - Feathered tin, 83 - - Fermentation, the vinous, 25 - acetous, ib. - - Fermentation, the putrid, 25 - - Fibrin, 24 - - - Gall of animals, 10 - - Galls, ib. - - Gallic acid, ib. - - Gas, what, 31 - - Gelatine, 24 - - Gold colour, to dye wool, 90 - - Green, to dye the chemic, on cotton, 52 - cotton a fast, 56 - wool, 89 - woollen, ib. - cotton duck's-wing, 128 - silk, 145 - vitriol, or copperas, 12 - - Grey, to dye wool, 96 - on silk, 147 - - - Hematin, 96 - - Hydrogen, 29 - carburetted, 32 - sulphuretted, 33 - - - Indigo, 10 - prepared, 75 - sulphate of, 11, 51 - neutralization of, 52 - - Indigo, solution of, for penciling muslin, 57 - vats, 54, 102 - - Inflammable air, 29 - - Iron, 12 - acetate, ib. - liquor, 112 - muriate, 12 - oxide, ib. - sulphate, ib. - - Iron-moulds, 34 - - - Jennings's Cyclopædia, 4 - - - Lac dye, 12 - - Lake, ib. - how used for scarlet, 80 - - Light, decomposition of, 18 - - Lime, 23 - - Linen, to dye, scarlet, 122 - blue, 57 - - Litmus, or lacmus, 8 - - Lilac, to dye silk, 68 - muslin, ib. - - Logwood, 96 - - - M'Kernan on dyeing silk, 4 - - Maroon, to dye wool, 85 - cotton, 128 - - Moidore, to dye silk, 137 - - Mordant, what, 27 - the calico printers', for yellow and red, 36 - - Muriate of soda, 12 - tin, 144 - - Murio-sulphate of tin, 101 - - Muriatic acid, 12 - gas, 14 - - Muslin, to dye, lilac, 68 - - - Nitre, 12 - - Nitric acid, ib. - - Nitro-muriatic acid, 13 - - Nitrogen, 23 - gas, 29 - - - Oil of vitriol, 15 - - Orange, to dye wool, 90 - silk, 137 - - Orpiment, 13 - - Oxides, what, 14 - - Oxidation, 28 - - Oxygen, ib. - - Oxymuriatic acid, 13 - - Oxymuriate of lime, 38 - - - Pastel, 17 - vat, 73 - - Peach, to dye wool, 101 - - Pearl-ash, 14 - - Phenicin, 11 - - Pink, to dye cotton, 60 - - Poppy, to dye silk, 138 - - Potash, 14 - - Potassium, 29 - - Prickly pear, 9 - - Proximate constituents of animals, 23 - vegetables, 21 - - Purple, to dye silk, 67 - wool, 88 - - Pyrolignous acid, 33 - - - Quercitron bark, 15 - - - Realgar, 13 - - Red, to dye cotton, 116 - - Red, to dye cotton, Adrianople or Turkey, 117 - - - Safflower, 15 - - Salt, common, 12 - - Saddening, what, 111 - - Scarlet, to dye, with lac dye, 80 - silk, 141 - wool, 82 - on linen, 122 - - Silk, on dyeing, 62, 105, 123 - ungumming and boiling, 129 - whitening, 132 - aluming, 63, 134 - to dye blue, 64, 67 - violet, royal purple, &c., 67 - lilac, 68 - another process for the same, ib. - violet and purple, ib. - another process for the same, 69 - another process for the same, ib. - purple, ib. - aurora, orange, and moidore gold colour and chamois, 136 - black, 105, 106, 107, 112 - orange or aurora, 137 - moidore, ib. - orange, 138 - poppy or coquelicot, ib. - a cheap poppy, 139 - a fine crimson or scarlet, 140 - another process for the same, 142 - a fine violet, 143 - green, 145 - olive, 146 - grey, 147 - with Prussian blue, 149 - yellow, by chromate of lead, 151 - - Silk skein, to dye, yellow, 135 - - Soap, 31 - - Soda, 15 - - Sodium, 30 - - Spirit of salts, 12 - wine, 25 - - Spirit of hartshorn, 24 - - Substantive colours, 27 - - Sulphate of alum and potash, 7 - copper, 10 - indigo, 51 - to neutralize, 52 - iron, 12 - - Sulphur, 15, 32 - - Sulphuret of arsenic, 13 - - Sulphuric acid, 15 - - Sumach, 16 - - - Tannin, 10 - - Tar-iron liquor, 114 - - Tartar, 8 - - Tin, 16 - muriate of, 144 - murio-sulphate of, 101 - nitro-muriate of, 83 - - Turkey red, 117 - - Turmeric, 16 - - - Ultimate constituents of animals, 23 - vegetables, 21 - - Ure's Berthollet, 4 - Chemical Dictionary, 4 - - Utensils, on the, used in dyeing, 43 - - - Vat, the blue indigo, for silk, 64 - another for the same, 67 - cold indigo, for cotton, 54 - blue, for linen and cotton, 57 - indigo, for worsted and serge, 102 - - Vegetable substances, analysis of, 18 - - Verdigris, common, 16 - distilled, ib. - - Violet, to dye cotton, 115 - a fine, on silk, 143 - - - Water proper for dyeing, 42 - - Weld, 17, 41 - to dye cotton green with, and indigo, 56 - wool green with, and woad, 89 - - White, the numerous shades of, in silk, 132 - - Whitening silk, process for, ib. - - Woad, 17 - vat, rules to judge of, 75 - how to work, 77 - errors in, how to remove, 76 - on the putrefaction of the, 78 - - Wool, on scouring and dyeing, 70 - the action of tartar and alum on, 72 - to dye, orange, gold colour, &c., 90 - black, 90, 93, 94 - blue, by the woad vat, 73 - blue, several methods, 80, 89 - scarlet and crimson, 80, 81, 82 - maroon, 85 - yellow, 87, 99 - brown and fawn colour, 88 - purple, ib. - green, 89 - black, 90 - another process, 93 - greys, 96 - brown, fawn, and many other colours, 97 - - Wool, to dye, buff, 101 - peach, ib. - - Woollen, a chemic vat for green, 89 - blue, ib. - - Worsted yarn, to dye, a crimson, 81 - and serge, indigo vat for, 102 - - - Yellow from Quercitron bark, 98 - chromate of lead, 151 - weld, 87, 125 - on, wool, 87 - cotton, 124, 151 - silk, 135, 151 - - -THE END. - - -Printed by R. GILBERT, St. John's-Square, London. - - - - - - -End of the Project Gutenberg EBook of The Dyer's Guide, by Thomas Packer - -*** END OF THIS PROJECT GUTENBERG EBOOK THE DYER'S GUIDE *** - -***** This file should be named 53797-0.txt or 53797-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/3/7/9/53797/ - -Produced by Deaurider, Chris Pinfield and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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} - - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of The Dyer's Guide, by Thomas Packer - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Dyer's Guide - -Author: Thomas Packer - -Release Date: December 23, 2016 [EBook #53797] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE DYER'S GUIDE *** - - - - -Produced by Deaurider, Chris Pinfield and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - - -<div id="tnote"> - -<p>Transcriber's Note.</p> - -<p>Apparent typographical errors have been corrected. The use of hyphens has -been rationalised.</p> - -</div> - -<p class="center large">THE DYER'S GUIDE.</p> - -<h2>EPITOME OF COLOURS.</h2> - -<p class="negdent"><i>Colours obtained by</i> <span class="smcap">Sir Isaac Newton's</span> <i>method of -decomposing the rays of light, the least refrangible -being placed first, the most refrangible last.</i> See p. 18.</p> - -<div class="image-center"> - <img src="images/frontispiece.jpg" width="500" height="267" alt="frontis"/> - <div class="caption"> - <p>Red. Orange. Yellow. Green.<br /> - Blue. Indigo. Violet.</p> - </div> -</div> - -<p class="center large">THE DYER'S COLOURS AND THEIR CHIEF COMPOUNDS.</p> - -<p class="center">SIMPLE COLOURS.</p> - -<p class="center"><span class="smcap">Blue, Yellow, Red, Black</span><span -class="fnanchor"><a name="Ref_1" id="Ref_1" href="#Foot_1">[1]</a></span>.<br /> -<span class="smcap">Red</span> <i>includes</i> <span -class="smcap">Crimson, Scarlet, Maroon, Pink</span>, &c.</p> - -<p class="center">COMPOUND COLOURS.</p> - -<p class="center"><span class="smcap">Green</span> is made with <span -class="smcap">Blue</span> and <span class="smcap">Yellow</span>.</p> - -<p class="center"><span class="smcap">Orange</span> with <span -class="smcap">Red</span> and <span class="smcap">Yellow</span>.</p> - -<table class="braces" summary="braces1"> - -<tr> - <td><span class="smcap">Purple</span></td> - <td>⎫</td> - <td></td> -</tr> - -<tr> - <td><span class="smcap">Violet</span></td> - <td>⎬</td> - <td>with <span class="smcap">Blue</span> and <span class="smcap">Red</span>.</td> -</tr> - -<tr> - <td><span class="smcap">Lilac</span></td> - <td>⎭</td> - <td></td> -</tr> - -</table> - -<p class="center"><span class="smcap">Greys</span> with <span -class="smcap">Black</span>, <span class="smcap">Blue</span>, and <span -class="smcap">Red</span>.</p> - -<table class="braces" summary="braces2"> - -<tr> - <td></td> - <td>⎧</td> - <td><span class="smcap">Blue</span>, <span class="smcap">Yellow</span>, - and <span class="smcap">Black</span>;</td> -</tr> - -<tr> - <td><span class="smcap">Olives</span> with</td> - <td>⎨</td> - <td>or</td> -</tr> - -<tr> - <td></td> - <td>⎩</td> - <td><span class="smcap">Blue</span>, <span class="smcap">Yellow</span>, - and <span class="smcap">Red</span>;</td> -</tr> - -</table> - - -<div class="footnote"> - -<p class="nodent"><a name="Foot_1" id="Foot_1" href="#Ref_1">[1]</a> -<span class="smcap">Black</span> according to the theory of Newton, -denotes the <i>absence</i>, and <span class="smcap">White</span> the -<i>presence</i> of all colours.</p> - -</div> - -<hr /> - -<div class="section front"> - -<h1><span class="small">THE</span><br /> - DYER'S GUIDE;</h1> - - <p><span class="x-small">BEING A</span><br /> - <i>COMPENDIUM OF THE ART OF DYEING</i><br /> - <span class="small">LINEN, COTTON, SILK, WOOL, MUSLIN, DRESSES, - FURNITURE, &c. &c.</span></p> - - <p><span class="x-small">WITH THE METHOD OF</span><br /> - SCOURING WOOL, BLEACHING COTTON, &c.</p> - - <p><span class="x-small">AND</span><br /> - <span class="small">DIRECTIONS FOR UNGUMMING SILK, AND FOR WHITENING - AND SULPHURING SILK AND WOOL.</span></p> - - <p><span class="x-small">AND ALSO</span><br /> - <span class="small"><i>AN INTRODUCTORY EPITOME OF THE LEADING FACTS IN CHEMISTRY, - AS CONNECTED WITH THE ART OF DYEING.</i></span></p> - - <p><span class="smcap">By THOMAS PACKER,</span><br /> - <span class="small">DYER AND PRACTICAL CHEMIST.</span></p> - -<div class="quote-container"> -<div class="quote"> - -<div class="part"> -<div class="text">"Cet arte est un des plus utiles et des plus merveilleux qu'on connoisse."</div> -<div class="author"><span class="smcap">Chaptal.</span></div> -</div> - -<div class="part"> -<div class="text">"There is no art which depends so much on chemistry as dyeing."</div> -<div class="author"><span class="smcap">Garnett.</span></div> -</div> - -</div> -</div> - - <p><i>SECOND EDITION</i>,<br /> - <span class="small">CORRECTED AND MATERIALLY IMPROVED.</span></p> - - <p>LONDON:<br /> - <span class="small">PRINTED FOR SHERWOOD, GILBERT, AND PIPER,</span><br /> - <span class="x-small">PATERNOSTER-ROW.</span></p> - - <p>1830.</p> - -</div> - -<div class="pagenum"><a name="Page_v" id="Page_v">{v}</a></div> - -<h2>PREFACE.</h2> - -<p class="nodent"><span class="smcap">To</span> insist on the utility of the present Manual is, assuredly, -superfluous. The favourable reception of the -first edition, sometime since out of print, has stimulated -the author to revise the work throughout, and to render -it more deserving the public approbation. The <i>Appendix</i> -to the first edition now forms a part of the <i>Introductory -Chapter</i>, to which it naturally belongs; to the whole have -been added such improvements as the present advanced -state of knowledge, and particularly chemical knowledge, -has rendered absolutely necessary; and which the <i>practical -dyer</i> will find of considerable importance and much -utility.</p> - -<p>The following <i>letter</i> from the late <span class="smcap">Sir Humphry Davy</span>, -the first chemist of the age, appeared in the Preface to -the first edition; it is here again reprinted as some proof -of the sufficiency of that learned man's judgment, at least -concerning the chemical theory of the art of dyeing.</p> - -<div class="pagenum"><a name="Page_vi" id="Page_vi">{vi}</a></div> - -<div class="top"> -<div class="small right1"><i>No. 16, Berkeley Square</i>,</div> -<div class="small right2"><i>June 18, 1823</i>.</div> -<div class="left2">SIR,</div> -</div> - -<p>I am very much obliged to you for your liberal communication -on a subject of my Lectures: I will attend to -the information you are so good as to give me in the next -Edition.</p> - -<div class="foot"> -<div class="center">I am Sir,</div> -<div class="right2">Your obliged and obedient servant,</div> -<div class="right1">H. DAVY.</div> -<div class="small left1"><span class="smcap">Mr. T. Packer</span>,</div> -<div class="small left0"><i>Stamford Street, Black-Friars Road</i>.</div> -</div> - -<p>The author has only to add, that an Index is now appended -to the work, by which every article may be most -readily and conveniently found.</p> - -<div class="foot"> -<div class="small left0"><i>London, Nov. 1829.</i></div> -</div> - - - <h3>ERRATUM.</h3> - - <p class="center small">Page <a href="#Page_22">22</a>, line 3, for <i>proximate</i> read <i>ultimate</i>.</p> - -<div class="pagenum"><a name="Page_vii" id="Page_vii">{vii}</a></div> - -<h2>CONTENTS.</h2> - -<table id="toc" summary="ToC"> - -<tr> - <td class="chaphdg">CHAPTER I.<br /><span class="x-small">INTRODUCTORY.</span></td> - <td class="pag"><span class="x-small">PAGE</span></td> -</tr> - -<tr> - <td class="chaptxt">On the different branches of dyeing— On the - drugs used in dyeing—On vegetable and animal substances—On - substantive and adjective colours, and mordants—And on the leading - facts of chemical science as connected with the art of dyeing—On - the calico printer's mordant for yellow and red, and on compound - colours—On bleaching—On the theory of fast and fugitive - colours—On dye-houses and water—Miscellaneous observations.</td> - <td class="pag"><a href="#Page_1">1</a></td> -</tr> - -<tr> - <td class="chaphdg">CHAPTER II.<br /><span class="x-small">ON DYEING COTTON.</span></td> - <td class="pag"></td> -</tr> - -<tr> - <td class="chaptxt">To dye cotton a Saxon or chemic blue—Sulphate - of Indigo—Saxon or chemic green—To set a cold indigo - vat—Another Indigo vat—To dye cotton a fast green with the - cold indigo vat and weld—Another cold blue vat for linen and - cotton—solution of indigo for penciling printed muslin, - &c.—To dye cotton a fast buff—To dye cotton pink.</td> - <td class="pag"><a href="#Page_47">47</a></td> -</tr> - -<tr> - <td class="chaphdg">CHAPTER III.<br /><span class="x-small">ON DYEING SILK.</span></td> - <td class="pag"></td> -</tr> - -<tr> - <td class="chaptxt">To alum silk—The blue vat of indigo for - silk—Another blue vat for silk—To dye silk violet, royal - purple, &c.—To dye silk lilac—Another process for - lilac—Another process for dyeing muslin, &c. lilac—To - dye silk a violet or purple with logwood—To dye silk violet with - Brazil wood and logwood—To dye silk violet or purple with Brazil - wood and archil.</td> - <td class="pag"><a href="#Page_63">63</a></td> -</tr> - -<tr> - <td class="chaphdg">CHAPTER IV.<br /><span class="x-small">ON SCOURING AND DYEING WOOL.</span></td> - <td class="pag"></td> -</tr> - -<tr> - <td class="chaptxt">On the action of alum and tartar upon wool—A - pastil or woad vat for blue—To prepare the indigo mentioned in the - preceding directions—Rules to judge of the state of the - vat—Indications when a vat has had too much or too little - lime—To work a vat which is in proper order—On the - putrefaction of the woad vat—Methods of dyeing blues—To dye - wool with lac-dye, scarlet, or crimson—To dye worsted yarn a - crimson—A preparation of archil to finish the crimson—on - dyeing wool scarlet—To dye wool maroon—To dye wool - yellow—To dye wool brown or of a fawn colour—To dye wool - purple, &c.—To dye wool green—A chemic vat for green - woollen—A chemic vat for blue woollen—To dye wool orange, - gold colour, &c.—To dye wool black—Another process for - black without a blue ground—To dye wool a grey—Mixture of - black or grey with red and blue—On browns, fawns, greys, - &c.—On the yellow of Quercitron bark—On a full bright - yellow from the same bark—Bancroft's murio-sulphate of - tin—To dye wool buff—To dye wool peach—To set an - indigo vat for worsted, serge, &c.</td> - <td class="pag"><a href="#Page_70">70</a></td> -</tr> - -<tr> - <td class="chaphdg">CHAPTER V.<br /><span class="x-small">ON DYEING SILK AND COTTON BLACK.</span></td> - <td class="pag"></td> -</tr> - -<tr> - <td class="chaptxt">To dye silk black for velvets—To dye silk - black <i>London process</i>—On dyeing cotton black at - <i>Rouen</i>—To dye cotton black, <i>London process</i>—For - dyeing black, particularly cotton velvets, at <i>Manchester</i>—On - dyeing silk and cotton black with a blue ground—Another iron - liquor—To dye cotton black by using the preceding - solution—to dye cotton violet—To dye cotton red—To dye - cotton an Adrianople or Turkey red—Miscellaneous observations - relative to Adrianople red.</td> - <td class="pag"><a href="#Page_105">105</a></td> -</tr> - -<tr> - <td class="chaphdg">CHAPTER VI.<br /><span class="x-small">ON DYEING COTTON AND SILK.</span></td> - <td class="pag"></td> -</tr> - -<tr> - <td class="chaptxt">To dye skein cotton yellow—On dyeing and - re-dyeing cotton furniture yellow—to dye cotton skein a duck's - wing green and olive—Of browns, maroons, coffee colours, - &c.—Observations on silk—On ungumming and boiling - silk—Whitening—Sulphuring—On aluming silk—Skein - silk for yellow—Preparation of annatto for aurora or orange, - moidore, gold colour, and chamois—To dye silk aurora or - orange—To dye moidore—Process for orange—To dye silk - poppy or coquelicot—A cheaper poppy with annatto and Brazil - wood—On dyeing, silk a fine crimson—Composition for dyeing - silks scarlet or crimson with cochineal—Another process for - crimson—Another process for crimson by Brazil wood—Of fine - violet—Observations on crimson and scarlet upon silk—On - dyeing silk green—On olives—On dyeing silk grey—Nut - grey—Black greys—Iron greys—On dyeing silk of a - Prussian blue colour—Chromate of lead for yellow on silk or - cotton—Conclusion.</td> - <td class="pag"><a href="#Page_123">123</a></td> -</tr> - -<tr> - <td class="chaptxt">Index</td> - <td class="pag"><a href="#Page_153">153</a></td> -</tr> - -</table> - -<div class="pagenum"><a name="Page_1" id="Page_1">{1}</a></div> - -<p class="center"><span class="small">THE</span><br /> -<span class="large">DYER'S GUIDE.</span></p> - -<h2>CHAPTER I.<br /> -<span class="small">INTRODUCTORY.</span></h2> - -<p class="negdent"><i>On the different branches of dyeing—On the drugs used -in dyeing—On vegetable and animal substances—On -substantive and adjective colours and mordants, and -on the leading facts of chemical science, as connected -with the art of dyeing—On the Calico-Printers' mordant -for yellow and red, and on compound colours—On -bleaching—On the theory of fast and fugitive -colours—On dye-houses and water—Miscellaneous -observations.</i></p> - -<p class="nodent"><span class="smcap">The</span> -trade of a Dyer is, in this country, subdivided into -several distinct branches. Thus we have <i>woollen dyers</i>, -who are occupied solely in the colours obtained from -<i>cochineal</i>, such as <i>scarlet</i>, <i>crimson</i>, <i>orange</i>, <i>buff</i>, <i>&c.</i>; -likewise <i>purple</i>, or <i>royal purple</i>, obtained from <i>cochineal</i> -and <i>indigo</i>. They are called, also, <i>grain dyers</i>, from -the circumstance of the colouring material, cochineal, -<span class="pagenum"><a name="Page_2" id="Page_2">{2}</a></span> -being in small grains<span -class="fnanchor"><a name="Ref_2" id="Ref_2" href="#Foot_2">[2]</a></span>. -Yet it ought to be observed, -that the term <i>dyed in grain</i> is applied by the public -generally in a very different sense, namely, to those -cloths the raw material of which is dyed previously to -being spun into thread, or at least before woven into -cloth; and hence such dyes are usually more permanent -than those which are dyed after the materials are woven -into cloth. This class of dyers generally dye cloth in -the piece, or a number of pieces of cloth tacked together, -and worked over a winch in a suitable copper.</p> - -<p>There are dyers who likewise dye worsted and woollen -yarn of those grain colours, but they are generally a -distinct branch. The yarn is dyed in hanks, upon -sticks; and, when in the copper, the hanks are changed -end for end, so that they may be kept even; such -changing being performed five or six times to each turning -in.</p> - -<p>There are also silk dyers who are grain dyers. -These dye in the skein, chiefly for new goods. Some -silk, and some mixed silk and worsted goods, are dyed -in the piece.</p> - -<p>In <i>dyeing cotton</i>, the <i>Adrianople</i> or <i>Turkey Red</i> is, in -many cases, a branch of itself, and comes the nearest to -what may be called grain or scarlet dyeing upon cotton, -because cochineal cannot be applied to cotton to any -advantage; yet cotton is occasionally dyed with this -material.</p> - -<p>In woollen another branch consists of the <i>woad dyers</i>. -These often superintend the black dye on woollen cloth, -<span class="pagenum"><a name="Page_3" id="Page_3">{3}</a></span> -as well as the blue from woad and indigo. There is -the same distinction among <i>worsted yarn dyers</i>, they -having likewise to do slates, greys, &c. Nearly the -same may be said of the <i>silk skein dyers</i>.</p> - -<p>In many places, particularly in the country, browns, -drabs, stone-colours, &c. constitute a branch in woollen. -The same colours form also a branch in calico and -muslin; but <i>black</i>, in calico and muslin, is a distinct -branch.</p> - -<p>The dyers (whether in London or provincial towns) -who keep shops, and take in garments, furniture, &c. to -be dyed, are termed by the trade <i>Rag-dyers</i>.</p> - -<p>There are a few dyers in the metropolis who dye <i>black</i> -on woollen, silk, cotton, &c. for the dye-shops, many -of these putting all their black out to be dyed.</p> - -<p>There are one or two dyers famous for dyeing silk -stockings <i>black</i>; these constitute a particular branch. -Dyeing bombasins black is also another branch.</p> - -<p>The following constitute also particular branches: <i>black -hats,—hats of fancy colours,—fur,—chip and straw,—feathers,—leather, -Morocco and Spanish, and kid -leather for shoes and gloves</i>. Many other branches of -the dye-trade might be enumerated, but more detail does -not appear necessary.</p> - -<p>Concerning all these different branches, one general -observation will suffice; namely, that those who are -concerned in them have, for the most part, obtained, -their knowledge of the art of dyeing, not from theories -adapted to explain the different processes, but from -practice in that branch in which they are occupied. -They usually, therefore, perform those processes which -<span class="pagenum"><a name="Page_4" id="Page_4">{4}</a></span> -they have been shewn and told, without any inquiry into -the causes which produce the results. There are, it is -admitted, exceptions to this, men of general information -and knowledge being occasionally found in the -various branches of dyeing, but they are so few, that it -may be questioned, when compared with the great body -employed in the art, whether they amount to one in a -thousand. This is not, however, to be attributed to any -indifference in such persons to acquire a correct knowledge -of the art, but is chiefly owing to a deficiency of -the ready means of acquiring such information; which -information it is the design of the present Treatise to -supply; there not being, as far as the present writer -knows, any such work, at a moderate price, to be obtained -in the English language.</p> - -<p>It is true many of the <i>Cyclopædias</i> furnish us with -much useful information on the subject of dyeing: one -of these, <span class="smcap">Jennings's</span> <i>Family Cyclopædia</i>, may be particularly -mentioned as containing such; but it is scattered -about in these dictionaries in various ways, at once -troublesome and unpleasant to obtain. Dr. <span class="smcap">Bancroft's</span> -work on the philosophy of <i>Permanent Colours</i>, in two -octavo volumes, will also supply much valuable information; -so also will the edition, some time since published, -of <span class="smcap">Berthollet's</span> <i>Elements of the art of Dyeing</i>, with -the addition of valuable <i>Notes</i> by Dr. <span class="smcap">Ure</span>. Dr. <span class="smcap">Ure's</span> -<i>Chemical Dictionary</i> is also very useful to the dyer, -us well as many detached papers in several of our -English publications. A <i>Treatise on Printing and Dyeing -Silks, &c.</i> lately published by <span class="smcap">H. M'Kernan</span>, is also -valuable, and should be consulted by the curious in this -<span class="pagenum"><a name="Page_5" id="Page_5">{5}</a></span> -art. But all these works are expensive, and such as few -dyers will be disposed to obtain; hence the necessity of -the present Manual, the author of which has not servilely -followed the directions or recommendations of any previous -writer; but from his own practice, a practice of -more than thirty years, has laid down such rules as he -knows to be at once practical and efficient. At the -same time he thinks it right to state, that he has not -only consulted all the works mentioned above, but also -<i>Hellot, Macquer, &c.</i> adopting all that appeared essential -in these, and giving such additions as accord with -the present improved state of chemistry and dyeing; -and, as far as was possible, in the limits prescribed for -this work, so that it may be within the reach of every -dyer in the kingdom, as well as every journeyman and -apprentice in all the various branches of this truly extensive -and mysterious art, as carried on in London, Norwich, -Yorkshire, Gloucestershire, and various other parts -of the British dominions.</p> - -<p>The author has, in treating of the various matters to -be dyed, adopted nearly the same arrangement as that -which appears in the <i>Title</i>, taking <i>Cotton</i> first, in consequence -of its having the least affinity for dyeing bodies. -He has taken <i>Silk</i> next, which has a greater affinity for -many dyes, and, when dyed, yields colours more permanent -than cotton.</p> - -<p><i>Wool</i> he has not placed entirely last, although many -of the colours which it receives from the dyer are complex. -The <i>black dyeing</i> of <i>cotton</i> and <i>silk</i> is placed -after the processes of black for wool, as likewise the -<i>Turkey red</i>, <i>&c.</i> these being naturally difficult to perform.</p> - -<p><span class="pagenum"><a name="Page_6" id="Page_6">{6}</a></span> -<i>White</i> and <i>black</i> have been considered colours by -dyers, and with propriety, black forming a part of slate, -grey, &c. White is seldom pure; in proportion to its -clearness and purity will the colours be with which it is -dyed.</p> - -<p>In regard to <i>black dye</i>, and particularly <i>cotton black -dye</i>, the author does not know any simple and concise -theory, consistent with chemical principles. He flatters -himself, however, that from his extensive experience, -his observations are founded on interesting facts. Cotton, -for instance, will take fast blues from the cold indigo -vat; this vat, with the combination of iron, and in a -heat no greater than the hand can bear, will easily produce -all shades of grey, slate, &c. Many of these -colours may be done by logwood instead of the blue -vat, and in the same heat of the dye bath; so cotton -likewise, whether in pieces or skeins, may be dyed -brown, fawn, drab, &c. in consequence of the great affinity -which cotton has for acetate and sulphate of iron.</p> - -<p>With respect to <i>black</i>, it should be also observed, that -few substances are known which yield <i>by themselves</i> a -good black. The juice of the <i>cashew nut</i> communicates, -however, a black colour, which resists not only washing, -but even boiling with soap and alkaline leys. It is -used for marking linen. The <i>Toxicodendron</i> yields a -juice which produces nearly the same effect. Some -other vegetables also produce black dyes, but all of -them in such small quantities as not to be available for -the purposes of art; nor do they, besides, produce -blacks equal to those formed in the dye-house.</p> - -<p><i>Blue</i>, <i>red</i>, and <i>yellow</i> are admitted to be three distinct -<span class="pagenum"><a name="Page_7" id="Page_7">{7}</a></span> -colours. In many of the <i>browns</i>, red and yellow -are combined naturally in the drugs from which they are -produced, and so they are in logwood. Blue, red, and -yellow, are developed by <i>iron</i>, whether in the state of -an acetate or sulphate.</p> - -<p>It may be useful, before we proceed any farther in -noticing the theories of dyeing, to give a brief description -of the</p> - -<h3>Drugs Applicable to Dyeing.</h3> - -<p><span class="smcap">Alum</span>, or <i>Potash-sulphate of alumina</i>, is a concrete -salt, composed of alumina or clay, potash, and sulphuric -acid. It is found native in some places; but the -greatest part of the alum of commerce is prepared by a -peculiar management of schistose pyritic clays, usually -denominated <i>alum ores</i>. Alum is made at Civita Vecchia, -in Italy, and also at many other places on the continent; -at Hurlett near Glasgow, at Whitby in Yorkshire, -&c. Its form and appearance are both too well -known to need being described. Its chemical composition -is as follows: sulphate of alumina, 36.70; sulphate -of potash, 18.88; and water, 44.42—together 100. The -alum called in commerce <i>Roch alum</i>, said to be obtained -from Roccha, in Syria, is in smaller crystals than common -alum, and has a reddish hue, but does not appear to -be essentially different from the common alum. Common -alum requires sixteen parts of water, at a temperature -of 60°. to dissolve one of it; but there is another -kind not generally made or known, containing <i>soda</i> -instead of potash, and hence with propriety named <i>soda-sulphate -of alumina</i>, which is soluble in less than its -<span class="pagenum"><a name="Page_8" id="Page_8">{8}</a></span> -own weight of water, and which, on this account, may become -valuable in some processes of dyeing.—<span class="smcap">Ure.</span></p> - -<p><span class="smcap">Acetate of Alumina</span> is prepared in large quantities -for the calico printers, by decomposing alum with acetate -of lead, or more economically with aqueous acetate of -lime, having a specific gravity of about 1.050, a gallon -of which, equivalent to nearly half a pound avoirdupoise -of dry acetic acid, is employed for every 2½ lbs. of alum. -A sulphate of lime is formed by complex affinity which -precipitates, and an acetate of alumina floats.—<span class="smcap">Ure.</span></p> - -<p><span class="smcap">Archil</span>, <span class="smcap">Archilla</span>, <span class="smcap">Rocella</span>, <span class="smcap">Orseille</span>, or <span class="smcap">Litmus</span>, -is said to be a whitish lichen growing upon rocks in -the Canary and Cape Verd islands, which yields a rich -purple tincture, fugitive, but extremely beautiful. It is -brought to this country as it is gathered; it is prepared -here for the dyer, by grinding it between stones, so as -thoroughly to bruise but not to reduce it into powder; -it is moistened occasionally with a strong spirit of urine, -or urine itself, mixed with quicklime; in a few days it -acquires a purplish red, and at length a blue colour; -in the first state it is called <i>archil</i>, in the latter <i>lacmus</i> -or <i>litmus</i>. The dyers rarely employ this drug by itself, -on account of its dearness and the perishableness of its -beauty. Its chief use is to give a bloom to other colours, -as pinks, &c.</p> - -<p><span class="smcap">Cudbear</span> is also manufactured in this country from -archil, and is in repute for dyeing various shades, from -pink and crimson to a mazarine blue; it is said these colours -are very permanent.</p> - -<p><span class="smcap">Argol</span>, or <span class="smcap">Tartar</span>, is a crystalline substance deposited -in wine casks during the fermentation of the wine, -<span class="pagenum"><a name="Page_9" id="Page_9">{9}</a></span> -from the juice of the grape, in which it exists in considerable -abundance. It is an impure <i>supertartate of -potash</i>; that is, potash combined with a superabundant -quantity of <i>tartaric acid</i>. Algol is found in commerce -of two colours, <i>white</i> and <i>red</i>. <i>Cream of tartar</i> is the -same substance freed from colouring and other extraneous -matter.</p> - -<p><span class="smcap">Blood.</span> See <span class="smcap">Adrianople red</span>.</p> - -<p><span class="smcap">Bran</span> acts in some peculiar way on colouring matter, -but scarcely on the mordants. It seems to loosen and -remove the colouring matter; as also to alter its hue in -some cases, an effect obvious in the bran pinks.—<span class="smcap">Ure.</span></p> - -<p><span class="smcap">Chlorine.</span> See <span class="smcap">Oxymuriatic acid</span>.</p> - -<p><span class="smcap">Cochineal</span> is the female insect of the <i>coccus cacti</i> found -on the <i>cactus coccinellifer</i> and <i>cactus opuntia</i>, <i>Prickly -pear</i> or <i>Indian fig</i>, natives of South America, the West -Indies, and other tropical regions. The female of the -insect is the true cochineal; in her full sized, pregnant, -and torpid state, she bears so small a proportion to her -former or creeping state, that her antennæ, legs and -proboscis are scarcely discernible; her whole appearance -is that of a whitish berry, and so it was formerly regarded. -This insect is found in a wild state in Mexico, Georgia, -South Carolina, and some of the West India Islands, -feeding on several species of the <i>cactus</i>; but in some of -the Spanish settlements, as well as in Mexico, the insect -is domesticated, and fed on the cactus coccinellifer, -which is cultivated for the purpose, on which it attains a -much larger size than in its wild state. Cochineal is -also obtained from the East Indies; but East Indian -cochineal has not yet attained the quality of that produced -<span class="pagenum"><a name="Page_10" id="Page_10">{10}</a></span> -in the West Indies and America. Its use, as a -colour for dyeing many shades of red, &c. is great and -important.</p> - -<p><span class="smcap">Copper</span> is also used in dyeing, in the state of a <i>sulphate</i> -or <i>blue copperas</i>, a <i>nitrate</i>, and also as an <i>acetate</i>. -See <span class="smcap">Verdigris</span>.</p> - -<p>The <span class="smcap">Gall</span> or <span class="smcap">Bile</span> of <small>ANIMALS</small> consists of a saponaceous -bitter, yellowish fluid, secreted by the liver, and -found in the sac usually called the gall-bladder. It is -sometimes preferred to soap for cleansing cloths by the -dyer and the scourer.</p> - -<p><span class="smcap">Galls</span> are excrescences produced on the <i>quercus infectoria</i>, -a species of oak growing throughout Asia -Minor. The gall grows on the shoots of the young -boughs, and is produced by an insect, the <i>cynips quercusfolii</i>; -this insect punctures the tender shoot with its -sting and deposits its egg in the puncture; the egg is -soon hatched, and the irritation of the maggot feeding -on the plant produces the wen or gall-nut. When the -nuts are gathered before the worm within changes to a -fly, and not yet having eaten its way out, they are of a -dusky green colour, and are called in commerce <i>blue</i> -galls, and are by far the best. Those collected after -the fly has eaten its way out have a hole in each, are of a -whitish yellow colour, considerably lighter than the blue-galls, -and of an inferior quality: they are brought to -this country chiefly from Aleppo. They are used in -large quantities in the arts, principally for dyeing, and -making ink. They contain a large quantity of <i>Tannin</i> -and <i>Gallic acid</i>.</p> - -<p><span class="smcap">Indigo</span> is a well known deep blue substance, obtained -<span class="pagenum"><a name="Page_11" id="Page_11">{11}</a></span> -from the <i>Indigofera tinctoria</i> or Indigo bearing plant, -a native of the East Indies, which is propagated by -seed and will thrive in most tropical climates; hence we -have good indigo from South America, the East Indies, -Carolina, &c. The chief criterion of the goodness of -indigo is, if, when cut with a knife, it exhibits a reddish -copper-like appearance; where this shade is not, or -only very slight, the indigo is of inferior value. It is prepared -by macerating the leaves in water, whence is obtained -the blue feculence or indigo. Indigo is insoluble -in water, but soluble in sulphuric acid, hence a solution -of it in this acid, forming a <i>sulphate of indigo</i>, is well -known in the art of dyeing.</p> - -<p>The best indigo is that called <i>Flora</i>, which floats in -water, all the other kinds sink in that fluid.</p> - -<p>The constituent parts of indigo are Carbon, 73.22, Nitrogen -11.26, Oxygen 12.60, and Hydrogen, 2.92, = 100.</p> - -<p>When indigo is digested in concentrated sulphuric -acid, it is converted into a peculiar blue substance, commonly -called <i>sulphate of indigo</i>; this colouring matter -has been, however, lately named <span class="smcap">Cerulin</span>, by <span class="smcap">Mr. W. -Crum</span>, who has made many experiments on it; (see notes -to <i>Bertholet</i>, vol. ii. p. 357. et seq.) he observes that -<i>cerulin</i> dissolves more abundantly in sulphuric acid than -water; but this does not prove the formation of a compound -entitled to be called sulphate of indigo; that, such -a solution differs in no respect from that of resins in -acids or in alcohol. Another substance has been also -obtained from indigo by <span class="smcap">Mr. Crum</span>, of a purple colour, -which he calls <i>Phenicin</i>; it dissolves both in water and -alcohol.</p> - -<p><span class="pagenum"><a name="Page_12" id="Page_12">{12}</a></span> -<span class="smcap">Iron</span> rarely in its metallic state enters into the manipulations -of dyeing, but its <i>sulphate</i>, <i>muriate</i>, <i>acetate</i>, -&c. as well as its <i>oxides</i> contribute largely to the dyer's -art.</p> - -<p><span class="smcap">Sulphate of Iron</span>, or <i>green copperas</i>, as it is commonly -called, is too well known to need description; it is -in green crystals of different sizes, and is used for various -purposes in dyeing, &c.</p> - -<p><span class="smcap">Peracetate of Iron</span>, or <span class="smcap">Acetate of Iron</span>, forms -a reddish-brown uncrystallizable solution, much used by -the calico printers, and is prepared by keeping iron -turnings or pieces of old iron for six months immersed -in redistilled pyrolignous acid. It may be also prepared -in a more expeditious way by boiling filings of iron with -the acid.</p> - -<p><span class="smcap">Lac dye</span> and <small>LAC LAKE</small> are two articles now regularly -imported from the East Indies, and employed for dyeing -scarlet. They both appear to be the colouring matter of -seed-lac, obtained from it in India by a process not generally -known. Both these articles are in lumps or cakes of -a dark-reddish or blackish colour.</p> - -<p><span class="smcap">Muriatic acid</span>, or <i>spirit of salt</i>, as it was formerly -called, is obtained from common salt or muriate of soda, -by distillation with sulphuric acid. When this acid is -pure it is perfectly colourless, but it generally has a yellow -hue arising from a little iron. It gives out, at all temperatures, -a large quantity of a fuming suffocating gas of -a peculiar smell. Its usual specific gravity is about -1.160. For the basis of this acid see <span class="smcap">Oxymuriatic acid</span>.</p> - -<p><span class="smcap">Nitric acid</span> is composed of oxygen and nitrogen: it is -usually obtained from <i>nitre</i>, (the chemical name of which -<span class="pagenum"><a name="Page_13" id="Page_13">{13}</a></span> -is <i>nitrate of potash</i>,) by distilling three parts of it with -two of sulphuric acid. When pure, nitric acid is a -colourless, extremely sour, and corrosive liquor. Its -specific gravity is 1.42; it always contains more or less -water, which modifies its specific gravity. It is usually -coloured with nitrous acid gas. It forms a variety of -compounds with numerous other bodies. <i>Aqua fortis</i> -is this acid diluted more or less with water; when strong -it is called <i>double</i>, when weak <i>single aqua fortis</i>. For -<span class="smcap">Nitrogen</span>, <i>see forwards</i>.</p> - -<p><span class="smcap">Nitro-muriatic acid</span>, or <small>AQUA REGIA</small>, is a mixture of -nitric and muriatic acids. It is usually made by dissolving -sal ammoniac or common salt in nitric acid. When the -former is employed the usual proportion is one of the -salt to four of the acid; but equal parts will be necessary -to dissolve <i>platinum</i>. <i>Aqua regia</i> is the only menstruum -which will dissolve gold.</p> - -<p><span class="smcap">Orpiment</span>, <small>REALGAR</small>, or <small>SULPHURET</small> of <small>ARSENIC</small> has -been lately applied to the purposes of dyeing a yellow -colour. Sulphur may be combined with arsenic in different -proportions. Realgar is red, and occurs native in -Germany and Switzerland; it is also produced by art. -Orpiment is commonly produced by art and is of a yellowish -colour; native orpiment is also occasionally found; -it is of a bright lemon colour.</p> - -<p><span class="smcap">Oxymuriatic acid</span>, or as it is now more correctly -termed <small>CHLORINE</small>, from its yellowish green colour, is an -elastic gaseous fluid of a pungent disagreeable smell, and -highly injurious to animal life, even when largely diluted -with atmospheric air. Mixed with hydrogen, and exposed -to light, they combine and produce a sour compound -<span class="pagenum"><a name="Page_14" id="Page_14">{14}</a></span> -called <i>muriatic acid</i> gas; this gas is greedily -absorbed by water, which takes up 480 times its bulk, -and has its specific gravity increased from 1 to 1.210. -Thus dissolved in water it forms the <i>liquid muriatic acid</i> -mentioned in a preceding article.</p> - -<p>Chlorine forms combination, besides, with several other -bodies; many of its combinations are termed <i>oxymuriates</i>, -or more properly, <i>chlorides</i>: some of these are -extremely useful in bleaching, dyeing, &c. The <i>muriatic -acid</i> appears to be the only acid of any consequence into -which oxygen does not enter.</p> - -<p><span class="smcap">Oxide</span> is the combination of oxygen with some base, -without being in the state of acid; it is most commonly -applied to the combination of oxygen with metals; most -of the different rusts of metals are oxides. As oxygen -combines with the metals and other bodies in different -proportions, its combinations are distinguished by different -prefixes, thus: <i>protoxide</i> denotes an oxide containing -the least quantity of oxygen: <i>deutoxide</i> the next -larger quantity; <i>tritoxide</i> the next; and <i>peroxide</i> the -largest possible quantity of oxygen in the compound when -it is not acid. For <span class="smcap">Oxygen</span> <i>see forwards</i>.</p> - -<p><span class="smcap">Pot-ashes</span> and <span class="smcap">Pearl-ashes</span> (one of the fixed alkalies) -are both impure <i>carbonates of potash</i> obtained from -the ashes of innumerable vegetables, over which water -is poured which dissolves the salts, and by evaporating -the water leaving the salt, a dry powdery white mass -is obtained. The chief difference between pot-ashes and -pearl-ashes consists in the superior whiteness of the latter, -and in the former being of a more dirty colour, and -more caustic than the latter; hence it is not so highly -<span class="pagenum"><a name="Page_15" id="Page_15">{15}</a></span> -saturated with carbonic acid. For many purposes in the -arts such caustic potash is to be preferred.</p> - -<p><span class="smcap">Quercitron</span>, or <span class="smcap">American-bark</span> is obtained from -the <i>quercus nigra</i> or black oak, a native of North America. -It is used for dyeing yellow, and was brought into -notice by <span class="smcap">Dr. Bancroft</span>, who obtained the exclusive -privilege of using it as a dye by an Act of Parliament, -passed in the 25th year of the reign of George III.</p> - -<p><span class="smcap">Safflower</span>, <i>bastard-saffron</i> or <i>carthamus</i>, is obtained -from one or two plants, species of the <i>carthamus</i> genus, -natives of the South of Europe and the Mediterranean -coasts. This dyeing material consists of two colouring -substances, a yellow and a red. The former is of little -value, the latter which is soluble in alkalies forms, by -precipitation with acids, a beautiful red pigment sometimes -used for silk dyeing, but more commonly in the -preparation of <i>rouge</i>.</p> - -<p><span class="smcap">Soda</span>, called sometimes mineral alkali, is another of -the fixed alkalies; it forms the basis of common salt, that -being a muriate of soda; soda, under the name of <i>barilla</i>, -is used in making soaps, and also in dyeing.</p> - -<p><span class="smcap">Sulphur</span>, or <span class="smcap">Brimstone</span>, is scarcely used for dyeing -in its crude state, but when combined with oxygen forming -<i>sulphuric acid</i>, as well as when that acid is combined -with various bases, as <i>iron</i>, <i>alumina</i>, &c. it becomes -of great importance in this art; see <span class="smcap">Sulphuric acid</span>.</p> - -<p><span class="smcap">Sulphate of Iron</span>, see <span class="smcap">Iron</span> above.</p> - -<p><span class="smcap">Sulphuric Acid</span> was for many years, and still is -called by the vulgar, <i>oil of vitriol</i>, because it was formerly -obtained from green vitriol or sulphate of iron, but -the more simple and ingenious processes of modern chemistry -<span class="pagenum"><a name="Page_16" id="Page_16">{16}</a></span> -have superseded the old methods; sulphuric acid -is now obtained by burning sulphur with a certain portion -of saltpetre in large leaden cisterns. The acid fumes -sink into the water placed at the bottom of the cistern, -the water being afterwards boiled away: the acid is -afterwards purified by retorts, placed in a sand heat. The -specific gravity of good sulphuric acid should be 1.85.</p> - -<p><span class="smcap">Sumach</span> is the production of the <i>rhus coriaria</i>, a shrub -which grows naturally in Syria, Palestine, Spain, and -Portugal. It is cultivated in the two last countries with -great care. Its shoots are cut down every year quite to -the root, and after being dried are reduced to powder, -and thus prepared for the purposes of dyeing, &c. Sumach -bears a great resemblance, as an astringent, to galls. -Sumach alone gives a brown and a fawn colour, but cotton -stuffs impregnated with acetate of alumina take a -durable yellow from it.</p> - -<p><span class="smcap">Tartar</span>, see <span class="smcap">Argol</span>.</p> - -<p><span class="smcap">Tin</span>, dissolved in nitric or muriatic acid, forms solutions -of great importance in many processes of dyeing, particularly -scarlet. These solutions are called respectively -<i>nitrate</i> and <i>muriate of tin</i>.</p> - -<p><span class="smcap">Turmeric</span> is a root obtained from a plant growing -both in the East and West Indies. The root is used -chiefly for dyeing yellow; but it is a fugacious colour.</p> - -<p><span class="smcap">Verdigris</span> is a crude <i>acetate of copper</i>, obtained by -exposing copper plates to the husks, &c. of grapes, -which containing considerable acetic acid, the acid combines -with the surface of the copper plates, forming a -blueish green rust, which is scraped off, and forms the -verdigris of commerce. A still more complete acetate of -<span class="pagenum"><a name="Page_17" id="Page_17">{17}</a></span> -copper is obtained in <i>distilled verdigris</i>, which is in -elegant green crystals. The best verdigris is made in -France; some is now also made in this country.</p> - -<p><span class="smcap">Weld</span>, sometimes called improperly <span class="smcap">Woulds</span>, <i>dyer's-weed</i>, -or <i>Reseda luteola</i>, is a plant found wild, in this -country, but cultivated for the purposes of the dyer; it -is much used for yellows.</p> - -<p><span class="smcap">Woad</span>, or <span class="smcap">Pastel</span>, is obtained from a plant growing -in various parts of Europe and also in this country; it -is the <i>Isatis tinctoria</i>, and is cultivated with care for -the dyeing matter which it affords, and which is obtained -from the leaves of the plant, collected and prepared in a -particular manner. Woad gives a full-bodied and fast -blue to wool, yet not very bright, so that it is usually -mixed with indigo<span -class="fnanchor"><a name="Ref_3" id="Ref_3" href="#Foot_3">[3]</a></span>.</p> - -<p>Besides the preceding substances we may mention that -<i>annatto</i> is used for dyeing several colours; <i>kermes</i>, <i>madder</i>, -and <i>Brazil wood</i> for <i>reds</i>; <i>logwood</i> for <i>purple</i> and -<i>black</i>; <i>peach-wood</i> for <i>maroon</i>, &c.; <i>fustic</i>, <i>dyer's-broom</i>, -<i>saw-wort</i>, <i>French-berries</i>, &c. for <i>yellow</i>; <i>walnut-root</i>, -and the outside <i>green shell of the nuts</i> for <i>browns</i>. We -may also mention <i>prussiate of potash</i>, <i>acetate of lead</i>, -commonly called <i>sugar of lead</i>, and <i>oxide of manganese</i>, -as occasional articles used for various purposes by the -dyer. Several other substances are also used in dyeing, -which we cannot enumerate; some are mentioned in the -subsequent pages. We may, however, name <i>cam-wood</i>, -<i>bar-wood</i>, <i>redsanders</i>, and <i>myrobolans</i>. We ought also -<span class="pagenum"><a name="Page_18" id="Page_18">{18}</a></span> -to observe that how desirable soever it may be to have all -<i>woods</i> for dyeing, in powder, in order to obtain the -greatest quantity of colouring matter from them by decoction -or otherwise, yet, as in a <i>powdered</i> state they -are much more likely to be adulterated than in <i>chips</i>, it -is most advisable to purchase them in this last state; <i>logwood</i> -in particular ought never to be purchased in powder.</p> - -<h3>On the Component Parts of Vegetable and Animal substances.</h3> - -<p>In order more correctly to understand the theory and -practice of dyeing, it is essential that the pupil should -become acquainted with the nature of the substances upon -which and with which he must necessarily operate. We -shall not enter into the theories of <i>light</i> and of <i>colours</i>, -as propounded by Sir Isaac Newton, as well as many -illustrious chemists, who have already done so much for -the art of dyeing, but shall simply refer to such writers -as <span class="smcap">Ure</span>, <span class="smcap">Bancroft</span>, <span class="smcap">Berthollet</span>, <span class="smcap">Brande</span>, &c. from -whom may be learnt what is of most importance to be -known concerning this curious subject.</p> - -<p>We may just add, however, in regard to <i>light</i>, that -Sir Isaac Newton proved it consists of rays differing -from each other in their relative refrangibilities. By -causing light to pass through a hole in a window-shutter -into a darkened room, and receiving that light on a glass -prism, the rays, in passing through the prism, not only -became <i>refracted</i>, that is, thrown out, of the rectilinear -direction, but also <i>separated</i> into seven distinct colours, -namely, <i>red</i>, <i>orange</i>, <i>yellow</i>, <i>green</i>, <i>blue</i>, <i>indigo</i>, and -<span class="pagenum"><a name="Page_19" id="Page_19">{19}</a></span> -<i>violet</i>. The red being the least refracted and violet the -most. If these prismatic, or <i>primary</i> colours, as they -are usually called, be divided into 360 equal parts, the -red rays will occupy 45 of these parts, the orange 27, -the yellow 48, the green 60, the blue 60, the indigo -40, and the violet 80, and, what is very remarkable, -these colours, when mixed in the proportions here set -down, produce <i>white</i>. This may be readily proved by -mixing seven powders of the colours and quantity mentioned, -or by painting a wheel with the same proportions -of the different colours and making it revolve rapidly. -But it should be noted, that, in either case, the <i>white</i> will -not be so pure and delicate, as that produced by the -mixture of the rays of light. Upon these phenomena -is founded the Newtonian theory of colours. Thus -green bodies reflect the green rays and absorb the others. -All the rays are reflected by white bodies, and absorbed -by those which are black.</p> - -<p>It is, notwithstanding, highly necessary that the learner -should know that portion of <i>modern chemistry</i> which -will lead him to the best secrets of his art, and hence -assure him of that which was only before conjecture. And -it cannot be sufficiently impressed upon him, that if our -theory be not true, we work from wrong <i>data</i>; we may, -it is true, approach the truth; be right in some things -and wrong in others, and our uncertainty and mistakes -will be accordingly; yet the most complete dyer must -be he, who with extensive practice combines a knowledge -of the true principles of his art, to which modern chemistry -is, doubtless, the key.</p> - -<p>It is scarcely necessary to insist further on the importance -<span class="pagenum"><a name="Page_20" id="Page_20">{20}</a></span> -of a knowledge of the constituent parts of vegetable -and animal bodies, as well as those inorganic substances -with which chemistry has so largely to deal; but -it will be seen, in the course of our subsequent observations, -what difficulty there is in <i>dyeing cotton</i> of a red -colour, similar to that produced by cochineal on <i>wool</i>; -how, in dyeing <i>cotton yarn</i> an <i>Adrianople red</i>, the intestinal -liquor of the sheep, and the dung and the blood -of the same animal are used, and have been found so -important by the dyers of Asia; hence the colour is -called the <i>Adrianople</i> or <i>Turkey red</i>.</p> - -<p>It is found by experience, and particularly in hot -climates, that substances containing <i>ammonia</i> (volatile -alkali) quite developed, have the property of raising and -rendering more intense the red colours. It has been -found, too, that the bones of animals retain the colour -of <i>madder</i> very strongly, when they have been given that -colouring material; and the vivacity of the colour has -been attributed in such cases, it is presumed with truth, -to the ammonia which the bones contain.</p> - -<p>There are, therefore, in regard to <i>vegetables</i> in particular, -some things, the nature and properties of which -it is absolutely necessary that the dyer should understand: -for want of a knowledge of one of them, it is a -fact that losses are very often sustained to a serious -amount. It may seem surprising, but the author has -not seen in any writer on dyeing or chemistry, a proper -method of working the pastil or <i>woad vat</i>; nor how -to renew and work it down, again and again, with an -assurance that it will be neither decomposed nor spoiled; -and which, for want of a proper knowledge, it has often -<span class="pagenum"><a name="Page_21" id="Page_21">{21}</a></span> -been. We shall therefore endeavour to give some directions -by which those fatal and expensive disasters may -be avoided.</p> - -<p>Although, at first sight, it seems easy to distinguish -the three kingdoms of nature from each other, yet there is -such an imperceptible transition from one to the other, -that it will be difficult to give such a definition as shall -embrace all the individuals of each, and, at the same -time, exclude those of the other kingdoms. On examination, -indeed, we do find that there is in fact no natural -distinction of this kind; and that there is scarcely a function -common to vegetables and minerals which some of -the animal tribe do not enjoy, and <i>vice versâ</i>. Yet it -must, however, be noted, that most animals have the -power of voluntary loco-motion, and are thus rendered -peculiarly different from all other bodies which we find -upon or in the earth.</p> - -<p>The substances constituting <i>vegetable</i> differ from those -constituting <i>mineral</i> bodies, in their being of a more -complex kind; and though vegetables are extremely susceptible -of decomposition in various ways, not one can -be, by any art, synthetically produced. Yet, although -what are called by chemists the <i>proximate constituents -of vegetables</i> are numerous, such are <i>water</i>, <i>starch</i>, -<i>sugar</i>, <i>gum</i>, <i>gluten</i>, <i>wax</i>, <i>oil</i>, <i>camphor</i>, <i>resins</i>, <i>colouring -matter</i>, <i>extractive matter</i>, <i>several acids</i>, &c. &c. all of -which are capable of being decomposed, the <i>ultimate -constituents of vegetables</i> are very few; the chief are -<i>carbon</i>, <i>hydrogen</i>, and <i>oxygen</i>; some afford <i>nitrogen</i>; -in some are traces of <i>sulphur</i>, <i>potassa</i>, <i>lime</i>, <i>soda</i>, <i>magnesia</i>, -<span class="pagenum"><a name="Page_22" id="Page_22">{22}</a></span> -<i>silica</i>, &c.; in nearly all vegetables are traces of -<i>iron</i>; in many <i>manganese</i>.</p> - -<p>As the <i><span title="Changed from 'proximate'—see Erratum.">ultimate</span> -principles</i> of vegetables are chiefly -carbon, hydrogen, and oxygen, it will be useful to inquire -how vegetables obtain these materials. Water, -which is composed of hydrogen and oxygen, is a ready -source whence both its constituents may be obtained; -and it is concluded that it is decomposed in the glands of -vegetables, assisted by solar light, and becomes fixed in -them in the state of <i>oil</i>, <i>extract</i>, <i>mucilage</i>, &c. The -greatest part, however, of vegetables consists of <i>carbon</i>, -or, to make ourselves more intelligible, <i>pure charcoal</i>; -the carbon, notwithstanding its solidity in the shape of -charcoal, most readily combines with oxygen, and hence -it forms, as carbonic acid, a small portion of atmospheric -air, from which source the carbon of plants is in part at -least derived. Another source from which plants derive -their carbon is the earth, and decaying vegetable matters; -the dung of animals supplies also some of the constituents -of vegetables. Indeed, in the application of dung and -other matters, so as to promote the healthy and vigorous -growth of vegetables, does the science of agriculture -chiefly consist. It appears, however, that nourishment -is received principally, if not entirely, by plants in a liquid -or gaseous form. It should be noticed too, that few, if -any, healthy vegetables will grow any where except in -<i>light</i>, a powerful stimulant at all times, not only to plants -but to animals; such are its effects, that many <i>dyes</i> in -cloth are materially altered, nay, sometimes destroyed -by it.</p> - -<p><span class="pagenum"><a name="Page_23" id="Page_23">{23}</a></span> -<i>Animal substances</i> thus differ from vegetables: they -afford a considerable quantity of <i>ammonia</i>, (which is, -it is now known, a compound body consisting of <i>hydrogen</i> -and <i>nitrogen</i>), and very fetid products, either by the -action of fire, or by the putrid fermentation. They also -putrify more readily and speedily than vegetables, and give -out a very disagreeable smell. They also contain a considerable -quantity of <i>nitrogen</i>, the presence of which constitutes -the most striking peculiarity of animal compared -with vegetable bodies; but as some vegetables contain -nitrogen, so there are certain animal principles into the -composition of which nitrogen does not enter. The -chief <i>ultimate principles</i> then of animal matter are carbon, -hydrogen, oxygen, and nitrogen; but <i>phosphorus</i> -and <i>sulphur</i> are also often contained in it. <i>Lime</i> also -exists in animal bones and shells in considerable quantity, -usually, however, in combination with the <i>phosphoric</i> -and the <i>carbonic acid</i>. The chief <i>proximate principles</i> -of animal matter are <i>blood</i>, <i>albumen</i>, <i>gelatine</i>, <i>colouring -matter</i>, <i>milk</i>, <i>bile</i>, <i>lymph</i>, <i>urine</i>, <i>skin</i>, <i>muscle</i>, <i>horn</i>, <i>hair</i>, -<i>fat</i>, <i>cerebral substance</i>, <i>shell</i>, and <i>bone</i>, &c.</p> - -<p>The differences between vegetable and animal bodies -appear to depend upon animal matter containing <i>nitrogen</i> -in much greater abundance than it is found in vegetables; -and hence the decomposition of animal matter by destructive -distillation is characterized by the presence of -<i>ammonia</i>, which is formed by the union of the hydrogen -with the nitrogen; and it is sometimes so abundantly -generated as to be the leading product: thus when <i>horns</i>, -<i>hoofs</i>, or <i>bones</i> are distilled by themselves, a quantity of -solid carbonate of ammonia and of the same substance -<span class="pagenum"><a name="Page_24" id="Page_24">{24}</a></span> -combined with a fœtid oil, and dissolved in water, are -obtained. Hence the preparations called <i>salt</i> and <i>spirit -of hartshorn</i> and <i>animal oil</i>.</p> - -<p>The principal animal fluids are <i>blood</i>, <i>milk</i>, and <i>bile</i>. -The blood, soon after it is taken from the living animal, -separates into two parts, one called the <i>crassamentum</i>, -which is <i>red</i>, and the other <i>serum</i>, which is a fluid, and -of a pale straw-colour; the crassamentum is a more firm -and consistent mass than the serum, by which it is usually, -when cool, surrounded. <i>Milk</i> consists of <i>serum</i> or <i>whey</i>, -<i>butter</i>, which while floating on the milk is called <i>cream</i>, -and <i>curd</i> or <i>cheese</i>, which has the leading properties of -coagulated albumen. The <i>bile</i>, as has been before stated, -is a saponaceous fluid consisting chiefly of <i>albumen</i>, <i>soda</i>, -a <i>bitter resin</i>, <i>water</i>, and some other saline matter. <i>Fat</i>, -in the dead animal, is merely animal oil in a concrete or -hardened state.</p> - -<p>The principal animal solids besides <i>bone</i>, are <i>albumen</i>, -<i>gelatine</i>, and <i>fibrin</i>. These substances, in certain states -of concretion and combination, form all the solids of -animals, and are separable from each other by easy -analysis.</p> - -<p>By whatever means we deprive animal substances of -their nitrogen, we reduce them to a state similar to that -of vegetables. The muscular fibre, or <i>flesh</i> as it is -usually called, when excluded from the air, but particularly -if in contact with water, parts with its nitrogen, -and is converted into a substance resembling spermaceti, -which in its analysis agrees with vegetable expressed oil.</p> - -<p>When vegetables and animals are deprived of life, -their various parts, and especially their fluids, sooner or -<span class="pagenum"><a name="Page_25" id="Page_25">{25}</a></span> -later, spontaneously assume processes which terminate in -their total decomposition. The earlier stages which lead -to their decomposition are termed <i>fermentation</i>. Of this -there are three kinds; the first, or <i>vinous fermentation</i>, -takes place in vegetable juices which contain a considerable -quantity of sugar, such are the juices of the -<i>grape</i> forming <i>wine</i>, of the <i>apple</i> forming <i>cyder</i>, &c. -In this fermentation a considerable quantity of carbonic -acid gas is disengaged; this gas is very destructive to -animal life, no one can live for a minute in it. If, after -the vinous fermentation is completed, the liquor be exposed -for some time to atmospheric air, another fermentation -takes place, oxygen is absorbed, and the liquor -becomes <i>vinegar</i>, hence called the <i>acetous fermentation</i>. -The <i>putrid fermentation</i> generally takes place in animal -bodies very soon after death, so that neither of the other -processes, certainly not the vinous, the acetous rarely, -becomes a condition of animal matter.</p> - -<p>The chief product of the vinous fermentation is an -intoxicating, colourless, volatile, and highly inflammable -liquor called <i>alcohol</i>; in common language <i>rectified -spirits of wine</i>. It may be obtained by distillation from -wine, cyder, perry, brandy, &c. &c.; and from whatever -liquor it be obtained, when freed from extraneous matter, -it is in every case the same. Alcohol consists of hydrogen, -carbon, and oxygen. Its usual specific gravity is -825, water being 1000.</p> - -<p>After vegetables have passed through these fermenting -processes, the decomposition continuing, unless checked -by extraneous means, the remainder of their constituents -become separated, many of them being volatilized in the -<span class="pagenum"><a name="Page_26" id="Page_26">{26}</a></span> -form of gas, and nothing remains but a black or brown -residuum called mould, consisting of carbon, some salts, -a little oil, and extractive matter.</p> - -<p>In the decomposition of animal substances, we perceive -the union of hydrogen and nitrogen forming <i>ammonia</i>; -the combination of carbon with oxygen produces -carbonic acid; and nitric acid arises from the union -oxygen and nitrogen. A quantity of hydrogen is also -extricated in the form of gas, carrying off with it sulphur -and phosphorus, which produce together the disagreeable -smell arising from animal putrefaction. Nothing now -remains but a portion of carbon mixed with phosphate -of soda and phosphate of lime.</p> - -<p>Hence we see that, by the processes of fermentation, -complex bodies are converted into more simple substances, -and that nature restores, in the new combinations, the -principles which she had borrowed from the atmosphere -for the formation of both animals and vegetables; and -that she accomplishes a perpetual circle of ever-changing -being, at once demonstrating the fecundity of her resources, -and the grandeur and simplicity of her operations.</p> - -<h3>On substantive and adjective colours, and the mordants, -&c. used in dyeing; and on the leading facts of -chemical science as connected with this art.</h3> - -<p>The substances commonly dyed are either <i>animal</i>, as <i>wool</i>, -<i>silk</i>, <i>hair</i>, <i>leather</i>, and skins of all kinds; or <i>vegetable</i>, -as <i>cotton</i>, <i>flax</i>, <i>hemp</i>, <i>&c.</i> Great differences exist between -the affinities for colouring matter possessed by -<span class="pagenum"><a name="Page_27" id="Page_27">{27}</a></span> -these substances, so that a process which perfectly succeeds -in dyeing wool may fail when applied to cotton. -Wool has generally the strongest affinity for colour; -silk and other animal substances come next; cotton next, -and hemp and flax last.</p> - -<p>Of the numerous known dyes, few can be applied to -either animal or vegetable fibre without some preparation -beyond that of cleansing the stuff, and immersing it in -the dyeing liquor. When colours can be fixed on cloth -without any previous preparation, they are called <i>substantive</i> -colours, such is <i>indigo</i>; when they cannot be so -fixed, but require to be saturated with some preparation, -such as acetate of alumina, or a metallic oxide, &c. they -are called <i>adjective</i> colours; of this kind are madder, -cochineal, &c. The substances with which cloths -are impregnated, previously to being dyed, are called -<i>mordants</i>, because they are supposed to bite or lay hold -of the colour which is applied.</p> - -<p>The chief difference between vegetable and animal substances -is, that animal (as for instance wool) contains a -small portion of carbon, and a large quantity of hydrogen -and nitrogen; while vegetables contain a very large proportion -of carbon, less hydrogen, and, in general, no -nitrogen.</p> - -<p>It is the interest of every dyer to acquire as much -information as possible concerning the nature of alum, -iron, carbon, nitrogen, hydrogen, the alkalies, acids, &c. -in order to prevent or obviate the consequences of an -incorrect application of these agents in the various departments -of his art, and also to apply them with the -greatest success. We shall, therefore, enter a little into -<span class="pagenum"><a name="Page_28" id="Page_28">{28}</a></span> -the nature and combinations of some of these bodies, and -state some of the leading facts with which the modern -discoveries in chemistry have made us acquainted.</p> - -<p><i>Carbon</i>, or charcoal, is considered an elementary body, -because, as yet, no means have been found adequate to -decompose it; it forms the skeleton of vegetables or -their woody fibre.</p> - -<p>We must now direct the attention of the reader to -<i>oxygen gas</i>, the discovery of which was made by Dr. -Priestley in the year 1774, and by him called <i>dephlogisticated -air</i>; the most important discovery that was, perhaps, -ever made in chemistry. When a metal is exposed -to atmospheric air, at almost every temperature, it loses -its metallic lustre, and acquires the form and appearance -of an earthy substance. If this change be produced in a -given quantity of air, the <i>oxidation</i> can only be carried -on to a certain degree; and on examining the air which -remains, we shall find that it has lost the whole of its -oxygen, and that nothing remains but nitrogen gas. -What was formerly called the <i>calcination</i> of metals is -nothing but the process of their union with oxygen, -which is now therefore properly called their <i>oxidation</i>.</p> - -<p>If charcoal be mixed with the metallic oxide, and a -suitable heat be applied to the mixture, it will unite with -the oxygen and form carbonic acid, which will fly off in -the form of gas, while the metal will assume its metallic -form. From this we learn that <i>oxygen</i> is a part of -atmospheric air, and that <i>nitrogen</i> constitutes another -portion of the same air. <i>Ammonia</i> is a combination of -nitrogen and hydrogen. <i>Combustion</i>, or the burning of -any combustible body, cannot take place, at least under -<span class="pagenum"><a name="Page_29" id="Page_29">{29}</a></span> -ordinary circumstances, without the presence of oxygen. -<i>Nitrogen gas</i>, (called by its discoverers <i>azotic gas</i>), constitutes -about three fourths of atmospheric air; the other -fourth consists of oxygen, besides a small fraction of -carbonic acid gas. Oxygen decomposes and destroys all -fugitive colours. Oxygen is, besides, the basis of almost -all the acids, and hence is one of the most universal -agents in nature.</p> - -<p><i>Hydrogen</i>, formerly called <i>inflammable air</i>, was discovered -by Mr. Cavendish in 1767; it is called hydrogen, -because it is one of the component parts of water; or, -more properly, it is the base of water. It is obtained in -the most pure state from the decomposition of water by -means of metals, thus: pass one hundred parts of water -through a red hot iron tube, a gun barrel for instance, -fifteen parts of hydrogen gas will be produced, while the -inside of the tube will be found converted into an oxide, -and to have gained eighty five parts in weight.</p> - -<p>Again, when eighty five parts of oxygen gas are burned -with fifteen of hydrogen gas, both gases vanish, and one -hundred parts of water are the result. Hydrogen gas, -when in a pure state, is about fifteen times lighter than -atmospheric air; hence its use for inflating balloons. -Hydrogen, if inhaled, destroys animal life; combined -with <i>nitrogen</i>, it forms ammonia, or the <i>volatile alkali</i>, -as we have before stated.</p> - -<p>We have mentioned the <i>fixed alkalies</i> in a preceding -section. We may add here, that by the discoveries of Sir -Humphry Davy, in the year 1807, the base of caustic, or -pure <i>potash</i>, is now known to consist of a light, white metallic -substance, to which the name of <i>potassium</i> has been -<span class="pagenum"><a name="Page_30" id="Page_30">{30}</a></span> -given; it is of the consistence of soft wax; at a freezing -temperature it is hard, brittle, and solid; when thrown -upon water it instantly takes fire, hydrogen gas escapes, -and an <i>oxide of potassium</i>, or caustic pot-ash, is produced. -The potash and pearl-ash of the shops we must not -forget, are combinations of <i>carbonic acid</i> and pot-ash, -hence they effervesce with all the acids; but caustic pot-ash, -containing no carbonic acid, combines with any of the -acids without effervescence.</p> - -<p>The <small>SODA</small>, as obtained from barilla, is a carbonate of -soda; pure soda, or caustic soda, was, till the discoveries -of Sir Humphry Davy, supposed to be, as well as potash, -a simple substance. It is now, however, known to -consist of a metallic substance of the colour of lead, but, -nevertheless, lighter than water; upon which, when -thrown, it produces, like potassium, violent action, yet -does not, in general, like potassium, inflame. It is called -<i>sodium</i>; pure soda consists therefore of sodium and -oxygen, hence it is an <i>oxide of sodium</i>. These discoveries -of the composition of the fixed alkalies are of infinite importance -in the arts. The alkalies contain some very -striking properties:</p> - -<p><i>Their taste is acrid, burning and urinous. They -generally change the blue colours of vegetable infusions -green. When mixed with silex or flint, by exposure to -great heat they form glass, and they render oils miscible -with water, and hence combine with them forming soaps. -They effervesce</i> (<i>when combined with carbonic acid</i>,) -with many other acids, and form neutral salts with all -the acids. The <i>volatile alkali</i> or <i>ammonia</i>, on exposure -to air, flies entirely away. Pot-ash, either in its caustic -<span class="pagenum"><a name="Page_31" id="Page_31">{31}</a></span> -state, or in that of a carbonate, absorbs moisture from -the air, and liquifies. While soda, on the contrary, and -many of its combinations, effloresce in the air; they, -nevertheless, effervesce, and combine with the acids in a -similar way to pot-ash.</p> - -<p>We have mentioned how pot-ash is obtained in a -preceding section. Soda is commonly procured from -the ashes of marine plants; the <i>barilla</i> of commerce is -obtained, it is said, in Spain, chiefly from many species -of the <i>salsola</i>, or salt-wort. Barilla is an impure subcarbonate -of soda, it is used largely in the manufacture -of soap.</p> - -<p>We now proceed to notice the nature of <i>acids</i>.</p> - -<p><i>They excite a particular sensation on the palate, which -we call sour. They change the blue colour of vegetables -red.</i> All of them, except the carbonic acid, effervesce with -the <i>volatile</i> as well as the <i>fixed alkalies when in the -state of carbonates, as they are most commonly found in -commerce</i>. Oxygen is the principle of almost all acids; -their difference depends upon the base combined with -the oxygen: thus oxygen combined with carbon or pure -charcoal, forms <i>carbonic acid</i>; with nitrogen the <i>nitric -acid</i>; with sulphur the <i>sulphuric acid</i>, <i>&c.</i> <i>&c.</i></p> - -<p><i>Gas</i> is a term implying the same as <i>air</i>; but as the -term air, when used, is liable to be misunderstood for -the air of the atmosphere, which is, as we have seen, a -compound body, the term gas is more appropriately applied -to all elastic fluids of a specific kind. Thus we -say <i>carbonic acid gas</i>, <i>oxygenous gas</i>. The difference -between carbonic acid and carbonic acid gas, and oxygen -and oxygenous gas, consists in the latter being combined -<span class="pagenum"><a name="Page_32" id="Page_32">{32}</a></span> -with <i>heat</i> only, and in the state of air, while in -the former they are fixed in some body, as in carbonate -of pot-ash and oxide of lead, in both which cases the -carbonic acid exists in a fixed state, or combined with -the pot-ash, and the oxygen is in a fixed state, or combined -with the lead.</p> - -<p>We may now treat of <i>carbonic acid gas</i>, which is thus -produced, as well as in many other ways: when charcoal -is burned in oxygen gas, exactly sufficient for its combustion, -both the charcoal and oxygen disappear, and an -elastic fluid is found in the vessel, which is equal in -weight to both. This air or gas is carbonic acid gas; -it combines with lime, the alkalies, and pure or burnt -magnesia: it constitutes a considerable portion of the -weight of chalk, limestone and marble, as is readily -seen by comparing these bodies before and after their -conversion into quicklime. It is frequently combined -with hydrogen. The gas with which the streets are now -lighted is chiefly carburetted hydrogen.</p> - -<p>Carbonic acid gas has the following properties. It -extinguishes flame, and, like nitrogen and hydrogen, kills -animals immersed in it. It is heavier than common air, -and may therefore be poured out of one vessel into -another like water. Cider, wine, beer and other fermented -liquors owe their briskness to the carbonic acid -which they contain; soda-water also owes its briskness -entirely to the quantity of carbonic acid gas which it contains, -a small quantity of heat being sufficient to give the -acid the gaseous state.</p> - -<p><i>Sulphur</i> has been mentioned before; it is well known to -be a very combustible substance; it is found in great quantities -<span class="pagenum"><a name="Page_33" id="Page_33">{33}</a></span> -throughout nature; the sulphur of commerce comes -either from Italy or Sicily; or from the isle of Anglesea, -where it is obtained from the smelting of sulphuret of -copper; the best, however, comes from Sicily. It is, -sometimes, found pure; but often combined with some -of the metals, forming <i>sulphurets</i>. It is also frequently -obtained by the decomposition of animal and vegetable -substances; it is sometimes found combined with hydrogen -(hence called sulphuretted hydrogen), in the human -stomach, more frequently in the intestines. Sulphur -combined with a small dose of oxygen, forms a volatile -suffocating acid, called the <i>sulphureous acid</i>; with a large -dose it forms <i>sulphuric acid</i>, or oil of vitriol.</p> - -<p>For the <i>nitric</i> and <i>muriatic acids</i>, see a preceding -section. We may, however, mention here, that nitric -acid has the peculiar property of staining the <i>scarf skin</i> -of the human body a dull yellow, of such permanence, -that it can scarcely, by any means, be destroyed, it -usually remaining till the skin wears or peels off.</p> - -<p>The principal vegetable acids are the <i>tartaric</i> and the -<i>acetic</i>. The tartaric acid exists in superabundance in -tartar, and particularly in cream of tartar, which is -nothing more than a purified tartar. See <i>argol</i> in a -preceding section.</p> - -<p>The <i>acetic acid</i> constitutes the vinegar both common -and distilled; it is found in a very concentrated state in -the shops, under the name of <i>aromatic vinegar</i>. It is -also now obtained in large quantities, and of great strength -from <i>wood</i> by distillation, or burning, in vessels, adapted -for the purpose, hence called the <i>pyrolignous</i> acid, but -essentially the acetic acid. This last is now used by -<span class="pagenum"><a name="Page_34" id="Page_34">{34}</a></span> -Calico-Printers to make acetate of iron. See a preceding -section.</p> - -<p><i>Alumina</i>, or earth of alumina, sometimes called <i>argil</i>, -is soft to the touch, adheres to the tongue, and hardens -in the fire, contracting its dimensions: it constitutes the -greatest part of clays. With sulphuric acid and pot-ash, -it forms the common alum of the shops. Alum dissolves -in about sixteen times its weight of cold water. For -<i>acetate of alum</i> see <i>alum</i> in a preceding section.</p> - -<p>Agriculturists and agricultural chemists know that -<i>alumina</i> constitutes three eighths or more of a fruitful soil; -some vegetables, likewise, contain this earth in their -composition. <i>Iron</i> is also a component part of many -soils, particularly those in which a <i>red</i> colour is predominant; -hence it is, probably, a component part of -all drugs used for browns, fawns, and blacks. It will -be seen what affinity cotton has for <i>iron</i> in the dye of -<i>buff</i><span -class="fnanchor"><a name="Ref_4" id="Ref_4" href="#Foot_4">[4]</a></span> -upon cotton; and it seems reasonable to conclude -that this metal not only produces the black, grey, and -brown hues, but, with lime, forms a component part of the -drugs themselves which give the brown dyes. It may be -here also mentioned, that the <i>red</i> colour of the blood -has been by many chemists supposed to arise from the -iron which it contains; <span class="smcap">Mr. Brande</span>, however, does not, -from his own experiments, conclude this to be the fact. -The blood of animals is, nevertheless, occasionally used -for dyeing, as will be seen under <i>Adrianople red</i>. See -<span class="pagenum"><a name="Page_35" id="Page_35">{35}</a></span> -<span class="smcap">Kirwan</span> <i>on Manures</i>, <i>&c.</i> and <span class="smcap">Davy's</span> <i>Agricultural -Chemistry</i>.</p> - -<p>From the acids or oxygen combined with alkalies, -earths, or metals, almost innumerable mordants, as we -have seen, are formed; and upon the correct and proper -application of these to the cloth or other matters to be -dyed, depends the goodness and permanence of the colours. -The dyer cannot, therefore, be too scrupulously -attentive to this portion of his art.</p> - -<p>In dyeing the student ought also to remember, that the -material to be dyed combines intimately, in numerous instances, -with alumina or other mordants; in the case of -alumina it, in some instances, takes up from one twelfth -to one fourth of its weight of alum, leaving the alum bath -nearly tasteless. So also will rich extract of American -bark, or even weld, when the proportion of weld is in -weight more than two to one of the wool, form a triple compound -with the cloth and alum, of permanent duration.</p> - -<p>All these preliminaries the author considers of the -first importance to be understood, and he has, therefore, -mentioned them again and again. For so doing he is -sure that he shall be excused in the dye-house, although -not perhaps by the critics, whose candour he nevertheless -respectfully solicits.</p> - -<p>We now proceed to the <i>application of mordants</i>. In -regard to muslins and calicoes, the alum is to be mixed -with gum and carried to the piece, as will be described -below in the <i>Calico-Printers' mordant</i>, and then immersed -in the dye-bath: it thus receives the base or mordant. -If the base be alum and the dye-bath madder, then, -where the block strikes the pattern with the alumine -<span class="pagenum"><a name="Page_36" id="Page_36">{36}</a></span> -base, the colour will come out <i>red</i>; the other parts will -clean and bleach white. If alum and iron form the base, -the colour will be purple; if iron alone be applied, and -galls, sumach, logwood, &c. are the component parts of -the dye-bath, then it will be <i>black</i>.</p> - -<h3>The Calico-Printers' mordant or base of alum for yellow -and red goods, either for printing or dyeing; and on -compound colours.</h3> - -<p>Take one gallon of soft and pure water, of a heat of -150°, three pounds of common alum, one pound and a -half of sugar (acetate) of lead; mix these together, and -let them stand for two or three days, so that they may -incorporate, often stirring them during that interval; then -add two ounces of pearl-ash, and the same quantity of -clean powdered chalk or whiting. After a time the clear -liquor, now become <i>an acetate of alum</i>, must be drawn -off. When used, it is thickened either with paste, flour, -or gum arabic, or senegal; four pounds of either of the -gums to each gallon of liquor<span -class="fnanchor"><a name="Ref_5" id="Ref_5" href="#Foot_5">[5]</a></span>. -A block or a press -similar to a copper-plate press for paper, but much -larger, and having the copper plates in proportion, is -employed to spread the acetate of alum from a utensil -<span class="pagenum"><a name="Page_37" id="Page_37">{37}</a></span> -called a sieve, which is, however, not porous, while a boy -or girl called a <i>Teerer</i>, works it smooth; when smooth -on the sieve, the printer applies his block, and charges -it with the acetate of alum; the block thus charged, is -correctly put on the cotton cloth, which is laid upon a -blanket spread upon a table; it is then struck with a -mallet once or twice, by which, or by the pressure of the -rolling-press, if copper-plate, the acetate of alum is -driven into the pores of the cloth. The cloth thus prepared, -is hung up in a hot stove, and dried by a high -degree of heat. The goods are now ready, if for <i>red</i>, -for the <i>madder</i>; and if for <i>yellow</i>, for the <i>weld</i> copper. -Sometimes, however, lately, the colour is previously prepared, -and applied at once in more instances than are -prudent. To the above mordant, <i>M'Kernan</i> adds three -ounces of <i>sulphate of copper</i>, omitting the potash; and -he adds, "When the colour is wanting on the scarlet -cast, omit the sulphate of copper."</p> - -<p>Wool readily takes the alum at a boiling heat; <i>common -alum</i> is in many instances proper for wool; and in others, -where it might be improper, it is corrected by the use of -argol or cream of tartar.</p> - -<p><i>Yellow</i> and <i>red</i> produce <i>orange</i>; <i>red</i> and <i>blue</i>, <i>purple</i>; -but upon <i>cotton</i>, a scarlet, purple, or crimson cannot -be produced in any way equal to those colours in -wool or silk. <i>Yellow</i> and <i>blue</i> form the <i>green</i>.</p> - -<h3>On Bleaching Linen, Cotton, &c.</h3> - -<p>We cannot enter with much minuteness into this part -of the subject, more especially as the <i>art of bleaching</i> is -<span class="pagenum"><a name="Page_38" id="Page_38">{38}</a></span> -usually a separate one from that of <i>dyeing</i>. Yet as in -fact the arts of <i>dyeing</i> and of <i>bleaching</i> depend in a great -degree on the same principles, some notice of bleaching, -in a treatise on dyeing, seems absolutely necessary.</p> - -<p>Linen, cotton, and other cloths, were for ages deprived -of their colour, in other words, bleached, rendered white, -by a tedious process. Thus, the article to be bleached -being boiled in a solution of pot-ash, was washed, and -then spread on the grass in a field, watered occasionally, -and, thus exposed to the atmosphere for two or three -months, became white. This method is, however, in -part, if not now entirely, dispensed with. M. Berthollet, -an ingenious French chemist, to whose valuable work on -dyeing we have before alluded, employed what was then -called <i>oxygenated muriatic acid</i>, now <i>chlorine</i>, to perform -in a few days what before took months to accomplish. -His method was as follows. To six pints of powdered -oxide of manganese he added sixteen of muriate of soda, -(common salt) and twelve of concentrated sulphuric acid -diluted with an equal quantity of water. These were -placed in a leaden retort and distilled: the product was -<i>oxygenated muriatic acid</i>, or <i>chlorine</i>, which being conducted -to a vessel containing the material to be dyed, -produced the same effects as the former tedious process, -and bleached as much, in two or three days, as was before -done in two or three months. This process has been since -much further improved by the use of a combination of -chlorine with lime, called <i>chloride</i>, or <i>oxymuriate of lime</i>. -This article is at present used in almost all the bleaching -grounds in the United Kingdom. It appears, therefore, -that upon the use of the agent, <i>chlorine</i>, does the expedition -<span class="pagenum"><a name="Page_39" id="Page_39">{39}</a></span> -and whiteness of modern bleaching principally depend. -Yet it ought, nevertheless, to be stated, that although, in -the hands of scientific and judicious persons, chlorine is -one of the most powerful agents in bleaching that ever -was discovered, still, in the hands of bungling and avaricious -persons, it may contribute greatly to the destruction -of the cloth; and therefore, even now, a demand is -occasionally heard for the old method of bleaching.</p> - -<p>These processes constitute the art of the bleacher; the -dyer has seldom any thing to do with them except in -piece-goods or rough cambric, which he has sometimes -to dye black as they come from the bleacher's in a state -which they call <i>once boucked</i>; and sometimes he has -them just as they come from the weaver; in which case, -if for black, they need not be bleached white, but should -be boiled in pot-ash, to take out the grease, &c.</p> - -<h3>On the theory relative to fast and fugitive colours.</h3> - -<p>Many attempts have been made by chemical philosophers -to account for the permanence or want of permanence -of various colours, when imparted to cloths and -other bodies as a dye. Among these, <span class="smcap">Hellot</span>, <span class="smcap">D'Apligny</span>, -and others of the old, and <span class="smcap">Berthollet</span>, <span class="smcap">Bancroft</span>, -<span class="smcap">Henry</span>, and others of the modern school, may be mentioned.</p> - -<p>The power of resisting vegetable acids, alkalies, and -soap, and, above all, the action of air and light, constitutes -the durability of a colour. But this property has a -very unequal standard, according to the nature of the -colour and the species of the stuff.</p> - -<p><span class="pagenum"><a name="Page_40" id="Page_40">{40}</a></span> -There is no obscurity in the action of water, alkalies, -acids, and soap: for a solution is effected by means of -these agents, or a small portion of acid or alkali unites -to the combination, which forms the colour. But this is -not the case with the action of light and air. Till lately, -however, it was not known in what this action consisted.</p> - -<p>Of the two principles which compose atmospheric air, -it is only the <i>oxygen</i> gas which acts on the colouring -particles. It combines with them, and thus impairs their -colour or makes them fade. But its action is soon chiefly -exerted on the hydrogen which enters into their composition, -and it thereby forms water. This effect may be -compared to a feeble combustion. Hence the carbon, -which enters into the composition of the colouring particles, -becomes predominant, and the colour usually passes -to yellow, dun, or brown, or other appearances.</p> - -<p>Light promotes this decomposition of the colouring -particles, which frequently takes place only with its concurrence, -and thus it contributes to the destruction of the -colour. Heat also favours the same result, but less efficaciously -so, unless it have a certain intensity.</p> - -<p>It is concluded, therefore, that colours are more or -less fixed in the air, according to the greater or less tendency -which the colouring particles have to undergo this -change<span -class="fnanchor"><a name="Ref_6" id="Ref_6" href="#Foot_6">[6]</a></span>. -Hence the utility of <i>mordants</i> in rendering -<i>fugitive</i> colours <i>fast</i>.</p> - -<div class="pagenum"><a name="Page_41" id="Page_41">{41}</a></div> - -<h3>To prove the colours of Dyed Stuffs, &c.</h3> - -<p>The natural proofs of a dye's being effectual, are exposure -to the air, to the sun, or to rain. If the colour -be not changed by such exposure after twelve or fourteen -days, it may be considered as fixed. These proofs are -not, however, adapted to every colour: for some resist -the action of air, light, and rain, yet are nevertheless injured -by certain acids. There are also colours which do -not resist the natural proofs and yet remain unchanged -by acids.</p> - -<p>Colours may be arranged in this respect in three -classes: the first class is tried with <i>alum</i>, the second -with <i>soap</i>, the third with <i>tartar</i>. For the proof with -<i>alum</i>, half an ounce of this salt must be dissolved in a -pint of water in an earthen pipkin, and into this liquor is -to be put half a quarter of an ounce of the dyed thread -or stuff, the whole being boiled about five minutes; it is -then to be washed clean with water. Thus are tried -<i>crimson</i>, <i>scarlet</i>, <i>flesh-colour</i>, <i>violet</i>, <i>ponceau</i>, <i>peach-blossom</i>, -different shades of <i>blue</i>, and other colours bordering -on these.</p> - -<p>The next proof consists in boiling a quarter of an -ounce of <i>soap</i> in a pint of water, with half a quarter of -an ounce of the dyed stuff or thread for five minutes. -With this proof all sorts of <i>yellow</i>, <i>green</i>, <i>madder-red</i>, -<i>cinnamon</i>, and similar colours are to be tried.</p> - -<p>The proof with <i>tartar</i> consists in boiling one ounce of -that salt, previously powdered very fine, with a quarter -of an ounce of dyed thread or stuff, in a pint of water for -five minutes. This proof is used for all colours bordering -<span class="pagenum"><a name="Page_42" id="Page_42">{42}</a></span> -upon <i>fallow</i>, or <i>hair-brown</i>.—<i>Journal of Science</i>, -vol. xxii. 219.</p> - -<p>But notwithstanding these general rules may be given -for <i>dye-tests</i>, yet so many are the niceties in this art, -that, after all, nothing but long practice combined with -scientific knowledge, will enable the dyer to become in -this respect, a complete and successful artist.</p> - -<h3>On dye-houses and the water proper for dyeing.</h3> - -<p>The <i>dye-house</i> should be as spacious as possible, according -to the quantity of work intended to be done in -it; it should be also as near as possible to a clear running -stream. The floor should be a mixture of lime and -cement, and sufficiently inclining, so that water, the old -contents of the vats, &c. &c. may run off freely when -thrown down.</p> - -<p>A dyer cannot be too particular in regard to the <i>water</i> -which he uses. Some pump, well, and other spring -waters, contain <i>iron</i>; this is injurious to many colours, -while for black, brown, slates, and grey, it is very advantageous. -It has been supposed that some dyers succeed -in dyeing even the very same colour in a superior manner, -in consequence of the peculiar purity or other properties -of the water which they use.</p> - -<p>To discover whether water contains iron or not, a little -tincture of galls or prussiate of potash must be dropped -into it; if a purple or blue tinge be produced in the -water, we may be assured that it does contain iron.</p> - -<p>For dyeing delicate colours, the water, which ought to -be chosen for such purpose the purest and best, should -<span class="pagenum"><a name="Page_43" id="Page_43">{43}</a></span> -be heated with bran in a bag, when much of the contents -of the water inimical to dyeing will rise to the top in the -form of a scum, and should be taken off just before the -water boils. Instead of bran, a little alum will answer -the same purpose when it is not inimical to the colour -intended to be dyed.</p> - -<p>The boiling point of water is at the degree of 212° of -<i>Fahrenheit's thermometer</i>; the freezing point is at 32° of -the same instrument; blood heat is at 98°.</p> - -<h3>Miscellaneous observations.</h3> - -<p>The limits and price of this manual preclude the possibility -of our giving plates to explain some of the machinery -and utensils which are now employed in dyeing. To -inform a <i>dyer</i> what kind of coppers, casks, and vats are -necessary, would seem to be superfluous; and the pupil -may soon acquire such knowledge in the dye-house. -Should a dyer find it his interest to undertake a branch -of his art of which he has not any previous knowledge, -he had better engage a man who understands it; if, however, -he thinks himself competent to manage it, but is -unacquainted with the best modern utensils appropriated -to that particular branch, he had better get a dyer's -labourer who has been used to it; a man of sufficient intelligence -may be found with due encouragement to perform -this part. It may just be added, that <i>Ure's Berthollet</i> -and Mr. <i>M'Kernan's</i> work, both contain numerous -explanatory <i>plates</i> of the utensils and machinery which -are described and recommended in those works.</p> - -<p><span class="pagenum"><a name="Page_44" id="Page_44">{44}</a></span> -All solutions and decoctions of <i>Brazil wood</i>, <i>logwood</i>, -<i>fustic</i>, <i>&c</i>. should always be prepared in the same quantity -and proportion, and one measure be invariably set -apart for each. This observation is meant more particularly -to apply to drugs in stock, always kept in a state -of preparation ready for any process or work which may -occur. The drugs just named may be kept in a prepared -state; but <i>weld boiled</i> will not keep, nor will some others -which are mentioned in the body of the work.</p> - -<p><i>Weld</i>, as it will not keep, should be used thus: a copper -in proportion to the size of the work should always -be used; and as weld will bear boiling and re-boiling, -it can be boiled by the half bundle or more according as -it may be wanted, whether you work little or much. If -you are exact and near in your estimate, practice will -soon render you perfect in any branch. It should be -observed too, that to <i>dye to pattern</i> cannot be the result -of a receipt, without a great latitude be left for the judgment.</p> - -<p>The most difficult part of dyeing is that of <i>light drabs</i>, -<i>stone drabs</i>, <i>&c</i>.</p> - -<p>Nothing but <i>practice</i> will qualify you for this and all -pattern dyeing: the way, and the only good way to obtain -practice, is to work with all possible regularity. In -the dyeing of fancy cloths in the clothing districts of -Yorkshire, Gloucestershire, and other fine cloth manufactories, -the <i>manufacturers</i> who dye their own cloths, -as well as <i>dyers</i> of the greatest eminence, always number, -measure, weigh, and time all the component parts -of their various processes of dyeing. Such in fact ought -<span class="pagenum"><a name="Page_45" id="Page_45">{45}</a></span> -to be the universal practice; and then a person of ordinary -abilities may soon be able to perfect his processes -and obtain the best results.</p> - -<p>Hence, however, it is very necessary that the dyer -should have a competent knowledge of chemistry and -drugs, that he may be able to judge of the goodness of -the articles which he uses, and of the numerous and extraordinary -combinations into which they enter. To -<i>chemistry</i>, in particular, every able and scientific dyer -must be largely indebted; for this reason it is that we -have endeavoured, in this <i>introductory chapter</i>, to sketch -some of the most important facts in this universal and -interesting science.</p> - -<p>In possession of these qualifications, and working upon -the above plan, the dyer can never be far from the desired -result in all his processes. His deviations, if any, -will be few, as from his knowledge, he will soon perceive -the first approach of any incorrectness, and be able to -adjust it generally without much inconvenience.</p> - -<p>The <i>chemical terms</i> now introduced into treatises on -dyeing are chiefly taken from the Greek language, and -are used in such a manner as to convey, by their etymology, -an idea of the nature of the substances to which -they are applied. <i>Oxygen</i> implies the producer of acid: -<i>hydrogen</i>, the producer of <i>water</i>; <i>nitrogen</i>, the producer -of <i>nitre</i>, &c. The term <i>gas</i> has been explained above. -<i>Caloric</i> is a term used by chemists for heat; but caloric -is used in a more extensive signification than the term -heat, thus: although a gas might possess no sensible -heat, yet being in a gaseous state, it is assumed to contain -a certain portion of caloric which keeps it in its -<span class="pagenum"><a name="Page_46" id="Page_46">{46}</a></span> -gaseous state; the same observation will apply to liquids -whether aqueous, oleous, or metallic.</p> - -<p><i>All the measures mentioned in this work unless otherwise -described, are those usually called in this country</i> -<small>WINE MEASURE</small>, <i>and not those which have been introduced -by a late act of parliament</i>, <i>called</i> <small>IMPERIAL MEASURES</small>.</p> - -<div class="footnote"> - -<p class="nodent"><a name="Foot_2" id="Foot_2" href="#Ref_2">[2]</a> -Cochineal was at first supposed to be a <i>grain</i>, which name it still retains -by way of eminence among dyers. <span class="smcap">Ure.</span></p> - -<p class="nodent"><a name="Foot_3" id="Foot_3" href="#Ref_3">[3]</a> -For the cultivation of Woad in England, see Parish's paper in vol. xii. -of the Bath Society's Report, or Tilloch's Mag. vol. xxxviii.</p> - -<p class="nodent"><a name="Foot_4" id="Foot_4" href="#Ref_4">[4]</a> -What are called <i>iron moulds</i> in cotton, linen, &c. are, it is well known, -nothing but the marks of a <i>buff</i> colour, usually left by ink and other matters -which contain iron: acids, of course, dissolve, and discharge these buff -colours; the <i>oxalic acid</i> does so without decomposing the cloth.</p> - -<p class="nodent"><a name="Foot_5" id="Foot_5" href="#Ref_5">[5]</a> -"<i>Acetate of Alumina</i> is now most frequently made for the Calico-Printers -by dissolving alum in a solution of crude acetate of lime, (pyrolignite); a -gallon of the acetate, of specific gravity, 1.050 or 1.060, being used with -two pounds and three-quarters of alum. A sulphate of lime is formed, which -precipitates, while an acetate of alumina mixed with some alum floats above. -The acetate of alumina employed as a mordant for chintz, is still commonly -made by the mutual decomposition of alum and acetate of lead."—<i>Ure's -Berthollet</i>, vol. ii. p. 331.</p> - -<p class="nodent"><a name="Foot_6" id="Foot_6" href="#Ref_6">[6]</a> -Berthollet.</p> - -</div> - -<div class="pagenum"><a name="Page_47" id="Page_47">{47}</a></div> - -<h2>CHAPTER II.<br /> -<span class="small">ON DYEING COTTON.</span></h2> - -<p class="negdent"><i>To dye cotton a Saxon or chemic blue—Sulphate of -indigo—Saxon or chemic green—To set a cold indigo -vat—Another indigo vat—To dye cotton a fast -green with the cold indigo vat and weld—Another -cold blue vat for linen and cotton—Solution of indigo -for penciling printed muslin, &c.—To dye cotton a -fast buff—To dye cotton pink.</i></p> - -<p class="nodent"><span class="smcap">We</span> -refer the reader to the preceding chapter for many -observations relative to <i>cotton</i>, with which, in order to -understand correctly the best method of dyeing this material, -it is necessary that he should become acquainted: -indeed, the whole of that chapter ought to be well studied -by every one desirous of becoming an expert dyer.</p> - -<h3>To dye cotton of a Saxon or chemic blue.</h3> - -<p>This is performed with the <i>sulphate of indigo</i> thus:—put -into a brown stone glazed earthen pot four pounds -of good sulphuric acid, add to it twelve ounces of good -indigo finely powdered, stirring the mixture very quickly -<span class="pagenum"><a name="Page_48" id="Page_48">{48}</a></span> -and frequently: break the lumps, if it should get lumpy -before it is thoroughly mixed, with a glass rod, or with a -stick, the bark of which has been taken off: if for wool -or silk, the solution will be fit for use in forty-eight hours, -but if for cotton it will not be fit for use till the acid is -neutralized by an <i>alkali</i>. Some persons, however, use -<i>whiting</i>, but this precipitates and wastes the indigo; -others use magnesia, but this is expensive: some, again, -use pure or caustic potash prepared thus—take American -pot or pearl-ash about seven pounds, put some of -it into a brown stone glazed jar, or rather an open pan; -upon the ashes put some quicklime recently burnt, and -then alternately ashes and lime, slacking the lime with -water as it is put on the ashes; let the whole stand together -for about two hours: provide now another brown -stone earthen vessel with a hole in the bottom, of larger -dimensions than the other, put into this a piece of coarse -linen to prevent the lime, the impurities, or any foreign -body from running through the hole, then upon the bottom -put some of the previously mixed lime and ashes, well -incorporated, and placed gently upon the linen so as to -be sure of its keeping its place and letting the liquor pass -through clear. As the mixture is put in add some water -occasionally, so as to keep it just covered, and leave room -at the top for the swelling of the materials, as the lime -especially will increase in bulk. Water must fill the -whole, and cover the lime, &c. which will be known by -the bubbles ceasing to rise. When it has stood twelve -or fourteen hours, water being occasionally added as it is -absorbed, some may be drawn out.</p> - -<p>To determine whether the carbonic acid has entirely -<span class="pagenum"><a name="Page_49" id="Page_49">{49}</a></span> -quitted the potash, (and for which purpose the quicklime, -having a greater affinity with the carbonic acid than potash -has, is specifically applied,) take some of the fluid in a -wine glass and drop a drop of sulphuric acid into it; if -the carbonic acid has entirely combined with the lime, the -sulphuric acid will enter the fluid in the glass quietly, -and without any other appearance than so much water; -if you still doubt add more drops of the sulphuric acid -successively. If the carbonic acid has not entirely left -the potash when the sulphuric acid is dropped into the -liquor, an effervescence or fermentation will be seen in it. -Whenever this is the case the liquor must be returned to -the mixture for a longer time, and, if necessary, more lime -be added.</p> - -<p>When the liquor or ley is fit for use, all of it is to be -drawn off, and more water may be added and remain on -the ingredients till it is wanted. It is best to keep it -close from the air, because as the air contains a certain -portion of carbonic acid, the liquor would in time absorb -it, and the ley, instead of containing caustic potash, -would become a solution of carbonate of potash, and consequently -not answer the end designed.</p> - -<p>To know when the <i>alkali</i> of the mixture is exhausted, -take a piece of paper stained with the juice of the blue -flowers of violets, or the blossom of the mallow, which is -thus prepared—pound the blossoms in a glass mortar -with a glass pestle, and squeeze the juice into a tea-cup, -then, with a small hair pencil, cover a sheet of white -paper with the juice, and dry it for use. All acids will -turn it <i>red</i>, and all alkalies will turn it <i>green</i>; and, therefore, -as long as any of the alkali remains in the liquor, the -<span class="pagenum"><a name="Page_50" id="Page_50">{50}</a></span> -paper thus prepared will, when immersed in it, be stained -green.</p> - -<p>The comparative strength of such solutions may also -be ascertained thus: take a wine-glass full of the liquor, -drop into it a few drops of sulphuric acid, stirring it with -a glass rod or clean bit of tobacco-pipe, and then apply -a bit of test paper; if it appear green more acid must be -added and stirred again; apply the test paper a second -time, if it be still stained green, a few drops more of the -acid must be added, and thus continue till the colour of -the paper is neither altered to green nor red: the liquor -will then be neither acid nor alkaline, but contain a -neutral salt consisting of a combination of the acid and -the alkali. By adding, however, a few more drops of the -acid, this last will be found predominant, and the test -paper, being immersed in the liquor, will be stained red.</p> - -<p>By treating different leys in this manner, and counting -the number of drops necessary to neutralize each, the -strongest ley will always be found that which requires -the greatest quantity of acid for the purpose.</p> - -<p>Alkaline leys are also to be judged of by their weight -compared with that of water; a wine pint of water -usually weighs about sixteen ounces avoirdupoise; all -alkaline leys are <i>heavier than water</i>, and the heavier they -are the more alkali they necessarily contain. A wine pint -of some of them will weigh more than seventeen ounces.</p> - -<p>To return to the dyeing of cotton a chemic blue: (to -which a knowledge of these chemical processes, as well as -of other processes in our work, is essentially necessary,) -take some of the blue liquid prepared with indigo and -sulphuric acid, as before directed, and put it into a vessel -<span class="pagenum"><a name="Page_51" id="Page_51">{51}</a></span> -large enough to hold two or three times as much as is -intended to be put in, in order that there may be room to -stir it; add some of the potash, or alkaline liquor, by degrees -till, after several trials, the mixture ceases to be -sour; or, if you do not like to taste it, take a small slip of -cotton or muslin and dip it in, after having wetted it out -in warm water. If the acid be neutralized the cotton -will be sound, if not it will be tender <i>when dried</i>: if the -acid predominates much the cotton will be as rotten as -tinder; when the cotton is perfectly strong and sound -after being dried, the liquid is in a proper state to dye -both cotton and muslin.</p> - -<p>The goods to be dyed must first be wetted out and -wrung, then work them in the flat tub with water, with a -little of this blue added, and well stirred in proportion to -the shade wanted. From half a pint to a pint of the -liquid blue is sufficient for two pieces of twenty-four or -twenty-eight yards each, if not of a very full pattern.</p> - -<p>Blue, when dyed, should be dried in a cool stove, and -if book-muslins, framed; furniture should be stiffened, -glazed, or calendered.</p> - -<p>The preceding are essentially the same directions for -preparing and dyeing with the <i>chemic blue</i> which were -given in the first edition of this work, and which we see no -reason to alter. As, however, for <i>silk</i> in particular, another -method has been given in the late work of Mr. -<span class="smcap">M'Kernan</span>, we give his processes below.</p> - -<h3>Sulphate of Indigo.</h3> - -<p>"Take one pound of the best flora indigo in very fine -powder, put this into a stone-ware or lead vessel, then -<span class="pagenum"><a name="Page_52" id="Page_52">{52}</a></span> -add gradually three pounds of the best sulphuric acid, -specific gravity 1.800; mix well and stir often, and in -twenty-four hours the indigo will be dissolved. Adding -three ounces of sulphur to the acid, and heating it to -180°; then, when cooled to 100°, pouring the acid off the -sediment, and then adding to it the indigo, is considered -the best way of opening or dissolving the indigo. When -the indigo and acid have been mixed twenty-four hours, -add three pints of boiling water; stir often; when cold it -will be fit for use."</p> - -<h3>To neutralize the sulphate of indigo.</h3> - -<p>"Take six pounds of alum and dissolve it in two gallons -of water at 120°, when dissolved add, by degrees, five -pounds of pearl-ashes until the acid of the alum is neutralized -and the alumine formed, then put the whole on -a piece of calico that has been hooked in a square frame, -or tied over a vessel; when the liquor has run off then -add one gallon of boiling water on the alumine and stir it -up well. When the water has gone through the calico; -the alumine is fit for use. Then add a part of this -alumine to some of the sulphate of indigo until the acid -is neutralized."</p> - -<h3>Saxon or chemic <small>GREEN</small>.</h3> - -<p>The same blue vat will do for <i>green</i>; but it is best to -make another by putting only eight ounces of indigo instead -of twelve to four pounds of sulphuric acid. If the -preparation has been made two or three months it is the -<span class="pagenum"><a name="Page_53" id="Page_53">{53}</a></span> -better, having been often stirred before it was neutralized -with the alkali.</p> - -<p>Prepare a strong decoction<span -class="fnanchor"><a name="Ref_7" id="Ref_7" href="#Foot_7">[7]</a></span> -of old fustic, which should -always be ready at hand as a store, keeping plenty according -to the work to be done, including cotton, silk, -and worsted goods.</p> - -<p>Mix some of the chemic blue with the decoction of -fustic in the following manner: put into a tub six pails of -soft clear water, to which add a pint of the neutralized blue; -and six pails of the decoction of fustic; stir all well together. -Some dyers add a little weak alum liquor till it -just tastes before they put in the blue; it should be but -little, otherwise it will precipitate the fustic. This mixture -should stand two hours to settle.</p> - -<p>The muslin or calico, say two pieces of twenty-four -yards each, should, with the usual precautions, be passed -through a strong decoction of old fustic or turmeric as hot -as the hand will bear. They are then to be taken out -and submitted to a quantity of the green mixture above, -described, in proportion to the fulness of the green required. -When finished, whether for the calenderer or -glazer, they should be dried in a moderately warm stove.</p> - -<p>These two colours are very fugitive, especially upon -<i>cotton goods</i>; but sometimes the customer will not go to -the price of the fast green or blue, hereafter to be described.</p> - -<div class="pagenum"><a name="Page_54" id="Page_54">{54}</a></div> - -<h3>To set a cold indigo vat for cotton, &c.</h3> - -<p>Put three pounds of slacked lime, sifted, into six -quarts or more of boiling water; stir the mixture well -for some time, and after it has settled, draw off the -clear liquid, to which add three pounds of sulphate -of iron, stirring it well till all is dissolved; let it settle -till the next day; have ready a deal cask, because one -made of oak would blacken and otherwise injure the -dye, in consequence of the affinity between the tannin, -&c. of the oak and the sulphuric acid. Put into the -cask seventy-five gallons of water, to which add the mixture -of lime and sulphate of iron; take now three pounds -of indigo, well ground and ready at hand, dissolved in -three pints of strong solution of potash, such as was -directed to be prepared for neutralizing the chemic blue. -Put this solution of indigo and potash into the tub with -the water, lime, &c.; after it is well stirred, and left to -settle, it produces a deal of froth; but the liquor takes -a fine green colour, which turns to blue when exposed to -the air.</p> - -<p><i>Soda</i> may be used instead of potash, if treated the -same way. Soda, it may be observed, forms the usual -ley of the soap manufacturer; and answers for <i>soap</i> much -better than potash, because its combinations do not usually -absorb moisture from the air: potash, and several of -its combinations, do so.</p> - -<h3>Another indigo vat.</h3> - -<p>Take five hundred quarts of water; indigo seven or -right pounds. The boiler must be iron.</p> - -<p><span class="pagenum"><a name="Page_55" id="Page_55">{55}</a></span> -Boil the indigo with sixteen pounds of a liquor made -with potash and eight pounds of lime. After the lime -and potash have been in contact, as in all these instances -they should be, from twelve to twenty-four hours, to take -away the carbonic acid from the potash, the clear liquor -of this mixture is what must be used. The indigo must -be previously powdered, and ground extremely fine in -water before it is put into the alkaline liquor. The mixture -must now be added to the five hundred quarts of -water, and the whole boiled till the indigo rises to the -surface like cream, and till, in striking the bottom of the -boiler with a stick, it is found to contain no solid substance.</p> - -<p>While the indigo is boiling, another eight pounds of -lime must be slacked in about twenty quarts of warm -water; dissolve in this lime-water sixteen pounds of sulphate -of iron. The vat being half filled with water, the -solution of lime and sulphate of iron is to be put into it; -the indigo solution is now also to be added. The vat, -being thus filled to within about three or four inches of -the edge, must be stirred two or three times a day till it is -fit for dyeing, which it will be in about forty-eight hours, -and sometimes sooner, according to the temperature of -the air, by which the completion of the process is more -or less accelerated.</p> - -<p>When the strength of the vat is exhausted, it must be, -of course, replenished. If the liquor becomes black, it -wants sulphate of iron; if yellow, lime is required. -When the indigo is far spent, more must be added in the -same manner as at first.</p> - -<p>In this vat, as respects the blue dye, if it be for muslin, -<span class="pagenum"><a name="Page_56" id="Page_56">{56}</a></span> -calico, &c., the form should be square, about two yards -long, one yard to one and a half wide, and from seven to -eight feet deep; the pieces of cloth are to be hooked into -a frame.</p> - -<p>Where much work is done, it will be necessary to have -two or three such vats, in order that they may be worked -in succession: by stirring them some hours previously to -working, the weaker will do for the lighter shades, the -stronger for the fuller colours. If the vat is in proper -order, the goods always come out green, and turn blue -in the air. This should be ascertained by small patterns -previously to working the whole. When any goods are -dyed in these vats, if not full enough at one dip, they -may be left a certain time, and then be dipped again, once -or more, as they appear to require it.</p> - -<p>When they are blue enough, and fully aired, they -must be taken from the hooks, and well washed off in -two or three fresh clean waters, or at a wash wheel in a -clear running stream. When perfectly clean, they are -ready for the calenderer or glazer.</p> - -<h3>To dye cotton a <small>FAST GREEN</small>, with the cold indigo vat -and weld.</h3> - -<p>After dyeing muslin blue in the blue vat, weld must be -boiled in the same manner as for fast yellow. The quantity -of weld to be used, must be according to the fulness -of the blue ground, and of what shade the green is to be; -a proportion of alum must also be used. The goods, -after being worked in the same manner by the selvage, -must be washed off, and stiffened, if for the glazer, but -not if for dress, but be framed by the muslin dresser.</p> - -<div class="pagenum"><a name="Page_57" id="Page_57">{57}</a></div> - -<h3>Another cold <small>BLUE</small> vat for linen and cotton.</h3> - -<p>The indigo is to be powdered, and put into warm -water with sulphate of iron, in quantity twice the weight -of the indigo, to which is also to be added, the same -weight of fresh-burnt lime. The water should be only -sufficient to mix it thick at first; keep it stirred; and, as -it becomes dissolved and green under the surface, increase -the water, often stirring and trying the mixture, by putting -in a pattern between the stirrings, at some hours -distance, between each pattern, and increasing the water: -in twenty-four hours it will be fit for use.</p> - -<h3>Solution of indigo for penciling printed muslin, &c.</h3> - -<p>To twenty-five gallons of water, add sixteen pounds of -indigo, and thirty pounds of carbonate of potash; when -mixed, and placed over the fire, as soon as the mixture -begins to boil, add quicklime, by a little at a time, to -render the alkali caustic; then twelve pounds of red -orpiment, and boil till it will give a yellow colour to -transparent glass.</p> - -<p>This form is from <i>Haussman</i>. Were the author to -make this solution of indigo, he would first make the -alkali caustic with lime, and then put the clear liquor to -the other materials.</p> - -<p>Mr. <i>M'Kernan</i> gives another form for <i>pencil blue</i> with -indigo: the principal differences between which and the -above, consist in adding equal parts of brown sugar and -<i>gum senegal</i> to it, which, in regard to the addition of the -gum, is, we presume, a great improvement.</p> - -<p><span class="pagenum"><a name="Page_58" id="Page_58">{58}</a></span> -Dr. <span class="smcap">Ure</span> (<i>Notes to Berthollet</i>, vol. ii. page 437.) -gives a similar form from <i>Vitalis</i>, for <i>topical</i> or <i>pencil -blue</i>; but he adds, it was much used formerly. Another -blue, of less permanence but more brilliance, is now preferred; -it is made thus:—</p> - -<p>Into an earthen pot four ounces of finely ground and -sifted Prussian blue are to be put. Over this must be -slowly poured, stirring all the while, sufficient muriatic -acid to bring it to the consistence of syrup. The mixture -is to be stirred every hour for a day, and afterwards -thickened with from four to eight pots (of two <i>litres</i> each; -a litre <i>French</i> contains about two wine pints;) of gum-water, -according to the shade wanted.</p> - -<h3>To dye cotton a <small>FAST BUFF</small>.</h3> - -<p>Take a brown stone pan or pipkin, glazed. It must -not be the common glazed wares, because these are -glazed with <i>lead</i>, and the acids will dissolve the lead; if, -therefore, such are used, the lead being dissolved, will be -mixed with the dyeing materials, and sometimes totally -spoil the dye. Stone-ware, if used with care, will bear -the fire: such ware is usually glazed with muriate of -soda or common salt.</p> - -<p>Having a proper vessel capable of holding from two -quarts to a gallon, fill it half-full of strong <i>nitric acid</i>, -to which add, in small quantities at a time, either -<i>old horse-shoe nails</i> from the farrier, they being the -purest iron, or the <i>cuttings of tin-plate</i> from the tin-man's, -for this is also very pure iron, although covered -with tin; but the small portion of tin in the iron is not -<span class="pagenum"><a name="Page_59" id="Page_59">{59}</a></span> -inimical to the dye. Be careful not to put too much in -at a time, nor to stoop near to it while the solution is going -on, as the red fumes arising are very noxious; and if -the iron be added in large quantity, so much effervescence -would be produced, that a considerable part of the -liquor would be thrown over the top of the vessel.</p> - -<p>When this solution is prepared in haste the air is -greatly contaminated, and therefore it is best to prepare -it long before it is wanted, and slowly, by dropping -hourly small quantities of the iron into the acid, and then -little if any perceptible fumes will arise. Continue this -process till, by stirring with a glass rod or tobacco-pipe, -you find the iron dissolves more slowly: by keeping a -little iron at the bottom, and occasionally adding the -acid, you may always have this preparation at hand.</p> - -<p>It is to be used thus:—having a copper of hot water -ready, put a part of it to some cold in a flat tub till the -mixture is as hot as the hand will bear; then, according -to the paleness or fulness of your pattern, add some of -the solution of iron, and mix it well by stirring: begin -with about half a pint for two pieces of twenty-four yards -each: it is best to add a smaller quantity than is necessary -first, as you can make another addition as you -please, but, if you add the solution in excess, to diminish -it is by no means so easy. Now, having ready a flat tub -with water of as hot a temperature as the hand will bear, -put into it a clear solution of pearl-ash, and have also -ready another tub of clear cold water to wash off in; -then pass the pieces (always taking care to have them -well wetted out in one of the tubs of hot water before -either the solution of iron or pearl-ash is put into either -<span class="pagenum"><a name="Page_60" id="Page_60">{60}</a></span> -of them) through the solution of iron six or seven times, -edging them over by the selvage to keep them even; -next, folding them first even upon a board, wring them -out, wash them off and pass them through the solution -of pearl-ash; lastly, wash them off again in fresh and -clean water: a permanent and bright buff will be found, -and as good a colour as can be dyed upon cotton.</p> - -<p>We here see what an affinity iron and cotton have for -each other when the iron is combined with an acid and -the combination in a liquid state. Although the colour -is not so beautiful in every instance, yet, be the acid -which dissolves the iron what it may, cotton imbibes the -iron from it.</p> - -<p>What is left of the solutions of iron and the pearl-ash -may each be kept in a separate <i>deal</i> tub for use.</p> - -<h3>To dye cotton <small>PINK</small>.</h3> - -<p>Take <i>safflower</i> in proportion to its goodness and the -quantity of work to be dyed; put it into pure and clear -water; tread it in the water till the water becomes fully -charged with a kind of extractive yellow colour. It is -best to put the safflower into a strong linen bag or sack; -a sack containing sixty pounds will take a man two days -to wash it clean: if done in a clear running stream the -yellow colour will of course run away; if you have a -small quantity in a tub it must be let out at a plughole, -which every flat tub should have. <i>The safflower -must be worked or trod till all the yellow colour is got -out of it, or the</i> pink <i>to be obtained from it afterwards -will not be bright.</i></p> - -<p><span class="pagenum"><a name="Page_61" id="Page_61">{61}</a></span> -When the safflower is thoroughly washed, take it out -of the bag and put it into a deal tub or trough, and add -to it <i>pearl-ash</i> in the proportion of six pounds to one -hundred pounds of the safflower, which should be weighed -before it is wetted. Let the potash be well dissolved in -water; pour part of the clear solution off, and mix it thoroughly -with the safflower; after having stood for some -time strain the liquor through a cloth or sieve into another -deal trough. The whole solution of pearl-ash should -not be put in at once, but at different times. If there -should be reason to believe that the safflower will yield -more colouring matter by a farther addition of the solution -of pearl-ash, such additional solution may be made. -The water for the solution and the solution to the safflower -should both be applied cold. Carbonate or mild -potash is better than the caustic. By putting the solution -of pearl-ash on the safflower at different times it will -be readily seen when the fluid passes through the cloth -or sieve free from colour.</p> - -<p>The colour is of a cherry hue, and is resinous, therefore -the water dissolves but little of it; the carbonate of -potash is added to dissolve this resin.</p> - -<p>To overcome the influence of the pearl-ash, which -tinges the red of a yellow colour, some cream of tartar -must be finely powdered and dissolved in boiling water, -and added to the liquor when it is nearly cold. In the -South of France lemon juice is used.</p> - -<p>The colour, being thus raised by the cream of tartar, -is now to be mixed with cold water in proportion to the -fulness of the pattern desired, and the cloth must be -worked six or seven times in it, as in other colours.</p> - -<p><span class="pagenum"><a name="Page_62" id="Page_62">{62}</a></span> -What is left of the colour must be taken up with some -skein cotton, and dried; this may be added to water -upon another occasion by saturating the acid with a solution -of pearl-ash, which will abstract the dye from the -cotton.</p> - -<p>The solution of tartar will again redden the colour -from the yellow of the pearl-ash; this must be done if -any remain, for it will not keep in a fluid state.</p> - -<p>We shall not here describe any other process with -cotton till we have treated of wool and silk.</p> - -<p>For dyeing cotton <i>black</i>, and some other colours, see -the chapters V. and VI.</p> - -<div class="footnote"> - -<p class="nodent"><a name="Foot_7" id="Foot_7" href="#Ref_7">[7]</a> -The difference between <i>decoction</i> and <i>infusion</i> should be always carefully -observed: a <i>decoction</i> is made by <i>boiling</i> the ingredient or ingredients -in any liquor; an <i>infusion</i> is that in which the ingredients are put but <i>not -boiled</i>.</p> - -</div> - -<div class="pagenum"><a name="Page_63" id="Page_63">{63}</a></div> - -<h2>CHAPTER III.<br /> -<span class="small">ON DYEING SILK.</span></h2> - -<p class="negdent"><i>To alum silk—The blue vat of indigo for silk—Another -blue vat for silk—To dye silk violet, royal purple, &c.—To -dye silk lilac—Another process for lilac—Another -process for dyeing muslin, &c. lilac—To dye -silk a violet or purple with logwood—To dye silk -violet with Brazil wood and logwood—To dye silk -violet or purple with Brazil wood and archil.</i></p> - -<h3>To alum silk.</h3> - -<p class="nodent"><span class="smcap">Forty</span> -or fifty pounds of alum being dissolved in a copper -of hot water, the solution is to be poured into a tub -containing forty or fifty pails of cold water; during the -mixing of the solution of alum with the water it should -be well stirred lest the cold water should crystallize the -alum and spot the silk; when, however, this happens, -dipping silk in warm water will dissolve the alum. The -silk should be alumed cold, for, if hot, the lustre of the -silk will be injured. Alum is used for certain reds and -yellows but not for blue. See also chapter VI.</p> - -<p>When silk is deprived of its gum so as to acquire the -greatest possible degree of whiteness, it is still necessary -<span class="pagenum"><a name="Page_64" id="Page_64">{64}</a></span> -to have different shades of white, some yellow, some -blue, and others reddish; these are known under five denominations, -namely, <i>China white</i>, <i>India white</i>, <i>thread -or milk white</i>, <i>silver and azure white</i>. All these whites, -although differing from each other by <i>very slight shades</i>, -are nevertheless apparent, especially when compared with -each other, which will be seen in the processes of dyeing -silk.</p> - -<p>For <i>ungumming and boiling, whitening and sulphuring -silk</i>, see chapter VI.</p> - -<p>We have described <i>M'Kernan's</i> method of preparing -and neutralizing sulphate of indigo in pages 51 and 52, -to which the reader will be kind enough to refer: the -following <i>blue vat</i> is from <i>Macquer</i>.</p> - -<h3>The <small>BLUE</small> vat of indigo for silk.</h3> - -<p>This should be so contrived that heat may be applied -to it, which it now mostly is, by steam, as well for woollen -woad vats as for indigo vats. For silk, take eight pounds -of the finest indigo and six pounds of the best pearl-ash, -and from three to four ounces of madder for every pound -of ash, besides eight pounds of bran for the whole, washed -in several waters to take the flour out. When washed, -and the water squeezed out, the bran is to be put at the -bottom of the vat; the pearl-ash and the madder being -mixed by bruising them roughly together, are now to be -boiled a quarter of an hour in a copper containing two-thirds -of the vat; the fire being damped, the liquor is -then suffered to rest. Two or three days previous to -this the indigo is to be steeped in a bucket of warm water, -<span class="pagenum"><a name="Page_65" id="Page_65">{65}</a></span> -and washed well, the water being changed once or more. -Some dyers begin by boiling the indigo in a ley made -with one pound of pearl-ash and two buckets of water; -they afterwards pound it in a mortar quite wet, and, when -it becomes like paste, fill the mortar with the liquor before -boiled, and still hot, stirring it for some time. It is then -suffered to stand a few moments, and then the clear is -poured off into a separate boiler or into the vat. The -same quantity of the mixture is then poured upon the -indigo remaining in the mortar and mixed as before; -again the clear is poured off into the boiler, and the -operation is repeated till the whole of the indigo is dissolved -in the liquor. The whole of the liquor in the -boiler is now to be gradually poured into the vat on the -bran at the bottom, adding afterwards the remainder of -the composition, grounds and all.</p> - -<p>After stirring and raking for some time, the mixture is -left to cool till it will bear the hand in it, when a little -heat is added to keep it in this state, and so continued -till it begins to turn green, which is easily known by trying -it with a little silk. When the green begins to appear -it should be stirred with the rake, then suffered to stand -till the brown and coppery scum which rises upon the -surface shews that the vat is come to; or, in other words, -the preparation of this part of the process is complete. -But as it is necessary to be very certain of this, the scum -should be well examined; and if, when blown aside, a -fresh scum is immediately formed it is as it ought to be. -In this state it is to remain for three or four hours, when -a new composition is thus made:—</p> - -<p>Put as much water as is requisite to fill the vat into a -<span class="pagenum"><a name="Page_66" id="Page_66">{66}</a></span> -copper, boiling it with two pounds of pearl-ashes and -four ounces of madder as at first. This new liquor is to -be poured into the vat, raked and mixed, and being left -to stand for four hours it is then ready for dyeing.</p> - -<p>When a vat or vats are set for <i>green</i>, double the quantity -of madder must be added. (See Chap. VI.)</p> - -<p>The size of the vat for the above quantity of indigo, -should be about five feet deep, two feet or two feet and a -half in diameter at the top, and one foot and a half or two -feet in diameter at the bottom: the form of an inverted -frustum of a cone; or of a sugar loaf inverted, with the -pointed top cut off.</p> - -<p>In order to produce different shades of blue, the silk -intended for the darkest, should be first dipped in the -fresh vat and so on to the lightest; as the vat weakens -the silk should be kept in longer, till the vat, being exhausted, -serves only for the lightest shades. When it -begins not only to be weak but dull, it is then necessary -to feed the vat with the following composition:</p> - -<p>Take of the decoction of pearl-ash with indigo one -pound; of madder, two ounces; and a handful of washed -bran; boil them together for a quarter of an hour, either -in water or a portion of the same vat if yet sufficiently -full to afford it; after this mixture is added, it should be -well raked and suffered to rest two or three hours, more -or less, before the dyeing is resumed.</p> - -<p>For the finest blues, however, a fresh vat is the best; -and if only pale blues are required, a vat set on purpose -with less indigo will answer better than a strong vat -which has been weakened, because though weak it will -give more vivid colours.</p> - -<div class="pagenum"><a name="Page_67" id="Page_67">{67}</a></div> - -<h3>Another <small>BLUE</small> vat for silk.</h3> - -<p>Take fifty pounds of good indigo in fine powder; fifty -pounds of fresh slacked stone lime; one hundred pounds -of sulphate of iron; and five pounds or more of pearl-ashes. -Stir often for three or four days till there is a -fine copper-colour scum on the top of the liquor in the -vat. The vat is of course to be set with water in the -usual way.</p> - -<p>The substance of this form is from <i>M'Kernan</i>; we -cannot, however, avoid thinking, that his directions for -this vat are very vague.</p> - -<h3>To dye silk a <small>VIOLET</small>, <small>ROYAL PURPLE</small>, &c.</h3> - -<p>Boil archil with water in a copper; the quantity of -archil according to the colour required must be from two -to four times the weight of the silk. When the archil -has boiled about ten minutes the fire must be damped, -the archil left to subside, and the clear liquor put into a -vessel of a convenient size, in which the silk is to be immersed -and worked with care.</p> - -<p>You must have a small corresponding pattern that you -intend for purple, which at times you must put into the -blue vat to regulate the depth of the archil ground, as -the purple is a compound colour, arising from the blue -of the indigo and the red of the archil. When the red -of the archil is deep enough, you must wash it off and -put it into the blue vat with proper precaution. The -fulness of the archil ground and the depth of the blue, -<span class="pagenum"><a name="Page_68" id="Page_68">{68}</a></span> -must be regulated according to the patterns which are to -be matched.</p> - -<h3>To dye silk <small>LILAC</small>.</h3> - -<p><i>Lilac</i> is and should be a bright light shade of violet -or purple; to give it the blue requires great management. -The vats being generally too strong, it is best to mix a -little of the new rich vat with some pearl-ash in clean -cold water, and so prepare a liquor on purpose, by which -the lilacs may be blued or reddened at pleasure. When -this liquor is first mixed it becomes of a green colour; -the silks therefore should not be dipped till the liquor -begins to lose its green colour and inclines to blue. -Pearl-ash added to this liquor helps to blue the archil, -because the effect of the alkali upon red is to render it -violet.</p> - -<h3>Another process for <small>LILAC</small>.</h3> - -<p>Consists in simply using the <i>chemical blue</i> with archil -according to the shade required.</p> - -<h3>Another process for dyeing muslin, &c. <small>LILAC</small>.</h3> - -<p>This is accomplished by mixing the neutralized chemic -blue for cotton with the pink dye of safflower, according -to the shade required.</p> - -<h3>To dye silk a <small>VIOLET</small> or <small>PURPLE</small> with Logwood.</h3> - -<p>The silk should be alumed and washed. The logwood -should be boiled in large quantities like fustic, as -<span class="pagenum"><a name="Page_69" id="Page_69">{69}</a></span> -as directed for green; but it should not be kept longer -than two or three weeks; it is far better used cold than -hot.</p> - -<h3>To dye silk <small>VIOLET</small> with Brazil wood and Logwood.</h3> - -<p>The silk must be alumed and cooled as usual; it is -then to be alumed and dyed in a liquor made of Brazil -wood of the common heat, then in the cold logwood -liquor, and lastly, a solution of pearl-ash must be added -to the liquor in which the silk is last dyed. It is afterwards -to be washed and dried; but for some shades it is -best to have fresh liquor, particularly for the warm Brazil, -the cold logwood, and the solution of pearl-ash: in this -case the quantity of each may be much better regulated.</p> - -<h3>To dye silk <small>VIOLET</small> or <small>PURPLE</small> with Brazil wood and -Archil.</h3> - -<p>The silk when alumed is to be dyed in the decoction -of Brazil wood according to the shade required; it is -then to be washed and dyed in archil: and it is afterwards -washed a second time. After this it is dipped in the -blue vat, and wrung and dried with the same accuracy -used in greens and blues.</p> - -<p>For dyeing silk <i>black</i> and some other colours, see -Chapters V. and VI.</p> - -<div class="pagenum"><a name="Page_70" id="Page_70">{70}</a></div> - -<h2>CHAPTER IV.<br /> -<span class="small">ON SCOURING AND DYEING WOOL.</span></h2> - -<p class="negdent"><i>On the action of alum and tartar upon wool—A pastil -or woad vat for blue—To prepare the indigo mentioned -in the preceding directions—Rules to judge of the -state of the vat—Indications when a vat has had too -much or too little lime—To work a vat which is in -proper order—On the putrefaction of the woad vat—Methods -of dyeing blues—To dye wool, with lac-dye, -scarlet, or crimson—To dye worsted yarn a crimson—A -preparation of archil to finish the crimson—On -dyeing wool scarlet—To dye wool maroon—To dye -wool yellow—To dye wool brown or of a fawn colour—To -dye wool purple, &c.—To dye wool green—A -chemic vat for green woollen—A chemic vat for -blue woollen—To dye wool orange, gold colour, &c.—To -dye wool black—another process for black without -a blue ground—To dye wool grey—Mixture of -black or grey with red and blue—On browns, fawns, -greys, &c.—On the yellow of quercitron bark—On a -full bright yellow from the same bark—Bancroft's -murio-sulphate of tin—To dye wool buff—To dye -wool peach—To set an Indigo vat for worsted, serge, -&c.</i></p> - -<p class="nodent"><span class="smcap">Wool</span> -is usually scoured for being dyed with stale urine, -the staler the better: it is used in the proportion of one -<span class="pagenum"><a name="Page_71" id="Page_71">{71}</a></span> -part to three parts of water, full as hot as the hands can -bear when the wool is worked about in the fluid.—If the -wool be in the fleece, what is called its natural yolk, -and which is said to preserve the wool from the moth, is -of a greasy nature, and is scoured out by the volatile -alkali in the urine. If the wool be in the state of spun -yarn it has gallipoli, or rape oil, in its thread, the spinner, -or rather the comber, using it to render the wool more -flexible, &c. It is absolutely necessary that wool, (as -indeed every other material to be dyed) should be made -very clean and white, if any brilliant or bright colour -is to be imparted to it. For this reason it is that the -wool is passed two, three, and in some instances even -four times through fresh scouring liquors; in the last, -and sometimes in that which precedes the last, soap is -used in the proportion of from seven to fourteen pounds, -and in some instances to twenty one pounds or more, to, -a pack of two hundred and forty pounds of wool, according -as it is fine or coarse: for superfine colours more than -common is used. Worsted requires less than coarse -yarn, having less grease and dirt in it.</p> - -<p>It ought, however, to be known, that <i>boiling</i> wool <i>for -a long time</i> in any alkaline liquors, or a liquor made of -soap, tends greatly to the decomposition of the cloth; -indeed long boiling in any strong alkaline ley converts -wool into a kind of soap, and, hence, it is easy to see why -such processes injure wool or cloths made with it.</p> - -<p>The preceding observations apply to the alkalies in -a <i>caustic</i> state, or in the state of <i>carbonate</i>, not when -they are neutralized by powerful acids: for wool, when -fit to receive the dyes, and if it is designed to be dyed -<span class="pagenum"><a name="Page_72" id="Page_72">{72}</a></span> -<i>yellow</i>, should boil two hours with one-twelfth or one-tenth -of its weight, of sulphate of alum (common alum) -observing proper precautions, and the use of a sufficient -quantity of prepared weld plant boiled, &c.: or of quercitron -bark, as will be shown in the processes of the -different yellows. If it were yarn, and the threads cut -in two, it would be found dyed throughout, and of a -body and richness in proportion to the correct application -of the various ingredients, and with due regard to time, -weight, measure, &c.</p> - -<p>In the process just mentioned, we may observe, that -the quantity of alum and of the weld plant used will be -found very considerable: from one twelfth to a fourth of -alum, and, according to the French method, four or five -times more weld than the quantity of the wool.</p> - -<p>When a process of dyeing has been scientifically conducted, -the wool will take so much of the alum that -the bath will hardly taste of it; and afterwards take the -colour of the dye bath out of it; so that the remaining -liquor put into a glass will be nearly like water.</p> - -<h3>The action of alum and tartar upon wool.</h3> - -<p>From the experiments of Dr. <span class="smcap">Ure</span>, (<i>Notes to Berthollet</i>, -vol. ii. p. 323.) it appears that alum has the -property of increasing the solubility of cream of tartar; -that as, in using alum and tartar, the wool is impregnated -with alum and a large quantity of tartaric acid, these two -salts should never be employed together, except when -the colour is susceptible of being heightened and rendered -brighter by acids, as is the case with cochineal, madder, -<span class="pagenum"><a name="Page_73" id="Page_73">{73}</a></span> -and kermes. On the contrary, alum should never be -employed for wools intended to be dyed with woad, or -Brazil wood, the colour of which is easily destroyed or -altered by acids.</p> - -<p>To conclude these preliminary observations, wool has -a strong and powerful affinity for <i>all</i> dyeing materials; -and, therefore, the processes for dyeing wool are, in -general, by no means so complicated as those for dyeing -<i>cotton</i>, <i>silk, &c.</i>; although some colours, even to these, are -readily, and without a complication of processes, imparted.</p> - -<h3>A pastil, or woad vat for <small>BLUE</small>.</h3> - -<p>Take, upon as small a scale as can conveniently be -tried, a copper vessel, which will contain about twelve -gallons, two thirds full of soft water, and one ounce of -madder. Fix this small copper in a larger copper of -water, so that the heat may be applied to keep the liquor -in the smaller copper at a proper temperature; it will be -then, in fact, a <i>water bath</i>.</p> - -<p>Having kindled the fire in the afternoon, put in a good -handful of bran and five pounds of woad; at five o'clock -in the evening let it be well stirred and covered over, the -liquor being about blood-warm; let the same heat be -continued as nearly as possible, at least so as not to be -lower than <i>summer heat</i> by the thermometer, nor higher -than <i>fever heat</i> by the same instrument. The vat must -again be well stirred at seven, at nine, at twelve at night, -at two in the morning, and at four.</p> - -<p><span class="pagenum"><a name="Page_74" id="Page_74">{74}</a></span> -<i>Hellot</i>, describing this process, observes, that "the -woad then working, some air bubbles began to rise pretty -large, but few in number, and of a very faint colour; it -had then two ounces of lime added, and was stirred; -this was four o'clock in the morning; at five a pattern -was put in, and at six it was taken out and the vat stirred. -This pattern had received some colour. At seven o'clock -another pattern was put in, and at eight it was stirred -again. The second pattern was tolerably bright. An -ounce of <i>prepared indigo</i>, (see p. 75.) was then added; -at nine o'clock another pattern was put in; at ten it was -stirred again, taking the pattern out, and putting in an -ounce of lime because it began to smell sweetish; at -eleven another pattern; at twelve at noon it was stirred -again. This process was continued till five o'clock in -the evening; then were added three ounces of prepared -indigo; at six another pattern was tried, and at seven it -was stirred again; the last pattern came out of a very -good green, and became a bright blue. One ounce of -lime was added to sustain it till nine o'clock the next -morning; patterns were put in from time to time: the -last was very beautiful. The vat was then filled up with -water and a small quantity of bran and stirred; after -which patterns were tried every hour till five o'clock in -the evening, when, being in a proper state, it was immediately -worked. Some lime was then added to preserve -it; it was stirred and left to another opportunity to reheat."</p> - -<div class="pagenum"><a name="Page_75" id="Page_75">{75}</a></div> - -<h3>To prepare the indigo mentioned in the preceding directions.</h3> - -<p>Boil, in a gallon of water, for three quarters of an -hour, two ounces of pot-ash, three quarters of an ounce -of madder, and one ounce of bran; then let the whole -settle for half an hour. After all is settled and taken out -of the boiler, and put into another copper with four -ounces of indigo finely powdered, the liquor should be -kept stirred, and very hot, but not be boiled. At intervals -some lixivium of lime should be put into it, and that being -cold will keep the liquor from boiling, and render the -pot-ash more active.</p> - -<p>As soon as the indigo is dissolved and properly diluted, -damp the fire and cover over the solution; after it is -settled put in a pattern, which, when taken out, will turn -blue on being exposed to the air; if it does not, more -clear lixivium must be added. Of this solution of indigo -such proportions are to be added to the woad vat as are -directed in the preceding process.</p> - -<h3>Rules to judge of the state of the woad vat.</h3> - -<p>The vat is ready for working, and to dye blue, when -the sediment at the bottom, on being taken out of the -vat changes to a fine brown-green. When the froth -which rises in great bubbles on the surface is of a fine -Prussian-blue, and when the pattern which has been -steeped an hour, comes out of a dark grass-green, and -changes in the air to a blue; when the liquor is clear -and reddish, and the drops which stick to the rake are -<span class="pagenum"><a name="Page_76" id="Page_76">{76}</a></span> -brown; when the sediment changes colour on being taken -out of the liquor, and becomes brown on exposure to the -open air: when the liquor is neither harsh nor greasy to -the feel, and neither smells of lime nor of ley, the vat is -known to be in a proper state for working.</p> - -<h3>Indications when a vat has had too much or too little lime.</h3> - -<p>These extremes ought to be carefully avoided. When -the lime is deficient, or a pattern comes out of a dirty -grey, and the sediment does not change its colour, there -is scarcely any effervescence on the vat; the liquor smells -only of lime, or of the lixivium of lime.</p> - -<h3>To remedy the deficiency of lime.</h3> - -<p>If the vat be not too far gone, after the addition of a -little bran, madder, and some woad, then try the patterns -from hour to hour; thus you will be enabled to judge.</p> - -<p>A <i>deficiency</i> of lime is evident when there is no effervescence -on the liquor; and when, by dashing about the -surface of the liquor, it makes a hissing noise, and by the -bursting of a number of small air bubbles, which as soon -as they are formed break, and appear tarnished, and are -not large, nor of a fine colour; the liquor too has an -offensive smell, like rotten eggs; it is harsh and dry to -the feel, and the sediment, as has been before observed, -does not change colour when taken out of the liquor.</p> - -<p>Sometimes such a condition of the vat is absolutely -irremediable; but when not gone too far, sprinkle some -<span class="pagenum"><a name="Page_77" id="Page_77">{77}</a></span> -lime into the liquor, and stir it. If you can thus remedy -the defect, and bring the liquor to smell of lime, and to -feel soft, cover the vat, and let it stand. If, at the expiration -of an hour and a half, the effervescence begin, you -may put in a pattern; in an hour afterwards, it may be -taken out, and regulate your process by the degree of -green which the pattern has imbibed; but, in general, -when vats are thus out of order, they are not so soon recovered.</p> - -<h3>To work a vat which is in proper order.</h3> - -<p>The vat being in a proper state, the cross suspended, -and thirty ells of cloth ready, or scoured wool in proportion, -designed for black, by dyeing it of a blue grey; and -having passed and repassed the cloth through the liquor -for a full half-hour, it is to be wound round the winch, -and thrown off into the barrow, and aired by the listings -to change the green to blue. After this, a second piece -may be dyed by the same process.</p> - -<p>Having made this overture, or <i>first stirring</i>, as it is -also called, the vat must be stirred afresh, adding lime; -but not so much as to destroy the proper smell and feel. -If the vat be in a good state, on the first day, it may be -stirred three or four times; but it must not be overworked, -particularly on the second day.</p> - -<p><i>Concerning the colours to be obtained to the best possible -advantage from a fresh vat on the first day</i>,—the -first is for <i>black</i>, the next for <i>royal blue</i>, and the third a -<i>brown green</i>. On the <i>second</i> day, <i>violet</i>, <i>purple</i>, and -<i>Turkey blues</i> in the last stirring. On the <i>third</i> day, if -the liquor be too much diminished, it must be filled up -<span class="pagenum"><a name="Page_78" id="Page_78">{78}</a></span> -with hot water. At the end of the week <i>light blues</i> may -be done, and on Saturday night add rather more lime, -to preserve the vat till Monday morning. On Monday -morning add more indigo, and stir the paste; keep the -vat liquor at a proper distance from the top. Cover it -for two hours; then put in a pattern, and in an hour -take it out; add lime according to the green shade of the -pattern, and in an hour or two, if your vat has not suffered, -you may begin working it afresh.</p> - -<p>To keep the cloth, &c. from the sediment, there is -always let down into the vat, before the work is begun, -an iron circle, with cords fastened from the circumference -to the centre.</p> - -<h3>On the putrefaction of the woad vat.</h3> - -<p>Whatever be the cause, most certain it is, that the -woad vat, even when prepared in the most careful and -scientific manner, is soon disposed, <i>if not used</i>, to go -into the putrid fermentation; of this we may be satisfied, -when it smells like rotten eggs, as stated above.</p> - -<p>The loss of a woad vat to dyers is extremely serious, -both from the quantity of woad, as well as of indigo, -which it contains: these articles being always expensive. -The woad vat being worked by heat directly applied -from an open fire, (the old method of heating it,) was -much more liable to be lost than if it remained cold, or -was worked <i>continually</i>, as it usually now is in <i>London</i>; -added to which, the more equable application of heat by -<i>steam</i>, there is not now the danger which there was in -cessation, at uncertain times, and in uncertain states of -the vat, as to richness or poorness of woad or of indigo.</p> - -<p><span class="pagenum"><a name="Page_79" id="Page_79">{79}</a></span> -But a dyer in the <i>country</i>, whose business is barely -sufficient to keep a vat going, will find more difficulty in -this respect. If, therefore, he does a small batch of work -on Monday, but has not half worked down his vat, and -has no prospect for two or three days of doing any more -work, he may possibly try to keep it with lime for a day -or two: he may do so, and in the issue, in some instances, -<i>too much lime</i> is the consequence. We consider, -however, that when the vat can be worked daily, and -replenished as it is worked down, as is the case in London, -with care and attention, there is no danger of the -loss of a woad vat: in London, such an accident now -seldom happens. The author is, notwithstanding, persuaded -that all the art of man cannot always keep a vat -from the state of having either too much or too little -lime, <i>when heated but seldom</i>, under a short course of -work: for when a vat is in order, it is like a ripe vegetable; -you must gather it, or it passes the time of its -perfection; it may even be rotten ripe. We say, therefore, -<small>WORK THE VAT</small>: withdraw from it, upon your -cloth, its colour, which, as soon as you expose it to the -atmosphere, will combine with its oxygen,—the oxygen -with the carbon of the indigo and the woad. If you -play with it too long, the putrid fermentation will begin, -and the vat will be spoiled. The smell of rotten eggs -always proclaims the approach of the mischief.</p> - -<p>No one, therefore, should attempt to have a woad vat -or vats, unless he can keep them nearly always at work. -When worked down in a moderate time, and replenished -with lime, woad, indigo, &c., working out and replenishing -in, there can be no danger. On the other hand, in -<span class="pagenum"><a name="Page_80" id="Page_80">{80}</a></span> -proportion as the vat is out of condition, although partially -recovered, it must always be with more or less loss.</p> - -<h3>Methods of dyeing <small>BLUES</small>.</h3> - -<p>Whether the goods be cloth, or skeins of yarn, they -must, in all cases, be first wetted out and wrung, and -then put into the vat, worked in it, taken out and aired, -that they may turn from green to blue; and, if necessary, -they must be put in again.</p> - -<p>There is no difficulty in dyeing <i>dark blues</i>, by repeated -dippings; but if <i>light blues</i> be dyed in vats which are -nearly exhausted, they will not be bright.</p> - -<p>Blue vats, upon a large scale, are now mostly heated -by steam; they are then, with little trouble, always in a -state for working, without the necessity of re-heating. -They are very convenient for light colours, even after -they become very weak. In some instances, in order to -dye light colours to the best advantage, it would be -advisable to set a vat on purpose, which should be strong -in woad and weak in indigo; because the colour would -be given more slowly, and the light colour obtained from -them with much more facility.</p> - -<h3>To dye wool with lac-dye, <small>SCARLET</small> <i>and</i> -<small>CRIMSON</small>.</h3> - -<p>We have mentioned <i>lac-lake</i> and <i>lac-dye</i> in page 12. -Lac-lake is of very uncertain quality, having many heterogeneous -substances mixed with it. <i>Lac-dye</i> is very -superior to lac-lake. Lac-dye is much used for dyeing -woollen yarn scarlet and crimson, for carpets and hearthrugs. -<span class="pagenum"><a name="Page_81" id="Page_81">{81}</a></span> -It is used with a peculiar spirit, which may be -purchased of the dry-salters. Some think that this -colouring material is nearly equal to cochineal; the author -has, however, never seen any thing dyed with it -equal to the colour obtained from cochineal, although it -affords, nevertheless, a good scarlet.</p> - -<p>Lac-dye is used by being powdered and put into a -stone pan, (the quantity must be in proportion to what is -likely to be used), with a portion of the above-named -<i>lac-spirit</i> sufficient to make it about as fluid as treacle; -it must be stirred with a glass-rod or a tobacco-pipe. -Some use alum and tartar as a preparation, and some -not. After putting the mixture of lac-lake and spirit in -the copper with a proper quantity of water, add the goods -and work them at a boiling heat. For <i>scarlet</i> add quercitron -bark, for crimson, <i>archil</i>.</p> - -<p>Lac-dye may be, however, prepared for dyeing, by -submitting it, in <i>powder</i>, in a leaden vessel, to the action -of sulphuric acid, in the proportion of not more than one -part to two of the dye; and after the lac-dye is dissolved, -the acid may be neutralized by carbonate of soda. With -suitable mordants to the cloth or yarn, the colour may be -then applied. Other processes for the employment of -this dye are also adopted, but we have no room to detail -them. (See <i>Ure's Notes on Berthollet</i>.)</p> - -<h3>To dye worsted yarn a <small>CRIMSON</small>.</h3> - -<p>Proportion of wool, one pound; of <i>alum</i>, two ounces -and a half; of <i>white tartar</i> in powder, one ounce and a -half. Having the water properly cleared by bran, let the -<span class="pagenum"><a name="Page_82" id="Page_82">{82}</a></span> -alum and tartar be boiled in it; when it begins to boil, -stir the mixture well, and put in the worsted, which boil -in the liquor for two hours; then prepare a fresh liquor -for the <i>cochineal</i>, one ounce of which, in powder, is to -be used for every pound of wool; when it begins to boil, -stir it well, put in the worsted, and boil it till the liquor -in the vessel is free from colour, it having parted with -the colouring matter of the cochineal, which should now -all be upon the worsted. If a series of shades be required, -less quantities of cochineal, alum, and tartar, -must be used; the lightest shade is dyed first.</p> - -<h3>The preparation of archil to finish the <small>CRIMSON</small>.</h3> - -<p>Put as much archil as the goods may require, and according -to the deepness or lightness of the shades of the -crimson required, into a copper of water of a suitable size, -and boil it, (the best canary archil will bear boiling); -damp the fire, let the archil settle, and then have a fresh -liquor for the goods to be put in, to receive a proportion -of archil according to the pattern desired to be matched. -Begin with the lightest and end with the deepest, reserving -the remains of the archil liquor, if it be not all spent, -for common compound colours of such shades as it will -be advantageous to use it in. (<i>See the next article.</i>)</p> - -<h3>On dyeing wool <small>SCARLET</small>.</h3> - -<p>Scarlet owes its beauty to a solution of tin in muriatic -acid. For this purpose some use muriate of ammonia, -commonly called sal-ammoniac, others use common salt. -<span class="pagenum"><a name="Page_83" id="Page_83">{83}</a></span> -It is of little consequence whether common salt or sal-ammoniac -be used: different preparations are employed -by different persons. The author has found the following -to answer every expectation.</p> - -<p>Melt an ounce of grain tin in an iron ladle, till an -oxide is formed on the surface; then pour it from a height -or distance into cold water. Pour the water from it, and -it is fit for use, being then called <i>feathered tin</i>. Put this -tin into a glass vessel or stone jar, and add to it eight -ounces of nitric acid, eight ounces of water, half an ounce -of sal-ammoniac, and two drachms of nitrate of potash. -This preparation is better if made some time before it is -used; it is a compound of nitrate and muriate of tin.</p> - -<p>Should any one prefer a pure <i>muriate of tin</i>, the method -of making it will be found in the last chapter, in <i>observations -on crimson and scarlet upon silk</i>.</p> - -<p>Into a copper of cleared boiling water, the heat being -reduced, and having the worsted wetted out ready; for -every pound of which (dry) put two ounces of <i>cream of -tartar</i> or <i>white tartar</i> in powder, and one drachm and a -half of <i>cochineal</i> in powder. When the liquor is ready to -boil, add two ounces and a half of the first-mentioned -solution of tin, which immediately changes the colour; -stir it well: as soon as the liquor boils put in the worsted, -and boil it till the colour of the cochineal is taken up by -it. The worsted must now be taken out, when it will -be of a flesh-colour, the water in the copper having lost -its colouring matter. To finish the worsted, another -quantity of clean water is made warm, into which six -drachms and a half of cochineal are to be put; just before -it boils, two ounces of the same solution of tin are to be -<span class="pagenum"><a name="Page_84" id="Page_84">{84}</a></span> -poured in, the liquor undergoing a similar change as -before. The worsted is again put in, and boiled till it -has imbibed the colour; it is then taken out, wrung, and -rinsed in clean water, when the scarlet is in perfection.</p> - -<p><i>One ounce</i> of cochineal to a <i>pound</i> of wool, will impart -a colour sufficiently deep, if managed according to -the method above described, no colour being left in the -remaining liquor.</p> - -<p>For many <i>shades of scarlet</i> it will be, however, necessary, -and, in a fresh liquor, to add either a certain portion -of <i>turmeric</i> or <i>young fustic</i>, to give the scarlet that fiery -red which some scarlets have. If not in an entire fresh -liquor, a part of the old liquor must be taken out before -the yellow is added.</p> - -<p>When it is wished to dye a regular series of scarlet -shades in worsted, half the quantity or less, for some of -the lightest, will be sufficient of the solution of tin, the -tartar, the cochineal, &c. The worsted should be separated -into divisions corresponding with the shades required; -the lightest is of course to be done first: if any -deficiency be in the shade, it may have another dip. This -deficiency is easily perceived, and a very little practice -will enable the operator to assort them perfectly.</p> - -<p><i>It should be noted, that the vessel most proper to dye -scarlet in ought to be made of block tin; such as are -used by the scarlet dyers for the East India Company.</i></p> - -<p>When woollen cloth is to be dyed scarlet, to every -hundred pounds of cloth put six pounds of tartar and -eighteen pounds of the solution of tin at first; the same -quantity in the completion; and in each operation, six -pounds and a quarter of cochineal.</p> - -<p><span class="pagenum"><a name="Page_85" id="Page_85">{85}</a></span> -For the accommodation of those who would make -small experiments, one ounce of cream of tartar, six -ounces of solution of tin, and one ounce of cochineal, -may be used for every pound of worsted or cloth, putting -two-thirds of the solution of tin and the tartar, and a -quarter of the cochineal, into the preparation, and the -remainder to the completion.</p> - -<p><i>Observe</i>, that although we have given processes for -dyeing woollen cloth crimson as well as scarlet, yet <i>crimson</i> -may be obtained in another way: for alum, the salts -in general with an earthy base, and the fixed and volatile -alkalies, possess the property of changing the colour of -scarlet into crimson, the natural colour of the cochineal. -The cloth which is dyed scarlet has only to be boiled, -therefore, for about an hour, in a solution, more or less -charged with alum, according as a deeper or lighter crimson -is wanted. When a piece of scarlet has any defects, -it is set apart for crimson. Soap and potash will also -produce crimson from scarlet, but not of so bright a -colour as from alum. Hence also we learn the necessity, -in, at any time, working <i>scarlet</i> cloth, to avoid boiling it -with soap or pot-ash, &c. if we desire the scarlet to -remain.</p> - -<h3>To dye wool <small>MAROON</small>.</h3> - -<p>The worsted or yarn must be boiled for an hour or -two in one twelfth its weight of alum and the same quantity -of white argol. It is best, when there is a large quantity -of yarn, to do this on the preceding day: if your -copper hold a pack of two hundred and forty pounds, it -<span class="pagenum"><a name="Page_86" id="Page_86">{86}</a></span> -will be cold enough to handle after remaining with the -fire out during the night.</p> - -<p>When the skeins, &c. are taken out and arranged upon -poles or sticks, have a fresh water ready in the copper, -into which put about thirty pounds of chipped peach-wood, -and when it has boiled half an hour, pour in some -water to cool it down, and add fifteen pounds of crop -madder; work the yarn in this liquor rather under a -boiling heat. When it is full enough, for some shades -you must add archil. As the whole pack is dyed at four -or five turnings in, some of the parcels may be varied in -the hues instead of confining them all to one shade. The -various turnings will take the greater part of the day to -perform. When you choose to have as many shades as -there are turnings in, you divide the drugs into different -portions for different periods of the time, to be used according -to the patterns required. The most economical -method of using the drugs being to follow the patterns -one after the other: practice will teach the operator to do -this most advantageously.</p> - -<p>More madder than peach-wood gives a lively red; -more peach-wood than madder gives a bright maroon red, -bordering on crimson, but more so without any madder; -with the addition of archil it gives a crimson, but by no -means to be compared with the crimson of cochineal. -Urine with the archil renders a less quantity of archil -necessary.</p> - -<div class="pagenum"><a name="Page_87" id="Page_87">{87}</a></div> - -<h3>To dye wool <small>YELLOW</small>.</h3> - -<p>The proportion of <i>alum</i> used by dyers in these processes -varies from one-fourth down to one-twelfth, of -<i>tartar</i> one-sixteenth is used, for every pound of cloth. -<i>Equal parts</i> of alum and tartar are used for <i>worsted</i> and -<i>yarn</i>, each of which (alum and tartar) is only from one-twelfth -to one-tenth of the weight of the material to be -dyed.</p> - -<p>The shades of yellow are <i>straw</i> yellow, <i>pale</i> yellow, -<i>lemon</i> yellow, and <i>full</i> yellow.</p> - -<p>In order that the cloth should be properly impregnated -with the mordants of alum and tartar, according to what -is allotted to the shade, whether light or full, it should -be boiled in the preparation at least one hour; two hours -for a full yellow; then a fresh liquor is to be made to -receive the weld, which must be previously boiled: for -a full yellow four or five pounds of weld will be required -to one pound of cloth or worsted; for the lighter shades -less of course: but a sufficient quantity only of weld should -be used, and this should be boiled and re-boiled, as it -will keep but a very little time after boiling. If you have -a gradation of shades you will save drugs and expense by -dyeing the fullest shades first, and the lightest last; but -by this method the lightest will not be so bright as if -they were done first, and the liquor renewed with fresh -boiled weld, and so on to the fullest shade. At last you -must have for the goods a preparation weak or strong -according to the light or full colour of which they are to -be. The last dyeing, whether of cloth or yarn, will assuredly -<span class="pagenum"><a name="Page_88" id="Page_88">{88}</a></span> -take all the colour out of the liquor of any consequence.</p> - -<p>While expense is not an object, it is best, not only for -yellows, but for all other colours, to have the preparation -and the dye proportioned to the shade, the colour done -at once, and the remaining liquor thrown away; but as -the price usually paid for dyeing will not enable the dyer -so to do, he commonly dyes his shades in succession, as -above, and with the utmost economy.</p> - -<h3>To dye wool <small>BROWN</small>, or of a <small>FAWN COLOUR</small>.</h3> - -<p>These shades are extremely various, and are dyed -without any preparation with alder-bark, red sanders, -sumach, galls, madder, &c. and under a boiling heat, although -it is occasionally necessary to boil some of the ingredients -together previous to the dyeing: for instance, -red sanders will give its colour out best when boiled with -galls, alder-bark, sumach, &c. Cam-wood, bar-wood, -walnut rinds, roots, &c. are used in some of these shades, -the varieties of which are almost infinite. Practice is -required in this branch of dyeing equal to or beyond any -other.</p> - -<h3>To dye wool <small>PURPLE</small>, &c.</h3> - -<p>Pass the goods through <i>archil</i>, next through the <i>blue -vat</i>, with the usual precautions, then through hot water. -For some shades they should be alumed, and then dyed -with cochineal for the crimson part of the purple. <i>Blue</i> -and <i>crimson</i> make purple, violet, &c. according to the -patterns required.</p> - -<div class="pagenum"><a name="Page_89" id="Page_89">{89}</a></div> - -<h3>To dye wool <small>GREEN</small>.</h3> - -<p>The shades of this colour are very numerous, as <i>yellow</i> -green, <i>pale</i> green, <i>bright</i> green, <i>grass</i> green, <i>laurel</i> -green, <i>olive</i> green, <i>sea</i> green, <i>parrot</i> green, <i>cabbage</i> -green, <i>duck's-wing</i> green, &c.</p> - -<p>The goods must first have a blue ground from the woad -vat, light or full according to the pattern, they are afterwards -to be prepared with alum and tartar, weak or -strong according to the lightness or fulness of the pattern, -and are afterwards dyed in weld liquor. Many of -the shades of green are more readily done by dyeing the -wool first yellow with old fustic, with a preparation of -alum and tartar, and using the chemic blue vat made -with sulphuric acid and indigo. See page 47.</p> - -<h3>A chemic vat for <small>GREEN WOOLLEN</small>.</h3> - -<p>Prepare in the manner described for cotton (page 52.), -eight ounces of indigo and four pounds of sulphuric acid. -This preparation need not, however, be neutralized for -wool as described for cotton. In some instances the -preparation is to be for the yellow of fustic one-twelfth -of alum, the same quantity of tartar, and in some cases -one-twelfth of alum only.</p> - -<h3>A chemic vat for <small>BLUE WOOLLEN</small>.</h3> - -<p>This is to be made the same as for green; it need not -be neutralized as for cotton. For <i>blue</i>, however, <i>twelve</i> -ounces of indigo are necessary to four pounds of sulphuric -<span class="pagenum"><a name="Page_90" id="Page_90">{90}</a></span> -acid. In dyeing the heat must be much under -boiling, or the using of a high heat would give the blue -a green tinge. This blue colour is very bright, yet not -fast, but no preparation is of any advantage to either its -fastness or brightness. Some put alum and tartar, and -some use one, and some the other, to prevent a green -cast: if, however, the wool be fine, white, and worked -<i>much below</i> the boiling point of heat, it will not turn -green although neither be used.</p> - -<h3>To dye wool <small>ORANGE</small>, <small>GOLD COLOUR</small>, &c.</h3> - -<p>The processes of crimson, scarlet, and of yellow united -produce the various shades of these colours, <i>leaving -archil out</i>. See <i>buff, peach, &c. on wool</i>.</p> - -<h3>To dye wool <small>BLACK</small>.</h3> - -<p>Black includes a prodigious number of shades, beginning -from the lightest grey or pearl colour to the most -intense shade of black. On account of these shades it is -classed by dyers among their chief or primitive colours<span -class="fnanchor"><a name="Ref_8" id="Ref_8" href="#Foot_8">[8]</a></span>; -for the greater number of browns, of whatsoever shade they -be, are finished in the same dye as would dye white wool -a grey more or less dark. This operation is called -<i>browning</i>. The best superfine black should have a full -ground of <i>mazarine blue</i> previously to being finished -black.</p> - -<p><span class="pagenum"><a name="Page_91" id="Page_91">{91}</a></span> -A great quantity of cloth and other articles have, however, -no indigo ground, but a ground of logwood, or of -logwood and alder-bark, or of logwood and old fustic, -or of logwood, alder-bark, and old fustic, all boiled together, -and sometimes they are boiled in a decoction of -oak saw-dust.</p> - -<p>Indigo for the ground is the richest drug, in carbon, -that is or can be used; logwood is next to it: too much -logwood, however, whether indigo be used with it or not, -gives the black a foxy hue; alder-bark and old fustic -modify this effect, and are used in small quantities for -this purpose, because the dye from these, as well as -that from oak saw-dust, will produce a soot or dead -black.</p> - -<p>A <i>jet</i> black is required full and rich, therefore old -fustic and oak saw-dust are only used to modify the richness -of the ground as it regards the blue, whether of indigo -or of logwood; for logwood especially, without -these, if overcome with sumach and sulphate of iron only, -would be foxy, purplish, or have a reddish cast.</p> - -<p>So many different grounds being used for blacks, and -every dyer thinking his own the best, is the occasion of -such a great variety of hues, even of black, being found -in the market. It is, therefore, thought unnecessary to -describe the various methods of dyeing black which are -pursued by different dyers, and which would be, in fact, -impossible. But the author has done what is of much -greater importance to the student, who, after a little practice, -let him have a pattern of black to dye, will know -how to do it, let who may have dyed it.</p> - -<p>Even a blue-ground is, according to some, dyed afterwards -<span class="pagenum"><a name="Page_92" id="Page_92">{92}</a></span> -in a decoction of logwood and galls, or logwood -and sumach, and two pounds of verdigris for a hundred -pounds of cloth. Thus, ten pounds of logwood and ten -of galls, are to form the decoction, and are boiled previously -for twelve hours. One third of it with the verdigris -is used first, and then the cloth, after boiling in it -for two hours, is aired; it is then passed through one -third more of the decoction of logwood and galls, having -previously had eight pounds of sulphate of iron dissolved -in it, and the scum arising from the solution taken off. -The goods are to be worked in this one hour at a boiling -heat, then aired again by turning them about on a stone -floor. The remainder of the decoction of logwood and -galls is then added, with fifteen or twenty pounds of -sumach; boil it some time, and then add five pounds of -sulphate of iron; scum it, and let the liquor cool down, -then put the goods in, and work them at a boiling heat -an hour or two, taking them out once or twice, at least, -in the time, to air and cool; they are then to be well -washed, and passed through a decoction of weld liquor, -to soften the black, which will be very fine. This process -is chiefly from <i>Hellot</i>; but the quantity of sulphate -of iron is more by three pounds than he directs.</p> - -<p>When the cloth is blue, it is usually boiled two hours -in a decoction of galls, then washed and aired, when sulphate -of iron and logwood are added to the liquor, and -the goods worked in it for two hours, and then washed.</p> - -<p>The above have been the processes in practice for a -century past in France, where the galls were not so dear -as they now are in England: sumach is here, therefore, -now most commonly used as a substitute for galls.</p> - -<div class="pagenum"><a name="Page_93" id="Page_93">{93}</a></div> - -<h3>Another process for <small>BLACK</small> without a blue ground.</h3> - -<p>To dye one hundred weight of cloth, take thirty pounds -of chipped logwood, half a bushel of alder-bark, and six -pounds of sumach, and boil them together in a proper -quantity of water for half an hour; then cool the decoction -down with cold water, enter the cloth, turning it on -the winch; bring it to a boil, having the sumach in a -bag; boil and keep the cloth turning for one hour and a -half: this is the ground. Have now ready fourteen -pounds of sulphate of iron dissolved in water, which is to -be laded into the copper by one man, while another turns -the cloth for an hour at a boiling heat; it is then to be -taken out, cooled, and aired, returned to the copper, and -boiled gently for two hours, and then cooled again.</p> - -<p>While the cloth is cooling, six pounds of logwood, ten -pounds of alder-bark, two pounds of argol, ten of soda, -or common pot-ashes, and three pounds of sulphate of -iron, are to be added to the liquor in the copper, and -boiled one hour, when the goods must be turned and -worked one hour; and, lastly, taken out and aired. This -black is said to be of the hue of a raven's feather. <i>This -process is from</i> <span class="smcap">Heigh</span>.</p> - -<p>The <i>argol</i> is professed to be put in to counteract the -sulphuric acid of the sulphate of iron; the <i>alkali</i> is said -to cause the logwood to retain its natural violet colour: -and if too great a quantity of logwood be not used, the -result would be as above stated. But the author presumes -that such a black would not be at this time much -esteemed. We object to the introduction of so much, -<span class="pagenum"><a name="Page_94" id="Page_94">{94}</a></span> -indeed of any alkali or argol, as the time employed in -performing the process is wasted. Alkali is good, however, -where a chemic green is to be dyed black.</p> - -<p>Wool will take up whatever the copper contains necessary -to dye black; but, for the beauty of the colour and -the durability of the cloth, it is best to let it have most -of its ground of vegetable colour before it has the sulphate -of iron, which blackens that ground, with sumach instead -of galls; and even in some instances, dyeing some goods -without the sumach.</p> - -<p>Were the author, however, to direct the dyeing of -black cloth, such as should be of the best kind, he would -have <i>an indigo ground with logwood and alder-bark, -without old fustic or oak saw-dust; and to finish the cloth -he would use sumach, sulphate of iron, and a small quantity -of verdigris. He would give it the blue ground first; -then the logwood, alder-bark, and verdigris; and then -finish it with sumach and sulphate of iron.</i></p> - -<p>If the blue ground were omitted, he should dye the -cloth twice, giving it more of logwood and alder-bark, -but verdigris the same; and finish it with sumach and -sulphate of iron. Nevertheless, when we dye to a pattern, -the pattern must be our guide.</p> - -<p>Different goods will require different quantities of -drugs. Logwood should be about one-fourth of the -weight of the goods; the sulphate of iron about one-fifth -of the logwood; alder-bark, when used, about the -same quantity as sulphate of iron; but for some yarns -this bark is not used, nor is it necessary; and where -fustic or oak saw-dust is used, there is the less necessity -for using alder-bark. The sumach must be about the -<span class="pagenum"><a name="Page_95" id="Page_95">{95}</a></span> -same quantity as sulphate of iron. Remember that carbon -is generally considered as that which makes the richness -of a dye. That it is the iron in the sulphate of iron, -combined with the tannin and gallic acid which are assumed -to be in the sumach and logwood, that produces -the blackness of the dye; but this <i>theory</i> is questionable. -See <i>below</i>.</p> - -<p>The way to ascertain when the quantities of drugs are -most appropriate for producing the desired effect is as -follows:—</p> - -<p>First, ground with different quantities of drugs, from -three to five or seven patterns, and use from one third -to one fifth of sulphate of iron and sumach to the grounding; -afterwards finish with the remainder of the sulphate -of iron and sumach: the fuller the ground the richer -will be the black, if the logwood be not in excess, and -the quantities be used as thus stated.</p> - -<p>We ought also to state here (from <i>Berthollet</i>, vol. ii. -p. 4.) that commonly more simple processes than any -of those above described are employed for black. Thus -the blue cloth is simply turned through a bath of gallnuts, -when it is boiled for two hours. It is next passed -through a bath of logwood and sulphate of iron for two -hours without boiling, after which it is washed and -fulled.</p> - -<p>A black may also be dyed <i>without a blue ground</i> with -walnut rinds or the roots of the walnut tree; in this case -the cloth receives a dun ground from the walnut husks -or roots, and is afterwards made black in the manner -above described, with logwood and sulphate of iron.</p> - -<p><span class="pagenum"><a name="Page_96" id="Page_96">{96}</a></span> -The blacks, however, <i>without</i> the blue ground are only -given in general to inferior cloths.</p> - -<p>The <i>colouring principle of logwood</i> is called <i>hematin</i>; -it is crystalline, of a rosy-white, and, viewed through a -lens, very brilliant; its taste is slightly astringent, bitter -and acrid; exposed to the action of fire in a retort it -affords all the products of animal substances, and also a -small quantity of ammonia, which proves that it contains -nitrogen. It dissolves easily in boiling water; on adding -some acid very gradually, it changes to yellow and then -red. Potash and ammonia give the solution of hematin -a purple red; if a great excess of these alkalies be added, -the colour becomes violet-blue, then brown-red, and -finally yellow-brown. In this state it is decomposed -and cannot be recovered by any acids. Protoxide of lead, -protoxide of tin, hydrate of tritoxide of iron, hydrate of -copper, oxide of zinc and its hydrate, flowers of antimony -and oxide of bismuth combine with hematin and give it -a blue colour, with the loss of the violet shade. See -<i>notes</i> to <i>Ure's Berthollet</i>, vol. ii. p. 420. See the explanation -of <i>protoxide</i>, &c. under <small>OXIDE</small> in Chapter I.</p> - -<p>The above facts concerning logwood may, by the ingenious -dyer, be applied on many occasions with great -success.</p> - -<h3>To dye wool <small>GREY</small>.</h3> - -<p>All greys, from the darkest to the lightest, are composed -of black in varying proportions. They are of -great use in dyeing, not only for their own colours, but -<span class="pagenum"><a name="Page_97" id="Page_97">{97}</a></span> -also when applied to other colours, which operation is -called <i>saddening</i> or <i>darkening</i>.</p> - -<p>Some greys have a woad ground of blue, then of logwood, -sumach or sulphate of iron, of which decoctions -of the three last, for expedition, should be in readiness -when wanted. When a succession of light shades, in -particular, is required, in some instances the chemic blue -is used: when we treat of the mixture of black, or rather -grey with red and blue, the utility of grey will be seen.</p> - -<h3>Mixture of <small>BLACK</small> or <small>GREY</small> with -<small>RED</small> and <small>BLUE</small>.</h3> - -<p>These produce an infinite number of all shades of grey -as <i>sage</i> grey, <i>slate</i> and <i>lead colour</i>, and others still -darker.</p> - -<h3>On <small>BROWNS</small>, <small>FAWNS</small>, -<small>OLIVES</small>, &c.</h3> - -<p><i>Browns</i> and <i>Fawns</i> owe, in all probability, their colour -to the <i>iron</i> which their dyes contain. Iron is so universally -diffused throughout nature, that it, very likely, -enters into the composition of many other colours; it -exists in blood, in water, and in innumerable vegetable -and animal substances, as well as in earths and many -minerals. Hence we ought not to be surprised that -<i>blue</i>, <i>red</i>, and <i>fawn</i> produce <i>olives</i> from the darkest to the -lightest; as well as <i>slate</i> and <i>lavender</i> when the shade -is very light.</p> - -<p><i>Fawn</i> and <i>yellow</i> produce the <i>feuille-morte</i> or <i>dead-leaf</i>.</p> - -<p><i>Fawn</i> and <i>red</i> produce <i>cinnamon</i>, <i>tobacco</i>, <i>chestnut</i>, -<i>&c.</i></p> - -<p><span class="pagenum"><a name="Page_98" id="Page_98">{98}</a></span> -<i>Fawn</i> and <i>black</i> produce <i>coffee</i>, <i>maroon</i>, <i>&c.</i></p> - -<p><i>Blue</i>, <i>yellow</i>, and <i>black</i> produce all the <i>dark greens</i>, -even to black.</p> - -<p><i>Blue</i>, <i>fawn</i>, and <i>black</i> produce <i>dark olives</i> and -<i>greenish greys</i>. <i>Red</i>, <i>yellow</i>, and <i>fawn</i> produce <i>orange</i>, -<i>gold colour</i>, <i>withered-leaf</i>, <i>carnation</i>, <i>burnt cinnamon</i> -and <i>tobacco</i> colours of all kinds.</p> - -<p><i>Yellows</i>, <i>fawn</i>, and <i>black</i> produce <i>hair colour</i>, <i>nut-brown</i>, -<i>&c.</i></p> - -<p>This enumeration is meant only to give a general idea -of the ingredients proper for the production of shades -composed of several colours.</p> - -<p>Where red forms a component part of the colour -wanted, the goods must have a preparation of alum and -argol, strong or weak, according to the fulness or weakness -of the red which forms a part of the compound dye, -such as the half or quarter of the quantity which is required -for a full colour of red; the same as to yellow, -and, in proportion, when red and yellow are joined.</p> - -<h3>On the <small>YELLOW</small> of the Quercitron or American bark.</h3> - -<p>The quercitron bark is said to yield from eight to ten -times more colour than weld, and about four times more -than old fustic; this was, however, Dr. Bancroft's account, -who had a strong interest in this dyeing drug, as -stated in the first chapter. He also asserts, that one -pound of bark with muriate of tin, will dye forty pounds -of woollen a bright golden yellow, which afterwards becomes -a beautiful and durable scarlet, with a fourth part -less cochineal than is usually employed on other occasions -for such a colour. But Bancroft did not succeed in -<span class="pagenum"><a name="Page_99" id="Page_99">{99}</a></span> -doing away the old method of saving tartar and cochineal.</p> - -<p>His fullest <i>yellow</i> upon cloth, the author has, however, -often tried and found it rich and golden; the process is -as follows:</p> - -<p>Cloth one hundred pounds; bark in powder, and in a -bag, ten pounds; muriate of tin, or <i>murio-sulphate of tin</i>, -(<i>for which see forward</i>,) ten pounds. The bark in the -bag must be first immersed in the proper sized vessel -for six or eight minutes; then add the solution of tin -and stir it well for two or three minutes, when the cloth -must be put in, and kept in motion by two or three men -working over the winch from end to end; then proceed to -boil; and, in <i>fifteen minutes</i> boiling, the highest yellow -is produced; a longer time would turn the yellow brown.</p> - -<p>When a very bright yellow, approaching less to orange, -is wanted, seven or eight pounds of solution of tin, five -pounds of alum, and ten pounds of bark, will do for a -hundred pounds of cloth. In this process, boil the bark -first in a bag for a few minutes, then add the solution of -tin and the alum, and the cloth afterwards, as before directed; -less body requires less quantities of course.</p> - -<h3>For a full <small>BRIGHT YELLOW</small> delicately inclining to a -greenish tinge.</h3> - -<p>Use eight pounds of quercitron bark, to six of muriate -of tin, six pounds of alum, and four pounds of white -tartar, for cloth as before. The alum and tartar render -the yellow more delicate, and give it more of the lemon -or greenish tinge; where this is wanted in the greatest -perfection proceed as follows:</p> - -<p><span class="pagenum"><a name="Page_100" id="Page_100">{100}</a></span> -Take ten pounds of bark, ten of muriate of tin, or -murio-sulphate of tin, ten of alum, and ten of tartar. -For cloth three or four times the quantity of the preceding -processes may be taken, namely three or four hundred -pounds.</p> - -<p>In this process the bark must be boiled fifteen minutes -in water only, and then the other ingredients be added -and mixed in the liquor by stirring. The cloth is next -to be put into it, <i>the liquor being first cooled a little</i>; -it is then immediately to be turned briskly on the winch -till the colour is sufficiently raised.</p> - -<p>When a variety of shades are wanted, in working the -bark, (contrary to the processes for many other colours) -the higher shades should, in this colour, be dyed first, -and the weaker afterwards. When about two-thirds of the -quantity of the cloth have been dyed, it will be generally -found that the liquor, by continuing to extract colouring -matter from the bark, has acquired an over proportion, -and wants a small quantity of muriate of tin, of alum, and -of tartar, perhaps a pound of each, to enable the bark at -last, as well as at first, to give the same delicate, pale -and greenish tinge. A surer way, however, is to boil -the bark in a small quantity of water, separately, for six -or eight minutes; and then to add to it the solution of tin, -alum, and tartar, and boil them with the bark together -for fifteen minutes, and then damp the fire; then have -the cloth in a proper sized vessel, supplied with boiling -water, and the cloth moving on the winch; after it has -gone a few turns round, and is thoroughly wetted out -(which it should be before, and now again) lest any part -should be dry, add the supplies of the yellow liquor above -<span class="pagenum"><a name="Page_101" id="Page_101">{101}</a></span> -described, by little and little as they may be wanted: in -this way expectation is surpassed by the beauty produced.</p> - -<h3>Bancroft's murio-sulphate of tin</h3> - -<p>is made thus:—Take of muriatic acid, three pounds; of -feathered tin, as described in the process of <i>dyeing wool -scarlet</i>, fourteen ounces; to the tin add gradually the -muriatic acid; afterwards, with due and great precaution, -by degrees, in the course of a day or two, two pounds of -sulphuric acid. Care must be taken that the vessel in -which this operation is conducted, be of <i>stone ware</i> or -of <i>glass</i>. These acids being mixed with the tin, should -be left to saturate themselves with it, which they will do -in time, without artificial heat; but the dissolution of -the tin will be rapidly promoted by a sand heat. This -murio-sulphuric solution of tin, thus made, will be perfectly -transparent and colourless, and will probably remain -so for years, without suffering any precipitation of -the metal.</p> - -<h3>To dye wool <small>BUFF</small>.</h3> - -<p>This is done with the most economy after scarlet, and, -in such case, requiring very little addition (in some cases -none) of cochineal. The wool, having an alum preparation, -it may be requisite to add some fresh prepared decoction -of young fustic or weld. <i>See the next article.</i></p> - -<h3>To dye wool <small>PEACH</small>.</h3> - -<p>This process is the same as the last; that is, after -scarlet; but the wool is not to be alumed: in some cases, -a little tartar and cochineal is added.</p> - -<p><span class="pagenum"><a name="Page_102" id="Page_102">{102}</a></span> -<i>Observe</i>, that the cochineal and tartar being added, the -previous preparation must be according to the fulness or -faintness of the shade wanted, whether of <i>buff</i>, <i>peach</i>, or -<i>flesh</i>, all of which require, essentially, the same process. -By such means, a pattern of any shade, compounded of -red and yellow, from scarlet to the weakest buff and -flesh, may be produced.</p> - -<h3>To set an indigo vat for worsted, serge, &c.</h3> - -<p>The vat being five feet high, and two feet in diameter -at top, you may use for it from two to six pounds of -indigo, according as you set it light or full.</p> - -<p>Boil two pounds of potash, two ounces of madder, and -a handful of bran, in fifteen gallons of clear soft water, -for half an hour.</p> - -<p>The indigo must be powdered; after which it must be -levigated in a peculiar circular cast-iron mill, having a -contrivance for two large round stones, or cast iron balls, -which are kept in a perpetual circular motion while the -indigo is ground. Water it, and put it into the mill, -and as the balls run round, the indigo in the water is -reduced to a fine flowery paste. There are mills more -convenient than these, but, perhaps, none more simple -for a small concern.</p> - -<p>When the indigo is thus prepared, boil it in the copper -with the grounds of the madder and the potash, -which fell to the bottom; it is all, then, to be put into -the vat at the same time with the indigo; the whole is -to be stirred, the vat covered, and heat applied to make -it more than blood warm, and to keep it so. The vat -<span class="pagenum"><a name="Page_103" id="Page_103">{103}</a></span> -should be stirred twice, slightly, both the second and -third day, the heat remaining the same; when a brassy -scum, divided and interrupted in many places, begins to -appear on the surface. On the fourth day, the heat -being continued, the scum becomes more perfect and less -broken, the froth which rises, upon stirring, is more blue, -and the vat a deep green.</p> - -<p>When it becomes green in this manner, it is an indication -that it must be filled; to do which, boil half an -ounce of madder, and one pound of potash, in five gallons -of water; put in this liquor, and stir it; if it produce -much froth, stir it again, and the next day it will be -fit for working; which, however, will be sufficiently -known by the quantity of froth, and by the brassy and -scaly crust on the surface of the liquor, on blowing or -stirring which, the liquor beneath is green, although the -surface appears brown or blue.</p> - -<p>When the vat has worked about forty or fifty pounds -of serge or worsted, it may be necessary to replenish it -with one pound of potash, half an ounce of madder, and -a handful of bran; these being boiled a quarter of an -hour, are added to the vat.</p> - -<p>When this vat wants replenishing with indigo, which -may be known by the liquor being no longer green, but -brown, blue, or almost black, two-thirds of it must be -put into a copper; when ready to boil, the scum on the -top must be taken off by a sieve, after which it should be -suffered to boil, with the addition of two handfuls of -bran, a quarter of a pound of madder, and two pounds of -potash; soon after it has boiled, it is to be put into the -vat with one pound of indigo, prepared as before; the -<span class="pagenum"><a name="Page_104" id="Page_104">{104}</a></span> -vat being again stirred, and covered, the heat always -remaining between blood and fever heat.</p> - -<p>When an indigo vat has been several times re-heated, -it should be emptied out entirely, and set anew, because -the colour becomes dull. <i>The preceding process is from -Hellot.</i></p> - -<div class="footnote"> - -<p class="nodent"><a name="Foot_8" id="Foot_8" href="#Ref_8">[8]</a> -It is necessary that the student should not confound the terms <i>primitive</i> -colours here with the <i>prismatic</i> or <i>primary</i> colours, for the discovery of which -we are indebted to Sir Isaac Newton. See <i>the Introductory Chapter</i>.</p> - -</div> - -<div class="pagenum"><a name="Page_105" id="Page_105">{105}</a></div> - -<h2>CHAPTER V.<br /> -ON DYEING SILK AND COTTON BLACK, &c.</h2> - -<p class="negdent"><i>To dye silk black for velvets—To dye silk black, London -process—On dyeing cotton black at Rouen—To -dye cotton black, London process—For dyeing black, -particularly cotton velvets, at Manchester—On dyeing -silk and cotton black, with a blue ground—Another -iron liquor—To dye cotton black, by using the preceding -solution—To dye cotton violet—To dye cotton -red—To dye cotton an Adrianople or Turkey red—Miscellaneous -observations relative to Adrianople red.</i></p> - -<p class="nodent"><span class="smcap">Some</span> -of the more simple and less difficult processes of -dyeing both <i>cotton</i> and <i>silk</i>, are described in the preceding -chapters; we shall now describe those, not only -for black, but for some other colours, which require more -care and attention. <i>For ungumming and boiling silk, -&c. see Chap. VI.</i></p> - -<p>Silk has a strong affinity for galls, and advantage is -sometimes taken of this: for silk, being a valuable article, -is often galled to excess, merely to increase its weight.</p> - -<p><span class="pagenum"><a name="Page_106" id="Page_106">{106}</a></span> -Cotton has a strong affinity for iron, and iron has -the same for <i>gallic acid</i>, wherever it may be found; therefore, -in sumach, alder-bark, &c., iron unites with the -acid, whenever both are connected by the medium of -water. <i>Tannin</i>, doubtless, has also some share in such -dyeing processes, although what does not even now appear -to be well understood.</p> - -<p>Black, <span class="smcap">Macquer</span> observes, is rather difficult to be -dyed upon silk; or, at least, there is reason to think so, -from the numberless experiments which have been found -necessary to the attainment of a good black, as well as -from the multitude of heterogeneous ingredients which -Macquer admitted into the composition of his various -processes for this dye, some of which consisted of -arsenic, corrosive sublimate, litharge, antimony, plumbago, -and about ten other ingredients! we shall not, therefore, -detail such preposterous mixtures; one, however, we may -just put down by way of showing what the art was in -Macquer's time.</p> - -<p>Take twenty quarts of strong vinegar, one pound of -black nut galls pounded, and five pounds of iron filings; -these ingredients are to be mixed in one vessel.</p> - -<h3>To dye skein silk <small>BLACK</small> for velvets, Genoa process, -(from Macquer.)</h3> - -<p>The silk should be ungummed by boiling it four -hours with a quarter of its weight of white soap, and afterwards -to be well cleared from the soap.</p> - -<p>Take, for every hundred pounds of silk, twenty pounds -of galls in powder, and boiled one hour; two pounds -<span class="pagenum"><a name="Page_107" id="Page_107">{107}</a></span> -of sulphate of iron; twelve pounds of iron filings; and -twenty pounds of gum arabic or senegal.</p> - -<p>This process is very simple: here are the gallic acid -and tannin of the galls, and the iron of the sulphate and -the filings. But we must proceed to a more modern -process.</p> - -<h3>To dye silk <small>BLACK</small>, the London process.</h3> - -<p>Take of wove silk, <i>twilled sarsenet</i>, one hundred and -fifty yards. Boil, for three hours, of alder bark one -bushel and a half; of logwood fourteen pounds; and of -iron filings one pound. Then let the fire be damped; -dissolve four ounces of sulphate of copper in water; wet -out the silk in hot water; after which put the solution of -sulphate of copper into the liquor and stir it only; then -put the silk into the copper, and work it from end to end -four times; after which take it out in the air; now put it -in again and work it as before; take it out again and let -it be aired on the floor, opening it from time to time till -it is cold; repeat the same thing twice more, in all <i>four -times</i>. This is termed four wets. While the last wet is -cooling and airing, dissolve and put into the copper three -pounds of sulphate of iron, and then give the silk two -more wets, which make the number of wets six. The -drugs are now left to boil as much as they will during the -night, being left so to do, because in a large business, -this part of the process would close the day's work.</p> - -<p>The next morning give the silk four or five wets more, -and leave it in the copper all the following night, observing -<span class="pagenum"><a name="Page_108" id="Page_108">{108}</a></span> -when it is left in, and always when it is worked -in, that the heat, must be considerably under the boiling -point, and the silk kept covered by the liquor: for <i>if -any part be exposed to the air it will be marked</i>.</p> - -<h3>On dyeing cotton <small>BLACK</small> at Rouen, (from D'Apligny.)</h3> - -<p>Take one hundred quarts of sour wine, bad vinegar, -or small beer; put to either of these twenty-five pounds -of old iron hoops rusted by the air or dew; twelve pounds -of rye meal or coarse bran; put the whole into a copper -and heat it rather more than blood warm. In the summer -it would do exposed to the sun and air with a porous -cloth over it, to let in the air, but keep out dirt, &c.; -the older this solution is the better; but it should be at -least <i>two months old</i>.</p> - -<p>Cotton skeins are galled by being worked in a solution -of galls; alumed and then dyed in weld liquor; this in -the result is yellow; they are then passed through a decoction -of logwood, and after that of sulphate of iron, a -quarter of a pound to every pound of cotton; they are -then dyed in madder, half a pound to every pound of -cotton.</p> - -<p>We cannot recommend this process, although we give -it, as much better methods are now known.</p> - -<h3>To dye cotton <small>BLACK</small>—the London process—used by -various calico printers in the suburbs.</h3> - -<p>Cotton cambric piece-goods are passed through a -blotching machine to receive a mordant of acetate of iron, -<span class="pagenum"><a name="Page_109" id="Page_109">{109}</a></span> -and galled slightly; sumach is used instead when galls -are dear; the cotton is then passed through logwood, or -logwood and fustic, and then through sumach; so that it -is possible thus to give them the mordant sufficiently in -proportion to the iron liquor at first; proceed as in dyeing -afterwards, at a heat approaching boiling or even -boiling. You may now proceed by adding first the galling -or sumach slightly; afterwards the logwood, &c.; -and then the remainder of the galling or sumach may be -used to finish it; and thus dye the goods black by the -quickest possible process.</p> - -<p>It should be observed respecting the last process and -the process which precedes it, that in dyeing black alum -is inimical to the colour. Therefore D'Apligny's is not -now esteemed. Alum for black is as improper, as it is -proper and essential for red and yellow.</p> - -<p>In regard to giving the acetate of iron for black at -once, as the second, or <i>London</i> process directs, it may be -done by having the proportions full; by <i>full</i> is meant -that the mordant should be full enough; then, after the -slight galling, as directed in giving the logwood and -alder bark decoction, or logwood and fustic, be sure to -have that decoction strong enough. This might be called -the ground; and the most perfect judgment might be -formed of it by having a part of a piece, or one piece of -a batch dried in the stove: for, according to the fullness -of the ground, so will the black be rich and perfect or -otherwise.</p> - -<p>The alder bark and fustic are used only to prevent the -hue of the logwood from being predominant. If the -ground be a full and rich brown, the second full galling -<span class="pagenum"><a name="Page_110" id="Page_110">{110}</a></span> -or sumaching will bring it to a full and rich black; but, -if the ground be poor, these processes will cut or destroy -the ground, and the black will be foxy, nasty, and poor; -and not only so, but the material dyed will soon wear -rotten, because having an over-dose of iron, the iron will -tend to decompose the cotton. Therefore the following -process is most esteemed.</p> - -<h3>For dyeing <small>BLACK</small> (particularly cotton velvets) at Manchester.</h3> - -<p>In a large dye-house where much business is done, a -great many wine-pipes or other large tubs, or any substitutes -are arranged in an appropriate place. Into these -are put old iron hoops, rusted in the air, and cut into -short pieces; a layer of the iron pieces and a layer of -the alder bark, again a layer of iron and a layer of the -bark, and so on in succession from the bottom to the -top. When the pipes are all thus filled, water is poured -into them till they are filled up; they remain in this state -for six weeks or two months according to the season, -whether summer or winter.</p> - -<p>The same process will do for any other cotton goods -as well as velvets, such as calicoes, cambric, and jaconot -muslins, cotton in the skein, &c.</p> - -<p>In some cases there are persons who pass the goods -through the <i>liquor</i> of the aforesaid black vat. The -colour of this liquor when it is fit for use is purplish, -particularly after being once used and returned to the -vat again, which it always is. Others begin by passing -the goods through a decoction of logwood and sumach, -<span class="pagenum"><a name="Page_111" id="Page_111">{111}</a></span> -then through sulphate of iron, then wash off through -logwood only; then through sulphate of iron; always -washing off from this last; the goods are then dried, and -this is called the <i>first time of saddening</i>.</p> - -<p>They are next passed through logwood, then through -sulphate of iron, then washed off, then again through -logwood, then sulphate of iron, and then washed off; -and then dried. This is called the <i>second time of saddening</i>.</p> - -<p>Supposing the goods to consist of a hundred or a thousand -pieces, after drying the second time they are brought -in lots to the foreman for examination, and assorted into -lots one, two, and three. All that is fit for lot one is full -enough and has ground enough, and is of a rich full-bodied -brown, ready for galling or <i>sumaching</i>: sumach being -the substitute for galls, this process is termed in the dye-house, -<i>macing</i>. Lot two is not full enough, and must -pass through logwood, then sulphate of iron, and then be -washed off. Lot three is still more deficient; this must -be passed through logwood and the sulphate of iron twice -and then washed off, and both lots two and three dried -again.</p> - -<p>Lot one is now to be sumached for the <i>first</i> time: that -is, passed through a decoction of sumach, then through -sulphate of iron, and then washed off: if the decoction -of sumach be kept up strong after all of them are once -sumached, they may be dried. Lots two and three, -when they are dry, are also to be sumached the same as -lot one, and dried.</p> - -<p>As soon as any of them are dry they are ready to be -sumached the <i>second</i> time by passing them through the -<span class="pagenum"><a name="Page_112" id="Page_112">{112}</a></span> -decoction as before; but instead of sulphate of iron, -some of the alder bark and <i>iron liquor</i> are used; or as -we shall term it, the <i>liquor of the black vat</i>. They are -then to be washed off and dried. If the black liquor -and the sumaching be powerful, some of the goods will -be finished when dry. Such are examined by the foreman; -those which are not finished must go through the -last process again. The finished goods are well and repeatedly -washed off in fresh clear soft water two or three -times and then dried.</p> - -<p>The <i>cambric muslins</i> are sent to be calendered to imitate -silk sarsenets.</p> - -<p><i>Book-muslins</i> must be sent to the muslin dressers, except -where, in some cases, they sarsenet and dry their -own goods.</p> - -<p>By the above method the ground is secured, and so is -the black, and also the strength of the goods.</p> - -<h3>On dyeing silk and cotton <small>BLACK</small> with a blue ground.</h3> - -<p>It is remarkable, that although an indigo ground for -wool enriches the black, yet for silk and cotton it is not -generally considered necessary. Latterly, however, we -believe the dyers of black on cotton do first give it an -indigo ground before the black is given. This is, nevertheless, -not a new method, for D'Apligny describes the -process in his Art of Dyeing, <i>for linen and cotton yarns</i>; -these are first dyed sky-blue in the vat, then wrung out -and set to dry. They are galled in the proportion of one -part galls to four of yarn, being left twenty-four hours in -the gall liquor, wrung out anew, and set to dry: about -<span class="pagenum"><a name="Page_113" id="Page_113">{113}</a></span> -ten pints of iron liquor to every pound of yarn are then -poured into a tub, in this the yarn is turned on sticks, -and worked with the hand for a quarter of an hour, it is -then wrung out and aired. This operation is twice repeated, -adding each time a new dose of the iron liquor; -the yarn is aired once more, then wrung out, well washed, -and dried. To complete the dyeing of the yarn a weight -of alder-bark equal to that of the yarn is boiled with a -sufficient quantity of water for an hour; to this is added -one half of the bath which has served for the galling and -sumach. The whole is boiled for two hours. When -cold the yarn is put in and worked, aired occasionally, -and then left in the bath for twenty-four hours, when it -is wrung out and dried. To complete it, it is steeped -and worked in the residue of a bath of weld, to which -a little logwood is added; it is then taken out, wrung, -and immediately passed through a tub of warm water, -into which one part of olive oil to sixteen of yarn has been -poured. It is finally wrung out and dried. See <span class="smcap">Ure's</span> -<i>Berthollet</i>, vol. ii. page 18.</p> - -<h3>Another iron liquor; pyrolignite or acetate of iron.</h3> - -<p>Although we have described an <i>iron liquor</i> in a preceding -section, it may be useful to give the following -process for another here. Fill a cast-iron boiler with -pyrolignous acid, add to it old iron well oxidized, and -boil. The solution of the oxide will take place rapidly. -When the iron grows clean, and the solution black as -ink, throw the whole into a cask, to be employed as occasion -shall require.</p> - -<div class="pagenum"><a name="Page_114" id="Page_114">{114}</a></div> - -<h3>To dye cotton <small>BLACK</small>, by using the preceding solution.</h3> - -<p>Prepare the cotton as usual, by giving it a blue ground; -gall it, and pass it through a bath of the solution of pyrolignite -of iron diluted with lukewarm water. Renew -the gallings and the passings through the bath of pyrolignite -of iron till a deep and brilliant black is obtained. -Finish by passing the cotton through olive oil thus: -throw on some lukewarm water a little olive oil, pass -the cotton through it; the cotton absorbs the oil, but it -must be worked a long time in the bath to diffuse the oil -equally. Dry in the shade. The cotton is now a perfect -and very durable black.</p> - -<p>Every time the bath of pyrolignite is used, what remains -must be thrown away; the old baths are never -added to the cask.</p> - -<p>The application of oil, which heightens the black, and -imparts softness to the stuffs, is given to such articles as -cotton velvet by means of brushes, which are slightly imbued -with it. <i>Berthollet.</i></p> - -<p>We may add here, that an iron liquor called <i>tar-iron -liquor</i>, prepared from the acid obtained from tar, (the -acetic acid we presume) is now well known in commerce, -but we have not room, nor does it appear necessary, to -describe the method of making it; it is much used in preparing -mordants for black and other colours by the dyers -and printers of silk. This iron liquor may be obtained -of Blake, North Street, Back Church Lane, St. George's -in the East, London. See <i>M'Kernan</i>.</p> - -<div class="pagenum"><a name="Page_115" id="Page_115">{115}</a></div> - -<h3>To dye cotton <small>VIOLET</small>.</h3> - -<p>Pass the skeins through the black vat and dry them, -then pass them through a decoction of galls and dry them -again, then through a decoction of logwood, then of alum -and verdigris, washed off, and dried.</p> - -<p>Or thus: by the black vat liquor, that is, the liquor of -old iron and alder bark in some cases. Let the vat liquor -be prepared from the iron hoops, vinegar, rye, or -coarse bran, described in page 108. By this liquor it is -easy to procure all the violet shades from the pansy flower -up to the lilac and violet.</p> - -<p>The goods must be first blue-vatted and dried, then -galled and dried, then passed through the iron liquor, -then maddered, then washed off, and dried; the liquor -must always be kept much below a boiling heat, as this -heat makes the colour obtained from madder brown: -whatever drugs require boiling must be prepared by a -decoction previously made.</p> - -<p>For some shades sulphate of copper is used; for -others verdigris, saltpetre, and alum.</p> - -<p>To dye to the pattern the preparations should be -always of one given strength, and all solutions of mordants -the same. The time of working the goods in the -dye must be regulated by the fulness or lightness of the -pattern; and the quantities of the various drugs, &c. -used much or little accordingly, reserving patterns of -processes, with the particulars of such processes noted -down. In proportion to the number of these upon record, -and with strict attention to the subject, a good pattern -dyer is formed. Time and practice are, however, -<span class="pagenum"><a name="Page_116" id="Page_116">{116}</a></span> -absolutely necessary, with a delight in the business: -for without a pleasure in dyeing no one can become a -good or an eminent dyer. In many of the branches of -this art there are, it is true, labour and pains in abundance; -but there is also a portion, and that not a small -one, of pleasure in others, which will counterbalance the -care, anxiety, labour, and fatigue inseparable from this -useful and important occupation, and which so strikingly -exhibits the science and ingenuity of man.</p> - -<h3>To dye cotton <small>RED</small>.</h3> - -<p>If the cotton skein has not been cleansed since it was -spun it must be cleansed by being boiled in a solution of -potash, one ounce of which, if good, to a pail of water -may be enough, or more than enough. The cotton must -be put into bags when boiled, then washed off and passed -through clean water, scoured with a little sulphuric acid, -and then washed off again; then galled, washed off, and -dried. The galls should be white galls: for twenty -pounds of cotton five pounds of bruised galls are boiled -in about one hundred and twenty quarts of water for two -hours.</p> - -<p>After galling, the cotton must be alumed: four ounces -of Roche alum for every pound of cotton. When alumed -it must be washed off and dried.</p> - -<p>The cotton is now to be dyed in a copper containing -six pounds and a quarter of best crop madder, with a -sufficiency of water. The heat is kept under that of -boiling for three quarters of an hour. After being aired, -washed, &c. it is put in, worked, and boiled for twelve -<span class="pagenum"><a name="Page_117" id="Page_117">{117}</a></span> -or fifteen minutes. Some dye it again two days after, -because the longer to a certain degree between aluming, -dyeing, and drying, and between one dyeing and another, -the better. The second time of dyeing eight ounces -of madder are used for every pound of cotton. Some -dyers gall it twice, and consequently dry it as often, then -dye it at once in the madder, having a proportion accordingly. -This is a red full-bodied colour.</p> - -<h3>To dye cotton an <small>ADRIANOPLE</small> or <small>TURKEY RED</small>.</h3> - -<p>For one hundred pounds of unbleached cotton, take -the following articles and pursue the described processes.</p> - -<p>Lixivium No. 1. Dissolve one hundred and fifty -pounds of alicant soda, (barilla) in three hundred quarts -of river water. There must be no more water than -enough to dissolve the salt. An egg must float on it or it -will not be strong enough.</p> - -<p>Lixivium No. 2. One hundred and fifty pounds of -fresh wood ashes, and three hundred quarts of water.</p> - -<p>Lixivium No. 3. Seventy-five pounds of quicklime, -and three hundred quarts of water.</p> - -<p>The cotton is to be boiled three hours in a liquor composed -of equal parts of each of the above solutions, taken -from them when clear and in a settled state. The liquor -must be replenished occasionally, so that it shall always -cover the cotton during the whole time it is boiling; -after which it must be taken out, washed, and dried in -the air.</p> - -<p>Into one hundred and thirty quarts of a mixture consisting -of equal parts of the above three lixiviums, put -<span class="pagenum"><a name="Page_118" id="Page_118">{118}</a></span> -twenty five pounds of sheep's dung and part of the intestinal -liquor, previously well mixed by means of a -wooden pestle, and the whole strained through a hair -sieve. Then twelve pounds and a half of good olive oil -is poured into the mixture, when it instantly forms a -soapy liquor.</p> - -<p>Into this liquor the cotton should be worked hank by -hank, often stirring it; the cotton, after all the hanks -have been worked separately first, is then left in the liquor -for twelve hours; it is then taken out, lightly wrung and -dried. The liquor is put by for brightening. This process -is repeated three times during the working; and by the -time the solution is all worked four hundred quarts might -be used, but that will not injure the clear of it from -being applied in brightening; and it must be reserved for -that purpose.</p> - -<p>When the cotton has been three times dipped in this -soapy water, and three times dyed, the same process is -repeated, except that the sheep's dung is left out; the -liquor is also preserved for brightening. The cotton, -having gone through these processes, should be as white -as if it had been bleached.</p> - -<p>When dry it is to be galled, using a quarter of a pound -of galls to every pound of cotton; after this it is dried, -then take six ounces of alum for the first aluming; it is -then to be dried again, and to hang three or four days -in the air, and then, when dry, to be alumed again; -four ounces of alum, and four of the lixivium may be added -to the last alum water.</p> - -<p>The madder used for this red is called <i>lizary</i>, which -furnishes a dye incomparably finer than that produced -<span class="pagenum"><a name="Page_119" id="Page_119">{119}</a></span> -by any other madder. Of lizary madder, therefore, take -two pounds for every pound of cotton, and twenty pounds -of liquid sheep's blood well mixed with the water in the -copper before the madder is put in. The butcher should -stir the blood to prevent its coagulating; the copper -should be carefully skimmed; the madder should not -boil, but be brought during the process from blood-heat -to within a few degrees of the boiling point: if it boil -at last, as some prefer it, it should only be for a few -minutes.</p> - -<p>In order to brighten the colour, the cotton is dipped -in a lixivium of fresh wood ashes, and five pounds of -<i>white</i> soap: yellow or mottled soap is improper. When -the cotton has been well worked in this liquor, it is, -with the liquor itself, put into a copper sufficiently large -to hold it with some addition of water, and made to boil -over a slow fire, for three, four, or more hours. The -liquor must be covered with coarse white linen cloths, to -keep as much steam in as possible.</p> - -<p>Some of the skeins of cotton must be taken out from -time to time, and washed perfectly; when the red is -judged perfect and sufficiently bright, the fire is withdrawn.</p> - -<p>If instead of the wood-ash lixivium and soap, the two -reserved liquors and soap are used, the red will be much -brighter than the finest Adrianople carnation.</p> - -<h3>Miscellaneous observations relative to <span class="smcap">Adrianople red</span>.</h3> - -<p>In regard to the above processes, we may observe, that -those given for Adrianople red in <i>Ure's Berthollet</i>, are -<span class="pagenum"><a name="Page_120" id="Page_120">{120}</a></span> -more numerous, being regularly numbered to the <i>seventeenth</i>, -or last operation called <i>brightening</i>. After a -careful attention to those processes we see no reason to -alter our own, yet we nevertheless advise the dyer to become -acquainted with what is stated in that work, many -details being there given for which we have not room, -particularly for making <i>different shades</i> of the colour. -We add, however the following from vol. ii. p. 140.</p> - -<p>"Cotton dyed red, may, moreover, be made to pass -through all the shades, down to the palest orange, thus: -pure nitric acid is diluted with two-fifths of water; chips -of tin are oxidized in it till the liquor grows opal; the -solution is employed at different strengths; the colour -varies according to the concentration of the solution: -when it is strong, shades are obtained which have some -relation to those of scarlet.</p> - -<p>"In general, when brilliant colours are desired, we must -not charge them too much with oil; we must give feeble -leys long repeated, charge little with alum, employ the -best madders, and, at last, brighten powerfully without -sparing soap."</p> - -<p>We have directed <i>good</i> olive oil; but M. <span class="smcap">Vitalis</span> -directs fat oil, (<i>gallipoli</i>) to be used in the processes for -dyeing Adrianople red, and Berthollet says, it must not -be a <i>fine oil</i>, but one containing a strong portion of the -extractive principle.</p> - -<p>A factory for dyeing this red was first established in this -country in 1790, by M. <span class="smcap">Papillon</span>, who obtained a premium -from the Commissioners and Trustees for Manufactures -in Scotland, for communicating the details of it -on condition it should not be divulged for a term of years, -<span class="pagenum"><a name="Page_121" id="Page_121">{121}</a></span> -during which <i>M. Papillon</i> was to have the sole use of his -secret. This term being expired the process was published. -See vol. xviii. of <i>Tilloch's Magazine</i>.</p> - -<p>M. <span class="smcap">Vitalis</span>, (in his work on Dyeing published in 1823) -has given, at length, the <i>mode of dyeing Turkey red at -Rouen</i>. It differs in many particulars from Berthollet and -others. We learn from him that two systems for imparting -this colour are in use at Rouen. The first is called -the <i>grey course</i> from the cotton being subjected to the -maddering immediately after it has received the oily preparations, -and the mordants of galls and alum which give -it a <i>grey</i> colour. The <i>yellow course</i>, is so called from the -cotton, after having received a first time the oily preparations, -as well as the mordants of galls and alum, -<i>not</i> being exposed to the maddering till it has passed a -second time through the same preparations, and the same -mordants which give it <i>a yellow</i> colour. This second -manner of working the Turkey red is called, in the dye-house, -<i>remounting on the galls</i>. Dr. <span class="smcap">Ure</span>, in a note to -Berthollet, vol. ii. p. 378, has detailed these two courses, -and made, besides many valuable observations on them, -and the dyeing of Adrianople red generally, for which we -must refer to the work, as our limits prevent the possibility -of any further notice of them here, except to add, -that a <i>process for dyeing cotton of a smoke red</i>; and -another for <i>dyeing cotton a cherry red</i>, is well deserving -the attention of the dyer.</p> - -<p>In regard to the <i>blood</i> used in dyeing Adrianople red, -Dr. Ure decidedly affirms, that "<i>it adds no colouring -matter to the madder in the dyeing operation</i>;" in this -he is countenanced by the observations of Chaptal, see -<span class="pagenum"><a name="Page_122" id="Page_122">{122}</a></span> -Berthollet, vol. ii. p. 141. "To the use of blood in the -madder copper," says Dr. Ure, "I attribute nothing, as -from the rancid and putrid state in which I have seen it -used, were it not for the prejudice of the operator, it might -be safely dispensed with." A very eminent calico manufacturer, -whom Dr. Ure consulted, assured him, that in -the Turkey red process the only essential mordants were -oil and alumina; and that bright and fast reds, equal to -any produced by the complicated processes of sheep's -dung, galls and blood may be obtained without those -articles.</p> - -<p>We make no comments on these observations, but -leave them to the good sense and intelligence of the dyer: -they deserve the utmost attention.</p> - -<p><i>Linen yarn</i> takes a colour almost as brilliant as that of -cotton, but it must be passed through a double number of -oils and leys. The latter must even be very strong, -otherwise the oil flows out at the surface. The greatest -attention must be bestowed on the scouring out first: for -the yarn mingles and entangles by the heat to such a -degree, that it sometimes can be neither dipped nor -unravelled.</p> - -<p>It should be mentioned that the large dyers of Adrianople -red, now obtain their soda for lixivium No. 1, by -using common salt in solution, to which is added a solution -of pearl-ashes. On boiling these together a muriate -of potash is formed, which is taken out of the liquor with -a skimmer; a <i>carbonate of soda</i> remains dissolved in the -liquor, and is, of course, applied to the same purpose as, -and at a much cheaper rate than, the Alicant soda.</p> - -<div class="pagenum"><a name="Page_123" id="Page_123">{123}</a></div> - -<h2>CHAPTER VI.<br /> -ON DYEING COTTON AND SILK.</h2> - -<p class="negdent"><i>To dye skein cotton yellow—On dyeing and re-dyeing -cotton furniture yellow—To dye cotton skein a duck's -wing green and olive—Of browns, maroons, coffee -colours, &c.—Observations on silk—On ungumming -and boiling silk—Whitening—Sulphuring—On aluming -silk—Skein silk for yellow—Preparation of annatto, -for aurora, orange, moidore, gold colour, and -chamois—To dye silk aurora or orange—To dye -moidore—Process for orange—To dye silk poppy -or coquelicot—A cheaper poppy with annatto and -Brazil wood—On dyeing silk a fine crimson—Composition -for dyeing silk scarlet or crimson, with -cochineal—Another process for crimson—Crimson by -Brazil wood—Of fine violet—Observations on crimson -and scarlet upon silk—On dyeing silk green—On -olives—On dyeing silk grey—Nut-Grey—Black -greys—Iron greys—On dyeing silk of a Prussian -blue colour—Chromate of lead for yellow on silk or -cotton—Conclusion.</i></p> - -<p class="nodent"><span class="smcap">We</span> -have in several preceding chapters treated of both <i>cotton</i> -and <i>silk</i>; we shall here treat of certain processes and -<span class="pagenum"><a name="Page_124" id="Page_124">{124}</a></span> -colours relative to both these substances, which are most -conveniently arranged in this chapter.</p> - -<p>The simpler processes for <i>cotton</i> will be found in the -<i>second</i> chapter, the more complex in the <i>fifth</i>; the -simpler processes for <i>silk</i> are given in the <i>third</i> chapter, -the more complex in the <i>fifth</i>; the remaining processes -for both in the present chapter, will conclude the work.</p> - -<h3>To dye skein cotton <small>YELLOW</small>.</h3> - -<p>The same operations as those in the first common red -dye are to be used here; to one pound of cotton four -ounces of roche alum, and from one to four pounds of -weld.</p> - -<p>When dyed the cotton is to be worked in hot, but not -boiling, liquor, consisting of four ounces of sulphate of -copper to every pound of cotton; it is then to be boiled -for three hours in a solution containing four ounces of -soap to every pound of cotton.</p> - -<p>When a dark or <i>jonquil colour</i> is wanted, no alum is -used; of weld take two pounds and a half, very little -verdigris, or a little alum in its stead, but nothing else. -For brightening, however, boiling in a solution of soap -is in all cases necessary.</p> - -<h3>On dyeing and re-dyeing cotton furniture <small>YELLOW</small>.</h3> - -<p>If the furniture, such as rough or finished cotton -or cambric, intended for yellow linings for bed or -window curtains, be in a perfectly bleached state, which -is now generally the case, according to the number of the -<span class="pagenum"><a name="Page_125" id="Page_125">{125}</a></span> -pieces, so must the size of the copper be to boil the weld -in for the yellow dye. A small copper holding four or -five pails would do for three pieces of twenty eight yards -each. The weld may be purchased by the half bundle, -the bundle, or the load. Half a bundle would be enough -for the above quantity of cotton, if a moderate yellow is -wanted. The weld must be increased or decreased according -as the pattern approaches a straw, a canary, a -lemon, or towards a gold colour or orange.</p> - -<p>The weld must be boiled about twenty minutes, the -liquor then strained off into a proper tub, and the weld -boiled again. While the boilings are going on, three -tubs, being wine pipes cut in two, must be got ready -and made particularly clean, being also previously seasoned -for the work. One is to receive the boiled weld -with some cold water to regulate it to the heat which the -hand will bear; the other is for water, and as much alum -liquor as will colour it and make it taste strong; and the -third is to contain clear water to wash the furniture off.</p> - -<p>Whatever yellow is in <i>fashion</i> (or indeed any fashionable -colour,) has commonly a <i>fashionable name</i>. But -if the dyer can, by his experience, proportion his drugs -to the weakest, and from that to the strongest shade, let -the name be what it may, after he has a set of patterns -of his own dyeing, he will see, upon the first sight of any -colour, how to set about it.</p> - -<p>In the present instance let the pattern be a moderately -pale colour of yellow; then put all the first boiling -of the weld in the first tub, and cool down as above directed. -Two or three persons should then work the pieces -quick from end to end by the selvages, that they may be -<span class="pagenum"><a name="Page_126" id="Page_126">{126}</a></span> -even, two may do this; one of whom must be an expeditious -hand to work them and keep them even. When -they have been edged over six or seven times, they are -to be folded out upon a board laid over the tub, and -wrung as dry as possible by two persons. When they -are all out, they are passed in the same manner through -the tub of alum, and, after six or seven turns, they are -to be taken out of the alum liquor, wrung as before, and -then washed off.</p> - -<p>By this time the second weld liquor will be boiled; -some of the first must be thrown away, and the second -weld liquor added in its place. The goods are then passed -through as before, and wrung out; the alum liquor being -strengthened, they are passed through it, wrung out as -before, and then washed off: the water in the wash tub -having been changed.</p> - -<p>In some instances verdigris is used instead of alum; -and in other cases it is used in addition to the alum. -For some shades old fustic is used instead of weld, and -sulphate of copper instead of verdigris.</p> - -<p>The alum solution, and the sulphate of copper, and the -verdigris, or acetate of copper should be always ready. -It is necessary to have a tub for each, in size proportioned -to the work to be done; but larger for the alum than -for the other two.</p> - -<p>Sulphate of iron is also used in some dark greys, -browns, slates, and in all blacks; this will require a -tub as large or larger than that for alum.</p> - -<p>When the yellows are dyed and wrung as dry as possible, -they should be taken into a close room or stove -to dry, particularly in <i>London</i>, because of the smoke, -<span class="pagenum"><a name="Page_127" id="Page_127">{127}</a></span> -especially in winter. A German, or other stove, should -be placed in the room, the size of which, as well as -the number of the stoves, must be regulated by the -quantity of the work. When the goods are dry they must -be sent to the callenderers, if directed to be callendered; -but the general and better way is to stiffen them with -starch after they are dyed, and before they are dry; -and when dry they should be sent to the glazers, instead -of the callenderers, except when both branches are -carried on by the same person.</p> - -<p>When furniture, originally yellow, has become faded, -it may be re-dyed thus: In this case it should be dyed -rather of a fuller shade than the original. A large flat -tub, such as described above, is to be filled three parts -full of water, to which sufficient sulphuric acid must be -added to make it taste strongly sour. After being well -stirred, the pieces are to be put in, and worked in this -sour liquor; and the yellow dye in consequence is stripped -off. If the acid liquor be not strong enough more -acid must be added, with the precaution of well mixing -it with the water, and the goods must be passed through -the liquor again: by these means the yellow is discharged. -They are then to be taken out on a board upon the tub -and wrung by two persons; then to be washed off and -wrung, washed and wrung again, when they are fit to be -dyed.</p> - -<p>It is still to be remembered that any faded or worn out -colour, or that goods more or less decayed, seldom become -so bright as the colour which a new piece of goods -receives from the same dye.</p> - -<p>Some cloths for re-dyeing require the application of -<span class="pagenum"><a name="Page_128" id="Page_128">{128}</a></span> -oxymuriate or chloride of lime to discharge their colours, -particularly when madder or galls, &c. form the constituent -parts of the dye. In this case if a <i>bleacher</i> be -near it might be best to let him perform the process with -the oxymuriate of lime; not only from the pernicious -nature, but also from the expense of it, which, unless -the business be upon a large scale, will not pay the dyer -for his trouble.</p> - -<p>However, if the dyer thinks proper to perform this -operation, then the oxymuriate of lime or bleacher's ashes, -&c. may be obtained at the dry salters and dissolved in a -cask, and the clear liquor used in proportion to the quantity -of goods, the colour of which is intended to be discharged, -which, when done, should be washed off in two -waters at least before they are dyed.</p> - -<h3>To dye cotton skein a <small>DUCK'S WING GREEN</small> and <small>OLIVE</small>.</h3> - -<p>This is performed by a blue ground, next galling, -dipping in the black vat, then in the weld dye, then in -verdigris, remembering to wash off previously to performing -each process.</p> - -<p><i>Olive</i> is to be performed with weld or old fustic, verdigris, -and Brazil wood.</p> - -<h3>Of <small>BROWNS</small>, <small>MAROONS</small>, -<small>COFFEE-COLOURS</small>, &c.</h3> - -<p>It would answer little purpose to enlarge this treatise -with a detail of all the possible methods of producing -the various shades of these several colours, the whole -<span class="pagenum"><a name="Page_129" id="Page_129">{129}</a></span> -consisting in the use of galls, verdigris, sulphate of copper, -weld, and madder.</p> - -<p>By welding a stuff previously maddered for <i>red</i> you -may produce a <i>gold</i> colour; and by dipping the same -red in a blue vat you obtain a <i>plum</i> colour.</p> - -<h3>Observations on <small>SILK</small>.</h3> - -<p>Silk, as it is obtained from the cocoons of the worm, -is generally of an orange or yellow colour, more or less -dark; in the South of France it is generally very dark: -its natural shade is unfavourable to almost all other colours. -It is also imbued with a kind of varnish or gum, -which makes it stiff and hard; this stiffness is improper -in the fabrication of most silk stuff, it is therefore <i>ungummed</i>, -as it is called, by the following processes.</p> - -<h3>On ungumming and boiling silk.</h3> - -<p><i>Observe</i>, that throughout the following processes for -silk <i>white</i> soap is directed to be used; and, generally -speaking, we believe it will be found the best, more especially -for the more delicate operations. Yet <i>Mr. M'Kernan</i>, -in his process for ungumming silk, directs yellow -soap and soft soap in equal parts, and of the same weight -as the silk to be used: he adds, however, that different -sorts of silk require more or less soap; the best rule he -finds, nevertheless, is <i>the same weight of soap as of silk</i>: -and he says also, that yellow soap and soft soap of the -best quality he finds the best for this purpose.</p> - -<p>The silk is divided into hanks, each hank is tied with -<span class="pagenum"><a name="Page_130" id="Page_130">{130}</a></span> -a string, several of these are tied together (a handful of -them) by putting a piece of string through each separate -skein, and tying the piece of string in a long tie to slip -easily when they are wanted to be untied.</p> - -<p>A liquor is prepared of thirty pounds of <i>white</i> soap to -a hundred pounds of silk; the soap is cut into small -pieces and boiled in water, when it is dissolved the fire -is damped.</p> - -<p>While the liquor is preparing the skeins of silk are -put on rods; as soon as the soap liquor becomes a little -below boiling heat (for it should not boil, as boiling -would tangle the silk) the silk is to be put into it in an -oblong copper, being nearly full; it is to remain in the -liquor till its gummy matter has left it, which will be -seen by its whiteness and flexibility. It is then turned -end for end on the rods, that the part above the liquor -may undergo the same operation. As soon as this is -accomplished the silk is taken out of the copper, the -hanks which were first turned being soonest done.</p> - -<p>The hanks are now to be taken from the rods to the -peg, disentangled, and nine or ten of them put on one -cord, this cord passing through the string that tied each -hank. When the whole is corded it is put into pockets -of coarse strong white linen fifteen inches wide and five -feet long, closed at each end and on one side; when the -silk is put in, the pocket is sewed all along the other side -with packthread, and fastened with a knot; four pockets -will hold the whole hundred pounds.</p> - -<p>The pockets being thus ready another liquor is prepared -like the first. When ready, and the boiling -checked with cold water, the pockets are put in and -<span class="pagenum"><a name="Page_131" id="Page_131">{131}</a></span> -boiled well for a quarter of an hour, checking with cold -water in order to prevent its boiling over; it is necessary -also to turn the bags about often with a pole, or rather -let two persons have a pole each for this purpose. This -operation is called boiling.</p> - -<p>In addition to the processes of boiling with soap, as -above directed, <i>Mr. M'Kernan</i> recommends that the silk -should be winched through a copper of water at the heat -of 160°, having two pounds of soda (barilla) dissolved in -it, then winch or wash in water, and wring and dry.</p> - -<p>In the boiling of silks for common colours twenty -pounds of soap will do for a hundred weight of silk; -but, as in this case, the silk is not ungummed, it should -boil for three hours and a half, adding water to supply -the evaporation.</p> - -<p>The silks intended for the greatest degree of white, -either to remain white, or for the fabrication of white -stuff, are boiled twice in soap and water; those that are -to be dyed of different colours are boiled but once, and -with a smaller quantity of soap, because the little remaining -redness is by no means prejudicial to many colours. -Different quantities of soap are, however, necessary -for different colours.</p> - -<p>Silk designed for blue, iron grey, brimstone, or any -other colour requiring a very white ground, should be -done according to the preceding process, and have thirty -pounds of soap.</p> - -<p>When the silk is boiled it is taken out of the copper -by two men with poles, and placed in a clean barrow; -they are then taken to a long shallow trough, from which -the water may run away, the pockets are opened, and -<span class="pagenum"><a name="Page_132" id="Page_132">{132}</a></span> -the silks examined; such as have yellow or lemon colour -spots remaining are boiled again for some time, till -the spots are removed. After unpocketing, the whole is -dressed on the pegs.</p> - -<p>Silk loses from twenty-five to twenty-eight per cent. of -its weight in ungumming and whitening. The bags of -silk should never be suffered to lie long together before -they are emptied after being boiled, as their doing so -would make the silk hard.</p> - -<p><i>White</i> silk, as before observed, is distinguished into -five principal shades, namely, <i>China white</i>, <i>India white</i>, -<i>thread</i> or <i>milk white</i>, <i>silver white</i>, and <i>azure white</i>.</p> - -<p>The three first are prepared and boiled as has already -been shewn. Silver and azure white in the preparation -or ungumming thus: take fine powdered indigo, put it -into water boiling hot, when settled the liquor is called -<i>azure</i>.</p> - -<p><i>To azure the silk</i> it is taken from the ungumming -copper after it is dressed and put into a trough of water; -after it is worked, drained, and again dressed, it is ready -for the</p> - -<h3>Whitening.</h3> - -<p>Put into a copper with thirty pails of water half a pound -of soap; when it boils, and the soap dissolved, add for -<i>China white</i> a little <i>prepared annatto</i>, (of which hereafter.) -The silk, being on rods, is now to be put into -the copper and kept turning end for end without intermission -till the shade is uniform. For <i>India white</i> a -little azure is added, to give the blue shade: for <i>thread -white</i> and others a little azure is also to be added.</p> - -<p><span class="pagenum"><a name="Page_133" id="Page_133">{133}</a></span> -<i>Observe</i>, the liquor should be very hot, but not boiling; -the turnings five times repeated, by which the shade -is made even. When finished it is taken out, wrung, -Spread on poles to dry, and that part of it required for -<i>sulphuring</i> must be put upon rods or slight poles.</p> - -<h3>Sulphuring.</h3> - -<p>The hanks, being upon poles seven or eight feet from -the ground, in an appropriate room, one pound and a -half or two pounds of roll brimstone will sulphur a hundred -weight of silk.</p> - -<p>Put the brimstone, coarsely powdered, into an earthen -pipkin with a little charcoal or small coal at bottom. -Light one of the bits with a candle, which will kindle all -the rest.</p> - -<p>The room should be close, the chimney, if any, being -closed up; the sulphur should burn under the silk all -night. The next morning the windows should be -opened to let out the smoke and admit the air, which, -in summer, will be sufficient to dry the silk; but in -winter, as soon as the sulphurous fumes are dissipated, -the windows must be shut and a fire kindled in the stove -or stoves to dry the silk.</p> - -<p><i>Observe</i>, if the room for sulphuring does not admit of -openings sufficient for the dissipation of the sulphuric -fumes, the work-people will be in danger of suffocation.</p> - -<p>When the sulphur is consumed it leaves a black crust -which will light the future sulphur like spirit of wine.</p> - -<p>If, in dressing, the silk sticks together, it is not sufficiently -dry.</p> - -<p><span class="pagenum"><a name="Page_134" id="Page_134">{134}</a></span> -Silk, which has been sulphured, has a rustling, which, -for some things, is esteemed; but this would not do for -silk to be watered. If silk, which has been sulphured -is to be dyed, it must, for many colours, be unsulphured.</p> - -<p>Silks for lace, gauze, &c. are neither boiled nor ungummed; -silks which are naturally the whitest are the best -for those articles. It is sufficient to dip the silks in -warm water, and wring them; then sulphur them, afterwards -azure them, again wring them, sulphur them a -second time, or soak them in soap and water, those for -whitening hot enough to bear the hand, adding azure, if -necessary, and turning and re-turning the silk in this -liquor.</p> - -<p>The fine silk of <i>Nankin</i> requires no whitening.</p> - -<h3>On aluming silk.</h3> - -<p>We have treated of this before at the commencement -of the third chapter, but a few more observations may be -useful.</p> - -<p>The silk being first well washed and beetled, and the -hanks tied loose so that every thread may take alike, -should be turned and re-turned in the alum liquor and -worked, cooled in it, at intervals, from morning till night, -afterwards taken out, beetled, and rinsed.</p> - -<p>The above proportion of alum will do for a hundred -and fifty pounds of silk, before you need replenish it; -when this is necessary add twenty-five pounds more of -alum, as at first directed in Chapter III., and so continue -to replenish it till it gets a bad smell. When this is the -<span class="pagenum"><a name="Page_135" id="Page_135">{135}</a></span> -case you may dip for browns, maroons, &c.; and afterwards -throw the liquor away; the trough is then to be -rinsed for a fresh liquor.</p> - -<p>Remember always to alum <i>cold</i> or you will spoil the -lustre of the silk.</p> - -<h3>Skein silk for <small>YELLOW</small>.</h3> - -<p>This is to be boiled with about twenty pounds of soap -for every hundred pounds of silk. When boiled it is to -be washed and alumed, and again washed, dressed, and -put on the rod, seven or eight ounces to a rod, and then -dipped and re-turned in the yellow liquor, in the proportion -of two pounds of weld to one pound of silk.</p> - -<p>The liquor is not to be hotter than the hand can bear -while the silk is in it. The silk, when in the vessel for -dyeing, should cause the liquor to float within two inches -of the edge. The silk must be taken out and the liquor -strengthened, if the pattern is to be very full; when full -enough, one pound of pearl-ash for every twenty pounds -of silk must be dissolved in some warm water; about a -quarter of this liquor is put into the dye bath: take the -silk out while you put in the liquor, stir the mixture well. -Put in the silk and work it, turning and re-turning it as -at first. After seven or eight re-turns, one of the hanks -is to be taken out, wrung, and tried at the peg, and, if -sufficiently full and bright, all is well; if not enough so, -some more pearl-ash liquor must be added, and the silk -worked as before, till the shade required is obtained.</p> - -<p>For <i>jonquil</i> it may be necessary to add some annatto -when you put in the pearl-ash.</p> - -<p><span class="pagenum"><a name="Page_136" id="Page_136">{136}</a></span> -To make the light shades, such as <i>canary</i> or <i>lemon</i>, -perfectly white, they must be boiled with thirty pounds -of soap to a hundred of silk; and if these be not <i>azured</i> -to be dyed, they must have a little of the blue vat, and a -little of the weld liquor in water, (the whole mixture -being as hot, but no hotter than the hand will bear,) and -the silk ready on rods, must be quickly worked through -and out. For deeper lemons the same process must be -used as for the fuller yellows; only less weld, and twenty -pounds of soap will do for a hundred pounds of silk in -whitening it.</p> - -<p>The blue of the vat is only used for such articles as -are to have a green cast, and that extremely light; the -aluming also should be in a weaker alum liquor: for -light lemons it should be prepared in a separate liquor.</p> - -<h3>Preparation of annatto for <small>AURORA</small>, <small>ORANGE</small>, <small>MOIDORE</small>, -<small>GOLD COLOUR</small> and <small>CHAMOIS</small>.</h3> - -<p>You must have a colander proportioned to the size of -the copper in which you boil the annatto. To every pound -of annatto put from twelve ounces to one pound of pearl-ashes, -which last dissolve in water, and add the solution, -by degrees, to the solution of annatto as it boils and dissolves, -for which purpose the annatto must be suspended -in the colander over the copper by a flat stick about six -inches broad, run through a flat handle on each side of -the colander, by which means the colander is kept sunk -in the water with the annatto in it, till it is all dissolved, -except some little foreign matters. The holes in the -colander should be moderately small.</p> - -<p><span class="pagenum"><a name="Page_137" id="Page_137">{137}</a></span> -Dissolved in this manner the annatto, if kept clean, will -keep as long as you please.</p> - -<h3>To dye silk <small>AURORA</small> or <small>ORANGE</small>.</h3> - -<p>These require but twenty pounds of soap for boiling -white. To dye <i>aurora</i> the silk must be prepared the -same as for yellow.</p> - -<p>Annatto <i>prepared</i> (as directed in the last article) and -settled, is then put into a copper of hot water, in quantity -according to the shade required; having mixed it well, -the liquor being as hot as the hand will bear, put the silk -into it; when one hank is tried, as in the yellow, if it be -not full enough, the liquor must be strengthened till the -colour is brought to the shade required. When finished -the whole must be washed twice and beetled. The <i>aurora</i> -serves as a ground for <i>moidore</i>.</p> - -<h3>To dye <small>MOIDORE</small>.</h3> - -<p>As fustic and logwood are to form part of this dye upon -the annatto ground, the silk must be alumed, then washed -from the alum, in order that the superflux of the alum -may not render the dye uneven. A fresh liquor is then -prepared, rather hot, to which must be added a little of -the decoction of logwood, and of the decoction of young -fustic. The silk is re-turned in this liquor, but if apparently -too red, you may put in a very little of solution -of sulphate of iron, which will make it sufficiently yellow.</p> - -<p>When the silk is dyed with the gum, in the raw state, -the annatto must be used nearly cold, or the elasticity of -the silk will be destroyed.</p> - -<div class="pagenum"><a name="Page_138" id="Page_138">{138}</a></div> - -<h3>Process for <small>ORANGE</small>.</h3> - -<p>After dyeing aurora with annatto, it is necessary to -redden the annatto ground with vinegar, alum or lemon -juice.</p> - -<p>For the brightest oranges, and up to scarlets and poppy, -&c. silk should have an annatto ground three or four shades -under that of aurora. There is no occasion for alum when -the silk has been grounded and washed off. If for <i>orange</i> -a liquor which has been used for poppy will be sufficiently -strong to finish it, or for light cherry, rose, &c. For -<i>flesh</i>, the lightest of these colours is so delicate that a -little of the soap water used for boiling should be added -to the liquor, to prevent the silk from taking the colour -too quickly or unevenly.</p> - -<p>Liquors having safflower or weld in their composition, -require to be immediately worked, as by keeping they -lose their colour, that is, the safflower and its compounds, -and are entirely spoiled. They are also always used <i>cold</i>, -as the safflower cannot bear heat.</p> - -<p>The <i>safflower</i> preparation has been before described -in Chapter II. where the process of <i>cotton pink</i> is performed -by its solution.</p> - -<h3>To dye silk <small>POPPY</small>, called by the French <small>COQUELICOT</small>.</h3> - -<p>When the silk has received the annatto ground three -shades less than for aurora, the safflower preparation must -be ready, and turned by the solution of tartar as before -described; the silk must also be well washed from -the annatto ground; that the alkali used with the annatto -<span class="pagenum"><a name="Page_139" id="Page_139">{139}</a></span> -may not counteract the tartar of the safflower, a bath of -which must be prepared as strong as possible, through -which the silk must be worked six or seven times: -for a full poppy it is necessary to pass the silk through -four or five such liquors. Poppy is the deepest colour -which can be done with the safflower. It has been before -observed, that the liquors from the poppy, if used directly, -will serve for orange, cherry, flesh, &c.</p> - -<p>Archil, as described for crimson, with cochineal for -wools as before described, is to be used on some occasions. -In other cases some patterns have no ground -of annatto.</p> - -<h3>A cheaper <small>POPPY</small> with annatto and Brazil wood.</h3> - -<p>The silk is to be grounded with annatto as before; -when well washed off it must be alumed and washed off -again; then passed through the decoction of Brazil wood, -washed off again, again passed through a fresh decoction -of Brazil wood; and every time that goods are passed -through the dye, as has been before stated, they must be -worked from end to end of the skeins, from five to seven -times, to have them even, and to give them a full opportunity -of combining with the colouring materials of the -dye.</p> - -<p>These repetitions must of course be in number proportionate -to the slightness or intensity of the colour -wanted. With the Brazil decoction it is necessary to mix -well a little soap liquor, about five quarts to thirty pounds -of silk. This keeps the alum used to receive the Brazil -<span class="pagenum"><a name="Page_140" id="Page_140">{140}</a></span> -decoction not only from producing a stiffness, but, on the -contrary, preserves the silk soft and pliant.</p> - -<p>The above poppy serves for a ground for <i>brown red</i> -colours, by the addition of logwood. A decoction of -logwood, Brazil wood, and old fustic, as has been before -observed, should always be kept ready boiled.</p> - -<h3>On dyeing silk a <small>FINE CRIMSON</small>.</h3> - -<p>Silk intended for the crimson of cochineal should have -only twenty pounds of soap to one hundred pounds of -silk, and no azure, because the natural yellow of the -silk which remains is favourable to the intended colour.</p> - -<p>The silk is to be strongly alumed and left in the alum -from seven to eight hours, then washed and twice beetled -at the river. <i>Remember</i> how the alum is to be worked, -as to the manual part.</p> - -<p>While this is doing, a liquor is to be thus got ready: -take of blue and white galls from one to two ounces to -each pound of silk, let them be well powdered and sifted; -of fine cochineal, also well powdered and sifted, from two -to three ounces, for every pound of silk; put these articles -into pure soft water, and in a <i>boiler made of grain-tin</i>, -(and not in what is commonly called tin, which is iron -covered with tin, and which would utterly spoil the dye.) -Neither would copper or brass suit as well as grain-tin. -This has been observed before, (page 84.) in the article -<i>on dyeing wool scarlet</i>. It ought, nevertheless, to be -stated, that such tin boilers are difficult to be made of a -certain size, and being liable, besides, to be melted without -<span class="pagenum"><a name="Page_141" id="Page_141">{141}</a></span> -great care. Many dyers therefore, still use <i>copper</i> boilers. -When the cochineal and galls have boiled you add to the -liquor for every pound of cochineal, about one ounce of -solution of tin, which is called <i>composition</i>, and is made -in the following manner:</p> - -<h3>Composition for dyeing silk <small>SCARLET</small> or -<small>CRIMSON</small> with cochineal.</h3> - -<p>Take one pound of nitric acid, two ounces of muriate -of ammonia, six ounces of fine tin, prepared as mentioned -under <i>dyeing wool scarlet</i>, water twelve ounces.</p> - -<p>The muriate of ammonia, the prepared tin, and the -water, are put into a stone jar, to which the nitric acid, -is added, and the whole left to dissolve.</p> - -<p>This composition contains much more tin and sal-ammoniac -than is used for the scarlet of cochineal upon -wool; it is, however, absolutely necessary.</p> - -<p>An ounce of this composition, for every pound of silk, -is to be added to the galls and cochineal when boiling. -The boiler is then cooled down a little, the fire-door -thrown open, the silk put in and worked from five to -seven times, when the silk will have become pretty even -as far as it is dyed. The copper is now again to be -brought to boil; it should continue boiling, and the -silk kept turning, for two hours; the fire is then taken -from under the copper, and the silk is immersed entirely -and left all night, or for seven or eight hours at least; -it thus takes a full half shade. In the morning it is washed, -twice beetled, wrung as usual, and hung up to dry.</p> - -<p>The least tincture of sulphate of iron in the water saddens -<span class="pagenum"><a name="Page_142" id="Page_142">{142}</a></span> -the crimsons, takes off their yellow, and gives the -violet cast; but if too much of the yellow is carried off, -it may be restored by fustic. Nothing but sulphate of -iron will sadden grain scarlets, logwood being quite useless -for this purpose; sulphate of iron darkens greatly -with galls. <i>Macquer</i>.</p> - -<h3>Another process for <small>CRIMSON</small>.</h3> - -<p>When the silk is boiling in the soap-liquor, add one -ounce of annatto, for every pound of silk, working it -through the colander as directed, (page 136.) but without -the composition or tartar: in some shades, however, both -composition and tartar are admitted. The solution applied -to cochineal with worsted has a considerable effect, -changing it from a crimson, its natural colour, to a very -bright fire colour; but it produces only a crimson when -applied to silk; it gives, however, this colour a very -beautiful tint; for, uniting with the tartar, it increases the -effect without impoverishing the colour, and saving the -annatto ground. <i>Macquer</i>.</p> - -<h3><span class="smcap">Crimson</span> by Brazil wood.</h3> - -<p>The silk should be first alumed, and then passed through -a strong decoction of Brazil wood, half a pail to a pound -of silk, which is to be worked, and put through an additional -and strengthened dye of Brazil wood, and then -washed off: if in <i>hard</i> water this will generally crimson -the Brazil wood sufficiently; but if in soft water a little -pearl-ash must be added; about one pound of the clear -<span class="pagenum"><a name="Page_143" id="Page_143">{143}</a></span> -solution of pearl-ash, or rather the clear solution of a -pound of pearl-ash, as one pound of water will not, we -believe, dissolve a pound of pearl-ash: this is enough -for forty pounds of silk.</p> - -<p><i>The decoction of Brazil wood</i> is prepared thus: one -hundred and fifty pounds of Brazil wood chips are put -into a copper which holds about sixty buckets of water; -the copper is then filled with water and boiled for three -hours, the waste by evaporation being occasionally supplied. -The fire is now damped, the clear liquor drawn -off, the copper filled again, and again boiled for three -hours more. This process is repeated four times in all, -when the dye of the wood will be fully extracted.</p> - -<p><i>Logwood</i> and <i>old fustic</i> are treated in the same manner, -but only two boilings are required for these.</p> - -<p>In regard to crimson generally, see forward, <i>observations -on dyeing silk crimson and scarlet</i>, and also some -<i>observations</i> on the <i>dyeing of wool scarlet</i>, page 85.</p> - -<h3>Of fine <small>VIOLET</small>.</h3> - -<p>For this colour the common boiling is enough, the -silk is alumed the same as for fine scarlet, washed and -twice beetled. Thus prepared, two ounces of cochineal -are given to it, with the same precaution as usual, but no -composition nor tartar. Being worked moderately warm, -in working it must be expeditiously turned; after a -quarter of an hour the liquor should be brought to boil, -when the turning need not be so expeditious, but it -should, nevertheless, be continued for two hours. After -being washed the silk is dipped in the vat, more or less -strong, according to the shade required.</p> - -<p><span class="pagenum"><a name="Page_144" id="Page_144">{144}</a></span> -Washing and drying are done in the same manner as -for blues and greens, and in general for all colours <i>dipped</i> -in the vat, namely, a small quantity at a time, in order -that the silk may be kept open to the air, and that the -greening of the vat may pass correctly and equally to -blue. For some shades archil forms a part of this dye. -For other <i>violets on silk</i> see Chapter III.</p> - -<h3>Observations on <small>CRIMSON</small> and <small>SCARLET</small> upon silk.</h3> - -<p>Crimson upon silk is produced at Norwich, London, -and many other places, by using a much larger quantity of -cochineal than that which is directed by Macquer: for in -some cases, as much as a guinea a pound, has, it is said, -been paid for dyeing silk crimson at Norwich. Archil -has been used, likewise, in crimson, and the time of -boiling is not so long. In some shades a little of the -composition and tartar may be admitted, but in a small -degree. It should be stated, however, that <i>scarlet upon -silk</i>, is often done by annatto and safflower.</p> - -<p><i>Observe</i>, that although we have given the preceding -processes for crimson and scarlet, yet many others might -be mentioned. What has been said in regard to <i>dyeing -scarlet on woollen</i>, (page 85.) should also be carefully -attended to, particularly relative to the conversion of -scarlet into crimson by alum, soap, and the alkalies. And -though we have given directions for the preparation of a -<i>nitro-muriate of tin</i>, yet pure</p> - -<h3>Muriate of tin</h3> - -<p class="nodent">is now very often used for dyeing silk red. <span -class="smcap">Mr. M'Kernan</span>, gives us the following process for -preparing it:</p> - -<p><span class="pagenum"><a name="Page_145" id="Page_145">{145}</a></span> -Take of fine muriatic acid, of the -specific gravity of 1.120, two quarts; add by degrees, one ounce at a -time, of feathered tin, for twenty-four hours. Put the vessel in a sand -heat and bring it gently to boil, observing to add more tin as that in -the acid becomes dissolved. There should be some tin left undissolved -when the liquor is cold, thus indicating that the acid is perfectly -neutralized by the tin. Bottle for use.</p> - -<h3>On dyeing silk <small>GREEN</small>.</h3> - -<p>This colour is composed of <i>blue</i> and <i>yellow</i>. It is -with difficulty produced on silk, because the blue vat is -liable to spot and give a party colour, an inconvenience -to which green is more liable than blue, and more perceptible. -The boiling of silk for greens is the same as -for common colours.</p> - -<p>The silk being alumed as usual rather strongly, is -washed off and divided on the sticks into small hanks of -about four or five ounces, that it may be equally and -easily managed in the working, from the yellow to green, -in the blueing from the blue vat.</p> - -<p>Weld is then boiled as stated in the article concerning -<i>yellow</i>; when boiled, a liquor of it is prepared strong -enough to give a lemon ground; the silk is then turned -with all the expedition, care, and caution possible, that it -may be even. When it appears full enough, some of the -threads are to be separated and dipped in the vat, to -determine this. If not full enough, more of the weld -liquor must be added to the dye bath, and the silk returned -and tried again, and so on; when the colour is -<span class="pagenum"><a name="Page_146" id="Page_146">{146}</a></span> -right, the silk is washed off and beetled. It is then -wrung and formed into hanks, and dipped skein by -skein in the blue vat, the same as the blue and the -purple should be; it must be wrung with equal care -and dispatch.</p> - -<p>This green is a kind of <i>sea-green</i>, of which there are -upwards of twenty shades. The lighter shades, when -taken out of the vat, are not washed but the silk must be -worked in the hands by clapping it between them, and -then be carefully opened and aired. A few threads are -then washed, or rinsed; if the colour be right the whole -is washed.</p> - -<p>For the dark shades, when the weld is exhausted a little -logwood is added to the liquor; in some cases, old fustic, -in some annatto.</p> - -<p>For <i>very dark-wing</i> or <i>bottle-green</i> shades, a little -sulphate of iron is required.</p> - -<h3><small>OLIVES.</small></h3> - -<p>Proceed in aluming, &c. the same as for other colours; -the weld liquor being stronger, some logwood must be -added. When the weld and logwood are exhausted a -very small quantity of each must be added, which green -the liquor, when the silk being passed through, a <i>greenish -olive</i> is produced.</p> - -<p>A <i>reddish olive</i> requires fustic, instead of logwood and -pearl-ash, both of these being omitted.</p> - -<p>Fustic gives a colour commonly called <i>drab-olive</i> upon -cloth, because generally made to match with olive, this is -commonly redder than the preceding.</p> - -<div class="pagenum"><a name="Page_147" id="Page_147">{147}</a></div> - -<h3>On dyeing silk <small>GREY</small>.</h3> - -<p>All the <i>greys</i>, namely, <i>nut-greys</i>, <i>thorn-greys</i>, <i>black</i> -and <i>iron-greys</i>, and others of the same hue, black-grey -excepted, are produced without aluming. The silk being -washed from the soap and drained on the peg, a liquor -is made of fustic, archil, logwood and sulphate of iron: -fustic gives the ground, archil the red, logwood darkens, -and the sulphate of iron softens all these colours, turns -them grey, and, at the same time, serves instead of alum -as a mordant.</p> - -<p>As there is an infinite variety of greys, without any -positive names, produced by the same methods, it would -be endless to enter into details, which would prolong this -treatise to little purpose.</p> - -<p>For <i>reddish-grey</i> the archil should predominate; for -those more grey, the logwood; and for those rather -greenish, the fustic.</p> - -<p>Care should be taken not to use the logwood too much, -as with the sulphate of iron it darkens more than most -drugs: therefore the black vat, made either with alder-bark, -or the other preparation mentioned in dyeing cotton, -is preferable to the sulphate of iron.</p> - -<h3><small>NUT-GREY.</small></h3> - -<p>The fustic decoction, archil, and a little logwood are -put into water moderately hot, the silk is then returned, -and when the liquor is exhausted, the silk is taken out, -and to soften the colour the solution of sulphate of iron, -or the black vat, is used. The silk is then returned once -more, and if the colour does not appear sufficiently even, -<span class="pagenum"><a name="Page_148" id="Page_148">{148}</a></span> -some red spots still remaining, it may be concluded that -it requires a little more sulphate of iron.</p> - -<p><i>Observe</i> that, as sulphate of iron is the general base -of all greys, if this be deficient in quantity, the colour -is apt to change in dyeing, and to become rough and -uneven.</p> - -<p>To know whether the colour be sufficiently softened, -it should be examined, and if it wet easily, after having -been wrung on the peg, it wants sulphate of iron. On -the contrary, if it wets with a little difficulty, the colour -is sufficiently softened.</p> - -<p>Too much sulphate of iron stiffens the silk considerably, -making it harsh, and even depriving it of a part of its -lustre; to remedy this it must be extra washed and -wrung at the peg; this process carries off the sulphate -of iron.</p> - -<h3><small>BLACK-GREYS.</small></h3> - -<p>These are alumed and welded as for yellow, and, when -the liquor is exhausted, part of it is thrown away, and -some logwood is added; when the logwood is exhausted, -sulphate of iron is added, sufficient to blacken the colour, -the silk is then washed, wrung, and finished in the usual -way.</p> - -<h3><small>IRON-GREY.</small></h3> - -<p>For iron-grey it is necessary to boil the same as for -blues: this colour is much more beautiful when laid on -a very white ground.</p> - -<p>By having the drugs made into decoctions before-hand, -greys either in woollen, silk, or cotton, may be dyed at -a heat not much above what the hand will bear; and in -<span class="pagenum"><a name="Page_149" id="Page_149">{149}</a></span> -a rotation of shades from light to dark, and varied, blue, -red, yellow, brown, &c. with ease and with pleasure; -so may, likewise, many stone-drabs, and other light brown -drabs, as the mixture of yellow, fawn, and black, produces -nut-browns, &c.</p> - -<h3>On dyeing silk of a <small>PRUSSIAN-BLUE COLOUR</small>.</h3> - -<p>The application of colours derived from the mineral -kingdom to dyeing is one of the most striking modern -improvements in our art. <span class="smcap">Mr. Raymond</span> received from -the French government in 1801, eight thousand francs, -(more than three hundred pounds sterling,) as a reward -for communicating to the public his process for dyeing -silk of a uniform fast and bright <i>Prussian-blue colour</i> by -the application of that well known pigment. His process -is as follows.</p> - -<p>He first converts, by a gentle calcination, sulphate of -iron into a red sulphate of iron: this he dissolves in sixteen -times its weight of warm water and filters. The silk, -prepared as for indigo dye, is put into the solution of -iron, and left there for a shorter or longer time, according -to the shade of blue that is wanted; it is then taken -out and wrung very dry over a pole placed above the vat. -It is then thoroughly cleansed by being twice beetled, -plunging and agitating it each time in running water. -Dissolve in pure water heated to 167°, and put into a -deal vat, one ounce of <i>ferroprussiate</i> of <i>potash</i>, for every -twelve ounces of silk to be dyed. When the prussiate is -dissolved add one part, or even rather more, of muriatic -acid, stirring the mixture well. When the liquor has -<span class="pagenum"><a name="Page_150" id="Page_150">{150}</a></span> -acquired a greenish colour, and about 144° of heat, the -silk must be immediately plunged into it and stirred about -for some minutes. The silk having received the dye in -an equal manner, it is taken out of the vat, well wrung -on a pole above the vat, and then taken to the stream to -receive two or three beetlings, and be plunged and agitated -in the water, in order that it may be entirely freed -from any portion of the prussiate of iron not truly combined -with it.</p> - -<p>Lastly, the silk being well washed in the stream, and -thoroughly wrung, is to be placed loosely on the poles, -as in the preceding operations; after which it must be -well agitated in a large vessel three-fourths filled with -cold water, to which must be added, for a hundred pounds -of silk, two pounds of water of ammonia. The blue -colour immediately becomes many shades deeper, of a -much richer and brighter tint, and at the same time is -fixed more perfectly in the silks. This change is effected -in a few minutes. The silk must then be wrung by the -hand and rinsed in the running water without beating. -After this, it is dried on the poles in the same manner as -other dyed silks. It need not be left on the poles more -than twenty-four hours: but, nevertheless, this colour so -far from fading in the drying, as is the case with many -colours, is improved by it.</p> - -<p>The solution of a little soap added cold to the ammonia -bath, improves it, giving also softness to the silk, -and rendering it more easy to separate. The soap should -be uniformly dissolved.</p> - -<p>For the substance of the above process, we are indebted -<span class="pagenum"><a name="Page_151" id="Page_151">{151}</a></span> -to Dr. <span class="smcap">Ure's</span> <i>notes on Berthollet</i>, vol. ii. p. 422. -The <i>prussiate of potash</i> is now to be obtained as a -regular article of trade from the dry-salters in this -country.</p> - -<p><i>Woollen cloth</i> takes also the above dye, but it must be -left longer than silk in the iron mordant.</p> - -<h3>Chromate of lead for <small>YELLOW</small> on <small>SILK</small> and -<small>COTTON</small>.</h3> - -<p><i>Chromate of lead</i>, as a pigment has been for some -time in use; <i>M. Lassaigne</i>, in 1820, made public a process -for dyeing cloth with this article, which has since -become pretty common in this country.</p> - -<p>Immerse hanks of scoured silk for a quarter of an hour -in a weak solution of <i>acetate of lead</i> at the ordinary -temperature; take them out and wash them in a great -deal of water: then dip them into a weak solution of -<i>chromate of potash</i>. They immediately take a fine -yellow colour; at the end of ten minutes the effect is -complete. From this colour being decomposed in part -by soap and water, it is chiefly applicable to silks. But -by applying, however, a mordant of acetate or nitrate of -lead, and passing the goods through bichromate of potash, -a very beautiful and sufficiently fast yellow is now -given to <i>cotton goods</i> in this country.</p> - -<h3>Conclusion.</h3> - -<p>We cannot conclude our work without observing, that -from the researches continually going on in <i>botany</i> and -other branches of natural history, and, more especially, -from those in <i>chemistry</i>, there can be no doubt that discoveries, -<span class="pagenum"><a name="Page_152" id="Page_152">{152}</a></span> -which will materially improve the art of dyeing, -must, from time to time, be made. Some of these, not -yet generally known, in the hands of a few persons, have -already been found useful; but individual interest is, of -course, a great enemy to their being made public. Others, -although public, are, as yet, of too doubtful a utility to -be noticed here.</p> - -<p>If we have not given forms for the employment of -some articles in use by certain dyers, such as <i>kermes</i> -for <i>reds</i>; <i>French Berries, (rhamnus infectorius,)</i> the -<i>Canada golden rod (solidago Canadensis,)</i> the <i>Barberry -(Berberis vulgaris,)</i> and the <i>French marygold, -(Tagetes patula,)</i> for <i>yellows</i>, &c. &c.; it is not to be -concluded that such are not good in their kind, and might -not be used occasionally with advantage. But as our -object has been to give the <i>best</i> methods of dyeing the -various colours, it would be impossible to notice many -others in a manual of this kind, and in the limits within -which we are necessarily confined. To mention those -substances recently introduced into dyeing, the utility of -which is not confirmed by extensive practice, would be -injudicious, and tend to lead the young dyer astray; -those, however, who have leisure and inclination, and -are, besides, able to run the risk of the failure of new -processes, may, and no doubt will, make experiments -with them by which our art must be eventually served -and improved.</p> - -<div class="pagenum"><a name="Page_153" id="Page_153">{153}</a></div> - -<div class="index"> - -<h2 class="large">INDEX</h2> - -<ul> - - <li>Acetate of alumina, <a href="#Page_8">8</a>, <a href="#Page_36">36</a> - <ul><li>copper, <a href="#Page_16">16</a></li> - <li>lead, <a href="#Page_17">17</a></li></ul> - </li> - - <li>Acid, the acetic, <a href="#Page_33">33</a> - <ul><li>carbonic, <a href="#Page_32">32</a></li> - <li>Gallic, <a href="#Page_10">10</a></li> - <li>muriatic, <a href="#Page_12">12</a></li> - <li>nitric, ib.</li> - <li>nitro-muriatic, <a href="#Page_13">13</a></li> - <li>pyrolignous, <a href="#Page_33">33</a></li> - <li>sulphuric, <a href="#Page_15">15</a></li> - <li>Tartaric, <a href="#Page_33">33</a></li></ul> - </li> - - <li>Acids, what, <a href="#Page_31">31</a></li> - - <li>Adjective colours, <a href="#Page_27">27</a></li> - - <li>Adrianople red, <a href="#Page_117">117</a></li> - - <li>Albumen, <a href="#Page_24">24</a></li> - - <li>Alcohol, what, and how obtained, <a href="#Page_25">25</a></li> - - <li>Alkali, volatile, <a href="#Page_23">23</a>, <a href="#Page_30">30</a></li> - - <li>Alkalies, the fixed, <a href="#Page_14">14</a>, <a href="#Page_30">30</a></li> - - <li>Alum, common, <a href="#Page_7">7</a> - <ul><li>roche, ib.</li></ul> - </li> - - <li>Alumina, ib. - <ul><li>acetate of, <a href="#Page_8">8</a></li></ul> - </li> - - <li>American bark, <a href="#Page_15">15</a></li> - - <li>Ammonia, <a href="#Page_23">23</a> - <ul><li>carbonate of, ib.</li></ul> - </li> - - <li>Animal substances, analysis of, <a href="#Page_18">18</a> - <ul><li>oil, <a href="#Page_24">24</a></li></ul> - </li> - - <li>Annatto, preparation of, <a href="#Page_136">136</a></li> - - <li>Aqua fortis, <a href="#Page_13">13</a> - <ul><li>regia, ib.</li></ul> - </li> - - <li>Archil, <a href="#Page_8">8</a></li> - - <li>Argol, ib.</li> - - <li>Aurora, to dye silk, <a href="#Page_137">137</a></li> - - <li>Azotic gas, <a href="#Page_29">29</a></li> - -</ul> - -<ul> - - <li>Bancroft's dyeing, <a href="#Page_4">4</a></li> - - <li>Bancroft's murio-sulphate of tin, <a href="#Page_101">101</a></li> - - <li>Barilla, <a href="#Page_15">15</a></li> - - <li>Bastard saffron, ib.</li> - - <li>Berthollet's dyeing, <a href="#Page_4">4</a></li> - - <li>Bile, <a href="#Page_10">10</a></li> - - <li>Black on silk, <a href="#Page_106">106</a>, <a href="#Page_107">107</a>, <a href="#Page_108">108</a> - <ul><li>to dye, on cotton, Rouen process, <a href="#Page_108">108</a></li> - <li>London process, ib.</li></ul> - </li> - - <li>Black, to dye, on cotton velvets at Manchester, <a href="#Page_110">110</a> - <ul><li>silk and cotton with a blue ground, <a href="#Page_112">112</a></li> - <li>another for cotton, <a href="#Page_114">114</a></li> - <li>on wool, <a href="#Page_90">90</a>, <a href="#Page_93">93</a></li></ul> - </li> - - <li>Bleaching, <a href="#Page_37">37</a></li> - - <li>Blood used in dyeing, <a href="#Page_119">119</a> - <ul><li>its constituents, <a href="#Page_24">24</a></li></ul> - </li> - - <li>Blue, <a href="#Page_111">111</a> - <ul><li>to dye, on cotton, <a href="#Page_47">47</a></li> - <li>silk, <a href="#Page_64">64</a></li> - <li>wool, <a href="#Page_73">73</a>, <a href="#Page_80">80</a></li> - <li>linen and cotton, <a href="#Page_57">57</a></li> - <li>chemic, <a href="#Page_47">47</a></li> - <li>copperas or vitriol, <a href="#Page_10">10</a></li></ul> - </li> - - <li>Bran, <a href="#Page_9">9</a></li> - - <li>Brimstone, <a href="#Page_15">15</a></li> - - <li>Brown, to dye wool, <a href="#Page_97">97</a> - <ul><li>cotton, <a href="#Page_128">128</a></li></ul> - </li> - - <li>Buff, to dye cotton a fast, <a href="#Page_58">58</a> - <ul><li>wool, <a href="#Page_101">101</a></li></ul> - </li> - -</ul> - -<ul> - - <li>Calcination, <a href="#Page_28">28</a></li> - - <li>Calico printers' mordant, <a href="#Page_36">36</a></li> - - <li>Carbon, or charcoal, <a href="#Page_28">28</a></li> - - <li>Carbonic acid, <a href="#Page_32">32</a></li> - - <li>Carbonate of ammonia, <a href="#Page_23">23</a> - <ul><li>potash, <a href="#Page_14">14</a></li> - <li>soda, <a href="#Page_31">31</a></li></ul> - </li> - - <li>Carthamus, <a href="#Page_15">15</a></li> - - <li>Cerulin, <a href="#Page_11">11</a></li> - - <li>Chemic blue, <a href="#Page_47">47</a> - <ul><li>green, <a href="#Page_52">52</a></li></ul> - </li> - - <li>Chemical terms, <a href="#Page_45">45</a></li> - - <li>Chemistry, leading facts in, <a href="#Page_26">26</a></li> - - <li>Chlorine, <a href="#Page_9">9</a>, <a href="#Page_13">13</a></li> - - <li>Chloride of lime, <a href="#Page_38">38</a></li> - - <li>Cochineal, <a href="#Page_9">9</a></li> - - <li>Colours, on fast and fugitive, <a href="#Page_39">39</a> - <ul><li>for dyeing, <a href="#Page_6">6</a></li> - <li>Sir I. Newton's primary, <a href="#Page_18">18</a></li> - <li>to prove, <a href="#Page_41">41</a></li></ul> - </li> - - <li>Composition for dyeing silk scarlet, <a href="#Page_141">141</a></li> - - <li>Combustion, <a href="#Page_28">28</a></li> - - <li>Copper, <a href="#Page_10">10</a></li> - - <li>Copper, acetate of, <a href="#Page_10">10</a> - <ul><li>sulphate of, ib.</li></ul> - </li> - - <li>Coquelicot, to dye silk, <a href="#Page_138">138</a></li> - - <li>Cotton, on dyeing, <a href="#Page_47">47</a>, <a href="#Page_104">104</a>, <a href="#Page_123">123</a> - <ul><li>to dye chemic or Saxon blue, <a href="#Page_47">47</a></li> - <li>black, <a href="#Page_108">108</a>, <a href="#Page_110">110</a>, <a href="#Page_114">114</a></li> - <li>green, <a href="#Page_52">52</a></li> - <li>a fast green, <a href="#Page_56">56</a></li> - <li>buff, <a href="#Page_58">58</a></li> - <li>green with indigo and weld, <a href="#Page_56">56</a></li> - <li>pink, <a href="#Page_60">60</a></li> - <li>violet, <a href="#Page_115">115</a></li> - <li>duck's-wing green or olive, <a href="#Page_128">128</a></li> - <li>brown, maroon, &c., ib.</li> - <li>red, <a href="#Page_116">116</a>, <a href="#Page_117">117</a></li> - <li>yellow by chromate of lead, <a href="#Page_151">151</a></li> - <li>skein, to dye, yellow, <a href="#Page_124">124</a></li> - <li>furniture, to dye, yellow, ib.</li> - <li>the same to re-dye, <a href="#Page_127">127</a></li></ul> - </li> - - <li>Cream of Tartar, <a href="#Page_9">9</a></li> - - <li>Crimson, to dye, by archil on wool, <a href="#Page_80">80</a> - <ul><li>lac dye on wool, ib.</li> - <li>worsted yarn, <a href="#Page_81">81</a></li> - <li>on silk, <a href="#Page_140">140</a></li></ul> - </li> - - <li>Cudbear, <a href="#Page_8">8</a></li> - -</ul> - -<ul> - - <li>Decoction, what, <a href="#Page_53">53</a></li> - - <li>Distilled verdigris, <a href="#Page_17">17</a></li> - - <li>Drugs used in dyeing, <a href="#Page_7">7</a></li> - - <li>Dye-houses, <a href="#Page_42">42</a></li> - - <li>Dyer, the trade of a, <a href="#Page_1">1</a></li> - - <li>Dyers of Adrianople red, <a href="#Page_2">2</a> - <ul><li>black, <a href="#Page_3">3</a></li> - <li>grain, <a href="#Page_1">1</a></li> - <li>silk, skein, <a href="#Page_3">3</a></li> - <li>rag, ib.</li> - <li>woad, <a href="#Page_2">2</a></li> - <li>woollen, <a href="#Page_1">1</a></li> - <li>worsted yarn, <a href="#Page_3">3</a></li> - <li>weed, <a href="#Page_17">17</a></li></ul> - </li> - -</ul> - -<ul> - - <li>Fawn, to dye wool, <a href="#Page_88">88</a></li> - - <li>Feathered tin, <a href="#Page_83">83</a></li> - - <li>Fermentation, the vinous, <a href="#Page_25">25</a> - <ul><li>acetous, ib.</li></ul> - </li> - - <li>Fermentation, the putrid, <a href="#Page_25">25</a></li> - - <li>Fibrin, <a href="#Page_24">24</a></li> - -</ul> - -<ul> - - <li>Gall of animals, <a href="#Page_10">10</a></li> - - <li>Galls, ib.</li> - - <li>Gallic acid, ib.</li> - - <li>Gas, what, <a href="#Page_31">31</a></li> - - <li>Gelatine, <a href="#Page_24">24</a></li> - - <li>Gold colour, to dye wool, <a href="#Page_90">90</a></li> - - <li>Green, to dye the chemic, on cotton, <a href="#Page_52">52</a> - <ul><li>cotton a fast, <a href="#Page_56">56</a></li> - <li>wool, <a href="#Page_89">89</a></li> - <li>woollen, ib.</li> - <li>cotton duck's-wing, <a href="#Page_128">128</a></li> - <li>silk, <a href="#Page_145">145</a></li> - <li>vitriol, or copperas, <a href="#Page_12">12</a></li></ul> - </li> - - <li>Grey, to dye wool, <a href="#Page_96">96</a> - <ul><li>on silk, <a href="#Page_147">147</a></li></ul> - </li> - -</ul> - -<ul> - - <li>Hematin, <a href="#Page_96">96</a></li> - - <li>Hydrogen, <a href="#Page_29">29</a> - <ul><li>carburetted, <a href="#Page_32">32</a></li> - <li>sulphuretted, <a href="#Page_33">33</a></li></ul> - </li> - -</ul> - -<ul> - - <li>Indigo, <a href="#Page_10">10</a> - <ul><li>prepared, <a href="#Page_75">75</a></li> - <li>sulphate of, <a href="#Page_11">11</a>, <a href="#Page_51">51</a></li> - <li>neutralization of, <a href="#Page_52">52</a></li></ul> - </li> - - <li>Indigo, solution of, for penciling muslin, <a href="#Page_57">57</a> - <ul><li>vats, <a href="#Page_54">54</a>, <a href="#Page_102">102</a></li></ul> - </li> - - <li>Inflammable air, <a href="#Page_29">29</a></li> - - <li>Iron, <a href="#Page_12">12</a> - <ul><li>acetate, ib.</li> - <li>liquor, <a href="#Page_112">112</a></li> - <li>muriate, <a href="#Page_12">12</a></li> - <li>oxide, ib.</li> - <li>sulphate, ib.</li></ul> - </li> - - <li>Iron-moulds, <a href="#Page_34">34</a></li> - -</ul> - -<ul> - - <li>Jennings's Cyclopædia, <a href="#Page_4">4</a></li> - -</ul> - -<ul> - - <li>Lac dye, <a href="#Page_12">12</a></li> - - <li>Lake, ib. - <ul><li>how used for scarlet, <a href="#Page_80">80</a></li></ul> - </li> - - <li>Light, decomposition of, <a href="#Page_18">18</a></li> - - <li>Lime, <a href="#Page_23">23</a></li> - - <li>Linen, to dye, scarlet, <a href="#Page_122">122</a> - <ul><li>blue, <a href="#Page_57">57</a></li></ul> - </li> - - <li>Litmus, or lacmus, <a href="#Page_8">8</a></li> - - <li>Lilac, to dye silk, <a href="#Page_68">68</a> - <ul><li>muslin, ib.</li></ul> - </li> - - <li>Logwood, <a href="#Page_96">96</a></li> - -</ul> - -<ul> - - <li>M'Kernan on dyeing silk, <a href="#Page_4">4</a></li> - - <li>Maroon, to dye wool, <a href="#Page_85">85</a> - <ul><li>cotton, <a href="#Page_128">128</a></li></ul> - </li> - - <li>Moidore, to dye silk, <a href="#Page_137">137</a></li> - - <li>Mordant, what, <a href="#Page_27">27</a> - <ul><li>the calico printers', for yellow and red, <a href="#Page_36">36</a></li></ul> - </li> - - <li>Muriate of soda, <a href="#Page_12">12</a> - <ul><li>tin, <a href="#Page_144">144</a></li></ul> - </li> - - <li>Murio-sulphate of tin, <a href="#Page_101">101</a></li> - - <li>Muriatic acid, <a href="#Page_12">12</a> - <ul><li>gas, <a href="#Page_14">14</a></li></ul> - </li> - - <li>Muslin, to dye, lilac, <a href="#Page_68">68</a></li> - -</ul> - -<ul> - - <li>Nitre, <a href="#Page_12">12</a></li> - - <li>Nitric acid, ib.</li> - - <li>Nitro-muriatic acid, <a href="#Page_13">13</a></li> - - <li>Nitrogen, <a href="#Page_23">23</a> - <ul><li>gas, <a href="#Page_29">29</a></li></ul> - </li> - -</ul> - -<ul> - - <li>Oil of vitriol, <a href="#Page_15">15</a></li> - - <li>Orange, to dye wool, <a href="#Page_90">90</a> - <ul><li>silk, <a href="#Page_137">137</a></li></ul> - </li> - - <li>Orpiment, <a href="#Page_13">13</a></li> - - <li>Oxides, what, <a href="#Page_14">14</a></li> - - <li>Oxidation, <a href="#Page_28">28</a></li> - - <li>Oxygen, ib.</li> - - <li>Oxymuriatic acid, <a href="#Page_13">13</a></li> - - <li>Oxymuriate of lime, <a href="#Page_38">38</a></li> - -</ul> - -<ul> - - <li>Pastel, <a href="#Page_17">17</a> - <ul><li>vat, <a href="#Page_73">73</a></li></ul> - </li> - - <li>Peach, to dye wool, <a href="#Page_101">101</a></li> - - <li>Pearl-ash, <a href="#Page_14">14</a></li> - - <li>Phenicin, <a href="#Page_11">11</a></li> - - <li>Pink, to dye cotton, <a href="#Page_60">60</a></li> - - <li>Poppy, to dye silk, <a href="#Page_138">138</a></li> - - <li>Potash, <a href="#Page_14">14</a></li> - - <li>Potassium, <a href="#Page_29">29</a></li> - - <li>Prickly pear, <a href="#Page_9">9</a></li> - - <li>Proximate constituents of animals, <a href="#Page_23">23</a> - <ul><li>vegetables, <a href="#Page_21">21</a></li></ul> - </li> - - <li>Purple, to dye silk, <a href="#Page_67">67</a> - <ul><li>wool, <a href="#Page_88">88</a></li></ul> - </li> - - <li>Pyrolignous acid, <a href="#Page_33">33</a></li> - -</ul> - -<ul> - - <li>Quercitron bark, <a href="#Page_15">15</a></li> - -</ul> - -<ul> - - <li>Realgar, <a href="#Page_13">13</a></li> - - <li>Red, to dye cotton, <a href="#Page_116">116</a></li> - - <li>Red, to dye cotton, Adrianople or Turkey, <a href="#Page_117">117</a></li> - -</ul> - -<ul> - - <li>Safflower, <a href="#Page_15">15</a></li> - - <li>Salt, common, <a href="#Page_12">12</a></li> - - <li>Saddening, what, <a href="#Page_111">111</a></li> - - <li>Scarlet, to dye, with lac dye, <a href="#Page_80">80</a> - <ul><li>silk, <a href="#Page_141">141</a></li> - <li>wool, <a href="#Page_82">82</a></li> - <li>on linen, <a href="#Page_122">122</a></li></ul> - </li> - - <li>Silk, on dyeing, <a href="#Page_62">62</a>, <a href="#Page_105">105</a>, <a href="#Page_123">123</a> - <ul><li>ungumming and boiling, <a href="#Page_129">129</a></li> - <li>whitening, <a href="#Page_132">132</a></li> - <li>aluming, <a href="#Page_63">63</a>, <a href="#Page_134">134</a></li> - <li>to dye blue, <a href="#Page_64">64</a>, <a href="#Page_67">67</a> - <ul><li>violet, royal purple, &c., <a href="#Page_67">67</a></li> - <li>lilac, <a href="#Page_68">68</a></li> - <li>another process for the same, ib.</li> - <li>violet and purple, ib.</li> - <li>another process for the same, <a href="#Page_69">69</a></li> - <li>another process for the same, ib.</li> - <li>purple, ib.</li> - <li>aurora, orange, and moidore gold colour and chamois, <a href="#Page_136">136</a></li> - <li>black, <a href="#Page_105">105</a>, <a href="#Page_106">106</a>, <a href="#Page_107">107</a>, <a href="#Page_112">112</a></li> - <li>orange or aurora, <a href="#Page_137">137</a></li> - <li>moidore, ib.</li> - <li>orange, <a href="#Page_138">138</a></li> - <li>poppy or coquelicot, ib.</li> - <li>a cheap poppy, <a href="#Page_139">139</a></li> - <li>a fine crimson or scarlet, <a href="#Page_140">140</a></li> - <li>another process for the same, <a href="#Page_142">142</a></li> - <li>a fine violet, <a href="#Page_143">143</a></li> - <li>green, <a href="#Page_145">145</a></li> - <li>olive, <a href="#Page_146">146</a></li> - <li>grey, <a href="#Page_147">147</a></li> - <li>with Prussian blue, <a href="#Page_149">149</a></li> - <li>yellow, by chromate of lead, <a href="#Page_151">151</a></li></ul> - </li> - </ul> - </li> - - <li>Silk skein, to dye, yellow, <a href="#Page_135">135</a></li> - - <li>Soap, <a href="#Page_31">31</a></li> - - <li>Soda, <a href="#Page_15">15</a></li> - - <li>Sodium, <a href="#Page_30">30</a></li> - - <li>Spirit of salts, <a href="#Page_12">12</a> - <ul><li>wine, <a href="#Page_25">25</a></li></ul> - </li> - - <li>Spirit of hartshorn, <a href="#Page_24">24</a></li> - - <li>Substantive colours, <a href="#Page_27">27</a></li> - - <li>Sulphate of alum and potash, <a href="#Page_7">7</a> - <ul><li>copper, <a href="#Page_10">10</a></li> - <li>indigo, <a href="#Page_51">51</a> - <ul><li>to neutralize, <a href="#Page_52">52</a></li></ul> - </li> - <li>iron, <a href="#Page_12">12</a></li></ul> - </li> - - <li>Sulphur, <a href="#Page_15">15</a>, <a href="#Page_32">32</a></li> - - <li>Sulphuret of arsenic, <a href="#Page_13">13</a></li> - - <li>Sulphuric acid, <a href="#Page_15">15</a></li> - - <li>Sumach, <a href="#Page_16">16</a></li> - -</ul> - -<ul> - - <li>Tannin, <a href="#Page_10">10</a></li> - - <li>Tar-iron liquor, <a href="#Page_114">114</a></li> - - <li>Tartar, <a href="#Page_8">8</a></li> - - <li>Tin, <a href="#Page_16">16</a> - <ul><li>muriate of, <a href="#Page_144">144</a></li> - <li>murio-sulphate of, <a href="#Page_101">101</a></li> - <li>nitro-muriate of, <a href="#Page_83">83</a></li></ul> - </li> - - <li>Turkey red, <a href="#Page_117">117</a></li> - - <li>Turmeric, <a href="#Page_16">16</a></li> - -</ul> - -<ul> - - <li>Ultimate constituents of animals, <a href="#Page_23">23</a> - <ul><li>vegetables, <a href="#Page_21">21</a></li></ul> - </li> - - <li>Ure's Berthollet, <a href="#Page_4">4</a> - <ul><li>Chemical Dictionary, <a href="#Page_4">4</a></li></ul> - </li> - - <li>Utensils, on the, used in dyeing, <a href="#Page_43">43</a></li> - -</ul> - -<ul> - - <li>Vat, the blue indigo, for silk, <a href="#Page_64">64</a> - <ul><li>another for the same, <a href="#Page_67">67</a></li> - <li>cold indigo, for cotton, <a href="#Page_54">54</a> - <ul><li>blue, for linen and cotton, <a href="#Page_57">57</a></li></ul> - </li> - <li>indigo, for worsted and serge, <a href="#Page_102">102</a></li></ul> - </li> - - <li>Vegetable substances, analysis of, <a href="#Page_18">18</a></li> - - <li>Verdigris, common, <a href="#Page_16">16</a> - <ul><li>distilled, ib.</li></ul> - </li> - - <li>Violet, to dye cotton, <a href="#Page_115">115</a> - <ul><li>a fine, on silk, <a href="#Page_143">143</a></li></ul> - </li> - -</ul> - -<ul> - - <li>Water proper for dyeing, <a href="#Page_42">42</a></li> - - <li>Weld, <a href="#Page_17">17</a>, <a href="#Page_41">41</a> - <ul><li>to dye cotton green with, and indigo, <a href="#Page_56">56</a> - <ul><li>wool green with, and woad, <a href="#Page_89">89</a></li></ul> - </li> - </ul> - </li> - - <li>White, the numerous shades of, in silk, <a href="#Page_132">132</a></li> - - <li>Whitening silk, process for, ib.</li> - - <li>Woad, <a href="#Page_17">17</a> - <ul><li>vat, rules to judge of, <a href="#Page_75">75</a> - <ul><li>how to work, <a href="#Page_77">77</a></li> - <li>errors in, how to remove, <a href="#Page_76">76</a></li> - <li>on the putrefaction of the, <a href="#Page_78">78</a></li></ul> - </li> - </ul> - </li> - - <li>Wool, on scouring and dyeing, <a href="#Page_70">70</a> - <ul><li>the action of tartar and alum on, <a href="#Page_72">72</a></li> - <li>to dye, orange, gold colour, &c., <a href="#Page_90">90</a> - <ul><li>black, <a href="#Page_90">90</a>, <a href="#Page_93">93</a>, <a href="#Page_94">94</a></li> - <li>blue, by the woad vat, <a href="#Page_73">73</a></li> - <li>blue, several methods, <a href="#Page_80">80</a>, <a href="#Page_89">89</a></li> - <li>scarlet and crimson, <a href="#Page_80">80</a>, <a href="#Page_81">81</a>, <a href="#Page_82">82</a></li> - <li>maroon, <a href="#Page_85">85</a></li> - <li>yellow, <a href="#Page_87">87</a>, <a href="#Page_99">99</a></li> - <li>brown and fawn colour, <a href="#Page_88">88</a></li> - <li>purple, ib.</li> - <li>green, <a href="#Page_89">89</a></li> - <li>black, <a href="#Page_90">90</a></li> - <li>another process, <a href="#Page_93">93</a></li> - <li>greys, <a href="#Page_96">96</a></li> - <li>brown, fawn, and many other colours, <a href="#Page_97">97</a></li></ul> - </li> - </ul> - </li> - - <li>Wool, to dye, buff, <a href="#Page_101">101</a> - <ul><li>peach, ib.</li></ul> - </li> - - <li>Woollen, a chemic vat for green, <a href="#Page_89">89</a> - <ul><li>blue, ib.</li></ul> - </li> - - <li>Worsted yarn, to dye, a crimson, <a href="#Page_81">81</a> - <ul><li>and serge, indigo vat for, <a href="#Page_102">102</a></li></ul> - </li> - -</ul> - -<ul> - - <li>Yellow from Quercitron bark, <a href="#Page_98">98</a> - <ul><li>chromate of lead, <a href="#Page_151">151</a></li> - <li>weld, <a href="#Page_87">87</a>, <a href="#Page_125">125</a></li> - <li>on, wool, <a href="#Page_87">87</a></li> - <li>cotton, <a href="#Page_124">124</a>, <a href="#Page_151">151</a></li> - <li>silk, <a href="#Page_135">135</a>, <a href="#Page_151">151</a></li></ul> - </li> -</ul> - -</div> - -<p class="gap-above center small">THE END.</p> - -<p class="center small">Printed by <span class="smcap">R. Gilbert</span>, St. John's-Square, London.</p> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Dyer's Guide, by Thomas Packer - -*** END OF THIS PROJECT GUTENBERG EBOOK THE DYER'S GUIDE *** - -***** This file should be named 53797-h.htm or 53797-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/3/7/9/53797/ - -Produced by Deaurider, Chris Pinfield and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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