Digitized by the Internet Archive
in 2015

https://archive.org/details/dyeingtissueprinOOcroo

TECHNOLOGICAL HANDBOOKS.

EDITED BY H. TRUEMAN WOOD,

Secretary of the Society of Arts,

DYEING AND TISSUE-PRINTING.
BY W. CROOKES, F.R.S.

TECHNOLO GICAL HANDBOOKS.

DYEING AND TISSUE-PKINTING.

W. CEOOKES, F.R.S.

i LONDON: GEORGE BELL AND SONS,
YOEK STEEET, COVENT GARDEN.
1882.

CHISWICK press: C. WHITTINGHAM and CO. TOOKS COUP^
CHANCERY LANE.

THE GETTY CENT€h

PREFACE.

'HIS work on dyeing and tissue-printing has been

X prepared with special reference to the needs of
students preparing for the technological examinations of
the City and Guilds Institute. It is of necessity brief,,
and its object is more to exhibit the general principles
of the arts in their practical working than to enter into
all their almost endless minutice. An attempt has been
made to give the leading features of each department of
dyeing, as modified by the kind of fibre operated upon,,
and by its condition, whether in the raw state as yarn^,
or as cloth. The uses of the various colouring matters,,
mordants, &c., are shown in practical examples, and special
attention has been paid to the recently discovered arti-
ficial colours which have so remarkably extended, and
at the same time simplified and rationalized the tinctorial
arts.

As regards printing, the author has sought to describe
the various styles, the accessory operations, and the ma-
chinery employed.

It is not for a moment presumed that the most careful
study of this book will make any man a dyer or a
printer. But it is hoped that the student will be able to
obtain from it a general knowledge of the objects, the con-
ditions, and the resources of the tinctorial arts, so that

PREFACE.

when taking part in actual work, whether on a merely
experimental or a commercial scale, he may understand
what he is doing, why he is doing it, and what are the pro-
|)erties of the agents in his hands.

It is desirable that the student before taking up this book
-should have some knowledge of the elements of chemistry.
Theoretical reflections have been, however, avoided as much
as possible.

The technical language of dye, print, and chemical
works has been employed in preference to that of strictly
^scientific circles. These terms have in all cases been ex-
plained.

The weights and measures used in the receipts are
those customary in England, viz., the avoirdupois standard
for all larger quantities, and for very small weights Troy
grains, of which 437^- = 1 oz. avoirdupois.

For liquid measures, quantities below a pint are often
<5xpressed in fluid ounces, of which 20 = 1 pint. In dye-
works, &c., measures frequently used are the gill, which
in the manufacturing districts is -l pint, = 10 fluid ozs.,
and the noggin, s. pint, = 5 fluid ozs.

In some receipts the quantities of water, saline solutions,
•extracts of dye-woods, &c., are measured by the pail or
^' burn," which may hold about 2 gallons. Smaller quan-
tities are often measured by the " piggin," a small wooden
measure, holding about li- pint. The pail (French sceau,
•German eimer) and the piggin are not legal measures made
exactly to one standard, nor are they in use always filled
up to a certain line.

Specific gravity — a very important consideration for
■acids, dilutions of mordants, extracts of dye-wares, &c, — is
expressed in this manual in Twaddell's scale, as commonly
used in manufacturing establishments. On this scale the
specific gravity of water = 0. It is readily converted into
direct specific gravity by the following simple calculation.
To convert Twaddell into direct specific gravity multiply
by 5, considering the product as decimals, and add to it

PREFACE.

vii

1-000. Thns if a sample of oil of vitriol marks 168^ =
Tw., we have —

168
5

•840
1-000

1-840 the direct specific gravity ».

On the other hand, if the strength of a liquid has been
taken by direct specific gravity we find the corresponding^
degree Twaddell by subtracting 1*000, and dividing the^
remainder by 5.

Thus, if the direct specific gravity of a sample of mu-
riatic acid be 1*160, then —

1-160
1-000

5)160

32^, the degree Twaddell.

Beaume's scale, persistently used on the Continent, can-
not be recommended, as it bears no simple relation either
to direct specific gravity or to Twaddell.

Por indicating degrees of heat the ordinary scale —
Fahrenheit's — has been used. At the same time it must
be confessed, that the Centigrade scale used in France^
which puts the freezing-point of water = 0, and the
boiling-point = 100°, is much simpler.

To convert Centigrade into Fahrenheit, if the tempera-
ture be above the freezing-point of water (and lower tem-
peratures do not occur in dyeing processes), multiply by 9^.
divide the product by 5, and add 32 to the quotient.

To convert degrees of Fahrenheit above the freezing-
point, subtract 32, multiply the remainder by 5, and divide-
the product by 9.

PREFACE.

In German dyeing receipts the temperature is often ex-
pressed in degrees of Reaumur — freezing-point = 0, and
boiling-point = 80.

To convert E/Caumur into Fahrenlieit, multiply by 9,
divide by 4, and add 32 to the quotient.

To convert Fahrenheit into Reaumur, subtract 32, mul-
tiply the remainder by 4, and divide the product by 9.

Among the works which have been consulted in prepar-
ing this manual the principal are : —

Periodicals: "Chemical News," ''Chemical Review,"
" Textile Colourist " (Manchester), "Textile Colourist "
(Philadelphia), "Bulletin de la Societe Industrielle de
Mulhouse," " Bulletin de la Societe Industrielle de Rouen/'
Moniteur Scientifique Quesneville," " Bulletin de la Societe
'Chimiquede Paris," " LeTextilde Lyon/' "Moniteur de la
Teinture," " Teinturier Pratique," Dingler's " Polytesch-
niche Journal," Reimann's " Faerber Zeitung," "Deutsche
Faerber Zeitung," " Leipziger Muster Zeitung," &c.

Independent Works : " Dyeing and Calico Printing," by
Dr. F. Crace-Calvert ; "Handbook of Dyeing and Calico
Printing," by W. Crookes ; M. D. Koeppelin on "Silk
Printing;" "Dyeing, Printing, and Bleaching," by Michel
de Vinant ; Articles on dyeing and printing in lire's " Dic-
tionary of Arts, Manufactures, and Mines ; " do. in Mus-
pratt's "Dictionary of Chemistry;" J. W. Slater's "Manual
of Colours and Dye Wares : " Smith's " Practical Dyer's
Guide ; " Spon's " Encyclopaedia of Industrial Arts " (for
bleaching) ; Moyret, " Traite de la Teinture des Soies ; "
J. Persoz, " Traite de I'lmpression ; " E. C. Haserick,
" Secrets of Dyeing Wool, Cotton, and Linen ;" J. Jocquet,
"Woll und Seidendruckerei ; " F. Springmuhl, "Lexicon
der Farbwaaren ; " C. 0']S"eill, " Calico Printing, Bleach-
ing, and Dyeing ; " A. Spirk, " Praktisches Handbuch der
Faerberei," &c., besides the specifications of patents and the
instructions issued by the manufacturers of new colours.

W. C.

CONTENTS.

PAGE

Dyeing and Tissue Printing, General Introduction ... 1

Water for Dyeing and Printing ...... 23

Mordants 32

General Instructions on Dyeing 82

Cotton Dyeing .......... 89

Linen Dyeing 149

Jute Dyeing 159

Wool Dyeing 166

Silk Dyeing 225

Tissue*^Printing 231

Ageing 240

Dunging 243

Clearing 245

Cutting 246

Reserved style of Cutting 247

Padding Style 249

Discharges on Turkey Reds . . . . . . . 250

Indigo Blues. Dip Blues 252

China Blue Style 267

Steaming Process 272

Steam Style 277

Artificial Blues 286

Greens 289

Greys 289

Coal-Tar Reds 292

Aniline, &c., Violets 294

Spirit Style 318

Pigment Style 322

Aniline Black and Allied Styles 325

Compound Designs 337

Bandanna Style 348

Printing Woollens 350

Colours and Colour Mixing 377

Thickening 379

Printing » » , 384

Dyeing Arrangements • . • v ^ ^. t * 395

CONTENTS.

PAGE

Washing Appliances 395

Drying 697

Finishing 398

Detection of Colours upon Fibres 399

Reds 399

Yellows 402

Blues 403

Greens 404

Violets or Purples 406

Blacks 407

Appendix .... 408

Index ...... 409

DYEING AND TISSUE-PRINTING.

General Introduction.

THE tinctorial arts, in the widest sense of the term,
include the production of colour on organic fibres
and surfaces of the most varied kinds — silk, hair, wool,
leather, fur, feathers, bone, ivory, horn, wood, cotton, flax,
jute, hemp, paper, &c., — whether in their original condi-
tion, or after having undergone some manufacturing pro-
cess. Where the object in view is to obtain one uniform
colour over the entire surface, the process is called stain-
ing, if the material taken in hand is wood, bone, ivory,
or paper ; and it is called dyeing if the substance is a fibre
capable of being spun or woven, or the threads or tissues ob-
tainedfrom such fibres. These distinctions, however, are not
very closely observed,. and have no better basis than custom.

In dyeing, properly so called, the article to be dyed is
immersed for a longer or a shorter time in a liquid holding
certain colouring matters in solution, or at least in very
fine suspension. The liquid employed in practice is, so
far, always water, on account of its cheapness and general
applicability. Proposals, however, have lately been made
to dye in baths of volatile mineral oils, or even to dis-
pense with solvents altogether, and to apply the colours
in a dry state. Whether any such innovations w^ill afi'ord
substantial advantages, or be able to establish themselves
on the industrial scale, is quite an open question.

The first step to be taken in all the tinctorial arts is

DYEING Am TISSUE-PRINTING.

to secure perfect cleanliness of the articles to be coloured,
teclinically spoken of as the goods." This is necessary,
because dirt of various kinds, especially grease, may pre-
vent the colours from attaching themselves to the fibre,
and, further, because it may greatly interfere with the be-
haviour of such colours, modifying the shade to be pro-
duced. Hence the first step is a very careful washing
with soap-lye, hot or cold, or with or without the addi-
tion of soda crystals, ammonia, &c., according to the
nature of the fibre or tissue. As a rule such washing
is followed up by a thorough rinsing in clear water, until
no trace of soap, soda, &c., remains in the goods. Soap
is, indeed, a useful agent in fixing certain colours ; but
in such cases it is specially applied in known quantities.
Where it is not thus specially needed, it is inconve-
nient or hurtful, and must be carefully avoided. These
preliminary cleansing operations are generally performed
before the goods come into the hands of the dyer, properly
so-called, but he should satisfy himself that the work has
been thoroughly performed. N'eglect in this respect often
gives rise to serious and apparently inexplicable failures
in later stages of the process. The dirt to be removed
tnay consist of extraneous matter which has come in
^contact with the goods in the raw state, or of materials
purposely or accidentally applied during the operations of
spinning and weaving, such as grease, size, paste, iron
rust, &c. ; very troublesome spots are often occasioned by
tobacco-juice. Weavers sometimes contract the habit of
chewing tobacco, and spit upon the web in the loom.
As the juice of tobacco contains, besides colouring matter,
a proportion of tannin, the spots upon which such juice
has fallen will, after dyeing, appear distinctly darker
than the rest of the piece.

It will even here be apparent that an unlimited
supply of pure water is the first consideration in selecting
a site for dye or print works. Instructions for judging
of the quality of water will be given afterwards.

INTRODUCTION.

A point which should at the very outset
upon the mind of the learner is the necessity
lute cleanliness, or, as it is sometimes called, chemi-
cal purity.'* Neither in the vessels or other plant used,
in the water, in the goods to be dyed, nor in the colour-
ing matters, &c., brought into play, should there be any
substance which is not intended and taken into account
in the !result expected. Where this rule is not observed
as far as it is humanly possible, success and failure are
both matters of chance. How little of an unexpected
and undesired substance may interfere with the colours
to be produced, it would be unsafe to say. But alizarine
reds, e.^., may be deprived of somewhat of their bright-
ness and beauty by proportions of iron incalculably small.

But let us suppose that all foreign matter, all exter-
nal impurity, is removed from the goods, there are still
substances which make up part and parcel of the fibre
in its natural state, and which require to be expelled.
These are certain colouring matters. Silk as spun by
the silkworm, cotton as picked from the pod, and wool
as cut from the sheep contain natural dyes incapable of
removal by any mere cleaning, and which would be very
much in the way of the dyer, who requires, except for
blacks, dark browns, olives, &c., to begin his operations
upon a perfectly white material.

The removal of these natural colours is bleaching,
which is as much needed for goods that are to be
dyed or printed as for those used in the white state.
Indeed, calico which is to receive alizarine (madder)
colours is more carefully bleached than such as is sold
undyed. The reason of this is two-fold. Any residue
of the original colour of the fibre must modify and inter-
fere with the shade applied by the dyer. Suppose a raw
material with a yellowish tint, the most beautiful violet
dyed upon it would verge slightly to a brown ; a slight
blue shade would, in like manner, spoil scarlets. On
the other hand, the more purely white any surface, the

DYEING AND TISSUE-PRINTING.

more liglit it reflects. ]N"ow, as the dyes generally usedj
especially in liglit shades, are not perfectly opaque, they
appear more brilliant if applied upon a white surface, being
lighted np by the rays reflected from the white matter
below. From these considerations it will appear that
a grade of bleaching which might pass muster for white
goods will be found imperfect, if brilliant colours are ap-
plied to the yarn or cloth.

The processes for bleaching vary with the nature of the
fibre. Wool is bleached by the action of the fumes of
burning sulphur (sulphurous acid gas, or, in more modern
language, sulphurous anhydride). This process is gene-
rally knovm as ^'stoving." A preferable method is treat-
ment with a solution of the bisulphite of soda, to which
a little muriatic acid is added to liberate the sulphurous
acid, which is the decolouring agent. Others, instead
of adding the acid to the solution of bisnlphite of soda,
pass the wool, or woollen yarns, cfec, through muriatic
sours," muriatic acid let down with water to2°Tw.^
The first method has the advantage that all the sulphurous
acid is utilized ; but, in the second method, the sulphu-
rous acid is liberated within the fibre, and thus acts more
perfectly. It must be mentioned that a very consider-
able portion of the wool worked up, i.e.^ all that which is
dyed to dark colours, does not undergo any bleaching at alL

Silk is bleached very much on the same principle as
wool, preceded by boiling with soap.

Of late very successful use has been made in silk
bleaching of the peroxide of hydrogen (hydric peroxide or
oxygenated water). This treatment is particularly ad-
vantageous for the so-called " Tussah," " Tusser/' or wild
silks. Should peroxide of hydrogen, or the materials for
its production, ever become cheaper, there is little doubt-
but that it will become a formidable rival to chlorine in
bleaching the vegetable fibres.

^ i.e, 2 degrees of Twaddell's hydrometer, sometimes also called
Twaddle's.

BLEACHING COTTOX.

Cotton, linen, &c., were formerly bleached by means of
treatment with so-called " lye," i.e. a weak solution of
carbonate of potasli, made by extracting wood-ashes in
water, and using the clear liquid. They were then exposed
to air, light, and moisture by being spread out in the bleach-
ing grounds (grass-lands reserved for this purpose), and
turned and watered in case of dry weather. This process is
to a great extent superseded since the introduction of
chloride of lime. It still, however, maintains a place in
linen bleaching, as the best practical authorities find that
it cannot be advantageously laid aside.

We shall now describe the operations of cotton bleaching
in some detail.

Bleacliing Cotton.

Cotton, unlike wool, is never bleached in an unmanu-
factured condition, but always -either as yarn or as cloth.
Consequently, over and above its natural impurities, it
will contain all the substances which have been inten-
tionally added to it or which it has accidentally taken up
during the processes of spinning and weaving.

By natural impurities we understand everything present
in the fibre except cellulose, that is to say, cotton-wax,
a small quantity of margaric acid, pectic acid, albuminous
matter, and two colouring principles, the one readily and
the other sparingly soluble in alcohol. The total weight
of these impurities does not exceed one-half per cent.,
but as unmanufa^ctured cotton loses about 5 per cent, in
bleaching. Dr. Schunck, who has carefully examined this
subject, concludes that some other substance is present
which has escaped detection, and which is probably para-
pectic acid.

The artificial impurities — accidental or intentional —
may amount in woven goods to 30 per cent., but in yarns
are much less. They consist of grease, starch, and all
the various ingredients of sizing, besides oil from the
machinery. The removal of all these impurities, so that

6 DYEING AND TISSUE-PRINTING.

nothing but pure white vegetable fibre may remain, is the
result sought in the highest grade of bleaching — techni-
cally known as madder-bleach — because it was first applied
to goods to be printed with madder colours. It is also used
for all yarns and cloths which are to receive light and pure
colours. For blacks, dark shades, and for goods which are
to remain white, a less thorough treatment is adopted.

The first step, with piece goods, is stamping, in order to
distinguish the various lots of cloth. For this purpose
letters or figures are marked at one end of each piece
with some composition capable of resisting the bleaching
operations — gas-tar, sometimes thinned with turpentine or
light petroleum oil.

After thus marking, the pieces are stitched together, end
to end, in lots of five. This is generally done by means
of machinery, which it does not fall within our province
to describe.

The next step is singeing. All the fine loose down
which stands up on end on the cloth has to be removed
before pieces can be advantageously bleached, printed, and,
in case of stuffs, &c., dyed. This is done by passing the
goods rapidly over revolving hot cylinders, over hot plates,
or through the flame of gas ; the latter method is now
generally preferred. The cloth passes at the rate of about^
5,000 yards per hour through a range of jets in which
gas is burnt, mixed with such a proportion of common air
that the combustion is perfect, and no soot or smoke is
produced. Probably the most satisfactory singeing appa-
ratus is that of Messrs. Mather and Piatt. One pound of
coal, converted into gas, singes from 70 to 80 yards of
cotton cloth.

After singeing, the pieces are washed, folded up as they
come from the washing machine, and allowed to lie in a
heap over night.

The next step is the so-called limeing process, i.e. a pas-
sage through milk of lime, from which the pieces pass
at once into the kiers. These are vessels of stout iron

BLEACHING COTTON.

plates, generally arranged in pairs, and fitted witli a false
bottom, upon which the pieces are laid. This false bottom
is either a cast-iron grating or a heap of smooth river
stones. The arrangement of the steam-pipes, taps, &c.,
cannot be easily explained without the use of diagrams
and models. In these kiers the goods are boiled by the
admission of high- pressure steam, washed, and again laid
in a pile on the floor of the bleach-house.

Next follows souring, known as the " lime-sour," or
grey-sour." The " sours " consist of dilute muriatic acid
at 2^ Tw., through which the pieces travel at a uniform rate.
After souring every trace of acid must be entirely removed.
For this purpose the cloth runs in succession through two
washing machines, and passes thence into the kiers to be
boiled with a resin-soap. The usual proportions for this
process, which is called the resin-boil and ley-boil, are, to
12,000 lbs. cloth, 770 lbs. soda-ash, 214 lbs. resin, and
1,400 gallons of boiling water. The kiers are worked at
a pressure of 40 to 50 lbs. for seven hours. If low-pres-
sure kiers are used with from 8 to 10 lbs. of steam, the
boiling is kept up about twelve hours. With the most re-
cent improved kiers (injectors), three to four hours at a
pressure of 50 lbs. is sufficient.

After the resin-liquor has been expelled, a solution of
soda-ash, preferably free from caustic, is run in, in the
proportion of 120 lbs. soda-ash to 1,400 gallons water for
the same weight of goods. Boiling is then resumed for a
couple of hours, the soda-ash liquor is run off, and the
pieces washed immediately.

The object of this boiling is to remove all traces of resin-
soap and of unconverted resin which may remain among
the goods. It is important to see that the resin has been
duly boiled with the alkali before its introduction into the
kier. For this purpose some bleachers heat to a boil 33
gallons soda-lye at 70*^ Tw., with an equal bulk of water,
add then 220 lbs. broken resin, stir for fifteen minutes,
and boil for six hours, or till the resin is perfectly dissolved.

DYEING AND TISSUE-PEINTING.

The resin soap as above given requires the addition of the
solution of 450 lbs. soda-ash for the 12,000 lbs. cotton.

The washing after the resin-boil and its supplementary
ley-boil must take place without delay, as iron-mould may
result if the pieces are left in the kier after the lye has
drained away.

The next step is the treatment with chloride of lime,
or, as it is technically called, " chemicking." The bulk
of the impurities being removed, what is next wanted is to
whiten. For this purpose the pieces are made to travel
through a so-called chemicking machine which is supplied
with a clear solution of bleaching-powder at from i to
i« Tw.

The chemicking process requires the careful observance
of certain particulairs. The liquid is generally applied
cold, and it is safer to give repeated passages through a
weak liquor, rather than one through a strong solution,
which may, and probably will, tender the cloth. The
liquid must be quite clear, and free from undissolved
floating particles which, if they come in contact with the
cloth, are liable to make holes. Chlorides of soda, potash,
and magnesia may be used if it should be desirable on any
special account.

It must be understood that if the chloride of lime were
used at an earlier part of the process before the oily and
fatty impurities had been removed, instead of whitening
it would produce stains almost impossible to remove. The
more skilfully and carefully the treatment with the lime,
the soap, and the soda-ash has been conducted, the less
w^ork remains for the chloride of lime to do — a very desir-
able matter.

As samples of chloride of lime vary greatly in strength,
and as the solutions change on exposure to the air, the
mere strength as shown by the Twaddell is not sufficient,
and a special test is needed, which is here briefly described
as generally used.

The following standard tests are kept ready: — Arsenic

BLEACHING COTTON.

solution, made by dissolving 3i- grains wliite arsenic in
1 quart soda^lye at 16^ Tw. at a boil, and preserving the
cold liquor.

An indigo solution is next prepared by mixing one mea-
sure extract of indigo, 2^ measures sulphuric acid at 144*'
Tw., and 5i measures of water. The whole is then stirred
up well together, filtered, and preserved. Of this liquid
200 grain measures should be exactly decolourized or dis-
charged by half its bulk (100 grain measures) of the so-
lution of chemick at iP Tw.

To make up the test for use, we mix 2 measures of the
arsenic liquor, 4 measures of the indigo liquor, and 7-|-
measures of water, making loi parts of measure.

In testing, a strong graduated phial is taken, about 8
inches high by 1|- in diameter. It is graduated in accor-
dance with actual trial into divisions, each equal to
Tw. of chloride of lime. The degrees may be scratched
on the glass with a writing diamond, and in default with
a rock crystal ; Tw. = mark 2 on the phial, = 3,
and so on. Of the weakest strength, mark 2^ 1,125 grain
measures of chloride of lime will be taken to bleach 100
grain measures of the test solution ; at 8, 750 ; 4, 562|- ; 5,
450; 6, 375; and 8, 281^. The mark 8 is of course
nearest the bottom of the vessel.

The method of working this test is as follows : —

One hundred grain measures of the mixed test solution
is put into the graduated glass, and a little of the chemick
solution is then added by degrees, shaking the glass on
each addition till the colour of the test-liquid disappears.
Care must of course be taken not to add more of the
chemic thar^ is exactly needed to discharge the colour. The
number of divisions on the graduated glass at which the
liquid stands shows the strength of the chemic in tenths of
a degree Twaddell. Thus suppose the liquid stands at 6,
the strength of the chemic is ^ or Twaddell.

After the chemicking it is advisable to wash again be-
fore passing into the final or so-called " white sours." This

DTEING AND TISSUE- FEINTING.

is sulphuric acid at 2*^ Tw. The goods are run through
this liquid, and are then left to lie in a heap, or in tech-
nical language are " piled " or "cuttled." But they must
not remain in this state so long as to become dry at the
edges of the folds, otherwise tendering is occasioned. The
pieces are then washed so as to remove every trace of acid.
The slightest remnant if not washed away will rot the
tissue.

As regards the acid used in the first souring process,
"lime sours and grey sours," it is plain that the hydro-
meter alone can in this case give no clue to the strength of
the acid, since as every piece brings with it into the sours
a certain quantity of lime the acid is gradually neutralized
and its acidity is decreased, whilst its specific gravity as
shown by Twaddell may even be increasing. In order to
know its strength a rough acidimetrical test is applied. A
solution of caustic soda at 25^^ Tw. is made up and kept
for use in a stoppered bottle. A noggin (=: 5 fluid ozs.)
of the sours is taken up and poured into a large glass or
white pot, and into it the soda-lye is dropped from a
graduated tube or other glass, stirring after each addition
till a piece of turmeric test-paper, dipped into the liquid,
turns faintly brown. The tube is graduated into divisions
each equal to fluid oz. Every such division represents
1° Tw. of muriatic acid. If the soda-lye is kept in a
bottle with a glass stopper, care must be taken to grease
the stopper from time to time to prevent it from sticking
fast.

The kiers generally preferred are Barlow's, thoush
Pendlebury's, which are very similar in principle, are often
used on the small scale.

After the last washing the water is to a great extent
removed from the pieces by a passage through the squeez-
ing machine. Opening out and drying complete the entire
process, which now, where carried to the greatest per-
fection, takes five and a-half days.

Goods which are to receive a uniform full and deep

BLEACHING GOTlON.

dye, e. g, Turkey-reds, receive a less severe treatment.
Low-pressure kiers are employed with about 8 lbs. of steam.
The goods are washed without singeing, boiled in plain
water for two hours, and washed. They are next boiled
twice in the kier, each time for two hours, with soda-lye.
The proportions are per ton of cloth, for the first boil 10
gallons caustic soda at 70^ Tw., and for the second T\
gallons at the same strength. Each of these lye or ley-
boils is followed up by a washing. They are then soured
for two hours in weak sulphuric acid at 2^ Tw., washed
and dried.

It will be observed that the use of chloride of lime
(chemick) and of a resin soap is here omitted.

For goods which are to be sold in the white state, as also
for muslins, curtains, laces, &c., certain modifications are
introduced, into which space does not allow us to enter.

Cotton yarns are also bleached in a somewhat different
manner, as the artificial impurities present are much
lower in amount. The boiling is performed in o^en kiers.
The process begins with boiling for six hours in soda-lye
at about 32^ Tw., of which 20 gallons with 130 gallons of
water are used for 1,000 lbs. of yarn. The goods are then
boiled in water for about forty-five minutes, washed, passed
into chemick at 2^ Tw. for two hours, washed for half an
hour, then soured for the same length of time with sul-
phuric acid at 1^ Tw., washed again for half an hour, and
passed through the washing-machine.

The chemicking, souring, and the washings which suc-
ceed them, are generally performed in a specially con-
structed arrangement. The tank in which the goods are
placed has a false bottom through which the liquid passes
into a cistern below. From here it is raised by means of
a pump, and descends again, through a grating which
covers the top of the tank, upon the yarns, thus keeping
up a circulation. The tanks and cisterns are in every
case made of stone. The gratings, for the bleaching liquor,
are of zinc, and for the sours of wood.

DYEING AND TISSUE-PRINTING.

A variety of cliemicals have been proposed as substitutes
for chloride of lime, such as chlorochromic acid, the chlo-
rates, and especially permanganate as recommended by
Tessie du Mathey, which has been used with success.

A preparation known as chlorozone, and obtained by
passing a mixed current of hypochlorous acid and of com-
mon air through a solution of caustic soda, is strongly
recommended in some quarters, and is said to have a
greater bleaching power than the chlorides (hypochlorites)
of soda or potash, without, at the same time, having any
tendering action upon the goods. Those who consider that
ozone has been all along the true agent in bleaching are
reminded that according to the most recent and careful re-
searches (Em. Schoene) its presence in the atmosphere is
simply a hypothesis lacking all positive demonstration.
The phenomena ascribed to it are very probably due to the
peroxide of hydrogen, the value of which in bleaching has
been placed beyond a doubt.

Engler proposes an entirely novel process for bleaching
spun cotton, especially in cops or bobbins. They are
placed in a special chest lined with lead or enamelled tin,
about 3 yards long, 2 high, and li- wide, containing about
SSOlbs. of cotton. This chest is connected by a flexible
tube with an apparatus in which vapours of chloroform
are generated by means of the following mixture : —

Quicklime . . . . . . 1 part.

Chloride of lime . . . . . 1

Alcohol or acetic acid . . . . 1 55

Water . . . . . . . 4 „

Sulphuric acid is also added.

The vapours are passed into the receiver to the cotton,
and allowed to act upon it for two hours at the pressure
of two atmospheres, when the bleaching is complete.

A mixture of hydrogen, carbonic acid, and vapour of
sulphuric acid (?) is then generated and passed into the
chest to remove the smell of the chloroform.

BLEACHINQ LINEN.

This process can only serve as a substitute for the
" chemickmg."

Bleachinrj Linen,

Linen contains a much larger proportion of natural im»
purities than cotton ; the fibre, i.e, the cellulose, is coated
with a greyish yellow incrustation, consisting of pectic and
metapectic acids, along with colouring matters not yet tho-
roughly examined, fats, &;c.

At the same time the fibre is more easily tendered than
cotton, so that a tedious repetition of the various processes
becomes necessary, and exposure to the air on grass can
rarely be avoided. Hence the operation of linen bleaching
may extend from a fortnight to six weeks, a circumstance
which tends to render the linen manufacture less profitable
than that of cotton.

It is remarkable that the process of steeping in water
and inducing fermentation by the addition of an infusion
of malt or yeast has been reintroduced, it is said, with good
results. Linen loses in the bleaching process nearly a third
of its weight. It is maintained that flax may be prepared
for manufacture without the process of water-steeping
or "retting," so that if this is done it is much lighter in
colour and may be obtained almost perfectly white by
being simply well washed with soap.

A system for linen-bleaching given by Dr. Ure as exten-
sively followed in Scotland and Ireland, consists of thir-
teen successive processes : —

1. Wash.

2. Eoil for ten to twelve hours in lime-water.

3. Sour for three to five hours in dilute muriatic acid at

2« Twaddle.

4. Wash well, to remove all traces of muriatic acid and of

the chloride of calcium.

DYEING AND TISSUE-PEINTTNG.

5. Boil for twelve hours with resin soap, i,e. resin and
soda-ash.

(3. Turn the goods in the kier, placing those which" were
at the bottom uppermost, and repeat the boiliiig.

7. Wash thoroughly.. ^ _ t

8. Give the fir'st^ bnemick for four hours at i'' Tw., and

wash.

0. Sour at 2^^ Tw.

10. Wash.

11. Boil for ten hours with soda-ash.

12. Second chemick.

13. Wash and dry.

This process is chiefly used for goods to be printed.
The following method is employed in the Perth district
for shirtings, &c. : —

1. Put up in lots of 35 cwt.

2. Steep in lye for twenty-four hours.

8. Wash and spread out on grass for about two days.

4. Boil in lime-water.

5. Turn the goods in the kier from top to bottom and boil

again, using 60 lbs. lime each time, and 600 gallons
lime-water.

6. Wash, sour for four hours in sulphuric acid at 2^ Tw.,

and wash again.

7. Boil for ten hours with 110 lbs. soda-ash.

8. Wash and spread out on grass.

9. Boil again with 110 lbs. soda-ash as before, and

wash.

10. Spread out on grass for three days.

11. Examine; take out the white pieces, and boil and

spread out again such as are not finished.

12. Scald with water containing 80 lbs. soda-ash, and

wash.

13. Chemick at Tw.

14. Wash and scald.

15. Wash, chemick again, and wash.

BLEACHING LINEN.

16. Sour for four hoars with sulphuric acid at 2^

17. Wash and dry.

It must be noted that if the chloride of lime is introduce
at an earlier stage of the process the brown colouring matter
of the flax instead of being removed is fastened, or as it is
technically called, "set."

In the patent process of Jennings the alkali and the
chloride (of soda in preference to lime) are introduced at
once in the hope of preventing the formation of any in-
soluble brown compound :

1. Soak the goods in water for twelve hours. Boil in

lime-water, and in soda-ash, and in soda along with
lime, the alkali being 3^ to 5° Tw, Sour.

2. Boil again in a similar alkaline lye.

3. Wash.

4. Put in solution of soda at 5"^ Tw., adding chloride of

soda till it rises to 6-7^ Tw., and steep for some
hours. Pass through squeezing machine.

5. Soak, sour, and wash.

G. Steep in soda and chloride of soda a second time.
7. Wash and boil again with soda. The operations 6 and 7
are repeated till the goods are perfectly white.

The following methods are given in Spon's "Encyclopedia
of the Industrial Arts " as the most recent Irish processes
for 3,000 lbs. of brown and of cream linen respectively.

1. Lime with 250 lbs. lime.

2. Lime, boil for fourteen hours with 3 to 8 lbs. steam,

and wash in the stocks for forty minutes.

3. Sour from two to six hours in muriatic acid at 2i-"

Tw. ; wash in stocks for forty minutes, turn hanks,
and wash for thirty minutes more.

4. Give two lye-boils ; 1st, 60 lbs. solid caustic soda,

60 lbs. resin, previously dissolved together at a
boil, 400 gallons of water. Boil eight to ten
hours, run off the liquor, and add, 2nd^ 30 lbs.

DYEING AND TISSUE-PRINTING.

caustic (solid) soda, dissolved, 400 gallons water.
Boil for six to seven hours, and wash forty minntes
in the stocks.

5. Spread out on grass for two to seven days, according

to the weather.

6. Chemick for four to six hours at Tw., and wash

forty minutes in the stocks.

7. Sour for two to three hours in sulphuric acid at 1^

Tw., and wash forty minutes in the stocks.

8. " Scald " by boiling for four to five hours with 15 to

25 lbs. caustic soda in 400 gallons water. Wash
for forty minutes in the stocks.

9. Spread out on grass for two to four days.

10. Chemick for three to five hours at Tw., and wash

in the stocks for forty minutes. At this juncture
the pieces are sorted over, those which are ready
being taken away for the final souring and wash-
ing, whilst the others are

11. Rubbed with soft soap.

12. Spread out on grass for two to four days.

13. Chemick for two to four hours with chloride of lime

at -1-° Tw., and wash in stocks for forty minutes.

14. Sour in sulphuric acid at 1° Tw. for two to three hours,

and wash in stocks for forty minutes.

For the same weight of cream linen : —

1. Lime with 160 lbs. lime.

2. Lime-boil for ten to twelve hours with 3 to 8 lbs.

steam, and wash in the stocks for forty minutes.

3. Sour for two to four hours in muriatic acid at 2i-^

Tw., wash in stocks for forty minutes ; turn hanks,
and wash thirty minutes more.

4. Give a first lye-boil with 200 lbs. soda-ash and 60

lbs. resin, previously boiled together in water till
dissolved. Boil for six to seven hours, and wash
in the stocks for forty minuttes.

5. Spread out on grass for two to seven days.

BLEACHING LINEN.

6. Chemick for three to four hours with chloride of lime

solution at Tw., and wash for forty minutes
in stocks.

7. Sour for two to three hours in sulphuric acid at 1° Tw.,

and wash in stocks for forty minutes.

8. Give second lye-boil, or " scald,'' boiling for four hours

with 400 lbs. soda-ash and 400 gallons water ; wash
for forty minutes in the stocks.

9. Rub with a good solution of soft soap in the rubbing

machine.

10. Spread out to grass for two to four days.

11. Chemick for three to four hours with chloride of lime

solution at -1-° Tw., and wash for forty minutes
in the stocks.

12. Sour for two to three hours in sulphuric acid at 1°

Tw., and wash forty minutes in the stocks.

The machinery used in linen bleaching differs in many
respects from that employed for cottons. In case of yarns
or threads the kiers are generally provided with a false
bottom, connected by ropes to a crane, so that when the
boiling is over and the liquor has been run off, the whole
of the yarn can be lifted out at once.

For bleaching small quantities of linen yarn it is gene-
rally boiled for five or six hours in a bath of caustic
soda, washed, and passed into a solution of bleaching lime
at 1.^ Tw., when it takes a yellow shade. It is then well
washed, spread out on the grass for several days exposed
to the sun, sprinkled frequently with water, and turned
until it becomes perfectly white.

It will be seen that as long as exposure to the air and
sun is an essential part of the process of linen-bleaching,
the trade will be necessarily confined to districts where
the air is free from soot and smoke, and where room is
plentiful.

The peculiarities of linen bleaching as compared with
cotton bleaching depend mainly on the circumstance that

DYEING AND TISSUE-PRINTING.

the fibre of linen is more easily affected and destroyed
by chemical agents than that of cotton.

Bleacliing Jute,

Jute is still less tolerant of chemical agents than linen,
especially of acids. For bleaching 60 lbs. the following
process is recommended : — Make np a solution of 5 lbs.
soap at 140° F., and pass the jute five times through it.
Einse in clean water.

For the chemick bath mix 2i- lbs. of chloride of lime with
an equivalent quantity of sulphate of magnesia (Epsoms),
both dissolved in water. Stir up, let settle, dilute to -1^°
Tw., steep the jute for three hours in the cold, taking
care to keep the goods below the surface of the liquid.
Take out and wash well.

The operation of exposing vegetable fibre of any kind to
sun, air, and moisture is known in some parts as " croft-
ing," and in others as ^'grassing." The process of boiling
with alkali and soap is known as " bowking," and the liquid'
in the kiers is spoken of as the " bowking liquor.''

Bleacliing Animal Fibres,

For bleaching wool, hair, and silk the chlorides of lime,
soda, magnesia, &c., are utterly useless, since they not
merely fail to remove the natural colouring matters, but
leave the fibre darker than it was before, besides injuring
its properties in other respects. In place of the chlorides
is used sulphurous acid, either in the dry state, as gene-
rated by burning sulphur, or in the moist way by means of
the bisulphites of soda, magnesia, or lime, as has been
already mentioned, p. 4.

The preparatory removal of the " grease " of the wool

BLEACHING SILK.

(suint, a combination of potash with certain fattj acids),
as well as the extraneous dirt contracted in transport
and in spinning and weaving, is effected by washing with
soap, alkaline carbonates, and stale urine. The latter
liquid, known in Lancashire as " lant,'^ and in Yorkshire
as " wash " or " weeting," owes its action to the car-
bonate of ammonia formed by the decomposition of the
urea.

Many dyers, however, maintain that the ordinary am-
monia as obtained from gas-liquor, whether used in the
caustic or the carbonated state, does not leave the fibre
in as " kindly a condition. Consequently, in the woollen
manufacturing districts, urine is still diligently collected,
and is in such demand that it is worth adulterating with
brine.

Alkaline liquors of any kind are never applied to wool
in a very concentrated state, and, of course, never under
pressure, when the wool would be rapidly attacked, and
dissolved to a jelly.

If a particularly beautiful finish and lustre are re-
quired for worsted goods to be sold undyed, so-called

double stove-whites," after sulphuring in the stove or
in the bisulphite bath, are steeped in a decoction of
Panama ba.rk, Quillaja saponaria.

Woollen dyers are often induced to buy preparations for
scouring soap at prices much above their real value. Such
compounds have been sold as urine substitutes, washing
sugars, extracts of fullers' earth, saponaceous, French
borax powder, &c.

Bleacliing SilJc,

We will begin with a mention of the most recent im-
provement which is applicable not merely to silks, but to
hair, feathers, fine leathers intended for dyeing, furs, &c.

The agent, to which we have already referred in passing.

DYEING AND TISSUE-PRINTING.

is the peroxide of hydrogen, for the use of which the fol-
lowing instructions are given : —

The articles to be bleached must be freed from all
mechanically adhering dirt, grease, &c. This is effected,
according to the nature of the article, and of the im-
purities to be removed, by means of soap, ammonia, sul-
phuretof carbon, ether, or alcohol. These cleansing agents
must then be entirely removed, either by washing or by
evaporation. A bleach-bath is then made up with the per-
oxide of hydrogen, either alone, or along with small traces
of ammonia or of soda-lye. The silks are simply laid in
this liquid, and left to steep as may be required. The
process is accelerated by heat not exceeding 77^ F., and
by the light of the sun. The bleaching process may last
from two to fourteen days. When it is completed, the
silks are rinsed in condensed steam-water, and carefully
dried.

Some silk-bleachers in Lyons employ an aqua-regia^
prepared by mixing five measures of muriatic acid with
one of nitric acid. The mixture is left to stand for at least
four or five days at a gentle heat, say about 77° F. For
use, it is let down with water so as to mark about 3° to 4°
Tw. This dilution is carried on in square tanks, hollowed
out of grit-stone. The temperature of the liquid for use
does not exceed 70° F. The skeins are placed upon rods,
plunged into the bath, and worked constantly, by turning
them round, and drawing them from one end of the trough
to the other. The process is complete in from ten to fifteen
minutes, or even less. The silks are then taken out, and
steeped in succession in two baths of water, in order to re-
move at once every trace of acid.

It is slower, but safer, to work at a lower tempera-
ture, i.e., 50° F.

Guinon, Marnay, and Pouset, instead of aqua-regiay
employ a solution of chamber-crystals.

The final whitening of silks, however, is generally efi*ected
by means of the fumes of burning sulphur, or by a passage

BLEACHING SILK.

througli a solution of bisulphite of soda, as directed for
wool.

In case of raw silk, before any of these decolourizing
processes can be applied, it must be freed from certain
matters which, though natural to the fibre, would interfere
with its being properly bleached and dyed. The true
fibre of the silk, a peculiar nitrogenous substance named
fibrine, does not constitute more than 60 to 54 per cent, of
the raw material, the residue being made up of albuminous
and gelatinous matter, wax, fatty, and resinous matters,
and small quantities of colour.

Much of this extraneous matter is removed by scouring
with soap, a delicate operation which should be performed
so as not to injure the lustre, the suppleness, or the elasti-
city of the fibre. The loss of weight in this process is
from 18 to 22 per cent, in Japanese and Chinese silks,
but in those of Italian and French growth it may even ex-
ceed 25 per cent. The desire to compensate themselves for
this loss has gradually led silk manufacturers to the fraud
of " weighting." The soaps used for silk scouring must
be of the finest quality, thoroughly neutral, and free from
unpleasant odour. For silks to be dyed oleic acid soaps
are used, but such as are to remain white are scoured with
an olive-oil soap. The quantity of soap required is very
considerable, and for whites may reach 60 per cent, of the
weight of the raw silk. If the silk is to be dyed a black
or other dark colour a single boiling is sufiB.cient. For whites
and those which are to be dyed light, brilliant colours,
there are two successive operations, ungumming (degom-
mage) and boiling. For the first process the silk is steeped
in very dilute muriatic acid, and is then very well washed,
so as to remove all traces of acidity. It is then entered in
a boiling bath of 33 lbs. of soap per 100 lbs. silk, and
turned for 30 to 45 minutes. The silk is then taken out
and drained. If the colour in view is not very pure, the
silk may have its second treatment known as " boiling "
(cuite) in the same bath. If it is to be a very pure white,

DYEING AND TISSUE-PRINTING.

or if it has given off much colouring matter, it is put in
bags of a coarse hemp tissue, and boiled for two or three
hours in a fresh water, with 17 lbs. soap per 100 lbs. silk.

After this process the silk is taken out of the bags,
rinsed in a lukewarm, weak solution of borax, or in de-
fault, of carbonate of soda crystals, and then washed in
water.

Borax has been successfully used instead of soap.

In China silks are scoured with carbonate of potash or
of soda, but this method has been nearly abandoned in
Europe on account of the amount of care and attention it
requires. From 10 to 12 lbs. of carbonate of soda are
required for 100 lbs. of raw silk. The scouring-bath is
not allowed to get hotter than 185^ Fahr., and the process
may last from GO to 90 minutes. The action is considered
to have gone far enough when the threads give a kind of
crackling sound if rubbed with the finger-nail. Two or
three washings with lukewarm water complete the pro-
cess. The loss is rarely below 18 per cent., and may rise
to 28.

Caustic soda is used in very weak solutions for coarse
kinds of silk. From 3 to 4 lbs. solid caustic is sufficient for
100 lbs, silk. It is dissolved in about 300 gallons of water
at 140^, and the yarns are worked for 30 minutes and are
then washed. The loss does not exceed 12 per cent.

If silks have been woven in the raw state, and require to
be scoured and bleached in the piece, they are subject to a
singeing process with gas, as has been mentioned under
cotton.

Ungumming and boiling then follow as in case of yarns.
The pieces are winced for an hour at 212" Fahr. in the soap-
liquor from a former operation. They are then wound out
of the lye, let drain on the wince, and run again for two
hours in a fresh lye of 30 to 40 per cent, of good olive-
oil soap at a gentle boil. It is then again wound out, let
drain, and rinsed by running for about a quarter of an
hour in a weak solution of carbonate of soda crystals or of

WATER FOR DYEING AND PRINTING. 23

borax. After a final rinsing in cold water it is ready for
dyeing — if for blacks or dark colours — or for bleaching if
it is to remain white or be dyed a light colour.

Water for Dyeing and Printing.

The selection of water for dye and print works requires
considerable care. It should be as nearly as possible pure,
and consequently soft. The supply may be derived from
rivers or lakes into which no manufacturing refuse can
find its way, or from the drainage of moorlands, or springs
in grit-stone, slate, or granite mountains. The water of
artesian wells, though often suitable for domestic uses, is
rarely, if ever, fit for dyeing, as it is generally hard, from
the presence of compounds of lime, magnesia, and iron.
The action of such hard waters is most unsatisfactory ;
they waste soap, partially decompose mordants, and ex-
tract, or as it is technically called, hleed the dye-wares
very imperfectly ; much of the colourin g matter, instead of
dissolving out into the w^ater, remaining in the wool, &c.
in combination with the lime, magnesia, &c., of the water.
Hence there is in a year's working a very decided balance
against a dye-house using hard water as compared with a
similar one supplied with soft water. The work is not
merely done at a greater cost, but it is worse done. The
very smallest traces of iron interfere with all light and
bright shades, and even lime and magnesia have a " sad-
dening " or darkening effect. !&or alizarine (madder) work,
indeed, lime to a certain extent seems to play a necessary
part, but it ia better to have a pure water to begin with
and to add chalk or acetate of lime in cases where its
presence is required. Of all the salts of lime, sulphate of
lime (gypsum) is the most injurious. Salts of magnesia,

DYEING AND TISSUE-PRINTING.

especially tlie bicarbonate, are, of the two, worse tban
those of lirae, and have been found by the most careful
observers harmful in case of madder work. The only
circumstances under which hard waters generally have an
advantage is in dyeing blacks and other sad colours, as
they here produce the desired effect at a less outlay of
wares. But, as in the case of madder-work, this advan-
tage may be secured by adding a little chalk to the dye-
pans for dark colours.

Alkalies, such as soda, are not often met with in natural
waters, but where they do occur they are scarcely less
mischievous than lime and magnesia. They do not, in-
deed, harden nor occasion any waste of soap, but they
waste acid, mar and seriously modify the shades of many
dye-wares. Cochineal scarlets cannot be dyed with an
alkaline water without previously neutralizing it with an
acid, of course a matter of some expense.

Brackish waters, i.e., such as contain a proportion of
common salt, are not necessarily injurious, except the im-
purity be very large.

Soluble sulphurets, sulphuretted hydrogen, &c., are
fatal. All colours containing lead, tin, copper, or iron, <fcc.,
in the shape of mordants are affected by them, and in case
of lead the change may extend to complete blackening.
Hence sewage and excrementitious or putrescent matter
generally, the drainage of cesspools, graveyards, slaughter-
houses, &c., have to be avoided. Water from peaty soils,
except so deeply yellow as to give a perceptible yellowness,
is very little to be feared, as it contains tannin, which
aids in the fixation of many colours and can scarcely be
said to injure any. But great care must be taken to make
sure that the yellowish cast of any sample of water is due
to crenic, apocrenic, &c., acids, and other peat products,
and not to any compound of iron.

Sand, clay, insoluble oxide of iron, and fragments of or-
ganic matter, may be easily removed by settling and filtra-
tion, and turbidity which can thus be overcome need not

WATER FOR DYEIXG AND PRINTING.

be objected to. Drainage from woodland pools, coloured
greenish with the juices of decaying plants, is not safe.

E/ivers passing through populous districts, and especi-
ally in manufacturing parts, may contain many formidable
impurities besides those present in natural waters, and in
addition to sewage pollution. Among the most serious
are free acids, oily, greasy, or resinous bodies, so-called
lime and magnesian soaps such as are produced when soap
is decomposed by hard waters, diluted solutions of various
dye-wares and mordants, compounds of chromium, &c.
These impurities are the more to be feared as, especially
in small streams, they may vary in the course of a few
minutes, and cannot therefore be overcome by any one
system of treatment. Drainage from coal and iron mines,
from ochre-beds, and from deposits of iron or aluminous
shales should be carefully avoided.

It is hence necessary to be very cautious, not merely in
selecting sources of water for new bleach, dye, or print
works, but in old establishments, at least if supplied from a
river. It is necessary to be watchful, lest mining or engi-
neering operations, or the establishment of some new manu-
facture higher up stream, may affect the quality of the
water, and do unexpected damage.

The character of a water may be to a very great extent
judged of by mere inspection, without chemical tests. If
there is a rainbow-coloured scum upon the surface in still
places, or if ochrey matter is deposited upon stones, &c.,
the water is to be condemned as containing iron. A scum
may, however, be occasioned by oily or tarry matter, which
is quite as objectionable.

The tests for the principal impurities are as followg.
Let a quantity of the water settle, and filter if needful.
Observe if it has any colour, or if it has any action upon
blue or red litmus paper. If it turn the former to a red it
is of course acid, and if it change the latter to a blue it is
alkaline, and should in either case be rejected if a^y better
quality is to be had.

DYEING AND TISSUE-PRINTING.

Pat a pint of the water in a bottle, cork it up, and let it
stand for a few hours in a warm place. On shaking and
uncorking, sulphuretted hydrogen, if present, may be de-
tected by the smell.

To confirm this test observe whether it blackens moist
carbonate of lead ; or as a most delicate test for sulphu-
rets, add to the water a few drops of a solution of the
nitro-prusside of potassium, when a fine purple tinge will
appear if sulphurets of sodium, &c., are present.

For the detection of iron boil down a quart of the water
to about four ozs. in a white porcelain dish, and note if
any ochre is deposited. Divide the concentrated water
into two parts. Add to the one an extract of gall-nuts
or solution of tannin, set it aside, and note if a blackish
and brown colour appears on standing for a short time.
To the other portion add a mixed solution of yellow and
red prussiates of potash, and observe if a blue precipitate
or colouration is formed. Either the darkening with galls
or the blue colouration with the prussiates is a sign that
iron is present.

If anything resembling ochre has been deposited during
the boiling down the water, add to it a few drops of mu-
riatic acid, and apply heat. If the deposit or stain dis-
solves, heat gently to expel all superfluous acid, dilute
with a little water, and apply the mixed solution of the red
and yellow prussiates as above. If a blue colour appears
the deposit consists, in part at least, of iron.

To detect sulphuric acid and soluble sulphates, add to
the water a few drops of pure muriatic acid and a solution
of chloride of barium. The presence of sulphuric acid is
shown by a white turbidity, or if the quantity be sufficient
a precipitate. There are few natural waters which do not
show a slight cloudiness if submitted to tliis test.

For the detection of muriatic acid or a soluble chloride,
such as common salt, there are added to a portion of the
sample in question a few drops of pure nitric acid, and a
little of a solution of nitrate of silver. If muriatic acid or

WATER FOR DYEING AND PRINTING.

a soluble chloride is present, there will appear '
precipitate which quickly turns a blackish blue
sure to sunlight.

For the detection of lime, concentrate the water as be-
fore to a small part of its bulk, and add a. few drops of
solution of oxalate of ammonia, A white precipitate shows
the presence of lime, which to some extent is found in
every natural water.

The detection of magnesia, along with lime and in the
possible presence of alumina, is somewhat more circum-
stantial. Perhaps the most convenient process is to eva-
porate the water down to dryness in a platinum dish along
with a little muriatic acid. The dry residue is moistened
with a few drops more muriatic acid, distilled water is
added, and the solution is filtered. To the liquid which
runs through the filter there is added ammonia, in excess
and the mixture is boiled and filtered again. To the
filtered liquid thus obtained there is added oxalate of
ammonia, to throw down the lime. This is filtered off*, and
the clear liquid is concentrated down to a very small bulk
with a drop or two of muriatic acid, if necessary, and the
residue is mixed with a little ammonia and set aside. If
a fresh precipitate falls, this also is filtered off* as lime, and
to the filtrate is added phosphate of soda and ammonia.
If a precipitate is formed, it is magnesia in the state of the
ammonia — phosphate of magnesia.

The detection of chromium, of arsenic, and of antimony,
— metals which may possibly occur in rivers which re-
ceive manufacturing refuse — had better be left to an
experienced analyst.

The detection of soluble organic matter is effiected by add-
ing to the water a few drops of the permanganate of potash.
If the water contains organic matter, the light pink colour
of the permanganate will rapidly disappear, and the
hydrated peroxide of manganese will be deposited as a
brown sediment.

The following simple process, devised by Slater, has

DYEING AND TISSUE-PRINTING.

been found very convenient for judging the suitableness
of water for dyeing purposes. A standard colour solution
is made by digesting distilled water for twenty -four bours
upon a large excess of ground logwood in a stoppered
bottle. The. clear liquid is carefully poured ofiP at the end
of this time, and preserved for use in a stoppered bottle.
If it is required to examine a number of samples of water,
procure a set of clear white phials, holding about five ozs.
each. Put into one of them four ozs. distilled water and
add 100 grain measures of the logwood liquor. Put four
ozs. of each sample in one of the other bottles, add 100
grain measures of the logwood liquor to each, and compare
the colours. The phial with distilled water will be of a
clear reddish amber colour. The others will depart more
or less from this standard, according to the nature and the
quantity of their impurities. If a soluble chloride (mu-
riate) is present the colour produced wi.l be yellower than
in case of distilled water.

Sulphate of lime and alkaline sulphates, if present, give
a yellowish olive tint. Alkalies, whether caustic or car-
bonates, produce a brownish red; alum, sulphate of alumina,
&c., a kind of plum-colour ; free acids yield a cherry-red ;
whilst -the salts of iron and the chromates give a brownish
black. A few experiments made with pure water, to which
these various substances have been purposely added, will
soon enable the student to judge with practical correctness,
not merely as to the presence, but even the proportion of
the substances mentioned above.

The hardness of water — that is, its power of destroying
goap — is estimated by the test first proposed by Clark, and
since, with certain improvements, brought into general
use. Like the logwood test, it is a reproduction on the
small scale of what is done on the large scale in actual
work. The process is called the soap-test. The first step
is to make up a standard solution of soap by dissolving a
convenient quantity of soap — generally the soft soap
(potash-soap) of the London Pharmacopoeia — in methy-

WATER FOR DYEING AND PRINTING.

lated spirit, previously mixed with an equal quantity of
water. The mixture is let stand, without heat, in a corked
bottle till all the soap is dissolved and the solution has
become clear. If muddy it is filtered, and in any case the
liquid is preserved in stoppered bottles.

The next step is to find the value of this solution. For
this purpose a standard hard water is made up by grind-
ing 27i- grains of pure sulphate of lime (selenite) to a fine
powder, adding it to an exact gallon of distilled water, and
letting it dissolve. As 27~ grains of sulphate of lime are
equivalent to 16 grains of carbonate of lime, Clark called
this solution standard water of 16 degrees of hardness ;
each grain of carbonate of lime, or its equivalent of any
other hardening substance, i.e., salts of magnesia, alumina,
or iron, being assumed as a degree of hardness.

This standard solution is now tested against the soap-
liquid. For this purpose 1,000 grain measures of the sul-
phate of lime solution are poured into a stoppered bottle
which may conveniently hold 6 ozs. Forty grain measures
of a solution of carbonate of soda (crystals) saturated in
the cold are added. A graduated burette is filled with the
standard soap solution, and it is dropped into the bottle.
After a small quantity has thus been added, the bottle is
closed and shaken up. If the froth produced on shaking
rapidly vanishes, the lime is not yet saturated. The bottle
is therefore opened and more of the soap-liquor added. The
stoppering and shaking are repeated until at last a point
is reached when a plentiful creamy froth is formed and re-
mains without breaking up for about five minutes, the test
is completed, and the number of degrees on the burette
which have been consumed can be noted. Suppose 48 de-
grees of the soap liquor have been used, then three such
degrees represent one degree of hardness.

The respective values of the soap liquor and the sulphate
of lime liquor having thus been fixed, waters are tested in
the same manner.

One thousand grain measures of the water in question

DYEIJiG AND TISSUE-PKINTING.

are put in the bottle, 40 grain measures of the carbonate
of soda solution are added just as before, and the soap
solution dropped in till a permanent lather is obtained.

If the water is found to be harder than the standard
solution, it is well to dilute the sample before testing with
a known measure of distilled water, and the result obtained
is multiplied accordingly. Thus if one measure of the
sample has been let down with two measures of distilled
water the figure resulting is multiplied by three. As a
general rule, if the hardness of a water exceeds 4 or 5 de-
grees, it should be rejected, or only made use of after it
has undergone some softening process. A very simple and
ingenious method for this purpose has been devised by
Clark, and is in use at various places on the large scale.
It will be described below.

It will be seen that this process shows very fairly the
value of a water for all purposes in which it has to be used
along with soap. The quantity of soap which has to be
added to any water before it can be made to lather freely,
contributes nothing towards cleansing the goods for which
it is used, and is simply wasted. It is something more
than wasted. The fatty acids of the soap combine with
the lime of the water to form so-called lime-soap, a
glutinous, smeary compound which attaches itself to the
wool, or cotton itself, encloses any dirt present, and if not
removed leaves the fibre in a state unpleasant to the feel,
and objected to by purchasers. Of the difficulty of re-
moving this film anyone may convince himself by the
simple experiment of washing his hands with soap and
hard water.

However, Clark's process is not as decisive on the value
of a water for dyeing or printing as it is for scouring and
bleaching. Hard waters are in no case to be preferred,
but two waters may mark equal degrees of hardness, and
jet the one may be very much worse than the other, ac-
cording to the nature of the hardening ingredient.

There are, in fact, two kinds of hardness, technically

WATER FOR DYEING AND PRINTING.

spoken of as temporanj and 'permanent. If we take, e.^., a
sample of water direct from the spring and determine its
hardness as above, we get a certain figure. If we then
take a fresh portion of the same water, boil it well, and test
it over again, we get in almost everj case another and a
smaller figure, the difference being sometimes very con-
siderable. This second value is spoken of as the permanent
hardness, whilst the figure attained with the cold water in
its original state is the total hardness, and the difference
between the two is spoken of as tempm'ary hardness. When
we thus make a double determination of the hardness of a
water and find a difference, we have got at the important
fact that a portion — more or less, as the case may be — ■
of the hardness of such water is due to the carbonate of
lime or of magnesia or of both, rendered temporarily in-
soluble by the presence of carbonic acid. On boiling the
water this excess of carbonic acid is expelled, and the car-
bonates of lime and magnesia being almost insoluble in
water containing no carbonic acid, are precipitated, and
cease to have any effect in increasing the hardness of the
water.

On the other hand, if we find that the hardness of a
water before and after boiling is substantially the same, we
may safely infer that such hardness is due to sulphates of
lime and magnesia, chlorides of calcium (muriate of lime),
and magnesium, or possibly to salts of alumina and iron.
These last-mentioned salts, the sulphates and chlorides,
are also the cause of the permanent hardness of waters
which are partially softened on boiling.

It appears, th6n, that hardness due to sulphates and
chlorides, &c., is incurable, while hardness due to car-
bonates held in solution by means of free carbonic acid
may be overcome. Any process which expels or seizes
hold of such free carbonic acid will answer the purpose.
Boiling is on the large scale rarely practicable. Mere ex-
posure to the air in large tanks or reservoirs softens such
waters to a considerable extent.

DYEING AND TISSUE-PRINTING.

Bat the cheapest and most efScient process is that of
Clark, above referred to. He adds to snch waters milk of
lime — in other words, a solution of caustic lime — propor-
tionate to the hardness of the water. The free carbonic
acid immediately seizes hold of the lime introduced, form-
ing the insoluble carbonate of lime, and is of course no
longer able to keep the carbonate of lime previously
present ra a state of solution. The consequence is that
both, lots of carbonate of lime, that originally existing
and that just formed, are precipitated together, and the
water, if its hardness was caused simply by dissolved car-
bonates, is rendered beautifully soft and fit for dyeing
purposes. This same treatment, ifc must be farther re-
membered, removes at the same time compounds of iron, if
present, and many kinds of organic impurities.

Mordants.

Comparatively few colouring matters are capable of
attaching themselves to organic fibres and surfaces, and
even those which do so are rendered brighter and more
permanent by the intervention of a class of bodies called
mordants (German, Beizen). The vegetable fibres, espe-
cially, such as cotton, have in themselves a very slight
affinity for the great majority of colours, and in dyeing and
printing such, fibres or tissues the use of mordants can
rarely be dispensed with. A thorough knowledge of these
bodies is therefore one of the necessary branches of train-
ing in the tinctorial arts. The subject is somewhat com-
plicated, because a distressing confusion reigns in the
names of bodies used in the tinctorial trades in different
parts of the country. Some of these terms, as the author
has remarked elsewhere, have taken their rise in the dye-

MORDANTS.

house, others are corruptions of foreign words, and others
again are specimens of every stage through which chemical
theory has passed. Further, the resources of the tinctorial
arts are so great that different dyers and colour-mixers ob-
tain one and the same results by very different procedures,
and what one practical man pronounces necessary, another
rejects as worthless, neither of them being able to give an
intelligent reason for his preference.

The theory of mordants, so far as it can be given, is
briefly this : the mordant, or some portion or constituent
thereof, becomes attached to the animal or vegetable fibre,
and modifies it to such an extent that the colouring matter
is now able to attach itself, not as a mere fugitive stain,
but with considerable permanence, and in such proportion
as to give it a full body of colour. As regards the greater
number of the true mordants, such as the compounds of
iron, alumina, tin, &c., the process which goes on is very
like the formation of so-called "lake " colours. If we take
a decoction of cochineal, or of any of the dye-woods, per-
fectly clear, and free from all suspended matter, and add
to it a little of a solution of alumina or of tin, as neutral
as possible, we see the liquid shortly become turbid, and a
sediment falls gradually to the bottom, consisting of the
colouring matter of the wood, &c., and of the hydrated
oxide of alumina (or tin), or, what is more probable, a
sub-salt or basic salt of either of these metals. If an
animal or vegetable fibre has been prepared with a solution
of alumina or tin, and is then steeped in the colour solu-
tion, the deposition or precipitation of colouring matter
takes place on its surface, or rather in its pores. Or if
the colouring matter and the mordant are mixed together,
and the fibre to be dyed is then plunged into the mixture,
as is generally done in wool and worsted dyeing, the lake,
in virtue of an attraction which it possesses, is deposited
upon it, rather than upon the bottom of the vessel. It
must be remarked that the above explanation is not univer-
sally applicable. There are cases in which the process

DYEING AND TISSUE-PRINTING.

must be totally different. Thus, if cotton is treated
with a mixture of strong sulphuric and nitric acids, so as
to convert it into gun-cotton, its power of taking up
colouring matters is considerably increased. But no hy-
drated oxide or basic salt can have been deposited on the
fibre ; the cotton has rather undergone a change in its
nature, which causes it to behave with colouring matters
more as does wool or silk. The action of argol (tartar,
bitartrate of potash) and that of finely divided silica and
sulphur^ all of which are in certain cases employed as
mordants, cannot be explained on the above principle. No
base capable of combining with colour-acids is deposited
on the goods to be dyed. For the organic mordants, such
as tannin, the emulsive oils, albumen, and the like, it is
also of no value. It is suited merely or mainly to such
colouring-matters as have the properties of feeble acids, as
is the case with the majority of the old colouring matters.
That the colour, e.^., of cochineal, carminic acid, should
form an insoluble compound with oxide of alumina and of
tin, is not to be wondered at.

The practical conclusion to be drawn from these con-
siderations is that the bulk of the new coal-tar colours,
not being acids, cannot be expected to be fixed by the class
of mordants above mentioned. This is what has been
found in practice. Had it been known, e.g.^ that magenta
w^as not an acid, like carmine, like brasileine, hematine,
&c., but a salt — the acetate of rosaniline — and that it
could only be fixed upon vegetable fibre as such, the
many vain attempts made to fasten it upon cotton with
red liquor, alum, &c., might have been saved. Alizarine
and anthrapurpurine, however, are true colour-acids, and
are accordingly fixed by means of alumina, iron, and tin
mordants.

The properties required to constitute a good mordant
are not easy to meet with in combination. It must have
no destructive action upon the fibre. If it " tenders " the
goods, whether as being too strongly acid or alkaline, it

MORDANTS.

has to be at once laid aside. As an instance may be men-
tioned the mixtures required for converting cotton into
gun-cotton.

A mordant must not "flatten," i.e., dull or deaden, the
lustre of the fibre, but, if anything, " raise " or brighten it.

It is to be desired also that the mordant of itself should
not alter the colour of the fibre. If this is the case, if,
like iron or manganese, it darkens the goods, its use is
limited to the darker or sadder class of colours, such as
blacks, browns, olives, deep violets, bottle-greens, &c,

A mordant must combine readily both w^ith the fibre and
the colour. But this power or tendency must not be too
strong. If a colour, whether in virtue of its ow^n nature,
or by the aid of a mordant, combines too readily and
quickly with the cloth, yarn, &c., the shade produced will
be uneven ; any portion of the goods which happens to
get in a more favourable position will receive more than
its fair share, and the other parts less, so that the result
will be irregular. Further, if the combination between
mordant, fibre, and colour takes place too rapidly, the
shade dyed, even if " level," i.e., free from clouds, streaks,
or spots, will generally be loose, so as to be capable of
rubbing oflP, and wdll be either harsh or dull. If the
mordant combines more eagerly with the colour than
with the fibre, we have a lake, deposited not upon the
fibre, but at the bottom of the dye-pan, and the shade
is meagre and hungry, in spite of a great consumption
of materials. If combination is apt to be too rapid, it
is frequently needful to add some material to render it
slower, and thus insure regular work.

Mordants, with some few exceptions, must be soluble,
so that they may be in a liquid state when brought in
contact with the goods and the colour.

But they must be capable of passing into an insoluble
condition as soon as their action has taken place. Other-
wise, the colour produced w^ould be readily removed by
simple washing in water. This conversion into an in-

DYEING AND TISSUE-PRINTING.

soluble state is effected in several ways. Sometimes an
acid in which the base of the mordant is dissolved is
suffered to escape. Thus, if cottons are mordanted with
red liquor (acetate of alumina), and exposed to certain
conditions of heat and moisture (see Ageing), the acetic
acid escapes, and the alumina remains in an insoluble
state upon the fibre.

Sometimes the mordant is decomposed by mere con-
tact with the fibre, the acid remaining in solution, while
the base or a subsalt becomes attached to the cotton, wool,
&c. This is a very common result when cloth or yarn is
worked in a dilute solution of tin crystals, or nitrate of
iron, &c. It is here necessary that the acid must not be so
concentrated, or so great in quantity as to dissolve the base
off the fibre.

Another case is when a mordant and a colour, each of
them soluble if taken singly, become insoluble in combi-
nation. Lastly, a mordant may be rendered insoluble upon
the fibre by subsequent treatment with some suitable
chemical agent. Thus, if cotton yarn has been worked in
the aluminate of soda, and is then passed into a solution of
sal-ammoniac (muriate of ammonia or chloride of am-
monium), the alumina is left upon the fibre in an insoluble
state. Similarly, if cottons or delaines are prepared for
printing in the steam style by treatment in stannate of
soda, and are then passed into weak sulphuric acid, the
soda combines with the sulphuric acid, and is removed,
whilst stannic acid, i,e., peroxide of tin, remains upon the
fibre.

Hence it will be seen that any substance which is to act
as a mordant must not be very stable in its nature, but
must admit of ready decomposition. The acid and the base
must be held together by a very feeble affinity, and must
be nicely balanced. If there is too much acid, the mordant
may have little or no action, except in destroying the cloth.
Such mordants are said to be too ^'raw." If the acid has
been made to take up too much base, the mordant is said

MOKDANTS.

to be too " dead," or to be " over-killed." It works un-
evenly, and the colours will be loose and dull.

The best-made mordants, if kept too long, or if mixed
with a large quantity of water, especially hot, undergo
spontaneous decomposition, of a very similar nature to that
which happens when they are brought in contact with or-
ganic fibres. As a rule, all mordants should be preserved
at a uniform temperature, and be protected from the action
of light.

Mordants for use in wool-dyeing and printing may be
more decidedly acid than those employed in cotton- dyeing.
The vegetable fibres, indeed, may be successfully mordanted
with alkaline preparations, the uses of which for wool and
silk are very limited.

We will now enter upon ,a description of the various
mordants in practical use.

1. Alum Mordants,

Of these compounds the best known and oldest is com-
mon alum, which exists under two distinct forms, potash-
alum and ammonia-alum. The former of these is a double
sulphate of alumina and potash, containing 10 per cent, of
alumina, 83 per cent, of sulphuric acid, and 45 per cent, of
water. Three-fourths of the water is driven ofi" at the
heat of 140° F. One part of alum, at 54° F., dissolves in
thirteen times its weight of water, in twice its weight at
122° F., and at 189° F. in less than one-tenth of its own
weight.

Ammonia alum is a little stronger than potash alum,
containing Hi- per cent, of alumina, 35 per cent, of sulphuric
acid, and 49 per cent, of water. It has also the advantage of
being rather more easily soluble in water. Ammonia
alum may be distinguished from potash alum by the smell
of ammonia which it gives oW if heated with a little caustic
soda-lye. Which of these two kinds of alum is most com-

DYEING AND TISSUE- PRINTING.

mon in tlie market depends on the respective prices of sul-
phate of potash and sulphate of ammonia. Whichever
kind is used it should be absolutely free from iron, exceed-
ingly small proportions of which may cause serious injury.
To detect iron a concentrated solution of the example is
mixed with a few drops of a solution of tannin, or with a
small quantity of a mixed solution of the red and yellow
prussiates of potash (ferricyanide and ferrocyanide of po-
tassium), as was directed for the detection of iron in water.
If iron is present, the addition of tannin will produce a
black colouration, and that of the prussiates an imme-
diate blue precipitate or colouration. On standing for an
hour or more, a blue tinge will be produced even with pure
alum. Another method is to add to the saturated solution
of the alum, a couple of drops of pure nitric acid, boil to
convert the iron into the state of a peroxide salt, and expel
the residue of nitric acid from the liquid and add a drop or
two of a solution of sulphocyanide of potassium. If a red
colour is produced, iron is present, and the sample should
be rejected.

Some examples of alum have a reddish or rusty colour
in the lump, from the presence of insoluble peroxide of iron.
Such samples are perfectly safe if none of the iron is in a
soluble state, which should in such cases be ascertained by
testing a portion of the filtered solution.

Alum does not very readily part with its alumina, ex-
cept at a boil. Hence it is much more used for wool than
for cotton dyeing. It is made more available for cotton
dyeing, &c., by conversion into what is called hasic alum.
To a solution of either potash or ammonia alum there is
carefully added a solution of carbonate of soda so long as
the precipitate formed is re-dissolved on stirring. In this
manner a portion of the sulphuric acid is neutralized, and the
alumina, held less firmly in solution, is much more readily
deposited on the fibre. Such solutions of basic alum are
generally prepared when wanted.

Alum is generally met with in large crystalline masses ;

MOKDANTS.

that sold in the state of powder is not to be recommended,
since it may be mixed with common salt, salt cake, &c.,
which not only reduce its strength, but tend to introduce
iron.

Sulphate of alumina (patent alum, cake alum, concen-
trated alum, and sometimes even known as consecrated alum)
consists merely of sulphuric acid and alumina without any
sulphate of potash or of ammonia. It contains 15 per
cent, of alumina and 35 per cent, of sulphuric acid, and dis-
solves in twice its weight of water. Being thus both
stronger and moro soluble than common alum, it is in so
far preferable. Eut it has the disadvantage of not being
like common alum, a definite crystalline compound. Some
samples of it contain more sulphuric acid than others, a
point in which common alum can never vary. Hence
dyers have till lately looked upon it with no small sus-
picion. But as it is now manufactured of greater purity
and regular composition, it is making its way in the trade.
In any case it is of little immediate use in cotton -dyeing
and printing, though it is serviceable in forming other mor-
dants by double decomposition.

The most important of the aluminous mordants for the
cotton-dyer and tissue-printer is the acetate of alumina,
known also as pyrolignite of alumina, red mordant, and
especially as red liquor. This compound is always pre-
pared, sold, and used as a liquid, of a yellowish colour, a
sweetish astringent taste, a tarry smell, and a specific gra-
vity which varies greatly, ranging commonly from 8° to
24° of Twaddell's scale.

This mordant may be prepared by dissolving hydrate of
alumina in acetic acid of a high degree of concentration.
More generally red liquor is made by double decomposition,
and as it does not improve by keeping, it is very frequently
prepared by consumers.

A solution is made of alum, or of sulphate of alumina — in
either case free from iron — and it is decomposed by the
addition of a solution either of acetate of lime or acetate

DYEING AND TISSUE-PEINTING.

of lead (sugar of lead). Tlie proportions employed vary
indefinitely according to the particular purpose in view,
and the best results are not obtained by adding the ingre-
dients in strict equivalent proportions. It seems advan-
tageous that a little of the alnm or sulphate of alumina
employed should remain undecomposed. An excess of the
acetate of lime or lead is rarely recommended. Not nn-
frequently a certain proportion of crystals of soda or of
chalk are added, so as to produce in part a basic com-
pound. Other ingredients are sometimes added, which can
have little effect beyond raising the specific gravity of the
liquid, such as common salt.

Many receipts for the preparation of red liqnors for dif-
ferent purposes will be found among the directions for
dyeing and printing. The following are given by D.
Koechlin : —

Water (gallons.)
Alum (ibs.)
Sugar of lead (lbs.)
Soda crystals (lbs.)

No. 1.

No. 2.

No. 3.

No. 4.

100

200

190

100

129

200

190

The way of mixing is as follows : the alum is broken up
and dissolved in the water at 140° F., the soda crystals are
next added and stirred till dissolved, and the sugar of lead
is then added in a coarse powder and stirred for a long
time, repeating the stirring from time to time during two
or three days. Of these mordants Nos. 1 and 2 are for
calico, jN'o. 1 being less suitable for gum colours than
No. 2. JSTos. 3 and 4 are suitable for muslin.

The two following red liquors are made from acetate of
lime : —

Acetate of lime, at 24° Tvv. . 50 . 90 galls.
Alum . , . . 200 . —lbs.
Sulphate of alumina . . — . 272 lbs.
Ground chalk ... 12 . 34 lbs.

MORDANTS.

To prepare these liquors the acetate of lime is first
heated to 140° F., the alum or sulphate of alumina is then
added and stirred till dissolved, and the chalk is added by
degrees. The mixture is well stirred till nearly cold, let
settle, the clear liquid decanted off, and the sediment
drained on a woollen filter.

The first of these mixtures gives the deepest red in
madder work, and the second is for mixing with black
liquor to produce chocolates.

For a " resist " red liquor take —

Water . . . . . 1 gallon.

Alum ..... 5 lbs.

Sugar of lead .... 2i. lbs.
Crystals of soda . . . . lb.

Dissolve the alum and the soda crystals in one portion
of the water and the sugar of lead in the other. When
dissolved mix, let settle, and draw off the clear.

Muriate of alumina, or chloride of aluminium, is made by
dissolving the hydrate of alumina in muriatic acid. It is
of little use in practical dyeing or printing. Nitrate of
alumina is sometimes used in printing the alizarine colours,
which see for its preparation. It is very soluble, delique-
scent, and dries up to a gummy mass.

Hyposulphite of alumina has been recommended as a
substitute for red liquor, but has not been found to offer
any practical advantage, and has never come into general
use. It is made by dissolving 9 lbs. 1|^ oz. sulphate of
alumina, and 10 lbs. 10 ozs. of hyposulphite of lime in water
separately, mixing the solutions, letting settle, or filtering
through thick flannel and using the clear liquid. Aluminate
of soda, otherwise known as aTkaline jpinh mordant^ is a com-
pound capable of wider applications than it has yet received.
It has beenfound capable of producing in dyeing every effect
which can be obtained from alum, and in addition certain
others which alum does not yield. It was formerly made

DYEING AND TISSUE-PRINTING.

in an impure state by adding caustic soda-lje to a solu-
tion of sulphate of alumina or of alum, till the precipitate
which appears at first is just redissolved. ' It may now be
bought in a solid and tolerably pure state, containing about
50 per cent, of alumina. It dissolves readily in water, but
should be kept as much as possible from contact with the
air. It is used by printers as a mordant for pinks, the cloth
being afterwards run through a solution of sal-ammoniac,
which fixes the alumina on the fibre.

Antimony Mordants,

The double tartrate of antimony and potash, commonly
known as tartar emetic, is used to some extent in fixing the
aniline colours in conjunction with tannin. Its price and
its evil reputation as a poison are difficulties in the way of
its more extended use.

A cheaper compound lately used in dyeing is the
oxy muriate " (not oxychloride), or muriate of antimonic
oxide, made by dissolving the black sulphuret of antimony
in strong boiling muriatic acid. It gives bad results if, as
is frequently the case, it is contaminated with iron.

The behaviour of antimony with colouring matters has
not yet been sufficiently studied.

Arsenical Mordants,

Arsenic in many cases plays the part of an alterant
rather than of a mordant. Its use in certain dung sub-
stitutes is referred to elsewhere. Arsenite of soda, along
with red liquor, is very frequently used in printing aniline
colours upon cotton. The result of the reaction is the
production of an insoluble arsenite of alumina which at-
taches itself to the fibre, and in which the colouring matter
is entangled.

MOKDANTS.

White arsenic (arsenious acid) dissolved in glycerine is
sometimes used in dyeing and printing.

Arseniate of soda is also used as a " prepare " along with
the stannate of soda, for goods to be printed in steam
styles.

The use of arsenical compounds, both in the manufac-
ture and application of colours, is much objected to, and
in the German Empire is legally prohibited.

Bismuth, as a mordant, seems never to have got beyond
the mere experimental stage, and the results obtained have
not given general satisfaction.

Chromium Mordants,

Chromium yields two distinct classes of mordants, both
of extensive use. In the state of chromic acid, combined
with potash or with soda, it plays a very important part
along with the woods in dyeing blacks, browns, bottle-
greens, olives, and a variety of " sad " colours. There are
two chromates of potash, the bichromate, red chromate,
bichrome, and sometimes merely chrome, being the most
generally employed.

The neutral, yellow chromate, monochromate or yellow
chrome (not to be confounded with chrome yellow, which
is a chromate of lead, and insoluble in water) has for some
reason unknown been neglected in Britain, though in con-
siderable use on the Continent. It may be made for use
as wanted by dissolving 151 parts of the red chromate of
potash along with 143 parts of clear soda crystals, not
effloresced. Its action is milder and more easily regulated
than that of the red chromate.

The sesquioxide of chromium dissolved in acids is also
coming into use as a mordant, especially in the state of
aceto-nitrate of chrome, the preparation of which is de-
scribed elsewhere. The simple acetate of chrome is also

DYEIXG AND TISSUE-PRINTING.

used, and double tartrate of chrome and potash, some-
times known as the ehromo-tartrate of potash.

Chrome-alum, a double sulphate of chromic oxide and of
potash, is also employed, though chiefly in woollen dyeing.
It is a residual product in the manufacture of artificial aliza-
rine. Chrome alum, it must be remembered, contains no alu-
mina and no chromic acid, and cannot be produced, as some
dyers imagine, by mixing bichromate of potash and alum.

Copper Mordants,

Acetate of copper, commonly known as verdigris, is met
with of different kinds, the principal of which are the blue
and the green. Both these compounds aro, or were
chiefly imported from the South of France. Verdigris,
however, is very commonly made in the liquid state by a
process very similar to the preparation of red liquor. In,
e.g,^ a gallon of water at about 160*^ F., 4 lbs. blue-stone
and 4 lbs. sugar of lead are dissolved with frequent
stirring. When this is completed the liquid is left to
settle and the clear is decanted off for use.

Verdigris is used in printing and dyeing blacks on
silks, and on hats ; in logwood blues on woollens ; in
catechu colours, where it acts as an oxidizing agent, in
" resists" for dip blues, and in certain steam colours.

Ammoniacal copper is made by dissolving the sulphate
or nitrate of copper in water and adding ammonia till the
pale blue-green precipitate first formed re-dissolves to a
rich violet-coloured liquid, which can only be preserved for
any length of time in closed vessels. Cotton padded in
the dilute liquid takes a pale green.

Muriate of copper (chloride of copper) is made by mix-
ing solutions of chloride of calcium (muriate of lime) and
sulphate of copper, and drawing off the clear liquid. It is
less commonly used in Britain than on the Continent.

MORDANTS.

With us the same eflfects are produced by means of a
mixture of nitrate of copper and sal-ammoniac.

Nitrate of copper is generally met with as a deep blue
liquid, marking from 80^ to 100^ Tw. It may be produced
by double decomposition of sulphate of copper and nitrate
of lead, or by dissolving scrap copper in nitric acid. It is
generally sold by wor.kers in metals who use nitric acid in
cleansing articles of copper, brass, bronze, &c., and who
dispose of the resulting solution as a waste product, some-
times polluted with zinc, iron, lead, &c.

It may be tested as follows : — Add ammonia in large
excess ; if anything remains undissolved it will probably
be either lead or iron. If a portion of the nitrate of copper
is mixed with a little pure muriatic acid and a current of
sulphuretted hydrogen passed through it, the whole of the
fixed matter except zinc and iron will be precipitated. If
on filtering the mixture and evaporating the clear liquid
to dryness anything remains, it will probably be one of
these two metals.

Sulphate of copper, otherwise known as blue-stone (not
stone blue), blue vitriol, Roman vitriol, Cyprus vitriol,
and, when contaminated with varying proportions of the
sulphate of iron, as Admont vitriol, Salzburg vitriol, Bai-
reuth vitriol, &c., is now made direct from the ore. It
forms blue hard crystals which contain 32 per cent, of
oxide of copper, lose their crystalline water if heated for
\ some time to a little above 212^ F., and fall to a white
! powder. Blue-stone dissolves in three times its weight
j| of cold water, and in half its weight of boiling water.
Ij The principal impurity met with in blue-stone is copperas,
: sulphate of iron. For its detection a little of a solution of
j the sample is boiled with a few drops of nitric acid, and
I then mixed with a large excess of ammonia. The copper
dissolves to a deep violet-blue liquid, whilst the iron, if
, any, floats about in reddish-brown flakes.

Blue-stone is used in woollen dyeing, and in '^resists" for
dip-blues.

DYEING AND TISSUE-PRINTING.

The compounds of copper liave an oxidizing action.
They take np oxjgen from the air and hand it over to any
organic matter with which they are in contact. This is
the principle of the action of blue-stone, or preferably of
the sulphuret of copper in printing and dyeing aniline
blacks. Hence, too, they act in many cases as colour-
destroyers. Where copper is not ^specially required it
should be carefully avoided. A little of a salt of copper
put in the indigo-vat gradually oxidizes the reduced
(white) indigo present, converts it into the ordinary blue,
insoluble state, and of course renders it incapable of dyeing.
The same principle explains the action of salts of copper in
''resists " in indigo-blue styles.

Iron Mordants.

The compounds of iron play a very important part in
dyeing and printing processes^ chiefly for the production of
the darker and sadder shades — blacks, browns, olives,
chocolates, curtain blues and violets, &c. They are much
better applicable to cotton and silk than to wool.

The iron compound most commonly nsed in printing is
the acetate or pyrolignite, known more generally as black
liquor, iron-liquor, or sometimes confusingly as black-
iron.

Black liquor as commonly met w^ith in commerce has a
specific gravity ranging from 18^ Tw. to 28*^ Tw. It has
an olive-colour, a peculiar tar-like smell, and an inky taste.
It is sometimes made by mixing together solutions of the
acetate of lime, or of brown sugar of lead, and of copperas,
and after letting the mixture stand to settle, drawing off
the clear for use.

More frequently crude acetic acid is allowed to stand
npon scrap-iron in large casks or tanks, and is successively
run from one such tank into another, till it has dissolved
all the iron that it is capable of taking up. Purified acetic

MORDANTS. ^'^^y^

acid does not yield as serviceable a black liqm hat
which contains a certain proportion of tarry inipuri^|s/J "p \^

Solutions of arsenious acid are sometimes recommei
as a useful addition. It will be remembered that the iron
in black liquor is in the state of protoxide (ferrous oxide);
a peracetate of iron (ferric acetate) has been proposed, but
has not come into practical use.

Black iron is used in madder (alizarine) work to produce
colours ranging from purple to black. Mixed with red
liquor in various proportions it yields also with alizarine,
shades of chocolate, &c. Black liquor is also extensively
used with other dye wares.

The hyposulphite of iron and the pyrophosphate of iron
dissolved in ammonia, have both been warmly recom-
mended by eminent men as substitutes for black liquor.
The pyrophosphate is said especially to yield alizarine
purples and lilacs of remarkable beauty and purity. Bat
they have not been generally adopted.

Copperas, green vitriol, green copperas, protosulphate of
iron or ferrous sulphate, is made on a vast s*cale from the
soft white pyrites known as " brass lumps," and found in
the coal deposits. It occurs in the form of pale greenish-
blue crystals, containing 25 per cent, of protoxide of iroD,
and 45 per cent, of water. If carefully heated the water
escapes and a white powder remains. It dissolves in one
and a half times its weight of cold water, and in one third
part of boiling water. On exposuj:e to damp air it turns
rusty, i.e., becomes coated with a brown layer of a basic
salt of the peroxide of iron (ferric oxide). It undergoes
this change the more readily the more free it is from any
excess of acid. As a dead, i, e., neutral, copperas is pre-
ferred by many consumers, dealers have the habit of dust-
ing the heaps over with lime, or sprinkling with stale
urine, which give this appearance at the cost of introducing
impurities.

Copperas should be chosen dry, hard, and clean, and of
a decided green colour. If it is pasty to the touch, and of

DYEING AND TISSUE-PRINTING.

a dull greyish or whitish green, known in the trade as
milky, it is probably contaminated with sulphate of alu-
mina. This impurity is often present if bad pyrites have
been used, or if the copperas has been crystallized from too
strong a solution.

Copperas in its original state is now less nsed in dyeing
than was formerly the case. But it serves for the manu-
facture of so-called nitrate (nitro-sulphate) of iron, and in
the preparation of black liquor.

Dried copperas, i.e., the white powder above mentioned,
is sometimes nsed by dyers nnder the name calcined cop-
peras. If it has been heated strongly enough to expel,
not merely the water, but the sulphuric acid, nothing re-
mains but peroxide of iron (ferri-" oxide) as an insoluble
water, which has no more action than so much sand.

A persulphate of iron (ferric sulphate) or red sulphate
is sometimes employed. It is generally made by adding to
a solution of copperas half as mnch sulphuric acid as it
already contains, 18 per cent, oil of vitriol, and heat-
ing the mixture, adding from time to time small quantities
of nitric acid to peroxidize the iron.

It forms a pale yellow solution.

Muriate of iron (hydrous protochloride of iron or fer-
rous chloride) may be made by allowing common muriatic
acid to dissolve as much scrap-iron as it will take up. The
clear liquid is run into carboys, which should be well
stoppered, as on exposure to the air it absorbs oxygen and
suffers decomposition. It is generally met with as a pale
greenish-yellow liquid, marking about 80° Tw. By evapo-
ration it may be obtained in the state of greenish crystals.

A permuriate of iron (nitro-muriate, oxy-muriate, or
ferric chloride) may be made by dissolving hydrated per-
oxide of iron in muriatic acid, or by dissolving scrap-iron
in a mixture of nitric and muriatic acids. This compound
is of little use.

Nitrate of iron is a name given to a group or class of
compounds, differing in their uses and in their composition.

MORDANTS.

We have nitrates of iron, properly so called, made by dis-
solving scrap iron in nitric acid. In these no other acid is
present, and the iron is all in the state of ferric oxide (per-
oxide). The liquid obtained is of a bright red colour if
diluted, audit is chiefly used for prussian blues upon silks
and cotton yarns.

By far the greater part of the nitrate now used is a mix-
ture of the true nitrate and of the persulphate in very
variable proportions. Sometimes the iron present is en-
tirely in the state of peroxide (ferric oxide), but in other
cases a portion still remains in the state of protoxide
(ferrous oxide).

-The purposes for which nitrate of iron are used are ex-
ceedingly various, and differences of quality are required
accordingly. Thus we have so-called " black- irons " (not
to be confounded with black liquor). These black irons
are used, as the name shows, for dyeing blacks on silks
and cottons, in conjunction with logwood or with the
astringents, such as sumac, myrobalans, divi-divi, &c. An
excellent quality may be made by the following process : —
About i ton of copperas, dry and clean, and consisting
neither of large blocks nor of small powder, is put in a.
sound, roomy cask. Upon it are poured 120 lbs. weight
of so-called double aquafortis at 64^ Tw., and the whole-
is well stirred up, so that no part of the copperas may
escape contact with the acid. Torrents of nitrous fumes
are given off, and should be carefully avoided. Hence the
cask is best placed in a shed with open sides, or under a
draught-hood, connected with the chimney-stack. If the
operation has been begun in the morning, the mixture

i| must be stirred again at night. The stirring is a matter
of some nicety. Quick, sweeping, circular movements

I should be avoided. The workman should try to turn
every part of the copperas over with the end of his pole,

, spreading it out where it lies thickest, and working as if
he were feeling or groping for some lost article. The
next morning, the next night, and the third morning the

DYEING AND TISSUE-PRINTING.

stirring is repeated, and by tlie third evening tlie process
will be completed, and the copperas will be entirely taken
np, or at most a few pounds may remain undissolved.
Water is then run into the cask, and the whole stirred up,
till the product marks 50*^ Tw., if for dyeing, or 80^ Tw. if
for printing. The liquid should be clear and bright, free
from cloudiness, and of a deep brownish-red colour. A
small proportion of the iron will exist in the state of proto-
sulphate if any copperas has escaped the action of the acid
and has merely been dissolved as such by the water added
at the close of the process. The presence of this small
proportion of a protosalt is not a disadvantage. A pure
persalt of iron with the astringents is apt to produce a
black verging too much npon a brown. The protosalts of
iron give a more blueish black, so thus a mixture of the
two gives a true jet tone.

In "black irons'' the presence of any excess of acid
shonld be carefully avoided, as it gives the shades produced
an undesirable reddish tone, and over tenders the goods.
This is especially the case in warp-printing, as the yarns
are rarely rinsed immediately after printing, and if the
nitrate of iron is not thoroughly " dead " they may not be
able to bear weaving.

If the nitric acid has been overloaded with iron, " over-
killed," mischief of a different kind ensues. Oxide of iron
is apt to be deposited on the fibre in irregular patches,
without being properly combined with the astringent
matter, thus producing rusty stains and streaks — a result
particularly to be dreaded in piece-dyeing. For blacks, as
a general rule, a nitro-sulphate made from copperas, such
as the above, is preferable to a true nitrate of iron made
from scrap iron.

To lessen the danger of " tendering " the fibre, brown
sugar of lead is sometimes added to black iron in very
various proportions, but not exceeding 90 lbs. for 138 lbs.
of the copperas which, has been used. Double decomposi-
tion ensues ; the sulphuric acid present combines with its

MORDANTS.

equivalent of the lead, forming a white precipitate of sul-
phate of lead, and the acetic acid combines with the oxide
of iron in its stead. When this expedient is used the sul-
phuric acid is not only much reduced but no free nitric
acid is likely to be present. The only objection to such
aceto-nitrates of iron is the increased cost.

Burling iron is a variety of nitrate of iron for blacks for
the following purpose. Wool very often contains small
fragments of vegetable matter which do not get removed
in the process of the manufacture of cloth. If such cloths
are dyed in the piece they consequently appear speckled,
as the dyes intended for the wool do not " take upon
these portions of vegetable tissue, and hence greyish spots
remain, particularly unsightly in black cloths. If these
spots are numerous, the entire piece is often submitted to
a complete process of cotton-dyeing with nitrate of iron
and myrobalans, &c. The margin between a too " sharp "
and a too dead condition of the nitrate of iron used is here
very narrow. The aceto-nitrate of iron is here generally
found the safest.

So-called " common " or " saddening " irons are used for
saddening, i.e,, darkening certain mixed colours, such as
olives, drabs, browns, (fee. These nitrates of iron may be
*' sharper" than the black irons, since the oxide of iron
must be deposited slowly and very permanently upon the
fibre, as a subsequent treatment with alum, tin spirits, (fee,
is often needful, the action of which would discharge a
loose colour.

The process given above for a black iron, if slightly
modified, gives a good saddening iron for most shades.
The proportion of nitric acid for 5 cwt. copperas is raised
from 120 to 130 or 135 lbs. If any copperas is left
unacted upon, it is not dissolved by the addition of
water, but the clear liquid is drawn off into a separate
cask, and is then let down with water to the strength
required.

For drabs a different mixture is preferred. Double

DYEING AND TISSUE-PRINTING.

aquafortis is let down "with water to about 34° Tw., and
100 lbs. of it is put in a large earthenware pan. In it 4 lbs.
of clean iron clippings are dissolved, and then copperas is
gradually added as long as it is taken up. The usual quan-
tity dissolved by the above weight of acid is about ^ cwt.
When the action is over it is let down with water to
60° Tw.

The last class of nitrate of iron are the so-called blue-
irons ; — those used for dyeing prussian blues upon cotton
and silk with the yellow and red prussiates of potash
(ferro- and ferri-cyanides). Prussian blues are now so very
largely superseded by the coal-tar blues, that these blue
irons are now of much less importance than was the case
twenty years ago.

For cotton yarns and cotton piece goods, the receipt first
given for a black iron will prove satisfactory if the nitric
acid for i ton of copperas is increased to 130 lbs. Blue
irons may be sharper than black irons, since any free acid
that may be present is neutralized by the alkali of the
prussiates, and because the blue colour to be produced is
not, like blacks, injured by the presence of acids.

For pale blues upon silks, or for blues which have to be
converted into greens, many dyers prefer a blue iron made
from the metal in the following manner : —

Double aquafortis (64° Tw.) is let down with water to
half- strength. A quantity of this is put in a stoneware
bowl, and clippings of clean sheet iron are added so long
as they dissolve rapidly with the escape of reddish va-
pours. The finished product should stand at about 43° or
44° Tw.

If iron is still added after the escape of orange vapours
has ceased, the product will be mainly a yellowish mud, of
no use in dyeing.

Iron filings or turnings, and rusty or greasy iron must
not be used.

For deeper and richer shades of blue, either of the two
following blue-irons may be taken.

MORDANTS.

a. Nitrate of soda, refined . , 24 lbs.

Oil of vitriol .... 20 lbs.

Water . . • • . 15 gallons.
Scrap iron as required.

h. Mtrate of soda . . , 16 lbs.
Oil of vitriol .... 20 lbs.
Cold water .... 13 gallons.

Scrap iron as required.

In either case the nitrate of soda is first dissolved in the
water, and the oil of vitriol and the iron are added hj de-
grees. A brisk action must be kept up, but the heat should
not be let become excessive. These preparations should
not be made in very large quantities at a time, as they do
not keep well. The nitrate of soda used should be free
from common salt (chloride of sodium).

In dyeing a blue on the cotton warps of mixed piece-
goods, no nitrate of iron made from copperas should be
used, as it somewhat stains the worsted, which, as is now
almost invariably the case, will have been dyed with an
aniline blue.

In all cases the addition of mu.riatic acid or of any
muriate (chloride) must be avoided in nitrates of iron for
dyeing black, blue, &c., on the cotton warps of mixed
piece-goods. Such admixtures invariably stain and dull
the woollen or worsted.

As regards ascertaining the quality of a sample of nitrate
of iron, analytical methods are only of subordinate value,
since they throw no light on the purity, brightness, fast-
ness, and evenness of the shades that will be produced. If
it is required to find the relative acidity of two samples,
they are brought to the same specific gravity by adding
water to the stronger, and noting the quantity required.
A half-ounce measure of each is taken, and into each is
run from a burette a normal solution of soda, stirring con-
,ytinually, till the liquid is rendered perfectly neatral to test-

DYEING AND TISSUE-PRINTING.

paper. The number of degrees of soda consumed in each
case gives the relative acidity.

If it is desired to ascertain whether any of the iron pre-
sent in a sample is in the state of protoxide, or if the whole
has been converted into peroxide, a solution of carbonate of
soda is very carefully and slowly dropped in. If any pro-
toxide is present the precipitate produced will be in part at
least greenish or olive-coloured, but if the sample is per-
fectly peroxidized it will be entirely and purely yellow. Or
a little solution of red prussiate maybe added to a portion
of the sample, much diluted with water. The appearance
of a blue precipitate shows the existence of protoxide of
iron, generally unconverted copperas.

To recognize alumina, a portion of the sample is boiled
with a mixture of nitric and muriatic acids, so as to insure
that no protoxide remains in the solution. To the clear
liquid there is then added an excess of a solution of abso-
lutely pure caustic soda, and the mixture is boiled in a
vessel of clean iron — not tinned, " galvanized," or lined
with enamel — and filtered. To the clear filtrate there is
added a solution of sal-ammoniac. If any sulphate or other
salt of alumina is present, a white precipitate will appear.
Alumina in any soluble form is a very objectionable im-
purity in nitrate of iron. It reddens blacks, and weakens
blue shades.

It is sometimes useful to know how a given sample of
nitrate of iron has been got up. If a portion is diluted
with water, mixed with pure hydrochloric acid, and tested
with chloride of barium in the usual manner, the absence
of a plentiful white precipitate shows that the sample has
been made, not from copperas, but from metallic iron and
aquafortis. A slight white precipitate or turbidity may,
however, be expected in such cases, since the aquafortis
is rarely absolutely free from traces of sulphuric acid.

To ascertain if nitrate of soda, sulphate of soda, or
common salt is present, add to a small quantity a decided
excess of the hydrosulphate of ammonia. All the iron and

MOEDANTS.

alumina, if any is presenh, will be precipitated. The solu-
tion is filtered, the clear liquid evaporated to dryness, and
the residue heated to redness in a clean iron spoon. If
anything remains, some salt of soda or potash has found
its way into the sample.

To detect muriatic acid or soluble chlorides (muriates)
dilute a portion with pure water, add a little pure nitric
acid, and test with nitrate of silver. If a white, curdy
precipitate appears, one of the above-mentioned bodies is
present. If the last experiment showed the presence of a
fixed alkaline salt, common salt or impure nitrate of soda
has been introduced. If there is no such fixed body, the
impurity is muriatic acid.

The practical value of different samples of nitrate of
iron is best judged by dyeing with them upon a small
scale. Equal weights of clean white cotton yarn, or
swatches of white calico, are let steep for some fixed
time in a decoction of logwood, sumac, &c., taken out,
and allowed to drain. They are then immersed in the
different samples of nitrate of iron to be compared, which
must be diluted to some fixed and uniform strength, say
4^ Tw. After steeping for about a quarter of an hour,
the yarns or swatches of cloth are taken out, rinsed
through cold water, dried, and examined for depth and
purity of colour.

Lead Mordants,

The claim of the preparations of lead to rank as true
mordants, except in certain peculiar cases, is doubtful,
though they play an important part in various dyeing and
printing operations.

Sugar of lead, or acetate of lead, is met with in trade
in two forms, the brown and the white — the former con-
taining a variety of impurities in the shape of tarry
matters. The basic acetate of lead, called also subacetate

DYEING AND TISSUE-PRINTING.

of lead, and bj the Germans Blei-essig — i.e.^ lead vinegar —
is generally prepared when wanted, by adding to a solu-
tion of the ordinary sugar of lead a quantity of litharge
(better, of freshly precipitated oxide of lead), and letting
them stand together with occasional stirring, but avoid-
ing the access of air as much as possible. The clear
liquid is poured off, and preserved for use in stoppered
bottles.

Sugar of lead, and still more the basic acetate, have
a great power of combining with vegetable colouring
matters. If added to the decoctions of dye- wares, the sub-
acetate throws down the colours, leaving the liquid quite
clear. No useful pigments can be prepared in this manner.
The lead lakes are dull and deficient in depth, because
other matters are precipitated along with, the colouring
principles.

Sugar of lead has been used as a mordant for saffranine,
eosine, and other coal-tar colours. For this purpose, it is
open to the serious defect of becoming blackened if exposed
to the fumes of sulphuretted hydrogen. Consequently,
goods dyed or printed by this means are not permanent, if
they come in contact with common lighting gas, sewer
gases, the fumes from putrescent animal or vegetable
matter, from many chemical works, &c.

The sulpbur present in wool itself is liable to blacken
lead, especially if the goods have been treated with any
alkaline preparation. It becomes a practical question how
far this blackening tendency may be overcome by adding
to the printing colour, wherever admissible, small propor-
tions of a salt of cadmium, which has a stronger affinity for
sulphur than has lead, and forms with, it not a black, but
a yellow compound, which in certain colours would be much
less objectionable.

The affinity of lead for cotton, linen, &c., is not very
decided.

Nitrate of lead may be prepared by grinding up a good
quality of galena (native sulphuret of lead), free from iron

MORDANTS.

and copper in aquafortis at about 40° to 50"^ Tw, When
the acid is saturated the clear liquid is drawn off from the
sediment of silica and sulphur, and left to crystallize. It
may also be made from the native carbonate of lead, so-
called white-lead spar. More generally it is obtained from
litharge dissolved to saturation in nitric acid.

Its direct uses in dyeing and printing are limited. Ifc
served in fixing murexide purple, a colour which is now
abandoned.

The oxides of lead, litharge, and red lead can be dis-
solved in caustic soda, forming compounds known respec-
tively as the plumbite and plumbate of soda. They serve
for fixing chrome yellows and oranges upon vegetable fibre,
working alternately in chromate of potash and in the
plumbite or plumbate of soda.

They have been proposed as substitutes for the stannates,
for which they are utterly unfit.

Manganese Mordants,

Manganese has a very powerful affinity for animal and
vegetable fibre. If wool, cotton, &c., is steeped in tlie
solution of permanganate of potash it becomes firmly and
evenly coated with a deposit of the dark brown hydrated
peroxide of manganese. The darkness of the shade thus
produced renders these properties useless. But if the yarn
or cloth thus mordanted is passed into a concentrated solu-
tion of tin crystals, the manganese still adhering to the
fibre is reduced to the hydrated protoxide (manganous
oxide), which is white, and may then become the medium
for fixing light and bright colours upon the fibre.

The use of certain salts of manganese in the so-called
bronze styles (histre') is spoken of elsewhere.

DYEING AND TISSUE- POINTING.

Mercury Mordants,

Corrosive sublimate, the percliloride, bichloride of mer-
cury, or mercuric chloride is not now employed as a
mordant. It is not merely affected by sulphur fumes, but
is acted on by light and by the contact of organic matter.

Tin Mordants.

mordants are more important or more widely used
than those prepared from tin. We have in the first place
those containing tin in its lowest stage of oxidation, or as
a corresponding chlorine compound. Of these preparations,
the most important is the solid protochloride or muriate,
more correctly named stannous chloride, but known in the
trade as tin crystals, and sometimes tin salts. This sub-
stance is made on the large scale by dissolving granulated
tin of the best quality in muriatic acid, which should be
free from iron, arsenic, sulphuric and sulphurous acid, and
other impurities. Heat is applied to the mixture ; and
when the acid is saturated, the liquid is run off, and allowed
to crystallize. The crystals form fine needle-like particles,
white, and of a silky lustre. They attract moisture from
the air, and should therefore be kept in a dry place, and
be well covered. Tin crystals should dissolve in ten times
their weight of water, without any turbidity ; and if this
solution is mixed with a few drops of pure muriatic acid,
and with a solution of chloride of barium, no white
precipitate should appear. Such a precipitate is a proof
of the presence of sulphuric acid as such, or as a soluble
sulphate. The former impurity is generally slight, and
is due to the traces of sulphuric acid present in most
samples of commercial muriatic acid. Soluble sulphates,
i.e., those of zinc and of magnesia, may be present in
quantity, especially at times when the price of tin is high.
Tin crystals ought to contain 52 per cent, of metallic tin ;

MORDANTS.

but as many otherwise pure samples contain moisture over
and above the water of crystallization, the actual propor-
tion will rarely exceed 50 per cent.

To determine the exact quantity of tin present in a
sample, a standard solution of tin is first prepared by
weighing out exactly 500 grains of pure tin, dissolving
it in pure muriatic acid in a glass vessel, with the aid of
heat, and making the liquid up to the exact measure of
20 fluid ounces.

A standard solution of iodine is then made ready as fol-
lows : V»^eigh out 180 grains pure iodide of potassium and
127 grains of pure iodine, and dissolve them in 10,000
grain measures of cold water. This liquid is kept in small
bottles, with well-fitting stoppers.

The relative value of the solution of iodine is next found
as follows : A part of the above-mentioned tin solution,
such as will contain exactly 2 or 4 grains of metallic tin,
i.e., 40 or 80 grain measures, is placed in a beaker ; some
double tartrate of potash and soda (Rochelle salt) is added
to prevent turbidity, and bicarbonate of soda, till the solu-
tion is slightly alkaline. A little freshly prepared starch
liquor is added, and the solution of iodine is dropped in from
a burette, till a slight, but permanent, blue colour is pro-
duced in the liquid. The number of degrees of the burette
which have been taken up show what measure of the iodine
solution corresponds to 1 grain of tin.

A portion of the sample of tin crystals in question, e.g.,
5 grains, is accurately weighed out, dissolved in cold dis-
tilled water, to which a drop or two of pure muriatic acid
is then added. The Rochelle salt and the bicarbonate of
soda are then added as above directed, followed by the
starch liquid, and the standard solution of iodine is care-
fully dropped in, stirring from time to time, till the faint
permanent blue tinge appears. From the degrees of the
burette consumed it is easy to calculate how much actual
tin was present in the portion weighed off.

Tin crystals are of extensive use. They are not merely

DYEING AND TISSUE-FEINTING.

employed directly in dyeing and printing processes, but
they serve in making np compound tin mordants.

Muriates of tin differ from tin crystals merely in being
liquid, and in containing proportionately less tin and more
acid and water. They are made exactly in the same
manner; but as soon as the requisite strength is reached,
the liquid is run off and bottled, instead of being concen-
trated to the crystallizing point.

So-called single muriate is of the specific gravity 40® to
60*^ Tw., and contains about 1 to 2 ozs. tin per lb. It is
used in w^ool-dyeing, though generally in a mixture, and
under some other name.

Double muriate marks from 70® to 120® Tw., and even
upwards, and should contain from 2i- to 5i- ozs. tin per lb.
The mere specific gravity of double muriate, and, indeed,
of other tin preparations, is a very imperfect key to their
actual value : that is, if the maker starts with his muriatic
acid at 32® to 33® Tw., a smaller proportion of tin will be
needed to yield a double muriate at, say, 80® Tw., than if
he had at the outset — as is done in some establishments —
first let down his muriatic acid to 24® or 25® Tw. with water.

The muriates are liable to the same impurities as tin
crystals, and are tested in the same manner. Sulphuric
acid is often found in double muriate to a considerable
extent. This is reprehensible, as if the dyer requires sul-
phuric acid for any particular purpose in admixture with
muriate of tin, he had much better add it himself in a
known quantity.

The more concentrated qualities of double muriate are
used in cotton dyeing, and the weaker kinds in wool dye-
ing, where a larger proportion of acid is admissible.

Some writers commit the curious mistake of considering
double muriate of tin as synonymous with the bichloride,
perchloride, (fee.

These muriates of tin — all, be it remembered, stannous
salts — serve as the basis of certain compound mordants, or
"spirits as they are generally called.

MORDANTS.

The following are examples of some of the most generally
used : —

Purple, Plum, or Puce Sjnrit

Muriate of tin, 70^ Tw

Let down oil of vitriol with water till the mix-
ture marks 28*^ Tw., and when cold add .
Stir well together.

Oxalate of Tin, sometimes named Ox jPrn.'"'

A true oxalate of tin is not known in trade, but the name
is given to mixtures of muriate of tin with sulphuric acid
and oxalic acid, or oxalate of potash. A preparation of
this kind may be made from the plum spirit above men-
tioned by adding 1 oz. oxalic acid, first dissolved in hot
water, per gallon.

These preparations are exclusively used in wool dyeing.

Scarlet Sj)irlt,

For cochineal and lac scarlets upon woollen and worsted
goods the following is one of the many preparations which
have been in successful use. Some dyers apply it at once
along with the cochineal or lac, &c., whilst others first
"ground" with another preparation to be mentioned
below (bowl spirits), and merely top, raise, or finish with
the following spirit : —

Muriate of tin, at 54® Tw. . . • • 3 quarts
Oxalic acid . . . . . . -|: lb.

(Previously dissolved in hot water enough to reduce the
whole to 40® Tw.)

Here again many modifications occur in practice. Soma
dyers hold that superior work is obtained by substituting
tartraric acid for half or for the whole of the oxalic acid as
here directed. If the goods to be dyed are of a soft cha-

2 galls.
1 gall.

DYEING AND TISSUE-PRINTING.

racter, tlie strength of the murate of tin may be increased
to 60^ or 70^ Tw.

The decline of the cochineal colours renders it needless
to enter farther into this subject.

Yellow and Orange Spirit.

Double muriate of tin, at 80"^ Tw. ... 59 ozs.

Oil of vitriol 2 lbs

Water 2 lbs.

Mixed and let cool before adding to the double muriate.

So-called " claret spirits " are sometimes pure muriate
of tin at different strengths, and sometimes contain a con-
siderable proportion of sulphuric acid.

A sulphate of tin can scarcely be said to have a practical
existence. Some makers of mordants dissolve feathered
tin in a mixture of sulphuric and muriatic acid, and some
dyers maintain that with " spirits " thus prepared they can
obtain better results than if the tin were first dissolved
merely in muriatic acid and the sulphuric acid added after-
wards. Other dyers take the opposite view.

With the exception of tin crystals and of the stronger
grades of double muriate, the above-mentioned prepara-
tions of tin — all, be it remembered, consisting of the proto-
chloride — are used almost exclusively in wool dyeing.
Since the brighter and purer colours are now so largely
produced by means of the coal-tar dyes, the importance of
these " spirits " has much diminished.

The stannic compounds of tin (perchlorides, per-
muriates, oxy-muriates, nitro-muriates) are produced by a
variety of processes, which, however, may in principle be
reduced to two. The simpler and more rational of these
— much used upon the Continent — is to pass chlorine gas
into a solution of tin crystals in water till a little of the
solution, mixed with a solution of corrosive sublimate, no
longer gives a white precipitate which blackens on stand-

MORDANTS.

ing. If sufficiently concentrated it solidifies, but readily
attracts moisture if exposed to the air. This substance —
known by some dyers as " composition " — may be let down
with water to any required strength, and used either alone
as a per-muriate or oxy-muriate, or may be mixed as de-
sirable with a solution of tin crystals. This method of
preparation by means of chlorine is always successful, and
never involves loss of the materials.

The process for making per-muriate of tin, which has
been generally adopted in England, requires the use of
aquafortis, i.e., nitric acid at about 64° — 65° Tw. Either —

(a) Tin crystals are dissolved in more or less muriatic
acid, heat applied, and nitric acid added from time to time
in small portions till the protochloride is entirely converted
into perchloride, as shown by the corrosive sublimate test ;
or —

(h) Metallic tin is dissolved in a mixture of nitric and
muriatic acids in diflPerent proportions. This is a process
which requires some judgment and experience to perform
rightly. If the chemical action of the acids upon the metal
is not sufficiently brisk, a part of the tin, more or less, may
remain in the state of protochloride (ordinary muriate),
and consequently two successive lots, made with the same
weights of the same materials, may give different tones of
colour with one and the same dye-ware.

If the action is too brisk and the temperature rises too
high, the result is "firing," the tin instead of dissolving
being thrown down to the bottom of the vessel in an in-
soluble state.

Even if this extreme condition is not reached, still, if the
temperature has been a little too high, the spirit produced
may be practically without value. It may contain, on
analysis, the correct percentage of tin, and in relative
acidity, specific gravity, colour, &c., it may agree with a
good sample, yet instead of becoming deposited on the fibre
evenly and plentifully, it may refuse to attach itself.
Goods mordanted with such a spirit never dye up an

DYEING AND TISSUE-PRINTING.

even, well-nourished shade, but come up meagre and irre-
gular.

Where nitric acid is used it is rarely, if ever, entirely-
expelled, and exerts, doubtless, an influence which may in
some cases be beneficial.

Mordants of the perchloride of tin, however prepared,
are used principally in cotton and silk-dyeing, their appli-
cations in woollen dyeing being much less numerous.

Formulas for preparing some of the principal of these
spirits are here given : —

Crimson Cotton Spirits,

Muriatic acid, at 33^ Tw 7 galls.

Aquafortis, at 64^ Tw. . . . . 1
Water ....... 1 ,,

Put the liquids in a stoneware, jar-shaped pan with
upright sides, rather narrower at bottom than at top.
Pour in the water first, then the muriatic acid, and lastly
the nitric acid — an arrangement which facilitates perfect
mixture. Stir well with a glass or stoneware rod, and let
stand for about ten minutes.

Meantime weigh out 6 lbs. of grain-bar tin, which is not
to be feathered or granulated as in making tin crystals or
double muriate. Put in about six rods in an upright posi-
tion, arranging them at equal distances round the sides of
the vessel. As these dissolve the remainder of the rods
must be gradually added. If the w^eather is hot the num-
ber of rods entered at first may be reduced to four or five,
whilst in winter as many as eight or nine can be put in at
once.

N"o artificial heat must be applied, and the liquid must,
never be stirred whilst working. If, however, the action
grows too strong, one or more rods may be quietly with-
drawn and returned when the heat has somewhat subsided.
This is not difiicult, as with the proportions above given

MORDx\NTS.

tlie ends of the rods will project a little above the surface
of the liquid.

If working rightly, the surface of the liquid will show a
very slight creamy froth, but if large bubbles form and
throw off orange-coloured fumes, the heat is too great and
" firing " is at hand. The process lasts from eight to ten
hours, according to the weather. When complete the liquid
should be clear, without any sediment, and of a very pale
straw colour. If it is perfectly colourless, then, except
absolutely pure muriatic acid has been used — which is
commercially impracticable — a portion of the tin is still in
the state of a protochloride. On standing for a day or two
the straw colour appears, beginning at the surface.

As a means of regulating the action according to the
temperature the water may be reduced in quantity, and in
very severe weather may be omitted altogether. In such
cases the usual proportion of water is added to the finished
product, so that the strength may be unaltered.

This mordant is used for dyeing wood reds, crimsons,
&c., on the cotton warps of mixed goods, and serves for a
great variety of colours upon cotton yarns.

No* 2. — Tied Cotton Spirits.

Muriatic acid, 32° Tw. . . . . G griYlr^,
Aquafortis, 64° Tw. . , . . . 1
Water ....... 1

Tin . . 6 lbs.

Dissolve as above.

Recommended for brown and claret warps of mixed piece-
^oods.

i No, 3,— Bed Cotton Spirit.

Muriatic acid, 32° Tw 6 galls.

Aquafortis, 64° Tw 2 „

10 lbs.

QQ DTEING AND TISSUE-PRINTING.

G«,.t ere is here req.ired « averting '» P^f^^'™,?;

''^Ast drawback there is an increase of cost.

j/b. 4,.— Bed Cotton Spirit.
Muriatic acid, 35^ Tw. . • • • ^'^ ^'

^\t°So!itu:bri„g ,p the specific gr.,\t, t. 54" iv.
When the, tin is dissolved, add 1 oz. bichromate of

potash..

JBanuood Spirit.

^5 galls.

Muriatic acid, 32^ Iw. . • • ' ^

Aquafortis, 64^ Tw. . / ' . \ k ^L
Tin 1 oz. per lb. of tlie mixed, or about 5 lbs.

Dissolve as above. This spirit is used in dyeing bar-

wood reds.

Pltm Spirit.

Muriatic acid 32° Tw. . . • • • ^
Aquafortis 64° Tw. . * f «. lbs '

Tin li: oz. per lb. of the mixed acids, or about 8^ lbs.

Solution" is a name given in certain districts to pre-
parations much resembling the red cotton sp.nts, and used
for similar purposes.

Solution No. 1.

Muriatic acid, 32° Tw J, f^^

Aquafortis, 64° Tw '

Water • • ^ n,g_

Tin . • •

MOKDANTS.

Work with the same precautions. This spirit serves for
cotton- dyeing mixed clarets, browns, &c.

Solution No. 2.

Muriatic acid, 32° Tw. . . . .6 galls.
Aquafortis (single), 32° Tw .... 3 galls.
Tin . . 101. lbs.

This solution requires very carefully working, and when
well made has been serviceable for fixing various aniline
colours upon cotton.

Purple Cotton Spirit,

Muriatic acid, 32° Tw. .... 5 lbs.

Aquafortis, 64° Tw 1 lb.

Tin ^ lb.

To every 9 gallons of the solution add 2 ozs. bichromate
of potash, dissolved in water.

The following compounds, generally known as oxy-
muriates," are used in printing.

No. 1.

Muriatic acid, 32° Tw 20 lbs.

Water ....... 2 galls.

Sal-ammoniac . . . . . • 5 lbs.

Tin ........ 10 lbs.

No, 2.

Dissolve 16 lbs. tin crystals in a stoneware bowl, set in
a larger vessel of hot water. Add very gradually 20 lbs.
aquafortis, 64° Tw.

DYEING AND TISSUE-PEINTING.

No. 3.

To 60 lbs. tin crystals, add 1 quart water, and heat in a
water or steam bath till dissolved. Add 92 lbs. aquafortis
at 60"^ F. by portions, taking care that the action does not
become too violent.

No. 4.

Muriatic acid, 34° T\v 11 lbs.

Aquafortis, 62° Tw 5 lbs.

Dissolve in the mixture 2 lbs. of feathered tin. This
preparation is frequently used in spirit styles.

The oxy-muriate "No. 2, is employed in cutting" madder
pinks, that is, for reducing the reds in the clearing process
down to the bright shade required.

PmZ; Salt^ the double chloride of tin and ammonium, is
prepared by mixing saturated solutions of sal-ammoniac
and of perchloride of tin (stannic chloride), when the pink
salt falls to the bottom of the vessel as a white powdery
precipitate ; it should contain 70 per cent, of the perchlo-
ride of tin, and 30 per cent, of sal-ammoniac. It dissolves
in three times its own weight of water at 60° F., and* if
boiled in a weak solution it is decomposed and the whole
of the tin is deposited.

Pink salt is valuable as a solvent for organic colouring
matters, and though at present neglected, will doubtless re-
ceive important applications in the future.

Besides the compounds of the protochloride and the per-
chloride of tin and their mixtures, there are certain pre-
parations plainly distinct from either. When made from
absolutely pure materials they are of a deep reddish amber j
colour, which darkens in proportion to the quantity of tin
dissolved.

In warm weather they suffer spontaneous decomposition

MORDANTS.

in little more than t went j-f our hours. It i
tliough without absolute proof, that the tin is
a sesqui-compound intermediate between the proto- and
the persalts. The most important of these mordants is : —

Boivl spirit, otherwise known as " scarlet spirit " or nitrate
of tin. It must be remembered that the name scarlet
spirit is sometimes also applied to perchloride of tin, and
even to protochloride mixed with oxalic or tartaric acids.
It is made bj dissolving the finest grain-bar tin (the lamb
and flag " brand being very frequently preferred) in a
special liquid known as dyer's aquafortis or single aqua-
fortis. This acid marks only 32° or 33° Tw. It must be
perfectly free from sulphuric acid and from any of the
lower oxides of nitrogen. But it must contain a certain
percentage of muriatic acid or of an alkaline chloride.

To prepare bowl-spirits a weighed or measured quantity
of single aquafortis is poured into a large, clean, hemi-
spherical stoneware bowl, and tin is weighed out in the
proportion of 2 ozs. per lb. of the acid. The tin is not
generally feathered, but used in the rod. If the acid is of
an average qaality and the weather temperate, four or five
rods are laid in the bowl and let dissolve. In the course
of about half-an-hour the acid begins to " turn," taking a
peculiar amber colour. When this has happened all diffi-
culty is over, and it is merely necessary to add by degrees
the rest of the tin, keeping the action up without letting
it become too brisk. 'No orange fumes should be given ofi*,
and the efi'ervescence, if any, should be very trifling. If the
starting is mismanaged the acid may remain colourless for
two or three hours and then at once grow turbid, without
ever taking an amber colour. If too much tin has been
added at first, or if the acid is not well made, red fames are
thrown ofl!, and the liquid becomes intensely hot and even
boils over. In either case it is utterly useless. In warm
weather the number of rods of tin added at first is reduced
to two or even one, and in extreme cases the process may

S SIT

3 presen

DYEING AND TISSUE-PRINTING.

be started with half a handful of feathered tin, very clean
and dry. The bowl may also be set in a stream of cold
water. In time of frost eight or ten rods may be put in at
the beginning. The process is very much easier if from
half-a-pint to a pint of bowl-spirit of a former batch is
added to the acid before introducing the tin.

The spirit when finished marks from 58° to 66"" Tw. and
contains about 2i- ozs. metallic tin per lb. In winter it is
tolerably permanent, but in summer it grows opaque in a
short time, and deposits a dense yellowish mass, unfit for use.

This spirit was originally employed for grounding cochi-
neal colours upon woollens, but it is an excellent mordant
for cottons.

A so-called " purple-spirit " may be made by heating
bowl-spirit very gently, and letting it take up more tin till
it reaches 80° Tw, It is very unstable.

Aniline Spirit, so-called from its uses, is made with

Single aquafortis, 32° Tw. • . . . 5 galls.

Muriatic acid, 32° Tw 2-i. galls.

Tin, in the rod . . . . . . 12 lbs.

The acids are mixed and about 12 bars of tin are entered
at once, working as directed for " red-cotton spirits " till all
is taken up. This spirit is of a deep reddish amber, and
contains about 2 ozs. tin per lb. of acid. It is very useful
in cotton-dyeing.

In all receipts where nitric acid predominates in quantity
along with from 10 to 12 per cent, of a chloride the pro-
duct will be of the same class as the last-mentioned spirits.

There is another class of tin mordants where the tin,
or its oxide, plays the part of an acid, in combination
with soda or potash.

The most important of these bodies is the stannate of
soda, otherwise known as preparing salt, and much used in
preparing both cottons and mixed goods for printing in
steam styles. It is never now made by dyers or printers

MORDANTS.

for tlieir own use, so there is no occasion to describe its
manufacture. It usually contains, if sold in the hydrated
or crystalline state, from 20 to 27 per cent, of water, and
is sometimes sophisticated with common salt.

To ascertain the value a weighed portion of the sample
is dissolved in water, pure muriatic acid is added till
the solution is very slightly acid, and some slips of clear
and pure zinc are then added. The tin is thereby de-
posited in a spongy metallic state ; it is collected, washed,
dissolved in a little pure muriatic acid, and its quantity is
determined as directed under tin crystals.

The specific gravity of the solution of a given weight of
the stannate gives no clue to its value.

Certain compound stannates, such as the arsenio-stan-
nates, phospho-stannates, silico-stannates, alumino-stan-
nates, &c., have been proposed as substitutes for the simple
stannate, but they do not seem to have possessed any dis-
tinct advantage.

Stannate of potash is dearer than the stannate of soda,
and having no superiority has been abandoned.

The stannites of soda and potasli are made by dissolving
the protoxide of tin (stannous oxide) in an alkali. They
can scarcely be said to be in practical use.

Tunjsten Mordants,

Tungstate of soda has been suggested as a substitute for
the stannate of soda as a preparing salt, but with un-
favourable results. Chloride of tungsten has been pro-
posed as a mordant for woollen dyeing, but has been again
abandoned.

Zinc Mordants.

The salts of zinc have little disposition to attach them-
selves either to colouring matters or to organic fibres.

DYEING AND TISSUE-PSINTING.

Chloride of zinc (muriate of zinc or in some old receipts
butter of zinc) serves to prevent colours drying up, on ac-
count of its power of attracting moisture from the atmo-
sphere. It serves also to fix the alumina of aluminate of
soda (alkaline pink mordant) upon the fibre. It has also
been proposed for dyeing sandal-wood scarlets, a colour
which has never come into commercial demand.

The acetate of zinc was formerly used in dyeing mu-
rexide yellows, a colour now discarded.

Two mordants lately introduced, and not yet thoroughly
appreciated, are of an anomalous nature, having nothing of
the character of metallic salts. They are useful for cottons,
and in certain cases for woollens.

The first of these is silica. Cotton yarns, well worked
in a solution of the silicate of soda and then taken through
weak sours (sulphuric acid diluted to or 2° Tw.), take
up a number of colours very readily.

Sulphur is another mordant of the same class. It is
generally applied by working in a solution of hyposulphite
of soda in water at 158° F., to which muriatic acid equal
in weight to the hyposulphite has been added. Both these
mordants, sulphur and silica, commend themselves to the
notice of the student, and will probably be found of wider
use than is yet expected.

The so-called organic mordants have little in common
with each other.

Under this head we include, firstly, tannin in its various
forms. The so-called astringents are a very numerous
class of organic bodies, all containing more or less of this
principle, to which their efficacy is owing. They include
gall-nuts, myrobalans, sumac, divi-divi, pomegranate bark,
oak-bark, extracts of chestnut, kino, extract of Canadian
hemlock, known in commerce as " tamarac,'' catechu, and
many others.

The finest and most valuable of these are gall-nuts, or
nut-gallS; an excrescence formed by the puncture of the

MORDANTS.

gall-flj upon the twigs of certain species of oaks. The
best quality, those from Aleppo, contain on an average
from 60 to 77 per cent, of tannin. Chinese galls range
from 58 to 77 per cent., and Smyrna galls from 33 to C)0
per cent. They are preferred to other astringents, inas-
much as the tannin which they contain is not acconapanied
by much colouring matter. Consequently they can be
used in mordanting cottons and silks which are to receive
light r.nd bright shades. True Aleppo galls are some-
times blackish grey, greenish and blueish, with white ex-
crescences, and feel heavy. The Chinese galls are irregular
in shape, and are studded over with conical knobs or
projections. The French, Istrian, Dalmatian, &c., galls
are much inferior, and are rarely seen in the English
market.

Myrobalans, myrabolans, or myrabolams, sometimes
abridged into " myrabs," are produced by Terminalia Che-
hula, an Indian tree. In size and shape they somewhat
resemble dried plums, and should be of a pale stone colour,
free from black spots and worm-holes, firm and hard.
They should ring like fragments of pottery when shaken
up, and if crushed under the hammer and moistened they
should form a very glutinous paste.

If bought ground, as is generally the case in small es-
tablishments, they are sometimes found mixed with wild
galls, spoiled sumac, and divi-divi. These impurities are
best detected by means of the microscope.

Myrobalans are on an average decidedly stronger than
sumac, and are much used for dyeing a full jet black upon
the cotton warps of delaines, &c. Many dyers use them
in fixing the aniline colours, &c., upon vegetable fibre, as
the oily and glutinous principles which they contain, assist
the action of the tannin. Divi-divi, livi-divi, or libi-divi,
the fruit of a South American tree named Gaesalpinia
coriaria, is still stronger than myrobalans. It is met with
in the shape of pods containing flat seeds of a bright brown
colour. Divi-divi dyes excellent blacks upon cotton along^

DYEING AND TISSUE-PRINTING.

■with nitrate or acetate of iron, but the colouring matter
which accompanies the tannin renders it of little use for
lighter shades. It should in any case be used in the shape
of a clear decoction, since if the goods are steeped or
worked among the ware, fragments of the ground husks
attach themselves to the fibre, where they cling very tena-
ciously, acting the part of a resist and giving the pieces or
yarns a spotty appearance.

Sumac, sumach, or shumach is made of the leaves and
stalks of a shrub known as Elms cotinus, cultivated in the
countries bordering on the Mediterranean. The finest
quality is from Alcamo, in Sicily. When ground to
powder it appears green and bright, and the decoction has
a smell not unlike tea. The second Sicilian quality is of
a more reddish or yellowish tint. The best Spanish
growths, such as that of Priego, are of a fawn colour. Very
good sumacs are now produced in America.

Sumacs, from whatever source, should be dry, loose, and
bright. If caked together they have been at one time wet,
and will be found to have lost strength very seriously. If
dull they have probably been kept too long.

Oa burning a weighed quantity to ashes, sand is some-
times found to the extent of 10 per cent.

Sumac is weaker than, myrobalans, and, at the same
time, generally costs more. It is less used as a mordant
in England than upon the Continent, where myrobalans
have been slow in coming into general use. Pomegranate
bark and the rinds of the fruit are about equal in value to
sumac, to which they are preferred in Spain. In EnglaLd
they are rarely used. They yield a very fine rich black.

Extract of chestnut is rarely met with in this country
under its own name, but it is sometimes added to extracts
of the dye-woods. Tamarac is now to be met with in the
English market and dyes good blacks.

Catechu, cutch, and gambir, though rich in tannin, and
though much used in cotton dyeing and printing, can
scarcely be said to play the part of mordants.

MOEDANTS.

The active principle in all these bodies, tannin, formerly
called tannic acid, is, when pure, a whitish powder, of no
smell and of an exceedingly astringent taste. It dissolves
freely in water, and less readily in alcohol. It is now to
be bought in the pure state, and in most delicate operations
is preferred to any of the crude astringents, as it never
varies in its composition and introduces no colouring or
other foreign matter.

As a mordant it is combined in practice with several
other agents according to circumstances. It forms a white
precipitate with a solution of tartar emetic, and if cotton
is worked in solution of tannin and then passed into a bath
of tartar emetic, the same precipitate is formed upon the
fibre as an insoluble layer which serves to fix certain coal-
tar colours.

It is employed also before or after a salt of tin, with
which it also unites to form an insoluble compound.

Tannic acid may be used also along with the animal
mordants, and with the oily mordants, both of which will
be touched upon below.

Tannin, whether in the pure state or in the state of an
astringent vegetable matter, when in decoction, or in the
presence of a ferment, undergoes a decomposition which
renders it useless, or rather hurtful. It is split up into
gallic acid and glucose, and then no longer gives a black
dye with the salts of iron, and ceases to act as a mordant.
This change may be arrested by the presence of small
quantities of ferment destroyers, such as the chloride of zinc,
or phenol (carbolic acid). The methods for determining
the proportion of tannin in dye wares are not quite free
from difi&culties, and none of them seem equally well
adapted to all cases. On no subject do the determinations
of eminent authorities difier so widely.

DTEIXG AND TISSCJE-PHINTING.

Oil Mordants*

Bodies of this class were first brought into use in the
process of Turkey red dyeing, the fatty matter selected
being a certain kind of olive oil known as " emulsive oil "
(liuile tournante). It is known by the property that if
well beaten or shaken up with water it does not separate
out and rise to the surface, but remains for a long time
mixed up with the water, in a state of very intimate divi-
sion.

Methods were gradually discovered of giving this pro-
perty to oils at pleasure, and that to a greater extent.
Thus a free fatty acid, such as the oleic, was added
to the oil, or a small proportion of sulphuric acid, which
after being well worked up in the oil, was afterwards
neutralized with an alkali. Latterly castor oil is com-
pletely decomposed by means of sulphuric acid, and the
free ricinoleic acid, in combination with an alkali, is sold
as "alizarine oil," or "Turkey red oil." A sulphole'ic
compound obtained in a similar manner, and an acid pre-
pared from resin, the pyroterebic, are also sold, singly or in
mixture with the above.

The uses of the so-called " alizarine oil " are extending.

Various oil mixtures have been proposed for use in
printing, principally in pigment styles.

Thus resin has been dissolved in linseed oil ; shellac has
been used in an ammoniacal solution. Copal is sometimes
softened in acetone, and then dissolved in the essential oil
of lavender. India-rubber dissolved in petroleum and in
coal-tar oils has also served as a vehicle for pigment
colours.

The difficulties to be overcome in this direction are not
merely the inflammable nature of the mixtures, but their
tendency to spread and blur the design. These objections
have not yet been overcome on a commercial scale.

Soap not unfrequently acts as a mordant. Sometimes

MORDANTS.

goods are soaped and dyed without rinsing. Sometimes
soap is added to the dye-beck, and sometimes the goods are
passed from a soap-beck into sours, or the solution of an
acid salt, which causes a film of fatty acid to be deposited
on the fibre.

Animal Mordants.

These compounds are highly nitrogenous bodies which
can be applied to vegetable fibres and there coagulated or
otherwise fixed. Hence the tissue becomes superficially
converted into animal matter, and can be dyed or printed
just like silk or wool.

Their action is consequently quite unlike that of the
mordants previously mentioned, since their union with the
fibre to be dyed is purely mechanical.

Of these animal mordants the most useful is albumen.
This substance is met with in its purest form as white of
egg. In countries where eggs are cheap, the whites are
carefully dried down to a solid mass at a very gentle heat
— say 112^ F. It can then be pi eserved for a very consi-
derable time, and when wanted for use it is re-dis-
solved in water at about the same temperature, or even
lower. It is generally used in the proportion of 1 lb. per
quart of water, and is thickened with gum-tragacanth
mucilage. It is then ground up very finely with the
colour to be fixed, which may be either a pigment, such as
Gnignet's green, chrome yellow, ultramarine, &c., or one
of the coal-tar colours.

After printing, the goods are exposed to a temperature
exceeding 160^ F. In consequence the albumen is coagu-
lated, i.e., converted into the insoluble modification, in
which state it adheres firmly to the fibre and holds the
colouring matter locked up in itself. In can then be re-
moved only by the action of strong alkalies, or of acids,
i.e., the muriatic, which injure the fibre.

If desired to produce discharge eflPects upon a colour

DYEING AND TISSUE-PRINTING.

fixed with albumen, pepsine or tlie Juice of the papaw-
tree {Carica papmja) might be printed on suitably
thickened, the goods being then exposed to a moist heat of
98^ F. Under these circumstances the albumen is ren-
dered soluble bj a process very similar to digestion in a
living animal, and can afterwards be washed away.

Albumen solutions may be preserved from putrefaction
by the addition of small quantities of a bisulphite. It is
coagulated by carbolic acid, a^nd the salts of lead and
mercury.

Albumen, like all the animal mordants, is much less
commonly used in dyeing than in printing. If cotton is
to be mordanted, it is worked in water in which the albu-
men has been dissolved, dried, heated to 160® F., and
passed into the colour bath. The shades thus obtained are
fast and brilliant, rivalling silks in beauty, but on the
commercial scale it is difficult to get them perfectly even.
They are also expensive.

Blood albumen is obtained from the serum of the blood
of sheep, oxen, (fee. In its properties it agrees substan-
tially with egg albumen, but it is not easily freed from the
last residue of the colouring matter of the blood. For all
except the brightest and most delicate shades it is pre-
ferred by reason of its cheapness. It is said that it has
recently been perfectly purified, and is consequently un-
distinguishable from egg albumen.

In using commercial albumens, it is necessary to beware
of insoluble matter, which sometimes refuses to amalga-
mate with the colour to an even paste, and, if not carefully
strained out, may cause smearing.

Attempts have been made to obtain albumen from
snails, from the roe of fishes, &c. ; but the practical diffi-
culties in the way have not been entirely overcome.

Albumen which has become partially insoluble may be
restored, if heated, to about 98® F., in water containing
2i per cent, of muriatic acid and 7~ per cent, of the
stomachs of calves or sheep, cut up into shreds, the pep-

MORDANTS.

Sine being the active principle. The solution is m^r^j
after the lapse of thirty-six hours, and neutralized \vi^^
ammonia.

Caseine, i.e,, the curd of milk perfectly freed from fatty
matter, is often used as a mordant, under the name of
"lactarine." It is dissolved in ammonia, mixed with the
colour, thickened, printed, and fixed by steaming. The
fixation does not, as in albumen, depend on a process of
coagulation, but on the escape of the ammonia.

The colours thus fixed are less fast than if printed with
albumen, but the article is cheaper, and the colours are by
some good judges considered to work better. It is, how-
ever, capricious, the mixed colour sometimes becoming
clotty, and spoiling, under circumstances not fully under-
stood. In all cases it is necessary to keep the solution of
caseine or the mixed colour as cool as possible.

Vegetable gluten has been used for the same purpose as
albumen and caseine, though with no marked advan-
tage.

The whitest kinds of gelatine — in other words, glue —
have been used for animalizing cotton goods and in pigment
styles. After printing or dyeing, the fixation is effected either
by a passage through a solution of tannin, with or without
alum, or by ageing, steaming, and passage through a salt
of mercury (Lightfoot's patent), generally corrosive subli-
mate.

Argol, the bitartrate of potash, known also as tartar,
and cream of tartar, is a substance very extensively used
in dyeing, especially woollens. That it plays an active
part in the production of many colours, e.g., the cochineal
shades, is admitted, though whether it is rightly termed a
mordant is open to discussion. Some maintain that with
a decoction of cochineal it forms a small quantity of car-
mine, by precipitating, a part — and that the finest part —
of the colouring matter in solution. Others suppose that
it has a modifying action upon the pores of the fibre,
enabling them more readily to take up the colour.

DYEING AND TISSUE-PRINTING.

There are several grades of this useful substance. Red
argol, the deposit from the fermentation of red wines,
slightly refined, is used in dyeing dark colours. White
argol is the deposit from white wines. The masses
taken from the fermenting-tuns are dissolved in boiling
water, skimmed, strained, and allowed to crystallize.

All argols and tartars should be free from sulphuric
acid and soluble sulphates, — beyond slight traces, — from
chlorides and from any notable quantity of lime.

If white argol is still further purified, it is known suc-
cessively as grey tartar, and white tartar, or tartar crys-
tals.

As the tartars and argols have risen in price since the
destruction among the vines caused by the Oidium, the
Phylloxera, &c., a variety of substitutes have been intro-
duced under such names as pro-argol, pro-tartar, tartar sub-
stitute, liquid tartar, essence of tartar, &c.

These mixtures contain genuine argol in different pro-
portions, along with alum, common salt, alkaline sulphates
and bisulphates, oxalic and acetic acids.

Lactic acid and the lactates have been proposed as sub-
stitutes for tartaric acid and the tartrates, though not with
any marked success.

" Alterants " is a name given to bodies, which, without
taking any marked part in promoting the attachment of
the dye to the fibre, modify its nature generally, so as to
make it brighter and more beautiful. In this respect they
agree very closely with

Eaising Agents.

Both in dyeing and printing — chiefly as regards madder
work in the latter — after the colour has been fixed upon
the fibre or tissue, it is submitted to a final process known
as "raising," blooming, brightening (French avivage, Ger-
man schoenen'). This is effected in very different manners,

MOEDANTS.

according to the nature of the case. Sometimes the goods
are taken through a weak acid, or a weak solution of a tin
mordant. Sometimes, again, as in the case of madder
work with the root, successive soapings are applied. In
many cases a small quantity of a brighter and more beauti-
ful, though often less fast colour, is either added to the
dje-beck towards the close of the operation, or the goods
are passed through it in a separate bath.

The process is then generally known as topping," and
is effected by means of magenta, saffranine, the aniline
violets, the orchil colours, &c., applied upon a ground got
up with the woods, &c. Goods thus " topped very fre-
quently lose their beauty after a short exposure to air and
sunshine.

Levelling Agents,

It is sometimes necessary to add to the dye-beck a body
which, instead of promoting the adhesion of the dye to the
fibre, has the very opposite effect. There are certain
colours which combine so eagerly with the goods to be
dyed, that it is difficult to get an even shade, the portions
first immersed into the dye liquid taking up more than
their share. This is particularly the case in dyeing wool
with certain of the aniline colours. To prevent this in-
convenience, and to cause the colour to be evenly dis-
tributed over the whole surface to be dyed, a quantity of
the crystallized sulphate of soda, known otherwise as
Glauber's salt, and in many dye-houses as Sally Nixon,— a
corruption for sal enixwn, — is added. This salt diminishes
the affinity of the colour for the fibre, so that it is deposited
slowly and evenly. Mary other neutral salts would have
the same effect ; but the sulphate of soda is preferred as
being cheap, readily procurable, and having little action
upon the tone of the dye wares. Upon certain colours,
e.g.^ those of the woods, it acts as a feeble alkali.

DYEING AND TISSUE-PKINTING.

General Instructions on Dyeing.

We will first notice the vessels used to receive and con-
tain the goods to be djed, the colouring matters, and the
water necessary to hold the latter in solution. They are
called by a variety of names, as vats (German Tiuepe) —
a term generally restricted to indigo work — becks,
troughs, pans, kettles, baths, "holes," cisterns, &c. The
material of which they are constructed differs accord-
ing to the kind of work to be done. For blacks and
other dark colours, iron and copper are often employed.
For bright or light shades, such as the bulk of the aniline
colours, cochineal, and safflower work, &c., block tin is
preferable : it is not easily acted upon by such feebly acid
and alkaline solutions as are used in dyeing; and if a trace
of the metal is dissolved, it is not calculated to deprive the
colour of its lustre and purity. Block tin has the further
advantage that the dyer, on beginning a fresh lot of goods,
can easily see whether the pan is perfectly clean. Its chief
defect is the comparatively high expense.

All metal dye-pans can be heated either by an open fire
placed beneath, or by means of steam — a steam-jacket
enclosing the pan being, in this case, the usual arrange-
ment.

Whether an open fire or steam is preferable is a ques-
tion on which there is some difi'erence of opinion ; but
where an exact regulation of heat is essential, e.^/., when
the temperature has to be gradually raised to a boil within
a certain time, or when a given degree of the thermometer
must not be exceeded, steam will be found the more con-
venient.

Wooden dye vessels are much used on the large scale.
They are in some cases made of stout staves, held together
by hoops, like a cask, an arrangement common for indigo
vats, and fitted, for woollen dyeing, with a steam-jacket.

GENEEAL INSTRUCTIONS ON DYEING.

Eectangular trouglis and cisterns of wood, made of strong
planks, held together with iron bolts and cramps on the
outside, are much in use. Heat is applied when needful by
blowing steam directly into the liquid. Such wooden
vessels, especially if they have been used at a boiling tem-
perature, can seldom be got absolutely clean, as the mor-
dants and dye- wares soak into the wood. Consequently,
these dye troughs should be kept as far as possible for the
same class of work. It would be ridiculous to dye a log-
wood black in a wooden dye-hole one day, and the next to
use it for a cochineal scarlet, or a maize shade.

Troughs, tanks, and cisterns of stone are in many
respects preferable to those of wood, as they can be much
more easily kept clean. They are made of plates of slate
or hard grit-stone, joined by means of grooves and acid-
proof cements, and stayed with iron bars outside. They
are heated by blowing in steam.

The quantity of water required for a dyeing operation is
much greater than what is merely needed to dissolve the
colouring matters. It must afford free working room, so
that the goods do not lie crowded together or doubled upon
themselves, but fully spread out. If there is not sufficient
room, the shades dyed Will be uneven and cloudy, darker
in some parts than in others. " A water " is a common ex-
pression for the quantity of water needful for a certain
weight of goods. Hence to " make up a water " has the
same meaning as to " stuff a hole," or to charge a dye-
pan with the requisite wares. To boil a cotton cord piece
in "two fustics " means to boil it successively in two lots
of fustic liquor, each enough for free working.

Dye-vessels of whatever material or shape, except so
small as to be portable, are fitted with taps for running in
either hot or cold water, and with a large outlet cock or
valve for running off spent dye-liquors.

When a bath is charged with the needful water, wares,
Ac, the introduction of the goods to be dyed is spoken of
as "entering them, and their removal as " lifting." As a

DYEING AND TISSUE-.PEINTING.

Tule, the goods before being entered in the dye-pan require
to be thoroughly wetted ; without this precaution there is
danger of the colour working on irregularly.

It is in most cases necessary that the goods during the
process of dyeing should be kept in motion, either from
time to time, or constantly. If a skein of yarn were sus-
pended in a dye-pan of any kind and left motionless, the
part outside the liquid would remain uncoloured, but that
on and a little below the surface would be found more deeply
dyed than the rest of the yarn, on the same principle that
a drop of some coloured liquid if thrown upon white cloth
or blotting-paper and allowed to evaporate leaves a stain,
palest in the centre and becoming darker towards the
circumference. The means of moving, or, as it is techni-
cally called, working or turning the goods, differs accord-
ing to their mechanical condition. Loose wool, rags, and
cotton wool are simply turned about by hand by means of
a stout wooden pole. Hanks of yarn and thread, whether
of cotton, wool, or silk, if on the small scale, are suspended
by means of a wooden rod thrust through them and resting
with its ends on the sides of the pan or beck. They are
then raised and lowered by hand, and frequently turned,
so that the undermost part is raised to the top, &c. Various
mechanical arrangements have been introduced for yarn
dyeing on the large scale, of which a more regular and
constant circulation of the goods in the dye-liquor, or as
it is technically called the " flot," is kept up.

For piece-dyeing a variety of arrangements are required.
For woollen and worsted piece goods, where the dyeing is
done at a boiling temperature, a wince is fixed over the
dye-pan. The piece is lowered into the liquid, and when
it is entirely unwound the handle is turned in the opposite
direction, and the cloth is wound on to the roller again,
this alternate process being continued till the shade in-
tended has been reached. At the beginning of the process
great speed is required, so that the whole of the piece may,
practically speaking, enter the liquid at the same time, and

GENERAL INSTRUCTIONS ON DYEING.

no portion have the opportunity of absorbing more dye
than the rest.

During this whole unwinding and re- winding process,
great care must be taken, especially in case of thin goods,
that the piece does not get entangled, twisted, or doubled
across, as in addition to the risk of tearing the shade dyed
would most likely be uneven.

In large establishments the winces are turned by power,
the movement being reversed as soon as the piece is en-
tirely unwound. Greater speed is thus obtained, and the
man in charge of the beck can give his whole attention to
even rolling and unrolling, &c.

In other cases the pieces, instead of entering the dye-
vessel perpendicularly and returning in the same direction,
are made to travel over rollers fixed in a long cistern
beneath the surface of the liquid. The pieces are either
fastened together end to end, so as to form an endless
chain which circulates in the beck or cistern for a required
time, or they simply enter at one end and pass out at the
other. The machinery is capable of being regulated so
that a piece may move through the liquid at a known
speed. 1^

Arrangements of this kind are very extensively used in
dyeing cotton piece goods and in calico-printing, where the
tissues, after or before the printing in the exact sense of
the word, have to be run through some solution, as in the
madder style, in the dunging process, &c.

The padding-machine (Klotz-machine, German) is a
further modification. Here the pieces not merely travel
regularly underneath the liquid, but they are made to pass
between rollers covered with an elastic material, so that
the colouring- matter, mordant, &c., is forced into the pores
of the tissue. " Padding " is very much used in dyeing
the cotton warps of mixed piece-goods, in applying the
"prepare" to delaines for steam styles, in mordanting
with alizarine oil, &c.

^ One method of insuring regularity in dyeing, especially

DYEING AND TISSUE-PRINTING.

in the case of colours which work very readily on to the
fibre, is to add the required quantity of dye, not all in one
dose at the beginning of the process, but to divide it into
portions, or introduce them by degrees. Such precautions
are more necessary for wool and silk than for cotton and
linen, which take up most colours less readily.

In all cases, when anything has to be added to the dye-
beck, the goods must be taken out, "lifted," and not re-
entered till the liquid has been thoroughly stirred up so
that all parts of it may be equal in strength and composi-
tion. !N'o substances should be added in the solid state^
except there is ample time for them to become dissolved
and mixed before introducing the goods. Dye-wares which
have a high tinctorial power, such as the aniline colours,
should not only be dissolved in a separate vessel, but should
be filtered preferably through fine flannel before adding to
the bath. The smallest undissolved particle, e»g,^ of un-
dissolved magenta, is liable to occasion a very troublesome
spot. Extract of indigo is also the better for solution in a
separate vessel and filtration before adding to the dye-beck*

Another point to be attended to for insuring evenness
is to begin dyeing at a low temperature which is gradually
raised to a boil. In many of the dyeing receipts which
follow, this precaution is prescribed as necessary. Some-
the various dye-wares have to be all boiled up together in
the dye-pan at the outset ; but in such cases it is mostly
necessary to cool (ahschreclcen, Germ.) before entering the
goods.

The care taken to bring all portions of the lot of goods
dyed at once to the same shade of colour is greater in case
of yarns than of loose unspun wool and cotton wool. Any
little irregularity of depth in the latter disappears when
the fibres are mixed and worked up together in the mechani-
cal operations to which they are next submitted. To such
an extent is this the case that grey woollen yarns are
often produced by scribbling up together undyed wool
with a certain proportion of black and of deep vat blue

GENERAL INSTEUCTIONS ON DYEING.

wool, and then spinning the mixture. In piccc-g( ods the
necessity for perfect evenness is the greatest, since if an
error is once made it cannot disappear in any subsequent
operation.

As the process of dyeing a lot of goods goes on, little
bits of the yarn or small swatches from the end of the
piece are from time to time cut off and compared with the
pattern. In case of piece-goods, it is often more con-
venient to fasten loosely to the end or side of the piece
some little swatches of the same kind of material for the
purpose of examination. In comparing such trial bits
with the pattern, the dyer should have the advantage of a
north light — the direct rays of the sun being deceptive in
comparing colours. He will notice whether the shade is
hit, or whether a more prolonged working or the addition
of a trifle more of any of the dye- wares is needful. It
must be remembered that no two samples of dye-wares
can be found exactly equal in strength, and that the appe-
tite for colour, if it may so be expressed,of wools and cottons
of different growths and different seasons varies, so that the
use of a fixed proportion of ware to a given weight of
goods will not always give exactly the same shade. Hence
constant watchfulness is needed.

In foggy weather, or in the night, colours may be com-
pared by means of the electric light, which will render
great service in dye-works.

In comparing the trial bit with the pattern, they arc
generally first placed side by side below the eye, and looked
down upon, thus judging by reflected light. They are next
compared "o\er-hand," ^.e., they are held up to the light,
and the eye is directed along the surface, thus catching the
light transmitted through a portion of the fibre. A judg-
ment must be formed quickly, as a prolonged gaze at
bright colours, e.g., magenta, cosine, cochineal scarlet, &c.,
fatigues the eye and renders it unable to perceive nice
grades of difference.

The essentials in matching-off are a delicate eye for

DYEING AND TISSUE-PRINTING.

colour, and judgment based upon experience. The first of
these qualifications enables the dyer to observe accurately,
whilst the second shows him how to interpret his observa-
tions. An outsider, if shown a piece of a cochineal-scarlet
cloth may see whether the shade is deep or light, even or
uneven, &c. ; but an experienced " grain "-dyer will be
able to decide whether it has had a deficiency or an excess
of mordant, of argol, &c. At the same time he cannot ex-
plain in words the indications on which he founds his
judgment. Colour- matching, therefore, can only be learnt
by practice.

It may be here useful to explain what is really demanded
of the dyer. It is very easy, no doubt, to produce upon a
small piece of a woollen cloth, e,g,, a green colour, there
being no precise limitation as to its shade and tone. But
the dyer is required, in practice, to get up a green shade
which shall be perfectly even, bright, well-nourished, and
moreover, which shall neither be lighter nor darker, and
shall incline neither more to the yellow nor to the blue than
does the pattern supplied. This colour he must be able to
produce upon hundreds of pieces or bales of yarn, possibly
not all woven or spun from raw material of the same
growth.

When the exact shade has been hit, the further treat-
ment of the goods varies. In most cases rinsing in water
is required, sometimes at once ; at other times not till the
goods have had time to cool. With some particular
colours rinsing is not admissible at all.

Intermediate rinsings, in the course of a dyeing process
are often required, e.g., after the goods have been mor-
danted, before entering them in the colour-bath, the object
being not to introduce into the latter any mordant, &c.,
which, has not become attached to the fibre, but is merely
held in a loose state between the threads. Several other
operations are resorted to for the same purpose. The goods
are left on a roller, or hung up over spar-work, in order to
drain ; or they are placed in a centrifugal machine and

GENERAL INSTEUCTIONS ON DYEING.

freed from such useless moisture by " whizzing." Yarns,
cotton or woollen, are very often wrung for the same pur-
pose on being transferred from one dye-bath to another,
and pieces are squeezed or " nipped " by being passed be-
tween a pair of rollers.

It is sometimes necessary before adding either mordants
or dye-wares to the water to be used in a dyeing process
to "clear it," by letting it boil up in the beck or pan to
be used, with a little of the mordant to be employed, and
carefully skimming off any impurities which rise to the
surface. It need scarcely be said that if the pan is clean
and the water pure, no such impurities can collect and the
process is needless.

After rinsing follows the final operation, drying. This
is generally performed in a room well ventilated, not too
copiously lighted, and heated by means of steam pipes.
Safflower shades should be dried in the dark, and without
any rise of temperature, in a current of cold air.

Where the air is free from smoke, acid fumes, &c., many
colours may, in favourable weather, be dried in the open
air. This is very generally done with vat blues, cochineal
scarlets, &c.

An operation which is not unfrequently required at
various stages of dyeing processes is airing, or lieing. The
goods are left, sometimes spread out and sometimes in
heaps, for a certain time to undergo chemical changes, de-
pendent mainly upon the absorption of oxygen from the
atmosphere. This process, in fact, much resembles the
" ageing " resorted to in calico-printing.

Cotton Dyeing.

The " affinity " of cotton for colouring matters is gene-
rally feebler than that of silk or woollen. Few dye- wares

DYEING AND TISSUE-PRINTING.

play, with it, the part of substantive colours,, i.e.^ attach
themselves to it v^ithout a mordant^ safflower red and re-
duced indigo (in the vat), being the best known exceptions.
Cotton bears contact with alkalies much better than silk or
wool, and is in return much more readily injured by strong
acid solutions. Hence it can be dyed by the help of the
stannates, plumbates, and aluminates of soda. Containing
no sulphur, there is no fear of its blackening preparations
of lead, tin, &c. It easily takes oxides of iron, manganese,
&c., from their solutions, and can thus be dyed a variety of
shades, as browns, bronzes, buffs, blacks, (by treatment with
iron and a subsequent passage through an astringent, &c.),
Prussian blues, copper blueish greens, lead yellows and
oranges. These colours, into which, with the exception of
the blacks just mentioned, organic matter does not enter,
are cheap, easily applied, and very fairly permanent. Prus-
sian blues fade somewhat on exposure to light, but regain
their colour in the dark. The lead yellows and oranges
(chromates) stand well, unless exposed to the fumes of
sulphuretted hydrogen. Manganese bronzes and iron-buffs
stand as long as the cloth to which they are applied holds
together.

On the other hand, certain organic colours, such as
picric acid, the weed-products, Le,^ orchil and cudbear,
cannot be worked upon cotton without the aid of animal
mordants. The aniline colours are fixed upon cotton by
means of tannin, alizarine oil, and the mixed mordant of
acetate of alumina and arsenite of soda.

Aniline black, however, gives much more satisfactory
results upon cottons than upon woollens.

In cotton dyeing the goods are worked in the mordant,
as a rule, first, before being immersed in the dye liquids.
Cotton is also generally dyed at lower temperatures than
wool ; often at about 90° to 100° F., and very frequently
in the cold.

The most difficult task of the cotton dyer is in the case
of the cotton warps of mixed goods, where the warp is

COTTON DYEING.

wool or worsted. Here lie is required to produce upon a
more refractory material, colours so nearly alike in depth,
tone, and brightness, to the wool or worsted, that the piece
appears uniform and free from anything of a " cheeky
character.

We now insert a selection of receipts for the production
of the principal colours upon cottonwool, cotton yarns and
threads, and piece goods, so as to show the scope of this
department of the art.

Aniline Blade on Cotton Yarn (100 lbs.).
Mix 6 lbs. 9 oz. aniline oil with 84- lbs. muriatic acid at

32° Tw. Let cool, and add the solution of 4 lbs. 6 ozs,
chlorate of potash in 66 parts of water. Then add 43|^
pints of chloride of iron at 30° Tw.

The yarns, previously bleached, are placed for 8 to 10
hours in this mixture, which must be previously let down
with a sufficient quantity of water at about 100° F. Lift
and place the yarns in soda solution at 21° Tw. for half-an-
hour to neutralize the excess of acid. Wash and steep for
half-an-hour in 33 quarts of water and 7 ozs. chromate of
potash at about 112° F. This beck gives the dye more per-
manence and prevents greening." Wash and work in
the following mixture : —

Alizarine oil . . . ,17— ozs.
Potash . • . . . 2 lbs. 3 ozs.
Water . , • . .33 quarts.

Dry at once.

This process may be used for linen, hemp, jute, or silk,
as well as for cotton, whether in yarns or pieces.

DYEING AND TISSUE-PRINTING.

Another Aniline Black,

For each pound of cotton yarn take 3 of blue-stone dis-
solved in water, made very feebly acid with muriatic acid.
Give seven turns and wring well. Dissolve i- lb. hypo-
sulphite of soda per gallon water at 120° F., five turns and
wash well. Dye cold in chlorate of potash 3 ozs., sal-
ammoniac 3 ozs., muriate of aniline \ lb., in sufficient water,
seven turns quickly and wring well. Hang up even at
77° F. for 48 hours, and raise to 84° F. Take through
either bichromate or weak soda-lye and wash well. If
reddish when dry, take through a very weak chloride of
lime water.

Another Aniline Black,

Take 1 lb. muriate of aniline, 6 ozs. chlorate of potash,
4 ozs. blue-stone. Dissolve the aniline salt in i gallon
boiling water and let cool. Dissolve the chlorate of potash
and the blue-stone in the same manner in half a gallon of
boiling water, let cool, and mix the two solutions. Dye
the cotton in the cold mixture from 15 minutes to li hour.
Take out and expose to the air till the colour is a distinct
green ; pass for five minutes into half a gallon of cold
water, with \ oz. bichromate of potash, and i oz. muriatic
acid. Air a second time for half-an-hour, and rinse well
in cold water. If too brown, work again for a few minutes
in the first bath, and air again for about half-an-hour.

Aniline Black with Oil (100 Tbs, cotton).

Prepare with alizarine oil. Then make up a water
with : —

Muriatic acid . , . . , 9 lbs.

Aniline oil . . . . . 6 lbs.

COTTON DTEING.

Bicliromate of potash . . . .12 lbs.
Sulphuric acid . . . . • 8 lbs.

Work the cotton in this for an hour, raise quickly to
194° F., soap, take through oil again, and drj.

Fast Black (100 Ihs,).

Dissolve 24 lbs. extract of logwood in a hot water, add
li. lb. blue-stone, enter the yarn, give a few turns, and
wash. Add to a fresh cold water 2 lbs. bichromate of
potash and li- lb. nitrate of iron. Take the yarns through
this and back again to the first water, to which have been
meantime added 2 lbs. soda crystals and the same weight
of olive oil.

Black on Cotton Wool {to stand fulling^ 60 lbs.).

Extract of logwood . . . .14 lbs.
Extract of bark . . . . l^-lb.
Blue-stone . . . . .4 lbs.

Dissolve at a boil, enter the cotton wool, boil for 1|-
hour, and let stop in the liquid over night. Lift, let lie in
heaps for two days ; enter in a cold water containing
copperas, 8 lbs., lixiviated chalk, 2 lbs. Take out after two
hours, let lie a day or two, rinse and raise at a hand heat
with oil and soap.

Black (11 Ihs.).

Dissolve in a waijer 1 lb. li oz. solid extract of logwood
and 1|- oz. extract of bark. Boil the yarn in this liquid till
thoroughly saturated. Lift, wring, and enter in a fresh
water with 7 ozs. quicklime. Five turns, wring, and enter
in a water with 1 lb. li oz. copperas ; ten turns and lift.

DYEING AND TISSUE-PRINTING.

Into the logwood water are now put 10^ ozs. soda-ash.
Enter, give ten turns, lift, and add ozs. copperas ; five
turns more, and the dyeing is complete.

It is well to leave the yarn in a heap for six hours after
the logwood bath before passing into the lime-water.

Another Black (220 Ihs.).

Boil for three hours with 88 lbs. extract of logwood ;
lift, wring, and dry. Dissolve in a cold water 33 lbs.
chromate of potash and 17-|- lbs. blue-stone ; enter and turn
for an hour. Lift and return to the logwood beck at 140''
P., after having previously added 17-1 lb. soda-ash. Work
for two hours and sadden with 11 lbs. copperas.

Blue Black for Sewing Cotton,

Boil the yarn and ground with sumac ; mordant, wring
out, and run through black liquor at 2^ Tw. Raise with
clear lime-water and wash in cold water. Sadden with
logwood liquor and copperas in the same liquor, and it is
then ready for sizing and polishing.

Good Black (60 lbs.).

Boil 12 lbs. cutch with li lb. blue-stone ; put the yarn
down in this all night; work in the morning in a clear
lime-water ; then add 6 quarts black liquor to a cold water,
give four turns in this ; work again in clear lime-water, and
wring up. Boil 30 lbs. ground logwood and 6 lbs. fustic,
add the decoction to a hot water, work yarns six turns,
lift, and add 1 quart black liquor, and wash ofi" with the
addition of a little oil and soda- ash if wanted soft.

COTTON DYEING.

Another Black (60 lbs.).

Boil 12 lbs. sumac ; steep yarns over-niglit with the de-
coction, and work as in the last receipt. If a bluer shade
is wanted omit the first lime-water.

Logwood Blach (60 lbs.).

Boil 5 lbs. logwood extract and 1^ lb. blue-stone ; put
down yarns in this all night, and work the next morning
in 6 quarts black liquor in a cold water. Work in a clear
lime-water and wring. Then boil 5 lbs. logwood extract,
i lb. fustic extract, and add to a hot water, \york yarns
for half an hour, lift, and add 2 lbs. copperas ; wash and
dry.

Anotlier Black (60 lbs.).

Boil 6 lbs. logwood extract, -i lb. fustic extract, and add
to a boiling water ; work yarns for an hour, lift and wring.
Dissolve 1 lb. chrome (bichromate of potash) and 1 lb.
blue-stone, add to a cold water, give four turns, let off and
wring ; add 2 lbs. soda crystals to the logwood liquor, give
four turns, lift ; add 3 lbs. copperas, four turns more, wash
and dry.

Common Black (60 lbs,).

Work in lime-water and wring ; then with 6 quarts black
liquor in a cold water and wring. Lime again in a clear
lime-water ; boil 24 lbs. ground logwood, add the decoction
to a hot water, work five turns, lift, and add 2 lbs. cop-
peras ; five turns more ; wash and dry.

DYEING AND TISSUE-PRINTING.

Fast Black (60 lbs,).

Give a good blue ground in the indigo-vat. Then work
as in the Logwood black receipt (p. 95),

Blade for Sewing Thread (55 Tbs,).

Boil out 11 lbs. sumac in water. Steep for a night in
the boiling liquid ; lift, work for an hour in black liquor at
140 Tw. Lift and hang out five or six hours. Make up a
fresh cold water with 17 ozs. lime and 8|- ozs. chromate of
potash, and work the thread till it is of a level brown
colour. Rinse and dye at iSO^ F. with 15 lbs. 5 ozs. log-
wood, working for fifteen minutes. Rinse.

Fast Blue Blach on Cloth or Yarn,

Give a ground in the vat, take through vitriol sours, and
wash well in cold water. Work the goods in sumac, and
then pass into a water with 4 quarts copperas liquor at 10®
Tw. Wring and raise with lime-water or bichromate of
potash, wash and enter into a logwood bath at 160® F., add
2 quarts copperas water at 10® Tw., and run through
again. Wash, and then repeat the process with the log-
wood and copperas. If not blue enough, add a little blue-
stone along with the copperas.

Piece goods require three or four turns, and yarns five
or six turns in every operation.

Blaclc on Velveteens,

Run the piece first through boiling logwood liquor
(known in some districts as the slop-pan). Pass into a

COTTON DYEING.

fresh water, with 1 quart alum-water and 1 quart copperas,
each at 6^ Tw. Wash and return to the logwood, and pass
again into a water with 1 quart alum, 1 quart copperas, and
3 quarts red liquor, and then wash.

After washing the piece is transferred to a logwood-tub,
nearly at a boil, holding about 50 gallons, and made up in
the proportion of 1 lb. logwood to 3 galls, water. In this
the piece is winced for half an hour. From this the piece
is brought to a so-called " taking-off tub " of the same size,
made up with 2 quarts alum-liquor at 6^Tw.,2 quarts cop-
peras at the same strength, and 3 quarts red liquor. After
wincing in this water the piece is lifted, washed, and re-
turned to the logwood-tub, and the former dyeing and
taking off repeated. After washing it is worked in log-
wood for the third time, and 'Haken off*' in a bath of 1
gallon copperas at 6^ Tw., and washed. The piece is next
brought into a sumac tub, where it is winced as in the
logwood, "taken off" in water to which 4 quarts of cop-
peras solution have been added, washed, re-entered in the
sumac tub, and again taken off in a bath made up with 2
quarts copperas at 6^ Tw., and 2 quarts blue-stone at 8°
Tw., and it is then washed in cold water.

The piece is then examined, and if not blue enough, or if
of a reddish colour, it is entered in a tub of 50 gallons
water and 5 gallons sumac liquor for half an hour at 150^
F. It is then "taken off" in water to which from 1 to 2
quarts blue-stone liquor at 8^ Tw. have been added. The
redder the tint the more sumac will be required, and the
more blue-stone. If an excess of these wares is used the
piece will show a' greenish tint.

,: If a piece appears green it is generally rejected, and has
to be stripped. This process is done as follows : Boil in
water, containing 30 lbs. soda-ash to 100 gallons, for two
hours, lift, wash, and run through bleach liquor at 2^ Tw.
Pass into muriatic sours at 14-^ Tw. at about 150^ F., after
which it is well washed and is ready for re-dyeing.

DYEING AND TISSUE-PEINTING,

'>C Bright and Ve^iij Deep Black.

Boil in a water 8 lbs. solid extract of logwood and lib.
extract of bark for half an hour. Dissolve in the liquid
1 lb. blue-stone ; enter in the hot liquid and work for an
hour ; raise to a boil and work for half an hour longer.
Make up another hot water with 1 lb. bichromate of potash
and 3 lbs. common salt ; enter yarns, work well, let cool,
and wash. The liquid of the last bath should have a
brown colour, but if it appears rather black, a little blue-
stone must be added.

Another Bright Black (10 lbs.').

Prepare a water with 1 lb. logwood extract and 5 ozs.
fustic extract ; boil yarn in this bath for fifteen minutes,
and let stand over-night. The next morning lift, wring,
enter in a water with i- lb. bichromate of potash and li- lb.
blue-stone; work for fifteen minutes, lift and wring. To.
the first (logwood) bath add 2 ozs. soda crystals ; enter and
work yarn for half an hour; lift, wring, and return to the
bichrome bath, to which 2i- ozs. copperas have been pre-
viously added; wring again, and return to the logwood
bath for half an hour ; lift, wring, and dye without wash-
ing. It is finished brighter by taking once more to the
logwood-bath, to which has been previously added a mix-
ture made up of 1 oz. olive oil, \ pint of water, and 1 oz.
soda-ash, beaten up to an emulsion.

Blue Black on Cotton Velvets (10 Ihs.),

Work in a boiling soda-water, which when cold would
mark 2^-° Tw. Rinse ; steep over-night in the decoction of
2 lbs. sumac ; lift, drain, and work for fifteen minutes in

COTTON DYEING.

black liquor at 6|- Tw. Work for another fifteer
in a cold water, with 1 lb. alum and 1 lb. blue-stone ;
rinse and dje at 122° F., with 2 lbs. logwood and i- i%f
bark for fifteen to thirty minutes.

To soften the goods take them through an emulsion of
i lb. olive oil and a solution of 2i- ozs. potash. Dry.

Sumac Blach (110 Ihs,).

Prepare with 22 lbs. of sumac overnight at a boil ; enter
in a fresh water with 15i- lbs. copperas and 35 ozs. pre-
cipitated chalk. Work cold for an hour, lift, and expose
to the air. Make up a freshwater with 6± lbs. quicklime,
and work till the goods are an even brown all over.

Rinse well, and dje in a fresh water at 167° F. with 55
lbs. logwood and 11 lbs. bark. Sadden in the same water
with 35 ozs. copperas.

Light Blue on Cotton Wool (50 lbs,).

Steep for some hours in the hot clear decoction of 8 lbs.
sumac, lift, drain, and enter in a water at 167° F., contain-
ing the clear solution of 4 ozs. Mcholson blue. Work for
half an hour, lift, add to the flot 5 lbs. alum previously
dissolved ; re-enter the cotton wool, and work at 102° F.,
for half an hour ; drain and dry.

Metliylene Blue (2 lbs, 3 ozs. piece goods).

Pad in alizarine oil in the proportion of 1 measure oil
to 16 measures of condensed steam water ; dry and pad
again in nitrate of iron, at li- Tw.

Dry carefully, avoiding creases. Hang up for two days
in the cold, and fix in a solution of silicate of soda at 140°

100

DYEING AND TISSUE-PEINTING.

Falir., in the proportion of 80 grains silicate to 1|- pint of
water.

Wash well, and mordant with

Tannin (pure) . . • . 10|- ozs.
Water . . • . • 65 pints.

Enter at 86° F., raise in ten minutes to a boil, which is
kept up for twenty minutes. Wash, drain in the centri-
fagal, and dye with methylene blue as follows ; —

River water (hard) . • .175 pints.
Soda-ash ..... 6|- ozs.
Phosphate of soda . . , 6|- ozs.
Methylene blue . . . li oz.

The methylene blue must be previously dissolved id 14
pints distilled water, let settle, and filtered before adding.

Enter at 86° P. and raise gradually to a boil in half an
hour. Wash, dry, and calender.

This process gives a deep blue with a coppery reflection
and bears soaping well.

For a lighter shade, oil as above, pad in a solution of
alum in the proportion of oz. per 1^ pint of water. Dry
in the stove, avoiding creases. Hang up for two days in
the cold, and fix with

Water at 122° F. . . .175 pints.
Chalk ..... 17i- ozs.
Arseniate of soda . , . 3i- ozs.

Wash, drain in the centrifugal, mordant with tannin,
and dye as before.

Methylene Blue (^another process), "

Work in a solution of tannin, and wring well, take
through tartar emetic, and wring again. Pass into a soap
water, after which it is washed well. Enter in a cold

COTTON DYEING.

101

water which is graduallj raised to a boil, while the dis-
solved colouring matter is added by degrees.

If a greener tone is required, top with bark liquor ; or,
if a redder tone is needed, top with a reddish aniline blue,
or even with methyl violet.

Aniline Blue {soluhle in spirit) of the Berlin ATctien
Gesellschaft (11 lbs.).

Boil 35 ozs. sumac, or 2,790 grains tannin in water,
filter and dissolve 17— ozs. curd soap in the clear solution,
and enter the cotton over-night in the hot liquid. Wring
out and make up a water at Tw., with red liquor, to
which the clear solution of the colour is added according
to the shade. Enter the yarn and dye, heating to a boil
for some time.

Aniline Blue (100 Tbs,).

Alum . . . . • 8 lbs.

Tartaric acid . , , , 4- lb.

Soda ash . . . , , 4 lbs.

Aniline cotton blue ... 14 ozs.

Enter hot, turn for twenty minutes, lift, raise to a boil,
re-enter, and dye to shade.

Benzyl Blue.

Prepare with sumac or tannic acid in the usual way.
Dissolve the colour in 100 parts of boiling water, and add
the requisite quantity to a lukewarm water.

102

PTEING AND TISSUE-PRINTING.

Guernsey Blue (10

Prepare with 2 lbs. sumac ; dye at 88^ F. with the solu-
tion of 2 lbs. Guernsey blue. Lift, add 1 lb. alum, re-enter,
give a few more turns, take out and dry.

Blue Cotton Satin (100 Tbs.),

Run for an hour through a hot cistern, made up with
17 ozs. sumac, 6i- ozs. soap, and the same weight of rape
oil. Make up a fresh boiling water with 5i- lbs. ground
alum, and 6i ozs. Nicholson blue, and run through this to
shade.

For the finishing take, to make up 175 pints, 5 lbs. 7
ozs. gum tragacanth, and dissolve it in water, adding the
clear solution of 1 oz. Nicholson blue, and 5i lbs. alum.
Stir into the hot mixture 17 ozs. stearine and 5 lbs. 7 ozs.
glycerine. Apply hot, dry, and calender.

Navij Blue (11 Tbs,).

Boil 2 lbs. 3 ozs. logwood, and dissolve in the clear, hot
decoction 26 ozs. curd soap. Steep the yarn in this liquor
for 2 hours at 167^ F. Lift, add to the same water 26 ozs.
copperas, re-enter yarn, and work till the colour is even.
Wash in cold water and work in a fresh water with 17 ozs.
curd soap for an hour at 144^ F. Make up a boiling
water with 2i ozs. of an aniline blue soluble in spirit, and
2 lbs. 3 ozs. red liquor at 14"* Tw. Work the yarn in this
at a boil till the shade is obtained, and rinse.

COTTON DYEING.

103

Blue witJwut Indigo (55 Ihs.),
Boil with soda, rinse and dry.

Boil 4 lbs. 6 ozs. starch in 11 quarts water, and add
after cooling —

Chlorate of potash . . . 10~ ozs.
Chloride of copper . . . 20|-
Muriate of aniline ... 2 lbs. 10 ozs.

Thirty-five ozs. of the cotton are passed five or six times
through 17 fluid ozs. of this mixture ; another 17 fluid ozs.
is then added, and a second 35 ozs. of the cotton passed
through, and so on till all is used up. The cotton is then
aged by heating in a stove to 100^ F., steam being injected
from time to time. The starch is then removed by steep-
ing in a water to which 6 lbs. 9 ozs. malt have been added.
After a day the cotton is rinsed and taken through weak
vitriol sours, and then through a soda-bath at 3"" to 4^ Tw.
A blue-black is thus obtained, which may be turned more
to a blue by decreasing the muriate of aniline, chlorate of
potash, and chloride of copper by one-third.

Aniline Blue ivith Manganese Mordant.

Boil yarn with soap and soda, take through a weak so-
lution of permanganate, lift and wring. It has then a pale
brown colour. Steep in a solution of tin crystals at 11^
Tw. till it is perfectly white. Wash and pass into a sumac
water, 1 lb. sumac to 10 lbs. yarn. Make up a water with
i- lb. alum, l-lb. soda, and 6 drachms (avoirdupois) soluble
aniline blue. Heat to 122^ F., enter yarns, give five
turns, add li- lb. alum, and li- oz. of the blue, enter yarn
again, give eight turns, rinse and dry.

104

DYEING AND TISSUE-PRINTING.

Topped Vat Blue,

Dye a medium shade in the cold vat, rinse, and enter in
a bath of oxj-muriate of tin at 61- Tw. Steep for half an
hoLir, and pass into a freshwater in which 12 lbs. logwood
chips have been boiled for every 50 lbs. yarn, and steep
for an hour. Lift, and add 3 lbs. chromate of potash.
Ee-enter, give four turns, rinse and dry.

Or—

Dye a light blue in the cold vat, and rinse. Make up a
water with A lb. nitrate of iron, and 1^ lb. tin crystals per
100 lbs. yarn. Enter and work for an hour, wring and
enter in a fresh hot logwood beck, and dye to shade.

Vat Blue with a Catechu Ground (10 lbs,).

Boil lib. catechu in water, dissove 5 ozs. tin crystals in
the liquid, and work in this for two hours at 144^ F.
Squeeze and enter in a beck at 189^ F., with 2^ ozs. chro-
mate of potash. Lastly, dye to shade in the cold vat.

Darh Blue with Vat Ground for Twills and Fustians
(37 lbs,).

Boil for two hours with 35 ozs. soda-ash, press and
rinse. Give a light blue in the cold vat, and take through
a water at 122^ F., soured with 35 ozs. vitriol, and rinse
again.

Make up a cold water with 11 lbs. nitrate of iron, and
3|- ozs. tin crystals. Work for an hour, and dye in a
fresh cold water with 11 lbs. logwood and 3^^ lbs. alum
rinse.

For a darker shade add to the old logwood flot 1 l oz.
chromate of potash, enter the goods again, and work for
half an hoar.

COTTON DYEING.

105

Indigo Dyeing. The Blue Vat

Indigo, unlike the bulk of dje-wares, is as sncli in-
soUible in liquids which the dyer can employ. If treated
with sulphuric acid, indeed, it is rendered soluble in water
and can be used for dyeing blues on fibres and tissues. But
it has undergone a change which very seriously interferes
with its most valued property — its fastness.

In order to fix unaltered indigo blue upon the fibre, we
take advantage of the circumstance that this indigo blue
or indigotine, in the presence of certain agents, is reduced
to a white compound (known as indigo- white), which is
soluble. Fibres or tissues are then steeped in the solution,
taken out and exposed to the air, when the white indigo
adhering to their surfaces becomes re-oxidized and remains
permanently attached to them as indigo blue.

There are various agents by which indigo can be re-
duced into the white soluble condition. That generally
selected for cotton dyeing is copperas, the sulphate of prot-
oxide of iron (ferrous sulphate) in presence of lime. The
copperas, in contact with lime yields hydrated protoxide of
iron (ferrous oxide), which greedily absorbs oxygen from
any substance with which it comes in contact, and in this
way reduces the indigo.

The indigo to be used in setting a vat, is generally first
broken up into small fragments, wetted with hot water, and
is then ground to a paste in a peculiarly constructed mill.
The chief features of this mill are a strong iron cylinder,
capable of being made to revolve rapidly on an axle, and
smaller, solid, very heavy iron rollers placed within.
Sometimes, instead of the rollers, there are three heavy
iron globes like cannon-balls. The moistened indigo being
introduced, the cylinder is made to rotate by steam-power,
and the indigo is ground to a fine, uniform pulp by the
action of the rollers or of the balls. It should be reduced
to a perfectly creamy paste, quite free from fragments. If

106

DYEING AND TISSUE-PRINTING.

sucli remain, they generally escape thorongh reduction and
solution in the vat, and are consequently wasted.

The copperas should be free from salts of the per-
oxide of iron, and from any sulphate of copper. The latter
impurity is very rarely, if ever, found in the best Lanca-
shire, Yorkshire, or Scotch copperas made from the iron
pyrites of the coal-beds. If present it acts injuriously by
transferring oxygen from the air or the water to the white
indigo, and thus re-converting it again into blue indigo,
not in the vat, but in the fibre. Malicious workmen have
been known to put sulphate of copper into the vats, for the
sake of throwing them out of order.

The lime should be of the best quality, recently burnt,
fresh slaked and sifted. The dyer in setting his vat
should know how much actual dry indigo is contained in a
pound of his fine pulp.

The vats are generally made of large slabs of flagstone
or slate, well jointed and clamped together, and secured by
cement. As the copperas- vat, used for vegetable fibres, is
worked in the cold, no heating arrangement is needed.

The size of vats difiers. In large establishments they
are often 9 feet long and deep by 3i wide, or 6-^- feet long
and deep by 3i- wide, and are conveniently arranged in a
set (or sets) of ten. In small dye-works wooden tubs are
often used.

The proportions of the materials may vary within cer-
tain limits. A common proportion is ground indigo 36 lbs.,
copperas 60 lbs., lime 80 to 87 lbs. ; or indigo 30 lbs.,
copperas 90 lbs., lime 90 lbs. The vat is filled with water,
the lime added and well stirred up so as to form a uniform
milk of lime. The indigo is next stirred in, and the solu-
tion of the copperas is gradually added, still stirring.
When the mixture is thoroughly made, the whole is left
for some hours, but with occasional stirring. As soon as
it turns a yellow with an olive cast, it is ready for use.

The dyeing process is very simple. The yarns or pieces
are first wetted out uniformly with water, and then taken

COTTON DYEING.

107

throLigh the weakest, or the most nearly exhausted vat
which is on hand, proceeding thence to a stronger and
stronger vat till the shade is reached. With piece-goods
especially it is of importance that they should enter the
vat evenly and uniformly, so that all parts may take up an
equal proportion of the liquid, and that as they issue from
the vat they should be evenly nipped by means of rollers.
Exposure to the air is the next step, for as long a time as
the dyeing process itself has lasted, i.e., from five to fifteen
minutes. N^ext, the goods are taken through weak vitriol
sours, passed into cold water, and dried.

The Neiv Indigo Vat (Schiitzenberger and De Lalande's
Patent) is set as follows : —

A solution of bisulphite of soda at 49^ to 59^ Tw. is
placed in a covered vessel containing zinc clippings, bor-
ings, &c., heaped up loosely so as to fill the tank without
occupying more than a quarter of its total contents. After
these ingredients have remained in contact for an hour
the liquid is drawn into a cistern containing milk of lime,
which decomposes the zinc salt. The clear liquid is strained
oflP, soda or lime sufficient to dissolve the reduced indigo is
added, and the indigo, finely ground as usual, is stirred in.
During all this process access of air is avoided as much as
possible. In this manner 1 lb. indigo may be dissolved in
1 to li gallons of liquid. The vat is then filled with cold
water if for cotton, and with hot water if for wool, and a
suitable amount of the indigo solution is added. An excess
of the hydrosulphite is always present, whence the blue
scum (flurry) formed on the surface by the action of the
air on the reduced indigo solution in the ordinary process
is almost entirely avoided. The dye thus resists the action
of the atmosphere better than the ordinary copperas vat,
and is free from the inconvenience of holding in suspen-
sion more or less peroxide of iron, lime, carbonate of lime,
&c. By adding to the dye-bath from time to time a little
concentrated indigo solution, the strength can be main-
tained at any required point, and thus any given shade

108

DYEING AND TISSUE-PRINTING.

may be got with the smallest number of dips, the tints
being brighter than those produced by the old process.

Induline Blue (Williams Brothers and EJci7i),

To dissolve the dye, take 10 lbs. of the dry material,
21- lbs. glacial acetic acid, and 2 gallons methylated spirit.
Heat together in a water or steam bath for two or three
hours, or until dissolved ; then add 8 gallons methylated
spirit (cold), and allow the solution to stand for twenty-
four hours, and filter.

Mordant for 100 lbs. cotton.

Work in the usual way with 4 lbs. cutch and 2 lbs.
bichromate of potash. Wash. Work with the decoction
of 4 lbs. sumac, and pass, for medium shades, into a water
made up of 1 lb. protochloride of tin. If blue shades are
wanted, use instead of the protochloride of tin oxalic acid
or alum, and for red and bronze shades stannate of soda.
For very deep shades pass from the sumac into nitrate of
iron. Wash.

For the dyeing add 1~ to 2 gallons of the dissolved
colour to sufficient cold water ; stir well, enter the cotton,
work for fifteen to twenty minutes in the cold, then apply
the heat, and raise slowly to a boil. Wash and dry.

Or (60 lbs. yarn) —

Dissolve 1 lb. tannin, and work well in the clear solu-
tion ; pass into a water to which 3 lbs. double muriate of
tin have been added, rinse, and dye with 1 lb. induline,
previously dissolved in 2 gallons methylated spirit, and
the clear solution added to a cold water. Dye as in the fore-
going receipt.

China Blue (50 Ihs, yarn).
Dissolve 4 lbs. alum and 6i ozs. China Blue " (Berlin

COTTON DYEING.

Anilin Aktien Gesellschaft). Enter yarn at 120*^ F., turn
briskly, raise to 150^ F., and work to shade. Or prepare
with tannin, and then dye as above, without the alum.

Another Blue (50 Tbs. yarn).

Dissolve 3 lbs. alum, li- lbs. carbonate of soda, 4 ozs.
tartaric acid, and 6 ozs. cotton blue 4?- " (Baden AnilineJ.
Enter yarn at 120^ F., raise heat to 140^ F., turning con-
tinually to shade.

Bright Brown (22 lbs?).

Dissolve in water —

Catechu . • ... . 8|; ozs.
Blue-stone ..... li oz.

Enter, steep for an hour, wring, and make np a fresh
boiling water with bichromate of potash 8-|- oz. Enter for
a quarter of an hour, give several turns, and wring. Make
up another water with the decoction of

Sumac . . . . . , 6|- lbs.
Curd Soap ..... lOi ozs.
And work into it oil . . . 3i- ozs.

Stir np, enter, give seven turns, add 3i ozs. salt of tin,
stir up ; re-enter, give seven more turns, wring, and pre-
pare a fresh cold water containing a little Bismarck brown,
and dye to shade.

For a darker shade use —

Catechu ..... 4 lbs. 6 ozs. -
Blue-stone ..... 7 ozs.

and for the chrome bath 17i- ozs. bichromate of potash.

110

DYEING AND TISSUE-PRINTING.

Mode Broivn — a yeJlowisli Cinnamon (11Z&5.).

Enter in a water at 122^ Fahr. with 2 lbs. 3 ozs. pale
catechu. Six turns, and enter in a weak bath of chromate
of potash at 88^ F. Re-enter in the first beck to which
A oz. tin crystals have been added.

Solid Brown (22 lbs,).

Boil in water 2 lbs. 3 ozs. catechu ; let settle and dissolve
in the clear solution 7 ozs. blue-stone. Enter at 212° F.,
work for an hour ; wring, and make up a fresh boiling
water with 5i- ozs. bichromate of potash. Work in this
for half an hour, and rinse.

Boil in water 3|^ lbs. sumac, work for fifteen minutes at
190° F., lift, and add ozs. tin crystals. Enter again,
work for a quarter, and wring. Pass in a fresh water,
with —

Garnet magenta , . , . 3^- ozs.
Alum ...... Sa- ozs.

Work for half an hour at 100° F.

Brown on Cotton Wool (110 lbs,).

Dissolve 321- lbs. catechu in boiling water; add 8l. lbs.
blue-stone ; boil the cotton for two hours in the solution ;
lift, drain, and enter in a fresh boiling water with 8i- lbs.
chromate of potash ; work for an hour, drain in the centri-
fugal, rinse, drain again in the centrifugal, and dry.

Brown on Sewing Cotton (20 lbs,).
Give four or five turns in catechu at 3° Tw., and raise

COTTON DYEING.

Ill

in clirome or clear lime-water. Wash in clean water, and
run into fastic liquor. Sadden with three pails fustic
liquor, two pails redwood liquor, and one pail logwood
liquor ; four turns. Now add one gallon alum liquor at 8^
Tw., give four or five turns ; wring out, and dry.

Liglit Brown on Seivmg Cotton (20 lbs,).

Run through catechu liquor at 3^Tw., raise with chrome
in a fresh water ; wash, and run into fustic liquor, to which
is added 1 quart solution of blue-stone. If not rich enough
top with Bismarck brown to shade.

HaiY Broivn, Light Blonde (GO lbs,).

Boil 6 lbs. cutch and 6 ozs. blue-stone till dissolved.
Add to a hot water, give three turns ; put down all night ;
one turn in the same liquor in the morning, and wring out.
Dissolve 1 lb. alum in a hot water ; enter, give three turns,
and lift. Boil ^ lb. turmeric and 4 lb. logwood extract
together ; add this to the alum- water ; give four turns,
wash in a cold water and drj.

Hair Brown, Dark Blonde (60 lbs,).

Prepare with cutch and blue-stone as above. Then dis-
solve 6 ozs. chrome ; add to a hot water ; four turns with
yarns. Let off. Add to a warm water 1 lb. alum ; three
turns, and wring. Boil 2 lbs. fustic extract and 2 ozs. log-
wood extract together, and add to a warm water. Four
turns, lift, and add two quarts of dissolved copperas ; three
turns, wash in cold water, and dry.

112

DYEING AND TISSUE-PRINTING.

Liglit Bed Brown (60 lbs.).

Boil 12 lbs. cntch with 12 ozs. blue-stone till dissolved.
Add this to a hot water, give three turns ; .put down all
night ; give one turn in morning, and wring out. Dissolve
12 ozs. chrome ; add this to a hot water ; give the yarns
four turns, and run off. Dissolve 1 lb. alum in a hot water ;
give three turns more, and wring. Boil li lbs. extract of
fustic and 4 ozs. extract of logwood together ; add this to a
hot water, four turns, and lift. Add 1 quart of copperas
water ; give three turns more ; wash in cold water, and
dry.

Baric Medium Brown (60 lbs.').

Boil 12 lbs. cutch and ^ \ lb. blue-stone till dissolved;
add this to a hot water ; give three turns with yarns, and
put down all night. Give one turn in morning, and wring
up. Dissolve 1 lb. chrome, add it to a hot water, give
three turns, and let off. Dissolve 1 lb. alum, add it to a hot
water, give three turns, and wring out. Boil 2 lbs. fustic
extract and \. lb. logwood extract together ; add these to a
hot water; four turns, and lift. Add 3 quarts of copperas
water ; three turns more ; wash in cold water, and dry.

Baric Brown (60 lbs.).

Boil 18 lbs. cutch and 2 lbs. of blue-stone, and proceed
as above. Use 2 lbs, chrome, 2 lbs. alum, 2 lbs, fustic ex-
tract, 2 lbs. logwood extract, and 1 gallon copperas water.

Very Baric Brown (6OZ65.).

Boil 18 lbs. of sumac ; put down in this all night ; take
through 2 gallons black liquor in a cold water ; wash off

COTTON DYEING.

113

in two waters, and wring up. Boil 3 lbs. cutcli and 1 lb.
blue-stone ; add the solution to a hot water, give four turns,
and lift. Dissolve li lb. chrome ; add to a hot water, give
four turns. Go through the chrome and cutch three times
each, and finally sadden with 2 quarts copperas water. Wash
in cold water, and dry.

Cinnamon Broiun (10 Z5s.), Cloth, or Yarn.

Take through catechu liquor at 4^ Tw., or, in case of
piece goods, run three or four times backwards and for-
wards in a jigger. The temperature of the bath is about
180° F. Then pass into a solution of chrome (bichro-
mate of potash) at li^ Tw., and wash.

Make up a tub (or, in case of pieces, a jigger) with
about 30 gallons fustic liquor, 6 gallons redwood liquor,
and i- lb. annatto, previously dissolved in the usual
manner. Give three turns, lift, add 4 quarts alum liquor
at 8° Tw. ; give three or four turns more, lift, and finish.

Very JDeep Bismarck on Velveteen Cords, Sfc, (one piece, 40 to

45 lbs.).

Work first in catechu liquor at 4P Tw. and 180° F.
Pass into chrome at 2° Tw. and 150° F. Wash off, and
run through 60 gallons of fustic liquor ; lift, drain, and
dry ; singe, and repeat the whole process. Make up a
water at 170° to 180° F., with 8 to 10 ozs. Blackley
brown (Messrs. Levinstein and Co.) ; finish without wash-
i^ig. The fustic liquor is made at the rate of 1 lb. fustic to
3 gallons of water.

I Madder Brown on Cotton Cloth (600 yards).

I Pad the cloth in 6 galls, red liquor and 1 gall, black
I 1'

114

DYEING AND TISSUE -FEINTING.

liquor, with an equal quantity of water. Dry in the
machine or padding stove ; let age for twenty-four hours ;
run through boiling chalk water, and bring into a water
at 170^ F., with 40 lbs. bark and 20 lbs. madder, and
work for an hour ; wash, and finish. For darker shades,
the cloth must be iirst prepared with sumac or myrabolans.

Medium Broiun on Cords or Beavers (70 to 80 lbs).

Run through cutch liquor, at 2 Tw. and 180^ F.,
four times in a jigger ; chrome in warm water, and run
into two fastic liquors of 20 pails each ; add to the second
fustic liquor 1 quart annatto liquor. Then work well in
a tub, with 5 pails sumac liquor, 3 pails redwood liquor,
2 pails logwood liquor, and 10 pails fustic liquor. Thenj
run into a warm water, with 4 quarts of copperas liquor at
8^ Tw. ; work well, in two waters, and run again into
two fustic liquors, to the second of which 1 quart annatto
liquor is added, and top with Bismarck brown to shade.

Darl) Broivn on Cords or Beavers.

Run through cutch at 3° Tw., giving four turns with a
jigger at 180^ F. Give four turns in a warm solution of bi-
chromate of potash at 1^® Tw. ; wash in two warm waters ;
run into two fustic liquors, each time about 20 pails, add-
ing to the second fustic liquor 1 quart annatto liquor.
Work in a tub with 5 pails fustic liquor, 3 pails logwood
liquor, and 10 pails fustic liquor ; pass into a warm water,
with a little sumac and 1 gallon copperas water, at 8^ Tw. ;
Wash in warm water, and run into two fastic liquors of
20 pails each, with 1 quart annatto liquor in the second.
Work again with 4 pails of sumac liquor, 2 pails logwood
liquor, 6 pails redwood liquor, and 8 pails fustic liquor;
then pass into a warm water with 1 gallon copperas water

COTTON DYEING.

115

at 8^ Tw. Work well, wash in warm water, and run into
two fustic liquors as before, and top with Bismarck brown
to shade.

L ight Broiuns 07i Cords.

Run through a jigger with cutch at 2^ Tw. at 160^ F. ;
take through a warm chrome water ; wash in two waters,
and run into two fustic liquors 20 pails each, to the second
of which 1 pint annatto is added. Then work in 2 pails
sumac, 2 pails redwood liquor, 1 pail logwood liquor, and
15 pails fustic liquor. Eun into a warm water with 2 quarts
copperas liquor at 8° Tw. Wash in warm water, and run
into 20 pails fustic liquor, with 1 pint annatto liquor, and
top with Bismarck brown as required.

Common Broiun (100 Ihs,).

Boil 20 lbs. catechu in water, dissolve in the liquid
10 lbs. alum, let settle, enter yarn in hot liquid; and,
after working well, take out, and enter into a fresh boil-
ing water, with 4 lbs. yellow chromate of potash. Binse
and soften with oil and soap.

DarhNcicarat (10 Ihs.).

Boil 2 lbs. catechu in water ; dissolve in the solution
S lbs. bluestone, and work the yarn at a boil. Leave
them in the liquid over-night ; lift the next morning,
and take through a boiling water, vnth s. lb. chromate
of potash. Take out and steep for half an hour in a
solution of tin at 3^ Tw. Lift and top at a hand heat
with the decoction of 2 or 3 lbs. logwood. Work in this
for an hour ; lift, add li- ozs. tin crystals, re-enter, work,
wring, and dry.

116

DYEING AND TISSUE-PRINTING.

Fast and Bright Brown (10 Ihs,).

Boil in water 2 lbs. best Pegu cutcb. Dissolve in tbe
liquid 3 ozs. blue-stone, and make up witb water to 14
gallons. Let settle, beat tbe clear to a boil, enter tbe
yarn, and let steep for two bours. Lift, enter in a fresb
boiling water witb i lb. bicbrome. Give six turns, lift,
and rinse in cold water.

If a finer sbade is desired it may be entered in a water
at 100^ F., witb i lb. alum, 1 oz. tin crystals, and a little
magenta.

Noisette^ six shades (11 lbs.),

Ko. 1. Make up 87 pints water at 68"" F., witb i lb.
sumac and li- oz. prepared catecbu. Enter tbe yarn,
steep for an bour, lift, and add 2i- ozs. nitrate of iron ;
six turns, and wring well out. Make up a fresb water
at 86° F., witb -l oz. cbromate of potasb ; six turns, and
take tbrougb warm water.

No, 2. Make up tbe first beck witb 8l ozs. of sumac
and 2i- ozs. prepared catecbu. Steep for an bour, lift,
and add 3i- ozs. nitrate of iron ; re enter, six turns,
and enter in a water at 86° F., witb 1 oz. cbromate of
potasb,

^0. 3. Tbe first water is at 86° F., and contains tbe de-
coction of 13 ozs. sumac, 4 ozs. logwood, and 3iozs. prepared
catecbu. Steep for an bour. Add 3^ ozs. nitrate of iron,
give ten turns and take tbrougb a fresb beck of l^oz.
cbromate of potasb.

No, 4. Tbe first water is made up witb 17 ozs. sumac,
8|- ozs. logwood, and 4i ozs. prepared catecbu. Steep for an
bour. Add 4i-ozs. nitrate of iron, and give ten turns, and pass
tbrougb a fresb beck of 2i ozs. cbromate of potasb at 86° F.

COTTON DYEING.

117

No. 5. The first water is made up with 26 ozs. sumac,
17 ozs. logwood, and 7 ozs. prepared catechu. Steep for an
hour, add 6^ ozs. nitrate of iron, and give ten turns. Take
through a beck of S^-ozs. chromate of potash.

No, 6. 2 lbs. 3 ozs. sumac, and the same weight of log-
wood for the first beck. Use 9i ozs. nitrate of iron, and
take through 6^ ozs. chromate of potash

Light Buff (60 Ihs.),

Bleach; add to a cold water 3 pints nitrate of iron.
Work yarns five times, and wring. Add clear lime-water
to a fresh cold water, give five turns and wring, re-enter
in the iron-liquor, five turns, wash off and dry.

Anotlier Light Buff (GO lbs.).

Bleach ; work yarn five times in dilute clear lime-water,
and wring ; boil 2 ozs. Bismarck brown (Brooke, Simpson,
and Co.), and add to a cold water. Work five turns, wash
in cold water, and dry.

Baric Buff (60 lbs.).

Boil 6 lbs. turmeric with 3 lbs. alum in 6 galls, water,
tand add this to a hot water. Work yarns five times and
lift, add 3 pints nitrate of iron, 3 turns more, wash in
<5old water, and dry.

Another Buff (11 lbs.).
Boil 1 oz. to l|-ozs. annatto in the solution of 2i ozs.

113

DYEING AND TISSUE-PEINTING.

soda ash, and work tlie yarn for an hour at a boil. Lift,
and top in a fresh water with magenta and a little alum.

Chocolate (11 Z&s.).

Work for half an hour at 167° F. in a water of Sj- ozs.
prepared catechu, lift, and pass five to seven times through
a fresh water at the same heat made up with 1^ oz. chro-
mate of potash. Lift, and top in a fresh water with about
•j^^ oz. magenta and 15 grains extract of indigo.

Claret (11 Ihs.)

Make up a water with 17 ozs. prepared catechu, and work
the yarns for an hour. Wring and steep for half an hour
in a hot water with 6j- ozs. chromate of potash, take
through cold water and work for half an hour in a water
at 190° F. with 3-Llbs. sumac. Dye in a cold water with
li- oz. magenta, lift, and add to the water 8^ ozs. alum
and the decoction of 2± lbs. logwood. Enter again, work,
lift, and add from ^ to l|:Oz. chromate of potash, re-enter
and work.

Cream-colour (11 Ihs,).

Boil out |- oz. prepared catechu in water, and dissolve
2 lbs. 3 ozs. curd soap in the clear liquid. Enter the cotton
at 190° F., and work for an hour.

Dove on Vdvets.

Run through 60 gallons of water, to which 10 gallons
logwood liquor and 5 gallons sumac have been added.
Lift, add 3 quarts copperas liquor at 8° Tw., enter, run
through again, wash, and finish.

COTTON DYEING.

119

Light Br ah (60 Tbs.).

Boil 6 ozs. redwood extract till dissolved. Add the
liquor to a warm water, work five turns, lift, and add \ )-
pint black liquor. Three turns more, wash and dry.

Medium Drab (SOlhs.).

Increase the peachwood extract to 1 lb., and work as
above.

Dark Drab (60 Tbs).

Boil 6 lbs. cutch until dissolved (without any blue-stone),
add to a hot water, five turns, run ofi*, and wring. Dis-
solve li- lb. peachwood extract, add to a vrarm water, five
turns, lift, and add 1 quart black liquor, three more turns,
wash and dry. For a yellower shade, boil a little extract
of fustic along with the peachwood ; for a redder shade
add a little alum along with the peachwood, and for a
browner tone top with a little Bismarck brown,

Drah on Velvets,

Run four or five times through a bath made up of 60
gallons fustic liquor, 20 gallons sumac liquor, and 1 pint of
dissolved annatto. Lift, add 4 quarts of copperas liquor at
8° Tw. Run four or five times through, wash, and finish.

LigM Drah on Cords,

Work with 1 pail sumac, 2 pails fustic, 4 quarts logwood,
and li pints annatto, filling the tub up with warm water.
Run into a warm water with 3 pints copperas liquor at
8° Tw., and wash ofi* in warm water.

120

DYEING AND TISSUE-PRINTING.

Drah (100 lbs, ijarn).

Dissolve 8 lbs. alum and ^Ib. nigrosine (F. Bejer and
Co., of Elberfeld). Enter at 120° F., and turn constantly
to shade whilst raising the heat.

Fawn on Velvets,

Make up a catechu bath at 2°Tw. and 180° F., run
through this, pass into chrome bath at 1° Tw., wash and
sadden with 60 gallons fustic, and 80 galls, sumac. Lift,
add 4 quarts copperas at 8° Tw., run through again, wash,
and finish.

Prussiate Green (22 Z6s.).

Dissolve 2 lbs. 8 ozs. alum in lukewarm water, and give
two turns. Dissolve in fresh water 17i- ozs. solid extract
of bark. Work for an hour and wring three times. Pre-
pare two cold waters, the first with 7 ozs. nitrate of iron
slightly soured with sulphuric acid, and the second with
8|- ozs. yellow prussiate.

Give five turns in each, lift, and wring. Before taking
out of the second add 2 ozs. muriatic acid, rinse, wring, and
dry.

For heavy greens take —

Extract of bark . . . . 2 lbs. 3 ozs.
Mtrate of iron . . . .12 ozs.
Yellow prussiate ... 7 ozs.

Grass Green (hhTbs,),

Steep the cotton, previously boiled, for a night in water
with 8|-ozs. alum. Next morning rinse, wring, and enter

COTTON DYEING.

in a water at 140*^ F., containing 13 lbs. 2 ozs. bark. Work
for forty-five minutes, wring, and dje to sbade in a water
containing 4 lbs. 6 ozs. soda crystals, and ISTicholson blue
(BBB) 8|-ozs. The colour, of course dissolved, should be
added in two portions to prevent unevenness. Work for
half an hour, lift, and add to the beck the solution of 3^
lbs. alum. Six more turns, rinse, wring, and dry.

Coeruleine Green.

Mordant with chrome alum, or take the yarn alternately
through chromate of potash and bisulphite of soda.

For the dye-beck stir up the coeruleine with twice its
weight bisulphite of soda at 71^, and let the mixture stand
for some hours before adding it to the dye-beck.

Methyl Greeii (22 Vos.).

Dissolve 17i ozs. tannin in water, enter ihe cotton at
167° F., and steep for fifteen minutes, giving several turns.
Wring, and add to a fresh cold water the solution of Si ozs.
methyl green, enter yarns, give twelve turns, wring, and
dry.

Or (for 11 lbs.).

Dissolve 3,100 grains tannin in a boiling water, enter the
bleached cotton over-night in the hot solution, wring out
and dye in cold water with a solution of the colour
according to shade. Wring, and dry in the dark without
washing.

For lighter shades bleach well and work in warm soap-
water to remove chlorine. Enter in a boiling lye of curd
soap, and wash out in cold water. Make up a cold water
with 3 parts of colour for every 100 of cotton, give five or
six turns, and steep over-night. Dry the next morning.
If the shade is not full enough, take again through the

122

DTEING AND TISSUE-PEINTING.

tannin bath, and dye again to shade. For yellower tones
dye a yellow ground with fustic and alum, and top cold
with the green.

"Emerald Green on Cotton Velvets.

Give a yellow ground with fustic liquor. Work well,
lift, and add 4 quarts solution of alum at 10° Tw. Work
well, and wash in two clear waters. Repeat the same
operation and fold the pieces up. When dry, blue the
pieces in the yat to the shade required.

Light Bltieisli Green (11 lbs,).

Extract 17 ozs. turmeric at a boil, and add to a water.
Steep for two hours, lift, add 1|- to 2 J- ozs. sulphuric acid,
re-enter five times, take out, wash well, and dye a prussian
blue in the following : —

a. 3 ozs. tin crystals, 8|- ozs. nitrate of iron.
h. 4}!. ozs. yellow prussiate, 2i. ozs. sulphuric acid. If
the blue is required darker repeat the operation.

Night Green for Cotton Velvets, Velveteens, ^c.

Boil 3 lbs. nut-galls in 4 gallons water, let settle, draw
off the clear and dilute it with 20 galls, water. Bring
this liquor into a jigger at about 150° F., enter the piece
and run it through six times, add a pint of double muriate
of tin, and run through again. Wash and run through a
bath prepared with 20 gallons of water, to which 4 gallons
fustic liquor have been added. Run through six times,
add to the fustic 4 quarts alum liquor at 8° Tw. Run
through several times more, lift and drain in a centrifugal.

COTTON DYEING.

123

Make np a jigger with 20 galls, water, and -i lb. of night-
green paste, previouslj dissolved ; when all the colonr has
been taken np, take up and finish. (Methyl green, Hel-
vetia green, or Malachite green, according to shade, will
now be substituted for the night-green paste.)

Blue Green {on Cords, Beavers, and Beaver teens').

Boil the goods in soda ash for an hour, and leave folded
up in clear water to drain. Give a good ground in the
vat, sour, wash well in two or three waters, and sadden in
50 gallons logwood liquor, and 30 gallons fustic liquor.
Add 2 quarts copperas water, and 2 quarts blue-stone
liquor, and run through again. Wash in two waters and
run the pieces into 70 gallons fustic liquor. Drain, add
3 quarts blue-stone water at 8° Tw., run through and wash.
Give five turns in each operation. This is a blueish
olive.

Give a vat blue gi'ound, run through, sour, and wash in
clean water, Run through sugar of lead at 6"* Tw., then
through caustic soda at 2° — 3° Tw.,wash off, and run through
bichromate of potash at 2° Tw.

Cloth requires three or four turns, yarn five or six
turns.

Work through the cold solution, give five turns, and wring.
Dissolve in another water 6 lbs. yellow prussiate, give the
yarn six turns in the cold solution, wring, and pass back to

Chrome Green (on cloth or yarn).

Green on Yarn (100 Tbs,),

Dissolve

Nitrate of iron .
Tin crystals

10 lbs.
1 lb.

DYEIXG AND TISSUE -PRINTING,

the nitrate of iron, and thence return to the prussiate
bath, to which 2 lbs. alum have been added, give three
dips in each, and rinse.

Boil 40 lbs. bark for an hour, strain the decoction into
a tub, add 1 lb. sugar of lead, well dissolved, and when all
is mixed, enter the yarn at 180*^ F., and turn it for half an
hour, wring, and take it through another water, contain-
ing—

Alum 2 lbs.

Indigo paste . . . . 2 „

Rinse and dry.

Cheap Green,

Prepare yarns over night in a decoction of sumac. Boil
25 lbs. fustic for one hour, in a bag. Add to the liquid
2i- lbs. verdigris dissolved in acetic acid and hot water.
Cool the dye and enter the yarns, turn well, and heat up
to a boil. Keep the yarn half an honr in the bath, let it
cool, and enter it in another water containing the decoction
of 10 lbs. logwood, heat to a boil, and keep it there for half
an hour ; lift and rinse.

By using blue-stone instead of verdigris an olive-green
shade is produced.

Greij (31 lbs.).

Extract 30 ozs. fustic at a boil. Enter the yarns at a
hand heat, and steep for fifteen minutes. Sadden with 30
ozs. copperas. Wash well, and wring. Enter in a cold
water with 60 ozs. alum, and dye np to shade with a little
induline. (Williams Brothers andEkin.)

Mode Grey 07i Cotton Wool (22 Tbs.),
Enter in water with the extract of 1 1 lbs. logwood, work

COTTON DYEING.

125

for half an hour in the cold, lift, and add copperas, 4?
lbs, 6 ozs. Re-enter and work to shade ; lift, rinse, and
dry.

Slate Grey on Cotton Wool (22 Z&5.).

Make a decoction of

Sumac . . . • . 2 lbs. 3 ozs.
Catechu . . . . .17^ ozs.

Enter the cotton at 122® F., and let steep for an hour,
turning from time to time. Lift, and add to the water
8|- ozs. nitrate of iron, re-enter, and work till the colour is
level. Lift, wring, and add to a fresh water 6|- ozs. bi-
chromate of potash. Heat to 140° F., enter the cotton,
give seven turns, let steep till cold, and dry.

Silver Grey (55 lbs.).

Six turns in the decoction of 13 ozs. gall-nuts, wring,
and pass into a cold water with 3 lbs. 4i ozs. copperas,
and 1 lb. 10 ozs, blue-stone. Seven turns, rinse, and
dry.

Mode Grey (55 lbs.).

Boil in a water 3^^ lbs. catechu and 17 ozs. dry extract
of logwood, and dissolve 8|- ozs. each copperas and blue-
stone. Enter yarns at 122® F., and work for half an
hour.

Anotlien* Mode Grey (11 lbs,).

Make up 11 gallons of water at 77® F., with 4i ozs.
sumd.c, and 14i ozs. prepared catechu ; enter, steep for an
. hour, lift, and add 2\ ozs., by weight, of nitrate of iron, at

126

DYEING AND TISSUE-PRINTING.

71*^ Tw. Six turns, and wring off. Make up a fresh water
at 100^ F., with ^ oz. chromate of potash ; enter yarn, six
turns, and take through clear water.

Darker shades are made hy increasing the proportions
of the wares.

Light Grey on Cotton Pieces (60 Ihs.).

Boil 1^ lb. solid extract of logwood, and i lb. solid ex-
tract of bark in water. Run the pieces six to eight times
through, sqneeze, and run through a fresh beck of water
with 5 lbs. copperas. Rinse, and finish with the dressing
directed for pansy.

Medium Grey (60 Ihs.).

Increase the extract of logwood to 2i- lbs., and the bark
to fib., and use 10 lbs. copperas.

Barh Grey (60 Ibs.')^

Four pounds extract of logwood, and l^-lb. extract of bark.
Add to the finishing mixture logwood and copperas enough
to colour it slightly. If a yellow tone is required add
more bark liquor, and for a reddish shade take a little
sapan-liquor.

Sto7ie Grey (25 lbs.).

Boil 25 lbs. sumac, and 1 lb. fustic. Enter, give five
turns, wring, and enter in a cold water with 1 lb. copperas,
and i- lb. blue-stone. Five turns, rinse, and dry.

COTTON DYEING.

Fast Grey (22 Ihs).

Mix 1-1 pint olive oil and the solution of 2 lbs. 3 ozs.
soda crystals. Work the cotton in this mixture at a boil
for thirty minutes, wring, and dry. Then powder 44 lbs.
coal very fine, add 15i- lbs. soda crystals and 17i pints
boiling water. Let the mixture steep for some hours, and
then boil for half an hour in 227 pints of water ; strain and
work in the hot liquid for a quarter of an hour, and wring
well. Repeat this process five times, wringing each time.
Wash in lukewarm water, then in cold water, wring and
dry. Pass into weak size, to which a little emulsive oil
has been added, wring, and dry.

This grey resists soap, acids, and chloride of lime, but it
is not beautiful.

Mode Grey (11 lbs.).

Work for two hours with the decoction of 35 ozs. sumac,
and 4|- ozs. fustic. Lift and dye in a fresh water, with
4i^ ozs. copiDcras. Top in fresh water with gentiana, blue,
or methyl violet.

Maroon on CoUon (75 lbs. yar7i).

Steep over-night in decoction of 18 lbs. sumac, wring,
and enter cold in a bath of oxy-muriate of antimony, 2^ Tw.,
work for four hours, wash, wring, and enter dye-bath of
4 pails redwood liquor, and 9 ozs. "garnet" (Farb-werke,
Hoechst am Main) at 120'' F., and raise to 160*^ F., turning
constantly.

Beep Olive (11 lbs.).
Boil in sufficient water 14 ozs. sumac, work for an hour

128

DYEING AND TISSUE -PRINTING.

in the clear, and make up a fresh water with 26 ozs.
copperas.

Work for fifteen minutes, wring and prepare a beck of
red liquor at 11"" Tw., raise to 140^ F., give ten turns, lift,
wring, and enter in a fresh water, at 140^ F., containing
5-1- lbs. fustic. Work for an hour, and wring. Bark maj
be used in place of fustic.

Light Olive (10 Z&5.).
Boil 1 lb, bark in water. Boil -L lb. turmeric in another

vessel, and mix the decoctions. Dissolve in the liquid
5 ozs. alum and 1^ oz. extract of indigo, or more, as the
shade may require. Steep the yarn in this liquid at 88*^ F.,
and top to shade with a decoction of peachwood.

Light Olive (11 Ihs.).

Boil 3i- lbs. fustic in water, make up a bath with the ex-
tract, dissolve in it 17-1 ozs. alum, enter yarn, and steep for
an hour. Lift, and dissolve in the bath li oz. extract
indigo. Re-enter, and work for fifteen minutes.

Medium Olive (11 Ihs.).

Extract 8i- ozs. sumac in boiling water, enter the yarn
in the clear liquid, let steep, and make up a fresh water
with Si- ozs. copperas. Enter the yarn (previously wrung
out), work for fifteen minutes, wring, and enter in a fresh
beck of red liquor at 1^^ Tw. Give twelve turns at 148^^
F., wring, make up a fresh water with the decoction of
2 lbs. 11 ozs. bark, and work half an hour.

COTTON DYEING.

129

Aniline Orange (60 lbs.),

Bleacli, boil 3 lbs. tannic acid, and add this to a warm
water. Work yarns five turns, and wring. Spirit with 3
quarts nitro-mnriate of tin, and wash in cold water with a
little soap in the last water. Dissolve 12 ozs. aniline
orange, add this to a warm water, wash, and dry.

Annatto Orange (60 lbs,).

Boil 6 lbs. best annatto in 2 lbs. soap and 2 lbs. com-
mon soda till dissolved, and add this to a boiling water.
Work yarn five tnrns, wash in cold water, and dry. This
colour may be topped with various wares.

Full Orange (60 lbs,).

Dissolve 12 lbs. sugar of lead in 12 gallons of clear
lime-water, and add the solution to a cold water. Work
yarn five turns, and wring. Dissolve 4) lbs. bichromate of
potash, and add to a cold water. Work five turns and
wring, and repeat twice in the old liquor, wringing each
time. Heat lime-water to a boil, and work yarn five turns
quickly. Wash ofi* in warm water with a little soap and
dry.

Orange on Cotton Velvets^ 8fC.

Pour 10 gallons boiling water on 4 lbs. of turmeric, but
do not boil ; stir up well, let settle, and run the clear into
a jigger; make up with water to 20 gallons, and add
7 lb. annatto, which has been boiled with i- lb. of pearl-
ash. Run the piece six times through, and add 4 quarts
solution of alum at 8^ Tw., and ^ pint oil of vitriol. Run

130 DYEING AND TISSUE-PRINTING.

througb. several times more, wash, dry, and it is ready for
finishing.

Chea^ Orange (50 lbs,).

Dissolve 10 lbs. sugar of lead, boil for half an hour with
4 lbs. litharge, let settle, and enter the yarns in the solu-
tion of basic acetate of lead thus obtained. Give two turns,
lift, wring, and take through weak lime-water, and then
into a warm water containing the solution of 6 lbs. bichro-
mate of potash. After fifteen minutes lift and take
through boiling lime-water very quickly. Rinse and
dry.

Fine Orange (11 lbs,).

Boil 21|- ozs. annatto in the decoction of 11 ozs. soda
crystals, filter, and work in the hot clear liquid for half
an hour. Lift, and pass through a fresh water at 100^ F.
with 17 ozs. alum, to which a little magenta may be added
if a redder tone is required.

Or :—

Steep the well -bleached yarns over night, 6i-ozs. tannin.
Take out and dye at 144'' F. with aniline orange.

Alizarine Bed for Yarns (220 lbs.).

Prepare in neutral alizarine oil. Dry the yarns in the
stove, and steam for l. hour at li atmosphere pressure.
Mordant in red liquor at 14^ Tw., and wash well.

Dye for li- hour at 158° F. with the following mix-
ture : —

Alizarine, at 10 per cent. , . 44 lbs.
Acetate of lime, at 83° Tw. . . 22 lbs.
Sulpholeic acid 11 lbs.

COTTON DYEING.

131

Steam for an honr, and soap as may be needed, with or
without the addition of carbonate of soda. A little tin
crystals may be added to the red liquor to raise the
colour.

The selection of alizarines depends on the tone of colour
aimed at. " Alizarine for reds " used alone, gives the most
vivid red. If a bluer tone is desired, a little " alizarine for
violet " is added.

Or (22 Ihs.)—

Boil the yarn in soda-lye at 4^ Tw., wash, and dry in
the air.

Pass into a beck containing 24 ozs. of alizarine oil in
26 pints of water at 122*^ F. ; wring, and dry in heat.

Mordant with red liquor lOi- pints, at Tw. ; dry in
heat, and age for twenty-four hours.

Dung with 11 lbs. cow-dung and 2 lbs. 3 oz. chalk in
44 pints of water at 150° F. Wash thoroughly and wring.

Make up the dye-beck as follows : —

Hot water .... 350 pints.

Acetic acid .... 7 ozs.

Alizarine oil .... 3 lbs. 7 ozs.

Water, into which has been pressed
the juice of 6|- lbs. bran, after

being boiled for an hour . 17 pints.

Alizarine, for reds . . . 27 ozs.

Enter cold, work for an hour, raise very slowly to a boil
in an hour and a quarter, boil for -|- hour ; lift, drain over-
night, wash, wring, and dry.
Pass into a beck containing —

Alizarine oil . . . . . 24 ozs.
Water at 95° F 26 pints.

Wring and steam for an hour at the pressure of one
atmosphere.

132

DYEING AND TISSUE- PRINTING.

Brighten in a closed boiler with —

Soap 81 lbs.

Soda-crystals . . . . 2 lb. 3 oz.
Tin crystals ..... 7 ozs.

Wash and dry in the air.

Or—

Mordant in cold red liquor at 6|-° Tw. Let steep for two
hours, turning often. Lift, wring, and air for twenty-four
hours. Enter in a fresh beck containing i- per cent, of
chalk, and dye at 212^ F. with a solution of alizarine in a
wooden vessel.

Aniline Scarlet (60 Ihs,),

Bleach ; boil 8 lbs. tannic acid, and steep the yarn over-
night in the solution. Mordant with permuriate of tin
(red cotton spirits). Wash off in two cold waters and
wring up. Dissolve 6 ozs. aniline scarlet, and add the
solution to a warm water. Work the yarn for an hour,
giving ten turns ; wash in cold water, and stove dry.

Another Aniline Scarlet (60 lbs,).

Bleach and mordant as in the last receipt. Boil 3 lbs.
turmeric and 3 ozs. aniline ponceau, and add the solution
to a hot water. Work yarns ten turns, wash in cold water,
and stove.

Common Scarlet (60 lbs,).

Bleach ; boil 6 lbs. sumac, and add this to a hot water.
Work the yarns five turns, and wring ; mordant in tin, as
in the preceding receipts. Wash in two cold waters, and
wring up. Boil 18 lbs. peach wood and the same weight
of fustic ground, and add the decoction to a hot water.

COTTON DYEING.

133

Work tlie yarns ten turns, and raise with 1 lb. alum.
Wash in cold water, and stove.

For lighter shades the sumac may be omitted, and
turmeric used in place of fustic.

Saffranine Scarlet (60 lbs.).

Bleach ; boil 2 lbs. annatto with 1 lb. soap and 1 lb.
soda until well dissolved, and add to a boiling water.
Work ten turns, wash in two cold waters, and wring up.
Mordant in red liquor, wash off in two waters, and wring.
Add to a beck of warm water 2 lbs. of saffranine. Work
yarns in this for one hour, giving ten turns. Wash in
cold water, and stove.

Saffranine Scarlet (60 Z&/?.).

Soak yarn for twelve hours in hot water, wring and
soak for an hour in the warm decoction of 20 lbs. sumac.
Lift and pass through nitro -muriate of tin at 2|-^ Tw.
E/inse three times, and wring. Extract 2 lbs. turmeric in
a little water, add a boil ; add the decoction to a cold
water, and add further 191- ozs. saffranine, previously dis-
solved in 3i- pints of boiling water, and filtered. Enter
the yarn, and gradually raise the heat to 131° F., turning
well for half an hour.

Or—

Take the bleached goods through stannate of soda at 2|®
Tw., and leave for an hour ; take through vitriol sours at

Tw., and wash. Dye with aniline scarlet. Pass, through
a water with tartar emetic, drain in the centrifugal, and
top in a fresh water with saffranine. Afterwards pad in a
10 per cent, solution of alizarine oil, dry, and steam.

134

DYEING AND TISSUE-PRINTING.

Another Saffranine Scarlet (11 lbs,).

Boil 2 lbs. 3 oz. annattoin water with 13 ozs. soda-ash.
Make up with the decoction a boiling water. Enter the
yarns, previonsly bleached, and work for half an hour.
Rinse and enter in a fresh water at 144° F. along with
1-1 oz. cnrd soap. Give six turns ; lift, and dye to shade
in a fresh water at the same heat with a clear solution of
sajBTranine. Lift, and dry.

Pearliiuood Scarlet (55 Ihs.).

Boil together for twenty minutes 11 lbs. sumac and
5~ lbs. turmeric. Steep the yarn over-night in the clear
liquid ; lift, and give five turns in tin solution at 2i-" Tw.
Give five turns in a water with 13 lbs. peachwood, and let
steep for two hours. Lift, and let steep three or four hours
in a fresh water with 26 lbs. peachwood and 5 lbs. 7^ ozs.
alum.

The tin solution is prepared as follows ; —

Muriatic acid .... 3 parts.
Nitric acid ..... 1 part.

To every 2 lbs. 3 ozs. of this mixed acid take 4|- ozs. tin
crystals.

The second peachwood beck may be saved and used for
the first peachwood steep of the next lot.

Saffloiver Scarlet (60 lbs.)

Bleach ; boil till quite dissolved 3 lbs. concentrated
annatto with 1 lb. soap, 1 lb. soda crystals, and add this
to a beck of boiling water. Work yarns one hour, ten
turns. Wash in two cold waters and wring.

COTTOI^ DYEING.

135

Add to a water one bottle carthamine (extract of saf-
flower), work yarns four turns and lift ; add 3 pints acetic
acid ; re-enter, work till all the colour is taken up. Wash
off in three cold waters, to the last of which 1 lb. cream of
tartar is added. Wring, and dry cold.

Amtlier Scarlet (100 Ihs.),

Steep over-night in the decoction of 20 lbs, sumac.
Work for fifteen to twenty-five minutes in a beck of oxy-
muriate of antimony at 2° Tw., wash well, and dye to
shade with

Ponceau 2 B (Berlin Aktien Gesellschaft) . li lb.
Enter at 70'' F., and raise heat not above 90° F.

Aiwtlier Scarlet (50 lbs).

Steep over- night in the decoction of 18 lbs. sumac.
Wring, and enter in oxy-muriate of antimony at 2° Tw.
Give three or four turns, and let steep for half to three-
quarters of an hour. Wash, and dye up with —

Saffranine . , . . . 10 ozs.
Phosphine ..... 4 ozs.
(Berlin Aktien Gesellschaft.)

Enter at 60°, and turn rapidly, raising the temperature to
(but not above) 110° F.

Ponceau 3 B. Berlin Ahtien Gesellschaft,

Soap, and dry ; mordant for an hour in red liquor at 17°
Tw., free from lead. Wring and dye in a fresh water to
which the dissolved colour is added. Heat slowly to a boil,
and let the cotton cool in the bath.

136

DYEING AND TISSUE-PEINTING.

The red liquor is prepared as follows : —

1. Eight parts sulphate of alumina, 14 water, 7 soda

crystals.

2. Ten parts sugar of lead and 7 water.

Each of these liquids is boiled separately, and when
cooled down to a hand-heat they are mixed ; the mixture
is stirred, let settle, and filtered.

This process may be used for fixing any of the ponceaux
and the Bordeaux of the same company upon cotton,

Saffranine PinJc (60 Ihs.),

Bleach and mordant in red liquor. Wash well from this
in two or three cold waters, and wring. Add to a warm
water 1 lb. safi*ranine paste ; work five turns, wash off in
cold water, and stove.

Saffloiver Fiyik (60 lbs,).

Bleach and add 3 gills of extract of safflower (cartha-
mine) to a water. Work yarns for six hours, giving them
a turn every half hour, and keep them in the liquid till all
the colouring matter is taken up ; add towards the close a
little acetic acid to raise the shade. Wash off in three
waters, adding to the last 1 lb. cream of tartar, and dry
cold.

Aniline FinJc (50 lbs,).

The yarns, well bleached, are entered at 110"^ F. in a
water with —

Sulphate of soda . . . . 5 lbs.
Pink (Baden Anilin Fabrik) . . 4 ozs.

Turn well ; lift, heat to 140° F., and finish. The dye-
ware should not all be added at once.

COTTON DYEING.

137

ErytliTosine PifiJc (50 Ihs,),

Add to a lukewarm water —

Sulphate of soda crystals . . . • 5 lbs.
Erjthrosine B.S. (Meister, Lucius, and Brun-

ing) . . . . . . . 5 ozs.

Enter yarns at 120*^ F., and turn to shade, raising the
heat gradually to 140^ F. It is recommended to add the
colour — of course dissolved — in two equal portions.

Phloxine Pink (50 Ihs.),

Dissolve common salt in the water till it marks 5*^ Tw.
Add the solution of 6 ozs. Phloxine Extra B.B. (P. Mon-
net and Co., Geneva). Enter yarns at 70° F., and give five
turns whilst the temperature is raised to 100° F. ; wring
and dry, without washing.

Safflower Pose (60 lbs.).

Bleach ; work as for safSower pink, but double the
quantity of carthamine, and give a little more time.

Magenta (50 Ihs.y

Add to a water at 144° F. —

Tin crystals . . . . * 6|- ozs.

And the solution of the same weight of magenta, which is
added in two portions, giving six turns after each.

138

DYEING AND TISSUE-PEINTING.

Besorcine Colours [Eosine and Fliloxine Beds and Boses).

Soap hot with curd soap for an hour, and wring without
rinsing. 8|- ozs. alum are dissolved in l-l pint water, and
made up to 17 pints, 1|. ozs. soda crystals are added, the
solution is let settle, and the clear liquid is drawn off for
use. The yarn is boiled in this for ten to twelve hours,
and is then entered in 17 pints of water and 6|- to 10^ ozs.
of alizarine oil, which before being added to the beck should
be well shaken up with 1^ pint water. In this mordant
the yarn is steeped for an hour, wrung and dried.

For dyeing take 17 pints pure water, 7 fluid ozs. red
liquor at 8i-^ Tw., and colour as required. Enter the yarn
at 122^ F., and raise gradually to 190^ F. ; steep till the
bath is exhausted, wring without washing, and dry.

The red liquor is made by dissolving 4i ozs. alum in
81- fluid ozs. boiling water, and adding the solution of 3|-
ozs. sugar of lead in the same quantity of water. Mix the
solutions, let settle, strain, and set the clear at 8i^ Tw.
The water used must be free from lime.

CoralUne Bed (11 Ihs.).

Make up a hot water with 2 lbs. 3 ozs. turmeric. Work
yarns for one hour, rinse in cold water, and prepare another
water at 86^ F. with —

Soap ...... 1|- ozs.

Olive oil 34. „

Work in this for fifteen minutes and wring. Dye in a
cold water containing a trace of tartaric acid and a solution
of soluble red coralline.

The quantity of tartaric acid is regulated by the greater
or less yellowness of the shade required ; or —

Boil in water white starch 4J- ozs., and add the same

COTTON DYEING.

139

weight of glue. Enter the yarn at 86^ F., work for fifteen
minutes, rinse, and dye in a water at the same heat to
which more or less solution of coralline has been added,
according to shade.

Or—

Boil 35 ozs. sumac or 2,790 grains of tannin in water,
and steep the cotton all night in the hot clear liquid.
Wring out next morning, and enter in a fresh water at 1 22^
F. with 17^ ozs. good glue; wring out and dye to shade
with coralline in cold water ; wring again, and without
washing dry in a room whose atmosphere is impregnated
with ammonia.

Aurine is dyed in the same manner as coralliriC.

Magenta on Cotton-ivool (110 Z&5.).

Add to a boiling water 5 lbs. 7ozs. tannin. When per-
fectly dissolved enter the cotton and boil for two hours ;
'reduce heat and steep for another hour. Dissolve 2 lbs.
3 ozs. soap, dilute the tannin beck sufl&ciently, and work
the cotton well. Lift, drain in the centrifugal, and dye in
^ fresh water with 27 — 31 ozs. magenta.

Hose Bengale (P. Monnet and Co.).

Work the cotton for an hour in water containing 5 per
cent, of alizarine oil, dry, steep for two hours in cold red
liquor at 2^^ Tw., and enter in the dye-beck, which for
every 35 ozs. cotton, contains j- oz. colour and i- oz. of the
above red liquor. The process takes one hour at from 112"^
to 140^ F.

The red liquor is made by dissolving 3^ ozs. alum in
;17-i. ozs. water, and adding 1-Z- oz. acetate of lime, pre-
viously dissolved in another 17^ ozs. water. It is let settle,
decanted, or filtered if needful, and set at 2i.^ Tw.

140

DYEING AND TISSUE-PRINTING.

Eosine,

Work tlie yarn in a soap-beck, dry, and transfer to a
beck of sugar of lead. Rinse and dye at a hand-heat in an
eosine beck. The addition of a little acetic acid gives a
yellower tone.

Cocliineal Red (10 Ihs.).

Boil 1 lb. best annatto with |- lb. potash ; strain the so-
lution, and work the yarn in it at a moderate heat. Wring,
and take the yarn twice through a lukewarm water ;
wring and pass it into the solution of 2 ozs. glue, to which
li oz. nitric acid has been added. Work for a quarter of
an hour, wring, and enter in a tin mordant at 10^ — 11^ Tw.
Work for half an hour, wring, and dye with li lb. cochi-
neal.

Wood Bed,

Steep over-night in 12 lbs. sumac; next morning spirit
it in nitro-muriate of tin at 12® Tw. (cold). Wash off well,
and dye with 10 lbs. barwood and 30 lbs, brazil wood at a
boil, turning for an hour.

Barwood Tied (10 lbs,').

Boil out 2 lbs. sumac, and add the decoction to a water
in which the goods are steeped for six hours. Wring out,
and work in so-called barwood spirit at 2^ Tw. Wring,
and enter in a water at 200"^ F. with 10 lbs. rasped bar-
wood, raise to a boil, which is kept up till the shade is ob-
tained.

COTTON DYEING.

141

MocJc Scarlet (10 lbs.).

Prepare in 30 gallons hot sumac liqnor, with 1 lb. tur-
meric. Give seven turns, lift, and pass into a cold water
with 1 pint of crimson spirit (nitro-muriate of tin, a solu-
tion of the perchloride) ; seven turns, wash, and enter in
30 galls, hot redwood liquor. Lift, wash, and if not full
enough, take again through the spirit and the redwood
liquor.

Crimson Liquor for Padding Velvets,

Dissolve 2-L lbs. sal-ammoniac in 6 quarts hot water ;
then add to it 6 quarts cold water and 9 lbs. common salt,
stir well until all is dissolved, and strain through a double
cloth into a 12 gallon stoneware bowl. Add to the solu-
tion 2 quarts gum-tragacanth water, 4i gallons sapan
liquor at 8^ Tw., and li pint nitrate of copper at 78^ Tw. ;
stir well for three minutes, add 7i pints oxjmuriate of tin,
stir, fill up the bowl with cold water, and strain for use.
Pad once through at night and hang up to drain, run
through the same liquor next morning and dry. When
dry, turn over, expose to the air to cool, and after about two
hours wash in three waters and dry.

If a more scarlet colour is required, add 1 pint black
liquor to the above before padding.

Cochineal Scarlet (100 Ihs.).

Boil 10 lbs. annatto with 6 lbs. soda-ash ; strain into a
tub and enter the yarns in the liquid very hot ; leave
there for half an hour; lift and rinse in very warm
water.

Dissolve glue .... 10 lbs.
Nitric acid . . . • . 7^ „

142

DYEING AND TISSUE-PRINTING.

Pass the yarn into this solution lukewarm for a quarter
of an hour ; lift, wring, and pass into a tin mordant at 11*^
Tw. Keep it under the surface of the liquid for half an
hour, liffc, wring, and dje up in a water containing : —

Cochineal ..... 12 lbs.
Tin composition . . . . 3 „

Steep for a few hours. Top with magenta if needed.

Chea;p Scarlet (100 Ihs.).

Prepare in a decoction of 25 lbs. sumac, and let steep
over-night.

Next morning wring out well and take through a ni-
trate of tin " at 5i-^ Tw^, give five turns and wring.
Take through a cold solution of: —

Alum ...... 12 lbs.

Fustic liquor ..... 6 pails.

Chalk 1 lb.

(The chalk serving to reduce the alum to the basic condi-
tion). Give five turns, wring, and take through the decoc-
tion of 30 lbs. redwood. Steep a few hours, and dry.
The nitrate of tin above mentioned is thus prepared : —

Mtric acid at 62° Tw. ... 5 lbs.

Muriatic acid at 33° Tw. . . . 2i- lbs.

Water 2 lbs.

Feathered tin . . . . . |- lb.

Add the tin very gradually.

Cheajpest Scarlet (100 Tbs),

Pass for two hours into a decoction of 20 lbs. turmeric,
lift, rinse, and pass into a water containing 8 lbs. sugar of

COTTON DYEING.

143

lead and 5 lbs. alum, for fifteen minutes. Wring and dje
up in 3 or 4ozs. magenta, according to shade.

This scarlet will be blackened bj sulphurous fumes and
will fade in the sun.

Azo Beds (110 Ihs.).

Dissolve in water Gi- lbs. curd soap, and 2 lbs. 3 ozs. white
glue in water. Enter the yarn and work for an hour, wring
out, and pass into a cold water with perchloride of tin at
6i-° Tw. Work for an hour, lift, and enter in a water of
red liquor at 11^° Tw. Work for two hours, lift and pass
into a cold water containing more or less of the colouring
matter as according to shade. Turn constantly, and raise
the heat slowly to 190° F., let remain for some time in the
hot flot, wring out, and dry.

Or, for a cheaper and inferior colour —

Dissolve sulphate of alumina, 10 per cent, of the weight
of the yarn, and convert it into basic sulphate by the fol-
lowing process. Add gradually solution of soda, with con-
stant stirring, till the precipitate formed does not entirely
disappear, but leaves a few floating flakes. Then make a
small quantity of a fresh solution of sulphate of alumina
and add it very carefully, stirring continually, till these
last flakes are dissolved, set the liquid at 14° Tw. Enter
yarns for two hours, turning occasionally, lift and dye up
in a fresh water with colour = 10 per cent, of the weight
of the cotton.

Boe colour (11 Ihs.),

Work for an hour at 167° F. in a water of 17 ozs.
catechu. Lift and enter in a fresh water at the same heat
with 1- oz. chromate of potash. Lift and top in a fresh
beck with about -i oz. alum, and 30 to 45 grains of fustic.

144

DYEING AND TISSUE-PRINTING.

Bright Salmon,

Boil in a water 11 lb. sumac. Dissolve in the decoc-
tion 8i ozs. soda crystals, and stir in 13|^ozs. olive oil. Enter
yarns, steep for an honr at 140° F., lift, add to the water
lOi ozs. tin crystals, re-enter, turn for half an hour, wring
and dye to shade in a fresh cold water with 8|- ozs. aniline
orange, wring, rinse, and dry.

Light Slate (60 Ihs.).

Boil 24 ozs. logwood extract till dissolved, and add this
to a warm water. Give yarns five turns, lift, and add 1^
pint black liquor. Three more turns, wash in cold water,
and dry.

Medium Slate (60 Ihs.),

As above, but take 3 lbs. logwood extract, and 3 pints
black liquor.

Darh Slate (60 Ihs.).

Boil 6 lbs, sumac, add the liquor to a hot water. Work
five turns, and wring up. Boil 3 lbs. logwood extract till
dissolved, and add this to a warm water. Five turns, lift,
and add 3 pints black liquor. Give three turns more, wash
in cold water, and dry.

These colours may be modulated by using along with
the above ingredients small quantities of fustic and alum.

Slate on Velvets,

Run four or five times through 60 gallons of logwood
liquor, and 30 gallons of sumac. Add 4 quarts copperas
liquor, run several times, wash, and finish.

COTTON DYEING.

145

Slate on Cotton Wool (100 los.).

Extract of logwood .... 4 lbs.
Samac ^ 20 lbs.

Boil for fifteen minutes, enter the cotton, tnrn well, and
let boil for an hour. Lift, drain well, and enter in a cold
water in which have been dissolved : —

Copperas ...... 8 lbs.

Blue-stone ...... 4 lbs.

Slate (10 lbs.).

Boil for an hour with i Ih. soda. Make a decoction of
6 ozs. sumac, enter yarns and steep for six hours, wring,
and pass into a cold solution of 3 ozs. copperas. Give six
turns, rinse and wring, and pass back to the sumac bath
for an hour.

Make a decoction of ~ oz. extract of logwood. Enter in
this for two hours ; wring, and pass into another water
containing the solution of 25 grains bichromate of potash,
and give five turns.

Alizarine Violet (22011)8.).

Mordant with alizarine oil, and proceed as for a Turkey-
red. Mordant again with 270. lbs. sumac, or 200. lbs. good
pale myrobalans. Dry and pass into 175 quarts of water,
with copperas 76 lbs., blue-stone 15i-lbs. When the whole
is dissolved, work the cotton in the liquid at a boil, wring',
wash, and wring again. Dye to shade with " alizarine for
violets," i.e.^ such as contains no anthrapurpurine. When
cold, wash in plenty of water and raise with soap only,
very neutral, at a boil. If a very blue tone is required
raise with soap dissolved in a weak lye of soda-crystals,
say li-^ Tw.

146

DYEING AND TISSUE-PRINTING.

Methyl Violet (50Z5s.).

Boil yarn for two hours and wring. Make up a cold
water with. 5^ozs. nitric acid and l^lb. starch, previously
stirred up in cold water. Give a few turns, wring, and
dye to shade in a lukev/arm water with 1 lb. methyl
violet.

Or, work well in a soap-lye, wring, and take through a
solution of chloride of calcium or nitrate of lime. Rinse
and pass into a very weak tannin bath, and dye in clear
solution of methyl violet about 7 ozs. of dry to 60 lbs.
yarn.

Methyl Violet (22 Ihs.).

Dissolve 34- ozs. tannin, and 1 oz. curd soap in hot water,
add 4" oz. colza oil, and stir till an emalsion is formed.
Work in this at 167° F. for fifteen minutes, lift, and wring.
Make up another water at the same heat with 10^- ozs. alum,
and the filtered solution of 2 ozs. methyl violet. Enter
and dye to shade.

Reddish Violet (11 Ihs.),

Mix 4 lbs. 6 ozs. starch in cold water, pour in hot water,
stirring constantly so as to form a smooth even paste, and
make up to 105 pints at 100° F. Six turns and then steep
for fifteen minutes, turning occasionally. Lift and add to
105 pints of water at 100° F., 1|- oz. alum, and 30 grains
of soluble aniline violet. Six turns.

Gentiana Violet (11 lbs.).

Boil 35 ozs. sumac or 2,790 grains of tannin in water, and
steep the yarn over- night in the clear solution. Wring up

COTTON DYEING.

147

and dje in a water at 165° F., containing 9 ozs. gum arabic,
adding the dissolved colour as required. Wring, and drj.

Or—

Make up a water at 122^ F. witli 80 grains tannin for
each 35 ozs. cotton, and turn the yarns for four or five
hours.

Wring and enter in the dje-beck at 110^ F., to which
775 grains of acetic acid are added per 11 lbs. cotton.

Pansy for Piece Goods (10 pieces ^60 Tbs.),

Boil 15 lbs. sumac and run the goods eight to ten times
through the clear hot liquor. Lift, drain, and run six
times through tin solution at 2|. Tw. The tin solution is
prepared by dissolving 8 ozs. tin in 3 lbs. muriatic and 1 lb.
nitric acid. Squeeze and run ten to twelve times through
a fresh cold water prepared with 50 lbs. logwood. Lift
and dissolve in the same bath 2 lbs. alum, and 1 lb. tin
crystals, run six times through, and wash. Finish with the
following mixture : 45 lbs. farina, 3 lbs. wax, and 6 lbs.
cocoa-nut oil boiled to a stiff paste with the addition of
a few pounds of logwood and a little alum. The pieces
are calendered out of this mixture and pressed.

Sjnrit Purple (10 Tbs. cloth or yarn).

Prepare with stannate of soda at 10° Tw., sour in vitriol
at 2°Tw., and wash twice in clean water. Make up a
machine (tub for yarns) with 30 gallons logwood liquor,
run three or four times backwards and forwards, add 4
quarts alum, i pint double muriate of tin, and run three
or four times through, and wash off in clean water.

Make up another machine with 30 gallons logwood
liquor and 10 galls, redwood liquor, run three or four
times. Add i- pint purple spirit and 4 quarts alum. Run
through several times, wash, and finish.

148

DYEING AND TISSUE-PEINTING.

Fine Yelloio (60 lis.).

Eleach, mordant in red liquor, boil 3 lbs. picric acid in
^ gallons water, add this to a warm water, work five turns,
and drj.

Light Yelloio (60 lbs,).

Bleacb, boil 3 lbs. turmeric in 3 gallons water with 3 lbs.
alum, add this to a hot water. Work five times, wash, and
dry.

Straiu Yelloio (60Z55.).

Mordant with either red liquor or nitromuriate of tin.
Boil 1^- lb. extract of fustic in 3 gallons water, and add to
a warm water. Work yarn five turns, wash in cold water,
and drj.

Fast Yellow (60 Tbs.).

Bleach, dissolve 6 lbs. brown sugar of lead in 6 gallons
of boiling water, and add this to a cold water. Work five
turns, and wring. Dissolve 2 lbs. bichromate of potash,
and add it to another cold water. Work yarn five turns,
wash in two cold waters, and dry.

Bark Bust Yellow. Yarns and Cotton Wool (llOTbs.).

Work up in a hot water 11 lbs. yellow rosin soap with
4 lbs. 6 ozs. annatto and 2 lbs. 3 ozs. young fustic. Steep
for half an hour at a boil.

Old Gold on Cotton (100 tbs. yarn).
Boil ^ lb. flavine and dissolve 2 lbs. alum. Enter yarn

LINEN DYEING. 149

at 160^ F. 5 give eight turns, hang out, add to the dye
1 oz. Bismarck brown and ilb. redwood. Re-enter, turn
to shade, wring, and drj.

Linen Dyeing.

The properties of linen, as far as its behaviour with mor-
dants and dyewares is concerned, do not essentially differ
from those of cotton. It is, however, less able to resist
strong acids and chemicals. The proportion of linen goods
dyed and printed is but small in comparison with those
sold in the white state.

Coarse linen yarns are very largely used in the warps of
certain classes of carpeting.

Black (50 lbs. yarn).

Boil 10 pails of decoction of logwood with 2 lbs. blue-
stone and 2 lbs. soda-ash. When dissolved, cool down to
180^ F., enter the yarn dry, and work for twenty minutes.
Lift, rinse, and dry.

Blado Linen Sewing Thread.

Wet out in boiling water, and enter in a water at 212®
F., made up of 17 ozs. solid extract of logwood, and 3^ ozs.
solid extract of bark. Work for an hour, lift, and hang
out in the air for twelve hours. He-enter in the extract
beck, which should be at 88° F., give eight turns, and lift.
Work for a quarter of an hour in a fresh cold water, with
6i ozs. blue-stone, lift, and dissolve 17 ozs. soda-ash in the
old extract bath. Enter yarns and give ten turns. Lift,
return to the blue-stone water, seven turns. Take out,
return to the extract beck, and give seven more turns.

150

DYEING AND TISSUE-PEINTING.

!N'ext dissolve in the blne-stone water 7 ozs. copperas.
Enter yarns, give ten turns, and return to the extract bath
for seven turns. Make up a fresh boiling water with 81. ozs.
curd soap, and give seven turns. Oil or glycerine may
be added to the soap-beck to insure softness.

Blach (40 Ihs.),

Steep for an hour in a solution of 4 lbs. extract of log-
wood. Squeeze well and pass eight times through a cold
water with 7i ozs. bichromate and 12 ozs. blue-stone.
Take out and squeeze, and dissolve in the old extract-beck
1 lb. soda-ash. Enter, heat to 167^ F., take out, squeeze
again, dissolve in the beck 1 lb. copperas. Work for half
an hour, and rinse. To hinder the goods from smearing
take through a water containing a little gum.

Fast Black (50 lbs, yarn).

Steep over-night in the hot decoction of 15 lbs. sumac.
In the morning lift and take through a warm water made
up with 5 lbs. copperas, 1 lb. blue-stone, and 2 lbs.
whiting. #r

Work in a cold, weak lime-water, rinse, and return to
the sumac cistern, to which must be previously added six
pails decoction of logwood, and 1 lb. of starch paste.

Blues,

For linen the cold copperas vat, or the improved hydro-
sulphite vat, may be used exactly as for cotton.

To^ed Blues (11 lbs,). Three MetJiods.
First Metlwd —

Give a light blue in the vat, sour, rinse, and add to a

LINEN DYEING.

151

cold water 1 oz. tin crystals, and 3 lbs. 6 ozs. nitrate of
iron. Work for two hours, lift ; make np a fresh cold
water with 2|- to 3^ lbs. logwood, and 17 ozs. alum. Dje
cold for a quarter of an hour and rinse. If the colour is
not to rub oW, take through a lukewarm water with 4i ozs.
glue, and dry.

Second Method —

Vat as before, and make up a water with indigo sub-
stitute," a mixture of induline and extract of logwood.
Enter, work at 144"" F. for thirty minutes, and sadden in a
fresh water with l^oz. chromate of potash, and ^oz, blue-
stone,

TJiird MetJwd—

Vat as before, and work for an hour in a water of 11 lbs.
logwood, and 17 ozs. alum. Make up a fresh cold water
with 2 lbs. 3 ozs. copperas. Give ten turns, and according
to shade give two or three dips in both becks. If not deep
enough, add a little nitrate of iron to the logwood. Rinse
and take through weak glue water.

Blue witliout Indigo (on 55 lbs, yarn).

Put the yarn for two or three hours in water with 81-
ozs. copperas, and dry without rinsing. Steep for three
hours in a water with 26 ozs. alum ; wash, wring, and dye
in a decoction of logwood, to which the solution of 1|- oz.
alum, and of the same weight of sugar of lead has been
added. Give three turns, and the dyeing is complete.

Light Bine (pieces 72 ijards, 29 inches ivide).

Boil with 35 ozs. soda-ash, rinse, and give a light blue
in the vat. Sour with 3i- lbs. sulphuric acid, and rinse.

152

DYEING AND TISSUE-PRINTING.

Mix 108 pints water with. 35 ozs. wheat starch, and the
clear solution of l- oz. gentiana violet B, and 8^ ozs. alum.
Take through this at 122"" F., and calender.

If the colour need not be quite fast, give a paler shade
in the vat, and prepare the following finish. Boil 11 lbs.
logwood in water, and dissolve in the clear decoction 17
ozs. alum. Boil in the liquor lbs. starch, let cool, and
stir in 17 ozs. sulphate of zinc, and |- oz. tin crystals.
Make up 105 pints, work in it for half an hour, dry,
and calender. Let the pieces run evenly through the
mixture.

• Aniline Blue (50 Ihs,),

Dissolve 4 ozs. aniline blue in 1 pint hot methylated
spirit, and stir the solution well into a water at 140^ F.
Stir in also 2 lbs. acetic acid, and the solution of 3 lbs.
sulphate of soda crystals.

Enter, raise gradually to about 210'^ F., turning con-
stantly ; lift, rinse, and dry.

Prussiate Blue (50 lbs,).

Add to a water, slightly warm, 3 lbs. nitrate of iron,
and 2 lbs. tin crystals. Enter, and give five turns, pass
into a fresh water made up with the solution of 2 lbs.
yellow prussiate, and 1 lb. oil of vitriol. Lift, drain, and
re-enter in the iron bath. If not dark enough, take again
through the prussiate. Lift, rinse, and dry.

Brown (50 lbs.).

Dye first a flavine yellow, as directed below. Mordant
with the "aniline spirit" (see chapter on Mordants,
p. 70). Enter in a water made up with the decoction of
10 lbs. redwood and 10 lbs. logwood, turn for twenty
minutes. Rinse, and dry.

LINEN DYEING.

153

If a maroon shade is required, use more redwood and
less logwood.

Another Brown (50 lbs.).

Add to a water at 140^ F., 5 lbs. alum, 5 lbs. aniline
spirit," and 10 pails of logwood liquor. Work for twenty
minutes, rinse, and dry.

Cateclm Fast Brown (50 Fas.),

Steep yarns OYer-nigbt in the decocfcion of 10 lbs. cuteh
or gambir. Lift, work in a hot solution of bichromate of
potash, lift; rinse, and dry.

Madder Broivn (50 lbs.).

Add to a water 5 lbs. boiled madder and 5 lbs. alum.
Enter yarn at 150"^ F. Five turns, add 2 lbs. double
muriate, work fifteen minutes, lift, rinse, and dry.

LigJit Green (10 Vos.^.

Digest for six hours with 6^ lbs. sumac. Wring out
and enter for half an hour in the following mordant : —
Alum, 500 grains ; sugar of lead, 250 grains. Wring out
and dye with 100 grains iodine green.

Fast Green (110 Vos.).

Boil for four hours in the solution of 4 lbs. 6 ozs. sili-
cate of soda, blue slightly in the cold vat, take through
vitriol sours, w^ash, take through weak lioae-water, and
wash again. Steep over-night in a vfater at 167° F. wdth
3i- lbs. blue vitriol. Wash the next morning, and take

154

DYEING AND TISSUE-PEINTING.

through a fresh water at 167® F, with 5i lbs. fustic, sad-
dening with logwood if needed.

Green (50 lbs).

Add to a water 5 lbs. alum, 2 lbs. double muriate, 2 ozs.
tin crystals, and lb. flavine. Boil together for ten
minutes, cool, enter yarn, work very quickly and then more
slowly for twenty minutes. Lift and rinse.

Make up a cold water with a solution of 1 lb. extract of
indigo and 6 lbs. alum.

Enter yarns, turn quickly at first, and let steep for
some hours, turning occasionally. Lift and dry without
rinsing.

Greenish Grey (22 lbs).

Dissolve 17 ozs. soda-ash in a water, and boil for an
hour. Wash, and take through a freshwater with 17 ozs.
sulphuric acid, and wash again. Stir up 2 lbs. 3 ozs. of
the best chloride of lime to a uniform paste and allow to
settle. Soak the goods in the clear liquid for six hours,
turning occasionally. Lift, and take through a fresh
water to which 35 ozs. muriatic acid have been added.
Hinse well. Boil out 8i ozs. sumac, and 35 ozs. bark in
sufficient water. Enter the goods for an hour in the clear
liquid at 122® F., press, and pass into a fresh water with
8i- ozs. copperas. Work here for fifteen minutes, and take
through water. Make up a water at 122® F. with 35 ozs.
alum ; enter the goods, and add by degrees very small quan-
tities solution of bark and extract of indigo till the shade
is hit. Rinse and dry.

Iron Grey (\\lbs).
Work for an hour in a boiling water with 35 ozs. sumac.

LINEN DYEING.

155

Wring, and work for another hour in a fresh water with
the same weight of copperas.

Lilac (50 lis).

Add to a decoction of logwood at a hand-heat 4 lbs.
alum,, and 2 lbs. double muriate. Work for twenty
minutes, lift, rinse, and dry.

Blueisli Mode (11 lbs,).

Mordant at 167^ F. with 35 ozs. sumac, and work in a
cold water with 35 ozs. copperas. E/inse, and dye up in a
fresh water with alum, extract of indigo, and magenta as
required.

B eddish Mode (11 lbs.).

Boil out 7 ozs. prepared catechu in water, work the
yarn in the solution at 14<4P F. for half an hour ; lift, and
work in a water at 180^ F. for half an hour, with 84. ozs.
chromate of potash. Rinse, and top in a fresh beck with
alum, extract of indigo, and magenta.

Greenish Mode (11 Ihs,).

Work for an hour in a water at 167^ F. with 35 ozs.
sumac, and 7 ozs. solid extract of fustic. Lift, and work
for half an hour in a cold water, with 35 ozs. copperas.
Make up a fresh water at 167° P. with 3^ ozs. solid extract
of fustic, 8-|-ozs. alum, adding extract of indigo as required,
and a very little magenta. Top in this beck.

156 ^ DYEING AND TISSUE-PEINTING.

Aniline Orange {on 11 lbs. linen yarn),

Dje as for yellow and top in a fresh water with i oz.
safFranine, or rather less.

Chrome Orange (11 Z&s.).

Eoil np 3^ lbs. sugar of lead in water with an equal weight
of litharge till the sediment is white. Let settle, and
steep the yarn for an hour in the clear hot liquid. Lift,
and take through a cold water with 17 ozs. lime. Rinse
slightly and work in a cold water with 17 ozs. chromate of
potash, and the same weight of sulphuric acid for a quarter
of an hour. Redden for three minutes in a boiling water
with 8|- ozs. lime. If a redder shade is needed top in a
fresh cold water with i- oz. magenta.

Madder Orange (50 Ihs.),

Add to a hot water 2 lbs. flavine, 10 lbs. alum, 6 lbs.
double muriate, i lb. tin crystals, and 5 lbs. madder. Boil
for ten minutes, cool to 170° F., enter yarns, turn very
rapidly at first and then more slowly for about a quarter
of an hour.

Lift, rinse, and dry.

Annatto Orange (50 Vos?),

Boil 1 lb. annatto in 4 lbs. soda-ash, and add the decoc-
tion to a water at 160°. Enter yarn, work to shade, rinse,
and dry.

This is a bright, but not very fast, orange.

LINEN DYEING,

157

Heds,

Magenta (100 Ibs^,

Dissolve 3 ozs. magenta, and add the solution to a water
at 150° F. Stir well, enter, and work for twenty minutes.
Lift, and dry without rinsing.

Fast Sanders Bed (100 lbs.).

Ground slightly with annatto ; mordant by steeping
over night in bichloride (oxy-muriate) of tin at 11 Tw.
Rinse, wring, and enter in a beck made up with 5 lbs.
Sanders, and work at a boil for twenty minutes. Take
through vitriol sours at ^°Tw., wring, and rinse.

Crimson (50 Tbs,^.

Steep in the decoction of 10 lbs. sumac. Work well in
a water to which 3 lbs. of " aniline spirit " have been added.
Enter in a water at 140° F., to which has been added the
decoction of 15 lbs. redwood, working for twenty minutes.

Lift, rinse, and dry.

Bed (11 lbs.).

Boil for five hours with ^Vo, soda-ash and 21b. 3 ozs.
lime, rinse and pass into a water containing 8|- ozs. mu-
riatic acid. Rinse again and prepare a bleach by stirring
up in cold water 8|- ozs. chloride of lime. The yarn is
steeped six to seven hours in the clear liquid. If the yarn
appears white, rinse in cold water, take through muriatic
sours at i° Tw., rinse, and work in boiling water containing
17i-ozs. tannin. Wring and dry at 167° F. in a fresh
water containing li oz. yellowish saffranine.

158

DYEING AND TISSUE-PEINTING.

Bose (on Wlbs. linen yarn).

Work for half an hour at a boil with 7 ozs. tannin and
' 3i ozs. curd soap. Lift, and add to the beck the solution
of 3iozs. tin crystals, and dye at 112^ F. with the solution
of i to |- oz. aniline red according to shade.

Another Bed (50 lbs.).

Boil together 5 lbs. sumac, 6 lbs. alum, 2 ozs. tin crystals,
and 1 lb. flavine. Cool the decoction down to 180^ F.,
enter yarns, work for a quarter of an hour, and lift. Take
it without rinsing through a cold water, to which 3 lbs.
" aniline spirit " has been added. Each lot of yarn is
worked in this mordant from about one and a-half minute,
and a little more of the spirit is added for each lot. Drain,
and make up a water at 125^ F. with the decoction of 15 lbs.
redwood. Turn quickly at first, and afterwards more
slowly for twenty minutes. It is an improvement to add
to the colour-bath 2 lbs. whiting, in order to neutralize the
acid.

Lift, rinse well, and dry.

Golden Yelloiv (on 11 lbs, linen yarn).

Steep for three hours in a boiling water with 17 ozs.
tannin, wring out and dye in a fresh cold water with 3i
to 4i- ozs. aniline orange, or phosphine.

Yelloio (100 lbs,).

Boil together for fifteen minutes 2 lbs. flavine, 10 lbs.
alum, 8 lbs. double muriate, and ^ lb. tin crystals. Cool to

JUTE DYEING.

170^ F., enter yarn, and work with the usual precautions
to shade.

Lift, rinse, and dry

Jute Dyeing. '^^f^

Jute differs markedly in its properties from cotton^"^^a;;
linen. It is readily disintegrated by acids, and alkalies,
caustic or even carbonated, are apt to turn it brown.

It contains, however, a certain proportion of tannin,
which enables it to lay hold of certain dyes, especially the
aniline colours, more readily than cotton.

Very high temperatures, and especially prolonged boil-
ing, are avoided whenever possible in the treatment of this
fibre.

Blach (54 Ihs,).

Dissolve 64- lbs. solid extract of logwood and 17 ozs.
extract of bark in water. Steep the jute for a quarter of
an hour in the boiling beck, and enter in a fresh cold beck
of 13 ozs. red chromate and 8iozs. blue-stone. Give
seven turns, take out, and re-enter in the logwood-beck in
which 21 ozs. soda-ash have been dissolved in the mean-
time. Seven turns, lift, and dissolve 17 ozs. copperas in
the beck, re-enter, five turns, and rinse.

Cheap Blach (110 Ihs,).

Take 6 lbs. 7 ozs. extract of logwood, 2 lbs. 3 ozs. lime,
and 4j lbs. 6 ozs. copperas, and dissolve each separately.
Give the yarns three turns at a boil in the solution of the
extract, drain, but do not wring : take through the lime-
water and immediately after through the copperas, giving
three turns in each.

160

DYEING AND TISSUE- FEINTING.

Superior Blacl^, (110 lbs.).

Take 7 lbs. 6 ozs. extract and proceed otherwise as above.
When drained from the copperas return to the extract.

Blue (ICO lbs, yarn).

Dissolve 2 lbs. alum.

„ i lb. tin crystals.
10 ozs. serge blue.

Enter yarn, and boil for twenty minutes.

GenscVarmes Blue (100 lbs.).

Dissolve 2 lbs. alum.

-i-lb. tin crystals.
8 ozs. serge blue.
3 ozs. aniline green.

Enter yarn, and boil for twenty minutes.

Blue {220 Ihs.).

Dissolve in separate vessels, alum, 11 lbs. ; soda crystals,
7 lbs. 10 ozs.; tartar emetic, 5 lbs. 7. ozs. Pour the solu-
tions all at once together, and let settle.

The clear liquid is used with 22 gallons water at 158^ F.,
and the jute is dyed, adding the colour (previously dis-
solved in water) by slow degrees till the shade is obtained.
The colour is the " Bradford Blue " of the Baden Ani-
line Co.

JUTE DYEING.

161

Blue (110 Ihs, hleaclied yam).
To a warm water at 104^ F. add —

Alum ...... l7^ozs.

Soda ...... oiozs.

Tartar emetic . . . , . 1|- oz.

Dye to shade in methyl blue, soluble in water (Baden
Aniline Co.).

Brow7i (22 Ihs.).

Make a boiling decoction of 3^ lbs. catechu, dissolve in
it 3i ozs. blue-stone. Work the jute for an hour. Wring
and make up a second boiling water with 7 ozs. bichromate
of potash, ten turns, rinse, and wring.. Raise and top in a
fresh water with 75 grains Bismarck brown, and 3i ozs.
sulphate of soda. For redder shades a little magenta or
garnet may be added.

Another Brown (11 Ihs.).

Mordant at a boil with 2 lbs. 3 ozs. sumac. Give a few
turns, lift, and add to the beck l^oz. tin crystals. Give
a few more turns, and make up a water with 2 lbs. 3 ozs.
logwood, 2a ozs. magenta, 13|- ozs. alum. Work for an
hounin the cold, lift, and add 2i- ozs. chromate of potash,
seven or eight turns, rinse, and dry.

Bismarck Brown (11 Ihs.),
Wet out and dye with ioz. to 1 oz. vesuvine.

Brown (11 Ihs,),

Extract 35 ozs. catechu in boiling water and dissolve

162

DYEING AND TISSUE-PRINTING.

3i ozs. blue-stone in the clear. Enter the jute in this for
two or three hours at a boil. Lift, and dissolve 84- ozs.
chromate of potash in a boiling water, pass the jute through
this, and then through clear water. Top in a fresh water
with 80 grains Bismarck brown, 4|- ozs. alum, and l7i- ozs.
logwood.

Dove Colour.

Mordant in red liquor at Tw. and 86^ F.
Dye in fresh water at the same heat, with a very little
methyl blue and less saffranine.

Gold (22 lbs.).

Enter the bleached yarn for twenty minutes in a luke-
warm bath of sugar of lead. Wring, and give ten turns in
a new cold water containing 7 ozs. bichromate of potash, and
rinse. For deeper shades increase the sugar of lead and
the bichromate. For redder tones take the dyed jute
through a lukewarm water containing a little garnet, or a
very red aniline violet, previously dissolved in boiling
water.

Golden Bronze.

Work in weak catechu liquor at 122^ F., then pass into
bichromate of potash at the same heat, and lastly dye to
shade with a mixture of phosphine and vesuvine (Baden
Aniline Co.) at 122'^ F.

Golden Orange (110 lbs.).

Mix 11 lbs. alum and 17^ ozs. tin crystals in sufficient
water, run off the clear, and steep the jute in it for half an
hour, and dye at a hand-heat in a separate water with

JUTE DYEING.

1G3

chrysoidine and phosphiue RN". (Baden Aniline Company)
according to shade.

Add a little tartaric acid towards tlie end, to raise the
colour.

Light Green (11 Ihs,).

Mordant for two hours in the solution of 7 ozs. tannin.
Make up a fresh water with 1|. oz. malachite green, enter
the jute, and work for half an hour. For yellower tones
add to the dye-beck picric acid or aniline yellow.

Fast Green (22 Ihs.).

Work for half an hour in a hot water containing 27-| ozs.
extract of bark and 14 ozs. sulphate of alumina. Wring,
and prepare two waters —

a. 151- ozs. nitrate of iron and 3|- ozs. tin crystals.
h, 3i ozs. yellow prussiate.

Work for twenty minutes in a ; wring, and pass into h.
Ten turns, lift, and add 14 ozs. sulphuric acid ; ten turns
more, lift, wring, rinse, and dry.

Mglit Green (11 Ihs.),

Prepare at a boil for three hours wdth the clear decoc-
tion of 8|- ozs. sumac. Wring, and enter in a beck of 1|^ oz.
methyl green. If a yellower tone is wanted a little picric
acid may be added.

Green (110 Ihs.).

Mordant with red liquor at Tw. and 17-|- ozs. tin
crystals. Let steep an hour, enter in a strong hot decoc-

164

DYEING AND TISSUE-PEINTING.

tion of fustic, wring ont and dye in a fresh water with I7i-
ozs. alum and acid green (vert d Vacide^ of Monnet and Co.)
according to shade.

Aniline Green (45 Z&s.).

Prepare hot with 5 lbs. sumac for one hour, and then
mordant with 4 lbs. alum and 2i lbs. sugar of lead. Let it
lie for a couple of hours, and dye it warm with the aniline
green previously dissolved.

Light Green (11 Ihs.).

Boil out 8|- ozs. sumac ; steep for three hours in the
clear boiling liquor. Lift and make up a fresh cold water
with methyl green ; enter, and work till level. Eor
yellower tones add picric acid.

Mode Green on Jute Yarn (110 lbs,').

Mix 3 parts fustic liquor and 1 part logwood liquor with
the necessary quantity of water at 122^ F., ten turns, lift,
add i oz. each copperas and blue-stone ; re-enter, turn
well, and wash.

Top at 86^ F. with vesuvine and a little methyl blue (of
the Baden Aniline Co.).

Grey (11 lbs.).

Boil 17 ozs. sumac in water, and steep the jute for an
hour in the liquid. Lift, and dissolve the same weight of
copperas. Enter the yarns, and dye to shade.

For a blue-grey make up a fresh beck at 77° F. with
17 oz. alum and -|- oz. extract of indigo. Add a very little
solution of magenta, enter the jute, and dye to shade.

JUTE DYEING.

1G5

31 ode Grey (11 Ihs.).

Boil 17 ozs. prepared cateclm, add solution to a water at
100^ F., and dissolve therein ll. oz. blue-stone. Wet out
the jute at 100^ F., enter, and work for an hour. Lift,
and add the solution of 1-|- oz. ehromate of potash ; re-
enter, work to shade, rinse, and dry.

Pansy (11 lbs.).

Wet out perfectly at 100^ F., lift, and add i oz., or a
little more of dissolved violet (Hofmann's, or methyl).
Enter, five turns, and dry.

Eeds.
Bed (lllhs.).

Mordant hot for an hour with 8|- ozs. tannin ; lift, wring,
and enter in a beck of phosphine or aniline orange, and top
with a solution of safiranine at 113^ F.

If aniline orange is too dear, yellow coralline may be
used.

Crimson (11

Wet out perfectly in water at 100^ F., and dye with i oz.
to i oz. magenta.

Wood Bed (25 Ihs.).

Dye the half-bleached yarn, hot, with -|- lb. annatto
which has been boiled with 6 ozs. soda-ash. Steep the
yarns for an hour in the solution. Wring, and enter in a
cold water with 2 lbs. stannate of soda. Lift, and enter
in a luke warm water with 4 to 5 lbs. alum ; turn for half

166

DYEING AND TISSUE-PRINTING.

an hour, wring, and dye up with peacliwood liquor (12 lbs.
of wood).

Wood Crimson (25 Ihs.).

Make a decoction of 4 lbs. snmac, add it to a hot water,
and steep the yarn over-night ; wring, spirit with stannate
or nitro-mnriate of tin, and dye in peachwood liquor.

Azo Bed (110 Ihs.).

Dissolve 11 lbs. cake-alum, and add so much solution
of soda that the precipitate formed ceases to disappear
entirely on stirring the liquid. Then add a little of afresh
solution till the last traces of the precipitate are just dis-
solved. Set the solution at 14^ Tw. ; enter the clear goods,
and work for two hours, turning occasionally. Lift, and
pass into a fresh water containing 1 lb. dye for 10 lbs.
yarn.

The same process is applicable to hemp.

Scarlet on Jute Yarn,

Mordant with red liquor at Si;^ Tw. and 122^ P.
Dye to shade in a fresh water at the same heat with
" ecarlate E. R." (of P. Monnet and Co., Geneva).

Wool Dyeing.

Under this head we include not merely wool, but
alpaca, goats' hair, and other true animal fibres, and also
the treatment of mixed goods, in which the warp is of

WOOL DYEING.

167

cotton, linen, jute, &c., and the weft of wool. Wool is
djed both loose or in the ■unmanufactured state, in yarns,
m piece-goods, and in rags or shoddy, and in each of
these conditions it requires certain modifications of treat-
ment.

The properties of wool in relation to colouring matters
differ very decidedly from those of the vegetable fibres,
which circumstance involves a corresponding difference
in the dyeing processes used. It has a much stronger
attraction or afiinity for the majority of colours than have
the vegetable fibres, and in many cases mordants are not
required. This happens especially with certain of the
aniline colours. One and the same colour very generally
appears richer, brighter, and fuller if fixed upon wool than
upon cotton. This is very decidedly the case with indigo,
which upon cotton or linen has a dull, flat appearance,
whilst upon wool it is much brighter.

Wool is, with few special exceptions, dyed at a boiling heat.
It bears contact with acids much better than does cotton, but
it is more readily affected by alkalies, especially at high
temperatures. Superheated steam also reduces it to a
jelly. The mordants used in wool-dyeing are very
frequently added to the dye-pan along with the dye-wares
and the goods to be dyed, and all are boiled together, — a
procedure rarely admissible with cotton.

A very striking difference between wool and cotton, &c.,
appears in their respective behaviour with metallic solu-
tions. Thus cotton can be readily dyed a prussian blue by
steeping it alternately in solutions of nitrate of iron and of
the yellow prussiate of potash. Wool, on the contrary*
can only be dyed a prussian blue, or, as it is technically
called, a " royal blue " — a class of colour now becoming
obsolete — by a circuitous process. Manganese browns and
bronzes cannot be satisfactorily produced upon wool. The
yellows and oranges got up so readily upon cotton by
means of a solution of lead — either acid or alkaline — and
the chromate of potash, are here not admissible ; amongst

168

DYEING AND TISSUE-PRINTING.

other reasons, because thej would be blackened by the
sulphur naturally present in wool.

Considerable care is needed in order to obtain level
shades on woollen yarns, and still more so upon piece-
goods. For this purpose the articles to be dyed are very
frequently entered into the dye-liquor at a temperature
considerably below the boiling point ; they are turned at
first with considerable rapidity, and — especially in the
case of the aniline dyes — the colour is added in successive
portions.

A point which requires more attention in case of woollens
than of cottons, is the tendency of the goods to "feed"
after having been withdrawn from the dye-beck, and after
the process is supposed to be at an end. That is, the
colour goes on deepening. If a large mass of wool, of
yarn, or of cloth, is lifted out of the dye-beck and laid in
a heap, it still retains a high temperature for a consider-
able time, and it holds between its fibres by capillary at-
traction a large quantity of the dye-liquor, which in most
cases still contains unexhausted colouring matter. In such
cases the dyeing process still goes on, and that irregularly.
If yarns or cloths are hung up the dye-liquid drains to-
wards the lower ends, and those parts may take a percep-
tibly darker shade. If wool or yarn is laid in a heap,
the liquor drains towards the bottom, and darkens the part
where it collects.

This irregular action is combated in various ways. It
is sometimes directed in a receipt that the goods should
either be let cool in the dye-liquor — the source of heat
being of course withdrawn — or washed at once in cold
water, so that any further change of colour is at once
arrested. These two methods, seemingly opposite, lead in
substance to the same result. If the goods are left to cool
in the dye-liquor they deepen, indeed, in colour, but uni-
formly. In some cases it is not safe to wash the dyed
goods until they have become cold, and then, of course,
the uncoioabined dye-liquor is removed by wringing or

WOOL DYEING.

1G9

nipping — whetlier bj hand or mechanically, and bj the
nse of a centrifugal machine.

The state of woollens and the character of the wool
have a considerable effect on the quantity of dye- wares to
be used. The finer the wool — i,G.^ the more surface it ex-
poses in a given weight — the greater the proportion of dye-
wares required. If a given weight of ware dyes 100 lbs.
of loose wool to a given shade, the same weight will serve
for 120 lbs. yarn, and for 125 to 130 lbs. piece-goods.
The results of dyeing wool in these three different states
are by no means alike. When the loose, unspun wool is
dyed, every fibre is coloured uniformly all over. Hence
the yarns spun and the cloth afterwards woven from such
wool are dyed through and through, and do not — suppos-
ing the dye to undergo no chemical change from the
action of air and moisture — become greyish or whitish by
wear and tear. Hence wool-dyeing is preferable for goods
w^hich are to stand friction, especially if of a dark colour.

In yarn-dyeing the fibres being in the interior of the
thread are not so deeply and fully coloured as those on the
outside, and in piece-dyeing, especially in thick, closely
woven goods, the interior remains nearly white. This is
in certain cases not a disadvantage. Not only is colour
economized, but there is a gain in brightness. The thin
outer layer of wool which is really coloured, is lighted up
by the rays reflected from the white undyed matter below.
Delicate and brilliant colours are rarely applied on unspun
wool, for the reason that without unusual care — which of
course means expense — they are certain to become soiled
during the processes of spinning, &c., and cannot be
cleaned again without injury to their brightness.

In dyeing mixed goods the usual process is to give the
required shade first to the wool or the worsted. The
cotton warp is then dyed, usually in the cold, so that the
colours applied may not sensibly attach themselves to the
wool, and either deepen or modify its shade. The first
step in cotton dyeing is generally a working or steeping in

170

DYEING AND TISSUE-PRINTING.

an astringent, whicli for blacks, &c., is usually myrobalans,
sumac, or divi-divi, but for the anilines, pure tannin. The
next step is usually the application of an ordinary mordant
— iron for blacks, and other sad shades, and preparations
of tin for light and bright colours. Both these processes
are effected in the cold, and generally by means of the
padding-machine, which squeezes the solution into the
tissue. Then follows the application of the dye, also in
the cold.

In some cases both the worsted and the cotton can be
dyed in a single operation.

Blacks.

Aniline Black on Wool (2 Z65.).

Dissolve 3 ozs. permanganate, and 4i ozs. Epsoms, in
5 gallons of hot water. When cool enter the wool and let
soak till the liquid retains merely a slight yellow colour.
Press, and without washing enter in 2 gallons of cold
water made up with 12 ozs. aniline oil and 20 ozs. muri-
atic acid. Press the wool, and wash in a very weak solu-
tion of carbonate of soda. Pass into a solution of ~ oz.
bichromate of potash in 24. gallons water, when it takes a
deep black. Wash, and dry.

Blue Black on loose Wool (480 lbs,).

Give a medium blue ground in the vat, air, wash, and
boil the wool for two hours with 30 lbs. logwood, 50 lbs.
Sanders, 5 lbs. fustic, and 2 lbs. red argol. Sadden in the
same beck with 7 lbs. copperas.

Full Blue Black for Piece Goods (27 Ihs,).
Make up a water with 2 lbs. 2 ozs. argol, 6^ ozs. chro-

WOOL DYEING.

171

mate of potash, 3^ ozs. blue-stone, and tlie same weight of
oil of vitriol. Enter at a hand-heat, raise to a boil, and
work at that heat for an hour. Lift, rinse, and dry with
24 lbs. logwood, and ozs. oil of vitriol. Wince for three-
quarters of an hour in the boiling liquid, lift, rinse, and dry.

If not blue enough, cool the beck, add 17 ozs. ammonia,
stir up, re-enter, and wince for fifteen minutes.

Deep Blach on Piece Goods (110 Ihs.),

Boil for an hour and a half with 2-1 lbs. chromate of
potash, 31 lbs. red argol, and i lb. blue-stone. Let cool
in the flot, and dye for one hour at a boil with 44 lbs. log-
wood and 13 lbs. catechu. Lift, add 26 ozs. blue-stone,
cool, re-enter, and boil for fifteen minutes longer.

Chrome Blach on Wool (55 Ihs.),

Boil for an hour and a half with 17 ozs. chromate of
potash, the same weight of blue-stone and of oil of vitriol.
Lift, and dye in a fresh water with 22 lbs. logwood and
4i lbs. fustic, boiling for an hour.

Fast BlacJc on Yarns and Cloth (22 lbs.).

Boil for an hour with 9|- ozs. chromate of potash, the
same weight of blue-stone, and 8 ozs. oil of vitriol. Let
grow cold in the dye-liquor. Dye in a fresh water with
9|.lbs. logwood, 2llbs. fustic, and 4^ ozs. sulphate of zinc.
Boil for an hour, lift, cool, rinse, and dry. If a very blue
shade is required, leave out the fustic.

Blach on Wool for Fulling (110 lbs.).
Boil for two hours with logwood 43 lbs., fustic 16i-lbs.,

172

DYEING AND TISSUE-PRINTING.

sumac 13 lbs, red argol 6i-lbs. Eeplace the water lost bj
evaporation, and sprinkle the wool with a solution of 5i lbs.
copperas and Si lbs. blue-stone, and boil for one hour.
For a blue-black sprinkle the wool, when lukewarm, with
4 lbs. 6 ozs. ammonia. For deep jet black, sprinkle with
3i-lbs. bichromate of potash, dissolved in boiling water,
and boil for a quarter of an hour,

Blacli on Knitting Yarns (55 Z&6\).

Boil for fortj-five minutes with 30 ozs. chromate of
potash, 3i- ozs. blue-stone, the same weight of argol, and

7 ozs. sulphuric acid. Take through water, and dye at a
boil for forty-five minutes with 33 lbs. logwood.

Black on Wool (160 Zfe.).

Boil for one hour and three-quarters with 4 lbs. bichro-
mate of potash, 3 lbs. blue-stone, i-lb. muriate of tin,
^ lb. oil of vitriol, and 10 lbs. fustic. Dye in a fresh water
with 50 lbs. logwood, entering at 170*^ F., and boiling for
one hour.

Another Black on Wool (100 lbs,).

Boil for one hour and a half with 2|-lbs. bichromate of
potash and 1 lb. argol.

Dye in a fresh water with the decoction of 30 lbs. log-
wood, 10 lbs. fustic, 3 lbs. argol, and ilb. oil of vitriol.

Enter at 170*^ F., and boil for one hour.

Another Black on Wool (100 lbs.).

Prepare for two hours at a boil with 8 lbs. copperas,

8 lbs. blue-stone, 3 lbs. argol, and 10 lbs. fustic.

WOOL DYEING.

173

Dye in a fresh water with the decoction of 30 lbs. log-
wood, entering at 170° F., and boiling for an hour.

Alizarine Black on Wool (100 lbs,').

Prepare with 12 lbs. copperas, 4 lbs. bine-stone, and
4 lbs. red argol, boiling for one hour and a half.

Dye in a fresh water with 7 lbs. alizarine, 44 lbs. log-
wood, 6 lbs, fustic, 6 lbs. sumac, 3 lbs. chalk.

Black on TJiicJc Half Woollen (10 lbs.).

Dye in the clear decoction of 3 lbs. logwood, -L lb. sumac,
and ~ lb. fustic. Raise to a boil, and keep up for half an
hour. Lift^ and pass into a cold water with -i- lb. copperas,
letting it steep for an hour. Pass into a boiling bath of
2 to 8 ozs. yellow prussiate, and work for an hour. Repeat
all these three baths, and rinse well. It is better to rinse
each time after the logwood bath.

Blade for Alpaca Yarns containing 80 per cent,
of Cotton (55 lbs,).

For the mordant, take as little cold water as practicable
and add black liquor till it makes 5-1-° Tw., and the follow-
ing substances, which are dissolved separately, each in a
small quantity of water, and to the solutions are added : —

Sugar of lead . . . • . 17 ozs.

Crude red potash . . . . 17 „

Copperas .... 4 lbs. 6

Chromate of potash . . , . 17 „

Sal-ammoniac . . . . . 7

Let the mixture settle well, and steep the Jams in the

174

DYEING AND TISSUE-PRINTING.

clear for one lioiir and a half. Lift, whiz, dry rapidly, take
through a weak soda bath, and dye in a fresh water with: —

Logwood ..... I7ilbs.
Fustic . • . . .4 lbs. 6 oz.

Black for Mixed Goods (100 lbs.)

Boil 40 lbs. logwood, 10 lbs. fustic, 20 lbs. sumac, 3 lbs.
red argol. Cool, enter, and boil for an hour.

Lift, and add add 6 lbs. copperas and 4 lbs. blue-stone.
Boil again for an hour ; lift, cool down, and tone in the
same water with 5 lbs. ammonia and 2 lbs. soda-ash.

Blues.
Logwood Blue (100 Z&5.).

Give a ground in the vat, wash, and mordant at a boil
for one hour and a half with 8 lbs. alum, 6 lbs. sulphate
of copper, 6 lbs. tin crystals, 4 lbs. bichromate of potash,
2 lbs. argol, and 2 lbs. sulphuric acid.

Dye in a fresh water with 20 lbs. logwood and 4 lbs.
Santa Marta wood, without bringing to a boil.

Logwood Blue Process in use at Aix-la-Gliapelle (100

Boil for two hours with 13 lbs. alum, 6|-lbs. argol,
21- lbs. tin crystals, and ^Ib. sulphuric acid.

Let the wood lie for a night, and then dye with 40 lbs.
logwood and 1 lb. carbonate of soda crystals.

Logwood Blue Process in use at Verviers (100 lbs.).

Boil for two hours with 10 lbs. alum and lib. bichro-
mate of potash.

^yOOL DYEING.

175

After boiling, let the wool lie over- night, and dye in the
morning with 20 lbs. logwood.

Logiooocl Blue, Dutch Process (100 lbs.).

Boil for two hours and a half with 5 lbs. sulphate of
alumina, 4 lbs. chrome-alum, and 1 lb. blue-stone.

Let lie over- night, and dye the next morning with 6 lbs.
extract of logwood, and 1 lb. carbonate of soda.

Dark Blue on Cloth (110 lbs.).

Boil for an hour with 5|-lbs. alum, 2i-lbs. red argol,
17 lbs. chromate of potash, and 2i.lbs. bichloride of tin.
Let cool in the flot.

Dye for one hour at a boil with 22 lbs. logwood and
11 lbs. extract of indigo.

Uxtract Blue on Wool and Cloth (55 lbs,).

Make up a water with 17 ozs. sulphate of soda, the same
weight of oil of vitriol, and from 7 to 17 ozs. extract of
indigo. Boil up, cool, enter, then turn continually to
shade at a boil.

Nicholson Blue (50 lbs,).

Make up a water with 1 lb. borax and 7 ozs. Mcholson
blue.

Enter at 170"^ P., give four to five turns, and raise to a
boil, turning to shade. Wash, and raise colour in a water
acidulated with sulphuric acid. Wash and dry.

Methylene Blue {100 Ihs. Wool).

Mordant for one hour and a half with 2|- lbs. bichro-
mate of potash and 2 lbs. argol, at a boil.

176

DYEING AND TISSUE- PRINTING.

Dye in a fresh water with 1 lb. methylene blue O 0 (of
the Baden Aniline Company), boiling for three-quarters of
an hour, and letting the wool afterwards steep in the hot
liquor for four to eight hours. This shade stands fulling.

Blue on Wool and Cloth (44 lbs,).

Boil for an hour with 5i lbs. alum, 5^ lbs. argol, lib.
oxalic acid, i-lb. tin crystals. Dye in a fresh beck with
64-to 11 lbs. logwood.

Nemours Blue on Cloth (11 Tbs.\

Boil for one hour and a half with 4^ ozs. chromate of
potash, |- to 1^ oz. oil of vitriol, and 8|- ozs. argol. Let
cool in the liquor, rinse, and dye with 4i to 5i- lbs. log-
wood, 1 lb. Sanders, and ^Ib. fustic, boiling for an hour.

Aniline Blue on Yarns to hear Fulling (55 Z65.).

Make up a water for 5i lbs. sulphate of alumina, 4^ lbs.
sulphate of soda, 26i ozs. tartar, 17 ozs. perchloride of tin,
and the clear solution of 3 ozs. aniline blue. Boil up, enter
the yarns, and dye at a boil. Take out, whiz, and rinse.

Guernsey Blue on Flannel (100 lbs,).

Boil up 30 lbs. barwood, cool, enter the flannel, and boil
for three-quarters of an hour.

Then disolye in a water 2 lbs. Guernsey blue and 1^ lb.
sulphate of zinc.

Enter the flannel at a hand-heat, raise slowly to a boil,
and boil for two hours. Lift, rinse well in cold water, and
raise the shade in a bath containing l^-lb. sulphate of zinc,
and 8 lbs, oil of vitriol. Rinse, and dry.

WOOL DYEING.

177

Prussiate Blue on Worsteds (100 Tbs!),
Dissolve in separate vessels, and in cold water : —

9 lbs. red prussiate.
2i tartaric acid.
2i „ oxalic acid.

2 tin composition.

"When well dissolved ponr together, and stir well.

Add the above mixture to a water at 100^ and then
add 12 lbs. good oil of vitriol.

Enter the goods, turn well, heat slow np to the boiling
point, and boil for half an hour.

For darker shades add the decoction of 14 lbs. logwood
chips and a few pounds of muriate of tin. Cool the dye
before •re- entering the goods, and turn very quickly to get
a level shade.

For a finer shade leave out the logwood, rinse well, and
top in a fresh cold bath with a little aniline blue.

Fast Blue without Indigo (120 lbs,').

Boil for two hours with 3 lbs. blue-stone, 3 lbs. oxalate
of potash, 15 lbs. alum, 6 lbs. argol, and 2 lbs. chrome.
Let cool in the flot, and dye in a fresh water with 50 lbs.
logwood, boiliug for two hours.

Barh Gendarme Blue on Worsted (50 Tbs,),

Add to a water 1 lb. borax, 3 ozs. Nicholson blue, and
6 ozs. alkali green (Meister, Lucius, and Bruening, of •
Hoechst).

Enter at 160^ F., turn for ten minutes while raising to
a boil, and boil for half an hour.

178

DYEING AND TISSUE-PRINTING.

Enter in a fresh water at 130^ F.^ with i- lb. oil of vitriol.
Give four or five turns, and wash.

Darlv Navy Blue on Worsted (bO Ihs.).

Dissolve 10 lbs. sulphate of soda, 2 lbs. induline, 2 lbs.
extract of orchil, and 6 lbs. extract of indigo, and add 2
quarts oil of vitriol. Enter at 180^ F., turn continually,
raising to a boil, and boil to shade.

VarJc Sa/ppMre on Worsted (50 Ihs.),

Give a Guernsey blue bottom in the usual manner, with
6 ozs. Guernsey blue ; wash, and raise in a water with 2
lbs. sulphuric acid.

Dissolve in a fresh water 3 lbs. sulphate of soda, i lb.
argol, 1 lb. alum, 3 lbs. indigo extract, and 1|- lb. picric
acid.

Blue on Yarn (100 lbs.).

Make up water at IGO'^F., with 10 lbs. sulphate of soda,
2 lbs. oil of vitriol, 1 lb. " soluble blue R.S." (Monnet and
Co., of Geneva). Enter, turn to shade whilst raising to
a boil ; wash and dry.

Blue on Coarse Woollen Yarns (55

Indigotine for dark colours (Frankel and

E/unge, of Berlin) . . . , [Oi- ozs.

Orange (Baden Anilin Co.) . . . 1^ "

Methyl violet . . . . . t "

Dissolve well, and add to the water.

WOOL DYEING. 179

Add further : —

Oil of vitriol . . • • 2 lbs. 3 ozs.
Sulphate of soda , . , . 5|- lbs.
Red argol ..... 8|- ozs.

Enter yarns at 122'^ F., and boil for an hour.

Benzyl Blue,

Dissolve in 100 to 200 parts of water, and dje at a boil
without any mordant.

Navy Blue for Ladies'' Cloth (44 lbs,).

First bath 4 lbs. soda and l- lb. Prussian blue, in which
the cloth is turned for an hour at 200^ F. ; it is then washed
and placed in a second water, strongly soured, and con-
taining 10 ozs. methyl violet. Finish below the boiling
heat.

Marine Blue on Mixed Goods (22 lbs»).

Give a ground with Mcholson blue, working for half an
hour at a boil, with 4|- ozs. ]N"icholson blue of the reddest
shade and 8i ozs. soda crystals.

Rinse slightly, and raise in a fresh hot water with 10^-
ozs. oil of vitriol, and bring up to shade in the same water
with a little orchil liquor and picric acid.

After the wool or worsted has thus been dyed, the goods
are steeped over-night in a lukewarm solution of 3i- ozs.
tannin, and then worked for half an hour in a cold solution
of aquafortis at li-^ Tw. Dye to shade with bluish methyl
violet and a little extract of logwood, souring lastly with a
little vitriol.

180

DYEING AND TISSUE-PKINTING.

Futeaux Blue (on Woollen Cloth or Yams), 100 lbs.

The dyeing is done in wooden or stone tanks, the nse of
copper being entirely avoided.- Steam is introduced by a
leaden pipe.

Put into the water 3 lbs. oxalic acid, and boil for fifteen
minutes. Stop boiling, and add 4 to 5 lbs. ammonia and
10 lbs. dye. E.e-enter the goods, and boil for three-
quarters of an hour ; the bath should then be of a light
violet ; add 3 to 4 lbs. oxalic acid, and dye in an hour and
a half. The dyeing can be hastened by adding 1 to 2 lbs.
more oxalic or acetic acid.

After dyeing immerse the goods in water and steep for
fifteen minutes in a water at 122° F., containing 4 lbs. ace-
tate, sulphate, or chloride of zinc, with 2 lbs. acetic^ sul-
phuric, or muriatic acid.

Wash as usual. If the wool is to be fulled after dyeing,
instead of the zinc process boil it for ten or twenty
minutes with 3 to 4 lbs. ground galls and 1 to 2 lbs. acetic
acid.

Navy Blue on Mixed Goods (10 Z5s.).

Boil with 3 ozs. each argol and chromate of potash.
Rinse, prepare with 2 lbs. sumac, and dye at a gentle boil
with 1 lb. logwood and ^ oz. aniline violet. Lift and work
at a hand-heat for half an hour in a water with 2 lbs. log-
wood. Lift, drain, and sadden in a fresh water with i- lb.
blue-stone. Lift, and rinse well.

Or : prepare with 2 lbs. sumac, drain, take through
black liquor at 2i® Tw., rinse, and finally dye at a hand-
heat with 2i- ozs. methyl violet.

Vat Dyeing on Wool.
Indigo is very extensively applied to wool and woollen

WOOL DYEING.

181

goods bj means of the warm or fermentation vat. Of this
there are several modifications.

The Indian, or potash-vat, is set with bran, madder,
potash, and indigo. The last ingredient is onlj added
after the vat has been heated up to 194° F. The working
heat is only between 86° and 104° F., and is kept up by a
gentle passage of steam through the pipes. For the first
forty-eight hours the mixture is stirred thoroughly up once
in twelve hours. The proportions of the wares are indigo
I7i- lbs., potash 26 lbs., bran and madder 7i- lbs. each.
When in working order the liquid has a greenish-yellow
colour, with a bluish scum on the surface. This vat re-
quires to be refreshed every twenty-five to thirty days with
additional doses of potash, indigo, and madder.

The German vat is under many circumstances preferable
to the Indian. The water is first heated up to 203° F., and
the wares are then added in the proportion of 20 pails of
bran, 24 lbs. carbonate of soda, 13 lbs. indigo, and 6|- lbs.
of freshly slaked lime. The mixture is kept at a higher
temperature than the Indian vat, viz., from 104° to 122° F.
Fermentation begins in about twelve hours ; the liquid
takes a greenish-blue, with a sourish smell, and bubbles of
gas escape. After the lapse of three days the vat may be
set to work. It requires refreshing from time to time with
indigo, soda, and lime in the original proportions, to which
small quantities of treacle are also added. With careful
management such a vat may remain in good order for two
years.

Themethodof working is as follows: — The vats are stirred
up early in the morning, and skimmed. A bag-net, made
of strong twine, and supported by a wooden hoop, is let
down into the liquid, and within this the wool is dyed, so
that it may not come in contact with the sediment at the
bottom. The time of immersion is generally about twenty
to thirty minutes. The goods when lifted appear of a
greenish-yellow, and are rendered blue on exposure to the
air, which re-oxidizes the indigo. If the shade is not deep

182

DYEING AND TISSUE-PRINTING.

enougli the goods are returned to the vat. When suffi-
ciently deep, the goods are washed, first with weak vitriol
sours, to remove lime and alkali, and then with a large
quantity of water.

In setting the fermentation vat, the indigo requires to be
reduced to a uniform pulp, just as in the cold or copperas
vat.

Fermentation vats are liable to diseases, probably due to
the development of microscopic organisms — a subject worth
the attention of the student, — but connected the one with
an excess, and the other with a deficiency of lime. In the
former case the liquid grows clearer and brighter, the smell
ceases, and all marks of fermentation disappear, the indigo
being precipitated to the bottom of the vat. An addition of
copperas, applied in time, acts here as a remedy.

If the lime is deficient the fermentation takes a putrid
form, the liquid turns red, and instead of dyeing cloth it
strips the colour of such as is already dyed. A heat of
about 204^ F., and an addition of lime, sometimes arrests
this disease ; very frequently, however, the vat is lost.

The new vat of Schiitzenberger and Lalande is applicable
to wool and silk as well as to cotton or linen.

" New Boyal Blue " (3G Ihs.).

The subjoined receipt is for the richest prussian blue
capable of being obtained upon wool, though it has now
little more than a historical interest: —

Dissolve 4 lbs. prussiate of potash and 6 lbs. oxalic acid.
Enter the wool or yarns at 100^ F., and work well for two
hours, raising the heat gradually to 180^ F., lift, and cool.
Cool the liquor with two pails of cold water, add 21 lbs.
alum, and work for half an hour. Add -|- pint yellow spirit,
and work for an hour, raising to 180° F., at which heat
work for one hour and a quarter longer.

Lift, and add 1 or 2 pints of nitrate of iron, according to

WOOL DYEING.

183

shade required. Enter the goods, and give five or six
turns. Take out, cool, and wash very well. If a very
dark shade is required, add a little logwood along with the
nitrate of iron.

YelloivisJi Brown on W ool (328 Tbs^,

Boil for one hour and a quarter with 6|- lbs. chromate •
of potash, 2 lbs. 2 ozs. sulphuric acid, 4-Llbs. alum, 8|-ozs.
oxalic acid, and 4l ozs. tin crystals.

Boil in a fresh water 98 lbs. fustic, 4 lbs. 6 ozs. logwood,
32 lbs. turmeric, and 27 lbs. madder. Cool, enter the wool,
and boil for an hour. Sadden in the same water with
2 lbs. 3 ozs. copperas and 17 ozs. blue-stone, boiling for
fifteen minutes longer.

BeclcUsli Brown on Wool (110 Tbs.),

Mordant as in the last receipt. Boil up in a fresh water
48 lbs. fustic, 32 lbs. madder, 8 lbs. 2 ozs. each camwood
and Sanders, and h~ lbs. sumac.

Cool, enter the wool, and work for an hour, gradually
raising to a boil. Sadden in the same water with 2 lbs.
7i- ozs. copperas, boiling for twenty minutes.

Bronze on Cloth (45 Ibs.^,

Boil for one hour and a half with 5-1 lbs. alum, 2-1 lbs.
argol, and the same weight of blue-stone. Lift, and dye at
a boil for one hour in a fresh beck, with 32 lbs. fustic,
2|- lbs. logwood, and 131^ lbs. madder. Take out and sadden
with 3i lbs. copperas, or more, according to shade.

Light Brown on Yarn (110 Ihs.),
Boil for one hour and a half with 27 ozs. chromate of

184

DYEING AND TISSUE-PRINTING.

potash, 17 ozs. argol, and 14 ozs. alum. Dye at a boil for
an hour, with 35 lbs. fustic, 8^ lbs. camwood, and i lb.
madder.

Brown on Yarn (110 lbs).

Boil for one hour and a half with 27 ozs. chromate of
potash, and an equal weight of argol. Lift, and dye at a
boil, with 44 lbs. fustic, 35 lbs. camwood, and 11 lbs, log-
wood.

Baric Brown (54 Z&5.).

Give a rather full ground in the vat, and boil for two
hours in a water with alum 22 lbs., argol 6i-lbs., copperas
26 ozs., and fustic 17 lbs. Lift, cool, and dye hot, but not
boiling, with 66 lbs. logwood and 13 lbs. sumac. At the
end of an hour add 4i- lbs. copperas. Wash in water con-
taining a little soda, and, lastly, in pure water.

Golden Bronze (54 Tbs,),

Boil for two hours in a water with fustic 26 lbs. sumac
and Sanders 13 lbs. each. Lift, add copperas 6i- lbs., and
blue-stone 4^- lbs. Re-enter, and boil for half an hour, and
rinse.

Olive Bronze (54 lbs.).

Give a half shade in the vat, and dye with argol 6|-lbs.,
blue-stone 4i- lbs., fustic 87 lbs., sanders and turmeric
11 lbs. each, madder extract 6i lbs. Boil two hours, lift,
and wash. Add to the bath 6ilbs. copperas dissolved, and
re-enter. Lastly, pass through water containing a little
carbonate of soda, and rinse in plain water.

WOOL DYEING.

185

Metallic Lustre on Broivns (44 Tbs,),

Take the djed cloth through a water at 150*^ F., with
6^ lbs. blue-stone, and 16^ lbs. ammonia. Rinse slightly,
and take through a water, with 13 lbs. hjj)osulphite of
soda.

Brown on Yarn (55 Tbs,),

Boil for forty-five minutes, with 30 ozs. 'chromate of
potash. Take through water the day after, and dye with
26 lbs. peachwood and 34 ozs. fustic.. For very pale shades
3 ozs. sulphate of alumina may be added to the beck. For
very dark shades, sadden with logwood.

Golden Broivn on Glotli (110 lbs, )

Boil out 88 lbs. fustic, and add to the decoction 27 lbs.
calliatura wood, 81- lbs. turmeric, and 5i- lbs. argol. Boil
for an hour, lift, add 5^ lbs. blue-stone, boil for half an
hour, lift, and sadden with 5 ozs. copperas.

H eddish Brown on Wool (10 lbs,).

Prepare at a boil with -L lb. bichromate of potash, 2 ozs.
oil of vitriol, 1 lb. alum, for one hour and a half. Dye at a
boil for one hour with 3 lbs. redwood, 1 lb. camwood, 1 lb.
fustic.

Broiun on Wool (100 lbs,).

Boil for an hour and a half in a water with 2 lbs. bi-
chromate of potash and 2 lbs. argol.

186

DYEING AND TISSUE-PRINTING.

Boil in a fresh water in a bag 40 lbs. fustic. Take out
the bag, and add to the water —

20 lbs. camwood.
7 lbs. madder.
7 lbs. cutch.

Boil for fifteen minutes longer ; cool, enter the prepared
wool, and boil one hour. Sadden with li lb. each copperas
and blue-stone, and boil for twenty minutes longer.

Broion on AJjjaca (10 lbs.).

Dissolve 1 lb. alnm.
„ A lb. argol.
„ |- lb. cudbear.

Boil for twenty minutes ; cool, enter the goods, and boil
for an hour ; lift, and rinse.

Enter the goods in another hot water with the decoc-
tion of 4 lbs. cutch. Give six turns (or, as it is often called,
six " ends Lift, and pass into another hot water con-
taining solution of 1 lb. bichromate of potash ; give six
turns, lift, drain, and pass back into the cutch bath.
Rinse, and finish with the decoction of 4 lbs. redwood.

A darker shade is got by giving the goods a little log-
wood after the redwood bath. Work the goods in the
logwood bath for an hour at a boil. Lift, and add to the
same bath 1 oz. tin crystals and 1 oz. oil of vitriol. Re-
enter the goods, six turns, rinse, and dry.

Broivn on Worsteds (100 Zfe.).

Prepare with a solution of 2 lbs. bichromate of potash,
2 lbs. argol, and 1 lb. tin crystals. Boil for two hours,
turning well, lift, and wash.

WOOL DTEIXG.

187

Boil in a fresli water for an hour, in a bag —

10 lbs. redwood.
40 lbs. fustic.
4 lbs. logwood.

Take out tlie bag, and add to the same bath —

10 lbs. cutch.
10 lbs, camwood.
16 lbs. madder.
2 lbs. argol.

Let boil fifteen minutes longer, cool, and enter the cloth,
turning well, and boiling for an hour. Lift, and add to the
same bath 2 lbs. each copperas and blue-stone. Cool the
dye after these ingredients are dissolved. Enter, turn
well, and boil for fifteen minutes.

Broim on Shoddij containing Cotton (100 Z&5.).

Boil for half an hour 30 lbs. fustic, 3 lbs. alum, prepared
tartar 2 lbs., and blue-stone 1 lb. Add to the liquor 1 lb.
bichromate of potash and 12 ozs. magenta. Enter, boil
very gently, sadden with logwood, and tint with turmeric
if required.

Gold Broiun on Worsted (50 Ihs.),

Dissolve 3 lbs. alum, 1 lb. tartar, 3 lbs. sulphuric acid,
12 ozs. fast yellow, 5 ozs. "orange A," 1 oz. "fast red H"
(all these three colours from the Baden Aniline Co.), 4 ozs.
extract of indigo. Enter at 180^ F., and turn till even.

Alizarine Broivn (100 Tbs,),

Mordant with 3 lbs. bichromate of potash, and ^Ib. blue-
stone, boiling for one hour and a half.

188

DYEING AND TISSUE-PRINTING.

Enter in a fresb. water witli 6 lbs. alizarine, 9 lbs. extract
of fustic, 6 lbs. sumac, and boil for one bour and a balf .
Sadden witb 2 lbs. copperas, and boil for half an bour;
tben leave in the liquor for four hours.

Mordant at a boil for two hours with l^lb. bichromate of
potash and 2 lbs. red argol. Enter in a fresh water with
13 lbs. alizarine, 6 lbs. sumac, and 2 lbs. chalk.

The shade may be modified by leaving out some or all
of the sumac.

Boil 2 lbs. alum, 10 lbs. sulphate of soda, and 4 ozs. red
argol with 18 ozs. " maroon, S,'' 8 ozs. " fast yellow," and
2 ozs. orange A " (all three of the Baden Aniline Co.),
and 12 lbs. extract of indigo.

Enter at 180" F., raise to 212^ F., and boil for one hour.

Boil 6 lbs. sulphate of soda, 2|- lbs. alum, 4 ozs. " orange
II," and 6 ozs. " claret red " (both of the Farbwerke,
Hoechst on the Main), and 6 lbs. extract of indigo.

Enter at 160^ F., turn well, raise to a boil, and dye to
shade.

If the orange II " is reduced or omitted, a more purple
tone is obtained.

Mar 0071 ivith Alkarine (100 lbs,').

Darlc Broim on Worsted (75 lbs.).

Tied Brown on Wool (50 lbs.).

Maroon on Yarn (100 lbs.).

Chromate of potash
Ground fustic

2 lbs.
6|-lbs.

WOOL DYEING.

189

Ground logwood . . , , lbs.
Ground sanders . . . .60 lbs.
Turmeric . . . . . . 2 lbs.

Mordant in the chrome bath for two hours, and leave
the yarn in flat heaps in a cool, dark place till morning.
Wash, and enter in the dye-beck at 158^ — 167^ F., and do
not push to a boil till the shade appears even. Boil for
one hour and a half. Wash off at once after dyeing.

Darker shades may be produced by increasing the quan-
tities. If orchil is substituted for sanders, the quantity of
fustic must be a little increased, as orchil gives a cherry red
with chrome.

Bead Leaf (55 lbs,).

Prepare at a boil with bichromate of potash 17 ozs.,
argol 2 lbs. 2 ozs. Dye with catechu G^^lbs., young fustic
4i-lbs., logwood 2ilbs.

Yery Darh Olive Broivn on Hctlf Woollen Heps (22 Z55.).

The wool is first dyed as follows : — Boil with argol 8^- ozs.,
madder 7 ozs., extract of fustic 2^ ozs., sumac 8^ ozs., for
forty-five minutes. Sadden in the same beck with l\oz,
copperas.

Finally, dye to shade with picric acid and logwood.

Steep over- night in a strong, lukewarm decoction of
fustic, and work for an hour in a cold nitrate of iron at
2i° Tw. Rinse, and dye in the cold with decoctions of fustic
and logwood.

Glirome Puce on Woollen Eeps (22 lbs,).

Boil the goods for one hour and a half with bichromate
of potash 8^ ozs., sulphuric acid, ^ oz. Let lie over-night,

190

DYEING AND TISSUE-PRINTING.

and dje, without rinsing in a fresh beck, with extract of
fustic 14 ozs., extract of logwood 3^- ozs., madder 14 ozs.,
calliatura wood, 5i ozs. Boil for half an hour ; darken
with the decoction of 17 ozs. logwood, and finally sadden,
without boiling, with |- oz. to 1 oz. copperas.

Fast Broion on Mixed Goods tvith Linen Warps
(260 Ihs,).

Wash with soda-crystals and boil with argol 15i lbs.,
and alum 16i- lbs.

Keep at the boil for an hour ; lift, cool, rinse, and dye
with 66 lbs. madder, boiling for half an hour. Sadden
with 33 lbs. logwood.

To dye the linen, work for two hours at 150^ F. in a de-
coction of 44 lbs. prepared catechu ; lift, and enter in a
boiling water with 3i- lbs. bichromate.

Rinse and sadden, if needed, in a fresh water with 17 lbs.
logwood. The tone may be modified by adding a little
. acid magenta.

Chamois (11 Ihs.^, .

Make up a water with 6i- ozs. oxalic acid, 8j- ozs. tin
crystals, 1 to 1^ oz. cochineal, and a trace of flavine. Boil
up, cool, enter, and dye to shade, raising rapidly to a boil.

Cinnamon on Yarns (110 Ihs.^.

Boil for one hour and a half with 20 ozs. chromate of
potash, 14 ozs. argol, 27 ozs. alum ; and dye by boiling for
an hour with 22 lbs. camwood, 3|- ozs. madder, and 6^ lbs.
fustic.

Cinnamon on Yarns (55 Ihs.),
Boil up 6|-lbs. orchil, 2-L lb. extract of bark, 9 ozs. tur-

WOOL DYEING.

191

meric, 2i-lbs. alum, 2i-lbs. argol, 8 ozs. blue-stone. Cool,
enter yarns, and boil for half an hour. Lift, add S^ez^rmt-
of vitriol, and boil for fifteen minutes longer. ^ 1"

Cinnamon on Wool (100 Tbs^, VvVx

Boil for ninety minutes with 10 lbs. extract of fusi^Q^gd td ^
50 lbs. Sanders. Sadden with 1|- lb. blue-stone, andiB^^i3=
for another hour. Cool, add 5 jugs of lant (stale urine),
and let the wool steep for an hour.

Drab on Yam (110

Boil for an hour with 2 lbs. 3 ozs. logwood, ~lh. fustic,
and the same weight each of camwood, copperas, and
argol.

Drah on Cloth (110 Ihs.).

Boil together 3i lbs. sumac, 6i lbs. madder, with the
decoction of 3^- ozs. sanders, and 6 ozs. fustic. Add 3i- ozs.
argol, cool, enter, boil for an hour, and sadden with 1^ ozs.
copperas.

Dark Drah on Wool (50 lbs?).

Boil 4 lbs. of peachwood, 5 lbs. fustic, and 2 lbs. logwood.
Take out the ware, cool, enter the goods, and boil for one
hour and a quarter, and sadden with copperas.

Silver Drab on Wool (100 lbs.).

Boil out in a water li lb. ground logwood, and |- lb.
orchil. Enter, boil for seventy-five minutes, sadden with
3 ozs. copperas, and boil for twenty minutes more.

192

PTEING AND TISSUE-PRINTING.

Baric Faiun Drab on Worsted (50 Ihs^,

Dissolve at a boil 1 lb. red argol, 3 lbs. alum, 2 lbs. oil
of vitriol, 2 lbs. extract of indigo, i lb. extract of orchil,
2 ozs. " orange Y " (Levinstein and Co., Manchester). Cool
to 180^ F., give ten turns, and wash.

Green (100 Tbs, luool).

Boil for ninety minutes with 3 lbs. bichromate of potash
and 3 lbs. sulphate of soda crystals.

Make up a fresh water with 15 lbs. viridine (Baden
Anilin Fabrik), and 10 lbs. sumac.

Enter at 160^ F., raise to a boil, and keep at that tem-
perature for one hour.

This colour bears fulling, and is not affected by acids
and light.

Acid Green (50 lis, yarn).

Mordant for an hour at 180*^ F., with 2 lbs. hyposulphite
of soda, and 2 lbs. muriatic acid. Lift, and take through
a water with 2^ ozs. ammonia.

Make up a water at 120^ F. with 8 ozs. acid green F. II.
(Bindschedler and Busch, of Bale), and turn to shade,
raising the heat to a boil. Lift, wash, and dry.

Light Green (100 lbs, ivool).

Mordant at a boil with 2i-lbs. bichromate of potash, and
2 lbs. tartar, for 90 minutes.

Dye in a fresh water with 1 lb. methylene blue and 1 lb.
extract of fustic. Boil for forty-five minutes, and let steep
for four to eight hours.

WOOL DYEING.

Iodine Green on Clotli.

Enter tlie cloth in a bath made slightlj alkaline with
ammonia for two or three hours. Wash, and take through
weak vitriol sours. Enter in colour bath, and dje to shade.
The longer the bath is used the finer are the shades djed.

Or on tvool (30 Ihs.) : —

Wash clean, put in a water with 3 ozs. stannate of soda
and 1^ oz. iodine green powder, previously dissolved in boil-
ing water. Enter the wool, and boil for forty-five minutes,
lift, and enter in a fresh water which has been cleared
with a little tin crystals, and to which 2 lbs. oil of vitriol
has been added, and work to shade at a boil.

^05^ Green on Wool (210 Ihs,).

Prepare at a boil for one hour and a half with 19 lbs.
sulphate of alumina, 4|- lbs. chromate of potash, the same
weight of oil of vitriol, and 26 ozs. tin crystals.

Boil up in the dye-pan 1 lb. sulphate of alumina, and
remove scum if needed, add 46 lbs. acid extract of indigo,
18 ozs. French extract of fustic, and 1 lb. salt. Boil for
one hour and a half to two hours.

Bottle Green (219 Ihs.).

Boil for an hour and a half with 6-J- lbs. bichromate of
potash and 3-^ lbs. argol, and dye at a boil for the same
length of time in a water made up with 8|- lbs. French ex-
tract of fustic, 2 lbs. 2 ozs. extract of logwood, and I7i lbs.
madder.

Sadden with 20 ozs. copperas, and boil for half an hour
longer.

194

DYEING AND TISSUE-PRINTING.

Green on Yarn (llZ&s.).

Add to a water 26 ozs. ground fustic, boil up, remove
the wood, dissolve 3i- lbs. alum and 1 lb. argol in the bath,
stir well up, and add 3 ozs. extract of indigo, let dissolve,
cool, enter yarn, and dye for half an hour at a boil.

Aurantine Green (128 Ihs. yarn or ivooT),

Dissolve 10 lbs. alum, 4 lbs. extract of indigo, 2 lbs.
tartar, 4 lbs. oil of vitriol, 5 lbs. salt, to 1 lb. aurantine.
The aurantine is dissolved separately in 2 gallons water with
3 ozs. of tin crystals. When dissolved, add to the dye-
beck.

Cool, enter, raise to a boil, and dye to shade.

Green on Shoddy (100 Z55.).

Boil with 12 lbs. alum, 2 lbs. chromate of potash, 2 lbs.
common salt, 1 lb. tin crystals, and 2 lbs. oil of vitriol.

Dye in a fresh water made up with 4 lbs. alum, 2 lbs.
common salt, 5 lbs. extract of indigo, and 2 lbs. fustic.

Brilliant Green on Wool (55 Ihs.),

Dye with 8 ozs. Nicholson blue and 34 ozs. borax. After
two hours a sample is plunged into dilute sulphuric acid
to see if the shade has been reached. As soon as this
point is gained, the goods are drained and plunged into a
water containing 26 ozs. sulphuric acid and 5i ozs. picric
acid.

Green on Worsted (25 lbs.).
Dissolve 3 ozs. new acid green (F. Bayer and Co., of

WOOL DYEING.

195

Barmen), 3 lbs. sulphate of soda, ilb. oil of vitriol. Clear
the liquid, if needful, enter at 150° F., turn briskly, and
raise slowly to a boil.

The green should be dissolved in the cold.

Baric Peacoch Green on Worsted Yarn (25lhs.),

Dye in an alkaline bath with 2 ozs. Mcholson blue and
3 ozs. Victoria green (Baden Aniline Co.), for three-quarters
of an hour. Lift, rinse, and finish in sours at 150"^ F.,
giving five turns.

Dark Green on Flannel (100 lbs,').

Mordant with 2i lbs. bichromate of potash and 2 lbs.
tartar, boiling for one hour and a half. Dye in a fresh
water with l^-lb. methylene blue O (Baden Aniline Co.),
and l|-lb. each extracts of logwood and fustic, boiling for
three-quarters of an hour.

Fast Darh Green on Wool (100 lbs.).

Boil for one hour and a half with li- lb. bichromate of
potash, lb. tin crystals, 8 lbs. alum, and 1 pint oil of
vitriol.

Enter in a freeh water with 15 lbs. extract of indigo,
2 lbs. extract of fustic, 4 lbs. alum, and 4 lbs. salt. Boil
till level.

Olive Green on Wool (100 ZZ?s.).

Add to a boiling water 1 lb. " new yellow," 4 ozs. " orchil
substitute " (both of Lutz and Moebius, JSTew York), 2ilbs.
extract of indigo, 8 lbs. sulphate . of soda, 3 lbs. oil of

196

DYEING AND TISSUE- PRINTING.

vitriol, and 2 lbs. alum. Work the yarn at a boil for one
hour and a quarter.

EUncelle Green on Woollen Yam (100 lbs.).

Prepare for an hour in a water at 180^ F., containing
8 lbs. hyposulphite of soda and 8 lbs. muriatic acid.

Lift, and wash in a fresh water, cold, with 4 ozs. am-
monia.

Make up a fresh water at 120^ F., with 1 lb. " green
etincelle " (Monnet and Co., of Geneva).

Enter yarn, turn to shade, raising temperature to a boil,
lift, wash, and dry. •

The "solid greens" J and J 4 of the same firm, are
dyed in the same manner.

Emerald Green on Worsted (50 lbs, yarn).

Dissolve in very pure water 6 ozs. emerald green "
(Baden Aniline Co.) and 4 ozs. oil of vitriol.

Enter at 160^ F., and turn constantly whilst raising tem-
perature to ISO"" F.

Sea-Green on Coarse Woollen Yarn (55 lbs,).

Make up a water with : —

Prepared tartar . . . , ,8 lbs.
Sulphate of soda . . . ,2 lbs,
Argol 8^ ozs.

Dissolve separately in a pot : —

Light green (Baden Aniline Co.) . l. oz.

Indigotine If oz. .

Cochineal waste . . . 5 to 7 ozs.

WOOL DYEING.

197

Imperial Green.

To dissolve the colour (of G. Dore and Co., of Frankfort-
on-the-Main), add the colour along with an equal weight
of acetic acid at 9^*^ Tw., to about ten times its weight of
hot water. Raise to a boil, and filter. Enter at 140° F.,
and gradually raise to a boil. The addition of more acetic
acid gives a bluer tone, whilst picric acid, with a very little
Sulphuric, turns it yellower.

Darh Steel Green on Half Woollens (56 lbs.).

Mordant for an hour at a boil with 8|- ozs. chromate of
potash, 7 ozs. oil of vitriol, and the same weight of tin
crystals. Let the goods lie over-night, and dye in a fresh
water with 19 ozs. extract of indigo, 4i- ozs. extract of fustic,
and 14 ozs. extract of logwood, boiling for half an hour.
They are then, if needful, brought up to shade with a little
decoction of logwood, steeped over-night in a lukewarm
solution of 8^ ozs. tannin, taken through cold black liquor
at li-° Tw. for half an hour, aired, rinsed, and cotton- dyed
in the cold with the solution of 7 ozs. methyl green B,
l|-ozs. extract of fustic, and the same weight extract of
logwood.

Metlmjl Green on Wool (220lhs.),

For mordanting, take 875 gallons water, hyposulphite of
soda 44 lbs., alum 22 lbs., oil of vitriol 13 lbs. The acid
must not be added to the water till the alum and the
hyposulphite are dissolved.

Enter the wool at 140° F. For piece goods raise the
heat by degrees to a boil, after having kept it for about
half an hour between 158° and 176° F. For loose wool it
is better not to exceed 185° F., keeping the temperature
from half to three-quarters of an hour between 167° and

198

DYEING AND TISSUE-PEINTING.

185^ F. Towards tlie end of the process of mordanting, the
beck, which was at first milky, becomes clear. The goods
are lifted and washed very carefully in a strong flow of
water.

For dyeing, make up 875 to 1,000 gallons water at
122^ F., with 24^ ozs. methyl green in powder, picric acid
as required, and 8|- lbs. acetate of zinc. If the green does
not work on properly, add a little acetate of soda, not, how-
ever, exceeding 25 ozs., and if, on the other hand, the
picric acid does not work on, add a little more of the
acetate of zinc, l^o trace of copper or lead must be present.
The dye-beck should be of wood, and the steam-pipes of
tin.

Reddish Grey on Yarns (55 Ihs,),

Boil for an hour with 6i- lbs. fustic, 5i- lbs. catechu,
4|. ozs. chromate of potash, and 13 ozs. copperas.

Grey Mode (110 lbs.).

Boil for an hour with 41 ozs. alum, 5i lbs. sulphate of
soda, 17 ozs. oil of vitriol, 11. oz. extract of indigo, and the
same weight of orchil liquor.

Slate Grey (55 Z&5.).

Boil the wool or pieces with 11 lbs. logwood, 17 ozs.
sulphate of soda, and 8 ozs. sulphuric acid. Lift, and dis-
solve in the beck 8 ozs. copperas, re-enter, and boil for
another half hour. If a very blue tone is required, top with
ammonia.

Fearl Grey on Wool and Yarns (218 lbs,).
Give a light blue ground in the vat, and rinse well. Add

WOOL DYEING.

199

to a water 34 ozs. perchloride of tin, boil np, and skim care-
fully. Add 54- lbs. chloride of tin and 26 ozs. ammoniacal
cochineal, and dye for forty-five minutes at a boil.

Light Grey on Wool (55 Tbs,).

Boil for an hour with 8|; ozs. perchloride of tin, 1 lb.
9 ozs. alum, 1^ oz, extract of indigo, and 1 oz. cochineal.

B eddish Grey on Tarn (40 Ihs,). -

Alum 5 lbs., argol 1 l lb., extract of indigo 10 ozs., fustic
1 lb., and orchil 10 ozs. Boil, cool, enter, and dye at a
boil for three-quarters of an hour.

Mode Grey on Yarn (100 lbs,).

Boil for thirty minutes with 25 lbs. alum, and 3 lbs.
argol.

Lift, and add to the same beck 10 lbs. extract of indigo,
15 lbs. fustic, and 1 lb. picric acid. Enter at a boil, and
work for forty minutes.

Slate Grey on Alpaca (50 lbs.).

Boil with 4 lbs. alum and 2 lbs. argol, and dye with
3 lbs. ground logwood, 4 oz. cudbear, and 2 ozs. extract of
indigo.

Greenish Grey on Cloth (10 lbs.).

Boil 6 ozs. galls, ^Ib. fustic, and 1 lb. argol. Cool, enter
goods ; boil for half an hour, lift, and add 3 ozs. copperas ;
re-enter, and dye to shade at a boil.

200

DYEING AND TISSUE-PRINTING.

Beddish Grey on Cloth (10 lbs?).

Boil 6 ozs. galls, i lb. madder, and 1 lb. argol. Cool,
enter the cloth ; boil for half an hour, lift, and add i lb.
copperas ; re-enter, and dje to shade at a boil.

Lead Colour on Wool (260 Tbs,),

Boil for an hour with logwood 22 lbs., sumac 34 ozs.,
fustic and alum 1 lb. each, argol i lb. At the end of this
time sprinkle the solution of 2 lbs. 10 ozs. into the beck, and
boil for half an hour longer.

Fast Ash Ch-eij on Cloth (70 Ihs,).

Give a medium blue in the vat, and enter in a water with
3i- lbs. sumac, the same weight of tartar, 41 lbs. calliatura
wood, 6i lbs. madder, 3i lbs. ground fustic, and 1 lb.
10 ozs. ground logwood. Boil the pieces for an hour, and
sadden with 8i ozs. copperas.

Wood Grey [on 132 lbs.).

Boil for an hour with 34 ozs. argol, 13 ozs. madder,
81- ozs. fustic, 26 ozs. sumac, and li-piggins logwood liquor.
Sadden with 1 oz. copperas.

Silver Grey on Half -Woollen Cloth (20 lbs.).

Dissolve 2 ozs. tannin in a hot water, and turn for an
hour. Sadden in a fresh water with 1 lb. nitrate of iron to
shade.

Fast Pearl Grey (l20 lbs.).
Dye a light blue in the vat, rinse, and make up a boil-

WOOL BYEING.

201

ing water with 3 lbs. alum, 3 lbs. tartar, 2i lbs. cochineal,
and 1 lb. sulphate of tin. Enter, and boil for twenty-five
minutes.

Wood Colour on Half- Woollens (4Z55. 6 ozs,).

Sulphate of soda 2 lbs. 3 ozs., sulphate of alumina 4 lbs.
6 ozs., orchil 2 piggins, turmeric 11 lbs.

Dye, wash, and pass into a water, to which have been
added bichromate of potash, turmeric, and redwood.

Blue Lavender on Yarns (110 Z65.).

Boil for an hour with 2 lbs. 3 ozs. logwood, 4|-ozs. ex-
tract of indigo, 1 lb. orchil, i lb. each alum and copperas.

Lavender on Wool (100 lbs.).

Boil out 5 lbs. logwood, 3 lbs. orchil, and i lb. camwood ;
enter the goods, boil for one hour and a quarter, and sadden
with 10 ozs. copperas.

" Modes on Alpaca (100 Tbs.).

(The term "modes," often met with in French and Ger-
man receipts for dyeing, has no exact equivalent in English.
It includes a number of very impure colours, which are
neither brown, grey, drab, nor olive, but incline sometimes
to one and sometimes to another.)

Shade 1 : —

Boil with 2 lbs. argol, 3 lbs. madder, |- lb. fustic, i lb.
ground logwood, i lb. galls, i lb, cudbear, and 2 ozs. ex-
tract of indigo. Sadden with i lb. copperas.

Shade 2 : —

2 lbs. argol, 5 lbs. madder, li. lb. ground fustic, \ lb.

202

DYEING AND TISSUE-PRINTING

galls, i lb. cudbear, and 1 lb. ground logwood. Sadden with

1 oz. copperas.

Shade 3 : —

Boil with l^- lb. bicbromate potasb and 1 lb. argol.

Dye with 12 ozs. ground logwood, 1 lb. ground fustic,
8 lbs. madder, and 4 ozs. galls. Sadden with 1 oz. cop-
peras.

Shade 4 : —

Boil with 8 lbs. madder, 3 lbs. calliatura wood, 1 oz.
galls, 1 lb. argol, and 20 ozs. ground fustic. Sadden with

2 ozs. copperas and 4 ozs. cudbear.

Shade 5 : —

1 lb. argol, 4 lbs. madder, li- lb. ground fustic, 1 oz
galls, and 8 ozs. cudbear. Sadden with 1|- ozs. copperas.

Shade 6 : —

Boil with 4 lbs. alum and 1 lb. argol, and dye with
2i. lbs. ground fustic and 4 ozs. madder. Sadden with
1 oz. copperas.

Medium Blue Mode on Half 'Woollens (100 lbs.).
The wool is first dyed with —

Nicholson blue . , . , _7_ lb.
Soda . . . . . . iLlb.

at a boiling heat for an hour, and raised in a fresh, hot
water, with the necessary quantity of sulphuric acid.

The goods are then steeped over-night in the hot solu-
tion of tannin li- lb. and haematine -j^-lb. They are then
taken through a cold black liquor at 2i-^ Tw., rinsed, taken
again through the tannin bath, and rinsed.

Instead of haematine, decoction of logwood may be used,
and the goods may be topped with extract of indigo,

WOOL DYEING. 203

metiiyl blue, or methyl violet, according to the shade re-
quired.

Yelloivish Mode for Mixed Goods (10 lbs.).

Boil 1 lb. good catechu in water; let settle, and dissolve
li- ozs. blue-stone in the clear solution. Raise to a boil,
and work the goods first at that heat, and afterwards at
122^ F. Lift, drain, and make up a cold water with i- lb.
nitrate of iron. Work for an hour, drain in the centrifugal,
and make up a fresh boiling water with li oz. chromate of
potash. Work for a quarter of an hour, rinse, and dry.
For yellower tones, a little fustic and alum may be added;
and for redder tones, peachwood and magenta.

MuTbemj on Wool (11 lbs.).

Boil for an hour and a half with 2A ozs. chromate of

potash, 7 ozs. alum, 1 A oz. blue-stone, and 5i ozs. prepared
tartar. Let cool in the flot, or rinse at once. Then dye in
a water with 30 ozs. logwood, 5^- lbs. camwood, and 1 lb.
cudbear, boiling for seventy-five minutes.

Mulb&iry m Cloth (84 lbs,).

Boil with l-i lb. bichromate of potash, and dye in a fresh
water with 10 lbs. camwood, 10 lbs. logwood, and 10 lbs.
cudbear, boiling for half an hour, and adding 1 qua^ am-
monia.

Greenish Mode on Yarns (55 lbs,).

Boil for an hour with 13 ozs. chromate of potash and the
same weight of argol. Let cool in the liquid, and dye in a
fresh water at a boil for one hour, with 2 lbs. 3 ozs. fustic,
9 ozs. Sanders, and the same weight of sumac.

204

DYEING AND TISSUE-PEINTING.

Greenish Olive on Yarns (55 lhsJ)»

Prepare as in the last receipt, and dye with catecliu
2 lbs. 3 ozs., fustic 6^ lbs., and logwood 17 ozs.

Another Olive on Yarns (55 lbs.).

Prepare as above, and dye with 2 lbs. 3 ozs. logwood,
17 ozs. fustic, and the same weight each of sumac and
Sanders.

Golden Olive on Wool (219 lbs.).

Boil for an hour and a half with 6i- lbs. chromate of
potash, 3-L lbs. blue-stone, and 1 lb. 10 ozs. oil of vitriol.

Dye with 12 lbs. French extract of fustic, 17 ozs. French
extract of logwood, 6i- lbs. sanders, and the same weight
of madder. Boil for an hour and a quarter, sadden with
26 ozs'. copperas, and boil for half an hour longer.

Golden Olive on Cloth (110 lbs,).

Boil together the decoction of 88 lbs. fustic, 22 lbs. tur-
meric, 21. lbs. orchil, 11 lbs. alum, and 4 lbs. 6 ozs. argol.
Cool, enter, and boil for an hour.

Light Olive on Wool (50 lbs.).

Boil for an hour and a half with i lb. chromate of potash,
i lb. argol, and i lb. alum. Dye in a fresh water with i lb.
logwood, 1 lb. fustic, and ^ lb. camwood.

Olives on Carpet Yarn (100 lbs,).

Dye in a water slightly soured with oil of vitriol, at
160^ F., with 1 lb. Olive No. 1 (Clayton Aniline Company,

WOOL DYEING.

205

Manchester). Raise to a boil, work for thirty minutes, and
wash. Use the " olive " in two halves — one to begin with,
and the other in about fifteen minutes.

Olives ^N'o. 2 and Xo. 3, used in the same manner, give
different shades.

Olwe on Woollen Beps (10 Ihs,),

Boil for forty-five minutes with alum 5^ ozs., oil of
vitriol 4^ ozs.

Lift, and add to the same bath —

Picric acid ..... 6^^ ozs.
Extract of indigo . . . 6 to 6i ozs.

Boil for forty-five minutes, lift, and add orchil 14 to 15i ozs.
Boil till even, and wash.

Bronze Olive on Cloth (50 Ihs,),

Boil for two hours with fustic 38 lbs., logwood 3 lbs.,
calliatura wood i lb., sumac 3 lbs., argol 2 lbs. Sadden
with blue-stone 2 lbs. Boil for an hour, and then add
copperas 2 lbs., and boil for an hoar longer.

Neiu Orange (100 Ihs, yarn).

Dissolve in a water 10 lbs. sulphate of soda, lilbs. of
the " New Atlas Orange " (Brooke, Simpson, and Spiller),
and 2 lbs. oil of vitriol. Enter at 180" F., raise to 212^ F.,
and boil for fifteen minutes.

Orange (50 Ihs. yarn).

Make up a water at 170^ F. with 8 ozs. " orange " (Bind-
schedler, Busch and Co.). Add l^lb. oil of vitriol. Give

206

DYEING AND TISSUE-PRINTING.

three to five turns, rising to a boil, and boil for ten
minutes.

Orange (110 Ihs. cloth).

Boil up in a water 26 ozs. percUoride of tin ; add 5 lbs.
oxalic acid, 3^ lbs. tin crystals, 17 ozs. flavine, and from
7 to 17 ozs. cochineal. Cool, enter the cloth, and boil for
three-quarters of an hour.

Aurantine Orange on Yarn (100 lbs,).

Add to a water 1 lb. aurantine, 2 lbs. tartar, 3 lbs. cochi-
neal, ^\h, tin crystals, 8 lbs. muriate of tin, and 5 lbs.
muriatic acid.

Boil ten minutes before entering the yarn ; cool, enter,
turn for ten minutes, and boil for half an hour. Rinse
and dry.

. Orange on Worsted (50 Ihs.).

Prepare bath with 2i- lbs. oil of vitriol and i lb. fast
orange (Reid, Halliday, and Sons, Huddersfield). Enter
at 180^ F., raise to a boil, turn to shade, and wash.

Light Orange on Cloth (84 lbs.).

Boil np in a water 8 lbs. fustic, add 20 ozs. ground cochi-
neal, 1 gallon nitrate of tin, and 4 lbs. tartar crystals.
Boil for three minutes, and enter.

Orange on Half- W oollens (4 lbs. 6 ozs,).

Dye in one bath. Dissolve annatto, 6^- lbs., in carbonate
of soda, 4 lbs. 6 ozs. Dissolve at a boil, and add turmeric
according to the shade. Enter in the dye-beck cold, and
raise the heat till the shade is obtained. 'Wash.

WOOL DYEING.

207

Scarlet (50 Ihs. yarn).

Make up a water with 5 lbs. sulphate of soda, 1 lb. oil of
vitriol, and 10 ozs. ponceau 3 11, C. (of A. Poirrier, of
Paris) .

Enter yarn at 180^, give three turns, raise to a boil,
which is kept up for fifteen minutes ; lift, wash, and dry.

Scarlet (50 Ihs, yam).

Make up water at 170^ P., with 8 ozs. "scarlet R. R."
(Bindschedler, Busch, and Co., of Bale), and li- lbs. oil of
vitriol.

Enter, give three to five turns whilst raising to a boil ;
boil for ten minutes, wash, and dry.

Neiv Atlas Scarlet (100 Ihs, yarn).

Dissolve in a water l|-lbs. ISTew Atlas Scarlet ISTo. 1
(Brooke, Simpson, and Spiller), 10 lbs. sulphate of soda,
and 2 lbs. oil of vitriol. Enter at 180^ P., raise to 212^ P.,
and boil for a quarter of an hour.

Crimson on Cloth (20 Ihs,),

Dissolve 1-^ oz. magenta crystals in 1 lb. glycerine at a
boil, filter, and add the solution to a water in which i- lb.'
picric acid and lb. carbonate of soda crystals are dis-
solved. Boil the bath for a quarter of an hour, and skim
ofi* any impurities which rise to the surface.

Enter the cloth and dye to shade at a boil. Drain, but
do not rinse.

Cochineal Pinh (30 Ihs.).
Make up a water with 1 pint tin solution, and ^ lb. of

208

DYEING AND TISSUE-PRINTING,

tartaric acid; let it boil, skim, add -i-lb. cochineal, let cool
a little, enter the wool, and boil for half an honr.

The tin solution is made by dissolving 5 lbs. tin in a
mixture of 10 lbs. muriatic and 10 lbs. nitric acids.

Fast Cochineal Crimson on Wool (10 lbs,').

Boil a water for ten minutes with i lb. tartar crystals,
and skim if needed. Add 1 lb. alum and 4- lb. tim solution.

Boil the wool in this mordant for half an hour, and then
dye with 1\ lb. ammoniacal cochineal paste and a small
quantity of tin solution.

Fast Alizarine Bed on Yarn (22 lbs.).

Boil for one hour and a half with 3^ lbs. sulphate of
alumina, and 17 ozs. tartar. Rinse well, and dye with
14 ozs. alizarine paste at 10 per cent., entering the goods
in the cold beck, and raising to a boil.

If the spent beck is mixed with 17 ozs. sulphate of alu-
mina, the same weight bisulphate of soda, a little fustic
and indigo-extract residues, it produces a fine brown.

Another Alizarine Red,

* Put the wool or woollen goods in a solution of 34 ozs.
soap, in 22 lbs. water at 110^ F., for twenty minutes. Press
between cloths, dry in hot air, take through red liquor at
6° Tw., to which has been added a solution of 1 oz. sulpho-
muriate of tin per pint, and dry in hot air. Take through
a solution of 60 grains silicate of soda at 92^ Tw. for 35
fluid ozs. Heat to 110^ F., wash, and drain in the centri-
fugal.

Dye with alizarine for reds, using for 35 ozs. wool, 7 ozs.
alizarine at 10^ F.

WOOL DYEING.

209

Eose on Wool, for Fulling (110 lbs.).

Boil up 13 lbs. 2 ozs. alum, 5ilbs. argol, 8|-ozs. per-
chloride of tin, the same weight of tin crystals, and 2 lbs.
3 ozs. cocbineal. Cool, enter the wool, and dye for an
hour.

Crimson on Yam, for Fulling (55 Ihs,),

Make up a water with 8|-ozs. perchloride of tin, and an
equal weight of oil of vitriol. Add a clear solution of
magenta as required. Enter yarns, dye at a boil, rinse,
and dry.

Full Bed on Yarn, for Fulling {74ilbs.).

Boil up a water with 34 ozs. perchloride of tin, add to
the beck 4i-lbs. oxalic acid, 2-| lbs. tin crystals, lOi ozs.
flavinC; and 20 ozs. cochineal. Cool, enter the yarn, and
dye at a boil for half an hour. Add 4 lbs. 6 ozs. alum, and
boil for fifteen minutes longer.

Aurantine Fonceau (80 Ihs.^.

Boil up 2 ozs. aurantine, 6 ozs. tin crystals, 10 lbs. cochi-
neal, 2 lbs. tartar, i- lb. tin crystals.

Boil ten minutes, cool, enter yarn, turn ten minutes, boil
for half an hour, rinse, and dry.

Aurantine Scarlet (80

Add to a water 8 lbs. cochineal, 2 lbs. tartar, 8 lbs. mu-
riate of tin, 6 ozs. tin crystals, and 2 ozs. aurantine.
Work as in the last receipt.

Crimson on Aljmca (100 Ihs,).

Prepare at a boil with 4 lbs. alum and i lb. tartar, and
dye with 10 ozs. best magenta.

210 DYEING AND TISSUE-PRINTING.

Magenta on SJioddy (100 Ihs.).

Boil with 8 lbs. alum and 1 lb. argol, and dye with 10
ozs. magenta.

Rouge de Gmvelotte,

A cochineal red, grounded as usual with cochineal,
oxalic acid, and tin crystals, and topped in a fresh water
with magenta, or preferably with saffranine.

Ponceau on Cloth (100 Ihs.).

Clear the water at a boil with i- lb. perchloride of tin,
boil 2^ lbs. bark, tied up in a bag, for fifteen minutes. Take
out the bag, and add 4 lbs. oxalic acid, 3 lbs. tin crystals,
1 lb. tartaric acid, 1 lb. tartar crystals, and 6i to 7 lbs.
ground cochineal. Boil up, cool, and enter the goods pre-
viously wetted.

Bed for W&oUen Yarns, for Fulling (100 Ihs.),

Boil with 8 lbs. cochineal, 8 lbs. tartar crystals, 4 lbs.
oxalic acid, 4 lbs. tin crystals, 6 lbs. tin solution, and 6 lbs.
young fustic lake.

The tin solution is made by dissolving 10 lbs. tin crys-
tals and 25 lbs. bichloride of tin in 3^- gallons hot water.

Fiery Madder-Bed on Wool, to hear Fulling (100 Ihs.).

Boil for an hour with 12 lbs. alum, 10 lbs. tartar, 2 lbs.
oxalic acid.

Binse, and dye with 50 lbs. madder, boiling slowly for
one hour and a half to two hours.

The colour is faster if 25 lbs. alum are taken, 13 lbs.
garancine may be used instead of the madder, or about
5 lbs. alizarine for red.

WOOL DYEING.

211

Eose mid Crimson on Woollen Yarns,

Dissolve 2 parts magenta, 2 parts silicate of soda, 1 part
sulphate of soda, and (for the crimson) a little picric acid.
Work the yarn at 167° F. The magenta must be well dis-
solved and strained to prevent spotting. After dyeing,
work the yarns for a quarter of an hour in a fresh cold
water with 2 parts hyposulphite of soda.

Sang de Boeuf on Yarns (11 lbs,').

Boil for three-quarters of an hour with 2|- ozs. chromate
of potash, i oz. blue-stone, 13 ozs. argol, 1 oz. sulphuric
acid.

Let the yarn cool in the bath, and then dye in a fresh
water with 4i-lb. peachwood and 4i- to 5i- ozs. logwood.
Boil for half an hour.

Darker Sang de Boefiif on Yarns (11 lbs,').

Prepare at a boil with 4^ ozs. chromate of potash, l|-oz.
blue-stone, 13 ozs. argol, li oz. oil of vitriol.

Let cool in the liquid, and dye for half an hour at a boil
with 4i- lbs. peachwood, i lb. fustic, and 1 lb. logwood.
The woods are used in the form of clear decoctions, added
by degrees.

Scarlet on Worsted (50 lbs,).

Dissolve 3|-ozs. scarlet XXB, and 2 ozs. orange (both
of Banning, Bissell and Co., New York), 8 lbs. sulphate of
soda, 1^ lb. oil of vitriol, ilb. alum. Cool, enter at 180° F.,
raise to a boil, and turn to shade.

Garnet on Floss Worsted (60 lbs,).
Boil 6 lbs. sulphate of soda, 2 lbs. alum, 3 lbs. sulphuric

212

DYEING AND TISSUE- PRINTING.

acid, 6ozs. orange A, i lb. maroon S, 2 ozs. magenta S
(all three of the Baden Aniline Co.). Cool, enter yarn,
and boil to shade. After boiling half an hour, add ^ lb.
extract of indigo.

• Crimson on Carpet Yarn (100 Z&s.).

Dissolve 10 lbs. sulphate of soda, 2 lbs. alum, 3 lbs. oil
of vitriol, \ lb. scarlet, and 3 ozs. magenta (both, of Levin-
stein and Co., Manchester). Enter at 180° F., ten turns
whilst raising to 212'' F., and turn to shade.

Biubij (100 lbs, yarn).

Dissolve li- lb. orselline (Clayton Aniline Co., Man-
chester). Enter at 160° F. and raise to a boil, turning to
shade. The addition of alum brightens.

Garnet on Worsted Yarn (50 lbs.).

Boil 5 lbs. sulphate of soda, 3 lbs. oil of vitriol, 10 ozs.
nacarat, and 3 ozs. orange (both of the Berlin Aktien Gesell-
schaft), and \ lb. extract of indigo. Enter, boil for three-
quarters of an hour, turning to shade.

Scarlet on Worsted (50 lbs,).

Dissolve 3 lbs. alum, 3 lbs. sulphate of soda, 2i-lbs. oil
of vitriol, 1 lb. fast scarlet R (Reid, Halliday, and Sons,
Huddersfield). Enter at 180° F., five turns, raise to a boil,
and turn to shade. Wash.

Bose Bengale on Woollen Yarn (60 lbs.).
Dissolve in a water 4 lbs. alum and 3 ozs. "rose Bengale

WOOL DYEING.

213

B (Farbwerke, Hoechst am Main). Enter yarn afc
180'' F., and turn to shade, raising temperature to a boil.

Fast Gardinal on Wool (100 755.).

Dissolve li lb. orange 23, and 5 ozs. acid magenta
(Bredt and Co., New York), along with 13 lbs. sulphate
of soda and 2 quarts oil of vitriol. Enter, and boil to
shade.

Pkhxine on Woollen Yarn (50 lbs,).

Dissolve in a hot water i lb. phloxine BB (P. Monnet
and Co., Geneva). Enter yarn at 180^ F., five turns while
raising to a boil. Lift, and add ^ lb. acetic acid. Re-
enter, give four turns.

Eosine on Woollen Yarn (hOlbs),

Dissolve 6 ozs. eosine (P. Monnet and Co.), enter yarn,
and work in the same manner as phloxine.

The " Eosine J " of the same firm is dyed as follows
(100 lbs.) :—

Dissolve 20 ozs. eosine J, and add the half of it and
1 pint acetic acid to a water at 120^ F. Enter yarn, work
for half an hour ; lift, and add the remainder of the colour
to the acid. Re-enter yarn, work for another half hour,
raising the heat to 180"^ F. Wash, and dry.

The " Rose Bengale ISTT " of the same firm is also dyed
in the same manner.

Flesli Colour on Worsted (50 Z&5.).

Clear the water well, if needful, by boiling it up with a
little sulphate of soda and sulphuric acid. After skim-
ming add 5 lbs. sulphate of soda and 1 lb. oil of vitriol
with 1- oz. scarlet RRR (Farbwerke, Hoechst am Main),

214

DYEING AND TISSUE -PRINTING.

Enter at 150^ P., turn well, heating to 180^ F., and work
to shade.

Fast Bluish Cardinal on Wool (50 lbs.).

Boil np 6 ozs. magenta S, and 1 oz. orange A (both of
the Baden Aniline Co.), 10 lbs. snlphate of soda, 5 lbs.
alum, and add 3 lbs. oil of vitriol. Cool, enter yarn at
150° F,, turn till level, raise to a boil, which is kept up
for one hour.

Eocceline Scarlet (11 lbs.).

Boil for an hour and a half with |- oz. stannate of soda,
and the same weight each of tartaric acid and oxalate of
potash. Lift, and dye in a fresh water, boiling for one
hour with 3|- ozs. rocceline and ^ oz. saffranine of a yel-
lowish tone. Let the wool cool in the liquor, lift, and
rinse. Darker shades may be obtained in a similar manner
by preparing the same quantity of wool with li. oz. oxalate
of potash and |- oz. alum.

Fast Bed on Cloth (60 lbs.).

Prepare a clean water at a boil, and add i- lb. alum, i lb.
solid chloride of tin, and 1 lb. powdered starch. Skim
carefully and take the cloth through slightly to damp the
same. Add to the bath 8 lbs. alum, 2 lbs. tartar emetic,
|- pint acetic acid, the solution of 2 ozs. aniline orange.
When well mixed, enter and raise to boiling point in half
an hour. Let cool down to 170° P., and add, in three doses,
the solution of 6 ozs. eosine B ; gradually increase the
temperature again while turning the cloth, and shade off
with 2 ozs. aniline orange, and -l- pint acetic acid.

This red may be dyed in copper vessels, and is only half
the price of a cochineal red. It may be dyed over black
checks without interfering with the black.

WOOL DYEING.

215

Another Fast Bed on Glotli (24 Ihs,).

Boil in a water containing 4 lbs. alum, 12 lbs. madder,
4|- lbs. tartar crystals, and 3 lbs. nitrate of tin. Let lie
twenty-four hours and pass into a water with 5 lbs. cochi-
neal, i lb. tartar, and boil for an hour. Add 5 lbs. lac-
dye and 2 lbs. nitrate of tin ; boil for an hour and pass into
a bath of 3 lbs. madder and 2 lbs. nitrate of tin.

Neiv Scarlet on Wool (60 lbs,).

Yarn well scoured, washed in warm water, and whizzed.
Run beck three-quarters full of water and boil. Put in

10 ozs. scarlet 00 " (A. Poirrier, of Paris, and Thomp-
son, of Manchester). Boil well, and add 9 lbs. sulphate
of soda and 1 quart oil of vitriol. Pill up with cold
water, stir well, and enter yarn. Keep turning for fifteen
to twenty minutes, and heat gradually to a boil in seventy-
five minutes. This is a very fast scarlet.

Garnet on Half- W oollens.

Boil for half an hour with a water containing 6^ ozs. bi-
chromate of potash, 41. ozs. oil of vitriol, and 2 ozs. blue-
stone. Rinse, and enter in a water at 122^ P., containing
magenta 1|- oz., and methyl violet i oz. Heat to a boil,
lift, wash, and rinse.

Claret on Half -Woollens,

Boil for half an hour with bichromate of potash 6i- ozs.,

011 of vitriol 4i. ozs., and blue-stone 2 ozs. Rinse, and
dye with magenta 1|- oz., aniline scarlet 1|- oz., orchil 6|.
lbs., and turmeric 12 ozs. Enter cold, raise slowly to a
boil, and after boiling for an hour and a half, lift, and
wash.

216

DYEING AND TISSUE -PRINTING,

Cormtlie on Damash (20 yards).

Boil for half an hour with alum 17 ozs., argol 17 ozs.
TheQ add orchil 2 lbs. 2 ozs., extract of indigo S^^ozs., oil
of vitriol i oz. Dye to shade at a boil. Lift, and
rinse.

Darh Garnet on Half -Woollens (22 lbs,).

Dye the wool to shade in a boiling water with orchil,
a little extract of indigo, and prepared tartar. Steep over-
night at a hand-heat with

Catechu .... 2 lbs. 3 ozs.
Blue-stone .... 7 ozs.

Sadden at a hand-heat with

Chromate of potash . . . 3i- ozs.
Copperas . . . . . If „

Steep over-night in the cold solution of 2 lbs. 3 ozs. alum,
and dye the cotton to shade in the cold, with the decoc-
tions of peachwood, fustic, and logwood.

Bjed on Half' Woollens (11 lbs.).

Boil for an hour with 17 ozs. white argol and the same
weight of argol. Dye at a boil for fifteen minutes with
4 lbs. 14 ozs. peachwood and 2|. lbs. fustic.

Rinse, steep for fifteen minutes in the decoction of 2 lbs.
3 ozs. fustic, and work for the same length of time in red
cotton spirits at Tw. Let drain, and cotton-dye to shade
in the cold decoction of 17 ozs. peachwood and the same
weight of fustic.

Beseda on Yarns (55 lbs,).
Boil for an hour and a half with 13 ozs. each chromate

WOOL DYEING.

217

of potash and argol. Let cool in the liquor, and dye at a
boil for an hour with i lb. fustic and 1 lb. logwood.

Barl'er Shade of Reseda (55 Ihs.),

Prepare as above, and dye with 8 ozs. logwood, 1 lb.
extract of indigo, and 4i ozs. orchil.

Light Beseda on Yarn (100 Ihs.),

Boil 10 lbs. alum, 3 lbs. argol, 2 ozs. oil of vitriol, 6 ozs.
extract of indigo, 7 ozs. orchil paste, and 2^- ozs. picric
acid, or, in place of the latter, 2 lbs. fustic. Boil up cool,
enter the goods, and boil for forty-five minutes.

Beseda on Wool (50 lbs.).

Boil for seventy-five minutes with -^Ib. chromate of
potash i lb. argol, i- lb. alum.

Dye in a fresh water with lb. logwood, 1 lb. fustic,
and i lb. camwood.

Light Salmon on Yam (100 Ihs.).

Oxalic acid 7 lbs., tin crystals 2 lbs., cochineal 12 ozs.,
and flavine 3 ozs. Boil, cool, enter and boil for three-
quarters of an hour. By adding more flavine the shade
may be turned to an orange, and to a red by more cochi-
neal.

Slate on Wool (100 Ihs.).

Boil 4 lbs. logwood.
„ 2 ozs. camwood.
„ 1 lb. fustic.
,, 2 ozs, madder.
,, 2 ozs. sumac.
„ 2 ozs. indigo extract.

218

DYEING AND TISSUE-PRINTING.

Boil fif fceen minutes, cool, enter, and work well, boiling for
an hour. Sadden with i lb. copperas and i lb. argol, and
boil twenty minntes longer.

Lighter Shade of Slate (100 lbs,).

Boil for fifteen minntes —

2 lbs. logwood.
4 ozs. camwood.
12 ozs. fustic.
4 ozs. madder,
4 ozs. sumac.
2 ozs. extract of indigo.

Cool, enter, work well, and boil for one hour. Sadden as
above, and boil for twenty minutes longer.

Stone Colour, Darlc, on Wool (220 Z&5.).

Boil with 6|- lbs. each fustic and madder, 13 lbs. sumac,
and 2|. lbs. argol, for an hour and a half; sadden with 34
ozs. copperas, and boil for three-quarters of an hour
longer.

Stone Colour, Light (220 Tbs,'),

Boil for an hour with 6i- lbs. alum, half that weight of
argol, 14i- lbs. ground logwood, 13i lbs. sumac, 3^ lbs.
ground fustic, and 6^- lbs. madder. Sadden with 19 ozs.
copperas, boiling for half an hour longer.

Violet on Wool (55

Dissolve 4l ozs. methyl violet of a suitable shade in
water. Add the solution to the beck, in which 2 lbs. 3 ozs.
of sulphate of soda are also dissolved. Boil up, cool, enter
the wool, and dye at a brisk boil.

WOOL DYEING.

219

Pansy on Yarn, for Fulling (54il'bs,).

Make up a water with. 4- lb. perchloride of tin and the
same weight of sulphuric acid. Add a clear solution of
methyl violet as required. Enter, dye at a boil, rinse, and
dry.

Bluish Pansy on Alpaca (100 lbs.').

Prepare at a boil with 8 lbs. alum, 3 lbs. chloride of tin,
2 lbs. oil of vitriol, and 2 ozs. aniline blue of a reddish
shade, and then top with 8 ozs. reddish aniline blue and
2 ozs. magenta.

Pansy on Cloth (100 Zos.).

Give a light blue ground in the vat, rinse, and boil for
ninety minutes with 10 lbs. alum, 4 lbs. argol, i lb. tin
crystals, and 1 lb. oil of vitriol.

Top at a boil in a fresh, water with 20 lbs. logwood, 5 lbs.
redwood, and the solution of 3 to 6 lbs, aniline violet.

Pansy for Vicuna (10 lbs.).

Enter the clean yarn in a boiling water with 1 lb. tannin,
and steep for four to five hours. Wring, and steep for two
hours in bichloride of tin at 2i^ Tw. Rinse, wring, and
dye to shade in methyl violet BBBB at a hand-heat.

Gentiana Violet on Wool (11 lbs.).

Dissolve in a water 7 ozs. argol and the necessary amount
of colour, previously dissolved; boil, and skim. The goods
are entered, and after three turns the shade is level.

The colour is dissolved in water at 140^ F., and quickly
raised to a boil, which is kept up for five minutes. The

220

DYEING AND TISSUE-PRINTING.

solution is then strained. One pound of colour requires
30 lbs. (3 gallons) of water.

Violet 2 B on Worsted Yarn (50 lbs.).

Dissolve 4 ozs. violet 2 B (Bindscliedler and Busch) in
water at 180^ F.

Enter, give four to six turns whilst raising to 212® F.,
and boil to shade.

Purple on Woollen Yarn (50 lbs.').

Dissolve 5 lbs. sulphate of soda and 5 ozs. Violet de
Paris 350 IN'B (A. Poirrier, of Paris). Cool down to
150® F., enter quickly, bring to a boil, and turn to shade.

Violet on Woollen Yarn{hO lbs,).

Dissolve in water 5 ozs. violet ISio, 28 (Keid, Hallidaj,
and Sons, Huddersfield).

Enter yarn at 150® F., turn briskly whilst raising to a
boil. Let cool, and wash.

Violet on Yarn (50 lbs.).

Dissolve 5 lbs. sulphate of soda, 7 ozs. " acid violet "
(Farbwerke, Hoechst am Main), and 1 lb. oil of vitriol.
jSnter at 150® F., turn briskly, raise to a boil, and work for
three-quarters of an hour.

Violets on Woollen Yarn (100 lbs.).

The violets " 5 B,'' " 3 B," and " R K," of Monnet and
Co., of Geneva, are dyed by simply dissolving in water at
180® F., entering, giving six or eight turns whilst raising

WOOL DYEING.

221

water to a boil, and boiling to shade. Half a pound of each
of the above colours gives a full shade.

Alkali Violet on Wool (30 lbs, yarn,).

Dissolve i lb. borax and 5 ozs. " alkali violet " (Farb-
werke, Hoechst am Main).

Enter at 140° F., give four turns rapidly, raise to a boil,
lift when dark enough, wash, and raise in a fresh luke-
warm water with 3 lb. oil of vitriol.

The process is the same as for Nicholson blues.

Beep Dahlia on Piece Goods (100 lbs,).

Make up a boiling water with 6 lbs. alum, li lb, bi-
chromate, -| lb. tin crystals, and 1 lb. oil of vitriol.

Work in this for half an hour, and either wash or leave
in the beck. Then dye with 50 lbs. logwood, 10 lbs. callia-
tura, and 2 lbs. orchil.

Very Deep Violet on Piece Goods (100 lbs,).

Make up a water with li- lb. chromate, 3 lbs. alum, ilb.
tin crystals, i lb. sulphuric acid, and |- lb. oxalic acid.
Work in this at a boil, and rinse and let cool in the flot, and
then boil for an hour and a half with 40 lbs. logwood,
12 lbs. calliatura, and 2 lbs. orchil.

Fast Lilac on Wool (110 Ihs,).

Boil for an hour with 11 lbs. peachwood, 5-|- lbs. logwood,
22 lbs. alum, and 11 lbs. argol. Lift, and add 34 ozs. bi-
chloride of tin, and boil for a quarter of. an hour longer.
To brighten the colour, the solution of 3i ozs. methyl violefc
is added.

222

DIEING AND TISSUE-PRINTING.

Liglit Lilac on Worsted (25 lbs, yarn).

Clear the water, if needful, and add 6 lbs. sulphate of
soda, 2 ozs. red argol, 1 lb. sulphuric acid, i oz. "violet'*
(Farbwerke, Hoechst am Main), and 1^ oz. each of indigo
extract and orchil extract.

Yellow (50 lbs. yarn).

Dissolve in a water 5 lbs. sulphate of soda crystals and
ilb. " Jaune S (A. Poirrier, of Paris). Add 2 lbs. oil of
vitriol. Enter at 180^ F., and give five turns while raising
to 212^ F. Boil for five minutes, wash, and dry.

Lemon Yelloiu on Wool (218 lbs,).

Boil up 83 lbs. fustic, 13 lbs. 2 ozs. alum, the same weight
of tartar, and 1^ lb. tin crystals. Skim the beck, enter, and
boil for an hour and a half.

Ochre Yelloio on Wool (220 lbs.)

Boil with 5 ?- lbs. chromate of potash and half the weight
each of blue-stone and argol, for ninety minutes. Dye in a
beck made up of i lb. French extract of fustic and 3^ lb.
madder, boiling for an hour.

Aurantine Yellow (128 lbs,).

Dissolve 1 lb. aurantine, 8 lbs. alum, 2 lbs. tartar, 8 lbs.
muriate of tin, i lb. tin crystals.

Boil ten minutes. Cool, enter, turn ten minutes, and boil
half an hour. Rinse and dry.

WOOL DYEING.

223

Deep Yellow (100 lbs,).

Dissolve 1 lb. aurantine, 2 lbs. alum, 2 lbs. tartar, 8 lbs.
muriate of tin, i lb. tin crystals.
Work as above.

Liglit Yellow (64 lbs.).

Aurantine i lb., alum 3 lbs., half-refined tartar 2 lbs.,
6 lbs. muriate of tin, 6 ozs. tin crystals.
Work as above.

Yelloiv on Shoddy (100 lbs,).

Clear the water with perchloride of tin, and boil 60 lbs.
bark for half an hour. Add i lb. white glue, previously
dissolved ; boil up, and skim. Dissolve in the clear liquor
3 lbs. oxalic acid, 3 lbs. tin salt, and 1 lb. bichloride of tin.
Boil the goods for an hour.

StTaiU'CoI(-ur on Yarn (10 lbs,).

Boil for forty-five minutes with 6 ozs. alum, 3 ozs. argol,
i-lb. fustic, and i lb. madder.

Berlin Yelloiv (50 lbs, yarn).

Dissolve in a water 5 lbs. alum and i- lb. Berlin yellow
(Bindschedler and Busch). Enter at 170^ F., give five turns
while raising to a boil, and turn to shade.

Fast Yellow (50 lbs.).

Make up a water with 2i- lbs. sulphuric acid and ^ lb. fast
yellow (Eeid, Halliday, and Sons, Huddersfield). Enter at
160"^ F. Baise to boil, turning to shade, and wash.

224

DYEING AND TISSUE-PRINTING.

Jaune d^Or on Yarn (100 lbs,).

Prepare water at 160^ F., witli 1 lb. Janned'Or (Monnet
and Co., Geneva) and 1 lb. acetic acid. Add only half the
colour and the acid. Enter yarn, work for thirty minutes,
lift, and add remainder of colour and acid. E-e-enter, work
for thirty minutes more, raising the temperature to 180^ F.,
wash, and dry.

Golden Yelloiv on Worsted (25 lbs.).

Add to a water A lb. oil of vitriol, 3 lbs. sulphate of soda,
-|- lb. alum. Boil up, skim carefully if needed, add solution
of i- oz. " golden yellow" (Clayton Aniline Co., Manchester),
cool down to 160^ F., and enter. Turn briskly, raise tem-
perature, and work to shade.

DarJc Golden Carmelite on Worsted (50 lbs,).

Dissolve in a water 5 lbs. sulphate of soda, 1 lb. alum,
1 lb. oil of vitriol, 6 ozs. " dark golden carmelite (Clayton
Aniline Co., Manchester).

Enter yarn at 150° F., raise to a boil, and work to shade.

Naphtlial Yellow on JVorsted (SO lbs, yarn).

Boil 5 lbs. sulphate of soda, i- lb. oil of vitriol, oz.
naphthal yellow (Baden Aniline Co.). Enter at 160"^ F.,
raise to a boil, and turn to shade.

Ave7iiurine on Half-Woollens (4 lbs. 6 ozs.).

Sulphate of soda 2 lbs. 3 ozs., sulphate of alumina 4 lbs.
6 ozs., orchil 1 piggin, turmeric 13 lbs. 2 ozs.

Dye, wash, and then pass into a catechu beck with bi-
chromate of potash and turmeric.

225

Silk Dyeing.

Silk occupies, in several respects, an intermediate posi-
tion between the truly animal and the vegetable fibres.
Like wool, it is a highly nitrogenous body, but contains no
sulphur. It takes up very many of the colours which can
only be worked upon vegetable fibre by the aid of mordants.
It tolerates acids better than cotton, but less fully than
wool. Like the latter fibre, it is unable to bear the action
of strong alkalies, especially at high temperatures. Like
cotton, it can be dyed a prussian blue by working alter-
nately in a solution of nitrate of iron and in one of prussiate
of potash. It has a strong affinity for iron and for tannin.
Cochineal does not work as advantageously upon silk as
upon wool, and a true " grain scarlet " upon silk can
scarcely be said to exist. On the other hand, carthamine
and the aniline colours appear here to the greatest advan-
tage. The great attraction of these colours for silk sim-
plifies silk-dyeing exceedingly. Such colours as aniline
orange, cyanosine rose, rose Bengale, phloxine, the various
shades of rosine, magenta, the aniline violets, malachite
green, the aniline blues, require merely to be dissolved and
mixed with perfectly clear water in a clear pan. A little
acetic or tartaric acid is often added, and in case of the
azo-colours (such as ponceau, grenadine, &c.) a little oil of
vitriol.

The sad colours, on the other hand, and especially black,
are in many cases extremely complex, the main object of
the dyer being not so much to colour the silk as to increase
its weight, sometimes to the extent of 400 per cent.

As an example we give a black weighted merely to 200
per cent. : —

Give nine dips in basic sugar of lead at 50^ Tw. Wring
out and leave covered up for five or six hours, and then
pass into cold sulphuric acid at 8^ Tw., and wash well.
Pass into a 10 per cent, soap-lye at 140^ Tw., rinse, and

226

DYEING AND TISSUE-PRINTING.

wring out. Give nine more dips in tlie basic sugar of
lead, leave for six hours, and pass into sulphuric acid as be-
fore. Wash well, and pass into logwood liquor with the
addition of 5 per cent, of soap, and wash. Steep in black
liquor at 40^ Tw. for five days, wash and dye in a mixed
decoction of logwood and fustic, with the addition of soap.
Rinse, and steep in a concentrated decoction of galls for
six days, wring, and dye again with decoction of logwood,
fustic, and soap. Wash, and soften in an emulsion made
with caustic soda at 3'^ Tw. and olive oil, none of which
must float at the top. Finally, dry without washing.

Lijons Black,

The silk is first entered in black liquor at 25 or 30 per
cent, and washed. Then it is worked in a hot soap-lye,
and passed hot into a water containing 22 per cent, of
yellow prussiate of potash, and washed. It is then steeped
in the black liquor, washed, and soaked for twelve hours in
a saturated decoction of catechu, and washed. It is finally
dyed in a bath of logwood, containing 25 per cent, of soap.

Bleu de Lyon,

Clear water with sulphuric acid, and give the silks five
or six turns. Add the colouring matter to the beck in
several successive portions as the dyeing advances. Begin
to dye in the cold, and raise gradually to a boil. Soap,
rinse, and give a slight brightening in the cold with sul-
phuric acid.

Soluble Blue.
As Bleu de Lyon, but without soaping.

Aniline Blue ivith Soap (11 lbs.').

Add to a water at 165"^ F., 1 lb. 1 oz, sulphuric acid and
3^ ozs. white soap in solution.

SILK DYEING.

Stir up very well and add in four successive
1|- oz. blue, previously dissolved in water.
Dje, wash, and rinse with sulphuric acid.

Prussiate Blue (40 Ihs.),

Enter in a water (60 gallons) at 120°— 130° F., with 9 lbs.
nitrate of iron at 120° Tw.. and lib. 10 ozs. tin crystals.
Give nine turns, wash, and give nine tu.rns in a warm
water with 2 lbs. yellow prussiate and 1 lb. oil of vitriol.
Return without washing to the first bath, and give nine
turns more. Wash, and give nine more turns in the prus-
siate bath. Add to the first bath 2 lbs. nitrate of iron and

10 ozs. tin crystals, nine turns and wash. Finally, give
nine turns in the prussiate bath, to which 12 ozs. prussiate
and 1 lb. sulphuric acid have been added. Wring out, and
leave for six hours in a covered bowl. Wash, raise, and dry
in the air.

Broiun on SilJi.

Steep the ungummed silk over-night in alum-water at
100° F. Take out the next morning, and dye in a water
with logwood, redwood^ and fustic, as the shade requires.
For mediums 20 ozs. of each of the three woods suffice for

11 lbs. of silk. The beck is kept at from 167° to 194° F.,
and the goods are turned from thirty to sixty minutes.

Brown on Mixed SilJc and Cotton.

Boil ^ lb. catechu in a water, and make up a beck at
100° F., steep the goods in this for five hours, turning fre-
quently. Lift, wring, and pass into a weak chrome bath
at 122° F. Work for half an hour, wash, and dry. If the
cotton is too light it may be darkened with a decoction of
logwood.

228

DYEING AND TISSUE-PRINTING.

Brown on Silk Waste,

Dye with extract of orchil, nigrosine, turmeric, soap-lye,
and sulphuric acid. Enter at 112^ F., raise to a boil in
three turns, wash well, whiz, and dry.

Chamois on Silk Waste,
Dye with the same wares as yellow at 122^ — 132^ F.

Green on Silk Waste,

Prepare with a solution of silicate of soda at 167° F.,
using 8|-ozs. silicate of soda to every 2 lbs. 3 ozs. of silk.
Drain, and whiz, without ringing. Then boil with 3-|- to
5^ ozs. neutral soap.

For methyl-green and iodine-green the silk is steeped
with a solution of the colour and a very little soap-lye at*
100^ F. Raise the heat very gradually to 144^ F., wash,
and finish in a lukewarm beck with picric acid and very
little tartaric acid.

Dark green may be produced with a soluble aniline blue,
turmeric, sulphuric acid, and old soap-lye. Enter at 110° F.,
and raise in three turns to a boil. Wash and finish with
acetic and picric acids. It is well to dye the green too
much on the blue side, and afterwards dye to shade with
picric acid. Turmeric alone gives too flat a shade.

Iron Grey on Silk Thread (11 lbs,).

After boiling, wash well twice, and mordant twice with
iron. For light shades take 17 ozs. oil of vitriol and 34
ozs. nitrate of iron, for mediums 4 lbs. 6 ozs. nitrate of
iron, and for heavy shades 8|- lbs. Pass the silk through
the beck from seven to nine times, and wash twice ; dye at

SILK DYEING.

229

112° F. in a water made up of logwood, redwood, and fustic,
and finally finish ofi" in a fresh beck at 122° F. and
wash.

Grey (5 lbs, silk).

Add to 2 quarts ammoniacal cochineal at 3" Tw., 1 oz.
tartaric and citric acid, i oz. extract of indigo, and i- oz.
picric acid. Dissolve well before entering the silk, and
dje to shade.

Ponceau on Silk (20 lbs,).

Boil for two hours with 5 lbs. curd soap ; enter dye-
bath at 120^ F., containing enough of the soap-lye to
lather freely, along with ^ lb. oil of vitriol and 2i- ozs. coc-
cinine (Farbwerke, Hoechst). The colour is dissolved
separately and added in three different portions, whilst the
heat is raised to a boil, turning to shade. Wash and take
through a water with acetic acid.

Magenta.

Clear the dye -bath with tartaric acid. Pour in the
solution of the colouring matter, and dye in the cold. If
a more violet tone is needed, ground with a Hofmann's
violet, according to the shade required, and top with
magenta.

Saffranine Bose on Silk,

The silk is prepared as for white, stoved, rinsed, and
washed twice in boiling soap-lye. A fresh water at 122^
F. is made up with the needful quantity of saffranine, and
soured with a fresh solution of tartaric acid. In this the
silk is dyed to shade.

Pojppy Bed,

Make up a cochineal liquor at 4^ Tw., and for every

230

DYEING AND TISSUE-PRINTING.

5 lbs. of cocliineal thus extracted, nse 12 fluid ozs. of the tin
spirit given below, and dye. Lift, and leave the silk
covered for twelve hours, wash slightly, take through citric
acid, and dry.

The tin spirit is made with 4 lbs. muriatic acid, 2 lbs.
aquafortis, and 3^ ozs. tin added by degrees.

Anotlier Pojppj Bed.

Prepare the silk first in a so-called stannate of soda, as
given below ; take through vitriol sours, wash well, and
pass into a solution of red liquor at 8° Tw., thickened with
1 lb. British gum per gallon. Dry and air for twenty-
four hours, wash well, dye in decoction of cochineal, and
raise with nitrate of tin.

The so-called stannate of soda is made by adding 7 lbs.
perchloride of tin to 3 gallons caustic soda at 35^ Tw., to
which is then added 1 lb. oxalic acid dissolved in 1 gallon
of water. Set at 4P Tw., and use it in the cold.

To make the red liquor, dissolve 1 lb. alum in two
quarts water. Precipitate the alumina by adding 1 lb.
soda crystals dissolved in a quart of water. Collect the
precipitate and dissolve it in a quart of strong acetic
acid.

Gampo-hello Yellow on Silk,

Dissolve in water, enter the silk, and dye to shade at
122« to 140^ F.

Yellow on Silk Waste.

Dye at 110^ — 132^ F. with aniline golden yellow, picric
acid, a little aniline orange and tartaric acid.

231

Tissue Printing.

This brancli of the tinctorial art has for its object the
production, not of a nniform colour over the entire surface
of a piece of cotton, silk, or woollen goods, bnt of a pattern
in two or in many colours. The task of the printer is,
therefore, very much more difficult and complicated than
that of the dyer. He has not merely to obtain fast, bright,
and even colours, but to place them in juxtaposition in such
a manner that each shall be strictly confined within given
limits without spreading over and soiling its neighbours.

In effecting this object, not merely chemical, but me-
chanical questions of great nicety have to be taken into
consideration. The machines required in a print-works
are very numerous, very different in their purposes, and
some of them remarkable for the delicacy and complication
of their structure. It may be here at once remarked that
a useful idea of these machines cannot be conveyed by
mere reading. Actual examination, e.^., of a perottine, a
cylinder-machine, &c., will give the student in a quarter of
an hour a clearer knowledge of these and other mechanical
contrivances than he could gain in hours of reading, even
with the utmost aid from diagrams. Hence the accounts
which will be here given of printing machinery will be very
brief.

There is a further distinction between dyeing and print-
ing : the dyer has merely to see to it that each colour
which he produces is in itself good of its kind. How the
yarns which he dyes may be afterwards arranged by the
designer and the weaver, in the production of a pattern in
the loom, is outside his knowledge and his responsibility.
But in printing, the arrangement of the colours is part and
parcel of the business. Colours, in themselves excellent,
may be made to look dull, flat, and ordinary, if grouped
together in disregard of optical laws. On the other hand,

232

DYEING AND TISSUE-PEINTING.

shades whicli, taken singly, possess little merit, may, by
judicious arrangement, raise and relieve each other, so as
to produce a very fine general effect.

Hence tissue-printing stands on the very boundary line
between manufactures and the fine arts, and requires the
co-operation of the colour-chemist, the mechanician, and
the artist. Indeed, the ideal manager of a print-works
should combine in himself the knowledge and the resources
of all the three.

The first step in preparing goods for printing, is the ope-
ration of singeing, already described under bleaching. By
this process all loose down is removed from the pieces, so
that they may present a perfectly level surface.

Still, however, certain inequalities remain. There are
seen, in examining a piece of calico, knots and ends of
threads, too thick to be removed by the singeing process
without an exposure to the flame sufficient to damage the
fabric. Hence " cropping " is necessary. The projections
just mentioned are cut off by a specially constructed
machine. Bleaching is a necessary preparatory step. As
has been already mentioned, goods to be subsequently
printed require to be more carefully bleached than if they
were to be sent to market in a white state, except when
the designs and grounds consist of dark colours.

We may now pass to a description of the so-called
" styles," that is, the principles or groups of methods by
which designs may be produced upon cloth.

These " styles " employed in calico or other tissue-
printing naturally resolve themselves into two main classes.
In one of these the entire piece of cloth is submitted to the
action of a colouring liquid as in ordinary dyeing. But
the action of such liquid is limited by various means to
particular parts of the cloth, so that instead of coming out
of one uniform shade, it exhibits, when finished, a design
in two or more colours. This class includes the so-called
madder-, garancine-, reserved-, padding-, indigo-, Turkey-
red-, and bronze-styles.

TISSUE-PRINTING.

233

In the second class the colouring matter, mixed np with
mordants, is applied to those portions of the cloth only
where the design is to appear. The styles belonging to
this class are the steam, spirit, pigment, and China-blues.
It must be remembered that in actual practice two or more
of these styles are often used in combination, and that ani-
line black forms a style of its own.

The madder-style, so-called because it has principally
been used in printing the colours obtained from madder, is
also named " dyeing mordants," or more correctly " dyeing
upon mordants." The procedure is in substance this : —
The mordants, duly thickened, and technically known as
^'colours,^^ though containing no colouring matter, are
printed on to the calico, being applied merely to the parts
where the pattern is to appear. After the printing is
effected, the pieces undergo the ageing process, for the
purpose of enabling the mordants to combine thoroughly
and intimately with the fibre. Next follows the operation
called dunging^ the object of which is to remove the thick-
ening which has now played its part and is no longer
needed. Then follows the dyeing, which was till lately
performed with madder, but is now effected by means of
artificial alizarine, and lastly the clearing or brightening,
the object of which is to remove all colouring matter not
perfectly attached to the fibre, and to leave the grounds a
pure white.

It must here be remembered that this style " is not
by any means limited to madder and its derivatives. The
colouring matter of logwood might, for instance, be applied
to cloth in this manner, though in practice this never takes
place, as the same effects can be more conveniently pro-
duced by other methods.

Madder, or rather alizarine, gives with strong iron-liquor
a black ; with weaker iron-liquor a violet (technically
always spoken of by English printers as purple) ; with red
liquor (acetate of alumina), reds, roses, and pinks, accord-
ing to strength ; with a mixture of red-liquor and iron-

234

DYEING AND TISSUE-PRINTING.

liquor, chocolate. Thus by printing on to the cloth two
strengths of red-liqnor, two strengths of black-liquor, and
a mixture of the two, we obtain, on afterwards dyeing the
cloth in alizarine, a design of five colours on a white
ground.

Madder (i, e. alizarine) colours are now often produced
by the " steam style," though the shades thus obtained are
never quite equal in beauty to such as are dyed on mor-
dants.

The following are some of the most recent processes for
madder- work : —

Bed on White Grounds^ mid Bed Grounds,

Print on red liquor at 7^ to 8^ Tw. thickened with flour
or gum-substitute, and with the addition of a little tin
crystals or oxymuriate of tin.

Age at 86^ to 95^ F., and dung with dung and chalk.
Make up the dye-beck with 1 part " alizarine for reds " at 10
per cent., i to i- " alizarine oil "at 50 per cent., and -^-^
part acetate of lime, at 21|-° Tw.

Dye for one hour and a half at 158^ F. Wash, work in
" alizarine oil," taking 1|- ozs. to d~ ozs. per pint water,
and dry in the hot flue, and steam from three-quarters to
one hour and a half. If enough oil has been used in dyeing
the second oiling is omitted, and the pieces are dried and
steamed at once after dyeing.

Wash and soap three-quarters of an hour at 140°. Ee-
peat soap if needful. If there is no fear of soiling the
whites the dyeing for the last half hour may be done at a
boil.

If it is desired that the reds, roses, and pinks produced,
should verge more to the crimson and less to the scarlet, a
little alizarine for violet " is mixed with the " alizarine
for reds " and if a purple is to be produced, the former
kind is used alone.

TISSUE-PEINTING,

235

For purples the " colours " printed on are prepared as in
the following examples ; —

1. Turtle for macMne worh.

Black-liquor (iron-liquor), at 24® Tw. 1 gall.
Purple fixing liquor . . . .2 galls.
Gum water . . . . .12 galls.

The " purple fixing liquor is prepared as follows : —

Water . . . . . .2 galls.

Soda crystals . . . . . 25 lbs.

Arsenious acid . . • . 22|-lbs.

Eoil till dissolved and add : —

Crude acetic acid at 120® F. . . 50 galls.
Let stand for a few days, draw off, clear, and add : —

Muriatic acid at 32® Tw. . . .3 quarts.
For the gum- water take : —

Water ...... 1 gall.

Dark calcined farina . . , .6 lbs.

Boil till dissolved.

2. Padding Purples,

One part of black-liquor at 25® Tw. is mixed with more
or less of the following thickening according to shade : —

Logwood liquor at 8® Tw. . , 1 quart.

Flour 9 lbs.

Purple fixing liquor , . .1 gall.
Water 6f galls.

Boil, and when dissolved, add

Gum-water, as above , . . li-gall.

236

DYEING AND TISSUE-PEINTING.

3. Alizarine Blacks,

Since the introduction of aniline blacks, a madder black
is seldom required. The following is a specimen of the
colour " to be printed on for their production : —

Crude acetic acid . . . . 1 gall.
Black liquor at 24^ Tw. . . .1 gall. .

Water 1 gall.

Flour 6 lbs.

The flour is first rubbed up with a little of the mixed
liquids to a thin, even paste, and the rest is gradually
stirred in. After boiling, add ^ pint olive oil. The subse-
quent operations for a madder (alizarine) black are similar
to those for reds, but in dyeing a larger quantity of
colouring matter is needed, which renders these blacks
expensive.

Browns,

The ''colours" for producing browns in the madder
style, contain an admixture of catechu generally accom-
panied by verdigris (acetate of copper), and sal-ammoniac.
The following are examples : —

Brown standard . . . . 2 galls.

Acetate of copper . . . .2 quarts.

Acetic acid . . . ... 1 quart.

Gum. Senegal water (1 lb. per quart) 1 quart.

The brown standard above referred to is made with —

Water I24. lbs.

Catechu ..... 50 lbs.

Boil for six hours, and add —

Acetic acid .... 4|- quarts.

Water to make up to . . 12i- galls.

Let settle for forty-eight hours, run off the clear, heat

TISSUE-PRINTING.

237

to 180^ F., and add sal-ammoniac 24 lbs. Dissolve, and let
stand for fortj-eight hours ; draw off the clear, and thicken
with 4 lbs. gum Senegal per gallon.

The acetate of copper above mentioned is thus pre-
pared —

Blue-stone . • . . • 16 lbs.
Sugar of lead. .... 16 lbs.
Boiling water .... 4 galls.

Dissolve, settle ; draw off the clear, and set at 16® Tw,

Brown to resist Heavy Purple " Cover s.^^

Catechu . . . . . 1 lb.
Sal-ammoniac. . . . . 4 lb.
Lime juice at 8° Tw. ... -|- gall.
Nitrate of copper at 80° Tw. . . 5 ozs.
Acetate of copper as above . . 3 ozs.
Gum Senegal .... 2 lbs.

Chocolate,

Black liquor at 24® Tw. ... 3 quarts.

Bed liquor at 18® Tw. . . . 2i. galls.

Mour 6 lbs.

on 5 fl. oz.

An increase in the proportion of red liquor gives choco-
lates of a more reddish cast, and an increase of black liquor
gives a more blue shade.

Drah,

Brown standard, as above . . 1 gall.
Muriate of iron (protochloride of iron

or ferrous chloride) at 9® Tw. . 1 quart.
Acetate of copper .... 3 quarts.
Gum substitute water ... 1 quart.
(1 lb. per quart.)

238

DYEING AND TISSUE-PEINTING.

If it is desired tliat any portion of the design is to remain
nntouched by the mordants and the dyeing process, a so-
called "acid " is printed in — i.e., lime-juice at from 8*^ to
80^ Tw., thickened with an equal weight of starch. Where
this is applied, the tissue remains untouched, and, accord-
ing to the design, may be either left white, or may receive
steam, or pigment colours blocked in. Fluosilicic acid is
sometimes used instead of citric acid.

Covers " are small patterns in purple chocolate, &c. (or,
rather, in the mordants for producing these colours), printed
all over the piece. If, as is often the case, it is wished
that these " covers " should not take effect on certain parts
of the design which are to be red, &c., the colours for
such reds are specially prepared, and are called " resist-
reds," &c.

Thus a red ''colour" to resist a chocolate ''cover " is
prepared as follows : —

Resist red liquor at 18"^ Tw. . . 6 galls.
Flour 12 lbs.

Boil well, and when nearly cold add —

Tin crystals ..... 6 lbs.

The resist red liquor above mentioned is obtained
with —

Acetate of lime solution at 24P Tw. . 90 galls.
Sulphate of alumina, free from iron . 272 lbs.
Ground chalk .... 34 lbs.

In red colours, to resist a purple " cover, the proportion
of tin crystals is smaller —

Resist red liquor at 18^ Tw., as above 6 galls.
Flour . . . . . . 12 lbs.

Work as before, and add —

Tin crystals ..... 3 lbs.

TISSUE-PEINTING.

239

There are several modifications of the madder style
whicjb. still require to be noticed.

Flate purple is the name given to a style composed of
black and one or more shades of purple. The grounds are
generally padded or well covered, and the designs are
mostly small. The following may serve as a specimen :
Print on black jISTo. B, a dark purple, an "acid," and pad in
a pale purple. Ageing and dunging are performed in the
ordinary manner; the dyeing is executed with alizarine for
violets, and the clearing follows with very neutral soap.

Plate pinTcs consist of alizarine reds and pinks only.
Colours are printed in for a dark red and a medium or rose.
An "acid'' is applied, and the whole "covered " with a
very pale red. Many of the precautions required in getting
up this style are now no longer necessary, since alizarine
has taken the place of the madder root. The very finest
" alizarine for reds " should, however, be used.

The Garancine Style was formerly of great practical
importance. It differed from the madder style by using as
a colouring matter, not the madder root, but a preparation
known as garancine, obtained by treating madder with sul-
phuric acid and water. A larger relative proportion of
colouring matter was thus obtained than from the raw
root. Hence this style was, shade for shade, more economi-
cal than madder work, in the strict sense of the term. The
colours were brilliant, though not quite as permanent as
the true madder colours. However, as many of the im-
purities found in the root were removed or destroyed in the
manufacture of garancine, the whites were very little soiled,
and the colours did not require so much development or
purification upon the fibre, and consequently the operation
of " clearing " (avivage) was less tedious and severe.

The patterns produced in this style were full and heavy.
It dealt largely in browns, brownish reds, combinations of
red, black, and chocolate, orange and black, brown and
black, scarlet and black. The "colours" printed on were
generally weaker by one- third or one-fourth than those re-

240

DYEING AND TISSUE-PRINTING.

quired for correspoiading shades in the madder style.
Garancine was very generally associated with catechu,
without which the browns could not be produced. Quer-
citron, sumac, the redwoods, &c., also figure in the dyeing
process.

It will, of course, be understood that the same eflPects
can now be produced by substituting a smaller quantity of
artificial alizarine for the garancine, and reducing the
" colours " in proportion.

It may here be mentioned that the tinctorial power of
artificial alizarine at 10 per cent, is twenty-four times
greater than that of madder, twelve times greater than that
of " fleur de garance," and six times greater than that of
garancine. These proportions must be regarded in using
old receipts where madder root or garancine are em-
ployed.

Some of the processes required in the madder style and
its modifications must, from their capital importance, be
specially explained. These are ageing^ dunging, clearing,
and cutting.

Ageing.

One of the most important processes in calico-printing, at
least as far as madder (alizarine) work is concerned, is that
known as ^' ageing." The mordants (technically "colours")
printed on in this style contain as their chief ingredients
the acetates of alumina and iron, commonly known as red
and black liquor. In order that these mordants should be
properly fixed upon the fibre, an exposure to air for some
time is necessary, the temperature and the degree of mois-
ture in such air requiring to be regulated. The objects of
this process are complex ; the acetic acid becomes vola-
tilized and escapes, leaving behind it a subsalt of iron or
alumina which is more firmly attached to the fibre than
when it was first applied ; the protoxide of iron in the

TISSUE-PRINTING.

241

black liquor is converted into peroxide bj tbe absorption
of oxygen, and catechu-colours also take up the oxygen
needed for their development. It is fully shown by ex-
perience that imperfect ageing — not to speak of its entire
omission — renders the colours meagre and uneven and de-
ficient in fastness and lustre.

This process was at one time performed in enormous
chambers known as ageing-rooms. In these chambers the
goods sometimes remained for five or six days, hung up in
single folds, so as to be in full contact with the hot moist
air. It was then found that this exposure in single folds
was not necessary, and that the absorption of oxygen, &c.,
might be sufficiently carried on if the pieces are laid in
heaps upon sparred floors in the ageing-room, thus efiect-
ing a great saving in space.

A most marked improvement, which reduces the time
needed for the process from several days to as many
hours, is the ageing-machine introduced by Mr. Thom
and Mr. Crum, and now in very general use. This ma-
chine, as manufactured by Messrs. Mather and Piatt, of
Salford, is a chamber thirty-six feet in length, twenty
high, and about thirteen broad, through which the pieces
travel by means of a system of rollers, at such a rate as to
be twenty minutes in passing. The requisite temperature
and degree of moisture are kept up by means of steam-
pipes fitted with bell-shaped openings for diff'using the
vapour.

After this passage through the machine, the pieces are
collected in loose bundles and left over-night on the floor
of an outside chamber, which is kept at the same degree of
heat and moisture as the interior of the machine. The
temperature of the ageing-rooms or ageing machines is
generally fixed at 70^ to 75^ or 80^ F., the moisture being
regulated about 4P lower. For this purpose pairs of dry
and wet bulb thermometers are fixed in difierent parts of
the chambers. According to well-known physical laws,
the nearer the atmosphere of any place is to saturation

242

DYEING AND TISSUE-PRINTING.

with moisture, the more nearly does the temperature in-
dicated by the wet-bulb thermometer approach that shown
by the dry.

If the wet-bulb instrument falls below the point fixed
upon as giving the best results, more steam is admitted,
but if it approaches too near the temperature the supply of
steam is decreased. %

In every arrangement of ageing appliances sudden
changes of temperature have to be duly guarded against,
as a condensation of steam might occasion much trouble.
Hence, the doors, windows, and roof of the exterior cham-
ber into which the pieces are removed from the machine
are generally made double.

It may be remarked that the chemical and physical
changes which take place in ageing are even yet not so
fully understood as might be desired, and that there is
consequently room here both for chemical and micro-
scopical research.

M. Thierry-Mieg, of Toulouse, proposes to improve the
ageing rooms by introducing along with the steam a cur-
rent of hot air. These heated chambers are to serve both
for fixing the mordants printed upon the goods in the
madder styles and as a steaming apparatus for steam styles.
For the former purpose the idea seems sound. The first
purpose of ageing is to fasten the mordants by heat and
moisture, removing a portion of the acetic acid so that
the iron and alumina may remain in the form of insoluble
basic salts. Real oxidation is necessary only in cases of
catechu or mordants consisting of proto-acetate or proto-
muriate of iron (ferrous acetate and chloride). In both
cases the ventilation of the ageing-rooms is often insuffi-
cient. The chamber becomes so filled with a vapour of
acetic acid that its further escape from the mordants upon
the cloth is rendered impossible. The oxygen is used up
quickly even in the old rooms, where the pieces hang for
two or three days', and this is still more the case in the
ageing-machine. It is thus rendered difficult to obtain a

TISSUE-PRINTING.

243

full cafcecliu brown, however strong the colour, because the
development of catechu shades requires a certain amount
of oxygen, whilst the addition of nitrate of copper to the
printing mordant, as an oxidizing agent, cannot be carried
beyond certain limits. The introduction of a current of
warm air remedies both the imperfect ventilation and the
deficiency of oxygen. M. Thierry- Mieg proposes, however,
to carry the temperature of the ageing-rooms up to 212"^ F.,
which for fixing mordants is not only needless, but in case
of aluminous mordants hurtful, as far as present experience
goes.

DCTNGING.

This process, which is known in French as degom-
mage, follows in madder (alizarine) work after ageing,
and has for its object the removal of the thickening
matters used in fixing the mordants ("colours and
which are now of no further use, as well as any ex-
cess of mordant which has not become attached to the fibre.
For this purpose rinsing in water cannot be tried, since the
portions of mordant thus removed would attach themselves
to the whites of the design, and in the very common case
of several mordants having been printed upon difierent
parts of the same piece, these mordants would become
blended, and the design would be ruined. A cleansing
fluid or solvent was therefore necessary, which, whilst re-
moving the thickening and useless mordant from the cloth,
should at once seize upon and prevent it from attaching
itself to the fibre. For this purpose the first agent brought
into use was cow-dung (Bouse de vache, Kuhkoth), which,
according to M. D. Koechlin, has the following eflects: —

" It causes the entire combination of the sub-salts (basic
salts) of alumina with the fibre of the cloth, causing the
separation of nearly all the acetic acid which had not been
volatilized off during the drying of the mordant; it separates
and removes from the cloth the uncombined portion of the

DYEING AND TISSUE-PRINTING.

mordant, and sncli particles as are merely meclianicallj
held by the thickness ; it prevents by the peculiar nature
of the substances in its composition the fixing upon the
white portions of the cloth of any non-combined mordant
which becomes soluble by the acetic acid set free, and
which is apt to accumulate in the dung-bath." ^

The analysis of cow-dung has not revealed any one prin-
ciple to which these effects can be ascribed. But it evi-
dently contains some substance or substances which pre-
vent alumina and oxide of iron from being precipitated by the
usual reagents and from attaching themselves to the cloth.

The use of cow-dung involves several practical difficul-
ties, one of which is procuring a regular supply. It was
at one time necessary for a calico-printer, if he made use of
the madder style, to keep a large herd of cattle for this
purpose — a combination of businesses which was not always
profitable or convenient.

Hence cow-dung has been more and more displaced by
the dung-substitutes — substances very different in their
chemical character, though found in practice to produce
the same effects. The chief of these substitutes are the
silicate, arsenite, arseniate, and phosphate of soda, and the
double phosphate of soda and lime. These substances are
used singly or in mixtures.

Whether cow-dung or a substitute is used, it is applied
in a warm solution, at temperatures from 112° Fahr. to
near the boiling point. The proportions used, are with
dung 3 pails to 160 — 200 pails of water. If the mordants
are strongly acid, and the patterns heavy, chalk is gene-
rally added. Of the arseniate of soda 1|- to 2|- ozs. per 22
gallons of water is generally sufficient. Whatever the
agent selected for dunging, it is necessary that the pieces
should travel through the dunging-cistern at a quick rate,
spread out perfectly even, and free from any folds or
creases. Otherwise the acetic acid and the uncombined

* " Bulletin de la Soc. Indust. de Mulhouse."

TISSUE-PRINTING.

245

mordant might have time to react upon the pieces and
iojure the shades. After dunging, the pieces are carefully
and repeatedly washed.

Very frequently the dunging process is divided into two
portions. The first treatment is then spoken of as " fly-
dunging/* and is followed up by washing, after which the
pieces are dunged again. Many precautions have to be
taken to suit the process to different kinds of work. If
the mordants are strong and highly acid, the dung-bath is
made stronger and the operation is more prolonged. For
roses and pinks the temperature is kept lower than for
full reds, browns or blacks, and less dung is used. Among
the substitutes, silicate of soda is sometimes found too
alkaline. Some experienced printers contend that even
when the substitutes are employed, more satisfactory re-
sults are obtained by a final treatment in cow-dung. It is
found that if pieces are similarly mordanted and afterwards
dyed in the same dye- beck, the shades come up deeper
where cow- dung has been employed.

Clearing.

Clearing, or brightening (avivage^ French), which must
not be confounded with cleansing, is a process which is
generally necessary after the dyeing process in all styles,
where the entire piece is passed . through any colouring
beck.

It is in one sense true that, e.^., alizarine has no affinity
for unmordanted cotton, and dyes merely where a proper
mordant has been printed on. Still, it and many other
colours communicate to the whites a stain, which, though
dull and feeble, deprives them of their purity, and impairs
the effect of the pattern. Besides, in all cases where crude
natural products, such as madder, logwood, &c., are
used, the colours of the design are dimmed by various
matters, which, though not true dyes, attach themselves

246

DYEING AND TISSUE-PRINTING.

loosely to the fibre. It is the object of the clearing process
to remove all these stains, so that the whites may be per-
fectly free from any tinge, and that the colours may be
pure.

The clearing is generally effected by successive treat-
ments in hot soap-lyes. The quality of the soap, its pro-
portion, the temperature of the lye, and the time of its
action, are all points which require to be very nicely regu-
lated in accordance with experience. As a rule alkaline
soaps are to be avoided, especially for madder (alizarine)
purples.

Bran is sometimes used as a clearing agent, and more
frequently on the Continent than in England. It is gene-
rally scalded, and stirred up in water at 140*^ F., through
which the pieces are winced.

Small quantities of permuriate (oxy chloride) of tin are
often used along with soap in the clearing-becks. Clearing
is also, in case of the faster colours, often effected by pad-
ding in a solution of chloride of lime at about 1^ Tw.,
steaming for a few minutes at a very low pressure, and
very thorough washing. Great care and judgment are
needed in managing the operation so that the whites may
be cleared without degrading the colours of the design.
Whatever be the method of clearing adopted, it should be
preceded by very thorough and careful washing.

The clearing process has been very much simplified since
alizarine has taken the place of crude madder, as the dyer
has no longer to contend with the fawn-coloured matter
which was always present in the root.

"Cutting."

The name " cutting " is given to the process of reducing
madder reds, which are intended to come up pink. This
process comes after the dyed goods have been soaped,
and is again followed by one or more soapings, so that it

TISSUE-PEINTING.

247

may be regarded as a part of the clearing process. The
agent employed is stannic chloride (oxy muriate of tin)
dissolved in warm water, or sometimes, though less ad-
vantageously, sulphuric acid.

Cutting serves not merely to remove any excess of
colouring matter, but to brighten and to modify the
tone of what remains. It is a process of considerable
delicacy.

Reserved Style.

This is a further modification of the madder style.
Goods are dyed with any madder shade, but certain spots
are left white, and after the dyeing these may be wholly or
in part filled up with greens, blues, yellows, &c., in the
steam style.

A still greater range of variety may be produced as
follows : — There is blocked upon the dyed goods a " reserve
paste," very similar to the " acids " already mentioned
under the madder style. The following is used in the case
of a red or a black dye : —

Lime-juice at 50*^ Tw. . . . 3i quarts.
Soda-lye at 70^ Tw . . . 2^ „

Boil, and meantime mix separately —

Pipe-clay ..... 14 lbs.
Boiling water . . . . 3|- quarts.

When thoroughly incorporated, add —

Gum Senegal water (at li lb.

per quart) .... 4 quarts.

Mix both liquids, and let boil together for twenty
minutes.

For cases where purples occur, the reserve paste is
mixed thus : —

Lime-juice at 60^ Tw. ... 1 gallon.
Soda-lye at 70° Tw. ... 3 quarts.

248

DYEING AND TISSUE-PRINTING.

Boil and add—

Pipe-claj • . • . • 12 lbs.

worked up with —

Gum Senegal water (6 lbs. per

Boiling water ... . ^ „

It will be understood that the piece upon whicb tbese
pastes are applied is not necessarily a self-red, black,
purple, &c., but may have a design in reds, chocolates,
purples, and blacks, with white spaces.

When the reserve space is dry, a small design in drabs,
olives, sages, &c. ("covers,") may be applied with the
machine. The goods are next dunged and dyed with a
variety of wares, bark, cochineal, the woods, &c. Where
the reserves were printed on the original madder colours, or
the white spaces, the covering colours will not have taken
effect. Steam or pigment colours may further be blocked
in the whites if any have been left.

As specimens of the colours for covering " the follow-
ing may be taken : —

gallon) ,

1 gallon.

Chocolate,

Red liquor at 15^ Tw.
Black liquor at 24« Tw. .
Light British gum .
Flour

li gallons.

1 quart.

2 lbs. 10 ozs.
14 ozs.

Drah,

Black liquor at 24*^ Tw.
Bed liquor at 20^ Tw.
Light British gum .
Water

1 quart.

1 „
22- lbs.
5 quarts.

Olive.

Red liquor at 18^ Tw.
Light British gum .
Black liquor at 8« Tw.

^ gallon.
2l lbs.
i gallon.

TISSUE-PRINTING.

249

Sage Green,

Red liquor at 9^ Tw.
Black liquor at 12« Tw. .
Light British gum .

2i, galls.
1 quart.
4 lbs.

Padding Style.

• This style is a still further modification of the principle
of dyeing upon mordants. The "colour/' for the most
part red liquor or black liquor, or the two in mixture, is
not printed upon some particular portions of the cloth,
but is applied to the whole surface by means of the padding
machine. The next step is the drying process, which is
effected in a so-called padding-flue, an arched chamber of
masonry heated from below, and provided with ventilators.
Into this vault, which is about 35 yards long, by 4 high
and 5 broad, the pieces enter after passing twice through
the padding machine. The processes of padding and flue-
drying are generally repeated twice, after which the design
is produced by printing on an acid discharge which removes
the mordant whenever it is applied. In composition these
discharges much resemble the "acids used in the madder
style, consisting, e.g., of: —

Lime juice, at 28^ Tw. . . . li- gall.
Bisulphate of potash . . .24 ozs.

Dissolve, strain, and thicken with 24 ozs. starch.

The next step is ageing, after which follows the dunging
to remove the thickenings. It is usual to dung for the
first time (so-csWed fly-du7iging) at 212° F., then wash and
give a second dunging at a lower temperature, say about
160^ F., for thirty minutes. They are again washed, dried,
and singed to insure a perfectly smooth surface, and are
then dyed with mixtures of wares, among which madder
(now alizarine) always forms a main ingredient. Where

250

DYEING AND TISSUE-PEINTING.

the acid discharge has been printed on, the dye does not
attach itself, and the resnlfc is consequently a white design
npon a red, pnrple, cfec, gronnd. It is of course possible to
vary the eflPect by blocking in steam or pigment colours in
these white spaces, or the process maybe so arranged that
a yellow design is produced instead of a white, as will be
shown below.

The dyeing process is generally conducted as follows : —
The pieces are first run in the cold dye-beck for a short
time, and the heat is very gradually raised.

The goods are afterwards rinsed, washed, cleared once
or twice by boiling with bran, washed, and dried. The
clearing process can be much abridged since pure alizarine
has come into use instead of madder root.

If a yellow is to be produced in the spaces where the
acid has been printed on, the goods after madder-dyeing
and branning, &c., are again padded with red liquor, aged^
dunged at a low temperature, say 120^ F., washed, and
dyed with bark-liquor also at a low temperature, again
washed, and dried. The yellow colour of the bark attaches
itself to the whites, giving the reds a more fiery tone.
This process would not, of course, give desirable results if
the ground colour were purple instead of red.

Discharges on Turkey Eeds.

This style, the last of the general methods of applying
the madder-colours, was at one time exceedingly popular.
The pieces are first dyed a Turkey red. The design is
then printed in discharges which agree chiefly in contain-
ing one or more organic acids. If the design produced is
not to be white, appropriate pigments or compounds of lead
are mixed with the acids. The goods are then taken
through a solution of bleaching powder (chloride of lime).
The result is that where the acids have been printed on,
chlorine gas is liberated, which destroys the Turkey red,

TISSUE-PRINTING.

251

leaving in the simplest cases a white design upon a full red
ground. If pigments have been printed in along with the
acid discharge, they must, of course, be of a nature not
affected by chlorine.

As an instance of a common white discharge for this
style we may take the following : —

Tartaric acid solution, at 62*^ Tw. . 1 quart.
Acetic acid at 6^ Tw. . . , 1 „
Thicken with light British gum . 32 ozs.

The chloride of lime liquor, or as it is technically called
the " decolouring vat,^' generally contains 1 lb. chloride of
lime per gallon of water. It must be quite free from lumps
and undissolved portions, which would occasion an irre-
gular action. The cistern containing it is fitted with
rollers fixed in a movable frame, one at the top and the
other at the bottom of the liquid. The printed goods are
made to travel through the bleach at the rate of 28 yards
per three minutes ; they then pass between a pair of nip-
ping rollers and into water, where they are rinsed, and
next washed. If a yellow or a green is to be produced in
the discharged parts, as in the following examples, the
pieces after being rinsed from the decolouring vat, are
made to traverse a cistern of weak bichromate of potash,
at about 4^Tw. ^ext they are taken through weak
muriatic sours, rinsed, washed, and dried.

For a yellow discharge mix : —

Lime-juice at 50^ Tw. . . . 2 quarts.
Tartaric acid . . . . . 2 lbs.
Nitrate of lead . . • • 2 „

Dissolve and thicken with : —

Pipe-clay . . . . .24 ozs.
Gum Senegal . . . • . l^-lb.

If for machine work, starch must be used instead of the
pipe- clay and gum.

252

DYEING AND TISSUE-PRINTING.

Blue Discharge,

Tartaric acid .
Oxalic acid

Water ....
Yellow prussiate of potash
Copperas

Starch ....
Gum tragacanth

41. lbs.
8 ozs.
3 quarts.
2 lbs.
2 lbs.
lib.
2 ozs.

Green discharges are made by combining the blue and
the yellow, and of course using the chromate bath.

In this style it is necessary to dry the pieces well before
passing them into the chloride of lime vat, and to keep it
well stirred up.

Indigo Blues. Dip Blues.

The indigo blues, or as they may be called vat colours,
are the last of the great class known by the Germans as
Kessel-farhen, where the entire piece is submitted to a
dyeing process. But as indigo in the vat is a substantive
colour which attaches itself to the fibre without the aid of
a mordant, this style cannot be classed as a case of dyeing
upon mordants. Its general characteristic is a blue ground
"Upon which designs are obtained by means of resists and
discharges.

In the simplest form this style consists in a deep blue
ground with white figures. This effect may be obtained
by printing upon the calico a " reserve " of the following
character : —

Blue-stone . , . • .5 lbs.

Water 2 galls.

Dark British gum . . . . 4 lbs.
Flour 18 lbs.

If the reserve is to be applied with the block instead of

TISSUE-PRmTING.

253

with tlie machine, pipe-clay along with a little gum may
be used as a thickener.

When this reserve paste has been printed on, the pieces
are vatted np to shade, after being previously hung up for
about forty- eight hours in a slightly damp atmosphere.

If only pale blue shades have to be resisted, the following
mixture will shade the character of the reserve paste to be
used : —

Dissolve dark gum substitute . . 32 lbs.
In water . . . . ' galls.

Boil, and add: —

Soft soap . . . , .8 lbs.

Let cool, and add : —

Sulphate of zinc . . . . 24 lbs.
Boiling water . . . . .2 galls.
Nitrate of copper at SO"" Tw. . . 1 gall.

A slight variation in the composition of the reserves
renders it possible to produce yellow or orange, and conse-
quently green designs upon the usual blue ground. Thus
for a yellow take : —

Blue-stone . . . , .5 lbs.
Nitrate of lead . . . • 5 „
Water . . . . . .2 quarts.

When dissolved thicken with : —

riour 3 lbs.

Paste sulphate of lead . . . i S^^^*

The paste sulphate is the sediment left after preparing
red liquor with acetate of lead and sulphate of alumina.
It is generally set aside for such purposes.

Orange,

A solution of basic sugar of lead (subacetate of lead) is

254

DYEING Am TISSUE-PRINTING.

used instead of the water mentioned in the receipt for
yellows. It is made by dissolving sugar of lead in water,
stirring in by degrees half the weight of litharge, letting
settle in a covered vessel to exclude carbonic acid, and
drawing off the clear for use.

After this yellow resist is printed on, the goods are
vatted to the intended shade, taken through vitriol sours,
washed, and winced for ten minutes in a cistern of bi-
chromate of potash at 100^ F., containing i lb. per 8 gal-
lons. Wash well, take through muriatic acid at Tw.,
containing lb. oxalic acid per 8 gallons. Wash, and dry.

In case of orange the process is the same; but after
passing through the muriatic sours, the pieces are further
taken through the following raising or brightening
beck —

Bichromate of potash. . . • 20 lbs.
Lime, just slaked .... 7 lbs.
Water 60 galls.

Heat to 180^ F., run pieces through till the orange is bright,
wash, and dry.

For a green design print on the reserve as given above
for yellows ; vat to shade. Take through weak vitriol sours,
and through chromate, but not through the muriatic oxalic
sours, as directed under yellows.

If it is desired to produce a design in white and dark
blue upon a light blue ground, the parts that are to come
out a dark blue are printed with "bronze salt'' (sul-
phate of manganese) or muriate (chloride) of manganese,
thickened with dark gum substitute. After printing and
drying, the pieces are taken through soda lye, washed, and
then winced through a clear solution of chloride of lime at
2^ Tw., till the design appears entirely and regularly
brown. The goods are then dried, and the whites of the
design are printed on with the proper reserve as above
mentioned. They are then limed, vatted to shade, aired to
bring up the blue, washed, taken through muriatic sours

TISSUE -PRINTING.

255

at Tw., to which has been added a small proportion of
tin crystals, again washed, and dried. A dark blue ap-
pears where the indigo has been deposited over the manga-
nese ground.

From the examples given it will be easily seen how
varied effects may be produced in this style by the combi-
nation of yelloWj orange, green, and white with one or two
shades of blue.

The vat generally used is the ordinary copperas vat. It
will be, of course, understood that in the whites steam
colours of any kind may be afterwards blocked in.

As instances of discharge effects on a vat blue ground,
the following may be taken : —

JRed and ivliite discliarge (Steiner's process).
Vat in 6 to 8 dips.

Steep in bichromate of potash at 4^ ozs. per 1|- pint
water, and dry on rollers in hot flue, avoiding the sun.
Print on the following : —

White discharge^

Water ...... 7 pints.

White starch . . . .2 lbs. 8 ozs.

Boil, and add when lukewarm —

Tartaric acid . . . . 2 lbs. 3 ozs.
Oxalic acid . . . . . 21^- ozs.

dissolved in 1| pint water.

Bed discliarge,

Eed liquor . .... 28 pints.
White starch . . , . 17J- lbs.

Boil, let the one half grow cold, and add —

Oxalic acid .... 7 lbs. 10 ozs.

256

* DYEING AND TISSUE-PEINTING.

Then add the other half of the hot mixture to finish the
solution of the oxalic acid.

The red liquor used is made bj taking alum and ace-
tate of lead, 2 lbs. 3 ozs. each, and dissolving in 3^ pints
water.

These discharges are printed on with a two-colour
machine, dried not too strongly, aged in hot, but not moist,
air, and the next morning dunged with —

Neutral arseuiate of soda . . 6 lbs. 9 ozs.

Chalk 27 lbs. 5 ozs.

Water 1,750 pints.

Pass slowly through at a simmer, so as to keep the
chalk from settling. On leaving the dung cistern, nip
strongly between rollers covered with cloth. After the first
five pieces have passed, feed the beck with l-l oz. arseniate
of soda, and a little chalk per piece. Cleanse, and dye up
with alizarine, adding quercitron bark and woods if re-
quired ; pass through boiling bran. It must be noted that
the oxalate of alumina formed in preparing the red is very
hygrometric, whence the necessity of having the pieces
perfectly dry before dunging.

Instead of the red discharge directed above, the follow-
ing may be used : — Dissolve oxalic acid in hot white starch
paste, and, when cold, add perchloride of tin (stannic
chloride or oxymuriate of tin). Print, and do not dry very
strongly. Dung in chalk and silicate of soda, or chalk
alone. Wash, and dye up with alizarine.

Orange discharge on Darh Vat Blues,

After vatting, print on —

Water ...... 3f pints.

White starch .... 14 ozs.

Sugar of lead . . . .4 lbs. 6 ozs.

Precipitated manganese . . . 6 lbs. 9 ozs.

TISSUE-PRINTING.

257

The precipitated manganese is obtained as follows : —

Water ...... 5i pints.

Chloride of lime at 20^ Tw. . . 3i pints.

Then add—

Water ...... 2i pints.

Chloride of manganese at Tw, , 1^ pint.

Muriatic acid . . . . li. oz.

This precipitate, which should be of a deep brown, is
washed with water by decantation three or four times, and
filtered. The pieces, after printing, are taken through
muriatic sours at S"" Tw. ; then into weak copperas water ;
then into lime-water, steeped in bichromate of potash ; and
finally raised with chlorite, of lime at a boil.

It is to be noticed that the colours produced by indigo
upon cottons, whatever may be the process employed, are
dull and unpleasant. Hence this style and all its modifica-
tions have fallen into disuse, except for low qualities of
goods. We must, however, remember that the recent re-
searches of Professor Baeyer on artificial indigo opei\ up a
prospect of the preparation of substitution derivatives of
indigotine (indigo blue) no less fast than the original
colour, but at the same time brighter. Herein, in the
writer's opinion, and in the production of indigo-blue on the
fibre (see China-blue style), lies the great technical signifi-
cance of Professor Baeyer's investigations.

A modification of indigo work is the so-called Lazulite,
neutral, orlapis style. In this process mordants ("colours
as in madder work, are printed in along with reserves, and
the goods are vatted. The colours resist the vat, and may
be afterwards dyed up with alizarine, &c. There are here
two cases : sometimes colours for red, black, &c., are
printed with a reserve white which has merely to resist the
blue of the vat, and, secondly, the madder dye has to be
resisted as well as the vat.

The lazulite style is at present in very little request ;

258

DYEIKG AND TISSUE-PEINTING.

but as the process is instructive, and as fashion may revive
it at any moment, it should not be overlooked.

White 'Resist for Bloclc and Cylinder Worlc,

Water .

Lime-juice at 53" Tw.
Pipe-clay

Mix separately: —
Water .

Lime-juice at 53" Tw.
Corrosive sublimate
Calcined starch
Lard .

Oil of turpentine .
Muriate of zinc at 98" Tw.

Mix and boil.

51- pints.
6 lbs. 9 ozs.
11 lbs.

5i- pints.
. 4 lbs. 6 ozs.
3 lbs. 13 ozs.
11 lbs.
12i ozs.
6|- ozs.
Si lbs.

Bed Resist for Block and Cylinder Work.

Red liquor .
Verdigris
Pipe-clay
Lard .
Turpentine .

Dissolve separately: —

White arsenic
Red liquor .

Mix also apart : —

Red liquor .

Gum Senegal

Muriate of zinc at 98" Tw.

Extract of logwood at 7° Tw.

7 pints.
6i- ozs.
9 lbs. 13 ozs.
4Z- ozs.
4j- ozs.

12J- ozs.

5i- pints.

34. pints.
3^ lbs.
17i- ozs.
9 „

TISSUE-PRINTING.

259

Incorporate these three portions with the aid of heat,
strain, and print. The author, M. A. Schultz, directs the
mixture to be ground for twelve hours before using.

White Lapis 'Resist for Heavy Patterns.

Water . . . . . . 7 pints.

Arseniate of soda .... 3 lbs. 6 ozs.

Corrosive sublimate . . . 114- ozs.

Dissolve with heat.

Put separately in a larger pan : —

Pipe-clay .... 6 lbs. 9 ozs.

Gradually add three-quarters of the above solution
whilst the clay is being beaten up. Stir well, and add the
rest of the solution ; stir well again after the addition, and
mix separately: —

Posin ...... 11^ ozs.

Pine grease 11^

Melt together and heat to a boil, and stir into the above
mixture ; stir again, and add: —

Gum water (containing 6 lbs. 9 ozs. gum) 5|- pints.
Add water . . , . 1|: ??

Heat to 140'' — 158^ P., and strain when cold. Add a
little extract of indigo to sighten.

Bed Eesistfor Heavy Patterns,

Water ..... 7 pints.
Alum . . . . . 51bs. 7oz.
Sugar of lead .... 3 lbs. 13 ozs.

Put separately in a large colour pan : —

Pipe-clay ..... 6 lbs.

260. DYEING AND TISSUE-PEINTING.

Beat up with three-fourtlis of the. above solution, and a
considerable time before adding the rest add : —

Best verdigris . . . , 6i- ozs.

Previously soaked in —

Water ..... 23 fluid ozs.
Extract of St. Martha-wood

at 6|-« Tw. . . . 17^ fluid ozs.

Melt separately : —

Fine grease .... 174- ozs.
Resin . . . , . Si

Boil up in a small pan and pour briskly into the colour,
stir well, and add gum-water (containing 3i lbs. gum)
3 pints.

Heat to l^O"" — 158° F. for half an hour, and strain when
cold.

Puce Lapis EesisL

Red liquor at 12i- Tw. . , 7 pints.
Black liquor at 21^ Tw. . . „
Sal-ammoniac ... 64 ozs.

Heat a little, and add: —

Blue-stone . . . . 8x ozs.
Heat again, and add : —

Verdio:ris .... Si ozs.

Add by degrees : —

Pipe-clay .... 4 lbs. 6 ozs.
Gum- water (containiDg 5 lbs.

7 ozs. gum) .... 4 pints 7 ozs.
Water ..... 17 ozs.

CatecJm Lapis Besist,

Water . . . .4 pints 7 fluid ozs.
Pale catechu .... 19iozs.
Fine verdigris .... 41. „

TISSUE-PRINTING. 261

Boil for fifteen minutes ; cease boiling, and add : —

Acetic acid (containing 40 per

cent of the glacial acid) . 17-1. ozs.
Sal-ammoniac • . 4|- „

Work up in another pan 4 lbs. 6 ozs. pipe-claj with the
above mixture, and stir well. Boil separately : —

Grease ..... 9|- ozs.
Besin ..... 5|- ozs.

and ponr it into the colour. Add lastly: —

Gum-water (containing Gibs.

9 ozs. gum) . . . . 5i pints.

Lajjis Blade.

Black liquor at 18i.° Tw. . . 521. pints.

Water „

White starch . . . . 17 lbs.

Boil for an hour, and add :—

Common verdigris . . . 2 lbs. 3 ozs.
Previously dissolved in : —

Acetic acid . . . . 8i pints. •

Boil for fifteen minutes. This black keeps eight days.

In printing lapis resists with the machine, the mercury
of the corrosive sublimate, where present, whitens the
copper cylinders, a part of the sublimate being decomposed.

The printing is done with rollers which are very deeply
engraved. The pieces are afterwards aged at a heat of
95^ F. with the wet-bulb thermometer at 89^ F.

They are next dried for twelve hours at 76° F. This is
a very important part of the process, since if the pieces re-
main damp the colours are soaked through and resist the
indigo very imperfectly.

They are then vatted to the desired shade, washed for
a quarter of an hour in a current of water, and fly-dunged

262

DYEING AND TISSUE-PEINTING.

in folds for thirty minutes in a cistern at 140* F., with four
pails of dung and 15i- lbs. chalk per six pieces. Wash,
and dung again in the same manner, but without chalk.
Wash again.

The next step is the dyeing, formerly done with garan-
cine, associated with other colouring matters as may be
required, such as lima-wood, sapan, bark, sumac, &c. Arti-
ficial alizarine now takes the place of garancine.

After washing till the pieces give off no more colour, they
are taken, if needful, through chloride of lime at Tw.
Wash, dry, and block in yellows if they occur in the de-
sign. Age for twenty-four hours at 86^ F. with the wet-
bulb thermometer at 80^ F. Wash, dry, and finish.

The following process is in use at Rouen. The pieces
are vat ted, steeped in bichromate of potash, and dried in
the hot flue or on steam plates. The following discharge
is then printed on : —

Eed liquor at 14^ Tw. . . 1|- pint.
White starch .... 5i-ozs.
Oxalic acid . . . .

After printing, take through ammonia water, dung, and
dye with alizarine. Of course steam, spirit, or pigment
colours may be blocked in.

Mr. J. Lightfoot, the discoverer of aniline black, in-
vented a very interesting manner of applying indigo in
combination with the madder colours (Patent Specification
No. 8668, Dec. 26th, 1867).

The inventor takes dry indigo, ground and prepared,
li lb., or if a moist ground indigo is used, such a weight
as may contain that weight of dry indigo ; tin crystals
1-L lb., c-austic soda at 30^ Tw., or caustic potash, at 40^ Tw.,
1 gallon. These ingredients are put in a colour pan and
raised to a boil ; in half an hour a gallon of boiling water
is added, and the mixture is let stand till quite cold. Three
gallons of cold water are next added, in which has been
previously dissolved i lb. sugar. He then adds 2\ pints of

TISSUE-PRINTING.

263

muriatic acid at 32^ Tw., and 1 pint ordinary sulphuric acid
diluted with an equal measure of water, and let stand till clear
and quite cold ; or else 3 quarts of acetic acid at 8^ Tw.

A precipitate of indigotine may also be obtained by a
mixture of ^ pint double muriate of tin at 120° to half the
quantity of acid mentioned above. Acetic acid alone is,
however, preferable to all other agents for this purpose.
The precipitate of indigotine (indigo blue) thus obtained
is filtered through a deep, cone-shaped filter, so that the
smallest possible surface may be exposed to the air. The
quantity of pulp from the above proportions should, when
filtered and drained, be 1 gallon.

For a blue printing colour Mr. Lightfoot mixes 4 galls,
of the above pulp, and 14 lbs. powdered gum Senegal,
stirring till dissolved, strains, and prints.

For a green he takes 4|- galls, of the indigotine pulp, 18
lbs. ground gum Senegal, which is stirred in till dissolved ;
11 lbs. •nitrate of lead and 11 lbs. white sugar of lead,
both ground, are added, the mixture stirred till all the
ingredients are dissolved, and strained.

The blue and green just mentioned and the usual iron
and alum mordants as used for madder work are printed
on the pieces, which, after cooling, are aged for a night.
They are then fixed by passing through silicate of soda at
8° Tw., or silicate of potash at 12° Tw., to which 1 oz.
powdered chalk is added per gallon. This dunging bath
is heated to 90° F., and is used in a cistern fitted with
rollers at top and bottom, through which the pieces pass at
the rate of 25 yards per minute. After this process they
are winced in a tank of cold water, fitted with a reel fixed
about four feet above the surface, thus rendering the indi-
gotine attached to the fibre perfectly blue. If the green
mixture has been used, the pieces are passed into a cistern of
bichromate of potash containing 1 oz. of the dry salt per
gallon of water at 100° F. for five minutes, and are then
washed. Then follows the second dunging for twelve to fif-
teen minutes in a cistern of cow-dung andwater atl00°. The

264

DYEING AND TISSUE-PRINTING.

pieces are next washed and are then ready to be dyed with
madder, or any of its preparations or derivatives, cochineal,
mixtures of alizarine with sumac and bark, &c. They are
subsequently treated in the ordinary manner, the grounds,
if soiled, being cleared with weak chloride of lime.

By this process beautiful furniture prints can be pro-
duced.

The Bronze Style, generally known on the Continent
as the Bistre style, is at present in abeyance. Its charac-
teristic feature is a deep blackish ground, produced by
means of the hydrated peroxide of manganese, upon which
a variety of discharge colours are afterwards printed. The
first operation is to pad the pieces in a solution of bronze
salt (sulphate of manganese or chloride of manganese), at
about 80° Tw. They are next dried and padded twice in
soda lye, the first time at 24^ Tw., and the second at 12°
Tw. The purpose of this treatment is to decompose the
bronze salt and deposit oxide of manganese upon the fibre.
The pieces are next winced in water, and then in solution
of chloride of lime at 2^ Tw. This operation converts the
oxide of manganese upon the fibre into hydrated peroxide,
and is continued until the cloth appears of a uniform brown.
After washing in water and drying, the design is printed
in colours which discharge the brown and leave white, or
yellow, blue, green, pink, &c., in its place. As instances
of the colours used, may be mentioned : —

White.

Light gum substitute . . 4 lbs.
Water . . . . . 4 quarts.

Dissolve at a boil, and add —

Double muriate of tin at 120° Tw. 2 quarts.
Tartaric acid . . . . 4 lbs.

TISSUE-PRINTING.

265

Light Bed,

Peachwood liquor at 12^ Tw. . i gallon.

Blue-stone . . . . 1 oz.

Sal-ammoniac .... 1 oz.

Sfcarcli . . . . . 1 lb.

Dissolve at a boil, and add —

Permuriate of tin (stannic clilo-

ride) at 120° Tw. . . . 4 fl. oz.

Two parts bj measure of this colour are mixed for use
with one part double muriate of tin (stannous chloride) at
120° Tw.

The object of the proto-salt of tin in all these cases is to
reduce the peroxide of manganese to a protoxide, which is
then dissolved by the acids present, and washed away,
whilst in every case save white, another colour is deposited
in its stead.

Blue,

Yellow prussiate of potash . 7~ lbs.
Water ..... 48 quarts.

Starch 20 lbs.

Light gum substitute . . 12

Boil till dissolved, and stir in- —

Tartaric acid . . , . 24 lbs.
Oxalic acid . . . . 12 „
Isitrate of iron . . . 2i quarts.

When about to be used 5 measures of this mixture are
added to 3 measures double muriate of tin at 120^ Tw.

Yelloiv,

Nitrate of lead . . . 10 lbs.

Light gum substitute . . 8 ,,

Water ..... 2 gallons.

266

DYEING AND TISSUE-PKINTING.

Boil till dissolved, and stir in —

Tartaric acid . . . . 8 lbs.

For use, one measure of double muriate of tin at 120°
Tw. is mixed with tbree measures of the above colour.
This colour requires to be followed up w^ith bichromate of
potash, as will be shown below.

Ch^een.

Blue, omitting the tin
Yellow, do. do.
Double muriate at 120° Tw.

JBlaclo.

Copperas . . . . 1^ lb.

Logwood liquor at 8° Tw. . 2 gallons.

Water 2 „

Starch ..... 3 lbs.

Boil till dissolved, and stir in —

mtrate of iron at 80^ Tw. . 1 pint.

The black requires no proto-salt of tin, since here the
object is not to remove the brown peroxide of manganese,
but to top it with a darker colour.

After printing the pieces are allowed to hang for a
short time, well rinsed, taken through milk of chalk, again
through water, and in case of greens and yellows, through
bichromate of potash at 4P Tw. Thej are next washed
and dried.

This style has undergone no recent improvements, and is
described as it was practised twenty years ago. Should it
again become fashionable, it would admit of many modifi-
cations.

1 gallon.
I

"27 9?
I

"a 3^

TISSUE-PRINTING.

2G7

China Blue Style.

This style consists in the production of indigo blue
patterns on a white ground.

Probably the best method of preparing and applying the
indigo is that based upon the " hydrosulphite " process of
MM. Schiitzenberger and De Lalande. To prepare the
hydrosulphite of soda, zinc turnings or filings are placed
in a covered vessel, and there is poured upon them a solu-
tion of bisulphite of soda at 54^ Tw. The vessel must stand
for at least an hour, and the contents should be well stirred
up three times. The liquid which marks 60^ Tw. is run off.
The zinc remaining in the vessel is then covered with water,
which must be poured away when fresh bisulphite is to be
introduced. From time to time the zinc requires to be re-
newed, as every 2 lbs. 3 ozs. of the bisulphite of soda in-
troduced, dissolves away about 1^ oz of the metal. jN'ext
pour into a closed vessel 12 ozs. milk of lime, containing
per 11. pint, 7 ozs. quicklime, and 2 lbs. 3 ozs. of the hy-
drosulphite," as prepared above. Stir well, and cool to
prevent rise of temperature. The mass should have an
alkaline reaction. When it is to be used, the contents of
the vessel are thrown upon a linen filter, in which the re-
sidue is afterwards pressed. The clear liquid stands at
35« Tw.

To reduce the indigo, 4 lbs. 6 ozs. good Bengal indigo are
ground up in the ordinary manner, using water enough to
make up 35 pints. This is placed in a boiler, made up with
water to 100 to 140 pints, and 11 lbs. 9 ozs. soda-lye at
490 Tw, and 30a lbs. hydrosulphite are added. The mix-
ture is then heated for fifteen to twenty minutes, up to
158°F. Then 6i pints of muriatic acid are poured in through
a long-necked funnel reaching to the bottom of the vessel,
which should be placed in the open air or under a good
draught-hood. If the liquid has a faintly acid reaction the
decomposition is complete, and the whole is poured into a

268

DYEING AND TISSUE-PRINTING.

vat capable of holding 140 quarts, whicli is tlien filled up
with water. The next morning the liquid standing above
the precipitate is run ofi" through plug-holes in the side of
the vat till the bottom is only covered to the depth of 2i
inches. The vat is then again filled up with water, to
which — i^ev cent, by measure of a saturated solution of the
hydrosulphite has been added. The next day the water is
again run off, and the sediment is thrown upon a filter
and washed. When completely drained, we obtain for
every 2 lbs. of indigo originally employed, 7 lbs of a stiff
paste. To preserve this paste it is suspended in gum-
water. For this purpose take 7 lbs. of paste, and mix it
with 20 lbs. of thick gum-water. Thus we obtain 27 lbs.
of gum-water, containing 2 lbs. indigo. M. 0. Gros-
Renaud names this mixture Ueic-gomme, and he prefers for
this purpose gum Senegal, ^as starch, British gum, and
tragacanth do not give satisfactory results.

Direct printing colours may be made up, however, with-
out the use of hleu-gomme as follows : —

Put in a colour-pan 8 lbs. 3 ozs. indigo, ground in water
so as to take 58 pints of liquid. Heat, and add : —

Ground gum . . , i 6 lb. 9 ozs.

Dissolve, and add: —

Saturated hydrosulphite . .11 lbs.
Milk of lime .... 15i- fl. ozs.

containing 7 ozs. lime per 1^ pint. Heat for twenty minutes
to 158^ F., cool down to 104^ F., and add:—

Saturated hydrosulphite . . 8^- lbs.
Milk of lime . . . . 15|-ozs.

The yield is 301- lbs. colour.

TISSUE-PRINTING.

269

Colour made up ivitli hleu-gomme.

Bleii-gomme
Acid hjdrosulpliite
Milk of lime
Saturated hydrosulphite
Water or gum- water .

20 lbs.
6 „
3ilbs.

Colour . 36 lbs.

Heat in a water batb to 86^ — 95^ F.

These colours must always be printed warm, at about
90^ F. Nor must they be used too soon after being mixed.
Those colours give the best results which show a slightly-
greenish colour till the next morning:

After printing, the pieces are spread out over-night to
air, or, if needful, they may be at once taken through a
weak chrome beck at a hand-heat. In either case they are
thoroughly well rinsed, washed, and soaped, for thirty to
forty-five minutes at 122^0 148^ F. If the whites are
not good they are passed through a chemic bath (chloride
of lime) till clear. If the hydros ulphite blue is printed
along with other colours, the pieces may undergo the pro-
cesses needful for such colours without any regard being
paid to the blue. Passing through caustic soda, vitriol-sours,
chrome, warm, cold, or alkaline, silicate of soda, phosphates
of lime and soda, cow-dung, &c., has no effect npon the
hydrosulphite blue. Hence, e.g., it can be combined with
alizarine work without any difficulty.

It may be remarked that MM. Schiitzenberger and De
Lalande have assigned their British patents for the hydro-
sulphite vat process to Messrs. Beid, Halliday, and Sons,
of Huddersfield, who, we believe, supply the hydrosulphite
of lime, and, if required, the indigo-paste.

It must be remembered that some writers in this country
call the "hydrosulphites " of Schmtzenberger andDe Lalande

270

DYEING AND TISSUE-PEINTING.

"hyposulphites," whilst the substances which formerly
bore that name rank as " thiosulphites."

Blues printed with the hydrosulphite process can be
combined with aniline black, naphthylamine puce, chrome
orange, spirit or chrome catechu, alizarine red, lilac and
puce, discharge reds with a blue ground, and discharge
whites with a blue ground.

Fast blues may also be printed upon cotton and linen by
means of "Gutbier and Goetzes' concentrated vat," a liquid
supplied direct to consumers by the inventors, who have
not made known the process by which it is prepared. The
printing colour is obtained by thickening the " concentrated
vat " with gum or dextrine, and adding to the mixture a
sufficient quantity of " solution." The printing is con-
ducted in the air with the ordinary machine, and oxidation
is said to be so kept down that the colour in the trough
of a machine after working for an hour still remains yellow,
whilst the indigo is fixed and oxidized at once as printed
on. Fast blues can be produced in this manner along with
most other styles, such as madder work, aniline black,
catechu, pigments, &c.

Frinting ivith Artificial Indigo.

This process is, strictly speaking, the production of in-
digotine upon the fibre.

A standard is made by mixing well 4 lbs. propiolic acid
paste (equal to 1 lb. dry propiolic acid) and 1 lb. borax in
fine powder. The mixture first liquefies, and then turns
stifi*. Add 3 quarts white starch thickening (wheat starch),
mix well, and strain.

To make up the printing-colour, take the above standard
and immediately before printing dissolve in it 1|- lbs. xan-
thate of soda, and stir well.

For lighter shades reduce the above colour with the fol-
lowing : in 1 gallon white starch paste dissolve 1 lb. xan-
thate of soda.

TISSUE-PRINTING. \^ 271?^

Print and dry as usual. The pieces must notN^^g^ in
contact with the drying cylinders, or be heated to^^^ \
212^ F. The indigo blue is best developed by allowing tn§^^=^
printed goods to remain for forty-eight hours in a dry
atmosphere, and at a common temperature. Damp air
should be as much as possible excluded until the colour is
fully developed. Then the goods may be passed through
the ageing-machine, or steamed at a low pressure if such
treatment is needed for fixing any other colour or mordant
printed on along with the indigo-blue.

After the blue is developed, the pieces are first thoroughly
washed in the machine, and then boiled in a solution of
hyposulphite of soda, lib. to 10 gallons water, for half an
hour, in order to drive off a smell which otherwise clings
to the goods.

Clear in a soap-bath at a heat 104°F., wash, dry, and finish.

Wheat starch gives the best results as a thickener; next
follows gum tragacanth. The colour is considerably re-
duced by using gum Senegal, dark British gum, or calcined
farina as thickeners.

Instead of borax there may be used, though less satis-
factorily, 1 lb. to li lb. acetate of soda.

The standard keeps unchanged for any length of time,
but when mixed with its full proportion of xanthate of soda
it gradually loses strength after a few hours.

Propiolic acid may be printed along with aniline black,
catechu browns, and drabs, and with alumina and iron
mordants for alizarine colours.

After the indigo-blue is fully developed, the mordants are
fixed in the ordinary manner, dyed with alizarine, padded
with alizarine oil, steamed, and otherwise treated as usual.

Indigo-blue, whether natural or artificial, is injured by
prolonged steaming at high pressure. Hence only such
colours can be worked along with propiolic acid as can be
fixed by short steaming at a low pressure.

Another process is to dissolve 2 lbs. xanthate of soda in
1 gallon cold water. Pad the goods in this liquid, dry,

272

DYEING AND TISSUE-PEINTING.

print with standard, and then treat as above directed. The
pieces may also be first printed with xanthate of soda, and
then covered with standard. (See paper read by Prof.
Roscoe, F.R.S., before the Eoyal Institution, May 27th,
1881.)

Steaming Peocess.

In the so-called steam and pigment styles the fixation of
the colours is effected chiefly by their being exposed to the
action of steam in a suitable apparatus. Of this there are
two distinct kinds, each of which has its advocates.

The steam-column is a cylindrical case of sheet copper,
generally about forty-four inches in length, by from three
to five in diameter. It is punctured all over with holes of
about one-sixteenth of an inch in diameter, and placed at
about a quarter of an inch apart from each other. It is con-
nected below with a pipe, leading to a steam boiler, and
fitted with a cock for turning steam on and off as may be
required. At the bottom of the cylinder is fixed a circular
plate about ten inches in diameter, traversed by the afore-
said steam-pipe, and serving to keep the pieces in their
place when folded round the column. Sometimes, how-
ever, the steam is admitted at the top ; and in any case
there are arrangements for permitting the escape of the
condensed steam- water.

In using this apparatus the cylinder is first wrapped in
several folds of blanketing, then in some coils of plain
cotton, and then the printed goods are folded round it, the
pieces being stitched end to end, so as to form a continuous
web. Over all comes a layer of plain calico. For conve-
nience in folding these tissues round the cylinder it is un-
screwed from the steam-pipe, laid horizontally, and made
to rotate in a kind of framework. When dressed, it is fixed
npright in its place, connected with the pipe, and the steam
is turned on. The length of the steaming process is gene-
rally from twenty to thirty minutes, and is regulated by the

TISSUE-PRINTING.

273

nature of the colours ; the more salts of tin are present, the
shorter must be the process, lest the cloth should be at-
tacked, or, as it is technically called, "tendered."

As soon as the steam is shut off the column is dis-
connected, and the pieces are at once unrolled and exposed
to the air to dry. If left upon the cylinder, the colours
might be caused to run, in consequence of the condensation
of moisture.

The column seems to be more in favour in France than
in England.

The apparatus generally used in this country is the
steam-chest. This is a horizontal chamber of sheet iron, of
from 10 to 12 feet in length, 6 to 8 feet in width, and 8 to
9 feet in height. Its form is somewhat cylindrical. This
chamber is permanently closed at one end, and is fitted at
the other with tightly closing iron doors, arranged so that
they can be fastened, air and steam-tight, by means of
screws. These doors, when unscrewed, can generally be
raised after the manner of a portcullis, by means of a
counterpoise and chain running over pulleys. The steam is
admitted by means of a pipe pierced with many fine holes,
and running from end to end of the chamber, but beneath
a false bottom, also perforated. In this manner the steam
is equally diffused throughout the chamber. At some little
distance from the top there is an interior roof, which does
not come quite to the sides of the chamber. If steam con-
denses above, the drops fall upon this false roof, and are
thus prevented from descending upon the goods during the
process. The chamber is fitted with a safety-valve and a
gauge, for the purpose of regulating the pressure, a point
of considerable importance. It is often requisite to begin
steaming with a gentle pressure, say about i atmosphere,
and increase it gradually to i- atmosphere. In many re-
ceipts for steam-colours, the special pressures which give
the best results are indicated.

The steam-chest is charged with pieces by means of the
following arrangement: — On the false bottom of the chest

274

DYEING AND TISSUE-PRINTING.

are fixed a pair of rails, which extend out into the
room. Upon these is set an iron or wooden framework,
travelling upon wheels, and long enough to fit the inside
of the chest, and about six feet in height by four in breadth.
The pieces are coiled one after another upon a reel, the
selvages of all the folds being carefully kept parallel.
They are then drawn off the reel, flattened, cords termi-
nating in loops are passed through all the selvages, and
attached by means of the loops to rods resting laterally on
the frame, the pieces all hanging selvage downwards.
When the framework or carriage is thus filled, it is run
along the rails into the chest, the doors are closed and
screwed up, and the steam turned on for such time and at
such pressure as is required. When the time is expired
the steam is shut off, the doors opened, the carriage run
out, and the pieces unfolded and laid ready for the washing-
off, which is in a great number of cases followed by a
passage through a very weak cistern of bichromate of
potash.

One advantage of the chest as compared with the
column is that a very much greater number of pieces
may be steamed with the same, or nearly the same, quan-
tity of labour.

It may be here remarked that, in order to have the
steam perfectly saturated with moisture, some printers
cause it to pass through water immediately before entering
the steam-chest. An apparatus, which the inventor con-
siders will serve at once the purposes of steaming and age-
ing, has been noticed under the latter head.

Cordillot and Mather propose a continuous process for
colours which do not require a high pressure. The car-
riages or frames for the pieces run on rails as usual, but
have their entrance and egress on opposite sides. The
pieces to be steamed are delivered into the chest or
chamber over a feed roller and two small guide rollers at
fall width. The pieces traverse the chambers on rollers
two or three times, and are then delivered into the car-

TISSUE-PRINTING.

275

riage. When this is full, the door is opened, and another
carriage is introduced which pushes the full one along, and
receives the pieces in its turn, nntil the first carriage has
been long enough in the steam. It is then expelled at the
departure door, and a fresh empty carriage is introduced at
the entrance door.

It appears that alizarine styles, if piled loosely, and made
thoroughly hot, can be steamed in. a heap. This point the
patentees effect by letting the goods travel a considerable
distance in the hot and moist atmosphere of the chamber.
The rollers are specially heated to prevent injury from
drops of condensed water. The steam is thoroughly mois-
tened before entering the chest.

A continuous steaming process has been devised by Mr.
Smith. The chest is a rectangular chamber of masonry,
the roof being vaulted or supported by girders. The
pieces are passed mechanically into the chamber, and
hang in loose folds on transverse rods, whose ends rest
on two horizontal endless chains, placed parallel to each
other. There are special arrangements for supporting the
bearing-rods, and keeping them at a suitable distance
from each other. The chains travel on at a speed which
can be regulated ; and as each rod reaches the end, the
goods are withdrawn, and the rod detached from the
chain .

The degree of pressure of the steam in the steam process
is a very important point. It is specified in three distinct
ways, i.e., either as so many pounds to the square inch, or
as |-, 1, or li, &c., atmospheres, or according to the tem-
perature of the steam-chest. These various standards are
mutually convertible. At 212*^ F., and at the common
pressure of the atmosphere, "1 atmosphere" means a pres-
sure of 15 lbs. to the square inch (in strict accuracy, 14*7
lbs.). Hence \ atmosphere is equivalent to 74- lbs., &c.
At a temperature of 216*^ F., the pressure is =. 16 lbs. per
square inch ; at 230^ F. = 21 lbs. Higher temperatures and
pressures are rarely needful, or even admissible, as very

276

DYEING AND TISSUE-PRINTING.

hot steam not merely effects chemical changes in the colours
and mordants, but even begins to attack the fibre of silk
and wool.

An apparatus very much used in France, both for wool,
silk, and mixed goods, is arranged as follows : — The steam-
chamber is constructed either of wood or of bricks covered
with cement ; it is about 6i feet high, and in length and
width it is regulated by the quantity of pieces generally
produced, and their size. The steam in the boiler is at
5^ atmospheres, and in the condenser It is admitted

by pipes fitted with a pressure-gauge and discs, which
allow the steam to be regulated. To the outside of the
chamber is fixed a dial showing the pressure. The bottom
of the chest is double, forming a chamber which can be
filled with water, and the top of which is covered with a
wrapper. At the top are a series of copper rollers covered
with cloth, which can be lifted out of their places to receive
the goods previously rolled up with back-cloths on a reel,
and can then be returned. When the rollers are fixed on
their pivots, they allow the pieces to hang down nearly to
the bottom of the chest. For styles with chromic orange,
the back-cloths (doubliers) are prepared with sugar of
lead. (It has been elsewhere shown that, by the ad-
dition of the nitrate of cadmium to the orange colour,
the necessity for these doubliers is done away with.)
For acid colours, they are steeped in the following mix-
ture : —

Chalk ...... 5 parts.

Dextrine ..... 7i- „

Water 100 „

About 1 lb. chalk is sufficient for each cloth. After this
treatment, they are dried. Old cloths are passed only
once through this mixture, but new ones require to be
passed twice.

For alizarine colours, the steam is turned on at a very

TISSUE-PEINTING.

277

low pressure, and is increased every twenty minutes, up to ,
i atmosphere.

For silks, the process of steaming with the column or
cylinder is not to be recommended. The pressure does not
exceed 1 atmosphere ; and for cochineal red grounds, does
not exceed i- atmosphere.

Steam Style.

The foremost place among the topical or application
styles, Tafel-Farhen {German)^ belongs to the steam-style,
where the colours are developed and fixed on the fibre
by the agency of steam. The mordants and colour-
ing matters are in this style mixed together and printed
on to the goods in one operation. After this has been
done the pieces are taken to the steaming apparatus. In
this part of the process great diversity prevails, according
to the nature of the colouring-matter used, the effects to
be produced, as well as the judgment, and even the caprice
of the operator. Sometimes the pieces are steamed as
soon as they are printed, whilst in other cases they are
previously exposed for some hours to the air. The length
of the process difiers, from twenty minutes to an hour or
upwards. The pressure, and consequently the tempera-
ture, also requires attention, and varies from i- to atmo-
sphere. A very important point is the degree of
moisture. If the steam is too wet the colours are made
to penetrate too deeply into the cloth, at the sacrifice of
brightness, or may even run. If it is too dry, the colours
are in danger of becoming uneven. The volume of steam
escaping from the steam-chest must be sufficient to carry off
any acid vapours, which might otherwise damage the
colours themselves, or even the tissue. There is still
another difference ; in some establishments the pieces are
steamed for a short time, say twenty minutes to half an

278

DYEING AND TISSUE-PRINTING.

hour, taken out, exposed to the air, and steamed again ;
whilst in other works the entire process is completed at
once without interruption. On all these points no fixed
rules can be laid down, intelligent experience, with a close
observation of the results obtained under different condi-
tions, being the only gnide.

The steam style has of late years gained additional im-
portance as beiug the method by which the aniline and
other artificial colours are usually applied. This kind of
work is not merely very prominent for pure cotton fabrics
(calico and muslin), but for mixed tissues of wool and
cotton, such as delaines, it maybe called universal. Woollens
and silks are also printed in this style.

The first step as regards unmixed cotton goods is " pre-
paring." If the shades to be produced are light, the
pieces are padded in a solution of the stannate of soda
marking 10^ Tw. This process is performed in a machine
filled with wooden rollers. The goods are then taken out,
let remain for an hour without drying, and padded again.
They are next taken through vitriol " sours," i.e», dilute
sulphuric acid at 1^-" to 3"^ Tw., passed through pure water,
and washed. The rolls of pieces are then unstitched, drained
in the centrifugal, and dried by steam.

For heavy shades the strength of the preparing liquor
and the sours " is increased. The goods are padded in
stannate of soda at about 24?^ Tw., allowed to remain wet
for two hours, and then passed into sours at 6^ Tw. They
are then washed, drained in the centrifugal, and again
treated as above in the same order, drying by steam after
the final washing.

In these processes great attention must be paid to keep
the sours up to the same degree of acidity. The acid is
not merely diluted by the moisture introduced by the wet
pieces, but it is in part neutralized by the soda which it
takes up. If this point is neglected, the oxide of tin
present in the stannate will not be properly deposited on
the fibre, and meagre and uneven efiects will ensue.

TISSUE-PRINTING.

279

We will now give as specimens some of the mixtures for
producing the most important colours : —

Alizarine Bed Grounds.

Alizarine at 15

per cent. .

27|

ozs.

Acetic acid at ^

^-L° Tw.

Water .

Olive oil .

Acetate of lime

at 14^^ Tw.

))

Wheat starch .

174^

Boil well together, stir till cold, and add : —
Eed liquor at 21|- Tw. . . 7 ozs.

Very Heo^vy Alizarine Bed,

Alizarine for reds at 15 per cent. 7 lbs. 10^- ozs.

Thickening . . . . . pints.

Kitrate of alumina at 21|- Tw. . 17 ozs.

Red liquor at 17° Tw. . . 20|- „

Acetate of lime at 23i-^ Tw. . 17i „

Bed for Bainhow Styles,

Alizarine at 15 per cent. .
Thickening for reds
Nitrate of alumina at 21|-'' Tw.
Eed liquor at 17« Tw.
Acetate of lime at 23i-^ Tw.

5 lbs. 10^ ozs.
17i pints.
lOf ozs.

13f „

Another Alizarine Bed,

Alizarine at 15 per cent.
Thickening ....
Eed liquor at 17^ Tw.
Acetate of lime at 234-'' Tw.

2 lbs. 3 ozs.
17ilbs.
17i ozs.

8i „

280

DYEING AND TISSUE-PRINTING.

This colour may be made suitable for roses by adding to
it twice or thrice its own weight of the thickening, accord-
ing to shade.

The requisites in mixing the above four colours are pre-
pared as follows : —

For the thickening, boil well together : —

Wheat starch .... 13 lbs. 2 ozs.
Water . . . . . 17 1- quarts.
Acetic acid at 8^*^ Tw. . . 7 pints.
Gum tragacanth water (contain-
ing 4 ozs. gum per 34- pints) . 17^
Olive oil . . . . . 3± lbs.

For the nitrate of alumina mix : —

Nitrate of lead . . . .10 lbs.
Alum (free from iron) . . 10 „
Water ..... 2 gallons.

^ed Liquor.

Stir 33 lbs. of basic sulphate of alumina, free from iron,
into lOi- pints acetic acid at 11-L« Tw., and at 77"" Fahr.
When dissolved, filter and set at the strength required.
(N.B. To set a liquid at any given strength, means to add
water till the required degree is indicated by the hydro-
meter.)

The sub-sulphate of alumina is obtained by dissolving
79 lbs. alum crystals in 17i gallons water, and precipi-
tating with 68 lbs. soda crystals previously dissolved in
the same quantity of water. The precipitate is washed
eight times by decantation, filtered, and pressed.

Acetate of Lime,

A solution of this salt at 2S^° Tw. contains 25 per cent,
of its weight of the actual acetate of lime.

TISSUE-PRINTING.

281

When a red ground is first printed on, the pieces are
steamed for an hour before printing. After printing they
are again steamed for an hour, and allowed to air for a
day and a night. They are next passed through the fol-
lowing bath at a temperature of 124^ to 144° Fahr., each
piece occupying from a minute to a minute and a half in
traversing the bath.

Water . . ... .875 quarts.

Chalk 60 lbs.

Tin crystals . . . . 3 „

After this the pieces are washed and submitted to the
clearing process, which consists of three successive soapings,
using per 542 yards : —

Isf. Soap 8 lbs., tin crystals ^ lb. ; half an hour at
122° F.

27id, Soap 3 lbs., tin crystals ^ lb. ; half an hour at
167° F.

2>rd, Soap 3 lbs. ; half an hour atl67— 178^ The goods
are washed between each soaping.

For reds it is necessary to use the so-called *' alizarine
for reds," which in addition to alizarine properly so called
contains a proportion of anthrapurpurine and flavo-pur-
purine.

The following instructions for steam reds with artificial
alizarine are difierent in the proportion of the ingredients,
and are preferred by some practical men to those given
above : —

For Red Grounds.

Alizarine paste, 15 per cent. . 1|^ lb.

[Or 10 per cent, paste 2 lbs.]

Acetic acid at 8^^ Tw. . . 1 quart.

Water ..... 2 quarts.

Olive oil -I lb.

Acetate of lime at 14^ Tw. . f „

Wheat starch . . . . 1 j,

282 DYEING AND TISSUE-PEINTING.

Boil the whole, stir till cold, and then work in —
Eed liquor . . , . ^ lb.

Steam Colour for Bainhows.

Alizarine paste, ir> per cent. , 5i- lb.

[Or 10 per cent. do. 8 lbs.]

Thickening for reds (see below) 10 quarts.

Nitrate of alumina, 21|« Tw. . -f lb.

Eed liquor, 17° Tw. . . . 1-}. „

Acetate of lime, 234-° Tw. . . ^

For Very Deep Beds,

Alizarine paste, 15 per cent. . 61 lbs.

[Or 10 per cent. do. 10 lbs.]
Thickening for red . . .10 quarts.

Nitrate of alumina, 21^^ Tw. . ^ lb.

Red liquor, 17° Tw. . . . li „

Acetate of lime, 23^-° Tw. . . 1 „

Bed without Olive Oil.

Alizarine paste 15 per cent. • 5.1 lbs.

[Or 10 per cent. 8|. lbs.]

Acetic acid, lll-^ Tw. . • 9|- „

Flour 31- „

Water 8|. „

Boil to a paste, stir till cold, and add —

Acetate of lime, 23i-° Tw. . 15 l ozs.
Nitrate of alumina, 2l3.« Tw. . 2 lbs.
Hyposulphite of lime, 12|-" Tw. 3 „

TISSUE-PRINTING.

283

Eose and Pinlc,

Alizarine paste 15 per cent. . 3~ lbs.

[Or 10 per cent, paste 5 lbs.].

Thickening for reds ... 8 quarts.

Bed liquor, 17« Tw. . . . 1 lb.
Acetate of lime, 21|-« Tw. . J- lb.

For a pink add twice or thrice its weight of thickening
for reds.

If a dark red design is to be covered on the roller with
a lighter red, the dark red is first steamed for an honr.
After printing the second colour, it is again steamed for
an hour at about i atmosphere, and hung up for twentj-
four hours. The pieces are then taken through the chalk
bath, cleared and raised as already directed.

The thickening for reds above mentioned is prepared
with : —

Wheat starch . . , . 12 lbs.
Water ..... 5 gallons.
Acetic acid, 8^^ Tw. . . 1 »
Tragacanth solution (2 ozs. per

quart) . . . . . 10 quarts.
Olive oil, perfectly incorporated

with the mass ... 3 lbs.

Stir till entirely cold.
Or:—

Wheat starch .... 12 lbs.

Water . . . . . 17 quarts.

Acetic acid, 8i-« Tw. . . 17 „
Olive oil .... , 3 lbs.

Alizarine Bed on Cotton War^s,
Alizarine paste (for reds) 34 ozs., mucilage of gum

284

DYEING AND TISSUE-PRINTING.

tragacanth 2l pints, nitrate of alumina at 21i-^ Tw. 2|- ozs.,

acetate of lime at 23^^ Tw. 3i ozs. Steam, rinse, and
dry.

Alizarine Purples,

Alizarine for purple at 15 per

cent. . . . . . 31 ozs.

Purple thickening . . . I7i pints.

Black liquor at 17^ Tw. . . 7 ozs.

Acetate of lime at 23i« Tw. . 12l „

Furple TJdchening.

Starch . , . . . 11 lbs.

Water . . . . . 31 i pints.

Gum tragacanth water, contain-
ing 4 ozs. gum per 3|- pints . 15|. „
Olive oil . . . . . 2 lbs. 3 ozs.

Boil, and stir till cold in the usual manner.

After printing, steam at -L atmosphere pressure for one
to two hours. The pieces are next taken through —

Water 220 gallons.

Chalk 44 lbs.

Arseniate of soda . . . 10 lbs. 15 ozs.

A modification of the above process for alizarine steam
purples is : —

Alizarine paste, 15 per cent. . 1± lb.

[Or 10 per cent, paste 2|- lbs.]
Thickening for purples (see

below) .... 10 quarts.
Pjrolignite of iron at 17^ Tw. . f lb.

Acetate of lime, 23i^ Tw. . . f

The thickening in question is : —

TISSQE-PRINTING.

285

Wheat starch .
Water .

Giim tragacanth solution
Acetic acid at 11*^ Tw.
Olive oil .

10 lbs.
18 quarts.

9 „
3 „
2 lbs.

This operation takes place at the temperature of 122° to-
1440 in a beck fitted with rollers where the pieces arc
extended to their full width, and continues from one hour
and a half to two haurs.

Then follow washing and soaping at 14i4P — 167"^ F., for
half an hour, the proportions being 3i-lbs. soap per 54(>
yards. The soap used must be exceedingly neutral.
That used by the celebrated firm of Thomas Hoyle and Co.,
of Manchester, consisted of the best curd soap remelted
with palm-oil, and to this simple expedient their well-
known success in the production of madder-purples was
mainly due.

A very slight passage through chloride of lime may be
added if needful. As regards the steaming process, the best
efiectis obtained with well dried pieces, and very wet steam.

AUzarlne Brown,

Nitrate of alumina at 27° Tw.
Acetate of lime ....
Red prussiate (dissolved in watei )
Red liquor at 19° Tw.
Thickening ....
Alizarine paste at 15 per cent.

Alizarine Chocolate may be produced as follows :

lib.

■9 "

9- ?)

5 quarts.
6f lbs.

Alizarine paste, 15 per cent.
Thickening ....
Nitrate of alumina at 27° Tw.
Acetate of alumina at 18° Tw.
Red prussiate, dissolved in hot water
Acetate of lime at 27° Tw, .

2 lbs.

10 quarts.

141b.

286 DYEING AND TISSUE-PEINTING.

This chocolate may be prepared from stale red colours,
by adding to them for each quart y to 1 oz. red prussiate,
dissolved in hot water.

Or:—

Alizarine paste at 15 per cent. . 13 lbs. 2 ozs.

Thickening ..... 17^. pints.

I^Titrate of alumina at 261-^ Tw. . . 31 ozs.

Eed liquor at 18|-^ Tw. . . . 14 „

Red prussiate of potash (dissolved in

water) . . . . . . 14 „

Acetate of lime at 26|:« Tw. . . 17 1- „

If a yellow cast is wanted, there may be added to each
gallon i- lb. bark liquor at SOi-"^ Tw.

It is generally admitted that the alizarine colours when
produced by the steam style are not quite as beautiful as
when obtained in the madder style by dyeing upon mor-
dants. The steam process, however, enables alizarine
colours to be used in combination with others which would
not be practicable by means of the madder style.

Artlficial Blues.

Niclholson Blue,

Thicken the dissolved colour with starch, and add from
i th to i- th its measure of arsenious acid dissolved to satu-
ration in glycerine, and a corresponding quantity of red
liquor. After printing, steam for three-quarters of an hour,
and wince in boiling soap-lye to briog up the colour
(Calvert).

Aniline Blue,

Pad the pieces in a lye of |- lb. card soap per gallon, and
dry.

Dissolve 3^ ozs. aniline blue, and add red liquor at 20°

TISSUE-PRINTING.

287

Tv7., 35 fluid ozs. bisulphite of soda at 39^° Tw., and the
same measure of gum-water (strong) 3i- pints. Steam for
ninety minutes, wash, run through soap-lye at a hand-heat
and through sours (muriatic), wash, and dry.

Paste Blue.

" Thickening A " .... 19i-ozs.

" Paste blue " (Berlin Anilin Gesell-

schaft) ...... 12|- „

Glycerine . . . . . . 2^ „

Acetic acid at 8i-° Tw. ... 2|- „

Print, steam for an hour, wash, and dry. The colour
keeps only for a few days.

The " thickening A is made of red

mordant ..... 24i- ozs.
(Made up of red liquor at 211-^ Tw. 29f ozs., and 3f ozs.
wheat starch.)

" Arsenical glycerine B " . . • ozs.
Acetate of lime at 21J-« Tw. . . ^ „

4- 4- "

Tragacanth water . . . . 6 „
[containing 8 per cent solid gum.]

The "Arsenical Glycerine B " is prepared from 3-|-ozs.
glycerine at 33|-^ Tw., evaporated down to 2|- ozs., and in
it are dissolved at a boil, 1|- oz. arsenious acid.

Gentiana Blue (Berlin AMieii Gesellscliaft fur Anilin^
Farben) Standard Thiclcening X: —

Eed liquor at 21|,« Tw. . . 105 pints.
Mucilage of gum tragacanth at 8 per

cent. ...... 52i „

Starch 22 lbs.

Sulphate of alumina . • . 4 lbs. 6 ozs.

288

DYEING AND TISSUE-PRINTING.

Boil till perfectly incorporated, and wlien cold add
17 j- pints of glycerine arsenic, standard Y.

Glycerine Arsenic, Standard Y.

Glycerine at 45° Tw. 22 lbs., white arsenic 11 lbs. Dis-
solve at a boil, and let cool.

Mix the blue to shade with thick enicg X; for a full
shade Ij- pint blue, to 8i- pints thickening.

Print, steam for an hour, soap in a weak soap-beck at
IGS"" Fahr., with 3^ lbs soap to 10 pieces calico, and wash.

The " Royal blue" of the same firm is printed in the same
manner.

Methylene Blue,

Thickening . . . . • pint.
Solution of methylene blue (1|- oz. in 35

fluid ozs. water) . . . .7 fluid ozs.
Solution of methyl violet (same strength) 3i- „
Solution of tannin in water (saturated) S~ „

ThicJcening ,

Water 1,000 parts.

Acetic acid at 9^-° Tw. ... 200 „

Tannin 20 „

Gum tragacanth water (^oz. per pint). 200 „

Tartaric acid . . . . . 10 „

Starch 160 „

Boil, and stir till cold.

Print, steam for ninety minutes, pass through solution
of tartar emetic at 110"^ F., and wash very well.

Alizarine Blue,

Thickening
Alizarine blue .
Acetate of chrome at 14^Tw

. 30 ozs.

. 15 „
. 3~ ozs.

Wheat starch

Light calcined starch .

Gum tragacanth water

Castor oil .

Water

TISSUE-PRINTING.

ThicJcening.

Print, and steam for two hours at the pressure of 1
atmosphere.

Immediately before using, stir in acetate of chrome at
261-° Tw. 31- pints. Print, and steam.

Dissolve 3iozs. methyl green in warm water at 144^ P.,
avoiding excess. Put 12 ozs. lactarine in a separate vessel,
add 8|-ozs. ammonia, and just enough boiling water to dis-
solve the lactarine. Mix the two solutions, and dissolve
in the liquid -|- oz. picric acid, according to shade. •

Thicken with gum water so as to make up 17 pints of
colour, print, hang for forty-eight hours in the dark, and
rinse.

N".B. This colour cannot be steamed, as at high tempera-
tures methyl green is afiected, and turns at 212^ P. to a
violet. The colour, of course, must not be boiled.

Greens.

Coerueleine Green,

Coeruleine in solution
Gum water
Bisulphite of soda

7 quarts.
7^
If pint.

Methyl Green,

Greys.
Castelliaz Grey,

Gris Castelhaz in solution
" Reducing paste "

1 quart.
1 gallon.

290

DYEING AND TISSUE-PRINTING.

To prepare the reducing paste, take : —

Red liquor ..... 4 quarts.

Water ...... 4 quarts.

Starch 3 lbs.

Boil till dissolved, and, when cold, stir in arsenical solu-
tion 1 pint.

The arsenical solution is obtained by dissolving 4 lbs.,
arsenious acid at a boil in 1 gallon glycerine.
Print and steam for half an hour.

Aniline Grey,

Dissolve 1 lb. 5|- ozs. chlorate of potash in 3 quarts boil-
ing water. Let cool, and add: —

Gum- water . . . . . pints.

Sal-ammoniac . . . . 10|- ozs.

Tartaro-chromate of potash at 49°

Tw. . . . . . ' H lbs.

Aniline ..... 6|- ozs.

Tartaric acid . . . .2 lbs. 85-ozs.

Print, age at 105° F. for forty-eight hours, and wash for
an hour. For lighter shades, increase the gum. This grey
bears all the treatment needful for producing alizarine reds,
except the bath of tin salts.

The tartaro-chromate of potash is obtained by dissolving
33 1- ozs. bichromate of potash in 5^ pints water at a boil.
When it has cooled down to 110° F., add by degrees
3 lbs. 2l ozs-. tartaric acid in fine powder, avoiding rise of
temperature.

Aniline Orange,

Colour: — Saturn red (of the Baden Aniline and Soda
Company), 9 lbs. 13 ozs.

Glycerine-arsenic . . . 7 fl. ozs.
Water ..... 2i- pints.
Thickening . . . .14 pints.

TISSUE-PRINTING.

291

The glycerine-arsenic is prepared by dissolving 2 lbs> ,
8|- ozs. arsenious acid in 17-|- pints glycerine at 36^ Tw., and
concentrating to 100^ Tw.

For the thickening dissolve 21|- ozs. gum Senegal in Ix
pint of water (1). Then dissolve separately 13 lbs. 2 ozs.
palest blood albumen in 16 pints of water at a very gentle
heat ; add 7 fluid ozs. caustic ammonia, and 8^- fluid ozs.
oil of turpentine (2). To make the thickening, mix 10 i-
pints of (2) and 3i- pints of (1). Print, dry, steam, and
wash.

Nitro- alizarine Orange.

Nitro-alizarine, 15 per cent. . . 1 gallon.

Acetic acid ..... 2 quarts.

Acetate lime, 28^ Tw. . . . lib.

Eed liquor, 20^ Tw. ... 1 quart.

Or—

Nitro- alizarine . . • . 1 gallon.

Acetic acid ..... 2 quarts.

Acetate lime, 28^ Tw. ... 24 ozs.

Nitrate of alumina, 30*^ Tw. . . 2 lbs.

For a number of colours, ranging from yellow through
orange to red, such as the tropoeolines of Williams, Thomas,
and Dower, and of Williams Brothers and Ekin ; the
oranges of Poirrier; the ponceau, G and R, of Meister,
Lucius, and Briining ; and, indeed, for the azo-" colours
generally, the following process may be used : —

Prepare the pieces before printing with so-called aliza-
rine oil." Then dissolve 3^- ozs. of the colour in 17-L ozs.
water. To every pint of the solution, stir well in i oz.
alizarine oil, and of this mixture add 5^ ozs. to the colour-
ing matter. Thicken as required with starch. Print, dry,
steam, steep for an hour in solution of the acetate of lead
or of baryta at from 7 to 14^ Tw., and wash in cold water.
These colours bear light, but not soap.

292

DTEIM AND TISSUE-PRINTING.

Coal-Tar Reds.
Magenta*

Take-
Red liquor at 14^ Tw. . . . 1| pint.
Arsenite of soda . . . . 2|- ozs.
Magenta . . . . . -f- oz.

Thicken with gum or starch, print, steam for an hour,
soap, and wash.

Or, magenta, according to shade, 4. to |- oz., alcohol
4 ozs.

Boiling water 10 ozs. When dissolved, add oxalic acid
i oz. Thicken with thick gum water 17^ ozs. ; add decoction
of galls at lli^ Tw., 18 ozs., and acetic acid 9 ozs. Mix, and
stir into the colour-solution, and add further 17^ ozs. weak
gum- water. This mixture will give a very blue shade.

Saffranine,

Add to 1 pint saffranine paste 10 quarts of the following
mixture : —

Red liquor standard ... 1 gall.

Water 1 gall.

Starch 2 lbs.

Boil, and, when cold, add 1 pint of an arsenic standard,
which is obtained by dissolving 1 lb. white arsenic (arse-
nious acid) in 1 quart glycerine, and filtering.

The red-liquor standard is obtained by dissolving 5 lbs.
alum in 2 gallons of water, precipitating with 6 lbs. sugar
of lead, and letting settle.

After printing, steam for half an hour.

Eosine.

Prepare well with stannate of soda. Thicken solution

TISSUE-PRINTING.

2:^3

of eosine with gum, add arsenite of alumina, i.e., a mixture of
arsenite of soda and red liquor ; print, steam, and wash.

Or, prepare with white glue. Thicken solution of eosine
wdth gum, and add three parts of tannin to one of eosine.

Or, prepare with acetate of lead solution to which one-
fourth to one-fifth its weight of nitrate of cadmium has
been added; dissolve eosine along with soap; thicken with
gum, and print on.

Eosine shades, however printed, will not bear soaping.

Bed Coralline.

Dissolve —

Coralline ..... 11 ozs.
Water . . . . , . 35 „
Glycerine . . . . . 81,,

Add magnesia 19i- ozs., suspended in 35 ozs. w^ater.
Thicken with gum-water 5|- pints, containing 3i- lbs. gum.
Print, steam, and wash.

A more orange shade may be produced as follows : —
Dissolve 4 lbs. 6 ozs. coralline in soda-lye at 14^ Tw. ;
dilute with water, add double muriate of tin, and heat.
The precipitate from these quantities is thickened with —

Magnesia . . . . . 3l ozs.

Oxalic acid ..... 9 ozs.

Gum Arabic . . . . 4 lb. 6 ozs.

Water 17^ pints.

Ghvysammic Hose.

Gum water ..... ll. pint.
Chrysammic acid .... 30 grains.

This mixture on cloth, prepared with stannate of soda,
gives rose shades which bear washing without being
steamed. If steamed, the colour passes into a violet.

Azo-^Beds.

Dissolve 3^- ozs. of the colour in 35 fluid ozs. of boiling

294

DYEING AND TISSUE-PRINTING.

water, and add 17 i pints solution of tin at 22^ Tw. Boil
to an even paste with 8-L ozs. starch, add 6|- ozs. alizarine
oil, and stir in thoronghly. Print, age for twelve hours,
and steam.

Prepare pieces before printing by a passage through a
mixture of 1|- oz. alizarine oil, and 3l ozs. ammonia, in
17i pints water.

Aniline, etc., Violets.

Anthracene Violet (Baeyer, of Elberfeld).

Thickening . . . . 2 lbs. 3 ozs.

Anthracene violet ... 7 ozs.

Acetate of chrome at 14^ Tw. . 2-1 fluid ozs.

Bisulphite of soda at 30-4^ Tw. . 4i „

ThicJcening ,

Water . • . . . 51. fl. ozs.

White starch . . . . 8|- ozs.

Light-coloured starch . , 1 lb. ]i oz.

Olive oil . . . . . 5 ozs.

Steam for ninety minutes, wash, and soap for thirty
minutes at 122^— 140^

If the cloth has been prepared with Turkey red oil, this
colour gives a blue.

Galleine VioM.

Gum water . • . . 17i- pints.
Add galleine paste . . . 17i- quarts.
Acetate of chrome at 26-|^ Tw. . li pint.

Print and steam.

Hofmann'^s and Perhins^ Violets, Sfc, *
Dissolve 17-1- ozs. white tannin in 15i pints gum water.

TISSUE-PRINTING.

295

Add colour, dissolved and carefully filtered according to
shade. Print, and after steaming take the pieces through
a bath at .136^ — 180^Fahr., containing per 11 quart 1 oz. of
the double tartrate of antimony and potash (tartar-emetic).
Wash and dry.

This process may be modified as follows : —
The solution of tannin, thickened and ranging from
|- oz. per 1|- pint to 4^ ozs., according as the intended
shade is full or heavy, is printed on ; the pieces are then
steamed, taken through the tartar-emetic bath, washed, and
then dyed for twenty minutes in a solution of aniline
violet. The liquid is raised gradually to a boil, at which
point it is kept for twenty minutes. The pieces are then
washed and slightly soaped.
Another process is : —

Add for every 1 oz. of colour, which must be dissolved
before using: —

Tannin . . . * . . 3 ozs.
Oxalic acid . . . . i oz.

When cold, stir in —

Thick gum water ... 5 lbs.
Water . . . . . 36 ozs.
Acetic acid . . . . 36 „

Stir in well. Print and steam. ^

These violets may also be printed by adding red liquor
and arsenic glycerine, and thickening with gum and starch.
Steam for one hour, and soap carefully.

Neutral Violet (Casella and Go.),

Dissolve 60 parts of colour in 250 parts of acetic acid at
40 per cent. Add 1,000 parts thickening, and when com-
pletely cold add 250 parts solution of tannin, stirring
constantly.

296

DYEING AND TISSUE-PRINTING.

Thickening,

Water . . . .
Acetic acid at 40 per cent.
White starch .
Light calcined starch

1,000 „
250 „
500 „

3,000 parts.

Boil together and stir till cold.

Solution of Tannin.

Best white tannin

500 parts.

Hot water . . . . 500 „
Acetic acid at 40° per cent. , 250 „

Print and steam as usual. It is preferable, though not
absolutely necessary, to prepare the cloth in weak alizarine
oil and dry before printing. After steaming, the pieces
may be taken through a warm solution of tartar-emetic.
The shades produced bear soaping.

The same process is suitable for printing the " neutral
red " of the same firm, a very dark red.

We now give examples of steam colours produced with
the ordinary vegetable and animal colours, for all which
the cloth is prepared with stannate of soda, followed by a
passage through sours.

Amher,

Gum substitute
Olive oil (neutral) .
Bark liquor at 12° Tw.
Sapan liquor at 8° Tw.
Red liquor at 16° Tw.

15 lbs.

7-L fl. OZS.

3 gallons.

2 pints 5 fl. OZS.

3 quarts.

Half boil and add —
Tin crystals

6 OZS.

Mix till dissolved, and add —
Oxymuriate of tin at 120° Tw. .

TISSUE-PRINTING.

297

Mix well and strain as fine as pos-sible. It is necessary
in dissolving the tin crystals, that it should be done in a
part of the red liquor at the rate of 3 ozs. crystals to the pint
of liquor.

Common Blach,

iDissolve 5 lbs. 7 ^ ozs. extract of logwood in water, and
let settle. Dissolve separately I7i ozs. gum tragacanth
in water. Mix the two solutions and boil. Extract 2 lbs. 3
ozs. nut-galls in water at a boil, add the clear decoction to
the foregoing, and make up to 17^- pints. Let cool, and
stir in 2 lbs. 3 ozs. nitrate of iron at 30° Tw., and the same
weight of black liquor at 27"^ Tw. Print, hang up for a
few hours, steam, and wash.

BlacJc (for printing along with pigment styles) : —

Logwood liquor at 10° Tw. . 1 gallon.

Catechu liquor at 28° Tw. . 1 pint.

Eed liquor at 14° Tw. , . 1 „

Acetic acid at 8° Tw. . . 1 ?,

Black liquor at 24° Tw. . . 1 „

Starch If lb.

British gum .... 14 ozs.

Chlorate of potash . . . 4 ,,

Boil all together, stir till cold, and add : —

Sal-ammoniac .... 4 ozs.

Acetate of chrome ... 1 pint.

Sulphate of chrome . . . 1

Mix all well together.

Or (for printing yarns) : —

Extract of logwood at 8i.° Tw. . 4 lbs.

Dextrine . . . . . 4l ozs.

Wheat starch . . . . 4l „

298 DYEING AND TISSUE-PEINTING.

Boil, stir till cold, and add —

Black liquor at 39i-^ Tw. . . li lb.
Mix well, and print. Air for a day, steam, and rinse.

Or:—

Extract of logwood at Si-"" Tw. . 4 lbs.
Tragacantli mncilage . . lb.

Boil, stir till cold, and add : —

Bicbromate of potash . . 4iL ozs.
Bine-stone . . . .

Mix, print, dry, air for a day, and steam.
Or:—

Boil together : —

Logwood liqnor at 8*^ Tw. • 6 gallons.
Starch . . . . . 2 lbs.
Gnm snbstitute . . . 12 ,,

Tnrn off steam, and add : —

Black liqnor at 24^ Tw. .
Red liqnor at 18^ Tw.

mixed together. Then stir in —

Oil .

Oil of turpentine

2 gallons.

1 „

1 pint.

Another Blade,

Logwood decoction at 12^ Tw.
Red liquor at 20^ Tw.
Black liqnor at 24^ Tw. .
Decoction of galls at 9^ Tw.
Acetic acid

6 qnarts.
3 pints.
3 „
3 „
3 „

TISSUE-PRINTING.

299

Thicken with : —

Wheat flour . . • . 4L.lbs.

Starch |- lb.

Boil, and stir in : —

Oil of turpentine . . . li- pint.

Gallipoli oil . . . . l ^-

Print, and steam as usual.

Prussian Blue,

Dissolve separately 6|-ozs. oxalic acid and 12 ozs. yellow
prussiate of potash, each in 3|- pints water. Mix, let stand
for twenty-four hours, and thicken with 2 lbs. 11 ozs. gum
Senegal.

Sapan liquor at 6-1° Tw. .
Logwood liquor at Tw.

Thicken with : —

Starch ....
When cold, add tin solution

4 pints 7 fl. ozs.
2-1 pints.

17-1- ozs.

i7i „

Baric Brown.

Gum starch
Satin gum

Olive oil .

Eed liquor at 17° Tw.
Acetic acid at 7° Tw.
Catechu liquor .
Sal-ammoniac .
Sapan liquor at 8° Tw.
Logwood liquor at 10° Tw.
Acetate of copper
Mtrate of copper at 86° Tw.

Boil well, and strain.

6 lbs.
9 lbs.
1 quart.
6|- quarts.
6 pints.
4i gallons.
4 lbs.
1 gallon.

1 „

1 quart.

300

DYEING AND TISSUE-PRINTING.

Oatechu Brown,

Catecliu solution
Basic chlorate of chrome
Water

White starch .
Dark calcined starch

250 parts.

200
200

5)
5?

After printing, steam for an hour, wash, soap fot half
an hour at 167^ F. with 2 per cent of soap.

Catechu Solution.

100 parts cubic catechu, 50 parts water, 100 parts aceiic
acid at 9i-^ Tw.

Or:—

Boil 4 lbs. catechu in water, settle, and strain off the
clear. Mix the liquid thus obtained with 1 lb. red liquor
at 8^ Tw., and thicken with |-lb. gum tragacanth. When
ready, stir in 1 lb. sulphate of lead.

Chocolate (for printing along with pigments).

Sapan liquor at 8^ Tw.

2 gallons.

Bark liquor at 12« Tw.

H „

Logwood liquor at 8*^ Tw.

Red liquor at 18^ Tw.

Catechu liquor (4 lbs. per gall.) .

3 quarts.

Sal-ammoniac ....

2ilbs.

Chlorate of potash .

18 ozs.

Red prussiate ....

9 „

Best starch ....

10 lbs.

Boil all well together, and stir in : —

Gum tragacanth water • •

[ilb. gum per gallon.]

1 gallon.

TISSUE-PRINTING. 301

Faw7i, No, 5.

Catechu liquor at 20^ Tw. . 2 quarts.

Acetic acid . . * . 1 pint.

Logwood liquor at 10^ Tw. . 3 pints.

Best blue standard (see below) . 2i- pints.

British gum • . • . 3 lbs.

Faiun, M. 6.

Logwood liquor at 10^ Tw. . 3 quarts.

Berry liquor at 10^ Tw. . . 3 pints.

Catechu liquor at 20° Tw. . 4 „

Cochineal liquor at 6° Tw. . 2 „

Oxalic acid . . , . li ozs.

Dissolve, and add : — -

Iron liquor .... i- pint.

British gum . . . . 6 lbs.

The Best Blue Standard^^ above mentioned is made as
follows : —

Yellow prussiate . . . 7 lbs.

Alum ..... 2 „

Bisulphate of potash . . ^ ??

Hot water .... 3 gallons.
Gum water ....

Extract of indigo ... 3 pints.

Pea Green.

Berry liquor at 10° Tw.. . . 3i- pints.

Alum ..... 10 ozs.

Blue standard . . . . 5 pints.

302

DYEING AND TISSUE-PRINTING.

Tobij Green.

Berrj liquor at 20° Tw. . • 1|- pint.
Alum ..... 6 ozs.

Blue standard .... 5 quarts.
Ground gum dissolved . • 3 lbs.

Blue Standard for Pea and Toby Greens.

Yellow prussiate ... 14 lbs.
Alum ..... 6 lbs.
Oxalic acid .... 3 lbs.
Hot water .... 6 gallons.
Gum water . . . . 2^-
Muriate of tin at 120° Tw. . 1 pint.

No. 1 Green.

Berry liquor . . . . 1|- pint.

Alum ..... 5 ozs.

Ground gum .... 3 lbs.

Blue standard" • . . . 6|- pints.

No. 2 Green.

The same as N'o. 1, but the proportion of blue standard
is only 6 pints.

Blue Standard for Nos. 1 and 2 Green.

Yellow prussiate
Alum
Oxalic acid
Gum water
Muriate of tin .

3 lbs.

14 ozs.
7 „

15 fl. ozs.

^ fl. ozs.

TISSUE-PRINTING.

303

J)arl<^ Chrome Green

Gnignet's green ... 66 lbs.

Warm water . . . . 5i- pints.

Solution of blood albumen . 28

[9|- ozs. per pint.]

Solution of wax ... 24 ozs.

Lighter shades of this green are made by letting down
the above green with a mixture of —

Gum tragacanth water . . 3 parts.
[|- oz. per ll pint.]
Solution of blood albumen of the above strength, 1 part.

Chrome Green (Havranac Shade),

Water

White starch .
Yellow prussiate
Red prussiate v
Tin pulp
Chrome alum .

To prepare the tin pulp take: —

Yellow prussiate of potash
Double muriate of tin at 120'^ Tw.
Water . . . .

1|- pint.
Gi ozs.

in .

8^ „

2 lbs.

1 quart.

3 gallons.

Dissolve the yellow prussiate in half the water, and mix
the double muriate with the other. Stir these liquids well
together, so as to break up clots, throw upon a filter,
and drain. The yield is about 1 gallon.

Chrome Green " Tistachior

Water .
White starch

5i pints.
151- ozs.

304

DYEING AND TISSUE-PRINTING.

Yellow prnssiate
Red prnssiate
Tin pulp
Chrome alum
Acetic acid
Oil

13|- ozs.
41-

4^-

5?
?5
?5

Another Green,

Starch 2i-lbs.

Bark liquor at 16^ Tw. . . 1^ gallon.

Boil, and add : —

Alum ..... 9 ozs.

Oxalic acid . . . . 1^55

Tin crystals .... 3 ?>

When half cold, add : —

Tartaric acid. . . . . 1 lb. 14 ozs.

Yellow prnssiate of potash . 3 lbs. 6 ozs.

Tin pulp . . . . l-L pint.

Gallipoli oil ... . -|- pint.

After steaming, run the pieces through chrome liquor at
Tw.

Wash in clean water, and dry up.

Lavender*

Lavender liquor (see below) • . 2 quarts.

Blue standard (see below) . . . 2 ,,

Gum water from . . . 3 to 6 galls.

Lavender liquor is made by adding ground logwood, from
3 to 5 lbs., to 1 gallon of red liquor, at about 18" Tw., steep-
ing for forty-eight hours, and running off the clear liquor
through a filter.^

TISSUE-PRINTING. 305

The blue standard above directed is made of: —

Yellow prussiate of potash . . • ^1 ^^s-
Alum ...... l|-lbs.

Oxalic acid . . . , .9 ozs.
Gum-water . . . • .2 galls.
Water . . . . • • 2 „

Lilac,

Three measures of the " pink standard given below are
mixed with 1 measure of the "purple standard " (see also
below), and thickened with gum- water in quantities which
maj range from 12 ozs. to lbs. per gallon of the mixed
standards.

Olive,

Extract 2 lb. 3 ozs. berries, and boil

down to ..... 5l pints.

Sulphate of alumina . . • • ozs.
Copperas . . . . . . 2|- „

Nitrate of iron . . . . . 1 „

Thicken with : —

Gum-substitute water . • .3^- lbs,

PinJc Standard.

Cochineal decoction at 6*^ Tw, . . 8 galls.

White tartar 3|-lbs.

Alum . . , . . . 31. „
Oxalic acid . . . . .14 ozs.

This standard serves as a pink steam colour if thickened
with about an equal measure of strong gum- water, more or
less, according to shade. Without thickening it is used,
e.g., in mixing the lilac colour above mentioned.

306

DYEING AND TISSUE-PRINTING.

Sapan Wood PinJc.

Sapan liquor at 4^ Tw,
Sal-ammoniac
Pink salt .
Oxalic acid
Blue-stone
Gum-water

. 1^-gall.
. ilb.
. 24 ozs.

. Hgall.

Pinks are also made of a mixture of cocliineal-liquor,
and Sapan, or other red-wood liquor, in varying propor-
tions. To 12 gallons of the mixed liquors marking 7^ to
8«Tw., are added:—

Alum 6 lbs.

Oxalic acid . . . . . ^ „

Nitrate of alumina . . . . 1

Chlorate of potash . . . • 1 „

Thicken with 2 galls, gum-water to 1 gall, of the mixed
decoctions.

Purple,

Take equal measures of red liquor at 18° Tw., and of
logwood liquor at 10° Tw. In the former dissolve, per
gallon : —

Soda crystals . . . . . i lb.
Oxalic acid . . . . . i lb.

Mix and thicken with 3 lbs. ground gum Senegal per
gallon.

Purple Standard,

Logwood liquor at 12° Tw.
Alum

Red prussiate of potash
Oxalic acid
Salt of sorrel

2 galls,
lib.
14 ozs.
2 „

TISSUE-PRINTING.

307

This standard may be used as a steam pnrple printing
colour if thickened with 4 to 6 gallons gum-water per
gallon.

Another Purple,

Logwood liquor at 16^ Tw.
Red liquor at 20^ Tw.
Carbonate of soda
Crystal soda
Red prussiate of potash
Oxalic acid
Gum Senegal

Boil, cool, and strain.

1^-gall.

1 OZ.

4.1b,

4" »

Cochineal Bed.

Gum arabic

Dissolve in water, and stir in : —

Oxalic acid
Tin crystals

Boil in water in a separate pan :—
Cochineal ....

3 lbs.

10 ozs.
10 „

lib.

Concentrate the decoction at a steam heat, and add it to
the above. Stir in 2 ?- to 5 ozs.flavine, according to shade.
The whole should make up 5i pints. Print, dry, steam
gently, and wash.

Another Cochineal Bed.

Cochineal liquor at 9i-^ Tw. . . 64 l pints.
Bark liquor at 30^^^ Tw. . . . 3 l „
White starch . . . . .11 lbs.
Salt of sorrel (i.e. binoxalate of potash) 2 lbs. 3 ozs.

808

DYEING AND TISSUE-PRINTING.

Boil up, stir till cold, and add 3|- pints of the following
tin solution : —

Dissolve together 4 lbs. 6 ozs. tin crystals, and 2 lbs. 3 ozs.
crystallized stannic chloride. Dissolve separately 17 1- ozs.
sugar of lead in ll pint water. Mix the two solutions, stir,
let settle, and use the clear.

Sapan Bed,

Sapan liquor at 8° Tw. . . .4 galls.

Nitrate of alumina .... 2^- quarts.

Alum ...... 2i-lbs.

Quercitron liquor . . . - quarts.
Chlorate of potash . . . . 5 ozs.

Starch 7i lbs.

Cochineal Bose.

Cochineal liquor . . . . l|-pirjt.

[Containing the colouring matter of
8^- ozs. cochineal.]
Water ...... 2^ pints.

Red liquor at 14'^ Tw. . . . 17^ fluid ozs

Oxalic acid . . . . •If

Thicken with gum ... 3 lbs. 13 ozs.

Stofie Colour.

Add to a lilac or a lavender colour extract of quercitron
bark according to shade.

Slate.

Olive oil . . . . . .1 pint.

Gum starch . . . • .10 lbs.

Boil, and add whilst boiling : —

Logwood liquor at 9^ Tw. . . . li^gall.

TISSUE- PRINTING.

Iron liquor at 22° Tw.
Red liquor at 18° Tw.
Acetic acid

Boil well, and strain.

Cadmium Yelloios.

Gum paste .... 1,000 parts.
Crystallized nitrate of cadmium . . 150 „
Hyposulphite of soda .... 150 „

It is well to add a little acetate of soda, and to let the
colour stand two or three days before using. Print, and
steam.

Cadmium Yelhio ivith Starch,

Water 1,000 parts.

White starch ..... 160 „
Calcined starch . . . . . 40 „

Boil, and stir till even, and stir in when cold : —

. Hyposulphite of soda (cold) . . 350 parts.

^NTitrate of cadmium (powder) . , 350 ,,
Print and steam.

As the colours mixed with hyposulphite of soda have a
tendency to run, it has been proposed to prepare a colour
by grinding nitrate of cadmium very long and vigorously
with finely divided sulphur. The process is hastened by
adding some reducing agent, such as protoxide of tin in a
pulp, or, preferably, arsenious acid.

The following mixture is proposed for a full yellow of an
orange cast : —

Gum tragacanth water . . 1,800 parts.
Nitrate of cadmium . . . 480 ,,
Acetate of soda .... 800 „
Flowers of sulphur . . • . 250
Arsenious acid .... 250 „

6 quarts. /\

810

DYEING AND TISSUE-PRINTING.

Strain several times through a hair sieve, and after
printing steam for an hour at the pressure of 1± atmo-
sphere.

It is important to know that an addition of the nitrate
of cadmium to ordinary chrome yellows (chromate of lead)
prevents the darkening from sulphur-fumes, so often felt
as an inconvenience. Thus, to such a yellow, add per ll
pint of mixed colour from 1 to 1^- oz. nitrate of cadmium.,
and from -|- to |^ oz. acetate of soda. Such a mixture, when
printed, may be exposed to very strong sulphur fames
during steaming without being at all darkened, and the use
of back-cloths prepared with sugar of lead may be dis-
pensed with.

Tartar emetic also protects chrome yellows from blacken-
ing during the steaming process, but not so perfectly as
does the nitrate of cadmium.

Cadmium yellows may also be fixed upon tissues as
pigment colours, by grinding the sulphuret of cadmium up
with albumen and gum tragacanth, printing, and steaming.

Mixed goods of cotton and wool or worsted, such as de-
laines, are generally printed on the steam principle with
certain modifications. As the first step, the pieces are
bleached (stoved) by exposure for some hours to the fumes
of burning sulphur in a closed chamber, after which they
are well washed. Mr. John Thom has devised an improved
stoving machine, instead of the old brick chamber. It is
probable, however, that sulphur bleaching in the wet way
will be found generally preferable. This is performed by
steeping the goods in a concentrated solution of the bi-
sulphite of soda, or preferably of magnesia, to which some
muriatic acid has been added, so as to liberate the whole of
the sulphurous acid.

The ''preparing" with stannate of soda is of even
greater importance than in case of unmixed cotton goods.
The padding in stannate is generally repeated twice, after
which the pieces are taken through vitriol sours at 3° Tw.
After washing slightly, and semi-drying, they are then

TISSUE-PEINTING.

311

padded once or twice in a sulpbo-muriate of tin — known to
dyers as yellow spirits — at about 4^ Tw.

A variety of other processes are, however, in occasional
use. Instead of the plain stannates, a variety of double stan-
nates,such as thesilico-stannates,arsenioand phospho-stan-
nates, aluniino and tungsto-stannates have been tried, but
without any such marked success as to lead to their general
adoption. Others pad the pieces in mixtures of the proto
and per-muriates of tin (stannous and stannic chlorides)
rendered as neutral as possible.

The sulpho-muriate is made by mixing three measures
of double muriate at 120° Tw. with one of oil of vitriol,
adding muriatic acid at 32° Tw. equal in bulk, and letting
down to the strength required with water.

After padding in sulpho-muriate the pieces pass on with-
out rinsing into a beck of chemic (bleaching lime) at Tw.
This device, for which printers are indebted to the late Mr.
John Mercer, is found to give the colours much more body
and brightness than could otherwise be obtained, though
the nature of its action is not thoroughly understood. The
cloth is then washed, drained in the centrifugal, and dried.
Just before printing it is taken through gum- water at
about 8 ozs. per gallon.

The following are examples of colours for this class of
goods.

The aniline, &c., colours were formerly mixed with egg-
albumen for the lightest and most delicate shades, or blood-
albumen for darker shades, along with a solution of gum
tragacanth, gum-gedda, or the whitest British gum. Thus,
for a Hofmann's violet, there was taken from 6 to 24 fluid
ozs. of the dissolved violet, with a pint of blood-albumen
solution (6 lbs. tcy}he gallon), and i- gallon of gum- water.
The albumen is added after boiling.

This method is now to a very great extent abandoned,
and the colours are made up as directed for pure cotton
goods, either with arsenite of alumina or with tannin and
tartar emetic.

312

DYEING AND TISSUE-PEINTING.

The following very simple process, for 17^ pints of colour,
is suitable for many of the coal-tar dyes : —

Gum arabic 2 lbs. 3 ozs., dissolved in water to a uniform
mucilage, 1 lb. 1^ oz. calcined wheat starch are well stirred
up in water, and heated to a paste in a water or steam-bath.
Both are well stirred together, and made up to 17^ pints.

For a violet, the clear solution of 155 grs. methyl, or
Hofmann's violet, are incorporated with the above, using
more or less colour according to shade.

For a blue, add the clear solution of ^ oz. Nicholson
blue, and, finally, the solution of 17^ ozs. alum.

For a red, the solution of 1|- oz. yellowish saffranine.

For a rose, the solution of |- oz. of bluish saffranine.

For green, the solution of 1|- oz. malachite green, and the
clear decoction of 8|- ozs. berries. To the whole, when cold,
add 17i- fluid ozs. red liquor at 22^ Tw.

For yellow, the clear solution of X oz. phosphine or
chrysoidine. The whole colour must in no case make up
more than I7i- pints after everything is added.

After printing, hang up two days, and steam for two
hours at 223^. As a rule they do not require rinsing.

White Designs upon Aniline Colours.

Print the design with the following composition ; —

Zinc powder ..... 100 parts.
, Gum- water at 30^ Tw. . . . 20 „
Hydrosulphite of soda at 39« Tw. . 20 „

Let the printing dry ; steam, and after steaming, take
through very weak muriatic sours to remove the zinc.

The following receipt is given for a saffranine red.

Dissolve 6 parts saffranine in 100 parts boiling water.

Make up a thickening with —

Red liquor at 21|-^ Tw. . . 1000 parts
Arsenite of soda at 98^ Tw. . 500 „
Acetic acid . • . • 750 „

TISSUE-PRINTING. 313

Mix and dissolve separately : —

Soda 1,000 parts.

White arsenic .... 1,000 „
[Dissolved in water, 1,500.]

Mix all together, and add : —

Gum water .... 1,500 parts.
[Containing gum, 1,000 parts.]

To make up the colour, take —

Solution of saffranine . . 1 part.
Thickening . . . . 5 ,,

As specimens of the older colours we give : —
B laclc.

Logwood liquor at 8^ Tw. . . 1 gallon.

Thicken with 1 lb. flour and li- lb. British gum.

When cooled down to 98^ F., add : —

Nitrate of iron . . . . A. ozs^

Muriate of kon at 84P Tw. . . ?i ,j

Nitrate of copper ... 2 ozs.

Prussiate of potash , . • 4 „

Black for Yams.

Extract of logwood at 8i-^ Tw. . 8|. lbs.
Dextrine ..... 8|- ozs.
Wheat starch . . . . 81- „

Boil up, stir till cold, and mix with —

Black liquor at 39-1-^ Tw. . . 3i- lbs.
Stir together.

Print, hang up for a day, steam and wash if needful.

Or:—

Extract of logwood at 8^^ Tw. . 4|- lbs.
Gum tragacanth . . . 17 ozs.

S14

DYEING AND TISSUE-PRINTING.

Boil well together, and stir till cold. Stir in : —

Chromate of potash . . , 81. o^s.
Bine vitriol . . • . ^i. „

Mix, and print as above.

Another Black.

Logwood liqnor at 6^ Tw. .
Starch ....
Dextrine ....

Boil, and when half cold add : —

Mtrate of iron at 98« Tw. .
Muriate of iron at 98^ Tw. .
Oxalic acid

7 pints.
17 i ozs.

8i- ozs.

3
8"

Blue (Prussiate).

Water

Sal-ammoniac
Starch

Boil and stir in : — -

Tin pulp .

When well mixed, add : —

Yellow prussiate
Red prussiate ....
Tartaric acid ....
Oxalic acid (dissolved in hot water)

li- gallon.
9 ozs.

25 „

6 quarts.

4
2

lbs.

Dark Blue,

Water
Starch

Cochineal liquor at 6^ Tw.
Sal-ammoniac , .
Tin pulp .

4 gallons.
16 lbs.

1 quart.

2 lbs.

4 gallons.

TISSUE-PRINTING. 815

Tartaric acid . . . .16 lbs.

Yellow prussiate . . . 10 „

Red prussiate . . . . 6 „

j Oxalic acid . . . . 1

( Hot water .... 1 quart.

To make the pulp, take : —

Hot water . . . .15 gallons.

Yellow prussiate ... 28 lbs.

Dissolve, and then add : —

Double muriate of tin at 120^ Tw. G gallons.
Stir all very well together, and add : —

Hot water .... 15 gallons.

Wash five times in fresh water by decantation, and
throw it on a filter to drain.

Saj)an Brown,

Sapan liquor at S'^ Tw. . . 2i- pints.

Logwood liquor at 12^ Tw. • \ „

Bark liquor at 10^ Tw. . . 5 „

Chlorate of potash . . . 4- oz.

Alum ..... 6 „

British gum . . , . 2|- lbs.

After boiling, stir in : —

Red prussiate of potash • . 2 ozs.

Oxalic acid . . . • 1 „

Chocolate.

Sapan liquor at 8° Tw.
Logwood liquor at 10"^' Tw.
Bark liquor at 18^ Tw.
Red liquor at 16° Tw.
Starch . , . ,

21- gallons.

1 „

3 pints.

3 quarts.

9 lbs.

316

DYEING AND TISSUE-PRINTING.

Boil as usual, and add when nearly cold : —

Chlorate of potash ... 8 ozs.
Red prussiate of potash . . 4 „
Yellow prussiate of potash . 8

It is useful to grind the prussiate dry before dissolving,
but the chlorate must o>i no account be ground with it, or
a severe explosion may happen.

Cinnamon,

Decoction of quercitron at 20^ Tw. 1 gallon.
Ground cochineal ... 20 ozs.

Let stand for some time in a warm place without boiling,
and add : —

Gum Senegal ,
Tin crystals
Extract of indigo

^ lbs.

9 ozs.
3 „

Brah.

Decoction of gall-nuts at 12^ Tw
Black liquor at 24« Tw. .
Berry liquor at 10° Tw.
Cochineal decoction at 6° Tw.
Gum-substitute water

1 quart.
5 fl. ozs.
i pint.
5 fl. ozs.
1|- quart.

Green,

Starch

British gum

Bark liquor at 15" Tw.

Boil, and work in : —

Tin crystals
Alum

Tartaric acid

6i- lbs.
2 „

4 gallons.

■J- lb.

TISSUE-PRINTING. 817

Yellow prussiate . . . 7 lbs.
Oxalic acid . . . . 4^ „
[Previously dissolved in 1 pint hot water.]
Extract of indigo, about . . 1 quart.

Regard must be had to the quality of the indigo extract,
which varies considerably.

Olive.

Mix a dark green with more or less lavender liquor ac-
cording to shade.

Pirik,

Ammoniacal cochineal liquid at 10"^

Tw. ..... 4 quarts.

Cochineal liquor at 6° Tw. . . i- pint.

Crystallized tartar ... 2 ozs.

Alum (free from iron) . . . 8 „

Gum ...... 4 lbs.

Purple.

Now chiefly produced by means of the aniline violets.
Orange^ red, scarlet, and yelloiv are now also very gene-
rally obtained with the anilines.
For a Cochineal Scarlet take : —

Cochineal liquor at 12° Tw. . . 4 quarts.
Starch 2 lbs.

Boil, and work in : —

Salt of sorrel .... 2 ozs.

Pink salt i lb.

Tin crystals . . . . . „

Oxalic acid ..... 2 ozs.

If a yellower shade be required, a little berry or bark
liquor may be added.

After printing, delaines are cooled by hanging up, and

318

DYEING AND TISSUE-PRINTING.

steamed for three-quarters of an hour. They are next
winced through water for ten or fifteen minutes, washed
in the machine as long as they colour the water, drained
in the centrifugal, dried by a steam heat, and hung up for
a few days in a cool place.

Both delaines and woollen goods are liable to evolve
sulphuretted hydrogen during steaming from an incipient
decomposition of the wool, to the great injury of many
colours. Hence, it is prudent to wind on the steaming-
reels, along with the delaines, pieces of grey cotton cloth
previously padded in weak sugar of lead and dried. The
lead absorbs the sulphuretted hydrogen and prevents mis-
chief. The same effect may be in many cases produced by
adding to the colours a little nitrate of cadmium.

Spirit- Style.

The spirit-colours, sometimes called pre-eminently ap-
plication-colours, approach somewhat closely to the steam-
colours. Like these they are applied merely to those
portions of the cloth where the design is to be actually
produced. They are not fixed, however, by steaming, as they
contain compounds of tin — technically known as "spirits"
— in such proportions that the cloth would be injured if ex-
posed to steam. When printed the pieces are dried, avoid-
ing high temperatures, aged for a short time in the cold,
rinsed and washed in cold water, and finally dried. The
effects produced are often brilliant, but deficient in per-
manence.

The spirit-style has relatively decreased in importance in
proportion to the growth of the steam-style. It is little
adapted for the majority of the new colours, and the colour-
ing matters which it employs are chiefly those of vegetable
origin — sapan, logwood, bark and berry liquors. The acid
aniline colours, such as acid magenta, might be applied in
this style if it should prove convenient.

TISSUE-PRINTING. 319

The following examples will show the nature of the
colours used in this style : —

1. Blue.

Water 2 gallons.

Starch ...... 2i- lbs.

Yellow prussiate of potash . . 2

Boil till dissolved to a uniform paste, and w^hen cold^
add : —

Nitrate of iron at 82° Tw . . lipint.
Oxymuriate of tin at 100^ Tw. . 3 pints.

2. Chocolate,

Sapan liquor at 8^ Tw. . . li quart.

Bark liquor at 13*^ Tw. ... 1 pint.

Logwood liquor at 10^ Tw. . . 1 quart*

Starch . . . . , 1 lb.

After boiling and cooling down to 110^ F., add : —

Oxymuriate of tin at 100^ Tw. . \ pint.
Nitrate of copper at 80^ Tw. .
Oil ......

5>
J 5

3. Orange.

Berry liquor at 8^ Tw. . . . quart.
Light British gum . . . 3 lbs.

After boiling, stir in : —

Tin crystals . . . . 1^ lb.

Spirit pink (No. 4) , . . 1 galL

4. Pinh.

Sapan liquor at 8'' Tw. ... 1 quarts
Salt (common) .... 8 ozs.

320 DYEING AND TISSUE-PRINTING.

Starch ..... 6 ozs.

Water ...... 1 quart.

After boiling and cooling, work in : —

Oxymnriate of tin at 120^ Tw. . i pint.

IsTitrate of copper at 80° Tw. . . f fl. oz.

5. Pinh for UocJcing {71 with Madder Work,

Sapan liquor at 10° Tw.
Pink salt
Sal-ammoniac
Blue-stone .
Oxalic acid .
Water .

Gum Senegal water (at 6 lbs. per
gallon) .....
Oxymuriate of tin at 120° Tw.

4|. quarts.

2|. lbs.

ilb.
I

a" 5?

1t^^ oz.
i pint.

41- quarts.
11 fl. ozs.

6. Purple,

Copperas ..... 6 ozs.

Starch . . . . . 1 lb.

Water ..... 2 quarts.

Logwood liquor at 8° Tw. . • i gallon.

After boiling, stir in : —

Muriate of iron (protochloride of

iron or ferrous chloride) . . JL pint.

Oxymuriate of tin at 120° Tw. . 4. „

7. Fed.

Starch ..... 2i- lbs.

Verdigris ..... 8 ozs.

Sal-ammoniac . . . • 8 „

Sapan liquor at 4° Tw. ... 6 quarts.

TISSUE -PEmTING.

321

Boil, and when cold stir in : —

Pink salt 2i. lbs.

Starch ...... 2 lbs.

Alum ...... 1 lb.

Berry liquor at 10'' Tw. . . .2 galls.

Boil, and when cool stir in —

Double muriate at 120° Tw. . .1 quart.

It will be seen that in all these receipts a considerable
proportion of tin, generally in the form of a per-salt
(stannic salt), is a standing ingredient.

9. A^wtlier Yelloio,

Berry liquor at 5i° Tw. . . .21 quarts.
Ground alum . . . . .24 ozs.
Solution of tin. . . . • pi^^-
Gum tragacanth . . . . 2 lb. 3 oz.
[Previously steeped in 7 quarts of the berry liquor.]

The solution of tin is composed of —

Muriatic acid . . . .19 lbs. 11 ozs.
Tin crystals . . . .13 lbs. 2 „

Oxalic acid .

8 ozs.

8. Yellow.

10. Violet

Logwood liquor at 2^
Gum-water .

Tw.

l A pint.
9 fl. ozs.

[Containing 8i- ozs gum]

Ground alum
Perchloride of tin .
Solution of corrosive sublimate

1 oz.

322

DYEING AND TISSUE-PEINTING.

The solution of corrosive sublimate is made up with —
Muriatic acid . . . . 3^ ozs.

Corrosive sublimate. . . . If "

Twenfcy-four hours after printing wash well and dry.

Pigment Style.

The pigment style is one which has been remarkably
developed of late years, and which adds greatly to the re-
sources of the printer, serving to produce effects which
would otherwise be impracticable. In all the other styles
of printing, as well as in dyeing, the colouring matters
are soluble, and are rendered insoluble upon the fibre. In
the pigment style the colours are insoluble colours in ex-
ceedingly fine powder. This is ground up with some suit-
able medium, printed, and then steamed and dried. By the
steaming process the medium is coagulated and rendered
insoluble, and the colour is consequently left permanently
deposited upon the fibre. The colours adapted for this
styJe are the lakes, including carmine, vermilion, ultra-
marine of different shades, chrome yellows, and oranges —
chromates and dichromates of lead, cadmium-yellow
(sulphuret of cadmium), Guignet's green, and other chrome
greens, carbonaceous grey, lamp black, the umbers, ochres,
and other natural coloured earths, which must be pre-
viously brought to the highest degree of fineness by
elutriation.

The principal mediums used are albumen, as obtained
from blood or eggs. This is ground up into a uniform
paste with the colour, thickened with mucilage of gum-
tragacanth, and after printing, fastened by steaming.

Casein, or as it is commonly called in print-works
lactarine (from the very unscientific name given it by a
patentee) is also used. It is dissolved in ammonia, and
becomes fixed as the solvent is volatilized by heat. Vege-

TISSUE-PRINTING.

323

table gluten is also occasionally used. Where cost is less
the object than excellence, albumen should always be pre-
ferred. Various varnishes and oily mixtures, solutions of
india-rubber, &c., have been tried as mediums for pigments,
but so far without any very general success. Here, con-
sequently, there is decided room for improvement. One
proposal is to incorporate the colour with collodion, — i.e., a
solution of pyroxiline in a mixture of alcohol and ether.
The high price of ether and the inflammable character of
its vapour present difficulties in working this process on
the large scale.

The pigment style is chiefly adapted to the smaller
features of a design, dots, stars, flowers, fine lines, (fee.
We rarely meet with goods printed exclusively by this
process, but it serves to embellish or illuminate designs
mainly produced by other styles. Pigment colours are
often applied by the block, or as it is technically called
"blocked in," after the other parts of the design have
been completed. They take a high place as regards
solidity and permanence, and as now produced they are
free from the chalkiness and opacity which was complained
of some years ago.

The following medium has been proposed by Schlum-
berger for fastening the pigment colours : — 1,000 parts
casein, 75 parts calcined magnesia, and 4,800 parts water
are taken, each of the solids is separately worked up with
portions of the water, and the whole is mixed together and
allowed to stand for a few hours, when it forms a thick
pasty mass. Three hundred parts of hydrated baryta
(barium hydroxide) are next dissolved in ten times their
weight of warm water, and stirred into the casein paste.
The pigments are then ground up with this mixture.

The following are processes for pigment blues applicable
to silk or cotton : —

Albumen solution • , , . 1 quart.
Finest ultramarine . , . ,221- ozs.

324

DYEING AND TISSCE-PEINTING.

(h.)

Of the mixture above . . .1 quart.
Water ...... 4 quarts.

Zinc white . . . . . 2i lbs.

Solution of albumen . . . .1 gallon.

Ammonia soap (liquid) . . .1 pint.

For the solution of albumen take : —

Best blood-albumen

Water at 88^^ F

Ammonia soap ....

For the ammonia soap mix : —

Soft soap .....
Warm water ....

Dissolve and stir in : —

Oil of turpentine . . . 1 lb.
Ammonia . . . . . 1 lb.

Or :—

Make up the ultramarine to a paste with glycerine,
grinding it well up in a paint-mill and running it through
three strainers.

For the paste take : —

Ultramarine . . • .7 lbs.
Glycerine . . . . . 3^ „

For the colour : —

Paste as above . . . .4 lbs.
Solution of albumen . . . 2± „

After printing, steam, take through boiling water, and
wash.

Trouble is often experienced in pigment styles, and in-
deed in all colours containing insoluble matter, if applied
with the machine, by the "sticking on'' or "sticking in"
of the colour. That is, the colour, instead of being evenly
and uniformly taken up by the calico from the engraving

26 ozs.
li- quart.
1 pint.

i±ib.

T gall.

TISSUE-PKINTING.

325

on the cylinder remains in part adhering to the latter,
nntil the engraving is filled np. The colonr is in a manner
unmixed, or mechanically decomposed in this process.
The soluble ingredients are delivered in the nsnal manner
upon the piece which is being printed, whilst the insoluble
ingredients — which in pigment styles are the most impor-
tant — remain on the engraved roller.

The only remedy for this evil is greater care in the per-
fect mixture of all colours in which insoluble ingredients
are present.

In block printing this inconvenience does not make itself
felt.

Aniline Black and Allied Styles.

Aniline blacks, though they are in some cases fastened by
steaming, and though they can be combined with almost
every style, are most conveniently treated of separately.

1. JJngreenable Aniline Black with Vanadium,

Water . . . . .550 parts.
White starch . . . . 125 „
Dark calcined starch . . . 42 „

Boil, and when cooled down to 122^ F., add: —

Xew aniline oil . . . .80 parts.
Muriatic acid at 32^ Tw. . . 80 „

When perfectly cold, add : —

Chlorate of soda . . . .42 parts.
Boiling water . . . . 50 „

Just before using, stir in : —

Solution of vanadium (see below) . 20 parts.

Age for two days ; take through bichromate of potash
75 grains to 1| pint of water, at ISS'^ F., wash, and soap.

326

DYEING AND TISSUE-PRINTING.

Instead of using the respective proportions of aniline
and muriatic acid mentioned above, it is better to neutra-
lize the aniline exactly with the necessary amount of
muriatic acid, using methyl violet as an indicator. To
the aniline oil muriatic acid is added till a few drops of the
liquid, added to a very dilute solution of methyl violet in
water, turn it to a greenish blue. The air of the ageing
room should be very moist, and a little sal-ammoniac, say
10 parts, may be usefully added to the colour in order to
attract moisture.

To prepare the solution of vanadium : Dissolve 155
grains vanadiate of ammonia in l^oz. muriatic acid, pre-
viously diluted with an equal measure of water, heating
the whole gently in a porcelain crucible, and adding by
degrees small quantities of glycerine, stirring briskly till
the liquid has become a dark green, and all undissolved
matter has disappeared. Then dilute with 17 pints of
water. The liquid turns a light blue and is preserved in
a closed bottle ; 8^- ozs. of this solution suffice for 22 lbs.
of colour.

Boil and cool.

Chlorate of soda solution 12*^ Tw. . 1 gall.
White starch . . . .2 lbs.
British gum . . , . „
Ammonium chloride . . . ,^

Boil and cool.

When ready for printing, mix the two together, and add
1 pint of copper paste and strain when the colour is
ready.

2. Copper Aniline Black.

Water

Muriate of aniline
Aniline oil .
Starch
British gum

1 gall.

2 lbs.
2 ozs.
2 lbs.
8 ozs.

TISSUE-PRINTING.

327

This black can be fixed either by ageing or steaming.
If the latter method is preferred steam for half an hour at a
pressure of 3 to 4 lbs., roll the pieces in bundles, let lie
over-night, and soap in morning.

3. GordilloWs Anil me Black,

White starch
Light calcined starch
Lamp-black
Water .
Aniline oil .

Boil well, and add: —

Chlorate of baryta

Add by degrees : —

Tartaric acid
Dissolved in water

Stir, up, and add : —

Red prussiate of ammonia

l^ ozs.

4 lbs. 6
. 141

9i- ozs.

19-i. ozs.
+

27±

ozs.

To prepare the red prussiate of ammonia, dissolve
12|-ozs. sulphate of ammonia in 13-1 ozs. boiling water, and
add to it the solution of 2i lbs. red prussiate of potash in
4 lbs. 8|- ozs. boiling water. Mix the two liquids, let stand
for two days that the sulphate of potash may crystallize
out, and draw off the clear for use.

This black bears steaming immediately, it does not
tender the cloth and can be associated, with all colours.
It is, however, costly.

4. Cerium Aniline BlacJc,

White starch ... 30 lbs. 10 ozs.
Light calcined starch . . . 14i- lbs.
Water 242 „

328

DYEING AND TISSUE-PSINTIXG.

Sal-ammoniac ... 3 lbs. 14 ozs.
Chlorate of potash . . 6 lbs. 12 ozs.
Muriate of aniline . . 13 lbs. 7^ ozs.

To 220 lbs. of the solution are taken49^fluid ozs. of cerium
solution. The colour is developed in about eight hours,
aud is remarkably rich and deep, with a blue reflection.

The cerium solution is prepared by treating cerite with
sulphuric acid. The mass is then lixiviated with water,
and the liquid is filtered to remove silica, and is then con-
centrated for use. The cerite is ground very fine and is
heated with an equal weight of oil of vitriol in a leaden
pan. 1 lb. cerite yields about 9 lbs. solution.

5. Chlorate of Ammonia,

Water, 157 fluid ozs. ; liquid ammonia, 7 pints, sp. gr. 0*9.

Mix, and add 157 fluid ozs. water in which have been
dissolved 4 lbs. 6 ozs. tartaric acid. Then add: Boiling
water 43i pints, chlorate of potash 9 lbs. 10 ozs.

Stir till all is dissolved. The mixture should be neutral
to test paper. Then put in tartaric acid as above, 157 fluid
ozs., stir continually for a quarter of an hour, and after-
wards at intervals throughout the day while the mixture
is cooling. When quite cold, throw on a filter and wash
in the filter with 11|- pints of water, adding the washings
to the filtrate. The yield is 74 pints at sp. gr. 1*05.

Thickening No, 1.

Chlorate of ammonia solution, as above, 63 pints; starch,
17 lbs. 13 ozs. Heat to 155° F., incorporating thoroughly,
and cool.

Thickening No, 2.

Chlorate of ammonia solution, as above, 1103 fluid ozs. ;
brown British gum, 39 lbs. 10 ozs. Heat also to 155"^ F.,
and cool. Equal quantities of these two thickenings are
made ready for use. ^

TISSUE-PRINTING.

329

Colour.

Mixed tliickenings, 63 pints ; muriate of aniline, at
spec. gra^. 1-10, 315 fluid ozs. ; sulphuret of copper paste,
77i- fluid ozs. These mixtures should be prepared in
stoneware pans, heated in the water-bath, or in enamelled
iron pans fitted with steam-jackets.

Sulphur et of Coi^per Paste,

Caustic soda, at sp. gr. 1*35, 315 fluid ozs. ; flowers of
sulphur, 4 lbs. 14 ozs. This is put in stoneware vessels
and frequently stirred with an iron ladle till all is dis-
solved, which may take from twenty-four to thirty hours.

Add this all at once to 23 lbs. 13 ozs. blue-stone, dis-
solved in 472 pints boiling water, stir well, and make up
with cold water to 787 pints. Let settle, run ofl* clear
liquid, and wash three times by decantation, and drain
upon a filter. The yield is about 21 pints of paste.

Muriate of Aniline Solution,

Aniline oil . . . . .63 pints.
Muriatic acid (33^ Tw.) . . . 50-|- pints.
Water 27 „

The yield is nearly 140 pints at sp. gr. I'OO.
Of take —

Muriate of aniline crystals . . 89 lbs. 11 oz.
Aniline oil . . . . . 9 ,, 13 „
Water 3 lbs.

Instead of chlorate of ammonia, chlorate of soda and
chlorate of baryta may be used, by substituting caustic
soda or baryta for ammonia. In these cases it is less essen-
tial to avoid the use of copper pans.

330

DYEING AND TISSUE-PRINTING.

Aniline BlacJc^ No, 5.

Dissolve in 22 gallons cold water starch paste, 110 lbs ;
chlorate of potash, 6 lbs. 9 ozs. ; sal-ammoniac, 6 lbs. 7 ozs.;
and mix in sulphuret of copper paste, 10 lbs. 15 ozs. Before
using, add starch paste, 110 lbs. ; liquid muriate of aniline,
66 lbs. (50 parts muriatic acid and 46 parts aniline oil).
Print and age the moist goods. The colour comes up a
dark green. If the shade is not full enough, age longer.

Lastly, take through a weak beck of carbonate of soda
and chromate of potash.

6. Neiu Aniline Black,

Water ...... 25 ozs.

Starch . . . . . . 30 „

Tungstate of chromic oxide (paste), 24 ozs. Boil well
together, and when the mixture has cooled down to about
90^ F., add :—

Chlorate of potash .... 7 ozs.
Sal-ammoniac . . . . 3i „
Muriate of aniline . . . , 28 „

Aniline Black (Dreijftts^s).

Chlorate of ammonia . . , 7~ quarts.

Starch 3 to 4 lbs.

British gum . . . . . 3 to 4 „

Boil well together, and let cool ; then add : —

Muriate of aniline, neutral (2 lbs. per

quart) . . . . • pints,
Sulphuret of copper , . , ^ pint.

Aniline Oxalate Black,

Chlorate of potash . . . . 4 ozs.

Chloride of calcium . . . 8 „

TISSUE-PRINTING.

Starch paste . . . •
Gum tragacanth mucilage
Light gum-water .

Boil well together, let cool, and stir in

Oxalate of aniline .
Sal-ammoniac . •
Sulphuret copper .

2 quarts.
2 „
2 „

12 ozs.
1^ oz.
4i- ozs.

Aniline Blach, with Sidpliocijanide of Copper,

Water 2 quarts.

Starch . . • . • 8 ozs.

British gum, dark . . . . 8 „

Sulphocyanide of copper (paste) . 1 oz.

Boil, and stir in —

Chlorate of potash . . ^ • 4 ozs.
When cool, add —

Muriate of aniline . • • . 8 ozs.

Koeclilhis Aiiiline Blach, luith Tartaric Acid.

Water . . . . . . 4i- quarts.

Aniline oil . . . . . 4i. „

Starch 10 lbs.

British gum, dark . • , • 10 lbs.

Stir well together, and add —

J Chlorate of potash . • . 5i lbs.
\ Sal-ammoniac . . • . 5i- „

Dissolved in —

W ater . . . . . .4 gallons.

Boil, cool, and add —

Sulphuret of copper paste • . 2 quarts.

332

DYEING AND TISSUE-PRINTING.

Just before printing add —

Tartaric acid . • . « .22 ozs.

dissolved in

Hot water pint
per gallon of the colour.

Pinhneijs Aniline Blade,

Muriate of aniline . . . .150 parts.
Salt of vanadium .... 18i- „
Chloride of nickel . . . . 20 „
Chlorate of potash , . 100 to 150 „
Gum-water .... 1,200

The chief importance of this specification is that it re-
called attention to the use of vanadium in the production
of aniline black, which though noted by Lightfoot had
been overlooked.

Resists for Aniline Blade,

White designs on aniline black grounds may be obtained
by printing on the following reserve-paste : —

White arsenic . . . . .10^- lbs.
Soda-lye, at 65^ Tw. ... 7 pints.
Water . . . . . . 7 „

Dissolve with the aid of heat, and when cold let down
with cold water to 141^-^ Tw. Of the clear solution, 5-|.
pints are diluted with 15|- pints water, and thickened with
11 lbs. dextrine.
« Where this compound is printed the aniline black is
not formed.
Or:—

Sulpho-cyanide of potassium . . 760 grains.
Gum-water ..... 1^ pint.

TISSUE-PRINTING.

333

Print on, steam, and print the aniline black over it. In
case of an acid colour, the sulpho-cjanide of lead is used.

Discharge for Aniline Blacks.

Make an acid solution of permanganate of potash,
thicken with finest China-clay and siliceous earth, well
ground and elutriated. Block in dry, and pass the pieces
through oxalic acid. No starch, gum, or other organic
matter must be used for thickening.

Cerium Aniline Grey,

White starch ,
Light calcined starch
Water .
Sal-ammoniac
Muriate of aniline
Muriatic acid
Cerite solution

18 lbs. 12i ozs.

4 lbs. 2 ozs.

132 lbs.
1 lb. li- oz.

1 lb. li-OZ.

1 lb. 1^ oz.

Age for a few hours in a warm room, and soap well. It
may be printed along with steam colours.

Ordinary Aniline Grey,

Dissolve 21 i- ozs. chlorate of potash in 6 pints boiling
water. When cold add: —

Gum-water . . . . •

Sal-ammoniac . . . . .

Chromo-tartrate of potash at 49^ Tw.
Aniline ......

Tartaric acid . . . . .

111. pints.
103. ozs.

o\ lb.

6|- ozs.

2i- lbs.

To prepare the chromo-tartrate of potash, dissolve 33|-
ozs. bichromate in 105 fluid ozs. hot water. When it has
cooled down to 111^ F., add gradually 3 lbs. 2 ozs. tartaric
acid in powder, avoiding a rise of temperature.

334

DYEING AND TISSUE- PRINTING.

Print, age for 48 hours at 89^ F., and wash for an hour.
For lighter shades, increase the gum. This grey bears all
the processes necessary for alizarine reds, except passage
through a salt of tin.

The following colours produced with an induline can be
introduced here : —

Blaclc.

White starch .

Water ....

Indigo substitute (Geigy's)

Gum tragacanth water

Turkey red oil

Berry liquor at 30i-^ Tw. .

Boil, and add when cold ; —

Acetate of chrome, at 20° Tw.
Bisulphite of soda, at 41° Tw.

4 lbs.
, 5i- quarts.

\ pint,
quarts.

6 pints.
1 pint.

Olive,

White starch .
Water

Indigo substitute
Gum tragacanth water
Turkey red oil
Acetic acid

Berry liquor, at 30i-^ Tw.
Boil, and when cold add —

Acetate of chrome, at 20^ Tw.
Bisulphite of soda, at 41^ Tw.

8 lbs.
lOi- quarts,

i pint.
^To Quarts.

1 quart.
1 pint.

B lue.

White starch .
Water

Indigo substitute

6 lbs.
. 25 pints.
, 2y'^ quarts^

TISSUE-PRINTING,

335

Gum tragacanth water . . . 2^'^ quarts.
Acetic acid ..... 2^'^ „
Turkey red oil .... i pint.

Boil, and add when cold : —

Acetate of chrome, at 20^ Tw. . 1 quart.

Bisulphite of soda, at 41^ Tw. . . 1 „

NaplitJiylamine Face,

Nitrate of naphthylamine . . 2 lbs. 12j- ozs.
Acetic acid at lli^ Tw. . . .33 ozs.

Dissolve and add : —

Lukewarm starch paste (at 5i- ozs.

starch for 35 fluid ozs.) . . 7 pints.

( Chlorate of potash . . . 2i- ozs.

\ Dissolved in hot water . . 26 „

At the moment of using about 2|. ozs. hydrofluosilicic
acid is added. Print with the cylinder, and age for twenty-
four hours at 76° F. with the wet-bulb thermometer at
78° F.

To prevent the naphthylamine salt from crystallizing
out during printing, the cylinder is kept hot by turning
in a trough of boiling water, and the colour itself may be
kept at about 100° to 110° by a water-bath.

After ageing, the pieces are taken through a cistern
fitted with rollers, and containing per 35 ozs. cold water
2^ ozs. bichromate of potash, and li- oz. muriatic acid at
33° to 34° Tw.

On leaving this bath the pieces fall into cold water, and
are washed in the machine. They are then passed by eight
at a time into a beck containing 153 gallons of cold water,
and 7 quarts alkaline chloride of soda, at 21|-° Tw. They
are winced here for twenty minutes and passed into soap-
lye at 30 grains per 35 ozs. cold water for half an hour^
cleaned and dried;

336

DYEING AND TISSUE-PRINTING.

NapJithylamine Yelhivish Grey,

Water .
Starch .
Naphthylamine
Chlorate of potash
Sal-ammoniac
Acetic acid .
Muriatic acid
Muriate of iron, 75^ Tw

Reduce, if desired, with starch paste.

1 gallon.
80 ozs.

lib.
2 ozs.
4 „

NapJithylamine Grey,

Yellowish grey, as above
Starch paste
Aniline grey

3 pints.
1 pint.
1 „

The starch paste referred to is prepared with : —

Starch ...... 20 ozs.

Acetic acid ..... 8 ozs.

Water ...... 1 gallon.

Boil, and stir in li- oz. olive oil.

Aniline Grey (Ehem's),

Gum tragacanth water .
Chlorate of potash
Sal-ammoniac
Muriate of aniline
Nitrate of copper, 84"^ Tw.
Muriatic acid

12 pints.
6 ozs.

6 „

3
4

(The last three colours are not remarkable for beauty.)

TISSUE-PEINTING.

837

NapMhylamine Grey, No, 1 amy's).

Sfcarcli paste . . • . 8 quarts.
Muriate of iron crystals • 1 lb.

Previously dissolved in —

Water ...... 2 quarts.

JN'aphtliylamine chocolate . . ± pint.

Do. No. 2.

As 'No, 1, but 1 lb. crystals of chloride of copper in
place of muriate of iron.

The chocolate above mentioned is thus made : —

Nitrate of naphthylamine . . 3 lbs. 3 ozs.
Dissolve in —

Acetic acid, 11^ Tw. ... 1 quart.
Starch paste, warm ... 1 gallon.
[Containing 24 ozs. starch.]

Lastly, add : —

Chlorate of potash . • . 2|- ozs.
In boiling water . , • . 1 pint.

Compound Designs.

The following few examples will throw a light on the
methods of producing designs in a variety of colours.

1. Bose, Grey, and Black on Calico {Steam Style),
Rose,

Solution of carmine . . .70 fluid ozs.
Palest blood-albumen thickening . 175 „

338 DYEING AND TISSUE-PRINTING.

Gum -water ..... 52 quarts •

[17^ ozs. gum to 1^ pint.]
Water 70 fl. ozs.

To make the solution of carmine, take —

Carmine ..... 13 lbs. 2 ozs.
Ammonia (at sp. gr. 0-968) . o 8i- lbs.

Grey.

Lamp-black paste . • .5 lbs. 7^ ozs.
Residue of ultramarine blue . . 1|- pint.
Dark blood-albumen thickening . 19i- „
Gum-water ..... 12i- „

Lamp'hlack jpaste is thus made : —

Lamp-black . . . . .5 lbs. 7^^ ozs..
Oil of vitriol . . . . 21 „ 14 „

Stir together, and let stand for twelve hours ; wash
with water till acid is removed, and use the moist paste.

B lack.

Logwood liquor, at 11^^^ Tw.
Water

Chlorate of potash
Olive oil
Wheat starch
Dextrine

- ozs»

122 pints.

52 „
3 lbs. 11^
52 fl. ozs.
32 lbs. 13 ozs.
58-1- lbs.

To every 22 lbs. of this mixture add 2 lbs. 3 ozs. of the
following mordant : —

Solution of chrome at 43'' Tw. . 17i- pints.
Caustic soda at 72^ Tw. . . If "
Acetate of chrome at 18^^ Tw. « 14 „

For the chrome solution dissolve 12 lbs. chrome alum in
13 pints water, and filter.

TISSUE-PRINTING.

339

For the acetate of chrome solution, take of the above
solution of chrome alum 1|- pint, and sugar of lead 21 ozs.
Dissolve, settle, decant the clear, and set at 18^^ Tw.

Puce^ Bed, Rose (fast) with Gree7i, Yelhiv, Violet,
and Blue (Steam).

The pieces, perfectly bleached, are printed with the fol-
lowing colours with the cylinder machine : — Discharge
red, P.S. ; rose, 1. 8. Z 5 and 6 ; puce, B 2.

Discharge Bed, P. S,

Red liquor at 20'' Tw. .
Sapan liquor, at 30^" Tw.
White starch
Calcined starch
Oil of turpentine .
Tin crystals .

Boil and stir till cold.

17-1 pints.
I7i- ozs.
4 lbs. 6 ozs.

8|- lbs.

31- ozs.

2i .

Bose, l.S, Z. 5.

Red liquor, at 15 l« Tw. . . Ij. pint.
Dextrine water . . . . 14 ,,

To every 1|- pint of this mixture, add 2|- ozs, tin
crystals.

To make the red liquor aforesaid take : —

Water . . . . . .175 pints.

Alum and sugar of lead, each . 109 lbs. 6 ozs.

The dextrine water is made by dissolving at a boil 43|-
Ibs. calcined starch in 521- pints of water,

6 Puce, B. 2.

Red liquor, set at 8i-^ Tw. . . 17i- pints.
Black liquor, at 8i-° Tw. . . 35 . „

340

DYEING AND TISSUE-PKINTING.

Extract of logwood, at 30° Tw. . 10^ ozs.

White starch .... 13 lbs. 2 ozs.
Calcined starch . , . , 3i lbs.

Oil 1| oz.

After printing age for twelve hours, and dung for four
minutes at 176^ F., in the following mixture : —

Forty-four gallons dung, and 10^ pints arseniate of
soda and potash. This solution is made by dissolving 105
lbs. bi-arseniate of potash in 175 pints of boiling water,
and neutralizing with 262 pints caustic soda, at 30i^ Tw.
This yields 210 pints liquid at 71^ Tw.

For every ten pieces add to the dung-beck I7i ozs.
weight of cow-dung stirred up in water, and 8|- ozs. mea-
sure of the arsenical solution. Wash in the machine,
dung again for half an hour at 167° Tw., and wash once in
the wheel and twice in the machine. A third dunging is
done at the same heat for half an hour, and the pieces are
washed once in the wheel and twice in the machine.

Dye per 109 yards with 19 ozs. alizarine at 10 per cent.

Enter at 98^ F., raise to 143^, and take swatches to judge
of the saturation.

Wash in the machine, take through a bran-beck at 167°
F. Dry in a current of air, calender lightly, and block in
the following colours : —

3 Steam-green, yellow M, light and dark violets, and
ultramarine blue. Finally steam, wash, and finish.

3 Steam- green.

Berry liquor at 8^° Tw.

Boiling water

Gum-water at 69*^ Tw. .

Yellow prussiate .

Oxalic acid , . . .

Alum . . . . ,

Acetic acid at lli-° Tw.

4 ^

Permuriate of tin at 113 Tw,

2 lbs. 3 ozs.
7 ozs.

5i- pints.

TISSUE- PRINTING.

S41

Yellow If.

Berry liquor at 8^^ Tw. . . 3i- pints.

Water 17i-fl. ozs.

Pink salt ..... 5i-ozs.

Oxalic acid . . . , . 1|- „
Powdered gum ... 2 lbs. 11^ ozs.

The violets (methyl) and the ultramarine are mixed in
the ordinary manner.

Blue, Yellow^ Green, and Black (Steam) on Half Silks,
Blue,

Gum tragacanth .... 17i-ozs.
White glue . . . . . 4i- „
Water 17-i- pints.

Boil together, and in the liquid dissolve : —

Soluble aniline blue . . . l^-oz.

Boil up again, cool, and strain.

Yellow,

Boil up 10|- ozs. berry liquor at 6l°Tw. with I7i- ozs.
gum tragacanth in 17i pints water.
Stir till cold, and add : —

Tin salt . . . . . 3^ ozs.
Oxalic acid . , , . • 8^ „

Blade,

French extract of logwood . 2 lbs. 3 ozs.

French extract of fustic . . 4i- „

Gum tragacanth . . . . 18 „

342

DYEING AND TISSUE-PRINTING.

Dissolve in 17^ pints water, boil up, let cool, and stir in
nitrate of iron at 49° Tw.

Black liqnor at 94-° Tw. . 2 lb. 3 ozs.

Print, hang up, and steam.

Blade, Bed, Bose, Green, Yelloiv, and Blue, on a
Violet Ground, Calico,

Pad the pieces in stannate of soda at V Tw. for three
hours, take through vitriol sours of the same strength for
one minute, and then through water. Pad in a solution
of |- oz. casein (lactarine) and the same weight of soda
crystals per 1^ pint water. Leave them in this for three
hours, take again through sours at 1° Tw., and enter in
the dje-beck. For each 12 pieces — 154 yards — add to the
beck the necessary quantity of solution of aniline violet
and 4i- ozs. acetate of soda. Run through the beck for
twenty minutes.

Another and simpler way of preparing is : — Pad in stan-
nate of soda at 14° Tw. for three hours, and take through
a cistern containing 5^- ozs. sal-ammoniac per 87 quarts of
water along with the necessary quantity of aniline violet
in solution. Run through this liquid for ten minutes,
rinse, and dry. Before printing run over a drum covered
with woollen cloth.

Print on the following steam colours : —

Black,

Extract of logwood at 14° Tw. . 5^ pints.

Bark liquor at 14° Tw. . . . 9 fl. ozs.

White starch .... 9 J- ozs.

Dextrine ..... 12i-ozs.

Boil, stir till cold, and add : —

Nitrate of iron at 98° Tw. . . 18| ozs.

And stir well together.

TISSUE-PRINTING.

343

Bed.

Cochineal liquor at 8^^ Tw. . • 7 pints.
White starch . . . .17-1 ozs.
Oil ^ „

Boil well, and on taking from the fire add : —

Tin crystals . . . . l^oz.
Oxalic acid . , . • . 1^ „

Eose.

Cochineal liquor at Tw. or up-
wards, according to shade . . 2i pints.
Red liquor at 22« Tw. . . .17 ozs.
Tartaric acid . . . . 7|- „
Powdered gum . . . . 7

Let down with weak gum- water, to every 17 pints of
which add 1|- pint red liquor at 22^ Tw.

Green.

Berry liquor at 9i-° Tw. . . 7 pints.
Red liquor at 151^ Tw. . . 1| „

Blue mixture, as below . . 7 „

Perchloride of tin ... 8^ ozs.

Gum ...... 7 lbs. 1 oz.

Blue Mixture, above mentioned.

Water 21 quarts,

Yellow prussiate . . • • 91- lbs.

Tartaric acid .... 25iozs.

Oxalic acid • . . • • 25-L „

344

DYEING AND TISSUE-PEINTING.

Steam Yellow.

Berry liquor at 6|-^ Tw.
Powdered gum .
Tin crystals

l|-pint.
12 ozs.

Si „

The yellow should be mixed three days before it is
wanted.

Prussian Blue.

Water

"White starch

Tin pulp

Sal-ammoniac

E«d prussiate of potash

17 pints.

Silbs.

81. pints.
20^ ozs.

Si lbs.

Boil, and stir till oold.
1 oz. nitrate of iron.

The colours after printing are steamed

For a heavier blue add -|- oz. to

White^ Blue, Green, and Yellow, on a Turkey- Bed
Ground.

On the dyed pieces print : —

White, — In 11- pint water dissolve 21 lbs. tartaric acid,
and thicken with 27 ozs. pipeclay and 17i fluid ozs. gum-
water (at 35 ozs. gum per ll pint).

Yellow, — Water 7 pints, white starch 20 ozs., oxalic acid
4 lbs. 6 ozs., nitrate of lead 2 lbs. 6 ozs., tin crystals 2 lbs.
3 ozs.

Blue and Green. — Print the mixture from white to which
has been added Prussian blue stirred up in water and dis-
solved with oxalic acid. Green is formed by printing blue
over yellow. The pieces are then passed through a dis-
charge beck of chloride of lime at Tw., and into a
chrome beck of 155 grains chromate of potash per pint.

Bed aiid White on a Grey Ground. First Metlwd.
Tin Solution.

Tin crystals . . . • 41bs. 6ozs.
Bichloride of tin, crystalline . . 2 lbs. 3 ozs.

Dissolve together.
Dissolve l?^- ozs. sugar of lead, in 1|- pint water. Mix
the two solutions, stir, let settle, and use the clear.

Steam Bed.

Cochineal liquor, Tw. . . 65 pints.

Bark liquor, 301-^ Tw. . . . 3i „

White starch . . . .11 lbs.

Salt of sorrel . . . 2 lbs. 3 ozs.

Boil up, stir till cold, and add 3|- pints of the tin solu-
tion.

22 lbs. cochineal yield 60 pints of liquor at 9^-^ Tw.
For this steam-red may be substituted a pigment-red made
of carmine and gum-water.

Steam Grey,

Crude acetic acid at 2i.° Tw. • . 8|- pints.

Black liquor, 20^ Tw. . . . 1| „

Solution of blue-stone, 20° Tw. . If „

Sal-ammoniac .... 27 1- ozs.

Catechu liquor, 2i-^ Tw. . . 1|- pint

Logwood liquor at 6|-^ Tw. . . 7 ozs.

Calcined starch ... 3 lbs. 14 ozs.

This colour may be let down as needful with one, twOy
three, &c. times its measure of gum- water.

Print, steam for half an hour, age for a day, wash, dry,
and finish.

S46

DYEING AND TISSUE-PRINTING.

Second Metlwd. — The same style can also be obtained
in fast colonrs. The whites are protected by resists
(which see), and the following colours are printed on for
the reds and greys.

Bed.

Mordant B at Tw. (see below) 1|- pint.
Crude acetic acid at 2i.'^ Tw, . . Sl ozs.
Bark liquor, 30^-^ Tw. . . . l| „
White starch . . „ , Ix
Calcined starch . . , • 2|- „

Boil, stir till cold, and add : —

Tin crystals . . . . 1 oz. *

Mordant B, at 11^^ Tw.

Boiling water . . . .43 pints.
Alum 22 lbs.

Dissolve, and add : —

Sugar of lead » . . 4 lbs. 6 ozs.

Grey,

Extract of logwood, 80^ Tw. . • H pint.

Berry liquor, 6|-° Tw. . . . 7 pints.

Gum- water (containing 35 ozs.) . l|-pint.

After printing, age for twelve hours at 95^ F., with the
wet-bulb thermometer at 86^ F. Take through a cistern
fitted with rollers, with 1 oz. chromate of potash per 1|.
pint ; rinse, and fly-dung with : —

Water ..... 350 pints.

Dung 7 „

Phosphate of soda . . . 174- ozs.

Pass the pieces for two minutes through this beck at

TISSUE-PRINTING.

347

178^ F., and then into a large dung-beck containing 175
pints dung to 525 gallons of water.

Wash, and pass for twenty minutes through a beck at
155^ F., containing 43 pints dung per dozen pieces. After
each dozen the beck is replenished with 21 pints dung, and
it is entirely emptied and renewed after 4 or 5 dozen.

Wash well and dye with alizarine for reds, in the usual
manner. Wash, take through boiling water, dry, and
finish.

Black, Bed, and Broivn Furniture Print,

The black is printed first, then the red and brown. The
pieces must be prepared in the usual manner for steam-
styles. After printing and dyeing, they are steamed,
washed, starched on the backs, and dried.

Blade.

Logwood liquor, 6|-^ Tw. . , 26 pints.

Red liquor, 14«Tw. . . . J' „

Black liquor, 14^ Tw. . . . 11 „

Mix, and boil up with : —

Wheat starch . . . .6 lbs. 9 ozs.

Add:—

Olive oil , ... . lOi- ozs.
Stir till half cold, and add : —

Muriate of iron, 7 li^ Tw. . . 7 ozs.
JSTitrate of iron, 92i-« Tw. . . 29|- „

Tied.

Sapan liquor , . . . 8|- pints.

Bark liquor . . . . . 42 fl. ozs.

Alum . . . . , ^171- ozs.

348 DYEING AND TISSUE- FEINTING.

Thicken in the usual manner with : —

Wheat starch . . . , 27l ozs.
Gum tragacanth . . . • ^i- „

Stir till half cold, and add : —

Chlorate of potash . . . 4|- ozs.
Red prussiate , . . . 81 „

Broivn,

Dissolve 5 lbs. 7 ozs. catechu in 17 pints water at a boil,
filter well, and add : —

Redwood mixture, 25^ Tw. . . 6^'^ pints.
Acetate of manganese . « . 17

Thicken with : —

Calcined starch . . . .2 lbs. 3 ozs.
White starch . . . . 4 „ 6 „

For the redwood mixture take : —

Sapan liquor . . . . 70 quarts.

Alum 27 lbs. 6 ozs.

Sugar of lead . . . . 22 lbs.

Dissolve, let settle, and use the clear.

Acetate of Manganese,

Dissolve 22 lbs. sulphate of manganese in 17^ pints
water, and add 22 lbs. sugar of lead. Dissolve, let settle,
and draw off the clear for use.

Bandanna Style.

This style is exclusively produced upon cotton cloths
intended for handkerchiefs, and its production is generally
a distinct business, apart from ordinary calico printing.

The characteristics of the style are white, yellow, or
orange spots upon a Turkey-red or deep brown, &c., ground.

TISSUE-PRINTING.

849

This effect could, of course, be produced by the discharge
style, upon a Turkey-red, &c., ground, but it is obtained
much more rapidly and economically by special machinery
without the aid of the cylinder machine. Leaden plates
are used, perforated with holes of the exact size, shape,
and distances of the spots to be produced. A pile of hand-
kerchief pieces is laid between two of these plates, so that
the holes in the jipper and the lower lead exactly corre-
spond to each other, and the whole is then subject to a
pressure of several hundred tous by being placed in a
hydraulic press, specially modified for the purpose.

A solution of bleaching liquor (chloride of lime) is then
allowed to flow through the holes in the upper lead plate,
and percolate in a straight line downwards, finding its
escape through the holes of the lower plate. The immense
pressure prevents the bleaching liquor from spreading out
laterally, and confines its action to the parts corresponding
to the holes.

As soon as the bleaching liquor has passed through, a
stream of water is made to pass through in the same
manner, so as to wash away the bleach, which, without
this precaution, would spread out laterally as soon as the
pressure was relaxed, and cause the spots to have a blurred
outline. When this washing process has been sufficiently
performed, the press is opened and the pieces are thrown
at once into water. The result is a pattern of white spots
upon the red ground.

The method for producing yellow spots in chromate of
lead will easily be understood on reference to the section
on the discharge style.

It is stated, that with a proper arrangement of presses,
four workmen can print upwards of 19,000 yards of ban-
dannas in a day of ten hours.

350

DYEING AND TISSUE-PRINTING.

4-
I

Printing Woollens.

Goods consisting entirely of wool are printed chiefly in
the steam and the spirit styles, modified according to the
nature of the tissue. The following are receipts for the
production of the most common colours : —

Black [on all-iuool Merino).

Orchil liquor at 10^ Tw. . • . 1 gallon.

Logwood liquor at 10^ Tw. . . 12i- quarts.

Gall liquor at 20« Tw. . , li- pint.

Starch . . . . . 4i- lbs.

Boil, and w^hen the starch is thoroughly dissolved,
add : —

Blue-stone . . . . 4- lb.
Copperas .....
Extract of indigo . . .

Stir till cold, and add : —

Nitrate of iron at 80^ Tw. . o 1 lb. 14 ozs.

Black.

Extract of logwood at 7"^ Tw. . 2\ quarts*

Water ..... 2i- „
Starch . c . . . 4^ lb.

Alum ..... 3 ozs.

Boil together, stir till cold, and add : —
^ Nitrate of iron . . . . 8 ozs.
Extract of indigo ... 3 ozs.

Another Black,

Dissolve 10 lbs. solid extract of logwood in 17i- pints
boiling water. Thicken with -| lb. gum tragacanth; cool,
and stir in 2 lbs. pyrolignite of iron at 98'' Tw. Print with

TISSUE-PEINTING.

351

this colour, age for two days, and take through a water at
202^ F., containing 1 oz. chromate of potash per lb. of
woollen. Rinse.

This black requires no steaming.

Another Blade,

Dissolve 3 lbs. extract logwood and 1 lb. extract bark in
boiling water ; let settle, pour off the clear, and make it up
to lOi- pints. Stir in li lb. white starch and 1^ lb. cal-
cined starch ; boil, and dissolve in the paste whilst hot
i lb. ground copperas ; stir till cold, and add 52 fluid ozs.
nitrate of iron and pint black liquor; stir well. Print,
dry, steam for an hour, and rinse.

Black,

Extract of indigo ... \ lb.

Sal-ammoniac . . . . l^lb.

Calcined starch . . . 16 lbs.

Extract of logwood at 9^-° Tw. . 14 quarts.-

Boil up, stir till nearly cold, and add : —

, Nitrate of iron at 113^ Tw. . 2 lbs.

Muriate of iron at 84« Tw. . . 1 lb.

Stir till cold, and add : —

Oxalic acid . . o o 2 ozs.

Chromate of potash . . . i- lb.

Black for Woollen Yarns,

Dextrine ..... 6 ozs.

Wheat starch .... 8 ozs.

Extract of logwood, 8i-° Tw. . 3^ pints.

Dissolve, and add : —

Black liquor, 14^ Tw. . . 1 lb.

Olive oil . . . . . 3 ozs^

352

DYEING AXD TISSUE-PRINTING.

Boil all together ; cool, and stir in 1 l oz. nitrate of
copper. When quite cold, add 3 ozs. nitrate of iron. Let
stand a day before using. Stir well before printing. After
printing, let goods lie half an hour in a damp place ; steam
for an hour ; let lie for a day, and rinse.

Fast Black.

Dissolve in water 5 lbs. 7 ozs. extract of logwood ; let
settle, and make up to 17^ pints. Dissolve therein 13i- ozs.
gum tragacanth; stir till cold, and add 7 pints black liquor
at 30^^ Tw. Print, steam, and rinse. Take through a
water with chromate of potash at 1^^ Tw., and 122^ F.
E/inse.

BlacJc,

Dissolve 6 lbs. 9 ozs. solid extract of logwood in 11 pints
of boiling water, let cool, and settle. Mix the clear with
17 ozs. black liquor at 6-|-^ Tw., and 4|- ozs. nitrate of iron
at 98^ Tw. Thicken with 8^ ozs. gum tragacanth. Print,
hang up for six hours, and steam for forty-five minutes at
the temperature of 212^ F. Rinse.

Steam Black,

Logwood liquor . . . 16 pints.

Sapan liquor .... 17 fluid ozs.

Fustic liquor . . . . 17 „

All at IV Tw. Thicken at a boil with :—

Starch ..... 2 lbs. 3 ozs.
Add:—

Blue-stone . , , , 8|- ozs.

Copperas . . . . .

Extract of indigo . . . 7 „

And, when cold : —

Nitrate of iron, 113<^Tw. . . I7i „
Let stand for twenty-four hours before using.

TISSUE-PRINTING.

353

Darlc Blue,

Boil together: —

Water . . . . • 2 gallons.

Starch. ..... I4- lbs.

Boil, and stir in : —

Alam . . . . . 1^ Ih.

Oxalic acid . . . . i

Tartaric acid . . . . 4- "

Extract of indigo . . . 3 „

Blue^ ivitli a Purple Reflection.

Gum-water
Extract of indigo
Alum

Cochineal decoction at 6°
Oxalic acid

gallons.
1 lb. 2 ozs.
l^lb.
15 ozs.
9 ozs.

If a more violet shade is wanted, the cochineal is in-
creased ; and if a lighter blue is required, the gum-water
is increased accordingly.

BoTjal Prussian) Blue.

Water ..... 1 gallon.

Gum 7i- lbs.

Alum ..... 13 ozs.
Oxalic acid . . . . 1 lb.

Dissolve at a boil, and, when cold, stir in : —

Eed prussiate of potash . . 2^ lbs.
Stannic chloride (oxjmuriate of

tin) A lb.

Nitrate of iron at 80" Tw. . . 1 lb. 10 ozs.

354

DYEING AND TISSUE-PEINTING.

DarJc Broivn.

Extract of logwood at 7*^ Tw. . 1 pint.
Extract of Sapan at 7^ Tw. . . i- „
Water ..... 4?- quarts.
Starch ..... 4 lb.

Boil together for twenty minutes, stir till cold, and
add:—

^Nitrate of iron .
Sulphate of zinc

1 oz.

Orchil Brown.

Orchil liquor
Alum
Oxalic acid
Starch

Extract of indigo

25 quarts,^
1 lb.
1

3 „

Wood Broivn.

Sapan liquor, 6|-^ Tw. . . 2 ^ quarts*

Fustic liquor, 6f ^ Tw. . . 1 „

Logwood ..... 1

Mix, and dissolve in the liquid : —

Alum ..... 4

Blue stone . . . . 1{

Nitrate of copper . . . 5

Thicken with gum tragacanth. Warm slightly, and stir
well before using.

Broivn,

White starch . . . . 24 lbs.

Calcined starch . . • 24 „

Extract of indigo • . . 10 ,y

ozs.

TISSUE-PRINTING. 355

Sal-ammoniac .... 2 lbs.
Orcliil liquor . . . .182 quarts.
Water ..... 35 pints.

Boil, and add : —

Alum ..... 16 lbs.

Blond,

Extract of indigo . . . 1|- ozs.

Alum ..... 4: lb.

Oxalic acid . . . . i „

Extract of fustic, orcliil liquor, and gum-water as re-
quired.

Brown for Ymiis and Pieces,

Starch ..... 14 ozs.

Water . . . . . 17 fluid ozs.
Extract of orcliil ... 4 lbs. 6 ozs.
Extract of indigo ... 5i- ozs.

Boil to a perfect paste, stir till cold, and then dissolve in
the mass : —

Alum ..... 6^ ozs.

Print at once, and steam for an hour.

Broiun,

Dissolve 35 ozs. extract Sapan and 17^ ozs. extract of
bark, both solid, in 11 pints boiling water ; let cool, and
settle. Thicken the clear liquid with 4|- ozs. gum traga-
canth, and stir in 8|- ozs. red liquor at 6^'^ Tw. If a darker
shade is required, add a little black liquor.

Print, hang up for six hours, steam at 212^ P., and
rinse.

856

DTEING AND TISSUE-PRINTING.

Bismarck Brown,

Take about 1 oz. of the colour, more or less, according to
the shade. Dissolve it in 11 pints of water ; let cool, and
settle.

Thicken with 2|- ozs. gum tragacanth, the same weight
of starch, and 1|- ozs. glue. Print, hang up for six hours,
steam for fortj-fivc minutes at 189^ F., and rinse.

Buff.

Orchil liquor at 22^ Tw. . . 1 gallon.
Eark liquor .... 2 „
Alum ..... 3 lbs.
Starch, according to shade.

Iron-buffs are not practicable upon woollens.

Chocolate (Bed Shade),

Ammonia-cochineal paste
Alum

Sal-ammoniac .
Oxalic acid

Orchil liquor at 16° Tw.

\5 ozs.

4 lb.

2 ozs.
2 or-allons.

Boil, stir well till thoroughly incorporated, strain, and
dissolve : —

Starch

Extract of indioro

2 lbs.
6 ozs.

DarJc Chocolate,

Orchil liquor
Oxalic acid
Alum

Sal-ammoniac

3 gallons,
ilb.
1^

4: J9

TISSUE- PRINTING. 357

Stir till tlie frothing subsides, and add : —

White starch . . . . 2 lbs.
Calcined starch . . . . .2

Boil and stir till dissolved, and then add : —

Extract of indigo . . . |- lb.

For lighter shades, reduce with gum-water.

Medium Green,
Extract of fastic at 5?-^Tw. . 1 gallon.

Thicken with gum tragacanth, and dissolve in the
liquid : —

Alum ..... 4 ozs.

Oxalic acid . . . . 2 „

Stir till cold, and add : —

Tin composition at 113^ Tw. . 2 ozs.
Indigo extract . . . . |: lbs.

Barh Green.
Extract of bark at 17^ Tw. . 3 quarts.
Thicken with gum tragacanth, and add : —

Alum 1 lb.

Extract of indigo . . . li lb.
Tin composition at llS'^Tw. . 4 ozs.

Light Green,
Fustic liquor at Tw. . . 1 quart.

Thicken with tragacanth, and add the solution of 2 ozs.
extract of indigo in i pint water, and dissolve in the liquid
1 lb. ground alum.

358

DYEING AKD TISSUE-PRINTING.

Green.

Extract indigo . . . . 15 ozs.

Alum ..... 5 lbs.

Salt of sorrel . . . . 1 lb. 9 ozs.

Yellow paste (see below) . . 18 lbs.
Gum-water as required.

For the yellow paste take a decoction of fustic, precipi-
tate it with a little sulphuric acid and bichloride of tin ;
filter, drain, and use the precipitate while moist.

Light Green,

Berry liquor at 12^ Tw.

2 gallons.

Alum .....

2i- lbs.

Tartaric acid ....

ilbs.

Oxalic acid ....

6 ozs.

Extract of indigo

1 lb.

Gum water ....

4 gallons.

Stannic chloride at 100 lbs. (oxy-

chloride tin) ....

1 lb.

Deep Green,

Extract of indigo

6 lbs.

Bark liquor at 17^ Tw.

3 gallons.

Sulphate of alumina .

3 lbs.

Sal-ammoniac ....

6 ozs.

Dissolved in water

1- gallon.

Add:—

Tartaric acid . . , . 1 lb.
Oxalic acid .... 14 ozs.

Boil till dissolved and incorporated, and add: —

Stannic chloride . . . li- lbs.

Yellow prussiate of potash . i „
Gum substitute, according to the design.

TISSUE-PRINTING.

359

Tearl Grey.

Boiling water . . . •

galls.

Tartaric acid ....

lb.

Extract of indigo

ozs.

Alum .....

lb.

Ammoniacal cochineal paste

3
4

lb.

Gum-water ....

galls.

Stannic chloride (oxjmuriate) at

100^ Tw

3
4

lb.

Barli Grey.

Berry liquor, at 7® Tw. . . li- pint.

Ammoniacal extract of cochineal 1 gall.

Extract of indigo . . . ^ lb.

Alum i „

White argol . . . . i „

Thicken with gum-water, using a larger quantity for
the lighter shades.

Stiver Grey,

Extract of logwood, at 7^ Tw. . 1 pint.

Water ..... 4 l quarts.

Starch 4- lb.

Boil for 20 minutes, stir till cold, and stir in ; —

Nitrate of iron . . . . 1 oz.

Sulphate of zinc ... 2 ozs.

Lilac Grey for Woollen Yarns,

Stove, wash and print with the following mixture: —
2|. ozs. induline, and |- oz. methyl violet are dissolved in
water. In the solution 17i. ozs. gum tragacanth are
softened and stirred up, and 8i- glue are then dissolved.

360

DYEING AND TISSUE-PRINTING.

Make up with boiling water to 17i pints. Stir well,
print, drj, steam, and wash.

Lilac.

Ammonia cal extract of cochineal
Acetic acid, dilute
Oxalic acid
Alum

Extract of indigo
Gum-water

When cold, stir in : —

Stannic chloride (oxjmuriate tin)

Olive.

Berry liquor, 5?-® Tw.

Cake alum ....

Copperas .....

Dissolve, and thicken with —

Gum • • . . •

gall.

lb.

4 gallsa

4 lbs.

3 pints.
3?- ozs.

20 ozs.

Orange.

Bark liquor .... 1 quart
Tin crystals .... 2 ozs.

Cochineal liquor, according as a more or less red tone is
required. Thicken with gum tragacanth.

Coerulignone Orange.

The paste-colour is dissolved in alcohol and precipitated
by water. The sediment thus obtained is thickened with
gum in the ordinary manner, and printed upon wool or
silk. The pieces are dried, steamed, washed, and taken
through a water with bichromate of potash, when a fine
orange colour is developed.

TISSUE-PRINTING.

3ei

Orange for Yarns or Pieces,

Berries , . . • • 7 ozs.

(Or, flavine, 7 ozs.)
Water ..... 7 pints.

Extract at a boil, and add to the clear liquid: —
Starch ..... 13i ozs.

Eoil up to an even paste, and into this stir, —
Gum arabic, ground . . . 8|- ozs.

Let stand till the gum is dissolved, boil up again, stir
till cold, and add, with careful stirring : —

Tin crystals . . . . 8|- ozs.
Bichloride of tin . . . „
Oxalic acid • . . . 2|- ,,

This shade can be reddened by the introduction of a
little cochineal.

After printing, hang up, and then steam for an hour.

Amaranth on Yams or Pieces,

Boil 12 ozs. orchil in water, and make up the decoction
to 11 pint. Boil 4|- ozs. cochineal in water, and make up
to 27 fluid ozs. Thicken with —

Starch . . . . . 8 1 ozs.
Stir till cold and add, constantly stirring : —
Ground alum . . . . Si ozs.
Perchloride of tin . . . If ?,
Mix thoroughly, print, steam, and rinse.

Steam Bed on Woollens,

Dissolve : —

Coralline . . , . . 3^- ozs.
Glycerine . . . . . 4jL fl. ozs.
Water 17 „

362 DYEING AND TISSUE-PRINTING.

Stir up separately : —

Calcined magnesia ... 9-1 ozs.
Water . . . . . 17 ozs.

Mix the two and thicken with 2j- pints gnra-water.
Print, steam, and wash.

Steam Eose on W oollens.

Cochineal liquor at 5i® Tw. . 1^ pint.

Water Si- pints.

Eed liquor at 14^ Tw. . . 17 fl. ozs.
Oxalic acid . . . . li ozs.

Gum 31. lbs.

Print with the block and steam as usual.

Or,

Boil together : —

Cochineal liquid ... 14 quarts.

Ammoniacal cochineal , . 12 lbs.
Acetic acid . . . . 4 „

Water ..... 21 pints.
Alum ..... 3i lbs.
Oxalic acid . . . . 1^ lb.
Tartaric acid . . . . 1^
Bichloride of tin . . . 3i- lbs.

Thicken with gum Senegal.
Or ;—

Ground cochineal . . . 1 lb. 1 oz.

Mix with water and boil to . 15|- pints.
Gum ..... 6 lbs. 6 ozs.
Oxalic acid . . . .17 ozs.

Bichloride of tin at 112^^ Tw. . 201- „

Poppy Eed.

Cochineal liquor (i- lb. per ll.

pint) ..... 3 i pints.

TISSUE-PRINTING.

363

Starch lOi. ozs.

Oxalic acid . • . . ^f-

Tin solution . . . , 4|- ozs.

Bichloride of tin . . . 2|. ozs.

To make the above tin solution take nitric acid, 2 lbs. ;
muriatic acid, 4 lbs. ; tin, 12i ozs.

Or:—

Cochineal decoction at 10^ ozs.

per 11 pint. . . • . 7 pints.
Gum ..... 6 lbs. 9 ozs.

Oxalic acid .... 12 ozs.
Bichloride of tin . . . 2|- „

Scarlet No, 1.

Boil out 2 lbs. ground cochineal in water. Thicken
with gum tragacanth, cool, and dissolve in the liquid i lb.
oxalic acid and i lb. tin crystals.

Scarlet No, 2.

In 1 gallon cochineal extract at 4*^ Tw. dissolve -i- lb.
oxalic acid and 5 ozs. tin composition as below. Thicken
with gum tragacanth.

The tin composition is thus prepared: muriatic acid,
10 lbs, ; nitric acid, 74- lbs. ; tin, 1 lb. Dissolve slowly.

Scarlet No. 3.

White starch

Cochineal liquor at 8i-^ Tw.
Boil, and add : —

Tin crystals
Oxalic acid

Solution of tin, 8i-^ Tw. .
Extract of fustic, 21|.« Tw.
Oil of turpentine

4|- lbs.
31 pints.

9 ozs.
11- lb.
21 lbs.
If lb.
17 fl. ozs.

364

DYEING AND TISSUE- PRIN'riNG.

Saffranine Bed.

Saffranine, according to shade • 10 to 15 grs.

Water 84. ozs.

Acetic acid . . . . 1| oz.

Dissolve with the aid of heat, and add : —

Gum-water .... 24 ozs.

Orseilline Hed.

Orseilline ..... 2i- ozs.

Acetic acid . . . . 3i-

Glycerine . . . . . -^t 55

Water 29 „

Dissolve at a boil, and thicken with gum or dextrine.
Barh Bed.

Make a decoction of orchil, 4 lbs. 6 ozs. to 1^ pint, and
one of cochineal, with 8^ ozs. to 1|- pint.

Take-
Cochineal liquor . . . 1|- pint.
Orchil liquor . . . . 5i- pints.

Add:—

Cake alum . . . . 3|- ozs.

Starch 17i. „

Boil, cool, and stir in :—

Bichloride of tin . . • 3|;- „

Medium Yellow,

Berry liquor, 5^° Tw. . . 3?^ pints.

Sulphate of alumina . . . 3^- ozs.

Starch . . . . . „

TISSUE-PRINTING.

365

Boil, cool, and add : —

Oxalic acid . . . . If- oz.
Bichloride of tin . . . 2i ozs.

The bichloride of tin is made by taking 14 lbs. 3 ozs,
tin crystals, and passing through it the chlorine from
2 lbs. 11 ozs. manganese and 12 lbs. muriatic acid.

Yellow,

Berry liquor, 4^ Tw. . . . 17 fl. ozs.
Starch 3|- ozs.

Boil, cool, and add : —

Oxalic acid . . . . t ^2:.
Solution of tin . . . . 1^ oz.

(1 part tin dissolved in 4 parts nitric and 4 parts muriatic
acid.)

Yellow.

Orchil liquor at 11^ Tw. .
Bark liquor at 17° Tw.
Oxalic acid

Tartaric acid . . • .
Alum ....
Gum ....

Oxymuriate of tin at 109° Tw.

2 quarts.
1 oz.

1 oz.

3 ozs.
iLlbs.
3 ozs.

SilJc Printing,

Silks and half-silks are chiefly printed in the steam and
pigment styles.

The silks are first prepared by boiling for one to two
hours with a solution of ^ lb. well-made soap per lb. of
goods. They are then sulphured or, by preference, taken
through a solution of the bisulphite of soda or of magnesia.
After rinsing and drying, they are next steeped for four
hours in a sulpho-muriate of tin bath, made by dissolving
1 lb. tin crystals in w^ater, adding 1 lb. sulphuric acid at

366

DYEING AND TISSUE-PRINTING.

sp. gr. 1'84, and letting down with water to 2^^ Tw. The
silk is then washed, dried, and is ready for printing.

Another way of preparing is to dissolve in a very clean
wooden cistern 10 lbs. cream of tartar and 3 lbs. perchloride
of tin. The solution can be heated to about 130° to 140"^ F.
by the introduction of a coil of lead steam pipe. The
handkerchiefs (handkerchiefs are the kind of silk goods
most generally printed) are kept regularly turning for an
hour in this liquid by means of a wince, drained on a
frame, washed, and dried on steam drums, avoiding creases.
The prepare-liquor marks about 4*^ to 5^ Tw., and after
about 300 handkerchiefs have been mordanted, it must be
fed by adding 32 ozs. tartar and 20 ozs. perchloride of tin,
the level of the water being kept constant. The cistern
generally holds about 80 gallons.

The temperature varies according to the colour to be
produced. If the grounds are to be very light, the hand-
kerchiefs are winced in the cold liquid for a few hours. If
the deep blue, green, brown, or black grounds are to be
produced, the liquid is heated by means of the steam pipe
to 140° F. For very fine designs on a pure white ground,
the preparing process is omitted altogether.

The following are examples of colours as used for
silk-printing.

Bt)il up, and, when incorporated, cool down to 100"^ F.,
and stir in : —

Alum ..... 3 lbs.
Extract of indigo . . . 3 „
Tallow 2i- „

Black for Outlines.

Water

Logwood liquor, 30° Tw.
White starch
Gum substitute
Blue stone
Copperas .

21 quarts.

22 pints.
7 lbs.

TISSUE-PRINTING. 367

When quite cold, stir in : —

Nitrate of iron, quite dead . . 9 lbs.

Just before using, add per gallon : —

Oil of turpentine ... 91- ozs.
Prussiate of indigo . . . 91- „

The "prussiate of indigo " is thus prepared : —

Extract of indigo acid at 28*^ Tw. 7 quarts.
Yellow prussiate . . . lli lbs.

The prussiate, pounded, is stirred into the extract till
dissolved, an operation which should be performed under
a draught-hood, or in the open air. The product is kept m
a closed vessel.

Black Grounds,

Decoction of galls at 22^ Tw.

9 lbs.

Starch . . . . .

20 ozs.

Gum-substitute

20 „

Olive oil .

3 „

Tallow

8 „

Boil till even, and stir in when cold : —

Black liquor, 26« Tw. . . 20 ozs.
Muriate of iron, 72« Tw. . . 12 ,^

Darlc Prussiate Blue Grounds,

Starch ..... 2 lbs.

Tartaric acid . . . . 5 „

Oxalic acid .... 4 ozs.

Yellow prussiate ... 5 lbs.

Water ..... 4 quarts.

Tin pulp ..... 6 lbs. 10 ozs.

The starch is first dissolved, then the acids, with careful
stirring, and when the mixture has cooled down to 100" F.^
stir in the ground prussiate. The tin-pulp is not added till

368 DYEING AND TISSUE-PRINTING,

the mixture is completely cold. When ready for use, add
per quart of colour 4 ozs. gum.

The following is a Prussian blue of a *'bloomier''
tone : —

Water ..... 5 pints.

Flour ..... 7 ozs.

Starch 1 lb.

Gum tragacanth water . . 1 pint.

Boil well, pour into a clean tub, and stir in : —

Red prussiate .... 18 ozs.

Tin pulp . . . . . 5l lbs.

Yellow prussiate . . . 2^ „

When lukewarm, stir in : —

Tartaric acid .... 3 lbs. 6 ozs.
Oxalic acid, dissolved in i pint

water . . . . • 3 ozs.

When quite cold, add : —

Oil of vitriol . . , . 3i- ozs.

Water . . . . . 3i- „

Steam the goods on the same day as printed.

Paste for B educing (i,e, letting down) the above Blues,

Starch 12 lbs.

Water ..... 13 gallons.

Boil, and let grow cold ; stir in : —

Oxalic acid .... 21 lbs.

previously dissolved in: —

Hot water .... 6 quarts.

Add finally : —

Tin pulp 8 lbs.

Perchloride of tin . . . 2 „

TISSUE-PRINTING.

369

Gum Prussian Blue.

Gum-water, thick ... 1 quart.
Water 1 pint.

Boil tliese articles, and stir in : —

Tartaric acid . . . . 1 lb.
Oxalic acid • • . . 1 oz.

Then dissolve : —

Yellow prussiate » . . 1 lb.
And, lastly, stir in

Tin pulp . . . • . 11 lb.

For letting down this gum blue, the following paste may
be used : —

Boiling water . . • . 2i- quarts.
Gum-water . • . • 3 „
Tartaric acid . . • .12 ozs.
Oxalic acid . . , . 8 ,,

Dissolve the acids in the water ; incorporate the gum-
Water, and, when cold, stir in the tin pulp.

Liglit Extract Blue,

Boiling water . . . » 2\ pints.

Dissolve : —

Alum . . • . . 3 ozs.
Tartaric acid . . . . 4 „
Finest extract of indigo . . 8 „

Thicken with gum-water according to shade.

Orcliil Brown,

Orchil liquor at 18^ Tw. . .11 lbs.
White starch . . . . 10

B B

370

DYEING AND TISSUE-PEINTING.

Boil, let cool down to 100'' F., and stir in : —

Alum 8 lbs.

Sal-ammoniac . . . , 2 „
Tartaric acid . , . , 3 „

When perfectly cold, add per quart : —

Acetate of indigo at 22° Tw. . 8 ozs.

Or an equal weight of the prussiate of indigo. Without
this addition, the colour serves for a red chocolate.
To prepare the acetate of indigo, take : —

Extract of indigo, 28° Tw. . . 5 quarts.

Sugar of lead .... 6 lbs.

Water 2i- pints.

Dissolve the sugar of lead in the water, and gradually
stir in the extract. Let settle for a few days, draw off the
clear, and keep it in a closed bottle.

Wood' Brown for Grounds.

Extract peach wood at 26° Tw. .

4 quarts.

Extract logwood at 30° Tw.

3 „

Extract bark at 30° Tw. .

3 „

Eed liquor at 18° Tw.

6 „

Boiling water . . • .

2 „

Sal-ammoniac . . . .

3 lbs.

Tartro-acetate of copper

8 „

Gum- water . . • .

14 quarts.

Heat to 140°.

For the aceto- tartrate of copper above mentioned, boil
up ground cream of tartar 1 lb. in water 1 quart, and put
it in a pail with 2 lbs. 5|- ozs. verdigris ; stir till all is dis-
solved, let cool, and decant the clear for use.

Standard Green.

Bark liquor at 30° Tw. . .11 pints.
Cake alum . . . . 1 lb. 14 ozs,

TISSUE-PRINTING.

371

Heat to about 113" F., and, when the alum is perfectlj
dissolved, stir in : —

Gum- water . • , . 4 quarts.

Add when cold: —

Prussiate of indigo ... 7 quarts.

No. 2 Green,

Red liquor, 10" Tw. .
Berry liquor, 14" Tw.
Thick gum-water

Heat up to 160" F., and stir in : —

Yellow prussiate

Let cool to about 104" F., and add :

Oxalic acid ....
Tartaric acid . . • .

When cold, stir in : —

Tin pulp ..... 4 lbs.

For the tin pulp, dissolve 44 ozs. yellow prussiate in
8 quarts hot water. In another vessel, dissolve 3 lbs. tin
crystals in 8 quarts cold water. Mix, stir, let the precipi-
tate settle, draw off the clear ; stir up the sediment with
water, and let settle again. Draw off the clear, throw the
pulp on a filter, wash it there, and let drain till it becomes
a thick paste, weighing for the quantities taken about
15 lbs. Keep in closed jars. If more tin crystals are used
the colours obtained will be lighter, but will have more
lustre.

No, 3 Baric Green for Grounds,

Standard green, above . . 7 quarts.
[N'o. 2 green .... 2 „
Prussiate of indigo . . . 1 „

3 quarts.
3 „
3 „

7 lbs.

6 ozs,
24 „

372

DYEING AND TISSUE-PEINTING.

No. 4 Bright Green,

Berry liquor, 14*^ Tw.
Eed liquor, 18^ Tw, .
Prussiate of indigo
Gum water

Indigo Green,

Dissolve extract of indigo in ammonia ; filter, and keep
for twelve days in a closed vessel at from 70^ — 80*^ F. As
soon as a portion taken out and mixed with dilute sul-
phuric acid is found to have a green colour, which is per-
manent on admixture with more acid, the operation is
finished. The deposit is collected on a filter, and is then
the green indigo in question.

It is mixed with alum, tartaric acid, and thickened with
gum, and then serves for a steam-green, just as does ordi-
nary extract of indigo for a steam-blue.

No, 6. Picric Green.

Picric acid .....
Extract of indigo

Alum. . . • . .
Tartaric acid ....
Boiling water ....
Gum-water ....
Sulphuric acid (one measure oil of

10 „
10 „
10 „

20 ozs.

3 quarts.

vitriol with two measures water)

5 fluid ozs.

BarJc Grey.

Sumac liquor, 7° Tw. .
Logwood liquor, 7^ Tw.
Ground alum .
Tartaric acid
Copperas .

20 ozs?

8 „
lib.

6 quarts.

TISSUE-PRINTING. ^ ^'^^x

Heat together to 120^ F., and add when cold '"^y^

Ammoniacal extract of cochineal 1 quartiVy^ ^
Acetate of indigo at 22" Tw. . 30 ozs. Y
Persulphate of iron, 74° Tw. . 1 lb.

Thicken with gum water according to shade.

The persulphate of iron above mentioned is prepared as
follows : —

Xitric acid (double aquafortis) at

64" Tw. .... 48 lbs.

The acid is added to 13 quarts of water in a tub or
stoneware vessel ; and 192 lbs. copperas in a rough pow-
der is gradually added till dissolved. The product should
mark 72° Tw.

Silver Grey for Grounds,

Prussiate of indigo . . . 12 ozs.
Crimson (see below) . . . 1 lb.
Gum- water , . . . 1 gallon.

Lilac,

Logwood liquor, 30° Tw. .
Red liquor, 18° Tw .
Ammoniacal cochineal, solid
Oxalic acid

3 quarts.
5 „
10 ozs.
8 „

Mix, boil for a few minutes, and stir in —

Thick gum-water . , , 2i- quarts.

Let cool, and add : —

Solution of red prussiate, 24° Tw. 1 quart.
Alum ..... 3 ozs.
Oxalic acid .... 2 „

Warm slightly till dissolved ; let grow cold, and stir
L : —

Perchloride of tin, 130° Tw. . 1\ oz.

374

DYEING AND TISSUE-PRINTING.

Olive.

Dark grey (see p. 372) . , 2 quarts.

Berry liquor, 14^ Tw. . . 1 pint.

Gum-water • . • . 2 quarts.

Orange.

Acnatto paste . . , , 3 lbs.

Boiling water . . . . 3 quarts.

Canadian potash . . . 1 lb.

Dissolve up together, stirring well, strain, and add : —

White starch .... 8 ozs.
Gum . . . . , 1 lb.

Boil to the proper thickness.

Pinh.

Decoction of cochineal, 7^ Tw. . 6 quarts.
Boiling water . . . . 2i- pints.
Tin crystals .... 7 ozs.

Oxalic acid . , . . 14 „
Perchloride of tin . . . 4i- ozs.
Gum-water .... 5 quarts.

The oxalic acid is first dissolved in the water and the
tin preparations are added last, when the mixture is cool.

Eosine PinJcs.

Dissolve the colour, and add i oz. to a gallon of gum-
water. This small proportion gives a very good pink.

Eosine colours, however applied, should not be washed
in hard waters.

TISSUE-PEINTING.

376

Eed.

Decoction of cochineal at 8^ Tw. 10 l quarts.
Gum ..... 9 lbs.

Tin crystals . • • . 17 oz.
Salt of sorrel . • . . 9 „
Oxalic acid . . . . 9 j,

Heat to 100^ till perfectly dissolved and when cold
stir in —

Perchloride of tin at 130^ Tw. . 8 ozs.

Wood Colour (Light).

Alum . . . , ,16 ozs.

Oxalic acid . . . . ^ lb.

Gum 7 lbs.

Hot water . . . • 7 pints.

Fustic-liquor .... 7 „

Ammoniacal cochineal . . 7 „

DarJc Wood Colour.

Red ..... 4 quarts.

Jonquil yellow .... 2 „
Green standard ... 1 pint.
Gum- water .... 1 quart.

For the red here required see the last but one receipt ;
for the standard green, see p. 370 ; for the jonquil yellow,
see below.

Yellow (Jo7iquil),

Alum ..... 22 ozs.

Tartaric acid . . . . 12
Water at 104^ F. . . . 7 quarts.
Dissolve, and stir in : —

Berry liquor at 14^ Tw. • . 10 quarts.
Gum-water . . . , 5 ?>

376

DYEING AND TISSUE-PRINTING.

In silk printing, for all pure, bright shades, the old
colours have been, to a very great extent, superseded by
the coal-tar colours, which are, for the most part, of very
easy application, requiring merely to be thickened with
gum Senegal or tragacanth. The artificial gums do not
give as good results.

A very considerable proportion of silk goods are still
block-printed by hand. A piece of clean white calico is
generally laid upon the printing- table over the blanket,
and below the piece which is being printed, and travels on
along with it. The ground colour is printed last. Blacks,
dark browns, &c., are often applied twice.

BlacTc on Half -Silks,

French extract of logwood . 33 ozs.
French extract of fastic . . 4^ ,,
Gum tragacanth . . . 13 „

Dissolve in water, boil up, let cool, and stir in : —

l^itrate of iron at 49^ Tw. . . IT^ ozs.
Black liquor at 9|. Tw. . . 35 „

Stir well up, print, hang up for 24 hours, and steam
strongly.

Bhie,

Gum tragacanth . . 17i ozs.

White glue . . . . 4l „

Boil together and dissolve in the liquid —

Soluble blue (aniline) . . 1|- oz.

Make up to V7^ pints, boil again, let cool, and print.
Hang up and steam.

Green for Half -Silks,

Take 17i ozs. egg-albumen; allow it to swell up in
water, and add 3 J- ozs. ammonia and the same weight of

TISSUE-PRINTING.

877

metliyl-green, and 1 oz. 45 grs. picric acid. When per-
fectly dissolved, make np to 17i pints, print, dry, hang
up for 24 hours. Steam for half an hour at 167^ F., and
rinse.

For lighter shades reduce the methyl-green and picric
acid.

Red for Half'Silhs,

1 oz. extract cochineal at 7° Tw., which, for heavy
shades, may be doubled.

1 oz. berry liquor at 7^ Tw. Thicken with I7i ozs. gum
tragacanth mucilage, boil, stir till cold, and dissolve in the
liquid 8|- ozs. oxalic acid and 3|- ozs. tin crystals.

Print, dry, hang for 24 hours, and steam for an hour at
212^

Violet for Half-Silhs.

Prepare as for green, but use as colour 3|- ozs. gentiana-
violet or li- oz. methyl-violet.

Yelloiu.

Boil up 1|- oz. berry liquor, at 7^ Tw., with I7i ozs. gum
tragacanth. Stir till cold and add : —

Tin salt ..... 34- ozs.

Oxalic acid . . . . Si- ,,
Add a little cochineal, if a redder shade is wanted.

Colours and Colour Mixing.

We have here a term which is used to convey several
very distinct meanings, both in common life and in the
tinctorial arts, the necessary result being a considerable
amount of confusion. Thus, in one sense, we speak of red,
blue, green, &c., as "colours," In another acceptation we
give the very same name to indigo, eosine, cochineal, saf-

378

DYEING AND TISSUE-PEINTING.

flower, — in short, the bodies, whether natural or artificial,
simple or compound, which communicate colours," in the
first sense of the word, to any white or colourless body
upon which they may be applied.

Again, in the madder style of printing, " colours " are
the mordants to be fixed upon the cloth previous to its
being dyed, though producing no colour at all. Lastly, a
" colour " in other styles of printing is the mixture of
colouring matters, mordants, and thickeners, which, when
applied to the tissues, produces the design.

It is with colours in the two latter senses of the term
that the calico-printer is most directly concerned.

The preparation, or mixing the colours and mordants to
produce any required shade under any given circumstances,
is, in' reality, the most essential part of calico-printing.
The ingredients to form a colour must be well selected and
properly incorporated together. The mixing house, or
" colour shop,'* is fitted with an extensive range of colour
pans, holding from half a gallon to 28 gallons, or upwards.
They are very generally made of copper, though in some
cases pans made of block-tin, or lined with tin or with an
acid-proof enamel, are preferable. Whatever is the material,
absolute cleanliness is essential. Heat is applied by means
of steam, which passes between the pan itself and an outer
casing, or steam-jacket, and is regulated by means of taps.
There are arrangements for the supply of hot and cold
water, and the entire pan is generally made to revolve on
pivots, so as to be the more easily emptied and cleaned.
As it is sometimes necessary to cool a colour quickly,
the steam can not only be cut off, but a current of cold
water can be caused to pass through the steam-jacket in
its place.

During the whole time that the ingredients of a colour
are being boiled, they are constantly stirred, and this ope-
ration is, in many cases, continued until the mixture is
cold. This tedious task was formerly performed by boys,
who were known as " gum-sticks," but in all large estab-

TISSUE-PRINTING.

379

lishments the colour-pans are provided with mechanical
stirrers. An excellent arrangement for this purpose has
been devised by Messrs. Mather and Piatt.

The last step in colour-mixing is straining. It is abso-
lutely necessary that the colour should form a perfectly
uniform semi-flaid, free from any grit or coagulation. This
was formerly done simply by pouring the colour upon a
piece of fine lawn or silk, stretched over the top of a tub.
Now, the straining is done by means of a machine, e, g.,
that of Ridge and Co., and is thus performed more quickly
and satisfactorily.

The length of time for which a colour can be kept after
mixing varies, both according to its nature, and according
to the temperature. Much time and trouble are saved by
keeping in the colour-house a set of so-called "standards."
These are mixtures of colouring matters and mordants not
liable to undergo change or decomposition, and which
merely require the addition of a thickener, or of some other
ingredient, to be ready for printing.

Some colours occasion great annoyance in working, by
their tendency to froth. Not merely soapy, albuminous,
and glycerine solutions retain bubbles of air if shaken or
stirred up ; but the acetates of alumina, lime, soda, and
iron, so often present in colours, communicate the same
property. This troublesome property may generally be got
rid of by the admixture of a little oil of turpentine, light
petroleum essence, or similar liquids.

If pigment colours mixed with albumen begin to froth,
the addition of a little ammonia is often useful.

Thickening.

In printing, as distinguished from dyeing, it need scarcely
be said that the action of the mordants, colours, &c., has
to be strictly confined to certain sharply- defined portions
of the tissue. If the colours, &c., spread or "run," the
clearness of the design is lost, and the goods are spoiled.

380

DYEING AND TISSUE-PRINTING.

Hence the colours have to be applied, not like the prepara-
tions of the dyer, in a liquid state, but as pastes or semi-
fluids of different degrees of consistency. Hence the
necessity for thickeners, i.e., bodies which are incorporated
'with the colour to give it the required physical texture.
The bodies chiefly employed are flour ; starch, as obtained
from wheat or from the potato ; true gums, such as gum
arabic and gum Senegal, varieties of bassorine, such as
gum tragacanth ; and the artificial gums obtained from
starch by difierent processes, and known as British gum,
calcined starch, gum substitute, &c.

In the use of these names there is some confusion. Cal-
cined starch, as its name implies, is made by roasting
farina, i.e., potato starch, and is either light or dark, ac-
cording to the degree of temperature which it has under-
gone. British gum is a name originally given to roasted
wheat starch, but other kinds of starch are now wholly or
in part substituted for wheat starch. This kind, also, is
either light or dark. Gum substitute is sometimes taken to
mean the same article as British gam, whilst others apply
the name to potato, or wheat starch, converted into gum by
the action of acids. Dextrine is starch, wholly or partly con-
verted by the action of malt. Treacle and glucose are rarely
employed, and the so-called animal, or rather albumenoid
thickeners, i.e., albumen, casein (lactarine), gelatine, and
gluten, are rather mordants than thickeners, since they re-
main upon the fibre in combination with the colour, and are
not washed away after the printing has been performed.

Mucilage of linseed, and of carragheen, salep, sago, &c.,
are not in general use.

Lastly, we have certain mineral bodies, especially pipe-
clay and sulphate of lead, which occasionally play the part
of thickeners.

These thickeners are very different in their action, and
the selection of such as are suitable for the purpose in
hand, is not the least important duty of the colour-mixer.
His choice must depend on the nature of the colours and

TISSUE-PEINTING.

381

mordants to be applied ; on the process of printing, whether
block or machine- work ; and even on the character of the.
design or pattern, as heavy or light.

Some thickeners are entirely insoluble in cold water,
others are partially soluble, and others, like gum arabic,
are perfectly soluble ; in tenacity they differ greatly. In
other words, a smaller quantity of one thickener gives as
much consistence to a liquid colour as does a larger quan-
tity of another. Thus, in equal quantities of water, 20 ozs.
of starch are equal to 22 ozs. wheat flour, 10 ozs. gum
tragacanth, and 8 to 9 lbs. of calcined starch. This thicken-
ing power is a very important point, since other things
being equal, the gum, &c,, which thickens most is in prac-
tice the cheapest.

To test the strength of a sample, it is dissolved in water,
so as to form a very dense jelly, placed in a tall glass, and
tested with the viscosimeter. This is an instrument with a
brass disc, capable of being loaded with weights. The more
weights have to be added to force the brass disc to sink
into the jelly, the better is the quality of the gum. The
indications are, of course, comparative. The hydrometer
(Twaddle) maybe used in testing the value of gum waters
up to 1 oz. gum in 5 of water ; but beyond that proportion
the indications become untrustworthy. This method is only
valuable, however, for comparing samples of gum of one
and the same kind. Others judge of the viscidity of a gum
by its degree of susceptibility to capillary attraction. The
more slowly a gum-water, made with known proportions,
ascends a slip of unsized paper, the better its quality.
Still, an absolute test for judging of the viscidity of a gum
is not yet available.

It is necessary that gums should not injure the bright-
ness of delicate colours, and must not weaken the mor-
dants. To ascertain this point, comparative printing trials
on a small scale are performed.

To decide on the action of the sample, if any, upon
colours, the following mixture is made up : —

382

DYEING AND TISSUE-PEINTING.

Ammoniacal cocliineal
Cocliineal (extracted in 35 fl. ozs

water) ....
Powdered alum . , .
Oxalic acid

35 £1. ozs.
1 oz.

4 '»

T "

Thicken with 13 ozs. of the gum in question previously
ground. Strain through a silk sieve, print on white wool-
len, steam, and wash. The colour, if the gum is good,
is of a fine delicate rose, free from a yellow tinge.

The action of the gums upon mordants is very variable,
and may be judged by their degree of acidity, which is
readily detected. This defect is rare in gum arabic, but
it may produce severe injury with artificial gums not
freed from acids, and used, e.^., for thickening a light rose
mordant.

The following colour may be used to find the action of
gums upon mordants : —

Divide 1^ pint of red liquor into 32 parts, and take one
of them.

Make it up with water to I7i- fl. ozs., and dissolve : —

Alum ...... 8|- ozs.

The gum in question, ground . . 8|- „

Boil in the usual manner, stir till cold, and print with it
upon a swatch of white calico. This is then aged, dunged,
dyed with alizarine, and cleared, and should give a fine
light rose ; but if the gum is acid, scarcely any colour will
be found upon the texture.

Another possible defect of gums is that they may coagu-
late along with certain drugs, such as catechu or salts of
lead. To test gum for this property, take : —

Catechu, melted and broken up . 4i- ozs.
Acetic acid ..... 4|- „
Water I24. „

Heat in the water-bath, stir till dissolved, and work
in :- —

TISSUE-PRINTING.

383

Sal-ammoniac

KJCLL^ail±lLU.\JiJ.Laj\j , ,

Acetate of lime at 21i-^ Tw.
Gum (sample in question)

3i- ozs.

Stir well, and add when cold : —
Nitrate of copper at dS"" Tw. .

1|- ozs.

Strain through silk, and let stand for twenty-four hours.
If it has not coagulated, the gum may be pronounced in
this respect of good quality.

Another possible, and not uncommon, defect of gums
and starches is grittiness, t.e., the presence of finely divided
silica. This impurity is of little consequence in block-
work ; but, in machine -work, it injures the cylinders and
the doctors. It is often so fine that it cannot be separated
even by the finest strainers. The presence of grit may be
easily detected by dissolving a few pounds of the sample
with small quantities of acid, letting settle, decanting off
the liquor, washing the residue with water, and finally
drying up in a copjDer or, better, platinum dish, and
igniting the sediment, so as to destroy organic matter, and
obtain the silica pure, when it may be weighed.

Glucose or other saccharine matter is objectionable, since,
in presence of metallic salts, i,e,, compounds of iron, tin,
&c., it interferes with the ordinary reactions of the mor-
dant and the colouring matter, and hinders combination.
The presence of sugar is also apt to bring on fermentation,
and cause the mixed colours to spoil.

The penetrative power of the different gums varies also,
and affects that of the colours with which they are mixed.
As a rule, it is desirable to keep the colour on the surface
of the tissue, both as a point of economy, and because the
colours appear brighter and clearer. Hence a penetrative
gum or other thickener is not to be desired.

Neither should the thickening agent be capable of form-
ing any chemical combination with the mordants or
colours.

Gums, &c.,have been already divided into three classes.

384

DYEING AND TISSUE-PRINTING.

according to their solnbility in cold water. The insoluble
class, as a rule, thicken more than do the soluble ones, or
gums. But some of them, at least, such as starch and
flour, have great penetrating power, and are consequently,
in so far, wasteful. Thickeners dilute or lighten the
colour. Hence, for dark shades it is necessary to select a
very viscid thickener, so that a relatively less proportion
may be required.

Mineral thickeners have the disadvantage that their
specific gravity is very much greater than that of the
organic colours with which they are combined. Hence, on
standing, such mixtures are apt to separate and become
unequal. They are also apt to be gritty, and are hence
more used in block than in machine printing.

The art of combining different gums, starches, &c., so
as to work well together, can only be acquired by expe-
rience. But it may be said that the thickeners to be
mixed together for use in any one colour should not be too
widely distinct in their nature, at any rate, unless a third
substance of intermediate properties is added.

It is also impossible to give any definite rules for adapt-
ing the thickening to the character of the design. Expe-
rience — observant experience, rather — must here be the
guide.

Feinting.

The actual printing, that is, the application of the
colours to the tissue, is a purely mechanical process.
Formerly, this operation was entirely performed by hand.
The design, or rather, portions of it, was applied by means of
blocks. These are pieces of some hard, fine-grained, wood,
such as pear or sycamore, about 9 to 10 inches long, by
5 broad, and from 2 to 3 in thickness, fitted at the back
with a stout handle. Upon the face of the block the design
is carved much in the same manner as a wood engraving.
Sometimes, the pattern is formed by slips oi copper, -i.e..

TISSUE- PRINTING.

385

flattened copper wire, inserted along its outlines, which
are first traced upon the wood. The copper slips are
carefully bent to the required shape, and are then forced
into the positions they are to occupy by gentle -ham-
mering. The upper edges, where the copper stands above
the wood, are levelled with the file, so as to form one
even surface, and polished. The intervals between these
slips are filled up within the boundaries of the design
with pieces of thin felt.

In hand-block printing the piece to be operated on is
spread out evenly upon the printing table — a strong struc-
ture, fixed so as not to rock or shake. It is generally about
a yard high, two yards long, and three feet wide. Its top,
upon which the piece rests, is a smooth, level slab of flag-
stone, from 4 to 5 inches in thickness, and it is covered
with blanketing, stretched tightly across, and secured at
the sides by hooks. At one end of the table is a roller, sup-
ported by brackets, and on it the piece to be printed is
coiled, so that it may be drawn over the table as wanted.

Close to the printer stands a so-called colour tub. A
wooden drum, like the woodwork of a sieve, is covered
with a waterproof tissue, over which is stretched a fine
woollen cloth, upon which the colour is spread. This
drum is placed so as to float on a tubful of old paste.

The printer begins operations by unrolling a part of the
piece from the roller above mentioned, and laying it
smoothly over the top of the table. The selvage of the
cloth is kept towards him, and runs at about an inch from
the edge of the table. He observes how much of the piece
will be covered by the block, and marks this by a line
with a tracing-point. Meantime, a boy, known as the
tearer (probably, tireur) spreads out the colour evenly
with a brush, on the drum-head. The printer then applies
the face of his block to the drum-head twice, in difierent
directions, so that it may be sure to be evenly supplied
with colour all over. He then lays it carefully upon the
cloth and strikes it on the back with a hammer, or presses

C C

386 DYEING AND TISSUE-PRINTING.

heavily upon it, so as to force the colour into the cloth.
In the meantime, the tearer brushes the colour up, so that
it may always present an even surface. The printer lifts
up his block, charges it afresh with colour, and re-applies
it to the piece. Here is now need of great accuracy in
working. If he brings his block too close to where he
placed it before, the impressions will, to some extent, over-
lap. If it is not brought close enough, a narrow interval
will remain unprinted. If the sides of the block are not
kept perfectly parallel with the edge of the piece, the de-
sign will necessarily become distorted. Accuracy in these
points is secured by means of pin-points, fixed in the four
corners of the block, so that each application may be made
precisely where the former one left oflP. Judgment is also
• needed as to the quantity of colour taken up by the block
at each application. If this is insufficient, the design may
be too faint, and is said not to be furnished." If too
much colour is taken, smearing and spreading are the con-
sequence. Hence, a block-printer requires no little expe-
rience before he can work both well and with reasonable
despatch.

When the length of cloth which has been drawn out
and laid upon the table is thus printed, more is uncoiled,
and the first portion is passed over one of a series of
rollers, fixed overhead, so that it may dry without being in
the way or in danger of being smeared. The printer
thus goes on till the entire roll is finished.

The great drawback to this method of printing is the
expenditure of time and labour involved. If we suppose
a piece of calico of the ordinary length of 28 yards, by 2
feet 6 inches, to print it over with the block of the size
above mentioned will require 672 carefully managed appli-
cations. If there are four or five colours — nothing at all
uncommon — the number of distinct applications will be
respectively 2,688 and 3,360. Each block serves only for
such parts of a design as are in one and the same colour.
If we suppose, then, the colours in a design are red,

TISSUE-PRINTING.

387

brown, yellow, and green, when, e.^., the reds are all
printed, the piece must be allowed to dry till there is no
further damage of smearing, and a block with one of the
other colours is then applied over the whole surface, in
the same manner as before. Thus, in a many-coloured
design, time and labour become very serious items.

For the generality of work blocking has therefore been
laid aside in place of cylinder printing, of which we shall
speak below. The block still retains a considerable impor-
tance in particular styles of work. Thus, in many cases,
after a piece has been printed with mordants or resists,
and dyed in the madder or indigo styles, further colours
have to be superadded, in order to complete the design.
These are then blocked in by hand, in the manner described
above. As, however, this way of working necessarily in-
volves additional expense, it becomes the object of printers
to discover such ways of producing colours as will allow
the entire design to be completed at once.

Block-work is largely used in printing woollens and
mixed goods, such as delaines. The reason is that the
fibre of wool is less easily wetted than that of cotton,
and requires a larger proportion of colouring matter to
produce any given depth of shade. Hence the block
which forces the colour into the fibre, has the advan-
tage over the cylinder, which is brought in contact with
the piece in a less forcible manner. Colours for these
two different methods of working are mixed in a dif-
ferent manner ; those for block-work being wetter, i. e.,
thinner in consistence. In colours for block-work the
mineral thickeners, such as pipe-clay, can be used with
greater safety than in machine work, since the presence of
grit is less injurious. Dark shades on some fine, soft wool-
len goods, are not merely by preference printed with the
block, but one and the same part of the design may have
to be blocked two or three times before it is thoroughly
furnished.

Before block-printing, the pieces are smoothed in the

388

DYEING AND TISSUE-PRINTING.

calendar, so as to leave the surface perfectly level, and, to
a certain extent, glazed.

Printing in reserves by hand may now be considered as
entirely superseded.

Certain modifications of the arrangements for block-
work have been devised. Thus, a considerable amount of
labour is saved by Hudson's mechanical tearer — a contri-
vance not to be intelligibly described without the aid of
diagrams, or better, of a model. Its object was to dispense
with the children who attend upon the block-printers, but
it never came into general use.

The " Toby," or Tobying sieve, is a device for applying
several colours with one block, thus economizing blocks,
and the labour of several successive operations is dispensed
with. It consists, substantially, of a colour-box, divided
into compartments, and so arranged that different portions
of the block may always be supplied with different
colours.

This device is applicable where the colours of the design
lie, so to speak, in distinct strata, but where, as is usually
the case, they intersect, and lie immediately bordering upon
each other, it is inapplicable.

The effects known as rainbows (Fr. fondus)^ where
colours appear in parallel stripes, melting into each other,
as in the rainbow, are produced by means of a colour-box
in parallel divisions, each filled with one of the shades of
colour. A so-called colour-lifter is employed, which is a
piece of wood fitted below with pegs, set at certain inter-
vals. When the lifter is applied to the box, the pegs dip
into the compartments, and withdraw a certain quantity of
colour, which is transferred to the colour-sieve. Further
portions are then lifted out in the same manner, and placed
upon other parts of the sieve in such a manner that each
shade is in a straight line with the portions of the same
shade which have been already deposited upon the sieve.
They are then brushed up and down by the tearer till they
are mingled at the edges, without being confounded toge-

TISSUE-PRINTING.

389

ther, and are then taken np and applied with, the block in
the usual manner.

The first step towards a method of printing more rapid
than block-work was the use of flat plates, applied by means
of a press very similar to that used in copper-plate print-
ing. This kind of work, known as the flat-press, was in
vogue for some time at Mitcham. The designs thus
printed show great neatness and correctness in outline and
shading, and were mostly executed in one colour only.
They were, in fact, engravings executed upon calico instead
of paper.

A very important step was the invention of the Perro-
tine. This may be best characterized as a machine for
performing block-printing without manual labour. It
wields three blocks, much larger than those used in hand-
printing, their length being equal to the width of the
piece, and their width from 2 to 5 inches. They are en-
graved in the same manner as the hand-blocks. As each
machine works three of these blocks, it executes in one
operation designs in three colours. The machinery em-
ployed is of such a character that no description would
render its working intelligible ; it may suffice to say that
the blocks are pressed against the cloth by certain springs,
which represent the action of the block-printer's hand.
One of these machines does an amount of work which
would require, if done by hand, twenty printers, each with
his attendant tearer, and is managed by a single workman,
assisted by two children.

The perrotine has been but little used in England, but
it has been very generally adopted in Alsace and in Belgium.

By far the larger part of tissue-printing is now executed
with the cylinder machine, a Scotch invention, due to a
certain Mr. Bell (1785), and first used on the large scale
by Livesey, Hargreaves, and Co., of the Mossly Works,
near Preston, Lancashire. Since then it has undergone
many improvements, and has been adapted for applying at
once as many as twenty distinct colours. If we suppose,

390

DYEING AND TISSUE-PRINTING.

for instance, a three-coloured design — blue, yellow, and
red — the blue portion of the design is engraved upon one
copper cylinder, the yellow portion upon a second, and the
red upon a third. This cylinder is supplied with colour by
means of a roller which revolves in the so-called colour
trough, and transfers a portion of the contents to the
design cylinder. Lest the colour should be in too great
quantities, a so-called "colour doctor," i.e., a sharp scraper
of steel or gun-metal, is made to press against its surface,
and remove any superfluity. These doctors have a slow
vibratory motion from right to left, and thus scrape the
surface of the pattern cylinder gently. It is of great im-
portance that their edges should be sharp and perfectly
even. Hence the colour should neither act upon them
mechanically, as by the presence of grit, nor chemically, as
when an excess of acids or of acid salts occurs in the mix-
ture. Close to the design-cylinders revolves the pressure
cylinder or ." bowl," made of iron, and generally 2 feet in
diameter, and from 3 to 4 feet in length. It is coated with
folds of woollen-cloth or felt, so as to form a uniformly
elastic surface. Around it travels an endless web of
blanketting or felt, and over this passes the piece to be
printed, which is thus pressed against the engraved (de-
sign) cylinder, and receives the colour-impression. After
this latter cylinder has been thus in* con tact with the cloth,
it is scraped by the " lint-doctor," an edged ruler similar
to the colour-doctor, but having no motion. Its oflfice is to
remove any threads which may have been detached from
the cloth, and which, if let remain, would occasion smears,
or blur the design.

For every colour in the design to be printed a separate
colour-trough, supplying roller, and engraved cylinder, with
its doctors, are required, all arranged around the bowl.
Each engraved cylinder applies that portion of the design
which requires one colour. The adjustments to insure all
these parts working accurately together are to be classed
among the greatest marvels of mechanical engineering,

TISSUE-PRINTING.

391

and cannot be rendered intelligible by any mere descrip-
tion.

' The speed with which these cylinder machines work is
such that, in the simpler styles, a mile of calico can be
turned out per hour, as far as the mere printing is con-
cerned.

As regards the economy of labour, one man, assisted by
two boys to attend to the colour- troughs, can do as much
work as one hundred block-printers, each with his attendant
tearer.

The engraving of the copper design-rollers is a matter of
great nicety, and has given scope to much inventive talent.

The original design has first to be enlarged or contracted
to such a size that, when repeated twice, thrice, &c., it may
exactly cover the circumference of the roller to be pro-
duced. A roller of soft steel is then selected, of such a size
that the design may exactly cover its circumference, and
upon this the pattern is engraved in intaglio, as, e.^., in a
seal. These steel rollers are about 3 inches in length, and
may vary in diameter from i inch to 3 inches. When the
engraving is completed, the roller is hardened by a process
well known to workers in steel, and which need not be
here described. It is next put into a peculiar press, where
it is forced against another roller of soft steel of exactly
the same size, to which it transfers its impression in relief,
e.g., as in a coin or a medal. This, too, is hardened as
above, and is made to transfer its impression to the copper
printing cylinder. The machinery used in this process can-
not be here described. Indeed, cylinder-engraving is more
and more becoming a distinct business.

In the earlier days of calico-printing, when the number
of pieces produced was smaller, and time of less importance,
they were stitched together by hand, end to end. This
work is now done by machinery, perhaps the most approved
device being that of Birch,

The pieces thus fastened together are coiled in rolls of
about forty by means of a machine known as a candroy or

392

DYEING AND TISSUE-PRINTING.

canroj, which places them on a wooden beam fitted behind
the printing machine. It is essential that the pieces are
kept quite free from creases or wrinkles.

Yarn-printing is now a distinct and not unimportant
branch of tissue-printing, and is applied both to cotton,
linen, jute, silk, and woollen yarns. Such yarns may
afterwards be woven along with ordinary white yarns, and
the cloth may receive no further treatment, or it may be
dyed, when the impression on the warp constitutes a
pattern ; or, again, a design may be printed upon the cloth.
In this manner, a class of effects are obtained which cannot
be produced by mere printing upon the cloth, nor yet by
means of dyed yarns woven in the Jacquard loom.

When this procedure was first introduced, the yarns
(warps) were stretched out at length between rollers, and
travelled over a table, the colours being then blocked in by
hand. For silk warps, these tables are generally from 13
to 16 yards long. The threads are kept in their proper
positions, and, as far as possible, in an equal state of ten-
sion, by means of ^' reeds " and rollers. Very considerable
care is needed in the application of the colours, especially
if several colours have to be blocked on in succession.

In order to economize time, and to do away with the
trouble of fixing the yarn, so as to form a warp, and keeping
it in this state during the processes of printing and drying,
machines have been introduced which print yarns in the
hank, and apply several colours at once.

In printing many-coloured yarns in the hank, the yarn
had to undergo as many distinct printing and drying pro-
cesses as there were colours ; moreover, as the different
colours of the design did not always register well together,
much yarn was imperfectly printed, or even spoiled — a
circumstance which greatly limited the development of this
style.

The chintz -yarn printing machines of Messrs. T. Barra-
clough and Co. obviate these evils, and are capable of
printing as many as six colours at once.

TISSUE-PRINTING.

893

The actual printing operation is performed by means of
two brass printing rollers, between wbich the hank is
passed. The yarn receives the printed impression on one
or both sides, according to the number of colours. Each
printing roller is in connection with three so-called fur-
nisher rollers of brass, which supply it with colour ; these
are in turn supplied with colour by auxiliary furnishers of
brass, revolving in copper troughs containing the colours.
The printing rollers are cut or fluted longitudinally, accord-
ing to the design and colours to be produced. Each fur-
nisher roller is also fluted, according to the colour which
it has to supply to the printing roller. The auxiliary fur-
nishers are plain turned rollers without flatings.

If we suppose that the design to be produced consists of
six bars — red, blue, yellow, black, green, and brown — one
of the printing rollers is, therefore, fluted, so as to apply
the red, yellow, and green, while the other roller prints the
alternate colours, blue, black, and brown. The first fur-
nisher roller, belonging to one of the printing rollers, is
fluted in such a manner, and at such intervals round its
circumference, as to impart its colour (red) to the corre-
sponding flutes on the printing roller. The second and
third furnisher rollers are fluted, so as to hand over their
respective colours (yellow and green) to the corresponding
flutes on the printing roller. In the same manner, the other
printing roller is supplied by its furnisher rollers with the
three colours, blue, black, and brown, according to the
corresponding flutes of the pattern. By a special arrange-
ment in the machine the flutes of the two printing rollers,
when more than three colours are being printed, do not
arrive simultaneously at the point of contact with the yarn,
or a smear would be caused. Whilst one flute of one of
the rollers is impressing its colour upon the yarn, the cor-
responding part of the other roller is blank, and vice versa.
Thus the rollers print alternately.

To insert the hanks, the machine is opened, and the
hank is carefully spread out evenly over the entire surface

894

DYEING AND TISSUE-PEINTING.

of the printing rollers, and stretched by means of small
tension rollers fitting into racks. The machine is then
closed, and the printing is efiected by turning a handle at-
tached to one of the printing rollers. When finished, the
hank is removed by opening the machine and slackening
the tension.

As all the rollers are driven by finely-cut wheels, it fol-
lows, of course, that, when once adjusted, they must all
keep their respective positions. Hence the colours are each
delivered at the proper time, and no misprints can occur.
In the operation as described, one printing roller prints
three colours on one side of the yarn, whilst the other
roller impresses its three colours on the other side of the
yarn. When only two or three colours are to be printed,
the corresponding flutes of both rollers can be arranged to
come together, and apply their colours at once, thus print-
ing the yarn on both sides.

The machine is more conveniently worked by hand than
by steam, as the process is intermittent.

If the design to be produced has very broad bands of
colour, a piece of felt is let in in the centre of the flutes
on the printing rollers, so as to enable them to carry evenly
the necessary quantity of colour, and apply it evenly.

It will be at once evident that the designs possible in
yarn printing are necessarily limited in their character.
Whether applied by block or machine, they consist of
bands or stripes, broad or narrow, single or multiple, con-
tinuous or interrupted, and running either at right angles
to the length of the yarn, or diagonally. As after weaving,
the pieces produced are very frequently dyed, padded with
a ground, or printed with some large design, the colours
employed in yarn-printing are generally heavy.

As yarns are often not rinsed after printing, and as they
have further to bear the strain of weaving, it is highly im-
portant that they should not be " tendered." Hence free
acids and acid salts should be avoided as much as possible
in mixing the colours.

TISSUE-PRINTING.

395

Dteing Arrangements.

In several styles of printing, more especially in madder
work, piece- dyeing is an essential part of the process.
After the mordants have been printed on, fixed by ageing,
and after the thickenings and the superfluous mordants
have been removed by dunging, the goods are run through
a dye-beck. The manner of working differs little from that
usually employed in dyeing. The beck is of a rectangular
figure, longer than broad, and through it the pieces travel
at a uniform speed, capable of adjustment, by means of
rollers fixed below the surface of the dye-liquid. Great
care is taken that the pieces remain spread out to their full
width during the whole process, as, if any wrinkles or folds
occur, the shades dyed will be uneven.

There are many mechanical arrangements in use for
drawing the pieces at an even rate through the dye-
becks.

On leaving the dye-beck, or any other cistern in which
the goods have been exposed to the action of a liquid, they
are squeezed or, as it is technically called, nipped,'* by
being made to pass between a pair of rollers.

Washing Appliances.

In all dyeing and printing processes, washing is an im-
portant and very frequently recurring operation. In the
earlier career of the tinctorial arts, goods requiring to be
washed were simply suspended for a time in the stream on
the banks of which the works were situate.

This primitive arrangement was abandoned when the
rivers became too dirty to be safely used in this manner ;
and when it was found that a smaller volume of water, if
made to come in contact with the goods with very great
rapidity, was more effectual than the slow current of a
river.

896

DYEING AND TISSUE-PKINTING.

One of the earliest washing appliances introduced was
the dash-wheel. This is an upright hollow wheel or drum,
revolving on a horizontal axle. It is generally about 5 or 6
feet in diameter, by 2 feet from front to back. It is divided
into four compartments by partitions, which extend from
the axle to the circumference, and each of which has a
round opening on one of the perpendicular faces of the
drum. The cloth to be washed is introduced through
these openings, and the wheel is made to revolve rapidly.
Water may be admitted in two ways. In some cases, the
wheel revolves in a cut taken from the river, and at such
a depth that the water rushes in at the hole which is under-
most. A more common arrangement is to have a water-
pipe within the hollow axle on which the dram revolves,
and fitted with holes, so as to admit the water into every
compartment. The dash-wheel is now very generally super-
seded by superior washing machines, whose action admits
of being regulated with more nicety.

A piece of apparatus often used for more delicate work
is the so-called " rinsing machine." This is simply a cis-
tern of wood, about 3 feet wide, 20 to 30 feet long, by
4 feet high at the front end, and 3 feet at the back or en-
trance end. The cistern is divided into upright compart-
ments, from six to ten in number, by means of wooden
partitions, which correspond in height with that of the
cistern itself. A stream of water is admitted at the higher
end, and finds its way from the first to the second compart-
ment, and so onward, through holes pierced near the top of
each division. The cloth to be rinsed enters over a roller
at the lower end, passes under a roller placed at the bottom
of that compartment, and travels in this manner through
all the cells, meeting the stream of water, and finally
passes out from the highest compartment through a pair of
nipping rollers, by the movements of which its speed is
regulated.

The Swiss washing machine — that of Witz and Brown —
is very frequently used in this country. It washes about

TISSUE-PKINTINQ.

397

6,000 to 8,000 yards per hour, with two men to attend to
it. It requires from 4 to 5 horse-power to work it, and
must have a water-supply of about 4,360 gallons per hour.
It may be used for light as well as for heavy goods. The
" clapeau-traquet," much employed in France, is best
adapted for heavy cloth. It washes as much as 9,000 yards
per hour, and requires the attendance of only one man,
and a driving power equal to 3 to 4 horse-power. The con-
struction and operation of these machines cannot be made
intelligible by a mere description.

Drying.

The pieces require drying both after and before printing
and dyeing, and, occasionally, in intermediate stages. Be-
fore printing, the goods should be dried with caution ; if
they are either damp, or absolutely dry, the results are not
satisfactory. Mordants, colours, &c., should not be exposed
to a very high temperature in drying. About 200^ F. is
generally quite sufficient, and the boiling temperature is
decidedly too high.

The old arrangement for drying was the hot fine, still
used in the padding style, p. 249. Currents of hot air
have been tried, but are pronounced unsatisfactory, as the
drying is found not sufficiently rapid. It is very probable,
however, that this method of drying which is now applied
with such success to a variety of agricultural produce
might be so modified as to suit the requirements of the
dyer and printer.

For many delicate colours, especially safflower, a current
of dry air at common temperatures would be the most
desirable drying agent.

The most common arrangement for drying is a series of
iron steam chests, each having a surface of about 6 square
feet. The pieces travel near, but not in actual contact with
these chests. Steam drums, round which the pieces are
made to pass, raise their temperature too high.

398

DYEING AND TISSUE-PRINTINQ.

Finishing.

Under this name are included a series of operations, the
chief of which are starching and calendering.

The calender is a machine with revolving cylinders, be-
tween which the pieces pass, and are submitted to such
pressure that their surfaces are smoothed and, to a certain
extent, glazed. This process is used not merely for finished
goods, but in preparing pieces for printing, especially for
block-work, where a very heavy pressure is required, so as
to give a perfectly smooth surface. After dyeing, as in
alizarine and vat work, if steam, spirit, or pigment colours
are to be blocked in, a second calendering is required.

The calender invented by M. C. Dollfus, and usually
known as the Alsace machine, is one of the best known.
It does double the work of the calender generally used in
England, requires the attendance of a single workman only,
and is not liable to accidents.

Paper cylinders or rollers are found very much superior
to those of wood. They are not liable to split, crack, or
warp, and they impart a much smoother polish.

Starches, differing considerably both in quantity and
quality, are applied by means of an especial machine — the
starching mangle. They are applied most plentifully to
furniture prints, where the object is to produce a very
glossy surface into which dust cannot penetrate. These
starches, some of which approach to gums in their nature,
are not generally prepared in print works, but are bought
from the starch manufacturers.

" Breadthening " is a mechanical operation for restoring
the cloths to their original width. In the various pro-
cesses through which the pieces have passed, the pieces are
found to have been pulled out in length, and, consequently,
to have shrunk in width. The opening or spreading machine
pulls them uniformly out to the extent of about 2 inches.

The machines and appliances for folding, pressing, and

DETECTION OF COLOURS UPON FIBRES.

399'

packing the goods need the less notice here as these pro^
cesses are not peculiar to djed or printed goods.

Detection of Colours upon Dyed and Printed Goods.

The recognition of colours upon the fibre is an im-
portant part of the dyer's and printer's duties. We give,
therefore, the reactions of the ordinary dye wares.

1. Eeds.

1. Boil with a solution of sulphate of alumina.

The liquor becomes tinged red, with a golden, green
reflection : madder and alizarine colours.

a. It is tinged red, without the green reflection, and
is decolourized on adding an equal volume of solution of
the bisulphite of soda : the red woods, the aniline reds,
coralline and safflower.

h. It is not decolourized, as above : cochineal, lac, and
orchil.

2. Boil (in case of 1, a) with strong alcohol or methy-
lated spirit.

The liquid turns red : aniline reds.
It is not coloured or scarcely perceptible : red woods,
coralline and safflower.

3. Heat the goods with clear lime-water.
The lime-water is not coloured : safflower.

The lime-water is coloured red : red woods and coral-
line.

4. Heat the goods with dilute sulphuric acid.

a. The red on the fibre changes to an orange-red : the
red woods.

5. The red on the fibre changes to a yellow, fading
perceptibly : coralline.

5, Boil with strong alcohol (in case of 1, &).
a. The alcohol becomes coloured a distinct red:
orchil.

400

DYEING AND TISSUE-PRINTING.

6. It is not coloured, or only very slightly : cocliineal,
lac (kermes),

6. Heat with solution of baryta (in case of 5 h),
a. The liquid remains uncoloured : lac.

h. It takes a colour: cochineal (and kermes).

7. To distinguish the two latter, heat with lime water.
The red on the fibre turns brownish : kermes.

It turns violet : cochineal.

For a confirmation of the results given in the above
table, the following experiments will be useful : —

1. Madder and Alizarine Beds.

These shades resist the action of reagents better than
other reds. Place in four glasses the following liquids : —
Boiling soap-lye ;
Caustic ammonia ;
Lemon juice ;

A mixture of equal parts of tin crystals, muriatic acid,
and water.

A swatch of the cloth (or a bit of yarn) is plunged into
each of these.

If it remains unaffected in all, the red has been produced
by alizarine, natural or artificial, anthrapurpurine, &c,

2. Bed Woods.

The woods are much employed in imitating madder and
cochineal shades. From the former they are distinguished
by the reaction already given.

To distinguish the woods from cochineal, we steep a
swatch in dilute sulphuric acid. If it turns a cherry red
we have one of the red woods, and if it becomes a yel-
lowish orange, cochineal. A solution of phosphoric acid
turns wood-reds to a yellow, and decolourizes them, whilst
it turns cochineal reds to an orange.

DETECTION OF COLOURS UPON FIBRES.

401

3. Aniline Beds.

These colours are slowly discharged by lime-water,
bleached by sulphuret of ammonium, and restored to the
original colour, or nearly so, by large quantities of water,
especially if a trace of muriatic acid is added. Strong
muriatic acid turns the red to a yellow, but on washing
with abundance of water, it changes to a reddish purple.
Soap-lye decolorizes the aniline reds, but on washing in
pure water and passing into citric acid, the original shade
returns, though fainter. The tin-salt mixture decolorizes
aniline reds, turning them previously to a blue.

Eosine is immediately decolorized by collodion ; whilst
magenta, Magdala red, and alizarine dissolve in it without
loss of colour. The behaviour of methyl-eosine is like
that of ordinary eosine.

4. CoraUine,

Coralline is not bleached by lime-water, which takes a
pink tinge. If heated with chloride of copper it turns
grey.

5. Safflower {Garthamine.)

This red is bleached by sulphuret of ammonium. Lime-
water turns it yellow, without taking up any colour. On
saturating the lime-water with acetic acid, the red shade
returns. Soap-lye completely decolorizes safflower-red.
On washing with plenty of water and moistening with
lemon juice (citric acid), the red returns. The colour is
met with chiefly upon silk, rarely upon cotton. On wool
scarcely ever.

6. Cocliineal, Lac, and Kermes,

Sulphate of alumina tinges itself a purple red with all
three. Permuriate of iron darkens them all ; dilute sul-
phuric acid turns them all to a yellowish-orange, except

D D

402

DYEING AND TISSUE-PRINTING.

in the case of tlie ammonical extract of cochineal, which is
not reddened by the acid, but is coloured pink by phos-
phoric acid, which turns cochineal in its original state, lac,
and kermes to a reddish-yellow. A mixture of muriatic
acid and alcohol turns all three to a dirty yellow, which is
converted into a crimson on washing in much water.

7. The weed colours, orchil, cudbear, &c., are completely
decolorized by a solution of tin crystals,

II. Yellows.

1. Heat with alcohol or water, to which have been
added a few drops of permuriate of iron (ferric chloride) .

a. The colour of the goods alters very little or not at
all : annatto, turmeric, aniline yellow, picric acid, naphthy-
lamine yellow.

1). The colour of the goods becomes dark, yellow-green,
olive-green, or black : fustic, fustet (young fustic), weld,
bark, flavine, berries.

2. Moisten the cloth with oil of vitriol,
a. A blue or green spot : annatto.

6. A spot which becomes at once, or after a time,
brown, brownish-red, or red : turmeric, aniline-yellow,
picric acid, naphthylamine-yellow.

3. Pour on the goods a mixture of alcohol, muriatic
acid, and boracic acid.

«. The liquor colours itself: turmeric, aniline yellow.
The former gives a deep, and the latter a light pink. In
case of turmeric the fibre as well as the liquid, on adding
an equal measure of water, has a yellowish-red colour.

In case of aniline yellow the goods become coloured
violet. On the addition of water the liquor takes a deeper
colour, and the goods become crimson,

&. The liquor remains unaltered : picric acid, naphthyla-
mine yellow.

4. Heat the goods with ammoniacal solution of copper,

DETECTION OF COLOURS UPON FIBEES.

403

and afterwards wash in water. If tlie colour on the fibre
becomes bluish-green : picric acid. If olive green : naph-
thylamine yellow.

5. Boil with sulphate of alumina and add an equal
volume of water. If the liquid is yellow, with a bluish-
green reflection : fustic.

If yellow, without reflection : young fustic, weld, bark,
flavine, berries.

6. Heat with baryta-water and lime-water.
a. The tissue dyes itself red : young fustic.

h. The tissue becomes only a little darker : weld, bark,
flavine, berries.

7. Eoil with glacial acetic acid. The liquid, when cold,
shows :

a, A distinct green reflection, and a decided gold-
yellow ; flavine.

h. 1^0 reflection : weld, bark, berries.

8. Boil with solution of sugar of lead :

a. The colour of the cloth is unchanged : weld.

h. The colour turns to orange-brown : bark, berries.

The following remarks must be added. Picric acid is
never found on cotton. It turns red if moistened with
cyanide of potassium.

Iron buffs may often be found on cotton. If a swatch
of the cloth is steeped in a warm, acidulated solution of
prussiate of potash it is turned blue.

Chrome yellows and oranges, often found on cotton, are
blacked by sulphuret of ammonium, and destroyed by
caustic soda. Annatto resists bleaching liquor.

III. Blues,

1. Steep a piece of the cloth in citric acid or lemon-
juice.

a. The colour changes to an orange-red ; logwood.

h. The colour gradually fades (more rapidly if moistened

404

DYEING AND TISSUE-PRINTING.

with muriatic acid) : ultramarine. Only met in printing,
in pigment styles.

c. Colour unchanged: Prussian blue, aniline blues,
indigo.

2. A swatch of the cloth is steeped in solution of
chloride of lime.

a. Colour unaltered : Prussian blue.
i. Colour destroyed, or changed to a yellowish : aniline
blue, indigo.

3. A swatch is steeped in caustic soda.
Colour unaltered : indigo.

Colour changed: aniline blue.

The following reactions may be of service ; —

Aniline blues are extracted by steeping in alcohol,
forming a blue liquid, not reddened by an acid. Soda lye
turns them a reddish-brown, but on washing in plenty of
water the blue is restored.

Prussian blues are turned a rusty brown by alkalies, but
the blue is not restored on washing.

IV. Greens.

All greens, except the aniline greens, lao-kao and chlo-
rophyl — the two latter of which are not in practical use —
are mixtures of blue and yellow.

1. Moisten with muriatic acid. The colour changes or
disappears altogether, but is restored on washing in much
water: aniline greens.

A swatch boiled in pure water turns to a dull violet :
methyl-green.

2. Colour little affected by muriatic acid ; destroyed or
changed by alkalies. Little affected by mixture of tin
crystals and muriatic acid : aniline blue and picric acid.

3. Alkalies destroy the blue ; resists acids. Tin crystal
mixture little action. The blue, but not the yellow, re-

DETECTION OF COLOURS UPON FIBRES. < 405 '

stored by washing : aniline blue and a vegetabl^i y^HoWl
(N.B. The cases 2 and 3 are not rarely met wwl^and ^
their discrimination is often difficult.) \\7

4. Boil for a couple of minutes in alcohol at OSv^^r^
cent.

«. The alcohol turns yellow and the cloth more blue:
the blue is then indigo or Prussian blue. When the yel-
low is all extracted, the cloth is steeped in bleaching
liquor. If the colour is discharged it is indigo ; if unaf-
fected, it is Prussian blue.

h. The alcohol becomes green and the cloth grows paler,
without altering its tone. Here we have an aniline green,
or an aniline blue, topped as in cases 2 and 3.

5. Steep a swatch in carbonate of soda. If a blue colour
dissolves out, the blue portion is extract of indigo. If, in-
stead, a rusty shade appears, Prussian blue is present.

6. Expose the cloth, wet, to sulphuretted hydrogen. If
it is blackened, and if the blue remains on carefully wash-
ing in a dilute acid, the yellow is a chrome-yellow (chro-
mate of lead).

7. In case of printed goods (pigment styles), burn to
ashes in a thin porcelain crucible.

a. The ash is green : a green oxide of chrome (Guignet's
green) .

h. The flame is green: the ash on being extracted with
nitric acid and the solution freed from excess of acid by
evaporation, and mixed with ammonia in excess, gives a
blue liquid: Scheele's green, Paris green, or some other
arsenical pigment. (The special tests for detecting arsenic
in admixture with organic matter should here be applied.
It must be remembered, that arsenic may be present in
various colours, mordants, (fee.)

406

DYEING AND TISSUE-PRINTING.

V. Violets or Purples.

1. Steep in solution of bleaching liquor. If unaffected :
alkanet. This colour is but little used.

2. Steep in sulphuret of ammonium.

a. The colour is discharged : blueish magentas.
h. Turns to a brownish-red: Perkin's violet, Hofmann's
violet.

c. Little altered : orchil alone, or topping a vat-blue ;
wood violets alone, or along with a vat-blue alizarine
purple.

3. To distinguish Hofmann's and Perkin's violets : pour
cold dilute muriatic acid upon the cloth. The liquid turns
yellowish, and the cloth greenish : Hofmann's violet.

The liquid turns violet, and the cloth is scarcely altered :
Perkin's violet.

4. Boil with alcohol.

a. The liquid turns pink or brownish-yellow, and is
coloured violet by ammonia : orchil.

h. The alcohol is scarcely coloured : madder (alizarine)
purple ; the wood violets alone, or with logwood.

]Nr.B. Orchil is completely destroyed by a mixture of
tin crystals and muriatic acid.

5. To distinguish madder purple from cochineal purple :
steep in chloride of lime.

a. The cloth turns to a yellow : madder.

h. The colour is discharged : cochineal.

[N'.B. As both madder and cochineal purples have an
iron base, the swatch, after steeping in chloride of lime and
washing, is moistened with an acidulated solution of yellow
prussiate. If a blue colour is produced, the original dye
was a madder or cochineal shade. If no blue appears, it
was orchil or logwood.

6. Burn a little of the cloth to ashes in a porcelain cap-
sule.

a. Nothing remains : aniline violet.

DETECTION OF COLOURS UPON FIBRES.

407

h. White ash remains : logwood, with a mordant of
alumina.

c. Red ash remains : madder or logwood, with a mordant
of iron.

7. Pigment purples may be treated with weak muriatic
acid. If the blue shade disappears, and a red remains, un-
affected by acids; ultramarine and vermilion.

If the colour is totally destroyed : violet ultramarine.

VI. Blacks.

1. Colour resists all re-agents. The ash, after burning
white : lamp-black, or some other form of finely- divided
carbon. This colour occurs only in pigment styles, and if
diluted with albumen and gum to a sufficient extent, gives
the fastest greys.

2. Strong muriatic acid produces no immediate change;
but, on standing, the cloth becomes greenish, and the liquid
turns an olive-brown. Tin crystals and muriatic acid give
a green, turning to a grey. The colour is restored by am-
monia, but not by water : aniline black.

3. Apply solution of chloride of lime.

a. The cloth turns a chestnut brown, which is not turned
blue by an acidulated solution of yellow prussiate of
potash : chrome black.

h. Cloth turns yellowish, converted to a blue by yellow
prussiate : logwood black, gall black.

To distinguish these, apply dilute muriatic acid. If a
cheiTy-red spot is produced, immediately we have a log-
wood black with an iron mordant. If logwood and iron
are dyed on a vatted ground, dilute muriatic acid gives in
a few minutes a dull purple spot. A mixture of muriatic
and oxalic acid gives a red liquor, and turns the cloth blue,
4.6., leaves the indigo untouched.

It is not easy to give any definite directions for the
examination of browns, " modes," olives, &c., on account of
their complexity.

408

DTEING AND TISSUE-PRINTING,

APPENDIX.

Bleaeliing and Printing Jute,

Mr. C. F. Cross (Patent, ISTo. 4984, a.d. 1880) bleaches
jute and similar fibres as follows: He treats the yarns, &c.,
in an open vessel, with solutions of the neutral sulphite of
soda, containing from 1 to 2 per cent, of sulphurous acid as
sulphite, and he then boils in a kier at a pressure of 5 lbs.
to 15 lbs. per square inch in a similar solution.

In printing bleached goods, such as jute or hemp, the
goods are well washed, mangled to remove water, and taken
through a solution of bisulphite of soda, containing about
2 per cent, of combined sulphurous acid. The pieces are
again mangled or drained in the centrifugal, and returned
to the bisulphite bath, and allowed to lie for a few hours.
It is then dried, printed as usual, and may then be
steamed for the development and fixation of the colour
without injury.

IND

EX.

Acetate of lime, 280.

Acid green, 192 ; tannic, 75.

Ageing, 240.

Agents, levelling, 81 ; raising, 80.

Alcohol, removal of impurities be-
fore dyeing by, 20.

Alizarine, black, 173, 236 ; blue,
288 j brown, 187 ; maroon with,
188; purple, 284; red, 130 5
red grounds, 279 ; red on yarn,
fast, 208 5 violet, 145.

Alizarine reds, brightness inter-
fered with by iron, 3.

madder, 23.

Alkali, violet, 221.

Alkalies, influence of in water, 24.

Alkaline liquors, 19.

Alpaca, brown on, 186 ; modes
on, 201 ; slate grey on, 199

" Alterants," 80.

Alum mordants, 37.

Amaranth on yarns or pieces, 361.

Amber, 296.

Ammonia, removal of impurities
before dyeing by, 20.

chlorate of, 329.

Aniline, black, 91, 170, 330; and
alUed styles, 325 ; resists, 332 ;
discharge, 333; blue, 101, 103,
152, 286 ; green, 164; grey,
290, 336 ; grey, cerium, 333 ;
spirit, 170.

solution, muriate of, 329.

Animal fibres, bleaching, 18.

mordants, 77.

Annatto, orange, 129, 156
Anthracene violet, 294
Antimony mordants, 42.
Appendix, 408.
Aqua-regia, 20.
Arsenical mordants, 42.
Artificial indigo, printing with,
270.

Aurantine green, 194; orange on
yarn, 206 ; ponceau, 209 ; scar-
let, 209 ; yellow, 222.

Aurine, 139.

Aventurine, 224.

Azo reds, 143, 166.

Bandanna style, 348.

Barlow's kiers, 10.

Barwood red, 140 ; spirit, 66.

Bell's cylinder machine, 389.

Bengale rose, 139.

Benzyl blue, 101, 179.

Bismarck brown, 356 ; very deep,

113, 161.
Black, aniline, 91, 170, 330, 338;

and allied styles, 325 ; discharge,

333 ; resists, 332.
Black, iron process for, 51.

on half snks, 376.

Lyons, 226.

steam, 352.

410

INDEX.

Blacks, detection of, 407.

for dyeing, 91-99.

linen, 149. ♦

sewing thread, 149, 150.

for dyeing jute, 159, 160.

for dyeing wool, 1 70, 174.

for silk dyeing, 226.

for tissue printing, 236.

lapis, 261.

aniline, discoverer of, 262,

325, 327, 330, 333.
■ for tissue printing, 266, 297,

298, 313, 314.
copper, 326, 334, 338, 341,

342, 347, 350-352.
for outlines, 366, 367, 376,

407.

Bleaching animal fibres, 18; cot-
ton, 5; cotton yarns, 11, 12;
jute, 18; linen, 13, 17; silk, 4,
19 ; wool, 4.

duration of, 20.

and printing jute, 408.

• processes for varying with

nature of fibre, 4.

Bleu gomme, colour made up of,
266.

Block printing, 387.
Blond, 355.

Blue, 99, 150, 160, 174, 178, 334,
341, 353, 376.

aniline, 226.

black, 94, 170 ; on cloth, 96.

green, 123.

induline, 1 08.

irons, 52.

lavender, 201.

light, 99, 151.

light extract, 369.

New Koyal," 182.

stone, 45.

without indigo, 103, 151,177;

with purple reflection, 353.
Blueish green, light, 122.

mode, 155.

Blues, detection of, 403.

for silk or cotton pigment,

323.

for dyeing on cotton, 99-109.

Blues for sewing cottons, 150, 151,
152.

for linen dyeing, 155.

for jute dyeing, 160, 161.

for wool dyeing, 174, 182.

on half woollens, 202.

for silk dyeing, 226, 227.

discharge, 252.

indigo, 252.

for tissue printing, 265.

china style, 267.

artificial, 286, 287, 288, 299.

standard, best, 301.

prussiate and dark, 314, 334,

341, 343.
prussiate, 227, 344, 353,

367.

gum, Prussian, 369, 376,

403.

Boiling, object of, 7.

Borax used for bleaching instead

of soap, 22.
Bottle green, 193.
Bowl, spirit, 69.

Bronze, golden, 162, 184; olive,
184, 205 ; on cloth, 183.

style, the, 264.

Brown, alizarine, 187, 285; Bis-
marck, 356 ; dark, 184, 188,

354 ; fast, on mixed goods with
linen warps, 190; light, on yarn,
183 ; olive, 189; on al2:>aca, 186;
on cloth, golden, 185 ; on shoddy
containing cotton, 187 ; on wool,
reddish, 183, 185, 188 ; on wool,
yellowish, 183 ; on worsteds,
186, 188 ; on yarn, 184, 185,

355 ; orchil, 354, 369 ; wood,
354, 370.

Browns, metallic lustre, 185.

for dyeing, 109-116.

for linen dyeing, 152, 153.

for jute dyeing, 161.

for wool dyeing, 183, 190,

for silk dyeing, 227, 228.

for tissue printing, 236, 237.

alizarine, 285, 299, 300.

sapan, 315, 348, 354-356.

orchil, 369, 370.

INDEX.

411

Buffs, 117, 356.
Burling iron, 51.

Calico, printer's colours, 378 ;
printing on, 342.

Campobello yellow, 230

Cardinal, fast, 213, 21 4.

Carmelite, golden, 224

Castelhaz grey, 289.

Catechu, 74; brown, 153.

Catechu, lapis resist, 260.

solution, 300.

Caudroy machine, 391.

Caustic soda, solution, 10, 22.

Cerium aniline grey, 333.

Chamois, 190.

on silk, 228.

" Chemicking," in bleaching cot-
ton, 8, 11.

China blue, 108 5 style, 267.

silks, 22.

Chintz-yarn printing, 392.

Chloride of lime, test for, 8.

Chlorochromic acid, 12.

Chlorozone, 12.

Chocolate, 118, 237, 248,300,315,
356.

Chromium mordants, 43.
Chromo blacks, 171; green, 123 5

orange, 156 5 puce, 189.
Chrysammic rose, 293
Cinnamon brown, 113,

on yarns, 190.

on wools, 191, 316.

Claret, 118.

on half woollens, 215.

Clarke's test for hardness of water,
28.

method of softening, 30, 32.

Clearing, 245.
Coal-tar reds, 292.
Cochineal pink, 207 ; red, 140 ;
scarlet, 141.

scarlets, 24.

rose, 308.

Coeruleine green, 121, 289.

Ccerulignone orange, 360
Colour, 329.

and colour mixing, 377.

Colours, removal of natural, requi-
site before dyeing, 3.

for mixed goods, 311 ; on

cotton yarns, &c., receipts for
the production of, 91 ; pigment,
care required in mixing, 325 ;
resorcine, 1 38 ; upon dyed and
printed goods, detection, 399 ;
used in spirit style, nature of,
319.

Compound designs, 337.
Copper paste, sulphurec of, 329.

mordants, 44.

Copperas, 47.
Coralline red, 138.
Cordillot, 276.
Corinthe on damask, 216.
Cotton, impurities in, 5.

bleaching of, 5.

dyeing, 89.

yarns, bleaching of, 11.

or silk, pigment blues for,

323.

spirits, 64, 67 , yarns, &c.,

receipts for the production of
colours on, 95 ; warps, dyeing
blue on, 53.

Cream colour, 118.

Crimson, 157, 165 ; rose on woollen
yarns, 211 ; on alpaca, 209 ; on
cloth, 207 ; cotton spirit, 64.

liquor for padding velvets,

141.

Crimsons, 209.
Crofting" vegetable fibre, 18.

Cross, Mr. F. C, patent for jute
bleaching and printing, 408.

Cutting, 246.

reserved style, 247.

Cylinder machine, 389.

Dahlia, 221.

deep, 221.

Dead leaf, 189.

412

INDEX.

Designs, compound, 337.
Dip blues, 252.

Dirt, grease, &c., removal of before

dyeing, 2, 20.
Dove, 118, 162.

on velvets, 118.

colour for jute dyeing, 162.

Drabs, 119, 120, 191, 192, 237,

248, 316.
Drying, 397.
Dunging, 243.

Dyed and printed goods, detection
of colours upon, 399.

Dyeing and printing, differences
between, 231.

blue on cotton warps, 53 ;

indigo, 105 ; cotton, 89 ; jute,
159; linen, 149 5 mixed goods,
1 69 ; vessels used, 82 ; wool,
166.

and tissue-printing, 1.

general instructions on , 82.

arrangements, 395.

Electric light, use of, in dye works,
87.

Emerald green, 122, 196.
Engler, new process for bleaching

cotton, 12.
E sine, 140, 292; on wool, 213;

pinks, 374.
Erythrosine pink, 137.
Ether, removal of impurities before

dyeing by, 20.
Ertincelle green, 196.

Eawn on velvet, 120.

Nos. 5 and 6, 301.

120, 300.

drab, 192.

Feathers, bleaching of, 19.
Fibres, animal, bleaching of, 18.
Finishing, 398.
Flannel, dark green on, 195.
Flesh colour on worsted, 213.
Furniture, printed colours on, 347.
Furs, bleaching of, 19.

Galleine violet, 294.
Gall nuts, 72.
Garancine style, the, 239.
Garnet on floss worsted, 211,
214.

on half-woollens, 215.

dark do. do., 216.

Gentiana violet, 146, 219.

blue, 287.

German vat, 181.
Glucose, action of, 383.
Glycerine arsenic, 288.
" Goetze's " concentrated vat
270.

Gold brown on worsteds, 187.

old, 148, 158.

old, on cotton, 148.

for jute dyeing, 162.

Golden bronze, 162, 184; brow^n

on cloth, 185; carmelite, 224;

orange, 162.
Green, dark steel, 197 ; etincelle,

196; imperial, 197 ; indigo, 372 ;

light, 357 ; medium, 357 ; olive,

195 ; on half-silks, 376 ; picric,

372.

Greenish grey, 154, 199 ; mode,
155.

Greens, detection of, 404.
120, 124.

for linen dyeing, 153, 154,

155.

■ for jute dyeing, 163, 164.

for wool dyeing, 192, 197.

on yarns, 203.

on silk waste, 228.

sage, 249.

INDEX.

413

Greens, for tissue-printing, 266,

289, 301, 304, 316.

steam, 340, 343, 357, 358.

standard, 370, 371, 372, 376,

404.

Grey, fast ash, 200 ; greenish, 154,
199 ; gi'ound printing colours,
345 ; light, 199 5 mode, 124, 165,
198 5 pearl, 198, 200, 359 5 red-
dish, 198, 200; silver, 125; slate,

125 ; sour, 7; strain, 345; stone,

126 ; wood, 200.

iron, for linen dyeing, 154.

for jute dyeing, 164, 165.

for wool dyeing, 198, 200.

iron on silk thread, 228.

sage, 249.

Greys, 124, 127, 289, 290.

aniline, 333, 336.

naphthylamine, yellowish,

336, 337, 338, 345, 346, 359,

372, 373.
Guernsey blue, 102, 176.
Guinon, Marnay and Pouset's

method, 20.
Gum, Prussian blue, 361.
Gums, different kinds, 383.
Gens d'armes blue, 160, 177.

Gutbier's " concentrated vat, 270.

Hair, bleaching of, 19.

Hydrogen, peroxide of, bleaching
silk with, 4.

instructions for the use of per-
oxide of, 20.

Imperial green, 197.

Indigo blues, 252 ; dyeing, 105;
green, 372 ; printing with arti-
ficial, 270.

vat, the new, 107.

solution, 9.

Induline blue (Williams Brothers
and Elkin), 108.

Introduction, 1,

Iodine green, 193 ; standard solu-
tion of, 59.
Iron grey, 154, 228.
Iron mordants, 46.

Jaune d'or, 224.

Jennings's patent process of

bleaching linen, 15.
Jonquil, 375.
Jute bleaching, 18.

dyeing, 159.

bleaching and printing, 408.

Kiers, 6, 10.
Koechlin, D., 40, 243.
Koechlin's aniline black, 331.

Lalande, De, 269.
Lamy's naphthylamine grey, 337.
Lapis black, 261 ; puce resist, 260.
" Lant," " wash," or weeting,"
19.

Lavender on wools, 201.

on yarns, 201, 304.

Lead colour, 200.

mordants, 55.

acetate of, 40.

Leathers, fine, intended for dye-
ing, bleaching of, 19.
Levelling agents, 81.
Ley-boil, 7.

Lightfoot, J., 262,263.
Light, electric, use in dye works,
87.

Lilac, 155, 305, 360, 373 ; fast,
221 ; grey for woollen yarns,
359.

41i

INDEX.

Lilac for linen dyeing, 155, 221,

222, 305, 360.
Lime, sour, 7.

chloride of, in bleaching of

linen, 5, 8,

acetate of, 280.

" Limeing process " in cotton

manufacture, 6.
Linen, bleaching of, machinery

used in, 17.

■ dyeing, 149.

bleaching, 13.

Logwood black, 95 ; blue, 174.

Macarat, dark, 115.

Machinery for linen bleaching, 17.

Madder brown, 113, 153 ; orange,

1565 red, fiery, 210; style,

233.

Magenta, 137, 139, 157, 229, 292 5

on shoddy, 210.
Manganese mordants, 57.

acetate of, 348.

Marine blue, 179.
Marnay, 20.
Maroon, 127.

on yarn, 188 5 w^ith alizarine,

188.
Mather, 274.

and Piatt, process of singe-
ing, 6, 379.

Mercury mordants, 58.

Metallic lustre on browns, 185.
' Methyl green, 121, 197,289, violet,
146.

Methylene blue, 99, 175, 288.

Mineral thickeners, 384.

Mode green, 1 64 ; greenish, 203 ;

grey, 124, 165, 198 5 medium

blue, 202 5 yellowish, 203.
" Modes" on alpaca, 201.
Mordants, animal, 77 ; properties

required, 34 5 solubility of, 35 ;

theory of, 33 ; two new, 72.
Mordants, use of in rendering

colours brighter, 32.

Mordants, alum, 37.

ammonia, 37.

tannin, 38.

alumina, sulphate of, 39.

alumina, acetate of, 39.

alumina, hydrate of, 39.

alumina, hyposulphate of, 41.

alumina, muriate of 41.

in fixing, sal-ammoniac, 42.

antimony, 42.

antimony, tartarate of, 42.

antimony, oxymuriate, 42.

arsenical, 42,

arsenite of soda, 42, 43.

bismuth, 43.

chromium, 43.

chromium, sesquioxide of, 43,

copper, 44,

copper, ammoniacal, 44.

copper, muriate of, 44.

copper, nitrate of, 45.

coj^per, sulphate of, 45.

iron, 46.

pyrolignite, 46.

iron, hyposulphite of, 47.

iron, copperas, 47.

iron, persulphate of, 48.

iron, muriate of, 48.

iron, nitrate, 48.

iron, burling, 51,

iron, blue, 52.

lead, 55,

lead, sugar of, 56.

lead, nitrate of, 56.

lead, oxides of, 57.

manganese, 57.

mercury, 58.

tin, 58.

tin, muriate of, 60.

tin, oxalate of, 61.

tungsten, 71.

zinc, 71.

zinc, chloride of, 72.

oil, 76.

animal, 77.

animal, caseino, 79.

rising agents, 80.

levelling agents, 81.

Mulberry, on wool, 203.

INDEX.

415

Mulberry, on cloth, 203.
Muriate of aniline solution, 329.
Muriates of tin, 60.
" Mjrabs,'' 73.

Naphthal yellow, 224.
Naphtliylamine puce, 335 5 yellow-
ish grey, 336.
Navy blue. 102, 178.
Nemours blue, 176.
" New Royal ]Blue," 182.
Nicholson blue, 175, 286.
Nitro-alizarine orange, 291.
Noggin, a, 10.

Noisette, six shades, directions
how to mix, 116.

Oil mordants, 76.

Olive, 127, 248, 305, 334, 360 ;
bronze, 184, 205; brown, 189;
golden, 204 ; green, 195 ; green-
ish, 204.

Olives, 127, 128, 204, 205, 248,

305, 317, 334, 374.

on carpet yarn, 204.

Orange (shades of), 129, 130,

205.

for linen dyeing, 156.

for tissue printing, 253, 256,

290, 291, 360, 361, 374.

and yellow spirit, 62.

aurantine on yarn, 206 ;

coerulignone, 360 ; discharge,

256; for yarns or pieces, 361 ;

golden, 162; light, 206 5 new,

205.

Orchil brown, 354, 369.
Organic mordants, 72.
Orseilline red, 364.
Ox tin, 61.

Padding style, 249.

Panama bark, 19.

Pansy, for piece goods, 147.

for jute dyeing, 165.

on yarn, 219.

on alpaca, 219.

on cloth, 219.

for vicuna, 219.

Parapectic acid, impurity in cot-
ton, 5.

Peachwood scarlet, 134.

Peacock green, dark, 195.

Pea green, 301.

Pendlebury's kiers, 10.

Peroxide of hydrogen, instructions
for' the use of, 20.

Perrotine, 389.

Phloxine on woollen yarn, 213 5

pink, 137.
Picric green, 372.
Pigment colours, fixing, 323,

style, 322.

Pink cochineal, 207 ; salt, 68.

374.

Pinks, 136, 137.

plate, 239.

and rose, 283.^

standard, 305.*

sapan wood, 306, 317.

for blocking, 320.

Pinkney's aniline black, 332.
Ponceau, 209, 210.

on silk, 229.

Pouset, 20.

Plate purple," 239.
Plum spirit, 66.
Poppy red, 229, 362.
Potash vat, 181.

Printed and dyed goods, detection
of colours upon, 399.

Printing and bleaching jute, 408.

and dyeing, differences be-
tween, 231.

directions for, 385; tissue,

231.

with artificial indigo, 270.

woollens, 350.

416

INDEX.

Printing 384.

Prussian blue, 299, 344, 353.
Prussiate blue, 152, 177 j grounds,

367 ; green, 120.
Puce chrome, 189.

lapis resist, 260.

naphthylamine, 335.

339.

Purple spirit, 147.
320.

cotton spirit, 67 , for machine

work, 235; on woollen yarn,
220 ; spirit, 61, 147.

Purples on violets, detection of,
406 ; padding, 235.

plate, 239.

alizarine, 284.

thickening, 284, 306.

standard, 306.

another, 307, 317.

Puteaux blue, 180.

Eaising agents, 80.

Rainbow colours, 388.

Eeceipts for the production of

colours on cotton yarns, &c.,

91.

Eed, 130, 138, 140, 157, 165, 306,
343, 346, 347 ; alizarine fast on
yarn, 208; and white discharge,
255 ; cotton spirit, 65 ; dis-
charge, 339; fast on cloth, 214 ;
for half-silks, 376 ; for rainbow
styles, 279; full, on yarn, 209 ;
liquor, 280 ; liquids, receipts for,
40 ; on white grounds, 234 ;
poppy, 229, 362 ; resist, 258 ;
steam, 345 ; steam on woollens,
361.

Eeds, detection of, 399.

different kinds of, 130, 131,

140, 143, 155, 157, 158, 165,
166, 208, 209, 210, 214, 215,
216, 229, 230, 234, 250, 255,
258, 259, 263, 279, 280, 281,

282, 307, 308, 320, 339, 343,
345, 346, 347, 361, 362, 364,
375, 377, 399, 400, 401.

Eeds, coal tar, 292.

magenta, 292.

safPranine, 292.

eosine, 292.

coralline, 293.

chrysammic, 293,

azo, 293.

Reddish brown on wool, 183, 185,
188; mode, 155 ; violet, 146.

Reseda, different shades of, 216,
217.

Reserved style, 247.
Resin boil, 7 ; soap, 8.
Rhem's aniline grey, 336.
RocceHne scarlet, 214.
Roe colour, 143.
Roscoe, Prof., F.R.S., 272.
Rose, 229.

safflower, 137.

Bengale (P. Monnet & Co.),

139, 212.

and crimson, 211.

and pink, 283.

cochineal, 308, 337, 339, 343,

362.

137, 139, 158, 337, 339, 343;

and crimson on woollen yarns,
211; on wool, 209 ; steam on
woollens, 362.

Rosercine colours, 138.

Rouge de Gravelotte, 21Qt

Ruby, 212.

Rust, yellow dark, 148.

Safflower pink, 136 ; rose, 137 j

scarlet, 134.
Saffranine, 292 ; pink, 136 ; rose,

229 ; scarlet, 133, 364.
Salmon, 144, 217.
Salts, stannous, 60.
Sang de Bceuf on yarns, 211.
Sapphire, dark, 178.
Saunders red, 157.

INDEX.

417

Scarlet, 132, 141, 166,207, 363;

aurantine, 209 ; new atlas, 207 ;

rocceline, 214 ; spirit, 61.
Scarlets, 1, 2, 3, 132, 135, 141,

142, 363.

mock, 141.

for jute yarn, 166.

for wool dyeing, 209.

on worsted, 211.

new, on wool, 215.

Schlumberger, fixing pigment

colours, 323.
Sclioene, on presence of ozone in

tlie atmosphere, 12.
Schutzeiiberger, MM., 269.
Sea-green, 196.

Shirtings, Perth system of bleach-
ing, 14.
Shoddy, green on, 194.
Silver drab, 191.

Silk or cotton, pigment blues for,

323.
Silk, raw, 21.

bleaching of, 4, 19.

dyeing, 225.

printing, 365.

Silks, final whitening of, 20.
Silver grey, 125, 359 ; for grounds,

373.

Singeing cotton, 6.
Slate grey, 125.

on wool, 217.

Slater's plan for judging of water

for dyeing purposes, 28.
Slates, 144, 145, 217, 218, 308.
Soap-test, 28.

lye, use of washing with, 2.

removal of impurities before

dyeing, 20.
Soda, caustic, 22, 42.

bisulphate of, 4.

bleaching with, 21.

lye, 20.

ash solution, 7.

Souring in bleaching cotton, 7,

10, II.
Sours, 4.

Spirit purple, 147.
Spirit style, 318.

" Spirits," examples of, 61.
Spon's Encyclopaedia, Irish process

of bleaching linen, 15.
Stamping, 6.
Stand pink, 305.
Stannous salts, 60.
Steaming process, 272.

style, 277.

colours, 282.

Steam black, 352 ; green, 340 ;

grey, 345 5 red, 345 ; style, 277,

337 5 yellow, 344.
Steel green, dark, 197.
Stone colour, light, 218 ; grey,

126.

tanks, 11.

colour, 218, 308.

" Stoving," 4.

Straw yellow, 148, 223.

Style, aniline black and allied,

325 ; bandanna, 348 ; pigment,

322.

" Styles," description of, 232.
Sulphur, fumes of burning, for

whitening silks, 20.
Sulphuret of carbon, removal of

impurities before dyeing by, 20.
Sulphuret of copper paste, 329.
Sulphurous acid gas, bleaching of

wool, with, 4.
Sumac, 74; black, 99.

Tanks and cisterns, 1 1.

Tannic acid, 75.

Tannin, 72, 75, 296.

Tannin, solution of, 296.

Test solutions in bleaching cotton,

8, 9.
Thickening, 379.

Thierry-Mieg, M., proposal for
improving ageing rooms, 242,
243.

Tin crystals, 59 ; mordants, 58 ;

solution, 345.
Tinctorial arts, 1, 32.

418

INDEX.

Tissue-printing and dyeing, 1,
231.

Toby green, 302.

Tobying sieve, 388.

Tungsten mordants, 71.

Turkey-red ground, printing com-
pound colours on, 344 ; reds,
discharges on, 250.

Turkey reds, dj-eing of, 11.

Twaddell's process in bleaching,
8, 9, 10.

Ure, Dr., system of linen bleach-
ing by, 13.

Vanadium, prepare solution, 326.
Vat-dyeing on wool, 180.
Vats, 106.

Vicuna, pansy for, 219.

Violet, alkali, 221 5 for half-silks,

377 ; gentiana, 219; neutral,

295 ; on wool, 218.
or purples, detection of,

406.

145, 146, 218, 219, 220,

221 ; anthracene, 294, 295, 321,
377, 406.

Wash, " lant " or weeting," 19.

Washing appliances, 395.

Water, hardness of, 28, 31 ; im-
purities, tests, 25.

Water for dyeing and printing, 23.

tests for impurities in, 26.

purity of in selecting site for

dye works, 2, 23.

White, 264, 344.

discharge, 255.

resist for block and cylinder

work, 258.

lapis, resist for heavy pat-
terns, 259, 264.

designs, 312.

264.

" White sours," 9.

Wood brown, 354, 370 ; crimson,
166; red, 140, 165.

Wood colour, 375.

Wool dyeing, 166

Wool bleaching, 4 ; rose on, 209 ;
vat dyeing on, 180.

Woollen yarns, black for, 351.

Woollens, printing, 350.

Worsteds, brown on, 186, 188.

Yarn printing, 392 ; cotton, 11.
Yellow and orange spirit, 62.
aurantine, 222 ; medium,

364 ; naphthal, 224.
Yellowish brown on wool, 183 ;

grey naphthylamine, 336.
Yellows, detection of, 402.
148.

for linen dyeing, 158.

for wool dyeing, 203, 222,

224.

for silk dyeing, 230.

discharge for a, 251.

for tissue-printinor, 265.

cadmium, 309, 321.

steam, 344.

364, 365, 375, 377, 402.

Zinc mordants, 71.

CHISWICK PRESS :— C. WHITTINGHAM AND CO., TOOKS COURT, CHANCERY LANE.

IN COURSE OF PUBLICATION:

A SEEIES OP

TECHNOLOGICAL HAND-BOOKS.

UNDER THE GENERAL EDITORSHIP OF

H. Trueman Wood, B. A.,

Secretary to the Society of Arts.

IN 1873 the Society of Arts instituted Teclinological
Examinations — Examinations, that is, in the theory
of certain specified trades. In 1879 these Examinations
were transferred to the City and Guilds Institute for the
advancement of Technical Training, and considerable
alterations were made in the system. Immediately on
the foundation of these Examinations it became evident
that the good they could effect was but partial. They
supplied a test for the artisan's theoretical knowledge,
but they supplied no means by which such knowledge
could be acquired.

Fnnds subscribed by the Clothworkers' Company
enabled the Society of Arts to establish, or promote the
establishment of, a few classes, on the model of the
South Kensington Science classes. The system thus
commenced was extended by the City Institute, and
there are now about 120 classes at which instruction is
given to students in preparation for the Examinations,

TECHNOLOGICAL HAND-BOOKS.

Thus the want of teaching has been, at all events par-
tially, supplied.

But the establishment of the Technological Examina-
tions rendered manifest another want besides that of
instructors, and that was the want of books in which a
workman belonging to any particular trade could obtain
the information he required about the theory of that
trade. Whether he wished to study for the Examinations
by himself — and there are many who are not in a posi-
tion to attend classes — or whether he wished merely to
gain the knowledge which would be, of all knowledge,
most serviceable to him, or whether even he was attend-
ing a class and required a text-book to guide his studies
in it, no such book was, in most cases, available for him.
Many technical books are too costly, many more are of
necessity written in a style unsuited for men who have
had little or no scientific training, while, in many cases,
no book at all exists which deals with the technology
of the particular industry with which the student is
connected.

So long as the number of candidates for the Techno-
logical Examinations was small, it seemed as if text-
books, intended mainly for their use, would hardly have
secured a sufficient number of readers to justify their
production ; but the rapidly increasing number of can-
didates,^ is good evidence that a demand for such works
exists and is growing.

These are the circumstances which have led to the pre-
paration of the present series. It is intended eventually

^ The total number in 1879 was 202 5 this grew to 803 in 1880, and
there were reported in April last to be 2,500 candidates preparing
for examination in May.

TECHNOLOGICAL HAND-BOOKS.

to include all the industries specified in the programme
of the City Institute ; but at first those branches of
manufacture have been selected for treatment in which
it appears that text-books are most required.

The books will be prepared by eminent writers,
familiar not only with the scientific principles involved
in each trade, but with the practical details. They will
be addressed to workmen and apprentices, who may be
supposed to have some knowledge of the practical, if not
of the theoretical, portions of their business. At the same
time — since the books are intended for learners — the
possession of such knowledge will not be asvsumed, but
it will be for the most part taken for granted that the
student will have in his workshop the opportunity of
studying the various processes of which he reads, so
that practice and theory may go hand in hand.

The books will not be, in any sense, cram books.
They will not be written with a view to enable candidates
to answer a paper of questions; but they will, if the
intentions of those who are preparing them can be
carried out, provide for all interested in our great manu-
facturing industries, knowledge which, while it may to
a certain extent be tested — as may all knowledge — by
Examination questions, will also stand the more real
aud severe tests of practical work.

The series will be edited by Mr. H. Trueman Wood,
the Secretary of the Society of Arts, who prepared for
the City Institute the revised scheme of Examinations.
This scheme is now in force, scarcely any changes in it
having been made, and it is under it that the great in-
crease of numbers has taken place.

TECHNOLOGICAL HAND-BOOKS,

EDITED BY H. TKUEMAN WOOD, B.A.,

SECRET AEY TO THE SOCIETY OF AETS.

1. Dyeing and Tissue-Peinting. By William Crookes,

F.R.S., y.P.C.S. Price 6s.

2. Glass Manufacture. Inteoductoey Essay, by H. eJ.

Powell, B.A. (Whitefriars Glass Works) ; Crown
and Sheet Glass, by Henry Chance, M.A. (Chance
Bros., Birmingham) ; Plate Glass, by H. G.
Harris, Assoc. Memb. Inst. C. E. Illustrated.
Price Ss, 6d.

3. Cotton Spinning: Its Development, Principles, and

Peactice, with an Appendix on Steam Boilers and
Engines. By B. Marsden, Editor of the " Textile
Manufacturer." Illustrated. Price 6s. 6d.

4. Woollen Manufacture. By C. Vickerman.

\_In the press.

5. Telegraphs and Telephones. By W. H. Preece,

F.R.S., Memb. Inst. C.E., Electrician to the
General Post Office. [^Preparing.

Others preparing.

LOIs^DON: GEORGE BELL AND SOISTS,
York Street, Coyent Garden.

CATALOGUE OF

BOHNS LIBRARIES.

A\B. — // is requested that all orders be accompanied by
payment. Books are sent ca7^riage free on the receipt of the
published price in stamps or otherivise.

The Works to which the letters ' JV. S,^ {denoting Neiu
Style) are appended at^e kept in neat cloth bindi?Tgs of various
colours y as well as in the regular Library style. All Orders
are executed in the New bi7iding^ unless the co7ttrary is ex-
pressly stated.

Complete Sets or Separate Volumes can be had at short
notice^ half bound in calf or morocco.

Neiu Volumes of Standard Works in the various brajiches

of Literature are co7istantly bei7ig added to this Series^ which

is already tmsurpassed i7i respect to the 7iu77iber, variety^ a7id

cheap7iess of the Works co7itai7ied i7i it. The Publishers have

to a7i7iou7ice the folloivi7ig Vohnnes as 7^ecently issued or 7iow

i7t p7'eparatio7i : —

Bos well's Life of Johnson. New Edition. 6 vols.

\_Ready^ see p. i .

Vasari's Lives of tlie Painters. Additional Notes by
J. P. Richter. Ready ^ see p. 8.

Roger AsctLam's Scholemaster. Edited by Prof. Mayor.

G-rimm's German Tales. 2 vols. With the Notes of the

Original. . \^Ready^ sec p. 5.

Coleridge's Table-Talk, <&;c. ]^Ready, see p. 4.

Coleridge's Miscellaneous Works. iln the press.

Manual of Philosophy. By E. Belfort Bax. i vol.

Goldsmith's Works. Vols. I. and II. \Ready, see p. 5.

Fairholt's History of Costume. the press.

Hoffmann's Stories. Translated by Major Ewing.

the press.

London : G. BELL & SONS, 4 York Street, Covent Garden.

fanuary^ 1SS5.

BOHN'S LIBRARIES.

STANDARD LIBRARY.

294F^?/i". at 6^. eacJi^ excepting those marked otJierwise. (51/. lOi". 6d. per set.)

ADDISON'S Works. Notes of Bishop
Hurd. Short Memoir, Portrait, and 8
Plates of Medals. 6 vols. N. S.

This is the most complete edition of
Addison's Works issued.

ALFIERI'S Tragedies. In English
Verse. With Notes, Arguments, and In-
troduction, by E. A. Bowring, C.B. 2 vols.
.V. S,

AMERICAN POETRY. — 6^^^^ Poetry
of Afuerica.

ASCHAM'S Scholemaster. Edit, by
by Prof. J. E. B. Mayor. tJie press.

BACON'S Moral and Historical
Works, including Essays, Apophthegms,
Wisdom of the Ancients, New Atlantis,
Henry VII., Henry VIII., Elizabeth,
Henry Prince of Wales, History of Great
Britain, Julius Caesar, and Augustus Caesar.
With Critical and Biographical Introduc-
tion and Notes by J. Devey, M.A. Por-
trait. N. S.