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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/19985-8.txt b/19985-8.txt new file mode 100644 index 0000000..6a095ab --- /dev/null +++ b/19985-8.txt @@ -0,0 +1,12294 @@ +The Project Gutenberg eBook, The Dyeing of Woollen Fabrics, by Franklin +Beech + + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + + + + +Title: The Dyeing of Woollen Fabrics + + +Author: Franklin Beech + + + +Release Date: December 1, 2006 [eBook #19985] + +Language: English + +Character set encoding: ISO-8859-1 + + +***START OF THE PROJECT GUTENBERG EBOOK THE DYEING OF WOOLLEN FABRICS*** + + +E-text prepared by Christine P. Travers, Jason Isbell, and the Project +Gutenbert Online Distributed Proofreading Team (https://www.pgdp.net/) + + + +Note: Project Gutenberg also has an HTML version of this + file which includes the original illustrations and + in which the index is linked to the corresponding pages. + See 19985-h.htm or 19985-h.zip: + (https://www.gutenberg.org/dirs/1/9/9/8/19985/19985-h/19985-h.htm) + or + (https://www.gutenberg.org/dirs/1/9/9/8/19985/19985-h.zip) + + +Transcriber's note: + + Obvious printer's errors have been corrected, and the original + spelling has been retained. + + Page numbers have been included to allow the reader to use the + index. Page numbers of pages previously only containing + illustration (and now empty) are not shown. + + Illustrations placed in the middle of paragraphes have been + moved, thus, their page numbers have changed. The illustration + index has been corrected to match the new position of the + illustrations. + + In chemical formulas a subscripted number is shown by an + underscore followed by the number within curly brackets. Thus + the formula for water is given as H_{2}O. + + Text enclosed by pound signs (#) was in bold face. + + Additional notes are at the end of the text. + + + + + +THE DYEING OF WOOLLEN FABRICS + +by + +FRANKLIN BEECH +Practical Colourist and Chemist; +Author of +"The Dyeing of Cotton Fabrics," Etc, + +With Thirty-Three Illustrations + + + + + + + +London +Scott, Greenwood & Son +8 Broadway, Ludgate Hill, E.C. + +Canada: The Copp Clark Co., Ltd., Toronto +United States: D. Van Nostrand Co., New York +1902 +[All rights remain with Scott, Greenwood & Son.] + + + + +PREFACE. (p. iii) + + +In this little book the author has endeavoured to supply the dyer of +woollen fabrics with a conveniently arranged handbook dealing with the +various branches of the wool dyeing industry, and trusts that it will +be found to meet the want which undoubtedly exists for such a book. + +The text on which the book is based is expressed in the title "The +Dyeing of Woollen Fabrics," and in enlarging upon it the author has +endeavoured to describe clearly and in some detail the various +processes and operations generally, pointing out the principles +involved and illustrating these by numerous recipes, showing the +applications of a great variety of dyes in the production of the one +thousand and one tints and shades the wool dyer is called upon to +produce on the fabrics with which he is working. In pursuance of this +plan nothing is said of the composition and properties of the various +dyes, mordants, chemicals, etc., which are used. This is information +every wool dyer should possess, but the author believes it is better +dealt with in books devoted to Chemistry proper. + + _May, 1902._ + + + + +CONTENTS. (p. v) + + +CHAPTER I. + Page +THE WOOL FIBRE-- + Structure, Composition and Properties...................... 1 + + +CHAPTER II. + +PROCESSES PREPARATORY TO DYEING-- + Scouring and Bleaching of Wool............................ 15 + + +CHAPTER III. + +DYEING MACHINERY AND DYEING MANIPULATIONS-- + Loose Wool Dyeing, Yarn Dyeing and Piece Dyeing + Machinery................................................. 40 + + +CHAPTER IV. + +THE PRINCIPLES AND PRACTICE OF WOOL DYEING-- + Properties of Wool -- Methods of Wool Dyeing -- Groups + of Dyes --Dyeing with the Direct Dyes -- Dyeing with + Basic Dyes -- Dyeing with Acid Dyes -- Dyeing with + Mordant Dyes -- Level Dyeing -- Blacks on Wool -- Reds + on Wool -- Mordanting of Wool -- Orange Shades on Wool + -- Yellow Shades on Wool -- Green Shades on Wool -- + Blue Shades on Wool -- Violet Shades on Wool -- Brown + Shades on Wool -- Mode Colours on Wool.................... 59 + + +CHAPTER V. + +DYEING UNION (MIXED COTTON AND WOOL) FABRICS............... 168 + + +CHAPTER VI. + +DYEING OF GLORIA........................................... 188 + + +CHAPTER VII. (p. vi) + +OPERATIONS FOLLOWING DYEING-- + Washing--Soaping--Drying................................. 197 + + +CHAPTER VIII. + +EXPERIMENTAL DYEING AND COMPARATIVE DYE TESTING............ 211 + + +CHAPTER IX. + +TESTING OF THE COLOUR OF DYED FABRICS...................... 218 + + +INDEX...................................................... 225 + + + + +LIST OF ILLUSTRATIONS. (p. vii) + + +Fig. Page + + 1. Microscopical Sketch of Wool Fibre....................... 2 + + 2. Kempy Wool Fibres........................................ 3 + + 3. Sectional View of Wool Fibre............................. 4 + + 4. Wool Fibres Showing Action of Alkalies.................. 10 + + 5. Wool Fibres Showing Action of Acids..................... 11 + + 6. Wool Washing Machine.................................... 20 + + 7. Wool Cloth Washing Machine.............................. 28 + + 8. Woollen Cloth Washing Machine........................... 29 + + 9. Sulphur Bleach House.................................... 29 + +10. Dyeing Tubs and Vat..................................... 41 + +11. Section of Dye Vat...................................... 42 + +12. Delahunty's Dyeing Machine.............................. 44 + +13. Obermaier Dyeing Machine................................ 44 + +14. Holliday's Yarn Dyeing Machine.......................... 47 + +15. Klauder-Weldon Yarn Dyeing Machine...................... 47 + +16. Dyeing Jiggers for Cloth................................ 51 + +17. Dyeing Jiggers for Cloth................................ 53 + +18. Jig Winch Dyeing Machine................................ 53 + +19. Cloth Dyeing Machine.................................... 54 + +20. Plush Fabric Dyeing Machine............................. 55 + +21. Dye Beck for Cloth...................................... 56 + +22. Hawking Machine......................................... 57 + +23. Indigo Dye Vat for Cloth............................... 149 + +24. Squeezing Rollers...................................... 199 + +25. Yarn Washing Machine................................... 201 + +26. Cloth Washing Machine.................................. 202 (p. viii) + +27. Cloth Washing Machine.................................. 204 + +28. Soaping and Washing Machine............................ 205 + +29. Hydro-extractor........................................ 206 + +30. Hydro-extractor........................................ 207 + +31. Yarn Drying Apparatus.................................. 208 + +32. Cloth Drying Machine................................... 208 + +33. Experimental Dye Apparatus............................. 212 + + + + +CHAPTER I. (p. 001) + +THE WOOL FIBRE. + + +Wool is one of the most important textile fibres used in the +manufacture of woven fabrics of all kinds. It belongs to the group of +animal fibres of which three kinds are met with in nature, and used in +the manufacture of textile fibres; two of these are derived from +quadruped animals, such as the sheep, goat, etc., while the third +class comprises the products of certain insects, _e.g._, silk. + +The skin of all animals is covered with more or less of a fibrous +coat, which serves as a sort of protecting coat from the weather to +the skin underneath. Two different kinds of fibres are found on +animals; one is a stiff kind of fibre varying in length very much and +called hairy fibres, these sometimes grow to a great length. The other +class of animal fibres are the woolly fibres, short, elastic and soft; +they are the most esteemed for the manufacture of textile fabrics, it +is only when the hairy fibres are long that they are serviceable for +this particular purpose. There is a slight difference in the structure +of the two kinds of fibre, woolly fibres having a more scaly structure +than hairy fibres; the latter also differ in being more cylindrical in +form. + +#Wool.#--By far the most important of the animal fibres is wool, the +fibre of the domestic sheep. Other animals, the llama or alpaca, the +Angora and Cashmere goats also yield fibres of a similar character, +which are imported under the name of wools. There are many (p. 002) +varieties of wools Which are yielded by the various breeds of sheep, +but they may be roughly divided into two kinds, according to the +length of "staple," as it is called. In the long-stapled wools the +fibres average from 7-1/2 to 9-1/2 inches in length, while the +short-stapled wools vary from 1 to 2 inches long. The diameter varies +very considerably from 0.00033 to 0.0018 of an inch. + +[Illustration: Fig. 1.--Wool Fibre under the Microscope.] + +Two varieties of thread are spun from wool, one is known as "worsted," +the other as "woollen" yarns; from these yarns two kinds of cloths are +woven, distinguished as worsted and woollen cloths; the former are in +general not subjected to any milling or felting process, while the +latter invariably are. + +#Physical Properties.#--When seen under the microscope the wool fibres +show a rod-like structure covered with broad scales, the edges of +which project from the body of the fibre, and all point in one +direction. + +Fig. 1 shows typical wool fibres as viewed under the microscope; the +sketch shows very well the scales. + +The shape of the scales varies in different breeds of wool. The (p. 003) +outer scales enclose inner medullary cells, which often contain +pigment matter. A transversed section of the wool fibre shows the +presence of a large number of cells. Sometimes wool fibres are +occasionally met with which have a peculiar white horny appearance; +these do not felt or dye well. They are known as "kempy" fibres. See +figure 2. The microscope shows that they are largely devoid of +structure, and are formed of very horny, impenetrable tissue, which is +difficult to treat in the milling or dyeing process. + +[Illustration: Fig. 2.--Kempy Wool Fibres.] + +The curly or twisted character of the fibre is caused by the unequal +contraction of the outer scales, and depends in a great measure upon +the hygroscopic nature of the wool. It may be entirely removed for the +time by wetting the wool in hot water, then drying it in a stretched +condition, or the curl may be artificially induced by unequal drying, +a fact which is turned to practical account in the curling of feathers +and of hair. + +The amount of curl in different varieties of wool is very variable, +being as a rule greatest in the finer qualities, and diminishing as +the fibre becomes coarser. The diameter of the wool fibre varies (p. 004) +from 1/2000 to 1/5000 of an inch, and the number of curls from about +30 per cent. In fine wool as little as 1 or 2 per cent. in the thicker +fibres. + +Elasticity and strength are properties which, in common with silk, +wool possesses in a greater degree than the vegetable fibres. When +submitted to strain the wool fibre exhibits a remarkable strength, and +when the breaking point is reached the fracture always takes place at +the juncture of two rings of the outer scales, the embedded edges of +the lower layer being pulled out of their seat. The scales themselves +are never broken. + +[Illustration: Fig. 3.--Wool Fibre showing Medullary Centre.] + +When first formed the cells are more or less of a spherical shape, and +contain a nucleus surrounded by the ultimate photoplasmic substance. +Those cells which constitute the core or central portion of the fibre +retain to some extent this original globular form and pulpy condition. +Surrounding this central portion or medulla, as it has been called +(see fig. 3), and forming the main bulk of the fibre, there is a +comparatively thick layer of partially flattened cells, which are also +elongated in the direction of the length of the fibre, and outside +this again there is a thinner stratum which may be compared to the +bark of a tree. This outer covering differs materially from the (p. 005) +rest of the fibre in its physical structure, but is, probably, nearly +identical with it, though possibly not entirely so, in chemical +composition. It consists of a series of flattened horny scales, each +being probably an aggregation of many cells. The scales, which have +been compared to the scales of a fish or to slates on a housetop, +overlap each other, the free edges protruding more or less from the +fibre, while the lower or covered edges are embedded and held in the +inner layer of cells. The free edges always point away from the root +of the fibre, just as do the bracts of a fir cone. + +When viewing a section of a wool fibre there is, of course, no sharp +line of division between the three portions above described, but the +change from the central spherical cells to the elongated cellular +portion, and from these again to the flattened horny scales, is quite +gradual, so that the separation into zones, though well marked, is +very indefinite in respect of boundaries. + +The scaly structure of wool is of great importance in regard to what +is known as felting property. When woollen fabrics are worked in +boiling water, especially in the presence of soap, they shrink in +length and breadth, but become thicker in substance, while there is a +greater amalgamation of the fibres of the fabric together to form a +more compact and dense cloth; this is due to the scaly structure of +the wool fibres enabling them to become entangled and closely united +together. In the manufacture of felt hats this is a property of very +great value. + +#Variations in Physical Structure.#--Wool fibres vary somewhat amongst +themselves; fibres from different breeds of sheep, or even from +different parts of the same animal, vary greatly, not only in +thickness, length, etc., but also in actual structure. A typical wool +fibre, such as may be obtained a good merino or Southdown fleece, will +possess the typical structure described above, but frequently the type +is departed from to such an extent that the central core of (p. 006) +globular cells is entirely absent. Also the serrated character of the +outermost layer of cells reaches a much higher state of development in +some samples of wool than in others. + +Wool is a much more hygroscopic fibre than cotton or any of the other +vegetable fibres, usually it contains about 18 per cent. of water, but +much depends upon the atmospheric conditions that prevail. This water +is contained in the wool in two forms: (1) as water of hydration +amounting to about 81 per cent., and (2) as hygroscopic water. + +Experiments have shown that when a piece of dried wool is exposed to +an atmosphere saturated with water vapour it will absorb 50 per cent. +of its weight; cotton under the same conditions will take up 23 per +cent.; flax, 27·5 per cent.; jute, 28·5 per cent., and silk, 36·5 per +cent. + +Heated to about 100° C. it parts with nearly the whole of its water +and becomes hard, horny and brittle, exposed to the air, the dry wool +again absorbs water and is restored to its former condition. When +heated to 100° C. wool becomes somewhat plastic, so that whatever form +is then imparted to it it will retain when it becomes cold, this +property is very useful in certain processes of finishing wool +fabrics, making hats, etc. + +#Chemical Composition.#--In the natural or raw state each wool fibre is +surrounded by a considerable amount of foreign matter, so that in +treating of its chemical constitution it is necessary to distinguish +between pure wool and the raw fibre. The incrusting substance is +technically known as "Yolk," or "Suint," and is principally composed +of a kind of natural soap, consisting of the potash salts of certain +fatty acids, together with some fats which are incapable of +saponification. + +The amount of yolk present upon different samples of wool varies +greatly, the finer varieties containing, as a rule, a larger +proportion than the coarser, and less valuable sorts. + +The variation in the relative amount of pure fibres and yolk is (p. 007) +well shown in the following analyses which, however, do not by any +means represent extreme cases. + +ANALYSES OF RAW MERINO WOOL. DRIED AT 100° C. + + No. 1. No. 2. +Moisture 6·26 10·4 +Yolk 47·30 27·0 +Pure Wool 30·31 59·5 +Dirt 11·13 3·1 + ------ ------ + 100·00 100·00 + +Yolk consists very largely of two complex substances which have been +termed wool perspiration and wool fat. The former is composed of the +potash salts of fatty acids, principally oleic and stearic acids; the +latter of the neutral carbohydrate, cholesterine, with other similar +bodies. The wool perspiration may be removed by a simple washing with +water, and on the Continent forms a valuable source of potash salts, +since the ash after ignition contains 70 to 90 per cent. of potassium +carbonate. The wool fat is insoluble in water, but dissolves readily +in ether, benzene, carbon disulphide, etc. + +It is also removed from the wool by a treatment with alkali, and it is +not easy to explain the action in the case, since the wool fat is not +a glyceride, and will not form a soap, but is probably emulsified by +the wool perspiration. + +#Chemical Composition of the Pure Fibre.#--The following analyses of +purified and dried wool fibre indicate its percentage composition:-- + + Mulder. Bowman. +Carbon 50·5 per cent. 50·8 per cent. +Hydrogen 6·8 " 7·2 " +Nitrogen 16·8 " 18·5 " +Oxygen 20·5 " 21·2 " +Sulphur 5·4 " 2·3 " + ----- ----- + 100·0 100·0 + +It is sometimes stated that wool fibre consists of a definite (p. 008) +substance, keratine, but this view cannot now be admitted, since wool +appears to be composed of a mixture or combination of several very +complex substances. It is possible and even probable that the outer +epidermal scales have a somewhat different composition to the bulk of +the fibre, but whether that is the case or not is not known with any +degree of certainty, this much can be asserted, that wool is not a +simple definite chemical compound. + +Sulphur is by far the most variable constituent of wool, sometimes as +little as 1·5 and occasionally as much as 5 per cent. being found. It +appears to be always present in two different forms, one portion being +in very feeble combination and easily removed by alkalies, the +remainder, which, according to Knecht, amounts to about 30 per cent. +of the total sulphur, cannot be removed without complete +disintegration of the fibre. This latter portion does not give a black +coloration with plumbite of soda. + +The amount of ash left on incinerating dry wool varies from 1 to 2 per +cent., and some have considered this inorganic matter as an essential +constituent. It consists principally of salts of potassium, calcium +and aluminum, with, of course, sulphur. + +The chemical composition of the wool fibre is evidently of a most +complicated nature; judging from its behaviour in dyeing it is evident +that it may contain two bodies, one of a basic character which enables +it to combine with the azo and acid series of dyes, the other possessing +acid characters enabling it to combine with the basic dyes of the magenta +and auramine type. Dr. Knecht has isolated from the wool fibre by +extraction with alkalies and precipitation with acids a substance to +which the name of lanuginic acid has been given. It is soluble in hot +water, precipitates both acid and basic colouring matters in the form +of coloured lakes. It yields precipitates with alum, stannous (p. 009) +chloride, chrome alum, silver nitrate, iron salts, copper sulphate. It +appears to be an albuminoid body. From its behaviour with the dyes, +and with tannic acid and metallic salts, it would appear that lanuginic +acid contains both acidic and basic groups. It contains all the +elements, carbon, hydrogen, oxygen, nitrogen and sulphur, found in +wool. + +If wool is dyed in a dilute solution of Magenta (hydrochloride of +rosaniline), the whole of the base (rosaniline) is taken up, and the +whole of the acid (HCl) left in the bath, not, however, in the free +state, but probably as NH_{4}Cl, the ammonia being derived from the +wool itself. A further proof of the acid nature of lanuginic acid is +that wool may be dyed a fine magenta colour in a colourless solution +of rosaniline base; for since rosaniline base is colourless, and it +only forms a colour when combined with acids, the fibre has evidently +acted the part of an acid in the combination. + +#Chemical Properties. Action of Alkalies.#--Alkalies have a powerful +action on wool, varying, of course, with the nature of the alkali, +strength of solution and temperature at which the action takes place. + +An ammoniacal solution of copper hydroxide (Schweizer's reagent), has +comparatively little action in the cold, but when hot it dissolves +wool fairly readily. + +The caustic alkalies; sodium hydroxide, NaOH, or potassium hydroxide +KOH, have a most deleterious action on wool. Even when very dilute and +used in the cold they act destructively, and leave the fibre with a +harsh feel and very tender, they cannot therefore be used for scouring +or cleansing wool. Hot solutions, even if weak, have a solvent action +on the wool fibre, producing a liquid of a soapy character from which +the wool is precipitated out on adding acids. + +This action of alkalies has an important bearing on the scouring of +wool, for if this operation be not carried out with due care there (p. 010) +is in consequence great liability to impair the lustre and strength of +this fibre. From microscopical examination this effect of alkalies is +seen to be due to the fact that they tend to disintegrate the fibre, +loosen and open the scales, this is shown by contrasting the two +fibres A and B shown in figure 4, A being a normal wool fibre, B one +strongly treated with an alkali. + +The alkaline carbonates have but little action on wool, none if used +dilute and at temperatures below 120° F. + +[Illustration: Fig. 4.--Showing the Effects of Scouring Agents on the +Wool Fibre. A. Unscoured Fibre. B. Badly Scoured Fibre.] + +Soap has practically no action on wool, and is therefore an excellent +scouring material for wool. The carbonate of ammonia is the best and +has the least action of the alkaline carbonates, those of potash and +soda if used too strong or too hot have a tendency to turn the wool +yellow, the carbonate of potash leaves the wool softer and more +lustrous than the carbonate of soda. + +The influence of scouring agents on wool will be discussed in the +chapter on cleansing wool fabrics in more detail. + +Caustic or quick-lime has a similar injurious action on the wool fibre +as the caustic alkalies. + +#Action of Acids.#--Acids when dilute have but little influence on (p. 011) +the wool fibre, their tendency is to cause a separation of the scales +(see fig. 5) of the wool and so make it feel harsher. Strong acids +have a disintegrating action on the wool fibre. There is a very +considerable difference between the action of acids on wool and on +cotton, and this difference of action is taken advantage of in the +woollen industry to separate cotton from wool by the process commonly +known as "carbonising," which consists in treating the fabric with a +weak solution of hydrochloric acid or some other acid, then drying it; +the cotton is disintegrated and falls away in the form of a powder, +while the wool is not affected, sulphuric acid is used very largely in +dyeing wool with the acid- and azo-colouring matters. + +[Illustration: Fig. 5.--Wool Fibre Heated with Acid.] + +Nitric acid affects wool in a very similar manner to the acids named +above when used in a dilute form; if strong it gives a deep yellow +colour and acts somewhat destructively on the fibre. + +Sulphurous acid (sulphur dioxide) has no effect on the actual fibre, +but exercises a bleaching action on the yellow colouring matter which +the wool contains, it is therefore largely used for bleaching (p. 012) +wool, being applied either in the form of gas or in solution in water; +the method will be found described in another chapter. Wool absorbs +sulphur dioxide in large amount, and if present is liable to retard +any subsequent dyeing processes. + +#Action of Other Substances.#--Chlorine and the hypochlorites have an +energetic action on wool, and although they exert a bleaching action +they cannot well be used for bleaching wool. Hot solutions bring about +a slight oxidation of the fibre, which causes it to have a greater +affinity for colouring matters; advantage is taken of this fact in the +printing of delaines and woollen fabrics, while the woollen dyer would +occasionally find the treatment of service. A paper by Mr. E. Lodge, +in the _Journal of the Society of Dyers and Colourists_, 1892 (p. 41), +may be consulted with advantage on this subject. Wool treated with +chlorine loses its felting property, and hence becomes unshrinkable, a +fact of which advantage is taken in preparing unshrinkable woollen +fabrics. + +When wool is boiled with solutions of metallic salts, such as the +sulphate of iron, chrome, aluminium and copper, the chlorides of tin, +copper and iron, the acetates of the same metals, as well as with some +other salts, decomposition of the salt occurs and a deposit of the +metallic oxide on the wool is obtained with the production of an acid +salt which remains in solution. In some cases this action is +favourably influenced by the presence of some organic acid or organic +salt, as, for examples, oxalic acid and cream of tartar (potassium +tartrate), along with the metallic salt. + +On this fact depends the process of mordanting wool with potassium +bichromate, alum, alumina sulphate, ferrous sulphate, copper sulphate, +etc. The exact nature of the action which occurs is not properly +understood, but there is reason for thinking that the wool fibre has +the capacity of assimilating both the acid and the basic constituents +of the salt employed. + +Excessive treatment with many metallic salts tends to make the (p. 013) +wool harsh to the feel, partly owing to the scales being opened out and +partly owing to the feel naturally imparted by the absorbed metallic +salt. + +The normal salts of the alkaline metals, such as sodium chloride, +potassium sulphate, sodium sulphate, etc., have no action whatever on +the wool fibre. + +Wool has a strong affinity for many colouring matters. For some of the +natural colours, turmeric, saffron, anotta, etc., and for the neutral +and basic coal-tar colours it has a direct affinity, and will combine +with them from their aqueous solutions. Wool is of a very permeable +character, so that it is readily penetrated by dye liquors; in the +case of wool fabrics much depends, however, upon the amount of felting +to which the fabric has been subjected. + +If wool be boiled in water for a considerable time it will be observed +that it loses much of its beautiful lustre, feels harsher to the +touch, and also becomes felted and matted together. This has to be +carefully guarded against in all dyeing operations, where the handling +or moving of the yarns is apt to produce this unfortunate effect. + +After prolonged boiling the fibre shows signs of slight decomposition, +from the traces of sulphuretted hydrogen and ammonia gases which it +evolves. + +When wool is dried at 212° F. it assumes a husky, harsh feel, and its +strength is perceptibly impaired. According to Dr. Bowman, the wool +fibre really undergoes a slight chemical change at this temperature, +which becomes more obvious at 230° F., while at about 260° F. the +fibre begins to disintegrate. According to the researches of Persoz, +however, temperatures ranging from 260° F. to 380° F. can be employed +without any harm to the wool, if it has previously been soaked in a 10 +per cent. solution of glycerine. + +When wool is heated to 212° F. (100° Cent.) it becomes quite (p. 014) +pliant and plastic and may be moulded into almost any shape, which it +still retains when cold. This fact is of much interest in the +processes of finishing various goods, of embossing velvet where +designs are stamped on the woven fabric while hot, and in the crabbing +and steaming of woollen goods, making hats, etc. + + + + +CHAPTER II. (p. 015) + +PROCESSES PREPARATORY TO DYEING, SCOURING AND +BLEACHING OF WOOL. + + +Wool scouring takes place at two stages in the process of manufacture +into cloth. First, in the raw state, to free the wool from the large +amount of grease and dirt it naturally contains; second, after being +manufactured into cloth, it is again scoured to free it from the oil +that has been added to the scoured raw wool to enable it to spin +easily. This oiling is generally known as wool batching, and before +the spun yarns or woven fabrics can be dyed it is necessary to remove +it. + +Raw wool is a very impure substance, containing comparatively little +wool fibre, rarely more than 50 to 60 per cent. in the cleanest +fleeces, while it may be as low as 25 per cent. in the dirtiest. + +First there is a small quantity of dirt; there is what is called the +suint, a kind of soapy matter, which can be removed by washing in hot +water. This soap has for its base potash, while its acids are numerous +and complex. The wool contains a fatty-like substance of the nature of +wax, called cholesterine, and this imparts to the fatty matter, which +be extracted from the wool fibre, very peculiar properties. Besides +these there are several other bodies of minor importance, all of which +have to be removed from the wool before it can be manufactured into +cloth. + +Marker and Schulz give the following analysis of a good sample of (p. 016) +raw wool:-- + +Moisture 23·48 per cent. +Wool fat 7·17 " +Wool soap (suint), soluble in water 21·13 " +Soluble in alcohol 0·35 " +Soluble in ether 0·29 " +Soluble in dilute hydrochloric acid 1·45 " +Wool fibre 43·20 " +Dirt 2·93 " + ------ + 100·00 + +Two principles underlie the methods which are in use for this purpose. +The first principle and the one on which the oldest method is based is +the abstraction of the whole of the grease, etc., from the wool by +means of an alkaline or soapy liquor at one operation. This cannot +nowadays be considered a scientific method. Although it extracts the +grease, etc., from the wool, and leaves the latter in a good condition +for after processes, yet with it one might almost say that the whole +of the soap or alkali used, as well as the wool grease itself, is lost +as a waste product; whereas any good process should aim at obtaining +the wool grease for use in some form or another. The second principle +which underlies all the most recent methods for extracting the grease +from the wool, consists in treating the fibre with some solvent like +benzol, carbon bisulphide, petroleum spirit, carbon tetrachloride, +etc., which dissolves out the cholesterine and any other free +fatty matter which is in the wool fibre, leaving the latter in such a +condition that by washing with water the rest of the impurities in the +wool can be extracted. By distilling off and recondensing the solvent +can be recovered for future use, while the wool fat can also be +obtained in a condition to use for various purposes. This is rather a +more scientific method than the old one, but it has not as yet come +into extensive use. + +#Wool Scouring. Old Methods.#--In the early days of wool scouring (p. 017) +this operation was done in a very primitive fashion, generally in a +few tubs, which could be heated by steam or otherwise, and in which +wool was worked by means of hand forks. These primitive processes are +still in use in some small works, especially where the wool is dyed in +the loose condition, but in all the large works machinery has been +adopted, which machinery has been brought to a high state of +perfection, and does its work very well, and without much attendant +manual labour. + +The alkaline substances used in this process of scouring demand some +notice. These comprise soda ash, soda crystals, caustic soda, silicate +of soda, potash, caustic potash, soaps of various kinds, stale urine, +ammoniacal compounds. Which of these may be used in any particular +case depends upon a variety of reasons. Potash is the best alkaline +agent to use. It agrees better with the fibre than any other, leaving +it soft and elastic. Ammonia is the next best, but it does not take +out the grease as well as the potash. Soda does not suit as well as +potash, as it has a tendency to leave the fibre harsh in feel and +somewhat brittle, yet on account of its being so much cheaper it is +the most largely used. The use of silicate of soda cannot be +recommended, as it has a great tendency to leave the fibre hard, which +may be ascribed to the deposition of silica on the fibre. + +The caustic alkalies cannot be used as they have too solvent an action +on the fibre. The carbonates, therefore, in the form of soda ash or +potash, or pearl ash, are used, or better still, soap is used as it +has a greater solvent action on the fatty matter of the wool than have +the alkalies, and in this respect a potash soap is better than a soda +soap. + +The character of the wool determines the alkali to be used; fine, +long-stapled wools, which are usually very free from grease in excess, +should always be treated with potash, or a potash soap, which will (p. 018) +remove the whole of the grease from the wool, leaving the latter in a +fine, soft, silky condition. + +Short-stapled wools can be treated with soap and a little soda ash, +but too much of the latter is to be avoided. Coarse and greasy wools +may be scoured with soap and soda ash, or other alkali which is almost +necessary to remove the large amount of grease these wools contain. + +Practically the only alkaline products now in use are the various hard +and soft soaps, and the carbonates of soda and potash in their various +forms of soda ash, soda crystals, potashes, pearl ash, etc. Ammonia +and its compounds are rarely used, while stale urine, which acts in +virtue of the ammonia it contains has practically gone out of use. + +#Hand-Scouring.#--Wool scouring by hand is easily done and requires few +appliances, simple tubs or vats of sufficient capacity in which steam +pipes are placed, so that the scouring liquors can be heated up. The +best temperatures to use are about 130° to 140° F., and it is not +advisable to exceed the latter, as there is then some risk that the +alkali may act on the fibre too strongly. + +The strength of the scouring liquor necessarily varies with the kind +of wool being treated, and with the kind of alkaline product used; if +soft, fine wools are being treated, then the liquor may be made with 1 +to 2 lb. of soap to 10 gallons of water (if a mixture of soap and +alkali is used, then it may contain from 1/4 to 1/2 lb. soda ash, and +1/2 lb. to 1 lb. of soap). For coarse, greasy wools these quantities +may be increased by about one-half. The best plan of scouring by hand +is to treat the wool in a tub with a scouring liquor for about half an +hour, then to squeeze out the surplus liquor and to treat again in a +new liquor for half an hour; this liquor may be used for a new batch +of wool. The wool is often put into nets, and these are lifted up and +down in the liquor so as to cause it to penetrate to every part of the +wool. + +It is not advisable to work the wool about too much, otherwise (p. 019) +felting might ensue and this must be avoided. The felting of the wool +is one of the troubles of the wool-scourer and is often difficult to +avoid, it is mostly brought about by excessive working of the wool +during the process, and by the use of too high a temperature in the +scouring bath. The remedies are obvious to the practical man, as +little handling of the wool as possible, and at as low a temperature +as possible. Still it is necessary to see that the scouring liquor +penetrates to every part of the wool which is being treated. + +To ensure this, care must be taken not to scour too much at one time, +so that the wool is loosely placed in the scouring tub, if placed +loose in the latter, the workmen can by means of forks work it to and +fro while in process of treatment. After the wool has been through +these scouring liquors it is thrown on a scray to drain, and is next +placed in cisterns which have perforated false bottoms. In these +cisterns it is washed with cold water two or three times, the water +being run off from the wool between each washing; it is then spread +out in a room to dry. As a rule, a man can wash from 500 lb. to +600 lb. of wool in a day by this method. Another plan which is +sometimes adopted so as to avoid handling the wool as much as +possible, and thus prevent felting, is to place the wool in cages +having perforated sides which will hold about 1 cwt. of wool. They are +lowered by means of cranes into the washing liquors, and the wool in +them is then worked for a quarter of an hour, when the cages and their +contents are lifted out and the surplus liquor allowed to drain off. +They are then lowered into the next bath, treated or worked in this, +again lifted out and dropped into the wash waters. + +There is by this plan a saving of handling, and more wool can be got +through in the same time, but it requires two men to work it. These +hand processes are only in use in small works, having been (p. 020) +replaced in all large works by mechanical methods described below. + +#Machine Scouring.#--Wool-scouring machinery has been brought to a high +state of perfection by the successive efforts of many inventors, and +by their means wool washing has been much simplified and improved. +Wool-washing machinery is made by several firms, among whom may be +mentioned Messrs. J. & W. McNaught, and John Petrie, Junior, Limited, +both of Rochdale. + +[Illustration: Fig. 6.--Wool-washing Machine.] + +Fig. 6 shows one form of wool-washing machine. It consists of a long +trough which contains the scouring liquor. In this machine the wool +enters at the left-hand end, and is seized by a fork or rake and +carried forward by it a short distance, then another rake seizes it +and carries it further forward to another rake, and this to the last +rake of the machine, which draws it out of the machine to a pair of +squeezing rollers which press out the surplus liquor, and from these +rollers the scoured wool passes to a travelling band for delivery from +the machine. Sometimes the wool is not entered into the trough direct, +but is put on a travelling apron which opens it and delivers it in a +more open form into the trough. The movement of the forks causes some +degree of agitation in the scouring liquor which facilitates the +penetration of the liquor through the wool, and thus brings about a +better scouring. + +After the wool has passed through the machine it is taken and run once +more through the machine. Some scourers use the same liquor, but it is +better to use fresh liquors, after which it is washed in the same +machine with water two or three times. With a single machine there is +some time and labour lost in transferring the wool from one end to the +other between the separate treatments, and in large works where a +great deal of wool is scoured it is usual to place three or four of +these machines end to end. + +The first is filled with strong scouring liquor, the second with (p. 022) +a weaker liquor, while the third and fourth contains wash waters, and +the wool is gradually passed by the action of the machine through the +series without requiring any manual aid. Between each machine it is +passed through squeezing rollers as before, and finally emerges +thoroughly scoured. A good plan of working in connection with such a +series of machines is to have four as above, two washing machines and +two soaping machines, the soap liquor is run through these in a +continuous stream, entering in at the delivery end of the second +soaper and passing out at the entering end of the first soaper. The +wool as it first enters the machine comes into contact with rather +dirty soap liquor, but this suffices to rid it of a good deal of loose +dirt; as it passes along the machine it comes in contact with cleaner +and fresher soap liquor, which gradually takes all grease and dirt out +of it, and, finally, when it passes out it comes in contact with fresh +liquor, which removes out the last traces of dirt and grease. In the +same way it passes through the washers, being treated at the last with +clean water. By this plan the scouring is better done, while there is +some saving of soap liquor and wash water, for of these rather less is +required than by the usual system. These are matters of consideration +for wool scourers. The wool-washing liquors after using should be +stored in tanks to be treated for recovery of the grease which they +contain. + +The temperature of the scouring liquors should be about 100° F., +certainly not more than 120° F., high temperatures are very liable to +bring about felting, while tending to increase the harshness of the +wool, particularly when soda is the agent used. By this method all the +wool fat, suint, etc., of the wool find their way into the soap +liquors. These were formerly thrown away, but they are generally +treated with acid and the fat of the soap and wool recovered, under +the name of wool grease or Yorkshire grease. (_Vide_ G. H. Hurst, (p. 023) +"Yorkshire Grease," _Jour. Soc. Chem. Ind._, February, 1889.) + +The wool fat consists largely of a peculiar fat-like body known as +cholesterine. This, however, is unsaponifiable, and cannot be made +into soap; at the same time when it gets into, as it does, the +recovered wool grease it spoils the latter for soap-making purposes. + +Cholesterine has some properties which make it valuable for other +purposes; it is a stable body not prone to decomposition, it is +capable of absorbing a large quantity of water, and it is on these +accounts useful for medicinal purposes in the production of ointments, +and it might be useful in candle-making. When it gets into recovered +grease it cannot be extracted from it in an economical manner. The +wool suint consists largely of the potash soaps of oleic and stearic +acids. These two fatty acids find their way into the recovered wool +grease but the potash salts are lost, while they would be valuable for +various purposes if they could be recovered. + +Another form of wool-washing machine has a frame carrying a number of +forks arranged transversely to the machine. The forks are by suitable +gearing given a motion which consists of the following cycle of +movements. The forks are driven forwards in the trough of the machine, +carrying the wool along with them, they are then lifted out, carried +back, and again allowed to drop into the machine, when they are ready +to go forward again. Thus the forks continually push the wool from one +end of the machine to the other. + +It is a common plan to have three machines placed end to end, so that +the wool passes from one to the other; in a set of this kind the first +machine should have a capacity of 1,500 gallons or thereabouts, the +second 1,000 gallons, and the third 750 gallons. + +#Wool Scouring by Solvents.#--Of late years processes have been (p. 024) +invented for the scouring of wool, either raw or spun by means of +solvents, like carbon bisulphide, benzol, petroleum spirit, etc. Such +processes are in a sense rather more scientific than the alkali +processes, for whereas in the latter the grease, etc., of the wool and +the oil used in batching it are practically lost for further use, and +therefore wasted, being thrown away very often, although they may be +partially recovered from the used scouring liquors, in the solvent +processes the grease and oil may be recovered for future use for some +purpose or other. + +The great objection to these processes is the danger that attends +their use, owing to the inflammable character of the solvents. Several +other objections may be raised, some of which are mechanical, and due +to the want of proper machinery for carrying out the processes. There +are many ways in which solvents may be applied, some are the subject +of patents. It is not possible to describe the details of all these, +but two of the most recent will be mentioned. + +In Singer's process, which was described in detail by Mr. Watson Smith +some time ago before the Society of Dyers and Colourists, carbon +bisulphide is used. The raw wool is placed between two endless bands +of wire, and it is carried through a series of troughs containing +bisulphide of carbon; during its passage through the troughs the +solvent takes out the grease, and loosens the other constituents of +the wool. After going through the bisulphide the wool is dried and +passed through water which completes the process. The carbon +bisulphide that has been used is placed in steam-heated stills, +distilled off from the grease, condensed in suitable condensers, and +used over again. In this process, with care, there is very little loss +of solvent. The grease which is recovered can be used for various +purposes, one of which is the manufacture of ointments, pomades, etc. +The disadvantages of bisulphide are: (1) It tends after some time (p. 025) +to cause the wool to acquire a yellow cast, due to the free +sulphur which it contains, and which being left in the wool gradually +causes it to turn yellow. By using redistilled bisulphide this defect +may be avoided. (2) Another defect is the evil odour of the solvent. +This, however, is less with redistilled bisulphide than with the +ordinary quality, and with suitable apparatus is not insuperable. (3) +Another defect is the volatility and inflammability of carbon +bisulphide. On the other hand, bisulphide possesses the very great +advantage of being at once heavier than, and insoluble in, water, and +it can be, therefore, stored under water very much more safely than +can any of the other solvents which are used. + +Burnell's machine has two troughs filled with benzoline. In these are +arranged a large central roller round which are some smaller rollers. +The wool passes round the large roller and is subjected to a number of +squeezings in passing the smaller rollers. A current of the benzoline +is continually passing through the machine. The whole is enclosed in a +hood to avoid loss of solvent as far as possible. After passing +through the benzoline trough the wool passes through a similar trough +filled with water. Benzoline is better than carbon bisulphide in that +there is no tendency on the part of the wool to turn yellow after its +use, on the other hand it is more inflammable, and when it does take +fire is more dangerous, and being lighter than water is not so readily +and safely stored. Another feature is that it is not so completely +volatile at steam temperatures, so that a little may be left in the +grease and thus tend to deteriorate it. Coal-tar benzol, the quality +known as 90's, would be better to use. + +The solvent processes are well worth the attention of wool scourers, +all that is required for their proper development being the production +and use of suitable machinery. + +After the raw wool has been scoured it is batched, _i.e._, it is (p. 026) +mixed with a quantity of oil for the purpose of lubricating the +wool to enable it more easily to stand the friction to which it is +subjected in the subsequent processes of spinning and weaving by +giving it greater pliability. + +For this purpose various kinds of oil are used. Olive oil is the +principal favourite, the variety mostly used being Gallipoli oil. +Ground-nut oil is also extensively employed, and is cheaper than +olive. Oleic acid a by-product of the candle industry, is extensively +used under the name of cloth oil, there is also used oleine, or wool +oil, obtained by the distillation of Yorkshire grease. + +So far as merely oiling the wool is concerned there is not much to +choose between these different oils, olive perhaps works the best and +agrees best with the wool. Mineral oils have been and can be used +either alone or mixed with the oils above mentioned, and so far as +lubricating the wool is concerned do very well and are much cheaper +than the fatty oils named above. + +The following are some analyses of various oils used as cloth oils +which the author has had occasion to analyse. + + 1. 2. 3. 4. +Specific gravity at 60° F. 0·9031 0·9091 0·6909 0·8904 +Free fatty acid 55·02 64·42 51·52 68·05 +Unsaponifiable oil 34·56 9·95 32·80 9·52 +Saponifiable oil 10·32 25·32 15·68 12·43 + ------ ------ ------ ------ + 100·00 100·00 100·00 100·00 + +Nos. 1 and 2 are prepared from Yorkshire grease. The unsaponifiable +matter in these is purely natural, it will be seen it varies within +wide limits. Nos. 3 and 4 are made from the oleic acid of the candle +factories, and the unsaponifiable matter is due to their containing +mineral oil which has been added to them. + +So far as regards the object for which the wool is oiled, the mineral +oils will answer almost as well as the fatty oils and with most (p. 027) +satisfactory results from an economical point of view, for they are +much cheaper. But this is not the only point to be considered. The oil +has to be got out of the wool before the latter can be dyed. Now while +the fatty oils can be easily removed, by treatment with soap, and they +can be recovered along with the fat of the soap, mineral oils cannot +be entirely removed from the wool, what remains in will interfere very +much with the satisfactory dyeing of the wool, and what is got out +finding its way into the covered wool grease, spoils this for soap +making and other uses, so that on the whole what is gained in lessened +cost of oiling is lost by the increased liability to defects in dyeing +and consequently depreciation in value of the wool, and to decrease in +value of the recovered grease. + +The amount of oil used varies from 7 per cent. with the best wools to +15 per cent. with shoddy wools. The scouring agents generally used are +the same as those used in loose wool scouring, namely, carbonate of +soda for coarse woollen yarns, soap and soda for medium yarns, and +soap and ammonia for fine yarns. Prior to treating the yarns it is +best to allow them to steep in hot water at about 170° F. for twenty +minutes, then to allow them to cool. The actual scouring is often done +in large wooden tubs, across which rods can be put on which to hang +the hanks of yarn, and in which are placed steam pipes for heating up +the bath. The best temperature to treat the yarn at is about 150° F.; +too high a temperature must be avoided, as with increased heat the +tendency to felt is materially augmented, and felting must be avoided. +The hanks are treated for about twenty minutes in the liquor, and are +then wrung out, drained, and again treated in new scouring liquor for +the same length of time. After rinsing in cold water they are dried +and finished. + +When the oiled wool has been spun into yarns, whether worsted or (p. 028) +woollen, and passes into the hands of the dyer, it is necessary to +remove from it all the oil before any dyeing operations can be +satisfactorily carried out. This oil is removed by the use of soap and +weak alkaline liquors, using these at about 110° to 120° F. The most +common way is to have the liquor in a rectangular wooden tank, and +hang the hank of yarn in by sticks resting on the edges of the tank; +from time to time the hanks are turned over until all the oil has been +washed out, then they are wrung out and passed into a tank of clean +water to wash out the soap, after which the yarn is ready for dyeing. + +When the yarn is of such a character that it is liable to curl up, +shrink and become entangled, it is necessary that it be stretched +while it is being treated with the soap liquor; this is effected by a +stretching apparatus consisting of two sets of rollers connected +together by a screw attachment, so that the distance between the two +sets of rollers can be varied. The hanks are hung between each pair of +rollers, and can be stretched tightly as may be required. + +For pressing out the surplus liquor from the hanks of yarn a pair of +squeezing rollers is used. + +#Scouring Woollen Piece Goods.#--Very often before weaving the yarns are +not scoured to remove the oil they contain, as the weaving is more +conveniently done with oily yarn than with a scoured yarn. Before +dyeing the oil must be taken out of the pieces, and this can be +conveniently done by scouring in a washing machine such as is shown in +figures 7 and 8, using soap and soda liquors as before, and following +up with a good rinse with water. + +[Illustration: Fig. 7.--Cloth-washing Machine.] + +The soap liquors used in scouring yarns and pieces become charged with +oil, and they should be kept, and the oil recovered from them together +with the fatty matter of the soap, by treatment with sulphuric acid. +By subjecting the grease or fatty matter so obtained to a boil with +caustic soda soap is obtained which may be again used in scouring (p. 029) +wool. + +[Illustration: Fig. 8.--Cloth-washing Machine.] + +#Bleaching Wool.#--The wool fibre has to be treated very differently +from cotton fibre. It will not stand the action of as powerful +bleaching agents, and, consequently, weaker ones must be used. This is +a decided disadvantage, for whereas with cotton the colouring matter +is effectually destroyed, so that the bleached cotton never regains +its original colour, the same is not the case with wool, especially +with sulphur-bleached wool, here the colouring matter of the fibre is, +as it were, only hidden, and will under certain circumstances return. +The two materials chiefly used for bleaching wool are sulphur and +peroxide of hydrogen. + +[Illustration: Fig. 9.--Sulphur Bleach House.] + +#Sulphur Bleaching.#--Bleaching wool by sulphur is a comparatively (p. 030) +simple process. A sulphur house is built, the usual size being 12 feet +high by 12 feet broad, and about 17 feet long. Brick is the most suitable +material. The house should have well-fitting windows on two sides, +and good tight doors at the ends (see fig. 9). Some houses have a (p. 031) +small furnace at each corner for burning the sulphur, two of these +furnaces are fitted with hoods, so that the sulphur gases can be +conveyed to the upper part of the chamber, but a better plan, and one +mostly adopted where the chamber is used for bleaching pieces, is to +construct a false perforated bottom above the real bottom of the chamber, +the sulphur being burnt in the space between the two floors. If yarn +is being bleached the hanks are hung on wooden rods or poles in (p. 032) +the chamber, while with pieces an arrangement is constructed so that the +pieces which are stitched together are passed in a continuous manner +through the chamber. + +When all is ready the chamber doors are closed, and the furnaces are +heated, some sulphur thrown upon them, which burning evolves sulphur +dioxide gas, sulphurous acid, and this acting upon the wool bleaches +it. The great thing is to cause a thorough circulation of the gas +through every part of the chamber, so that the yarn or pieces are +entirely exposed in every part to the bleaching action of the gas. +This is effected by causing the gas to pass into the chamber at +several points, and, seeing that it passes upwards, to the ventilator +in the roof of the chamber. Generally speaking, a certain quantity of +sulphur depending upon the quantity of goods being treated is placed +in the chamber and allowed to burn itself out; the quantity used being +about 6 to 8 per cent. of the weight of the goods. After the +sulphuring the goods are simply rinsed in water and dried. + +Sulphur bleaching is not an effective process, the colouring matter is +not actually destroyed, having only entered into a chemical +combination with the sulphur dioxide to form a colourless compound, +and it only requires that the wool be treated with some material which +will destroy this combination to bring the colour back again in all +its original strength; washing in weak alkalies or in soap and water +will do this. Another defect of the process lies in sulphur being +volatilised in the free form, and settling upon the wool causes it to +turn yellow, and this yellow colour cannot be got rid of. + +The goods must be thoroughly rinsed with water after the bleaching, +the object being to rid the wool of traces of sulphuric acid, which it +often contains, and which if left in would in time cause the +disintegration of the wool. + +Sometimes the wool is washed in a little weak ammonia or soda (p. 033) +liquor, but this is not advisable, as there is too much tendency for +the colour of the wool to come back again, owing to the neutralising +of the sulphur dioxide by the alkali. + +Instead of using the gas, the sulphur dioxide may be applied in the +form of a solution in water. The goods are then simply steeped for +some hours in a solution of the gas in water until they are bleached, +then they are rinsed in water and dried. In this method it is +important that the solution of the gas be freshly made, otherwise it +is liable to contain but little sulphurous acid, and plenty of +sulphuric acid which has no bleaching properties, but, on the other +hand, is liable to lead to damage of the goods if it be not washed out +afterwards. + +A better method of utilising the bleaching action of sulphur in a +liquid form is to prepare a bath of bisulphite of soda, and acidify it +with hydrochloric acid, then to enter the wool, stirring well for some +time, and allowing it to steep for some hours, next to expose to the +air for a while, and rinse as before. + +It is better to allow the wool to steep for about an hour in a simple +bath of bisulphite, then enter into a weak hydrochloric acid bath for +a few hours. The acid liberates sulphur dioxide in a nascent +condition, which then exerts a more powerful bleaching action than if +it were already free. + +Even with liquid bleaching the bleach is not any more perfect than it +is with the gas bleaching; the colour is liable to come back again on +being washed with soap or alkali, although there is a freedom from the +defect of yellow stains being produced. + +Goods properly bleached will stand exposure to air for some +considerable time, but those imperfectly bleached exhibit a tendency +to regain their yellow colour on exposure to air. One fault which is +sometimes met with in sulphur bleaching is a want of softness in (p. 034) +the wool, the process seeming to render the fibre harsh. + +Washing in a little weak soft soap or in weak soda will remedy this +and restore the suppleness of the wool; at the same time care must be +taken that the alkaline treatment is not too strong, or otherwise the +bleaching effect of the sulphur will be neutralised as pointed out +above. + +#Bleaching Wool by Peroxide of Hydrogen.#--During recent years there has +come into use for bleaching the animal fibres peroxide of hydrogen, +or, as the French call it, oxygenated water. This body is a near +relation to water, being composed of the same two elements, oxygen and +hydrogen; in different proportions in water these elements are +combined in the proportion of 1 part of hydrogen to 8 parts of oxygen, +while in the peroxide the proportions are 1 of hydrogen to 16 of +oxygen. These proportions are by weight, and are expressed by the +chemical formulæ for water H_{2}O, and for hydrogen peroxide +H_{2}O_{2}. Water, as is well known, is a very stable body, and +although it can be decomposed, yet it requires some considerable power +to effect it. Now the extra quantity of oxygen which may be considered +to have been introduced into water to convert it into peroxide has +also introduced an element of instability, the extra quantity of +oxygen being ever ready to combine with some other body for which it +has a greater affinity than for the water. This property can be +utilised in the bleaching industry with great advantage, true +bleaching being essentially a process of oxidation. The colouring +matter of the fibre, which has to be destroyed so that the fibre shall +appear white, is best destroyed by oxidation, but the process must not +be carried out too strongly, otherwise the oxidation will not be +confined to the colouring matter, but will extend to the fibre itself +and disintegrate it, with the result that the fibre will become +tendered and be rendered useless. + +Peroxide of hydrogen is a weak oxidiser, and therefore, although (p. 035) +strong enough to destroy the colouring matter of the fibre is not +strong enough to decompose the fibre itself. Hydrogen peroxide is sold +as a water-white liquid, without any odour or taste. Its strength is +measured by the quantity of oxygen which is evolved when one volume of +the liquid is treated with potassium permanganate; the most common +strength is 10 volume peroxide, but 30 and 40 volume peroxide is made. +On keeping it loses its oxygen, so that it is always advisable to use +a supply up as quickly as possible. + +Articles of all kinds can be bleached by simply placing them in a weak +solution of the peroxide, leaving them there for a short time, then +taking out and exposing to the air for some time. The best plan of +applying peroxide of hydrogen is the following: Prepare the bleaching +bath by mixing 1 part of peroxide with 4 parts of water. The strength +can be varied; for those goods that only require a very slight bleach +the proportions may be 1 to 12, while for dark goods the proportions +first given may be used. This bath must be used in either a wooden or +earthenware vessel. Metals of all kinds must be avoided, as they lead +to a decomposition of the peroxide, and therefore a loss of material. +To the bath so prepared just enough ammonia should be added to make it +alkaline, a condition that may be ascertained by using a red litmus +paper, which must just turn blue. Into the bath so prepared the +well-scoured goods are entered and worked well, so that they become +thoroughly saturated. They are then lightly wrung and exposed to the +air for some hours, but must not be allowed to get dry, because only +so long as they are moist is the bleaching going on; if they get dry +the goods should be re-entered into the bath and again exposed to the +air. + +If one treatment is not sufficient the process should be repeated. The +peroxide bath is not exhausted, and only requires new material to (p. 036) +be added to it in sufficient quantity to enable the goods to be +readily and easily worked in the liquor. Any degree of whiteness may +be obtained with a sufficient number of workings. No further treatment +is necessary. It is found in practice that an alkaline bath gives the +best results. + +Another plan of preparing the bleaching bath is to prepare a bath with +peroxide and water as before, then add to a sufficient quantity of a +solution of silicate of soda 4 parts of water to 1 of silicate of soda +at 100° Tw., to make the bath alkaline. Into this bath the goods are +entered and are then exposed to the air as before, after which they +may be passed through a weak bath of sulphurous acid, being next well +washed in water and dried. + +The advantage of bleaching with peroxide is that, as it leaves only +water in the goods as the result of action, there is no danger of +their becoming tendered by an after development of acid due to +defective washing, as is the case with the sulphur bleach. The goods +never alter in colour afterwards, because there is nothing left in +that will change colour. Some bleachers add a little magnesia to the +bath, but this is not at all necessary. + +#Bleaching with Peroxide of Soda.#--Peroxide of soda has come to the +front of late for bleaching wool. With it a stronger bleaching bath +can be made, while the product itself is more stable than peroxide of +hydrogen, only it is needful to keep it in tightly closed metal +vessels, free from any possibility of coming in contact with water or +organic matter of any kind, or accidents may happen. In order to +bleach 100 lb. of wool, a bath of water is prepared, and to this is +added 6 lb. of sulphuric acid and then slowly 4 lb. of peroxide of +sodium in small quantities at a time. Make the bath slightly alkaline +by adding ammonia. Heat the bath to 150° F., enter the wool and allow +to remain five to six hours, then rinse well and dry. If the (p. 037) +colour does not come out sufficiently white repeat the process. + + +THE CHLORINATION OF WOOL. + +The employment of chlorine in wool dyeing and wool printing has of +late years received an impetus in directions previously little thought +of. The addition of a little chlorine to the decoction of logwood has +been recommended as increasing the dyeing power of the wool. Treating +the wool with chlorine has a material influence in increasing its +capacity for taking dye-stuffs, and although but little attention has +been paid to this circumstance by wool dyers, yet among wool printers +it has come largely into use, and enables them to produce fuller and +faster shades than would otherwise be possible. + +The method involves the treatment of the wool first with an acid, then +with a solution of a hypochlorite. The staple becomes soft and supple +and assumes a silky character; in dyeing it shows a greater affinity +for the dyes than it did previously. Although not deteriorated in +strength, it almost entirely loses its felting properties. On account +of this feature the process cannot be adopted for wool which has to be +fulled, but it is of service where felting of the goods is to be +avoided, for worsteds, underwear, woollen and half woollen hosiery, +etc., in which the felting property that occurs on washing is rather +objectionable. + +By the chloring of the wool the intensity of the shade dyed is +increased to such a degree that when dyeing with Acid black, Naphthol +black, Naphthol green, Nigrosine, Fast blue, Water blue, and some +others dyed in an acid bath, but little more than half the dye used on +unchlored wool is required, while with Induline, more even and intense +shades are obtained than is otherwise possible. + +The operation of chlorination can be done either in one or two (p. 038) +baths. The choice depends upon circumstances and the judgment of the +dyer. The process by the two-bath method, with subsequent dyeing in +the second or separate bath is (for 100 lb. of wool), as follows. The +first bath contains, for light cloths, yarn, etc., from 3 to 4 lb. +sulphuric acid, 168° Tw., and for heavier cloths and felt, where the +penetration and equalisation of the colour is difficult, from 8 lb. to +10 lb. of acid. Generally speaking, a temperature of 170° to 175° F. +is sufficient, although for heavy wool and for wool with poor dyeing +qualities it is well to use the bath at the boil. The treatment lasts +for half an hour, in which time the acid is almost completely +absorbed. + +The second bath contains a clear solution of 10 lb. bleaching powder, +which solution is prepared as follows. Dry bleaching powder of the +best quality is stirred in a wooden vat with 70 gallons of water, the +mass is allowed to stand, the clear, supernatant liquor is run into +the vat and the sediment stirred up and again allowed to settle, the +clear liquor being run off as before, and 5 gallons more water is run +in. The clear liquors of these three treatments are then mixed +together to form the chloring bath. Special care should be taken that +no undissolved particles of the bleaching powder should be left in, +for if these settle on the wool they result in too great a development +of chlorine, which injures the wool. + +The goods after being in the acid bath are entered in this chlorine +bath at a temperature of 70° F., which is then raised to the boil. If +the acid bath has been strong, or been used at the boil, it is perhaps +best to rinse the goods before entering into the chlorine bath. The +hypochlorous acid disappears so completely from this bath that it may +at once be used as the dye-bath, for which purpose it is only necessary +to lift the goods, add the required amount of dye-stuff, re-enter the +goods and work until the bath is exhausted, which generally happens when +acid dyes are used. If a separate dye-bath be preferred, this is (p. 039) +made and used as is ordinarily done. + +To perform all the operations in one bath the acid bath is made with +from 3 to 4 lb. sulphuric acid, and the wool is treated therein for +thirty minutes at 170° F., until all the acid has been absorbed. Then +the bath is allowed to cool down to 70° or 80° F., the clear bleaching +powder solution is added, the goods are re-entered, and the bath is +heated to the boil. When all the chlorine has disappeared add the +dye-stuff, and dye as directed above. + +In printing on wool the chlorination of the wool is a most important +preliminary operation. For this purpose the cloth is passed for +fifteen minutes at 170° F. through a bath containing 3/4 oz. sulphuric +acid per gallon of water. Then it is passed through a cold bath of 3/4 +oz. bleaching powder per gallon of water, after which the cloth is +rinsed and dried and is then ready for printing. + +Another method of chloring the wool is to pass the goods through a +bath made with 100 gallons of water, 2 gallons hydrochloric acid and 2 +gallons bleaching powder solution of 16° Tw. As some chlorine is given +off it is best to use this in a well-ventilated place. + + + + +CHAPTER III. (p. 040) + +DYEING MACHINERY AND DYEING MANIPULATIONS. + + +Wool is dyed in a variety of forms, raw, loose wool; partly +manufactured fibre in the form of slubbing or sliver; spun fibres or +yarns, in hanks or skeins and in warps, and lastly in the form of +woven pieces. These different forms necessitate the employment of +different forms of machinery and different modes of handling, it is +evident to the least unobservant that it would be quite impossible to +subject slubbing or sliver to the same treatment as yarn or cloth, +otherwise the slubbing would be destroyed and rendered valueless. + +In the early days all dyeing was done by hand in the simplest possible +contrivances, but during the last quarter of a century there has been +a great development in the quantity of dyeing that has been done, and +this has really necessitated the application of machinery, for hand +work could not possibly cope with the amount of dyeing now done. +Consequently there has been devised during the past two decades a +great variety of machines for dyeing every description of textile +fabrics, some have not been found a practical success for a variety of +reasons and have gone out of use, others have been successful and are +in use in dye-works. + +#Hand Dyeing.#--Dyeing by hand is carried on in the simplest possible +appliances, much depends upon whether the work can be done at the +ordinary temperature or at the boil. Figure 10 shows round and oval +tubs and a rectangular vat much in use in dye-houses. These are (p. 041) +made of wood, but copper dye-vats are also made, these may be used +for all kinds of material--loose fibre, yarns or cloth. In the case of +loose fibre this is stirred about either with poles or with rakes, +care being taken to turn every part over and over and open out the +masses of fibre as much as possible in order to avoid matting or +clotting together. In the case of yarns or skeins, these are hung on +sticks resting on the edges of the tub or vat. These sticks are best +made of hickory, but ash or beech or any hard wood that can be worked +smooth and which does not swell much when treated with water may be +used. The usual method of working is to hang the skein on the stick, +spreading it out as much as possible, then immerse the yarn in the +liquor, lift it up and down two or three times to fully wet out the +yarn, then turn the yarn over on the stick and repeat the dipping +processes, then allow to steep in the dye-liquor. This is done with +all the batch of yarn that is to be dyed at a time. When all the yarn +has been entered into the dye-bath, the first stickful is lifted out, +the yarn turned over and re-entered in the dye-liquor; this operation +is carried out with all the sticks of yarn until the wool has become +dyed of the required depth. In the case of long rectangular vats it is +customary for two men, one on each side of the vat, to turn the yarns, +each man taking charge of the yarn which is nearest to him. + +[Illustration: Fig. 10.--Dyeing-tubs and Vat.] + +Woven goods may be dyed in the tub or vat, the pieces being drawn in +and out by poles, but the results are not altogether satisfactory, (p. 042) +and it is preferable to use machines for dyeing piece goods. + +[Illustration: Fig. 11.--Dye-vat with Steam-pipe.] + +Plain tubs or vats, such as those shown in figure 10, are used for +dyeing and otherwise treating goods in the cold, or at a lukewarm +heat, when the supply of hot water can be drawn from a separate +boiler. When, however, it is necessary to work at the boil, then the +vat must be fitted with a steam coil. This is best laid along the +bottom in a serpentine form. Above the pipe should be an open +lattice-work bottom, which, while it permits the free circulation of +boiling water in the vat, prevents the material being dyed from coming +in contact with the steam pipe. This is important if uniform shades +are to be dyed, for any excessive heating of any portion of the bath +leads to stains being produced on the material in that part of the +bath. Figure 11 shows a vat fitted with a steam pipe. That portion (p. 043) +of the steam pipe which passes down at the end of the vat is in a +small compartment boxed off from the main body of the vat, so that no +part of the material which is being dyed can come in contact with it. +A closed steam coil will, on the whole, give the best results, as then +no weakening of the dye-liquor can take place through dilution by the +condensation of the steam. Many dye-vats are, however, fitted with +perforated, or as they are called, open steam coils, in which case +there is, perhaps, better circulation of the liquor in the dye-vat, +but as some of the steam must condense there is a little dilution of +it. + + +DYEING MACHINES. + +Dye-tubs and vats, such as those described above, have been largely +superseded by machines in which the handling or working of the +materials being dyed is effected by mechanical means. There have been +a large number of dyeing machines invented, some of these have not +been found to be very practical, and so they have gone out of use. +Space will not admit of a detailed account of every kind of machine, +but only of those which are in constant use in dye-works. + +#Dyeing Loose or Raw Wool and Cotton.#--Few machines have been designed +for this purpose, and about the only successful one is + +_Delahunty's Dyeing Machine._--This is illustrated in figure 12. It +consists of a drum made of lattice work which can revolve inside an +outer wooden casing. The interior of the revolving drum is fitted with +hooks or fingers, whose action is to keep the material open. One +segment of the drum is made to open so that the loose cotton or wool +to be dyed can be inserted. By suitable gearing the drum can be +revolved, and the dye-liquor, which is in the lower half of the wooden +casing, penetrates through the lattice work of the drum, and dyes (p. 044) +the material contained in it. The construction of the machine is well +shown in the drawing, while the mode of working is obvious from it and +the description just given. The machine is very successful, and well +adapted for dyeing loose or raw wool and cotton. The material may be +scoured, bleached, dyed or otherwise treated in this machine. + +[Illustration: Fig. 12.--Delahunty's Dyeing Machine.] + +The Obermaier Machine, presently to be described, may also be used for +dyeing loose cotton or wool. + +[Illustration: Fig. 13.--Obermaier Dyeing Machine.] + +#Dyeing Slubbing, Sliver or Carded Wool.#--It is found in practice that +the dyeing of loose wool is not altogether satisfactory, the +impurities they naturally contain interfere with the purity of the (p. 045) +shade they will take. Then again the dyes and mordants used in dyeing +them are found to have some action on the wire of the carding engine +through which they are passed; at any rate, a card does not last as +long when working dyed wools as when used on undyed cotton or wool +fibres. Yet for the production of certain fancy yarns for weaving some +special classes of fabrics it is desirable to dye the wool before it +is spun into thread. The best plan is undoubtedly to dye the fibre +after it has been carded and partly spun into what is known as +slubbing, or sliver. All the impurities have been removed, the wool +fibres are laid straight, and so it becomes much easier to dye. On the +other hand, as it is necessary to keep the sliver or slubbing straight +and level, no working about in the dye-liquors can be allowed to take +place, and so such must be dyed in specially constructed machines, and +one of the best of these is the + +_Obermaier Dyeing Machine_, which is illustrated in figure 13.--In (p. 046) +the Obermaier apparatus dye-vat, A, is placed a cage consisting of an +inner perforated metal cylinder, C, and an outer perforated metal +cylinder, D; between these two is placed the material to be dyed. C is +in contact with the suction end of a centrifugal pump, P, the delivery +end of which discharges into the dye-vat A. The working of the machine +is as follows: the slubbing or sliver is placed in the space between C +and D rather tightly, so that it will not move about. Then the inner +cage is placed in the dye-vat as shown. The vat is filled with the +dye-liquor, which can be heated up by a steam pipe. The pump is set in +motion, the dye-liquor is drawn from A to C, and in so doing passes +through the material packed in B and dyes it. The circulation of the +liquor is carried on as long as experience shows to be necessary. The +dye-liquor is run off, hot water is run in to wash the dyed material, +and the pump is kept running for some time to ensure thorough rinsing, +then the water is run off, and by keeping the pump running and air +going through a certain amount of drying can be effected. This machine +works very well, and with a little experience constant results can (p. 047) +be obtained. The slubbing or sliver may be scoured, bleached, rinsed, +dyed, washed, soaped, or otherwise treated without removing it from +the machine, which is a most decided advantage. + +[Illustration: Fig. 14.--Read Holliday's Yarn-dyeing Machine.] + +#Yarn Dyeing Machines.#--In figure 14 is given an illustration of a +machine for dyeing yarn in the hank form, made by Messrs. Read +Holliday & Sons, of Huddersfield. The illustration gives a very good +idea of the machine. It consists of a wooden dye-vat, which can be +heated by steam pipes in the usual way. Extending over the vat are a +number of reels or bobbins, these are best made of wood or enamelled +iron. These reels are in connection with suitable gearing, so that +they can be revolved. There is also an arrangement by means of which +the reels can be lifted bodily in and out of the dye-vat for the +purpose of taking on and off the hanks of yarn. A reel will hold about +2 lb. of yarn. The working of the machine is simple. The vat is filled +with the requisite dye-liquor. The reels which are lifted out of the +vat are then charged with the yarn, which has been previously wetted +out. They are then set in revolution and dropped into the dye-vat, and +kept there until it is seen that the yarn has acquired the desired +shade. The reels are lifted out and the hanks removed when the machine +is ready for another lot of yarn. + +There are several makers of hank-dyeing machines of this type, and as +a rule they work very well. The only source of trouble is a slight +tendency for the yarn on one reel if hung loosely of becoming +entangled with the yarn on other reels. This is to some extent +obviated by hanging in the bottom of the hank a roller, which acts as +a weight and keeps the yarn stretched and so prevents it flying about. + +To some makes of these machines a hank wringer is attached. + +[Illustration: Fig. 15.--Klauder-Weldon Dyeing Machine.] + +_Klauder-Weldon Hank-dyeing Machine._--This is illustrated in (p. 048) +figure 15, which shows the latest form. It consists of a +half-cylindrical dye-vat built of wood. On a central axis is built two +discs or rod carriers, which can revolve in the dye-vat, the +revolution being given by suitable gearing which is shown at the side +of the machine. On the outer edge of the discs are clips for carrying +rods on which one end of the hanks of yarn is hung, while the other +end is placed on a similar rod carrier near the axle. The revolution +of the discs carries the yarn through the dye-liquor contained in the +lower semi-cylindrical part of the machine previously alluded to. (p. 049) +At a certain point in every revolution of the discs the rods carrying +the yarns are turned a little; this causes the yarn to move on the +rods, and this motion helps to bring about greater evenness of dyeing. +The most modern form of this machine is provided with an arrangement +by means of which the whole batch of yarn can be lifted out of the +dye-liquor. Arrangements are made by which from time to time fresh +quantities of dyes can be added if required to bring up the dyed yarn +to any desired shade. This machine works well and gives good results. +Beyond the necessary labour in charging and discharging, and a little +attention from time to time as the operation proceeds, to see if the +dyeing is coming up to shade, the machine requires little attention. + +Many other forms of hank-dyeing machine have been devised. There is +Corron's, in which an ordinary rectangular dye-vat is used. Round this +is a framework which carries a lifting and falling arrangement that +travels to and fro along the vat. The hanks of yarn are hung on rods +of a special construction designed to open them out in a manner as +nearly approaching hand work as is possible. The machine works in this +way. The lifting arrangement is at one end of the vat, the hanks are +hung on the rods and placed in the vat. Then the lifter is set in +motion and moves along the vat; as it does so it lifts up each rod +full of yarn, turns it over, opening out the yarn in so doing, then it +drops it again in the vat. When it has travelled to the end of the vat +it returns, packing up the rods of yarn in so doing, and this motion +is kept up until the dyeing is completed. This machine is very +ingenious. + +A type of machine which has been made by several makers consists of an +ordinary rectangular dye-vat surrounded with a framework carrying a +number of sets of endless chains, the links of which carry fingers. +The hanks of yarn are hung on rods at one end of which is a tooth (p. 050) +wheel that when in position fits into a rack on the side of the vat. +The action of the machine is this, the hanks are hung on the rods and +placed at the entrance end of the vat, by the moving of the chains it +is carried along the vat and at the same time revolves, thus turning +over the yarn, which hangs in the dye-liquor; when it reaches the +opposite end of the vat, the rod full of yarn is lifted out, carried +upwards and then towards the other end of the vat when it is again +dropped into the dye-vat to go through the same cycle of movements +which is continued until the yarn is properly dyed. + +#Piece Dyeing Machines.#--Wherever it is possible it is far more +preferable to dye textile fabrics in the form of woven pieces rather +than in the yarn from which they are woven. During the process of +weaving it is quite impossible to avoid the material getting dirty and +somewhat greasy, and the operations of scouring necessary to remove +this dirt and grease has an impairing action on the colour if dyed +yarns have been used in weaving it. This is avoided when the pieces +are woven first and dyed afterwards, and this can always be done when +the cloths are dyed in one colour only. Of course when the goods are +fancy goods containing several colours they have to be woven from dyed +yarns. + +The most common form of machine in which pieces are dyed is the +jigger, commonly called the jig, this is shown in figure 16. It +consists of a dye-vessel made long, sufficiently so to take the piece +full width, wide at the top, narrow at the bottom. At the top on each +side is placed a large winding roller on which the cloth is wound. At +the bottom of the jig is placed a guide roller round which passes the +cloth. In some makes of jigs there are two guide rollers at the bottom +and one at the top as shown in the illustration, so that the cloth +passes several times through the dye-liquor. In working the cloth is +first wound on one of the rollers then threaded through the guide (p. 051) +rollers and attached to the other winding roller. When this is done +dye-liquor is run into the jig, and the gearing set in motion, and the +cloth wound from the full on to the empty roller. With the object of +keeping the piece tight a heavy press roller is arranged to bear on +the cloth on the full roller. When all the cloth has passed from one +roller to the other it is said to have been given "one end". The +direction of motion is now changed and the cloth sent in the opposite +direction through the jig and the piece has now received another +"end". This alternation from one roller to the other is continued as +long as is deemed necessary, much depending on the depth of colour +which is being dyed, some pale shades may only take two or three ends, +deeper shades may take more. When dyeing wool with acid colours which +are all absorbed from the dye-liquor, or the bath is exhausted, it is +a good plan to run the pieces several ends so as to ensure thorough +fixation of the dye on the cloth. + +[Illustration: Fig. 16.--Dye-jiggers.] + +It is not advisable in working these jigs to add the whole of the dye +to the liquor at the commencement, but only a part of it, then when +one end is given another portion of the dye may be added, such (p. 052) +portions being always in the form of solution. Adding dyes in powder +form inevitably leads to the production of colour specks on the +finished goods. The reason for thus adding the dye-stuff in portions +is that with some dyes the affinity for the fibre is so great that if +all were added at once it would be absorbed before the cloth had been +given one end, and, further, the cloth would be very deep at the front +end while it would shade off to no colour at the other end. By adding +the dye in portions this difficulty is overcome and more level shades +are obtained, but it is met with in all cases of jigger dyeing. It is +most common in dyeing wool with basic dyes like Magenta, Auramine, (p. 053) +Methyl Violet or Brilliant Green, and with acid dyes like Acid Green, +Formyl Violets, Azo Scarlet or Acid Yellow. + +[Illustration: Fig. 17.--Dye-jigger in Section.] + +Some attempts have been made to make jiggers automatic in their +reversing action, but they have not been successful owing to the +greatly varying conditions of length of pieces, their thickness, etc., +which have to be dyed, and it is next to impossible to make all +allowances for such varying conditions. + +[Illustration: Fig. 18.--Wince Dye Beck.] + +In figure 17 is shown the jig in section, when the working of the +machine can be more easily traced. + +#The Jig Wince or Wince Dye Beck.#--This dyeing machine is very largely +used, particularly in the dyeing of woollen cloths. It is made by many +makers, and varies somewhat in form accordingly. Figures 18 to 21 show +three forms by different makers. In any make the jig wince or wince +dye beck consists of a large rectangular, or in some cases (p. 054) +semi-cylindrical, dye-vat. Probably the best shape would be to have a +vat with one straight side at the front, and one curved side at the +back. + +[Illustration: Fig. 19.--Wince Dye Beck.] + +In some a small guide roller is fitted at the bottom, under which the +pieces to be dyed pass. Steam pipes are provided for heating the +dye-liquors. The beck should be fitted with a false bottom, made of +wood, perforated with holes, or of wooden lattice work, and under +which the steam pipes are placed. The object being to prevent the +pieces from coming in contact with the steam pipes, and so (p. 055) +preventing the production of stains. Above the dye-vat and towards the +back is the wince, a revolving skeleton wheel, which draws the pieces +out of the dye-vat at the front, and delivers them into it again at +the back. The construction of this wince is well shown in the +drawings. The wince will take the pieces full breadth, but often they +are somewhat folded, and so several pieces, four, five or six, can be +dealt with at one time. In this case a guide rail is provided in the +front part of the machine. In this rail are pegs which serve to keep +the pieces of cloth separate, and so prevent entanglements. The pieces +are stitched end to end so as to form an endless band. When running +through the vat they fall down in folds at the back part of the beck, +and are drawn out from the bottom and up in the front. Each part thus +remains for some time in the dye-liquor, during which it necessarily +takes up the dye. + +[Illustration: Fig. 20.--Plush Fabric Dyeing Machine.] + +Figures 18 and 19 show forms of these wince dyeing machines, +constructed of wood, and very largely used in the dyeing of woollen +cloths. They are serviceable forms, and give very good results, being +suitable for all dyes. + +Figure 20 is a form of machine better adapted than the preceding (p. 056) +for the dyeing of plush fabrics. In this kind of cloth it is important +that the pile should not be interfered with in any way, and experience +has shown that the winces of the form shown in figures 18 and 19 are +rather apt to spoil the pile; further, of course, plush fabrics are +dyed full breadth or open. In the wince now shown all troubles are (p. 057) +avoided, and plush fabrics can be satisfactorily dyed in them. + +[Illustration: Fig. 21.--Copper Cased Dye Beck. Mather & Platt.] + +Figure 21 shows a dye-bath built of iron, cased with copper, suitable +for dyeing most colours on woollen cloths. + +[Illustration: Fig. 22.--Read Holliday's Hawking Machine.] + +In the jig and wince dyeing machines the pieces necessarily are for a +part of the time, longer in the case of the jigger than in that of the +wince, out of the dye-liquor and exposed to the air. In the case of +some dyes, indigo especially, this is not desirable, and yet it is +advisable to run the cloth open for some time in the liquor so as to +get thoroughly impregnated with the dye-liquor. + +The so-called hawking machine, figure 22, is an illustration of Read +Holliday's hawking machine, made by Messrs. Read Holliday & Sons, of +Huddersfield. There is the dye-vat as usual; in this is suspended the +drawing mechanism, whose construction is well shown in the drawing. +This is a pair of rollers driven by suitable gearing, between which +the cloth passes, and by which it is drawn through the machine. A +small roller ensures the cloth properly leaving the large rollers, (p. 058) +then there is a lattice-work arrangement over the pieces are drawn. In +actual work the whole of this arrangement is below the surface of the +dye-liquor in the vat. The piece to be dyed is threaded through the +machine the ends stitched together, then the arrangement is lowered +into the dye-vat and set in motion, whereby the cloth is drawn +continuously in the open form through the dye-liquor, this being done +as long as experience shows to be necessary. This hawking machine will +be found useful in dyeing indigo on wool, in mordanting and dyeing +wool with the Alizarine series of dyes. + + + + +CHAPTER IV. (p. 059) + +THE PRINCIPLES AND PRACTICE OF WOOL DYEING. + + +The various methods which are used in dyeing wool have, of course, +underlying them certain principles on which they are based, and on the +observance of which much of the success of the process depends. +Sometimes these principles are overlooked by dyers, with the result +that they do not get good results from their work. It must be obvious +to any person with any technical knowledge that all processes of +dyeing either wool or silk, or cotton or any other fibre, must take +into consideration the properties of the fibre on the one hand, and +that of the dye-stuff on the other. Wool must be treated differently +from cotton, a process of dyeing which gives good results with the +latter fibre would lead to nothing but disastrous effects with wool or +silk; on the other hand, processes are used in the dyeing of wool +which could not be possibly used for cotton on account of the very +different properties of the fibre. + +A few words as to the properties of wool as far as they relate to the +methods of dyeing may be of use. Wool has the property of resisting +the action of acids in a great degree, so that it may be treated with +even strong acids with impunity. On the other hand, alkalies and +alkaline solutions have strong action on it; the caustic alkalies +rapidly dissolve wool, and their use must be avoided in all cases of +dyeing this fibre. The carbonates of the alkalies have not so strong +an action, and therefore may be used in moderation; nevertheless, (p. 060) +too strong solutions of these should not be used. Soap has no +disintegrating action on wool, and soap solutions may be used whenever +necessary for cleansing or dyeing wool. Ammonia has no action on wool, +and it may be used in place of soap if desired. There is one feature +of wool that must be alluded to here, and that is its felting +property. When wool is boiled with water and is handled a good deal, +the fibres clot or felt together into a firm coherent mass. This +should be avoided as much as possible, and when wool is cleansed and +dyed in the loose condition it is absolutely necessary that every care +be taken to avoid felting. This condition is much influenced by the +temperature and the condition of the bath in which the wool is being +treated, too high a temperature or too prolonged a treatment tends to +increase the felting, therefore in dyeing wool prolonged treatment at +the boil must be avoided. + +Further, the condition of the bath has some influence on this point; +it is found that an alkaline bath tends to considerably increase the +felting properties of the wool, and on this account dyers invariably +avoid the use of both the caustic and carbonated alkalies. Strong soap +liquors have also some influence in the direction of increasing the +felting, therefore soap should not be used if it can possibly be done +without. Ammonia has not so strong a felting action as the other +alkalies. Acids, on the other hand, exert a retarding action on the +felting of the wool, and this is a matter of some interest and +importance in the dyeing of wool, as an acid condition of the bath is +necessary for dyeing by far the great majority of colouring matters on +this fibre. Alkaline salts, such as Glauber's salt and common salt, +exert little or no influence on this felting property, and can be +added to dye-baths with impunity, and in many cases with good effect, +so far as the quality of dyeing is concerned. + +So far as the properties of the wool are concerned, it is seen (p. 061) +that an acid condition of the dye-bath will work better than an +alkaline condition, and wherever it is possible to use acids such +should be added. + +What has been said in regard to wool is equally true of all fibres +derived from animals in the same way as wool is, such as horse-hair, +fur of rabbits, hares and other animals, although, of course, there +are some minor differences between different furs in their resistance +to the action of acids and alkalies. + +The next feature that influences the methods of dyeing wool is the +varying properties of the dye-stuffs, or colouring matters. It is +obvious that those which, like Magenta or Saffranine, have a strong +affinity for the wool fibre must be dyed differently from those which, +like Alizarine and Gambine, have no direct affinity for the wool +fibre, and, further, which require the aid of mordants before they can +be dyed, and on the character of which mordants the colour that is +fixed on the fibre depends. + +The dye-stuffs, independently of the question whether they be derived +from natural sources or be of artificial origin, may be roughly +divided into five groups, some of which may also be subdivided again +as will be shown later on. These groups may be named the (1) Neutral, +(2) Basic, (3) Acid, (4) Mordant, and (5) Indigo dye-stuffs. The first +two classes are practically dyed in the same way; but as there is a +great difference in the chemical composition of the colouring matters +comprised in them, it will be best to consider them separately. + +_First Method_.--This method is used in applying the now large and +increasing group of azo dye-stuffs, which are characterised by being +able to dye unmordanted cotton from a simple boiling bath. The +dye-stuffs that are applied by the method now to be described include +such as Benzopurpurine, Chrysamine, Chrysophenine, Titan red, Titan +yellow, Benzo brown, Diamine red, Diamine brown, Diamine blue, (p. 062) +Congo blue, Congo red, etc. The dyeing is done in a bath at the boil. +If the bath contained only the dye-stuffs there would be a liability +for the dyeing to be uneven, to prevent which a saline compound, such +as salt, is added. Taking it all round, salt is the best body to add +as it suits all colours very well indeed. Then come Glauber's salts; +borax and phosphate of soda can also be used, but, owing to their +slight alkaline properties, they are not so good as the neutral salts, +like the two first named. When these colouring matters are dyed on +cotton some of them dye best in a bath containing potash or soda, but +these bodies, for reasons previously pointed out, are not available in +wool dyeing, and should never be used. Wool dyes best in a slightly +acid bath, and this may be taken advantage of in dyeing the yellows +and blues of this group by adding a small quantity of acetic acid. The +reds, as a rule, are affected by acids, and, therefore, it is not +possible to use an acid bath with Benzopurpurine, Congo red, with the +possible exception of the Titan reds and scarlets, Diamine scarlet, +Benzo fast scarlet, Purpuramine, which are faster to acetic acid than +the other reds of this class of dye-stuffs. + +Probably the best plan of dyeing these colours is to first heat the +bath to about 160° F., then enter the goods, and turn over two or +three times to ensure that they are thoroughly impregnated with +dye-liquor. The bath is now raised to the boil, and, steam being +turned off, the goods are handled without further steam until the +desired shade is obtained. Another plan is to enter the goods when the +bath is at about 150° F., and, after raising to the boil, to work for +half to one hour at that heat; but the plan first described gives +rather better results, and is far preferable. The dye-baths, as a +rule, are not completely exhausted, except when very pale shades are +being dyed; in no case is it necessary to throw the dye-bath away, but +simply to add the required amount of dye-stuff for a new batch; (p. 063) +with those colouring matters which are not entirely exhausted from the +bath a smaller amount, generally about three-fourths only, is required +to be added, with about one-third the quantity of salt which was added +to the first bath. Of course it is not advisable to keep the same bath +or liquor in work always, but after about twenty or thirty batches of +goods are dyed to throw it away and start a fresh liquor. + +As a rule it will be found that these dye-stuffs are more thoroughly +taken up from the bath than is the case in dyeing cotton; thus often +with the same amount of dye-stuff in proportion to the material used +the wool will dye rather a deeper shade than will cotton. In some +cases, especially with the blues and violets, the shade is greatly +different on wool from what it is on cotton, being generally redder +and much stronger. (See the chapter on Union Dyeing.) While the shades +are somewhat faster to light on wool than they are on cotton, they are +no faster to soaping and in some cases not so fast. What may be the +function of the salt, or other such added substance, is not very +clear, probably it plays the same part as to similar bodies in dyeing +the basic dye-stuffs. The dye-stuffs which are referred to above are +all derived from coal-tar, and in the recipes which follow many +examples of their use will be found. + +There are but few natural dye-stuffs that have any direct affinity for +wool. Turmeric, saffron, anotta, are about the only representatives, +and these are not of much importance in wool dyeing by themselves, +although they are sometimes used in conjunction with other natural +dye-stuffs, when they are applied by a process which is adapted more +especially for the other dye-stuff which is used. + +_Second Method_.--The method of wool dyeing now being dealt with does +not differ essentially from that described above, but as it is applied +to quite a different class of dye-stuffs it is thought better to +consider it as a second method. The dye-stuffs made use of in (p. 064) +this method are what are called the basic coal-tar colours, and it may +be remarked in passing that there are no natural colouring matters +having the same properties. These dye-stuffs are derived from a number +of so-called colour bases, such as Rosaniline, Pararosaniline, +Methylrosaniline, Phenyl-rosaniline, and Auramine base. Many of these +are colourless bodies containing the Amidogen group NH_{2}, which +imparts to them basic properties enabling them to combine with solids +to form salts, and these salts have a strong colouring power. They +form the commercial dye-stuffs Magenta, Saffranine, Thioflavine T, +Auramine, Benzoflavine, Brilliant green, Methyl violet, etc., and +these are salts (usually the hydrochloride) of colour bases. All these +basic dye-stuffs have strong affinity for the wool fibre, and will +immediately combine with it, dyeing it in colours which resist +washing, etc., to a considerable extent, although there are great +differences between the various members of the group in this respect. +It has been shown that what takes place in dying wool with these +colouring matters is that the colour base combines with the fibre the +acid of the dye-stuff remaining in the dye-liquor. + +Although it is possible to dye wool with the basic dyes from a plain +bath containing water only, yet the results are not satisfactory, +especially when working on a large scale; and for dyeing pale shades +especially, the affinity of the dye-stuff for the fibre is so great +that the first portions of the goods which are entered into the +dye-bath have a great tendency to absorb all the dye-stuff, or the +larger proportion of it, so that uneven dyeing is the result, one end +of the piece of cloth being darker than the other end. This defect is +particularly accentuated when pale tints are being dyed, the colouring +matter being completely absorbed before all the goods are entered into +the bath, but it may be remedied by adding the dye-stuff to the bath +in small quantities at intervals during the process of dyeing. The (p. 065) +best and most satisfactory method, however, is to add to the bath 10 +per cent. of the weight of the wool of Glauber's salt, or some other +neutral alkaline salt, which addition almost entirely prevents any +defect of uneven dyeing. How these assistant mordants act is somewhat +uncertain, the explanation generally given is that they exert a +slightly solvent action on the dye-stuff, and so prevent it from going +upon the fibre too readily. This is scarcely an adequate explanation, +but in want of a better it will have to stand. + +The affinity of the basic dyes for wool increases with increase of +temperature. This is a property that has an important bearing on the +method of dyeing, and to any person who pays some attention to theory +in its practical applications it indicates the most rational method of +working, which is to enter the goods into the bath cold, or, at the +most, at a hand heat, then, after working a short time to get the +goods thoroughly impregnated with the dye-stuff, to gradually raise +the temperature to the boil and work for from half an hour to an hour +longer, even if before this time the dye-bath be exhausted. The reason +for giving a fair length of time in the bath is to get the colour +properly fixed on the fibre. The combination of the dye-stuff and the +fibre is a chemical one, and, as stated above, the dye-stuff has to be +decomposed so that the base may combine with the essential constituent +of the wool fibre, while it is obvious that this decomposition and +then the union of the colour base with the wool must take time, and as +it is effected more easily and completely at the boiling point, it is +advisable to work the goods in the bath so as to fully insure that +they are given the necessary time for the chemical change to take +place. + +The dye-bath is generally completely exhausted of colour, but if +fairly clean it need not be thrown away, but used for another batch of +wool by simply adding more Glauber's salt and dye-stuff. After a (p. 066) +time the bath gets too dirty to used, when it may be thrown away, and a +new dye-liquor made up. + +In dyeing for pale shades it is best to add the dye-stuff in small +quantities at intervals during the process of dyeing, and to run the +goods quickly through the bath, so as not to give the dye-stuff too +much opportunity to become absorbed by a portion of the goods only. + +Working according to the hints given above, the dyeing of wool with +the basic coal-tar colours may be carried out in a very satisfactory +manner. + +_Third Method_.--This method consists in dyeing the wool in a bath +containing the dye-stuff, a little acid (usually sulphuric) with the +addition of Glauber's salt, or some other alkaline salt, the essential +feature or principle being that the bath is an acid one. This method +is applicable to the large group of azo dye-stuffs derived from coal +tar, and also to the acid dyes prepared from the basic coal-tar +colours by the process of sulphonation. + +It is also used to apply indigo carmine to wool, probably the only +good example of a natural dye-stuff applied by this process. Most of +the natural colouring matters, such as logwood and fustic, belong to +another group of dye-stuffs. + +The simple azo dyes are combinations of two or more organic bases, +united together by a peculiar and characteristic group of nitrogen +atoms. Such azo colours are, however, insoluble in water, and +therefore they cannot be used in dyeing and textile colouring, +although the firm of Messrs. Read Holliday & Sons years ago patented a +process whereby these insoluble azo colours could be developed on the +cotton fibre direct, and thus fabrics made from that fibre could be +dyed in fast colours. When these insoluble azo colours are treated +with sulphuric acid they are converted into sulpho acids, undergoing +what is called sulphonation, an operation of the greatest (p. 067) +importance and value in the preparation of dye-stuffs. The preparation +of indigo extract or indigo carmine from indigo is also a case of +sulphonation. The sulpho-acids of the azo colours, of the basic dyes, +and of indigo are usually insoluble in water, although there are great +differences in their properties in this respect. They will combine +with bases such as soda, calcium and potash to form salts which are +soluble in water, and it is usually in the form of sodium salts that +these azo and acid dye-stuffs are sold to the dyer and calico printer. +It is this power of combination with bases that makes them of value in +wool dyeing. As Knecht and other authorities have pointed out, the +wool fibre contains a basic principle capable of combining with acid +bodies, and in wool dyeing with the colouring matters under +discussion, this combination occurs between the sulpho-acid of the +dye-stuff and the basic principle of the wool fibre. + +This points to the fact that the dye-stuffs of this class do not +combine with the wool in the form in which they are supplied to the +dyer as sodium salts, which is shown by a property that many if not +all of them possess, of not dyeing the wool fibre in a neutral bath. +If a piece of wool be immersed in a solution of, say, a scarlet or +indigo extract, which is neutral it is not dyed. The dye-liquor may +penetrate thoroughly throughout the fabric, but if the piece of wool +be lifted out, and allowed to drain, nearly all the liquor will drain +away, and leave the wool nearly if not quite white, showing that the +dye-stuff in the form in which it is sold has no affinity for the wool +fibre. If now a few drops of sulphuric acid be added to the dye-liquor +the wool will become dyed. The sulphuric acid liberates the free +sulpho-acid of the dye-stuff, and this is now in a form to combine +with the wool fibre, which it does. This is the fundamental principle +underlying the acid method for dyeing wool with the acid group of +colouring matters. + +The practical application of the principle laid down above is a (p. 068) +matter of simplicity compared with the other methods of dyeing. The +composition of the bath is given above. It is best to enter the wool +at from 150° to 160° F. and then to raise the temperature slowly to +the boil. This method of proceeding gives time for the free colour +acid of the dye to be liberated from the dye-stuff on the one hand, +and for its combination with the wool fibre on the other. In dyeing +pale tints with acid dye-stuffs it is a good plan not to add the acid +until after the goods have been entered into the bath and worked for a +short time to enable them to become impregnated with the dye-liquor; +the acid may be then added, and the dyeing may be finished as usual. + +By this plan of working more even dyeings can be obtained than by +simply entering the goods direct into an acidified dye-liquor. + +Any kind of acid may be employed, but generally sulphuric acid is +used, partly because it is cheap, and partly because it is the +commonest acid known. Acetic acid is also used in many cases. + +_Fourth Method_.--We now come to the fourth method of dyeing wool. +Strictly, perhaps, it is not a single method, but a group of methods, +which are used to supply a certain class of dye-stuffs to the wool +fibre; but as the governing principle depends upon the peculiar +property of the dye-stuffs now to be noticed, which underlies all the +variations of the process of dyeing, it has been thought better to +speak of the fourth method rather than to subdivide further, in which +case the fundamental principle might be lost sight of. + +The class of dye-stuffs included in the fourth group was named by +Bancroft the "adjective" group, because they require the aid of a +second body, named the mordant, to properly develop and to fix the +colour of the dye-stuff on the wool. It is sometimes known as the +"mordant dye-stuff" class, and this is perhaps its best name. This (p. 069) +group of colouring matters comprises dye-stuffs of both natural and +artificial origin, the latter of which are getting very numerous and +valuable, and bid fair to displace the natural members of the group. +With but few exceptions the adjective dye-stuffs are not colouring +matters of themselves, _i.e._, they will not dye wool or other fibres +by themselves. Some are coloured bodies, such as fustic, logwood, +Persian berries, Anthracene yellow, etc., but many are not so, and +some possess but little colour, which, moreover, gives no clue to the +colours that can be developed therefrom. + +All the colouring matters of this class possess either a distinctively +acid character, or belong to the class of phenols, which, while not +being true acids, still possess weak acid functions that enable them +to combine with bases like acids. These bodies have the property of +combining with bases and metallic oxides, such as soda, potash, iron, +alumina, chrome, tin, nickel, cobalt, etc., forming a series of salts. +Those of soda and potash are usually soluble in water, while those of +the other metals are insoluble, and are usually of strong colour. It +is on this property of forming these insoluble coloured bodies, colour +lakes, as they are called, that the value of the adjective dye-stuffs +in dyeing depends. + +The group of adjective colouring matters may be subdivided into two +divisions, not depending upon any differences in the mode of +application, but upon certain differences in the results they give. +Perhaps the best example of an adjective dye-stuff is Alizarine. This +body has a faint red colour, but of itself possesses absolutely no +colouring power. When, however, it is brought into combination with +such metallic oxide as alumina, iron and chrome, then it forms +coloured bodies, the colour of which varies with the metal with which +it is in union, thus with alumina, it is a bright red; with iron, a +dark violet, almost black; with chrome, a deep red; with tin, a (p. 070) +scarlet; and so on. This is a representative of the true adjective +dyes, which comprise most of the so-called Alizarine dye-stuffs, and +logwood, fustic, and most of the natural dye-stuffs. Another division +of the group includes a few colouring matters of recent introduction, +like Azo green, Alizarine yellow, Galloflavine, Anthracene yellow, +Flavazol, etc., which, while forming insoluble colour lakes with +metallic oxides, do not give different colours with different metals. + +This class of dye-stuffs, owing to their forming these insoluble +colours, gives really fast colours, capable of resisting lengthened +exposure to light and air, and resisting washing, acids and alkalies. +Of course there are differences between the various members of the +group in this respect, and even the resisting power of an individual +member depends a good deal on the metal with which it is combined, and +the care with which the process of dyeing has been carried out. + +In the dyeing of these adjective dye-stuffs, upon the various fibres, +and on wool in any particular, the object is to bring about in any +convenient way the formation on the fibre of the metallic combination +of the colouring principle and the mordant, and it is obvious that if +a satisfactory result is to be obtained, then this must be done in a +very thorough manner. There are three ways in which this combination +of colouring principle and mordant may be brought about in dyeing wool +with these bodies, we may either mordant the wool first, and then +apply the dye-stuff, or we may impregnate the wool with the dye-stuff +first, and then fix or develop the colour afterwards, or, lastly, we +may carry on both operations in one process. Each of these methods +will now be discussed, and their relative advantages pointed out. + +The mordanting method is one of the most generally useful. It consists +in first causing a combination of the metal with the wool fibre. (p. 071) +This is carried out by boiling the wool in a solution of the metal, +such as bichromate of potash, chrome alum or chrome fluoride when +chrome is to be used as a mordant, with alum or sulphate of alumina +when alumina is required to be deposited on the fibre, and with +copperas when iron is to be the mordant. It is best to add a little +oxalic acid, cream of tartar, or tartaric acid to the mordanting bath, +which addition helps in the decomposition of the metallic salt by the +wool fibre, and the deposition of the metallic oxide on the wool. With +bichromate of potash, sulphuric acid is often used, much depending +upon the character of the mordant required. Some dye-stuffs, such as +logwood for blacks, work best when the wool is mordanted with chromic +acid, which is effected when sulphuric acid is the assistant mordant. +Other dye-stuffs, such as fustic, Persian berries and Alizarine +yellow, are best dyed on a basic chrome mordant, which is effected +when tartar or oxalic acid is the assistant mordant used, or when some +other form of chrome compound than bichrome is employed. + +The actual mordanting is done by boiling the wool in a bath of the +mordant, the quantity of which should be varied according to the +particular mordant that is being employed and to the quantity of +dye-stuffs which is to be used. It is obvious that for a fixing deep +shade of, say, Alizarine on the wool, a larger quantity of mordant +will be required than to fix a pale shade; sometimes this point is +overlooked and the same amount of mordant employed for pale or deep +shades. The best plan of carrying out the mordanting is to enter the +wool in the cold bath or at a hand heat, and then raise to the boil +and continue the boiling for one hour; of course the goods should be +kept turned over during the process to facilitate the even mordanting +of the wool. A great deal of the success of dyeing with the dye-stuffs +now under consideration depends upon the efficiency with which the (p. 072) +mordanting has been carried out. If this is at all unevenly done then +no amount of care in the succeeding dyeing process will lead to the +development of an even dyeing. After the mordanting is finished the +goods should be rinsed with water, but it is not necessary to dry +them. + +The next stage in the process is the actual dyeing operations, which +is done by immersing the mordanted wool in a bath of the dye-stuff or +mixture of dye-stuffs. + +The fundamental principle is to bring about the combination between +the colouring principle of the dye-stuff and the metallic oxide which +has been deposited on the wool in the previous mordanting process. As +neither of these bodies, however, is very energetic it follows that +the action must be a slow one, and, therefore, time is a highly +important factor in the dyeing of wool by the mordanting process. The +combination between the dye-stuff and the mordant is influenced also +by temperature, and is most active at the boiling point of water. It +is, therefore, needful to conduct this operation at that temperature, +but it would be a wrong way to introduce the mordanted material into a +boiling bath of the dye-stuff; nothing would conduce to uneven dyeing +so much as that course. The best method of working, which, moreover, +is most particularly applicable to the series of Alizarine dye-stuffs, +is to enter the goods in a cold bath of the dye-stuff, and to work +them for a short time to get them thoroughly impregnated, a condition +which is essential if even dyeing is the goal aimed at, then to raise +the temperature of the bath gradually to the boil, the goods being in +the meantime well worked. The dyeing is continued for from one to one +and a half hours at the boil. + +It is important in dyeing by this process, especially when using +Alizarine, to keep the temperature of the bath as uniform as possible, +and the goods well worked. Alizarine, and some other members of (p. 073) +this class, are rather sensitive to heat, and if a dye-vat be hot at +the bottom and cold at the top uneven dyeing is sure to be the result; +this is due to the greater affinity of the Alizarine for the mordant +at the high than at the low temperature, and thus more is fixed on to +the wool. The remedy for this is to so construct the heating +arrangements of the vat that the temperature shall be as uniform as +possible, while the goods should be kept continually turned over, and +every portion of them brought into intimate contact with the +dye-liquor. The continuance of the dyeing operations for one and a +half to two hours after the vat has reached the boil is necessary to +properly develop and fix the colour on the fibre; a short boil leaves +the goods of a poor shade, without any solidity about it, and the +colour is loose, while a longer boil brings up a solid shade and a +fast colour. + +Although it is not absolutely necessary to add any acid to the +dye-bath during the dyeing operations, yet as the Alizarines and most +of this class of dye-stuffs dye better in a slightly acid bath it is +advisable to add a small quantity of acetic acid, say about one pint +to every 100 lb. of goods; this serves to correct any alkalinity of +the water, which may be due to its containing any lime. Dye-stuffs of +the acid class, such as indigo extract, Cloth red, Acid magenta, etc., +may be used along with the Alizarine dye-stuffs, in which case the +addition of acid to the dye-bath becomes necessary, but too great an +excess of acid should be avoided, as it interferes somewhat with the +dyeing of the mordant dyes. + +This is by far the best and most generally used method of applying +these mordant dyes. It is not a costly process, being indeed economical, +as it only requires just the right amounts of drugs and dye-stuffs, +and there is the minimum loss of material in the mordanting and +dye-baths. Shades can be brought up with the greatest ease, although +it is well in the dyeing to add rather less dye-stuff than is (p. 074) +actually required, and to add more when it is seen how the shade is +coming up. The labour is the most important item in the mordanting and +dyeing method. + +The proportions of material used to the weight of the wool are: Of +bichromate of potash, 3 per cent. for full shades, and 1 per cent. for +pale shades; of fluoride of chrome, the same quantities; of acetate of +chrome, according to the strength of the solution used; of alum, 10 to +20 per cent.; of sulphate of alumina, 5 to 10 per cent.; of copperas, +5 to 10 per cent.; of tartar, 1-1/2 to 2-1/2 per cent.; of oxalic +acid, 1 to 1-1/2 per cent.; of sulphuric acid, 1 per cent.; of argol, +2-1/2 to 5 per cent.; of tartaric acid, 1 to 1-1/2 per cent.; but of +course in an article like this it is impossible to give definite +quantities. + +_Second Method_. #Stuffing and Saddening.#--This method consists in +first treating the wool with a solution of the dye-stuff, and then +with a solution of the mordant required to develop and fix the colour. +This method is more particularly applicable to such dye-stuffs as +camwood, cutch, logwood, madder, fustic, etc., the colouring +principles of which have some affinity for the wool fibre and will +directly combine with it. It is not suitable for the application of +the Alizarine colours. The saddening may be and is commonly done in +the same bath, that is, after the wool has been stuffed it is lifted, +the mordant--copperas, bluestone, bichrome, or alum--is added, and the +wool is re-entered into the bath. This cannot be considered a good +method of working; the shades obtained are full and deep and fairly +fast, but there is usually a considerable loss of colouring matter, as +the wool in no case abstracts the whole of the dye-stuff from the +bath; what excess is left combines with the mordant when the latter is +added, forming an insoluble colour lake, which falls down to the +bottom of the dye-vat and is wasted, or it may go upon the wool in (p. 075) +a loose, unfixed form, and cause it to rub badly and come off in +milling. Then it is rather difficult to dye to shade, much of the +result depending on conditions over which the dyer has little control. +Working as he does with dye-stuffs of unknown colouring power, which +may vary from time to time with every fresh batch of material, it is +evident that, although the same quantities may be used at all times, +at one time a deeper shade may be obtained than at another, and as it +is impossible to see what is going to be the result, and if by +mischance the shade does not come deep enough it cannot well be +rectified by adding a quantity of dye-wood to the bath, because the +mordant in the latter will prevent the colouring matter from being +properly extracted, and only a part of that which is extracted is +fixed on the wool, the rest being thrown away in the dye-bath, and +partly on the particles of wood themselves, when logwood, camwood, +etc., are used in the form of chips or powder. Dyers being well aware +of this, are in the habit when mistakes occur of bringing up to shade +with soluble dye-stuffs--archil, indigo extract, and such like. + +This method, as stated above, is very wasteful, not only of +dye-stuffs, but of mordants. In no case does the wool absorb the whole +of the colouring matter from the bath, the unabsorbed portion goes +down to the bottom of the bath when the mordant is added, so that when +the dyeing is finished, the dye-bath is charged with a large quantity +of colouring matter in an unusable form which has to be thrown away, +thus at once adding to the pollution of the river into which it is +run, and to the cost of the process of dyeing. As attention is being +directed more and more to the question of the prevention of pollution +of rivers, and as the waste liquors from dye-works add to the apparent +pollution to a very considerable extent, dyers will have to develop +other modes of dyeing than that of stuffing and saddening in one bath. + +The principle of dyeing by stuffing and saddening may be carried (p. 076) +out by the use of two separate baths; in fact, it is done in the case +of dyeing a cutch brown from cutch and bichromate of potash. The goods +are first treated in a bath of the dye-wood for a short time, then +rinsed, and the colour is developed by padding into a saddening bath +of the mordant. By this method the baths, which are never quite +exhausted, can be retained for future use, only requiring about 1/2 to +3/4 of the original quantities to be added for each succeeding batch +of the goods, in fact, in some cases, as in cutch, old baths work +better than new ones. + +The advantage attached to this method of working is that arising from +economy of dye-stuff and mordant, and the reduction of the pollution +of the stream on which the works are situated. The disadvantages are +that the cost of labour is increased by there being two baths instead +of one, and that the shades obtained are not always so full as with +the one-bath method. This, of course, can be remedied by running the +goods through the baths again, which, however, adds to the cost of the +process, but there is this much to be said, the shade can be better +brought up than by the one-bath process. In some cases the methods of +mordanting, dyeing and saddening are combined together in the dyeing +of wool, thus, for instance, a brown can be dyed by first mordanting +with bichrome, then dyeing with camwood and saddening in the same bath +with copperas. The shades obtained are fairly fast and will stand +milling. The disadvantages of this process are the same as those +attached to the dyeing and saddening in one bath. + +Now we come to the last method of dyeing wool with mordant and colours, +that in which the operation is carried out in one bath. This can only +be done in those cases where the colour lake that is formed is somewhat +soluble in dye-liquors, which usually have slightly acid properties; or +where the affinity between the two bodies (colouring matter and (p. 077) +mordant) is too great. This method can be carried out in, for instance, +dyeing a cochineal scarlet with tin crystals, a yellow from fustic and +alum, a black from logwood and copperas and bluestone, a red from +madder and bichrome, and the dyeing of the Alizarine colours by the +use of chrome fluoride, etc. + +The shades obtained are usually not so deep as those got by the +mordanting and dyeing process, but are frequently nearly so. In some +cases, as in dyeing with fustic or logwood, it gives rather brighter +colours, due to the fact that the tanning matters present in the +dye-stuffs is not fixed on the wool, as is the case with the +mordanting method, but is retained in the dye-bath. For dyeing with +logwood and copperas or bluestone the process is not a good one, as it +does not give as full shades as by the ordinary process. For dyeing +with the Alizarine colours, using chrome fluoride as the mordant, it +can be applied with fair success. There are advantages in the saving +of time and labour and in the amount of steam required, all of which +are important items in dyeing. + +It is rather troublesome to match off by this process, but it can be +done. For light shades the process will be found very useful, as these +cost less than by any other process. The dye-baths may be retained for +future use, although in process of time they become too dirty for use, +when they must be thrown away. + +#Level Dyeing.#--The first condition for successful dyeing is that the +fibres to be treated are absolutely clean. A careful washing is not +enough for this purpose. Cleanliness is undoubtedly the condition +which the fibre must possess to enable the dye to hold on and not to +come off the fibre, this latter causes a loss of dye-stuff, soils the +whites, and gives rise to trouble between the dyer and finisher; it is +also the condition for making the dye go on the wool evenly. The (p. 078) +washing must be done at the boil, so that the fibre is well wetted +out and all the air bubbles adhering to it are driven out. But this is +not enough; it must be accompanied by a scouring operation, not only +in the case of fibres of which the dyer does not know whether they +have been scoured, but also when they have already been scoured and +bleached. The kind of scouring that the fibres receive in this case +need only be of a comparatively light character, but it must never be +omitted, even for dark shades, as the traces of grease which the fibre +contains are the causes of nearly irremediable stains in the dyeing +operations. Even in dyeing black wool it is of the greatest importance +to have the fibre suitably scoured. + +The fatty matters which the fibre contains may belong to the +components of the fibre itself and be natural matters, but in the case +of wool yarns and cloths they are mostly dressing oils, from which the +dyer cannot be too anxious to free the wool before dyeing. Some +practical methods of preparatory treatment of the fibres before dyeing +may therefore be described here with advantage. + +Cotton is boiled off at actual boiling heat for two hours, with 8 per +cent. of its weight of carbonate of soda and a little soft soap, which +treatment is sufficient for dark colours. + +For light colours it is necessary that the cotton be bleached. Wool is +scoured with soda and soap in the proportion of 10 lb. soda and 2 lb. +Marseilles soap for 100 lb. wool. Silk is scoured by boiling for one +and a half hours in a boiling bath with 30 per cent. of its weight of +soap. For light colours a second boiling should be given, with 15 per +cent. + +The careful cleaning of wool previous to dyeing is of exceptional +importance. Raw wool is cleaned with carbonate of soda and ammonia. For +50 lb. wool to be cleaned 6 lb. carbonate of soda and 1-1/2 lb. (p. 079) +ammonia are added to a bath of 150 gallons water. The wool is laid +down in it for twenty minutes at 35° C., taken up, squeezed, treated +for fifteen minutes in another bath, with 5 lb. carbonate of soda and +then rinsed. The first bath must be renewed as often as possible, +because it contains all the impurities. In the case of woollen yarn +30 lb. require two tubs of 40 gallons capacity. The first tub is to +contain 35 gallons water and 2 lb. ammonia at 10° Be. After working +the skeins for three minutes in it they are left to stand for fifteen +minutes, then wrung out, and the operation is repeated in the second +tub. Finally, the yarn is rinsed several times in soft water. + +Woollen piece goods are treated in a large wooden tub at 40° C. with +4 lb. carbonate of soda and 2 lb. carbonate of ammonia for 80 lb. +material. The pieces are moved about for twenty minutes, laid down in +the bath overnight, again turned for ten minutes and hydro-extracted. +They may also be handled for forty minutes in a bath of 2 oz. ammonia +for 100 lb. wool at 60° C., and then for twenty minutes in clear water +at 60° C. + +After wetting or preparatory treatment, it will be best to proceed +immediately to dyeing; if the fibres be left in a heap for too long a +time, there is danger that they may become heated, or at least that +the moisture may be irregularly distributed by the occurrence of +partial drying, causing an uneven fixation of the colour in the first +stages of dyeing. The first two conditions of successful dyeing are, +therefore, a suitable wetting out and scouring. The dyer, however, +must not be less careful to see that the dye-bath is what it ought to +be. + +Whenever possible the dye-stuff must be dissolved separately, or at +least the bath not entered before the dye-stuff is well dissolved. +Artificial dye-stuffs require particular attention to this point, +because the presence of undissolved particles is the cause of (p. 080) +irregularities, such as streaks, or, at least, specks. The solution is +mostly made hot as follows: After pouring water at 180° F. upon the +dye-stuff, stir gently, strain through flannel or through a very fine +sieve, and pour more water upon the residue until nothing more is +dissolved. As is well known, the artificial dye-stuffs often contain +insoluble matter, resins, etc. It is therefore advisable to use only +soft water for this operation. + +The solutions of artificial dye-stuffs are ordinarily made at the rate +of 1 to 5 lb. per 10 gallons of water, 2 lb. being the proportion +mostly employed. This depends more or less on the solubility of the +dye-stuff. Old solutions sometimes contain crystals of the dye-stuff +which have separated out. These should be redissolved by heating +before the solution is used. But it is best to make only such a +quantity of solution as will suffice for immediate requirements. + +With paste colours care should be taken to keep them in closed vessels +in such a manner that they will not become hard by evaporation, and +they should not be kept in any place where they are likely to freeze +in winter time. In such an event it is not an uncommon circumstance +for the casks or other vessels containing them to burst, with a +consequent loss of dye-stuff. Before any of the paste is withdrawn +from the cask, it is advisable to stir well up with a wooden stirrer. + +In adding dye-stuff during the actual dyeing operation, it is +advisable to add the dye-stuff to the bath in two or three portions, +always taking out the goods before adding each lot of dye-stuff, and +stirring up the contents of the bath before re-entering the goods. +Another important condition of obtaining a level dyeing is to proceed +slowly, beginning with a weak bath at a moderate temperature, and +rising gradually to a boil. If necessary to retard the dyeing from the +commencement, then an assistant mordant is added to the dye-bath, in +the shape of soda crystals or phosphate of soda for the benzidine (p. 081) +colours on cotton; bisulphate of soda or Glauber's salt in dyeing with +azo colours or acid colours on wool; or tartar may be used in most +cases with good effect, causing the wool to have a softer feel. Finally, +the evenness of the dyeing is much increased by the frequent turning +over of the material in the dye-bath, so managing this in the case of +wool as to avoid felting. + +When dyeing with a mordant, the dyer should see that the mordanting +operation is thoroughly well done, for as much care is required for +the mordanting as for the actual dyeing; in fact, if anything, the +mordanting should be done with rather more care, as if it be at all +defective no amount of care in the following dyeing operations will +ensure a level dyeing. Chrome mordanted wool should be dyed without +delay, as it is rather sensitive to light, especially the yellow sort, +which gradually changes into the green sort of chromed wool. + +One peculiarity of dyed wool is that it will continue to take up +colour after it is removed from the dye-bath, especially if it +contains any of the hot dye-liquor, therefore it is very desirable to +wash the wool as soon as possible after its removal from the dye-bath. +It is best, however, not to take the wool out of the hot bath, but to +leave it in until the bath becomes cool, and then to take it out, by +this means the colour becomes deeper and more solid looking, and is +faster on the wool. + +One cause of irregular dyeing may be mentioned, as it is occasionally +met with, namely, the presence of foreign fibres in the goods, cotton +in wool fabrics, and even of different varieties of the same fibre. +All dyers know that dead or immature cotton will not dye up properly, +a fact or defect more especially met with in indigo dyeing than probably +in any other colour. Then wools from different breeds of sheep vary +considerably in their dyeing power. Fine wools take up more colour (p. 082) +than coarse, and, consequently, even from the same bath, will come out a +deeper shade; if a fabric, therefore, contains the two kinds of cotton, +or the two kinds of wool, they will not dye up evenly. + +In the preceding sections brief notes have been given about the +principal methods of dyeing wool, with some indications of the dyes +which can be used under each method. In the succeeding sections will +be given a number of recipes showing how, and with what dye-stuffs, +various colours, shades and tints can be dyed upon wool. It will be +understood that these recipes are applicable to all kinds of woollen +fabrics, loose wool, slubbing, yarns in any form, woven worsted or +woollen cloths, felts of any kind, etc., all these different forms +require handling in a different way; it would not do, for instance, to +treat a quantity of slubbing in the same way as a piece of worsted +cloth, while hanks of yarn require a different mode of handling to a +quantity of hat bodies. The different kinds of woollen fabrics require +to be dealt with in different kinds of machines, and this has already +been dealt with in the chapter on Dyeing Machinery and Dyeing +Manipulations. + +To describe and illustrate the application of all the various woollen +dye-stuffs, whether of natural or artificial origin, and to show the +great variety of shades, etc., which can be obtained with them, either +all one or in combination, would require not one, but many volumes of +the size that this present work is intended to be. Therefore, it +becomes necessary to make a selection from the best-known and most +used of the various dyes, and illustrate their application by a number +of recipes, all of which, unless otherwise stated, are intended to be +for 100 lb. weight of woollen material of any kind. It may also be +pointed out that, as a rule, the recipes may be applied to the dyeing +of fabrics made with other animal fibres than the wool of the sheep, +as, for alpaca, cashmere, camel-hair, hare or rabbit fur, etc., (p. 083) +inasmuch, as, with the exception of silk, all animal fibres practically +possess the same dyeing properties. + +It will be convenient to point out here that a very large proportion +of the shades dyed on wool and other fabrics are obtained, not by the +use of a single dye-stuff, although this should always be done, +whenever possible, but by the combination of two or more dye-stuffs +together in various proportions. It is truly astonishing what a great +range of shades can thus be dyed by using two or three dyes suitably +mixed together, and one of the things which go to making a successful +dyer and colourist is the grasping of this fact by careful +observation, and working accordingly. Dyers will find much assistance +in acquiring a knowledge of colour and colour mixing from the two +little books on _Colour_, by Mr. George H. Hurst, and the _Science of +Colour Mixing_, by Mr. David Paterson, both issued by Messrs. Scott, +Greenwood & Co., the publishers of the present work. + +#Black on Wool.#--Until within a comparatively recent time black was +dyed on wool solely by the use of logwood, combined with a few other +natural dye-stuffs, such as fustic, indigo, etc., but of late the +researches of colour chemists have resulted in the production of a +large number of black dyes obtained from various coal-tar products. +These have come largely into use, but still, so far they have not been +able to entirely displace logwood, chiefly on the score of greater +cost, the use of the natural dye still remaining the cheapest way of +producing a black on wool; although the blacks yielded by some of the +coal-tar black dyes are superior to it in point of intensity of colour +and fastness to scouring, acids and light, as well as being easier to +dye. + +Blacks may be obtained from logwood by several methods, either by +previous mordanting of the wool or by the stuffing and saddening +methods, or by the one-bath process. The following recipes will (p. 084) +show how these various methods are carried out in practice:-- + +_Chrome Logwood Black_.--The wool is first mordanted by boiling for +one and a half hours with 3 lb. bichromate of potash and 1 lb. of +sulphuric acid, working well the whole of the time. It is not +advisable to exceed the amounts of either the bichromate or the acid +here given, these quantities will result in a full bloomy black being +obtained, but any excess gives rise to greyish dull blacks, which are +undesirable. After mordanting rinse well with water, when the goods +will be quite ready for the dye-bath. + +The dyeing is done in a bath made from a decoction of 40 lb. of good +logwood. It is perhaps preferable to start cold or only lukewarm, +raise to the boil and work for one hour, then lift, rinse well, and +pass into a boiling bath made from 1 lb. of bichromate of potash and +1/4 lb. of sulphuric acid for half an hour. This extra chrome bath +fixes any colouring matter which may have been absorbed by the wool +but not properly fixed by the mordant already on, it leads to fuller +shades which are faster to rubbing and milling. + +The mordanting bath may be kept standing and used again for fresh lots +of wool, in which case it is only necessary to add 2-1/2 lb. of +bichromate of potash and 1 lb. sulphuric acid to the bath for each +additional lot of wool that is being dealt with. Old mordant baths +work rather better than new ones, but the use cannot be prolonged +indefinitely, there comes a time when the bath gets too dirty to use +and then it must be thrown away. + +During the operation the bichromate of potash becomes more or less +decomposed and there is formed on the wool fibre a deposit of chromic +acid and chromic oxide, this deposit forms the mordant that in the +subsequent dye-bath combines with and fixes the colouring matter, the +hæmatoxylin of the logwood, and develops the black on the wool. + +In place of sulphuric acid, hydrochloric acid can be used with (p. 085) +some advantage as regards the proportion of bichromate decomposed, and +therefore an increase in the amount of chromium oxide deposited on the +wool. + +This gives a deep blue black, somewhat wanting in bloom. The following +recipe gives a much bloomier black, but is rather more expensive to +dye. + +_Chrome Logwood Black_.--Mordant by boiling in a bath containing 3 lb. +bichromate of potash and 7 lb. tartar. Dye and otherwise treat as in +the last recipe; 4 lb. of tartaric acid used in place of the tartar, +gives rather brighter and bloomier shades. The use of so-called tartar +substitutes is not to be recommended, they give no better results than +does sulphuric acid and are much dearer to use. + +A somewhat greener shade of black than is yielded by either of the +above two recipes is the following:-- + +_Chrome Logwood Black_.--Mordant the wool in a bath containing 4 lb. +oxalic acid and 3 lb. bichromate of potash, afterwards dyeing as in +the first recipe. + +All the above recipes give blacks of a bluish tone, which on the whole +have a good bloomy and solid appearance. Often what is called a jet +black is wanted, this can be obtained by following the recipe given +below. + +_Chrome Logwood Jet Black_.--Mordant the wool by any of the methods +given above. The dyeing is done in a bath made from 40 lb. logwood and +5 lb. fustic, working as described in the first recipe. Using these +properties a good jet black is obtained, which is quite satisfactory +on the score of solidity and fastness. It is not advisable to exceed +the quantity of fustic here given, or otherwise the black will have a +tendency to assume a greenish tone that is not at all desirable. This +greening becomes more marked when from 7-1/2 to 10 lb. of fustic is +used, or if alum be added to the mordant along with the bichromate of +potash. + +Chrome blacks are the best blacks which can be obtained from (p. 086) +logwood. They have, however, a tendency to turn green on exposure to +the weather, which tendency seems to be most prevalent in those blacks +in which sulphuric acid has been used as the acid constituent of the +mordanting bath. The greening may be reduced to a minimum by adding to +the dye-bath about 1 to 2 lb. of Alizarine. Another plan which has +been followed is to give the wool a bottom with 5 to 6 lb. of camwood +or peachwood, then mordanting and dyeing us usual. + +_Logwood Black on Wool_.--Boil first for one hour with a decoction of +8 lb. camwood, then lay down for fifty minutes in a boiling bath of +3 lb. bichromate of potash, 1 lb. alum, 1 lb. tartar. It is a good +plan to allow the goods to hang overnight. + +The dye-bath is prepared with 45 lb. logwood, 8 lb. fustic, 4 lb. +sumac. Dye one hour at the boil, wash and dry. + +_Indigo Black_.--This is sometimes called woaded black, and has an +excellent reputation as a fast black. It is dyed by first giving the +wool a medium blue bottom in the indigo vat by the method of vat +dyeing, which will be described later on, and then dyeing by either +the second or third recipe given above. The use of sulphuric acid is +rather to be avoided in dyeing an indigo vat with chrome and logwood, +as the chromic acid set free during the process is likely to attack +and by destroying the indigo to materially reduce the intensity of the +blue bottom. Or, after blueing in the vat, the black may be dyed or +topped on by the process with copperas, which will be described below. + +_Iron Logwood Black_.--Mordant the wool by boiling one and a half to +two hours in a bath made with 5 lb. copperas, 2 lb. bluestone, 2 lb. +alum, and 10 lb. argol. The dyeing is done in a bath of 50 lb. +logwood. + +It is not advisable to use more argol than is here given, for (p. 087) +although a little excess will not materially affect the beauty or +brilliancy of the resulting shade, yet such excess is wasteful, and +makes the dyeing cost more than it otherwise would. On the other hand, +too little will cause the shade to become greyish in tone and wanting +in solidity. The copper sulphate (bluestone) added increases the +fastness of the finished black to light, the best proportions to add +are from 2 lb. to 4 lb. for 100 lb. of wool. The shade obtained in the +above recipe is of a bluish-violet hue, if a jet black be wanted, add +5 lb. of fustic to the dye-bath. Another and very common method of +working is the "stuffing and saddening" process, given in the next +recipe. + +_Iron Logwood Black_.--Make a bath of 50 lb. logwood, 6 lb. fustic, +and 1 lb. sumac. Work the wool in this for one hour at the boil, lift, +allow the bath to become cool, then add 6 lb. of copperas (ferrous +sulphate) and 2 lb. bluestone; re-enter the wool, raise the +temperature to the boil, and work half an hour, then lift, wash and +dry. On the whole the first method is the most economical and yields +the best blacks, fastest to rubbing. + +The iron-copper-logwood blacks are not so fast to acids as the +chrome-logwood blacks, but they are rather faster to light and air, +and equally so to scouring and milling. + +One-bath methods of dyeing blacks are sometimes preferred by wool +dyers. Of these the following is an example. + +_Logwood Black_.--Make a dye-bath with 50 lb. logwood, 5 lb. fustic, +6 lb. copperas, 2 lb. copper sulphate, and 4 lb. oxalic acid. Enter +the goods and work at the boil to shade. The oxalic acid is added for +the purpose of retaining the logwood-iron-copper black lake, which is +formed on mixing the various ingredients together in solution. On +boiling the wool in the liquor the fibre gradually extracts out the +dye matter and becomes dyed. The use of some of the so-called (p. 088) +"direct blacks" (_noir reduit_, Bonsor's black) is based on the same +principle. + +These dyes are mixtures of logwood, fustic or other dye-stuff with +copperas, bluestone and oxalic acid, and only require adding to water +to make the dye-bath. This method of working enables logwood to be +used in conjunction with dihydroxynaphthalene and some other coal-tar +derivatives to obtain blacks of good solidity and much faster to +light, air, acids and scouring than the ordinary logwood blacks. + +Another recipe for a one-bath logwood black, using the extracts in +place of the dye-wood itself, is the following:-- + +_Logwood Black_.--Prepare a dye-bath with 12 lb. logwood extract, +2 lb. fustic extract, 6 lb. copperas, 4 lb. bluestone, 3 lb. oxalic +acid, 2 lb. tartar. Boil the goods in this for one hour. + +Some dyers use the dye-woods and prepare from them a decoction by +boiling in water; in some respects this is the most economical plan, +only the dyer has to get rid of the spent dye-wood from which the +colouring matter has been extracted, and this is not always an easy +matter. Some dyeing machines (Smithson's) have been devised which +contain as one of their features a dye-wood extractor, in which the +extraction of the colouring matter of the wood proceeds at the same +time as the dyeing. Good results are got with such machines, although +they leave something to be desired. + +Many dyers use the dye-wood extracts which are now made on a large +scale. These are for the dyer much more convenient to use, although +naturally rather more costly. They are approximately five times the +strength of the dye-wood, but they vary very greatly in this respect. + +Logwood blacks can be readily distinguished from nearly all other +blacks, in that by treatment with moderately strong hydrochloric acid +they turn a bright red. + +No other natural dye-stuff is used in the dyeing of black than these +here given. + +Of late years many black dyes derived from coal tar have been (p. 089) +placed on the market. Among these may be enumerated the Acid Blacks of +Messrs. Bead Holliday & Sons; the Naphthol and Naphthylamine Blacks of +Leopold Cassella & Co.; the Victoria Blacks of the Farbenfabriken +vorm, Fr. Bayer & Co.; the Wool Blacks of the Actiengesellschaft für +Anilin Fabrikation; the Azo Blacks of the Farbwerke vorm, Meister, +Lucius & Bruning; and one or two other blacks. These blacks are dyed +very simply, as will be seen from the recipes given below, showing +their application in the production of blacks of a great variety of +tone. None of them dye a true jet black, but generally a bluish black +or a violet black, but the tone may be readily changed to a jet or +dead black by the addition of a little orange, yellow or green +dye-stuff. + +They give blacks of a very solid appearance and very bright in tone, +and have the advantage over the logwood blacks of leaving the wool +more supple and less liable to be felted. Moreover, as a rule they are +faster to acids, alkalies and milling than are the logwood blacks, and +as regards fastness to light they excel that dye-stuff. Unfortunately +they are more costly to use, which tells against their entirely +displacing logwood in dyeing blacks on wool. + +Still, year by year their use is increasing, and as their price +becomes less their employment will yet further extend. They may be +combined with logwood, as they will dye with equal facility on +mordanted and unmordanted wool. + +_Violet Black on Wool_.--Make the dye-bath with 4 lb. Acid Black B, or +Acid Black B B, 3 lb. sulphuric acid, and 10 lb. Glauber's salt. Work +at the boil for one hour. The B brand of these blacks gives shades +slightly redder in tone than the B B. The blacks are quite fast to +light and acids, but not to soaping. + +_Blue Black on Wool_.--Dye as in the last recipe, but use Acid (p. 090) +Black S. This dye-stuff produces bluer shades of black than either B or +B B, and they are faster to soaping. + +_Jet Black on Wool_.--Make the dye-bath with 4-1/2 lb. Acid Black S, +1/2 lb. Fast Yellow F Y, 3 lb. sulphuric acid, and 10 lb. Glauber's +salt. This shows how, by the addition of a little yellow dye-stuff, +the blue shade may be changed to a full jet black. + +_Blue Black on Wool_.--The dye-bath is made with 4-1/2 lb. Naphthol +Black B (or 6 lb. Naphthol Black 3 B), 4 lb. sulphuric acid, and +10 lb. Glauber's salt. Work at the boil for one hour, then lift, wash +and dry. The Naphthol Blacks have long been used in wool dyeing, and +give excellent results, the 3 B brand dyeing much bluer shades than +the B brand. There is also a 4 R brand giving violet blacks. These +blacks are quite fast to acids and alkalies, are fast to light, and +resist washing very well, the B brand being the fastest. The following +recipe shows how a full jet shade can be obtained for these blacks:-- + +_Jet Black on Wool_.--Prepare the dye-bath with 4-1/2 lb, Naphthol +Black B, 1 lb. Naphthol Green B, 1/4 lb. Indian Yellow, 4 lb. +sulphuric acid, and 10 lb. Glauber's salt. + +_Blue Black on Wool_.--Make the dye-bath with 5 lb. Anthracite Black +B, 10 lb. Glauber's salt, and 5 lb. bisulphate of soda, working at the +boil for one hour. Anthracite Black does not require a bath so acid as +do some other coal-tar blacks. The shade obtained is a full blue +black, which is fast to acids; alkalies turn it a little bluer, and +soaping causes some loss of colour. + +_Violet Black on Wool_.--Make the dye-bath with 5 lb. Anthracite +Black R, and 10 lb. bisulphate of soda. The black thus obtained is a +good one, fairly fast to acids, alkalies and soaping. + +_Dead Black on Wool_.--Make the dye-bath with 6 lb. Anthracite Black R, +1 lb. Anthracene Yellow C, and 10 lb. bisulphate of soda. Work at (p. 091) +the boil for one hour, then lift, add 3 lb. fluoride of chrome and work +again at the boil for twenty minutes. This black is a very fine one, and +is very fast. + +_Violet Black on Wool_.--Make the dye-bath with 4 lb. Naphthylamine +Black D, 10 lb. Glauber's salt, and 5 lb. acetic acid. This black is +pretty fast to acids, alkalies and light, but is somewhat loose to +soaping, and, therefore, cannot be used for black goods that have to +be strongly milled. Naphthylamine Black 4 B dyes somewhat bluer shades +than the B brand. + +_Blue Black on Wool_.--Prepare the dye-bath with 6 lb. Victoria Blue +Black, 20 lb. Glauber's salt, and 1-1/2 lb. acetic acid, working at +the boil for one hour. A fine blue black, is obtained which is quite +fast to acids, washing and light. + +_Greenish Black on Wool_.--The dye-bath is made with 3 lb. Victoria +Black Blue, 2 lb. Fast Yellow F Y, 20 lb. Glauber's, salt, and +1/1-2 lb. acetic acid. The dyeing is done at the boil and takes about +an hour. This shade has a good full tone, and is fast. + +_Jet Black on Wool_.--Make the dye-bath with 4 lb. Victoria Black B, +1/2 lb. Fast Yellow F Y, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid, working at the boil for one hour. A very fine shade is thus +obtained, which is fast to acids, alkalies and soaping. By omitting +the Fast Yellow a blue black is obtained, while by using Acid Green +instead a greener tone is given to the black. In place of the Victoria +Black B the two other brands, 5 G, and G, of these blacks may be used. +These give equally fast blacks of a deeper and more jet black. + +_Black on Wool_.--Prepare a bath with 5 lb. acetic acid, 9° Tw.; enter +the wool for one hour, then lift and add 5lb. Naphthol Black 3 B, and +1/4 lb. Indian Yellow. Re-enter the goods and boil for one hour, wash +and dry. + +Many of the black dyes--Naphthol Black, Naphthylamine Blacks, (p. 092) +Naphthyl Blue Black N, Acid Black B, etc.--are capable of slowly dyeing +wool from neutral baths, that is, containing only Glauber's salt, or +rather more quickly if a little acetic acid be present. Such dyes are +very useful for dyeing heavily milled or felted fabrics, such as hat +bodies for instance, as then the dye possesses greater penetrative +properties and passes more into the substance of the fabric, which is, +therefore, better dyed through. Also they are suitable for dyeing +half-wool fabrics as will be seen on referring to the chapter dealing +with the dyeing of union or cotton-wool fabrics. + +It is quite possible to dye a black on wool by using a combination of +acid and azo dye-stuffs, and below is given a recipe illustrating this +method; it is one, however, rarely adopted. + +_Blue-Black on Wool_.--Prepare the dye-bath with 10 lb. Glauber's +salt, 2 lb. Patent Blue, 6 oz. Brilliant Orange, 4 oz. Amaranth, 4 oz. +Acid Violet N, 4 lb. sulphuric acid. Enter the goods at about 150° F., +raise to the boil and work to shade; lift, wash and dry. It may be of +interest to note that by using a mixture of Azo Rubine and Acid green +good blacks can be got. + +There is a range of Acid and Azo dyes which are capable of dyeing from +the usual acid baths on to wool, and yet can be developed and fixed on +the fibre to good, full blacks. Types of such dyes are Anthracene +Chrome Black F F, Diamond Black F, Chrome Patent Black D G and D G G, +Fast Chrome Black, etc. Generally the blacks dyed on wool with these +dyes are very fine, have a full, bloomy appearance, and are very fast. +They are much used in dyeing hat bodies and fine cloths which have to +be very fast to the weather. + +The method of application will be gleaned from the recipes given +below. + +_Black_.--Prepare a dye-bath with 5 lb. Chromotrop S, 1/4 lb. Azo (p. 093) +Yellow, 50 lb. Glauber's salt. Work for one and a half hours at the +boil, then add 4 lb. sulphuric acid. Work at the boil for another half +hour, then lift. Add to the same dye-bath 3 lb. bichromate of potash. +Re-enter the goods and work at the boil for half an hour, then lift, +rinse and dry. + +_Jet Black_.--Mordant the wool by boiling for one hour in a bath made +from 4 lb. bichromate of potash and 3 lb. of tartar. Then rinse, and +dye in a bath containing 3-1/2 lb. Diamond Black, 1-1/4 lb. Alizarine +Cyanine R R R double, and 1 lb. Gambine Yellow, working at the boil +for from one to one and a half hours. + +_Diamond Black on Wool_.--Mordant by boiling for one hour with 3 lb. +bichromate of potash, 1 lb. oxalic acid. Wash and dry in a bath made +with 2 lb. Diamond Black, 2 lb. acetic acid. Work at 120° F. for one +hour, then heat to boil, and work until the dye is fully fixed. Lift, +wash and dry. + +A more common method of using the Diamond Black is given in the +following recipe. + +_Diamond Black_.--Prepare a dye-bath with 10 lb. Glauber's salt, +2-1/2 lb. Diamond Black, 1/2 lb. Diamond Green. Boil for an hour, then +pass through a fresh bath of 2 lb. bichromate of potash for +three-quarters of an hour at the boil; wash and dry. + +This gives a fine jet shade of black, quite fast to a strong milling, +and to light, alkalies and acids. Diamond Black by itself gives bluish +shades. This dye is much used in the hat-dyeing trade. + +_Violet Black_.--Mordant the wool by boiling for one and a half hours +in a bath made with 3 lb. fluoride of chrome and 1 lb. oxalic acid, +then rinse and dye in a bath containing 25 lb. Alizarine Cyanine +Black G, 5 lb. acetate of ammonia, and 1 lb. acetic acid, working at +the boil for one and a half hours. A fine full shade is obtained (p. 094) +which is quite fast to acids, milling and light. + +_Brown Black_.--Mordant the wool as in the last recipe, then dye in a +new bath 25 lb. Alizarine Cyanine Black G, 3 lb. Anthracene Brown, +5 lb. acetate of ammonia, and 1 lb. acetic acid, working at the boil +for one to one and a half hours. + +_Jet Black_.--Mordant as in either of the above recipes, then dye in a +bath containing 20 lb. Alizarine Black S W, and 2 lb. acetic acid. +This black possesses a great degree of resistance to acid, alkali, +milling and light, and is one of the best blacks at the disposal of +the dyer. + +_Reddish Black on Wool_.--Prepare the dye-bath containing 5 lb. +Chromotrop 2 B, 10 lb. Glauber's salt, and 4 lb. sulphuric acid, work +at the boil for one hour, then lift. Add to the same bath 3 lb. +bichromate of potash and 1 lb. sulphuric acid, and work half an hour +longer. + +_Blue Black_.--Make the dye-bath with 6 lb. Chromotrop 10 B and 4 lb. +sulphuric acid; dye, and develop the black by adding to the same bath +3 lb. bichromate of potash and 1 lb. sulphuric acid. + +_Jet Black_.--Prepare the dye-bath with 5-1/2 lb. Chromotrop S, +1/4 lb. Alizarine Yellow G G W, 10 lb. Glauber's salt, and 4 lb. +sulphuric acid. Slowly raise to the boil and work for one hour, then +add to the same dye-bath 3 lb. bichromate of potash, and 1 lb. +sulphuric acid, working at the boil for one hour. + +These are but a few examples of how the Chromotrops (one of the most +interesting series of dye-stuffs at the service of the dyer) may be +used to dye blacks. They of themselves dye brilliant reds, from bright +scarlet (2 R), crimson (6 B), and purple (8 B and 10 B), to maroon and +clarets (S and S B). These being turned black on being chromed, give +various shades--blue blacks, violet blacks, and jet blacks, which have +the merit of being fast to acids, strong milling, and light in a +great degree. The blue and violet blacks may be converted to jet (p. 095) +shades by adding to the dye-bath some yellow dye-stuff, such as Azo +Yellow, Alizarine Yellow, or Gambine Yellow, which will resist the +action of the bichrome in the developing bath. + +Chromotrop blacks while so very fast have the disadvantage of being +expensive, but by combining them with logwood it is possible to obtain +blacks that have a great degree of resistance to light, acids and +milling. They are in this respect much superior to pure logwood +blacks, while the cost is not prohibitive. + +The following recipe will serve as an example of how these two +dye-stuffs may be combined:-- + +_Jet Black_.--Make a bath with 2 lb. Chromotrop S, 15 lb. Glauber's +salt, and 5 lb. hydrochloric acid. Work in this bath for one hour, +then add 2-1/2 lb. bichromate of potash, and work again for half an +hour, at the boil. Lift, rinse and dye in a new bath containing 25 lb. +logwood, 1 lb. fustic extract and 1/4 lb. sulphuric acid, working at +the boil for an hour. + +_Violet Black on Wool_.--Dye the wool in the Chromotrop bath, and +develop as in the last recipe. The final dye-bath is made with 6 lb. +logwood, 8 oz. Patent Blue B, and 4 lb. sulphuric acid. By using +logwood alone blue blacks can be dyed, by increasing the proportion of +fustic a greener tone can be obtained, while by the use of a larger +proportion of Chromotrop a redder tone of black is the result. + +_Jet Black_.--Make the dye-bath with 20 lb. Glauber's salt, and 6 lb. +Nyanza Black; when obtained is a good one and of solid appearance. +Alkalies turn it red, but it is fast to dilute acid and soaping. + +_Black_.--Prepare the dye-bath with 10 lb. Glauber's salt, 5 lb. +oxalate of ammonia, 5 lb. acetic acid and 6 lb. Anthracene Chrome +Black F. Work at the boil for three-quarters of an hour, or until (p. 096) +the bath is exhausted of dye-stuff, then add 1-1/2 lb. bichromate of +potash and 2 lb. hydrochloric acid to the same bath and work for half +an hour longer. + +The Anthracene Chrome Blacks, of which there are three brands, F, 5 B +and F E, are excellent dyes, producing very fine blacks, and owing to +the slowness of dyeing and great penetrative properties are very +suitable for dyeing hat felts and other closely woven fabrics. The 5 B +dyes more bluish shades than the F, while the F E brand gives full +black. By combining these with Anthracene Yellow B N, Anthracene Acid +Brown G, or other similar dyes, jet blacks can be got as per the +following recipe:-- + +_Jet Black_.--Make the dye-bath with 6 lb. Anthracene Chrome +Black F E, 5 oz. Anthracene Yellow B N, 10 lb. Glauber's salt, 2 lb. +oxalate of ammonia and 5 lb. acetic acid, after dyeing, and the +dye-bath, is exhausted of colour, add 1-1/2 lb. bichromate of potash +and 3 lb. hydrochloric acid, and boil again for half an hour. Finish +in the usual way. + +One of the reasons for adding the oxalate of ammonia, is to +precipitate out any lime which may be in the water in such a form that +it will not react with the dye-stuff. + +_Fast Black_.--Mordant the yarn with copperas (sulphate of iron). Dye +in a bath with 5 lb. Gambine Y, 2 lb. Acid Mauve, 2 lb. bisulphate of +soda. Proceed as described for full green. + +_Blue Black_.--3-1/2 lb. Naphthylamine Black S, 10 lb. Glauber's salt, +and 5 lb. acetic acid; to fully exhaust the dye-bath add 8 lb. +bisulphate of soda. + +_Jet Black_.--5 lb. Naphthylamine Black S, 1/4 lb. Fast Acid +Green B N, 10 lb. Glauber's salt, and 5 lb. acetic acid, adding 8 lb. +bisulphate of soda to exhaust the bath. + +_Blue Black_.--Give a deep blue bottom in the indigo vat and dye with +2 lb. Anthracite Black B, 10 lb. Glauber's salt and 2 lb. acetic acid. + +#Greys on Wool.#--The dyeing of greys follows very naturally after (p. 097) +the dyeing of blacks, for from a broad point of view greys are simply +light blacks, and any dye-stuffs that will dye black will if used in +smaller proportions give greys. There is a great variety of tone among +greys: reddish greys, bluish greys, greenish greys, and so on. They +may be dyed in a considerable variety of ways from a large number of +dye-stuffs, both natural and artificial. Of these two classes the +latter gives the best result as far as regards brightness of tone, and +as regards other properties the greys obtained from the artificial +coal-tar colours are fully equal to those from natural dyes. + +A large number of recipes are in use by dyers for the production of +greys, so many that it becomes almost an impossibility to do more than +give a mere fraction of them here. However, a number of representative +recipes will be given, covering all classes of dye-stuffs capable of +being used for the purpose, and thus forming a guide to the methods of +dyeing and the proportions of dye-stuffs to be used. + +_Light Grey_.--Dye at the boil for three-quarters of an hour, in a +bath containing 1 lb. perchloride of tin, 3 lb. alum, 3 oz. indigo +extract, and 2 oz. cochineal. + +_Slate Grey_.--Mordant by boiling with 4 lb. alum and 1 lb. argol, +then dye with 6 lb. logwood, 6 oz. cudbear and 3 oz. indigo extract. + +_Slate Grey_.--Another method is to boil the wool with 10 lb. logwood, +2 lb. Glauber's salt and 1 lb. sulphuric acid for three-quarters of an +hour, then lift, add 1 lb. copperas, and re-enter the wool, working at +the boil for three-quarters of an hour, then lift, wash and dry. + +_Reddish Grey_.--Boil for an hour with 10 lb. fustic, 11 lb. cutch, +1/2 lb. bichromate of potash and 1-1/2 lb. copperas. + +_Pearl Grey_.--Give a light blue ground in the indigo vat, then dye in +a new bath with 2 lb. muriate of tin and 3/4 lb. cochineal, working at +the boil to shade. + +_Silver Grey_.--Prepare a bath with 3/4 lb. tannic acid; work for (p. 098) +an hour in a warm bath, then sadden with 3 lb. nitrate of iron to shade, +then lift, wash and dry. + +_Pearl Grey_.--Prepare a bath with 3 lb. fluoride of chrome and 4 lb. +Alizarine Bordeaux B. Enter into the bath when cold, then heat to the +boil and work for one and a half hours, then lift, wash and dry. + +_Silver Grey_.--The dye-bath is made with 3 lb. fluoride of chrome and +6-1/2 oz. Alizarine Cyanine G G, the dyeing being done as in the last +recipe. + +_Greenish Grey_.--A good shade is dyed with 3 lb. fluoride of chrome, +4 oz. Alizarine Bordeaux B, and 4 oz. Diamond Flavine G, working as +given in the above recipe. + +_Grey_.--Give a pale blue bottom with an indigo vat, then dye in a +bath containing 1 lb. fluoride of chrome, 1/2 oz. Diamine Fast Red F, +and 3/4 oz. Anthracene Yellow C; work at the boil for one hour, lift, +wash, and dry. + +_Dark Grey_.--A very fine dark grey, almost approaching a black is +obtained by the following plan: bottom the wool with a medium blue by +means of the indigo vat, dye in a bath containing 1 lb. fluoride of +chrome, 3 oz. Diamine Fast Red F, and 3 oz. Anthracene Yellow C. + +_Slate Grey_.--A good slate grey of a slightly greenish tone can be +dyed in a bath of 5 lb. acetate of ammonia, 3/4 lb. Acid Blue 4 S, and +1/4 lb. Titan Brown R, working at the boil to shade. + +_Pale Slate Grey_.--The dyeing is done in a bath made with 5 lb. +acetate of ammonia, 5 oz. Acid Blue 4 S, and 1-1/2 oz. Titan Brown R, +working at the boil for one hour. + +_Silver Grey_.--A very nice shade is dyed with 3 oz. Acid Blue 4 S, +1/4 oz. Titan Red, and 5 oz. acetate of ammonia. + +_Silver Grey_.--A shade similar to the last is dyed in a bath +containing 10 lb. Glauber's salt, 5 lb. bisulphate of soda, and +3/4 oz. Anthracite Black R. By adding a little Thiocarmine R the (p. 099) +shade can be turned bluer in tone, while the addition of a little +Milling Yellow O, or Titan Yellow, turns it to the green side. + +_Pearl Grey_.--Make the dye-bath with 10 lb. Glauber's salt, 5 lb. +acetic acid, and 3/4 lb. Naphthylamine Black D. This gives fine shades +of pearl grey. + +_Bluish Grey_.--Mordant the wool by boiling in a bath made with 2 lb. +bichromate of potash, 1 lb. tartar, and 1 lb. sulphuric acid. Dye in a +bath containing 2 oz. Diamine Black (or 3/4 oz. Diamond Black and +1-1/2 oz. Alizarine Cyanine R), working at the boil for an hour and a +half. + +_Grey_.--This can be dyed with 3 oz. Nyanza Black B, and 10 lb. +Glauber's salt, working at the boil. + +_Reddish Grey_.--A good full shade is dyed with 1-1/2 oz. Cyanole +extra, 1/4 oz. Orange extra, 3/4 oz. Archil Substitute N, 10 lb. +Glauber's salt and 3 lb. sulphuric acid. + +_Slate Grey_.--The dye-bath is made with 3 oz. Cyanole extra, 1/2 oz. +Archil Substitute N, 3/4 oz. Orange extra, 10 lb. Glauber's salt and +2 lb. sulphuric acid. + +_Bright Pearl Grey_.--Prepare a dye-bath with 3/4 oz. Patent Blue, +1/2 oz. Acid Violet N, 3/4 oz. Orange G, 10 lb. Glauber's salt and +2 lb. sulphuric acid. + +_Stone Grey on Wool_.--The dye-bath is made with 1/2 oz. +Chromotrop 2 R, 3/4 oz. Cyanole extra, 1-1/2 oz. Fast Acid Blue R, +3/4 oz. Acid Yellow, 20 lb. Glauber's salt, 3 lb. acetic acid. Enter +at 80° F., then warm slowly and work to shade, lift, wash and dry. + +These recipes will probably be sufficient to show the lines on which +greys may be obtained in wool dyeing. It may be added that from the +Acid Blacks B, B B, and S, good greys of a violet tone may be +obtained, using from 1/2 to 3/4 oz. dye-stuff. The Naphthol Blacks +will also be found useful in the same way, while the greys from +Anthracene Chrome Blacks and the Alizarine blacks are very good and +fast. + +#Red Shades on Wool.#--The number of red shades that may be dyed (p. 100) +on wool is infinite. They range over every variety of tint of red, from +the palest blush-rose to the deepest crimson, and from the most brilliant +pink to the dullest grenat shade. + +It is quite impossible here to describe the dyeing of every imaginable +shade of red, while the great variety of red dye-stuffs, both natural +and artificial, adds to the difficulty of dealing in the space at +command with all the various methods and dyes that may be used in the +dyeing of reds on wool. + +The methods that may be adopted for dyeing red shades on wool are many +and various, depending not only on the particular dye-stuff used, but +often on the particular shade that is being dyed. One method, which +will yield a pale and useful tint with a particular dye-stuff, would +fail if a full shade were necessary. + +The greater number of red shades are now dyed by means of the +artificial dye-stuffs, as these are much easier to dye than are the +natural dyes, and they give, on the whole, more even and brilliant +shades, while as regards fastness to milling, acids, and light they +are fully equal, and in most cases superior, to the natural dyes. + +#The Direct Red Dyes.#--Of this group of red dye-stuffs, Benzopurpurine, +Titan Scarlet, Diamine Fast Red F, and Benzo Fast Red are types; many +of them have been found to be very serviceable in wool dyeing. They +may be dyed either from plain baths containing common salt or +Glauber's salt, or from baths containing common salt or Glauber's salt +and a little acetic acid. + +Alkaline or soap baths do not work well as a rule, and must be avoided +in wool dyeing. Generally the dye-bath is exhausted of colour, and +full shades are easily obtained, while these reds are in general +remarkable for the evenness and uniformity of tint which can be (p. 101) +produced. The reds so dyed are, on the whole, fairly fast to soaping, +and can be used for dyeing goods that have to be milled, while their +resistance to light and air is fairly good. Benzopurpurine and Diamine +Red are more or less affected by acids, but the Titan Red and some of +the more modern reds, Diamine Brilliant Scarlet, Benzo Fast Scarlets, +are all fast to acids. The fastness to washing and light of some of +them, Benzo Fast Red, Diamine Fast Red F, Titan Red, is much increased +by adding, after the wool has been dyed, 3 per cent. of fluoride of +chromium to the dye-bath, and working a little longer. + +The dyeing with these colours is done at the boil, and the goods may +be entered direct into the boiling bath without fear of uneven shades +being produced. This bath may be kept as a standing one, simply adding +as each lot is dyed the necessary quantity of dye-stuff, a little +fresh water to bring the bath up to its original volume, and a +corresponding quantity of the salt originally added. The wool can then +be entered and dyed. + +In place of using salt or Glauber's salt, acetate of ammonia is an +excellent assistant for this class of dyes. + +The following are some recipes for dyeing various shades of red on +wool with this class of dyes. + +_Scarlet_.--The dye-bath is made with 3 lb. Titan Scarlet C B, and +10 lb. acetate of ammonia. This gives a good bright shade of scarlet, +which is fast to acids and soaping, although not fast to light. + +_Scarlet_.--Dye in a bath made with 3 lb. Diamine Scarlet B and 10 lb. +Glauber's salt. This yields a light shade, not so fast to acids as the +last, but equally fast to soaping and light. + +_Scarlet_.--Make the dye-bath with 3 lb. Benzopurpurine 4 B, and +10 lb. Glauber's salt. This also gives a good shade of Scarlet fast to +soaping. It is turned dark blue by acids, and is not fast to (p. 102) +light. It is very largely used on underwear goods, but is not so +satisfactory for this as the Titan Scarlet C B, or Benzo Fast +Scarlet B S. + +_Scarlet_.--The dye-bath may be made with 3 lb. Brilliant Congo G, +10 lb. Glauber's salt and 2 lb. acetate of ammonia. This gives a +satisfactory shade of scarlet. + +_Bright Scarlet_.--The dye-bath prepared with 2 lb. Geranine G, 5 lb. +sulphate of soda, 5 lb. acetate of ammonia. Work at the boil for one +hour, then wash and dry. + +_Dark Crimson_.--Prepare a dye-bath with 1-1/2 lb. Chrysophenine, +1-1/2 lb. Hessian Violet, 25 lb. salt. Heat to 150° F., enter the +goods, heat to boil and dye boiling for one hour, take out, rinse and +wash. + +_Scarlet_.--A brilliant shade of scarlet can be dyed in a bath of +3 lb. Benzo Fast Red, 1 lb. Chrysophenine, 10 lb. Glauber's salt and +2 lb. acetic acid. + +_Fast Red_.--Dye the wool in a bath boiling, containing 1 lb. Diamine +Fast Red F, 10 lb. Glauber's salt, and 2 lb. acetic acid, until the +bath is exhausted, then add 3 lb. fluoride of Chrome and work half an +hour longer at the boil. + +_Bordeaux_.--Dye with 3 lb. Diamine Bordeaux, and 10 lb. Glauber's +salt. + +_Pink_.--Dye with 2 lb. Diamine Rose B D, 10 lb. Glauber's salt and +1 lb. acetic acid. + +The basic red dyes are not very numerous, and comprise Magenta, +Saffranine, Acridine Reds, Acridine Scarlets, Rhoduline Reds, +Rhodamine and Neutral Beds. For successful dyeing they require a +perfectly neutral bath. This bath should contain 10 per cent. of +Glauber's salt, and is started cold and not too strong; when all the +material has been entered the steam may be turned on and the +temperature slowly raised, the material being turned over and over. +The operation is continued only until the bath has been exhausted of +colour, when it is stopped, and the wool taken out, and washed (p. 103) +and dried. The liquor in the dye-baths may be allowed to cool down, +and then it may be used for making the dye-bath for a second lot of +goods, or it may be run away. It is best not to add the dye to the +bath all at once, but in several portions as the work proceeds. The +affinity of the wool for the basic dyes is usually so strong that if +all were added to the dye-bath at the start, then the first portion of +the goods entered might take up all, or nearly all, the colour, +leaving but little for the last portion; the consequence being that +the goods are dyed of an uneven colour, deeper in some parts than +others. This defect is remedied by adding the dye in portions, +entering the goods rather quickly, working cold, or by adding a little +acetic acid and plenty of Glauber's salt. Notwithstanding all these +precautions it is quite possible for the shades to come up somewhat +uneven. These remarks are applicable not only to the basic reds but to +the whole range of basic dyes, hence this class of dye-stuffs is but +little used in the dyeing of wool. + +_Crimson_.--Make the dye-bath with 2 lb. Magenta, and 15 lb. Glauber's +salt, working as described above. This gives a fine crimson shade +which, however, is not fast to soaping or to light. The quantity of +dye-stuff given above should not be exceeded or the shades may come up +bronzy, this may be avoided if a trace of acetic acid is added to the +dye-bath. + +_Crimson_.--Dye with 2-1/2 lb. of Saffranine and 15 lb. Glauber's +salt. This dyes a fine Crimson shade. + +_Deep Red_.--Use 3 lb. Rhoduline Red and 10 lb. Glauber's salt. + +_Scarlet_.--The dye-bath is made with 1 lb. Saffranine Prima, 1 lb. +Auramine, and 10 lb. Glauber's salt. The goods are entered into the +dye-bath at about 120° F., and well worked about, then the temperature +is raised slowly. When the dye-bath is exhausted the goods are lifted, +washed and dried. There are no pure basic scarlets, and the above and +similar combinations of a basic red and a basic yellow are the (p. 104) +only ways in which a scarlet can be dyed on wool with basic coal-tar +colours. + +The basic colours are, in general, the hydrochlorides of some colour +base, and in the process of dyeing the acid constituent of the wool +fibre unites with the colour base, while the hydrochloric acid which +is liberated passes into the dye-bath. + +The acid reds are a very large group of red dyes, of somewhat varied +chemical composition, which all have the property of dyeing from baths +containing Glauber's salt and sulphuric acid or acetic acid, the usual +proportions being 10 per cent. of the former, and 2 to 5 per cent. of +the acid. Some are best dyed from a bath containing bisulphate of +soda. The dyeing should be started cold, or at a lukewarm heat, then +steam should be turned on and the temperature raised to the boil, at +which it is maintained for an hour; this boiling serving to more +intimately fix the dye-stuff on the woollen fibre. + +The Eosine reds, of which Eosine in its various brands, Rose Bengale, +Phloxine, Saffrosine and Erythrosine, are examples, are best dyed upon +wool from a bath containing Glauber's salt and a little acetic acid. +They do not require a very acid bath, hence the reason of using acetic +acid. The method of dyeing is that given above as for basic reds, +namely, enter into cold, or at most lukewarm bath, and raise the heat +slowly, continuing the work until the shade required has been +obtained. It is a good plan to start work in a neutral bath, and then +when the material has become thoroughly impregnated with the +dye-liquor to add the acetic acid. The shades obtained from these +Eosine reds are remarkable for their brilliance, but unfortunately +their fastness to light, washing, etc., is but slight, although it may +be increased by treating the dyed wool in a bath of alum or acetate of +lead. + +Some of the acid reds, _e.g._, Acid Magenta, Acid Violet, belong (p. 105) +to the group of sulphonated basic dyes. The vast majority belong to the +group of azo dyes, which can be employed to dye from palest pinks to +the deepest crimson reds. Some dye very brilliant shades, others only +yield dull reds. Some dye shades remarkable for their fastness to all +agencies, soap, acids, alkalies, light and air; others dye shades +which may be fast to soap, but loose to acids and light. Generally +even shades are readily obtained on any kind of woollen fabric. It is +practically impossible to name all the acid reds that are known and +that may be used, but a fairly representative series of recipes will +be given. + +_Ponceau_.--Wet out, then prepare a bath with 2 lb. Ponceau R, 10 lb. +Glauber's salt, 2 lb. sulphuric acid. Enter the wool in the cold, +bring to a boil and work to shade, wash and dry. + +_Crushed Strawberry_.--Prepare a bath containing 10 lb. Glauber's +salt, 4 oz. Scarlet R S, 9 oz. Indigo extract, 2 oz. Orange Y, 4 oz. +sulphuric acid. Enter wool at 160° F., give four turns, raise +temperature slowly to a boil, and turn to shade, lift and wash. + +_Scarlet_.--Prepare a dye-bath with 2 lb. Azo cochineal, 10 lb. +Glauber's salt, 4 lb. sulphuric acid. Work at the boil until the full +shade is obtained, then lift, wash and dry. + +_Terra Cotta Red_.--The dye-bath is made from 2-1/2 lb. Fast Acid +Magenta B, 2-1/2 lb. Fast Yellow F Y, 10 lb. Glauber's salt, 2 lb. +sulphuric acid. Work at the boil to shade. + +_Fast Scarlet_.--Prepare a dye-bath with 3 lb. Glauber's salt, +1-1/4 lb. sulphuric acid, 2-1/2 lb. Brilliant Scarlet 4 R. Work at the +boil for one and a half hours. + +_Scarlet_.--Make the dye-bath with 2 lb. Scarlet 2 R J, 10 lb. +Glauber's salt and 2 lb. sulphuric acid. The goods may be entered at +about 150° F., and the temperature raised at the boil and maintained +at that heat for one hour, then the goods are lifted, rinsed and +dried. + +The method given in the above recipes is that usually followed (p. 106) +with the acid colours. When closely woven or thick goods are being +dyed, where it is desired that the colour should penetrate well into +the substance of the goods, the following modification of working may +be adopted:-- + +The dye-bath is made up with the dye-stuff and Glauber's salt only, +and the goods are worked in this at the boil until they are thoroughly +impregnated with the dye-stuff liquor, then the acid is added in small +quantities at a time, and the dyeing is continued for one hour to fix +the colouring matter on the wool fibre. The goods may then be lifted +out, washed and dried. + +_Scarlet_.--Make the dye-bath with 2 lb. Scarlet F R, 10 lb. Glauber's +salt and 2 lb. sulphuric acid. In place of scarlet F R, the F 2 R or +F 3 R brands may be used, the latter giving the reddest shades. + +_Scarlet_.--Make the dye-bath with 2 lb. Scarlet O O, 10 lb. Glauber's +salt and 2 lb. sulphuric acid. Scarlet O dyes a yellower shade of +scarlet, while scarlets O O and O O O dye slightly redder shades. + +_Scarlet_.--The dye-bath is made with 3 lb. Brilliant Ponceau 2 R, +10 lb. Glauber's salt and 10 lb. bisulphate of soda. This gives a +brilliant shade of scarlet. Brilliant Ponceau G, used in the same way, +gives a much yellower tone of scarlet, the R gives a slightly yellower +tone, while the 3 and 4 R brands dye redder shades. + +_Bluish Red_.--The dye-bath is made with 2 lb. Brilliant Croceine B, +10 lb. Glauber's salt, and 10 lb. bisulphate of soda. Brilliant +croceine B B and the brand M dye redder shades of scarlet. + +_Red_.--Make the dye-bath with 3 lb. Milling Red R, 20 lb. Glauber's +salt, and 5 lb. acetic acid. This is a good bright shade, and is quite +fast to soaping and milling. + +_Deep Scarlet_.--Dye with 3 lb. Chromotrop R, 10 lb. Glauber's (p. 107) +salt, and 2 lb. sulphuric acid. This scarlet is very fast to milling, +acid and light. + +_Red_.--Make the dye-bath with 2 lb. Victoria Scarlet R, 1 lb. +Victoria Rubine O, 10 lb. Glauber's salt, and 4 lb. sulphuric acid. A +fine deep scarlet red is obtained. + +_Scarlet_.--Dye with 2 lb. Brilliant Orseille C, 10 lb. Glauber's +salt, and 3 lb. sulphuric acid. This gives a bright bluish shade of +scarlet. + +_Red_.--Dye with 1 lb. Emin Red and 5 lb. bisulphate of soda. + +_Scarlet_.--Make the dye-bath with 3 lb. Croceine Scarlet 3 R, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. + +_Fawn Red_.--Make the dye-bath with 1-1/2 oz. Cyanole, 1-1/2 oz. +Orange extra, 2-1/2 oz. Archil Substitute N, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid. This gives a nice light tint of fawn red, of +a somewhat bluish tone. + +_Deep Fawn Red_.--A very deep shade of fawn red is dyed with 4-1/2 oz. +Cyanole, 2-1/4 lb. Orange extra, 1-1/4 lb. Archil Substitute N, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. The same dye-stuffs are used +as in the last, but the result is a deeper shade, of a yellow tone. + +_Crushed Strawberry Red_.--Use 4 oz. Chromotrop 2 R, 2 oz. Cyanine B, +1 oz. Azo yellow, 10 lb. Glauber's salt, and 2 lb. sulphuric acid. + +_Pale Lilac Rose_.--Dye with 1 oz. Chromotrop 2 R, 1/2 oz. Cyanine B, +1/2 oz. Azo yellow, 10 lb. Glauber's salt, and 2 lb. sulphuric acid. + +_Deep Fawn_.--Dye with 3-1/4 oz. Chromotrop 2 R, 1-1/2 oz. Orange G, +2 oz. Cyanine B, 4 oz. Fast Acid Blue R, 10 lb. acetic acid, and +20 lb. Glauber's salt. + +_Crimson_.--Make the dye-bath with 3 lb. Titan Red 6 B, 20 lb. salt, +with a little acetic acid, and work at the boil. This gives a fine +shade of crimson, fast to acids and capable of standing milling very +well. + +_Deep Crimson_.--A bright and deep crimson is dyed with 4 lb. Fast (p. 108) +Acid Magenta B, 10 lb. Glauber's salt, and 3 lb. sulphuric acid, working +at the boil. + +_Pale Crimson_.--Make the dye-bath with 2 lb. Fast Acid Magenta B, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil. +Level shades are readily obtained, and the dye is fast to washing. + +_Deep Crimson_.--Make the dye-bath with 4 lb. Azo Fuchsine G, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. This gives a very deep shade +of crimson, of a bluish tone. + +_Bluish Crimson_.--Use in the dye-bath 2 lb. Azo Fuchsine G, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. + +_Pale Bluish Crimson_.--Use in the dye-bath 1 lb. Azo Fuchsine G, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. This gives a very +bright shade of pale crimson. The B brand of the Azo Fuchsines gives +slightly bluer shades than the above. + +_Deep Crimson_.--A very solid crimson is dyed in a bath containing +3 lb. Azo Red A, 2 oz. Orange extra, 2 oz. Cyanole extra, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. Work at the boil. + +_Bright Crimson_.--A fine bluish crimson can be dyed on wool with +4 lb. Azo Red A, 10 lb. Glauber's salt, and 10 lb. bisulphate of soda. +Work at the boil. + +_Deep Crimson_.--A good shade can be dyed with 6 lb. Amaranth, 10 lb. +Glauber's salt, and 10 lb. bisulphate of soda, working at the boil. + +_Brilliant Pale Bluish Crimson_.--A really brilliant shade, bordering +on a violet red, is dyed in a bath containing 1-1/2 lb. Fast Acid +Violet R, 10 lb. Glauber's salt, and 2 lb. sulphuric acid. + +_Bluish Crimson_.--Make the dye-bath with 3 lb. Croceine Scarlet, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. This gives a good +full shade of a bluish tone and very bright. + +_Bluish Crimson_.--Dye with 3 lb. Chromotrop 6 B, 10 lb. +Glauber's salt, and 3 lb. sulphuric acid. This gives a fine tint, (p. 109) +very fast to acids, milling and light. + +_Purple_.--Make the dye-bath with 3 lb. Chromotrop 10 B, 10 lb. +Glauber's salt, and 3 lb. sulphuric acid. + +The Chromotrops are remarkable for the fulness of the shades they dye, +the brightness of their tint, and their fastness to acids, washing and +light. + +_Purple_.--Use 4 lb. Azo Fuchsine B, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. + +_Bluish Purple_.--A very dark shade of purple is dyed with 4 lb. Azo +Acid Violet 4 R, 10 lb. Glauber's salt, and 2 lb. sulphuric acid. + +#Bordeaux Reds#.--These are shades that lie intermediately between the +scarlets and the crimsons. They are in general duller than the +scarlets, and have a more solid and fuller look; while they are less +blue in tone than the crimson. They can be obtained from a large +variety of dye-stuffs, and the recipes given below may be regarded as +typical examples. + +_Bright Bordeaux Red_.--Make the dye-bath with 1 lb. Azo Bordeaux, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil +to shade. This is a very bright shade, of a somewhat bluish tone. + +_Cherry Red_.--Make the dye-bath with 2-1/2 lb. Fast Acid Magenta B, +2-1/2 lb. Fast Yellow, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid. This gives a fine deep shade. + +_Bright Cherry Red_.--A very yellow shade of red, fast to milling, is +dyed by making a dye-bath with 1-1/2 lb. Anthracene Yellow C, 3 lb. +Diamine Fast Red F, 10 lb. Glauber's salt, 5 lb. acetate of soda, and +2 lb. bisulphate of soda. Work at the boil for one hour, then lift, +add 3 lb. fluoride of chrome, re-enter the wool and work half an hour +longer; wash and dry. + +_Deep Bordeaux Red_.--The dye-bath is made with 4 lb. Diamine Fast +Red F, 5 lb. acetate of soda, and 3 lb. bisulphate of soda. Work (p. 110) +at the boil for one hour, then lift, add to the bath 3 lb. fluoride of +chrome, re-enter the goods and work again for half an hour; lift, wash +and dry. + +_Bright Cherry Red_.--Make a dye-bath with 4 lb. Benzo Fast Red, +10 lb. Glauber's salt, and 2 lb. acetic acid. Work at the boil for one +hour, then lift, add 3 lb. fluoride of chrome, re-enter the goods and +work for half an hour longer; wash and dry. + +_Cherry Red_.--Make the dye-bath with 2 lb. Azo Fuchsine G, 1-1/2 lb. +Fast Yellow, 10 lb. Glauber's salt, and 2 lb. sulphuric acid. Work at +the boil for one hour. + +_Bluish Bordeaux Red_.--For a very fast shade use 8 oz. Fast Acid +Violet R, 8 oz. Orange G, 3/4 oz. Patent Blue B, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. Work at the boil for one hour. + +_Bright Bordeaux Red_.--A good bright and fast shade of red is dyed +with 3-1/2 lb. Emin Red and 7 lb. bisulphate of soda. Work at the boil +for one hour, then lift, add 3 lb. fluoride of chrome, work for +three-quarters of an hour, then lift, wash and dry. + +_Bordeaux Red_.--Use 3 lb. Titan Scarlet D, 1/4 lb. Titan Brown O, and +20 lb. salt. Work at the boil for one hour, then lift, wash and dry. + +#Claret Reds.#--Claret reds are very useful shades and are great +favourites of the dress-loving public. They are dark reds of a yellow +tone, and can be dyed upon wool in a variety of ways, of which the +following recipes just indicate a few. + +_Claret_.--Make the dye-bath with 4 lb. Milling red R, 10 lb. +Glauber's salt, and 4 lb. sulphuric acid. + +_Claret_.--Use 4 lb. Archil Substitute N, 10 lb. Glauber's salt, and +2 lb. sulphuric acid. + +_Claret_.--Make the dye-bath with 2 lb. Bordeaux B L, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. + +_Claret_.--A deep shade is dyed with 2-1/2 lb. Victoria Scarlet R, (p. 111) +2 lb. Victoria Rubine O, 1 oz. Cyanine Scarlet R, 2 lb. Victoria +Rubine O, 1 oz. Cyanine B, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid. + +_Claret_.--A fine deep shade is dyed with 2 lb. Azo Red A, 1/4 lb. +Orange extra, 1/4 lb. Cyanole, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. + +#Maroon Reds.#--From clarets to maroons is not a wide interval, they are +both dark shade reds, the former tending to a yellow tone, the latter +to a more bluish shade of red. A few recipes will be given to show +some of the best methods of dyeing maroons. + +_Maroon_.--Use 6 lb. Amaranth B, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. This gives a fine bright shade. + +_Deep Maroon_.--Make the dye-bath with 4-1/2 lb. Fast Acid +Violet 10 B, 80 lb. Glauber's salt, and 3 lb. sulphuric acid. This +gives a fine blue shade of maroon of great depth. + +_Maroon_.--The dye-bath is made with 3 lb. Azo acid violet 4 R, 1 lb. +Fast Yellow S, 1-1/2 oz. Fast Green Bluish, 10 lb. Glauber's salt, and +2 lb. sulphuric acid. + +_Deep Maroon_.--Make the dye-bath with 2 lb. Acid Magenta, 1/2 lb. +Orange O, 1/2 lb. Patent Blue V, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. + +_Deep Maroon_.--Make a dye-bath with 3 lb. Azo Acid Rubine, 1-1/2 oz. +Acid Black B B, 10 lb. Glauber's salt, and 2 lb. sulphuric acid. + +_Maroon_.--The dye-bath is made with 3 lb. Milling Red B, 1-1/2 oz. +Naphthol Black 4 R, 10 lb. Glauber's salt, and 3 lb. sulphuric acid. + +_Deep Maroon_.--Make the dye-bath with 1-1/2 lb. Victoria Scarlet R, +13 oz. Victoria Rubine O, 1/2 lb. Victoria Yellow, 2 lb. Keton Blue G, +10 lb. Glauber's salt, and 3 lb. sulphuric acid. + +_Bright Red_.--A good shade is dyed with 4 lb. Lanafuchsine S G, and +10 lb. bisulphate of soda. Lanafuchsine S B dyes somewhat bluer +shades. + +_Fast Red_.--Dye with 4 lb. Milling Red B, 10 lb. Glauber's salt, (p. 112) +and 2 lb. sulphuric acid. + +_Bright Scarlet_.--Dye with 3 lb. Brilliant Cochineal 2 R, 10 lb. +Glauber's salt, and 3 lb. sulphuric acid. + +_Deep Scarlet_.--Dye with 3 lb. Brilliant Ponceau 4 R, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. + +#Pinks.#--_Pink_.--Use 1-1/2 oz. Erythesine D, and 5 lb. acetic acid. +These two pinks are very much alike and are very bright. + +_Bluish Pink_.--Use 1-1/2 oz. Rose Bengale and 5 lb. acetic acid. + +_Pink_.--Make the dye-bath with 3 oz. Azo Cochineal, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. + +_Bluish Pink_.--Make the dye-bath with 3/4 to 1 oz. Fast Acid Violet R +and a little Orange G, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid. + +_Pink_.--By using 1-1/2 oz. Fast Acid Violet R, 3/4 oz. Orange G, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, a good full pink is +obtained. + +_Bluish Pink_.--Use 2 oz. Fast Acid Violet R, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid. + +Many of the other acid reds may be used for dyeing pinks if from 2 to +4 oz. of dye-stuff be used. + +_Pink_.--Use in the dye-bath 1-1/2 oz. Diamine Fast Red F, 5 lb. +acetate of soda, and 3 lb. bisulphate of soda. + +_Coral Red_.--Make the dye-bath with 1/2 lb. Diamine Scarlet B, 10 lb. +Glauber's salt, and 1 lb. acetic acid. + +_Dark Cherry Red_.--The dye-bath is made with 2-1/2 lb. Orange G G, +1 lb. Brilliant Orseille C, 3/4 oz. Cyanole extra, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. + +_Deep Crimson_.--Use in the dye-bath 4 lb. Brilliant Orseille C, +1-1/2 oz. Cyanole extra, 3 oz. Orange G G, 10 lb. Glauber's salt, and +2 lb. sulphuric acid. + +_Scarlet_.--Make the dye-bath with 4 lb. Lanafuchsine S G, and 10 lb. +bisulphate of soda. Work at the boil to shade. + +_Crimson_.--Make the dye-bath with 4 lb. Lanafuchsine S B, and (p. 113) +10 lb. bisulphate of soda. Work at the boil to shade. + +The Lanafuchsines, of which there are three brands, S G, S B, and 6 B, +dye very good level shades of red from scarlet to crimson, which are +of good fastness to milling, acids and light. + +_Salmon_.--Use 1/2 lb. Rhodamine B, 1/4 oz. Naphthol Yellow S, 10 lb. +Glauber's salt, and 2 lb. acetic acid. + +_Rose Red_.--Use 1/4 lb. Lanafuchsine S B, 3 oz. Lanafuchsine S G, +10 lb. Glauber's salt, and 1 lb. sulphuric acid. + +_Salmon Red_.--Use 1-1/2 oz. Lanafuchsine S G, 1/4 oz. Fast Yellow S, +10 lb. Glauber's salt, and 1/2 lb. sulphuric acid. + +_Deep Crimson_.--The dye-bath is made with 2 lb. Naphthol Red C, 9 oz. +Acid Magenta, 3/4 oz. Cyanole extra, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. + +_Purple Red_.--Dye with 2-1/2 lb. Naphthol Red C, 3/4 lb. Acid +Magenta, 1 oz. Cyanole extra, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. + +_Bordeaux Red_.--Dye with 4 lb. Lanafuchsine S B, 1 oz. Orange extra, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. + +_Fawn Red_.--Dye with 1/4 lb. Orange G G, 3 oz. Lanafuchsine S B, +1/2 oz. Cyanole extra, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid. + +_Salmon_.--Prepare the dye-bath with 1/4 oz. Fast Acid Violet R, +1/2 oz. Orange G, 10 lb. Glauber's salt, 1 lb. sulphuric acid. Work at +the boil to shade. + +The mordant reds are fairly numerous, and include both natural and +artificial red dye-stuffs. The principle or property on which the +application of this group of dye-stuffs to the dyeing of textile +fabrics depends is that they are of an acid character and combine with +metallic oxides, like those of iron, aluminium, or chromium to form +insoluble coloured bodies, or "colour lakes" as they are called. The +shade or tint of these colour lakes depends, firstly, upon the (p. 114) +dye-stuff, and, secondly, upon the metallic oxide. Thus Alizarine with +alumina gives a scarlet, with chrome a dark red, and with iron a dull +violet. Alumina and chrome are the metallic mordants most commonly +used in the dyeing of reds; sometimes tin is used, but never iron. + +The coal-tar colour makers have placed at the service of dyers a great +variety of mordant dyes, which may be classified somewhat roughly into +groups, according to their chemical composition. The first group is +called phenolic colours. These contain the group, or radical OH, +hydroxyl, once or oftener. It is to the presence of this group that +they owe their acid character and the property of combination with +metallic oxides. To this group of dye-stuffs belong such dyes as +Alizarine, Alizarine Cyanine, Anthragallol, Gambine, Coerulein, and +some others. The natural red dye-stuffs, Cochineal, Brazil-wood, +madder, etc., probably belong to this class. + +None of these are essentially dyes of themselves, and used alone will +not dye any fibre, it is only when they are brought into combination +with the mordant that they will dye the wool fibre. + +The next group may be called hydroxy-azo dyes, and are quite of modern +introduction. They are azo dyes, one of whose constituents is a body +like salicylic acid, amido-benzoic acid, dihydroxy-naphthalene-sulpho +acid, which contain the group OH, hydroxyl with carboxyl COOH. The +first group imparts phenolic characters, while the second gives true +acid properties, and both of these acting together cause the dyes to +be able to form colour lakes with metallic oxides. There is one point +of difference between the two groups of dyes, the phenolic dyes are as +a rule not dyes of themselves, some of them are practically free from +colour, and it is only when brought into combination with the metallic +oxide or mordant that they form a colour and dye a fibre. On the (p. 115) +other hand the azo mordants are in general colouring matters, and can +be used to dye wool without the aid of a mordant, the latter only +serving to make the colour faster to light, acids, milling, etc., and +it often has no material effect on the shade or tone of colour being +dyed. Alizarine Yellow G G, Gambine Yellow, Anthracene Yellow, Chrome +Violet, are examples of such dyes. + +There are, however, some dyes (such as the Chromotrops, Azofuchsine, +Anthracene Acid Browns, etc.) on which the mordant has a marked +effect. + +The methods adopted in practice for the application of this class of +dyes are many and varied. The mordants used are alum, alumina +sulphate, acetate of chrome, chrome alum, fluoride of chrome, ferrous +sulphate and tin chloride, while, in addition, along with these true +mordanting materials, assistant mordants are used, such as argol, +tartar, tartaric acid, lactic acid, lignorosine, oxalic acid and +sulphuric acid. + +The mordanting may be done either before or after the dyeing, the +first plan being that commonly adopted with the phenolic colours, +while the second method may be used and is the best to use with +azo-mordant dyes. Sometimes the mordanting and dyeing may be done in +one bath, but this method is one which leads to a loss of colouring +matter and often to the production of colours which are loose to +rubbing, and cannot, therefore, be recommended. + +#Mordanting.#--This operation is carried out in the same way in all +cases. The goods are entered into the bath at a temperature of about +150° F. The heat is raised to the boil, and is then maintained for one +and a half hours, after which the mordanted wool is lifted and well +rinsed, when it is ready for the dye-bath. As mordanting materials +bichromate of potash and fluoride of chrome are chiefly used when +chrome mordants are required, sometimes chrome alum. With these (p. 116) +are used sulphuric acid, oxalic acid, cream of tartar or argol, lactic +acid, etc. + +Which of these are used depends entirely on the results which are to +be got and the dye-stuff to be used, more particularly is this the +case when bichromate of potash is the mordanting material. When +sulphuric acid is used as the assistant along with the bichrome, then +there is formed on the wool fibre a deposit of chromic acid and +chromium oxide, and this exerts an oxidising effect on the colouring +matter or dye-stuff, which in some cases, as the Alizarine Blue, +Alizarine Yellow, etc., leads to a destructive effect, and, therefore, +the production of weak shades, so that it is not possible always to +use an oxidising mordant. When tartar, argol, oxalic acid, lactic +acids and other assistants of an organic nature are used, then a +different effect is obtained, the bichromate is completely decomposed, +and a deposit of chromium oxide formed on the wool. This does not +exert any action on the colouring matter, and hence this mordant is +known as the non-oxidising mordant. It may be pointed out that when +wool is mordanted with potassium or sodium bichromate and sulphuric +acid (oxidising mordant) it has a deep yellow colour, while when +mordanted with bichromate or other chrome salt, and the organic +assistants enumerated above (non-oxidising mordant), it has a green +colour, and one sign of a well-mordanted wool is when it has a good +bright tone free from yellowness. + +Of the organic assistants tartar is undoubtedly the best in general +use, and, although slow in its action, leaves a good deposit of oxide +of chrome on the wool in a suitable condition to develop the best +results on dyeing. Argols are only an impure tartar. They can only be +used when dark shades are to be dyed. Oxalic acid does not work as +well as tartar, and there is not so much chrome oxide deposited on the +wool, while there is a slight tendency for a small proportion of this +to be in the form of chromic acid. Of late years lactic acid and (p. 117) +lignorosine have been added to the list of assistant mordants; both +these give excellent results, they lead to a more complete and more +uniform decomposition of the bichromate, and therefore the mordanting +baths are more completely exhausted, so that rather less bichromate is +required; the shades which are obtained are in general fuller and +brighter. Examples of the use of these assistants will be found among +the recipes given below. + +With fluoride of chrome either oxalic acid or tartar is used, and a +deposit of chromium oxide is formed on the wool, the general effect +being the same as when bichromate of potash is used with oxalic acid +or tartar. + +Alumina is applied either in the form of alum or of sulphate of +alumina, argol or tartar being used as the assistant, oxide of alumina +being deposited on the fibre. + +When ferrous sulphate (copperas) is used then tartar is almost +invariably used as the assistant mordant, oxalic acid only rarely. + +The dyeing with mordant dyes must be done in a special way and with +great care, if uniform, level shades and fast colours are to be +obtained. + +The dye-bath must be started cold, and the wool be entered and worked +for twenty to thirty minutes, the object being to cause the dye-stuffs +to penetrate well into the substance of the fibre, then the +temperature is slowly raised to the boil, not less than three-quarters +of an hour being taken in doing so; the temperature is maintained at +the boil for fully one and a half hours longer. During the boiling +operation the mordant and dye-stuff combine together, and form the +characteristic colour lake, and the boiling fixes this firmly on to +the wool. + +The water used plays a very important part. If too hard in character, +the lime it contains shows a tendency to combine with the (p. 118) +dye-stuff and form a colour lake, which is deposited in a loose form +on the wool or in the bath, tending to make the shades dull and loose +to rubbing. This defect can be remedied by adding a little acetic acid +to the dye-bath, say about 3 lb. to 100 gallons of the water. It +combines with and neutralises the influence of the lime, in so far as +the formation of a loose colour lake is concerned; still the lime does +unite with the dye-stuff, but the combination is formed more slowly, +and in or on the wool fibre so that it is fast. + +By working in the manner laid down above very fast shades can be dyed +on wool with mordant dyes, and the following recipes will give the +other details as to tints, shades, quantities, etc., not noted above. + +_Claret_.--Mordant, 2 lb. bichromate of potash and 2 lb. tartar; dye, +8 lb. Alizarine Claret R. + +_Fawn_.--Mordant, 3 lb. bichromate of potash and 1-1/2 lb. tartar; +dye, 3 lb. Alizarine Orange N. + +_Maroon_.--Mordant, 3 lb. bichromate of potash and 2-1/2 lb. tartar; +dye, 15 lb. Alizarine Orange N. + +_Deep Crimson_.--Mordant, 3 lb. bichromate of potash and 2-1/2 lb. +tartar; dye, 8 lb. Alizarine Red 1 W S. + +_Lilac Rose_.--Mordant, 1-1/2 lb. bichromate of potash and 1-1/2 lb. +tartar; dye, 1 lb. Alizarine Red 1 W S. + +_Crushed Strawberry Tint_.--Mordant, 2 lb. bichromate of potash and +1-1/2 lb. tartar; dye, 3 lb. Alizarine Red 2 W S. + +_Deep Claret_.--Mordant, 3 lb. bichromate of potash and 2-1/2 lb. +tartar; dye, 5 lb. Alizarine Red 1 W S. + +_Bright Fawn Red_.--Mordant, 2 lb. bichromate of potash and 1-1/2 lb. +tartar; dye, 1 lb. Alizarine Red 5 W S. + +_Scarlet_.--Mordant, 10 lb. alum and 6 lb. tartar; dye, 4 lb. +Alizarine Red 5 W S. + +_Rose_.--Mordant, 6 lb. alum and 4 lb. tartar; dye, 1 lb. Alizarine +Red 1 W S. + +_Deep Scarlet_.--Mordant, 10 lb. alum and 6 lb. tartar; dye, (p. 119) +4 lb. Alizarine Red 1 W S. + +_Deep Maroon_.--Mordant, 3 lb. bichromate of potash and 1 lb. +sulphuric acid; dye, 5 lb. Alizarine Red 3 W S. + +_Bright Maroon_.--Mordant, 3 lb. bichromate of potash and 2 lb. +tartar; dye, 5 lb. Alizarine Red S W, 10 lb. Mordant Yellow. + +_Deep Fawn Red_.--Mordant, 3 lb. bichromate of potash and 2-1/2 lb. +tartar; dye, 10 lb. Alizarine Orange W and 1 lb. Mordant Yellow. + +These typical recipes are here given to show what tints may be +obtained from the alizarine and the quantity of dye-stuffs required. +By using other proportions of dye-stuffs than those given a variety of +other tints may be dyed. + +The method of working described above is applicable to other mordant +dyeing colours besides the alizarine reds, such as Alizarine Orange, +Alizarine Blue, Anthracene Brown, Alizarine Cyanine, Galloflavine, +Gambine, Chrome Violet, etc. It will therefore not be required to +repeat this description of the process when the use of mordant colours +for producing other colours, such as blues, navies, drabs, browns, +etc., is dealt with. + +Although the shades dyed with the alizarines and allied colouring +matters are lacking in the brilliance characteristic of the azo +scarlets, yet they have the very great advantage of being quite fast +to washing, acids and light. + +There is another method of using those alizarine reds that are sold in +the form of powder, and which are distinguished by the letter S. They +are of some value in dyeing heavy woollen cloths, and the method is +indicated in the two recipes which follow:-- + +_Brilliant Scarlet_.--Prepare a dye-bath with 20 lb. Glauber's salt +and 4 lb. Alizarine Red 1 W S, boil the wool in this for +three-quarters of an hour; then lift, add to the same bath 4 lb. (p. 120) +sulphuric acid, again work at the boil for three-quarters of an hour; +then lift, add 10 lb. alum, re-enter the goods, and work +three-quarters of an hour longer; then lift, wash and dry. + +_Claret_.--Prepare a bath with 20 lb. Glauber's salt and 4 lb. +Alizarine Red 1 W S, boil for three-quarters of an hour; then lift, +add 4 lb. sulphuric acid, re-enter the wool, boil for three-quarters +of an hour; then lift, add 3 lb. bichromate of potash, re-enter the +wool, and boil for three-quarters of an hour longer; then lift, wash +and dry. + +_Bluish Red_.--Mordant, 2 lb. bichromate of potash and 2 lb. lactic +acid; dye, 2 lb. Alizarine Red S. In this recipe there is used lactic +acid as the assistant, and a very fine shade results. + +_Red_.--Mordant, 3 lb. lignorosine, 2 lb. bichromate of soda and 1 lb. +sulphuric acid; dye with 12 lb. Alizarine Orange 2 G. + +_Dark Bordeaux Red_.--Mordant, 3 lb. lignorosine, 3 lb. bichromate of +soda and 1-1/2 lb. sulphuric acid; dye, 12 lb. Alizarine S X. + +_Dark Red_.--Mordant, 3 lb. lignorosine, 2-1/2 lb. bichromate of soda +and 1-1/4 lb. sulphuric acid; dye, 6 lb. Alizarine Orange 2 G and +4 lb. Alizarine S X. + +Lignorosine used as the assistant mordant in the above recipes works +very well, and gives bright shades. + +_Fast Bordeaux_.--Prepare a bath with 4 lb. Chromogene I, 1-1/2 lb. +Alizarine Red 1 W S, 1 lb. Alizarine Red 5 W S, 1/2 lb. Fast Acid +Violet R, 10 lb. Glauber's salt and 3 lb. sulphuric acid. Work at the +boil for one hour, then lift; add to the same bath 3 lb. bichromate of +potash and 1-1/2 lb. sulphuric acid. Re-enter the goods and work to +shade, then lift, wash and dry. + +_Terra Cotta_.--Make a dye-bath of 30 lb. Fustic, 8 lb. Turmeric, +30 lb. Sanders and 10 lb. Sumac. Boil the goods in this for one (p. 121) +hour, then add 3 lb. sulphate of copper, previously dissolved in +water, boil for one hour; cool, sadden with Copperas, using about +3-1/2 lb. or less if required; then rinse and dry. + +Another method is to mordant the goods at a boil for one and a half +hours in 2 lb. bichromate of potash and 2 lb. tartar. Drain and wash. +Dye in a fresh bath with 8 lb. sanders and 10 lb. fustic; afterwards +sadden with 1/4 lb. copperas; allow to stand one hour; wash and dry. + + +ORANGE SHADES ON WOOL. + +#With Direct Dyes.# Make a dye-bath with 2 lb. Titan Orange, 20 lb. +Glauber's salt, and 1/2 lb. acetic acid. Work at the boil for one and +a half hours, then lift, wash and dry. + +_Bright Orange_.--Dye with 1-1/2 lb. Benzo Orange R, 10 lb. salt, and +1 lb. acetic acid, working at the boil for one hour. + +_Orange_.--Dye with 2 lb. Chloramine Orange, 20 lb. salt, and a little +acetic acid, working at the boil for one hour. + +_Orange_.--Dye with 2 lb. Diamine Orange G C, and 20 lb. Glauber's +salt. + +_Pale Orange_.--Dye with 3 lb. Diamine Gold, 10 lb. Glauber's salt, +and 5 lb. ammonium acetate. + +_Reddish Orange_.--Dye with 3 lb. Diamine Orange D C and 20 lb. +Glauber's salt. + +_Orange_.--Dye with 2 lb. Diamine Scarlet B, 1 lb. Thioflavine S, and +20 lb. Glauber's salt. + +_Dark Orange_.--Dye with 1 lb. Diamine Red 5 B, 1 lb. Thioflavine S, +and 20 lb. Glauber's salt. + +#With Acid Colours.# _Orange_.--Dye with 2 lb. Ponceau 3 G, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. + +_Bright Orange_.--Dye with 2 lb. Mandarine G, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid. + +_Orange_.--Dye with 2 lb. Croceine Orange, 10 lb. Glauber's salt, and +2 lb. sulphuric acid. + +_Bright Orange_.--Use 3 lb. Orange G G, 10 lb. Glauber's salt, and (p. 122) +2 lb. sulphuric acid, boiling for one hour. + +_Orange_.--Use 3 lb. Orange R, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. Work at the boil. Orange Extra will give a slightly +less red tone of orange, Croceine orange gives a good bright shade of +a yellowish tone. + +There are several brands of Orange dyes which can be used; they differ +but little in shade from one another. In general they give fast +colours. The Tropæolines also dye orange shades, but they are not so +fast as the other dyes which have been named. + +_Gold Orange_.--Make a dye-bath with 1/2 lb. Diamine scarlet B, 2 lb. +Anthracene Yellow C, 50 lb. Glauber's salt, 5 lb. acetate of ammonia. +Enter the wool, work for half an hour, then add 3 lb. bisulphate of +soda. Boil again for half an hour, then lift. Add 3 lb. fluoride of +chrome, re-enter the wool, boil again for half an hour, then lift, +wash and dry. This gives a very fast orange. + +#With Mordant Dyes.# _Old Gold_.--Mordant with 3 lb. bichromate of +potash and 1 lb. sulphuric acid; dye with 6 lb. Alizarine Yellow R W. + +_Pale Orange_.--Mordant with 6 lb. alum and 4 lb. tartar; dye with +1 lb. Alizarine Orange G G. + +_Deep Orange_.--Mordant with 10 lb. alum and 6 lb. tartar; dye with +10 lb. Alizarine Orange N. This last dye-stuff gives a slightly redder +shade of Orange than does the Alizarine Orange G. + +_Deep Orange_.--Dye in a bath with 1-3/4 lb. Azo Alizarine Orange R R, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, and fix in the same +bath with 1 lb. bichromate of potash. + +_Orange_.--Dye in a bath with 1 lb. Alizarine Red 1 W S, 2 lb. Mordant +Yellow O, 10 lb. Glauber's salt, and 2 lb. sulphuric acid, then fix +with 1-1/2 lb. bichromate of potash. + +_Orange_.--Dye in a bath with 1 lb. Anthracene Red, 2 lb. (p. 123) +Alizarine Yellow, 10 lb. Glauber's salt and 2 lb. sulphuric acid. +After dyeing fix with 2 lb. fluoride of chrome. + +_Gold Orange_. Mordant with 3 lb. bichromate of potash, and 2 lb. +tartar, for one and a half hours at the boil; rinse. Then dye in a new +bath with 1 lb. Alizarine Orange, 17 lb. Fustic extract. Work at +100° F. for half an hour, then heat gradually to the boil and dye for +one and a half hours at that temperature; lift, rinse and wash. + +#Olive Yellow on Worsted Yarn.#--Mordant the yarn by boiling for one +hour or one and a half hours in a bath of 3 lb. bichromate of potash; +then dye in a bath of 1-1/2 lb. Gambine Yellow and 10 lb. of fustic +chips. + +Red and orange form a kind of group of colours which shade off one +into the other almost imperceptibly by using a range of dyes such as +Croceine A Z, Brilliant Croceine 9 B, Brilliant Croceine 7 B, +Brilliant Croceine 5 B, Brilliant Croceine 3 B, Brilliant Croceine +M O O, Crystal Scarlet 6 R, Brilliant Cochineal 4 R, Brilliant +Croceine B, Brilliant Cochineal 2 R, Orange E N Z, and Croceine Orange +E N. It is possible to dye shades from a scarlet crimson to a bright +orange. + + +YELLOW SHADES ON WOOL. + +The number of yellow dye-stuffs is very great, and the variety of +tints infinite. Yellow may be dyed with both natural and artificial +dye-stuffs, and the recipes given will include examples showing the +use of both kinds. Speaking generally, yellow dye-stuffs include +amongst them some of the fastest colours known, and there is a larger +proportion of fast yellow colouring matters than of any other class of +dye-stuffs. + +#With Acid Yellows.# _Bright Yellow_.--Make the dye-bath with 1 lb. Fast +Yellow F Y, 10 lb. Glauber's salt, and 2 lb. sulphuric acid, working +at the boil to shade. + +_Olive Yellow_.--Prepare the dye-bath with 1 lb. Azo Carmine, (p. 124) +1-1/2 oz. indigo carmine, 1/2 lb. Fast Yellow, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid, working at the boil to shade. + +_Maize Yellow_.--Prepare a dye-bath with 5 lb. acetate of ammonia, +3 oz. Anthracene Yellow C, 1/4 oz. Diamine Fast Red F. Work for twenty +minutes at the boil, then add 3 lb. bisulphate of soda; work half an +hour longer, and then wash and dry. + +_Bright Canary_.--Prepare a dye-bath with 4 lb. bisulphate of soda, +1/2 lb. Nitrazine Yellow. Heat the bath to about 120° F., enter the +goods and heat up to the boil, and work till the bath is exhausted, +then lift; add to the dye-bath 3 lb. alum, 3 lb. tin spirits; re-enter +the goods, and boil for twenty minutes longer; lift, wash and dry. + +_Bright Straw_.--Dye with 3 oz. Phenoflavine and 20 lb. bisulphate of +soda. + +_Straw_.--Make the dye-bath with 1-1/4 oz. Azo Yellow, 1 dr. +Cyanine B, 1 dr. Chromotrop 2 R, 10 lb. Glauber's salt, and 1 lb. +sulphuric acid. + +_Greenish Straw_.--Dye with 1/4 oz. Cyanine B, 1 oz. Victoria Yellow, +1/4 oz. Chromotrop 2 B, 10 lb. Glauber's salt, and 1 lb. sulphuric +acid. + +_Olive Yellow_.--Mordant with 3 lb. bichromate of potash and 1 lb. +sulphuric acid; dye with 3 lb. Milling yellow O and 1 lb. acetic acid. + +_Bright Yellow_.--A good shade is dyed in a bath of 2 lb. Milling +yellow O, 10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at +the boil. + +_Olive Yellow_.--Dye with 1-1/2 lb. Titan Yellow R, 10 lb. common +salt, and 1 lb. acetic acid; after the colour has fully gone on to the +wool, add to the bath 1-1/2 lb. fluoride of chrome and maintain at the +boil for half an hour; then lift, wash and dry. + +_Deep Yellow_.--The dye-bath is made with 1-1/2 lb. Titan (p. 125) +Yellow R, 10 lb. common salt, and 1 lb. acetic acid, working at the +boil to shade. + +_Yellow_.--A good shade is dyed with 1-1/2 lb. Titan Yellow Y, 10 lb. +common salt, and 1/2 lb. acetic acid, working at the boil to shade. + +_Golden Yellow_.--Mordant with 3 lb. bichromate of potash and 2 lb. +tartar; dye with 1 lb. Anthracene Yellow C. + +_Deep Golden Yellow_.--Make the dye-bath with 3 lb. Anthracene +Yellow C, and 3 lb. bisulphate of soda. Work at the boil for half an +hour, then lift; add 3 lb. fluoride of chrome, re-enter the wool and +work at the boil for another half-hour, then wash and dry. + +_Deep Olive Yellow_.--Mordant with 3 lb. bichromate of potash and +2 lb. tartar; dye with 20 lb. fustic extract. This gives a very deep +shade of olive Yellow. + +_Bright Lemon Yellow_.--Make the dye-bath with 10 lb. Gambine Yellow, +7 lb. alum, and 2 lb. oxalic acid. Enter cold, then slowly heat to the +boil and work to shade; then lift, wash and dry. + +_Leaf Yellow_.--Mordant with 3 lb. bichromate of potash and 1/2 lb. +sulphuric acid; then dye with 2 lb. Gambine Y and 1 lb. Yellow N. + +_Deep Leaf Yellow_.--A somewhat deeper shade than the last is dyed by +first mordanting with 2 lb. bichromate of potash and 1/2 lb. sulphuric +acid, then dyeing with 2 lb. Gambine R and 1 lb. Yellow N. + +_Lemon Yellow_.--Prepare a bath with 40 lb. fustic, 6 lb. alum, 6 lb. +tartar, and 3/4 lb. tin crystals; enter the wool and work at the boil +for one and a half hours, then lift, wash and dry. + +_Olive Yellow_.--Mordant, 3 lb. bichromate of potash and 2 lb. tartar; +dye, 3 lb. extract of fustic. + +_Deep Lemon_.--Mordant, 3 lb. bichromate of potash and 2 lb. tartar; +dye, 1 lb. Alizarine Yellow G G W. + +_Golden Yellow_.--Mordant, 3 lb. bichromate of potash and 1 lb. (p. 126) +sulphuric acid; dye, 10 lb. Alizarine Yellow G G W. + +_Light Straw_.--Make the dye-bath with 3 oz. Anthracene Yellow B N, +5 lb. acetate of ammonia, and 3 lb. bisulphate of soda; work at the +boil to shade, then lift, wash and dry. + +_Old Gold_.--A very fine shade of old gold is obtained by dyeing in a +bath of 3 lb. Anthracene Yellow C, 5 lb. acetate of ammonia, and 3 lb. +bisulphate of soda. Work at the boil for three-quarters of an hour, +then lift; add to the dye-bath 3 lb. fluoride of chrome, re-enter the +wool, and work for one and a half hours longer at the boil; lift, wash +and dry. + +_Deep Yellow_.--Mordant, 3 lb. bichromate of potash and 2-1/2 lb. +tartar; dye, 2 lb. Mordant Yellow D. + +_Pale Olive Yellow_.--Dye with 3 lb. Anthracene Yellow G G, 10 lb. +Glauber's salt, and 2 lb. acetic acid; after the dye-bath is exhausted +of colour add 3 lb. fluoride of chrome, and work at the boil half an +hour longer. + +_Gold Yellow_.--Dye with 3 lb. Anthracene Yellow B N, 10 lb. Glauber's +salt, and 3 lb. acetic acid; after half an hour's boil, add 1-1/2 lb. +bichromate of potash, work for half an hour longer. + +_Gold Yellow_.--Dye with 2 lb. Indian Yellow R, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid. + + +GREEN SHADES ON WOOL. + +Of green shades there is an infinite variety, and these can be dyed in +several ways. Either a simple green dye-stuff may be used or mixtures +of blue and yellow dye-stuffs may be employed, this latter method +being extremely common. It is somewhat interesting to notice that, +notwithstanding the great prevalence of green in Nature, the dyer has +at his command no natural green dye-stuff, but must, if he prefers to +adopt natural dye-stuffs, use a mixture of blue and yellow dye-stuffs +to produce green shades. There are but few green colouring (p. 127) +matters derived from coal tar: Gambine, Dinitroso-resorcine, Alizarine +Green, Brilliant Green, Malachite Green, Azo Green, Fast Green, +Naphthol Green, Acid Green, Diamine Green, Benzo Green almost exhaust +the list. Compared with the numerous red and blue dyes which are +obtained from coal-tar products, green dyes are conspicuous by their +fewness. On the other hand, the dyer has in the blue and yellow dyes +from coal tar a means of producing any tint or shade of green he may +require. + +Members of all the classes of basic, direct, acid, azo and mordant +dyes, can be found among the dye-stuffs which can be used in dyeing +green, and the methods and principles of their application have been +fully described in previous pages. The following recipes contain all +the practical information that is needed:-- + +#With Direct Dyes.# _Dark Green_.--The dye-bath is made with 1 lb. Titan +Blue 3 B, 1 lb. Titan Yellow Y, 2 lb. salt, and 1/2 lb. acetic acid. + +_Bright Green_.--Prepare a dye-bath with 1 lb. Titan Yellow G, 1 lb. +Titan Blue 3 B, 20 lb. salt, and 1/2 lb. acetic acid, working at the +boil for one hour. + +_Dark Green_.--Make a dye-bath with 4 lb. Acid Blue 4 S, 2 lb. Titan +Yellow Y, and 5 lb. acetate of ammonia, working at the boil to shade. + +_Blue Green_.--Make the dye-bath with 6 lb. Acid Blue 4 S, 2-1/2 lb. +Titan Yellow Y, and 5 lb. acetate of ammonia, working at the boil to +shade. + +_Bottle Green_.--The dye-bath is made with 5 lb. Acid Blue 4 S, +2-1/2 lb. Titan Yellow Y, and 5 lb. acetate of ammonia, working at the +boil to shade. The greens shown in the last three recipes are of a +very satisfactory character, and show how, by the use of acetate of +ammonia in the dye-bath, the direct dyeing Titan colours can be +combined with acid colours. + +_Green_.--Make the dye-bath with 5 lb. Glauber's salt, 5 lb. (p. 128) +acetate of ammonia, 2 lb. Sulphon Cyanine, and 1-1/2 lb. Chrysophenine. + +_Dark Green_.--The dye-bath is made with 2 lb. Sulphon Cyanine, +3/4 lb. Chrysophenine, 5 lb. Glauber's salt, and 5 lb. acetate of +ammonia. + +_Pale Russian Green_.--Make the dye-bath with 1/2 lb. Sulphon Cyanine, +2-1/2 oz. Chrysophenine, and 10 lb. Glauber's salt. + +The last three shades have the merit of being fast to milling, and +fairly so to light. + +_Olive_.--Make a dye-bath with 1 lb. Nyanza Black B, 1 lb. Chrysamine, +and 20 lb. Glauber's salt. Work at the boil to shade, lift, wash and +dry. + +#With Acid Dyes.# _Blue Green_.--Make a dye-bath with 10 lb. Glauber's +salt, 2 lb. sulphuric acid, 2 lb. Patent Blue N, and 1 lb. Azo Yellow, +working at the boil. + +_Sage Green_.--The dye-bath is made with 10 lb. Glauber's salt, 2 lb. +sulphuric acid, 2 lb. Azo Yellow, and 1 lb. Patent Blue N, working at +the boil. + +_Olive Green_.--Make the dye-bath with 3 lb. Naphthol Green B, 10 lb. +Glauber's salt, 15 lb. bisulphate of soda, and 1 lb. copperas, working +at the boil to shade. + +_Bright Green_.--Make the dye-bath with 10 lb. Glauber's salt, 5 lb. +bisulphate of soda, and 1-1/2 lb. Acid Green B, working at the boil to +shade. + +_Emerald Green_.--The dye-bath is made with 1/2 lb. Acid Green B, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. The wool might also +be previously mordanted with 15 lb. hyposulphite of soda, and 5 lb. +sulphuric acid at the boil for one and a half hours, when it will give +a bright shade of emerald green. + +_Grass Green_.--Dye a medium indigo bottom on the wool from the vat, +then dye in a bath with 1 lb. Milling Yellow O, 5 lb. Glauber's salt, +and 5 lb. bisulphate of soda; lift, wash and dry. + +The last recipe shows the use of the indigo vat in giving the blue (p. 129) +constituent in dyeing greens and other compound colours on wool. This, +while being a very effective method of dyeing, yet necessitates two +operations which add very materially to the cost of dyeing such +shades, hence it is not used for dyeing low class woollen fabrics, but +for better class goods it is frequently adopted, fast colours being +thus obtained. + +In thus using the indigo vat as a bottom dye regard to the properties +of indigo must be paid in carrying out any subsequent dyeing +operation, so that the indigo on the fibre be not destroyed. As a +rule, the indigo will resist any ordinary baths made with Glauber's +salt, acetate of ammonia, sulphuric or acetic acids, but it will not +resist mordanting operations with bichromate of potash, for the latter +salt destroys the indigo. Fluoride of chrome, chrome acetate, or alum, +may be used as mordants if necessary. + +_Pale Sea Green_.--The dye-bath contains 1 oz. Cyanine B, 1 oz. Azo +Yellow, 5 lb. Glauber's salt, and 1 lb. sulphuric acid. + +_Moss Green_.--The dye-bath is made with 1/2 oz. Chromotrop 2 R, 2 oz. +Cyanine B, 4 oz. Fast Acid Blue R, 3-1/4 oz. Azo Yellow, 5 lb. acetic +acid, and 10 lb. Glauber's salt. + +_Deep Moss Green_.--Prepare the dye-bath with 4-1/2 oz. Cyanine B, +9 oz. Fast Acid Blue R, 4-1/2 oz. Azo yellow, 1/2 oz. Chromotrop 2 R, +5 lb. acetic acid, and 10 lb. Glauber's salt. + +_Blue Green_.--A very fine shade of blue green is dyed with 9-1/2 oz. +Cyanine B, 1-1/4 lb. Fast Acid Blue R, 4 oz. Azo Yellow, 5 lb. acetic +acid, and 10 lb. Glauber's salt. + +_Emerald Green_.--A pale, but brilliant shade of green is dyed with +1-1/4 oz. Patent Blue V, 4-1/4 oz. Azo Yellow, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid. + +_Bright Leaf Green_.--Dye in a bath with 13 oz. Victoria Yellow, (p. 130) +1/2 lb. Patent Blue V, 1/2 oz. Chromotrop 2 R, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. + +_Deep Leaf Green_.--The dye-bath is made with 22 oz. Cyanine B, 1 lb. +Azo Yellow, 2-1/2 oz. Chromotrop 2 R, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. + +_Bright Peacock Green_.--The dye-bath is made with 5 oz. Chromotrop +6 B, 4 oz. Patent Blue V, 7 oz. Azo Yellow, 10 lb. Glauber's salt, and +2 lb. sulphuric acid. + +_Dark Beige Green_.--Make the dye-bath with 1/2 lb. Fast Green Bluish, +6 oz. Fast Yellow F Y, 4-1/2 oz. Azo Fuchsine G, 10 lb. Glauber's salt +and 2 lb. sulphuric acid. + +_Invisible Green_.--Make the dye-bath with 1-1/2 lb. Fast Green +Bluish, 1-1/4 lb. Fast Yellow F Y, 1 lb. Azo Fuchsine G, 10 lb. +Glauber's salt and 2 lb. sulphuric acid. + +_Pale Sage Green_.--Make the dye-bath with 1 lb. Azo Acid Brown, +1/2 lb. Fast Acid Violet 10 B, 10 lb. Glauber's salt and 2 lb. +sulphuric acid. + +_Bright Grass Green_.--Make a dye-bath with 10 lb. Glauber's salt, +2 lb. sulphuric acid, 3/4 lb. Phenoflavine, 3/4 lb. Azo Carmine B, and +5-3/4 lb. extract of indigo. + +_Moss Green_.--Prepare a dye-bath with 1 lb. Azo Acid Brown, 1/4 lb. +Fast Acid Violet 10 B, 10 lb. Glauber's salt and 2 lb. sulphuric acid. + +_Dark Sage Green_.--Make the dye-bath with 3 lb. Azo Acid Brown, +1/2 lb. Fast Acid Violet 10 B, 10 lb. Glauber's salt and 2 lb. +sulphuric acid. + +_Emerald Green_.--A fine shade of emerald green can be dyed in a bath +which is made from 1/2 lb. Fast Green Bluish, 1 lb. Fast Yellow F Y, +1 lb. Acid Violet 6 B, 10 lb. Glauber's salt and 2 lb. sulphuric acid. + +_Bottle Green_.--Make a dye-bath with 1-1/2 lb. Victoria Violet 8 B S, +3/4 lb. Victoria Yellow, 2 oz. Naphthol Yellow S, 1 oz. Fast Acid +Violet R, 1/2 oz. Cyanine B, 10 lb. Glauber's salt and 2 lb. sulphuric +acid. Work for one hour at the boil, then lift; add 3 lb. fluoride (p. 131) +of chrome, re-enter the wool, and work for half an hour at the boil. + +_Pale Pea Green_.--A fine bright shade is dyed in a bath containing +1-1/2 oz. Cyanole, 3/4 oz. Naphthol Yellow and 10 lb. bisulphate of +soda. By increasing the quantity of dye-stuff in proportion to the +material, fine deep shades of green can be dyed. + +_Deep Electric Green_.--Make the dye-bath with 2 lb. Cyanole, 1 lb. +Indian Yellow G and 10 lb. bisulphate of soda, working at the boil for +one hour; then lift, wash and dry. + +#With Mordant Dyes.# _Green_.--Mordant with 10 lb. alum, 1 lb. +bichromate of potash and 16 lb. tartar. Dye with 10 lb. indigo +extract, 2 lb. fustic extract and 3 lb. alum, working at the boil; +lift, wash and dry. + +_Dark Green_.--Mordant with 3 lb. bichromate of potash, 8 lb. alum and +3 lb. tartar. Dye with 10 lb. extract of indigo, 2 lb. extract of +fustic and 3 lb. alum, working at the boil. + +_Sea Green_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar at the boil for one and a half hours. Dye with 1-1/4 lb. +Alizarine Blue D N W, 3-3/4 lb. Alizarine Yellow and 5 oz. Alizarine +Brown, at the boil for two hours. + +_Bronze Green_.--Make a dye-bath with 2 lb. Cyanole extra, 2 lb. +Tropeoline O, 1 lb. Archil Substitute N and 10 lb. bisulphate of soda, +working at the boil to shade. + +_Green_.--A very fine shade of green is dyed as follows: Mordant with +3 lb. bichromate of potash and 2-1/2 lb. tartar. Dye with 4 lb. +Alizarine Blue D N W, 1-1/2 lb. Patent Blue A and 2-3/4 lb. Alizarine +Yellow. + +_Blue Green_.--Mordant as in the last recipe. Dye with 6 lb. Alizarine +Blue D N W, 1-1/2 lb. Patent Blue A, and 1-1/4 lb. Alizarine Yellow +G G W. + +_Bright Pale Sage Green_.--Mordant with 3 lb. bichromate of potash and +2 lb. sulphuric acid. Dye with 5 lb. Alizarine Yellow G G W, (p. 132) +3/4 lb. Alizarine Brown and 1-1/4 lb. Alizarine Blue D N W. + +_Deep Sage Green_.--Mordant with 3 lb. bichromate of potash and +2-1/2 lb. tartar. Dye with 4 lb. Alizarine Yellow G G W, 3-1/4 lb. +Anthracene Brown and 2-1/4 lb. Alizarine Blue D N W. + +_Pale Sea Green_.--Mordant with 2 lb. bichromate of potash and +1-1/2 lb. tartar. Dye with 1 lb. Coeruleine B. + +_Bottle Green_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar. Dye with 20 lb. Coeruleine S W. + +_Slate Green_.--Mordant with 2 lb. bichromate of potash and 1-1/2 lb. +tartar. Dye with 3 lb. Alizarine Green S. + +_Invisible Green_.--Mordant with 3 lb. bichromate of potash and +2-1/2 lb. tartar. Dye with 17-1/2 lb. Alizarine Green S. + +_Peacock Green_.--Mordant with 3 lb. bichromate of potash and +2-1/2 lb. tartar. Dye with 8 lb. Alizarine Green S. + +_Dark Bottle Green_.--Mordant with 4 lb. bichromate of potash and +3 lb. tartar. Dye with 15 lb. Anthracene Blue W G, and 1-1/2 lb. +Mordant Yellow. + +_Invisible Green_.--Mordant with 3-1/2 lb. bichromate of potash and +2-1/2 lb. tartar, working at the boil for one and a half hours. Dye +with 20 lb. Alizarine Green S W, and 1 lb. acetic acid. + +_Sage Green_.--Give a medium indigo ground to the wool in a vat, then +dye for one hour at the boil in a vat containing 1/2 lb. Anthracite +Black B, 2 lb. Anthracene Yellow C, 2 oz. Diamine Fast Red F, and +5 lb. acetate of ammonia; then lift, add 3 lb. fluoride of chrome, +re-enter into the dye-bath and work half an hour longer at the boil; +lift, wash and dry. + +_Peacock Green_.--Give a medium indigo bottom on the vat, then dye for +one hour at the boil in a dye-bath made with 1/2 lb. Anthracene +Yellow C, 2 oz. Diamine Fast Red F, and 5 lb. acetic acid; then lift, +add 3 lb. fluoride of chrome, work for half an hour longer at the +boil, then lift, wash and dry. + +_Bottle Green_.--Mordant by boiling in a bath of 3 lb. copperas (p. 133) +and 1 lb. oxalic acid. Dye in a bath with 15 lb. Gambine R. + +_Light Green_.--Mordant with 3 lb. copperas and 1 lb. oxalic acid. Dye +with 2-1/2 lb. Gambine Y. + +_Medium Green_.--Mordant as in the last dye with 10 lb. Gambine Y. + +_Deep Grass Green_.--Mordant with 3 lb. bichromate of potash and +2-1/2 lb. tartar. Dye with 9 lb. Coerulein and 1-3/4 lb. +Galloflavine. + +_Bright Grass Green_.--Mordant with 4 lb. copperas and 1 lb. oxalic +acid. Dye with 5 lb. Gambine Y, 1/2 lb. Yellow N, and 2 lb. bisulphate +of soda. + +Shades dyed with Gambine are very fast to milling and light. + +_Pale Sage Green_.--Mordant with 3 lb. bichromate of potash and 1 lb. +tartar. Dye with 1/2 lb. Milling Yellow O, 2 lb. Alizarine Black S W, +and 2 lb. acetic acid. + +_Medium Green_.--Mordant with 2-1/2 lb. bichromate of potash and +1-1/2 lb. oxalic acid. Dye with 1-1/2 lb. Diamond Yellow B, 3-1/2 lb. +Brilliant Alizarine Blue G, and 1 lb. acetic acid. + +_Invisible Bronze Green_.--Give a medium bottom on the indigo vat and +then mordant with 3 lb. fluoride of chrome and 2 lb. tartar. Finally +dye with 3 lb. Alizarine Bordeaux S, and 4 lb. Diamond Flavine, +working at the boil for two hours. + +_Pale Slate Green_.--Mordant with 3 lb. bichromate of potash and +2-1/2 lb. tartar, and then dye with 1 lb. Alizarine Blue D N W, +Alizarine Yellow and 5 oz. Alizarine Brown. + +_Light Green_.--Mordant in the usual way with 2-1/2 lb. bichromate of +potash and 2 lb. tartar. Dye with 1 lb. Methylene Blue and 1 lb. +fustic extract, working at the boil. + +_Fast Green_.--Mordant with 8 lb. alum, 2 lb. bichromate of potash, +2 lb. sulphuric acid and 3/4 lb. tin salt. Dye with 20 lb. indigo (p. 134) +extract and 10 oz. fustic extract, working at the boil for one and a +half hours. + +_Bottle Green_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar. Dye with 4 lb. extract of fustic, 1 lb. extract of logwood, +and 2 oz. Anthracene Red. Work for one and a half hours, then add +3/4 lb. copperas, and work for half an hour longer. + +_Dark Green_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar. Dye with 1-1/2 lb. Methylene Blue, 1-1/2 lb. extract of +logwood, and 4 lb. extract of fustic, working at the boil for two +hours. + +_Olive_.--Prepare a dye-bath with 1-1/2 lb. Yellow N, 1/4 lb. Archil +Substitute, 4 lb. extract of indigo, 10 lb. Glauber's salt, 2 lb. +sulphuric acid, and 2 lb. alum, working at the boil to shade. + +_Bright Green_.--Prepare a dye-bath containing 8 oz. Acid Green Extra +and 10 per cent. bisulphate of soda. Enter at 130° F., raise to the +boil, boil for three-quarters of an hour, and rinse. + +_Bluish Green_.--Prepare a dye-bath containing 8 oz. Fast Acid Green +B N and 10 lb. bisulphate of soda. Enter at 130° F., raise to the +boil, boil for three-quarters of an hour, and rinse. + +_Bluish Green_.--Prepare a dye-bath containing 8 oz. Cyanole Green 6 G +and 10 lb. bisulphate of soda. Enter at 130° F., raise to the boil, +boil for three-quarters of an hour, and rinse. + +_Turquoise Green_.--Prepare a dye-bath containing 8 oz. Cyanole +Green B and 10 lb. bisulphate of soda. Enter at 130° F., raise to the +boil, boil for three-quarters of an hour, and rinse. + +_Slate Green_.--Mordant the wool by boiling for one and a half (p. 135) +hours in a bath containing 3 lb. bichromate of potash, 1-1/4 lb. +Copper sulphate and 2-1/4 lb. tartar; then rinse well, and dye in a +bath containing 2-1/2 lb. Logwood Extract (dry), 1-1/4 lb. Fustic +Extract (dry), and 3 lb. Sumac. Enter the goods in a warm bath, work +for half an hour, then raise to the boil and work for three-quarters +of an hour; lift, and sadden by adding 6 oz. Copperas. After +re-entering the goods, work to shade. + +_Olive_.--Boil two hours in a bath consisting of 1-1/2 lb. tin salt, +2-1/2 lb. bichromate of potash, 10 lb. alum and 2-1/2 lb. sulphuric +acid. Then enter in a boiling dye-bath containing 1-1/2 lb. alum, +4 lb. fustic extract and 3-1/2 lb. indigo extract. + +_Fulling Fast Olive_.--For one hour upon a bath containing 50 lb. +Fustic, 5 lb. Bluestone, 2 lb. Tartar, 4 lb. Sumac, 1 lb. Copperas; +lift and wash. + +_Fast Bright Olive_.--Boil for one hour upon a bath of 50 lb. Fustic, +3 lb. Bluestone, 2 lb. tartar, 1 lb. copperas, 2 oz. indigo extract. + +_Yellow Olive_.--Prepare a bath containing 10 lb. Glauber's salt, +1-1/2 lb. Anthracene Yellow B N, 2 lb. extract of indigo, 3 oz. Orange +E N Z, 4 lb. sulphuric acid. Enter yarn at 160° F., give three turns, +raise the temperature slowly to the boil, turn to shade; lift, and +wash. + +_Olive Green_.--Mordant with 2 lb. potash bichromate, 1-1/2 lb. +sulphate of copper, 1/2 lb. sulphuric acid. Boil for an hour and a +half. Dye in a bath with 8 lb. Fustic extract, 5 lb. Sumac, 5 lb. +Logwood, at the boil for an hour and a half. + +_Olive Bronze_.--Make the dye-bath with 10 oz. Fast Yellow S, 5 lb. +Indigo extract, 5 oz. Orange E N Z, 4 lb. sulphuric acid, 10 lb. +Glauber's salt. Enter yarn at 140° F., work for a few minutes, then +bring slowly to the boil and work to shade. + +_Emerald Green_.--Prepare the dye-bath with 1 lb. Acid Green B N, (p. 136) +2 oz. Naphthol Yellow S, 10 lb. Glauber's salt, 2 lb. sulphuric +acid. Enter cold, then raise to the boil and work for a quarter of an +hour; wash and dry. + +_Invisible Green_.--First mordant the wool in a bath containing 3 lb. +bichromate of potash, 1-1/2 lb. copper sulphate, 1 lb. sulphuric acid. +Work at the boil for one and a half hours, then dye in a fresh bath +containing 2 lb. Milling Yellow O, 2 lb. Logwood extract, 20 lb. +Glauber's salt. Work at the boil for one and a half hours, then lift, +wash and dry. + +_Sea Green_.--Prepare a dye-bath with 5 lb. Glauber's salt, 2 lb. +sulphuric acid, 2 lb. indigo extract, 1/2 per cent. Acid Green blue +shade. Dye as usual. + +Cyprus Green B, and Cyprus Blue B, belong to a new group of dyes that +owe their value in wool dyeing to the fact that the dyeings after +being treated with copper sulphate become very fast to light and +washing. Three per cent. of each gives very full shades of bluish +green or dark blue. The dyeing is done with Glauber's salt and acetic +acid when reddish shades are got; these in a bath of copper sulphate +turn green or blue. + + +BLUE SHADES ON WOOL. + +There are a very large number of blue artificial dyes of every class, +but only a few natural ones, indigo and logwood, and with these every +imaginable tint and shade of blue from the palest sky tints to the +darkest navy blue or blue black can be produced. + +While some of the blue colouring matters possess no great powers of +resistance to light, air, washing, etc., the great majority are +remarkable for their fastness to those destructive agencies. + +There are but two natural dye-stuffs, indigo and logwood, from which +blue tints can be dyed. With the former, a great variety of shades can +be dyed of a satisfactory character as regards fastness; with the (p. 137) +latter, only dark blues can be dyed, these are fairly fast to milling, +but only moderately so to light. + +The artificial blues derived from coal tar are very numerous, and +representatives of all classes, direct, basic, acid and mordant of +dye-stuffs may be found among them. The direct blue dyes do not work +very well on wool. They are apt to dye very red, and somewhat dull +shades, which are, however, fairly fast to washing and light. The +basic blue dyes are fairly numerous, and may be used to dye from pale +sky to deep navy tints. They are apt to work somewhat unevenly on to +wool, owing to their great affinity for the fibre. They give shades +possessing some degree of resistance to light, but which are not very +fast to washing and milling, although, in this respect, there are very +great differences among them. The acid dyeing blues are fairly +numerous, but they dye a great variety of tints, usually fairly fast +to washing, milling and light. The mordant blues are pretty numerous +and of great value for dyeing wool, as they give shades which are +remarkable for their fastness to light, acids and milling, hence they +are most extensively used, especially for dyeing fabrics that are +subject to very hard wear. + +#Indigo Dyeing.#--It will be most convenient to begin the description of +the methods of dyeing blues by showing how, and in what manner, indigo +is applied in wool dyeing. + +The dyeing of indigo on wool is effected in two ways, either in the +usual way with acid baths, as with acid scarlets, when the so-called +indigo extract is used, or in vats, when indigo itself forms the +dye-stuff. + +Indigo is, as all dyers know, or should know, a natural dye-stuff, +prepared from the leaves and twigs of the indigo plant by a species of +fermentation which produces the indigo in a soluble form from the +indigo substance in the plant, followed by oxidation which results in +the separation of the indigo from this solution. + +It comes into this country in the form of lumps, which have a dark (p. 138) +blue to bronze blue colour. The dye-stuff is insoluble in water, cold +alcohol, alkalies or weak acids. When heated with strong and fuming +sulphuric acid it dissolves, forming a blue liquor from which the +colouring matter may be obtained on addition of soda in the form of a +paste, which is used in wool and silk dyeing under the name of indigo +extract. But dissolving in sulphuric acid materially affects the +properties of indigo as a dye-stuff, as will be seen later on. + +By the action of reducing agents the insoluble blue indigo is +converted into a soluble white indigo. This body is rather unstable, +and on exposure to the air it rapidly becomes oxidised and converted +back again into the blue indigo. Upon this principle is based the +application of indigo in dyeing by means of the vat. + +Various methods may be adopted to cause the indigo to become +dissolved. These may be divided into two groups: (1) Fermentation +vats, in which the action of reducing agents is brought about through +the influences of the fermentation of organic bodies, such as woad, +bran, treacle, etc; (2) Chemical vats in which the reducing effect is +brought about by the reaction of various agents on one another. + +Of such vats the copperas and lime and the hydrosulphite vats are +examples. The fermentation vats, when in good order, work well and +give good results, but they are most difficult to prepare or set. The +chemical vats are the easiest to work, and (especially the +hydrosulphite vats) are coming to the fore, and are gradually driving +out the fermentation vats. + +The actual method of dyeing with the indigo vat is the same with all +methods of preparation. The material to be dyed is well wetted or +wrung out in water. It is then dipped into the vat, handled a few +minutes to ensure its thorough impregnation, then lifted out, the +surplus liquor wrung out, and the material exposed to the air, (p. 139) +when the indigo white on it soon absorbs oxygen and turns into blue +indigo. + +With these few preliminary remarks the methods of setting the various +indigo vats will now be described in detail. + +#Woad Indigo Vats.#--This is one of the most difficult of the various +methods of setting vats. There are so many opportunities for it to go +wrong, and to be able to set a woad vat successfully will go far to +make a man a successful indigo dyer. No two woad vat dyers use exactly +the same recipe in setting a woad vat, and each considers he has a +secret art by means of which he ensures the successful working of this +vat, and this he jealously guards. All these differences in the manner +of setting the vat are brought about not by any radical differences in +the materials used, but by some unnoticed differences in other +surroundings; differences in the mean temperature of the water used, +in the general conditions of the atmosphere of the indigo shed and in +other similar circumstances, all of which have a material influence on +the development of the vat, but which are, in the majority of cases, +overlooked by the indigo dyer, the result being that a method of +working which is successful in one place would not be so in another. +The fermentation processes depend upon the reducing action brought +about by certain organisms of the nature of the yeast plant which grow +and develop in such vats. + +To ensure the proper growth and development of these organisms every +condition must be perfect, correct temperature, proper proportions of +food for them to live on, and a certain degree of alkalinity or +acidity of the vat, and these points are most difficult to regulate as +they will vary very much from time to time. + +A successful vat maker is one who closely observes his vats, and the +way in which they are working, and who, as the result of such (p. 140) +observations, is able to tell in what way his vats are deficient, +so that he may know how to supply that deficiency. + +The following method of setting a woad vat may be adopted. It is +calculated for 100 gallons of liquor. The vat is filled with hot +water, and 80 lb. of woad are allowed to steep overnight in it, having +first been well stirred into the water, so as to ensure that every +part is wetted out. The next morning there is added 8 lb. madder, +12 lb. bran, 5 lb. quick-lime (previously slaked with water), and +2-1/2 lb. soda. These are thoroughly stirred together, then from 5 to +7-1/2 lb. indigo is stirred in. The indigo should have been previously +ground into a fine paste with water. The temperature of the vat should +now be maintained at from 115° to 125° F. for two to three days, at +the end of which time it ought to be in a state of quiet working. +Should it be found that the fermentation is going on too rapidly, a +little lime may be thrown in, which will retard it. On the other hand, +if it should not be going on with sufficient energy, this may be +remedied by adding a little bran, or better, a little treacle. + +When in perfect condition the vat should have a slight smell of +ammonia. If this is not noticed it indicates that the vat is deficient +in alkalinity, and a little more lime should be added. Soda may be +used in the place of lime, but it is so much more energetic in +character that any additions of it have to be made with great care, or +the vat will become too alkaline in character, and the fermentation +will go on too rapidly, the ammoniacal odour is lost, and a peculiar +putrid smell takes its place. As soon as this is noticed, lime ought +to be added to retard the fermentation and to develop the ammoniacal +smell. The colour of a good well-set vat is olive brown. + +When all the indigo is dissolved and the colour of the vat is a (p. 141) +clear olive yellow to brown the vat is then ready for dyeing, and +may be used for a long time, until, in fact, the deposit gets too +large and the wool becomes dirtied. But it must not be continually +worked, or it will give bad shades and loose colours. When in a bad +condition it will usually turn of a dark brown colour, and give dull +greenish shades. To remedy this there should be added some bran, +treacle, and a little madder, as well as indigo, and the vat should be +left for a day, at a temperature of 130° F., to get up to full +strength again. Every night when in work indigo ought to be added to +the vat in proportion to that consumed during the day, with bran and +lime, the latter in not too great amount, just sufficient to keep it +of the necessary alkalinity. + +#Hydrosulphite Vat.#--This is one of the best vats to use in dyeing with +indigo on wool, or, indeed, on any textile fabric. It is easy to +prepare and cleanly to work. While depending solely on chemical action +for its preparation and use, it is freer from those peculiar defects +to which organic vats, like the woad vats, are liable. + +There is a further advantage about this vat, it is not necessary to +prepare each individual vat separately, but a strong mother liquor or +concentrated indigo solution may be prepared, and this only requires +letting down with water to produce a vat of any required strength. + +In the preparation of this vat, which was devised by Schutzenberger +and Lalande, bisulphite of soda and zinc dust are used with either +quick-lime or caustic soda. The bisulphite of soda is allowed to act +on the zinc as will be detailed when an acid solution of sodium +hydrosulphite NaHSO_{2}, more strictly hydrogen sodium hydrosulphite, +is obtained. The acid solution of hydrosulphite has the property of +rapidly reducing and dissolving indigo, and this solution may be used +in dyeing. To prepare the hydrosulphite a vessel which is fitted (p. 142) +with an agitator and can be closed is filled with zinc, either in the +form of dust, foils, or granules. Then bisulphite of soda of 50° to +60° Tw. strength is poured over the zinc in sufficient quantity to +cover it. All access of air should be avoided as much as possible, as +it leads to oxidation. In the case of using zinc powder the action is +often so rapid as to lead to heating, which also should be avoided. +The operation takes from an hour to two hours, when the liquor may be +drawn off. It must be used immediately to dissolve the indigo; or +otherwise, as it is a very unstable body, it is liable to decompose +and become oxidised, when it loses its solvent properties. If more +hydrosulphite is required, fresh bisulphite may be poured over the +zinc which is left unused in the vessel; if no more is wanted the zinc +which is left should be well rinsed in water and the vessel filled +with water, so as to prevent any oxidation of the zinc, and so keep it +ready for use when required. The liquor thus made will usually have a +specific gravity of 62° Tw. The zinc which is used up in the +preparation of the liquor is replaced by fresh zinc from time to time. + +The liquor so obtained is, as stated above, rather unstable, and +contains acid sodium hydrosulphite. By mixing with milk of lime, the +acidity is neutralised, zinc oxide and calcium sulphite are thrown +down, and a solution of neutral sodium hydrosulphite is obtained which +is more stable and can be kept longer without decomposition. To +prepare this, take 10 gallons of the acid liquor, as prepared in the +manner described above, and mix it with 48 lb. of milk of lime, which +is made from 2 lb. good quick-lime. Stir well together, allow all +sediment to settle, or better, filter-press the mass. A liquor of +36° Tw. strength will usually be obtained. Do not let it stand too +long before use, make it alkaline by adding a little lime. + +To make the mother or stock indigo, the following method of (p. 143) +procedure may be adopted. Indigo, say 10 lb., is ground into as fine a +paste as possible with 13 lb. milk of lime, of such a strength that 1 +gallon shall contain 30 oz. quick-lime. To this is then added so much +of either the acid or the neutral sodium hydrosulphite as can be made +from 90 lb. of bisulphite of soda, the mixture being kept at 150° F., +until a comparatively clear, greenish yellow solution is obtained, +this will contain about 1 lb. of indigo per gallon. + +This mother liquor may be used in setting the vat as follows. The vat +is filled with water which is heated to 120° F., about 200 gallons +being used. To this is then added 1 gallon of either hydrosulphite or +bisulphite of soda to destroy the free oxygen it contains, and prevent +it from oxidising the indigo solution, which is next added. The +quantity of the latter is solely regulated by the depth of shade it is +desired to dye, and as soon as the requisite quantity has been added +the dyeing may be proceeded with at once, and the first portion of +goods put through will soon show the dyer whether too much or too +little of the mother indigo has been added. + +Continued use and the consequent agitation of the vat thereby +generated causes it to become oxidised, and the vat acquires a +greenish colour, and does not give fast colours. When this is noticed +the use of the vat is stopped; it is heated to about 160° F., and a +little lime and hydrosulphite added, when all the oxidised indigo in +the vat will speedily be reduced, and the vat put into a workable +condition again. By use this vat tends to become alkaline, and +consequently will spoil the wool, making it harsh and brittle. This is +remedied by adding a little hydrochloric acid. + +#Holliday's Patent Indigo Vat.#--Messrs. Read Holliday & Sons have +patented an improved method of making an indigo solution and the +method of using it. They supply the indigo in the form of solution in +two strengths, ordinary and concentrated. Both are used in the same +way, only of the latter less, about one-fourth to one-third, is (p. 144) +required than of the former. For those who would wish to buy their +indigo ready prepared for use these are very convenient forms. + +The best way of working the vat for wool is the following: 40 gallons +of water heated to about 50° C., add 1/4 lb. of a mixture of 1-1/4 +gallons bisulphite of soda, 52° Tw., and 1 lb. zinc dust, and, say, +1/2 gallon to 2 gallons, of the patent indigo solution, according to +the depth of shade required. The boiled out wool is worked below the +surface of the liquor for about three minutes, then taken out, and the +excess of liquor squeezed back into the vat, the whole operation is +repeated until the shade is arrived at. After dyeing, rinse in an acid +bath of 1° to 2° Tw. + +The advantages of this new vat are that brighter shades are obtained +and the darker shades with fewer dips, while the goods are dyed +cleaner and the shades are more quickly obtained, and, we think, +somewhat faster than by the other process. + +There is also the advantage that no lime or other alkali is used with +this new indigo vat. The wool should be boiled out before dipping, if +the best results and even shades are desired. + +#Potash-Indigo Vat.#--This is also a fermentation vat, and is set in the +following manner: 5 lb. of madder and 4 lb. of bran are mixed with 50 +gallons of water and heated for from three to four hours, until a +temperature of from 180° to 212° F. is attained. Then 15 lb. of +carbonate of potash are added and the liquor is allowed to cool down +to about 120° F. Next 10 lb., more or less according to shade +required, of finely ground indigo is added, and the whole is left for +from forty-eight to sixty hours to ferment, being stirred up at +intervals of twelve hours. This vat ferments in much the same way as +the woad vat, and presents the same general appearances. It is not so +liable to get out of order as the woad vat, and in consequence is (p. 145) +much more easily managed. It does not, however, give such bright +shades as either of the vats previously described, but it dyes a +little quicker, and deeper shades can be produced. It is the best vat +to use where indigo dyeing is carried on at irregular intervals, also +for dyeing dark shades of navy blue and for giving an indigo bottom +for dark blues, browns and greens. Such shades stand milling and +alkalies very well. + +#Soda-Indigo Vat.#--The soda-indigo vat is set in the following manner: +100 lb. bran is boiled with 200 gallons of water for three hours, then +the liquor is allowed to cool from 100° to 120° F. Then 20 lb. of soda +crystals, 5 lb. slaked lime, and 10 to 15 lb. ground indigo are added, +the mixture being left for two or three days to ferment, and stirred +up at intervals. + +Sometimes a little more soda or a little lime is added, as may be +judged from the appearance of the vat, these appearances being +practically the same as those met with in the woad vat, which have +already been described in detail. + +The soda vat closely resembles the potash vat, but is cheaper to +produce. It keeps its dyeing power longer, but is somewhat more liable +to get out of order. It is like the potash vat, easier to manage than +the woad vat, as with all the woad vats it is necessary after working +them for a day to replenish them with a little indigo, soda, or +potash, as the case may be, and a little bran. + +Cleaner vats are obtained if treacle be substituted for the bran, but +the latter ferments better, and gives better results in working. + +#Urine-Indigo Vat.#--This vat has almost, if not quite, gone out of use, +being a rather unpleasant vat to work with, with few advantages over +other vats. One advantage it possesses over the woad and potash vats +is that it is the best for working on a small scale, but the modern +zinc reduction vats run it very close in this respect. The vat is (p. 146) +made as follows: To 50 gallons of stale urine 4 lb. of common salt are +added, and the mixture heated to from 120° F. to 140° F. Then 1 lb. +madder and 1 lb. ground indigo are added, and the mass is well +stirred. Then the mixture is allowed to stand until the indigo is +completely reduced, when the vat is ready for dyeing. + +#Indigo-Indophenol Vat.#--Messrs. Durand, Huguenin & Co. have introduced +the use of Indophenol along with indigo in wool dyeing. Indophenol can +be reduced in the same way as indigo, and fibres dipped in this +reduced product on exposure to air turn blue in the same way as if +dipped in an indigo vat. + +By itself indophenol has not met with much favour from dyers for a +variety of reasons, but it has been found that, mixed with indigo, it +can be used in dyeing with some advantage on the score of cheapness. +The newly mixed vat is made in the following manner:-- + +In a convenient vessel 26 gallons of water, 15 lb. zinc dust, ground +into a paste with 6 gallons of water, and 7 gallons bisulphite of soda +of 55° Tw. strong are mixed. Then 8 pints caustic soda lye of 72° Tw., +and 16 pints liquor ammonia are added, and the whole mass is well +stirred up; 22 lb. good indigo of about 70 per cent. indigotine and +7-1/4 lb. Indophenol are thoroughly ground into a paste with 7 gallons +of water and 2 pints caustic soda lye of 72° Tw. The paste is added to +the previous mixture, and, after being well stirred in, sufficient +water is added to make the total volume of liquor up to 100 gallons. +The mass is stirred up from time to time during a period of from +thirty-six to forty-eight hours, by which time, as a rule, the indigo +and Indophenol will have been completely reduced, and the vat have +acquired a canary-yellow colour; if it has not, add a little more zinc +dust and bisulphite of soda. It is ready for use when it has a good +yellow colour. + +This forms what may be called a "mother," or stock vat, from which (p. 147) +the dyeing vat is made in the following manner: Take a sufficient +quantity of water to make the dyeing vat, add some hydrosulphite of +soda (see below) to destroy any oxidising action the vat liquor may +have, then add sufficient of the stock vat to give the required shade, +this point is one which must be determined by experience. The vat is +now quite ready for use, and the wool is entered and treated in the +usual manner. + +After dyeing each lot of wool it is advisable to add some of the stock +vat to replace the indigo abstracted by the goods. When a number of +dyeings have been done, it is possible that the vat may become charged +with oxidised indigo and lose its clean, yellow colour. It may be +restored to its former conditions by adding some hydrosulphite of +soda. Of course, after considerable use this, like all other indigo +vats, becomes too highly charged with sediment, etc., to give +excellent results, in which case the only thing that can be done is to +throw the old vat away and start a new one. + +The hydrosulphite of soda referred to above is made in the following +way: 4-1/2 lb. zinc dust are ground into a paste with 5-1/2 gallons of +water and then mixed with 4 gallons bisulphite of soda at 55° Tw., +stirring well so as to keep the temperature down. Then add 3 pints +caustic soda lye of 72° Tw., and 3-1/2 pints liquor ammonia. Finally, +add sufficient water to make 13 gallons. After standing for two or +three days the preparation is ready for use. It should be alkaline in +property; if not, add a little ammonia to make it so. This vat gives +very good bright shades, from sky blue to dark navy, which are equally +as fast as pure indigo shades. + +Sometimes woollen goods dyed with indigo rub badly. The causes of this +defect vary from time to time, and in many instances are often obscure +in their origin. All goods intended for indigo dyeing, and more +especially when shades fast to rubbing are desired, should be (p. 148) +thoroughly cleansed, and before passing into the indigo vat should be +thoroughly freed from any soap which may have been used in the boiling +out. Then, after dyeing, they ought to be well rinsed in water and +passed through a sour made with sulphuric acid (2 lb. in 10 gallons), +and then washed again. Vats highly charged with sedimentary matter, or +with zinc or lime, are often the cause of loose shades. The remedy is +obvious, _viz_., the discarding of such vats and the preparation of +new ones, in fact old vats are perhaps more fruitful sources of loose +shades than any other cause. Soft water suits indigo dyeing better +than hard water, and is to be preferred. + +It is not advisable to attempt to get full or deep shades of indigo at +one dip, for such would necessitate the use of strong baths. Dyeings +produced in this way are liable to rub badly, because the indigo lies +mostly on the surface, to which it is more or less mechanically +attached. Light shades of indigo are fast to rubbing, and by repeated +dippings in a light vat or a medium shade vat deep shades of fair +fastness to rubbing can be got. + +As repeatedly stated, no indigo vat can be worked continuously with +good results; the continual agitation induced by the passage of the +yarns or cloths into the liquor brings the liquor into contact with +the air, and oxidation sets in, resulting in the indigo being thrown +out of the liquor in its original form. When this happens the vat +loses its original clear yellow or yellowish-brown colour and becomes +greenish, a sure sign that the vat is getting out of condition to give +good results. The remedy has been pointed out in dealing with each +kind of vat, and consists essentially in adding to the vat more of the +active reducing agent and allowing the vat to rest a while. + +The dye-vats may be either round tubs or square wooden tanks; for yarn +in hanks, when cloths or warps are being dyed, these may be fitted (p. 149) +with winces and guide rollers so as to draw materials through the liquor. + +The hawking machine shown in figure 22 is also very good for indigo +cloth dyeing, and is largely used for this purpose. + +[Illustration: Fig. 23.--Indigo Dye-vat.] + +Figure 23 also shows an excellent machine for indigo dyeing on cloth. +In this the vat has a frame carrying guide rollers, round which the +cloth passes, so that it travels several times through the vat liquor +in its passage from one end of the vat to the other, the amount of +liquor in the vat being so arranged that the cloth is entirely +immersed the whole time. After going through the liquor the cloth +passes between a pair of squeezing rollers, in order to have any +surplus liquor taken out, then it traverses the space between sets of +guide rollers arranged over the vat, during which time the indigo +becomes oxidised and the blue develops, while finally it is (p. 150) +plaited down on a table. The illustration clearly shows the working of +the machine. + +#Dyeing Wool with Indigo Extract.#--Sulphonated indigo, prepared by +dissolving indigo in sulphuric acid, is sold under the name of "indigo +extract," or "indigo carmine," in two forms--paste (containing, +perhaps, 25 to 30 per cent. actual colour) and powder. Both forms are +freely soluble in water, although some makes are more so than others. +This quality of solubility is dependent upon the proportion of +sulphuric acid which may have been used in the preparation of the +extract. When this is small, what is termed indigo monosulphonic acid +only is formed, which is but slightly soluble in water, and gives red +shades. If a larger proportion of acid be used, then the indigo +disulphonic acid is formed, which is fairly easily soluble in water, +and gives bluer shades than the former. + +As all forms of indigo extract are regular articles of commerce, +details for their preparation will not be given here. It will suffice +to say that indigo is heated with strong sulphuric acid until test +samples show that the indigo has been completely dissolved, and it is +then diluted with water and filtered. Sometimes it is sold in this +condition under the term "chemic," but if this be used in dyeing wool +it gives rather unsatisfactory results. When "sour extract" is +required, the liquor filtered out is next treated with salt until all +the colour has been precipitated out, when it is filtered off, +drained, pressed and sold. Should "neutral" or "sweet" extract be +required, then the acid liquor is neutralised with soda, and the +product is salted out as before, drained and pressed to a suitable +consistence. It is then sold as "indigo extract," or dried, at +150° F., to a powder, which is known as "indigo carmine". + +All forms of indigo extract are dyed on wool from baths of (p. 151) +Glauber's salt and sulphuric acid, and therefore they can be classed +with the acid-dyeing coal-tar colours. Indigo extract is notable for +its level dyeing and penetrative properties, but it is not fast to +light or milling. + +Messrs. Read Holliday & Sons have a powder form of indigo extract +which will be found very useful and to give better shades than the +usual run of paste extract, while it only takes about one-fifth the +quantity to give a similar shade. Working at the boil should be +avoided with indigo extract, as tending to make the shades greenish in +tone; from 170° to 180° F. will usually be found hot enough to dye +good shades. + +Indigo extract is not much used by itself in dyeing blues on wool, but +it is extensively employed along with other dye-stuffs to produce an +immense variety of shades--drabs, greens, fawns, greys, lilacs, etc., +of which some examples will be given later on. + +_Indigo Blue_.--Prepare a bath with 10 lb. indigo extract, 5 lb. +sulphuric acid, and 10 lb. Glauber's salt. Work just under the boil to +shade. + +_Sky Blue_.--The dye-bath contains 1 lb. indigo extract, 2 lb. +sulphuric acid, and 10 lb. Glauber's salt. Work at about 160° F. to +shade. + +#Dyeing Wool Blue with Logwood.#--This method of dyeing blue on wool has +lost much of its importance since the introduction of the artificial +dyes, but it is still employed when a blue fast to milling is wanted. +Logwood gives dark navy blue shades. The process is as follows: The +wool is first mordanted by boiling for one and a half hours in a bath +of 3 lb. bichromate of potash and 2-1/2 lb. of tartar. The operation +must be so carried out that the non-oxidising green chrome mordant is +developed on the fibre, and therefore the boiling must be thorough. In +place of tartar, argols and oxalic acid are frequently used, while +lactic acid or lignorosine might be employed. The dyeing is done (p. 152) +in a bath of 20 to 25 lb. logwood, or 5 to 8 lb. logwood extract; +the bath is started cold, heated slowly to the boil, and kept at that +heat for one to one and a half hours. Between the mordanting and +dyeing the wool should be well rinsed. + + +DYEING BLUE WITH COAL-TAR DYES. + +The blue dyes derived from coal tar are very numerous, direct, basic, +acid and mordant blues being known. The direct and basic dyes are very +little used, but the acid and mordant dyes are extensively employed, +as is indicated in the following recipes. + +#Dyeing with Direct Dyes.# _Pale Blue_.--Prepare a dye-bath with 1/2 lb. +Sulphon Cyanine and 10 lb. Glauber's salt. Enter the goods, and work +at the boil for one hour, then lift, wash and dry. + +_Black Blue_.--Prepare a dye-bath with 3 lb. Sulphon Cyanine, 5 lb. +Glauber's salt, and 5 lb. acetate of ammonia; work at the boil for one +hour. Sulphon cyanine works well with other dye-stuffs, and gives +shades which are fast to milling. + +#Dyeing with Acid Dyes.# _Bright Blue_.--Prepare a bath with 2 lb. borax +and 1 lb. Alkali Blue B. Enter the wool at about 170° F., then heat to +the boil, and work for half an hour; then lift, rinse lightly, and +pass into a weak sour bath, with sulphuric acid to raise to the +colour. + +Soda may be used in place of borax, but the latter salt maintains the +softness of the wool fibre better. + +By using various brands of Alkali Blue (3 R to 7 B), various shades of +blue from a reddish with the 3 R to a pure blue with the 6 B and 7 B +brands may be dyed. The Alkali Blues are fairly fast to light. + +_Dark Blue_.--Prepare a dye-bath with 2 lb. Serge Blue, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid, working at the boil (p. 153) +for one hour. This is a very common way of dyeing blues on serges, +cashmeres and worsted goods. In place of serge blue, what are known as +Blackley blues, or Dewsbury blues, may be employed. These have a +similar composition, but vary a little in the tint of blue they give. + +_Navy Blue_.--Prepare a dye-bath with 2 lb. Induline A, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid, working at the boil for one +hour. + +The Indulines are very useful colouring matters for dyeing navy or +dark blues on wool. They have the defect of being liable to give +uneven shades. This may be remedied by omitting the acid when first +making up the bath, entering the wool, working for half an hour to +thoroughly impregnate the material with the dye-liquor, then adding +the acid, and continuing the working for another half-hour. Or the +wool may be treated to a weak chlorine bath before it is dyed, by +first passing it through a weak hydrochloric acid bath and then +through a bath of bleaching powder. By using acetic acid in place of +sulphuric acid more even shades are obtained. + +_Blue_.--Prepare a dye-bath with 1 lb. Acid Blue 1 V, 9 oz. Acid +Violet 1 V, 10 lb. Glauber's salt and 2 lb. sulphuric acid, working at +the boil for one hour. + +_Blue Black_.--For this the dye-bath is made with 8 lb. Acid Blue 1 V, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil +for one hour. + +_Deep Navy Blue_.--A very good shade is dyed with 5 lb. Acid Blue 1 V, +3 lb. Acid violet 1 V, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid, working at the boil for one hour. + +_Deep Navy_.--Prepare a dye-bath with 1 lb. Fast acid Magenta B, 3 lb. +Wool Blue B X, 4-3/4 oz. Orange I I, 5 lb. sulphuric acid, and 10 lb. +Glauber's salt, working at the boil for one hour. + +The Patent Blues work exceedingly well on wool, giving good bright +shades of a fair degree of fastness. The following recipes will (p. 154) +give some idea of the nature of the shades which may be obtained +from them, while later on their use in combination with other dyes for +the production of compound shades will be shown. + +_Bright Blue_.--Prepare a dye-bath with 2 lb. Patent Blue N, or Patent +Blue superior, 10 lb. Glauber's salt, and 2 lb. sulphuric acid, +working at the boil for one hour. + +_Bright Greenish Blue_.--Use 2 lb. Patent Blue V, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. + +_Royal Blue_.--Use 2 lb. Patent Blue B, or 2 lb. Patent Blue J (No. +3), 10 lb. Glauber's salt, and 2 lb. sulphuric acid. Patent Blue J +(No. 3) gives slightly more violet shades than Patent Blue N, but +there is not much difference between them. + +_Saxony Blue_.--Use 2 lb. Patent Blue J (No. 00), 2 lb. sulphuric +acid, and 10 lb. Glauber's salt. Patent Blue J (No. 00) dyes shades +very closely resembling those dyed with indigo extract, and where the +latter is used in the dyeing of compound shades the former might be +substituted. + +_Brilliant Royal Blue_.--Prepare a bath with 1-1/2 lb. New Victoria +Blue B, and 10 lb. Glauber's salt. Enter at about 100° F., then raise +to the boil and work for one hour. This gives a very brilliant shade +of blue of a violet tone. + +_Sky Blue_.--Prepare a dye-bath with 1-1/2 oz. New Victoria Blue B and +2 lb. Glauber's salt, working in the manner described in the last +recipe. + +_Dark Blue_.--Prepare a dye-bath with 1-1/2 oz. Acid Violet 5 B, and +1-1/2 lb. Fast Green Bluish, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid, working at the boil to shade; then lift, wash and dry. + +_Deep Blue_.--Make a dye-bath with 4 lb. Chromotrop 6 B, 10 lb. +Glauber's salt, and 4 lb. acetic acid. Work for one hour at the boil; +then lift, add 2 lb. bichromate of potash and 3 lb. acetic acid, +re-enter the goods and work for one hour longer; lift, wash and dry. + +The blues produced from the Chromotrops according to the last (p. 155) +recipe are full, solid-looking shades, and have a great degree of +fastness to milling and light. Some other examples showing the +production of blue shades from the Chromotrops will be given later on. + +_Violet Blue_.--Prepare a dye-bath with 2 lb. Victoria Violet 8 B S, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil +to shade; then lift, wash and dry. + +_Deep Blue_.--A fine deep blue is dyed on wool from a bath containing +6 lb. Victoria Violet 8 B S, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid, working at the boil to shade. + +_Deep Sky Blue_.--A fine shade is dyed in a bath containing 4 oz. +Cyanole extra, 10 lb. Glauber's salt and 2 lb. acetic acid. + +_Electric Blue_.--Make the dye-bath with 4 oz. Cyanole extra, 1 oz. +Acid Green extra, and 10 lb. bisulphate of soda. + +_Bright Blue_.--A very fine shade of blue can be dyed in a bath +containing 3 lb. Cyanole extra and 10 lb. bisulphate of soda. + +_Dark Navy Blue_.--Prepare the dye-bath with 4 lb. Cyanole extra, +9 oz. Archil Substitute N, and 10 lb. bisulphate of soda. + +_Dark Navy_.--Prepare the dye-bath with 5 lb. Black Blue O, 1-3/4 oz. +Formyl Violet S 4 B, 4 oz. Patent Blue V, 25 lb. Glauber's salt, and +4 lb. bisulphate of soda, adding 1 lb. sulphuric acid when the dyeing +is about half done. + +The navy blues given in the last few recipes possess the merit of +considerable resistance to light, air and milling. + +_Pale Blue_.--Make the dye-bath with 1/2 oz. Chromotrop 2 R, 4 oz. +Cyanine B, 7-1/2 oz. Fast Acid Blue R, 1/2 oz. Azo Yellow, 10 lb. +acetic acid, and 15 lb. Glauber's salt. + +_Peacock Blue_.--A fine shade is dyed with 14 oz. Cyanine B, 1-1/2 lb. +Fast Acid Blue R, 2 oz. Azo Yellow, 10 lb. acetic acid, and 15 lb. +Glauber's salt. + +_Dark Invisible Blue_.--Make the dye-bath with 2 lb. Victoria (p. 156) +Black Blue, 10 lb. Glauber's salt, and 3 lb. sulphuric acid. + +_Bright Blue_.--A very fine shade of blue, not, however, fast to +light, is dyed from a bath containing 1/2 lb. Victoria Blue B, and +10 lb. Glauber's salt. + +_Bright Electric Blue_.--Prepare a dye-bath with 3/4 lb. Glacier Blue, +10 lb. Glauber's salt and 3 lb. sulphuric acid, working at the boil. +This gives a very bright green shade of blue. + +_Dark Peacock Blue_.--Make the dye-bath with 1 lb. Naphthol Blue +Black, 10 lb. Glauber's salt, and 3 lb. sulphuric acid. + +Peri Wool Blues B & G dye wool in very fast dark blue shades from +baths of Glauber's salt and acetic acid. They are dye-stuffs which +form with copper blue colour lakes of some fastness. The copper is +amalgamated with the dye-stuffs as put on the market. + +_Pale Navy Blue_.--Mordant, 4 lb. bichromate of potash and 1-1/2 lb. +oxalic acid. Dye, 2-1/2 lb. Alizarine Bordeaux B. + +_Navy Blue_.--Mordant, 4 lb. bichromate of potash and 2 lb. oxalic +acid. Dye, 7 lb. Alizarine Bordeaux G. + +_Bright Violet Blue_.--Mordant, 3 lb. fluoride of chrome and 2 lb. +oxalic acid. Dye, 3/4 lb. Celestine Blue B. + +_Navy Blue_.--A reddish shade of navy blue is dyed by mordanting with +3 lb. fluoride of chrome and 2 lb. oxalic acid, and dyeing with 3 lb. +Celestine Blue B and 3/4 lb. Diamond Black. + +The Alizarine Cyanines are excellent dye-stuffs for giving dark blue +and navy blue shades on wool. They dye fairly easily, and uniform +shades are readily obtained, while they possess some considerable +penetrative power, so that they are well adapted for dyeing heavy +piece goods. The following recipes show their use and indicate the +character of the shades the various brands yield. It may be added (p. 157) +that the shades are fast to light and milling. + +_Red Navy Blue_.--Mordant, 4 lb. bichromate of potash, 2 lb. tartar, +and 1-1/2 oz. sulphuric acid. Dye, 6 lb. Alizarine Cyanine R R R +double. By using a mordant of 4 lb. fluoride of chrome and 2 lb. +oxalic acid the shade is made brighter and not so red in tone. + +_Dark Blue_.--A red shade of blue almost approaching a navy is +obtained by mordanting with bichromate of potash, as in the last +recipe, and dyeing with 12 lb. Alizarine Cyanine R R, or with 13 lb. +Alizarine Cyanine R. The shade with the latter dye-stuff is scarcely +so red as with the former. + +_Dark Blue_.--Mordant with 4 lb. fluoride of chrome and 2 lb. oxalic +acid and dye with 13 lb. Alizarine Cyanine R. + +_Dark Blue_.--A somewhat brighter and less red shade than is obtained +by working as in the last recipe is given by mordanting with 3 lb. +bichromate of potash, 2 lb. tartar, and 2-1/2 oz. sulphuric acid, and +then dyeing with 17 lb. Alizarine Cyanine G extra. + +_Dark Blue_.--Mordant with 3-1/2 lb. bichromate of potash, 2 lb. +tartar, and 3 oz. sulphuric acid. Dye with 18 lb. Alizarine Cyanine +G G. + +_Peacock Blue_.--Mordant with 4 lb. fluoride of chrome and 2 lb. +oxalic acid. Dye with 18 lb. Alizarine Cyanine G G. + +The addition of from 2 lb. to 5 lb. acetate of ammonia in working with +the Alizarine Cyanines is a considerable advantage, by causing the +dye-stuff to penetrate the fibre better and to give more uniform +shades. + +_Medium Blue_.--Mordant with 3 lb. bichromate of potash and 2 lb. +oxalic acid. Dye with 5 lb. Brilliant Alizarine Blue G, and 2 lb. +acetic acid. + +_Black Blue_.--Mordant as in the last. Dye with 20 lb. Brilliant +Alizarine Blue G and 2 lb. acetic acid. + +_Dark Navy_.--Mordant as in the last recipe and dye with 5 lb. (p. 158) +Alizarine Cyanine 3 R double, 5 lb. Alizarine Blue G W, 2 lb. +Brilliant Alizarine Blue G, and 2 lb. acetic acid. + +_Medium Blue_.--Mordant as in the last. Dye with 5 lb. Alizarine Blue +G W, 2-1/2 lb. Brilliant Alizarine Blue G, and 2 lb. acetic acid. + +_Lavender Blue_.--Mordant with 3 lb. bichromate of potash and +2-1/4 lb. tartar. Dye with 2 lb. Alizarine Blue A. + +_Navy_.--Mordant as in the last recipe, and dye with 20 lb. Alizarine +Blue A. + +_Deep Sky Blue_.--Mordant with 3 lb. bichromate of potash and 1 lb. +oxalic acid, then dye with 2-1/2 lb. Chrome Blue. + +_Bright Blue_.--A very fine bright shade is obtained by mordanting as +in the last, and then dyeing with 10 lb. Chrome Blue. + +_Lilac Blue_.--Mordant with 2 lb. bichromate of potash and 1-1/2 lb. +tartar. Dye with 4 lb. Alizarine Blue D N W. Alizarine Blue R gives +somewhat bluer shades than the D N W brand. + +_Slate Blue_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar. Dye with 2-1/2 lb. Alizarine Blue D N W, 4 oz. Alizarine +Brown, and 1-2/3 oz. Alizarine Yellow. + +_Peacock Blue_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar. Dye with 6 lb. Alizarine Blue D N W, 3 lb. Alizarine Yellow, +and 1-1/2 lb. Patent Blue A, adding a little acetic acid to the +dye-bath. + +_Paris Blue_.--Mordant as in the last recipe. Dye with 3 lb. Galleine, +1 lb. Alizarine Blue D N W, and 1 lb. Patent Blue A, adding a little +acetic acid. + +_Grey Blue_.--Mordant as above and dye with 4-1/2 lb. Alizarine Blue +D N W, and 1 lb. Alizarine Brown. + +_Blue_.--Mordant with 10 lb. alum, 3 lb. tartar, and 2 lb. oxalic +acid. Dye with 15 lb. Anthracene Blue W G, 3 lb. acetate of lime, and +1 lb. tannic acid. + +_Red Navy_.--Mordant as in the last recipe and dye with 15 lb. (p. 159) +Anthracene Blue B W, 3 lb. acetate of lime, and 3/4 lb. tannic acid. + +_Dark Blue_.--Mordant with 1 lb. bichromate of potash and 2 lb. +tartar. Then dye with 20 lb. Anthracene Blue W B. Anthracene Blue W G +gives slightly greener shades than the W B brand, while the W R blue +gives redder shades. + +Grounding wool with various tints of indigo is a favourite method of +producing many useful shades on wool. In general it is a good plan, as +the bottom so given is a fast and permanent one, and is not in any way +affected (so far as the stability of the colour is concerned) by the +subsequent dyeing operations, care of course being taken that these +are the usual acid or mordanting baths. The only drawback against +bottoming with indigo is the increased cost of dyeing necessitated by +the extra labour, and materials required to dye the bottom. As to the +methods and materials required, they are just those usually employed +in indigo dyeing, and these have been described. The hydrosulphite +vat, or Messrs. Holliday's patent indigo, is, perhaps, the most +convenient method to adopt. + +_Dark Slate_.--Give a medium indigo bottom, then mordant with 3 lb. +fluoride of chrome and 1 lb. oxalic acid, and dye with 1-1/2 lb. +Anthracene Brown W, 1/2 lb. Alizarine Bordeaux G, and 1 oz. Diamond +Flavine. + +_Dark Navy_.--Give a medium indigo bottom in the vat, then mordant +with 3 lb. fluoride of chrome and 1-1/2 lb. tartar, finally dyeing +with 6-1/2 lb. Alizarine Cyanine G, and 1-1/2 lb. Alizarine +Bordeaux G. + +_Dark Blue_.--Give a medium indigo bottom, then mordant with 6 lb. +fluoride of chrome and 2 lb. oxalic acid, finally dyeing with 14 lb. +Alizarine Cyanine Black. + +_Blue Black_.--Give a deep indigo bottom in the vat, then mordant with +3 lb. bichromate of potash and 2 lb. tartar, finally dyeing with (p. 160) +6 lb. Alizarine Cyanine Black and 1-1/2 lb. Alizarine Cyanine 3 R double. + + +VIOLET SHADES ON WOOL. + +Violet shades can only be obtained from the coal-tar colours, and of +these there are not many. The recipes which are given below will serve +to show what dye-stuffs are available, and will give some idea of the +tints they dye. + +#With Direct Dyes.# _Pale Violet_.--Prepare the dye-bath with 1/2 lb. +Sulphon Cyanine, 1/4 lb. Geranine B, 5 lb. Glauber's salt, and 5 lb. +acetate of ammonia, working at the boil for one hour. + +#With Basic Dyes.# _Violet_.--The dye-bath is made with 1 lb. Methyl +Violet 3 B, and 10 lb. Glauber's salt. A fine pure shade of violet is +obtained. Methyl Violet is made in many brands, distinguished as B, +B B, 2 B, 4 B, etc. By using either one or the other of these, a +variety of tints of violet, from a red shade with Methyl Violet R +through violet (B) to a violet blue with Methyl Violet 7 B, can be +dyed. + +#Puce.#--A very bright shade of puce is dyed by using Methyl Violet R, +and 10 lb. Glauber's salt. + +#With Acid Dyes.# _Violet_.--Make the dye-bath with 2 lb. Acid Violet +4 B S, 10 lb. Glauber's salt, and 2 lb. sulphuric acid. This gives a +pure violet shade. If Acid Violet 6 B S be used a bluer shade is +obtained. + +_Reddish Puce_.--A very bright red tint of puce is obtained by using +2 lb. Acid Violet 4 R S, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid. + +_Bluish Violet_.--Make the dye-bath with 3 lb. Acid Violet 5 B, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid, working at the boil for one +hour. + +_Lavender_.--Use 4 oz. Acid Violet 5 B, 1 oz. Azo Fuchsine G, 1/16 oz. +Fast Green bluish, 10 lb. Glauber's salt and 2 lb. sulphuric acid. + +_Deep Violet_.--A fine deep shade is obtained by using 2-3/4 lb. +Chromotrop 6 R, 2-1/2 lb. Cyanine B, 10 lb. Glauber's salt, and (p. 161) +2 lb. sulphuric acid, working at the boil for one hour. + +_Mauve_.--Use 2 lb. Acid Mauve B, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. + +_Bright Violet_.--Use 2 lb. Formyl Violet S 4 B, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. + +_Bright Violet_.--Use 2 lb. Acid Violet 6 B N, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid. + +_Violet_.--Use 2 lb. Acid Violet N, 2 lb. sulphuric acid, and 10 lb. +Glauber's salt. + +#With Mordant Dyes.# _Violet_.--Mordant the wool with 3 lb. bichromate +of potash and 2 lb. tartar, and dye with 10 lb. Chrome Violet. + +_Dark Violet_.--Mordant as in the last recipe. Then dye with 3 lb. +Chrome Bordeaux 6 B double and 2 lb. Brilliant Alizarine blue G. + + +BROWN SHADES ON WOOL. + +Brown is a very important colour, of which there is an infinite +variety of shades and it can be dyed in a great variety of ways and +from a variety of dye-stuffs, as will be seen on looking through the +recipes which follow, although these do not by any means exhaust the +methods by which browns may be dyed on woollen goods, but they may be +taken as representative and will serve to show by what combinations of +dyes various tints of browns may be obtained. + +#With Direct Dyes.# _Brown_.--Make the dye-bath with 1 lb. Nyanza +Black B, 2 lb. Congo Brown R, and 20 lb. Glauber's salt, working at +the boil for one hour; then lift, wash and dry. + +#With Acid Dyes.# _Yellow Brown_.--Make the dye-bath with 1 lb. Azo +Carmine, 1 lb. Fast Yellow, 1 lb. Indigo Carmine D, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. A good shade is thus obtained. + +_Olive Brown_.--Use 3/4 lb. Azo Acid Violet 4 R, 2 lb. Fast (p. 162) +Yellow, 3 oz. Fast Green bluish, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid, working at the boil for one hour; then lift, wash and +dry. + +_Dark Chestnut_.--Dye in a bath containing 6-1/2 oz. Patent Blue V, +3-1/4 oz. Acid Violet V, 1 lb. Azo Yellow, 2 lb. Orange No. 2, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid, working at the boil for one +hour; then lift, wash and dry. + +_Mouse_.--Make the dye-bath with 4 oz. Patent Blue V, 1-2/3 oz. Acid +Violet N, 13 oz. Orange G, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid. + +_Deep Seal_.--Dye in a bath containing 1 lb. Orange G G, 1/2 lb. +Patent Blue J 3, 1/2 lb. Azo Yellow, 3-1/4 oz. Acid Violet N, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. + +_Deep Brown_.--Make the dye-bath with 1-3/4 lb. Chromotrop 2 R, +1-1/4 lb. Victoria Yellow, 4 lb. Keton Blue G, 2-1/2 oz. Acid Violet +5 B E, 25 lb. Glauber's salt, and 4 lb. sulphuric acid, working at the +boil for one hour. + +_Walnut_.--A fine shade can be dyed with 1-3/4 lb. Azo Acid Magenta G, +14-1/2 oz. Patent Blue V, 3/4 lb. Victoria Yellow, 15 lb. Glauber's +salt and 2 lb. sulphuric acid. + +_Olive Brown_.--Make a dye-bath with 2 lb. sulphuric acid, 10 lb. +Glauber's salt, 1 lb. Azo Fuchsine G, 1/2 lb. Fast Yellow, and 1/2 lb. +Fast Green extra bluish. + +_Dark Olive Brown_.--A very fine shade can be dyed with 1 lb. Fast +Acid Violet 10 B, 1-1/2 lb. Orange 11, 1/2 lb. Fast Green bluish, +7 oz. Fast Yellow, 20 lb. Glauber's salt, and 3 lb. sulphuric acid. + +_Walnut_.--Use 1 lb. Cyanole, 1 lb. Orange extra, 1/2 lb. Archil +Substitute N, 10 lb. Glauber's salt and 2 lb. sulphuric acid, working +at the boil for one hour. + +_Dark Seal_.--Use 1 lb. Cyanole, 1 lb. Orange extra, 10 lb. Glauber's +salt and 2 lb. sulphuric acid. + +_Golden Brown_.--A fine shade is dyed with 1-1/4 lb. Victoria (p. 163) +Yellow, 9-1/2 oz. Chromotrop 2 R, 3-1/2 oz. Patent Blue V, 10 lb. +Glauber's salt and 2 lb. sulphuric acid. + +#With Mordant Dyes.# _Golden Brown_.--Make the dye-bath with 1 lb. +Diamine Fast Red F, 1-1/2 lb. Anthracene Yellow C, and 5 lb. acetate +of ammonia. Work for half an hour; then add 5 lb. bisulphate of soda +and work for half an hour longer, then add 3 lb. fluoride of chrome, +and work for half an hour at the boil. + +_Bright Golden Brown_.--Use 3/4 lb. Diamine Fast Red F, 1-1/2 lb. +Anthracene Yellow C, 5 lb. bisulphate of soda, as indicated in the +last recipe. The shades so obtained are very fine, and have the merit +of being fast to washing and light. + +_Chestnut_.--Give a medium indigo bottom in the vat, then dye in a +bath containing 1-3/4 lb. Anthracene Yellow C, 1 lb. Diamine Fast +Red F, and 5 lb. bisulphate of soda. Work again for half an hour, then +add 3 lb. fluoride of chrome, and work again for another half hour; +lift, wash and dry. + +_Dark Brown_.--Use a dye-bath containing 1-1/4 lb. Diamine Fast Red F, +3/4 lb. Anthracene Yellow C, 1-1/2 lb. Anthracite Black B, and 5 lb. +acetate of ammonia. After half an hour's boiling, add 5 lb. bisulphate +of soda, work half an hour longer, add 3 lb. fluoride of chrome, and +work together another half hour; then lift, wash and dry. + +_Brown_.--A very fine shade can be dyed in the following way: First +give a medium indigo bottom in the vat, then mordant in a bath +containing 3 lb. bichromate of potash and 2-1/2 lb. tartar, and +finally dye in a bath made from 1-1/2 lb. Alizarine Orange R, 4 lb. +Diamond Flavine, and 2 lb. acetic acid. + +_Dark Seal_.--Give a medium indigo bottom in the vat, and Mordant with +3 lb. bichromate of potash and 2-1/2 lb. tartar, and finally dye in a +bath containing 3-1/2 lb. Alizarine Orange R, 1 lb. Anthracene +Brown R, 2 lb. Diamond Flavine, and 2 lb. acetic acid. + +_Brown_.--A full shade is dyed by first mordanting with 3 lb. (p. 164) +bichromate of potash and 2 lb. tartar, and then dyeing with 10 lb. +Anthracene Brown W, and 1 lb. Mordant Yellow. + +_Buff_.--Mordant as in the last, and dye with 5 lb. Anthracene +Brown W, and 1/4 lb. Mordant Yellow O. + +_Nut_.--Mordant with 3 lb. bichromate of potash and 1 lb. oxalic acid, +and dye with 20 lb. Diamond Brown. + +_Pale Old Gold Brown_.--Mordant as in the last, and dye with 5 lb. +Diamond Brown. + +_Dark Violet Brown_.--Mordant as in the last recipes, and dye with +30 lb. Chrome Brown R. + +_Bright Chestnut_.--Mordant with 3 lb. bichromate of potash and 1 lb. +sulphuric acid, and dye with 30 lb. Gambine R. + +_Pale Chestnut_.--Mordant as in the last recipes, and dye with 20 lb. +Gambine Y. + +_Olive Brown_.--Mordant as in the last recipes, and dye with 10 lb. +Gambine B. The browns dyed with Gambine have the merit of being fast +to milling and light. + +_Dark Brown_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar; then dye with 15 lb. Alizarine Brown. + +_Bright Buff_.--Mordant as in the last recipe; then dye with 4-3/4 lb. +Alizarine Brown, 4 lb. Alizarine Yellow, 1-3/4 oz. Alizarine Blue +D N W, and 2 lb. acetic acid. + +_Dark Violet Brown_.--Mordant with 3 lb. bichromate of potash and +2-1/2 lb. tartar. Then dye with 18 lb. Alizarine Brown, 6 lb. +Alizarine Orange H, and 2 lb. acetic acid. + +_Dark Walnut_.--Mordant with 3 lb. bichromate of potash and 1 lb. +sulphuric acid; then dye with 8 lb. Alizarine Brown, 2 lb. Alizarine +Red 3 W S, and 2 lb. Alizarine Yellow G G W. + + +MODE COLOURS ON WOOL. + +Under the general designation of "mode colours" are included a great +variety of tints or shades unusually described more specifically (p. 165) +as drabs, buffs, greys, fawns, slates, etc. It is impossible here to +do more than give a few recipes for their production. + +#With Direct Dyes.# _Drab_.--Make a dye-bath with 3 oz. Nyanza Black B, +1-1/2 oz. Chrysamine G, 2 oz. Congo orange R, and 20 lb. Glauber's +salt, working at the boil for one hour; then lift, wash and dry. + +#With Acid Dyes.# _Bright Buff_.--Dye in a bath containing 3/4 oz. each +Cyanole, Orange extra, and Indian Yellow R, 10 lb. Glauber's salt, and +2 lb. sulphuric acid. + +_Slate_.--Use a dye-bath containing 3 oz. Cyanole, 1/4 oz. Archil +Substitute N, 1/2 oz. Orange extra, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. + +_Silver Grey_.--Use 1-1/4 oz. Orange extra, 3/4 oz. Archil +Substitute N, 10 lb. Glauber's salt and 2 lb. sulphuric acid. + +_Pale Drab_.--Make the dye-bath with 1/2 oz. Cyanine B, 3/4 oz. Azo +Yellow, 1/4 oz. Chromotrop 2 R, 10 lb. Glauber's salt and 2 lb. +sulphuric acid. + +_Grey_.--Make the dye-bath with 1 oz. Chromotrop 2 R, 1-1/4 oz. +Cyanine B, 2-1/2 oz. Fast Acid Blue R, 2 oz. Azo Yellow, 10 lb. +Glauber's salt and 5 lb. acetic acid. + +_Bright Fawn_.--The dye-bath is made with 2 oz. Chromotrop 2 R, 8 oz. +Orange G, 2-1/4 oz. Fast Acid Blue R, 1-1/4 oz. Cyanine B, 10 lb. +Glauber's salt and 5 lb. acetic acid. + +_Dark Buff_.--Use 2 oz. Cyanine B, 5 oz. Azo Yellow, 2-1/2 oz. +Chromotrop 2 R, 10 lb. Glauber's salt and 2 lb. sulphuric acid. + +_Lilac Grey_.--Use 3 oz. each Fast Acid Violet 10 B, Fast Green +bluish, and Fast Yellow, 10 lb. Glauber's salt and 2 lb. sulphuric +acid. + +_Pale Fawn Drab_.--Use 1 oz. Patent Blue V, 1 oz. Rhodamine, 1-3/4 oz. +Orange G, 10 lb. Glauber's salt and 2 lb. sulphuric acid. + +_Dark Grey_.--Use 1 lb. Wool Grey R, 10 lb. Glauber's salt and (p. 166) +2 lb. sulphuric acid. + +_Stone_.--Use 1 oz. Patent Blue J B, 1-3/4 oz. Orange G, 10 lb. +Glauber's salt and 2 lb. sulphuric acid. + +_Pale Fawn Brown_.--Use 4 oz. Fast Acid Violet R, 2 oz. Patent Blue +J O O, 3 oz. Orange G, 10 lb. Glauber's salt and 3 lb. sulphuric acid. + +_Drab_.--Use 3 oz. Azo Carmine, 1-1/2 oz. Fast Yellow, 1-1/4 oz. +Indigo Carmine D, 10 lb. Glauber's salt and 2 lb. sulphuric acid. + +_Lilac_.--Use 1/2 lb. Azo carmine, 1/2 lb. Indigo Carmine D, 1-1/2 oz. +Fast Yellow, 10 lb. Glauber's salt and 2 lb. sulphuric acid. + +#With Mordant Dyes.# _Pale Drab_.--Mordant with 2 lb. bichromate of +potash and 1-1/2 lb. tartar. Dye with 1 lb. Alizarine Brown paste. + +_Violet Grey_.--Mordant as in the last recipe, and dye with 1 lb. +Alizarine Grey B. + +_Pale Fawn_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar, and dye with 4-1/2 lb. Alizarine Yellow, 13 oz. Alizarine +Brown, 11-1/2 oz. Alizarine Orange N, and 2 lb. acetic acid. + +_Pale Stone_.--Mordant with 2 lb. bichromate of potash and 1-1/2 lb. +tartar. Dye with 13 oz. Alizarine Yellow and 1-1/4 lb. Alizarine +Brown. + +_Dark Slate_.--Mordant with 3 lb. bichromate of potash and 2 lb. +tartar. Dye with 2-1/2 lb. Alizarine Blue D N W, and 10 oz. Alizarine +Yellow. + +_Lavender Grey_.--Mordant with 2 lb. bichromate of potash and +1-1/2 lb. tartar. Dye with 13 oz. Alizarine Blue D N W, and 2 oz. +Galleine. + +_Drab_.--Mordant as in the last recipe; then dye with 4 oz. Alizarine +Blue, 1-1/2 lb. Alizarine Yellow and 14 oz. Alizarine Brown. + +_Drab_.--Mordant with 3 lb. bichromate of potash and 1 lb. (p. 167) +sulphuric acid, and dye with 1 lb. Gambine R. + +_Dark Grey_.--Give a light indigo bottom in the vat, and then dye in a +bath containing 3/4 oz. Diamine Fast Red F, 3/4 oz. Anthracene +Yellow C, and 5 lb. acetate of ammonia. Work at the boil for half an +hour, then add 5 lb. bisulphate of soda, work half an hour longer, +then add 1 lb. fluoride of chrome, and work for another half hour at +the boil; then lift, wash and dry. + + + + +CHAPTER V. (p. 168) + +DYEING UNION (MIXED COTTON AND WOOL) FABRICS. + + +There is now produced a great variety of textile fabrics of every +conceivable texture by combining the two fibres, cotton and wool, in a +number of ways. The variety of these fabrics has of late years +considerably increased, which increase may be largely ascribed to the +introduction of the direct dyeing colouring matters--the Diamine dyes, +the Benzo dyes, the Congo and the Zambesi dyes; for in the dyeing of +wool-cotton fabrics they have made a revolution. The dyer of union +fabrics, that is fabrics composed of wool and cotton, was formerly put +to great straits to obtain uniform shades on the fabrics supplied to +him owing to the difference in the affinity of the fibres for the +dye-stuffs then known. Now the direct dyes afford him a means of +easily dyeing a piece of cotton-wool cloth in any colour of a uniform +shade, while the production of two-coloured effects is much more under +his control, and has led to the increased production of figured dress +fabrics with the ground in one fibre (wool) and colour, and the design +in another fibre (cotton) and colour. The number of direct dyes issued +by the various colour manufacturers is so great that it would take a +fairly considerable space to discuss them all. + +To obtain good results it is needful that the dyer of union fabrics +should be a man of keen observation and have a thorough knowledge of +the dyes he is using, for each dye makes a rule to itself as regards +its power of dyeing wool and cotton; some go better on to the (p. 169) +cotton than on to the wool, and _vice versa_. Some dye wool best +at the boil, others equally well below that heat; some go on the +cotton at a moderate temperature, others require the dye-bath to be +boiling; some will go to the cotton only and appear to ignore the +wool. + +The presence or absence in the dye-bath of such bodies as carbonate of +soda, Glauber's salt, etc., has a material influence on the degree of +the affinity of the dye-stuff for the two fibres, as will perhaps be +noted hereafter. Again, while some of the dyes produce equal colours +on both fibres, there are others where the tone is different. With all +these peculiarities of the Diamine and other direct dyes the union +dyer must make himself familiar. These dyes are used in neutral baths, +that is, along with the dye-stuff. It is often convenient to use along +with the direct dyes some azo or acid dyes which have the property of +dyeing the wool from neutral baths; many examples of such will be +found in the practical recipes given below. The dyes now under +consideration may be conveniently classed into five groups. + +(1) _Those dyes which dye the cotton and wool from the same bath to +the same shade, or nearly so._--Among such are Thioflavine S, Diamine +Fast Yellow B, Diamine Orange B, Diamine Rose B D, Diamine Reds 4 B, +5 B, 6 B and 10 B, Diamine Fast Red F, Diamine Bordeaux B, Diamine +Brown N, Diamine Brown 3 G, B and G W, Diamine Blue R W, B X, Diamine +Blue G, Diamine Greens G and B, Diamine Black H W, Diamine Dark +Blue B, Union Black B and S, Oxydiamine Blacks B, M, D and A, Diamine +Catechine G, Union Blue B B, Oxyphenine, Chloramine Yellow, +Thioflavine S, Alkali Yellow R, Chromine G, Titan Scarlet S, Mimosa, +Primuline, Auroline, Congo Corinth B, Thiazol Yellow, Columbia Yellow, +Oxydiamine Yellow G G, Oxydiamine Oranges G and R, Diamine (p. 170) +Orange O, Oxydiamine Red S. + +(2) _Dyes which dye the cotton a deeper shade than the wool._--The +following belong to this group. Diamine Fast Yellow A, Diamine +Orange G and D, Diamine Catechine G, Diamine Catechine B, Diamine sky +Blue, Diamine Blues 2 B, Diamine Blue 3 B, Diamine Blue B G, Diamine +Brilliant Blue G, Diamine New Blue R, Diamine Steel Blue L, Diamine +Black R O, Diamine Black B O, Diamine Black B H, and Oxydiamine Black +S O O O, Diamine Nitrazol Brown G, Diamine Catechine B, Diamine Sky +Blue F F, Diamine Dark Blue B, Diamine Bordeaux B, Diamine Violet N, +Oxydiamine Violet B, Columbia Black B and F B, Zambesi Black B, Congo +Brown G, Direct Yellow G, Direct Orange R, Clayton Yellow, Cotton +Yellow, Orange T A, Benzopurpurine B, Brilliant Congo R, Chicago +Blues B, 4 B and 6 B. + +(3) _Dyes which dye wool a deeper shade than the cotton._--The dyes in +this group are not numerous. They are Diamine Gold, Diamine Scarlet B, +Diamine Scarlet 3 B, Diamine Bordeaux S, Diamine Blue R W, and Diamine +Green G, Diamine Red N O and B, Chicago Blue G and R R W, Brilliant +Purpurine R, Diamine Scarlet B, Deltapurpurine 5 B, Chrysamine, Titan +Blue, Titan Pink, Congo Oranges G and R, Erie Blue 2 G, Congo R, +Brilliant Congo R, Erika B N, Benzopurpurine 4 B and 10 B, +Chrysophenine, Titan Yellow, Titan Brown Y, R and O, Congo Brown G, +Sulphon Azurine B, Zambesi Black D. + +(4) _Dyes which produce different shades on the two fibres._--Diamine +Brown G and Diamine Blue 3 R, Diamine Brown V, Diamine Brown S, +Diamine Nitrazol Brown B, Diamine Blue B X and 3 R, Diamine Blue +Black E, Benzo Blue Black G, Benzopurpurine 10 B, Benzo Azurine R G +and 3 G, Columbia Red S B, Brilliant Azurine 5 G, Titan Marine (p. 171) +Blue, Congo Corinths G and B, Azo Blue, Hessian Violet, Titan +Blue, Azo Mauve, Congo Brown, Diamine Bronze G, Zambesi Browns G and +2 G, Zambesi Black F. + +(5) _Azo acid dyes which dye wool from neutral baths, and are +therefore suitable for shading up the wool to the cotton in union +fabric dyeing._--Among the dyes thus available may be enumerated +Naphthol Blue G and E, Naphthol Blue Black, Formyl Violet 10 B, +Lanacyl Blue B B, Lanacyl Blue R, Alkaline Blue, Formyl Violet S 4 B +and 6 B, Rocceleine, Azo Red A, Croceine A Z, Brilliant Scarlet, +Orange extra, Orange E N Z, Indian Yellow G, Indian Yellow R, +Tropæoline O O, Naphthylamine Black 4 B, and Naphthol Blue Black, +Brilliant Scarlet G, Lanacyl Violet B, Brilliant Milling Green B, +Thiocarmine R, Formyl Blue B, Naphthylamine Blacks D, 4 B and 6 B, Azo +Acid Yellow, Curcumine Extra, Mandarine G, Ponceau 3 R B, Acid Violet +6 B, Guinea Violet 4 B, Guinea Green B, Wool Black 6 B. + +Regarding the best methods of dyeing, that in neutral baths yields the +most satisfactory results in practical working. It is done in a +boiling hot or in a slightly boiling bath with the addition of +6-1/4 oz. crystallised Glauber's salt per gallon water for the first +bath, and when the baths are kept standing 20 per cent. crystallised +Glauber's salt reckoned upon the weight of the goods for each +succeeding lot. + +In dyeing unions, the dye-baths must be as concentrated as possible +and must not contain more than from 25 to 30 as much water as the +goods weigh. In this respect it serve as a guide that concentrated +baths are best used dyeing dark shades while light shades can be dyed +in more dilute baths. The most important factor for producing uniform +dyeings is the appropriate regulation of the temperature of the +dye-bath. Concerning this the dyer must bear in mind that the direct +colours possess a greater affinity for cotton if dyed below the +boiling-point, and only go on the wool when the bath is boiling, (p. 172) +especially so the longer and more intensely the goods are boiled. + +The following method of dyeing is perhaps the best one. Charge the +dye-bath with the requisite dye-stuff and Glauber's salt, boil up, +shut off the steam, enter the goods and let run for half an hour, +without steam, then sample. If the shade of both cotton and wool is +too light, add some more of the dye-stuffs used for both fibres, boil +up once more, and boil for a quarter to half an hour. If the wool only +is too light, or its shade different from that of the cotton, add some +more of the dye-stuff used for shading the wool and bring them again +to the boil. If, however, the cotton turns out too light or does not +correspond in shade to the wool, add some more of the dye-stuffs used +for dyeing the cotton, without, however, raising the temperature. +Prolonged boiling is necessary only very rarely, and generally only if +the goods to be dyed are difficult to penetrate or contain qualities +of wool which only with difficulty take up the dye-stuff. In such +cases, in making up the bath, dye-stuffs are to be selected some of +which go only on the wool and others which go only on the cotton +(those belonging to the second group). + +The goods can then be boiled for some time, and perfect penetration +and level shades will result. If the wool takes up the dye-stuff +easily (as is frequently the case with goods manufactured from shoddy) +and are therefore dyed too dark a shade, then dye-stuffs have to be +used which principally dye the cotton, and a too high temperature is +to be avoided. In such cases it is advisable to diminish the affinity +of the wool by the addition of one-fifth of the original quantity of +Glauber's salt (about 3/8 oz. per gallon of water), and from +three-quarters to four-fifths of the dye-stuff used for the first lot. +Care has to be taken that not much of the dye-liquor is lost when +taking out the dyed goods, otherwise the quantities of Glauber's salt +and dye-stuff will have to be increased proportionately. Wooden (p. 173) +vats such as are generally used for piece dyeing have proved the +most suitable, they are heated with direct or still better with +indirect steam. The method which has proved most advantageous is to +let the steam run into a space separated from the vat by a perforated +wall into which space the required dye-stuffs and salt are placed. + +The mode of working is influenced by the character of the goods, and +the following notes will be found useful by the union dyer. + +Very little difficulty will be met with in dyeing such light fabrics +as Italians, cashmeres, serges and similar thin textiles lightly woven +from cotton warp and woollen weft. When deep shades (blacks, dark +blues, browns and greens) are being dyed it is not advisable to make +up the dye-bath with the whole of the dyes at once. It is much better +to add these in quantities of about one-fourth at a time at intervals +during the dyeing of the piece. It is found that the affinity of the +wool for the dyes at the boil is so much greater than is that of the +cotton that it would, if the whole of the dye were used, take up too +much of the colour and then would come up too deep in shade. Never +give a strong boil with such fabrics, but keep the bath just under the +boil which results in the wool dyeing much more nearly like to cotton. + +#On Union Flannels.#--In this class of goods it is important that the +soft open feel of the goods be retained as much as possible, and for +this purpose no class of dyes offers so many advantages as the direct +colours. Only one bath being required, there is not the same amount of +manipulation needed in the dyeing operation, hence there is less risk +that the soft feel and woolly structure will be affected. As no +mordants are needed there is nothing to impart a harsh feel to the +fabrics. + +#On Dress Goods, Suitings and Coatings.#--A large quantity of fabrics +for gentlemen's suits, coats and cloths in general are now made (p. 174) +from wool and cotton. Formerly the dyeing of these offered many +difficulties before the application of the direct dyes was properly +understood. Now, however the ease with which such dyes may be applied +has given considerable impetus to this class of goods, and the trade +has grown by leaps and bounds during recent years, and has been one +cause of the great cheapening of clothes which has occurred in the +same period. The dyeing of the goods with the direct colours offers +very little difficulty, and only requires that a little attention be +paid, particularly to goods in which the cotton either appears on the +surface forming a design, or is spun or twisted together with the +wool. + +A good deal of shoddy is used in making the cheaper class of these +goods, and it is quite natural that such "artificial wool" behaves +differently from pure wool, not only with regard to its shade +resulting from mixing and working together differently dyed waste +wools, but also on account of its possessing a greater affinity for +all kinds of dye-stuff than raw wool; this in consequence of the +carbonisation and washing processes it has undergone, and also of the +mordants which the material may retain from previous processes. +Therefore (and especially in dyeing light shades on goods manufactured +of shoddy) only a small quantity of soda or borax is to be added to +the dye-bath and severe boiling is to be avoided. Wherever it is +possible goods which are to be dyed in light shades should be made +from the palest materials, and the dark qualities only used for goods +which are to be dyed in dark shades. + +This rule can, of course, not always be adhered to. Quite often a +light and bright shade is to be dyed on comparatively dark material. +This cannot be achieved by simply dyeing it, the goods must be +stripped or bleached before dyeing. For this purpose either +energetically reacting, oxidising reducing agents are applied. Of the +former, bichromate of potassium is principally used. Boil the (p. 175) +goods for half to three-quarters of an hour with 3 to 5 per cent. +bichromate of potassium, 2 to 4 per cent. oxalic acid, and 3 to 5 per +cent. sulphuric acid, wash in a fresh warm bath charged with soda in +order to entirely neutralise the acid which has remained in the goods, +or else the wool would be dyed too deep a shade. In some cases +hydrosulphite has proved a useful reducing agent; it can be easily +prepared from ordinary bisulphite of soda in the following manner. Add +10 oz. ammonia (0·9 specific gravity) to a gallon of bisulphite of +soda, 32° Tw.; then add slowly under a brisk stirring 10 oz. +zinc-dust, and let the entire mixture settle well, using only the +clear solution. Treat the goods from fifteen to twenty minutes in a +bath of 140° F., to which first add at the boil 3/4 oz. acetic acid, +10° Tw., per gallon water, and then 4 to 6 gallons clear hydrosulphite +solution per 100 gallons liquor. Then rinse very well and dye in the +usual manner; avoiding, however, too high a temperature. As on this +class of goods dark shades are mostly dyed, the goods need only very +rarely be stripped. + +_Bright Yellow_.--Use 2 lb. Thioflavine S in a bath which contains +4 lb. Glauber's salt per 10 gallons of dye-liquor. + +_Good Yellow_.--A very fine deep shade is dyed with 2-1/2 lb. Diamine +Gold, and 24 lb. Diamine Fast Yellow A in the same way as the last. +Here advantage is taken of the fact that while the Diamine Gold dyes +the wool better than the cotton the Diamine Yellow dyes the cotton the +deepest shade, and between the two a uniform shade of yellow is got. + +_Pale Gold Yellow_.--Use a dye-liquor containing 4 lb. Glauber's salt +in every 10 gallons, 2-1/2 lb. Diamine Fast Yellow A, 2 oz. Indian +Yellow G, and 3-1/2 oz. Indian Yellow R. In this recipe we use in the +two last dyes purely wool yellows, which dye the wool the same tint as +the Fast Yellow A dyes the cotton. + +_Bright Yellow_.--Use in the same way as the last 2-1/2 lb Diamine (p. 176) +Fast Yellow B and 3 oz. Indian Yellow G. + +_Gold Orange_.--Use as above 2 lb. Diamine orange G, 3-1/2 oz. Indian +Yellow R, and 1-1/2 oz. Orange E N Z. + +_Deep Orange_.--Use 2-1/2 lb. Diamine Orange D C, 6-1/2 oz. Orange +E N Z, and 3-1/4 oz. Indian Yellow R. + +_Black_.--Use 4-1/2 lb. Union Black S, 2 oz. Diamine Fast Yellow A, +5 oz. Naphthol Blue Black, 3-1/4 oz. Formyl Violet S 4 B, and 4 lb. +Glauber's salt in 10 gallons dye-liquor. + +The goods are treated at the boil in this bath for one hour, Italian +cloths have frequently if not always to pass through a finishing +process to give them lustre. This treatment, especially with blues and +blacks, has a tendency to affect the shades, reddening them. With some +dye the colour comes back on the goods becoming cold again, but with +others this is not the case. If desired the goods may be subjected +after dyeing to a treatment with alum or, better, bichromate of +potash. The goods after being dyed are rinsed and then passed into a +bath at a temperature of 140° F., containing 3 lb. bichromate of +potash and 1-1/2 to 2 oz. sulphuric acid. After being chromed in this +for about half an hour they are well washed. This chroming thoroughly +fixes the colour on the cotton and it will not change while being +finished, either by crabbing, steaming or hot pressing. + +_Gold Brown_.--Use 1-1/2 lb. Diamine Cutch, 6-1/2 oz. Diamine Fast +Yellow B, 1 oz. each Union Black, Naphthol Blue Black and Azo Red A. + +_Walnut Brown_.--A fine shade is got with 1-1/4 lb. Union Black S, +1-1/4 lb. Diamine Brown M, 3-1/4 oz. Diamine Fast Yellow B, 13 oz. +Indian Yellow G, and 1 oz. Naphthol Blue Black. After dyeing the goods +should be chromed with 3 lb. bichromate of potash and 2 oz. sulphuric +acid. + +_Dark Blue_.--A good full shade is got with 2-1/4 lb. Union Black S, +9-1/2 oz. Diamine Brilliant Blue G, 6-1/2 oz. Alkaline Violet (p. 177) +C A, and 1/4 lb. Alkaline Blue F. Treatment in a bath of 1/2 lb. alum +and 1/2 oz. soda at 130° F. will fix the colour against finishing. + +_Silver Grey_.--A fine grey can be got from 1-3/4 oz. Diamine Black +B H, 1/2 oz. Diamine Orange B, 1/2 oz. Naphthol Blue Black, and +1/2 oz. Formyl Violet. + +_Navy Blue_.--Use 1-1/4 lb. Union Black S, 3 lb. Diamine Black B H, +1/2 oz. Naphthol Blue Black, 1/2 lb. Formyl Violet S 4 B, and +2-1/2 oz. Alkaline Blue B. + +_Red Plum_.--Use a dye-bath containing 2-1/2 lb. Oxydiamine Violet B +and 3-1/4 oz. Formyl Violet S 4 B. + +_Dark Green_.--A fine shade can be dyed in a bath containing 3 lb. +Diamine Green B and 1-1/2 lb. Diamine Black H W. + +_Dark Slate_.--Use 4 lb. Diamine Black H W, 2 oz. Naphthol Blue Black, +and 3 oz. Azo Red A. + +_Sage_.--Use a dye-bath containing 4 lb. Diamine Bronze G and +1-1/4 oz. Naphthol Blue Black. + +_Dark Brown_.--A fine dark shade is got from 2-1/2 lb. Diamine +Brown V, and 2 oz. Naphthol Blue Black. + +_Peacock Green_.--Use 3-3/4 lb. Diamine Steel Blue L, 13 oz. Diamine +Fast Yellow B, 14-1/2 oz. Thiocarmine R, and 2-1/4 oz. Indian Yellow G +in a bath of 4 lb. Glauber's salt per gallon of dye-liquor. + +_Dark Sea Green_.--Use 9 oz. Diamine Steel Blue L, 3-3/4 oz. Diamine +Fast Yellow B, 1/2 oz. Diamine Orange G, 1-1/4 oz. Naphthol Blue +Black, and 3/4 oz. Indian Yellow G. + +_Dark Brown_.--Use 1 lb. Diamine Orange B, 1 lb. Diamine Fast +Yellow B, 13-3/4 oz. Union Black S, 1 lb. Diamine Brown M, and 1/2 lb. +Indian Yellow G. Fix in an alum bath after dyeing. + +_Dark Stone_.--Use 1/2 lb. Diamine Orange B, 3-3/4 oz. Union Black, +1/4 oz. Diamine Bordeaux B, 1-1/2 oz. Azo Red A, and 3/4 oz. Naphthol +Blue Black. + +_Black_.--A very fine black can be got from 3-1/2 lb. Oxydiamine +Black R M, 2 lb. Union Black S, 9-1/2 oz. Naphthol Blue Black and (p. 178) +4 oz. Formyl Violet S 4 B, chroming after dyeing as described above. + +_Dark Grey_.--A fine bluish, shade of grey is got from 7 oz. Diamine +Black B H, 2-1/4 oz. Diamine Orange G, 2-1/2 oz. Naphthol Blue Black, +and 1 oz. Orange E N Z. + +_Dark Blue_.--A fine shade is got by using 2 lb. Diamine Black B H, +1/2 lb. Diamine Black H W and 3-1/2 oz. Alkaline Blue 6 B. + +_Drab_.--Use 3-1/2 oz. Diamine Orange B, 3/4 oz. Union Black, 1/8 oz. +Diamine Bordeaux B, 3/4 oz. Azo Red A, and 1/4 oz. Naphthol Blue +Black. + +_Plum_.--Use 2-1/2 lb. Diamine Violet N, 9-1/2 oz. Union Black, and +1 lb. Formyl Violet S 4 B. + +_Bright Yellow_.--Use a dye-bath containing 4 lb. Thioflavine S, 2 lb. +Naphthol Yellow S, 10 lb. Glauber's salt, and 2 lb, acetic acid. + +_Pink_.--Use 1/6 oz. Diamine Rose B D, 1/4 oz. Diamine Scarlet B, +1/2 oz. Rhodamine B and 20 lb. Glauber's salt. + +_Scarlet_.--A fine shade is got from 1-1/2 lb. Diamine Scarlet B, +1/2 oz. Diamine Red 5 B and 20 lb. Glauber's salt. + +_Orange_.--Use a dye-bath containing 3-1/2 lb. Diamine Orange G, +14-1/2 oz. Tropæoline O O, and 2-3/4 oz. Orange extra. + +_Sky Blue_.--Use 1-1/2 oz. Diamine Sky Blue and 1-1/4 oz. Alkaline +Blue B. + +_Bright Blue_.--A fine shade similar to that formerly known as Royal +Blue is got by using 1-1/2 lb. Diamine Brilliant Blue G, and 9-1/4 oz. +Alkaline Blue 6 B. + +_Maroon_.--Use 3 lb. Diamine Bordeaux B, 2 lb. Diamine Violet N, and +3-1/4 oz. Formyl Violet S 4 B. + +_Green_.--A fine green similar in shade to that used for +billiard-table cloth is got from 2 lb. Diamine Fast Yellow B, 2 lb. +Diamine Steel Blue L, 14-1/2 oz. Thiocarmine R and 7-1/4 oz. Indian +Yellow G. + +_Gold Brown_.--A fine brown is got from 3 lb. Diamine Orange B, (p. 179) +1/2 lb. Union Black, 2-1/2 oz. Diamine Brown, 3/4 oz. Naphthol Blue +Black, and 1/2 lb. Indian Yellow G. + +_Navy Blue_.--Use 3-1/4 lb. Diamine Black B H, 1-1/2 lb. Diamine +Brilliant Blue G, and 1/2 lb. Alkaline Blue. + +_Fawn Drab_.--A fine shade is got by dyeing in a bath containing +6-3/4 oz. Diamine Orange B, 1-3/4 lb. Union Black, 1/4 oz. Naphthol +Blue Black, 1/4 oz. Diamine Bordeaux B, and 1 oz. Azo Red A. + +In all these colours the dye-baths contain Glauber's salt at the rate +of 4 lb. per 10 gallons. + +_Dark Brown_.--2-1/2 lb. Diamine Orange B, 13 oz. Diamine Bordeaux B, +1-1/2 lb. Diamine Fast Yellow B, 1-3/4 lb. Union Black, and 3-1/2 oz. +Naphthol Black. + +_Drab_.--1-3/4 lb. Diamine Fast Yellow R, 3-1/4 oz. Diamine +Bordeaux B, 2-1/2 oz. Union Black, 1/2 oz. Naphthol Blue Black, and +1-1/4 oz. Indian Yellow G. + +_Dark Blue_.--Use in the dye-bath 4-1/4 lb. Diamine Dark Blue B, +1-1/2 lb. Diamine Brilliant Blue G, 3/4 lb. Formyl Violet S 4 B, and +5 oz. Naphthol Blue Black. + +_Blue Black_.--Use 3-1/4 lb. Union Black S, 1-1/2 lb. Oxydiamine Black +B M, 6-1/2 oz. Naphthol Blue Black, and 1/4 lb. Formyl violet S 4 B. + +_Dark Walnut_.--2-3/4 lb. Diamine Brown M, 1-1/2 lb. Union Black S, +and 11-1/4 oz. Indian Yellow G. + +_Peacock Green_.--Use in the dye-bath 3-1/2 lb. Diamine Black H W, +5-1/6 oz. Diamine Fast Yellow B, 1-1/2 lb. Thiocarmine R, and +1-1/6 oz. Indian Yellow G. + +_Slate Blue_.--Use in the dye-bath 6-1/2 oz. Diamine Catechine B, +4-3/4 oz. Diamine Orange B, 2-1/2 oz. Union Black, 2-3/4 oz. Orange +E N Z, and 1-3/4 oz. Naphthol Blue Black. + +_Dark Sage_.--A good shade is dyed with 1 lb. Diamine Orange B, +6-1/2 oz. Union Black, 1-3/4 oz. Diamine Brown M, 3-1/4 oz. Azo Red A, +and 2-1/4 oz. Naphthol Blue Black. + +_Navy Blue_.--Use 2 lb. Diamine Dark Blue B, 1-1/4 lb. Lanacyl (p. 180) +Violet B, and 7 oz. Naphthol Blue Black. + +_Bronze Green_.--A good shade is dyed with 2 lb. Diamine Orange B, +5 oz. Diamine Brown N, 3/4 lb. Union Black S, 1 lb. Indian Yellow G, +and 2 oz. Naphthol Blue Black. + +_Black_.--Use 2-1/2 lb. Oxydiamine Black B M and 1-1/2 lb. +Naphthylamine Black 6 B. Another recipe, 2-1/4 lb. Oxydiamine Black +B M, 1 lb. Diamine Brown M, 1 lb. Orange E N Z, and 2 oz. Naphthol +Blue Black. + +_Dark Brown_.--Use 1-1/2 lb. Oxydiamine Black B M, 15-1/2 oz. Diamine +Brown M, 1-3/4 lb. Indian Yellow G, and 2-3/4 oz. Naphthol Blue Black. +Another combination, 1-1/2 lb. Oxydiamine Black B M, 1-1/2 lb. Orange +E N Z, 1 lb. Indian Yellow G, and 5 oz. Naphthol Blue Black. + +_Scarlet_.--3 lb. Benzopurpurine 4 B, 3/4 oz. Ponceau 3 R B, and +1/2 lb. Curcumine S. + +_Crimson_.--1/2 lb. Congo Corinth G, 2 lb. Benzopurpurine 10 B, and +1/2 lb. Curcumine S. + +_Bright Blue_.--2 lb. Chicago Blue 6 B, 3 oz. Alkali Blue 6 B, +1-1/2 oz. Zambesi Blue R X. After dyeing, rinse and develop in a bath +of 8 oz. sulphuric acid in 10 gallons water, then rinse well. + +_Dark Blue_.--2-1/2 lb. Columbia Fast Blue 2 G, 3 oz. Sulphon +Azurine D, 3 oz. Alkali Blue 6 B. After dyeing, rinse and develop in a +bath of 8 oz. sulphuric acid in 20 gallons of water. + +_Orange_.--9 oz. Congo Brown G, 1-1/2 lb. Mikado Orange 4 R O, and +1-1/2 oz. Mandarine G. + +_Dark Green_.--2 lb. Columbia Green, 1/2 lb. Sulphon Azurine D, +1/2 lb. Zambesi Blue B X, 1-1/2 oz. Curcumine S. + +_Black_.--4 lb. Columbia Black F B, and 2 lb. Wool Black 6 B. + +_Pale Sage Green_.--5 oz. Zambesi Black D, 3/4 lb. Chrysophenine G, +and 1-1/2 lb. Curcumine S. + +_Slate_.--1/2 lb. Zambesi Black D, 3/4 oz. Zambesi Blue R X, (p. 181) +1/2 oz. Mikado Orange 4 R O, and 1-1/2 oz. Acid Violet 6 B. + +_Dark Grey_.--1 lb. Columbia Black F B, 3 oz. Zambesi Black B, and +3/4 oz. Sulphon Azurine D. + +_Drab_.--1-1/2 oz. Zambesi Black D, 3/4 oz. Mandarine G extra, 1/4 oz. +Curcumine extra, and 3 oz. Mikado Orange 4 R O. + +_Brown_.--5 oz. Zambesi Black D, 3/4 oz. Mandarine G extra, 1-1/2 oz. +Orange T A, and 2 oz. Mikado Orange 4 R O. + +_Nut Brown_.--3/4 lb. Congo Brown G, 1/4 lb. Chicago Blue R W, and +3/4 lb. Mikado Orange 4 R O. + +_Dark Brown_.--1 lb. Congo Brown G, 1-1/2 lb. Benzopurpurine 4 B, +1-1/2 lb. Zambesi Black F, and 1/2 lb. Wool Black 6 B. + +_Stone_.--1 oz. Zambesi Black D, 1/4 oz. Mandarine G, 1/4 oz. +Curcumine extra, and 1-1/4 oz. Mikado Orange 4 R O. + +_Slate Green_.--3 oz. Zambesi Black D, 1-1/2 oz. Guinea Green B. + +_Sage Brown_.--1/2 lb. Zambesi Black D, 1-1/2 oz. Mandarine G extra, +3 oz. Curcumine extra, 3 oz. Acid Violet 6 B, 6 oz. Mikado Orange +4 R O, and 4-1/2 oz. Curcumine S. + +_Cornflower Blue_.--3 oz. Chicago Blue 4 R, 1/4 lb. Zambesi Blue R X, +1/4 lb. Acid Violet 6 B, and 3/4 oz. Zambesi Brown G. + +_Dark Brown_.--1-1/2 lb. Brilliant Orange G, 1/2 lb. Orange T A, 1 lb. +Columbia Black F B, and 1/4 lb. Wool Black 6 B. + +_Dark Blue_.--2 lb. Chicago Blue R W, 1 lb. Zambesi Blue R X, 1/2 lb. +Columbia Black F B, 10 oz. Guinea Green B, and 1/2 lb. Guinea Violet +4 B. + +The Janus dyes may be used for the dyeing of half wool union fabrics. +The best plan of working is to prepare a bath with 5 lb. of sulphate +of zinc. In this the goods are worked at the boil for five minutes, +then there is added the dyes (previously dissolved in water), and the +working continued for a quarter of an hour; then there is added 20 lb. +Glauber's salt and the working at the boil continued for one hour, (p. 182) +at the end of which time the dye-bath will be fairly well exhausted of +colour. The goods are now taken out and put into a fixing bath of +sumac or tannin, in which they are treated for fifteen minutes. To +this same bath there is next added tartar emetic and 1 lb. sulphuric +acid, and the working continued for a quarter of an hour; then the +bath is heated to 160° F., when the goods are lifted, rinsed and +dried. In the recipes the quantities of dyes, sumac or tannin, and +tartar emetic only are given, the other ingredients and processes are +the same in all. + +_Dark Blue_.--2-1/4 lb. Janus Dark Blue B, and 1/2 lb. Janus Green B, +in the dye-bath; 16 lb. sumac extract and 2 lb. tartar emetic in the +fixing bath. + +_Blue Black_.--3-1/2 lb Janus Black I and 1/3 lb. Janus Black I I in +the dye-bath, and 16 lb. sumac extract and 2 lb. tartar emetic in the +fixing bath. + +_Dark Brown_.--2-1/2 lb. Janus Brown B, 1 lb. Janus Black I, 3-1/2 oz. +Janus Yellow G, and 5 oz. Janus Red B in the dye-bath, with 16 lb. +sumac extract and 2 lb. tartar emetic in the fixing bath. + +_Drab_.--1-1/2 oz. Janus Yellow R, 1/4 oz. Janus Red B, 1 oz. Janus +Blue R, and 1/4 oz. Janus Grey B B, in the dye-bath, and 4 lb. sumac +extract and 1 lb. tartar emetic in the fixing-bath. + +_Grey_.--5 oz. Janus Blue R, 3-1/4 oz. Janus Grey B, 1-1/2 oz. Janus +Yellow R, and 1/4 oz. Janus Red B in the dye-bath, with 4 lb. sumac +extract and 1 lb. tartar emetic in the fixing-bath. + +_Nut Brown_.--1 lb. Janus Brown R, 8 oz. Janus Yellow R, and 1-1/2 oz. +Janus Blue B in the dye-bath, and 8 lb. sumac extract and 1 lb. tartar +emetic in the fixing-bath. + +_Walnut Brown_.--3 lb. Janus Brown B, 1 lb. Janus Red B, 1 lb. Janus +Yellow R, and 1-1/4 oz. Janus Green B in the dye-bath, with 8 lb. +sumac extract and 1 lb. tartar emetic in the fixing-bath. + +_Crimson_.--2-1/2 lb. Janus Red B, and 8 oz. Janus Claret Red B (p. 183) +in the dye-bath, with 8 lb. sumac extract and 1 lb. tartar emetic in +the fixing-bath. + +_Dark Green_.--1-1/2 lb. Janus Green B, 1 lb. Janus Yellow R, and +8 oz. Janus Grey B in the dye-bath, with 4 lb. sumac extract and +1-1/4 lb. tartar emetic in the fixing-bath. + +_Chestnut Brown_.--1 lb. Janus Brown R and 1 lb. Janus Yellow R in the +dye-bath, and 8 lb. sumac extract and 1 lb. tartar emetic in the +fixing-bath. + +Before the introduction of the direct dyes the method usually +followed, and indeed is now to a great extent, is that known as +Cross-dyeing. The goods were woven with dyed cotton threads of the +required shade and undyed woollen threads; after weaving and cleansing +the woollen part of the fabric was dyed with acid dyes such as Acid +Magenta, Scarlet R, Acid Yellow, etc. In such methods care has to be +taken that the dyes used for dyeing the cotton are such as stand +acids, a by no means easy condition to fulfil at one time. Many of the +direct dyes are fast to acids and therefore lend themselves more or +less readily to cross-dyeing. For details of the dyes for cotton +reference may be made to the sections on dyeing with the direct +colours in the companion volume to this book on _Dyeing of Cotton +Fabrics_. + +#Shot Effects.#--A pleasing kind of textile fabric which is now made and +is a great favourite for ladies' dress goods is where the cotton of a +mixed fabric is thrown up to form a figured design. It is possible to +dye the two fibres in different colours and so produce a variety of +shot effects. These latter are so endless that it is impossible here +to enumerate all that may be produced. It will have to suffice to lay +down the lines which may be followed to the best advantage, and then +give some recipes to illustrate the remarks that have been made. The +best plan for the production of shot effects upon union fabrics is to +take advantage of the property of certain acid dyes which dye only (p. 184) +the wool in an acid bath and of many of the direct colours which will +only dye the cotton in an alkaline bath. The process, working on these +lines, becomes as follows: The wool is first dyed in an acid bath with +the addition of Glauber's salt and bisulphate of soda or sulphuric +acid, the goods are then washed with water containing a little ammonia +to free them from the acid and afterwards dyed with the direct colour +in an alkaline bath. + +Fancy or the mode shades are obtained by combining suitable +dye-stuffs. + +If the cotton is to be dyed in light shades it is advantageous to dye +on the liquor at 65° to 80° F., with the addition of 3-1/4 oz. +Glauber's salt, and from 20 to 40 grains borax per gallon water. The +addition of an alkali is advisable in order to neutralise slight +quantities of acid which may have remained in the wool, and to prevent +the dye-stuff from dyeing the cotton too deep a shade. + +Very light shades can also be done on the padding machine. The +dye-stuffs of Group (2), which have been previously enumerated, do not +stain the wool at all or only very slightly and are therefore the most +suitable. Less bright effects can be produced by simply dyeing the +goods in one bath. The wool is first dyed at the boil with the wool +dye-stuff in a neutral bath, the steam is then shut off and the cotton +dyed by adding the cotton dye-stuff to the bath and dyeing without +again heating. By passing the goods through cold water to which some +sulphuric or acetic acid is added the brightness of most effects is +greatly increased. + +_Gold and Green_.--First bath, 1 lb. Cyanole extra, 7-1/4 oz. Acid +Green, 1-1/2 oz. Orange G G, and 10 lb. bisulphate of soda; work at +the boil for one hour, then lift and rinse well. Second bath, 4 lb. +Diamine Orange G and 15 lb. Glauber's salt; work in the cold or at a +lukewarm heat. Third bath at 120° F., 4 oz. Chrysoidine and 1/4 oz. +Safranine. + +_Black and Blue_.--First bath, 3-1/2 lb. Naphthol Black 3 B and (p. 185) +10 lb. bisulphate of soda. Second bath, 2 lb. Diamine Sky Blue and +13 lb. Glauber's salt. Third bath, 6-1/2 oz. New Methylene Blue N; +work as in the last recipe. + +_Green and Claret_.--First bath, 3-1/2 lb. Naphthol Red C and 10 lb. +bisulphate of soda. Second bath, 2 lb. Diamine Sky Blue F F, 1-1/4 lb. +Thioflavine S, and 15 lb. Glauber's salt. + +_Gold Brown and Blue_.--First bath, 2-1/2 oz. Orange E N Z, 1-1/2 oz. +Orange G G, 1/4 oz. Cyanole extra, and 10 lb. bisulphate of soda. +Second bath, 14 oz. Diamine Sky Blue F F and 15 lb. Glauber's salt. + +_Dark Brown and Blue_.--First bath, 1/2 lb. Orange G G, 1-1/2 oz. +Orange E N Z, 1-1/2 oz. Cyanole extra and 10 lb. bisulphate of soda. +Second bath, 12 oz. Diamine Sky Blue F F and 15 lb. Glauber's salt. + +_Black and Green Blue_.--First bath, 3 lb. Orange G G, 1 lb. Brilliant +cochineal 4 R, 1 lb. Fast Acid Green B N, and 10 lb. Glauber's salt. +Second bath, 1-3/4 lb. Diamine Sky Blue F F, 3-1/4 lb. Thioflavine S, +and 15 lb. Glauber's salt. + +We may here note that in all the above recipes the second bath (for +dyeing the cotton) should be used cold or at a lukewarm heat, and as +strong as possible. It is not completely exhausted of colour, only +about one-half going on the fibre. If kept as a standing bath this +feature should be borne in mind and less dye-stuff used in the dyeing +of the second and following lots of goods. + +_Blue and Gold Yellow_.--3 lb. Diamine Orange G, 13 oz. Naphthol +Blue G, 14-1/2 oz. Formyl Violet S 4 B, and 15 lb. Glauber's salt; +work at just under the boil. + +_Brown and Blue_.---1 lb. Diamine Steel Blue L, 9-1/2 oz. Diamine Sky +Blue, 1 lb. Orange E N Z, 1 lb. Indian Yellow G, 1-3/4 oz. Naphthol +Blue Black and 15 lb. Glauber's salt. Work at 170° to 180° F. + +In these two last recipes only one bath is used, all the dyes (p. 186) +being added at once. This is possible if care be taken that dye-stuffs +are used which will dye wool and not cotton from neutral baths and +dyes which dye cotton better than wool. The temperature should also be +kept below the boil and carefully regulated as the operation proceeds +and the results begin to show themselves. + +_Grey and Orange_.--First bath, 3 oz. Orange extra, 1-1/4 lb. Cyanole +extra, 11 lb. Azo Red A, and 10 lb. bisulphate of soda. Second bath, +5 oz. Diamine Orange D C and 3 oz. Diamine Fast Yellow B. + +_Green and Red_.--First bath, 2 lb. Croceine A Z and 10 lb. Glauber's +salt. Second bath, 1 lb. Diamine Sky Blue F F, 1/2 lb. Thioflavine S, +and 15 lb. Glauber's salt. + +_Brown and Violet_.--First bath, 3/4 lb. Orange extra, 3/4 lb. Cyanole +extra, and 10 lb. bisulphate of soda. Second bath, 5 oz. Diamine +Brilliant Blue G and 15 lb. Glauber's salt. + +_Black and Yellow_.--First bath, 7 lb. Naphthol Black B, 1/2 lb. Fast +Yellow S, and 10 lb. bisulphate of soda. Second bath, 3 lb. Diamine +Fast Yellow A and 15 lb. Glauber's salt. + +_Black and Pink_.--Black as above. Pink with Diamine Rose B D (see +above). + +_Green and Buff_.--First bath, 1/4 lb. Orange extra, 3/4 oz. Fast +Yellow S and 10 lb. bisulphate of soda. Second bath, 3/4 lb. Diamine +Sky Blue F F, 1/2 lb. Thioflavine S, and 15 lb. Glauber's salt. + +_Orange and Violet_.--First bath, 9 oz. Orange extra and 10 lb. +bisulphate of soda. Second bath, 3/4 lb. Diamine Violet N and 10 lb. +Glauber's salt. + +_Black and Blue_.--First bath, Naphthol Black, as given above. Second +bath, Diamine Sky Blue, as given above. + +_Black and Yellow_.--Add first 1 lb. Wool Black 6 B and 10 lb. +Glauber's salt, then when the wool has been dyed add 2 lb. Curcumine S +to dye the cotton in the same bath. + +_Green and Red_.--Dye the wool by using 3 lb. Guinea Green B, (p. 187) +1/4 lb. Curcumine extra, and 10 lb. Glauber's salt, then add to +the bath 3/4 lb. Erika B N and 3/4 lb. Congo Corinth G. + +_Orange and Blue_.--Dye the wool first with 1-1/4 lb. Mandarine G, +2 oz. Wool Black 6 B, and 10 lb. Glauber's salt; then the cotton with +2 lb. Columbia Blue G. + +_Blue and Orange_.--Dye the wool first with 3/4 lb. Guinea Violet B, +3/4 lb. Guinea Green B, and 10 lb. Glauber's salt; then dye the cotton +with 2 lb. Mikado Orange 4 R O. + +_Green and Orange_.--Dye the wool with 3 lb. Guinea Green B, 1/4 lb. +Curcumine extra and 10 lb. Glauber's salt, then dye the cotton in the +same bath with 1-1/2 lb. Mikado Orange 4 R O. + + + + +CHAPTER VI. (p. 188) + +DYEING OF GLORIA. + + +Gloria is a material which during the last few years has become of +considerable importance as furnishing a fine lustrous fabric at a +comparatively low price. The perfection to which the art of dyeing has +attained and the facilities now available to the dyer, enable this to +be produced more beautiful than ever, and naturally an increased +demand for it as a dress fabric has developed. + +Gloria is woven from the two fibres, wool and silk, of a fine texture +to enable it to be used in the place of a silk fabric. Formerly it was +usually woven with the wool and silk yarns already dyed, especially +when a "shot" effect was to be produced, this being done by a twill +weave of the fabric and by the use of yarns of two very different +colours in the case of "shot" fabrics. By the introduction of +dye-stuffs derived from coal tar the cloth is now dyed after being +woven, care being taken to choose those which will dye the two fibres +equally well when self-shades are wanted, or those which will dye one +fibre better than the other, and thus allow a woven piece of gloria to +be dyed of two different colours. As most dyers know, the most +brilliant effects are obtained when the finished woven piece can be +dyed. Then all the grease and dirt which has become attached to it +during the operations of spinning the yarns and weaving the pieces can +be removed before dyeing, thus leaving the fabric in a perfectly clean +condition. Thus no after cleansing is required, whereas when the (p. 189) +fibres are dyed in the yarn the goods must be cleansed after weaving +to free them from dirt, and such cleaning has a somewhat deleterious +effect upon the brilliancy of the colour of the finished fabric, more +especially in the case of light colours. + +Gloria may be in one colour only, a self-colour as it is called; this +case is comparatively simple, the only care that is required being to +select dyes which have an equal affinity for the two fibres or which +give but slightly different shades. Still, some good effects are +obtained when dyes are used which dye the silk and wool different +colours but give the combined effect of a self-colour. Or the fibre +may be purposely dyed in two different colours in some cases to give +the "shot" effect. This is much more troublesome, but with a little +care can be carried out with good results. The dyes available for +dyeing gloria may be classified, according to their behaviour in +regard to their dyeing of the two fibres, into three groups as +follows:-- + +_Group A_.--Those which will dye the two fibres of equal shade. + +_Group B_.--Those which will dye the wool at boiling heat more readily +than the silk. + +_Group C_.--Those which will dye the silk only in a cold bath. + +_Group A_ consists of those dyes which can be used in dyeing +self-colours on gloria from acid baths. It includes Alkali Blue, +Naphthylamine Blacks, Naphthol Green B, Indian Yellow, Croceine A Z, +Croceine Orange, Orange R, Brilliant Croceine M, Rose Bengale, +Thiocarmine R, Soluble Blue, Formyl Violet S 4 B, Acid Green, Croceine +Orange G, Carmoisin, Acid Violet 5 B, Fast Acid Violet 10 B, Fast +Green Bluish, Rhodamine, Silk Blue, Victoria Black, Archil, Turmeric, +Safranine, Auramine, Quinoline Yellow, Azoflavine, Victoria Blue and +Bismarck Brown. + +_Group B_ comprises those dye-stuffs which in a boiling acid (p. 190) +bath dye the wool deeper than the silks, in other words have more +affinity for the wool than the silk, Tropæoline O, Acid Magenta, +Indigo Extract, Phloxine, Naphthol Yellow, Orange G G, Scarlet S, Azo +Red A, Eosines, Thiocarmine R, Naphthol Black B B, New Victoria Black +Blue, Erythrosine, and Roccelline. + +The silk becomes tinted to a more or less extent when in such a bath, +but often the colour is readily removed either by subsequent passage +through boiling water or through hot soap liquor. A very good clearing +can be effected by the use of a bath of acetate of ammonia. Naphthol +Yellow, for instance, only imparts a very faint shade of yellow when +thus dyed, and this is easily removed by boiling-water treatment. + +_Group C_.--Those dye-stuffs which will dye the silk more readily in a +cold bath than the wool. These comprise most of the basic dyes, such +as Thioflavine T, Safranine, Brilliant Green, Methyl Violet, Magenta, +New Methylene Blue, Bismarck Brown, Rose Bengale, Phloxine, Acid +Greens, Formyl Violet S 4 B, Rhodamine, Solid Blue, etc. + +Gloria may be dyed either by a one-bath or two-bath process, and +either one or two colours, as may be required. In both cases advantage +may be taken of the different affinities of the two fibres for the +dye-stuffs used, as, for instance, the silk may be dyed brown, the +wool olive by using a mixture of Acid Yellow, Indigo extract and +Orange G. Indigo extract, Cochineal, Acid Magenta, Picric acid, +Naphthol Yellow, and Tartrazine dye the wool only at the boil. + +The following recipes will serve to illustrate the foregoing remarks +and show how this important fabric may be dyed:-- + +_Deep Gold_.--The dye-bath is made from 2 lb. Indian Yellow, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid, dyed at the boil. In this +and following recipes the quantities are for 100 lb. + +_Orange_.--The dye-bath is made with 2 lb. Indian Yellow, 19 lb. (p. 191) +Glauber's salt, and 2 lb. sulphuric acid. + +_Scarlet_.--Make the dye-bath with 2 lb. Scarlet 3 R, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. Another scarlet is got from 2 lb. +sulphuric acid. Another scarlet is got from 2 lb. Croceine Scarlet +3 B, 2 lb. sulphuric acid, and 10 lb. Glauber's salt; by using the 5 B +Scarlet a bluer shade can be dyed. Azo Cochineal also dyes a fine +scarlet on gloria. + +_Crimson_.--Make the dye-bath with 1 lb. Carmoisin B, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. The 7 B Croceine Scarlet also dyes a +fine crimson of a more fiery tone than the last, while 2-1/2 lb. Azo +Fuchsine G dyes a bluer shade of crimson. + +_Rose_.--A fine rose is obtained with 2 lb. Rhodamine B, 10 lb. +Glauber's salt, and a little acetic acid. 1 lb. Phloxine dyes a fine +deep rose; the silk comes out a paler colour than the wool, but the +general effect is good. + +_Deep Maroon_.--Make the dye-bath from 1-1/2 lb. Croceine A Z, 1/2 lb. +Indian Yellow, 1/4 lb. Formyl Violet S 4 B, 10 lb. bisulphate of soda. +Enter the goods, work at the boil for an hour, then cool down to +120° F., enter an equal quantity of dye-stuff and work for an hour +longer. + +_Pale Maroon_.--Make the dye-bath with 3 lb. Azo Bordeaux, 10 lb. +Glauber's salt and 2 lb. sulphuric acid. + +_Black_.--Prepare the dye-bath with 5 lb. Naphthylamine Black D, 1 lb. +Acid Green B, 10 lb. Glauber's salt, and 2 lb. sulphuric acid; work at +the boil for twenty minutes, then allow to cool to 120° or 130° F., +then work an hour longer. Another black can be dyed in a similar way +from 5 lb. Victoria Black B, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. + +_Violet_.--Use 2 lb. Acid Violet 5 B, or 2 lb. Formyl Violet S 4 B, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. Fast Acid Violet 10 B +gives a bluer shade than the above. + +_Green_.--Make the dye-bath with 2 lb. Acid Green G G, 10 lb. (p. 192) +Glauber's salt, and 2 lb. sulphuric acid, working at the boil. This +gives a bright yellow shade of green; a bluer shade can be got from +Acid Green 6 B or Acid Green B, while Fast Green Bluish gives very +blue greens. + +_Coeruleum Blue_.--Dye with 3/4 lb. Silk Blue B E S, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid; this gives a very fine bright blue. + +_Deep Indigo Blue_.--Dye with 4-1/2 lb. Solid Blue R, 2 lb. +Thiocarmine R paste, 10 lb. Glauber's salt and 2 lb. sulphuric acid. + +_Deep Violet Brown_.--Dye with 3 lb. Croceine A Z, 1-1/4 lb. Indian +Yellow, 1-3/4 lb. Formyl Violet S 4 B, 10 lb. Glauber's salt, and +2 lb. sulphuric acid for an hour at the boil, and for an hour at +120° F. + +_Blue Black_.--Make the dye-bath with 5 lb. New Victoria Blue Black, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil. +Another plan is to use 5 lb. Naphthylamine Black 4 B and 10 lb. +bisulphate of soda. + +_Dark Grey_.--Prepare a dye-bath with 3 lb. Naphthol Black 3 B, 4 lb. +Naphthol Green B, 1 lb. Amaranth, 10 lb. Glauber's salt, 8 lb. +copperas, and 3 lb. sulphuric acid, working at the boil for an hour +and then rinsing in water to which a little acetate of ammonia has +been added. The silk is dyed grey and the wool a black. + +_Brown_.--A fine yellow brown shot with lilac is obtained by first +dyeing in a bath of 5 lb. Naphthol Yellow, 10 lb. Glauber's salt and +2 lb. sulphuric acid. Wash in hot water, then dye with 2-1/2 lb. Solid +Blue P G, 1-1/2 oz. Methyl Violet B O, and 5 lb. acetic acid in the +cold. + +_Wool, Orange; Silk, Pale Green._--Dye the wool with 1-1/2 lb. Orange +G G, 6 oz. Naphthol Green B, 2-1/2 oz. Naphthol Red C, 10 lb. +bisulphate of soda, and 2 lb. sulphuric acid; and the silk with +1/2 lb. Milling Yellow and 1/2 lb. Acid Green. + +_Wool, Black; Silk, Light Grey._--Dye in a bath with 5 lb. (p. 193) +Anthracene Acid Black S T, 4-1/2 oz. Fast Yellow S, 10 lb. bisulphate +of soda, and 2 lb. sulphuric acid. The silk is cleaned by boiling for +ten minutes in a soap bath. + +_Wool, Bright Red; Silk, Blush Rose._--The gloria silk is dyed in a +bath of 3 lb. Naphthol Red O, 10 lb. bisulphate of soda, and 2 lb. +sulphuric acid. After dyeing, soap for ten minutes. + +_Wool, Black; Silk, Green._--Dye the wool in a bath containing 5 lb. +Anthracene Acid Black S T, 5 oz. Fast Yellow S, 2 lb. oxalic acid, +10 lb. Glauber's salt, and 15 lb. acetic acid. Work the goods in this +at the boil for an hour, then lift, add 3/4 lb. bichromate of potash, +and boil for twenty minutes longer. Clean the silk by boiling in a +bath of soap for twenty minutes, then dye in a cold bath containing +1 lb. Thioflavine T and 1 lb. Brilliant Green. + +_Wool, Dark Maroon; Silk, Pale Blue._--After the manner described in +the first recipe, dye the wool with 1 lb. Orange G G, 3 lb. Naphthol +Green B, 2 lb. Brilliant Cochineal 2 R, 10 lb. bisulphate of soda, and +2 lb. sulphuric acid. Dye the silk with 1-1/2 lb. Pure Blue O T. + +_Wool, Violet; Silk, Green._--Make the dye-bath with 1 lb. Acid Violet +4 B, 9 oz. Indigotine extra, 10 lb. bisulphate of soda, and 2 lb. +sulphuric acid. The dyeing is carried on at the boil until the bath is +exhausted of colour, whereupon the goods are well rinsed in water. +They are next soaped at 160° F. for ten minutes in a liquor containing +1/2 oz. soap per gallon, then rinsed. Next a dye-bath is made with +1 lb. Acid Green, 8 oz. Milling Yellow O, and 1 lb. acetic acid, the +goods being treated in this in the cold until the desired shade is +obtained, then lifted, rinsed and dried. + +_Violet and Pink._--A fine effect of violet shot with pink is obtained +by dyeing in a bath of 1-1/2 lb. Indigo extract, 1/2 lb. Rhodamine B, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. + +_Brown Olive and Green_ is dyed in a bath made with 1 lb. (p. 194) +Quinoline Yellow, 1 lb. Azo Fuchsine G, 1/4 lb. Fast Green Bluish, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. By using about half +the above quantities of dye-stuffs a drab effect shot with green can +be obtained. + +_Crimson and Green._--The first bath is made from 4 lb. Azo Red A and +10 lb. bisulphate of soda, worked for an hour at the boil; then treat +in a weak bath of acetate of ammonia; and dye the silk in a cold bath +of 2 oz. Solid Green Crystals, 1/4 lb. Thioflavine T, and 5 lb. acetic +acid. + +_Violet and Pink._--Dye in a bath of 1-1/4 lb. Indigo extract, 10 lb. +Glauber's salt and 2 lb. sulphuric acid. + +_Brown and Pink._--This is dyed in a bath made from 1-1/4 lb. Fast +Yellow, 5 oz. Rhodamine B, 1/4 lb. indigo extract, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. The silk dyes a pale pink while the +general effect is that of a fine fawn brown with a reddish shot +effect. + +_Dark Green and Pale Crimson._--This is done in two baths, the first +is made with 8 lb. Naphthol Green B, 10 lb. Glauber's salt, 3 lb. +sulphuric acid, and 7 lb. copperas, working at the boil; then treat +with hot water and dye in a fresh bath with 6 oz. Safranine Prima and +5 lb. acetic acid in the cold. The combined effect of the two is that +of a brown shot with green. + +_Orange and Green._--This gives a splendid shot effect and is dyed as +follows. Work for an hour at the boil, for thirty minutes in a bath of +boiling water, then enter into a cold bath of 5 oz. Thioflavine T, +3 oz. Brilliant Green, and 3 lb. acetic acid; work for thirty minutes, +or until shade is obtained. + +_Orange and Blue._--Use first dye-bath as in the last, then, after +washing in hot water, dye in a bath of 2 oz. New Methylene Blue N, and +3 lb. acetic acid. + +_Silk, Sky Blue; Wool, Drab._--Make a dye-bath with 20 lb. acetic +acid, 3/4 oz. Indigotine, 3 oz. Fast Yellow extra and 2 oz. Azo (p. 195) +Fuchsine G. Work at the boil for one hour at 100° F., then pass into a +bath of 3/4 oz. Turquoise Blue B B, and 2 lb. acetic acid, working for +half an hour at 80°. + +_Silk, Pink; Wool, Pale Blue._--Make a dye-bath with 15 lb. acetic +acid and 4-1/2 oz. Indigotine. Work at the boil for an hour, then pass +into a bran bath as before; next enter into a dye-bath at 80° to 90° +of 3/4 oz. Brilliant Rhoduline R B, 1-1/2 oz. Auramine I I, and 2 lb. +acetic acid. + +_Silk, Green; Wool, Dark Crimson._--The first bath is made from 3 lb. +Azo Fuchsine G, 1 lb. Indian Yellow G and 20 lb. acetic acid; then +follows the bran and the final dye-bath, which is made from 1-1/2 oz. +Imperial Green G I, and 2 lb. acetic acid. + +_Silk, Orange; Wool, Black._--A dye-bath is made from 2 lb. +Indigotine, 2 lb. Indian Yellow G, 1/2 lb. Rhodamine G, and 20 lb. +acetic acid. Work at the boil for one hour; then lift, wash and dry. + +_Silk, Light Green; Wool, Dark Blue._--Make a dye-bath from 1/2 lb. +Azo Fuchsine G, 2 lb. Fast Light Green, and 20 lb. acetic acid. Work +at the boil to shade; then lift, wash and dry. + +_Silk, Yellow; Wool, Terra Cotta._--A dye-bath is made from 1-1/2 oz. +Indigotine, 3/4 lb. Azo Fuchsine G, 9 oz. Indian Yellow R, and 20 lb. +acetic acid. Work at the boil for one hour; then lift, wash and dry. + +_Silk, Light Sea Green; Wool, Pale Sage._--Make the dye-bath with +1/2 lb. Fast Yellow extra, 3 oz. Azo Fuchsine G, 1-1/2 oz. Fast Green +bluish, and 20 lb. acetic acid. Work as in the last recipe. + +_Silk, Light Green; Wool, Brown._--Make the dye-bath with 1 lb. Azo +Fuchsine G, 2-1/2 lb. Fast Yellow extra, 1/2 lb. Fast Green bluish, +and 20 lb. acetic acid. Work at the boil for one hour. + +_Silk, Pale Blue; Wool, Crimson._--Make a dye-bath with 2 lb. (p. 196) +Azo Crimson L and 20 lb. acetic acid. Work at the boil for one +hour, then pass into a bran bath for half an hour at 90° F., and into +another bath containing 1/2 lb. Turquoise Blue G, and 2 lb. acetic +acid, at 90° F., for half an hour; then wash and dry. + +_Silk, Light Drab; Wool, Lavender._--Make the first dye-bath from +3 oz. Indigotine, 2 oz. Azo Fuchsine G, and 20 lb. acetic acid. After +working an hour at the boil, pass into a bran bath for half an hour, +afterwards topping with 1-1/2 oz. Bismarck Brown R and 2 lb. acetic +acid. + + + + +CHAPTER VII. (p. 197) + +OPERATIONS FOLLOWING DYEING: WASHING, SOAPING, DRYING. + + +After loose wool, or woollen yarns or piece goods of every description +have been dyed, before they can be sent out for sale they have to pass +through various operations of a purifying character. There are some +operations through which cloths pass that have as their object the +imparting of a certain appearance and texture to them, these are +generally known as finishing processes, of these it is not intended +here to speak, but only of those which precede them but follow on the +dyeing operations. + +These processes are usually of a very simple character, and common to +most colours which are dyed, and here will be noticed the appliances +and manipulations necessary in the carrying out of these operations. + +#Squeezing or Wringing.#--It is advisable when the goods are taken out +of the dye-bath to squeeze or wring them according to circumstances in +order to express out all surplus dye-liquor, which can be returned to +the dye-bath if needful to be used again. This is an economical +proceeding in many cases, especially in working with many of the old +tannin materials, like sumac, divi-divi, myrobalans, and the modern +direct dyes, which during the dyeing operations are not completely +extracted out of the bath, or in other words the dye-bath is not +exhausted of colouring matter, and therefore it can be used again for +another lot of goods simply by adding fresh material to make up for +that absorbed by the first lot. + +Loose wool and loose cotton are somewhat difficult to deal with by (p. 198) +squeezing or wringing, but the material may be passed through a pair +of squeezing rollers such as are shown in figure 24, which will be +more fully dealt with later on. + +#Yarns in Hanks.#--In the hand-dyeing process of hank-dyeing the hanks +are wrung by placing one end of the hank on a wringing-horse placed +over the dye-tub, and a dye-stick in the other end of the hank, giving +two or three sharp pulls to straighten out the yarn and then twisting +the stick round; the twisting of the yarns puts some pressure on the +fibres thoroughly and uniformly squeezing out the surplus liquor from +the yarn. + +#Hank-Wringing Machines.#--Several forms of hank-wringing machines have +been devised. One machine consists of a pair of discs fitted on an +axle, these discs carry strong hooks on which the hanks are placed. +The operator places a hank on a pair of the hooks. The discs revolve +and carry round the hank, during the revolution the hank is twisted +and the surplus liquor wrung out, when the revolution of the discs +carries the hank to the spot where it entered the machine, the hooks +fly back to their original position, the hank unwinds, it is then +removed and a new hank put in its place, and so the machine works on, +hanks being put on and taken off as required. The capacity of such a +machine is great and the efficiency of its working good. + +Mr. S. Spencer, of Whitefield, makes a hank-wringing machine which +consists of a pair of hooks placed over a vat. One of the hooks is +fixed, the other is made to rotate. A hank hung between the hooks is +naturally twisted and all the surplus liquor wrung out, the liquor +falling into the vat. + +#Roller Squeezing Machines for Yarn.#--Hanks may be passed through a +pair of indiarubber squeezing rollers which may be so arranged that +they can be fixed as required on the dye-bath. Such a pair of (p. 199) +rollers is a familiar article and quite of common and general use in +dye-houses. + +#Piece Goods.#--These are generally passed open through a pair of +squeezing rollers, which are often attached to the dye-vat in which +the pieces are dyed. + +[Illustration: Fig. 24.--Read Holliday's Yarn-squeezing Machine.] + +#Read Holiday's Squeezing Machine.#--In figure 24 is shown a squeezing +machine very largely employed for squeezing all kinds of piece goods +after dyeing or washing. It consists of a pair of heavy rollers on +which, by means of the screws shown at the top, a very considerable +pressure can be brought to bear. The piece is run through the eye +shown on the left, by which it is made into a rope form, then over +the guiding rollers and between the squeezing rollers and into (p. 200) +waggons for conveyance to other machines. This machine is effective. + +Another plan on which roller, or rather in this case disc, squeezing +machines are made is to make the bottom roller with a square groove in +the centre, into this fits a disc, the cloth passing between them. The +top disc can, by suitable screws, be made to press upon the cloth in +the groove and thus squeeze the water out of it. + + +WASHING. + +One of the most important operations following that of dyeing is the +washing with water to free the goods, whether cotton or woollen, from +all traces of loose dye, acids, mordanting materials, etc., which it +is not desirable should be left in, as they might interfere with the +subsequent finishing operations. For this purpose a plentiful supply +of good clean water is required, this should be as soft as possible, +free from any suspended matter which might settle upon the dyed goods +and stain or speck them. + +Washing may be done by hand, as it frequently was in olden days, by +simply immersing the dyed fabrics in a tub of water, shaking, then +wringing out, again placing in fresh water to finish off. Or if the +dye-works were on the banks of a running stream of clean water the +dyed goods were simply hung in the stream to be washed in a very +effectual manner. + +In these days it is best to resort to washing machines adapted to deal +with the various kinds of fibrous materials and fabrics, in which they +can be subjected to a current of water. + +#Loose Wool.#--If this has been dyed by hand then the washing may also +be done in the same way by hand in a plain vat. If the dyeing has been +done on a machine then the washing can be done on the same machine. + +[Illustration: Fig. 25.--Hank-washing Machine.] + +#Yarn in Hanks.#--A very common form of washing machine is shown (p. 202) +in figure 25. As will be seen it consists of a wooden vat, over which +are arranged a series of revolving reels on which the hanks are hung, +the hanks are kept in motion through the water and so every part of +the yarn is thoroughly washed. Guides keep the hanks of yarn separate +and prevent any entanglement one with another. A pipe delivers +constantly a current of clean water, while another pipe carries away +the used water. Motion is given to the reels in this case by a donkey +engine attached to the machine, but it may also be driven by a belt +from the main driving shaft of the works. This machine is very +effective. + +[Illustration: Fig. 26.--Cloth-washing Machine.] + +#Piece Goods.#--Piece goods are mostly washed in machines, of which two +broad types may be recognised. First those where the pieces are dealt +with in the form of ropes or in a twisted form, and second those where +the pieces are washed while opened out full width. There are some +machines in which the cloths may be treated either in the open or rope +form as may be thought most desirable. + +Figure 26 represents a fairly well-known machine in which the (p. 203) +pieces are treated in a rope-like form. It consists of a trough +in which a constant current of water is maintained; at one end of this +trough is a square beating roller, at the other a wood lattice roller, +above the square beater and out of the trough are a pair of rollers +whose purpose is to draw the cloth through the machine and also partly +to act as squeezing rollers. As will be seen the cloth is threaded in +rope form spirally round the rollers, passing in at one end and out at +the other, pegs in a guide rail serving to keep the various portions +separate. The square beater in its revolutions has a beating (p. 204) +action on the cloth, tending to more effectual washing. The lattice +roller is simply a guide roller. + +[Illustration: Fig. 27.--Cloth-washing Machine.] + +Figure 27 shows a washing machine very largely used in the wool-dyeing +trade. The principal portion of this machine is of wood. + +The internal parts consist of a large wooden bowl, or oftener, as in +the machine under notice, of a pair of wooden bowls which are pressed +together by springs with some small degree of force. Between these +bowls the cloth is placed, more or less loosely twisted up in a rope +form, and the machines are made to take four, six or eight pieces or +lengths at one time, the ends of the pieces being stitched together so +as to make a continuous band. A pipe running along the front of the +machine conveys a constant current of clean water, which is caused to +impinge in the form of jets on the pieces of cloth as they run through +the machine, while an overflow carries away the used water. The goods +are run in this machine as long as is considered necessary for a +sufficient wash, which may take half to one and a half hours. + +In figure 30 is shown a machine designed to wash pieces in the broad +or open state. The machine contains a large number of guide rollers +built more or less open, round which the pieces are guided, the ends +of the pieces being stitched together, pipes carrying water are so +arranged that jets of clean water impinge on and thoroughly wash cloth +as it passes through, the construction of the guide rollers +facilitating the efficient washing of the goods. + + +SOAPING. + +Sometimes yarns or cloths have to be passed through a soap-bath after +being dyed in order to brighten up the colours or develop them in some +way. In the case of yarns this can be done on the reel washing (p. 205) +machines such as are shown in figure 25. In the case of piece goods a +continuous machine in which the washing, soaping, etc., can be carried +on simultaneously is often employed. Such a machine is shown in figure +28. It consists of a number of compartments fitted with guide rollers, +so that the cloth passes up and down several times through the liquors +in the compartment; between one compartment and another is placed a +pair of squeezing rollers. The cloth is threaded in a continuous +manner, well shown in the drawing, through the machine; in one +compartment it is treated with water, in another with soap liquor, and +another with water, and so on, and these machines may be made with +two, three or more compartments, as may be necessary for the +particular work in hand. As seen in the drawing the cloth passes in at +one end, and out at the other finished. It is usually arranged that a +continuous current of the various liquors used flows through the +various compartments, thus ensuring the most perfect treatment of the +cloths. + +[Illustration: Fig. 28.--Soaping and Washing Machine.] + + +DRYING. (p. 206) + +Following on the washing comes the final operation of the dyeing +process, that of drying the dyed and washed goods. Now textile fabrics +of all kinds after they have passed through dye-baths, washing +machines, etc., contain a large amount of water, often exceeding in +amount that of the fabric itself, and to take the goods direct from +the preceding operations to the drying plant means that a considerable +amount of fuel must be expended to drive off this large amount of +water. It is therefore very desirable that the goods be freed from as +much of this water as possible before they are sent into any drying +chambers, and this may be done in three ways, by wringing, squeezing +and hydro-extracting. The first two methods have already been +described (pp. 198, 199) and need not again be alluded to, the last +needs some account. + +[Illustration: Fig. 29.--Hydro-extractor.] + +Hydro-extractors are a most efficient means for extracting water (p. 207) +out of textile fabrics. They are made in a variety of forms by several +makers. Essentially they consist of a cylindrical vessel with +perforated sides, so constructed that it can be revolved at a high +speed. This vessel is enclosed in an outer cage. The goods are placed +in the basket, as it is termed, and then this is caused to revolve; at +the high speed at which it revolves centrifugal action comes into play +and the water contained in the goods finds its way to the outside of +the basket through the perforations and so away from the goods. +Hydro-extractors are made in a variety of sizes and forms, in some the +driving gear is above, in others below the basket, in some the driving +is done by belt gearing, in others a steam engine is directly +connected with the basket. Figures 29 and 30 show two forms which are +much in use in the textile industry. They are very efficient and +extract water from textile goods more completely than any other means, +as will be obvious from a study of the table below. + +[Illustration: Fig. 30.--Hydro-extractor.] + +The relative efficiency of the three systems of extracting the +moisture out of textile fabrics has been investigated by Grothe, who +gives in his _Appretur der Gewebe_, published in 1882, the following +table showing the percentage amount of water removed in fifteen +minutes:-- + + Yarns. Wool. Silk. Cotton. Linen. (p. 208) +Wringing 44·5 45·4 45·3 50·3 +Squeezing 60·0 71·4 60·0 73·6 +Hydro-extracting 83·5 77 81·2 82·8 + + Pieces. +Wringing 33·4 44·5 44·5 54·6 +Squeezing 64·0 69·7 72·2 83·0 +Hydro-extracting 77·8 75·5 82·3 86·0 + +In the practical working of hydro-extractors it is of the utmost +importance that the goods be carefully and regularly laid in the +basket, not too much in one part and too little in another. Any +unevenness in this respect at the speed at which they are driven +leaves such a strain on the bearings as to seriously endanger the +safety of the machine. + +[Illustration: Fig. 31.--Yarn-drying Machine.] + +After being wrung, squeezed or hydro-extracted the goods are ready to +be dried. In the case of yarns this may be done in rooms heated by +steam pipes placed on the floor, the hanks being hung on rods +suspended from racks arranged for the purpose. + +[Illustration: Fig. 32.--Cloth-drying Machine.] + +Where large quantities of yarn have to be dried it is most economical +to employ a yarn or drying machine, and one form of such is shown in +figure 31. The appearance of the machine is that of one long room from +the outside, internally it is divided into compartments, each of which +is heated up by suitably arranged steam pipes, but the degree of +heating in each compartment varies, at the entrance end it is (p. 209) +high, at the exit end low. The yarn is fed in at one end, being +hung on rods, and by suitable gearing it is carried directly through +the various chambers or sections, and in its passage the heat to which +it is subject drives off the water it contains. The yarn requires no +attention from the time it passes in wet at the one end of the (p. 210) +machine and comes out dry at the other end. The amount of labour +required is slight, only that represented by filling the sticks with +wet yarn and emptying the dried yarn. The machine works regularly and +well. + +The drying is accomplished by circulating heated air through the +yarns, this heating being effected by steam coils; fresh air +continually enters the chambers while water-saturated air is as +continually being taken out at the top of the chamber. One of the +great secrets in all drying operations is to have a constant current +of fresh hot air playing on the goods to be dried, this absorbs the +moisture they contain, and the water-charged air thus produced must be +taken away as quickly as possible. + +#Piece Goods.#--The most convenient manner of drying piece goods is to +employ the steam cylinder drying machine such as is shown in figure +32. This consists of a number of hollow tin or copper cylinders which +can be heated by steam passing in through the axles of the cylinders, +which are made hollow on purpose. The cloth to be dried passes round +these cylinders, which revolve while the cloth passes. They work very +effectually. + + + + +CHAPTER VIII. (p. 211) + +EXPERIMENTAL DYEING AND COMPARATIVE DYE TESTING. + + +Every dyer ought to be able to make experiments in the mordanting and +dyeing of textile fibres for the purpose of ascertaining the best +methods of applying mordants or dye-stuffs, the best methods of +obtaining any desired shade, and for the purpose of making comparative +tests of dyes or mordanting materials with the object of determining +their strength and value. This is not by any means difficult, nor does +it involve the use of any expensive apparatus, so that a dyer need not +hesitate to set up a small dyeing laboratory for fear of the expense +which it might entail. + +In order to carry out the work indicated above there will be required +several pieces of apparatus. First a small chemical balance; one that +will carry 50 grammes in each pan is quite large enough, and such a +one, quite accurate enough for this work, can be bought for 25s. to +30s., while if the dyer be too poor even for this a cheap pair of +apothecaries' scales might be used. It is advisable to procure a set +of gramme weights and to get accustomed to them, which is not by any +means difficult. + +In using the balance always put the substance to be weighed on the +left-hand pan and the weights on the right-hand pan. Never put +chemicals of any kind direct on the pan, but weigh them in a +watch-glass, small porcelain basin, or glass beaker (which has first +been weighed), according to the nature of the material which is being +weighed. The sets of weights are always fitted into a block or (p. 212) +box, and every time they are used they should be put back into their +proper place. + +The experimenter will find it convenient to provide himself with a few +small porcelain basins, glass beakers, cubic centimetre measures, two +or three 200 c.c. flasks with a mark on the neck, a few pipettes of +various sizes, 10 c.c., 20 c.c., 25 c.c. + +The most important feature is the dyeing apparatus. Where only a +single dye test is to be made a small copper or enamelled iron +saucepan, such as can be bought at any ironmongers may be used; this +may conveniently be heated by a gas-boiling burner, such as can also +be bought at an ironmongers or plumbers for 2s. + +[Illustration: Fig. 33.--Experimental Dye-bath.] + +It is, however, advisable to have means whereby several dyeing +experiments can be made at one time and under precisely the same +conditions, and this cannot be done by using the simple means noted +above. + +To be able to make perfectly comparative dyeing experiments it is best +to use porcelain dye-pots (these may be bought from most dealers in +chemical apparatus), and to heat these in a water-bath arrangement. + +The simplest arrangement is sketched in figure 33; it consists of a +copper bath measuring 15 inches long by 10-1/2 inches broad and (p. 213) +6-1/2 inches deep; this is covered by a lid on which are six apertures +to take the porcelain dye-baths. The bath is heated by two round +gas-boiling burners of the type already referred to. + +The copper bath is filled with water which, on being heated to the +boil by the gas burners, heat up the dye-liquors in the dye-pots. The +temperature in the dye-pots under such conditions can never reach the +boiling point; where it is desirable, as in some cases of wool +mordanting and dyeing that it should be so high, then there should be +added to the water in the copper bath a quantity of calcium chloride, +which forms a solution that has a much higher boiling point than that +of water, and so the dye-liquors in the dye-pots may be heated up to +the boil. + +An objection might be raised that with such an apparatus the +temperature in every part of the bath may not be uniform, and so the +temperature of the dye-liquors in the pots might vary also, and +differences of temperature often have a considerable influence on the +shade of the colour which is being dyed. This is a minor objection, +which is more academic in its origin than of practical importance. To +obviate it Mr. William Marshall, of the Rochdale Technical School, has +devised a circular form of dye-bath, in which the temperature in every +part can be kept quite uniform. + +The dyeing laboratories of Technical Schools and Colleges are +generally provided with a more elaborate set of dyeing appliances. +These in the latest constructed consist of a copper bath supported on +a hollow pair of trunnions, so that it can be turned over if needed. +Into the bath are firmly fixed three earthenware or porcelain +dye-pots; steam for heating can be sent through the trunnions. After +the dyeing tests have been made the apparatus can be turned over and +the contents of the dye-pots emptied into a sink which is provided for +the purpose. + +Many other pieces of apparatus have been devised and made for the (p. 214) +purpose of carrying on dyeing experiments on the small scale, but it +will not be needful to describe these in detail. After all no more +efficient apparatus can be desired than that described above. + +Dyeing experiments can be made with either yarns or pieces of cloth, +swatches as they are commonly called; a very convenient size is a +small skein of yarn or a piece of cloth weighing 5 grammes. These test +skeins or pieces ought to be well washed in hot water before use, so +that they are clean and free from any size or grease. A little soda or +soap will facilitate the cleansing process. + +In carrying out a dyeing test the dye-pot should be filled with the +water required, using as little as is consistent with the dye-swatch +being handled comfortably therein, then there is added the required +mordants, chemicals, dyes, etc., according to the character of the +work which is being done. + +Of such chemicals as soda, caustic soda, sodium sulphate (Glauber's +salt), tartar, bichromate of potash, it will be found convenient to +prepare stock solutions of known strength, say 50 grammes per litre, +and then by means of a pipette any required quantity can be +conveniently added. The same might be followed in the case of dyes +which are constantly in use, in this case 5 grammes per litre will be +found strong enough. + +Supposing it is desired to make a test of a sample of Acid Red, using +the following proportions, 2 per cent. dye-stuff, 3 per cent. +sulphuric acid and 15 per cent. Glauber's salt, and the weight of the +swatch which is being used is 5 grammes, the following calculations +are to be made to give the quantities of the ingredients required:-- + +For the dye-stuff, 5 (weight of swatch) multiplied by 2 (per cent. of +dye) and divided by 100 equals (5 x 2) / 100 = 0·1 gramme of dye. + +For the acid we have similarly (5 x 3) / 100 = 0·15 gramme of (p. 215) +acid. + +For the Glauber's salt (5 x 15) / 100 = 0·75 gramme of Glauber's salt. + +These quantities may be weighed out and added to the dye-bath, or if +solutions are kept a calculation can be made as to the number of cubic +centimetres which contain the above quantities, and these measured out +and added to the dye-bath. + +When all is ready the bath is heated up, the swatch put in and the +work of the test entered upon. + +Students are recommended to make experiments on such points as:-- + +The shades obtained by using various proportions of dye-stuffs. + +The influence of various assistants: common salt, soda, Glauber's +salt, borax, phosphate of soda in the bath. + +The influence of varying proportions of mordants on the shade of +dyeing. + +The value of various assistants, tartar, oxalic acid, lactic acid, +sulphuric acid, on the fixation of mordants. + +The relative value of tannin matters, etc. + +Each dyer should make himself a pattern book into which he should +enter his tests, with full particulars as to how they have been +produced at the side. + +It is important that a dyer should be able to make comparative +dye-tests to ascertain the relative strength of any two or more +samples of dyes which may be sent to him. + +This is not difficult but requires considerable care in carrying out +the various operations involved. + +0·5 gramme of each of the samples of dyes should be weighed out and +dissolved in 100 c.c. of water, care being taken that every (p. 216) +portion of the dye is dissolved before any of the solution is used in +making up the dye-vats. Care should be taken that the skeins of yarn +or swatches of cloth are exactly equal in weight, that the same volume +of water is placed in each of the dye-pots, that the same amounts of +sulphate of soda or other dye assistants are added, that the +quantities of dye-stuffs and solutions used are equal, in fact that in +all respects the conditions of dyeing are exactly the same, such in +fact being the vital conditions in making comparative dye-tests of the +actual dyeing strength of several samples of dyes. + +After the swatches have been dyed they are rinsed and then dried, when +the depths of shade dyed on them may be compared one with another. To +prevent any mistakes it is well to mark the swatches with one, two, +three or more cuts as may be required. + +It is easier to ascertain if two dyes are different in strength of +colour than to ascertain the relative difference between them. There +are two plans available for this purpose; one is a dyeing test, the +other is a colorimetric test made with the solutions of the dyes. + +#Dyeing Test.#--This method of ascertaining the relative value of two +dyes as regards strength of colour is carried out as follows. A +preliminary test will show which sample is stronger than the other; +then there is prepared a series of dye-vats, one contains a swatch +with the deepest of the two dyes, which is taken as the standard, the +others with the other dye but containing 2, 5 and 10 per cent. more +dye-stuff, and all these are dyed together, and after drying a +comparison can be made between these and the standard swatch, and a +judgment formed as to the relative strength of the two dyes; a little +experience will soon enable the dyer to form a correct judgment of the +difference in strength between two samples of dye-stuff. + +The colorimetric test is based on the principle that the colour (p. 217) +of a solution of dye-stuff is proportionate to its strength. Two white +glass tubes, equal in diameter, are taken; solutions of the +dye-stuffs, 0·5 gramme in 100 c.c. of water, are prepared, care being +taken that the solution is complete. 5 c.c. of one of these solutions +is taken and placed in one of the glass tubes, and 5 c.c. of the other +solution is placed in the other glass tube, 25 c.c. of water is now +added to each tube and then the colour of the diluted liquids is +compared by looking through in a good light. That sample which gives +the deepest solution is the strongest in colouring power. By diluting +the strongest solution with water until it is of the same depth of +colour as the weakest, it may be assumed that the length of the +columns of liquid in the two tubes is in proportion to the relative +strength of the two samples. Thus if in one tube there are 30 +centimetres of liquid and in the other 25 centimetres, then the +relative strength is as 30 to 25, and if the first is taken as the +standard at 100 a proportion sum may be worked out as follows:-- + +30: 25 :: 100 : 83·3; + +that is, the weakest sample has only 83·3 per cent. of the strength of +the strongest sample. + + + + +CHAPTER IX. (p. 218) + +TESTING OF THE COLOUR OF DYED FABRICS. + + +It is frequently desirable that dyers should be able to ascertain with +some degree of accuracy what dyes have been used to dye any particular +sample of dyed cloth that has been offered to them to match. In these +days of the thousand-and-one different dyes that are known it is by no +means an easy thing to do, and when, as is most often the case, two or +three dye-stuffs have been used in the production of a shade, the +difficulty is materially increased. + +The only available method is to try the effect of various acid and +alkaline reagents on the sample, noting whether any change of colour +occurs, and judging accordingly. It would be a good thing for dyers to +accustom themselves to test the dyeings they do and so accumulate a +fund of practical experience which will stand them in good stead +whenever they have occasion to examine a dyed pattern of unknown +origin. + +The limits of this book do not permit of there being given a series of +elaborate tables showing the action of various chemical reagents on +fabrics dyed with various colours, and such indeed serve very little +purpose, for it is most difficult to describe the minor differences +which often serve to distinguish one colour from another. Instead of +doing so we will point out in some detail the methods of carrying out +the various tests, and advise all dyers to carry these out for +themselves on samples dyed with known colours, and when they have an +unknown colour to test to make tests comparatively with known (p. 219) +colours that they think are likely to have been used in the production +of the dyed fabric they are testing. + +One very common method is to spot the fabric, that is to put a drop of +the reagent on it, usually with the aid of the stopper of the reagent +bottle, and to observe the colour changes, if any, which ensue. + +This is a very useful test and should not be omitted; and it is often +employed in the testing of indigo dyed goods with nitric acid, those +of logwood with hydrochloric acid, alizarine with caustic soda, and +many others. It is simple and easy to carry out, and only takes a few +minutes. + +To make a complete series of tests of dyed fabrics there should be +provided the following reagents:-- + + 1. Strong sulphuric acid as bought. + + 2. Dilute sulphuric acid, being the strong acid diluted with 20 + times its volume of water. + + 3. Concentrated hydrochloric acid as bought. + + 4. Dilute hydrochloric acid, 1 acid to 20 water. + + 5. Concentrated nitric acid as bought. + + 6. Dilute nitric acid, 1 acid to 20 water. + + 7. Acetic acid. + + 8. Caustic soda solution, 5 grammes in 100 c.c. water. + + 9. Ammonia (strong). + + 10. Dilute ammonia, 1 strong ammonia to 10 water. + + 11. Carbonate of soda solution, 5 grammes in 100 c.c. water. + + 12. Bleaching powder solution, 2° Tw. + + 13. Bisulphite of soda, 72° Tw. + + 14. Stannous chloride, 10 grammes crystals in 100 c.c. water, + with a little hydrochloric acid. + + 15. Methylated spirit. + +Small swatches of the dyed goods are put in clean porcelain basins, +and some of these solutions poured over them. Any change of colour (p. 220) +of the fabric is noted as well as whether any colour is imparted to +the solutions. After making observations of the effects in the cold, +the liquids may be warmed, and the results again noted. After being +treated with the acids the swatches should be well washed with water, +when the original colour may be wholly or partially restored. + +To give tables showing the effects of these reagents on the numerous +dyes now known would take up too much room and not serve a very useful +purpose, as such tables if too much relied on leave the operator +somewhat uncertain as to what he has before him. The reader will find +in Hurst's _Dictionary of Coal-Tar Colours_ some useful notes as to +the action of acids and alkalies on the various colours that may be of +service to him. + +Alizarine and the series of dye-stuffs to which it has given its name, +fustic, cochineal, logwood and other dyes of a similar class, require +the fabric to be mordanted, and the presence of such mordant is +occasionally an indirect proof of the presence of these dyes. + +To detect these mordants a piece of the swatch should be burnt in a +porcelain or platinum crucible over a bunsen burner, care being taken +that all carbonaceous matter be burnt off. A white ash will indicate +the presence of alumina mordants, red ash that of iron mordants, and a +greenish ash chrome mordants. + +To confirm these the following chemical tests may be applied. Boil the +ash left in the crucible with a little strong hydrochloric acid and +dilute with water. Pass a current of sulphuretted hydrogen gas through +the solution, if there be any tin present a brown precipitate of tin +sulphide will be obtained. This can be filtered off. The filtrate is +boiled for a short time with nitric acid, and ammonia is added to the +solution when alumina is thrown down as a white, gelatinous precipitate, +iron is thrown down as a brown red, bulky precipitate, while (p. 221) +chrome is thrown down as a greyish-looking, gelatinous precipitate. +The precipitate obtained with the ammonia is filtered off and a drop +of ammonium sulphide added, when any zinc present will be thrown down +as white precipitate of zinc sulphide; to the filtrate from this +ammonium oxalate may be added, when if lime is present a white +precipitate of calcium oxalate is obtained. + +A test for iron is to dissolve some of the ash in a little +hydrochloric acid and add a few drops of potassium ferrocyanide +solution, when if any iron be present a blue precipitate will be +obtained. + +To make more certain of the presence of chrome, heat a little of the +ash of the cloth with caustic soda and chlorate of soda in a porcelain +crucible until well fused, then dissolve in water, acidify with acetic +acid and add lead acetate, a yellow precipitate indicates the presence +of chrome. + +A book on qualitative chemical analysis should be referred to for +further details and tests for metallic mordants. + +The fastness of colours to light, air, rubbing, washing, soaping, +acids and alkalies is a feature of some considerable importance, there +are indeed few colours that will resist all these influences, and such +are fully entitled to be called fast. The degree of fastness varies +very considerably, some colours will resist acids and alkalies well, +but are not fast to light and air; some will resist washing and +soaping, but are not fast to acids; some may be fast to light, but are +not so to washing. The following notes will show how to test these +features. + +#Fastness to Light and Air.#--This is simply tested by hanging a piece +of the dyed cloth in the air, keeping a piece in a drawer to refer to, +so that the influence on the original colour can be noted from time to +time. If the piece is left out in the open one gets not only the +effect of light but also that of climate on the colour, and there (p. 222) +is no doubt rain, hail and snow have some influence on the fading of +the colour. If the piece is exposed under glass the climatic +influences do not come into play, and one gets the effect of light +alone. + +In making tests of fastness the dyer will and does pay due regard to +the character of the influences that the material will be subjected to +in actual use, and these vary very considerably; thus the colour of +underclothing need not be fast to light, for it is rarely subjected to +that agent of destruction; on the other hand, it must be fast to +washing, for that is an operation to which underclothing is subjected +week by week. + +Window curtains are much exposed to light and air, and, therefore, the +colours in which they are dyed should be fast to light and air. On the +other hand, these curtains are rarely washed, and so the colour need +not be quite fast to washing. And so with other kinds of fabrics; +there are scarcely two kinds which are subjected to the same +influences and require the colours to have the same degree of +fastness. + +The fastness to rubbing is generally tested by rubbing the dyed cloth +with a piece of white paper. + +#Fastness to Washing.#--This is generally tested by boiling a swatch of +the cloth in a solution of soap containing 4 grammes of a good neutral +curd soap per litre for ten minutes, and noting the effect whether the +soap solution becomes coloured and to what degree, or whether it +remains colourless, and also whether the colour of the swatch has +changed at all. + +One very important point in connection with the soaping tests is +whether a colour will run into a white fabric that may be soaped along +with it. This is tested by twisting strands of the dyed yarn or cloth +with white yarn or cloth and boiling them in the soap liquor for ten +minutes and then noting the effect, particularly observing (p. 223) +whether the white pieces have taken up any colour. + +Fastness to acids and fastness to alkalies is observed while carrying +out the various acid and alkali tests given above. + + +THE END. + + + + +INDEX. (p. 225) + + +#A.# + +Acetate of ammonia, 93, 94, 101, 102, 127, 128, 129, 132, 167, + 192, 194. +------- of chrome, 115. +------- of lime, 158, 159. + +Acetic acid, 127. + +Acid black, 37, 89. +---- ----- B, 92, 99. +---- ----- B B, 99, 111, 112. +---- ----- S, 90, 99. +---- blue 4 S, 98, 127. +---- ---- 1 V, 153. +---- dyes for blue, 152. +---- ---- for brown, 161. +---- ---- for green, 128. +---- ---- for mode colours, 165. +---- ---- for violet, 160. +---- dye-stuffs, 61. +---- green, 53, 91, 92, 127, 184, 189, 190, 192, 193. +---- ----- B, 128, 191. +---- ----- blue shade, 136. +---- ----- B N, 136. +---- ----- extra, 155. +---- ----- G G, 192. +---- magenta, 73, 105, 111, 113, 183, 190. +---- mauve, 96. +---- ----- B, 161. +---- red, test for, 214. +---- violet, 105. +---- ------ 4 B, 193. +---- ------ 5 B, 154, 160, 189, 191. +---- ------ 5 B E, 162. +---- ------ 6 B, 130, 171, 181. +---- ------ 10 B, 191. +---- ------ N, 92, 99, 161, 162. +---- ------ 6 R N, 161. +---- ------ 4 R S, 160. +---- ------ V, 162. +---- ------ 1 V, 153. +---- yellow, 53, 99, 123, 183, 190. + +Acids, action on wool, 11. + +Acridine red, 102. +-------- scarlet, 102. + +Adjective group of dye-stuffs, 68. + +Alizarine, 61, 69, 72, 73, 86, 114, 220. +--------- black, 99. +--------- ----- S W, 94, 113. +--------- blue, 116, 119, 166. +--------- ---- A, 158. +--------- ---- D N W, 131, 132, 133, 158, 164, 166. +--------- ---- S W, 108. +--------- Bordeaux, 133. +--------- -------- B, 98, 155. +--------- -------- G, 155, 159. +--------- brown, 131, 132, 133, 158, 164, 166. +--------- claret R, 118. +--------- colours, 77. +--------- cyanine, 111, 119, 156. +--------- ------- black, 93, 94, 159, 160. +--------- ------- G, 159. +--------- ------- G G, 98, 157. +--------- ------- G extra, 157. +--------- ------- R, 99, 157. +--------- ------- R R, 157. +--------- ------- R R R, 93, 157. +--------- ------- 3 R double, 157, 160. +--------- G, 122. +--------- green, 127. +--------- ----- S, 132. +--------- ----- S W, 132. +--------- grey B, 166. +--------- orange, 119, 123. +--------- ------ 2 G, 120. +--------- ------ H, 164. +--------- ------ N, 118, 122, 166. +--------- ------ W, 119. +--------- ------ R, 163. +--------- ------ R R, 122. +--------- red 1 W S, 118, 119, 120, 122. +--------- --- 2 W S, 118. +--------- --- 3 W S, 119, 164. +--------- --- 5 W S, 118, 120. +--------- S X, 120. +--------- yellow, 70, 71, 115, 116, 123, 131, 133, 156, 164, 166. +--------- ------ G G, 115, 122. +--------- ------ G G W, 94, 125, 126, 131, 132, 164. +--------- ------ R W, 122. + +Alkali blue, 152, 189. +------ ---- B, 152. +------ ---- 6 B, 180. +------ yellow R, 169. + +Alkalies, action on wool, 9. + +Alkaline blue 6 B, 178. +-------- ---- 171, 177. + +Alpaca, 1, 83. + +Alum, 74, 77, 85, 86, 97, 115, 117, 129, 131. + +Alumina, 114. +------- sulphate, 115, 117. + +Aluminium salts, 8. + +Amaranth, 92, 108, 111, 192. + +Amido-benzoic acid, 114. + +Ammonia, 17, 27, 33, 78. +------- action on wool, 60. + +Angora goat, 1. + +Annotta, 13, 63. + +Anthracene acid black S T, 193. +---------- ---- browns, 115. +---------- blue W B, 159. +---------- ---- W G, 132, 158, 159. +---------- brown, 94, 119, 132. +---------- ----- R, 163. +---------- ----- W, 159, 164. +---------- chrome black, 96, 99. +---------- ------ ----- F, 95. +---------- ------ ----- F F, 92, 96. +---------- red, 122, 134. +---------- yellow, 69, 70, 115. +---------- ------ B N, 96, 126, 135. +---------- ------ C, 90, 98, 109, 122, 124, 125, 126, 132, 163, 167. +---------- ------ G G, 126. + +Anthracite black B, 90, 96, 132, 163. +---------- ----- R, 90, 98. + +Anthragallol, 114. + +Archil, 75, 189. +------ substitute N, 99, 107, 110, 131, 155, 162, 165. + +Argol, 86, 97, 115, 116, 117, 151. +----- lactic acid, 116. + +Artificial wool, 174. + +Auramine, 53, 64, 103, 189. +-------- base, 64. +-------- I I, 195. + +Auroline, 169. + +Azo acid brown, 130. +--- ---- magenta G, 162. +--- ---- rubine, 111. +--- ---- violet 4 R, 109, 111, 161. +--- ---- yellow, 171. +--- black, 89. +--- blue, 171. +--- Bordeaux, 109, 191. +--- carmine, 124, 161, 166. +--- ------- B, 130. +--- cochineal, 105, 112, 191. +--- crimson L, 196. +--- dye-stuffs, 61, 66. +--- flavine, 189. +--- ------- S, 210. +--- fuchsine, 109, 115. +--- -------- G, 108, 130, 160, 162, 191, 194, 195, 196. +--- green, 70, 127. +--- mauve, 171. +--- red A, 108, 111, 171, 176, 177, 179, 190, 194. +--- rubine, 92. +--- scarlet, 53. +--- yellow, 93, 124, 128, 129, 130, 155, 162, 165. + + +#B.# + +Basic dyes for violet, 160. +----- dye-stuffs, 61. + +Batching of wool, 15, 25. + +Benzo azurine 3 G, 170. +----- ------- R G, 170. +----- blue black G, 170. +----- brown, 61. +----- dyes, 168. +----- fast red, 100, 102, 110. +----- ---- scarlet, 62. +----- ---- ------- B S, 102. +----- flavine, 64. +----- green, 127. +----- orange R, 121. + +Benzol, 16, 24. + +Benzoline, 25. + +Benzopurpurine, 61, 100. +-------------- B, 170. +-------------- 4 B, 111, 170, 180, 181. +-------------- 10 B, 170, 180. + +Bichromate of potash, 16, 115, 131, 132, 133, 134, 135, 166, 167, 193. +---------- of potassium, 175. + +Bisulphate of soda, 33, 131, 141, 146, 167, 184, 192, 193, 194. + +Bismarck brown, 189, 190. +-------- ----- R, 196. + +Black, 93, 95, 176, 177, 180, 191, 193, 195. +----- and blue, 185, 186. +----- and green blue, 185. +----- and pink, 186. +----- and yellow, 186. +----- blue, 152, 157. +----- ---- O, 155. +----- on wool, 83, 91. + +Bleaching wool, 29. + +Blue, 153, 158. +---- and gold yellow, 185. +---- and orange, 187. +---- black, 96, 153, 159, 179, 182, 192. +---- ----- on wool, 89, 90, 91, 92, 94. +---- green, 127, 128, 129, 130. +---- shades on wool, 136. + +Bluestone, 74, 86, 87, 88, 135. + +Bluish Bordeaux red, 110. +------ crimson, 108. +------ green, 134. +------ red, 106, 120. +------ pink, 111, 112. +------ purple, 109. +------ violet, 160. +------ rose, 193. + +Borax, 215. + +Bordeaux, 102. +-------- B L, 110. +-------- red, 109, 110, 113. + +Bottle green, 127, 130, 132, 134. + +Bran, 138, 144, 145. + +Brazil wood, 114. + +Bright blue, 152, 153, 155, 156, 158, 180. +------ Bordeaux red, 109, 110. +------ buff, 164, 165. +------ canary, 124. +------ cherry red, 109, 110. +------ chestnut, 164. +------ crimson, 108. +------ fawn, 165. +------ ---- red, 118. +------ electric blue. 156. +------ golden brown, 163. +------ grass green, 130, 133. +------ green, 127, 128, 134. +------ greenish blue, 154. +------ leaf green, 129. +------ lemon yellow, 125. +------ maroon, 119. +------ moss green, 129. +------ orange, 121, 122. +------ pale sage green, 131. +------ peacock green, 130. +------ red, 111, 193. +------ scarlet, 102, 112. +------ straw, 124. +------ violet, 161. +------ ---- blue, 156. +------ yellow, 123, 124, 175, 176, 178. + +Brilliant alizarine blue G, 133, 157, 158, 161. +--------- azurine 5 G, 170. +--------- cochineal 2 R, 112, 123, 193. +--------- --------- 4 R, 123, 185. +--------- Congo G, 102. +--------- ----- R, 170. +--------- croceine B, 106, 123. +--------- -------- 3 B, 123. +--------- -------- 5 B, 123. +--------- -------- 7 B, 123. +--------- -------- 9 B, 123. +--------- -------- B B, 106. +--------- -------- M, 106. +--------- -------- M O O, 123. +--------- -------- N, 189. +--------- green, 53, 64, 127, 190, 193, 194. +--------- milling green B, 171. +--------- orange, 92. +--------- orseille C, 107, 112. +--------- pale bluish crimson, 108. +--------- ponceau G, 106. +--------- ------- 2 R, 106. +--------- ------- 4 R, 112. +--------- purpurine R, 170. +--------- rhoduline R B, 195. +--------- royal blue, 154. +--------- scarlet, 119, 171. +--------- ------- G, 171. +--------- ------- 4 R, 105. + +Bronze green, 131, 180. + +Brown, 161, 163, 164, 181, 192, 195. +----- and violet, 186. +----- and pink, 194. +----- and blue, 185. +----- black, 94. +----- olive and green, 193. + +Brown shades on wool, 161. + +Buff, 164. + + +#C.# + +Calcium salts, 8. + +Camel-hair, 83. + +Camwood, 76, 86. + +Carbohydrate, 7. + +Carbonate of soda, 27, 78, 169. + +Carbon disulphide, 16, 24. + +Carbonising of wool, 11. + +Carded wool, dyeing of, 44. + +Carmoisin, 189. +--------- B, 191. + +Cashmere, 83, 173. +-------- goat, 1. + +Caustic soda, 141. +------- lye, 147. + +Celestine blue B, 155. + +Chemical vats, 138. + +Chemic extract, 150. + +Cherry red, 109, 110. + +Chestnut, 163. +-------- brown, 184. + +Chicago blue B, 170. +------- ---- 4 B, 170. +------- ---- 6 B, 170, 180. +------- ---- G, 170. +------- ---- R W, 181. +------- ---- R R W, 170. + +Chloramine orange, 121. +---------- yellow, 169. + +Chlorination of wool, 37. + +Chlorine, action on wool, 12. + +Cholesterine, 7, 23. + +Chrome, 114. +------ acetate, 129. +------ alum, 115. +------ blue, 158. +------ Bordeaux 6 B, 161. +------ brown R, 164. +------ fluoride, 77. +------ logwood black, 84, 85. +------ ------- jet black, 85. +------ mordant, 151. +------ patent black D G, 92. +------ violet, 115, 119. + +Chromine G, 169. + +Chromogene I, 120. + +Chromotrop, 115. +---------- 2 B, 125. +---------- 6 B, 108, 154. +---------- 10 B, 94, 109. +---------- R, 106. +---------- 2 R, 99, 107, 129, 130, 155, 162, 165. +---------- S, 93, 94. + +Chrysamine, 61, 128, 170. +---------- G, 165. + +Chrysoidine, 184. + +Chrysophenine, 61, 102, 128, 170. +------------- G, 180. + +Claret, 110, 111, 118, 120. +------ red, 110. + +Clayton yellow, 170. + +Cloth-drying machine, 209. +------------ red, 73. +------------ washing machine, 29, 30, 202, 203. + +Coal tar, 137. +---- --- colours, 114. +---- --- dyes, 63. +---- --- ---- for dyeing blue, 152. + +Coatings, 173. + +Cochineal, 97, 114, 190, 220. +--------- scarlet, 77. + +Coerulein, 114, 133. +--------- B, 132. +--------- S W, 132. +--------- blue, 192. + +Colour lakes, 113. +------ strength, test for, 216. +------ testing, 218. + +Columbia black B, 170. +-------- ----- F B, 170, 181. +-------- red 8 B, 170. +-------- yellow, 169. + +Congo blue, 62. +----- brown G, 170, 180. +----- ----- R, 161, 171. +----- Corinth G, 171, 180, 187. +----- ------- B, 169, 171. +----- dyes, 168. +----- orange G, 170. +----- ------ R, 165, 170. +----- R, 170. +----- red, 62. + +Copperas, 74, 86, 87, 88, 97, 133, 134, 135. +-------- vats, 138. + +Copper-cased dye beck, 56. + +Coral red, 112. + +Cornflower blue, 181. + +Corron's hank-dyeing machine, 49. + +Cotton yellow, 170. + +Cream of tartar, 116. + +Crimson, 103, 108, 113, 180, 183, 191, 194. + +Croceine A Z, 123, 171, 189, 191, 192. +-------- orange, 121, 122, 189. +-------- ------ E N, 123. +-------- scarlet, 108. +-------- ------- 3 B, 191. +-------- ------- 3 R, 167. + +Cross dyeing, 183. + +Crushed strawberry, 105. +------- ---------- red, 107, 118. + +Crystal scarlet 6 R, 123. + +Cudbear, 97. + +Curcumine extra, 171, 181, 187. +--------- S, 180, 186. + +Cutch, 76, 97. +----- brown, 76. + +Cyanine B, 107, 111, 124, 129, 130, 155, 165. +------- scarlet R, 111. + +Cyanole, 107, 111, 131, 165. +------- extra, 99, 108, 112, 113, 131, 155, 184, 185, 186. +------- green B, 134. +------- ----- 6 G, 134. + +Cyprus green B, 136. +------ ----- R, 136. + + +#D.# + +Dark beige green, 130. +---- blue, 152, 154, 157, 159, 176, 178, 179, 180, 181, 182, 195. +---- Bordeaux red, 120. +---- bottle green, 131, 132. +---- brown and blue, 185. +---- ----- 163, 164, 177, 179, 180, 181, 182. +---- buff, 165. +---- chestnut, 162. +---- cherry red, 112. +---- crimson, 102, 195. +---- green, 127, 128, 131, 177, 180, 183. +---- ----- and pale crimson, 194. +---- grey, 98, 166, 167, 178, 181, 192. +---- invisible blue, 156. +---- maroon, 193. +---- navy, 157, 159. +---- ---- blue, 155. +---- olive brown, 162. +---- orange, 121. +---- peacock blue, 156. +---- red, 120. +---- sage, 179. +---- ---- green, 130. +---- sea green, 171. +---- seal, 162, 163. +---- slate, 159, 166, 177. +---- stone, 177. +---- violet, 161. +---- ------ brown, 164. +---- walnut, 164, 179. + +Dead black on wool, 90. + +Deep blue, 154, 155. +---- Bordeaux red, 109. +---- brown, 162. +---- crimson, 108, 112, 113, 118. +---- electric green, 131. +---- fawn, 107. +---- ---- red, 107, 119. +---- golden yellow, 125. +---- indigo blue, 192. +---- leaf green, 130. +---- ---- yellow, 125. +---- lemon, 125. +---- maroon, 111, 119, 191. +---- navy, 153. +---- ---- blue, 153. +---- olive yellow, 125. +---- orange, 122, 176. +---- red, 103. +---- sage green, 131, 132. +---- scarlet, 106, 112, 119. +---- seal, 162. +---- sky blue, 155. +---- violet, 160. +---- ------ brown, 192. +---- yellow, 124, 126. + +Delahunty's dyeing machine, 43, 44. + +Deltapurpurine 5 B, 130. + +Diamine black, 99, 155. +------- ----- B H, 170, 177, 178. +------- ----- B O, 170. +------- ----- H W, 169, 177, 178. +------- ----- R O, 170. +------- blue, 62. +------- ---- 2 B, 170. +------- ---- 3 B, 170. +------- ---- B G, 170. +------- ---- B X, 170. +------- ---- G, 169. +------- ---- R W, 169, 170. +------- ---- 3 R, 170. +------- ---- black E, 170. +------- Bordeaux, 102. +------- -------- B, 169, 170, 177, 179. +------- -------- S, 170. +------- brilliant blue G, 170, 176, 178, 179. +------- bronze G, 171, 177. +------- brown, 62, 179. +------- ----- B, 169. +------- ----- G, 170. +------- ----- 3 G, 169. +------- ----- G W, 169. +------- ----- N, 169, 177. +------- ----- S, 170. +------- ----- V, 170, 177. +------- catechine B, 170, 179. +------- --------- G, 169, 170. +------- cutch, 176. +------- dark blue B, 169, 170, 180. +------- dyes, 168. +------- fast yellow A, 170, 175, 186. +------- ---- ------ B, 169, 176, 177, 179. +------- ---- red F, 98, 100, 102, 109, 112, 124, 132, 163, 167, 169. +------- gold, 121, 170, 175. +------- green, 127. +------- ----- B, 169. +------- ----- G, 169, 170. +------- new blue R, 170. +------- nitrazol brown B, 170. +------- -------- G, 170. +------- orange B, 169, 177, 178, 179. +------- ------ D, 170. +------- ------ D C, 121. +------- ------ G, 170, 175, 178, 184, 185. +------- ------ G C, 121. +------- ------ O, 170. +------- red, 62, 169. +------- --- B, 170. +------- --- 5 B, 178. +------- --- N O, 170. +------- rose B D, 102, 169, 178, 186. +------- scarlet B, 112, 121, 122, 170, 178. +------- ------- 3 B, 170. +------- sky blue, 170, 185. +------- --- ---- F F, 170, 185, 186. +------- steel blue L, 170, 177, 185. +------- violet N, 170, 178, 186. + +Diamond black, 93, 99. +------- ----- F, 92. +------- ----- on wool, 93. +------- brown, 164. +------- flavine, 133, 163. +------- ------- G, 98. +------- green, 93. +------- yellow B, 133. + +Dihydroxynaphthalene, 88. +--------- sulpho acid, 116. + +Dinitroso-resorcine, 127. + +Direct black, 88. +------ dyes, 197. +------ ---- for blue, 152. +------ ---- for brown, 161. +------ ---- for green, 127. +------ ---- for mode colours, 165. +------ ---- for orange, 121. +------ ---- for violet, 160. +------ orange R, 170. +------ red dyes, 100. +------ yellow G, 170. + +Divi-divi, 197. + +Drab, 165, 166, 167, 178, 179, 181, 182, 194. + +Dress goods, 173. + +Drying of goods, 205. + +Dyeing machinery, 40, 43. +------ test, 216. +------ tubs, 41. + +Dye-jiggers, 51, 52. +----------- tests, 211. +----------- vat with steam pipe, 42. + + +#E.# + +Electric blue, 155. + +Emerald green, 128, 129, 130, 135. + +Emin red, 107, 110. + +Eosine, 190. +------ red, 104. + +Erie blue, 2 G, 170. + +Erika B N, 170, 187. + +Erythesine D, 112. + +Erythrosine, 104, 190. + +Experimental dye-bath, 212. +------------ dyeing, 211. + + +#F.# + +Fast acid violet 10 B, 111, 130, 162, 165, 189. +---- ---- ------ R, 108, 110, 111, 112, 113, 120, 130, 166. +---- ---- blue R, 99, 107, 129, 155, 165. +---- ---- green B N, 96, 134, 185. +---- ---- magenta B, 105, 108, 109, 153. +---- black, 96. +---- blue, 37. +---- bright olive, 135. +---- chrome black, 92. +---- green, 127, 133. +---- green bluish, 111, 130, 154, 160, 162, 165, 189, 192, 194, 195. +---- ----- extra bluish, 162. +---- light green, 195. +---- red, 102, 111. +---- scarlet, 105. +---- yellow, 109, 124, 161, 162, 165, 166, 194. +---- ------ F Y, 90, 91, 105, 123, 130. +---- ------ S, 111, 113, 135, 186, 193. +---- ------ extra, 194, 195. + +Fastness to acid, test for, 223. +-------- to alkalies, test for, 223. +-------- to light and air, test for, 221. +-------- to washing, test for, 222. + +Fawn, 118. +---- drab, 179. +---- red, 107, 113. + +Ferrous sulphate, 115, 117. + +Fermentation vats, 138. + +Flavazol, 70. + +Fluoride of chrome, 91, 98, 102, 110, 115, 117, 129, 132, 133, 167. + +Formyl blue B, 171. +------ violet, 53. +------ ------ 6 B, 171. +------ ------ 10 B, 171. +------ ------ S 4 B, 155, 161, 171, 175, 176, 178, 179, 180, 185, + 189, 190, 191. + +Fulling fast olive, 135. + +Fustic, 66, 69, 70, 77, 83, 85, 86, 87, 97, 120, 220. +------ extract, 88, 123, 131, 133, 134, 135. + + +#G.# + +Galleine, 166. + +Gallipoli oil, 26. + +Galloflavine, 70, 119, 133. + +Gambine, 61, 114, 119, 127. +------- B, 164. +------- R, 133, 164, 167. +------- V, 96, 125, 133, 164. +------- yellow, 93, 115, 125. + +Geranine B, 160. +-------- G, 102. + +Glacier blue, 155. + +Glauber's salt, 81, 89, 91, 99, 127, 128, 129, 130, 135, 150, 151, + 169, 171, 172, 184, 215. + +Gloria, dyeing of, 188. + +Gold and green, 184. +---- brown, 176, 179, 185. +---- orange, 122, 123, 176. +---- yellow, 126. + +Golden brown, 162, 163. +------ yellow, 125, 126. + +Good yellow, 175. + +Grass green, 128. + +Green, 127, 131, 178, 192, 193, 195. +----- and buff, 186. +----- and claret, 185. +----- and red, 186. +----- and orange, 187. + +Greenish, 98. +-------- black on wool, 91. +-------- straw, 124. + +Grey, 98, 165, 182. +---- and orange, 186. +---- blue, 158. +---- on wool, 96. + +Guinea green B, 171, 181, 187. +------ violet 4 B, 171, 181. + + +#H.# + +Hæmatoxylin of logwood, 84. + +Hand dyeing, 40. +---- scouring of wool, 18. + +Hank-washing machine, 201. +---- wringing machines, 198. + +Hare fur, 83. + +Hessian violet, 102, 171. + +Holliday's patent indigo vat, 143. + +Hydrochloric acid, 88. + +Hydrochloride of rosaniline, 9. + +Hypochlorites, action on wool, 12. + +Hydro-extractor, 206, 207. + +Hydrosulphite of soda, 147. +------------- vats, 138, 141. + +Hydroxy-azo dyes, 114. + + +#I.# + +Imperial green G 1, 195. + +Indian yellow, 90, 91, 189, 191, 192. +------ ------ G, 131, 171, 175, 176, 177, 179, 180, 185, 195. +------ ------ R, 126, 165, 171, 175, 176, 195. + +Indigo, 83, 85, 136, 141. +------ black, 86. +------ blue, 151. +------ carmine, 66, 150. +------ carmine D, 161, 166. +------ dyeing, 137. +------ dye-stuffs, 61. +------ dye-vat, 149. +------ extract, 73, 75, 97, 105, 131, 133, 134, 135, 151, 190, 194. +------ ------- for dyeing wool, 150. +------ indophenol vat, 146. + +Indigotine, 194. +---------- extra, 193, 195, 196. + +Indophenol, 146. + +Induline, 37. +-------- A, 153. + +Invisible bronze green, 133. +--------- green, 130, 132, 136. + +Iron logwood black, 86, 87. + +Italian cloths, 176. + + +#J.# + +Janus black I, 182. +----- ----- I I, 182. +----- blue R, 182. +----- brown B, 182. +----- ----- R, 182, 183. +----- claret red B, 183. +----- dark blue B, 182. +----- dyes, 181. +----- green B, 182, 183. +----- grey B, 182, 183. +----- ---- B B, 182. +----- red B, 182, 183. +----- yellow G, 182. +----- ------ R, 182, 183. + +Jet black, 93, 94, 95, 96. +--- ----- on wool, 90, 91, 93. + +Jig wince, 53. + + +#K.# + +"Kempy" fibres, 3. + +Keratine, 8. + +Keton blue G, 111, 162. + +Klauder-Weldon hank-dyeing machine, 47, 48. + + +#L.# + +Lactic acid, 115, 116, 117, 151, 215. + +Lanafuchsine 6 B, 113. +------------ S B, 111, 113. +------------ S G, 111, 112, 113. + +Lanacyl blue B B, 171. +------- ---- R, 171. +------- violet B, 171, 180. + +Lavender, 160, 196. +-------- blue, 158. +-------- grey, 166. + +Leaf yellow, 125. + +Lemon yellow, 125. + +Level dyeing, 77. + +Light drab, 196. +----- green, 133, 195. +----- grey, 97, 193. +----- sea green, 195. +----- straw, 126. + +Lignorosine, 115, 117, 151. + +Lilac, 166. +----- blue, 158. +----- grey, 165. + +Lime, 117, 140. +---- vats, 138. + +Liquor ammonia, 147. + +Llama, 1. + +Logwood, 66, 69, 70, 83, 85, 86, 87, 97, 136, 151, 220. +------- black, 87, 88. +------- ----- on wool, 86. +------- extract, 88, 133, 135, 136. + +Loose wool, dyeing of, 43. +----- ---- washing of, 200. + + +#M.# + +Machine-scouring of wool, 20. + +Madder, 77, 144. + +Magenta, 53, 61, 64, 102, 103, 190. + +Maize yellow, 124. + +Malachite green, 127. + +Mandarine G, 121, 171, 180, 181, 187. + +Maroon, 111, 118, 178. +------ red, 111. + +Marseilles soap, 78. + +Mauve, 161. + +McNaught's wool-washing machine, 20. + +Metallic salts, action on wool, 12. + +Methylene blue, 133, 134. + +Methylrosaniline, 64. + +Methyl violet, 53, 64, 190. +------ ------ 3 B, 160. +------ ------ B O, 192. +------ ------ R, 160. + +Medulla, 4. + +Medium blue, 157, 158. +------ green, 133. + +Merino wool, 5. + +Mikado orange 4 R O, 180, 181, 187. + +Milling red B, 111. +------- --- R, 106, 110. +------- yellow, 192. +------- ------ O, 99, 125, 193. + +Mimosa, 169. + +Mode colours on wool, 164. + +Mordant dyes for brown, 163. +------- ---- for orange, 122. +------- dye-stuffs, 61, 68. +------- dyes for violet, 161. + +Mordanting, 115. +---------- of wool, 12. + +Mordant yellow, 119, 122, 132. +------- ------ D, 126. +------- ------ O, 164. + +Moss green, 129, 130. + +Mother vat, 147. + +Mouse, 162. + +Muriate of tin, 97. + +Myrobalan, 197. + + +#N.# + +Naphthol black, 37, 89, 99, 186. +-------- ----- B, 90. +-------- ----- B B, 196. +-------- ----- 3 B, 90, 91, 185, 192. +-------- ----- 4 R, 111. +-------- blue G, 171, 185. +-------- ---- R, 171. +-------- ---- black, 155, 171, 175, 177, 178, 179, 180, 185. +-------- green B, 37, 90, 127, 128, 189, 192, 193, 194. +-------- red C, 113, 185, 192. +-------- --- O, 193. +-------- yellow, 131, 136, 190. +-------- ------ S, 113, 130, 178. + +Naphthyl blue black N, 92. + +Naphthylamine black, 89, 92, 189. +------------- ----- 4 B, 91, 171, 192. +------------- ----- 6 B, 171, 180. +------------- ----- D, 91, 99, 171, 191. +------------- ----- S, 96. + +Navy, 158. +---- blue, 153, 136, 177, 179, 180. + +Neutral dye-stuffs, 61. +------- extract, 150. +------- red, 162. + +New methylene blue, 190. +--- --------- ---- N, 185, 194. +--- Victoria black blue, 190. +--- -------- blue B, 154. +--- -------- ---- black, 192. + +Nigrosine, 37. + +Nitrate of iron, 98. + +Nitrazine yellow, 124. + +Nut, 164. +--- brown, 181, 182. + +Nyanza black, 95. +------ ----- B, 99, 128, 161, 165. + + +#O.# + +Obermaier dyeing machine, 44, 45, 46. + +Old gold, 122, 126. + +Oleic acid, 7, 26. + +Oleine, 26. + +Olive, 128, 134, 135. +----- brown, 162, 164. +----- bronze, 135. +----- green, 128, 135. +----- oil, 26. +----- yellow, 124, 125. + +Orange, 121, 122, 178, 180, 191, 192, 195. +------ No. 2, 162. +------ blue, 187, 194. +------ green, 194. +------ violet, 186. +------ croceine G, 189. +------ E N Z, 123, 135, 171, 176, 178, 179, 180, 185. +------ extra, 99, 107, 108, 111, 113, 122, 162, 163, 171, 178. +------ G, 99, 107, 110, 113, 162, 165, 166, 190. +------ G G, 112, 113, 122, 162, 184, 185, 190, 191, 193. +------ I I, 153, 162. +------ O, 111. +------ R, 122, 189. +------ shades on wool, 121. +------ T A, 170, 181. + +Oxalate of ammonia, 95. + +Oxalic acid, 85, 87, 88, 93, 115, 116, 133, 151, 215. + +Oxydiamine black A, 169. +---------- ----- B, 169. +---------- ----- B M, 180. +---------- ----- D, 169. +---------- ----- M, 169. +---------- ----- S O O O, 170. +---------- Orange G, 170, 178. +---------- ------ R, 170. +---------- red S, 170. +---------- violet B, 170. +---------- yellow G G, 170. + +Oxyphenine, 169. + + +#P.# + +Pale blue, 152, 155, 193, 195. +---- bluish crimson, 108. +---- chestnut, 164. +---- crimson, 108. +---- drab, 165, 166. +---- fawn, 166. +---- ---- drab, 165. +---- ---- brown, 166. +---- gold yellow, 175. +---- green, 192. +---- lilac rose, 107. +---- maroon, 191. +---- navy blue, 156. +---- old gold brown, 164. +---- olive yellow, 126. +---- orange, 121, 122. +---- pea-green, 131. +---- Russian green, 128. +---- sage, 195. +---- ---- green, 130, 133, 180. +---- sea green, 129, 132. +---- slate green, 133. +---- ----- grey, 98. +---- stone, 166. +---- violet, 160. + +Pararosaniline, 64. + +Paris blue, 158. + +Patent blue, 92, 99. +------ ---- A, 131, 158. +------ ---- B, 95, 110, 154. +------ ---- J, 154, 162. +------ ---- J B, 166. +------ ---- J O O, 166. +------ ---- N, 128, 154. +------ ---- V, 111, 129, 130, 154, 155, 162, 168. +------ ---- superior, 154. + +Peach wood, 86. + +Peacock blue, 155, 157, 158. +------- green, 131, 132, 177, 179. + +Pearl ash, 17. +----- grey, 97, 98. + +Perchloride of tin, 97. + +Peri wool blue, 155. + +Peroxide of hydrogen for bleaching wool, 29, 34. +-------- of soda for bleaching wool, 36. + +Persian berries, 69, 71. + +Petrie's wool-washing machine, 20. + +Petroleum spirit, 16, 24. + +Phenoflavine, 124, 130. + +Phenolic colours, 114. + +Phenyl rosaniline, 64. + +Phloxine, 104, 190, 191. + +Phosphate of soda, 218. + +Picric acid, 190. + +Piece-dyeing machines, 50. +----- goods, drying of, 210. +----- ---- washing of, 202. +----- ---- wringing of, 199. + +Pink, 102, 111, 112, 178, 195. + +Plum, 178. + +Plush fabric dyeing machine, 55. + +Ponceau, 105. +------- 3 G, 121. +------- R, 65. +------- 3 R B, 171, 180. + +Potash, 17. +------ indigo vat, 144. +------ salts, 7. + +Potassium salts, 8. + +Primuline, 169. + +Puce, 160. + +Pure blue O T, 193. + +Purple, 109. +------ red, 113. + +Purpuramine, 62. + + +#Q.# + +Quick lime, 141. + +Quinoline yellow, 189, 194. + + +#R.# + +Rabbit fur, 83. + +Raw merino wool, analysis of, 7. + +Read Holliday's hawking machine, 57. +---- -------- indigo extract, 151. +---- -------- squeezing machine, 199. +---- -------- yarn dyeing machine, 46, 47. + +Red, 106, 107, 120. +--- navy, 158. +--- ---- blue, 157. +--- plum, 177. +--- shades on wool, 100. + +Reddish black, 94. +------- grey, 97. +------- orange, 121. +------- puce, 160. + +Rhodamine, 165, 189, 190. +--------- B, 113, 191, 193, 197. +--------- G, 195. +--------- red, 102. + +Rhoduline red, 102, 103. + +Rocceleine, 171, 190. + +Roller-squeezing machine, 198. + +Rose, 118. + +Rosaniline, 64. + +Rose bengale, 104, 112, 189, 190. +---- red, 113. + +Royal blue, 154. + + +#S.# + +Saddening of wool, 74. + +Saffranine, 61, 64, 102, 103, 184, 189, 190. +---------- prima, 103, 194. + +Saffron, 13, 63. + +Saffrosine, 104. + +Sage, 177. +---- brown, 181. +---- green, 128. + +Salicylic acid, 114. + +Salmon, 113. +------ red, 113. + +Salt, 215. + +Sanders, 120, 121. + +Saxony blue, 154. + +Scarlet, 101, 102, 103, 105, 106, 107, 112, 118, 178, 180, 191. +------- F R, 106. +------- O O, 106. +------- R, 183. +------- 3 R, 191. +------- 2 R J, 105. +------- R S, 105. +------- S, 190. + +Schutzenberger and Lalande's vat, 141. + +Schweizer's reagent, 9. + +Scouring of wool, 15, 17. +-------- of woollen piece goods, 28. + +Sea green, 131, 136. + +Serge, 173. + +Silicate of soda, 17. + +Silk blue, 189. +---- ---- B E S, 192. + +Silver grey, 98, 165, 177. + +Sheep, 1. + +Short-stapled wools, scouring of, 18. + +Shot effects, 183. + +Sky blue, 151, 154, 178, 194. + +Slaked lime, 145. + +Slate, 165, 181. +----- blue, 158, 179. +----- green, 131, 132, 181. +----- grey, 97, 98. + +Sliver, dyeing of, 44. + +Slubbing, dyeing of, 44. + +Smithson's dyeing machine, 88. + +Soap, 27. +---- action on wool, 10, 66. + +Soaping and washing machine, 205. +------- of goods, 204. + +Soda, 17, 215. +---- ash, 17. +---- crystals, 145. +---- indigo vat, 145. + +Sodium hydrosulphite, 143. + +Solid blue, 190. +----- ---- R, 192. +----- ---- P G, 192. +----- green crystals, 194. + +Soluble blue, 189. + +Sour extract, 150. + +Southdown wool, 5. + +Spencer's hank-wringing machine, 198. + +Squeezing of goods, 197. + +Stale urine, 17, 18. + +Stearic acid, 7. + +Stone, 166, 181. + +Straw, 124. + +Stuffing of wool, 74. + +Suint, 15. + +Suitings, 173. + +Sulphon azurine B, 170. +------- ------- D, 180. +------- cyanine, 128, 152, 160. + +Sulphur, 8. +------- bleach house, 31. +------- dioxide, 33. +------- bleaching, 29, 30. + +Sulphuric acid, 99, 115, 116, 215. + +Sumac, 86, 120, 121, 135, 197. +----- extract, 182, 183. + +Sweet extract, 150. + + +#T.# + +Tannic acid, 98. + +Tannin materials, 197, 215. + +Tartar, 85, 86, 88, 93, 115, 116, 117, 131, 132, 133, 134, 135, 151, + 166, 167, 215. +------ emetic, 182, 183. + +Tartaric acid, 85, 115. + +Tartrazine, 190. + +Terra-cotta, 195. +----- ----- red, 105, 120. + +Tin chloride, 115. +--- crystals, 77. +--- salt, 133. + +Thiazol yellow, 169. + +Thiocarmine R, 98, 171, 177, 179, 189, 190. + +Thioflavine S, 121, 169, 175, 178, 185, 186. +----------- T, 64, 190, 193, 194. + +Titan blue, 170, 171. +----- ---- 3 B, 127. +----- brown O, 110, 170. +----- ----- R, 98, 170. +----- ----- T, 170. +----- marine B, 171. +----- pink, 170. +----- red, 61, 98, 107. +----- scarlet, 100. +----- ------- C B, 101, 102. +----- ------- D, 110. +----- ------- S, 169. +----- yellow, 61, 99, 170. +----- ------ G, 127. +----- ------ R, 125. +----- ------ Y, 125, 127. + +Treacle, 138. + +Tropæoline, 122, 131. +---------- O, 190. +---------- O O, 171, 178. + +Turmeric, 13, 63, 120, 189. + +Turquoise blue B B, 195. +--------- ---- G, 196. +--------- green, 134. + + +#U.# + +Union black B, 169. +----- ----- S, 169, 176, 178, 179, 180. +----- blue B B, 169. +----- fabrics, dyeing of, 168. +----- flannels, 173. + +Urine indigo vat, 145. + + +#V.# + +Velvet, embossing of, 14. + +Victoria black, 89, 189. +-------- black B, 91, 191. +-------- ---- blue, 155. +-------- blue, 189. +-------- ---- B, 155. +-------- ---- black, 91. +-------- scarlet R, 107, 110, 111. +-------- rubine O, 107, 111. +-------- violet 8 B S, 130, 155. +-------- yellow, 111, 124, 130, 162. + +Violet, 160, 192, 193. +------ and pink, 193, 194. +------ black on wool, 89, 90, 91, 93, 95. +------ blue, 155. +------ grey, 166. +------ shades on wool, 160. + + +#W.# + +Walnut, 162. +------ brown, 176, 182. + +Washing of goods, 200. + +Water blue, 37. + +White indigo, 138. + +Wince dye beck, 53, 54. + +Woad, 138. +---- indigo vats, 139. +---- vat, 145. + +Woaded black, 86. + +Wool, 1. +---- action of acid on, 11. +---- alkalies, action of on, 9. +---- batching, 15. +---- black, 89. +---- ----- 6 B, 171, 180, 181, 186. +---- bleaching, 29. +---- --------- peroxide of hydrogen, 34. +---- --------- -------- of soda, 36. +---- --------- with sulphur, 30. +---- chemical composition of, 6. +---- chlorination of, 37. +---- blue B X, 153. +---- ---- dyeing with logwood, 161. +---- fibre under microscope, 2. +---- ----- unscoured, 10. +---- ----- chemical composition of, 7. +---- ----- scoured badly, 10. +---- ----- showing medullary centre, 4. +---- ----- heated with acid, 11. +---- grey R, 166. + +Woollen piece goods, scouring of, 28. +------- yarn, 2. + +Wool oil, 26. +---- physical properties of, 2. +---- -------- structure, variations in, 5. + +Wool scouring, 15, 17. +---- -------- by solvents, 23. + +Wool-washing machine, 20, 21. + +Worsted yarn, 2. + +Wringing of goods, 197. + + +#Y.# + +Yarn-drying machine, 208. + +Yarn, washing of, in hanks, 202. + +Yarn wringing, 198. + +Yellow, 125, 195. +------ brown, 161. +------ N, 125, 133, 134. +------ olive, 135. +------ shades on wool, 123. + +Yolk, 7. + +Yorkshire grease, 26. + + +#Z.# + +Zambesi black B, 170, 181. +------- ----- D, 170, 180, 181. +------- ----- F, 171. +------- blue R A, 180, 181. +------- brown G, 171, 181. +------- ----- 2 G, 171. +------- dyes, 168. + +Zinc dust, 141. + + +The Aberdeen University Press Limited. + + + + +CATALOGUE (p. c01) + +Of + +_Special Technical Books_ + +For + +Manufacturers, Technical Students And +Workers, Schools, Colleges, Etc. + +By Expert Writers + + + +Index To Subjects. + + Page +Agricultural Chemistry........... 10 +Air, Industrial Use of........... 12 +Alum and its Sulphates............ 9 +Ammonia........................... 9 +Aniline Colours................... 3 +Animal Fats....................... 6 +Anti-corrosive Paints............. 4 +Architecture, Terms in........... 30 +Architectural Pottery............ 15 +Artificial Perfumes............... 7 +Balsams.......................... 10 +Bibliography..................... 32 +Bleaching........................ 23 +Bone Products..................... 8 +Bookbinding...................... 31 +Brick-making................. 15, 16 +Burnishing Brass................. 28 +Carpet Yarn Printing............. 21 +Ceramic Books................ 14, 15 +Charcoal.......................... 8 +Chemical Essays................... 9 +Chemistry of Pottery............. 16 +Chemistry of Dye-stuffs.......... 23 +Clay Analysis.................... 16 +Coal-dust Firing................. 26 +Colour Matching.................. 22 +Colliery Recovery Work........... 25 +Colour-mixing for Dyers.......... 22 +Colour Theory.................... 22 +Combing Machines................. 24 +Compounding Oils.................. 6 +Condensing Apparatus............. 26 +Cosmetics......................... 8 +Cotton Dyeing.................... 23 +Cotton Spinning.................. 24 +Damask Weaving................... 20 +Dampness in Buildings............ 30 +Decorators' Books................ 28 +Decorative Textiles.............. 20 +Dental Metallurgy................ 25 +Dictionary of Paint Materials..... 2 +Drying Oils....................... 5 +Drying with Air.................. 12 +Dyeing Marble.................... 31 +Dyeing Woollen Fabrics........... 23 +Dyers' Materials................. 22 +Dye-stuffs....................... 23 +Enamelling Metal................. 18 +Enamels.......................... 18 +Engraving........................ 31 +Essential Oils.................... 7 +Evaporating Apparatus............ 26 +External Plumbing................ 27 +Fats........................... 5, 6 +Faults in Woollen Goods.......... 21 +Gas Firing....................... 26 +Glass-making Recipes............. 16 +Glass Painting................... 17 +Glue Making and Testing........... 8 +Greases........................... 5 +Hat Manufacturing................ 20 +History of Staffs Potteries...... 16 +Hops............................. 28 +Hot-water Supply................. 28 +How to make a Woollen Mill Pay... 21 +India-rubber..................... 13 +Industrial Alcohol............... 10 +Inks.......................... 3, 11 +Iron-corrosion.................... 4 +Iron, Science of................. 26 +Japanning........................ 28 +Lace-Making...................... 20 +Lacquering....................... 28 +Lake Pigments..................... 2 +Lead and its Compounds........... 11 +Leather Industry................. 13 +Leather-working Materials........ 14 +Lithography...................... 31 +Lubricants..................... 5, 6 +Manures....................... 8, 10 +Mineral Pigments.................. 3 +Mine Ventilation................. 25 +Mine Haulage..................... 25 +Oil and Colour Recipes............ 3 +Oil Boiling....................... 5 +Oil Merchants' Manual............. 7 +Oils.............................. 5 +Ozone, Industrial Use of......... 12 +Paint Manufacture................. 2 +Paint Materials................... 3 +Paint-material Testing............ 4 +Paper-pulp Dyeing................ 17 +Petroleum......................... 6 +Pigments, Chemistry of............ 2 +Plumbers' Work................... 27 +Porcelain Painting............... 17 +Pottery Clays.................... 16 +Pottery Manufacture.............. 14 +Power-loom Weaving............... 19 +Preserved Foods.................. 30 +Printers' Ready Reckoner......... 31 +Printing Inks..................... 3 +Recipes for Oilmen, etc........... 3 +Resins........................... 10 +Risks of Occupations............. 11 +Riveting China, etc.............. 16 +Sanitary Plumbing................ 27 +Sealing Waxes.................... 11 +Silk Dyeing...................... 22 +Silk Throwing.................... 18 +Smoke Prevention................. 26 +Soaps............................. 7 +Spinning......................... 21 +Staining Marble, and Bone........ 31 +Steam Drying..................... 12 +Sugar Refining................... 32 +Steel Hardening.................. 26 +Sweetmeats....................... 30 +Terra-cotta...................... 15 +Testing Paint Materials........... 4 +Testing Yarns.................... 20 +Textile Fabrics.................. 20 +Textile Materials............ 19, 20 +Timber........................... 29 +Varnishes......................... 5 +Vegetable Fats.................... 7 +Waste Utilisation................ 10 +Water, Industrial Use............ 12 +Waterproofing Fabrics............ 21 +Weaving Calculations............. 21 +Wood Waste Utilisation........... 29 +Wood Dyeing...................... 31 +Wool Dyeing.................. 22, 23 +Writing Inks..................... 11 +X-Ray Work....................... 13 +Yarn Testing..................... 20 + + +Published By +Scott, Greenwood & Son, +8 Broadway, Ludgate Hill, +London, E.c. +Telegraphic Address, "Printeries, London". + + + + +#PAINTS, COLOURS AND PRINTING INKS.# (p. c02) + + +#THE CHEMISTRY OF PIGMENTS.# By Ernest J. PARRY, B.Sc. (Lond.), F.I.C., +F.C.S., and J. H. COSTE, F.I.C., F.C.S. Demy 8vo. Five Illustrations. +285 pp. Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. 3d. +abroad.) + +#Contents.# + +#Introductory.# Light -- White Light -- The Spectrum -- The Invisible +Spectrum -- Normal Spectrum -- Simple Nature of Pure Spectral Colour +-- The Recomposition of White Light -- Primary and Complementary +Colours -- Coloured Bodies -- Absorption Spectra -- #The Application of +Pigments.# Uses of Pigments: Artistic, Decorative, Protective -- +Methods of Application of Pigments: Pastels and Crayons, Water Colour, +Tempera Painting, Fresco, Encaustic Painting, Oil-colour Painting, +Keramic Art, Enamel, Stained and Painted Glass, Mosaic -- #Inorganic +Pigments.# White Lead -- Zinc White -- Enamel White -- Whitening -- Red +Lead -- Litharge -- Vermilion -- Royal Scarle t-- The Chromium Greens +-- Chromates of Lead, Zinc, Silver and Mercury -- Brunswick Green -- +The Ochres -- Indian Red -- Venetian Red -- Siennas and Umbers -- +Light Red -- Cappagh Brown -- Red Oxides -- Mars Colours -- Terre +Verte -- Prussian Brown -- Cobalt Colours -- Coeruleum -- Smalt -- +Copper Pigments -- Malachite -- Bremen Green -- Scheele's Green -- +Emerald Green -- Verdigris -- Brunswick Green -- Non-arsenical Greens +-- Copper Blues -- Ultramarine -- Carbon Pigments -- Ivory Black -- +Lamp Black -- Bistre -- Naples Yellow -- Arsenic Sulphides: Orpiment, +Realgar -- Cadmium Yellow -- Vandyck Brown -- #Organic Pigments.# +Prussian Blue -- Natural Lakes -- Cochineal -- Carmine -- Crimson -- +Lac Dye -- Scarlet -- Madder -- Alizarin -- Campeachy -- Quercitron -- +Rhamnus -- Brazil Wood -- Alkanet -- Santal Wood -- Archil -- Coal-tar +Lakes -- Red Lakes -- Alizarin Compounds -- Orange and Yellow Lakes -- +Green and Blue Lakes -- Indigo -- Dragon's Blood -- Gamboge -- Sepia +-- Indian Yellow, Puree -- Bitumen, Asphaltum, Mummy -- #Index.# + + +#THE MANUFACTURE OF PAINT.# A Practical Handbook +for Paint Manufacturers, Merchants and Painters. By J. CRUICKSHANK +SMITH, B.Sc. Demy 8vo. 200 pp. Sixty Illustrations and One Large +Diagram. Price 7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +Preparation of Raw Material -- Storing of Raw Material -- Testing and +Valuation of Raw Material -- Paint Plant and Machinery -- The Grinding +of White Lead -- Grinding of White Zinc -- Grinding of other White +Pigments -- Grinding of Oxide Paints -- Grinding of Staining Colours +-- Grinding of Black Paints -- Grinding of Chemical Colours -- Yellows +-- Grinding of Chemical Colours -- Blues -- Grinding Greens -- +Grinding Reds -- Grinding Lakes -- Grinding Colours in Water -- +Grinding Colours in Turpentine -- The Uses of Paint -- Testing and +Matching Paints -- Economic Considerations -- Index. + + +#DICTIONARY OF CHEMICALS AND RAW PRODUCTS USED IN THE MANUFACTURE OF +PAINTS, COLOURS, VARNISHES AND ALLIED PREPARATIONS.# By George H. +HURST, F.C.S. Demy 8vo. 380 pp. Price 7s. 6d. net. (Post free, 8s. +home; 8s. 6d. abroad.) + + +#THE MANUFACTURE OF LAKE PIGMENTS FROM ARTIFICIAL COLOURS.# By Francis +H. JENNISON, F.I.C., F.C.S. #Sixteen Coloured Plates, showing Specimens +of Eighty-nine Colours, specially prepared from the Recipes given in +the Book.# 136 pp. Demy 8vo. Price 7s. 6d. net. (Post free, 7s. 10d. +home; 8s. abroad.) + +#Contents.# + +The Groups of the Artificial Colouring Matters -- The Nature and +Manipulation of Artificial Colours -- Lake-forming Bodies for Acid +Colours -- Lake-forming Bodies' Basic Colours -- Lake Bases -- The +Principles of Lake Formation -- Red Lakes -- Orange, Yellow, Green, +Blue, Violet and Black Lakes -- The Production of Insoluble Azo +Colours in the Form of Pigments -- The General Properties of Lakes +Produced from Artificial Colours -- Washing, Filtering and Finishing +-- Matching and Testing Lake Pigments -- Index. + + +#THE MANUFACTURE OF MINERAL AND LAKE PIGMENTS.# Containing (p. c03) +Directions for the Manufacture of all Artificial, Artists and +Painters' Colours, Enamel, Soot and Metallic Pigments. A Text-book for +Manufacturers, Merchants, Artists and Painters. By Dr. Josef BERSCH. +Translated by A. C. WRIGHT, M.A. (Oxon.), B.Sc. (Lond.). Forty-three +Illustrations. 476 pp., demy 8vo. Price 12s. 6d. net. (Post free, 13s. +home; 13s. 6d. abroad.) + +#Contents.# + +Introduction -- Physico-chemical Behaviour of Pigments -- Raw +Materials Employed in the Manufacture of Pigments -- Assistant +Materials -- Metallic Compounds -- The Manufacture of Mineral Pigments +-- The Manufacture of White Lead -- Enamel White -- Washing Apparatus +-- Zinc White -- Yellow Mineral Pigments -- Chrome Yellow -- Lead +Oxide Pigments -- Other Yellow Pigments -- Mosaic Gold -- Red Mineral +Pigments -- The Manufacture of Vermilion -- Antimony Vermilion -- +Ferric Oxide Pigments -- Other Red Mineral Pigments -- Purple of +Cassius -- Blue Mineral Pigments -- Ultramarine -- Manufacture of +Ultramarine -- Blue Copper Pigments -- Blue Cobalt Pigments -- Smalts +-- Green Mineral Pigments -- Emerald Green -- Verdigris -- Chromium +Oxide -- Other Green Chromium Pigments -- Green Cobalt Pigments -- +Green Manganese Pigments -- Compounded Green Pigments -- Violet +Mineral Pigments -- Brown Mineral Pigments -- Brown Decomposition +Products -- Black Pigments -- Manufacture of Soot Pigments -- +Manufacture of Lamp Black -- The Manufacture of Soot Black without +Chambers -- Indian Ink -- Enamel Colours -- Metallic Pigments -- +Bronze Pigments -- Vegetable Bronze Pigments. + +PIGMENTS OF ORGANIC ORIGIN -- Lakes -- Yellow Lakes -- Red Lakes -- +Manufacture of Carmine -- The Colouring Matter of Lac -- Safflower or +Carthamine Red -- Madder and its Colouring Matters -- Madder Lakes -- +Manjit (Indian Madder) -- Lichen Colouring Matters -- Red Wood Lakes +-- The Colouring Matters of Sandal Wood and Other Dye Woods -- Blue +Lakes -- Indigo Carmine -- The Colouring Matter of Log Wood -- Green +Lakes -- Brown Organic Pigments -- Sap Colours -- Water Colours -- +Crayons -- Confectionery Colours -- The Preparation of Pigments for +Painting -- The Examination of Pigments -- Examination of Lakes -- The +Testing of Dye-Woods -- The Design of a Colour Works -- Commercial +Names of Pigments -- Appendix: Conversion of Metric to English Weights +and Measures -- Centigrade and Fahrenheit Thermometer Scales -- Index. + + +#RECIPES FOR THE COLOUR, PAINT, VARNISH, OIL, SOAP AND DRYSALTERY +TRADES.# Compiled by AN ANALYTICAL CHEMIST. 350 pp. Demy 8vo. Price 7s. +6d. net. (Post free, 8s. home; 8s. 3d. abroad.) + +#Contents.# + +Pigments or Colours for Paints, Lithographic and Letterpress Printing +Inks, etc. -- Mixed Paints and Preparations for Paint-making, +Painting, Lime-washing, Paperhanging, etc. -- Varnishes for +Coach-builders, Cabinetmakers, Wood-workers, Metal-workers, +Photographers, etc. -- Soaps for Toilet, Cleansing, Polishing, etc. -- +Perfumes -- Lubricating Greases, Oils, etc. -- Cements, Pastes, Glues +and Other Adhesive Preparations -- Writing, Marking, Endorsing and +Other Inks -- Sealing-wax and Office Requisites -- Preparations for +the Laundry, Kitchen, Stable and General Household Uses -- +Disinfectant Preparations -- Miscellaneous Preparations -- Index. + + +#OIL COLOURS AND PRINTERS' INKS.# By Louis Edgar ANDÉS. Translated from +the German. 215 pp. Crown 8vo. 56 Illustrations. Price 5s. net. (Post +free, 5s. 4d. home; 5s. 6d. abroad.) + +#Contents.# + +Linseed Oil -- Poppy Oil -- Mechanical Purification of Linseed Oil -- +Chemical Purification of Linseed Oil -- Bleaching Linseed Oil -- +Oxidizing Agents for Boiling Linseed Oil -- Theory of Oil Boiling -- +Manufacture of Boiled Oil -- Adulterations of Boiled Oil -- Chinese +Drying Oil and Other Specialities -- Pigments for House and Artistic +Painting and Inks -- Pigment for Printers' Black Inks -- Substitutes +for Lampblack -- Machinery for Colour Grinding and Rubbing -- Machines +for mixing Pigments with the Vehicle -- Paint Mills -- Manufacture of +House Oil Paints -- Ship Paints -- Luminous Paint -- Artists' Colours +-- Printers' Inks: -- VEHICLES -- Printers' Inks: -- PIGMENTS and +MANUFACTURE -- Index. + (_See also Writing Inks, p. 11._) + + +#THREE HUNDRED SHADES FOR DECORATORS AND HOW TO MIX THEM.# + (_See page 28._) + + +#CASEIN.# By Robert SCHERER. Translated from the German by (p. c04) +Chas. SALTER. Demy 8vo. Illustrated. 160 pp. Price 7s. 6d. net, (Post +free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +#Casein: its Origin, Preparation and Properties. Various Methods of +Preparing Casein. Composition and Properties of Casein. Casein Paints.# +-- "Marble-Lime" Colour for Outside Work -- Casein Enamel Paint -- +Casein Façade Paint -- Cold-Water Paint in Powder Form -- Kistory's +Recipe for Casein Paint and Varnish -- Pure Casein Paints for Walls, +etc. -- Casein Paints for Woodwork and Iron -- Casein-Silicate Paints +-- Milk Paints -- Casein-Silicate Paint Recipes -- Trojel's Boiled Oil +Substitute -- Calsomine Wash -- Quick-Drying Casein Paint -- Boiled +Oil Substitute -- Ring's Cold-Water Paint -- Formo-lactin -- +Waterproof Paint for Playing Cards -- Casein Colour Lake -- +Casein-Cement Paint. #The Technics of Casein Painting. Casein Adhesives +and Putties.# -- Casein Glue in Plates or Flakes -- Jeromin's Casein +Adhesive -- Hall's Casein Glue -- Waterproof Glue -- Liquid Casein +Glue -- Casein and Borax Glue -- Solid Casein Adhesive -- Casein +Solution -- Glue Powder -- Casein Putties -- Washable Cement for Deal +Boards -- Wenk's Casein Cement -- Casein and Lime Cement "Pitch Barm" +-- Casein Stopping -- Casein Cement for Stone. #The Preparation of +Plastic Masses from Casein.# -- Imitation Ivory -- Anti-Radiation and +Anti-Corrosive Composition -- Dickmann's Covering for Floors and Walls +-- Imitation Linoleum -- Imitation Leather -- Imitation Bone -- +Plastic Mass of Keratin and Casein -- Insulating Mass -- Plastic +Casein Masses -- Horny Casein Mass -- Plastic Mass from Celluloid -- +Casein Cellulose Composition -- Fire-proof Cellulose Substitute -- +Nitrocellulose and Casein Composition -- Franquet's Celluloid +Substitute -- Galalith. #Uses of Casein in the Textile Industry, for +Finishing Colour Printing, etc.# -- Caseogum -- "Glutin" -- Casein +Dressing for Linen and Cotton Fabrics -- Printing Colour with Metallic +Lustre -- Process for Softening, Sizing and Loading -- Fixing Casein +and Other Albuminoids on the Fibre -- Fixing Insoluble Colouring +Matters -- Waterproofing and Softening Dressing -- Casein for +Mercerising Crèpe -- Fixing Zinc White on Cotton with Formaldehyde -- +Casein-Magnesia -- Casein Medium for Calico Printing -- Loading Silk. +#Casein Foodstuffs.# -- Casein Food -- Synthetic Milk -- Milk Food -- +Emulsifiable Casein -- Casein Phosphate for Baking -- Making Bread, +Low in Carbohydrates, from Flour and Curd -- Preparing Soluble Casein +Compounds with Citrates -- Casein Food. #Sundry Applications of Casein.# +-- Uses of Casein in the Paper Industry -- Metachromotype Paper -- +Sizing Paper with Casein -- Waterproofing Paper -- Casein Solution for +Coating Paper -- Horn's Clear Solution of Casein -- Water- and +Fire-proof Asbestos Paper and Board -- Paper Flasks, etc., for Oils +and Fats -- Washable Drawing and Writing Paper--Paper Wrappering for +Food, Clothing, etc. -- Paint Remover -- Casein Photographic Plates -- +Wood-Cement Roofing Pulp -- Cask Glaze of Casein and Formaldehyde -- +Artists' Canvas -- Solidifying Mineral Oils -- Uses of Casein in +Photography -- Casein Ointment -- Clarifying Glue with Casein -- +Casein in Soap-making -- Casein-Albumose Soap -- Casein in Sheets, +Blocks, etc. -- Waterproof Casein. + + +#SIMPLE METHODS FOR TESTING PAINTERS' MATERIALS.# By A. C. WRIGHT, M.A. +(Oxon.), B.Sc. (Lond.). Crown 8vo. 160 pp. #Price# 5s. net. (Post free, +5s. 3d. home; 5s. 6d. abroad.) + +#Contents.# + +Necessity for Testing -- Standards -- Arrangement -- The Apparatus -- +The Reagents -- Practical Tests -- Dry Colours -- Stiff Paints -- +Liquid and Enamel Paints -- Oil Varnishes -- Spirit Varnishes -- +Driers -- Putty -- Linseed Oil -- Turpentine -- Water Stains -- The +Chemical Examination -- Dry Colours and Paints -- White Pigments and +Paints -- Yellow Pigments and Paints -- Blue Pigments and Paints -- +Green Pigments and Paints -- Red Pigments and Paints -- Brown Pigments +and Paints -- Black Pigments and Paints -- Oil Varnishes -- Linseed +Oil -- Turpentine. + + +#IRON-CORROSION, ANTI-FOULING AND ANTI-CORROSIVE PAINTS.# Translated +from the German of Louis Edgar ANDÉS. Sixty-two Illustrations. 275 pp. +Demy 8vo. Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. 3d. +abroad.) + +#Contents.# + +Iron-rust and its Formation -- Protection from Rusting by Paint -- +Grounding the Iron with Linseed Oil, etc. -- Testing Paints -- Use of +Tar for Painting on Iron -- Anti-corrosive Paints -- Linseed Varnish +-- Chinese Wood Oil -- Lead Pigments -- Iron Pigments -- Artificial +Iron Oxides -- Carbon -- Preparation of Anti-corrosive Paints -- +Results of Examination of Several Anti-corrosive Paints -- Paints for +Ship's Bottoms -- Anti-fouling Compositions -- Various Anti-corrosive +and Ship's Paints -- Official Standard Specifications for Ironwork +Paints -- Index. + + +#THE TESTING AND VALUATION OF RAW MATERIALS USED IN PAINT AND COLOUR +MANUFACTURE.# By M. W. JONES, F.C.S. A Book for the Laboratories of +Colour Works. 88 pp. Crown 8vo. Price 5s. net. (Post free, 5s. 3d. +home and abroad.) + +#Contents.# (p. c05) + +Aluminium Compounds -- China Clay -- Iron Compounds -- Potassium +Compounds -- Sodium Compounds -- Ammonium Hydrate -- Acids -- Chromium +Compounds -- Tin Compounds -- Copper Compounds -- Lead Compounds -- +Zinc Compounds -- Manganese Compounds -- Arsenic Compounds -- Antimony +Compounds -- Calcium Compounds -- Barium Compounds -- Cadmium +Compounds -- Mercury Compounds -- Ultramarine -- Cobalt and Carbon +Compounds -- Oils -- Index. + + +#STUDENTS' HANDBOOK OF PAINTS, COLOURS, OILS AND VARNISHES.# By John +FURNELL. Crown 8vo. 12 Illustrations. 96 pp. Price 2s. 6d. net. (Post +free, 2s. 9d. home and abroad.) + +#Contents.# + +Plant -- Chromes -- Blues -- Greens -- Earth Colours -- Blacks -- Reds +-- Lakes -- Whites -- Painters' Oils -- Turpentine -- Oil Varnishes -- +Spirit Varnishes -- Liquid Paints -- Enamel Paints. + + + +#VARNISHES AND DRYING OILS.# + + +#OIL CRUSHING, REFINING AND BOILING, THE MANUFACTURE OF LINOLEUM, +PRINTING AND LITHOGRAPHIC INKS, AND INDIA-RUBBER SUBSTITUTES.# By John +GEDDES MCINTOSH. Being Volume I. of the Second, greatly enlarged, +English Edition, in three Volumes, of "The Manufacture of Varnishes +and Kindred Industries," based on and including the work of Ach. +Livache. Demy 8vo. 150 pp. 29 Illustrations. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +Oil Crushing and Refining; Oil Boiling -- Theoretical and Practical; +Linoleum Manufacture; Printing Ink Manufacture; Rubber Substitutes; +The Manufacture of Driers; The Detection of Adulteration in Linseed +and other Drying Oils by Chemical, Physical and Organoleptic Methods. + + +#DRYING OILS, BOILED OIL AND SOLID AND LIQUID DRIERS.# By L. E. ANDÉS. +Expressly Written for this Series of Special Technical Books, and the +Publishers hold the Copyright for English and Foreign Editions. +Forty-two Illustrations. 342 pp. Demy 8vo. Price 12s. 6d. net. (Post +free, 13s. home; 13s. 3d. abroad.) + +#Contents.# + +Properties of the Drying Oils; Cause of the Drying Property; +Absorption of Oxygen; Behaviour towards Metallic Oxides, etc. -- The +Properties of and Methods for obtaining the Drying Oils -- Production +of the Drying Oils by Expression and Extraction; Refining and +Bleaching; Oil Cakes and Meal; The Refining and Bleaching of the +Drying Oils; The Bleaching of Linseed Oil -- The Manufacture of Boiled +Oil; The Preparation of Drying Oils for Use in the Grinding of Paints +and Artists' Colours and in the Manufacture of Varnishes by Heating +over a Fire or by Steam, by the Cold Process, by the Action of Air, +and by Means of the Electric Current; The Driers used in Boiling +Linseed Oil; The Manufacture of Boiled Oil and the Apparatus therefor; +Livache's Process for Preparing a Good Drying Oil and its Practical +Application -- The Preparation of Varnishes for Letterpress, +Lithographic and Copperplate Printing, for Oilcloth and Waterproof +Fabrics; The Manufacture of Thickened Linseed Oil, Burnt Oil, Stand +Oil by Fire Heat, Superheated Steam, and by a Current of Air -- +Behaviour of the Drying Oils and Boiled Oils towards Atmospheric +Influences, Water, Acids and Alkalies -- Boiled Oil Substitutes -- The +Manufacture of Solid and Liquid Driers from Linseed Oil and Rosin; +Linolic Acid Compounds of the Driers -- The Adulteration and +Examination of the Drying Oils and Boiled Oil. + + + +#OILS, FATS, GREASES, PETROLEUM.# + + +#LUBRICATING OILS, FATS AND GREASES:# Their Origin, Preparation, +Properties, Uses and Analyses. A Handbook for Oil Manufacturers, +Refiners and Merchants, and the Oil and Fat Industry in General. By +George H. HURST, F.C.S. Second Revised and Enlarged Edition. +Sixty-five Illustrations. 317 pp. Demy 8vo. Price 10s. 6d. net. (Post +free, 11s. home; 11s. 3d. abroad.) + +#Contents.# + +#Introductory -- Hydrocarbon Oils -- Scotch Shale Oils -- Petroleum -- +Vegetable and Animal Oils -- Testing and Adulteration of Oils -- +Lubricating Greases -- Lubrication -- Appendices -- Index.# + + +#TECHNOLOGY OF PETROLEUM:# Oil Fields of the World -- Their (p. c06) +History, Geography and Geology -- Annual Production and Development -- +Oil-well Drilling -- Transport. By Henry NEUBERGER and Henry NOALHAT. +Translated from the French by J. G. McINTOSH. 550 pp. 153 +Illustrations. 26 Plates. Super Royal 8vo. Price 21s. net. (Post free, +21s. 9d. home; 23s. 6d. abroad.) + +#Contents.# + +#Study of the Petroliferous Strata.# + +#Excavations#--Hand Excavation or Hand Digging of Oil Wells. + +#Methods of Boring.# + +#Accidents# -- Boring Accidents -- Methods of preventing them -- Methods +of remedying them -- Explosives and the use of the "Torpedo" +Levigation -- Storing and Transport of Petroleum -- General Advice -- +Prospecting, Management and carrying on of Petroleum Boring +Operations. + +#General Data -- Customary Formulæ# -- Memento. Practical Part. General +Data bearing on Petroleum -- Glossary of Technical Terms used in the +Petroleum Industry -- Copious Index. + + +#THE PRACTICAL COMPOUNDING OF OILS, TALLOW AND GREASE FOR LUBRICATION, +ETC.# By AN EXPERT OIL REFINER. 100 pp. Demy 8vo. Price 7s. 6d. net. +(Post free. 7s. 10d. home; 8s. abroad.) + +#Contents.# + +#Introductory Remarks# on the General Nomenclature of Oils, Tallow and +Greases suitable for Lubrication -- #Hydrocarbon Oils -- Animal and +Fish Oils -- Compound Oils -- Vegetable Oils -- Lamp Oils -- Engine +Tallow, Solidified Oils and Petroleum Jelly -- Machinery Greases: Loco +and Anti-friction -- Clarifying and Utilisation of Waste Fats, Oils, +Tank Bottoms, Drainings of Barrels and Drums, Pickings Up, Dregs, etc. +-- The Fixing and Cleaning of Oil Tanks, etc. -- Appendix and General +Information.# + + +#ANIMAL FATS AND OILS:# Their Practical Production, Purification and +Uses for a great Variety of Purposes. Their Properties, Falsification +and Examination. Translated from the German of Louis Edgar ANDÉS. +Sixty-two Illustrations. 240 pp. Second Edition, Revised and Enlarged. +Demy 8vo. Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. 3d. +abroad.) + +#Contents.# + +Introduction -- Occurrence, Origin, Properties and Chemical +Constitution of Animal Fats -- Preparation of Animal Fats and Oils -- +Machinery -- Tallow-melting Plant -- Extraction Plant -- Presses -- +Filtering Apparatus -- Butter: Raw Material and Preparation, +Properties, Adulterations, Beef Lard or Remelted Butter, Testing -- +Candle-fish Oil -- Mutton-Tallow -- Hare Fat -- Goose Fat -- Neatsfoot +Oil -- Bone Fat: Bone Boiling, Steaming Bones, Extraction, Refining -- +Bone Oil -- Artificial Butter: Oleomargarine, Margarine Manufacture in +France, Grasso's Process, "Kaiser's Butter," Jahr & Münzberg's Method, +Filbert's Process, Winter's Method -- Human Fat -- Horse Fat -- Beef +Marrow -- Turtle Oil -- Hog's Lard: Raw Material -- Preparation, +Properties, Adulterations, Examination -- Lard Oil -- Fish Oils -- +Liver Oils -- Artificial Train Oil -- Wool Fat: Properties, Purified +Wool Fat -- Spermaceti: Examination of Fats and Oils in General. + + +#THE MANUFACTURE OF LUBRICANTS, SHOE POLISHES AND LEATHER DRESSINGS.# By +Richard BRUNNER. Translated from the Sixth German Edition by Chas. +SALTER. 10 Illustrations. Crown 8vo. 170 pp. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +The Manufacture of Lubricants and Greases -- Properties of the Bodies +used as Lubricants -- Raw Materials for Lubricants -- Solid Lubricants +-- Tallow Lubricants -- Palm Oil Greases -- Lead Soap Lubricants -- +True Soap Greases -- Caoutchouc Lubricants -- Other Solid Lubricants +-- Liquid Lubricants -- Lubricating Oils in General -- Refining Oils +for Lubricating Purposes -- Cohesion Oils -- Resin Oils -- Lubricants +of Fat and Resin Oil -- Neatsfoot Oil -- Bone Fat -- Lubricants for +Special Purposes -- Mineral Lubricating Oils -- Clockmakers' and +Sewing Machine Oils -- The Application of Lubricants to Machinery -- +Removing Thickened Grease and Oil -- Cleaning Oil Rags and Cotton +Waste -- The Use of Lubricants -- Shoe Polishes and Leather Softening +Preparations -- The Manufacture of Shoe Polishes and Preparations for +Varnishing and Softening Leather -- The Preparation of Bone Black -- +Blacking and Shoe Polishes -- Leather Varnishes -- Leather Softening +Preparations -- The Manufacture of Dégras. + + +#THE OIL MERCHANTS' MANUAL AND OIL TRADE READY RECKONER.# (p. c07) +Compiled by Frank P. SHERRIFF. Second Edition Revised and Enlarged. +Demy 8vo. 214 pp. 1904. With Two Sheets of Tables. Price 7s. 6d. net. +(Post free, 7s. 10d. home; 8s. 3d. abroad.) + +#Contents.# + +Trade Terms and Customs -- Tables to Ascertain Value of Oil sold +per cwt. or ton -- Specific Gravity Tables -- Percentage Tare Tables +-- Petroleum Tables -- Paraffine and Benzoline Calculations -- +Customary Drafts -- Tables for Calculating Allowance for Dirt, Water, +etc. -- Capacity of Circular Tanks Tables, etc., etc. + + +#VEGETABLE FATS AND OILS:# Their Practical Preparation. Purification and +Employment for Various Purposes, their Properties, Adulteration and +Examination. Translated from the German of Louis Edgar ANDÉS. +Ninety-four Illustrations. 340 pp. Second Edition. Demy 8vo. Price +10s. 6d. net. (Post free, 11s. home; 11s. 6d. abroad.) + +#Contents.# + +#General Properties# -- #Estimation of the Amount of Oil in Seeds# -- +#The Preparation of Vegetable Fats and Oils# -- Apparatus for Grinding +Oil Seeds and Fruits -- #Installation of Oil and Fat Works# -- Extraction +Method of Obtaining Oils and Fats -- Oil Extraction Installations -- +Press Moulds -- #Non-drying Vegetable Oils# -- #Vegetable drying Oils# +-- #Solid Vegetable Fats# -- Fruits Yielding Oils and Fats -- +Wool-softening Oils -- Soluble Oils -- Treatment of the Oil after +Leaving the Press -- Improved Methods of Refining -- #Bleaching Fats +and Oils# -- Practical Experiments on the Treatment of Oils with regard +to Refining and Bleaching -- Testing Oils and Fats. + + + +#ESSENTIAL OILS AND PERFUMES.# + + +#THE CHEMISTRY OF ESSENTIAL OILS AND ARTIFICIAL PERFUMES.# By Ernest J. +PARRY, B.Sc. (Lond.), F.I.C., F.C.S. 411 pp. 20 Illustrations. Demy +8vo. Price 12s. 6d. net. (Post free, 13s. home; 13s. 6d. abroad.) + +#Contents.# + +#The General Properties of Essential Oils# -- Compounds #occurring in +Essential Oils# -- #The Preparation of Essential Oils# -- #The Analysis of +Essential Oils# -- #Systematic Study of the Essential Oils# -- +#Terpeneless Oils# -- #The Chemistry of Artificial Perfumes# -- #Appendix:# +Table of Constants -- #Index#. + + + +#SOAPS.# + + +#SOAPS.# A Practical Manual of the Manufacture of Domestic, Toilet and +other Soaps. By George H. HURST, F.C.S. 390 pp. 66 Illustrations. +Price 12s. 6d. net. (Post free, 13s. home; 13s. 6d. abroad.) + +#Contents.# + +#Introductory -- Soap-maker's Alkalies -- Soap Fats and Oils -- +Perfumes -- Water as a Soap Material -- Soap Machinery -- Technology +of Soap-making -- Glycerine in Soap Lyes -- Laying out a Soap Factory +-- Soap Analysis -- Appendices.# + + +#TEXTILE SOAPS AND OILS.# Handbook on the Preparation, Properties and +Analysis of the Soaps and Oils used in Textile Manufacturing, Dyeing +and Printing. By George H. HURST, F.C.S. Crown 8vo. 195 pp. 1904. +Price 5s. net. (Post free, 5s. 4d. home; 5s. 6d. abroad.) + +#Contents#. + +#Methods of Making Soaps# -- Hard Soap -- Soft Soap. #Special Textile +Soaps# -- Wool Soaps -- Calico Printers' Soaps -- Dyers' Soaps. +#Relation of Soap to Water for Industrial Purposes# -- Treating Waste +Soap Liquors -- Boiled Off Liquor -- Calico Printers and Dyers' Soap +Liquors -- #Soap Analysis# -- #Fat in Soap#. + +ANIMAL AND VEGETABLE OILS AND FATS -- Tallow -- Lard -- Bone +Grease-Tallow Oil. #Vegetable Soap, Oils and Fats# -- Palm Oil -- +Coco-nut Oil -- Olive Oil -- Cottonseed Oil -- Linseed Oil -- Castor +Oil -- Corn Oil -- Whale Oil or Train Oil -- Repe Oil. + +GLYCERINE. + +TEXTILE OILS -- Oleic Acid -- Blended Wool Oils -- Oils for Cotton +Dyeing, Printing and Finishing -- Turkey Red Oil -- Alizarine Oil -- +Oleine -- Oxy Turkey Red Oils -- Soluble Oil-Analysis of Turkey Red +Oil -- Finisher's Soluble Oil -- Finisher's Soap Softening -- Testing +and Adulteration of Oils -- Index. + + + +COSMETICAL PREPARATIONS. (p. c08) + + +#COSMETICS: MANUFACTURE, EMPLOYMENT AND TESTING OF ALL COSMETIC +MATERIALS AND COSMETIC SPECIALITIES.# Translated from the German of Dr. +Theodor KOLLER. Crown 8vo. 262 pp. Price 5s. net. (Post free, 5s. 4d. +home; 5s. 6d. abroad.) + +#Contents.# + +Purposes and Uses of, and Ingredients used in the Preparation of +Cosmetics -- Preparation of Perfumes by Pressure, Distillation, +Maceration, Absorption or Enfleurage, and Extraction Methods -- +Chemical and Animal Products used in the Preparation of Cosmetics -- +Oils and Fats used in the Preparation of Cosmetics -- General Cosmetic +Preparations -- Mouth Washes and Tooth Pastes -- Hair Dyes, Hair +Restorers and Depilatories -- Cosmetic Adjuncts and Specialities -- +Colouring Cosmetic Preparations -- Antiseptic Washes and Soaps -- +Toilet and Hygienic Soaps -- Secret Preparations for Skin, Complexion, +Teeth, Mouth, etc. -- Testing and Examining the Materials Employed in +the Manufacture of Cosmetics -- Index. + + + +GLUE, BONE PRODUCTS AND MANURES. + + +#GLUE AND GLUE TESTING.# By Samuel RIDEAL, D.Sc. (Lond.), F.I.C. +Fourteen Engravings. 144 pp. Demy 8vo. Price 10s. 6d. net. (Post free, +10s. 10d. home; 11s. abroad.) + +#Contents.# + +#Constitution and Properties:# Definitions and Sources, Gelatine, +Chondrin and Allied Bodies, Physical and Chemical Properties, +Classification, Grades and Commercial Varieties -- #Raw Materials and +Manufacture:# Glue Stock, Lining, Extraction, Washing and Clarifying, +Filter Presses, Water Supply, Use of Alkalies, Action of Bacteria and +of Antiseptics, Various Processes, Cleansing, Forming, Drying, +Crushing, etc., Secondary Products -- #Uses of Glue:# Selection and +Preparation for Use, Carpentry, Veneering, Paper-Making, Bookbinding, +Printing Rollers, Hectographs, Match Manufacture, Sandpaper, etc., +Substitutes for other Materials, Artificial Leather and Caoutchouc -- +#Gelatine:# General Characters, Liquid Gelatine, Photographic Uses, +Size, Tanno-, Chrome and Formo-Gelatine, Artificial Silk, Cements, +Pneumatic Tyres, Culinary, Meat Extracts, Isinglass, Medicinal and +other Uses, Bacteriology -- #Glue Testing:# Review of Processes, +Chemical Examination, Adulteration, Physical Tests, Valuation of Raw +Materials -- #Commercial Aspects#. + + +#BONE PRODUCTS AND MANURES:# An Account of the most recent Improvements +in the Manufacture of Fat, Glue, Animal Charcoal, Size, Gelatine and +Manures. By Thomas LAMBERT, Technical and Consulting Chemist. +Illustrated by Twenty-one Plans and Diagrams. 162 pp. Demy 8vo. Price +7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +Chemical Composition of Bones -- Arrangement of Factory -- Properties +of Glue -- Glutin and Chondrin -- Skin Glue -- Liming of Skins -- +Washing -- Boiling of Skins -- Clarification of Glue Liquors -- +Glue-Boiling and Clarifying-House -- Specification of a Glue -- Size +-- Uses and Preparation and Composition of Size -- Concentrated Size +-- Properties of Gelatine -- Preparation of Skin Gelatine -- Drying -- +Bone Gelatine -- Selecting Bones -- Crushing -- Dissolving -- +Bleaching -- Boiling -- Properties of Glutin and Chondrin -- Testing +of Glues and Gelatines -- The Uses of Glue, Gelatine and Size in +Various Trades -- Soluble and Liquid Glues -- Steam and Waterproof +Glues -- #Manures# -- Importation of Food Stuffs -- Soils -- Germination +-- Plant Life -- #Natural Manures# -- Water and Nitrogen in Farmyard +Manure -- Full Analysis of Farmyard Manure -- Action on Crops -- +Water-Closet System -- Sewage Manure -- Green Manures -- #Artificial +Manures# -- #Mineral Manures# -- Nitrogenous Matters -- Shoddy -- Hoofs +and Horns -- Leather Waste -- Dried Meat -- Dried Blood -- +Superphosphates -- Composition -- Manufacture -- Common Raw Bones -- +Degreased Bones -- Crude Fat -- Refined Fat -- Degelatinised Bones -- +Animal Charcoal -- Bone Superphosphates -- Guanos -- Dried Animal +Products -- Potash Compounds -- Sulphate of Ammonia -- Extraction in +Vacuo -- French and British Gelatines compared -- Index. + + + +CHEMICALS, WASTE PRODUCTS AND AGRICULTURAL CHEMISTRY. (p. c09) + + +REISSUE OF #CHEMICAL ESSAYS OF C. W. SCHEELE#. First Published in English +in 1786. Translated from the Academy of Sciences at Stockholm, with +Additions. 300 pp. Demy 8vo, Price 5s. net. (Post free, 5s. 6d. home; +5s. 9d. abroad.) + +#Contents.# + +Memoir: C. W. Scheele and his work (written for this edition by J. G. +McIntosh) -- On Fluor Mineral and its Acid -- On Fluor Mineral -- +Chemical Investigation of Fluor Acid, with a View to the Earth which +it Yields, by Mr. Wiegler -- Additional Information Concerning Fluor +Minerals -- On Manganese, Magnesium, or Magnesia Vitrariorum -- On +Arsenic and its Acid -- Remarks upon Salts of Benzoin--On Silex, Clay +and Alum -- Analysis of the Calculus Vesical -- Method of Preparing +Mercurius Dulcis Via Humida -- Cheaper and more Convenient Method of +Preparing Pulvis Algarothi -- Experiments upon Molybdæna -- +Experiments on Plumbago -- Method of Preparing a New Green Colour -- +Of the Decomposition of Neutral Salts by Unslaked Lime and Iron -- On +the Quantity of Pure Air which is Daily Present in our Atmosphere -- +On Milk and its Acid -- On the Acid of Saccharum Lactis -- On the +Constituent Parts of Lapis Ponderosus or Tungsten -- Experiments and +Observations on Ether -- Index. + + +#THE MANUFACTURE OF ALUM AND THE SULPHATES AND OTHER SALTS OF ALUMINA +AND IRON.# Their Uses and Applications as Mordants in Dyeing and Calico +Printing, and their other Applications in the Arts, Manufactures, +Sanitary Engineering, Agriculture and Horticulture. Translated from +the French of Lucien GESCHWIND. 195 Illustrations. 400 pp. Royal 8vo. +Price 12s. 6d. net. (Post free, 13s. home; 13s. 6d. abroad.) + +#Contents.# + +#Theoretical Study of Aluminium, Iron, and Compounds of these Metals# -- +Aluminium and its Compounds -- Iron and Iron Compounds. + +#Manufacture of Aluminium Sulphates and Sulphates of Iron# -- Manufacture +of Aluminium Sulphate and the Alums -- Manufacture of Sulphates of +Iron. + +#Uses of the Sulphates of Aluminium and Iron# -- Uses of Aluminium +Sulphate and Alums -- Application to Wool and Silk -- Preparing and +using Aluminium Acetates -- Employment of Aluminium Sulphate in +Carbonising Wool -- The Manufacture of Lake Pigments -- Manufacture of +Prussian Blue -- Hide and Leather Industry -- Paper Making -- +Hardening Plaster -- Lime Washes -- Preparation of Non-inflammable +Wood, etc. -- Purification of Waste Waters. -- #Uses and Applications +of Ferrous Sulphate and Ferric Sulphates# -- Dyeing -- Manufacture of +Pigments -- Writing Inks -- Purification of Lighting Gas -- +Agriculture -- Cotton Dyeing -- Disinfectant -- Purifying Waste +Liquors -- Manufacture of Nordhausen Sulphuric Acid -- Fertilising. + +#Chemical Characteristics of Iron and Aluminium# -- #Analysis of Various +Aluminous or Ferruginous Products# -- Aluminium -- #Analysing Aluminium +Products# --Alunite Alumina -- Sodium Aluminate -- Aluminium Sulphate +-- #Iron# -- Analytical Characteristics of Iron Salts -- Analysis of +Pyritic Lignite -- Ferrous and Ferric Sulphates -- Rouil Mordant -- +Index. + + +#AMMONIA AND ITS COMPOUNDS:# Their Manufacture and Uses. By Camille +VINCENT, Professor at the Central School of Arts and Manufactures, +Paris. Translated from the French by M. J. SALTER. Royal 8vo. 114 pp. +Thirty-two Illustrations. Price 5s. net. (Post free, 5s. 4d. home; 5s. +6d. abroad.) + +#Contents.# + +#General Considerations#: Various Sources of Ammoniacal Products; Human +Urine as a Source of Ammonia -- #Extraction of Ammoniacal Products from +Sewage# -- #Extraction of Ammonia from Gas Liquor# -- #Manufacture of +Ammoniacal Compounds from Bones, Nitrogenous Waste, Beetroot Wash and +Peat# -- #Manufacture of Caustic Ammonia, and Ammonium Chloride, +Phosphate and Carbonate# -- #Recovery of Ammonia from the Ammonia-Soda +Mother Liquors# -- #Index#. + + +#INDUSTRIAL ALCOHOL.# A Practical Manual on the Production and (p. c10) +Use of Alcohol for Industrial Purposes and for Use as a Heating Agent, +as an Illuminant and as a Source of Motive Power. By J. G. M'INTOSH, +Lecturer on Manufacture and Applications of Industrial Alcohol at The +Polytechnic, Regent Street, London. Demy 8vo. 1907. 250 pp. With 75 +Illustrations and 25 Tables. Price 7s. 6d. net. (Post free, 7s. 9d. +home; 8s. abroad.) + +#Contents.# + +#Alcohol and its Properties.# -- Ethylic Alcohol -- Absolute Alcohol -- +Adulterations -- Properties of Alcohol -- Fractional Distillation -- +Destructive Distillation -- Products of Combustion -- Alcoholometry -- +Proof Spirit -- Analysis of Alcohol -- Table showing Correspondence +between the Specific Gravity and Per Cents. of Alcohol over and under +Proof -- Other Alcohol Tables. #Continuous Aseptic and Antiseptic +Fermentation and Sterilisation in Industrial Alcohol Manufacture.# #The +Manufacture of Industrial Alcohol from Beets.# -- Beet Slicing Machines +-- Extraction of Beet Juice by Maceration, by Diffusion -- +Fermentation in Beet Distilleries -- Plans of Modern Beet Distillery, +#The Manufacture of Industrial Alcohol from Grain.# -- Plan of Modern +Grain Distillery. #The Manufacture of Industrial Alcohol from Potatoes.# +#The Manufacture of Industrial Alcohol from Surplus Stocks of Wine#, +Spoilt Wine, Wine Marcs, and from Fruit in General. The Manufacture of +Alcohol from the Sugar Cane and Sugar Cane Molasses -- Plans. #Plant, +etc., for the Distillation and Rectification of Industrial Alcohol.# -- +The Caffey and other "Patent" Stills -- Intermittent versus Continuous +Rectification -- Continuous Distillation -- Rectification of Spent +Wash. #The Manufacture and Uses of Various Alcohol Derivatives#, Ether, +Haloid Ethers, Compound Ethers, Chloroform -- Methyl and Amyl Alcohols +and their Ethereal Salts, Acetone -- Barbet's Ether, Methyl Alcohol +and Acetone Rectifying Stills. #The Uses of Alcohol in Manufactures, +etc.# -- List of Industries in which Alcohol is used, with Key to +Function of Alcohol in each Industry. #The Uses of Alcohol for +Lighting, Heating, and Motive Power.# + + +#ANALYSIS OF RESINS AND BALSAMS.# Translated from the German of Dr. Karl +DIETERICH. Demy 8vo. 340 pp. Price 7s. 6d. net. (Post free, 7s. 10d. +home; 8s. 3d. abroad.) + + +#MANUAL OF AGRICULTURAL CHEMISTRY.# By Herbert INGLE, F.I.C., Lecturer +on Agricultural Chemistry, the Yorkshire College; Lecturer in the +Victoria University. 388 pp. 11 Illustrations. Demy 8vo. Price 7s. 6d. +net. (Post free, 8s. home; 8s. 6d. abroad.) + +#Contents.# + +Introduction -- The Atmosphere -- The Soil -- The Reactions occurring +in Soils -- The Analysis of Soils -- Manures, Natural -- Manures +(continued) -- The Analysis of Manures -- The Constituents of Plants +-- The Plant -- Crops -- The Animal -- Foods and Feeding -- Milk and +Milk Products -- The Analysis of Milk and Milk Products -- +Miscellaneous Products used in Agriculture -- Appendix -- Index. + + +#THE UTILISATION OF WASTE PRODUCTS.# A Treatise on the Rational +Utilisation, Recovery and Treatment of Waste Products of all kinds. By +Dr. Theodor KOLLER. Translated from the Second Revised German Edition. +Twenty-two Illustrations. Demy 8vo. 280 pp. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. 3d. abroad.) + +#Contents.# + +The Waste of Towns -- #Ammonia and Sal-Ammoniac# -- Rational Processes +for Obtaining these Substances by Treating Residues and Waste -- +Residues in the Manufacture of Aniline Dyes -- Amber Waste -- Brewers' +Waste -- Blood and Slaughter-House Refuse -- Manufactured Fuels -- +Waste Paper and Bookbinders' Waste -- Iron Slags -- Excrement -- +Colouring Matters from Waste -- Dyers' Waste Waters -- Fat from Waste +-- Fish Waste -- Calamine Sludge -- Tannery Waste -- Gold and Silver +Waste -- India-rubber and Caoutchouc Waste -- Residues in the +Manufacture of Rosin Oil -- Wood Waste -- Horn Waste -- Infusorial +Earth -- Iridium from Goldsmiths' Sweepings -- Jute Waste -- Cork +Waste -- Leather Waste -- Glue Makers' Waste -- Illuminating Gas from +Waste and the By-Products of the Manufacture of Coal Gas -- Meerschum +-- Molasses--Metal Waste -- By-Products in the Manufacture of Mineral +Waters -- Fruit -- The By-Products of Paper and Paper Pulp Works -- +By-Products in the Treatment of Coal Tar Oils -- Fur Waste -- The +Waste Matter in the Manufacture of Parchment Paper -- Mother of Pearl +Waste -- Petroleum Residues -- Platinum Residues -- Broken Porcelain, +Earthenware and Glass -- Salt Waste -- Slate Waste -- Sulphur -- Burnt +Pyrites -- Silk Waste -- Soap Makers' Waste -- Alkali Waste and the +Recovery of Soda--Waste Produced in Grinding Mirrors -- Waste Products +in the Manufacture of Starch -- Stearic Acid -- Vegetable Ivory Waste +-- Turf -- Waste Waters of Cloth Factories -- Wine Residues -- +Tinplate Waste -- Wool Waste -- Wool Sweat -- The Waste Liquids from +Sugar Works -- Index. + + + +#WRITING INKS AND SEALING WAXES.# (p. c11) + + +#INK MANUFACTURE:# Including Writing, Copying, Lithographic, Marking, +Stamping, and Laundry Inks. By Sigmund LEHNER. Three Illustrations. +Crown 8vo. 162 pp. Translated from the German of the Fifth Edition. +Price 5s. net. (Post free, 5s. 3d. home; 5s. 6d. abroad.) + +#Contents.# + +Varieties of Ink -- Writing Inks -- Raw Materials of Tannin Inks -- +The Chemical Constitution of the Tannin Inks -- Recipes for Tannin +Inks -- Logwood Tannin Inks -- Ferric Inks -- Alizarine Inks--Extract +Inks -- Logwood Inks -- Copying Inks -- Hektographs -- Hektograph Inks +-- Safety Inks -- Ink Extracts and Powders -- Preserving Inks -- +Changes in Ink and the Restoration of Faded Writing -- Coloured Inks +-- Red Inks -- Blue Inks -- Violet Inks -- Yellow Inks -- Green Inks +-- Metallic Inks -- Indian Ink -- Lithographic Inks and Pencils -- Ink +Pencils -- Marking Inks -- Ink Specialities -- Sympathetic Inks -- +Stamping Inks -- Laundry or Washing Blue -- Index. + + +#SEALING-WAXES, WAFERS AND OTHER ADHESIVES FOR THE HOUSEHOLD, OFFICE, +WORKSHOP AND FACTORY.# By H. C. STANDAGE. Crown 8vo. 96 pp. Price 5s. +net. (Post free, 5s. 3d. home; 5s. 6d. abroad.) + +#Contents.# + +#Materials Used for Making Sealing=Waxes# -- The Manufacture of +Sealing-Waxes -- Wafers -- Notes on the Nature of the Materials Used +in Making Adhesive Compounds -- Cements for Use in the Household -- +Office Gums, Pastes and Mucilages -- Adhesive Compounds for Factory +and Workshop Use. + + + +#LEAD ORES AND COMPOUNDS.# + + +#LEAD AND ITS COMPOUNDS.# By Thos. LAMBERT, Technical and Consulting +Chemist. Demy 8vo. 226 pp. Forty Illustrations. Price 7s. 6d. net. +(Post free, 7s. 10d. home; 8s. 3d. abroad.) + +#Contents.# + +History -- Ores of Lead -- Geographical Distribution of the Lead +Industry -- Chemical and Physical Properties of Lead -- Alloys of Lead +-- Compounds of Lead -- Dressing of Lead Ores -- Smelting of Lead Ores +-- Smelting in the Scotch or American Ore-hearth -- Smelting in the +Shaft or Blast Furnace -- Condensation of Lead Fume -- Desilverisation, +or the Separation of Silver from Argentiferous Lead -- Cupellation -- The +Manufacture of Lead Pipes and Sheets -- Protoxide of Lead -- Litharge and +Massicot -- Red Lead or Minium -- Lead Poisoning -- Lead Substitutes -- +Zinc and its Compounds -- Pumice Stone -- Drying Oils and Siccatives -- Oil +of Turpentine Resin -- Classification of Mineral Pigments -- Analysis of +Raw and Finished Products -- Tables -- Index. + + +#NOTES ON LEAD ORES:# Their Distribution and Properties. By Jas. FAIRIE, +F.G.S. Crown 8vo. 64 pages. Price 2s. 6d. net. (Post free, 2s. 9d. +home; 3s. abroad.) + + + +#INDUSTRIAL HYGIENE.# + + +#THE RISKS AND DANGERS TO HEALTH OF VARIOUS OCCUPATIONS AND THEIR +PREVENTION.# By Leonard A. PARRY, M.D., B.Sc. (Lond.). 196 pp. Demy +8vo. Price 7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +Occupations which are Accompanied by the Generation and Scattering of +Abnormal Quantities of Dust -- Trades in which there is Danger of +Metallic Poisoning -- Certain Chemical Trades -- Some Miscellaneous +Occupations --Trades in which Various Poisonous Vapours are Inhaled +--General Hygienic Considerations -- Index. + + + +#INDUSTRIAL USES OF AIR, STEAM AND WATER.# (p. c12) + + +#DRYING BY MEANS OF AIR AND STEAM.# Explanations, Formulæ, and Tables +for Use in Practice. Translated from the German of E. HAUSRRAND. Two +folding Diagrams and Thirteen Tables. Crown 8vo. 72 pp. Price 5s. net. +(Post free, 5s. 3d. home; 5s. 6d. abroad.) + +#Contents.# + +British and Metric Systems Compared -- Centigrade and Fahr. +Thermometers -- Estimation of the Maximum Weight of Saturated Aqueous +Vapour which can be contained in 1 kilo. of Air at Different Pressure +and Temperatures -- Calculation of the Necessary Weight and Volume of +Air, and of the Least Expenditure of Heat, per Drying Apparatus with +Heated Air, at the Atmospheric Pressure: _A_, With the Assumption that +the Air is _Completely Saturated_ with Vapour both before Entry and +after Exit from the Apparatus -- _B_, When the Atmospheric Air is +Completely Saturated _before entry_, but at its _exit_ is _only_ 3/4, +1/2 or 1/4 Saturated -- _C_, When the Atmospheric Air is _not_ +Saturated with Moisture before Entering the Drying Apparatus -- Drying +Apparatus, in which, in the Drying Chamber, a Pressure is Artificially +Created, Higher or Lower than that of the Atmosphere -- Drying by +Means of Superheated Steam, without Air --Heating Surface, Velocity of +the Air Current, Dimensions of the Drying Room, Surface of the Drying +Material, Losses of Heat -- Index. + + (_See also "Evaporating, Condensing and Cooling + Apparatus," p. 26._) + + +#PURE AIR, OZONE AND WATER.# A Practical Treatise of their Utilisation +and Value in Oil, Grease, Soap, Paint, Glue and other Industries, By +W. B. COWELL. Twelve Illustrations. Crown 8vo. 85 pp. Price 5s. net. +(Post free, 5s. 3d. home; 5s. 6d. abroad.) + +#Contents.# + +Atmospheric Air; Lifting of Liquids; Suction Process; Preparing Blown +Oils; Preparing Siccative Drying Oils -- Compressed Air; Whitewash -- +Liquid Air; Retrocession -- Purification of Water; Water Hardness -- +Fleshings and Bones -- Ozonised Air in the Bleaching and Deodorising +of Fats, Glues, etc.; Bleaching Textile Fibres -- Appendix: Air and +Gases; Pressure of Air at Various Temperatures; Fuel; Table of +Combustibles; Saving of Fuel by Heating Feed Water; Table of +Solubilities of Scale Making Minerals; British Thermal Units Tables; +Volume of the Flow of Steam into the Atmosphere; Temperature of Steam +-- Index. + + +#THE INDUSTRIAL USES OF WATER. +COMPOSITION--EFFECTS--TROUBLES--REMEDIES--RESIDUARY +WATERS--PURIFICATION--ANALYSIS.# By H. de la COUX. Royal 8vo. +Translated from the French and Revised by Arthur MORRIS. 364 pp. 135 +Illustrations. Price 10s. 6d. net. (Post free, 11s. home; 11s. 6d. +abroad.) + +#Contents.# + +Chemical Action of Water in Nature and in Industrial Use -- +Composition of Waters -- Solubility of Certain Salts in Water +Considered from the Industrial Point of View -- Effects on the Boiling +of Water -- Effects of Water in the Industries -- Difficulties with +Water -- Feed Water for Boilers -- Water in Dye works, Print Works, +and Bleach Works -- Water in the Textile Industries and in +Conditioning -- Water in Soap Works -- Water in Laundries and +Washhouses -- Water in Tanning -- Water in Preparing Tannin and +Dyewood Extracts -- Water in Papermaking -- Water in Photography -- +Water in Sugar Refining -- Water in Making Ices and Beverages -- Water +in Cider Making -- Water in Brewing -- Water in Distilling -- +Preliminary Treatment and Apparatus -- Substances Used for Preliminary +Chemical Purification -- Commercial Specialities and their Employment +-- Precipitation of Matters in Suspension in Water -- Apparatus for +the Preliminary Chemical Purification of Water -- Industrial Filters +-- Industrial Sterilisation of Water -- Residuary Waters and their +Purification -- Soil Filtration -- Purification by Chemical Processes +-- Analyses -- Index. + + (_See Books on Smoke Prevention, Engineering and + Metallurgy, p. 26, etc._) + + + +#X RAYS.# (p. c13) + + +#PRACTICAL X RAY WORK.# By Frank T. ADDYMAN, B.Sc. (Lond.), F.I.C., +Member of the Roentgen Society of London; Radiographer to St. George's +Hospital; Demonstrator of Physics and Chemistry, and Teacher of +Radiography in St. George's Hospital Medical School. Demy 8vo. Twelve +Plates from Photographs of X Ray Work. Fifty-two Illustrations. 200 +pp. Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. 3d. abroad.) + +#Contents.# + +#Historical# -- Work leading up to the Discovery of the X Rays -- The +Discovery--#Apparatus and its Management# -- Electrical Terms -- Sources +of Electricity -- Induction Coils -- Electrostatic Machines -- Tubes +-- Air Pumps -- Tube Holders and Stereoscopic Apparatus -- Fluorescent +Screens -- #Practical X Ray Work# -- Installations -- Radioscopy -- +Radiography -- X Rays in Dentistry -- X Rays in Chemistry -- X Rays in +War -- Index. + +#List of Plates.# + +_Frontispiece_ -- Congenital Dislocation of Hip-Joint. -- I., Needle +in Finger. -- II., Needle in Foot. -- III., Revolver Bullet in Calf +and Leg. -- IV., A Method of Localisation. -- V., Stellate Fracture of +Patella showing shadow of "Strapping". -- VI., Sarcoma. -- VII., +Six-weeks-old Injury to Elbow showing new Growth of Bone. -- VIII., +Old Fracture of Tibia and Fibula badly set. -- IX., Heart Shadow. -- +X., Fractured Femur showing Grain of Splint. -- XI., Barrell's Method +of Localisation. + + + +#INDIA-RUBBER AND GUTTA PERCHA.# + + +#INDIA-RUBBER AND GUTTA-PERCHA.# Translated from the French of T. +SEELIGMANN, G. LAMY TORVILHON and H. FALCONNET by John GEDDES +McINTOSH. Royal 8vo. + + [_Out of print. Second Edition in preparation._] + +#Contents.# + +#India-Rubber# -- Botanical Origin -- Climatology -- Soil -- Rational +Culture and Acclimation of the Different Species of India-Rubber +Plants -- Methods of Obtaining the Latex -- Methods of Preparing Raw +or Crude India-Rubber -- Classification of the Commercial Species of +Raw Rubber -- Physical and Chemical Properties of the Latex and of +India-Rubber -- Mechanical Transformation of Natural Caoutchouc into +Washed or Normal Caoutchouc (Purification) and Normal Rubber into +Masticated Rubber -- Softening, Cutting, Washing, Drying -- +Preliminary Observations -- Vulcanisation of Normal Rubber -- Chemical +and Physical Properties of Vulcanised Rubber -- General Considerations +-- Hardened Rubber or Ebonite -- Considerations on Mineralisation and +other Mixtures -- Coloration and Dyeing -- Analysis of Natural or +Normal Rubber and Vulcanised Rubber -- Rubber Substitutes -- Imitation +Rubber. + +#Gutta Percha# -- Botanical Origin -- Climatology -- Soil -- Rational +Culture -- Methods of Collection -- Classification of the Different +Species of Commercial Gutta Percha -- Physical and Chemical Properties +-- Mechanical Transformation -- Methods of Analysing -- Gutta Percha +Substitutes -- Index. + + + +#LEATHER TRADES.# + + +#PRACTICAL TREATISE ON THE LEATHER INDUSTRY.# By A. M. VILLON. Translated +by Frank T. ADDYMAN, B.Sc. (Lond.), F.I.C., F.C.S.; and Corrected by +an Eminent Member of the Trade. 500 pp., royal 8vo. 123 Illustrations. +Price 21s. net. (Post free, 21s. 6d. home; 22s. 6d. abroad.) + +#Contents.# + +Preface--Translator's Preface--List of Illustrations. + +Part I., #Materials used in Tanning# -- Skins: Skin and its Structure; +Skins used in Tanning; Various Skins and their Uses -- Tannin and +Tanning Substances: Tannin; Barks (Oak); Barks other than Oak; Tanning +Woods; Tannin-bearing Leaves; Excrescences; Tan-bearing Fruits; +Tan-bearing Roots and Bulbs; Tanning Juices; Tanning Substances used +in Various Countries; Tannin Extracts; Estimation of Tannin and Tannin +Principles. + +Part II., #Tanning# -- The Installation of a Tannery: Tan Furnaces; +Chimneys, Boilers, etc.; Steam Engines -- Grinding and Trituration of +Tanning Substances: Cutting up Bark; Grinding Bark; The Grinding of +Tan Woods; Powdering Fruit, Galls and Grains; Notes on the Grinding of +Bark -- Manufacture of Sole Leather: Soaking; Sweating and Unhairing; +Plumping and Colouring; Handling; Tanning; Tanning Elephants' Hides; +Drying; Striking or Pinning -- Manufacture of Dressing Leather: +Soaking; Depilation; New Processes for the Depilation of Skins; +Tanning; Cow Hides; Horse Hides; Goat Skins; Manufacture of (p. c14) +Split Hides -- On Various Methods of Tanning: Mechanical Methods; +Physical Methods; Chemical Methods; Tanning with Extracts -- Quantity +and Quality; Quantity; Net Cost; Quality of Leather -- Various +Manipulations of Tanned Leather: Second Tanning; Grease Stains; +Bleaching Leather; Waterproofing Leather; Weighting Tanned Leather; +Preservation of Leather -- Tanning Various Skins. + +Part III., #Currying# -- Waxed Calf: Preparation; Shaving; Stretching or +Slicking; Oiling the Grain; Oiling the Flesh Side; Whitening and +Graining; Waxing; Finishing; Dry Finishing; Finishing in Colour; Cost +-- White Calf: Finishing in White -- Cow Hide for Upper Leathers: +Black Cow Hide; White Cow Hide; Coloured Cow Hide -- Smooth Cow Hide +-- Black Leather -- Miscellaneous Hides: Horse; Goat; Waxed Goat Skin; +Matt Goat Skin -- Russia Leather: Russia Leather; Artificial Russia +Leather. + +Part IV., #Enamelled, Hungary and Chamoy Leather, Morocco, Parchment, +Furs and Artificial Leather# -- Enamelled Leather: Varnish Manufacture; +Application of the Enamel; Enamelling in Colour -- Hungary Leather: +Preliminary; Wet Work or Preparation; Aluming; Dressing or Loft Work; +Tallowing; Hungary Leather from Various Hides -- Tawing: Preparatory +Operations; Dressing; Dyeing Tawed Skins; Rugs -- Chamoy Leather -- +Morocco: Preliminary Operations; Morocco Tanning: Mordants used in +Morocco Manufacture; Natural Colours used in Morocco Dyeing; +Artificial Colours; Different Methods of Dyeing; Dyeing with Natural +Colours; Dyeing with Aniline Colours; Dyeing with Metallic Salts; +Leather Printing; Finishing Morocco; Shagreen; Bronzed Leather -- +Gilding and Silvering: Gilding; Silvering; Nickel and Cobalt -- +Parchment -- Furs and Furriery: Preliminary Remarks; Indigenous Furs; +Foreign Furs from Hot Countries; Foreign Furs from Cold Countries; +Furs from Birds' Skins; Preparation of Furs; Dressing; Colouring; +Preparation of Birds' Skins; Preservation of Furs -- Artificial +Leather: Leather made from Scraps; Compressed Leather; American Cloth; +Papier Mâché; Linoleum; Artificial Leather. + +Part V., #Leather Testing and the Theory of Tanning# -- Testing and +Analysis of Leather: Physical Testing of Tanned Leather; Chemical +Analysis -- The Theory of Tanning and the other Operations of the +Leather and Skin Industry: Theory of Soaking; Theory of Unhairing; +Theory of Swelling; Theory of Handling; Theory of Tanning; Theory of +the Action of Tannin on the Skin; Theory of Hungary Leather Making; +Theory of Tawing; Theory of Chamoy Leather Making; Theory of Mineral +Tanning. + +Part VI., #Uses of Leather# -- Machine Belts: Manufacture of Belting; +Leather Chain Belts; Various Belts; Use of Belts -- Boot and +Shoe-making: Boots and Shoes; Laces -- Saddlery: Composition of a +Saddle; Construction of a Saddle -- Harness: The Pack Saddle; Harness +-- Military Equipment -- Glove Making -- Carriage Building -- +Mechanical Uses. + +Appendix, #The World's Commerce in Leather# -- Europe; America; Asia; +Africa; Australasia -- Index. + + +#THE LEATHER WORKER'S MANUAL.# Being a Compendium of Practical Recipes +and Working Formulæ for Curriers, Bootmakers, Leather Dressers, +Blacking Manufacturers, Saddlers, Fancy Leather Workers. By H. C. +STANDAGE. Demy 8vo. 165 pp. Price 7s. 6d. net. (Post free, 7s. 10d. +home; 8s. abroad.) + +#Contents.# + +Blackings, Polishes, Glosses, Dressings, Renovators, etc., for Boot +and Shoe Leather -- Harness Blackings, Dressings, Greases, +Compositions, Soaps, and Boot-top Powders and Liquids, etc., etc. -- +Leather Grinders' Sundries -- Currier's Seasonings, Blacking +Compounds, Dressings, Finishes, Glosses, etc. -- Dyes and Stains for +Leather --Miscellaneous Information -- Chrome Tannage -- Index. + + + +#BOOKS ON POTTERY, BRICKS, TILES, GLASS, ETC.# + + +#THE MANUAL OF PRACTICAL POTTING.# Compiled by Experts, and Edited by +Chas. F. BINNS. Revised Third Edition and Enlarged. 200 pp. Price 17s. +6d. net. (Post free, 17s. 10d. home; 18s. 3d. abroad.) + +#Contents.# + +#Introduction.# The Rise and Progress of the Potter's Art -- #Bodies#. +China and Porcelain Bodies, Parian Bodies, Semi-porcelain and Vitreous +Bodies, Mortar Bodies, Earthenwares Granite and C.C. Bodies, +Miscellaneous Bodies, Sagger and Crucible Clays, Coloured Bodies, +Jasper Bodies, Coloured Bodies for Mosaic Painting, Encaustic Tile +Bodies, Body Stains, Coloured Dips -- #Glazes.# China Glazes, Ironstone +Glazes, Earthenware Glazes, Glazes without Lead, Miscellaneous Glazes, +Coloured Glazes, Majolica Colours -- #Gold and Gold Colours.# Gold, +Purple of Cassius, Marone and Ruby, Enamel Coloured Bases, Enamel +Colour Fluxes, Enamel Colours, Mixed Enamel Colours, Antique and +Vellum Enamel Colours, Underglaze Colours, Underglaze Colour Fluxes, +Mixed Underglaze Colours, Flow Powders, Oils and Varnishes -- #Means +and Methods.# Reclamation of Waste Gold, The Use of Cobalt, Notes on +Enamel Colours, Liquid or Bright Gold -- #Classification and Analysis.# +Classification of Clay Ware, Lord Playfair's Analysis of Clays, The +Markets of the World, Time and Scale of Firing, Weights of (p. c15) +Potter's Material, Decorated Goods Count -- Comparative Loss of Weight +of Clays -- Ground Felspar Calculations -- The Conversion of Slop Body +Recipes into Dry Weight -- The Cost of Prepared Earthenware Clay -- +#Forms and Tables.# Articles of Apprenticeship, Manufacturer's Guide to +Stocktaking, Table of Relative Values of Potter's Materials, Hourly +Wages Table, Workman's Settling Table, Comparative Guide for +Earthenware and China Manufacturers in the use of Slop Flint and Slop +Stone, Foreign Terms applied to Earthenware and China Goods, Table for +the Conversion of Metrical Weights and Measures on the Continent and +South America -- #Index.# + + +#CERAMIC TECHNOLOGY:# Being some Aspects of Technical Science as Applied +to Pottery Manufacture. Edited by Charles F. BINNS. 100 pp. Demy 8vo. +Price 12s. 6d. net. (Post free, 12s. 10d. home; 13s. abroad.) + +#Contents.# + +Preface -- The Chemistry of Pottery -- Analysis and Synthesis -- Clays +and their Components--The Biscuit Oven -- Pyrometry -- Glazes and +their Composition -- Colours and Colour-making -- Index. + + +#A TREATISE ON THE CERAMIC INDUSTRIES.# A Complete Manual for Pottery, +Tile and Brick Works. By Emile BOURRY. Translated from the French by +Wilton P. RIX, Examiner in Pottery and Porcelain to the City and +Guilds of London Technical Institute, Pottery Instructor to the Hanley +School Board. Royal 8vo. 760 pp. 323 Illustrations. Price 21s. net. +(Post free, 22s. home; 24s. abroad.) + +#Contents.# + +Part I., #General Pottery Methods.# Definition and History. Definitions +and Classification of Ceramic Products -- Historic Summary of the +Ceramic Art -- Raw Materials of Bodies. Clays: Pure Clay and Natural +Clays -- Various Raw Materials: Analogous to Clay -- Agglomerative and +Agglutinative -- Opening -- Fusible -- Refractory -- Trials of Raw +Materials -- Plastic Bodies. Properties and Composition -- Preparation +of Raw Materials: Disaggregation -- Purification -- Preparation of +Bodies: By Plastic Method -- By Dry Method -- By Liquid Method -- +Formation, Processes of Formation: Throwing -- Expression -- Moulding +by Hand, on the Jolley, by Compression, by Slip Casting -- Slapping -- +Slipping -- Drying. Drying of Bodies -- Processes of Drying; By +Evaporation -- By Aeration -- By Heating -- By Ventilation -- By +Absorption -- Glazes. Composition and Properties -- Raw Materials -- +Manufacture and Application -- Firing. Properties of the Bodies and +Glazes during Firing -- Description of the Kilns -- Working of the +Kilns -- Decoration. Colouring Materials -- Processes of Decoration. + +Part II., #Special Pottery Methods.# Terra Cottas. Classification: Plain +Ordinary, Hollow, Ornamental, Vitrified, and Light Bricks -- Ordinary +and Black Tiles -- Paving Tiles -- Pipes -- Architectural Terra Cottas +-- Vases, Statues and Decorative Objects -- Common Pottery -- Pottery +for Water and Filters -- Tobacco Pipes -- Lustre Ware -- Properties +and Tests for Terra Cottas--Fireclay Goods. Classification: +Argillaceous, Aluminous, Carboniferous, Silicious and Basic Fireclay +Goods -- Fireclay Mortar (Pug) -- Tests for Fireclay Goods -- +Faiences. Varnished Faiences -- Enamelled Faiences -- Silicious +Faiences -- Pipeclay Faiences -- Pebble Work -- Feldspathic Faiences +-- Composition, Processes of Manufacture and General Arrangements of +Faience Potteries -- Stoneware. Stoneware Properly So-called: Paving +Tiles -- Pipes -- Sanitary Ware -- Stoneware for Food Purposes and +Chemical Productions -- Architectural Stoneware -- Vases, Statues and +other Decorative Objects -- Fine Stoneware -- Porcelain. Hard +Porcelain for Table Ware and Decoration, for the Fire, for Electrical +Conduits, for Mechanical Purposes; Architectural Porcelain, and Dull +or Biscuit Porcelain -- Soft Phosphated or English Porcelain -- Soft +Vitreous Porcelain, French and New Sèvres -- Argillaceous Soft or +Seger's Porcelain -- Dull Soft or Parian Porcelain -- Dull Feldspathic +Soft Porcelain -- #Index.# + + +#POTTERY DECORATING,# By R. HAINBACH. Translated from the German. Crown +8vo. 22 Illustrations. Deals with Glazes, Colours, etc. [_In the +Press._] + + +#ARCHITECTURAL POTTERY.# Bricks, Tiles, Pipes, Enamelled Terra-cottas, +Ordinary and Incrusted Quarries, Stoneware Mosaics, Faïences and +Architectural Stoneware. By Leon LEFÊVRE. With Five Plates. 950 +Illustrations in the Text, and numerous estimates. 500 pp., royal 8vo. +Translated from the French by K. H. BIRD, M.A., and W. Moore BINNS. +Price 15s. net. (Post free, 15s. 6d. home; 16s. 6d. abroad.) + +#Contents.# + +Part I. #Plain Undecorated Pottery. -- Clays, Bricks, Tiles, Pipes, +Chimney Flues, Terra-cotta.# + +Part II. #Made-up or Decorated Pottery.# + + +#THE ART OF RIVETING GLASS, CHINA AND EARTHENWARE.# By J. HOWARTH. (p. c16) +Second Edition. Paper Cover. Price 1s. net; by post, home or abroad, +1s. 1d. + + +#NOTES ON POTTERY CLAYS.# Their Distribution, Properties, Uses and +Analyses of Ball Clays, China Clays and China Stone. By Jas. FAIRIE, +F.G.S. 132 pp. Crown 8vo. Price 3s. 6d. net. (Post free, 3s. 9d. home; +3s. 10d. abroad.) + + +A Reissue of +#THE HISTORY OF THE STAFFORDSHIRE POTTERIES; AND THE RISE AND PROGRESS +OF THE MANUFACTURE OF POTTERY AND PORCELAIN.# With References to +Genuine Specimens, and Notices of Eminent Potters. By Simeon SHAW. +(Originally Published in 1829.) 265 pp. Demy 8vo. Price 7s. 6d. net. +(Post free, 7s. 10d. home; 8s. 3d. abroad.) + +#Contents.# + +#Introductory Chapter# showing the position of the Pottery Trade at the +present time (1899) -- #Preliminary Remarks# -- #The Potteries#, +comprising Tunstall, Brownhills, Greenfield and New Field, Golden +Hill, Latebrook, Green Lane, Burslem, Longport and Dale Hall, Hot Lane +and Cobridge, Hanley and Shelton, Etruria, Stoke, Penkhull, Fenton, +Lane Delph, Foley, Lane End -- #On the Origin of the Art#, and its +Practice among the early Nations -- #Manufacture of Pottery#, prior to +1700 -- #The Introduction of Red Porcelain# by Messrs. Elers, of +Bradwell, 1690 -- #Progress of the Manufacture# from 1700 to Mr. +Wedgwood's commencement in 1760 -- #Introduction of Fluid Glaze# -- +Extension of the Manufacture of Cream Colour -- Mr. Wedgwood's Queen's +Ware -- Jasper, and Appointment of Potter to Her Majesty -- Black +Printing -- #Introduction of Porcelain.# Mr. W. Littler's Porcelain -- +Mr. Cookworthy's Discovery of Kaolin and Petuntse, and Patent -- Sold +to Mr. Champion -- resold to the New Hall Com. -- Extension of Term -- +#Blue Printed Pottery.# Mr. Turner, Mr. Spode (1), Mr. Baddeley, Mr. +Spode (2), Messrs. Turner, Mr. Wood, Mr. Wilson, Mr. Minton -- Great +Change in Patterns of Blue Printed -- #Introduction of Lustre Pottery.# +Improvements in Pottery and Porcelain subsequent to 1800. + + +A Reissue of +#THE CHEMISTRY OF THE SEVERAL NATURAL AND ARTIFICIAL HETEROGENEOUS +COMPOUNDS USED IN MANUFACTURING PORCELAIN, GLASS AND POTTERY#. By +Simeon SHAW. (Originally published in 1837.) 750 pp. Royal 8vo. Price +14s. net. (Post free, 15s. home; 17s. abroad.) + + + +#GLASSWARE, GLASS STAINING AND PAINTING.# + + +#RECIPES FOR FLINT GLASS MAKING.# By a British Glass Master and Mixer. +Sixty Recipes. Being Leaves from the Mixing Book of several experts in +the Flint Glass Trade, containing up-to-date recipes and valuable +information as to Crystal, Demi-crystal and Coloured Glass in its many +varieties. It contains the recipes for cheap metal suited to pressing, +blowing, etc., as well as the most costly crystal and ruby. Crown 8vo. +Price 10s. 6d. net. (Post free, 10s. 9d. home; 10s. 10d. abroad.) + +#Contents.# + +Ruby -- Ruby from Copper -- Flint for using with the Ruby for Coating +-- A German Metal -- Cornelian, or Alabaster -- Sapphire Blue -- +Crysophis -- Opal -- Turquoise Blue -- Gold Colour -- Dark Green -- +Green (common) -- Green for Malachite -- Blue for Malachite -- Black +for Malachite -- Black -- Common Canary Batch -- Canary -- White +Opaque Glass -- Sealing-wax Red -- Flint -- Flint Glass (Crystal and +Demi) -- Achromatic Glass -- Paste Glass -- White Enamel -- +Firestone--Dead White (for moons) -- White Agate -- Canary -- Canary +Enamel -- Index. + + +#A TREATISE ON THE ART OF GLASS PAINTING.# Prefaced with a Review (p. c17) +of Ancient Glass. By Ernest R. SUFFLING. With One Coloured Plate and +Thirty-seven Illustrations. Demy 8vo. 140 pp. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +A Short History of Stained Glass -- Designing Scale Drawings +--Cartoons and the Cut Line -- Various Kinds of Glass Cutting for +Windows -- The Colours and Brushes used in Glass Painting -- Painting +on Glass, Dispersed Patterns -- Diapered Patterns -- Aciding -- Firing +-- Fret Lead Glazing -- Index. + + +#PAINTING ON GLASS AND PORCELAIN AND ENAMEL PAINTING.# A Complete +Introduction to the Preparation of all the Colours and Fluxes used for +Painting on Porcelain, Enamel, Faïence and Stoneware, the Coloured +Pastes and Coloured Glasses, together with a Minute Description of the +Firing of Colours and Enamels. By Felix HERMANN, Technical Chemist. +With Eighteen Illustrations. 300 pp. Translated from the German second +and enlarged Edition. Price 10s. 6d. net. (Post free, 10s. 10d. home; +11s. abroad.) + + + +#PAPER MAKING, PAPER DYEING, AND TESTING.# + + +#THE DYEING OF PAPER PULP.# A Practical Treatise for the use of +Papermakers, Paperstainers, Students and others. By Julius ERFURT, +Manager of a Paper Mill. Translated into English and Edited with +Additions by Julius HÜBNER, F.C.S., Lecturer on Papermaking at the +Manchester Municipal Technical School. With Illustrations and #157 +patterns of paper dyed in the pulp#. Royal 8vo, 180 pp. Price 15s. net. +(Post free, 15s. 6d. home; 16s. 6d. abroad.) + +#Contents.# + +#Behaviour of the Paper Fibres during the Process of Dyeing, Theory of +the Mordant# -- #Colour Fixing Mediums# (#Mordants#) -- #Influence of the +Quality of the Water Used# -- #Inorganic Colours# -- #Organic Colours# -- +#Practical Application of the Coal Tar Colours according to their +Properties and their Behaviour towards the Different Paper Fibres# -- +#Dyed Patterns on Various Pulp Mixtures# -- #Dyeing to Shade# -- Index. + + +#THE PAPER MILL CHEMIST.# By Henry P. STEVENS, M.A., Ph.D., F.I.C. Royal +12mo. 60 Illustrations. [_In the press._] + +#Contents.# + +#Introduction.# -- Dealing with the Apparatus required in Chemical Work +and General Chemical Manipulation, introducing the subject of +Qualitative and Quantitative Analysis. #Fuels.# -- Analysis of Coal, +Coke and other Fuels -- Sampling and Testing for Moisture, Ash, +Calorific Value, etc. -- Comparative Heating Value of different Fuels +and Relative Efficiency. #Water.# -- Analysis for Steam Raising and for +Paper Making Purposes generally -- Water Softening and Purification -- +A List of the more important Water Softening Plant, giving Power +required, Weight, Space Occupied, Out-put and Approximate Cost. #Raw +Materials and Detection of Adulterants.# -- Analysis and Valuation of +the more important Chemicals used in Paper Making, including Lime, +Caustic Soda, Sodium Carbonate, Mineral Acids, Bleach Antichlor, Alum, +Rosin and Rosin Size, Glue Gelatin and Casein, Starch, China Clay, +Blanc Fixe, Satin White and other Loading Materials, Mineral Colours +and Aniline Dyes. #Manufacturing Operations.# -- Rags and the Chemical +Control of Rag Boiling -- Esparto Boiling -- Wood Boiling -- Testing +Spent Liquors and Recovered Ash -- Experimental Tests with Raw Fibrous +Materials -- Boiling in Autoclaves -- Bleaching and making up Hand +Sheets -- Examination of Sulphite Liquors -- Estimation of Moisture in +Pulp and Half-stuff -- Recommendations of the British Wood Pulp +Association. #Finished Products.# -- Paper Testing, including Physical, +Chemical and Microscopical Tests, Area, Weight, Thickness, Apparent +Specific Gravity, Bulk or Air Space. Determination of Machine +Direction, Thickness, Strength, Stretch, Resistance to Crumpling and +Friction, Transparency, Absorbency and other qualities of Blotting +Papers -- Determination of the Permeability of Filtering Papers -- +Detection and Estimation of Animal and Vegetable Size in Paper -- +Sizing Qualities of Paper -- Fibrous Constituents -- Microscopical +Examination of Fibres -- The Effect of Beating on Fibres -- Staining +Fibres -- Mineral Matter -- Ash -- Qualitative and Quantitative +Examination of Mineral Matter -- Examination of Coated Papers and +Colouring Matters in Paper. + +#Tables.# -- English and Metrical Weights and Measures with (p. c18) +Equivalents -- Conversion of Grams to Grains and _vice versa_ -- +Equivalent Costs per lb., cwt., and ton -- Decimal Equivalents +of lbs., qrs., and cwts. -- Thermometric and Barometric Scales -- +Atomic Weights and Molecular Weights -- Factors for Calculating the +Percentage of Substance Sought from the Weight of Substance Found -- +Table of Solubilities of Substances Treated of in Paper Making -- +Specific Gravity Tables of such substances as are used in Paper +Making, including Sulphuric Acid Hydrochloric Acid, Bleach, Milk of +Lime, Caustic Soda, Carbonate of Soda, etc., giving Percentage +Strength with Specific Gravity and Degrees Tw. -- Hardness Table for +Soap Tests -- Dew Point -- Wet and Dry Bulb Tables -- Properties of +Saturated Steam, giving Temperature, Pressure and Volume -- List of +Different Machines used in the Paper Making Industry, giving Size, +Weight, Space Occupied, Power to Drive, Out-put and Approximate Cost +-- Calculation of Moisture in Pulp --Rag-Boiling Tables, giving +Percentages of Lime Soda and Time required -- Loss in Weight in Rags +and other Raw Materials during Boiling and Bleaching -- Conditions of +Buying and Selling as laid down by the Paper Makers' Association -- +Table of Names and Sizes of Papers --Table for ascertaining the Weight +per Ream from the Weight per Sheet -- Calculations of Areas and +Volumes -- Logarithms -- Blank pages for Notes. + + +#THE TREATMENT OF PAPER FOR SPECIAL PURPOSES.# By L. E. ANDÉS. Translated +from the German. Crown 8vo. 48 Illustrations. 250 pp. [_In the Press._] + +#Contents.# + +#I., Parchment Paper, Vegetable Parchment.# -- The Parchment Paper +Machine -- Opaque Supple Parchment Paper -- Thick Parchment -- +Krugler's Parchment Paper and Parchment Slates -- Double and Triple +Osmotic Parchment -- Utilising Waste Parchment Paper -- Parchmented +Linen and Cotton -- Parchment Millboard -- Imitation Horn and Ivory +from Parchment Paper -- Imitation Parchment Paper -- Artificial +Parchment -- Testing the Sulphuric Acid. II., Papers for Transfer +Pictures. #III., Papers for Preservative and Packing Purposes.# -- +Butter Paper -- Wax Paper -- Paraffin Paper -- Wrapping Paper for +Silverware -- Waterproof Paper -- Anti-corrosive Paper. IV., Grained +Transfer Papers. V., Fire-proof and Antifalsification Papers, #VI., +Paper Articles.# -- Vulcanised Paper Maché -- Paper Bottles -- Plastic +Articles of Paper -- Waterproof Coverings for Walls and Ceilings -- +Paper Wheels, Roofing and Boats -- Paper Barrels -- Paper Boxes -- +Paper Horseshoes. VII., Gummed Paper. VIII., Hectograph Papers. #IX., +Insecticide Papers.# -- Fly Papers -- Moth Papers. #X., Chalk and +Leather Papers.# -- Glacé Chalk Paper -- Leather Paper -- Imitation +Leather. XI., Luminous Papers -- Blue-Print Papers -- Blotting Papers. +XII., Metal Papers -- Medicated Papers. XIII., Marbled Papers. XIV., +Tracing and Copying Papers -- Iridescent or Mother of Pearl Papers. +XV., Photographic Papers -- Shellac Paper -- Fumigating Papers -- Test +Papers. #XVI., Papers for Cleaning and Polishing Purposes -- Glass +Paper# -- Pumice Paper -- Emery Paper. XVII., Lithographic Transfer +Papers. #XIX., Sundry Special Papers# -- Satin Paper -- Enamel Paper -- +Cork Paper -- Split Paper -- Electric Paper -- Paper Matches -- Magic +Pictures -- Laundry Blue Papers -- Blue Paper for Bleachers. XX., +Waterproof Papers -- Washable Drawing Papers -- Washable Card -- +Washable Coloured Paper--Waterproof Millboard -- Sugar Paper. XXI., +The Characteristics of Paper -- Paper Testing. + + + +ENAMELLING ON METAL. + + +#ENAMELS AND ENAMELLING.# For Enamel Makers, Workers in Gold and Silver, +and Manufacturers of Objects of Art. By Paul RANDAU. Translated from +the German. With Sixteen Illustrations. Demy 8vo. 180 pp. Price 10s. +6d. net. (Post free, 10s. 10d. home; 11s. abroad.) + +#THE ART OF ENAMELLING ON METAL.# By W. Norman BROWN. Twenty-eight +Illustrations. Crown 8vo. 60 pp. Price 2s. 6d. net. (Post free, 2s. +9d. home and abroad.) + + + +SILK MANUFACTURE. + + +#SILK THROWING AND WASTE SILK SPINNING.# By Hollins RAYNER. Demy 8vo. +170 pp. 117 Illus. Price 5s. net. (Post free, 5s. 4d. home; 5s. 6d. +abroad.) + +#Contents.# + +The Silkworm -- Cocoon Reeling and Qualities of Silk -- Silk Throwing +-- Silk Wastes -- The Preparation of Silk Waste for Degumming -- Silk +Waste Degumming, Schapping and Discharging -- The Opening and Dressing +of Wastes -- Silk Waste "Drawing" or "Preparing" Machinery -- Long +Spinning -- Short Spinning -- Spinning and Finishing Processes -- +Utilisation of Waste Products -- Noil Spinning -- Exhaust Noil +Spinning. + + + +BOOKS ON TEXTILE AND DYEING SUBJECTS. (p. c19) + + +#THE CHEMICAL TECHNOLOGY OF TEXTILE FIBRES#: Their Origin, Structure, +Preparation, Washing, Bleaching, Dyeing, Printing and Dressing. By Dr. +Georg von GEORGIEVICS. Translated from the German by Charles SALTER. +320 pp. Forty-seven Illustrations. Royal 8vo. Price 10s. 6d. net. +(Post free, 11s. home; 11s. 3d. abroad.) + +#Contents.# + +#The Textile Fibres# -- #Washing, Bleaching, Carbonising# -- #Mordants and +Mordanting# -- #Dyeing# -- #Printing# -- #Dressing and Finishing.# + + +#POWER-LOOM WEAVING AND YARN NUMBERING.# According to Various Systems, +with Conversion Tables. Translated from the German of Anthon GRUNER. +#With Twenty-Six Diagrams in Colours.# 150 pp. Crown 8vo. Price 7s. 6d. +net. (Post free, 7s. 9d. home; 8s. abroad.) + +#Contents.# + +#Power-Loom Weaving in General.# Various Systems of Looms -- #Mounting +and Starting the Power-Loom.# English Looms -- Tappet or Treadle Looms +-- Dobbies -- #General Remarks on the Numbering, Reeling and Packing of +Yarn# -- #Appendix# -- #Useful Hints.# Calculating Warps -- Weft +Calculations -- Calculations of Cost Price in Hanks. + + +#TEXTILE RAW MATERIALS AND THEIR CONVERSION INTO YARNS.# (The Study of +the Raw Materials and the Technology of the Spinning Process.) By +Julius ZIPSER. Translated from German by Charles SALTER. 302 +Illustrations. 500 pp. Demy 8vo. Price 10s. 6d. net. (Post free, 11s. +home; 11s. 6d. abroad.) + +#Contents.# + +#PART 1. -- The Raw Materials Used in the Textile Industry.# MINERAL RAW +MATERIALS. VEGETABLE RAW MATERIALS. ANIMAL RAW MATERIALS. + +#PART II. -- The Technology of Spinning or the Conversion of Textile +Raw Materials into Yarn.# + +SPINNING VEGETABLE RAW MATERIALS. Cotton Spinning -- Installation of a +Cotton Mill -- Spinning Waste Cotton and Waste Cotton Yarns -- Flax +Spinning -- Fine Spinning -- Tow Spinning -- Hemp Spinning -- Spinning +Hemp Tow String -- Jute Spinning -- Spinning Jute Line Yarn -- +Utilising Jute Waste. + +#PART III. -- Spinning Animal Raw Materials.# + +Spinning Carded Woollen Yarn -- Finishing Yarn -- Worsted Spinning -- +Finishing Worsted Yarn -- Artificial Wool or Shoddy Spinning -- Shoddy +and Mungo Manufacture -- Spinning Shoddy and other Wool Substitutes -- +Spinning Waste Silk -- Chappe Silk -- Fine Spinning -- Index. + + +#GRAMMAR OF TEXTILE DESIGN.# By H. NISBET, Weaving and Designing Master, +Bolton Municipal Technical School. Demy 8vo. 280 pp. 490 Illustrations +and Diagrams. Price 6s. net. (Post free, 6s. 10d. home; 7s. abroad.) + +#Contents.# + +Chapter I., INTRODUCTION. -- General Principle of Fabric Structure and +the use of Design Paper. + +Chapter II., THE PLAIN WEAVE AND ITS MODIFICATIONS. -- #The Plain, +Calico, or Tabby Weave#. -- Firmness of Texture -- Variety of Texture +-- Variety of Form: Ribbed Fabrics -- Corded Fabrics -- Matt Weaves. + +Chapter III., TWILL AND KINDRED WEAVES. -- Classification of Twill +Weaves. -- #1. Continuous Twills# -- (_a_) _Warp-face Twills_ -- (_b_) +_Weft-face Twills_ -- (_c_) _Warp and Weft-face Twills_ -- The Angle +of Twill -- Influences affecting the Prominence of Twills and Kindred +Weaves (_a_) _Character of Weave_, (_b_) _Character of Yarn_, (_c_) +_Number of Threads per Inch_, (_d_) _Direction of Twill in Relation to +the Direction of Twist in Yarn_ -- #2. Zigzag or Wavy Twills# -- 3. +#Rearranged Twills#: Satin Weaves -- Table of Intervals of Selection for +the Construction of Satin Weaves -- Corkscrew Twills -- Rearrangement +of Twill Weaves on Satin and other Bases -- #4. Combined Twills# -- #5. +Broken Twills# -- #6. Figured or Ornamented Twills#. + +Chapter IV., DIAMOND AND KINDRED WEAVES, -- #Diamond Weaves.# -- +Honeycomb and Kindred Weaves -- Brighton Weaves -- Sponge Weaves -- +Huck-a-Back and Kindred Weaves -- Grecian Weaves -- Linear Zigzag +Weaves. + +Chapter V., BEDFORD CORDS. -- Plain Calico-ribbed Bedford Cords (p. c20) +-- Plain Twill-ribbed Bedford Cords -- Figured Bedford Cords -- +Tabulated Data of Particulars relating to the Manufacture of Seventeen +Varieties of Bedford Cord Fabrics described in this Chapter. + +Chapter VI., BACKED FABRICS. -- Weft-backed Fabrics -- Warp-backed +Fabrics -- Reversible or Double-faced Fabrics. + +Chapter VII., FUSTIANS. -- #Varieties of Fustians.# -- Imperials or +Swansdowns -- Cantoons or Diagonals -- Moleskins -- Beaverteens -- +#Velveteens# and Velveteen Cutting -- Ribbed or Corded Velveteen -- +Figured Velveteen -- #Corduroy# -- Figured Corduroy -- Corduroy Cutting +Machines. + +Chapter VIII., TERRY PILE FABRICS. -- Methods of producing Terry Pile +on Textile Fabrics -- Terry-forming Devices -- Varieties of Terry +Fabrics -- Action of the Reed in Relation to Shedding -- Figured Terry +Weaving -- Practical Details of Terry Weaving. + +Chapter IX., GAUZE AND LENO FABRICS. -- #Gauze, Net Leno, and Leno +Brocade Varieties of Cross-Weaving.# -- Plain Gauze, and a Heald Gauze +or Leno Harness -- Net Leno Fabrics -- Gauze and Net Leno Figuring by +means of several Back Standard Healds to each Doup Heald -- #Leno +Specialities produced by a System of Crossing Warp Ends in _front_ of +the Reed# -- A Device for the Production of Special Leno Effects -- +Full Cross Leno Fabrics -- Relative Merits of a Top and a Bottom Doup +Harness -- Relative Merits of Different Types of Dobbies for Gauze and +Leno Fabrics -- Shaking Devices for Leno Weaving -- Practical Details +of Leno Weaving -- #Tempered Steel-wire Doup Harnesses for +Cross-weaving# -- Mock or Imitation Leno Fabrics. + +Chapter X., TISSUE, LAPPET, AND SWIVEL FIGURING; ALSO ONDULÉ EFFECTS, +AND LOOPED FABRICS. -- #Tissue Figuring# -- Madras Muslin Curtains -- +#Lappet Figuring# -- Spot Lappet Figuring -- #Swivel Figuring# -- #Woven +Ondulé Effects# -- Loom for Weaving Ondulé Effects -- Weft Ondulé +Effects -- #Looped Fabrics.# -- INDEX. + + +#NEEDLEWORK AND DESIGN.# By Miss M. E. WILKINSON. Quarto. 24 Plates and +Text. 52 pp. [_In the Press._] + + +#HOME LACE-MAKING.# A Handbook for Teachers and Pupils. By M. E. W. +MILROY. Crown 8vo. 64 pp. With 3 Plates and 9 Diagrams. Price 1s. net. +(Post free, 1s. 3d. home; 1s. 4d. abroad.) + + +#THE CHEMISTRY OF HAT MANUFACTURING.# Lectures delivered before the Hat +Manufacturers' Association. By Watson SMITH, F.C.S., F.I.C. Revised +and Edited by Albert SHONK, Crown 8vo. 132 pp. 16 Illustrations. Price +7s. 6d. net. (Post free, 7s. 9d. home; 7s. 10d. abroad.) + +#Contents.# + +Textile Fibres, principally Wool, Fur, and Hair -- Water: its +Chemistry and Properties; Impurities and their Action; Tests of Purity +-- Acids and Alkalis -- Boric Acid, Borax, Soap -- Shellac, Wood +Spirit, and the Stiffening and Proofing Process -- Mordants: their +Nature and Use -- Dye-stuffs and Colours -- Dyeing of Wool and Fur; +and Optical Properties of Colours-Index. + + +#THE TECHNICAL TESTING OF YARNS AND TEXTILE FABRICS.# With Reference to +Official Specifications. Translated from the German of Dr. J. +HERZFELD. Second Edition. Sixty-nine Illustrations. 200 pp. Demy 8vo. +Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. abroad.) + +#Contents.# + +#Yarn Testing. Determining the Yarn Number# -- #Testing the Length of +Yarns# -- #Examination of the External Appearance of Yarn# -- #Determining +the Twist of Yarn and Twist# -- #Determination of Tensile Strength and +Elasticity# -- #Estimating the Percentage of Fat in Yarn# -- +#Determination of Moisture# (Conditioning) -- #Appendix#. + + +#DECORATIVE AND FANCY TEXTILE FABRICS.# By R. T. LORD. Manufacturers and +Designers of Carpets, Damask, Dress and all Textile Fabrics. 200 pp. +Demy 8vo. 132 Designs and Illustrations. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. abroad.) + + +#THEORY AND PRACTICE OF DAMASK WEAVING.# By H. KINZER and K. WALTER. +Royal 8vo. Eighteen Folding Plates Six Illustrations. Translated from +the German. 110 pp. Price 8s. 6d. net. (Post free, 9s. home; 9s. 6d. +abroad.) + +#Contents.# (p. c21) + +#The Various Sorts of Damask Fabrics# -- Drill (Ticking, Handloom-made) +-- Whole Damask for Tablecloths -- Damask with Ground- and +Connecting-warp Threads -- Furniture Damask -- Lampas or Hangings -- +Church Damasks -- #The Manufacture of Whole Damask# -- Damask +Arrangement with and without Cross-Shedding -- The Altered +Cone-arrangement -- The Principle of the Corner Lifting Cord -- The +Roller Principle -- The Combination of the Jacquard with the so-called +Damask Machine -- The Special Damask Machine -- The Combination of Two +Tyings. + + +#FAULTS IN THE MANUFACTURE OF WOOLLEN GOODS AND THEIR PREVENTION.# By +Nicolas REISER. Translated from the Second German Edition. Crown 8vo. +Sixty-three Illustrations. 170 pp. Price 5s. net. (Post free, 5s. 4d. +home; 5s. 6d. abroad.) + +#Contents.# + +Improperly Chosen Raw Material or Improper Mixtures -- Wrong Treatment +of the Material in Washing, Carbonisation, Drying, Dyeing and Spinning +-- Improper Spacing of the Goods in the Loom -- Wrong Placing of +Colours -- Wrong Weight or Width of the Goods -- Breaking of Warp and +Weft Threads -- Presence of Doubles, Singles, Thick, Loose, and too +Hard Twisted Threads as well as Tangles, Thick Knots and the Like -- +Errors in Cross-weaving--Inequalities, _i.e._, Bands and Stripes -- +Dirty Borders -- Defective Selvedges -- Holes and Buttons -- Rubbed +Places -- Creases -- Spots -- Loose and Bad Colours -- Badly Dyed +Selvedges -- Hard Goods -- Brittle Goods -- Uneven Goods -- Removal of +Bands, Stripes, Creases and Spots. + + +#SPINNING AND WEAVING CALCULATIONS,# especially relating to Woollens. +From the German of N. REISER. Thirty-four Illustrations. Tables. 160 +pp. Demy 8vo. 1904. Price 10s. 6d. net. (Post free, 10s. 10d. home; +11s. abroad.) + +#Contents.# + +Calculating the Raw Material -- Proportion of Different Grades of Wool +to Furnish a Mixture at a Given Price -- Quantity to Produce a Given +Length -- Yarn Calculations -- Yarn Number -- Working Calculations -- +Calculating the Reed Count -- Cost of Weaving, etc. + + +#WATERPROOFING OF FABRICS.# By Dr. S. MIERZINSKI. Crown 8vo, 104 pp. 29 +Illus. Price 5s. net. (Post free, 5s. 3d. home; 5s. 4d. abroad.) + +#Contents.# + +Introduction -- Preliminary Treatment of the Fabric -- Waterproofing +with Acetate of Alumina -- Impregnation of the Fabric -- Drying -- +Waterproofing with Paraffin -- Waterproofing with Ammonium Cuprate -- +Waterproofing with Metallic Oxides -- Coloured Waterproof Fabrics -- +Waterproofing with Gelatine, Tannin, Caseinate of Lime and other +Bodies -- Manufacture of Tarpaulin -- British Waterproofing Patents -- +Index. + + +#HOW TO MAKE A WOOLLEN MILL PAY.# By John MACKIE. Crown 8vo. 76 pp. +Price 3s. 6d. net. (Post free, 3s. 9d. home; 3s. 10d. abroad.) + +#Contents.# + +Blends, Piles, or Mixtures of Clean Scoured Wools -- Dyed Wool Book -- +The Order Book -- Pattern Duplicate Books -- Management and Oversight +-- Constant Inspection of Hill Departments -- Importance of Delivering +Goods to Time, Shade, Strength, etc. -- Plums. + + (_For "Textile Soaps and Oils" see p. 7._) + + + +#DYEING, COLOUR PRINTING, MATCHING AND DYE-STUFFS.# + + +#THE COLOUR PRINTING OF CARPET YARNS.# Manual for Colour Chemists and +Textile Printers. By David PATERSON, F.C.S. Seventeen Illustrations. +136 pp. Demy 8vo. Price 7s. 6d. net. (Post free, 7s. 10d, home; 8s. +abroad.) + +#Contents.# + +Structure and Constitution of Wool Fibre -- Yarn Scouring -- Scouring +Materials -- Water for Scouring -- Bleaching Carpet Yarns -- Colour +Making for Yarn Printing -- Colour Printing Pastes -- Colour Recipes +for Yarn Printing -- Science of Colour Mixing -- Matching of Colours +-- "Hank" Printing -- Printing Tapestry Carpet Yarns -- Yarn Printing +-- Steaming Printed Yarns -- Washing of Steamed Yarns -- Aniline +Colours Suitable for Yarn Printing -- Glossary of Dyes and Dye-wares +used in Wood Yarn Printing -- Appendix. + + +#THE SCIENCE OF COLOUR MIXING.# A Manual intended for the use of (p. c22) +Dyers, Calico Printers and Colour Chemists. By David PATERSON, +F.C.S. Forty-one Illustrations, #Five Coloured Plates, and Four Plates +showing Eleven Dyed Specimens of Fabrics#. 132 pp. Demy 8vo. Price 7s. +6d. net. (Post free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +Colour a Sensation; Colours of Illuminated Bodies; Colours of Opaque +and Transparent Bodies; Surface Colour -- Analysis of Light; Spectrum; +Homogeneous Colours; Ready Method of Obtaining a Spectrum -- +Examination of Solar Spectrum; The Spectroscope and Its Construction; +Colourists' Use of the Spectroscope -- Colour by Absorption: Solutions +and Dyed Fabrics; Dichroic Coloured Fabrics in Gaslight -- Colour +Primaries of the Scientist _versus_ the Dyer and Artist; Colour Mixing +by Rotation and Lye Dyeing; Hue, Purity, Brightness; Tints; Shades, +Scales, Tones, Sad and Sombre Colours -- Colour Mixing; Pure and +Impure Greens, Orange and Violets; Large Variety of Shades from few +Colours; Consideration of the Practical Primaries: Red, Yellow and +Blue -- Secondary Colours; Nomenclature of Violet and Purple Group; +Tints and Shades of Violet; Changes in Artificial Light -- Tertiary +Shades; Broken Hues; Absorption Spectra of Tertiary Shades -- +Appendix: Four Plates with Dyed Specimens Illustrating Text -- Index. + + +#DYERS' MATERIALS#: An Introduction to the Examination, Evaluation and +Application of the most important Substances used in Dyeing, Printing, +Bleaching and Finishing. By Paul HEERMAN, Ph.D. Translated from the +German by A. C. WRIGHT, M.A. (Oxon.), B.Sc. (Lond.). Twenty-four +Illustrations. Crown 8vo. 150 pp. Price 5s. net. (Post free, 5s. 4d. +home; 5s. 6d. abroad.) + + +#COLOUR MATCHING ON TEXTILES.# A Manual intended for the use of Students +of Colour Chemistry, Dyeing and Textile Printing. By David PATERSON, +F.C.S. Coloured Frontispiece. Twenty-nine Illustrations and #Fourteen +Specimens Of Dyed Fabrics#. Demy 8vo. 132 pp. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +Colour Vision and Structure of the Eye -- Perception of Colour -- +Primary and Complementary Colour Sensations -- Daylight for Colour +Matching -- Selection of a Good Pure Light -- Diffused Daylight, +Direct Sunlight, Blue Skylight, Variability of Daylight, etc., etc. -- +Matching of Hues -- Purity and Luminosity of Colours -- Matching +Bright Hues -- Aid of Tinted Films -- Matching Difficulties Arising +from Contrast -- Examination of Colours by Reflected and Transmitted +Lights -- Effect of Lustre and Transparency of Fibres in Colour +Matching -- Matching of Colours on Velvet Pile -- Optical Properties of +Dye-stuffs, Dichroism, Fluorescence -- Use of Tinted Mediums -- Orange +Film -- Defects of the Eye -- Yellowing of the Lens -- Colour +Blindness, etc. -- Matching of Dyed Silk Trimmings and Linings and +Bindings -- Its Difficulties -- Behaviour of Shades in Artificial +Light -- Colour Matching of Old Fabrics, etc. -- Examination of Dyed +Colours under the Artificial Lights -- Electric Arc, Magnesium and +Dufton, Gardner Lights, Welsbach, Acetylene, etc. -- Testing +Qualities of an Illuminant -- Influence of the Absorption Spectrum in +Changes of Hue under the Artificial Lights -- Study of the Causes of +Abnormal Modifications of Hue, etc. + + +#COLOUR: A HANDBOOK OF THE THEORY OF COLOUR.# By George H. HURST, F.C.S. +#With Ten Coloured Plates# and Seventy-two Illustrations. 160 pp. Demy +8vo. Price 7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +#Colour and Its Production -- Cause of Colour in Coloured Bodies -- +Colour Phenomena and Theories -- The Physiology of Light -- Contrast +-- Colour in Decoration and Design -- Measurement of Colour.# + + +Reissue of +#THE ART OF DYEING WOOL, SILK AND COTTON.# + +Translated from the French of M. HELLOT, M. MACQUER and M. le PILEUR +D'APLIGNY. First Published in English in 1789. Six Plates. Demy 8vo. +446 pp. Price 5s. net. (Post free, 5s. 6d. home; 6s. abroad.) + +#Contents.# + +Part I., #The Art of Dyeing Wool and Woollen Cloth, Stuffs, Yarn, +Worsted, etc.# Part II., #The Art of Dyeing Silk.# Part III., #The Art of +Dyeing Cotton and Linen Thread, together with the Method of Stamping +Silks, Cottons, etc.# + + +#THE CHEMISTRY OF DYE-STUFFS.# By Dr. Georg Von GEORGIEVICS. (p. c23) +Translated from the Second German Edition. 412 pp. Demy 8vo. Price +10s. 6d. net. (Post free, 11s. home; 11s. 6d. abroad.) + +#Contents.# + +Introduction -- Coal Tar -- Intermediate Products in the Manufacture +of Dye-stuffs--The Artificial Dye-stuffs (Coal-tar Dyes) -- Nitroso +Dye-stuffs -- Nitro Dye-stuffs -- Azo Dye-stuffs -- Substantive Cotton +Dye-stuffs -- Azoxystilbene Dye-stuffs -- Hydrazones -- Ketoneimides +-- Triphenylmethane Dye-stuffs -- Rosolic Acid Dye-stuffs -- Xanthene +Dye-stuffs -- Xanthone Dye-stuffs -- Flavones -- Oxyketone Dye-stuffs +-- Quinoline and Acridine Dye-stuffs -- Quinonimide or Diphenylamine +Dye-stuffs -- The Azine Group: Eurhodines, Safranines and Indulines -- +Eurhodines -- Safranines -- Quinoxalines -- Indigo -- Dye-stuffs of +Unknown Constitution -- Sulphur or Sulphine Dye stuffs -- Development +of the Artificial Dye-stuff Industry -- The Natural Dye-stuffs -- +Mineral Colours -- Index. + + +#THE DYEING OF COTTON FABRICS#: A Practical +Handbook for the Dyer and Student. By Franklin BEECH, Practical +Colourist and Chemist. 272 pp. Forty-four Illustrations of Bleaching +and Dyeing Machinery. Demy 8vo. Price 7s. 6d. net. (Post free, +7s. 10d. home; 8s. abroad.) + +#Contents.# + +Structure and Chemistry of the Cotton Fibre -- Scouring and Bleaching +of Cotton --Dyeing Machinery and Dyeing Manipulations -- Principles +and Practice of Cotton Dyeing -- Direct Dyeing; Direct Dyeing followed +by Fixation with Metallic Salts; Direct Dyeing followed by Fixation +with Developers; Direct Dyeing followed by Fixation with Couplers; +Dyeing on Tannic Mordant; Dyeing on Metallic Mordant; Production of +Colour Direct upon Cotton Fibres; Dyeing Cotton by Impregnation with +Dye-stuff Solution -- Dyeing Union (Mixed Cotton and Wool) Fabrics -- +Dyeing Half Silk (Cotton-Silk, Satin) Fabrics -- Operations following +Dyeing -- Washing, Soaping, Drying -- Testing of the Colour of Dyed +Fabrics -- Experimental Dyeing and Comparative Dye Testing -- Index. + +The book contains numerous recipes for the production on Cotton +Fabrics of all kinds of a great range of colours. + + +#THE DYEING OF WOOLLEN FABRICS.# By Franklin BEECH, Practical Colourist +and Chemist. Thirty-three Illustrations. Demy 8vo. 228 pp. Price 7s. +6d. net. (Post free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +The Wool Fibre -- Structure, Composition and Properties -- Processes +Preparatory to Dyeing -- Scouring and Bleaching of Wool -- Dyeing +Machinery and Dyeing Manipulations -- Loose Wool Dyeing, Yarn Dyeing +and Piece Dyeing Machinery -- The Principles and Practice of Wool +Dyeing -- Properties of Wool Dyeing -- Methods of Wool Dyeing -- +Groups of Dyes -- Dyeing with the Direct Dyes -- Dyeing with Basic +Dyes -- Dyeing with Acid Dyes -- Dyeing with Mordant Dyes -- Level +Dyeing -- Blacks on Wool -- Reds on Wool -- Mordanting of Wool -- +Orange Shades on Wool -- Yellow Shades on Wool -- Green Shades on Wool +-- Blue Shades on Wool -- Violet Shades on Wool -- Brown Shades on +Wool -- Mode Colours on Wool -- Dyeing Union (Mixed Cotton Wool) +Fabrics -- Dyeing of Gloria -- Operations following Dyeing -- Washing, +Soaping, Drying -- Experimental Dyeing and Comparative Dye Testing -- +Testing of the Colour of Dyed Fabrics -- Index. + + + +#BLEACHING AND WASHING.# + + +#A PRACTICAL TREATISE ON THE BLEACHING OF LINEN AND COTTON YARN AND +FABRICS.# By L. TAILFER, Chemical and Mechanical Engineer. Translated +from the French by John GEDDES McINTOSH. Demy 8vo. 303 pp. Twenty +Illus. Price 12s. 6d. net. (Post free, 13s. home; 13s. 6d. abroad.) + + + +#COTTON SPINNING AND COMBING.# + + +#COTTON SPINNING# (First Year). By Thomas THORNLEY, Spinning Master, +Bolton Technical School. 160 pp. Eighty-four Illustrations. Crown 8vo. +Second Impression. Price 3s. net. (Post free, 3s. 4d. home; 3s. 6d. +abroad.) + +#Contents.# + +Syllabus and Examination Papers of the City and Guilds of London +Institute -- Cultivation, Classification, Ginning, Baling and Mixing +of the Raw Cotton -- Bale-Breakers, Mixing Lattices and Hopper Feeders +-- Opening and Scutching -- Carding -- Indexes. + + +#COTTON SPINNING# (Intermediate, or Second Year). By Thomas (p. c24) +THORNLEY. 180 pp. Seventy Illustrations. Crown 8vo. Price 5s. net. +(Post free, 5s. 4d. home; 5s. 6d. abroad.) + +#Contents.# + +Syllabuses and Examination Papers of the City and Guilds of London +Institute -- The Combing Process -- The Drawing Frame -- Bobbin and +Fly Frames -- Mule Spinning -- Ring Spinning -- General Indexes. + + +#COTTON SPINNING# (Honours, or Third Year). By Thomas THORNLEY. 216 pp. +Seventy-four Illustrations. Crown 8vo. Second Edition. Price 5s. net. +(Post free, 5s. 4d. home; 5s. 6d. abroad.) + +#Contents.# + +Syllabuses and Examination Papers of the City and Guilds of London +Institute -- Cotton--The Practical Manipulation of Cotton Spinning +Machinery -- Doubling and Winding -- Reeling -- Warping -- Production +and Costs -- Main Driving -- Arrangement of Machinery and Mill +Planning -- Waste and Waste Spinning -- Indexes. + + +#COTTON COMBING MACHINES.# By Thos. THORNLEY, Spinning Master, Technical +School, Bolton. Demy 8vo. 117 Illustrations. 300 pp. Price 7s. 6d. +net. (Post free, 8s. home; 8s. 6d. abroad.) + +#Contents.# + +The Sliver Lap Machine and the Ribbon Cap Machine -- General +Description of the Heilmann Comber -- The Cam Shaft -- On the +Detaching and Attaching Mechanism of the Comber -- Resetting of +Combers -- The Erection of a Heilmann Comber -- Stop Motions: Various +Calculations -- Various Notes and Discussions -- Cotton Combing +Machines of Continental Make -- Index. + + + +#FLAX, HEMP AND JUTE SPINNING.# + + +#MODERN FLAX, HEMP AND JUTE SPINNING AND TWISTING.# A Practical Handbook +for the use of Flax, Hemp and Jute Spinners, Thread, Twine and Rope +Makers. By Herbert R. CARTER, Mill Manager, Textile Expert and +Engineer, Examiner in Flax Spinning to the City and Guilds of London +Institute. Demy 8vo. 1907. With 92 Illustrations. 200 pp. Price 7s. +6d. net. (Post free, 7s. 9d. home; 8s. abroad.) + +#Contents.# + +#Raw Fibre.# -- Origin of Flax -- Hemp and Jute Fibre -- Description of +the Plants -- Mode of Cultivation -- Suitable Climate and Soil -- +Sowing -- Harvesting -- Rippling Flax and Hemp -- Water Retting -- Dew +Retting -- Extraction of the Fibre -- Marketing the Fibre -- +Bracquing -- Flax, Hemp and Jute Marks -- Comparative Prices -- +Ports of Export -- Trade Centres -- Fibre Selling Conditions -- Duty +on Fibre -- Fibre Exports. #Hackling.# -- Sorting and Storing the Raw +Fibre -- Softening Hemp and Jute -- Jute Batching -- Cutting -- +Piecing Out -- Roughing -- Hackling by Hand and Machine -- Tippling -- +Sorting -- Ventilation of Hackling Rooms. #Sliver Formation.# -- +Spreading Line -- Heavy Spreading System -- Good's Combined Hackle and +Spreader -- Jute Breaking and Carding -- Flax and Hemp Tow Carding -- +Bell Calculation -- Clock System -- Theory of Spreading. #Line and Tow +Preparing.# -- Drawing and Doubling -- Draft Calculation -- Set +Calculation -- Tow Combing -- Compound Systems -- Automatic Stop +Motions and Independent Heads -- Details of Preparing Machinery -- +Ventilation -- Humidification. #Gill Spinning.# -- Gill Spinning for +Shoe Threads, Rope Yarns, Binder and Trawl Twines -- The Automatic +Gill Spinner -- Rope and Reaper Yarn Numbering. #The Flax, Hemp and +Jute Roving Frame.# -- Bobbin Winding -- Differential Motion -- Twist +Calculation -- Practical Changing -- Rove Stock. #Dry and Half-Dry +Spinning.# -- Flyer and Ring Frames -- Draft and Twist Calculation -- +Bobbin Dragging -- Reaches -- Set of Breast Beam and Tin-rod. #Wet +Spinning# of Flax, Hemp and Tow -- Hot and Cold Water Spinning -- +Improvements in the Water Trough -- Turn off and Speed of Spindles -- +Reaches -- Belting -- Band Tying -- Tape Driving -- Oiling -- Black +Threads -- Cuts per Spindle -- Ventilation of the Wet Spinning Room. +#Yarn Department.# -- Reeling -- Cop Winding -- Cheese and Spool Winding +-- Balling Shoe Thread, Reaper Yarn, etc. -- Yarn Drying and +Conditioning -- Yarn Bundling -- Yarn Baling -- Weight of Yarn -- Yarn +Tables -- Duty on Yarn Imports. #Manufacture of Threads, Twines and +Cords.# -- Hank Winding -- Wet and Dry Twisting -- Cabling -- Fancy +Yarns -- Twine Laying -- Sizing and Polishing Threads and Twines -- +Softening Threads -- Skeining Threads -- Balling Twines -- Leeson's +Universal Winder -- Randing Twines -- Spooling Sewing Threads -- +Comparative Prices of Flax and Hemp Cords, Lines and Threads. #Rope +Making.# -- Construction of Hawsers and Cables -- Stranding -- Laying +and Closing -- Compound Rope Machines -- Rules for Rope Makers -- +Weight of Ropes -- Balling and Coiling Ropes. #Mechanical Department.# +-- Boilers, Engines and Turbines -- Power Transmission by Belts and +Ropes -- Electric Light and Power Transmission -- Fans -- Oils and +Oiling -- Repairs -- Fluting. #Mill Construction.# -- Flax, Hemp and +Jute Spinning Mills and Rope works -- Heating -- Roofs -- Chimneys, +etc. + + + +#COLLIERIES AND MINES.# (p. c25) + + +#RECOVERY WORK AFTER PIT FIRES.# By Robert LAMPRECHT, Mining Engineer +and Manager. Translated from the German. Illustrated by Six large +Plates, containing Seventy-six Illustrations. 175 pp., demy 8vo. Price +10s. 6d. net. (Post free, 10s. 10d. home; 11s. abroad.) + +#Contents.# + +#Causes of Pit Fires -- Preventive Regulations#: (1) The Outbreak and +Rapid Extension of a Shaft Fire can be most reliably prevented by +Employing little or no Combustible Material in the Construction of the +Shaft; (2) Precautions for Rapidly Localising an Outbreak of Fire in +the Shaft; (3) Precautions to be Adopted in case those under 1 and 2 +Fail or Prove Inefficient. Precautions against Spontaneous Ignition of +Coal. Precautions for Preventing Explosions of Fire-damp and Coal +Dust. Employment of Electricity in Mining, particularly in Fiery Pits. +Experiments on the Ignition of Fire-damp Mixtures and Clouds of Coal +Dust by Electricity -- #Indications of an Existing or Incipient Fire -- +Appliances for Working in Irrespirable Gases#: Respiratory Apparatus; +Apparatus with Air Supply Pipes; Reservoir Apparatus; Oxygen Apparatus +-- #Extinguishing Pit Fires#: (_a_) Chemical Means; (_b_) Extinction +with Water. Dragging down the Burning Masses and Packing with Clay; +(_c_) Insulating the Seat of the Fire by Dams. Dam Building. Analyses +of Fire Gases. Isolating the Seat of a Fire with Dams: Working in +Irrespirable Gases ("Gas-diving"): Air-Lock Work. Complete Isolation +of the Pit. Flooding a Burning Section isolated by means of Dams. +Wooden Dams: Masonry Dams. Examples of Cylindrical and Dome-shaped +Dams. Dam Doors: Flooding the Whole Pit -- #Rescue Stations#: (_a_) +Stations above Ground; (_b_) Underground Rescue Stations -- +#Spontaneous Ignition of Coal in Bulk# -- Index. + + +#VENTILATION IN MINES.# By Robert WABNER, Mining Engineer. Translated +from the German. Royal 8vo. Thirty Plates and Twenty-two +Illustrations. 240 pp. Price 10s. 6d. net. (Post free, 11s. home; 11s. +3d. abroad.) + +#Contents.# + +#The Causes of the Contamination of Pit Air -- The Means of Preventing +the Dangers resulting from the Contamination of Pit Air -- Calculating +the Volume of Ventilating Current necessary to free Pit Air from +Contamination -- Determination of the Resistance Opposed to the +Passage of Air through the Pit -- Laws of Resistance and Formulæ +therefor -- Fluctuations in the Temperament or Specific Resistance of +a Pit -- Means for Providing a Ventilating Current in the Pit -- +Mechanical Ventilation -- Ventilators and Fans -- Determining the +Theoretical, Initial, and True (Effective) Depression of the +Centrifugal Fan -- New Types of Centrifugal Fan of Small Diameter and +High Working Speed -- Utilising the Ventilating Current to the utmost +Advantage and distributing the same through the Workings -- +Artificially retarding the Ventilating Current -- Ventilating +Preliminary Workings -- Blind Headings -- Separate Ventilation -- +Supervision of Ventilation# -- INDEX. + + +#HAULAGE AND WINDING APPLIANCES USED IN MINES.# By Carl VOLK. Translated +from the German. Royal 8vo. With Six Plates and 148 Illustrations. 150 +pp. Price 8s. 6d. net. (Post free, 9s. home; 9s. 3d. abroad.) + +#Contents.# + +Haulage Appliances -- Ropes -- Haulage Tubs and Tracks -- Cages and +Winding Appliances -- Winding Engines for Vertical Shafts -- Winding +without Ropes -- Haulage in Levels and Inclines -- The Working of +Underground Engines -- Machinery for Downhill Haulage. + + + +#DENTAL METALLURGY.# + + +#DENTAL METALLURGY: MANUAL FOR STUDENTS AND DENTISTS.# By A. B. +GRIFFITHS, Ph.D. Demy 8vo. Thirty-six Illustrations. 200 pp. Price 7s. +6d. net. (Post free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +Introduction -- Physical Properties of the Metals -- Action of Certain +Agents on Metals -- Alloys -- Action of Oral Bacteria on Alloys -- +Theory and Varieties of Blowpipes -- Fluxes -- Furnaces and Appliances +-- Heat and Temperature -- Gold -- Mercury -- Silver -- Iron -- Copper +-- Zinc -- Magnesium -- Cadmium -- Tin -- Lead -- Aluminium -- +Antimony -- Bismuth -- Palladium -- Platinum -- Iridium -- Nickel -- +Practical Work -- Weights and Measures. + + + +#ENGINEERING, SMOKE PREVENTION AND METALLURGY.# (p. c26) + + +#THE PREVENTION OF SMOKE.# Combined with the Economical Combustion of +Fuel. By W. C. POPPLEWELL, M.Sc., A.M.Inst., C.E., Consulting Engineer. +Forty-six Illustrations. 190 pp. Demy 8vo. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. 3d. abroad.) + +#Contents#. + +Fuel and Combustion -- Hand Firing in Boiler Furnaces -- Stoking by +Mechanical Means -- Powdered Fuel -- Gaseous Fuel -- Efficiency and +Smoke Tests of Boilers -- Some Standard Smoke Trials -- The Legal +Aspect of the Smoke Question -- The Best Means to be adopted for the +Prevention of Smoke -- Index. + + +#GAS AND COAL DUST FIRING.# A Critical Review of the Various Appliances +Patented in Germany for this purpose since 1885. By Albert PÜTSCH. 130 +pp. Demy 8vo. Translated from the German. With 103 Illustrations. +Price 7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.) + +#Contents#. + +Generators -- Generators Employing Steam -- Stirring and Feed +Regulating Appliances -- Direct Generators -- Burners -- Regenerators +and Recuperators -- Glass Smelting Furnaces -- Metallurgical Furnaces +-- Pottery Furnace -- Coal Dust Firing -- Index. + + +#THE HARDENING AND TEMPERING OF STEEL IN THEORY AND PRACTICE.# By +Fridolin REISER. + +Translated from the German of the Third Edition. Crown 8vo. 120 pp. +Price 5s. net. (Post free, 5s. 3d. home; 5s. 4d. abroad.) + +#Contents#. + +#Steel -- Chemical and Physical Properties of Steel, and their Casual +Connection -- Classification of Steel according to Use -- Testing the +Quality of Steel -- Steel-Hardening -- Investigation of the Causes of +Failure in Hardening -- Regeneration of Steel Spoilt in the Furnace -- +Welding Steel -- Index.# + + +#SIDEROLOGY: THE SCIENCE OF IRON# (The Constitution of Iron Alloys and +Slags). Translated from German of Hanns Freiherr v. JÜPTNER. 350 pp. +Demy 8vo. Eleven Plates and Ten Illustrations. Price 10s. 6d. net. +(Post free, 11s. home; 11s. 6d. abroad.) + +#Contents.# + +#The Theory of Solution.# -- Solutions -- Molten Alloys -- Varieties of +Solutions -- Osmotic Pressure -- Relation between Osmotic Pressure and +other Properties of Solutions -- Osmotic Pressure and Molecular Weight +of the Dissolved Substance -- Solutions of Gases -- Solid Solutions -- +Solubility -- Diffusion -- Electrical Conductivity -- Constitution of +Electrolytes and Metals -- Thermal Expansion. #Micrography.# -- +Microstructure -- The Micrographic Constituents of Iron -- Relation +between Micrographical Composition, Carbon-Content, and Thermal +Treatment of Iron Alloys -- The Microstructure of Slags. #Chemical +Composition of the Alloys of Iron.# -- Constituents of Iron Alloys -- +Carbon -- Constituents of the Iron Alloys, Carbon -- Opinions and +Researches on Combined Carbon -- Applying the Curves of Solution +deduced from the Curves of Recalescence to the Determination of the +Chemical Composition of the Carbon present in Iron Alloys -- The +Constituents of Iron -- Iron -- The Constituents of Iron Alloys -- +Manganese -- Remaining Constituents of Iron Alloys -- A Silicon -- +Gases. #The Chemical Composition of Slag.# -- Silicate Slags -- +Calculating the Composition of Silicate Slags -- Phosphate Slags -- +Oxide Slags -- Appendix -- Index. + + +#EVAPORATING, CONDENSING AND COOLING APPARATUS.# Explanations, Formulæ +and Tables for Use in Practice. By E. HAUSBRAND, Engineer. Translated +by A. C. WRIGHT, M.A. (Oxon.), B.Sc. (Lond.). With Twenty-one +Illustrations and Seventy-six Tables. 400 pp. Demy 8vo. Price 10s. 6d. +net. (Post free, 11s. home; 11s. 6d. abroad.) + +#Contents.# (p. c27) + +_Re_Coefficient of Transmission of Heat, k/, and the Mean Temperature +Difference, [Greek: theta]/m -- Parallel and Opposite Currents -- +Apparatus for Heating with Direct Fire -- The Injection of Saturated +Steam -- Superheated Steam -- Evaporation by Means of Hot Liquids -- +The Transference of Heat in General, and Transference by means of +Saturated Steam in Particular -- The Transference of Heat from +Saturated Steam in Pipes (Coils) and Double Bottoms -- Evaporation in +a Vacuum -- The Multiple-effect Evaporator -- Multiple-effect +Evaporators from which Extra Steam is Taken -- The Weight of Water +which must be Evaporated from 100 Kilos, of Liquor in order its +Original Percentage of Dry Materials from 1-25 per cent. up to 20-70 +per cent. -- The Relative Proportion of the Heating Surfaces in the +Elements of the Multiple Evaporator and their Actual Dimensions -- The +Pressure Exerted by Currents of Steam and Gas upon Floating Drops of +Water -- The Motion of Floating Drops of Water upon which Press +Currents of Steam -- The Splashing of Evaporating Liquids -- The +Diameter of Pipes for Steam, Alcohol, Vapour and Air -- The Diameter +of Water Pipes -- The Loss of Heat, from Apparatus and Pipes to the +Surrounding Air, and Means for Preventing the Loss -- Condensers -- +Heating Liquids by Means of Steam -- The Cooling of Liquids -- The +Volumes to be Exhausted from Condensers by the Air-pumps -- A Few +Remarks on Air-pumps and the Vacua they Produce -- The Volumetric +Efficiency of Air-pumps -- The Volumes of Air which must be Exhausted +from a Vessel in order to Reduce its Original Pressure to a Certain +Lower Pressure -- Index. + + + +#SANITARY PLUMBING, METAL WORK, ETC., ETC.# + + +#EXTERNAL PLUMBING WORK.# A Treatise on Lead Work for Roofs. By John W. +HART, R.P.C. 180 Illustrations. 272 pp. Demy 8vo. Second Edition +Revised. Price 7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +Cast Sheet Lead -- Milled Sheet Lead -- Roof Cesspools -- Socket Pipes +-- Drips -- Gutters -- Gutters (continued) -- Breaks -- Circular +Breaks -- Flats -- Flats (continued) -- Rolls on Flats -- Roll Ends -- +Roll Intersections -- Seam Rolls -- Seam Rolls (continued) -- Tack +Fixings -- Step Flashings -- Step Flashings (continued) -- Secret +Gutters -- Soakers -- Hip and Valley Soakers -- Dormer Windows -- +Dormer Windows (continued) -- Dormer Tops -- Internal Dormers -- +Skylights -- Hips and Ridging -- Hips and Ridging (continued) -- +Fixings for Hips and Ridging -- Ornamental Ridging -- Ornamental Curb +Rolls -- Curb Rolls -- Cornices -- Towers and Finials -- Towers and +Finials (continued) -- Towers and Finials (continued) -- Domes -- +Domes (continued) -- Ornamental Lead Work -- Rain Water Heads -- Rain +Water Heads (continued) -- Rain Water Heads (continued). + + +#HINTS TO PLUMBERS ON JOINT WIPING, PIPE BENDING AND LEAD BURNING.# +Third Edition, Revised and Corrected. By John W. HART, R.P.C. 184 +Illustrations. 313 pp. Demy 8vo. Price 7s. 6d. net. (Post free, 8s. +home; 8s. 6d. abroad.) + +#Contents.# + +Pipe Bending -- Pipe Bending (continued) -- Pipe Bending (continued) +-- Square Pipe Bendings-- Half-circular Elbows -- Curved Bends on +Square Pipe -- Bossed Bends -- Curved Plinth Bends -- Rain-water Shoes +on Square Pipe -- Curved and Angle Bends -- Square Pipe Fixings -- +Joint-wiping -- Substitutes for Wiped Joints -- Preparing Wiped Joints +-- Joint Fixings -- Plumbing Irons -- Joint Fixings -- Use of "Touch" +in Soldering -- Underhand Joints -- Blown and Copper Bit Joints -- +Branch Joints -- Branch Joints (continued) -- Block Joints -- Block +Joints (continued) -- Block Fixings -- Astragal Joints -- Pipe Fixings +-- Large Branch Joints -- Large Underhand Joints -- Solders -- +Autogenous Soldering or Lead Burning -- Index. + + +#SANITARY PLUMBING AND DRAINAGE.# By John W. HART. Demy 8vo. With 208 +Illustrations. 250 pp. 1904, Price 7s. 6d. net. (Post free, 7s. 10d. +home; 8s. abroad.) + +#Contents.# + +Sanitary Surveys -- Drain Testing -- Drain Testing with Smoke -- +Testing Drains with Water -- Drain Plugs for Testing -- Sanitary +Defects -- Closets -- Baths and Lavatories -- House Drains--Manholes +-- Iron Soil Pipes -- Lead Soil Pipes -- Ventilating Pipes -- +Water-closets -- Flushing Cisterns -- Baths -- Bath Fittings -- +Lavatories -- Lavatory Fittings -- Sinks -- Waste Pipes -- Water +Supply -- Ball Valves -- Town House Sanitary Arrangements -- Drainage +-- Jointing Pipes -- Accessible Drains -- Iron Drains -- Iron +Junctions -- Index. + + +#THE PRINCIPLES AND PRACTICE OF DIPPING, BURNISHING, LACQUERING (p. c28) +AND BRONZING BRASS WARE.# By W. Norman BROWN. 35 pp. Crown 8vo. Price 2s. +net. (Post free, 2s. 3d. home and abroad.) + + +#A HANDBOOK ON JAPANNING AND ENAMELLING FOR CYCLES, BEDSTEADS, TINWARE, +ETC.# By William Norman BROWN. 52 pp. and Illustrations. Crown 8vo. +Price 2s. net. (Post free, 2s. 3d. home and abroad.) + + +#THE PRINCIPLES OF HOT WATER SUPPLY.# By John W. HART, R.P.C. With 129 +Illustrations. 177 pp., demy 8vo. Price 7s. 6d. net. (Post free, 7s. +10d. home; 8s. abroad.) + +#Contents.# + +Water Circulation -- The Tank System -- Pipes and Joints -- The +Cylinder System -- Boilers for the Cylinder System -- The Cylinder +System -- The Combined Tank and Cylinder System -- Combined +Independent and Kitchen Boiler -- Combined Cylinder and Tank System +with Duplicate Boilers -- Indirect Heating and Boiler Explosions -- +Pipe Boilers -- Safety Valves -- Safety Valves -- The American System +-- Heating Water by Steam -- Steam Kettles and Jets -- Heating Power +of Steam -- Covering for Hot Water Pipes -- Index. + + + +#HOUSE DECORATING AND PAINTING.# + + +#THREE HUNDRED SHADES FOR DECORATORS AND HOW TO MIX THEM.# By A. +DESAINT. Quarto. The book will consist of a wide range of shades and +tints suitable for decorators carefully numbered and mounted for easy +reference, with full particulars as to the composition of each shade. + [_In the press_.] + + +#HOUSE DECORATING AND PAINTING.# By W. Norman BROWN. Eighty-eight +Illustrations. 150 pp. Crown 8vo. Price 3s. 6d. net. (Post free, 3s. +9d, home and abroad.) + + +#A HISTORY OF DECORATIVE ART.# By W. Norman BROWN. Thirty-nine +Illustrations. 96 pp. Crown 8vo. Price 2s. 6d. net. (Post free, 2s. +9d. home and abroad.) + + +#WORKSHOP WRINKLES# for Decorators, Painters, Paper-hangers and Others. +By W. N. BROWN. Crown 8vo. 128 pp. Second Edition. Price 2s. 6d. net. +(Post free, 2s. 9d. home; 2s. 10d. abroad.) + + + +#BREWING AND BOTANICAL.# + + +#HOPS IN THEIR BOTANICAL, AGRICULTURAL AND TECHNICAL ASPECT, AND AS AN +ARTICLE OF COMMERCE.# By Emmanuel GROSS, Professor at the Higher +Agricultural College, Tetschen-Liebwerd. Translated from the German. +Seventy-eight Illustrations. 340 pp. Demy 8vo. Price 12s. 6d. net. +(Post free, 13s. home; 13s. 6d. abroad.) + +#Contents.# + +HISTORY OF THE HOP -- THE HOP PLANT -- Introductory -- The Roots -- +The Stem -- and Leaves -- Inflorescence and Flower: Inflorescence and +Flower of the Male Hop; Inflorescence and Flower of the Female Hop -- +The Fruit and its Glandular Structure: The Fruit and Seed -- (p. c29) +Propagation and Selection of the Hop -- Varieties of the Hop: (_a_) +Red Hops; (_b_) Green Hops; (_c_) Pale Green Hops -- Classification +according to the Period of Ripening: Early August Hops; Medium Early +Hops; Late Hops -- Injuries to Growth -- Leaves Turning Yellow, Summer +or Sunbrand, Cones Dropping Off, Honey Dew, Damage from Wind, Hail and +Rain; Vegetable Enemies of the Hop: Animal Enemies of the Hop -- +Beneficial Insects on Hops -- CULTIVATION -- The Requirements of the +Hop in Respect of Climate, Soil and Situation: Climate; Soil; +Situation -- Selection of Variety and Cuttings -- Planting a Hop +Garden: Drainage; Preparing the Ground; Marking-out for Planting; +Planting; Cultivation and Cropping of the Hop Garden in the First Year +-- Work to be Performed Annually in the Hop Garden: Working the +Ground; Cutting; The Non-cutting System; The Proper Performance of the +Operation of Cutting: Method of Cutting: Close Cutting, Ordinary +Cutting, The Long Cut, The Topping Cut; Proper Season for Cutting: +Autumn Cutting, Spring Cutting; Manuring; Training the Hop Plant: +Poled Gardens, Frame Training; Principal Types of Frames; Pruning, +Cropping, Topping, and Leaf Stripping the Hop Plant; Picking, Drying +and Bagging -- Principal and Subsidiary Utilisation of Hops and Hop +Gardens -- Life of a Hop Garden; Subsequent Cropping -- Cost of +Production, Yield and Selling Prices. + +#Preservation and Storage# -- Physical and Chemical Structure of the Hop +Cone -- Judging the Value of Hops. + +#Statistics of Production# -- The Hop Trade -- Index. + + + +#TIMBER AND WOOD WASTE.# + + +#TIMBER#: A Comprehensive Study of Wood in all its Aspects (Commercial +and Botanical), showing the Different Applications and Uses of Timber +in Various Trades, etc. Translated from the French of Paul +CHARPENTIER. Royal 8vo. 437 pp. 178 Illustrations. Price 12s. 6d. net. +(Post free, 13s. home; 14s. abroad.) + +#Contents.# + +#Physical and Chemical Properties of Timber# -- Composition of the +Vegetable Bodies -- Chief Elements -- M. Fremy's Researches -- +Elementary Organs of Plants and especially of Forests -- Different +Parts of Wood Anatomically and Chemically Considered -- General +Properties of Wood -- #Description of the Different Kinds of Wood# -- +Principal Essences with Caducous Leaves -- Coniferous Resinous Trees +-- #Division of the Useful Varieties of Timber in the Different +Countries of the Globe# -- European Timber -- African Timber -- Asiatic +Timber -- American Timber -- Timber of Oceania -- #Forests# -- General +Notes as to Forests; their Influence -- Opinions as to Sylviculture -- +Improvement of Forests -- Unwooding and Rewooding -- Preservation of +Forests -- Exploitation of Forests -- Damage caused to Forests -- +Different Alterations -- #The Preservation of Timber# -- Generalities -- +Causes and Progress of Deterioration -- History of Different Proposed +Processes -- Dessication -- Superficial Carbonisation of Timber -- +Processes by Immersion -- Generalities as to Antiseptics Employed -- +Injection Processes in Closed Vessels -- The Boucherie System, Based +upon the Displacement of the Sap -- Processes for Making Timber +Uninflammable -- #Applications of Timber# -- Generalities -- Working +Timber -- Paving -- Timber for Mines -- Railway Traverses -- Accessory +Products -- Gums -- Works of M. Fremy -- Resins -- Barks -- Tan -- +Application of Cork -- The Application of Wood to Art and Dyeing -- +Different Applications of Wood -- Hard Wood -- Distillation of Wood -- +Pyroligneous Acid -- Oil of Wood -- Distillation of Resins -- Index. + + +#THE UTILISATION OF WOOD WASTE.# Translated from the German of Ernst +HUBBARD. Crown 8vo. 192 pp. Fifty Illustrations. Price 5s. net. (Post +free, 5s. 4d. home; 5s. 6d. abroad.) + +#Contents.# + +General Remarks on the Utilisation of Sawdust -- Employment of Sawdust +as Fuel, with and without Simultaneous Recovery of Charcoal and the +Products of Distillation -- Manufacture of Oxalic Acid from Sawdust -- +Process with Soda Lye; Thorn's Process; Bohlig's Process -- +Manufacture of Spirit (Ethyl Alcohol) from Wood Waste -- Patent Dyes +(Organic Sulphides, Sulphur Dyes, or Mercapto Dyes) -- Artificial Wood +and Plastic Compositions from Sawdust -- Production of Artificial Wood +Compositions for Moulded Decorations -- Employment of Sawdust for +Blasting Powders and Gunpowders -- Employment of Sawdust for +Briquettes -- Employment of Sawdust in the Ceramic Industry and as an +Addition to Mortar -- Manufacture of Paper Pulp from Wood -- Casks -- +Various Applications of Sawdust and Wood Refuse -- Calcium Carbide -- +Manure -- Wood Mosaic Plaques -- Bottle Stoppers -- Parquetry -- +Fire-lighters -- Carborundum -- The Production of Wood Wool -- Bark -- +Index. + + +#BUILDING AND ARCHITECTURE.# (p. c30) + + +#THE PREVENTION OF DAMPNESS IN BUILDINGS#; with Remarks on the Causes, +Nature and Effects of Saline, Efflorescences and Dry-rot, for +Architects, Builders, Overseers, Plasterers Painters and House Owners. +By Adolf Wilhelm KEIM. Translated from the German of the second +revised Edition by M. J. SALTER, F.I.C. F.C.S. Eight Coloured Plates +and Thirteen Illustrations. Crown 8vo. 115 pp. Price 5s. net. (Post +free, 5s. 3d. home; 5s. 4d. abroad.) + +#Contents.# + +The Various Causes of Dampness and Decay of the Masonry of Buildings, +and the Structural and Hygienic Evils of the Same -- Precautionary +Measures during Building against Dampness and Efflorescence -- Methods +of Remedying Dampness and Efflorescences in the Walls of Old Buildings +-- The Artificial Drying of New Houses, as well as Old Damp Dwellings +and the Theory of the Hardening of Mortar -- New, Certain and +Permanently Efficient Methods for Drying Old Damp Walls and Dwellings +-- The Cause and Origin of Dry-rot: its Injurious Effect on Health, +its Destructive Action on Buildings, and its Successful Repression -- +Methods of Preventing Dry-rot to be Adopted During Construction -- Old +Methods of Preventing Dry-rot -- Recent and More Efficient Remedies +for Dry-rot -- Index. + + +#HANDBOOK OF TECHNICAL TERMS USED IN ARCHITECTURE AND BUILDING, AND +THEIR ALLIED TRADES AND SUBJECTS.# By Augustine C. PASSMORE. Demy 8vo. +380 pp. Price 7s. 6d. net. (Post free, 8s. home; 8s. 6d, abroad.) + + + +#FOODS AND SWEETMEATS.# + + +#THE MANUFACTURE OF PRESERVED FOODS AND SWEETMEATS.# By A. HAUSNER. With +Twenty-eight Illustrations. Translated from the German of the third +enlarged Edition. Crown 8vo. 225 pp. Price 7s. 6d. net. (Post free, +7s. 9d. home; 7s. 10d. abroad.) + +#Contents.# + +#The Manufacture of Conserves# -- Introduction -- The Causes of the +Putrefaction of Food -- The Chemical Composition of Foods -- The +Products of Decomposition -- The Causes of Fermentation and +Putrefaction -- Preservative Bodies -- The Various Methods of +Preserving Food -- The Preservation of Animal Food -- Preserving Meat +by Means of Ice -- The Preservation of Meat by Charcoal -- +Preservation of Meat by Drying -- The Preservation of Meat by the +Exclusion of Air -- The Appert Method -- Preserving Flesh by Smoking +-- Quick Smoking -- Preserving Meat with Salt -- Quick Salting by Air +Pressure -- Quick Salting by Liquid Pressure -- Gamgee's Method of +Preserving Meat -- The Preservation of Eggs -- Preservation of White +and Yolk of Egg -- Milk Preservation -- Condensed Milk -- The +Preservation of Fat -- Manufacture of Soup Tablets -- Meat Biscuits -- +Extract of Beef -- The Preservation of Vegetable Foods in General -- +Compressing Vegetables -- Preservation of Vegetables by Appert's +Method -- The Preservation of Fruit -- Preservation of Fruit by +Storage -- The Preservation of Fruit by Drying -- Drying Fruit by +Artificial Heat -- Roasting Fruit -- The Preservation of Fruit with +Sugar -- Boiled Preserved Fruit -- The Preservation of Fruit in +Spirit, Acetic Acid or Glycerine -- Preservation of Fruit without +Boiling -- Jam Manufacture -- The Manufacture of Fruit Jellies -- The +Making of Gelatine Jellies -- The Manufacture of "Sulzen" -- The +Preservation of Fermented Beverages -- #The Manufacture of Candies# -- +Introduction -- The Manufacture of Candied Fruit -- The Manufacture of +Boiled Sugar and Caramel -- The Candying of Fruit -- Caramelised Fruit +-- The Manufacture of Sugar Sticks, or Barley Sugar -- Bonbon Making +-- Fruit Drops -- The Manufacture of Dragées -- The Machinery and +Appliances used in Candy Manufacture -- Dyeing Candies and Bonbons -- +Essential Oils used in Candy Making -- Fruit Essences -- The +Manufacture of Filled Bonbons, Liqueur Bonbons and Stamped Lozenges -- +Recipes for Jams and Jellies -- Recipes for Bonbon Making -- Dragées +-- Appendix -- Index. + + + +#DYEING FANCY GOODS.# (p. c31) + + +#THE ART OF DYEING AND STAINING MARBLE, ARTIFICIAL STONE, BONE, HORN, +IVORY AND WOOD, AND OF IMITATING ALL SORTS OF WOOD#. A Practical +Handbook for the Use of Joiners, Turners, Manufacturers of Fancy +Goods, Stick and Umbrella Makers, Comb Makers, etc. Translated from +the German of D. H. SOXHLET, Technical Chemist. Crown 8vo. 168 pp. +Price 5s. net. (Post free, 5s. 3d. home; 5s. 4d. abroad.) + +#Contents.# + +Mordants and Stains -- Natural Dyes -- Artificial Pigments -- Coal Tar +Dyes -- Staining Marble and Artificial Stone -- Dyeing, Bleaching and +Imitation of Bone, Horn and Ivory -- Imitation of Tortoiseshell for +Combs: Yellows, Dyeing Nuts -- Ivory -- Wood Dyeing -- Imitation of +Mahogany: Dark Walnut, Oak, Birch-Bark, Elder-Marquetry, Walnut, +Walnut-Marquetry, Mahogany, Spanish Mahogany, Palisander and Rose +Wood, Tortoiseshell, Oak, Ebony, Pear Tree -- Black Dyeing Processes +with Penetrating Colours -- Varnishes and Polishes: English Furniture +Polish, Vienna Furniture Polish, Amber Varnish, Copal Varnish, +Composition for Preserving Furniture -- Index. + + + +#CELLULOID.# + + +#CELLULOID#. The Raw Material, Manufacture and Uses. By Dr. Fr. +BÖCKMANN. 49 Illus. Crown 8vo. [_In the Press_.] + + + +#LITHOGRAPHY, PRINTING AND ENGRAVING.# + + +#PRACTICAL LITHOGRAPHY.# By Alfred SEYMOUR. Demy 8vo. With Frontispiece +and 33 Illus. 120 pp. Price 5s. net. (Post free, 5s. 4d. home; 5s. 6d. +abroad.) + +#Contents.# + +Stones -- Transfer Inks -- Transfer Papers -- Transfer Printing -- +Litho Press -- Press Work -- Machine Printing -- Colour Printing -- +Substitutes for Lithographic Stones -- Tin Plate Printing and +Decoration -- Photo-Lithography. + + +#PRINTERS' AND STATIONERS' READY RECKONER AND COMPENDIUM.# Compiled by +Victor GRAHAM. Crown 8vo. 112 pp. 1904. Price 3s. 6d. net. (Post free, +3s. 9d. home; 3s. 10d. abroad.) + +#Contents.# + +Price of Paper per Sheet, Quire, Ream and Lb. -- Cost of 100 to 1000 +Sheets at various Sizes and Prices per Ream -- Cost of Cards -- +Quantity Table -- Sizes and Weights of Paper, Cards, etc. -- Notes on +Account Books -- Discount Tables -- Sizes of spaces -- Leads to a lb. +-- Dictionary -- Measure for Bookwork -- Correcting Proofs, etc. + + +#ENGRAVING FOR ILLUSTRATION. HISTORICAL AND PRACTICAL NOTES.# By J. +KIRKBRIDE. 72 pp. Two Plates and 6 Illustrations. Crown 8vo. Price 2s. +6d. net. (Post free, 2s. 9d. home; 2s. 10d. abroad.) + +#Contents.# + +Its Inception -- Wood Engraving -- Metal Engraving -- Engraving in +England -- Etching -- Mezzotint -- Photo-Process Engraving -- The +Engraver's Task -- Appreciative Criticism -- Index. + + + +#BOOKBINDING.# + + +#PRACTICAL BOOKBINDING.# By Paul ADAM. Translated from the German. Crown +8vo. 180 pp. 127 Illustrations. Price 5s. net. (Post free, 5s. 4d. +home; 5s. 6d. abroad.) + +#Contents.# + +Materials for Sewing and Pasting -- Materials for Covering the Book -- +Materials for Decorating and Finishing -- Tools -- General Preparatory +Work -- Sewing -- Forwarding, Cutting, Rounding and Backing (p. c32) +-- Forwarding, Decoration of Edges and Headbanding -- Boarding -- +Preparing the Cover -- Work with the Blocking Press -- Treatment of +Sewn Books, Fastening in Covers, and Finishing Off -- Handtooling and +Other Decoration -- Account Books -- School Books, Mounting Maps, +Drawings, etc. -- Index. + + + +#SUGAR REFINING.# + + +#THE TECHNOLOGY OF SUGAR#: Practical Treatise on the Modern Methods of +Manufacture of Sugar from the Sugar Cane and Sugar Beet. By John +GEDDES McINTOSH. Second Revised and Enlarged Edition. Demy 8vo. Fully +Illustrated. 436 pp. Seventy-six Tables. 1906. Price 10s. 6d. net. +(Post free, 11s. home; 11s. 6d. abroad.) + +#Contents.# + +Chemistry of Sucrose, Lactose, Maltose, Glucose, Invert Sugar, etc. -- +Purchase and Analysis of Beets -- Treatment of Beets -- Diffusion -- +Filtration -- Concentration -- Evaporation -- #Sugar Cane#: Cultivation +-- Milling -- Diffusion -- Sugar Refining -- Analysis of Raw Sugars -- +Chemistry of Molasses, etc. + + (_See "Evaporating, Condensing, etc., Apparatus," + p. 26._) + + + +#BIBLIOGRAPHY.# + + +#CLASSIFIED GUIDE TO TECHNICAL AND COMMERCIAL BOOKS.# Compiled by Edgar +GREENWOOD. Demy 8vo. 224 pp. 1904. Being a Subject-list of the +Principal British and American Books in print; giving Title, Author, +Size, Date, Publisher and Price. Price 7s. 6d. net. (Post free, 7s. +10d. home; 8s. 3d. abroad.) + + +#THE TECHNICAL BOOKS# in this Catalogue can be obtained through all +Booksellers, or post free direct from the Publishers by remitting the +amount given in brackets. + +#Full Particulars of Contents# of any of the above books will be sent on +application. + +#Books In the Press.#--The Publishers will send Contents and prices of +books in the press as soon as ready to any one sending their address. + +#Technical Books# upon #all Subjects# can be obtained through SCOTT, +GREENWOOD & Son, if requirements are fully stated. + + + +SCOTT, GREENWOOD & SON, +Technical Book Publishers, +8 Broadway, Ludgate Hill, +London, E.C. +Telegraphic address, "Printeries, London". +[_April_, 1907.] + + + + + * * * * * * + + + + +Transcriber's note: + +A less obvious printer's error has been corrected on page 16. + chlorestine to cholesterine. + +The following words could not be checked: + Caseogum (page c04), + Crysophis (page c16), + Dufton (page c22), + Bracquing (page c24). + + + +***END OF THE PROJECT GUTENBERG EBOOK THE DYEING OF WOOLLEN FABRICS*** + + +******* This file should be named 19985-8.txt or 19985-8.zip ******* + + +This and all associated files of various formats will be found in: +https://www.gutenberg.org/dirs/1/9/9/8/19985 + + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre> +<p>Title: The Dyeing of Woollen Fabrics</p> +<p>Author: Franklin Beech</p> +<p>Release Date: December 1, 2006 [eBook #19985]</p> +<p>Last Updated: March 14, 2015</p> +<p>Language: English</p> +<p>Character set encoding: ISO-8859-1</p> +<p>***START OF THE PROJECT GUTENBERG EBOOK THE DYEING OF WOOLLEN FABRICS***</p> +<p> </p> +<h3>E-text prepared by Christine P. Travers, Jason Isbell,<br /> + and the Project Gutenbert Online Distributed Proofreading Team<br /> + (http://www.pgdp.net/)</h3> +<p> </p> +<table border="0" style="background-color: #ddddff;" cellpadding="10"> + <tr> + <td align="left"> + Transcriber's note:<br /> + <br /> + Obvious printer's errors + have been corrected, and the original + spelling has been retained.<br /> + <br /> + Additional notes are at the end of the text. + </td> + </tr> +</table> +<p> </p> +<hr class="full" /> +<p> </p> + +<h1><span class="smcap">THE</span><br><br> +DYEING OF WOOLLEN FABRICS</h1> + +<h2><span class="smcap">BY</span></h2> + +<h2>FRANKLIN BEECH<br> +<span class="smcap">PRACTICAL COLOURIST AND CHEMIST;<br> AUTHOR OF "THE DYEING +OF COTTON FABRICS," ETC,</span></h2> + + +<h3><i>WITH THIRTY-THREE ILLUSTRATIONS</i></h3> + +<h3> </h3> +<h4>LONDON<br> +SCOTT, GREENWOOD & SON<br> +8 BROADWAY, LUDGATE HILL, E. C.</h4> + +<h4>CANADA: THE COPP CLARK CO., LTD., TORONTO<br> +UNITED STATES: D. VAN NOSTRAND CO., NEW YORK</h4> + +<h4>1902</h4> + +<h4>[<i>All rights remain with Scott, Greenwood & Son.</i>]</h4> + + + + +<h2>PREFACE. +<span class="pagenum"> +<a id="pageiii" name="pageiii"></a>(p. iii)</span></h2> + + +<p>In this little book the author has endeavoured to supply the dyer of +woollen fabrics with a conveniently arranged handbook dealing with the +various branches of the wool dyeing industry, and trusts that it will +be found to meet the want which undoubtedly exists for such a book.</p> + +<p>The text on which the book is based is expressed in the title "The +Dyeing of Woollen Fabrics," and in enlarging upon it the author has +endeavoured to describe clearly and in some detail the various +processes and operations generally, pointing out the principles +involved and illustrating these by numerous recipes, showing the +applications of a great variety of dyes in the production of the one +thousand and one tints and shades the wool dyer is called upon to +produce on the fabrics with which he is working. In pursuance of this +plan nothing is said of the composition and properties of the various +dyes, mordants, chemicals, etc., which are used. This is information +every wool dyer should possess, but the author believes it is better +dealt with in books devoted to Chemistry proper.<br> +<span class="quotedr"><i>May, 1902.</i></span></p> + +<h2>CONTENTS</h2> + +<div> +<p><span class="quotega-2">CHAPTER I.</span></p> +<p class="smcap">The Wool Fibre--</p> +<p><span class="quotega10"> +<a href="#page001">Structure, Composition and Properties.</a></span> +</p></div> + +<div> +<p class="quotega-2">CHAPTER II.</p> +<p class="smcap">Processes Preparatory to Dyeing--</p> +<p><span class="quotega10"> +<a href="#page015">Scouring and Bleaching of Wool.</a></span></p></div> + +<div> +<p class="quotega-2">CHAPTER III.</p> +<p class="smcap">Dyeing Machinery and Dyeing Manipulations--</p> +<p><span class="quotega10"> +<a href="#page040">Loose Wool Dyeing, Yarn Dyeing and + Piece Dyeing Machinery.</a></span></p></div> + +<div> +<p class="quotega-2">CHAPTER IV.</p> +<p class="smcap">The Principles and Practice of Wool Dyeing--</p> +<div><p class="quotega10"> +<a href="#page059">Properties of Wool -- Methods of Wool Dyeing -- Groups of Dyes -- +Dyeing with the Direct Dyes -- Dyeing with Basic Dyes -- Dyeing with +Acid Dyes -- Dyeing with Mordant Dyes -- Level Dyeing -- Blacks on +Wool -- Reds on Wool -- Mordanting of Wool -- Orange Shades on Wool +-- Yellow Shades on Wool -- Green Shades on Wool -- Blue Shades on Wool +-- Violet Shades on Wool -- Brown Shades on Wool -- Mode Colours on +Wool.</a></p></div> + +<div> +<p class="quotega-2">CHAPTER V.</p> +<p><span class="smcap"> +<a href="#page168">Dyeing union (Mixed Cotton and Wool) Fabrics.</a></span> +</p></div> + +<div> +<p class="quotega-2">CHAPTER VI.</p> +<p><span class="smcap"> +<a href="#page188">Dyeing of Gloria.</a></span></p></div> + +<div> +<span class="pagenum"><a id="pagevi" name="pagevi"></a>(p. vi)</span> +<p class="quotega-2">CHAPTER VII.</p> +<p class="smcap">Operations Following Dyeing--</p> +<p><span class="quotega10"> +<a href="#page197">Washing--Soaping--Drying.</a></span> +</p></div> + +<div> +<p class="quotega-2">CHAPTER VIII.</p> +<p><span class="smcap"> +<a href="#page211">Experimental Dyeing and Comparative Dye Testing.</a></span> +</p></div> + +<div> +<p class="quotega-2">CHAPTER IX.</p> +<p><span class="smcap"> +<a href="#page218">Testing of the Colour of Dyed Fabrics.</a></span> +</p></div> + +<p><span class="smcap"> +<a href="#page225">Index.</a></span> +</p></div> + + + + +<h2>LIST OF ILLUSTRATIONS. <span class="pagenum"> +<a id="pagevii" name="pagevii"></a>(p. vii)</span></h2> + + +<p>Fig.</p> + +<p> 1. +<a href="#img001">Microscopical Sketch of Wool Fibre.</a></p> + +<p> 2. +<a href="#img002">Kempy Wool Fibres.</a></p> + +<p> 3. +<a href="#img003">Sectional View of Wool Fibre.</a></p> + +<p> 4. +<a href="#img004">Wool Fibres Showing Action of Alkalies.</a></p> + +<p> 5. +<a href="#img005">Wool Fibres Showing Action of Acids.</a></p> + +<p> 6. +<a href="#img006">Wool Washing Machine.</a></p> + +<p> 7. +<a href="#img007">Wool Cloth Washing Machine.</a></p> + +<p> 8. +<a href="#img008">Woollen Cloth Washing Machine.</a></p> + +<p> 9. +<a href="#img009">Sulphur Bleach House.</a></p> + +<p>10. +<a href="#img010">Dyeing Tubs and Vat.</a></p> + +<p>11. +<a href="#img011">Section of Dye Vat.</a></p> + +<p>12. +<a href="#img012">Delahunty's Dyeing Machine.</a></p> + +<p>13. +<a href="#img013">Obermaier Dyeing Machine.</a></p> + +<p>14. +<a href="#img014">Holliday's Yarn Dyeing Machine.</a></p> + +<p>15. +<a href="#img015">Klauder-Weldon Yarn Dyeing Machine.</a></p> + +<p>16. +<a href="#img016">Dyeing Jiggers for Cloth.</a></p> + +<p>17. +<a href="#img017">Dyeing Jiggers for Cloth.</a></p> + +<p>18. +<a href="#img018">Jig Winch Dyeing Machine.</a></p> + +<p>19. +<a href="#img019">Cloth Dyeing Machine.</a></p> + +<p>20. +<a href="#img020">Plush Fabric Dyeing Machine.</a></p> + +<p>21. +<a href="#img021">Dye Beck for Cloth.</a></p> + +<p>22. +<a href="#img022">Hawking Machine.</a></p> + +<p>23. +<a href="#img023">Indigo Dye Vat for Cloth.</a></p> + +<p>24. +<a href="#img024">Squeezing Rollers.</a></p> + +<p>25. +<a href="#img025">Yarn Washing Machine.</a></p> + +<p>26. +<a href="#img026">Cloth Washing Machine.</a> +<span class="pagenum"> +<a id="pageviii" name="pageviii"></a>(p. viii)</span></p> + +<p>27. +<a href="#img027">Cloth Washing Machine.</a></p> + +<p>28. +<a href="#img028">Soaping and Washing Machine.</a></p> + +<p>29. +<a href="#img029">Hydro-extractor.</a></p> + +<p>30. +<a href="#img030">Hydro-extractor.</a></p> + +<p>31. +<a href="#img031">Yarn Drying Apparatus.</a></p> + +<p>32. +<a href="#img032">Cloth Drying Machine.</a></p> + +<p>33. +<a href="#img033">Experimental Dye Apparatus.</a></p> + + + + + + +<h2>CHAPTER I. +<span class="pagenum"> +<a id="page001" name="page001"></a>(p. 001)</span></h2> + +<h3>THE WOOL FIBRE.</h3> + + +<p>Wool is one of the most important textile fibres used in the +manufacture of woven fabrics of all kinds. It belongs to the group of +animal fibres of which three kinds are met with in nature, and used in +the manufacture of textile fibres; two of these are derived from +quadruped animals, such as the sheep, goat, etc., while the third +class comprises the products of certain insects, <i>e.g.</i>, silk.</p> + +<p>The skin of all animals is covered with more or less of a fibrous +coat, which serves as a sort of protecting coat from the weather to +the skin underneath. Two different kinds of fibres are found on +animals; one is a stiff kind of fibre varying in length very much and +called hairy fibres, these sometimes grow to a great length. The other +class of animal fibres are the woolly fibres, short, elastic and soft; +they are the most esteemed for the manufacture of textile fabrics, it +is only when the hairy fibres are long that they are serviceable for +this particular purpose. There is a slight difference in the structure +of the two kinds of fibre, woolly fibres having a more scaly structure +than hairy fibres; the latter also differ in being more cylindrical in +form.</p> + +<p><b>Wool.</b>--By far the most important of the animal fibres is wool, the +fibre of the domestic sheep. Other animals, the llama or alpaca, the +Angora and Cashmere goats also yield fibres of a similar character, +which are imported under the name +<span class="pagenum"><a id="page002" name="page002"></a>(p. 002)</span> +of wools. There are many +varieties of wools Which are yielded by the various breeds of sheep, +but they may be roughly divided into two kinds, according to the +length of "staple," as it is called. In the long-stapled wools the +fibres average from 7-1/2 to 9-1/2 inches in length, while the +short-stapled wools vary from 1 to 2 inches long. The diameter varies +very considerably from 0.00033 to 0.0018 of an inch.</p> + +<a id="img001" name="img001"></a> +<div class="figcenter" style="width: 250px;"> +<img src="images/img001.jpg" width="250" height="253" alt="Wool fibre" title=""> +</div> + +<p>Two varieties of thread are spun from wool, one is known as "worsted," +the other as "woollen" yarns; from these yarns two kinds of cloths are +woven, distinguished as worsted and woollen cloths; the former are in +general not subjected to any milling or felting process, while the +latter invariably are.</p> + +<p><b>Physical Properties.</b>--When seen under the microscope the wool fibres +show a rod-like structure covered with broad scales, the edges of +which project from the body of the fibre, and all point in one +direction.</p> + +<p>Fig. 1 shows typical wool fibres as viewed under the microscope; the +sketch shows very well the scales.</p> + +<p>The shape of the scales varies in different breeds of wool. The +<span class="pagenum"><a id="page003" name="page003"></a>(p.003)</span> +outer scales enclose inner medullary cells, which often contain +pigment matter. A transversed section of the wool fibre shows the +presence of a large number of cells. Sometimes wool fibres are +occasionally met with which have a peculiar white horny appearance; +these do not felt or dye well. They are known as "kempy" fibres. See +figure 2. The microscope shows that they are largely devoid of +structure, and are formed of very horny, impenetrable tissue, which is +difficult to treat in the milling or dyeing process.</p> + +<a id="img002" name="img002"></a> +<div class="figcenter" style="width: 150px;"> +<img src="images/img002.jpg" width="150" height="230" alt="kemp fibre" title=""> +</div> + +<p>The curly or twisted character of the fibre is caused by the unequal +contraction of the outer scales, and depends in a great measure upon +the hygroscopic nature of the wool. It may be entirely removed for the +time by wetting the wool in hot water, then drying it in a stretched +condition, or the curl may be artificially induced by unequal drying, +a fact which is turned to practical account in the curling of feathers +and of hair.</p> + +<p>The amount of curl in different varieties of wool is very variable, +being as a rule greatest in the finer qualities, and diminishing as +the fibre becomes coarser. The diameter of the +<span class="pagenum"><a id="page004" name="page004"></a>(p. 004)</span> +wool fibre +varies from 1/2000 to 1/5000 of an inch, and the number of curls from +about 30 per cent. In fine wool as little as 1 or 2 per cent. in the +thicker fibres.</p> + +<p>Elasticity and strength are properties which, in common with silk, +wool possesses in a greater degree than the vegetable fibres. When +submitted to strain the wool fibre exhibits a remarkable strength, and +when the breaking point is reached the fracture always takes place at +the juncture of two rings of the outer scales, the embedded edges of +the lower layer being pulled out of their seat. The scales themselves +are never broken.</p> + +<a id="img003" name="img003"></a> +<div class="figcenter" style="width: 250px;"> +<img src="images/img003.jpg" width="250" height="209" alt="fibre medullary" title=""> +</div> + +<p>When first formed the cells are more or less of a spherical shape, and +contain a nucleus surrounded by the ultimate photoplasmic substance. +Those cells which constitute the core or central portion of the fibre +retain to some extent this original globular form and pulpy condition. +Surrounding this central portion or medulla, as it has been called +(see fig. 3), and forming the main bulk of the fibre, there is a +comparatively thick layer of partially flattened cells, which are also +elongated in the direction of the length of the fibre, and outside +this again there is a thinner stratum which may be compared to the +bark of a tree. This outer covering differs materially +<span class="pagenum"><a id="page005" name="page005"></a>(p. 005)</span> +from the rest of the fibre in its physical structure, but is, probably, +nearly identical with it, though possibly not entirely so, in chemical +composition. It consists of a series of flattened horny scales, each +being probably an aggregation of many cells. The scales, which have +been compared to the scales of a fish or to slates on a housetop, +overlap each other, the free edges protruding more or less from the +fibre, while the lower or covered edges are embedded and held in the +inner layer of cells. The free edges always point away from the root +of the fibre, just as do the bracts of a fir cone.</p> + +<p>When viewing a section of a wool fibre there is, of course, no sharp +line of division between the three portions above described, but the +change from the central spherical cells to the elongated cellular +portion, and from these again to the flattened horny scales, is quite +gradual, so that the separation into zones, though well marked, is +very indefinite in respect of boundaries.</p> + +<p>The scaly structure of wool is of great importance in regard to what +is known as felting property. When woollen fabrics are worked in +boiling water, especially in the presence of soap, they shrink in +length and breadth, but become thicker in substance, while there is a +greater amalgamation of the fibres of the fabric together to form a +more compact and dense cloth; this is due to the scaly structure of +the wool fibres enabling them to become entangled and closely united +together. In the manufacture of felt hats this is a property of very +great value.</p> + +<p><b>Variations in Physical Structure.</b>--Wool fibres vary somewhat amongst +themselves; fibres from different breeds of sheep, or even from +different parts of the same animal, vary greatly, not only in +thickness, length, etc., but also in actual structure. A typical wool +fibre, such as may be obtained a good merino or Southdown fleece, will +possess the typical structure described above, but frequently the type +is departed +<span class="pagenum"><a id="page006" name="page006"></a>(p. 006)</span> +from to such an extent that the central core of +globular cells is entirely absent. Also the serrated character of the +outermost layer of cells reaches a much higher state of development in +some samples of wool than in others.</p> + +<p>Wool is a much more hygroscopic fibre than cotton or any of the other +vegetable fibres, usually it contains about 18 per cent. of water, but +much depends upon the atmospheric conditions that prevail. This water +is contained in the wool in two forms: (1) as water of hydration +amounting to about 81 per cent., and (2) as hygroscopic water.</p> + +<p>Experiments have shown that when a piece of dried wool is exposed to +an atmosphere saturated with water vapour it will absorb 50 per cent. +of its weight; cotton under the same conditions will take up 23 per +cent.; flax, 27·5 per cent.; jute, 28·5 per cent., and silk, 36·5 per +cent.</p> + +<p>Heated to about 100° C. it parts with nearly the whole of its water +and becomes hard, horny and brittle, exposed to the air, the dry wool +again absorbs water and is restored to its former condition. When +heated to 100° C. wool becomes somewhat plastic, so that whatever form +is then imparted to it it will retain when it becomes cold, this +property is very useful in certain processes of finishing wool +fabrics, making hats, etc.</p> + +<p><b>Chemical Composition.</b>--In the natural or raw state each wool fibre is +surrounded by a considerable amount of foreign matter, so that in +treating of its chemical constitution it is necessary to distinguish +between pure wool and the raw fibre. The incrusting substance is +technically known as "Yolk," or "Suint," and is principally composed +of a kind of natural soap, consisting of the potash salts of certain +fatty acids, together with some fats which are incapable of +saponification.</p> + +<p>The amount of yolk present upon different samples of wool varies +greatly, the finer varieties containing, as a rule, a larger +proportion than the coarser, and less valuable sorts.</p> + +<p>The +<span class="pagenum"><a id="page007" name="page007"></a>(p. 007)</span> +variation in the relative amount of pure fibres and yolk +is well shown in the following analyses which, however, do not by any +means represent extreme cases.</p> + + +<p>ANALYSES OF RAW MERINO WOOL. DRIED AT 100° C.</p> + +<table border="0" cellpadding="0" summary="ANALYSES OF RAW MERINO WOOL. DRIED AT 100° C."> +<colgroup> + <col width="45%"> + <col width="5%"> + <col width="20%"> + <col width="5%"> + <col width="25%"> +</colgroup> + + +<tbody> +<tr> + <td> + </td> + <td> + </td> + <td class="td-right"> + No. 1. + </td> + <td> + </td> + <td class="td-right"> + No. 2. + </td> +</tr> + +<tr> + <td class="td-left"> + Moisture + </td> + <td> + </td> + <td class="td-right"> + 6·26 + </td> + <td> + </td> + <td class="td-right"> + 10·4 + </td> +</tr> + +<tr> + <td class="td-left"> + Yolk + </td> + <td> + </td> + <td class="td-right"> + 47·30 + </td> + <td> + </td> + <td class="td-right"> + 27·0 + </td> +</tr> + +<tr> + <td class="td-left"> + Pure Wool + </td> + <td> + </td> + <td class="td-right"> + 30·31 + </td> + <td> + </td> + <td class="td-right"> + 59·5 + </td> +</tr> + +<tr> + <td class="td-left"> + Dirt + </td> + <td> + </td> + <td class="td-right"> + 11·13 + </td> + <td> + </td> + <td class="td-right"> + 3·1 + </td> +</tr> + +<tr> + <td> + </td> + <td> + </td> + <td class="td-right"> + ------- + </td> + <td> + </td> + <td class="td-right"> + ------- + </td> +</tr> + +<tr> + <td> + </td> + <td> + </td> + <td class="td-right"> + 100·00 + </td> + <td> + </td> + <td class="td-right"> + 100·00 + </td> +</tr> +</table> + + +<p>Yolk consists very largely of two complex substances which have been +termed wool perspiration and wool fat. The former is composed of the +potash salts of fatty acids, principally oleic and stearic acids; the +latter of the neutral carbohydrate, cholesterine, with other similar +bodies. The wool perspiration may be removed by a simple washing with +water, and on the Continent forms a valuable source of potash salts, +since the ash after ignition contains 70 to 90 per cent. of potassium +carbonate. The wool fat is insoluble in water, but dissolves readily +in ether, benzene, carbon disulphide, etc.</p> + +<p>It is also removed from the wool by a treatment with alkali, and it is +not easy to explain the action in the case, since the wool fat is not +a glyceride, and will not form a soap, but is probably emulsified by +the wool perspiration.</p> + +<p><b>Chemical Composition of the Pure Fibre.</b>--The following analyses of +purified and dried wool fibre indicate its percentage composition:--</p> + +<p> +<span class="col10">Carbon</span> +<span class="col30">50·5</span> +<span class="col50">per cent.</span> +<span class="col60">50·8</span> +<span class="col70">per cent.</span><br> + +<span class="col10">Hydrogen</span> +<span class="col30">6·8</span> +<span class="col50">"</span> +<span class="col60">7·2</span> +<span class="col70">"</span><br> + +<span class="col10">Nitrogen</span> +<span class="col30">16·8</span> +<span class="col50">"</span> +<span class="col60">18·5</span> +<span class="col70">"</span><br> + +<span class="col10">Oxygen </span> +<span class="col30">20·5</span> +<span class="col50">"</span> +<span class="col60">21·2</span> +<span class="col70">"</span><br> + +<span class="col10">Sulphur</span> +<span class="col30"> 5·4</span> +<span class="col50">"</span> +<span class="col60">2·3</span> +<span class="col70">"</span><br> + +<span class="col30">-------</span> +<span class="col60">-------</span><br> + +<span class="col30">100·00</span> +<span class="col60">100·00</span></p> + + + +<p>It +<span class="pagenum"><a id="page008" name="page008"></a>(p. 008)</span> +is sometimes stated that wool fibre consists of a definite +substance, keratine, but this view cannot now be admitted, since wool +appears to be composed of a mixture or combination of several very +complex substances. It is possible and even probable that the outer +epidermal scales have a somewhat different composition to the bulk of +the fibre, but whether that is the case or not is not known with any +degree of certainty, this much can be asserted, that wool is not a +simple definite chemical compound.</p> + +<p>Sulphur is by far the most variable constituent of wool, sometimes as +little as 1·5 and occasionally as much as 5 per cent. being found. It +appears to be always present in two different forms, one portion being +in very feeble combination and easily removed by alkalies, the +remainder, which, according to Knecht, amounts to about 30 per cent. +of the total sulphur, cannot be removed without complete +disintegration of the fibre. This latter portion does not give a black +coloration with plumbite of soda.</p> + +<p>The amount of ash left on incinerating dry wool varies from 1 to 2 per +cent., and some have considered this inorganic matter as an essential +constituent. It consists principally of salts of potassium, calcium +and aluminum, with, of course, sulphur.</p> + +<p>The chemical composition of the wool fibre is evidently of a most +complicated nature; judging from its behaviour in dyeing it is evident +that it may contain two bodies, one of a basic character which enables +it to combine with the azo and acid series of dyes, the other +possessing acid characters enabling it to combine with the basic dyes +of the magenta and auramine type. Dr. Knecht has isolated from the +wool fibre by extraction with alkalies and precipitation with acids a +substance to which the name of lanuginic acid has been given. It is +soluble in hot water, precipitates both acid and basic colouring +matters in the form of coloured lakes. +<span class="pagenum"><a id="page009" name="page009"></a>(p. 009)</span> +It yields +precipitates with alum, stannous chloride, chrome alum, silver +nitrate, iron salts, copper sulphate. It appears to be an albuminoid +body. From its behaviour with the dyes, and with tannic acid and +metallic salts, it would appear that lanuginic acid contains both +acidic and basic groups. It contains all the elements, carbon, +hydrogen, oxygen, nitrogen and sulphur, found in wool.</p> + +<p>If wool is dyed in a dilute solution of Magenta (hydrochloride of +rosaniline), the whole of the base (rosaniline) is taken up, and the +whole of the acid (HCl) left in the bath, not, however, in the free +state, but probably as NH<sub>4</sub>Cl, the ammonia being derived from the +wool itself. A further proof of the acid nature of lanuginic acid is +that wool may be dyed a fine magenta colour in a colourless solution +of rosaniline base; for since rosaniline base is colourless, and it +only forms a colour when combined with acids, the fibre has evidently +acted the part of an acid in the combination.</p> + +<p><b>Chemical Properties. Action of Alkalies.</b>--Alkalies have a powerful +action on wool, varying, of course, with the nature of the alkali, +strength of solution and temperature at which the action takes place.</p> + +<p>An ammoniacal solution of copper hydroxide (Schweizer's reagent), has +comparatively little action in the cold, but when hot it dissolves +wool fairly readily.</p> + +<p>The caustic alkalies; sodium hydroxide, NaOH, or potassium hydroxide +KOH, have a most deleterious action on wool. Even when very dilute and +used in the cold they act destructively, and leave the fibre with a +harsh feel and very tender, they cannot therefore be used for scouring +or cleansing wool. Hot solutions, even if weak, have a solvent action +on the wool fibre, producing a liquid of a soapy character from which +the wool is precipitated out on adding acids.</p> + +<p>This action of alkalies has an important bearing on the scouring of +wool, for if this operation be not carried out with due +<span class="pagenum"><a id="page010" name="page010"></a>(p. 010)</span> +care +there is in consequence great liability to impair the lustre and +strength of this fibre. From microscopical examination this effect of +alkalies is seen to be due to the fact that they tend to disintegrate +the fibre, loosen and open the scales, this is shown by contrasting +the two fibres A and B shown in figure 4, A being a normal wool fibre, +B one strongly treated with an alkali.</p> + +<p>The alkaline carbonates have but little action on wool, none if used +dilute and at temperatures below 120° F.</p> + +<a id="img004" name="img004"></a> +<div class="figcenter" style="width: 350px;"> +<img src="images/img004.jpg" width="350" height="242" alt="Effects of scouring agents" title=""> +</div> + +<p>Soap has practically no action on wool, and is therefore an excellent +scouring material for wool. The carbonate of ammonia is the best and +has the least action of the alkaline carbonates, those of potash and +soda if used too strong or too hot have a tendency to turn the wool +yellow, the carbonate of potash leaves the wool softer and more +lustrous than the carbonate of soda.</p> + +<p>The influence of scouring agents on wool will be discussed in the +chapter on cleansing wool fabrics in more detail.</p> + +<p>Caustic or quick-lime has a similar injurious action on the wool fibre +as the caustic alkalies.</p> + +<p><b>Action +<span class="pagenum"><a id="page011" name="page011"></a>(p. 011)</span> +of Acids.</b>--Acids when dilute have but little influence +on the wool fibre, their tendency is to cause a separation of the +scales (see fig. 5) of the wool and so make it feel harsher. Strong +acids have a disintegrating action on the wool fibre. There is a very +considerable difference between the action of acids on wool and on +cotton, and this difference of action is taken advantage of in the +woollen industry to separate cotton from wool by the process commonly +known as "carbonising," which consists in treating the fabric with a +weak solution of hydrochloric acid or some other acid, then drying it; +the cotton is disintegrated and falls away in the form of a powder, +while the wool is not affected, sulphuric acid is used very largely in +dyeing wool with the acid- and azo-colouring matters.</p> + +<a id="img005" name="img005"></a> +<div class="figcenter" style="width: 200px;"> +<img src="images/img005.jpg" width="200" height="219" +alt="Wool Fibre Heated with Acid" title=""> +</div> + +<p>Nitric acid affects wool in a very similar manner to the acids named +above when used in a dilute form; if strong it gives a deep yellow +colour and acts somewhat destructively on the fibre.</p> + +<p>Sulphurous acid (sulphur dioxide) has no effect on the actual fibre, +but exercises a bleaching action on the yellow colouring matter which +the wool contains, it is therefore largely +<span class="pagenum"><a id="page012" name="page012"></a>(p. 012)</span> +used for +bleaching wool, being applied either in the form of gas or in solution +in water; the method will be found described in another chapter. Wool +absorbs sulphur dioxide in large amount, and if present is liable to +retard any subsequent dyeing processes.</p> + +<p><b>Action of Other Substances.</b>--Chlorine and the hypochlorites have an +energetic action on wool, and although they exert a bleaching action +they cannot well be used for bleaching wool. Hot solutions bring about +a slight oxidation of the fibre, which causes it to have a greater +affinity for colouring matters; advantage is taken of this fact in the +printing of delaines and woollen fabrics, while the woollen dyer would +occasionally find the treatment of service. A paper by Mr. E. Lodge, +in the <i>Journal of the Society of Dyers and Colourists</i>, 1892 (p. 41), +may be consulted with advantage on this subject. Wool treated with +chlorine loses its felting property, and hence becomes unshrinkable, a +fact of which advantage is taken in preparing unshrinkable woollen +fabrics.</p> + +<p>When wool is boiled with solutions of metallic salts, such as the +sulphate of iron, chrome, aluminium and copper, the chlorides of tin, +copper and iron, the acetates of the same metals, as well as with some +other salts, decomposition of the salt occurs and a deposit of the +metallic oxide on the wool is obtained with the production of an acid +salt which remains in solution. In some cases this action is +favourably influenced by the presence of some organic acid or organic +salt, as, for examples, oxalic acid and cream of tartar (potassium +tartrate), along with the metallic salt.</p> + +<p>On this fact depends the process of mordanting wool with potassium +bichromate, alum, alumina sulphate, ferrous sulphate, copper sulphate, +etc. The exact nature of the action which occurs is not properly +understood, but there is reason for thinking that the wool fibre has +the capacity of assimilating both the acid and the basic constituents +of the salt employed.</p> + +<p>Excessive +<span class="pagenum"><a id="page013" name="page013"></a>(p. 013)</span> +treatment with many metallic salts tends to make +the wool harsh to the feel, partly owing to the scales being opened +out and partly owing to the feel naturally imparted by the absorbed +metallic salt.</p> + +<p>The normal salts of the alkaline metals, such as sodium chloride, +potassium sulphate, sodium sulphate, etc., have no action whatever on +the wool fibre.</p> + +<p>Wool has a strong affinity for many colouring matters. For some of the +natural colours, turmeric, saffron, anotta, etc., and for the neutral +and basic coal-tar colours it has a direct affinity, and will combine +with them from their aqueous solutions. Wool is of a very permeable +character, so that it is readily penetrated by dye liquors; in the +case of wool fabrics much depends, however, upon the amount of felting +to which the fabric has been subjected.</p> + +<p>If wool be boiled in water for a considerable time it will be observed +that it loses much of its beautiful lustre, feels harsher to the +touch, and also becomes felted and matted together. This has to be +carefully guarded against in all dyeing operations, where the handling +or moving of the yarns is apt to produce this unfortunate effect.</p> + +<p>After prolonged boiling the fibre shows signs of slight decomposition, +from the traces of sulphuretted hydrogen and ammonia gases which it +evolves.</p> + +<p>When wool is dried at 212° F. it assumes a husky, harsh feel, and its +strength is perceptibly impaired. According to Dr. Bowman, the wool +fibre really undergoes a slight chemical change at this temperature, +which becomes more obvious at 230° F., while at about 260° F. the +fibre begins to disintegrate. According to the researches of Persoz, +however, temperatures ranging from 260° F. to 380° F. can be employed +without any harm to the wool, if it has previously been soaked in a 10 +per cent. solution of glycerine.</p> + +<p>When wool is heated to 212° F. (100° Cent.) it becomes quite +<span class="pagenum"><a id="page014" name="page014"></a>(p. 014)</span> +pliant and plastic and may be moulded into almost any shape, which it +still retains when cold. This fact is of much interest in the +processes of finishing various goods, of embossing velvet where +designs are stamped on the woven fabric while hot, and in the crabbing +and steaming of woollen goods, making hats, etc.</p> + + + + +<h2>CHAPTER II. +<span class="pagenum"><a id="page015" name="page015"></a>(p. 015)</span></h2> + +<h3>PROCESSES PREPARATORY TO DYEING, SCOURING AND +BLEACHING OF WOOL.</h3> + + +<p>Wool scouring takes place at two stages in the process of manufacture +into cloth. First, in the raw state, to free the wool from the large +amount of grease and dirt it naturally contains; second, after being +manufactured into cloth, it is again scoured to free it from the oil +that has been added to the scoured raw wool to enable it to spin +easily. This oiling is generally known as wool batching, and before +the spun yarns or woven fabrics can be dyed it is necessary to remove +it.</p> + +<p>Raw wool is a very impure substance, containing comparatively little +wool fibre, rarely more than 50 to 60 per cent. in the cleanest +fleeces, while it may be as low as 25 per cent. in the dirtiest.</p> + +<p>First there is a small quantity of dirt; there is what is called the +suint, a kind of soapy matter, which can be removed by washing in hot +water. This soap has for its base potash, while its acids are numerous +and complex. The wool contains a fatty-like substance of the nature of +wax, called cholesterine, and this imparts to the fatty matter, which +be extracted from the wool fibre, very peculiar properties. Besides +these there are several other bodies of minor importance, all of which +have to be removed from the wool before it can be manufactured into +cloth.</p> + +<p>Marker +<span class="pagenum"><a id="page016" name="page016"></a>(p. 016)</span> +and Schulz give the following analysis of a good +sample of raw wool:--</p> + +<div> +<p> + +<span class="col10-55">Moisture</span> +<span class="col60">23·48</span> +<span class="col70">per cent.</span><br> + +<span class="col10-55">Wool fat</span> +<span class="col60">7·17</span> +<span class="col70">"</span><br> + +<span class="col10-55">Wool soap (suint), soluble in water</span> +<span class="col60">21·13</span> +<span class="col70">"</span><br> + +<span class="col10-55">Soluble in alcohol</span> +<span class="col60">0·35</span> +<span class="col70">"</span><br> + +<span class="col10-55">Soluble in ether</span> +<span class="col60">0·29</span> +<span class="col70">"</span><br> + +<span class="col10-55">Soluble in dilute hydrochloric acid</span> +<span class="col60">1·45</span> +<span class="col70">"</span><br> + +<span class="col10-55">Wool fibre</span> +<span class="col60">43·20</span> +<span class="col70">"</span><br> + +<span class="col10-55">Dirt</span> +<span class="col60">2·93</span> +<span class="col70">"</span><br> + +<span class="col60">-------</span><br> + +<span class="col60">100·00</span><br></p></div> + + +<p>Two principles underlie the methods which are in use for this purpose. +The first principle and the one on which the oldest method is based is +the abstraction of the whole of the grease, etc., from the wool by +means of an alkaline or soapy liquor at one operation. This cannot +nowadays be considered a scientific method. Although it extracts the +grease, etc., from the wool, and leaves the latter in a good condition +for after processes, yet with it one might almost say that the whole +of the soap or alkali used, as well as the wool grease itself, is lost +as a waste product; whereas any good process should aim at obtaining +the wool grease for use in some form or another. The second principle +which underlies all the most recent methods for extracting the grease +from the wool, consists in treating the fibre with some solvent like +benzol, carbon bisulphide, petroleum spirit, carbon tetrachloride, +etc., which dissolves out the cholesterine and any other free +fatty matter which is in the wool fibre, leaving the latter in such a +condition that by washing with water the rest of the impurities in the +wool can be extracted. By distilling off and recondensing the solvent +can be recovered for future use, while the wool fat can also be +obtained in a condition to use for various purposes. This is rather a +more scientific method than the old one, but it has not as yet come +into extensive use.</p> + +<p><b>Wool +<span class="pagenum"><a id="page017" name="page017"></a>(p. 017)</span> +Scouring. Old Methods.</b>--In the early days of wool +scouring this operation was done in a very primitive fashion, +generally in a few tubs, which could be heated by steam or otherwise, +and in which wool was worked by means of hand forks. These primitive +processes are still in use in some small works, especially where the +wool is dyed in the loose condition, but in all the large works +machinery has been adopted, which machinery has been brought to a high +state of perfection, and does its work very well, and without much +attendant manual labour.</p> + +<p>The alkaline substances used in this process of scouring demand some +notice. These comprise soda ash, soda crystals, caustic soda, silicate +of soda, potash, caustic potash, soaps of various kinds, stale urine, +ammoniacal compounds. Which of these may be used in any particular +case depends upon a variety of reasons. Potash is the best alkaline +agent to use. It agrees better with the fibre than any other, leaving +it soft and elastic. Ammonia is the next best, but it does not take +out the grease as well as the potash. Soda does not suit as well as +potash, as it has a tendency to leave the fibre harsh in feel and +somewhat brittle, yet on account of its being so much cheaper it is +the most largely used. The use of silicate of soda cannot be +recommended, as it has a great tendency to leave the fibre hard, which +may be ascribed to the deposition of silica on the fibre.</p> + +<p>The caustic alkalies cannot be used as they have too solvent an action +on the fibre. The carbonates, therefore, in the form of soda ash or +potash, or pearl ash, are used, or better still, soap is used as it +has a greater solvent action on the fatty matter of the wool than have +the alkalies, and in this respect a potash soap is better than a soda +soap.</p> + +<p>The character of the wool determines the alkali to be used; fine, +long-stapled wools, which are usually very free from grease in excess, +should always be treated with potash, or +<span class="pagenum"><a id="page018" name="page018"></a>(p. 018)</span> +a potash soap, +which will remove the whole of the grease from the wool, leaving the +latter in a fine, soft, silky condition.</p> + +<p>Short-stapled wools can be treated with soap and a little soda ash, +but too much of the latter is to be avoided. Coarse and greasy wools +may be scoured with soap and soda ash, or other alkali which is almost +necessary to remove the large amount of grease these wools contain.</p> + +<p>Practically the only alkaline products now in use are the various hard +and soft soaps, and the carbonates of soda and potash in their various +forms of soda ash, soda crystals, potashes, pearl ash, etc. Ammonia +and its compounds are rarely used, while stale urine, which acts in +virtue of the ammonia it contains has practically gone out of use.</p> + +<p><b>Hand-Scouring.</b>--Wool scouring by hand is easily done and requires few +appliances, simple tubs or vats of sufficient capacity in which steam +pipes are placed, so that the scouring liquors can be heated up. The +best temperatures to use are about 130° to 140° F., and it is not +advisable to exceed the latter, as there is then some risk that the +alkali may act on the fibre too strongly.</p> + +<p>The strength of the scouring liquor necessarily varies with the kind +of wool being treated, and with the kind of alkaline product used; if +soft, fine wools are being treated, then the liquor may be made with 1 +to 2 lb. of soap to 10 gallons of water (if a mixture of soap and +alkali is used, then it may contain from 1/4 to 1/2 lb. soda ash, and +1/2 lb. to 1 lb. of soap). For coarse, greasy wools these quantities +may be increased by about one-half. The best plan of scouring by hand +is to treat the wool in a tub with a scouring liquor for about half an +hour, then to squeeze out the surplus liquor and to treat again in a +new liquor for half an hour; this liquor may be used for a new batch +of wool. The wool is often put into nets, and these are lifted up and +down in the liquor so as to cause it to penetrate to every part of the +wool.</p> + +<p>It +<span class="pagenum"><a id="page019" name="page019"></a>(p. 019)</span> +is not advisable to work the wool about too much, +otherwise felting might ensue and this must be avoided. The felting of +the wool is one of the troubles of the wool-scourer and is often +difficult to avoid, it is mostly brought about by excessive working of +the wool during the process, and by the use of too high a temperature +in the scouring bath. The remedies are obvious to the practical man, +as little handling of the wool as possible, and at as low a +temperature as possible. Still it is necessary to see that the +scouring liquor penetrates to every part of the wool which is being +treated.</p> + +<p>To ensure this, care must be taken not to scour too much at one time, +so that the wool is loosely placed in the scouring tub, if placed +loose in the latter, the workmen can by means of forks work it to and +fro while in process of treatment. After the wool has been through +these scouring liquors it is thrown on a scray to drain, and is next +placed in cisterns which have perforated false bottoms. In these +cisterns it is washed with cold water two or three times, the water +being run off from the wool between each washing; it is then spread +out in a room to dry. As a rule, a man can wash from 500 lb. to +600 lb. of wool in a day by this method. Another plan which is +sometimes adopted so as to avoid handling the wool as much as +possible, and thus prevent felting, is to place the wool in cages +having perforated sides which will hold about 1 cwt. of wool. They are +lowered by means of cranes into the washing liquors, and the wool in +them is then worked for a quarter of an hour, when the cages and their +contents are lifted out and the surplus liquor allowed to drain off. +They are then lowered into the next bath, treated or worked in this, +again lifted out and dropped into the wash waters.</p> + +<p>There is by this plan a saving of handling, and more wool can be got +through in the same time, but it requires two men to work it. These +hand processes are only in use in small +<span class="pagenum"><a id="page020" name="page020"></a>(p. 020)</span> +works, having been +replaced in all large works by mechanical methods described below.</p> + +<p><b>Machine Scouring.</b>--Wool-scouring machinery has been brought to a high +state of perfection by the successive efforts of many inventors, and +by their means wool washing has been much simplified and improved. +Wool-washing machinery is made by several firms, among whom may be +mentioned Messrs. J. & W. McNaught, and John Petrie, Junior, Limited, +both of Rochdale.</p> + + +<span class="pagenum"><a id="page021" name="page021"></a>(p. 021)</span> +<a id="img006" name="img006"></a> +<div class="figcenter" style="width: 500px;"> +<a href="images/img006.jpg"> +<img src="images/img006tb.jpg" width="500" height="210" +alt="Wool-washing Machine" title=""></a> +</div> + +<p>Fig. 6 shows one form of wool-washing machine. It consists of a long +trough which contains the scouring liquor. In this machine the wool +enters at the left-hand end, and is seized by a fork or rake and +carried forward by it a short distance, then another rake seizes it +and carries it further forward to another rake, and this to the last +rake of the machine, which draws it out of the machine to a pair of +squeezing rollers which press out the surplus liquor, and from these +rollers the scoured wool passes to a travelling band for delivery from +the machine. Sometimes the wool is not entered into the trough direct, +but is put on a travelling apron which opens it and delivers it in a +more open form into the trough. The movement of the forks causes some +degree of agitation in the scouring liquor which facilitates the +penetration of the liquor through the wool, and thus brings about a +better scouring.</p> + +<p>After the wool has passed through the machine it is taken and run once +more through the machine. Some scourers use the same liquor, but it is +better to use fresh liquors, after which it is washed in the same +machine with water two or three times. With a single machine there is +some time and labour lost in transferring the wool from one end to the +other between the separate treatments, and in large works where a +great deal of wool is scoured it is usual to place three or four of +these machines end to end.</p> + +<p>The +<span class="pagenum"><a id="page022" name="page022"></a>(p. 022)</span> +first is filled with strong scouring liquor, the second +with a weaker liquor, while the third and fourth contains wash waters, +and the wool is gradually passed by the action of the machine through +the series without requiring any manual aid. Between each machine it +is passed through squeezing rollers as before, and finally emerges +thoroughly scoured. A good plan of working in connection with such a +series of machines is to have four as above, two washing machines and +two soaping machines, the soap liquor is run through these in a +continuous stream, entering in at the delivery end of the second +soaper and passing out at the entering end of the first soaper. The +wool as it first enters the machine comes into contact with rather +dirty soap liquor, but this suffices to rid it of a good deal of loose +dirt; as it passes along the machine it comes in contact with cleaner +and fresher soap liquor, which gradually takes all grease and dirt out +of it, and, finally, when it passes out it comes in contact with fresh +liquor, which removes out the last traces of dirt and grease. In the +same way it passes through the washers, being treated at the last with +clean water. By this plan the scouring is better done, while there is +some saving of soap liquor and wash water, for of these rather less is +required than by the usual system. These are matters of consideration +for wool scourers. The wool-washing liquors after using should be +stored in tanks to be treated for recovery of the grease which they +contain.</p> + +<p>The temperature of the scouring liquors should be about 100° F., +certainly not more than 120° F., high temperatures are very liable to +bring about felting, while tending to increase the harshness of the +wool, particularly when soda is the agent used. By this method all the +wool fat, suint, etc., of the wool find their way into the soap +liquors. These were formerly thrown away, but they are generally +treated with acid and the fat of the soap and wool recovered, under +the name +<span class="pagenum"><a id="page023" name="page023"></a>(p. 023)</span> +of wool grease or Yorkshire grease. (<i>Vide</i> G. H. +Hurst, "Yorkshire Grease," <i>Jour. Soc. Chem. Ind.</i>, February, 1889.)</p> + +<p>The wool fat consists largely of a peculiar fat-like body known as +cholesterine. This, however, is unsaponifiable, and cannot be made +into soap; at the same time when it gets into, as it does, the +recovered wool grease it spoils the latter for soap-making purposes.</p> + +<p>Cholesterine has some properties which make it valuable for other +purposes; it is a stable body not prone to decomposition, it is +capable of absorbing a large quantity of water, and it is on these +accounts useful for medicinal purposes in the production of ointments, +and it might be useful in candle-making. When it gets into recovered +grease it cannot be extracted from it in an economical manner. The +wool suint consists largely of the potash soaps of oleic and stearic +acids. These two fatty acids find their way into the recovered wool +grease but the potash salts are lost, while they would be valuable for +various purposes if they could be recovered.</p> + +<p>Another form of wool-washing machine has a frame carrying a number of +forks arranged transversely to the machine. The forks are by suitable +gearing given a motion which consists of the following cycle of +movements. The forks are driven forwards in the trough of the machine, +carrying the wool along with them, they are then lifted out, carried +back, and again allowed to drop into the machine, when they are ready +to go forward again. Thus the forks continually push the wool from one +end of the machine to the other.</p> + +<p>It is a common plan to have three machines placed end to end, so that +the wool passes from one to the other; in a set of this kind the first +machine should have a capacity of 1,500 gallons or thereabouts, the +second 1,000 gallons, and the third 750 gallons.</p> + +<p><b>Wool Scouring by Solvents.</b>--Of late years processes have +<span class="pagenum"><a id="page024" name="page024"></a>(p. 024)</span> +been invented for the scouring of wool, either raw or spun by means of +solvents, like carbon bisulphide, benzol, petroleum spirit, etc. Such +processes are in a sense rather more scientific than the alkali +processes, for whereas in the latter the grease, etc., of the wool and +the oil used in batching it are practically lost for further use, and +therefore wasted, being thrown away very often, although they may be +partially recovered from the used scouring liquors, in the solvent +processes the grease and oil may be recovered for future use for some +purpose or other.</p> + +<p>The great objection to these processes is the danger that attends +their use, owing to the inflammable character of the solvents. Several +other objections may be raised, some of which are mechanical, and due +to the want of proper machinery for carrying out the processes. There +are many ways in which solvents may be applied, some are the subject +of patents. It is not possible to describe the details of all these, +but two of the most recent will be mentioned.</p> + +<p>In Singer's process, which was described in detail by Mr. Watson Smith +some time ago before the Society of Dyers and Colourists, carbon +bisulphide is used. The raw wool is placed between two endless bands +of wire, and it is carried through a series of troughs containing +bisulphide of carbon; during its passage through the troughs the +solvent takes out the grease, and loosens the other constituents of +the wool. After going through the bisulphide the wool is dried and +passed through water which completes the process. The carbon +bisulphide that has been used is placed in steam-heated stills, +distilled off from the grease, condensed in suitable condensers, and +used over again. In this process, with care, there is very little loss +of solvent. The grease which is recovered can be used for various +purposes, one of which is the manufacture of ointments, pomades, etc. +The disadvantages of bisulphide are: (1) It tends after some time to +<span class="pagenum"><a id="page025" name="page025"></a>(p. 025)</span> +cause the wool to acquire a yellow cast, due to the free +sulphur which it contains, and which being left in the wool gradually +causes it to turn yellow. By using redistilled bisulphide this defect +may be avoided. (2) Another defect is the evil odour of the solvent. +This, however, is less with redistilled bisulphide than with the +ordinary quality, and with suitable apparatus is not insuperable. (3) +Another defect is the volatility and inflammability of carbon +bisulphide. On the other hand, bisulphide possesses the very great +advantage of being at once heavier than, and insoluble in, water, and +it can be, therefore, stored under water very much more safely than +can any of the other solvents which are used.</p> + +<p>Burnell's machine has two troughs filled with benzoline. +In these are arranged a large central roller round which are +some smaller rollers. The wool passes round the large roller +and is subjected to a number of squeezings in passing the +smaller rollers. A current of the benzoline is continually +passing through the machine. The whole is enclosed in a +hood to avoid loss of solvent as far as possible. After +passing through the benzoline trough the wool passes through +a similar trough filled with water. Benzoline is better than +carbon bisulphide in that there is no tendency on the part +of the wool to turn yellow after its use, on the other hand +it is more inflammable, and when it does take fire is more +dangerous, and being lighter than water is not so readily and +safely stored. Another feature is that it is not so completely +volatile at steam temperatures, so that a little may be left in +the grease and thus tend to deteriorate it. Coal-tar benzol, +the quality known as 90's, would be better to use.</p> + +<p>The solvent processes are well worth the attention of wool scourers, +all that is required for their proper development being the production +and use of suitable machinery.</p> + +<p>After the raw wool has been scoured it is batched, <i>i.e.</i>, it is +<span class="pagenum"><a id="page026" name="page026"></a>(p. 026)</span> +mixed with a quantity of oil for the purpose of lubricating the +wool to enable it more easily to stand the friction to which it is +subjected in the subsequent processes of spinning and weaving by +giving it greater pliability.</p> + +<p>For this purpose various kinds of oil are used. Olive oil is the +principal favourite, the variety mostly used being Gallipoli oil. +Ground-nut oil is also extensively employed, and is cheaper than +olive. Oleic acid a by-product of the candle industry, is extensively +used under the name of cloth oil, there is also used oleine, or wool +oil, obtained by the distillation of Yorkshire grease.</p> + +<p>So far as merely oiling the wool is concerned there is not much to +choose between these different oils, olive perhaps works the best and +agrees best with the wool. Mineral oils have been and can be used +either alone or mixed with the oils above mentioned, and so far as +lubricating the wool is concerned do very well and are much cheaper +than the fatty oils named above.</p> + +<p>The following are some analyses of various oils used as cloth oils +which the author has had occasion to analyse.</p> + +<table border="0" cellpadding="0" summary="Analyse of various oils."> +<colgroup> + <col width="40%"> + <col width="15%"> + <col width="15%"> + <col width="15%"> + <col width="15%"> +</colgroup> + +<tbody> +<tr> + <td> + </td> + <td class="td-center"> + 1. + </td> + <td class="td-center"> + 2. + </td> + <td class="td-center"> + 3. + </td> + <td class="td-center"> + 4. + </td> +</tr> +<tr> + <td class="td-left"> + Specific gravity at 60° F. + </td> + <td class="td-right"> + 0·9031 + </td> + <td class="td-right"> + 0·9091 + </td> + <td class="td-right"> + 0·6909 + </td> + <td class="td-right"> + 0·8904 + </td> +</tr> +<tr> + <td class="td-left"> + Free fatty acid + </td> + <td class="td-right"> + 55·02 + </td> + <td class="td-right"> + 64·42 + </td> + <td class="td-right"> + 51·52 + </td> + <td class="td-right"> + 68·05 + </td> +</tr> +<tr> + <td class="td-left"> + Unsaponifiable oil + </td> + <td class="td-right"> + 34·56 + </td> + <td class="td-right"> + 9·95 + </td> + <td class="td-right"> + 32·80 + </td> + <td class="td-right"> + 9·52 + </td> +</tr> +<tr> + <td class="td-left"> + Saponifiable oil + </td> + <td class="td-right"> + 10·32 + </td> + <td class="td-right"> + 25·32 + </td> + <td class="td-right"> + 15·68 + </td> + <td class="td-right"> + 12·43 + </td> +</tr> +<tr> + <td class="td-left"> + </td> + <td class="td-right"> + ------ + </td> + <td class="td-right"> + ------ + </td> + <td class="td-right"> + ------ + </td> + <td class="td-right"> + ------ + </td> +</tr> +<tr> + <td class="td-left"> + </td> + <td class="td-right"> + 100·00 + </td> + <td class="td-right"> + 100·00 + </td> + <td class="td-right"> + 100·00 + </td> + <td class="td-right"> + 100·00 + </td> +</tr> +</table> + +<p>Nos. 1 and 2 are prepared from Yorkshire grease. The unsaponifiable +matter in these is purely natural, it will be seen it varies within +wide limits. Nos. 3 and 4 are made from the oleic acid of the candle +factories, and the unsaponifiable matter is due to their containing +mineral oil which has been added to them.</p> + +<p>So far as regards the object for which the wool is oiled, the mineral +oils will answer almost as well as the fatty oils and +<span class="pagenum"><a id="page027" name="page027"></a>(p. 027)</span> +with +most satisfactory results from an economical point of view, for they +are much cheaper. But this is not the only point to be considered. The +oil has to be got out of the wool before the latter can be dyed. Now +while the fatty oils can be easily removed, by treatment with soap, +and they can be recovered along with the fat of the soap, mineral oils +cannot be entirely removed from the wool, what remains in will +interfere very much with the satisfactory dyeing of the wool, and what +is got out finding its way into the covered wool grease, spoils this +for soap making and other uses, so that on the whole what is gained in +lessened cost of oiling is lost by the increased liability to defects +in dyeing and consequently depreciation in value of the wool, and to +decrease in value of the recovered grease.</p> + +<p>The amount of oil used varies from 7 per cent. with the best wools to +15 per cent. with shoddy wools. The scouring agents generally used are +the same as those used in loose wool scouring, namely, carbonate of +soda for coarse woollen yarns, soap and soda for medium yarns, and +soap and ammonia for fine yarns. Prior to treating the yarns it is +best to allow them to steep in hot water at about 170° F. for twenty +minutes, then to allow them to cool. The actual scouring is often done +in large wooden tubs, across which rods can be put on which to hang +the hanks of yarn, and in which are placed steam pipes for heating up +the bath. The best temperature to treat the yarn at is about 150° F.; +too high a temperature must be avoided, as with increased heat the +tendency to felt is materially augmented, and felting must be avoided. +The hanks are treated for about twenty minutes in the liquor, and are +then wrung out, drained, and again treated in new scouring liquor for +the same length of time. After rinsing in cold water they are dried +and finished.</p> + +<p>When the oiled wool has been spun into yarns, whether worsted +<span class="pagenum"><a id="page028" name="page028"></a>(p. 028)</span> +or woollen, and passes into the hands of the dyer, it is +necessary to remove from it all the oil before any dyeing operations +can be satisfactorily carried out. This oil is removed by the use of +soap and weak alkaline liquors, using these at about 110° to 120° F. +The most common way is to have the liquor in a rectangular wooden +tank, and hang the hank of yarn in by sticks resting on the edges of +the tank; from time to time the hanks are turned over until all the +oil has been washed out, then they are wrung out and passed into a +tank of clean water to wash out the soap, after which the yarn is +ready for dyeing.</p> + +<p>When the yarn is of such a character that it is liable to curl up, +shrink and become entangled, it is necessary that it be stretched +while it is being treated with the soap liquor; this is effected by a +stretching apparatus consisting of two sets of rollers connected +together by a screw attachment, so that the distance between the two +sets of rollers can be varied. The hanks are hung between each pair of +rollers, and can be stretched tightly as may be required.</p> + +<p>For pressing out the surplus liquor from the hanks of yarn a pair of +squeezing rollers is used.</p> + +<p><b>Scouring Woollen Piece Goods.</b>--Very often before weaving the yarns are +not scoured to remove the oil they contain, as the weaving is more +conveniently done with oily yarn than with a scoured yarn. Before +dyeing the oil must be taken out of the pieces, and this can be +conveniently done by scouring in a washing machine such as is shown in +figures 7 and 8, using soap and soda liquors as before, and following +up with a good rinse with water.</p> + + +<a id="img007" name="img007"></a> +<div class="figcenter" style="width: 600px;"> +<img src="images/img007.jpg" width="600" height="535" +alt="Cloth-washing Machine" title=""> +</div> + +<p>The soap liquors used in scouring yarns and pieces become charged with +oil, and they should be kept, and the oil recovered from them together +with the fatty matter of the soap, by treatment with sulphuric acid. +By subjecting the grease or fatty matter so obtained to a boil with +caustic soda +<span class="pagenum"><a id="page029" name="page029"></a>(p. 029)</span> +soap is obtained which may be again used in +scouring wool.</p> + +<a id="img008" name="img008"></a> +<div class="figcenter" style="width: 500px;"> +<img src="images/img008.jpg" width="500" height="694" +alt="Cloth-washing Machine" title=""> +</div> + +<p><b>Bleaching Wool.</b>--The wool fibre has to be treated very differently +from cotton fibre. It will not stand the action of as powerful +bleaching agents, and, consequently, weaker ones must be used. This is +a decided disadvantage, for whereas with cotton the colouring matter +is effectually destroyed, so that the bleached cotton never regains +its original colour, the same is not the case with wool, especially +with sulphur-bleached wool, here the colouring matter of the fibre is, +as it were, only hidden, and will under certain circumstances return. +The two materials chiefly used for bleaching wool are sulphur and +peroxide of hydrogen.</p> + + +<a id="img009" name="img009"></a> +<div class="figcenter" style="width: 400px;"> +<img src="images/img009.jpg" width="400" height="591" +alt="Sulphur Bleach House" title=""> +</div> + +<p><b>Sulphur +<span class="pagenum"><a id="page030" name="page030"></a>(p. 030)</span> +Bleaching.</b>--Bleaching wool by sulphur is a +comparatively simple process. A sulphur house is built, the usual size +being 12 feet high by 12 feet broad, and about 17 feet long. Brick is +the most suitable material. The house should have well-fitting windows +on two sides, and +<span class="pagenum"><a id="page031" name="page031"></a>(p. 031)</span> +good tight doors at the ends (see fig. 9). +Some houses have a small furnace at each corner for burning the +sulphur, two of these furnaces are fitted with hoods, so that the +sulphur gases can be conveyed to the upper part of the chamber, but a +better plan, and one mostly adopted where the chamber is used for +bleaching pieces, is to construct a false perforated bottom above the +real bottom of the chamber, the sulphur being burnt in the space +between the two floors. If yarn is being bleached the hanks are hung +on wooden rods +<span class="pagenum"><a id="page032" name="page032"></a>(p. 032)</span> +or poles in the chamber, while with pieces an +arrangement is constructed so that the pieces which are stitched +together are passed in a continuous manner through the chamber.</p> + +<p>When all is ready the chamber doors are closed, and the furnaces are +heated, some sulphur thrown upon them, which burning evolves sulphur +dioxide gas, sulphurous acid, and this acting upon the wool bleaches +it. The great thing is to cause a thorough circulation of the gas +through every part of the chamber, so that the yarn or pieces are +entirely exposed in every part to the bleaching action of the gas. +This is effected by causing the gas to pass into the chamber at +several points, and, seeing that it passes upwards, to the ventilator +in the roof of the chamber. Generally speaking, a certain quantity of +sulphur depending upon the quantity of goods being treated is placed +in the chamber and allowed to burn itself out; the quantity used being +about 6 to 8 per cent. of the weight of the goods. After the +sulphuring the goods are simply rinsed in water and dried.</p> + +<p>Sulphur bleaching is not an effective process, the colouring matter is +not actually destroyed, having only entered into a chemical +combination with the sulphur dioxide to form a colourless compound, +and it only requires that the wool be treated with some material which +will destroy this combination to bring the colour back again in all +its original strength; washing in weak alkalies or in soap and water +will do this. Another defect of the process lies in sulphur being +volatilised in the free form, and settling upon the wool causes it to +turn yellow, and this yellow colour cannot be got rid of.</p> + +<p>The goods must be thoroughly rinsed with water after the bleaching, +the object being to rid the wool of traces of sulphuric acid, which it +often contains, and which if left in would in time cause the +disintegration of the wool.</p> + +<p>Sometimes +<span class="pagenum"><a id="page033" name="page033"></a>(p. 033)</span> +the wool is washed in a little weak ammonia or soda +liquor, but this is not advisable, as there is too much tendency for +the colour of the wool to come back again, owing to the neutralising +of the sulphur dioxide by the alkali.</p> + +<p>Instead of using the gas, the sulphur dioxide may be applied in the +form of a solution in water. The goods are then simply steeped for +some hours in a solution of the gas in water until they are bleached, +then they are rinsed in water and dried. In this method it is +important that the solution of the gas be freshly made, otherwise it +is liable to contain but little sulphurous acid, and plenty of +sulphuric acid which has no bleaching properties, but, on the other +hand, is liable to lead to damage of the goods if it be not washed out +afterwards.</p> + +<p>A better method of utilising the bleaching action of sulphur in a +liquid form is to prepare a bath of bisulphite of soda, and acidify it +with hydrochloric acid, then to enter the wool, stirring well for some +time, and allowing it to steep for some hours, next to expose to the +air for a while, and rinse as before.</p> + +<p>It is better to allow the wool to steep for about an hour in a simple +bath of bisulphite, then enter into a weak hydrochloric acid bath for +a few hours. The acid liberates sulphur dioxide in a nascent +condition, which then exerts a more powerful bleaching action than if +it were already free.</p> + +<p>Even with liquid bleaching the bleach is not any more perfect than it +is with the gas bleaching; the colour is liable to come back again on +being washed with soap or alkali, although there is a freedom from the +defect of yellow stains being produced.</p> + +<p>Goods properly bleached will stand exposure to air for some +considerable time, but those imperfectly bleached exhibit a tendency +to regain their yellow colour on exposure to air. One fault which is +sometimes met with in sulphur bleaching +<span class="pagenum"><a id="page034" name="page034"></a>(p. 034)</span> +is a want of +softness in the wool, the process seeming to render the fibre harsh.</p> + +<p>Washing in a little weak soft soap or in weak soda will remedy this +and restore the suppleness of the wool; at the same time care must be +taken that the alkaline treatment is not too strong, or otherwise the +bleaching effect of the sulphur will be neutralised as pointed out +above.</p> + +<p><b>Bleaching Wool by Peroxide of Hydrogen.</b>--During recent years there has +come into use for bleaching the animal fibres peroxide of hydrogen, +or, as the French call it, oxygenated water. This body is a near +relation to water, being composed of the same two elements, oxygen and +hydrogen; in different proportions in water these elements are +combined in the proportion of 1 part of hydrogen to 8 parts of oxygen, +while in the peroxide the proportions are 1 of hydrogen to 16 of +oxygen. These proportions are by weight, and are expressed by the +chemical formulæ for water H<sub>2</sub>O, and for hydrogen peroxide +H<sub>2</sub>O<sub>2</sub>. Water, as is well known, is a very stable body, and +although it can be decomposed, yet it requires some considerable power +to effect it. Now the extra quantity of oxygen which may be considered +to have been introduced into water to convert it into peroxide has +also introduced an element of instability, the extra quantity of +oxygen being ever ready to combine with some other body for which it +has a greater affinity than for the water. This property can be +utilised in the bleaching industry with great advantage, true +bleaching being essentially a process of oxidation. The colouring +matter of the fibre, which has to be destroyed so that the fibre shall +appear white, is best destroyed by oxidation, but the process must not +be carried out too strongly, otherwise the oxidation will not be +confined to the colouring matter, but will extend to the fibre itself +and disintegrate it, with the result that the fibre will become +tendered and be rendered useless.</p> + +<p>Peroxide +<span class="pagenum"><a id="page035" name="page035"></a>(p. 035)</span> +of hydrogen is a weak oxidiser, and therefore, +although strong enough to destroy the colouring matter of the fibre is +not strong enough to decompose the fibre itself. Hydrogen peroxide is +sold as a water-white liquid, without any odour or taste. Its strength +is measured by the quantity of oxygen which is evolved when one volume +of the liquid is treated with potassium permanganate; the most common +strength is 10 volume peroxide, but 30 and 40 volume peroxide is made. +On keeping it loses its oxygen, so that it is always advisable to use +a supply up as quickly as possible.</p> + +<p>Articles of all kinds can be bleached by simply placing them in a weak +solution of the peroxide, leaving them there for a short time, then +taking out and exposing to the air for some time. The best plan of +applying peroxide of hydrogen is the following: Prepare the bleaching +bath by mixing 1 part of peroxide with 4 parts of water. The strength +can be varied; for those goods that only require a very slight bleach +the proportions may be 1 to 12, while for dark goods the proportions +first given may be used. This bath must be used in either a wooden or +earthenware vessel. Metals of all kinds must be avoided, as they lead +to a decomposition of the peroxide, and therefore a loss of material. +To the bath so prepared just enough ammonia should be added to make it +alkaline, a condition that may be ascertained by using a red litmus +paper, which must just turn blue. Into the bath so prepared the +well-scoured goods are entered and worked well, so that they become +thoroughly saturated. They are then lightly wrung and exposed to the +air for some hours, but must not be allowed to get dry, because only +so long as they are moist is the bleaching going on; if they get dry +the goods should be re-entered into the bath and again exposed to the +air.</p> + +<p>If one treatment is not sufficient the process should be repeated. The +peroxide bath is not exhausted, and only requires +<span class="pagenum"><a id="page036" name="page036"></a>(p. 036)</span> +new +material to be added to it in sufficient quantity to enable the goods +to be readily and easily worked in the liquor. Any degree of whiteness +may be obtained with a sufficient number of workings. No further +treatment is necessary. It is found in practice that an alkaline bath +gives the best results.</p> + +<p>Another plan of preparing the bleaching bath is to prepare a bath with +peroxide and water as before, then add to a sufficient quantity of a +solution of silicate of soda 4 parts of water to 1 of silicate of soda +at 100° Tw., to make the bath alkaline. Into this bath the goods are +entered and are then exposed to the air as before, after which they +may be passed through a weak bath of sulphurous acid, being next well +washed in water and dried.</p> + +<p>The advantage of bleaching with peroxide is that, as it leaves only +water in the goods as the result of action, there is no danger of +their becoming tendered by an after development of acid due to +defective washing, as is the case with the sulphur bleach. The goods +never alter in colour afterwards, because there is nothing left in +that will change colour. Some bleachers add a little magnesia to the +bath, but this is not at all necessary.</p> + +<p><b>Bleaching with Peroxide of Soda.</b>--Peroxide of soda has come to the +front of late for bleaching wool. With it a stronger bleaching bath +can be made, while the product itself is more stable than peroxide of +hydrogen, only it is needful to keep it in tightly closed metal +vessels, free from any possibility of coming in contact with water or +organic matter of any kind, or accidents may happen. In order to +bleach 100 lb. of wool, a bath of water is prepared, and to this is +added 6 lb. of sulphuric acid and then slowly 4 lb. of peroxide of +sodium in small quantities at a time. Make the bath slightly alkaline +by adding ammonia. Heat the bath to 150° F., enter the wool and allow +to remain five to six hours, then +<span class="pagenum"><a id="page037" name="page037"></a>(p. 037)</span> +rinse well and dry. If the +colour does not come out sufficiently white repeat the process.</p> + + +<p class="p2"><span class="smcap">The Chlorination of Wool.</span></p> + +<p>The employment of chlorine in wool dyeing and wool printing has of +late years received an impetus in directions previously little thought +of. The addition of a little chlorine to the decoction of logwood has +been recommended as increasing the dyeing power of the wool. Treating +the wool with chlorine has a material influence in increasing its +capacity for taking dye-stuffs, and although but little attention has +been paid to this circumstance by wool dyers, yet among wool printers +it has come largely into use, and enables them to produce fuller and +faster shades than would otherwise be possible.</p> + +<p>The method involves the treatment of the wool first with an acid, then +with a solution of a hypochlorite. The staple becomes soft and supple +and assumes a silky character; in dyeing it shows a greater affinity +for the dyes than it did previously. Although not deteriorated in +strength, it almost entirely loses its felting properties. On account +of this feature the process cannot be adopted for wool which has to be +fulled, but it is of service where felting of the goods is to be +avoided, for worsteds, underwear, woollen and half woollen hosiery, +etc., in which the felting property that occurs on washing is rather +objectionable.</p> + +<p>By the chloring of the wool the intensity of the shade dyed is +increased to such a degree that when dyeing with Acid black, Naphthol +black, Naphthol green, Nigrosine, Fast blue, Water blue, and some +others dyed in an acid bath, but little more than half the dye used on +unchlored wool is required, while with Induline, more even and intense +shades are obtained than is otherwise possible.</p> + +<p>The operation of chlorination can be done either in one or +<span class="pagenum"><a id="page038" name="page038"></a>(p. 038)</span> +two baths. The choice depends upon circumstances and the judgment of +the dyer. The process by the two-bath method, with subsequent dyeing +in the second or separate bath is (for 100 lb. of wool), as follows. +The first bath contains, for light cloths, yarn, etc., from 3 to 4 lb. +sulphuric acid, 168° Tw., and for heavier cloths and felt, where the +penetration and equalisation of the colour is difficult, from 8 lb. to +10 lb. of acid. Generally speaking, a temperature of 170° to 175° F. +is sufficient, although for heavy wool and for wool with poor dyeing +qualities it is well to use the bath at the boil. The treatment lasts +for half an hour, in which time the acid is almost completely +absorbed.</p> + +<p>The second bath contains a clear solution of 10 lb. bleaching powder, +which solution is prepared as follows. Dry bleaching powder of the +best quality is stirred in a wooden vat with 70 gallons of water, the +mass is allowed to stand, the clear, supernatant liquor is run into +the vat and the sediment stirred up and again allowed to settle, the +clear liquor being run off as before, and 5 gallons more water is run +in. The clear liquors of these three treatments are then mixed +together to form the chloring bath. Special care should be taken that +no undissolved particles of the bleaching powder should be left in, +for if these settle on the wool they result in too great a development +of chlorine, which injures the wool.</p> + +<p>The goods after being in the acid bath are entered in this chlorine +bath at a temperature of 70° F., which is then raised to the boil. If +the acid bath has been strong, or been used at the boil, it is perhaps +best to rinse the goods before entering into the chlorine bath. The +hypochlorous acid disappears so completely from this bath that it may +at once be used as the dye-bath, for which purpose it is only +necessary to lift the goods, add the required amount of dye-stuff, +re-enter the goods and work until the bath is exhausted, which +generally happens +<span class="pagenum"><a id="page039" name="page039"></a>(p. 039)</span> +when acid dyes are used. If a separate +dye-bath be preferred, this is made and used as is ordinarily done.</p> + +<p>To perform all the operations in one bath the acid bath is made with +from 3 to 4 lb. sulphuric acid, and the wool is treated therein for +thirty minutes at 170° F., until all the acid has been absorbed. Then +the bath is allowed to cool down to 70° or 80° F., the clear bleaching +powder solution is added, the goods are re-entered, and the bath is +heated to the boil. When all the chlorine has disappeared add the +dye-stuff, and dye as directed above.</p> + +<p>In printing on wool the chlorination of the wool is a most important +preliminary operation. For this purpose the cloth is passed for +fifteen minutes at 170° F. through a bath containing 3/4 oz. sulphuric +acid per gallon of water. Then it is passed through a cold bath of 3/4 +oz. bleaching powder per gallon of water, after which the cloth is +rinsed and dried and is then ready for printing.</p> + +<p>Another method of chloring the wool is to pass the goods through a +bath made with 100 gallons of water, 2 gallons hydrochloric acid and 2 +gallons bleaching powder solution of 16° Tw. As some chlorine is given +off it is best to use this in a well-ventilated place.</p> + + + + +<h2>CHAPTER III. +<span class="pagenum"> +<a id="page040" name="page040"></a>(p. 040)</span></h2> + +<h3>DYEING MACHINERY AND DYEING MANIPULATIONS.</h3> + + +<p>Wool is dyed in a variety of forms, raw, loose wool; partly +manufactured fibre in the form of slubbing or sliver; spun fibres or +yarns, in hanks or skeins and in warps, and lastly in the form of +woven pieces. These different forms necessitate the employment of +different forms of machinery and different modes of handling, it is +evident to the least unobservant that it would be quite impossible to +subject slubbing or sliver to the same treatment as yarn or cloth, +otherwise the slubbing would be destroyed and rendered valueless.</p> + +<p>In the early days all dyeing was done by hand in the simplest possible +contrivances, but during the last quarter of a century there has been +a great development in the quantity of dyeing that has been done, and +this has really necessitated the application of machinery, for hand +work could not possibly cope with the amount of dyeing now done. +Consequently there has been devised during the past two decades a +great variety of machines for dyeing every description of textile +fabrics, some have not been found a practical success for a variety of +reasons and have gone out of use, others have been successful and are +in use in dye-works.</p> + +<p><b>Hand Dyeing.</b>--Dyeing by hand is carried on in the simplest possible +appliances, much depends upon whether the work can be done at the +ordinary temperature or at the boil. Figure 10 shows round and oval +tubs and a rectangular vat +<span class="pagenum"><a id="page041" name="page041"></a>(p. 041)</span> +much in use in dye-houses. These +are made of wood, but copper dye-vats are also made, these may be used +for all kinds of material--loose fibre, yarns or cloth. In the case of +loose fibre this is stirred about either with poles or with rakes, +care being taken to turn every part over and over and open out the +masses of fibre as much as possible in order to avoid matting or +clotting together. In the case of yarns or skeins, these are hung on +sticks resting on the edges of the tub or vat. These sticks are best +made of hickory, but ash or beech or any hard wood that can be worked +smooth and which does not swell much when treated with water may be +used. The usual method of working is to hang the skein on the stick, +spreading it out as much as possible, then immerse the yarn in the +liquor, lift it up and down two or three times to fully wet out the +yarn, then turn the yarn over on the stick and repeat the dipping +processes, then allow to steep in the dye-liquor. This is done with +all the batch of yarn that is to be dyed at a time. When all the yarn +has been entered into the dye-bath, the first stickful is lifted out, +the yarn turned over and re-entered in the dye-liquor; this operation +is carried out with all the sticks of yarn until the wool has become +dyed of the required depth. In the case of long rectangular vats it is +customary for two men, one on each side of the vat, to turn the yarns, +each man taking charge of the yarn which is nearest to him.</p> + +<a id="img010" name="img010"></a> +<div class="figcenter" style="width: 600px;"> +<img src="images/img010.jpg" width="600" height="189" +alt="Dyeing-tubs and Vat" title=""> +</div> + +<p>Woven goods may be dyed in the tub or vat, the pieces being drawn in +and out by poles, but the results are not altogether +<span class="pagenum"><a id="page042" name="page042"></a>(p. 042)</span> +satisfactory, and it is preferable to use machines for dyeing piece +goods.</p> + +<a id="img011" name="img011"></a> +<div class="figcenter" style="width: 500px;"> +<img src="images/img011.jpg" width="500" height="487" +alt="Dye-vat with Steam-pipe" title=""> +</div> + +<p>Plain tubs or vats, such as those shown in figure 10, are used for +dyeing and otherwise treating goods in the cold, or at a lukewarm +heat, when the supply of hot water can be drawn from a separate +boiler. When, however, it is necessary to work at the boil, then the +vat must be fitted with a steam coil. This is best laid along the +bottom in a serpentine form. Above the pipe should be an open +lattice-work bottom, which, while it permits the free circulation of +boiling water in the vat, prevents the material being dyed from coming +in contact with the steam pipe. This is important if uniform shades +are to be dyed, for any excessive heating of any portion of the bath +leads to stains being produced on the material in that part of the +bath. Figure 11 shows a vat fitted with a steam pipe. That portion of +<span class="pagenum"><a id="page043" name="page043"></a>(p. 043)</span> +the steam pipe which passes down at the end of the vat is in +a small compartment boxed off from the main body of the vat, so that +no part of the material which is being dyed can come in contact with +it. A closed steam coil will, on the whole, give the best results, as +then no weakening of the dye-liquor can take place through dilution by +the condensation of the steam. Many dye-vats are, however, fitted with +perforated, or as they are called, open steam coils, in which case +there is, perhaps, better circulation of the liquor in the dye-vat, +but as some of the steam must condense there is a little dilution of +it.</p> + + +<p class="p2"><span class="smcap">Dyeing Machines.</span></p> + +<p>Dye-tubs and vats, such as those described above, have been largely +superseded by machines in which the handling or working of the +materials being dyed is effected by mechanical means. There have been +a large number of dyeing machines invented, some of these have not +been found to be very practical, and so they have gone out of use. +Space will not admit of a detailed account of every kind of machine, +but only of those which are in constant use in dye-works.</p> + +<p><b>Dyeing Loose or Raw Wool and Cotton.</b>--Few machines have been designed +for this purpose, and about the only successful one is</p> + +<p><i>Delahunty's Dyeing Machine.</i>--This is illustrated in figure 12. It +consists of a drum made of lattice work which can revolve inside an +outer wooden casing. The interior of the revolving drum is fitted with +hooks or fingers, whose action is to keep the material open. One +segment of the drum is made to open so that the loose cotton or wool +to be dyed can be inserted. By suitable gearing the drum can be +revolved, and the dye-liquor, which is in the lower half of the wooden +casing, penetrates through the lattice work of the +<span class="pagenum"><a id="page044" name="page044"></a>(p. 044)</span> +drum, and +dyes the material contained in it. The construction of the machine is +well shown in the drawing, while the mode of working is obvious from +it and the description just given. The machine is very successful, and +well adapted for dyeing loose or raw wool and cotton. The material may +be scoured, bleached, dyed or otherwise treated in this machine.</p> + +<a id="img012" name="img012"></a> +<div class="figcenter" style="width: 500px;"> +<img src="images/img012.jpg" width="500" height="545" +alt="Delahunty's Dyeing Machine" title=""> +</div> + +<p>The Obermaier Machine, presently to be described, may also be used for +dyeing loose cotton or wool.</p> + +<a id="img013" name="img013"></a> +<div class="figcenter" style="width: 600px;"> +<img src="images/img013.jpg" width="600" height="515" +alt="Obermaier Dyeing Machine" title=""> +</div> + +<p><b>Dyeing Slubbing, Sliver or Carded Wool.</b>--It is found in practice that +the dyeing of loose wool is not altogether satisfactory, the +impurities they naturally contain interfere with +<span class="pagenum"><a id="page045" name="page045"></a>(p. 045)</span> +the purity +of the shade they will take. Then again the dyes and mordants used in +dyeing them are found to have some action on the wire of the carding +engine through which they are passed; at any rate, a card does not +last as long when working dyed wools as when used on undyed cotton or +wool fibres. Yet for the production of certain fancy yarns for weaving +some special classes of fabrics it is desirable to dye the wool before +it is spun into thread. The best plan is undoubtedly to dye the fibre +after it has been carded and partly spun into what is known as +slubbing, or sliver. All the impurities have been removed, the wool +fibres are laid straight, and so it becomes much easier to dye. On the +other hand, as it is necessary to keep the sliver or slubbing straight +and level, no working about in the dye-liquors can be allowed to take +place, and so such must be dyed in specially constructed machines, and +one of the best of these is the</p> + +<p><i>Obermaier +<span class="pagenum"><a id="page046" name="page046"></a>(p. 046)</span> +Dyeing Machine</i>, which is illustrated in figure +13.--In the Obermaier apparatus dye-vat, A, is placed a cage +consisting of an inner perforated metal cylinder, C, and an outer +perforated metal cylinder, D; between these two is placed the material +to be dyed. C is in contact with the suction end of a centrifugal +pump, P, the delivery end of which discharges into the dye-vat A. The +working of the machine is as follows: the slubbing or sliver is placed +in the space between C and D rather tightly, so that it will not move +about. Then the inner cage is placed in the dye-vat as shown. The vat +is filled with the dye-liquor, which can be heated up by a steam pipe. +The pump is set in motion, the dye-liquor is drawn from A to C, and in +so doing passes through the material packed in B and dyes it. The +circulation of the liquor is carried on as long as experience shows to +be necessary. The dye-liquor is run off, hot water is run in to wash +the dyed material, and the pump is kept running for some time to +ensure thorough rinsing, then the water is run off, and by keeping the +pump running and air going through a certain amount of drying can be +effected. This machine works very well, and with a little experience +constant results can +<span class="pagenum"><a id="page047" name="page047"></a>(p. 047)</span> +be obtained. The slubbing or sliver may +be scoured, bleached, rinsed, dyed, washed, soaped, or otherwise +treated without removing it from the machine, which is a most decided +advantage.</p> + +<a id="img014" name="img014"></a> +<div class="figcenter" style="width: 598px;"> +<img src="images/img014.jpg" width="598" height="325" +alt="Read Holliday's Yarn-dyeing Machine" title=""> +</div> + +<p><b>Yarn Dyeing Machines.</b>--In figure 14 is given an illustration of a +machine for dyeing yarn in the hank form, made by Messrs. Read +Holliday & Sons, of Huddersfield. The illustration gives a very good +idea of the machine. It consists of a wooden dye-vat, which can be +heated by steam pipes in the usual way. Extending over the vat are a +number of reels or bobbins, these are best made of wood or enamelled +iron. These reels are in connection with suitable gearing, so that +they can be revolved. There is also an arrangement by means of which +the reels can be lifted bodily in and out of the dye-vat for the +purpose of taking on and off the hanks of yarn. A reel will hold about +2 lb. of yarn. The working of the machine is simple. The vat is filled +with the requisite dye-liquor. The reels which are lifted out of the +vat are then charged with the yarn, which has been previously wetted +out. They are then set in revolution and dropped into the dye-vat, and +kept there until it is seen that the yarn has acquired the desired +shade. The reels are lifted out and the hanks removed when the machine +is ready for another lot of yarn.</p> + +<p>There are several makers of hank-dyeing machines of this type, and as +a rule they work very well. The only source of trouble is a slight +tendency for the yarn on one reel if hung loosely of becoming +entangled with the yarn on other reels. This is to some extent +obviated by hanging in the bottom of the hank a roller, which acts as +a weight and keeps the yarn stretched and so prevents it flying about.</p> + +<p>To some makes of these machines a hank wringer is attached.</p> + +<a id="img015" name="img015"></a> +<div class="figcenter" style="width: 500px;"> +<img src="images/img015.jpg" width="500" height="636" +alt="Klauder-Weldon Dyeing Machine" title=""> +</div> + +<p><i>Klauder-Weldon Hank-dyeing Machine.</i>--This is illustrated in +<span class="pagenum"><a id="page048" name="page048"></a>(p. 048)</span> +figure 15, which shows the latest form. It consists of a +half-cylindrical dye-vat built of wood. On a central axis is built two +discs or rod carriers, which can revolve in the dye-vat, the +revolution being given by suitable gearing which is shown at the side +of the machine. On the outer edge of the discs are clips for carrying +rods on which one end of the hanks of yarn is hung, while the other +end is placed on a similar rod carrier near the axle. The revolution +of the discs carries the yarn through the dye-liquor contained in the +lower semi-cylindrical part of the machine previously +<span class="pagenum"><a id="page049" name="page049"></a>(p. 049)</span> +alluded to. At a certain point in every revolution of the discs the +rods carrying the yarns are turned a little; this causes the yarn to +move on the rods, and this motion helps to bring about greater +evenness of dyeing. The most modern form of this machine is provided +with an arrangement by means of which the whole batch of yarn can be +lifted out of the dye-liquor. Arrangements are made by which from time +to time fresh quantities of dyes can be added if required to bring up +the dyed yarn to any desired shade. This machine works well and gives +good results. Beyond the necessary labour in charging and discharging, +and a little attention from time to time as the operation proceeds, to +see if the dyeing is coming up to shade, the machine requires little +attention.</p> + +<p>Many other forms of hank-dyeing machine have been devised. There is +Corron's, in which an ordinary rectangular dye-vat is used. Round this +is a framework which carries a lifting and falling arrangement that +travels to and fro along the vat. The hanks of yarn are hung on rods +of a special construction designed to open them out in a manner as +nearly approaching hand work as is possible. The machine works in this +way. The lifting arrangement is at one end of the vat, the hanks are +hung on the rods and placed in the vat. Then the lifter is set in +motion and moves along the vat; as it does so it lifts up each rod +full of yarn, turns it over, opening out the yarn in so doing, then it +drops it again in the vat. When it has travelled to the end of the vat +it returns, packing up the rods of yarn in so doing, and this motion +is kept up until the dyeing is completed. This machine is very +ingenious.</p> + +<p>A type of machine which has been made by several makers consists of an +ordinary rectangular dye-vat surrounded with a framework carrying a +number of sets of endless chains, the links of which carry fingers. +The hanks of yarn are hung +<span class="pagenum"><a id="page050" name="page050"></a>(p. 050)</span> +on rods at one end of which is a +tooth wheel that when in position fits into a rack on the side of the +vat. The action of the machine is this, the hanks are hung on the rods +and placed at the entrance end of the vat, by the moving of the chains +it is carried along the vat and at the same time revolves, thus +turning over the yarn, which hangs in the dye-liquor; when it reaches +the opposite end of the vat, the rod full of yarn is lifted out, +carried upwards and then towards the other end of the vat when it is +again dropped into the dye-vat to go through the same cycle of +movements which is continued until the yarn is properly dyed.</p> + +<p><b>Piece Dyeing Machines.</b>--Wherever it is possible it is far more +preferable to dye textile fabrics in the form of woven pieces rather +than in the yarn from which they are woven. During the process of +weaving it is quite impossible to avoid the material getting dirty and +somewhat greasy, and the operations of scouring necessary to remove +this dirt and grease has an impairing action on the colour if dyed +yarns have been used in weaving it. This is avoided when the pieces +are woven first and dyed afterwards, and this can always be done when +the cloths are dyed in one colour only. Of course when the goods are +fancy goods containing several colours they have to be woven from dyed +yarns.</p> + +<p>The most common form of machine in which pieces are dyed is the +jigger, commonly called the jig, this is shown in figure 16. It +consists of a dye-vessel made long, sufficiently so to take the piece +full width, wide at the top, narrow at the bottom. At the top on each +side is placed a large winding roller on which the cloth is wound. At +the bottom of the jig is placed a guide roller round which passes the +cloth. In some makes of jigs there are two guide rollers at the bottom +and one at the top as shown in the illustration, so that the cloth +passes several times through the dye-liquor. In working the cloth is +first wound on one of the rollers then +<span class="pagenum"><a id="page051" name="page051"></a>(p. 051)</span> +threaded through the +guide rollers and attached to the other winding roller. When this is +done dye-liquor is run into the jig, and the gearing set in motion, +and the cloth wound from the full on to the empty roller. With the +object of keeping the piece tight a heavy press roller is arranged to +bear on the cloth on the full roller. When all the cloth has passed +from one roller to the other it is said to have been given "one end". +The direction of motion is now changed and the cloth sent in the +opposite direction through the jig and the piece has now received +another "end". This alternation from one roller to the other is +continued as long as is deemed necessary, much depending on the depth +of colour which is being dyed, some pale shades may only take two or +three ends, deeper shades may take more. When dyeing wool with acid +colours which are all absorbed from the dye-liquor, or the bath is +exhausted, it is a good plan to run the pieces several ends so as to +ensure thorough fixation of the dye on the cloth.</p> + +<a id="img016" name="img016"></a> +<div class="figcenter" style="width: 600px;"> +<img src="images/img016.jpg" width="600" height="365" +alt="Dye-jiggers" title=""> +</div> + +<p>It is not advisable in working these jigs to add the whole of the dye +to the liquor at the commencement, but only a part of it, then when +one end is given another portion of the dye may +<span class="pagenum"><a id="page052" name="page052"></a>(p. 052)</span> +be added, +such portions being always in the form of solution. Adding dyes in +powder form inevitably leads to the production of colour specks on the +finished goods. The reason for thus adding the dye-stuff in portions +is that with some dyes the affinity for the fibre is so great that if +all were added at once it would be absorbed before the cloth had been +given one end, and, further, the cloth would be very deep at the front +end while it would shade off to no colour at the other end. By adding +the dye in portions this difficulty is overcome and more level shades +are obtained, but it is met with in all cases of jigger dyeing. It is +most common in dyeing +<span class="pagenum"><a id="page053" name="page053"></a>(p. 053)</span> +wool with basic dyes like Magenta, +Auramine, Methyl Violet or Brilliant Green, and with acid dyes like +Acid Green, Formyl Violets, Azo Scarlet or Acid Yellow.</p> + +<a id="img017" name="img017"></a> +<div class="figcenter" style="width: 500px;"> +<img src="images/img017.jpg" width="500" height="579" +alt="Dye-jigger in Section" title=""> +</div> + +<p>Some attempts have been made to make jiggers automatic in their +reversing action, but they have not been successful owing to the +greatly varying conditions of length of pieces, their thickness, etc., +which have to be dyed, and it is next to impossible to make all +allowances for such varying conditions.</p> + + +<a id="img018" name="img018"></a> +<div class="figcenter" style="width: 600px;"> +<img src="images/img018.jpg" width="600" height="517" +alt="Wince Dye Beck" title=""> +</div> + +<p>In figure 17 is shown the jig in section, when the working of the +machine can be more easily traced.</p> + +<p><b>The Jig Wince or Wince Dye Beck.</b>--This dyeing machine is very largely +used, particularly in the dyeing of woollen cloths. It is made by many +makers, and varies somewhat in form accordingly. Figures 18 to 21 show +three forms by different makers. In any make the jig wince or wince +dye beck +<span class="pagenum"><a id="page054" name="page054"></a>(p. 054)</span> +consists of a large rectangular, or in some cases +semi-cylindrical, dye-vat. Probably the best shape would be to have a +vat with one straight side at the front, and one curved side at the +back.</p> + +<a id="img019" name="img019"></a> +<div class="figcenter" style="width: 400px;"> +<img src="images/img019.jpg" width="400" height="572" +alt="Wince Dye Beck" title=""> +</div> + +<p>In some a small guide roller is fitted at the bottom, under which the +pieces to be dyed pass. Steam pipes are provided for heating the +dye-liquors. The beck should be fitted with a false bottom, made of +wood, perforated with holes, or of wooden lattice work, and under +which the steam pipes are placed. The object being to prevent the +pieces from +<span class="pagenum"><a id="page055" name="page055"></a>(p. 055)</span> +coming in contact with the steam pipes, and so +preventing the production of stains. Above the dye-vat and towards the +back is the wince, a revolving skeleton wheel, which draws the pieces +out of the dye-vat at the front, and delivers them into it again at +the back. The construction of this wince is well shown in the +drawings. The wince will take the pieces full breadth, but often they +are somewhat folded, and so several pieces, four, five or six, can be +dealt with at one time. In this case a guide rail is provided in the +front part of the machine. In this rail are pegs which serve to keep +the pieces of cloth separate, and so prevent entanglements. The pieces +are stitched end to end so as to form an endless band. When running +through the vat they fall down in folds at the back part of the beck, +and are drawn out from the bottom and up in the front. Each part thus +remains for some time in the dye-liquor, during which it necessarily +takes up the dye.</p> + + +<a id="img020" name="img020"></a> +<div class="figcenter" style="width: 400px;"> +<img src="images/img020.jpg" width="400" height="396" +alt="Plush Fabric Dyeing Machine" title=""> +</div> + +<p>Figures 18 and 19 show forms of these wince dyeing machines, +constructed of wood, and very largely used in the dyeing of woollen +cloths. They are serviceable forms, and give very good results, being +suitable for all dyes.</p> + +<p>Figure 20 is a form of machine better adapted than the preceding +<span class="pagenum"><a id="page056" name="page056"></a>(p. 056)</span> +for the dyeing of plush fabrics. In this kind of cloth it is +important that the pile should not be interfered with in any way, and +experience has shown that the winces of the form shown in figures 18 +and 19 are rather apt to spoil the pile; further, of course, plush +fabrics are dyed full breadth or open. In the wince now shown all +troubles are +<span class="pagenum"><a id="page057" name="page057"></a>(p. 057)</span> +avoided, and plush fabrics can be +satisfactorily dyed in them.</p> + +<a id="img021" name="img021"></a> +<div class="figcenter" style="width: 500px;"> +<img src="images/img021.jpg" width="500" height="707" +alt="Copper Cased Dye Beck. Mather & Platt." title=""> +</div> + +<p>Figure 21 shows a dye-bath built of iron, cased with copper, suitable +for dyeing most colours on woollen cloths.</p> + +<a id="img022" name="img022"></a> +<div class="figcenter" style="width: 600px;"> +<img src="images/img022.jpg" width="600" height="418" +alt="Read Holliday's Hawking Machine" title=""> +</div> + +<p>In the jig and wince dyeing machines the pieces necessarily are for a +part of the time, longer in the case of the jigger than in that of the +wince, out of the dye-liquor and exposed to the air. In the case of +some dyes, indigo especially, this is not desirable, and yet it is +advisable to run the cloth open for some time in the liquor so as to +get thoroughly impregnated with the dye-liquor.</p> + +<p>The so-called hawking machine, figure 22, is an illustration of Read +Holliday's hawking machine, made by Messrs. Read Holliday & Sons, of +Huddersfield. There is the dye-vat as usual; in this is suspended the +drawing mechanism, whose construction is well shown in the drawing. +This is a pair of rollers driven by suitable gearing, between which +the cloth passes, and by which it is drawn through the machine. A +small roller ensures the cloth properly leaving the large rollers, +<span class="pagenum"><a id="page058" name="page058"></a>(p. 058)</span> +then there is a lattice-work arrangement over the pieces are +drawn. In actual work the whole of this arrangement is below the +surface of the dye-liquor in the vat. The piece to be dyed is threaded +through the machine the ends stitched together, then the arrangement +is lowered into the dye-vat and set in motion, whereby the cloth is +drawn continuously in the open form through the dye-liquor, this being +done as long as experience shows to be necessary. This hawking machine +will be found useful in dyeing indigo on wool, in mordanting and +dyeing wool with the Alizarine series of dyes.</p> + + + + +<h2>CHAPTER IV. +<span class="pagenum"><a id="page059" name="page059"></a>(p. 059)</span></h2> + +<h3>THE PRINCIPLES AND PRACTICE OF WOOL DYEING.</h3> + + +<p>The various methods which are used in dyeing wool have, of course, +underlying them certain principles on which they are based, and on the +observance of which much of the success of the process depends. +Sometimes these principles are overlooked by dyers, with the result +that they do not get good results from their work. It must be obvious +to any person with any technical knowledge that all processes of +dyeing either wool or silk, or cotton or any other fibre, must take +into consideration the properties of the fibre on the one hand, and +that of the dye-stuff on the other. Wool must be treated differently +from cotton, a process of dyeing which gives good results with the +latter fibre would lead to nothing but disastrous effects with wool or +silk; on the other hand, processes are used in the dyeing of wool +which could not be possibly used for cotton on account of the very +different properties of the fibre.</p> + +<p>A few words as to the properties of wool as far as they relate to the +methods of dyeing may be of use. Wool has the property of resisting +the action of acids in a great degree, so that it may be treated with +even strong acids with impunity. On the other hand, alkalies and +alkaline solutions have strong action on it; the caustic alkalies +rapidly dissolve wool, and their use must be avoided in all cases of +dyeing this fibre. The carbonates of the alkalies have not so strong +an action, and therefore may be used in moderation; nevertheless, too +<span class="pagenum"><a id="page060" name="page060"></a>(p. 060)</span> +strong solutions of these should not be used. Soap has no +disintegrating action on wool, and soap solutions may be used whenever +necessary for cleansing or dyeing wool. Ammonia has no action on wool, +and it may be used in place of soap if desired. There is one feature +of wool that must be alluded to here, and that is its felting +property. When wool is boiled with water and is handled a good deal, +the fibres clot or felt together into a firm coherent mass. This +should be avoided as much as possible, and when wool is cleansed and +dyed in the loose condition it is absolutely necessary that every care +be taken to avoid felting. This condition is much influenced by the +temperature and the condition of the bath in which the wool is being +treated, too high a temperature or too prolonged a treatment tends to +increase the felting, therefore in dyeing wool prolonged treatment at +the boil must be avoided.</p> + +<p>Further, the condition of the bath has some influence on this point; +it is found that an alkaline bath tends to considerably increase the +felting properties of the wool, and on this account dyers invariably +avoid the use of both the caustic and carbonated alkalies. Strong soap +liquors have also some influence in the direction of increasing the +felting, therefore soap should not be used if it can possibly be done +without. Ammonia has not so strong a felting action as the other +alkalies. Acids, on the other hand, exert a retarding action on the +felting of the wool, and this is a matter of some interest and +importance in the dyeing of wool, as an acid condition of the bath is +necessary for dyeing by far the great majority of colouring matters on +this fibre. Alkaline salts, such as Glauber's salt and common salt, +exert little or no influence on this felting property, and can be +added to dye-baths with impunity, and in many cases with good effect, +so far as the quality of dyeing is concerned.</p> + +<p>So far as the properties of the wool are concerned, it is seen +<span class="pagenum"><a id="page061" name="page061"></a>(p. 061)</span> +that an acid condition of the dye-bath will work better than an +alkaline condition, and wherever it is possible to use acids such +should be added.</p> + +<p>What has been said in regard to wool is equally true of all fibres +derived from animals in the same way as wool is, such as horse-hair, +fur of rabbits, hares and other animals, although, of course, there +are some minor differences between different furs in their resistance +to the action of acids and alkalies.</p> + +<p>The next feature that influences the methods of dyeing wool is the +varying properties of the dye-stuffs, or colouring matters. It is +obvious that those which, like Magenta or Saffranine, have a strong +affinity for the wool fibre must be dyed differently from those which, +like Alizarine and Gambine, have no direct affinity for the wool +fibre, and, further, which require the aid of mordants before they can +be dyed, and on the character of which mordants the colour that is +fixed on the fibre depends.</p> + +<p>The dye-stuffs, independently of the question whether they be derived +from natural sources or be of artificial origin, may be roughly +divided into five groups, some of which may also be subdivided again +as will be shown later on. These groups may be named the (1) Neutral, +(2) Basic, (3) Acid, (4) Mordant, and (5) Indigo dye-stuffs. The first +two classes are practically dyed in the same way; but as there is a +great difference in the chemical composition of the colouring matters +comprised in them, it will be best to consider them separately.</p> + +<p><i>First Method.</i>--This method is used in applying the now large and +increasing group of azo dye-stuffs, which are characterised by being +able to dye unmordanted cotton from a simple boiling bath. The +dye-stuffs that are applied by the method now to be described include +such as Benzopurpurine, Chrysamine, Chrysophenine, Titan red, Titan +yellow, Benzo brown, Diamine +<span class="pagenum"><a id="page062" name="page062"></a>(p. 062)</span> +red, Diamine brown, Diamine +blue, Congo blue, Congo red, etc. The dyeing is done in a bath at the +boil. If the bath contained only the dye-stuffs there would be a +liability for the dyeing to be uneven, to prevent which a saline +compound, such as salt, is added. Taking it all round, salt is the +best body to add as it suits all colours very well indeed. Then come +Glauber's salts; borax and phosphate of soda can also be used, but, +owing to their slight alkaline properties, they are not so good as the +neutral salts, like the two first named. When these colouring matters +are dyed on cotton some of them dye best in a bath containing potash +or soda, but these bodies, for reasons previously pointed out, are not +available in wool dyeing, and should never be used. Wool dyes best in +a slightly acid bath, and this may be taken advantage of in dyeing the +yellows and blues of this group by adding a small quantity of acetic +acid. The reds, as a rule, are affected by acids, and, therefore, it +is not possible to use an acid bath with Benzopurpurine, Congo red, +with the possible exception of the Titan reds and scarlets, Diamine +scarlet, Benzo fast scarlet, Purpuramine, which are faster to acetic +acid than the other reds of this class of dye-stuffs.</p> + +<p>Probably the best plan of dyeing these colours is to first heat the +bath to about 160° F., then enter the goods, and turn over two or +three times to ensure that they are thoroughly impregnated with +dye-liquor. The bath is now raised to the boil, and, steam being +turned off, the goods are handled without further steam until the +desired shade is obtained. Another plan is to enter the goods when the +bath is at about 150° F., and, after raising to the boil, to work for +half to one hour at that heat; but the plan first described gives +rather better results, and is far preferable. The dye-baths, as a +rule, are not completely exhausted, except when very pale shades are +being dyed; in no case is it necessary to throw the dye-bath away, but +simply to add the required amount of dye-stuff for a +<span class="pagenum"><a id="page063" name="page063"></a>(p. 063)</span> +new +batch; with those colouring matters which are not entirely exhausted +from the bath a smaller amount, generally about three-fourths only, is +required to be added, with about one-third the quantity of salt which +was added to the first bath. Of course it is not advisable to keep the +same bath or liquor in work always, but after about twenty or thirty +batches of goods are dyed to throw it away and start a fresh liquor.</p> + +<p>As a rule it will be found that these dye-stuffs are more thoroughly +taken up from the bath than is the case in dyeing cotton; thus often +with the same amount of dye-stuff in proportion to the material used +the wool will dye rather a deeper shade than will cotton. In some +cases, especially with the blues and violets, the shade is greatly +different on wool from what it is on cotton, being generally redder +and much stronger. (See the chapter on Union Dyeing.) While the shades +are somewhat faster to light on wool than they are on cotton, they are +no faster to soaping and in some cases not so fast. What may be the +function of the salt, or other such added substance, is not very +clear, probably it plays the same part as to similar bodies in dyeing +the basic dye-stuffs. The dye-stuffs which are referred to above are +all derived from coal-tar, and in the recipes which follow many +examples of their use will be found.</p> + +<p>There are but few natural dye-stuffs that have any direct affinity for +wool. Turmeric, saffron, anotta, are about the only representatives, +and these are not of much importance in wool dyeing by themselves, +although they are sometimes used in conjunction with other natural +dye-stuffs, when they are applied by a process which is adapted more +especially for the other dye-stuff which is used.</p> + +<p><i>Second Method.</i>--The method of wool dyeing now being dealt with does +not differ essentially from that described above, but as it is applied +to quite a different class of dye-stuffs it is thought better to +consider it as a second method. The +<span class="pagenum"><a id="page064" name="page064"></a>(p. 064)</span> +dye-stuffs made use of +in this method are what are called the basic coal-tar colours, and it +may be remarked in passing that there are no natural colouring matters +having the same properties. These dye-stuffs are derived from a number +of so-called colour bases, such as Rosaniline, Pararosaniline, +Methylrosaniline, Phenyl-rosaniline, and Auramine base. Many of these +are colourless bodies containing the Amidogen group NH<sub>2</sub>, which +imparts to them basic properties enabling them to combine with solids +to form salts, and these salts have a strong colouring power. They +form the commercial dye-stuffs Magenta, Saffranine, Thioflavine T, +Auramine, Benzoflavine, Brilliant green, Methyl violet, etc., and +these are salts (usually the hydrochloride) of colour bases. All these +basic dye-stuffs have strong affinity for the wool fibre, and will +immediately combine with it, dyeing it in colours which resist +washing, etc., to a considerable extent, although there are great +differences between the various members of the group in this respect. +It has been shown that what takes place in dying wool with these +colouring matters is that the colour base combines with the fibre the +acid of the dye-stuff remaining in the dye-liquor.</p> + +<p>Although it is possible to dye wool with the basic dyes from a plain +bath containing water only, yet the results are not satisfactory, +especially when working on a large scale; and for dyeing pale shades +especially, the affinity of the dye-stuff for the fibre is so great +that the first portions of the goods which are entered into the +dye-bath have a great tendency to absorb all the dye-stuff, or the +larger proportion of it, so that uneven dyeing is the result, one end +of the piece of cloth being darker than the other end. This defect is +particularly accentuated when pale tints are being dyed, the colouring +matter being completely absorbed before all the goods are entered into +the bath, but it may be remedied by adding the dye-stuff to the bath +in small quantities at intervals during the +<span class="pagenum"><a id="page065" name="page065"></a>(p. 065)</span> +process of +dyeing. The best and most satisfactory method, however, is to add to +the bath 10 per cent. of the weight of the wool of Glauber's salt, or +some other neutral alkaline salt, which addition almost entirely +prevents any defect of uneven dyeing. How these assistant mordants act +is somewhat uncertain, the explanation generally given is that they +exert a slightly solvent action on the dye-stuff, and so prevent it +from going upon the fibre too readily. This is scarcely an adequate +explanation, but in want of a better it will have to stand.</p> + +<p>The affinity of the basic dyes for wool increases with increase of +temperature. This is a property that has an important bearing on the +method of dyeing, and to any person who pays some attention to theory +in its practical applications it indicates the most rational method of +working, which is to enter the goods into the bath cold, or, at the +most, at a hand heat, then, after working a short time to get the +goods thoroughly impregnated with the dye-stuff, to gradually raise +the temperature to the boil and work for from half an hour to an hour +longer, even if before this time the dye-bath be exhausted. The reason +for giving a fair length of time in the bath is to get the colour +properly fixed on the fibre. The combination of the dye-stuff and the +fibre is a chemical one, and, as stated above, the dye-stuff has to be +decomposed so that the base may combine with the essential constituent +of the wool fibre, while it is obvious that this decomposition and +then the union of the colour base with the wool must take time, and as +it is effected more easily and completely at the boiling point, it is +advisable to work the goods in the bath so as to fully insure that +they are given the necessary time for the chemical change to take +place.</p> + +<p>The dye-bath is generally completely exhausted of colour, but if +fairly clean it need not be thrown away, but used for another batch of +wool by simply adding more Glauber's salt and +<span class="pagenum"><a id="page066" name="page066"></a>(p. 066)</span> +dye-stuff. +After a time the bath gets too dirty to used, when it may be thrown +away, and a new dye-liquor made up.</p> + +<p>In dyeing for pale shades it is best to add the dye-stuff in small +quantities at intervals during the process of dyeing, and to run the +goods quickly through the bath, so as not to give the dye-stuff too +much opportunity to become absorbed by a portion of the goods only.</p> + +<p>Working according to the hints given above, the dyeing of wool with +the basic coal-tar colours may be carried out in a very satisfactory +manner.</p> + +<p><i>Third Method.</i>--This method consists in dyeing the wool in a bath +containing the dye-stuff, a little acid (usually sulphuric) with the +addition of Glauber's salt, or some other alkaline salt, the essential +feature or principle being that the bath is an acid one. This method +is applicable to the large group of azo dye-stuffs derived from coal +tar, and also to the acid dyes prepared from the basic coal-tar +colours by the process of sulphonation.</p> + +<p>It is also used to apply indigo carmine to wool, probably the only +good example of a natural dye-stuff applied by this process. Most of +the natural colouring matters, such as logwood and fustic, belong to +another group of dye-stuffs.</p> + +<p>The simple azo dyes are combinations of two or more organic bases, +united together by a peculiar and characteristic group of nitrogen +atoms. Such azo colours are, however, insoluble in water, and +therefore they cannot be used in dyeing and textile colouring, +although the firm of Messrs. Read Holliday & Sons years ago patented a +process whereby these insoluble azo colours could be developed on the +cotton fibre direct, and thus fabrics made from that fibre could be +dyed in fast colours. When these insoluble azo colours are treated +with sulphuric acid they are converted into sulpho acids, undergoing +what is called sulphonation, an operation of the greatest +<span class="pagenum"><a id="page067" name="page067"></a>(p. 067)</span> +importance and value in the preparation of dye-stuffs. The preparation +of indigo extract or indigo carmine from indigo is also a case of +sulphonation. The sulpho-acids of the azo colours, of the basic dyes, +and of indigo are usually insoluble in water, although there are great +differences in their properties in this respect. They will combine +with bases such as soda, calcium and potash to form salts which are +soluble in water, and it is usually in the form of sodium salts that +these azo and acid dye-stuffs are sold to the dyer and calico printer. +It is this power of combination with bases that makes them of value in +wool dyeing. As Knecht and other authorities have pointed out, the +wool fibre contains a basic principle capable of combining with acid +bodies, and in wool dyeing with the colouring matters under +discussion, this combination occurs between the sulpho-acid of the +dye-stuff and the basic principle of the wool fibre.</p> + +<p>This points to the fact that the dye-stuffs of this class do not +combine with the wool in the form in which they are supplied to the +dyer as sodium salts, which is shown by a property that many if not +all of them possess, of not dyeing the wool fibre in a neutral bath. +If a piece of wool be immersed in a solution of, say, a scarlet or +indigo extract, which is neutral it is not dyed. The dye-liquor may +penetrate thoroughly throughout the fabric, but if the piece of wool +be lifted out, and allowed to drain, nearly all the liquor will drain +away, and leave the wool nearly if not quite white, showing that the +dye-stuff in the form in which it is sold has no affinity for the wool +fibre. If now a few drops of sulphuric acid be added to the dye-liquor +the wool will become dyed. The sulphuric acid liberates the free +sulpho-acid of the dye-stuff, and this is now in a form to combine +with the wool fibre, which it does. This is the fundamental principle +underlying the acid method for dyeing wool with the acid group of +colouring matters.</p> + +<p>The +<span class="pagenum"><a id="page068" name="page068"></a>(p. 068)</span> +practical application of the principle laid down above is +a matter of simplicity compared with the other methods of dyeing. The +composition of the bath is given above. It is best to enter the wool +at from 150° to 160° F. and then to raise the temperature slowly to +the boil. This method of proceeding gives time for the free colour +acid of the dye to be liberated from the dye-stuff on the one hand, +and for its combination with the wool fibre on the other. In dyeing +pale tints with acid dye-stuffs it is a good plan not to add the acid +until after the goods have been entered into the bath and worked for a +short time to enable them to become impregnated with the dye-liquor; +the acid may be then added, and the dyeing may be finished as usual.</p> + +<p>By this plan of working more even dyeings can be obtained than by +simply entering the goods direct into an acidified dye-liquor.</p> + +<p>Any kind of acid may be employed, but generally sulphuric acid is +used, partly because it is cheap, and partly because it is the +commonest acid known. Acetic acid is also used in many cases.</p> + +<p><i>Fourth Method.</i>--We now come to the fourth method of dyeing wool. +Strictly, perhaps, it is not a single method, but a group of methods, +which are used to supply a certain class of dye-stuffs to the wool +fibre; but as the governing principle depends upon the peculiar +property of the dye-stuffs now to be noticed, which underlies all the +variations of the process of dyeing, it has been thought better to +speak of the fourth method rather than to subdivide further, in which +case the fundamental principle might be lost sight of.</p> + +<p>The class of dye-stuffs included in the fourth group was named by +Bancroft the "adjective" group, because they require the aid of a +second body, named the mordant, to properly develop and to fix the +colour of the dye-stuff on the wool. It is sometimes known as the +"mordant dye-stuff" class, +<span class="pagenum"><a id="page069" name="page069"></a>(p. 069)</span> +and this is perhaps its best +name. This group of colouring matters comprises dye-stuffs of both +natural and artificial origin, the latter of which are getting very +numerous and valuable, and bid fair to displace the natural members of +the group. With but few exceptions the adjective dye-stuffs are not +colouring matters of themselves, <i>i.e.</i>, they will not dye wool or +other fibres by themselves. Some are coloured bodies, such as fustic, +logwood, Persian berries, Anthracene yellow, etc., but many are not +so, and some possess but little colour, which, moreover, gives no clue +to the colours that can be developed therefrom.</p> + +<p>All the colouring matters of this class possess either a distinctively +acid character, or belong to the class of phenols, which, while not +being true acids, still possess weak acid functions that enable them +to combine with bases like acids. These bodies have the property of +combining with bases and metallic oxides, such as soda, potash, iron, +alumina, chrome, tin, nickel, cobalt, etc., forming a series of salts. +Those of soda and potash are usually soluble in water, while those of +the other metals are insoluble, and are usually of strong colour. It +is on this property of forming these insoluble coloured bodies, colour +lakes, as they are called, that the value of the adjective dye-stuffs +in dyeing depends.</p> + +<p>The group of adjective colouring matters may be subdivided into two +divisions, not depending upon any differences in the mode of +application, but upon certain differences in the results they give. +Perhaps the best example of an adjective dye-stuff is Alizarine. This +body has a faint red colour, but of itself possesses absolutely no +colouring power. When, however, it is brought into combination with +such metallic oxide as alumina, iron and chrome, then it forms +coloured bodies, the colour of which varies with the metal with which +it is in union, thus with alumina, it is a bright red; with iron, a +dark violet, almost black; with chrome, a +<span class="pagenum"><a id="page070" name="page070"></a>(p. 070)</span> +deep red; with +tin, a scarlet; and so on. This is a representative of the true +adjective dyes, which comprise most of the so-called Alizarine +dye-stuffs, and logwood, fustic, and most of the natural dye-stuffs. +Another division of the group includes a few colouring matters of +recent introduction, like Azo green, Alizarine yellow, Galloflavine, +Anthracene yellow, Flavazol, etc., which, while forming insoluble +colour lakes with metallic oxides, do not give different colours with +different metals.</p> + +<p>This class of dye-stuffs, owing to their forming these insoluble +colours, gives really fast colours, capable of resisting lengthened +exposure to light and air, and resisting washing, acids and alkalies. +Of course there are differences between the various members of the +group in this respect, and even the resisting power of an individual +member depends a good deal on the metal with which it is combined, and +the care with which the process of dyeing has been carried out.</p> + +<p>In the dyeing of these adjective dye-stuffs, upon the various fibres, +and on wool in any particular, the object is to bring about in any +convenient way the formation on the fibre of the metallic combination +of the colouring principle and the mordant, and it is obvious that if +a satisfactory result is to be obtained, then this must be done in a +very thorough manner. There are three ways in which this combination +of colouring principle and mordant may be brought about in dyeing wool +with these bodies, we may either mordant the wool first, and then +apply the dye-stuff, or we may impregnate the wool with the dye-stuff +first, and then fix or develop the colour afterwards, or, lastly, we +may carry on both operations in one process. Each of these methods +will now be discussed, and their relative advantages pointed out.</p> + +<p>The mordanting method is one of the most generally useful. It consists +in first causing a combination of the metal +<span class="pagenum"><a id="page071" name="page071"></a>(p. 071)</span> +with the wool +fibre. This is carried out by boiling the wool in a solution of the +metal, such as bichromate of potash, chrome alum or chrome fluoride +when chrome is to be used as a mordant, with alum or sulphate of +alumina when alumina is required to be deposited on the fibre, and +with copperas when iron is to be the mordant. It is best to add a +little oxalic acid, cream of tartar, or tartaric acid to the +mordanting bath, which addition helps in the decomposition of the +metallic salt by the wool fibre, and the deposition of the metallic +oxide on the wool. With bichromate of potash, sulphuric acid is often +used, much depending upon the character of the mordant required. Some +dye-stuffs, such as logwood for blacks, work best when the wool is +mordanted with chromic acid, which is effected when sulphuric acid is +the assistant mordant. Other dye-stuffs, such as fustic, Persian +berries and Alizarine yellow, are best dyed on a basic chrome mordant, +which is effected when tartar or oxalic acid is the assistant mordant +used, or when some other form of chrome compound than bichrome is +employed.</p> + +<p>The actual mordanting is done by boiling the wool in a bath of the +mordant, the quantity of which should be varied according to the +particular mordant that is being employed and to the quantity of +dye-stuffs which is to be used. It is obvious that for a fixing deep +shade of, say, Alizarine on the wool, a larger quantity of mordant +will be required than to fix a pale shade; sometimes this point is +overlooked and the same amount of mordant employed for pale or deep +shades. The best plan of carrying out the mordanting is to enter the +wool in the cold bath or at a hand heat, and then raise to the boil +and continue the boiling for one hour; of course the goods should be +kept turned over during the process to facilitate the even mordanting +of the wool. A great deal of the success of dyeing with the dye-stuffs +now under consideration depends +<span class="pagenum"><a id="page072" name="page072"></a>(p. 072)</span> +upon the efficiency with +which the mordanting has been carried out. If this is at all unevenly +done then no amount of care in the succeeding dyeing process will lead +to the development of an even dyeing. After the mordanting is finished +the goods should be rinsed with water, but it is not necessary to dry +them.</p> + +<p>The next stage in the process is the actual dyeing operations, which +is done by immersing the mordanted wool in a bath of the dye-stuff or +mixture of dye-stuffs.</p> + +<p>The fundamental principle is to bring about the combination between +the colouring principle of the dye-stuff and the metallic oxide which +has been deposited on the wool in the previous mordanting process. As +neither of these bodies, however, is very energetic it follows that +the action must be a slow one, and, therefore, time is a highly +important factor in the dyeing of wool by the mordanting process. The +combination between the dye-stuff and the mordant is influenced also +by temperature, and is most active at the boiling point of water. It +is, therefore, needful to conduct this operation at that temperature, +but it would be a wrong way to introduce the mordanted material into a +boiling bath of the dye-stuff; nothing would conduce to uneven dyeing +so much as that course. The best method of working, which, moreover, +is most particularly applicable to the series of Alizarine dye-stuffs, +is to enter the goods in a cold bath of the dye-stuff, and to work +them for a short time to get them thoroughly impregnated, a condition +which is essential if even dyeing is the goal aimed at, then to raise +the temperature of the bath gradually to the boil, the goods being in +the meantime well worked. The dyeing is continued for from one to one +and a half hours at the boil.</p> + +<p>It is important in dyeing by this process, especially when using +Alizarine, to keep the temperature of the bath as uniform as possible, +and the goods well worked. Alizarine, and some +<span class="pagenum"><a id="page073" name="page073"></a>(p. 073)</span> +other members +of this class, are rather sensitive to heat, and if a dye-vat be hot +at the bottom and cold at the top uneven dyeing is sure to be the +result; this is due to the greater affinity of the Alizarine for the +mordant at the high than at the low temperature, and thus more is +fixed on to the wool. The remedy for this is to so construct the +heating arrangements of the vat that the temperature shall be as +uniform as possible, while the goods should be kept continually turned +over, and every portion of them brought into intimate contact with the +dye-liquor. The continuance of the dyeing operations for one and a +half to two hours after the vat has reached the boil is necessary to +properly develop and fix the colour on the fibre; a short boil leaves +the goods of a poor shade, without any solidity about it, and the +colour is loose, while a longer boil brings up a solid shade and a +fast colour.</p> + +<p>Although it is not absolutely necessary to add any acid to the +dye-bath during the dyeing operations, yet as the Alizarines and most +of this class of dye-stuffs dye better in a slightly acid bath it is +advisable to add a small quantity of acetic acid, say about one pint +to every 100 lb. of goods; this serves to correct any alkalinity of +the water, which may be due to its containing any lime. Dye-stuffs of +the acid class, such as indigo extract, Cloth red, Acid magenta, etc., +may be used along with the Alizarine dye-stuffs, in which case the +addition of acid to the dye-bath becomes necessary, but too great an +excess of acid should be avoided, as it interferes somewhat with the +dyeing of the mordant dyes.</p> + +<p>This is by far the best and most generally used method of applying +these mordant dyes. It is not a costly process, being indeed +economical, as it only requires just the right amounts of drugs and +dye-stuffs, and there is the minimum loss of material in the +mordanting and dye-baths. Shades can be brought up with the greatest +ease, although it is well in +<span class="pagenum"><a id="page074" name="page074"></a>(p. 074)</span> +the dyeing to add rather less +dye-stuff than is actually required, and to add more when it is seen +how the shade is coming up. The labour is the most important item in +the mordanting and dyeing method.</p> + +<p>The proportions of material used to the weight of the wool are: Of +bichromate of potash, 3 per cent. for full shades, and 1 per cent. for +pale shades; of fluoride of chrome, the same quantities; of acetate of +chrome, according to the strength of the solution used; of alum, 10 to +20 per cent.; of sulphate of alumina, 5 to 10 per cent.; of copperas, +5 to 10 per cent.; of tartar, 1-1/2 to 2-1/2 per cent.; of oxalic +acid, 1 to 1-1/2 per cent.; of sulphuric acid, 1 per cent.; of argol, +2-1/2 to 5 per cent.; of tartaric acid, 1 to 1-1/2 per cent.; but of +course in an article like this it is impossible to give definite +quantities.</p> + +<p><i>Second Method</i>. <b>Stuffing and Saddening.</b>--This method consists in +first treating the wool with a solution of the dye-stuff, and then +with a solution of the mordant required to develop and fix the colour. +This method is more particularly applicable to such dye-stuffs as +camwood, cutch, logwood, madder, fustic, etc., the colouring +principles of which have some affinity for the wool fibre and will +directly combine with it. It is not suitable for the application of +the Alizarine colours. The saddening may be and is commonly done in +the same bath, that is, after the wool has been stuffed it is lifted, +the mordant--copperas, bluestone, bichrome, or alum--is added, and the +wool is re-entered into the bath. This cannot be considered a good +method of working; the shades obtained are full and deep and fairly +fast, but there is usually a considerable loss of colouring matter, as +the wool in no case abstracts the whole of the dye-stuff from the +bath; what excess is left combines with the mordant when the latter is +added, forming an insoluble colour lake, which falls down to the +bottom of the dye-vat and is wasted, or it may go upon the +<span class="pagenum"><a id="page075" name="page075"></a>(p. 075)</span> +wool in a loose, unfixed form, and cause it to rub badly and come off +in milling. Then it is rather difficult to dye to shade, much of the +result depending on conditions over which the dyer has little control. +Working as he does with dye-stuffs of unknown colouring power, which +may vary from time to time with every fresh batch of material, it is +evident that, although the same quantities may be used at all times, +at one time a deeper shade may be obtained than at another, and as it +is impossible to see what is going to be the result, and if by +mischance the shade does not come deep enough it cannot well be +rectified by adding a quantity of dye-wood to the bath, because the +mordant in the latter will prevent the colouring matter from being +properly extracted, and only a part of that which is extracted is +fixed on the wool, the rest being thrown away in the dye-bath, and +partly on the particles of wood themselves, when logwood, camwood, +etc., are used in the form of chips or powder. Dyers being well aware +of this, are in the habit when mistakes occur of bringing up to shade +with soluble dye-stuffs--archil, indigo extract, and such like.</p> + +<p>This method, as stated above, is very wasteful, not only of +dye-stuffs, but of mordants. In no case does the wool absorb the whole +of the colouring matter from the bath, the unabsorbed portion goes +down to the bottom of the bath when the mordant is added, so that when +the dyeing is finished, the dye-bath is charged with a large quantity +of colouring matter in an unusable form which has to be thrown away, +thus at once adding to the pollution of the river into which it is +run, and to the cost of the process of dyeing. As attention is being +directed more and more to the question of the prevention of pollution +of rivers, and as the waste liquors from dye-works add to the apparent +pollution to a very considerable extent, dyers will have to develop +other modes of dyeing than that of stuffing and saddening in one bath.</p> + +<p>The +<span class="pagenum"><a id="page076" name="page076"></a>(p. 076)</span> +principle of dyeing by stuffing and saddening may be +carried out by the use of two separate baths; in fact, it is done in +the case of dyeing a cutch brown from cutch and bichromate of potash. +The goods are first treated in a bath of the dye-wood for a short +time, then rinsed, and the colour is developed by padding into a +saddening bath of the mordant. By this method the baths, which are +never quite exhausted, can be retained for future use, only requiring +about 1/2 to 3/4 of the original quantities to be added for each +succeeding batch of the goods, in fact, in some cases, as in cutch, +old baths work better than new ones.</p> + +<p>The advantage attached to this method of working is that arising from +economy of dye-stuff and mordant, and the reduction of the pollution +of the stream on which the works are situated. The disadvantages are +that the cost of labour is increased by there being two baths instead +of one, and that the shades obtained are not always so full as with +the one-bath method. This, of course, can be remedied by running the +goods through the baths again, which, however, adds to the cost of the +process, but there is this much to be said, the shade can be better +brought up than by the one-bath process. In some cases the methods of +mordanting, dyeing and saddening are combined together in the dyeing +of wool, thus, for instance, a brown can be dyed by first mordanting +with bichrome, then dyeing with camwood and saddening in the same bath +with copperas. The shades obtained are fairly fast and will stand +milling. The disadvantages of this process are the same as those +attached to the dyeing and saddening in one bath.</p> + +<p>Now we come to the last method of dyeing wool with mordant and +colours, that in which the operation is carried out in one bath. This +can only be done in those cases where the colour lake that is formed +is somewhat soluble in dye-liquors, which usually have slightly acid +properties; or +<span class="pagenum"><a id="page077" name="page077"></a>(p. 077)</span> +where the affinity between the two bodies +(colouring matter and mordant) is too great. This method can be +carried out in, for instance, dyeing a cochineal scarlet with tin +crystals, a yellow from fustic and alum, a black from logwood and +copperas and bluestone, a red from madder and bichrome, and the dyeing +of the Alizarine colours by the use of chrome fluoride, etc.</p> + +<p>The shades obtained are usually not so deep as those got by the +mordanting and dyeing process, but are frequently nearly so. In some +cases, as in dyeing with fustic or logwood, it gives rather brighter +colours, due to the fact that the tanning matters present in the +dye-stuffs is not fixed on the wool, as is the case with the +mordanting method, but is retained in the dye-bath. For dyeing with +logwood and copperas or bluestone the process is not a good one, as it +does not give as full shades as by the ordinary process. For dyeing +with the Alizarine colours, using chrome fluoride as the mordant, it +can be applied with fair success. There are advantages in the saving +of time and labour and in the amount of steam required, all of which +are important items in dyeing.</p> + +<p>It is rather troublesome to match off by this process, but it can be +done. For light shades the process will be found very useful, as these +cost less than by any other process. The dye-baths may be retained for +future use, although in process of time they become too dirty for use, +when they must be thrown away.</p> + +<p><b>Level Dyeing.</b>--The first condition for successful dyeing is that the +fibres to be treated are absolutely clean. A careful washing is not +enough for this purpose. Cleanliness is undoubtedly the condition +which the fibre must possess to enable the dye to hold on and not to +come off the fibre, this latter causes a loss of dye-stuff, soils the +whites, and gives rise to trouble between the dyer and finisher; it is +also +<span class="pagenum"><a id="page078" name="page078"></a>(p. 078)</span> +the condition for making the dye go on the wool evenly. +The washing must be done at the boil, so that the fibre is well wetted +out and all the air bubbles adhering to it are driven out. But this is +not enough; it must be accompanied by a scouring operation, not only +in the case of fibres of which the dyer does not know whether they +have been scoured, but also when they have already been scoured and +bleached. The kind of scouring that the fibres receive in this case +need only be of a comparatively light character, but it must never be +omitted, even for dark shades, as the traces of grease which the fibre +contains are the causes of nearly irremediable stains in the dyeing +operations. Even in dyeing black wool it is of the greatest importance +to have the fibre suitably scoured.</p> + +<p>The fatty matters which the fibre contains may belong to the +components of the fibre itself and be natural matters, but in the case +of wool yarns and cloths they are mostly dressing oils, from which the +dyer cannot be too anxious to free the wool before dyeing. Some +practical methods of preparatory treatment of the fibres before dyeing +may therefore be described here with advantage.</p> + +<p>Cotton is boiled off at actual boiling heat for two hours, with 8 per +cent. of its weight of carbonate of soda and a little soft soap, which +treatment is sufficient for dark colours.</p> + +<p>For light colours it is necessary that the cotton be bleached. Wool is +scoured with soda and soap in the proportion of 10 lb. soda and 2 lb. +Marseilles soap for 100 lb. wool. Silk is scoured by boiling for one +and a half hours in a boiling bath with 30 per cent. of its weight of +soap. For light colours a second boiling should be given, with 15 per +cent.</p> + +<p>The careful cleaning of wool previous to dyeing is of exceptional +importance. Raw wool is cleaned with carbonate of soda and ammonia. +For 50 lb. wool to be cleaned 6 lb. carbonate +<span class="pagenum"><a id="page079" name="page079"></a>(p. 079)</span> +of soda and +1-1/2 lb. ammonia are added to a bath of 150 gallons water. The wool +is laid down in it for twenty minutes at 35° C., taken up, squeezed, +treated for fifteen minutes in another bath, with 5 lb. carbonate of +soda and then rinsed. The first bath must be renewed as often as +possible, because it contains all the impurities. In the case of +woollen yarn 30 lb. require two tubs of 40 gallons capacity. The first +tub is to contain 35 gallons water and 2 lb. ammonia at 10° Be. After +working the skeins for three minutes in it they are left to stand for +fifteen minutes, then wrung out, and the operation is repeated in the +second tub. Finally, the yarn is rinsed several times in soft water.</p> + +<p>Woollen piece goods are treated in a large wooden tub at 40° C. with +4 lb. carbonate of soda and 2 lb. carbonate of ammonia for 80 lb. +material. The pieces are moved about for twenty minutes, laid down in +the bath overnight, again turned for ten minutes and hydro-extracted. +They may also be handled for forty minutes in a bath of 2 oz. ammonia +for 100 lb. wool at 60° C., and then for twenty minutes in clear water +at 60° C.</p> + +<p>After wetting or preparatory treatment, it will be best to proceed +immediately to dyeing; if the fibres be left in a heap for too long a +time, there is danger that they may become heated, or at least that +the moisture may be irregularly distributed by the occurrence of +partial drying, causing an uneven fixation of the colour in the first +stages of dyeing. The first two conditions of successful dyeing are, +therefore, a suitable wetting out and scouring. The dyer, however, +must not be less careful to see that the dye-bath is what it ought to +be.</p> + +<p>Whenever possible the dye-stuff must be dissolved separately, or at +least the bath not entered before the dye-stuff is well dissolved. +Artificial dye-stuffs require particular attention to this point, +because the presence of undissolved particles +<span class="pagenum"><a id="page080" name="page080"></a>(p. 080)</span> +is the cause +of irregularities, such as streaks, or, at least, specks. The solution +is mostly made hot as follows: After pouring water at 180° F. upon the +dye-stuff, stir gently, strain through flannel or through a very fine +sieve, and pour more water upon the residue until nothing more is +dissolved. As is well known, the artificial dye-stuffs often contain +insoluble matter, resins, etc. It is therefore advisable to use only +soft water for this operation.</p> + +<p>The solutions of artificial dye-stuffs are ordinarily made at the rate +of 1 to 5 lb. per 10 gallons of water, 2 lb. being the proportion +mostly employed. This depends more or less on the solubility of the +dye-stuff. Old solutions sometimes contain crystals of the dye-stuff +which have separated out. These should be redissolved by heating +before the solution is used. But it is best to make only such a +quantity of solution as will suffice for immediate requirements.</p> + +<p>With paste colours care should be taken to keep them in closed vessels +in such a manner that they will not become hard by evaporation, and +they should not be kept in any place where they are likely to freeze +in winter time. In such an event it is not an uncommon circumstance +for the casks or other vessels containing them to burst, with a +consequent loss of dye-stuff. Before any of the paste is withdrawn +from the cask, it is advisable to stir well up with a wooden stirrer.</p> + +<p>In adding dye-stuff during the actual dyeing operation, it is +advisable to add the dye-stuff to the bath in two or three portions, +always taking out the goods before adding each lot of dye-stuff, and +stirring up the contents of the bath before re-entering the goods. +Another important condition of obtaining a level dyeing is to proceed +slowly, beginning with a weak bath at a moderate temperature, and +rising gradually to a boil. If necessary to retard the dyeing from the +commencement, then an assistant mordant is added to the dye-bath, in +the shape of soda crystals or phosphate of soda for the +<span class="pagenum"><a id="page081" name="page081"></a>(p. 081)</span> +benzidine colours on cotton; bisulphate of soda or Glauber's salt in +dyeing with azo colours or acid colours on wool; or tartar may be used +in most cases with good effect, causing the wool to have a softer +feel. Finally, the evenness of the dyeing is much increased by the +frequent turning over of the material in the dye-bath, so managing +this in the case of wool as to avoid felting.</p> + +<p>When dyeing with a mordant, the dyer should see that the mordanting +operation is thoroughly well done, for as much care is required for +the mordanting as for the actual dyeing; in fact, if anything, the +mordanting should be done with rather more care, as if it be at all +defective no amount of care in the following dyeing operations will +ensure a level dyeing. Chrome mordanted wool should be dyed without +delay, as it is rather sensitive to light, especially the yellow sort, +which gradually changes into the green sort of chromed wool.</p> + +<p>One peculiarity of dyed wool is that it will continue to take up +colour after it is removed from the dye-bath, especially if it +contains any of the hot dye-liquor, therefore it is very desirable to +wash the wool as soon as possible after its removal from the dye-bath. +It is best, however, not to take the wool out of the hot bath, but to +leave it in until the bath becomes cool, and then to take it out, by +this means the colour becomes deeper and more solid looking, and is +faster on the wool.</p> + +<p>One cause of irregular dyeing may be mentioned, as it is occasionally +met with, namely, the presence of foreign fibres in the goods, cotton +in wool fabrics, and even of different varieties of the same fibre. +All dyers know that dead or immature cotton will not dye up properly, +a fact or defect more especially met with in indigo dyeing than +probably in any other colour. Then wools from different breeds of +sheep vary considerably in their dyeing power. Fine wools take up +<span class="pagenum"><a id="page082" name="page082"></a>(p. 082)</span> +more colour than coarse, and, consequently, even from the same +bath, will come out a deeper shade; if a fabric, therefore, contains +the two kinds of cotton, or the two kinds of wool, they will not dye +up evenly.</p> + +<p>In the preceding sections brief notes have been given about the +principal methods of dyeing wool, with some indications of the dyes +which can be used under each method. In the succeeding sections will +be given a number of recipes showing how, and with what dye-stuffs, +various colours, shades and tints can be dyed upon wool. It will be +understood that these recipes are applicable to all kinds of woollen +fabrics, loose wool, slubbing, yarns in any form, woven worsted or +woollen cloths, felts of any kind, etc., all these different forms +require handling in a different way; it would not do, for instance, to +treat a quantity of slubbing in the same way as a piece of worsted +cloth, while hanks of yarn require a different mode of handling to a +quantity of hat bodies. The different kinds of woollen fabrics require +to be dealt with in different kinds of machines, and this has already +been dealt with in the chapter on Dyeing Machinery and Dyeing +Manipulations.</p> + +<p>To describe and illustrate the application of all the various woollen +dye-stuffs, whether of natural or artificial origin, and to show the +great variety of shades, etc., which can be obtained with them, either +all one or in combination, would require not one, but many volumes of +the size that this present work is intended to be. Therefore, it +becomes necessary to make a selection from the best-known and most +used of the various dyes, and illustrate their application by a number +of recipes, all of which, unless otherwise stated, are intended to be +for 100 lb. weight of woollen material of any kind. It may also be +pointed out that, as a rule, the recipes may be applied to the dyeing +of fabrics made with other animal fibres than the wool of the sheep, +as, for +<span class="pagenum"><a id="page083" name="page083"></a>(p. 083)</span> +alpaca, cashmere, camel-hair, hare or rabbit fur, +etc., inasmuch, as, with the exception of silk, all animal fibres +practically possess the same dyeing properties.</p> + +<p>It will be convenient to point out here that a very large proportion +of the shades dyed on wool and other fabrics are obtained, not by the +use of a single dye-stuff, although this should always be done, +whenever possible, but by the combination of two or more dye-stuffs +together in various proportions. It is truly astonishing what a great +range of shades can thus be dyed by using two or three dyes suitably +mixed together, and one of the things which go to making a successful +dyer and colourist is the grasping of this fact by careful +observation, and working accordingly. Dyers will find much assistance +in acquiring a knowledge of colour and colour mixing from the two +little books on <i>Colour</i>, by Mr. George H. Hurst, and the <i>Science of +Colour Mixing</i>, by Mr. David Paterson, both issued by Messrs. Scott, +Greenwood & Co., the publishers of the present work.</p> + +<p><b>Black on Wool.</b>--Until within a comparatively recent time black was +dyed on wool solely by the use of logwood, combined with a few other +natural dye-stuffs, such as fustic, indigo, etc., but of late the +researches of colour chemists have resulted in the production of a +large number of black dyes obtained from various coal-tar products. +These have come largely into use, but still, so far they have not been +able to entirely displace logwood, chiefly on the score of greater +cost, the use of the natural dye still remaining the cheapest way of +producing a black on wool; although the blacks yielded by some of the +coal-tar black dyes are superior to it in point of intensity of colour +and fastness to scouring, acids and light, as well as being easier to +dye.</p> + +<p>Blacks may be obtained from logwood by several methods, either by +previous mordanting of the wool or by the stuffing and saddening +methods, or by the one-bath process. The following +<span class="pagenum"><a id="page084" name="page084"></a>(p. 084)</span> +recipes +will show how these various methods are carried out in practice:--</p> + +<p><i>Chrome Logwood Black.</i>--The wool is first mordanted by boiling for +one and a half hours with 3 lb. bichromate of potash and 1 lb. of +sulphuric acid, working well the whole of the time. It is not +advisable to exceed the amounts of either the bichromate or the acid +here given, these quantities will result in a full bloomy black being +obtained, but any excess gives rise to greyish dull blacks, which are +undesirable. After mordanting rinse well with water, when the goods +will be quite ready for the dye-bath.</p> + +<p>The dyeing is done in a bath made from a decoction of 40 lb. of good +logwood. It is perhaps preferable to start cold or only lukewarm, +raise to the boil and work for one hour, then lift, rinse well, and +pass into a boiling bath made from 1 lb. of bichromate of potash and +1/4 lb. of sulphuric acid for half an hour. This extra chrome bath +fixes any colouring matter which may have been absorbed by the wool +but not properly fixed by the mordant already on, it leads to fuller +shades which are faster to rubbing and milling.</p> + +<p>The mordanting bath may be kept standing and used again for fresh lots +of wool, in which case it is only necessary to add 2-1/2 lb. of +bichromate of potash and 1 lb. sulphuric acid to the bath for each +additional lot of wool that is being dealt with. Old mordant baths +work rather better than new ones, but the use cannot be prolonged +indefinitely, there comes a time when the bath gets too dirty to use +and then it must be thrown away.</p> + +<p>During the operation the bichromate of potash becomes more or less +decomposed and there is formed on the wool fibre a deposit of chromic +acid and chromic oxide, this deposit forms the mordant that in the +subsequent dye-bath combines with and fixes the colouring matter, the +hæmatoxylin of the logwood, and develops the black on the wool.</p> + +<p>In +<span class="pagenum"><a id="page085" name="page085"></a>(p. 085)</span> +place of sulphuric acid, hydrochloric acid can be used +with some advantage as regards the proportion of bichromate +decomposed, and therefore an increase in the amount of chromium oxide +deposited on the wool.</p> + +<p>This gives a deep blue black, somewhat wanting in bloom. The following +recipe gives a much bloomier black, but is rather more expensive to +dye.</p> + +<p><i>Chrome Logwood Black.</i>--Mordant by boiling in a bath containing 3 lb. +bichromate of potash and 7 lb. tartar. Dye and otherwise treat as in +the last recipe; 4 lb. of tartaric acid used in place of the tartar, +gives rather brighter and bloomier shades. The use of so-called tartar +substitutes is not to be recommended, they give no better results than +does sulphuric acid and are much dearer to use.</p> + +<p>A somewhat greener shade of black than is yielded by either of the +above two recipes is the following:--</p> + +<p><i>Chrome Logwood Black.</i>--Mordant the wool in a bath containing 4 lb. +oxalic acid and 3 lb. bichromate of potash, afterwards dyeing as in +the first recipe.</p> + +<p>All the above recipes give blacks of a bluish tone, which on the whole +have a good bloomy and solid appearance. Often what is called a jet +black is wanted, this can be obtained by following the recipe given +below.</p> + +<p><i>Chrome Logwood Jet Black.</i>--Mordant the wool by any of the methods +given above. The dyeing is done in a bath made from 40 lb. logwood and +5 lb. fustic, working as described in the first recipe. Using these +properties a good jet black is obtained, which is quite satisfactory +on the score of solidity and fastness. It is not advisable to exceed +the quantity of fustic here given, or otherwise the black will have a +tendency to assume a greenish tone that is not at all desirable. This +greening becomes more marked when from 7-1/2 to 10 lb. of fustic is +used, or if alum be added to the mordant along with the bichromate of +potash.</p> + +<p>Chrome +<span class="pagenum"><a id="page086" name="page086"></a>(p. 086)</span> +blacks are the best blacks which can be obtained from +logwood. They have, however, a tendency to turn green on exposure to +the weather, which tendency seems to be most prevalent in those blacks +in which sulphuric acid has been used as the acid constituent of the +mordanting bath. The greening may be reduced to a minimum by adding to +the dye-bath about 1 to 2 lb. of Alizarine. Another plan which has +been followed is to give the wool a bottom with 5 to 6 lb. of camwood +or peachwood, then mordanting and dyeing us usual.</p> + +<p><i>Logwood Black on Wool.</i>--Boil first for one hour with a decoction of +8 lb. camwood, then lay down for fifty minutes in a boiling bath of +3 lb. bichromate of potash, 1 lb. alum, 1 lb. tartar. It is a good +plan to allow the goods to hang overnight.</p> + +<p>The dye-bath is prepared with 45 lb. logwood, 8 lb. fustic, 4 lb. +sumac. Dye one hour at the boil, wash and dry.</p> + +<p><i>Indigo Black.</i>--This is sometimes called woaded black, and has an +excellent reputation as a fast black. It is dyed by first giving the +wool a medium blue bottom in the indigo vat by the method of vat +dyeing, which will be described later on, and then dyeing by either +the second or third recipe given above. The use of sulphuric acid is +rather to be avoided in dyeing an indigo vat with chrome and logwood, +as the chromic acid set free during the process is likely to attack +and by destroying the indigo to materially reduce the intensity of the +blue bottom. Or, after blueing in the vat, the black may be dyed or +topped on by the process with copperas, which will be described below.</p> + +<p><i>Iron Logwood Black.</i>--Mordant the wool by boiling one and a half to +two hours in a bath made with 5 lb. copperas, 2 lb. bluestone, 2 lb. +alum, and 10 lb. argol. The dyeing is done in a bath of 50 lb. +logwood.</p> + +<p>It is not advisable to use more argol than is here given, for +<span class="pagenum"><a id="page087" name="page087"></a>(p. 087)</span> +although a little excess will not materially affect the beauty or +brilliancy of the resulting shade, yet such excess is wasteful, and +makes the dyeing cost more than it otherwise would. On the other hand, +too little will cause the shade to become greyish in tone and wanting +in solidity. The copper sulphate (bluestone) added increases the +fastness of the finished black to light, the best proportions to add +are from 2 lb. to 4 lb. for 100 lb. of wool. The shade obtained in the +above recipe is of a bluish-violet hue, if a jet black be wanted, add +5 lb. of fustic to the dye-bath. Another and very common method of +working is the "stuffing and saddening" process, given in the next +recipe.</p> + +<p><i>Iron Logwood Black.</i>--Make a bath of 50 lb. logwood, 6 lb. fustic, +and 1 lb. sumac. Work the wool in this for one hour at the boil, lift, +allow the bath to become cool, then add 6 lb. of copperas (ferrous +sulphate) and 2 lb. bluestone; re-enter the wool, raise the +temperature to the boil, and work half an hour, then lift, wash and +dry. On the whole the first method is the most economical and yields +the best blacks, fastest to rubbing.</p> + +<p>The iron-copper-logwood blacks are not so fast to acids as the +chrome-logwood blacks, but they are rather faster to light and air, +and equally so to scouring and milling.</p> + +<p>One-bath methods of dyeing blacks are sometimes preferred by wool +dyers. Of these the following is an example.</p> + +<p><i>Logwood Black.</i>--Make a dye-bath with 50 lb. logwood, 5 lb. fustic, +6 lb. copperas, 2 lb. copper sulphate, and 4 lb. oxalic acid. Enter +the goods and work at the boil to shade. The oxalic acid is added for +the purpose of retaining the logwood-iron-copper black lake, which is +formed on mixing the various ingredients together in solution. On +boiling the wool in the liquor the fibre gradually extracts out the +dye matter and becomes dyed. The use of some of the so-called "direct +<span class="pagenum"><a id="page088" name="page088"></a>(p. 088)</span> +blacks" (<i>noir reduit</i>, Bonsor's black) is based on the same +principle.</p> + +<p>These dyes are mixtures of logwood, fustic or other dye-stuff with +copperas, bluestone and oxalic acid, and only require adding to water +to make the dye-bath. This method of working enables logwood to be +used in conjunction with dihydroxynaphthalene and some other coal-tar +derivatives to obtain blacks of good solidity and much faster to +light, air, acids and scouring than the ordinary logwood blacks.</p> + +<p>Another recipe for a one-bath logwood black, using the extracts in +place of the dye-wood itself, is the following:--</p> + +<p><i>Logwood Black.</i>--Prepare a dye-bath with 12 lb. logwood extract, +2 lb. fustic extract, 6 lb. copperas, 4 lb. bluestone, 3 lb. oxalic +acid, 2 lb. tartar. Boil the goods in this for one hour.</p> + +<p>Some dyers use the dye-woods and prepare from them a decoction by +boiling in water; in some respects this is the most economical plan, +only the dyer has to get rid of the spent dye-wood from which the +colouring matter has been extracted, and this is not always an easy +matter. Some dyeing machines (Smithson's) have been devised which +contain as one of their features a dye-wood extractor, in which the +extraction of the colouring matter of the wood proceeds at the same +time as the dyeing. Good results are got with such machines, although +they leave something to be desired.</p> + +<p>Many dyers use the dye-wood extracts which are now made on a large +scale. These are for the dyer much more convenient to use, although +naturally rather more costly. They are approximately five times the +strength of the dye-wood, but they vary very greatly in this respect.</p> + +<p>Logwood blacks can be readily distinguished from nearly all other +blacks, in that by treatment with moderately strong hydrochloric acid +they turn a bright red.</p> + +<p>No other natural dye-stuff is used in the dyeing of black than these +here given.</p> + +<p>Of +<span class="pagenum"><a id="page089" name="page089"></a>(p. 089)</span> +late years many black dyes derived from coal tar have been +placed on the market. Among these may be enumerated the Acid Blacks of +Messrs. Bead Holliday & Sons; the Naphthol and Naphthylamine Blacks of +Leopold Cassella & Co.; the Victoria Blacks of the Farbenfabriken +vorm, Fr. Bayer & Co.; the Wool Blacks of the Actiengesellschaft für +Anilin Fabrikation; the Azo Blacks of the Farbwerke vorm, Meister, +Lucius & Bruning; and one or two other blacks. These blacks are dyed +very simply, as will be seen from the recipes given below, showing +their application in the production of blacks of a great variety of +tone. None of them dye a true jet black, but generally a bluish black +or a violet black, but the tone may be readily changed to a jet or +dead black by the addition of a little orange, yellow or green +dye-stuff.</p> + +<p>They give blacks of a very solid appearance and very bright in tone, +and have the advantage over the logwood blacks of leaving the wool +more supple and less liable to be felted. Moreover, as a rule they are +faster to acids, alkalies and milling than are the logwood blacks, and +as regards fastness to light they excel that dye-stuff. Unfortunately +they are more costly to use, which tells against their entirely +displacing logwood in dyeing blacks on wool.</p> + +<p>Still, year by year their use is increasing, and as their price +becomes less their employment will yet further extend. They may be +combined with logwood, as they will dye with equal facility on +mordanted and unmordanted wool.</p> + +<p><i>Violet Black on Wool.</i>--Make the dye-bath with 4 lb. Acid Black B, or +Acid Black B B, 3 lb. sulphuric acid, and 10 lb. Glauber's salt. Work +at the boil for one hour. The B brand of these blacks gives shades +slightly redder in tone than the B B. The blacks are quite fast to +light and acids, but not to soaping.</p> + +<p><i>Blue Black on Wool.</i>--Dye as in the last recipe, but use Acid +<span class="pagenum"><a id="page090" name="page090"></a>(p. 090)</span> +Black S. This dye-stuff produces bluer shades of black than +either B or B B, and they are faster to soaping.</p> + +<p><i>Jet Black on Wool.</i>--Make the dye-bath with 4-1/2 lb. Acid Black S, +1/2 lb. Fast Yellow F Y, 3 lb. sulphuric acid, and 10 lb. Glauber's +salt. This shows how, by the addition of a little yellow dye-stuff, +the blue shade may be changed to a full jet black.</p> + +<p><i>Blue Black on Wool.</i>--The dye-bath is made with 4-1/2 lb. Naphthol +Black B (or 6 lb. Naphthol Black 3 B), 4 lb. sulphuric acid, and +10 lb. Glauber's salt. Work at the boil for one hour, then lift, wash +and dry. The Naphthol Blacks have long been used in wool dyeing, and +give excellent results, the 3 B brand dyeing much bluer shades than +the B brand. There is also a 4 R brand giving violet blacks. These +blacks are quite fast to acids and alkalies, are fast to light, and +resist washing very well, the B brand being the fastest. The following +recipe shows how a full jet shade can be obtained for these blacks:--</p> + +<p><i>Jet Black on Wool.</i>--Prepare the dye-bath with 4-1/2 lb, Naphthol +Black B, 1 lb. Naphthol Green B, 1/4 lb. Indian Yellow, 4 lb. +sulphuric acid, and 10 lb. Glauber's salt.</p> + +<p><i>Blue Black on Wool.</i>--Make the dye-bath with 5 lb. Anthracite Black +B, 10 lb. Glauber's salt, and 5 lb. bisulphate of soda, working at the +boil for one hour. Anthracite Black does not require a bath so acid as +do some other coal-tar blacks. The shade obtained is a full blue +black, which is fast to acids; alkalies turn it a little bluer, and +soaping causes some loss of colour.</p> + +<p><i>Violet Black on Wool.</i>--Make the dye-bath with 5 lb. Anthracite +Black R, and 10 lb. bisulphate of soda. The black thus obtained is a +good one, fairly fast to acids, alkalies and soaping.</p> + +<p><i>Dead Black on Wool.</i>--Make the dye-bath with 6 lb. Anthracite +Black R, 1 lb. Anthracene Yellow C, and 10 lb. bisulphate +<span class="pagenum"><a id="page091" name="page091"></a>(p. 091)</span> +of +soda. Work at the boil for one hour, then lift, add 3 lb. fluoride of +chrome and work again at the boil for twenty minutes. This black is a +very fine one, and is very fast.</p> + +<p><i>Violet Black on Wool.</i>--Make the dye-bath with 4 lb. Naphthylamine +Black D, 10 lb. Glauber's salt, and 5 lb. acetic acid. This black is +pretty fast to acids, alkalies and light, but is somewhat loose to +soaping, and, therefore, cannot be used for black goods that have to +be strongly milled. Naphthylamine Black 4 B dyes somewhat bluer shades +than the B brand.</p> + +<p><i>Blue Black on Wool.</i>--Prepare the dye-bath with 6 lb. Victoria Blue +Black, 20 lb. Glauber's salt, and 1-1/2 lb. acetic acid, working at +the boil for one hour. A fine blue black, is obtained which is quite +fast to acids, washing and light.</p> + +<p><i>Greenish Black on Wool.</i>--The dye-bath is made with 3 lb. Victoria +Black Blue, 2 lb. Fast Yellow F Y, 20 lb. Glauber's, salt, and +1/1-2 lb. acetic acid. The dyeing is done at the boil and takes about +an hour. This shade has a good full tone, and is fast.</p> + +<p><i>Jet Black on Wool.</i>--Make the dye-bath with 4 lb. Victoria Black B, +1/2 lb. Fast Yellow F Y, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid, working at the boil for one hour. A very fine shade is thus +obtained, which is fast to acids, alkalies and soaping. By omitting +the Fast Yellow a blue black is obtained, while by using Acid Green +instead a greener tone is given to the black. In place of the Victoria +Black B the two other brands, 5 G, and G, of these blacks may be used. +These give equally fast blacks of a deeper and more jet black.</p> + +<p><i>Black on Wool.</i>--Prepare a bath with 5 lb. acetic acid, 9° Tw.; enter +the wool for one hour, then lift and add 5lb. Naphthol Black 3 B, and +1/4 lb. Indian Yellow. Re-enter the goods and boil for one hour, wash +and dry.</p> + +<p>Many of the black dyes--Naphthol Black, Naphthylamine Blacks, +<span class="pagenum"><a id="page092" name="page092"></a>(p. 092)</span> +Naphthyl Blue Black N, Acid Black B, etc.--are capable of slowly +dyeing wool from neutral baths, that is, containing only Glauber's +salt, or rather more quickly if a little acetic acid be present. Such +dyes are very useful for dyeing heavily milled or felted fabrics, such +as hat bodies for instance, as then the dye possesses greater +penetrative properties and passes more into the substance of the +fabric, which is, therefore, better dyed through. Also they are +suitable for dyeing half-wool fabrics as will be seen on referring to +the chapter dealing with the dyeing of union or cotton-wool fabrics.</p> + +<p>It is quite possible to dye a black on wool by using a combination of +acid and azo dye-stuffs, and below is given a recipe illustrating this +method; it is one, however, rarely adopted.</p> + +<p><i>Blue-Black on Wool.</i>--Prepare the dye-bath with 10 lb. Glauber's +salt, 2 lb. Patent Blue, 6 oz. Brilliant Orange, 4 oz. Amaranth, 4 oz. +Acid Violet N, 4 lb. sulphuric acid. Enter the goods at about 150° F., +raise to the boil and work to shade; lift, wash and dry. It may be of +interest to note that by using a mixture of Azo Rubine and Acid green +good blacks can be got.</p> + +<p>There is a range of Acid and Azo dyes which are capable of dyeing from +the usual acid baths on to wool, and yet can be developed and fixed on +the fibre to good, full blacks. Types of such dyes are Anthracene +Chrome Black F F, Diamond Black F, Chrome Patent Black D G and D G G, +Fast Chrome Black, etc. Generally the blacks dyed on wool with these +dyes are very fine, have a full, bloomy appearance, and are very fast. +They are much used in dyeing hat bodies and fine cloths which have to +be very fast to the weather.</p> + +<p>The method of application will be gleaned from the recipes given +below.</p> + +<p><i>Black.</i>--Prepare +<span class="pagenum"><a id="page093" name="page093"></a>(p. 093)</span> +a dye-bath with 5 lb. Chromotrop S, 1/4 lb. +Azo Yellow, 50 lb. Glauber's salt. Work for one and a half hours at +the boil, then add 4 lb. sulphuric acid. Work at the boil for another +half hour, then lift. Add to the same dye-bath 3 lb. bichromate of +potash. Re-enter the goods and work at the boil for half an hour, then +lift, rinse and dry.</p> + +<p><i>Jet Black.</i>--Mordant the wool by boiling for one hour in a bath made +from 4 lb. bichromate of potash and 3 lb. of tartar. Then rinse, and +dye in a bath containing 3-1/2 lb. Diamond Black, 1-1/4 lb. Alizarine +Cyanine R R R double, and 1 lb. Gambine Yellow, working at the boil +for from one to one and a half hours.</p> + +<p><i>Diamond Black on Wool.</i>--Mordant by boiling for one hour with 3 lb. +bichromate of potash, 1 lb. oxalic acid. Wash and dry in a bath made +with 2 lb. Diamond Black, 2 lb. acetic acid. Work at 120° F. for one +hour, then heat to boil, and work until the dye is fully fixed. Lift, +wash and dry.</p> + +<p>A more common method of using the Diamond Black is given in the +following recipe.</p> + +<p><i>Diamond Black.</i>--Prepare a dye-bath with 10 lb. Glauber's salt, +2-1/2 lb. Diamond Black, 1/2 lb. Diamond Green. Boil for an hour, then +pass through a fresh bath of 2 lb. bichromate of potash for +three-quarters of an hour at the boil; wash and dry.</p> + +<p>This gives a fine jet shade of black, quite fast to a strong milling, +and to light, alkalies and acids. Diamond Black by itself gives bluish +shades. This dye is much used in the hat-dyeing trade.</p> + +<p><i>Violet Black.</i>--Mordant the wool by boiling for one and a half hours +in a bath made with 3 lb. fluoride of chrome and 1 lb. oxalic acid, +then rinse and dye in a bath containing 25 lb. Alizarine Cyanine +Black G, 5 lb. acetate of ammonia, and 1 lb. acetic acid, working at +the boil for one and a half hours. A +<span class="pagenum"><a id="page094" name="page094"></a>(p. 094)</span> +fine full shade is +obtained which is quite fast to acids, milling and light.</p> + +<p><i>Brown Black</i>.--Mordant the wool as in the last recipe, then dye in a +new bath 25 lb. Alizarine Cyanine Black G, 3 lb. Anthracene Brown, +5 lb. acetate of ammonia, and 1 lb. acetic acid, working at the boil +for one to one and a half hours.</p> + +<p><i>Jet Black</i>.--Mordant as in either of the above recipes, then dye in a +bath containing 20 lb. Alizarine Black S W, and 2 lb. acetic acid. +This black possesses a great degree of resistance to acid, alkali, +milling and light, and is one of the best blacks at the disposal of +the dyer.</p> + +<p><i>Reddish Black on Wool</i>.--Prepare the dye-bath containing 5 lb. +Chromotrop 2 B, 10 lb. Glauber's salt, and 4 lb. sulphuric acid, work +at the boil for one hour, then lift. Add to the same bath 3 lb. +bichromate of potash and 1 lb. sulphuric acid, and work half an hour +longer.</p> + +<p><i>Blue Black</i>.--Make the dye-bath with 6 lb. Chromotrop 10 B and 4 lb. +sulphuric acid; dye, and develop the black by adding to the same bath +3 lb. bichromate of potash and 1 lb. sulphuric acid.</p> + +<p><i>Jet Black</i>.--Prepare the dye-bath with 5-1/2 lb. Chromotrop S, +1/4 lb. Alizarine Yellow G G W, 10 lb. Glauber's salt, and 4 lb. +sulphuric acid. Slowly raise to the boil and work for one hour, then +add to the same dye-bath 3 lb. bichromate of potash, and 1 lb. +sulphuric acid, working at the boil for one hour.</p> + +<p>These are but a few examples of how the Chromotrops (one of the most +interesting series of dye-stuffs at the service of the dyer) may be +used to dye blacks. They of themselves dye brilliant reds, from bright +scarlet (2 R), crimson (6 B), and purple (8 B and 10 B), to maroon and +clarets (S and S B). These being turned black on being chromed, give +various shades--blue blacks, violet blacks, and jet blacks, which have +the merit of being fast to acids, strong milling, and light in a +great +<span class="pagenum"><a id="page095" name="page095"></a>(p. 095)</span> +degree. The blue and violet blacks may be converted to +jet shades by adding to the dye-bath some yellow dye-stuff, such as +Azo Yellow, Alizarine Yellow, or Gambine Yellow, which will resist the +action of the bichrome in the developing bath.</p> + +<p>Chromotrop blacks while so very fast have the disadvantage of being +expensive, but by combining them with logwood it is possible to obtain +blacks that have a great degree of resistance to light, acids and +milling. They are in this respect much superior to pure logwood +blacks, while the cost is not prohibitive.</p> + +<p>The following recipe will serve as an example of how these two +dye-stuffs may be combined:--</p> + +<p><i>Jet Black</i>.--Make a bath with 2 lb. Chromotrop S, 15 lb. Glauber's +salt, and 5 lb. hydrochloric acid. Work in this bath for one hour, +then add 2-1/2 lb. bichromate of potash, and work again for half an +hour, at the boil. Lift, rinse and dye in a new bath containing 25 lb. +logwood, 1 lb. fustic extract and 1/4 lb. sulphuric acid, working at +the boil for an hour.</p> + +<p><i>Violet Black on Wool</i>.--Dye the wool in the Chromotrop bath, and +develop as in the last recipe. The final dye-bath is made with 6 lb. +logwood, 8 oz. Patent Blue B, and 4 lb. sulphuric acid. By using +logwood alone blue blacks can be dyed, by increasing the proportion of +fustic a greener tone can be obtained, while by the use of a larger +proportion of Chromotrop a redder tone of black is the result.</p> + +<p><i>Jet Black</i>.--Make the dye-bath with 20 lb. Glauber's salt, and 6 lb. +Nyanza Black; when obtained is a good one and of solid appearance. +Alkalies turn it red, but it is fast to dilute acid and soaping.</p> + +<p><i>Black</i>.--Prepare the dye-bath with 10 lb. Glauber's salt, 5 lb. +oxalate of ammonia, 5 lb. acetic acid and 6 lb. Anthracene Chrome +Black F. Work at the boil for three-quarters of +<span class="pagenum"><a id="page096" name="page096"></a>(p. 096)</span> +an hour, or +until the bath is exhausted of dye-stuff, then add 1-1/2 lb. +bichromate of potash and 2 lb. hydrochloric acid to the same bath and +work for half an hour longer.</p> + +<p>The Anthracene Chrome Blacks, of which there are three brands, F, 5 B +and F E, are excellent dyes, producing very fine blacks, and owing to +the slowness of dyeing and great penetrative properties are very +suitable for dyeing hat felts and other closely woven fabrics. The 5 B +dyes more bluish shades than the F, while the F E brand gives full +black. By combining these with Anthracene Yellow B N, Anthracene Acid +Brown G, or other similar dyes, jet blacks can be got as per the +following recipe:--</p> + +<p><i>Jet Black</i>.--Make the dye-bath with 6 lb. Anthracene Chrome +Black F E, 5 oz. Anthracene Yellow B N, 10 lb. Glauber's salt, 2 lb. +oxalate of ammonia and 5 lb. acetic acid, after dyeing, and the +dye-bath, is exhausted of colour, add 1-1/2 lb. bichromate of potash +and 3 lb. hydrochloric acid, and boil again for half an hour. Finish +in the usual way.</p> + +<p>One of the reasons for adding the oxalate of ammonia, is to +precipitate out any lime which may be in the water in such a form that +it will not react with the dye-stuff.</p> + +<p><i>Fast Black</i>.--Mordant the yarn with copperas (sulphate of iron). Dye +in a bath with 5 lb. Gambine Y, 2 lb. Acid Mauve, 2 lb. bisulphate of +soda. Proceed as described for full green.</p> + +<p><i>Blue Black</i>--3-1/2 lb. Naphthylamine Black S, 10 lb. Glauber's salt, +and 5 lb. acetic acid; to fully exhaust the dye-bath add 8 lb. +bisulphate of soda.</p> + +<p><i>Jet Black</i>.--5 lb. Naphthylamine Black S, 1/4 lb. Fast Acid +Green B N, 10 lb. Glauber's salt, and 5 lb. acetic acid, adding 8 lb. +bisulphate of soda to exhaust the bath.</p> + +<p><i>Blue Black</i>.--Give a deep blue bottom in the indigo vat and dye with +2 lb. Anthracite Black B, 10 lb. Glauber's salt and 2 lb. acetic acid.</p> + +<p><b>Greys on Wool.</b>--The dyeing of greys follows very naturally after +<span class="pagenum"><a id="page097" name="page097"></a>(p. 097)</span> +the dyeing of blacks, for from a broad point of view greys are +simply light blacks, and any dye-stuffs that will dye black will if +used in smaller proportions give greys. There is a great variety of +tone among greys: reddish greys, bluish greys, greenish greys, and so +on. They may be dyed in a considerable variety of ways from a large +number of dye-stuffs, both natural and artificial. Of these two +classes the latter gives the best result as far as regards brightness +of tone, and as regards other properties the greys obtained from the +artificial coal-tar colours are fully equal to those from natural +dyes.</p> + +<p>A large number of recipes are in use by dyers for the production of +greys, so many that it becomes almost an impossibility to do more than +give a mere fraction of them here. However, a number of representative +recipes will be given, covering all classes of dye-stuffs capable of +being used for the purpose, and thus forming a guide to the methods of +dyeing and the proportions of dye-stuffs to be used.</p> + +<p><i>Light Grey.</i>--Dye at the boil for three-quarters of an hour, in a +bath containing 1 lb. perchloride of tin, 3 lb. alum, 3 oz. indigo +extract, and 2 oz. cochineal.</p> + +<p><i>Slate Grey.</i>--Mordant by boiling with 4 lb. alum and 1 lb. argol, +then dye with 6 lb. logwood, 6 oz. cudbear and 3 oz. indigo extract.</p> + +<p><i>Slate Grey.</i>--Another method is to boil the wool with 10 lb. logwood, +2 lb. Glauber's salt and 1 lb. sulphuric acid for three-quarters of an +hour, then lift, add 1 lb. copperas, and re-enter the wool, working at +the boil for three-quarters of an hour, then lift, wash and dry.</p> + +<p><i>Reddish Grey.</i>--Boil for an hour with 10 lb. fustic, 11 lb. cutch, +1/2 lb. bichromate of potash and 1-1/2 lb. copperas.</p> + +<p><i>Pearl Grey</i>.--Give a light blue ground in the indigo vat, then dye in +a new bath with 2 lb. muriate of tin and 3/4 lb. cochineal, working at +the boil to shade.</p> + +<p><i>Silver +<span class="pagenum"><a id="page098" name="page098"></a>(p. 098)</span> +Grey</i>.--Prepare a bath with 3/4 lb. tannic acid; work +for an hour in a warm bath, then sadden with 3 lb. nitrate of iron to +shade, then lift, wash and dry.</p> + +<p><i>Pearl Grey</i>.--Prepare a bath with 3 lb. fluoride of chrome and 4 lb. +Alizarine Bordeaux B. Enter into the bath when cold, then heat to the +boil and work for one and a half hours, then lift, wash and dry.</p> + +<p><i>Silver Grey</i>.--The dye-bath is made with 3 lb. fluoride of chrome and +6-1/2 oz. Alizarine Cyanine G G, the dyeing being done as in the last +recipe.</p> + +<p><i>Greenish Grey</i>.--A good shade is dyed with 3 lb. fluoride of chrome, +4 oz. Alizarine Bordeaux B, and 4 oz. Diamond Flavine G, working as +given in the above recipe.</p> + +<p><i>Grey</i>.--Give a pale blue bottom with an indigo vat, then dye in a +bath containing 1 lb. fluoride of chrome, 1/2 oz. Diamine Fast Red F, +and 3/4 oz. Anthracene Yellow C; work at the boil for one hour, lift, +wash, and dry.</p> + +<p><i>Dark Grey</i>.--A very fine dark grey, almost approaching a black is +obtained by the following plan: bottom the wool with a medium blue by +means of the indigo vat, dye in a bath containing 1 lb. fluoride of +chrome, 3 oz. Diamine Fast Red F, and 3 oz. Anthracene Yellow C.</p> + +<p><i>Slate Grey</i>.--A good slate grey of a slightly greenish tone can be +dyed in a bath of 5 lb. acetate of ammonia, 3/4 lb. Acid Blue 4 S, and +1/4 lb. Titan Brown R, working at the boil to shade.</p> + +<p><i>Pale Slate Grey</i>.--The dyeing is done in a bath made with 5 lb. +acetate of ammonia, 5 oz. Acid Blue 4 S, and 1-1/2 oz. Titan Brown R, +working at the boil for one hour.</p> + +<p><i>Silver Grey</i>.--A very nice shade is dyed with 3 oz. Acid Blue 4 S, +1/4 oz. Titan Red, and 5 oz. acetate of ammonia.</p> + +<p><i>Silver Grey</i>.--A shade similar to the last is dyed in a bath +containing 10 lb. Glauber's salt, 5 lb. bisulphate of soda, and +3/4 oz. Anthracite Black R. By adding a little Thiocarmine R +<span class="pagenum"><a id="page099" name="page099"></a>(p. 099)</span> +the shade can be turned bluer in tone, while the addition of a little +Milling Yellow O, or Titan Yellow, turns it to the green side.</p> + +<p><i>Pearl Grey</i>.--Make the dye-bath with 10 lb. Glauber's salt, 5 lb. +acetic acid, and 3/4 lb. Naphthylamine Black D. This gives fine shades +of pearl grey.</p> + +<p><i>Bluish Grey</i>.--Mordant the wool by boiling in a bath made with 2 lb. +bichromate of potash, 1 lb. tartar, and 1 lb. sulphuric acid. Dye in a +bath containing 2 oz. Diamine Black (or 3/4 oz. Diamond Black and +1-1/2 oz. Alizarine Cyanine R), working at the boil for an hour and a +half.</p> + +<p><i>Grey</i>.--This can be dyed with 3 oz. Nyanza Black B, and 10 lb. +Glauber's salt, working at the boil.</p> + +<p><i>Reddish Grey</i>.--A good full shade is dyed with 1-1/2 oz. Cyanole +extra, 1/4 oz. Orange extra, 3/4 oz. Archil Substitute N, 10 lb. +Glauber's salt and 3 lb. sulphuric acid.</p> + +<p><i>Slate Grey</i>.--The dye-bath is made with 3 oz. Cyanole extra, 1/2 oz. +Archil Substitute N, 3/4 oz. Orange extra, 10 lb. Glauber's salt and +2 lb. sulphuric acid.</p> + +<p><i>Bright Pearl Grey</i>.--Prepare a dye-bath with 3/4 oz. Patent Blue, +1/2 oz. Acid Violet N, 3/4 oz. Orange G, 10 lb. Glauber's salt and +2 lb. sulphuric acid.</p> + +<p><i>Stone Grey on Wool</i>.--The dye-bath is made with 1/2 oz. +Chromotrop 2 R, 3/4 oz. Cyanole extra, 1-1/2 oz. Fast Acid Blue R, +3/4 oz. Acid Yellow, 20 lb. Glauber's salt, 3 lb. acetic acid. Enter +at 80° F., then warm slowly and work to shade, lift, wash and dry.</p> + +<p>These recipes will probably be sufficient to show the lines on which +greys may be obtained in wool dyeing. It may be added that from the +Acid Blacks B, B B, and S, good greys of a violet tone may be +obtained, using from 1/2 to 3/4 oz. dye-stuff. The Naphthol Blacks +will also be found useful in the same way, while the greys from +Anthracene Chrome Blacks and the Alizarine blacks are very good and +fast.</p> + +<p><b>Red +<span class="pagenum"><a id="page100" name="page100"></a>(p. 100)</span> +Shades on Wool.</b>--The number of red shades that may be +dyed on wool is infinite. They range over every variety of tint of +red, from the palest blush-rose to the deepest crimson, and from the +most brilliant pink to the dullest grenat shade.</p> + +<p>It is quite impossible here to describe the dyeing of every imaginable +shade of red, while the great variety of red dye-stuffs, both natural +and artificial, adds to the difficulty of dealing in the space at +command with all the various methods and dyes that may be used in the +dyeing of reds on wool.</p> + +<p>The methods that may be adopted for dyeing red shades on wool are many +and various, depending not only on the particular dye-stuff used, but +often on the particular shade that is being dyed. One method, which +will yield a pale and useful tint with a particular dye-stuff, would +fail if a full shade were necessary.</p> + +<p>The greater number of red shades are now dyed by means of the +artificial dye-stuffs, as these are much easier to dye than are the +natural dyes, and they give, on the whole, more even and brilliant +shades, while as regards fastness to milling, acids, and light they +are fully equal, and in most cases superior, to the natural dyes.</p> + +<p><b>The Direct Red Dyes.</b>--Of this group of red dye-stuffs, Benzopurpurine, +Titan Scarlet, Diamine Fast Red F, and Benzo Fast Red are types; many +of them have been found to be very serviceable in wool dyeing. They +may be dyed either from plain baths containing common salt or +Glauber's salt, or from baths containing common salt or Glauber's salt +and a little acetic acid.</p> + +<p>Alkaline or soap baths do not work well as a rule, and must be avoided +in wool dyeing. Generally the dye-bath is exhausted of colour, and +full shades are easily obtained, while these reds are in general +remarkable for the evenness and +<span class="pagenum"><a id="page101" name="page101"></a>(p. 101)</span> +uniformity of tint which can +be produced. The reds so dyed are, on the whole, fairly fast to +soaping, and can be used for dyeing goods that have to be milled, +while their resistance to light and air is fairly good. Benzopurpurine +and Diamine Red are more or less affected by acids, but the Titan Red +and some of the more modern reds, Diamine Brilliant Scarlet, Benzo +Fast Scarlets, are all fast to acids. The fastness to washing and +light of some of them, Benzo Fast Red, Diamine Fast Red F, Titan Red, +is much increased by adding, after the wool has been dyed, 3 per cent. +of fluoride of chromium to the dye-bath, and working a little longer.</p> + +<p>The dyeing with these colours is done at the boil, and the goods may +be entered direct into the boiling bath without fear of uneven shades +being produced. This bath may be kept as a standing one, simply adding +as each lot is dyed the necessary quantity of dye-stuff, a little +fresh water to bring the bath up to its original volume, and a +corresponding quantity of the salt originally added. The wool can then +be entered and dyed.</p> + +<p>In place of using salt or Glauber's salt, acetate of ammonia is an +excellent assistant for this class of dyes.</p> + +<p>The following are some recipes for dyeing various shades of red on +wool with this class of dyes.</p> + +<p><i>Scarlet.</i>--The dye-bath is made with 3 lb. Titan Scarlet C B, and +10 lb. acetate of ammonia. This gives a good bright shade of scarlet, +which is fast to acids and soaping, although not fast to light.</p> + +<p><i>Scarlet.</i>--Dye in a bath made with 3 lb. Diamine Scarlet B and 10 lb. +Glauber's salt. This yields a light shade, not so fast to acids as the +last, but equally fast to soaping and light.</p> + +<p><i>Scarlet.</i>--Make the dye-bath with 3 lb. Benzopurpurine 4 B, and +10 lb. Glauber's salt. This also gives a good shade of Scarlet fast to +soaping. It is turned dark blue by acids, and is +<span class="pagenum"><a id="page102" name="page102"></a>(p. 102)</span> +not fast to +light. It is very largely used on underwear goods, but is not so +satisfactory for this as the Titan Scarlet C B, or Benzo Fast +Scarlet B S.</p> + +<p><i>Scarlet</i>.--The dye-bath may be made with 3 lb. Brilliant Congo G, +10 lb. Glauber's salt and 2 lb. acetate of ammonia. This gives a +satisfactory shade of scarlet.</p> + +<p><i>Bright Scarlet</i>.--The dye-bath prepared with 2 lb. Geranine G, 5 lb. +sulphate of soda, 5 lb. acetate of ammonia. Work at the boil for one +hour, then wash and dry.</p> + +<p><i>Dark Crimson</i>.--Prepare a dye-bath with 1-1/2 lb. Chrysophenine, +1-1/2 lb. Hessian Violet, 25 lb. salt. Heat to 150° F., enter the +goods, heat to boil and dye boiling for one hour, take out, rinse and +wash.</p> + +<p><i>Scarlet</i>.--A brilliant shade of scarlet can be dyed in a bath of +3 lb. Benzo Fast Red, 1 lb. Chrysophenine, 10 lb. Glauber's salt and +2 lb. acetic acid.</p> + +<p><i>Fast Red</i>.--Dye the wool in a bath boiling, containing 1 lb. Diamine +Fast Red F, 10 lb. Glauber's salt, and 2 lb. acetic acid, until the +bath is exhausted, then add 3 lb. fluoride of Chrome and work half an +hour longer at the boil.</p> + +<p><i>Bordeaux</i>.--Dye with 3 lb. Diamine Bordeaux, and 10 lb. Glauber's +salt.</p> + +<p><i>Pink</i>.--Dye with 2 lb. Diamine Rose B D, 10 lb. Glauber's salt and +1 lb. acetic acid.</p> + +<p>The basic red dyes are not very numerous, and comprise Magenta, +Saffranine, Acridine Reds, Acridine Scarlets, Rhoduline Reds, +Rhodamine and Neutral Beds. For successful dyeing they require a +perfectly neutral bath. This bath should contain 10 per cent. of +Glauber's salt, and is started cold and not too strong; when all the +material has been entered the steam may be turned on and the +temperature slowly raised, the material being turned over and over. +The operation is continued only until the bath has been exhausted of +colour, when it is stopped, and the wool taken out, and washed +<span class="pagenum"><a id="page103" name="page103"></a>(p. 103)</span> +and dried. The liquor in the dye-baths may be allowed to cool +down, and then it may be used for making the dye-bath for a second lot +of goods, or it may be run away. It is best not to add the dye to the +bath all at once, but in several portions as the work proceeds. The +affinity of the wool for the basic dyes is usually so strong that if +all were added to the dye-bath at the start, then the first portion of +the goods entered might take up all, or nearly all, the colour, +leaving but little for the last portion; the consequence being that +the goods are dyed of an uneven colour, deeper in some parts than +others. This defect is remedied by adding the dye in portions, +entering the goods rather quickly, working cold, or by adding a little +acetic acid and plenty of Glauber's salt. Notwithstanding all these +precautions it is quite possible for the shades to come up somewhat +uneven. These remarks are applicable not only to the basic reds but to +the whole range of basic dyes, hence this class of dye-stuffs is but +little used in the dyeing of wool.</p> + +<p><i>Crimson</i>.--Make the dye-bath with 2 lb. Magenta, and 15 lb. Glauber's +salt, working as described above. This gives a fine crimson shade +which, however, is not fast to soaping or to light. The quantity of +dye-stuff given above should not be exceeded or the shades may come up +bronzy, this may be avoided if a trace of acetic acid is added to the +dye-bath.</p> + +<p><i>Crimson</i>.--Dye with 2-1/2 lb. of Saffranine and 15 lb. Glauber's +salt. This dyes a fine Crimson shade.</p> + +<p><i>Deep Red</i>.--Use 3 lb. Rhoduline Red and 10 lb. Glauber's salt.</p> + +<p><i>Scarlet.</i>--The dye-bath is made with 1 lb. Saffranine Prima, 1 lb. +Auramine, and 10 lb. Glauber's salt. The goods are entered into the +dye-bath at about 120° F., and well worked about, then the temperature +is raised slowly. When the dye-bath is exhausted the goods are lifted, +washed and dried. There are no pure basic scarlets, and the above and +similar combinations +<span class="pagenum"><a id="page104" name="page104"></a>(p. 104)</span> +of a basic red and a basic yellow are +the only ways in which a scarlet can be dyed on wool with basic +coal-tar colours.</p> + +<p>The basic colours are, in general, the hydrochlorides of some colour +base, and in the process of dyeing the acid constituent of the wool +fibre unites with the colour base, while the hydrochloric acid which +is liberated passes into the dye-bath.</p> + +<p>The acid reds are a very large group of red dyes, of somewhat varied +chemical composition, which all have the property of dyeing from baths +containing Glauber's salt and sulphuric acid or acetic acid, the usual +proportions being 10 per cent. of the former, and 2 to 5 per cent. of +the acid. Some are best dyed from a bath containing bisulphate of +soda. The dyeing should be started cold, or at a lukewarm heat, then +steam should be turned on and the temperature raised to the boil, at +which it is maintained for an hour; this boiling serving to more +intimately fix the dye-stuff on the woollen fibre.</p> + +<p>The Eosine reds, of which Eosine in its various brands, Rose Bengale, +Phloxine, Saffrosine and Erythrosine, are examples, are best dyed upon +wool from a bath containing Glauber's salt and a little acetic acid. +They do not require a very acid bath, hence the reason of using acetic +acid. The method of dyeing is that given above as for basic reds, +namely, enter into cold, or at most lukewarm bath, and raise the heat +slowly, continuing the work until the shade required has been +obtained. It is a good plan to start work in a neutral bath, and then +when the material has become thoroughly impregnated with the +dye-liquor to add the acetic acid. The shades obtained from these +Eosine reds are remarkable for their brilliance, but unfortunately +their fastness to light, washing, etc., is but slight, although it may +be increased by treating the dyed wool in a bath of alum or acetate of +lead.</p> + +<p>Some +<span class="pagenum"><a id="page105" name="page105"></a>(p. 105)</span> +of the acid reds, <i>e.g.</i>, Acid Magenta, Acid Violet, +belong to the group of sulphonated basic dyes. The vast majority +belong to the group of azo dyes, which can be employed to dye from +palest pinks to the deepest crimson reds. Some dye very brilliant +shades, others only yield dull reds. Some dye shades remarkable for +their fastness to all agencies, soap, acids, alkalies, light and air; +others dye shades which may be fast to soap, but loose to acids and +light. Generally even shades are readily obtained on any kind of +woollen fabric. It is practically impossible to name all the acid reds +that are known and that may be used, but a fairly representative +series of recipes will be given.</p> + +<p><i>Ponceau.</i>--Wet out, then prepare a bath with 2 lb. Ponceau R, 10 lb. +Glauber's salt, 2 lb. sulphuric acid. Enter the wool in the cold, +bring to a boil and work to shade, wash and dry.</p> + +<p><i>Crushed Strawberry.</i>--Prepare a bath containing 10 lb. Glauber's +salt, 4 oz. Scarlet R S, 9 oz. Indigo extract, 2 oz. Orange Y, 4 oz. +sulphuric acid. Enter wool at 160° F., give four turns, raise +temperature slowly to a boil, and turn to shade, lift and wash.</p> + +<p><i>Scarlet.</i>--Prepare a dye-bath with 2 lb. Azo cochineal, 10 lb. +Glauber's salt, 4 lb. sulphuric acid. Work at the boil until the full +shade is obtained, then lift, wash and dry.</p> + +<p><i>Terra Cotta Red.</i>--The dye-bath is made from 2-1/2 lb. Fast Acid +Magenta B, 2-1/2 lb. Fast Yellow F Y, 10 lb. Glauber's salt, 2 lb. +sulphuric acid. Work at the boil to shade.</p> + +<p><i>Fast Scarlet.</i>--Prepare a dye-bath with 3 lb. Glauber's salt, +1-1/4 lb. sulphuric acid, 2-1/2 lb. Brilliant Scarlet 4 R. Work at the +boil for one and a half hours.</p> + +<p><i>Scarlet.</i>--Make the dye-bath with 2 lb. Scarlet 2 R J, 10 lb. +Glauber's salt and 2 lb. sulphuric acid. The goods may be entered at +about 150° F., and the temperature raised at the boil and maintained +at that heat for one hour, then the goods are lifted, rinsed and +dried.</p> + +<p>The +<span class="pagenum"><a id="page106" name="page106"></a>(p. 106)</span> +method given in the above recipes is that usually +followed with the acid colours. When closely woven or thick goods are +being dyed, where it is desired that the colour should penetrate well +into the substance of the goods, the following modification of working +may be adopted:--</p> + +<p>The dye-bath is made up with the dye-stuff and Glauber's salt only, +and the goods are worked in this at the boil until they are thoroughly +impregnated with the dye-stuff liquor, then the acid is added in small +quantities at a time, and the dyeing is continued for one hour to fix +the colouring matter on the wool fibre. The goods may then be lifted +out, washed and dried.</p> + +<p><i>Scarlet.</i>--Make the dye-bath with 2 lb. Scarlet F R, 10 lb. Glauber's +salt and 2 lb. sulphuric acid. In place of scarlet F R, the F 2 R or +F 3 R brands may be used, the latter giving the reddest shades.</p> + +<p><i>Scarlet.</i>--Make the dye-bath with 2 lb. Scarlet O O, 10 lb. Glauber's +salt and 2 lb. sulphuric acid. Scarlet O dyes a yellower shade of +scarlet, while scarlets O O and O O O dye slightly redder shades.</p> + +<p><i>Scarlet.</i>--The dye-bath is made with 3 lb. Brilliant Ponceau 2 R, +10 lb. Glauber's salt and 10 lb. bisulphate of soda. This gives a +brilliant shade of scarlet. Brilliant Ponceau G, used in the same way, +gives a much yellower tone of scarlet, the R gives a slightly yellower +tone, while the 3 and 4 R brands dye redder shades.</p> + +<p><i>Bluish Red.</i>--The dye-bath is made with 2 lb. Brilliant Croceine B, +10 lb. Glauber's salt, and 10 lb. bisulphate of soda. Brilliant +croceine B B and the brand M dye redder shades of scarlet.</p> + +<p><i>Red.</i>--Make the dye-bath with 3 lb. Milling Red R, 20 lb. Glauber's +salt, and 5 lb. acetic acid. This is a good bright shade, and is quite +fast to soaping and milling.</p> + +<p><i>Deep Scarlet.</i>--Dye with 3 lb. Chromotrop R, 10 lb. Glauber's +<span class="pagenum"><a id="page107" name="page107"></a>(p. 107)</span> +salt, and 2 lb. sulphuric acid. This scarlet is very fast to +milling, acid and light.</p> + +<p><i>Red.</i>--Make the dye-bath with 2 lb. Victoria Scarlet R, 1 lb. +Victoria Rubine O, 10 lb. Glauber's salt, and 4 lb. sulphuric acid. A +fine deep scarlet red is obtained.</p> + +<p><i>Scarlet.</i>--Dye with 2 lb. Brilliant Orseille C, 10 lb. Glauber's +salt, and 3 lb. sulphuric acid. This gives a bright bluish shade of +scarlet.</p> + +<p><i>Red.</i>--Dye with 1 lb. Emin Red and 5 lb. bisulphate of soda.</p> + +<p><i>Scarlet.</i>--Make the dye-bath with 3 lb. Croceine Scarlet 3 R, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid.</p> + +<p><i>Fawn Red.</i>--Make the dye-bath with 1-1/2 oz. Cyanole, 1-1/2 oz. +Orange extra, 2-1/2 oz. Archil Substitute N, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid. This gives a nice light tint of fawn red, of +a somewhat bluish tone.</p> + +<p><i>Deep Fawn Red.</i>--A very deep shade of fawn red is dyed with 4-1/2 oz. +Cyanole, 2-1/4 lb. Orange extra, 1-1/4 lb. Archil Substitute N, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. The same dye-stuffs are used +as in the last, but the result is a deeper shade, of a yellow tone.</p> + +<p><i>Crushed Strawberry Red.</i>--Use 4 oz. Chromotrop 2 R, 2 oz. Cyanine B, +1 oz. Azo yellow, 10 lb. Glauber's salt, and 2 lb. sulphuric acid.</p> + +<p><i>Pale Lilac Rose.</i>--Dye with 1 oz. Chromotrop 2 R, 1/2 oz. Cyanine B, +1/2 oz. Azo yellow, 10 lb. Glauber's salt, and 2 lb. sulphuric acid.</p> + +<p><i>Deep Fawn.</i>--Dye with 3-1/4 oz. Chromotrop 2 R, 1-1/2 oz. Orange G, +2 oz. Cyanine B, 4 oz. Fast Acid Blue R, 10 lb. acetic acid, and +20 lb. Glauber's salt.</p> + +<p><i>Crimson.</i>--Make the dye-bath with 3 lb. Titan Red 6 B, 20 lb. salt, +with a little acetic acid, and work at the boil. This gives a fine +shade of crimson, fast to acids and capable of standing milling very +well.</p> + +<p><i>Deep +<span class="pagenum"><a id="page108" name="page108"></a>(p. 108)</span> +Crimson</i>.--A bright and deep crimson is dyed with 4 lb. +Fast Acid Magenta B, 10 lb. Glauber's salt, and 3 lb. sulphuric acid, +working at the boil.</p> + +<p><i>Pale Crimson</i>.--Make the dye-bath with 2 lb. Fast Acid Magenta B, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil. +Level shades are readily obtained, and the dye is fast to washing.</p> + +<p><i>Deep Crimson</i>.--Make the dye-bath with 4 lb. Azo Fuchsine G, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. This gives a very deep shade +of crimson, of a bluish tone.</p> + +<p><i>Bluish Crimson</i>.--Use in the dye-bath 2 lb. Azo Fuchsine G, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid.</p> + +<p><i>Pale Bluish Crimson</i>.--Use in the dye-bath 1 lb. Azo Fuchsine G, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. This gives a very +bright shade of pale crimson. The B brand of the Azo Fuchsines gives +slightly bluer shades than the above.</p> + +<p><i>Deep Crimson</i>.--A very solid crimson is dyed in a bath containing +3 lb. Azo Red A, 2 oz. Orange extra, 2 oz. Cyanole extra, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. Work at the boil. + +<p><i>Bright Crimson</i>.--A fine bluish crimson can be dyed on wool with +4 lb. Azo Red A, 10 lb. Glauber's salt, and 10 lb. bisulphate of soda. +Work at the boil.</p> + +<p><i>Deep Crimson</i>.--A good shade can be dyed with 6 lb. Amaranth, 10 lb. +Glauber's salt, and 10 lb. bisulphate of soda, working at the boil.</p> + +<p><i>Brilliant Pale Bluish Crimson</i>.--A really brilliant shade, bordering +on a violet red, is dyed in a bath containing 1-1/2 lb. Fast Acid +Violet R, 10 lb. Glauber's salt, and 2 lb. sulphuric acid.</p> + +<p><i>Bluish Crimson</i>.--Make the dye-bath with 3 lb. Croceine Scarlet, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. This gives a good +full shade of a bluish tone and very bright.</p> + +<p><i>Bluish Crimson</i>.--Dye with 3 lb. Chromotrop 6 B, 10 lb. +Glauber's +<span class="pagenum"><a id="page109" name="page109"></a>(p. 109)</span> +salt, and 3 lb. sulphuric acid. This gives a fine +tint, very fast to acids, milling and light.</p> + +<p><i>Purple</i>.--Make the dye-bath with 3 lb. Chromotrop 10 B, 10 lb. +Glauber's salt, and 3 lb. sulphuric acid.</p> + +<p>The Chromotrops are remarkable for the fulness of the shades they dye, +the brightness of their tint, and their fastness to acids, washing and +light.</p> + +<p><i>Purple</i>.--Use 4 lb. Azo Fuchsine B, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid.</p> + +<p><i>Bluish Purple</i>.--A very dark shade of purple is dyed with 4 lb. Azo +Acid Violet 4 R, 10 lb. Glauber's salt, and 2 lb. sulphuric acid.</p> + +<p><b>Bordeaux Reds</b>.--These are shades that lie intermediately between the +scarlets and the crimsons. They are in general duller than the +scarlets, and have a more solid and fuller look; while they are less +blue in tone than the crimson. They can be obtained from a large +variety of dye-stuffs, and the recipes given below may be regarded as +typical examples.</p> + +<p><i>Bright Bordeaux Red</i>.--Make the dye-bath with 1 lb. Azo Bordeaux, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil +to shade. This is a very bright shade, of a somewhat bluish tone.</p> + +<p><i>Cherry Red</i>.--Make the dye-bath with 2-1/2 lb. Fast Acid Magenta B, +2-1/2 lb. Fast Yellow, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid. This gives a fine deep shade.</p> + +<p><i>Bright Cherry Red</i>.--A very yellow shade of red, fast to milling, is +dyed by making a dye-bath with 1-1/2 lb. Anthracene Yellow C, 3 lb. +Diamine Fast Red F, 10 lb. Glauber's salt, 5 lb. acetate of soda, and +2 lb. bisulphate of soda. Work at the boil for one hour, then lift, +add 3 lb. fluoride of chrome, re-enter the wool and work half an hour +longer; wash and dry.</p> + +<p><i>Deep Bordeaux Red</i>.--The dye-bath is made with 4 lb. Diamine Fast +Red F, 5 lb. acetate of soda, and 3 lb. bisulphate of +<span class="pagenum"><a id="page110" name="page110"></a>(p. 110)</span> +soda. +Work at the boil for one hour, then lift, add to the bath 3 lb. +fluoride of chrome, re-enter the goods and work again for half an +hour; lift, wash and dry.</p> + +<p><i>Bright Cherry Red.</i>--Make a dye-bath with 4 lb. Benzo Fast Red, +10 lb. Glauber's salt, and 2 lb. acetic acid. Work at the boil for one +hour, then lift, add 3 lb. fluoride of chrome, re-enter the goods and +work for half an hour longer; wash and dry.</p> + +<p><i>Cherry Red.</i>--Make the dye-bath with 2 lb. Azo Fuchsine G, 1-1/2 lb. +Fast Yellow, 10 lb. Glauber's salt, and 2 lb. sulphuric acid. Work at +the boil for one hour.</p> + +<p><i>Bluish Bordeaux Red.</i>--For a very fast shade use 8 oz. Fast Acid +Violet R, 8 oz. Orange G, 3/4 oz. Patent Blue B, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. Work at the boil for one hour.</p> + +<p><i>Bright Bordeaux Red.</i>--A good bright and fast shade of red is dyed +with 3-1/2 lb. Emin Red and 7 lb. bisulphate of soda. Work at the boil +for one hour, then lift, add 3 lb. fluoride of chrome, work for +three-quarters of an hour, then lift, wash and dry.</p> + +<p><i>Bordeaux Red.</i>--Use 3 lb. Titan Scarlet D, 1/4 lb. Titan Brown O, and +20 lb. salt. Work at the boil for one hour, then lift, wash and dry.</p> + +<p><b>Claret Reds.</b>--Claret reds are very useful shades and are great +favourites of the dress-loving public. They are dark reds of a yellow +tone, and can be dyed upon wool in a variety of ways, of which the +following recipes just indicate a few.</p> + +<p><i>Claret.</i>--Make the dye-bath with 4 lb. Milling red R, 10 lb. +Glauber's salt, and 4 lb. sulphuric acid.</p> + +<p><i>Claret.</i>--Use 4 lb. Archil Substitute N, 10 lb. Glauber's salt, and +2 lb. sulphuric acid.</p> + +<p><i>Claret.</i>--Make the dye-bath with 2 lb. Bordeaux B L, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid.</p> + +<p><i>Claret.</i>--A deep shade is dyed with 2-1/2 lb. Victoria Scarlet R, +<span class="pagenum"><a id="page111" name="page111"></a>(p. 111)</span> +2 lb. Victoria Rubine O, 1 oz. Cyanine Scarlet R, 2 lb. +Victoria Rubine O, 1 oz. Cyanine B, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid.</p> + +<p><i>Claret.</i>--A fine deep shade is dyed with 2 lb. Azo Red A, 1/4 lb. +Orange extra, 1/4 lb. Cyanole, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid.</p> + +<p><b>Maroon Reds.</b>--From clarets to maroons is not a wide interval, they are +both dark shade reds, the former tending to a yellow tone, the latter +to a more bluish shade of red. A few recipes will be given to show +some of the best methods of dyeing maroons.</p> + +<p><i>Maroon.</i>--Use 6 lb. Amaranth B, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. This gives a fine bright shade.</p> + +<p><i>Deep Maroon.</i>--Make the dye-bath with 4-1/2 lb. Fast Acid +Violet 10 B, 80 lb. Glauber's salt, and 3 lb. sulphuric acid. This +gives a fine blue shade of maroon of great depth.</p> + +<p><i>Maroon.</i>--The dye-bath is made with 3 lb. Azo acid violet 4 R, 1 lb. +Fast Yellow S, 1-1/2 oz. Fast Green Bluish, 10 lb. Glauber's salt, and +2 lb. sulphuric acid.</p> + +<p><i>Deep Maroon.</i>--Make the dye-bath with 2 lb. Acid Magenta, 1/2 lb. +Orange O, 1/2 lb. Patent Blue V, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid.</p> + +<p><i>Deep Maroon.</i>--Make a dye-bath with 3 lb. Azo Acid Rubine, 1-1/2 oz. +Acid Black B B, 10 lb. Glauber's salt, and 2 lb. sulphuric acid.</p> + +<p><i>Maroon.</i>--The dye-bath is made with 3 lb. Milling Red B, 1-1/2 oz. +Naphthol Black 4 R, 10 lb. Glauber's salt, and 3 lb. sulphuric acid.</p> + +<p><i>Deep Maroon.</i>--Make the dye-bath with 1-1/2 lb. Victoria Scarlet R, +13 oz. Victoria Rubine O, 1/2 lb. Victoria Yellow, 2 lb. Keton Blue G, +10 lb. Glauber's salt, and 3 lb. sulphuric acid.</p> + +<p><i>Bright Red.</i>--A good shade is dyed with 4 lb. Lanafuchsine S G, and +10 lb. bisulphate of soda. Lanafuchsine S B dyes somewhat bluer +shades.</p> + +<p><i>Fast +<span class="pagenum"><a id="page112" name="page112"></a>(p. 112)</span> +Red.</i>--Dye with 4 lb. Milling Red B, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid.</p> + +<p><i>Bright Scarlet.</i>--Dye with 3 lb. Brilliant Cochineal 2 R, 10 lb. +Glauber's salt, and 3 lb. sulphuric acid.</p> + +<p><i>Deep Scarlet.</i>--Dye with 3 lb. Brilliant Ponceau 4 R, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid.</p> + +<p><b>Pinks.</b>--<i>Pink.</i>--Use 1-1/2 oz. Erythesine D, and 5 lb. acetic acid. +These two pinks are very much alike and are very bright.</p> + +<p><i>Bluish Pink.</i>--Use 1-1/2 oz. Rose Bengale and 5 lb. acetic acid.</p> + +<p><i>Pink.</i>--Make the dye-bath with 3 oz. Azo Cochineal, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid.</p> + +<p><i>Bluish Pink.</i>--Make the dye-bath with 3/4 to 1 oz. Fast Acid Violet R +and a little Orange G, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid.</p> + +<p><i>Pink.</i>--By using 1-1/2 oz. Fast Acid Violet R, 3/4 oz. Orange G, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, a good full pink is +obtained.</p> + +<p><i>Bluish Pink.</i>--Use 2 oz. Fast Acid Violet R, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid.</p> + +<p>Many of the other acid reds may be used for dyeing pinks if from 2 to +4 oz. of dye-stuff be used.</p> + +<p><i>Pink.</i>--Use in the dye-bath 1-1/2 oz. Diamine Fast Red F, 5 lb. +acetate of soda, and 3 lb. bisulphate of soda.</p> + +<p><i>Coral Red.</i>--Make the dye-bath with 1/2 lb. Diamine Scarlet B, 10 lb. +Glauber's salt, and 1 lb. acetic acid.</p> + +<p><i>Dark Cherry Red.</i>--The dye-bath is made with 2-1/2 lb. Orange G G, +1 lb. Brilliant Orseille C, 3/4 oz. Cyanole extra, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid.</p> + +<p><i>Deep Crimson.</i>--Use in the dye-bath 4 lb. Brilliant Orseille C, +1-1/2 oz. Cyanole extra, 3 oz. Orange G G, 10 lb. Glauber's salt, and +2 lb. sulphuric acid.</p> + +<p><i>Scarlet.</i>--Make the dye-bath with 4 lb. Lanafuchsine S G, and 10 lb. +bisulphate of soda. Work at the boil to shade.</p> + +<p><i>Crimson.</i>--Make +<span class="pagenum"><a id="page113" name="page113"></a>(p. 113)</span> +the dye-bath with 4 lb. Lanafuchsine S B, +and 10 lb. bisulphate of soda. Work at the boil to shade.</p> + +<p>The Lanafuchsines, of which there are three brands, S G, S B, and 6 B, +dye very good level shades of red from scarlet to crimson, which are +of good fastness to milling, acids and light.</p> + +<p><i>Salmon.</i>--Use 1/2 lb. Rhodamine B, 1/4 oz. Naphthol Yellow S, 10 lb. +Glauber's salt, and 2 lb. acetic acid.</p> + +<p><i>Rose Red.</i>--Use 1/4 lb. Lanafuchsine S B, 3 oz. Lanafuchsine S G, +10 lb. Glauber's salt, and 1 lb. sulphuric acid.</p> + +<p><i>Salmon Red.</i>--Use 1-1/2 oz. Lanafuchsine S G, 1/4 oz. Fast Yellow S, +10 lb. Glauber's salt, and 1/2 lb. sulphuric acid.</p> + +<p><i>Deep Crimson.</i>--The dye-bath is made with 2 lb. Naphthol Red C, 9 oz. +Acid Magenta, 3/4 oz. Cyanole extra, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid.</p> + +<p><i>Purple Red.</i>--Dye with 2-1/2 lb. Naphthol Red C, 3/4 lb. Acid +Magenta, 1 oz. Cyanole extra, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid.</p> + +<p><i>Bordeaux Red.</i>--Dye with 4 lb. Lanafuchsine S B, 1 oz. Orange extra, +10 lb. Glauber's salt, and 2 lb. sulphuric acid.</p> + +<p><i>Fawn Red.</i>--Dye with 1/4 lb. Orange G G, 3 oz. Lanafuchsine S B, +1/2 oz. Cyanole extra, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid.</p> + +<p><i>Salmon.</i>--Prepare the dye-bath with 1/4 oz. Fast Acid Violet R, +1/2 oz. Orange G, 10 lb. Glauber's salt, 1 lb. sulphuric acid. Work at +the boil to shade.</p> + +<p>The mordant reds are fairly numerous, and include both natural and +artificial red dye-stuffs. The principle or property on which the +application of this group of dye-stuffs to the dyeing of textile +fabrics depends is that they are of an acid character and combine with +metallic oxides, like those of iron, aluminium, or chromium to form +insoluble coloured bodies, or "colour lakes" as they are called. The +shade or tint +<span class="pagenum"><a id="page114" name="page114"></a>(p. 114)</span> +of these colour lakes depends, firstly, upon +the dye-stuff, and, secondly, upon the metallic oxide. Thus Alizarine +with alumina gives a scarlet, with chrome a dark red, and with iron a +dull violet. Alumina and chrome are the metallic mordants most +commonly used in the dyeing of reds; sometimes tin is used, but never +iron.</p> + +<p>The coal-tar colour makers have placed at the service of dyers a great +variety of mordant dyes, which may be classified somewhat roughly into +groups, according to their chemical composition. The first group is +called phenolic colours. These contain the group, or radical OH, +hydroxyl, once or oftener. It is to the presence of this group that +they owe their acid character and the property of combination with +metallic oxides. To this group of dye-stuffs belong such dyes as +Alizarine, Alizarine Cyanine, Anthragallol, Gambine, Coerulein, and +some others. The natural red dye-stuffs, Cochineal, Brazil-wood, +madder, etc., probably belong to this class.</p> + +<p>None of these are essentially dyes of themselves, and used alone will +not dye any fibre, it is only when they are brought into combination +with the mordant that they will dye the wool fibre.</p> + +<p>The next group may be called hydroxy-azo dyes, and are quite of modern +introduction. They are azo dyes, one of whose constituents is a body +like salicylic acid, amido-benzoic acid, dihydroxy-naphthalene-sulpho +acid, which contain the group OH, hydroxyl with carboxyl COOH. The +first group imparts phenolic characters, while the second gives true +acid properties, and both of these acting together cause the dyes to +be able to form colour lakes with metallic oxides. There is one point +of difference between the two groups of dyes, the phenolic dyes are as +a rule not dyes of themselves, some of them are practically free from +colour, and it is only when brought into combination with the metallic +oxide or +<span class="pagenum"><a id="page115" name="page115"></a>(p. 115)</span> +mordant that they form a colour and dye a fibre. On +the other hand the azo mordants are in general colouring matters, and +can be used to dye wool without the aid of a mordant, the latter only +serving to make the colour faster to light, acids, milling, etc., and +it often has no material effect on the shade or tone of colour being +dyed. Alizarine Yellow G G, Gambine Yellow, Anthracene Yellow, Chrome +Violet, are examples of such dyes.</p> + +<p>There are, however, some dyes (such as the Chromotrops, Azofuchsine, +Anthracene Acid Browns, etc.) on which the mordant has a marked +effect.</p> + +<p>The methods adopted in practice for the application of this class of +dyes are many and varied. The mordants used are alum, alumina +sulphate, acetate of chrome, chrome alum, fluoride of chrome, ferrous +sulphate and tin chloride, while, in addition, along with these true +mordanting materials, assistant mordants are used, such as argol, +tartar, tartaric acid, lactic acid, lignorosine, oxalic acid and +sulphuric acid.</p> + +<p>The mordanting may be done either before or after the dyeing, the +first plan being that commonly adopted with the phenolic colours, +while the second method may be used and is the best to use with +azo-mordant dyes. Sometimes the mordanting and dyeing may be done in +one bath, but this method is one which leads to a loss of colouring +matter and often to the production of colours which are loose to +rubbing, and cannot, therefore, be recommended.</p> + +<p><b>Mordanting.</b>--This operation is carried out in the same way in all +cases. The goods are entered into the bath at a temperature of about +150° F. The heat is raised to the boil, and is then maintained for one +and a half hours, after which the mordanted wool is lifted and well +rinsed, when it is ready for the dye-bath. As mordanting materials +bichromate of potash and fluoride of chrome are chiefly used when +chrome mordants are required, sometimes chrome alum. +<span class="pagenum"><a id="page116" name="page116"></a>(p. 116)</span> +With +these are used sulphuric acid, oxalic acid, cream of tartar or argol, +lactic acid, etc.</p> + +<p>Which of these are used depends entirely on the results which are to +be got and the dye-stuff to be used, more particularly is this the +case when bichromate of potash is the mordanting material. When +sulphuric acid is used as the assistant along with the bichrome, then +there is formed on the wool fibre a deposit of chromic acid and +chromium oxide, and this exerts an oxidising effect on the colouring +matter or dye-stuff, which in some cases, as the Alizarine Blue, +Alizarine Yellow, etc., leads to a destructive effect, and, therefore, +the production of weak shades, so that it is not possible always to +use an oxidising mordant. When tartar, argol, oxalic acid, lactic +acids and other assistants of an organic nature are used, then a +different effect is obtained, the bichromate is completely decomposed, +and a deposit of chromium oxide formed on the wool. This does not +exert any action on the colouring matter, and hence this mordant is +known as the non-oxidising mordant. It may be pointed out that when +wool is mordanted with potassium or sodium bichromate and sulphuric +acid (oxidising mordant) it has a deep yellow colour, while when +mordanted with bichromate or other chrome salt, and the organic +assistants enumerated above (non-oxidising mordant), it has a green +colour, and one sign of a well-mordanted wool is when it has a good +bright tone free from yellowness.</p> + +<p>Of the organic assistants tartar is undoubtedly the best in general +use, and, although slow in its action, leaves a good deposit of oxide +of chrome on the wool in a suitable condition to develop the best +results on dyeing. Argols are only an impure tartar. They can only be +used when dark shades are to be dyed. Oxalic acid does not work as +well as tartar, and there is not so much chrome oxide deposited on the +wool, while there is a slight tendency for a small proportion of this +to +<span class="pagenum"><a id="page117" name="page117"></a>(p. 117)</span> +be in the form of chromic acid. Of late years lactic acid +and lignorosine have been added to the list of assistant mordants; +both these give excellent results, they lead to a more complete and +more uniform decomposition of the bichromate, and therefore the +mordanting baths are more completely exhausted, so that rather less +bichromate is required; the shades which are obtained are in general +fuller and brighter. Examples of the use of these assistants will be +found among the recipes given below.</p> + +<p>With fluoride of chrome either oxalic acid or tartar is used, and a +deposit of chromium oxide is formed on the wool, the general effect +being the same as when bichromate of potash is used with oxalic acid +or tartar.</p> + +<p>Alumina is applied either in the form of alum or of sulphate of +alumina, argol or tartar being used as the assistant, oxide of alumina +being deposited on the fibre.</p> + +<p>When ferrous sulphate (copperas) is used then tartar is almost +invariably used as the assistant mordant, oxalic acid only rarely.</p> + +<p>The dyeing with mordant dyes must be done in a special way and with +great care, if uniform, level shades and fast colours are to be +obtained.</p> + +<p>The dye-bath must be started cold, and the wool be entered and worked +for twenty to thirty minutes, the object being to cause the dye-stuffs +to penetrate well into the substance of the fibre, then the +temperature is slowly raised to the boil, not less than three-quarters +of an hour being taken in doing so; the temperature is maintained at +the boil for fully one and a half hours longer. During the boiling +operation the mordant and dye-stuff combine together, and form the +characteristic colour lake, and the boiling fixes this firmly on to +the wool.</p> + +<p>The water used plays a very important part. If too hard in character, +the lime it contains shows a tendency to combine with +<span class="pagenum"><a id="page118" name="page118"></a>(p. 118)</span> +the +dye-stuff and form a colour lake, which is deposited in a loose form +on the wool or in the bath, tending to make the shades dull and loose +to rubbing. This defect can be remedied by adding a little acetic acid +to the dye-bath, say about 3 lb. to 100 gallons of the water. It +combines with and neutralises the influence of the lime, in so far as +the formation of a loose colour lake is concerned; still the lime does +unite with the dye-stuff, but the combination is formed more slowly, +and in or on the wool fibre so that it is fast.</p> + +<p>By working in the manner laid down above very fast shades can be dyed +on wool with mordant dyes, and the following recipes will give the +other details as to tints, shades, quantities, etc., not noted above.</p> + +<p><i>Claret.</i>--Mordant, 2 lb. bichromate of potash and 2 lb. tartar; dye, +8 lb. Alizarine Claret R.</p> + +<p><i>Fawn.</i>--Mordant, 3 lb. bichromate of potash and 1-1/2 lb. tartar; +dye, 3 lb. Alizarine Orange N.</p> + +<p><i>Maroon.</i>--Mordant, 3 lb. bichromate of potash and 2-1/2 lb. tartar; +dye, 15 lb. Alizarine Orange N.</p> + +<p><i>Deep Crimson.</i>--Mordant, 3 lb. bichromate of potash and 2-1/2 lb. +tartar; dye, 8 lb. Alizarine Red 1 W S.</p> + +<p><i>Lilac Rose.</i>--Mordant, 1-1/2 lb. bichromate of potash and 1-1/2 lb. +tartar; dye, 1 lb. Alizarine Red 1 W S.</p> + +<p><i>Crushed Strawberry Tint.</i>--Mordant, 2 lb. bichromate of potash and +1-1/2 lb. tartar; dye, 3 lb. Alizarine Red 2 W S.</p> + +<p><i>Deep Claret.</i>--Mordant, 3 lb. bichromate of potash and 2-1/2 lb. +tartar; dye, 5 lb. Alizarine Red 1 W S.</p> + +<p><i>Bright Fawn Red.</i>--Mordant, 2 lb. bichromate of potash and 1-1/2 lb. +tartar; dye, 1 lb. Alizarine Red 5 W S.</p> + +<p><i>Scarlet.</i>--Mordant, 10 lb. alum and 6 lb. tartar; dye, 4 lb. +Alizarine Red 5 W S.</p> + +<p><i>Rose.</i>--Mordant, 6 lb. alum and 4 lb. tartar; dye, 1 lb. Alizarine +Red 1 W S.</p> + +<p><i>Deep +<span class="pagenum"><a id="page119" name="page119"></a>(p. 119)</span> Scarlet.</i>--Mordant, 10 lb. alum and 6 lb. tartar; dye, +4 lb. Alizarine Red 1 W S.</p> + +<p><i>Deep Maroon.</i>--Mordant, 3 lb. bichromate of potash and 1 lb. +sulphuric acid; dye, 5 lb. Alizarine Red 3 W S.</p> + +<p><i>Bright Maroon.</i>--Mordant, 3 lb. bichromate of potash and 2 lb. +tartar; dye, 5 lb. Alizarine Red S W, 10 lb. Mordant Yellow.</p> + +<p><i>Deep Fawn Red.</i>--Mordant, 3 lb. bichromate of potash and 2-1/2 lb. +tartar; dye, 10 lb. Alizarine Orange W and 1 lb. Mordant Yellow.</p> + +<p>These typical recipes are here given to show what tints may be +obtained from the alizarine and the quantity of dye-stuffs required. +By using other proportions of dye-stuffs than those given a variety of +other tints may be dyed.</p> + +<p>The method of working described above is applicable to other mordant +dyeing colours besides the alizarine reds, such as Alizarine Orange, +Alizarine Blue, Anthracene Brown, Alizarine Cyanine, Galloflavine, +Gambine, Chrome Violet, etc. It will therefore not be required to +repeat this description of the process when the use of mordant colours +for producing other colours, such as blues, navies, drabs, browns, +etc., is dealt with.</p> + +<p>Although the shades dyed with the alizarines and allied colouring +matters are lacking in the brilliance characteristic of the azo +scarlets, yet they have the very great advantage of being quite fast +to washing, acids and light.</p> + +<p>There is another method of using those alizarine reds that are sold in +the form of powder, and which are distinguished by the letter S. They +are of some value in dyeing heavy woollen cloths, and the method is +indicated in the two recipes which follow:--</p> + +<p><i>Brilliant Scarlet.</i>--Prepare a dye-bath with 20 lb. Glauber's salt +and 4 lb. Alizarine Red 1 W S, boil the wool in this for +three-quarters of an hour; then lift, add to the same bath 4 +<span class="pagenum"><a id="page120" name="page120"></a>(p. 120)</span> +lb. sulphuric acid, again work at the boil for three-quarters of +an hour; then lift, add 10 lb. alum, re-enter the goods, and work +three-quarters of an hour longer; then lift, wash and dry.</p> + +<p><i>Claret.</i>--Prepare a bath with 20 lb. Glauber's salt and 4 lb. +Alizarine Red 1 W S, boil for three-quarters of an hour; then lift, +add 4 lb. sulphuric acid, re-enter the wool, boil for three-quarters +of an hour; then lift, add 3 lb. bichromate of potash, re-enter the +wool, and boil for three-quarters of an hour longer; then lift, wash +and dry.</p> + +<p><i>Bluish Red.</i>--Mordant, 2 lb. bichromate of potash and 2 lb. lactic +acid; dye, 2 lb. Alizarine Red S. In this recipe there is used lactic +acid as the assistant, and a very fine shade results.</p> + +<p><i>Red.</i>--Mordant, 3 lb. lignorosine, 2 lb. bichromate of soda and 1 lb. +sulphuric acid; dye with 12 lb. Alizarine Orange 2 G.</p> + +<p><i>Dark Bordeaux Red.</i>--Mordant, 3 lb. lignorosine, 3 lb. bichromate of +soda and 1-1/2 lb. sulphuric acid; dye, 12 lb. Alizarine S X.</p> + +<p><i>Dark Red.</i>--Mordant, 3 lb. lignorosine, 2-1/2 lb. bichromate of soda +and 1-1/4 lb. sulphuric acid; dye, 6 lb. Alizarine Orange 2 G and +4 lb. Alizarine S X.</p> + +<p>Lignorosine used as the assistant mordant in the above recipes works +very well, and gives bright shades.</p> + +<p><i>Fast Bordeaux.</i>--Prepare a bath with 4 lb. Chromogene I, 1-1/2 lb. +Alizarine Red 1 W S, 1 lb. Alizarine Red 5 W S, 1/2 lb. Fast Acid +Violet R, 10 lb. Glauber's salt and 3 lb. sulphuric acid. Work at the +boil for one hour, then lift; add to the same bath 3 lb. bichromate of +potash and 1-1/2 lb. sulphuric acid. Re-enter the goods and work to +shade, then lift, wash and dry.</p> + +<p><i>Terra Cotta.</i>--Make a dye-bath of 30 lb. Fustic, 8 lb. Turmeric, +30 lb. Sanders and 10 lb. Sumac. Boil the goods in +<span class="pagenum"><a id="page121" name="page121"></a>(p. 121)</span> +this for +one hour, then add 3 lb. sulphate of copper, previously dissolved in +water, boil for one hour; cool, sadden with Copperas, using about +3-1/2 lb. or less if required; then rinse and dry.</p> + +<p>Another method is to mordant the goods at a boil for one and a half +hours in 2 lb. bichromate of potash and 2 lb. tartar. Drain and wash. +Dye in a fresh bath with 8 lb. sanders and 10 lb. fustic; afterwards +sadden with 1/4 lb. copperas; allow to stand one hour; wash and dry.</p> + + +<p class="p2"><span class="smcap">Orange Shades on Wool.</span></p> + +<p><b>With Direct Dyes.</b> Make a dye-bath with 2 lb. Titan Orange, 20 lb. +Glauber's salt, and 1/2 lb. acetic acid. Work at the boil for one and +a half hours, then lift, wash and dry.</p> + +<p><i>Bright Orange.</i>--Dye with 1-1/2 lb. Benzo Orange R, 10 lb. salt, and +1 lb. acetic acid, working at the boil for one hour.</p> + +<p><i>Orange.</i>--Dye with 2 lb. Chloramine Orange, 20 lb. salt, and a little +acetic acid, working at the boil for one hour.</p> + +<p><i>Orange.</i>--Dye with 2 lb. Diamine Orange G C, and 20 lb. Glauber's +salt.</p> + +<p><i>Pale Orange.</i>--Dye with 3 lb. Diamine Gold, 10 lb. Glauber's salt, +and 5 lb. ammonium acetate.</p> + +<p><i>Reddish Orange.</i>--Dye with 3 lb. Diamine Orange D C and 20 lb. +Glauber's salt.</p> + +<p><i>Orange.</i>--Dye with 2 lb. Diamine Scarlet B, 1 lb. Thioflavine S, and +20 lb. Glauber's salt.</p> + +<p><i>Dark Orange.</i>--Dye with 1 lb. Diamine Red 5 B, 1 lb. Thioflavine S, +and 20 lb. Glauber's salt.</p> + +<p><b>With Acid Colours.</b> <i>Orange.</i>--Dye with 2 lb. Ponceau 3 G, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid.</p> + +<p><i>Bright Orange.</i>--Dye with 2 lb. Mandarine G, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid.</p> + +<p><i>Orange.</i>--Dye with 2 lb. Croceine Orange, 10 lb. Glauber's salt, and +2 lb. sulphuric acid.</p> + +<p><i>Bright +<span class="pagenum"><a id="page122" name="page122"></a>(p. 122)</span> +Orange.</i>--Use 3 lb. Orange G G, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid, boiling for one hour.</p> + +<p><i>Orange.</i>--Use 3 lb. Orange R, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. Work at the boil. Orange Extra will give a slightly +less red tone of orange, Croceine orange gives a good bright shade of +a yellowish tone.</p> + +<p>There are several brands of Orange dyes which can be used; they differ +but little in shade from one another. In general they give fast +colours. The Tropæolines also dye orange shades, but they are not so +fast as the other dyes which have been named.</p> + +<p><i>Gold Orange.</i>--Make a dye-bath with 1/2 lb. Diamine scarlet B, 2 lb. +Anthracene Yellow C, 50 lb. Glauber's salt, 5 lb. acetate of ammonia. +Enter the wool, work for half an hour, then add 3 lb. bisulphate of +soda. Boil again for half an hour, then lift. Add 3 lb. fluoride of +chrome, re-enter the wool, boil again for half an hour, then lift, +wash and dry. This gives a very fast orange.</p> + +<p><b>With Mordant Dyes.</b> <i>Old Gold.</i>--Mordant with 3 lb. bichromate of +potash and 1 lb. sulphuric acid; dye with 6 lb. Alizarine Yellow R W.</p> + +<p><i>Pale Orange.</i>--Mordant with 6 lb. alum and 4 lb. tartar; dye with +1 lb. Alizarine Orange G G.</p> + +<p><i>Deep Orange.</i>--Mordant with 10 lb. alum and 6 lb. tartar; dye with +10 lb. Alizarine Orange N. This last dye-stuff gives a slightly redder +shade of Orange than does the Alizarine Orange G.</p> + +<p><i>Deep Orange.</i>--Dye in a bath with 1-3/4 lb. Azo Alizarine Orange R R, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, and fix in the same +bath with 1 lb. bichromate of potash.</p> + +<p><i>Orange.</i>--Dye in a bath with 1 lb. Alizarine Red 1 W S, 2 lb. Mordant +Yellow O, 10 lb. Glauber's salt, and 2 lb. sulphuric acid, then fix +with 1-1/2 lb. bichromate of potash.</p> + +<p><i>Orange.</i>--Dye in a bath with 1 lb. Anthracene Red, 2 lb. Alizarine +<span class="pagenum"><a id="page123" name="page123"></a>(p. 123)</span> +Yellow, 10 lb. Glauber's salt and 2 lb. sulphuric acid. After +dyeing fix with 2 lb. fluoride of chrome.</p> + +<p><i>Gold Orange.</i> Mordant with 3 lb. bichromate of potash, and 2 lb. +tartar, for one and a half hours at the boil; rinse. Then dye in a new +bath with 1 lb. Alizarine Orange, 17 lb. Fustic extract. Work at +100° F. for half an hour, then heat gradually to the boil and dye for +one and a half hours at that temperature; lift, rinse and wash.</p> + +<p><b>Olive Yellow on Worsted Yarn.</b>--Mordant the yarn by boiling for one +hour or one and a half hours in a bath of 3 lb. bichromate of potash; +then dye in a bath of 1-1/2 lb. Gambine Yellow and 10 lb. of fustic +chips.</p> + +<p>Red and orange form a kind of group of colours which shade off one +into the other almost imperceptibly by using a range of dyes such as +Croceine A Z, Brilliant Croceine 9 B, Brilliant Croceine 7 B, +Brilliant Croceine 5 B, Brilliant Croceine 3 B, Brilliant Croceine +M O O, Crystal Scarlet 6 R, Brilliant Cochineal 4 R, Brilliant +Croceine B, Brilliant Cochineal 2 R, Orange E N Z, and Croceine Orange +E N. It is possible to dye shades from a scarlet crimson to a bright +orange.</p> + + +<p class="p2"><span class="smcap">Yellow Shades on Wool.</span></p> + +<p>The number of yellow dye-stuffs is very great, and the variety of +tints infinite. Yellow may be dyed with both natural and artificial +dye-stuffs, and the recipes given will include examples showing the +use of both kinds. Speaking generally, yellow dye-stuffs include +amongst them some of the fastest colours known, and there is a larger +proportion of fast yellow colouring matters than of any other class of +dye-stuffs.</p> + +<p><b>With Acid Yellows.</b> <i>Bright Yellow.</i>--Make the dye-bath with 1 lb. Fast +Yellow F Y, 10 lb. Glauber's salt, and 2 lb. sulphuric acid, working +at the boil to shade.</p> + +<p><i>Olive +<span class="pagenum"><a id="page124" name="page124"></a>(p. 124)</span> +Yellow.</i>--Prepare the dye-bath with 1 lb. Azo Carmine, +1-1/2 oz. indigo carmine, 1/2 lb. Fast Yellow, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid, working at the boil to shade.</p> + +<p><i>Maize Yellow.</i>--Prepare a dye-bath with 5 lb. acetate of ammonia, +3 oz. Anthracene Yellow C, 1/4 oz. Diamine Fast Red F. Work for twenty +minutes at the boil, then add 3 lb. bisulphate of soda; work half an +hour longer, and then wash and dry.</p> + +<p><i>Bright Canary.</i>--Prepare a dye-bath with 4 lb. bisulphate of soda, +1/2 lb. Nitrazine Yellow. Heat the bath to about 120° F., enter the +goods and heat up to the boil, and work till the bath is exhausted, +then lift; add to the dye-bath 3 lb. alum, 3 lb. tin spirits; re-enter +the goods, and boil for twenty minutes longer; lift, wash and dry.</p> + +<p><i>Bright Straw.</i>--Dye with 3 oz. Phenoflavine and 20 lb. bisulphate of +soda.</p> + +<p><i>Straw.</i>--Make the dye-bath with 1-1/4 oz. Azo Yellow, 1 dr. +Cyanine B, 1 dr. Chromotrop 2 R, 10 lb. Glauber's salt, and 1 lb. +sulphuric acid.</p> + +<p><i>Greenish Straw.</i>--Dye with 1/4 oz. Cyanine B, 1 oz. Victoria Yellow, +1/4 oz. Chromotrop 2 B, 10 lb. Glauber's salt, and 1 lb. sulphuric +acid.</p> + +<p><i>Olive Yellow.</i>--Mordant with 3 lb. bichromate of potash and 1 lb. +sulphuric acid; dye with 3 lb. Milling yellow O and 1 lb. acetic acid.</p> + +<p><i>Bright Yellow.</i>--A good shade is dyed in a bath of 2 lb. Milling +yellow O, 10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at +the boil.</p> + +<p><i>Olive Yellow.</i>--Dye with 1-1/2 lb. Titan Yellow R, 10 lb. common +salt, and 1 lb. acetic acid; after the colour has fully gone on to the +wool, add to the bath 1-1/2 lb. fluoride of chrome and maintain at the +boil for half an hour; then lift, wash and dry.</p> + +<p><i>Deep Yellow.</i>--The dye-bath is made with 1-1/2 lb. Titan Yellow R, +<span class="pagenum"><a id="page125" name="page125"></a>(p. 125)</span> +10 lb. common salt, and 1 lb. acetic acid, working at the +boil to shade.</p> + +<p><i>Yellow.</i>--A good shade is dyed with 1-1/2 lb. Titan Yellow Y, 10 lb. +common salt, and 1/2 lb. acetic acid, working at the boil to shade.</p> + +<p><i>Golden Yellow.</i>--Mordant with 3 lb. bichromate of potash and 2 lb. +tartar; dye with 1 lb. Anthracene Yellow C.</p> + +<p><i>Deep Golden Yellow.</i>--Make the dye-bath with 3 lb. Anthracene +Yellow C, and 3 lb. bisulphate of soda. Work at the boil for half an +hour, then lift; add 3 lb. fluoride of chrome, re-enter the wool and +work at the boil for another half-hour, then wash and dry.</p> + +<p><i>Deep Olive Yellow.</i>--Mordant with 3 lb. bichromate of potash and +2 lb. tartar; dye with 20 lb. fustic extract. This gives a very deep +shade of olive Yellow.</p> + +<p><i>Bright Lemon Yellow.</i>--Make the dye-bath with 10 lb. Gambine Yellow, +7 lb. alum, and 2 lb. oxalic acid. Enter cold, then slowly heat to the +boil and work to shade; then lift, wash and dry.</p> + +<p><i>Leaf Yellow.</i>--Mordant with 3 lb. bichromate of potash and 1/2 lb. +sulphuric acid; then dye with 2 lb. Gambine Y and 1 lb. Yellow N.</p> + +<p><i>Deep Leaf Yellow.</i>--A somewhat deeper shade than the last is dyed by +first mordanting with 2 lb. bichromate of potash and 1/2 lb. sulphuric +acid, then dyeing with 2 lb. Gambine R and 1 lb. Yellow N.</p> + +<p><i>Lemon Yellow.</i>--Prepare a bath with 40 lb. fustic, 6 lb. alum, 6 lb. +tartar, and 3/4 lb. tin crystals; enter the wool and work at the boil +for one and a half hours, then lift, wash and dry.</p> + +<p><i>Olive Yellow.</i>--Mordant, 3 lb. bichromate of potash and 2 lb. tartar; +dye, 3 lb. extract of fustic.</p> + +<p><i>Deep Lemon.</i>--Mordant, 3 lb. bichromate of potash and 2 lb. tartar; +dye, 1 lb. Alizarine Yellow G G W.</p> + +<p><i>Golden +<span class="pagenum"><a id="page126" name="page126"></a>(p. 126)</span> +Yellow.</i>--Mordant, 3 lb. bichromate of potash and +1 lb. sulphuric acid; dye, 10 lb. Alizarine Yellow G G W.</p> + +<p><i>Light Straw.</i>--Make the dye-bath with 3 oz. Anthracene Yellow B N, +5 lb. acetate of ammonia, and 3 lb. bisulphate of soda; work at the +boil to shade, then lift, wash and dry.</p> + +<p><i>Old Gold.</i>--A very fine shade of old gold is obtained by dyeing in a +bath of 3 lb. Anthracene Yellow C, 5 lb. acetate of ammonia, and 3 lb. +bisulphate of soda. Work at the boil for three-quarters of an hour, +then lift; add to the dye-bath 3 lb. fluoride of chrome, re-enter the +wool, and work for one and a half hours longer at the boil; lift, wash +and dry.</p> + +<p><i>Deep Yellow.</i>--Mordant, 3 lb. bichromate of potash and 2-1/2 lb. +tartar; dye, 2 lb. Mordant Yellow D.</p> + +<p><i>Pale Olive Yellow.</i>--Dye with 3 lb. Anthracene Yellow G G, 10 lb. +Glauber's salt, and 2 lb. acetic acid; after the dye-bath is exhausted +of colour add 3 lb. fluoride of chrome, and work at the boil half an +hour longer.</p> + +<p><i>Gold Yellow.</i>--Dye with 3 lb. Anthracene Yellow B N, 10 lb. Glauber's +salt, and 3 lb. acetic acid; after half an hour's boil, add 1-1/2 lb. +bichromate of potash, work for half an hour longer.</p> + +<p><i>Gold Yellow.</i>--Dye with 2 lb. Indian Yellow R, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid.</p> + + +<p class="p2"><span class="smcap">Green Shades on Wool.</span></p> + +<p>Of green shades there is an infinite variety, and these can be dyed in +several ways. Either a simple green dye-stuff may be used or mixtures +of blue and yellow dye-stuffs may be employed, this latter method +being extremely common. It is somewhat interesting to notice that, +notwithstanding the great prevalence of green in Nature, the dyer has +at his command no natural green dye-stuff, but must, if he prefers to +adopt natural dye-stuffs, use a mixture of blue and yellow dye-stuffs +to produce green shades. There are but few green colouring +<span class="pagenum"><a id="page127" name="page127"></a>(p. 127)</span> +matters derived from coal tar: Gambine, Dinitroso-resorcine, Alizarine +Green, Brilliant Green, Malachite Green, Azo Green, Fast Green, +Naphthol Green, Acid Green, Diamine Green, Benzo Green almost exhaust +the list. Compared with the numerous red and blue dyes which are +obtained from coal-tar products, green dyes are conspicuous by their +fewness. On the other hand, the dyer has in the blue and yellow dyes +from coal tar a means of producing any tint or shade of green he may +require.</p> + +<p>Members of all the classes of basic, direct, acid, azo and mordant +dyes, can be found among the dye-stuffs which can be used in dyeing +green, and the methods and principles of their application have been +fully described in previous pages. The following recipes contain all +the practical information that is needed:--</p> + +<p><b>With Direct Dyes.</b> <i>Dark Green.</i>--The dye-bath is made with 1 lb. Titan +Blue 3 B, 1 lb. Titan Yellow Y, 2 lb. salt, and 1/2 lb. acetic acid.</p> + +<p><i>Bright Green.</i>--Prepare a dye-bath with 1 lb. Titan Yellow G, 1 lb. +Titan Blue 3 B, 20 lb. salt, and 1/2 lb. acetic acid, working at the +boil for one hour.</p> + +<p><i>Dark Green.</i>--Make a dye-bath with 4 lb. Acid Blue 4 S, 2 lb. Titan +Yellow Y, and 5 lb. acetate of ammonia, working at the boil to shade.</p> + +<p><i>Blue Green.</i>--Make the dye-bath with 6 lb. Acid Blue 4 S, 2-1/2 lb. +Titan Yellow Y, and 5 lb. acetate of ammonia, working at the boil to +shade.</p> + +<p><i>Bottle Green.</i>--The dye-bath is made with 5 lb. Acid Blue 4 S, +2-1/2 lb. Titan Yellow Y, and 5 lb. acetate of ammonia, working at the +boil to shade. The greens shown in the last three recipes are of a +very satisfactory character, and show how, by the use of acetate of +ammonia in the dye-bath, the direct dyeing Titan colours can be +combined with acid colours.</p> + +<p><i>Green.</i>--Make the dye-bath with 5 lb. Glauber's salt, 5 lb. acetate +<span class="pagenum"><a id="page128" name="page128"></a>(p. 128)</span> +of ammonia, 2 lb. Sulphon Cyanine, and 1-1/2 lb. +Chrysophenine.<7p> + +<p><i>Dark Green.</i>--The dye-bath is made with 2 lb. Sulphon Cyanine, +3/4 lb. Chrysophenine, 5 lb. Glauber's salt, and 5 lb. acetate of +ammonia.</p> + +<p><i>Pale Russian Green.</i>--Make the dye-bath with 1/2 lb. Sulphon Cyanine, +2-1/2 oz. Chrysophenine, and 10 lb. Glauber's salt.</p> + +<p>The last three shades have the merit of being fast to milling, and +fairly so to light.</p> + +<p><i>Olive.</i>--Make a dye-bath with 1 lb. Nyanza Black B, 1 lb. Chrysamine, +and 20 lb. Glauber's salt. Work at the boil to shade, lift, wash and +dry.</p> + +<p><b>With Acid Dyes.</b> <i>Blue Green.</i>--Make a dye-bath with 10 lb. Glauber's +salt, 2 lb. sulphuric acid, 2 lb. Patent Blue N, and 1 lb. Azo Yellow, +working at the boil.</p> + +<p><i>Sage Green.</i>--The dye-bath is made with 10 lb. Glauber's salt, 2 lb. +sulphuric acid, 2 lb. Azo Yellow, and 1 lb. Patent Blue N, working at +the boil.</p> + +<p><i>Olive Green.</i>--Make the dye-bath with 3 lb. Naphthol Green B, 10 lb. +Glauber's salt, 15 lb. bisulphate of soda, and 1 lb. copperas, working +at the boil to shade.</p> + +<p><i>Bright Green.</i>--Make the dye-bath with 10 lb. Glauber's salt, 5 lb. +bisulphate of soda, and 1-1/2 lb. Acid Green B, working at the boil to +shade.</p> + +<p><i>Emerald Green.</i>--The dye-bath is made with 1/2 lb. Acid Green B, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. The wool might also +be previously mordanted with 15 lb. hyposulphite of soda, and 5 lb. +sulphuric acid at the boil for one and a half hours, when it will give +a bright shade of emerald green.</p> + +<p><i>Grass Green.</i>--Dye a medium indigo bottom on the wool from the vat, +then dye in a bath with 1 lb. Milling Yellow O, 5 lb. Glauber's salt, +and 5 lb. bisulphate of soda; lift, wash and dry.</p> + +<p>The +<span class="pagenum"><a id="page129" name="page129"></a>(p. 129)</span> +last recipe shows the use of the indigo vat in giving the +blue constituent in dyeing greens and other compound colours on wool. +This, while being a very effective method of dyeing, yet necessitates +two operations which add very materially to the cost of dyeing such +shades, hence it is not used for dyeing low class woollen fabrics, but +for better class goods it is frequently adopted, fast colours being +thus obtained.</p> + +<p>In thus using the indigo vat as a bottom dye regard to the properties +of indigo must be paid in carrying out any subsequent dyeing +operation, so that the indigo on the fibre be not destroyed. As a +rule, the indigo will resist any ordinary baths made with Glauber's +salt, acetate of ammonia, sulphuric or acetic acids, but it will not +resist mordanting operations with bichromate of potash, for the latter +salt destroys the indigo. Fluoride of chrome, chrome acetate, or alum, +may be used as mordants if necessary.</p> + +<p><i>Pale Sea Green.</i>--The dye-bath contains 1 oz. Cyanine B, 1 oz. Azo +Yellow, 5 lb. Glauber's salt, and 1 lb. sulphuric acid.</p> + +<p><i>Moss Green.</i>--The dye-bath is made with 1/2 oz. Chromotrop 2 R, 2 oz. +Cyanine B, 4 oz. Fast Acid Blue R, 3-1/4 oz. Azo Yellow, 5 lb. acetic +acid, and 10 lb. Glauber's salt.</p> + +<p><i>Deep Moss Green.</i>--Prepare the dye-bath with 4-1/2 oz. Cyanine B, +9 oz. Fast Acid Blue R, 4-1/2 oz. Azo yellow, 1/2 oz. Chromotrop 2 R, +5 lb. acetic acid, and 10 lb. Glauber's salt.</p> + +<p><i>Blue Green.</i>--A very fine shade of blue green is dyed with 9-1/2 oz. +Cyanine B, 1-1/4 lb. Fast Acid Blue R, 4 oz. Azo Yellow, 5 lb. acetic +acid, and 10 lb. Glauber's salt.</p> + +<p><i>Emerald Green.</i>--A pale, but brilliant shade of green is dyed with +1-1/4 oz. Patent Blue V, 4-1/4 oz. Azo Yellow, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid.</p> + +<p><i>Bright Leaf Green.</i>--Dye in a bath with 13 oz. Victoria Yellow, +<span class="pagenum"><a id="page130" name="page130"></a>(p. 130)</span> +1/2 lb. Patent Blue V, 1/2 oz. Chromotrop 2 R, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid.</p> + +<p><i>Deep Leaf Green.</i>--The dye-bath is made with 22 oz. Cyanine B, 1 lb. +Azo Yellow, 2-1/2 oz. Chromotrop 2 R, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid.</p> + +<p><i>Bright Peacock Green.</i>--The dye-bath is made with 5 oz. Chromotrop +6 B, 4 oz. Patent Blue V, 7 oz. Azo Yellow, 10 lb. Glauber's salt, and +2 lb. sulphuric acid.</p> + +<p><i>Dark Beige Green.</i>--Make the dye-bath with 1/2 lb. Fast Green Bluish, +6 oz. Fast Yellow F Y, 4-1/2 oz. Azo Fuchsine G, 10 lb. Glauber's salt +and 2 lb. sulphuric acid.</p> + +<p><i>Invisible Green.</i>--Make the dye-bath with 1-1/2 lb. Fast Green +Bluish, 1-1/4 lb. Fast Yellow F Y, 1 lb. Azo Fuchsine G, 10 lb. +Glauber's salt and 2 lb. sulphuric acid.</p> + +<p><i>Pale Sage Green.</i>--Make the dye-bath with 1 lb. Azo Acid Brown, +1/2 lb. Fast Acid Violet 10 B, 10 lb. Glauber's salt and 2 lb. +sulphuric acid.</p> + +<p><i>Bright Grass Green.</i>--Make a dye-bath with 10 lb. Glauber's salt, +2 lb. sulphuric acid, 3/4 lb. Phenoflavine, 3/4 lb. Azo Carmine B, and +5-3/4 lb. extract of indigo.</p> + +<p><i>Moss Green.</i>--Prepare a dye-bath with 1 lb. Azo Acid Brown, 1/4 lb. +Fast Acid Violet 10 B, 10 lb. Glauber's salt and 2 lb. sulphuric acid.</p> + +<p><i>Dark Sage Green.</i>--Make the dye-bath with 3 lb. Azo Acid Brown, +1/2 lb. Fast Acid Violet 10 B, 10 lb. Glauber's salt and 2 lb. +sulphuric acid.</p> + +<p><i>Emerald Green.</i>--A fine shade of emerald green can be dyed in a bath +which is made from 1/2 lb. Fast Green Bluish, 1 lb. Fast Yellow F Y, +1 lb. Acid Violet 6 B, 10 lb. Glauber's salt and 2 lb. sulphuric acid.</p> + +<p><i>Bottle Green.</i>--Make a dye-bath with 1-1/2 lb. Victoria Violet 8 B S, +3/4 lb. Victoria Yellow, 2 oz. Naphthol Yellow S, 1 oz. Fast Acid +Violet R, 1/2 oz. Cyanine B, 10 lb. Glauber's salt and 2 lb. sulphuric +acid. Work for one hour at the boil, then +<span class="pagenum"><a id="page131" name="page131"></a>(p. 131)</span> +lift; add 3 lb. +fluoride of chrome, re-enter the wool, and work for half an hour at +the boil.</p> + +<p><i>Pale Pea Green.</i>--A fine bright shade is dyed in a bath containing +1-1/2 oz. Cyanole, 3/4 oz. Naphthol Yellow and 10 lb. bisulphate of +soda. By increasing the quantity of dye-stuff in proportion to the +material, fine deep shades of green can be dyed.</p> + +<p><i>Deep Electric Green.</i>--Make the dye-bath with 2 lb. Cyanole, 1 lb. +Indian Yellow G and 10 lb. bisulphate of soda, working at the boil for +one hour; then lift, wash and dry.</p> + +<p><b>With Mordant Dyes.</b> <i>Green.</i>--Mordant with 10 lb. alum, 1 lb. +bichromate of potash and 16 lb. tartar. Dye with 10 lb. indigo +extract, 2 lb. fustic extract and 3 lb. alum, working at the boil; +lift, wash and dry.</p> + +<p><i>Dark Green.</i>--Mordant with 3 lb. bichromate of potash, 8 lb. alum and +3 lb. tartar. Dye with 10 lb. extract of indigo, 2 lb. extract of +fustic and 3 lb. alum, working at the boil.</p> + +<p><i>Sea Green.</i>--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar at the boil for one and a half hours. Dye with 1-1/4 lb. +Alizarine Blue D N W, 3-3/4 lb. Alizarine Yellow and 5 oz. Alizarine +Brown, at the boil for two hours.</p> + +<p><i>Bronze Green.</i>--Make a dye-bath with 2 lb. Cyanole extra, 2 lb. +Tropeoline O, 1 lb. Archil Substitute N and 10 lb. bisulphate of soda, +working at the boil to shade.</p> + +<p><i>Green.</i>--A very fine shade of green is dyed as follows: Mordant with +3 lb. bichromate of potash and 2-1/2 lb. tartar. Dye with 4 lb. +Alizarine Blue D N W, 1-1/2 lb. Patent Blue A and 2-3/4 lb. Alizarine +Yellow.</p> + +<p><i>Blue Green.</i>--Mordant as in the last recipe. Dye with 6 lb. Alizarine +Blue D N W, 1-1/2 lb. Patent Blue A, and 1-1/4 lb. Alizarine Yellow +G G W.</p> + +<p><i>Bright Pale Sage Green.</i>--Mordant with 3 lb. bichromate of potash and +2 lb. sulphuric acid. Dye with 5 lb. Alizarine Yellow +<span class="pagenum"><a id="page132" name="page132"></a>(p. 132)</span> +G G W, +3/4 lb. Alizarine Brown and 1-1/4 lb. Alizarine Blue D N W.</p> + +<p><i>Deep Sage Green.</i>--Mordant with 3 lb. bichromate of potash and +2-1/2 lb. tartar. Dye with 4 lb. Alizarine Yellow G G W, 3-1/4 lb. +Anthracene Brown and 2-1/4 lb. Alizarine Blue D N W.</p> + +<p><i>Pale Sea Green.</i>--Mordant with 2 lb. bichromate of potash and +1-1/2 lb. tartar. Dye with 1 lb. Coeruleine B.</p> + +<p><i>Bottle Green.</i>--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar. Dye with 20 lb. Coeruleine S W.</p> + +<p><i>Slate Green.</i>--Mordant with 2 lb. bichromate of potash and 1-1/2 lb. +tartar. Dye with 3 lb. Alizarine Green S.</p> + +<p><i>Invisible Green.</i>--Mordant with 3 lb. bichromate of potash and +2-1/2 lb. tartar. Dye with 17-1/2 lb. Alizarine Green S.</p> + +<p><i>Peacock Green.</i>--Mordant with 3 lb. bichromate of potash and +2-1/2 lb. tartar. Dye with 8 lb. Alizarine Green S.</p> + +<p><i>Dark Bottle Green.</i>--Mordant with 4 lb. bichromate of potash and +3 lb. tartar. Dye with 15 lb. Anthracene Blue W G, and 1-1/2 lb. +Mordant Yellow.</p> + +<p><i>Invisible Green.</i>--Mordant with 3-1/2 lb. bichromate of potash and +2-1/2 lb. tartar, working at the boil for one and a half hours. Dye +with 20 lb. Alizarine Green S W, and 1 lb. acetic acid.</p> + +<p><i>Sage Green.</i>--Give a medium indigo ground to the wool in a vat, then +dye for one hour at the boil in a vat containing 1/2 lb. Anthracite +Black B, 2 lb. Anthracene Yellow C, 2 oz. Diamine Fast Red F, and +5 lb. acetate of ammonia; then lift, add 3 lb. fluoride of chrome, +re-enter into the dye-bath and work half an hour longer at the boil; +lift, wash and dry.</p> + +<p><i>Peacock Green.</i>--Give a medium indigo bottom on the vat, then dye for +one hour at the boil in a dye-bath made with 1/2 lb. Anthracene +Yellow C, 2 oz. Diamine Fast Red F, and 5 lb. acetic acid; then lift, +add 3 lb. fluoride of chrome, work for half an hour longer at the +boil, then lift, wash and dry.</p> + +<p><i>Bottle Green.</i>--Mordant by boiling in a bath of 3 lb. copperas +<span class="pagenum"><a id="page133" name="page133"></a>(p. 133)</span> +and 1 lb. oxalic acid. Dye in a bath with 15 lb. Gambine R.</p> + +<p><i>Light Green.</i>--Mordant with 3 lb. copperas and 1 lb. oxalic acid. Dye +with 2-1/2 lb. Gambine Y.</p> + +<p><i>Medium Green.</i>--Mordant as in the last dye with 10 lb. Gambine Y.</p> + +<p><i>Deep Grass Green.</i>--Mordant with 3 lb. bichromate of potash and +2-1/2 lb. tartar. Dye with 9 lb. Coerulein and 1-3/4 lb. +Galloflavine.</p> + +<p><i>Bright Grass Green.</i>--Mordant with 4 lb. copperas and 1 lb. oxalic +acid. Dye with 5 lb. Gambine Y, 1/2 lb. Yellow N, and 2 lb. bisulphate +of soda.</p> + +<p>Shades dyed with Gambine are very fast to milling and light.</p> + +<p><i>Pale Sage Green.</i>--Mordant with 3 lb. bichromate of potash and 1 lb. +tartar. Dye with 1/2 lb. Milling Yellow O, 2 lb. Alizarine Black S W, +and 2 lb. acetic acid.</p> + +<p><i>Medium Green.</i>--Mordant with 2-1/2 lb. bichromate of potash and +1-1/2 lb. oxalic acid. Dye with 1-1/2 lb. Diamond Yellow B, 3-1/2 lb. +Brilliant Alizarine Blue G, and 1 lb. acetic acid.</p> + +<p><i>Invisible Bronze Green.</i>--Give a medium bottom on the indigo vat and +then mordant with 3 lb. fluoride of chrome and 2 lb. tartar. Finally +dye with 3 lb. Alizarine Bordeaux S, and 4 lb. Diamond Flavine, +working at the boil for two hours.</p> + +<p><i>Pale Slate Green.</i>--Mordant with 3 lb. bichromate of potash and +2-1/2 lb. tartar, and then dye with 1 lb. Alizarine Blue D N W, +Alizarine Yellow and 5 oz. Alizarine Brown.</p> + +<p><i>Light Green.</i>--Mordant in the usual way with 2-1/2 lb. bichromate of +potash and 2 lb. tartar. Dye with 1 lb. Methylene Blue and 1 lb. +fustic extract, working at the boil.</p> + +<p><i>Fast Green.</i>--Mordant with 8 lb. alum, 2 lb. bichromate of potash, +2 lb. sulphuric acid and 3/4 lb. tin salt. Dye with 20 +<span class="pagenum"><a id="page134" name="page134"></a>(p. 134)</span> +lb. +indigo extract and 10 oz. fustic extract, working at the boil for one +and a half hours.</p> + +<p><i>Bottle Green.</i>--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar. Dye with 4 lb. extract of fustic, 1 lb. extract of logwood, +and 2 oz. Anthracene Red. Work for one and a half hours, then add +3/4 lb. copperas, and work for half an hour longer.</p> + +<p><i>Dark Green.</i>--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar. Dye with 1-1/2 lb. Methylene Blue, 1-1/2 lb. extract of +logwood, and 4 lb. extract of fustic, working at the boil for two +hours.</p> + +<p><i>Olive.</i>--Prepare a dye-bath with 1-1/2 lb. Yellow N, 1/4 lb. Archil +Substitute, 4 lb. extract of indigo, 10 lb. Glauber's salt, 2 lb. +sulphuric acid, and 2 lb. alum, working at the boil to shade.</p> + +<p><i>Bright Green.</i>--Prepare a dye-bath containing 8 oz. Acid Green Extra +and 10 per cent. bisulphate of soda. Enter at 130° F., raise to the +boil, boil for three-quarters of an hour, and rinse.</p> + +<p><i>Bluish Green.</i>--Prepare a dye-bath containing 8 oz. Fast Acid Green +B N and 10 lb. bisulphate of soda. Enter at 130° F., raise to the +boil, boil for three-quarters of an hour, and rinse.</p> + +<p><i>Bluish Green.</i>--Prepare a dye-bath containing 8 oz. Cyanole Green 6 G +and 10 lb. bisulphate of soda. Enter at 130° F., raise to the boil, +boil for three-quarters of an hour, and rinse.</p> + +<p><i>Turquoise Green.</i>--Prepare a dye-bath containing 8 oz. Cyanole +Green B and 10 lb. bisulphate of soda. Enter at 130° F., raise to the +boil, boil for three-quarters of an hour, and rinse.</p> + +<p><i>Slate +<span class="pagenum"><a id="page135" name="page135"></a>(p. 135)</span> +Green.</i>--Mordant the wool by boiling for one and a +half hours in a bath containing 3 lb. bichromate of potash, 1-1/4 lb. +Copper sulphate and 2-1/4 lb. tartar; then rinse well, and dye in a +bath containing 2-1/2 lb. Logwood Extract (dry), 1-1/4 lb. Fustic +Extract (dry), and 3 lb. Sumac. Enter the goods in a warm bath, work +for half an hour, then raise to the boil and work for three-quarters +of an hour; lift, and sadden by adding 6 oz. Copperas. After +re-entering the goods, work to shade.</p> + +<p><i>Olive.</i>--Boil two hours in a bath consisting of 1-1/2 lb. tin salt, +2-1/2 lb. bichromate of potash, 10 lb. alum and 2-1/2 lb. sulphuric +acid. Then enter in a boiling dye-bath containing 1-1/2 lb. alum, +4 lb. fustic extract and 3-1/2 lb. indigo extract.</p> + +<p><i>Fulling Fast Olive.</i>--For one hour upon a bath containing 50 lb. +Fustic, 5 lb. Bluestone, 2 lb. Tartar, 4 lb. Sumac, 1 lb. Copperas; +lift and wash.</p> + +<p><i>Fast Bright Olive.</i>--Boil for one hour upon a bath of 50 lb. Fustic, +3 lb. Bluestone, 2 lb. tartar, 1 lb. copperas, 2 oz. indigo extract.</p> + +<p><i>Yellow Olive.</i>--Prepare a bath containing 10 lb. Glauber's salt, +1-1/2 lb. Anthracene Yellow B N, 2 lb. extract of indigo, 3 oz. Orange +E N Z, 4 lb. sulphuric acid. Enter yarn at 160° F., give three turns, +raise the temperature slowly to the boil, turn to shade; lift, and +wash.</p> + +<p><i>Olive Green.</i>--Mordant with 2 lb. potash bichromate, 1-1/2 lb. +sulphate of copper, 1/2 lb. sulphuric acid. Boil for an hour and a +half. Dye in a bath with 8 lb. Fustic extract, 5 lb. Sumac, 5 lb. +Logwood, at the boil for an hour and a half.</p> + +<p><i>Olive Bronze.</i>--Make the dye-bath with 10 oz. Fast Yellow S, 5 lb. +Indigo extract, 5 oz. Orange E N Z, 4 lb. sulphuric acid, 10 lb. +Glauber's salt. Enter yarn at 140° F., work for a few minutes, then +bring slowly to the boil and work to shade.</p> + +<p><i>Emerald Green.</i>--Prepare the dye-bath with 1 lb. Acid Green +<span class="pagenum"><a id="page136" name="page136"></a>(p. 136)</span> +B N, 2 oz. Naphthol Yellow S, 10 lb. Glauber's salt, 2 lb. sulphuric +acid. Enter cold, then raise to the boil and work for a quarter of an +hour; wash and dry.</p> + +<p><i>Invisible Green.</i>--First mordant the wool in a bath containing 3 lb. +bichromate of potash, 1-1/2 lb. copper sulphate, 1 lb. sulphuric acid. +Work at the boil for one and a half hours, then dye in a fresh bath +containing 2 lb. Milling Yellow O, 2 lb. Logwood extract, 20 lb. +Glauber's salt. Work at the boil for one and a half hours, then lift, +wash and dry.</p> + +<p><i>Sea Green.</i>--Prepare a dye-bath with 5 lb. Glauber's salt, 2 lb. +sulphuric acid, 2 lb. indigo extract, 1/2 per cent. Acid Green blue +shade. Dye as usual.</p> + +<p>Cyprus Green B, and Cyprus Blue B, belong to a new group of dyes that +owe their value in wool dyeing to the fact that the dyeings after +being treated with copper sulphate become very fast to light and +washing. Three per cent. of each gives very full shades of bluish +green or dark blue. The dyeing is done with Glauber's salt and acetic +acid when reddish shades are got; these in a bath of copper sulphate +turn green or blue.</p> + + +<p class="p2"><span class="smcap">Blue Shades on Wool.</span></p> + +<p>There are a very large number of blue artificial dyes of every class, +but only a few natural ones, indigo and logwood, and with these every +imaginable tint and shade of blue from the palest sky tints to the +darkest navy blue or blue black can be produced.</p> + +<p>While some of the blue colouring matters possess no great powers of +resistance to light, air, washing, etc., the great majority are +remarkable for their fastness to those destructive agencies.</p> + +<p>There are but two natural dye-stuffs, indigo and logwood, from which +blue tints can be dyed. With the former, a great variety of shades can +be dyed of a satisfactory character as regards +<span class="pagenum"><a id="page137" name="page137"></a>(p. 137)</span> +fastness; +with the latter, only dark blues can be dyed, these are fairly fast to +milling, but only moderately so to light.</p> + +<p>The artificial blues derived from coal tar are very numerous, and +representatives of all classes, direct, basic, acid and mordant of +dye-stuffs may be found among them. The direct blue dyes do not work +very well on wool. They are apt to dye very red, and somewhat dull +shades, which are, however, fairly fast to washing and light. The +basic blue dyes are fairly numerous, and may be used to dye from pale +sky to deep navy tints. They are apt to work somewhat unevenly on to +wool, owing to their great affinity for the fibre. They give shades +possessing some degree of resistance to light, but which are not very +fast to washing and milling, although, in this respect, there are very +great differences among them. The acid dyeing blues are fairly +numerous, but they dye a great variety of tints, usually fairly fast +to washing, milling and light. The mordant blues are pretty numerous +and of great value for dyeing wool, as they give shades which are +remarkable for their fastness to light, acids and milling, hence they +are most extensively used, especially for dyeing fabrics that are +subject to very hard wear.</p> + +<p><b>Indigo Dyeing.</b>--It will be most convenient to begin the description of +the methods of dyeing blues by showing how, and in what manner, indigo +is applied in wool dyeing.</p> + +<p>The dyeing of indigo on wool is effected in two ways, either in the +usual way with acid baths, as with acid scarlets, when the so-called +indigo extract is used, or in vats, when indigo itself forms the +dye-stuff.</p> + +<p>Indigo is, as all dyers know, or should know, a natural dye-stuff, +prepared from the leaves and twigs of the indigo plant by a species of +fermentation which produces the indigo in a soluble form from the +indigo substance in the plant, followed by oxidation which results in +the separation of the indigo from this solution.</p> + +<p>It +<span class="pagenum"><a id="page138" name="page138"></a>(p. 138)</span> +comes into this country in the form of lumps, which have a +dark blue to bronze blue colour. The dye-stuff is insoluble in water, +cold alcohol, alkalies or weak acids. When heated with strong and +fuming sulphuric acid it dissolves, forming a blue liquor from which +the colouring matter may be obtained on addition of soda in the form +of a paste, which is used in wool and silk dyeing under the name of +indigo extract. But dissolving in sulphuric acid materially affects +the properties of indigo as a dye-stuff, as will be seen later on.</p> + +<p>By the action of reducing agents the insoluble blue indigo is +converted into a soluble white indigo. This body is rather unstable, +and on exposure to the air it rapidly becomes oxidised and converted +back again into the blue indigo. Upon this principle is based the +application of indigo in dyeing by means of the vat.</p> + +<p>Various methods may be adopted to cause the indigo to become +dissolved. These may be divided into two groups: (1) Fermentation +vats, in which the action of reducing agents is brought about through +the influences of the fermentation of organic bodies, such as woad, +bran, treacle, etc; (2) Chemical vats in which the reducing effect is +brought about by the reaction of various agents on one another.</p> + +<p>Of such vats the copperas and lime and the hydrosulphite vats are +examples. The fermentation vats, when in good order, work well and +give good results, but they are most difficult to prepare or set. The +chemical vats are the easiest to work, and (especially the +hydrosulphite vats) are coming to the fore, and are gradually driving +out the fermentation vats.</p> + +<p>The actual method of dyeing with the indigo vat is the same with all +methods of preparation. The material to be dyed is well wetted or +wrung out in water. It is then dipped into the vat, handled a few +minutes to ensure its thorough impregnation, then lifted out, the +surplus liquor wrung out, and +<span class="pagenum"><a id="page139" name="page139"></a>(p. 139)</span> +the material exposed to the +air, when the indigo white on it soon absorbs oxygen and turns into +blue indigo.</p> + +<p>With these few preliminary remarks the methods of setting the various +indigo vats will now be described in detail.</p> + +<p><b>Woad Indigo Vats.</b>--This is one of the most difficult of the various +methods of setting vats. There are so many opportunities for it to go +wrong, and to be able to set a woad vat successfully will go far to +make a man a successful indigo dyer. No two woad vat dyers use exactly +the same recipe in setting a woad vat, and each considers he has a +secret art by means of which he ensures the successful working of this +vat, and this he jealously guards. All these differences in the manner +of setting the vat are brought about not by any radical differences in +the materials used, but by some unnoticed differences in other +surroundings; differences in the mean temperature of the water used, +in the general conditions of the atmosphere of the indigo shed and in +other similar circumstances, all of which have a material influence on +the development of the vat, but which are, in the majority of cases, +overlooked by the indigo dyer, the result being that a method of +working which is successful in one place would not be so in another. +The fermentation processes depend upon the reducing action brought +about by certain organisms of the nature of the yeast plant which grow +and develop in such vats.</p> + +<p>To ensure the proper growth and development of these organisms every +condition must be perfect, correct temperature, proper proportions of +food for them to live on, and a certain degree of alkalinity or +acidity of the vat, and these points are most difficult to regulate as +they will vary very much from time to time.</p> + +<p>A successful vat maker is one who closely observes his vats, and the +way in which they are working, and who, as the +<span class="pagenum"><a id="page140" name="page140"></a>(p. 140)</span> +result of +such observations, is able to tell in what way his vats are deficient, +so that he may know how to supply that deficiency.</p> + +<p>The following method of setting a woad vat may be adopted. It is +calculated for 100 gallons of liquor. The vat is filled with hot +water, and 80 lb. of woad are allowed to steep overnight in it, having +first been well stirred into the water, so as to ensure that every +part is wetted out. The next morning there is added 8 lb. madder, +12 lb. bran, 5 lb. quick-lime (previously slaked with water), and +2-1/2 lb. soda. These are thoroughly stirred together, then from 5 to +7-1/2 lb. indigo is stirred in. The indigo should have been previously +ground into a fine paste with water. The temperature of the vat should +now be maintained at from 115° to 125° F. for two to three days, at +the end of which time it ought to be in a state of quiet working. +Should it be found that the fermentation is going on too rapidly, a +little lime may be thrown in, which will retard it. On the other hand, +if it should not be going on with sufficient energy, this may be +remedied by adding a little bran, or better, a little treacle.</p> + +<p>When in perfect condition the vat should have a slight smell of +ammonia. If this is not noticed it indicates that the vat is deficient +in alkalinity, and a little more lime should be added. Soda may be +used in the place of lime, but it is so much more energetic in +character that any additions of it have to be made with great care, or +the vat will become too alkaline in character, and the fermentation +will go on too rapidly, the ammoniacal odour is lost, and a peculiar +putrid smell takes its place. As soon as this is noticed, lime ought +to be added to retard the fermentation and to develop the ammoniacal +smell. The colour of a good well-set vat is olive brown.</p> + +<p>When all the indigo is dissolved and the colour of the vat +<span class="pagenum"><a id="page141" name="page141"></a>(p. 141)</span> +is a clear olive yellow to brown the vat is then ready for dyeing, and +may be used for a long time, until, in fact, the deposit gets too +large and the wool becomes dirtied. But it must not be continually +worked, or it will give bad shades and loose colours. When in a bad +condition it will usually turn of a dark brown colour, and give dull +greenish shades. To remedy this there should be added some bran, +treacle, and a little madder, as well as indigo, and the vat should be +left for a day, at a temperature of 130° F., to get up to full +strength again. Every night when in work indigo ought to be added to +the vat in proportion to that consumed during the day, with bran and +lime, the latter in not too great amount, just sufficient to keep it +of the necessary alkalinity.</p> + +<p><b>Hydrosulphite Vat.</b>--This is one of the best vats to use in dyeing with +indigo on wool, or, indeed, on any textile fabric. It is easy to +prepare and cleanly to work. While depending solely on chemical action +for its preparation and use, it is freer from those peculiar defects +to which organic vats, like the woad vats, are liable.</p> + +<p>There is a further advantage about this vat, it is not necessary to +prepare each individual vat separately, but a strong mother liquor or +concentrated indigo solution may be prepared, and this only requires +letting down with water to produce a vat of any required strength.</p> + +<p>In the preparation of this vat, which was devised by Schutzenberger +and Lalande, bisulphite of soda and zinc dust are used with either +quick-lime or caustic soda. The bisulphite of soda is allowed to act +on the zinc as will be detailed when an acid solution of sodium +hydrosulphite NaHSO<sub>2</sub>, more strictly hydrogen sodium hydrosulphite, +is obtained. The acid solution of hydrosulphite has the property of +rapidly reducing and dissolving indigo, and this solution may be used +in dyeing. To prepare the hydrosulphite a vessel +<span class="pagenum"><a id="page142" name="page142"></a>(p. 142)</span> +which is +fitted with an agitator and can be closed is filled with zinc, either +in the form of dust, foils, or granules. Then bisulphite of soda of +50° to 60° Tw. strength is poured over the zinc in sufficient quantity +to cover it. All access of air should be avoided as much as possible, +as it leads to oxidation. In the case of using zinc powder the action +is often so rapid as to lead to heating, which also should be avoided. +The operation takes from an hour to two hours, when the liquor may be +drawn off. It must be used immediately to dissolve the indigo; or +otherwise, as it is a very unstable body, it is liable to decompose +and become oxidised, when it loses its solvent properties. If more +hydrosulphite is required, fresh bisulphite may be poured over the +zinc which is left unused in the vessel; if no more is wanted the zinc +which is left should be well rinsed in water and the vessel filled +with water, so as to prevent any oxidation of the zinc, and so keep it +ready for use when required. The liquor thus made will usually have a +specific gravity of 62° Tw. The zinc which is used up in the +preparation of the liquor is replaced by fresh zinc from time to time.</p> + +<p>The liquor so obtained is, as stated above, rather unstable, and +contains acid sodium hydrosulphite. By mixing with milk of lime, the +acidity is neutralised, zinc oxide and calcium sulphite are thrown +down, and a solution of neutral sodium hydrosulphite is obtained which +is more stable and can be kept longer without decomposition. To +prepare this, take 10 gallons of the acid liquor, as prepared in the +manner described above, and mix it with 48 lb. of milk of lime, which +is made from 2 lb. good quick-lime. Stir well together, allow all +sediment to settle, or better, filter-press the mass. A liquor of +36° Tw. strength will usually be obtained. Do not let it stand too +long before use, make it alkaline by adding a little lime.</p> + +<p>To make the mother or stock indigo, the following method of +<span class="pagenum"><a id="page143" name="page143"></a>(p. 143)</span> +procedure may be adopted. Indigo, say 10 lb., is ground into as fine a +paste as possible with 13 lb. milk of lime, of such a strength that 1 +gallon shall contain 30 oz. quick-lime. To this is then added so much +of either the acid or the neutral sodium hydrosulphite as can be made +from 90 lb. of bisulphite of soda, the mixture being kept at 150° F., +until a comparatively clear, greenish yellow solution is obtained, +this will contain about 1 lb. of indigo per gallon.</p> + +<p>This mother liquor may be used in setting the vat as follows. The vat +is filled with water which is heated to 120° F., about 200 gallons +being used. To this is then added 1 gallon of either hydrosulphite or +bisulphite of soda to destroy the free oxygen it contains, and prevent +it from oxidising the indigo solution, which is next added. The +quantity of the latter is solely regulated by the depth of shade it is +desired to dye, and as soon as the requisite quantity has been added +the dyeing may be proceeded with at once, and the first portion of +goods put through will soon show the dyer whether too much or too +little of the mother indigo has been added.</p> + +<p>Continued use and the consequent agitation of the vat thereby +generated causes it to become oxidised, and the vat acquires a +greenish colour, and does not give fast colours. When this is noticed +the use of the vat is stopped; it is heated to about 160° F., and a +little lime and hydrosulphite added, when all the oxidised indigo in +the vat will speedily be reduced, and the vat put into a workable +condition again. By use this vat tends to become alkaline, and +consequently will spoil the wool, making it harsh and brittle. This is +remedied by adding a little hydrochloric acid.</p> + +<p><b>Holliday's Patent Indigo Vat.</b>--Messrs. Read Holliday & Sons have +patented an improved method of making an indigo solution and the +method of using it. They supply the indigo in the form of solution in +two strengths, ordinary and concentrated. Both are used in the same +way, only of the latter less, +<span class="pagenum"><a id="page144" name="page144"></a>(p. 144)</span> +about one-fourth to one-third, +is required than of the former. For those who would wish to buy their +indigo ready prepared for use these are very convenient forms.</p> + +<p>The best way of working the vat for wool is the following: 40 gallons +of water heated to about 50° C., add 1/4 lb. of a mixture of 1-1/4 +gallons bisulphite of soda, 52° Tw., and 1 lb. zinc dust, and, say, +1/2 gallon to 2 gallons, of the patent indigo solution, according to +the depth of shade required. The boiled out wool is worked below the +surface of the liquor for about three minutes, then taken out, and the +excess of liquor squeezed back into the vat, the whole operation is +repeated until the shade is arrived at. After dyeing, rinse in an acid +bath of 1° to 2° Tw.</p> + +<p>The advantages of this new vat are that brighter shades are obtained +and the darker shades with fewer dips, while the goods are dyed +cleaner and the shades are more quickly obtained, and, we think, +somewhat faster than by the other process.</p> + +<p>There is also the advantage that no lime or other alkali is used with +this new indigo vat. The wool should be boiled out before dipping, if +the best results and even shades are desired.</p> + +<p><b>Potash-Indigo Vat.</b>--This is also a fermentation vat, and is set in the +following manner: 5 lb. of madder and 4 lb. of bran are mixed with 50 +gallons of water and heated for from three to four hours, until a +temperature of from 180° to 212° F. is attained. Then 15 lb. of +carbonate of potash are added and the liquor is allowed to cool down +to about 120° F. Next 10 lb., more or less according to shade +required, of finely ground indigo is added, and the whole is left for +from forty-eight to sixty hours to ferment, being stirred up at +intervals of twelve hours. This vat ferments in much the same way as +the woad vat, and presents the same general appearances. It is not so +liable to get out of order as the woad +<span class="pagenum"><a id="page145" name="page145"></a>(p. 145)</span> +vat, and in +consequence is much more easily managed. It does not, however, give +such bright shades as either of the vats previously described, but it +dyes a little quicker, and deeper shades can be produced. It is the +best vat to use where indigo dyeing is carried on at irregular +intervals, also for dyeing dark shades of navy blue and for giving an +indigo bottom for dark blues, browns and greens. Such shades stand +milling and alkalies very well.</p> + +<p><b>Soda-Indigo Vat.</b>--The soda-indigo vat is set in the following manner: +100 lb. bran is boiled with 200 gallons of water for three hours, then +the liquor is allowed to cool from 100° to 120° F. Then 20 lb. of soda +crystals, 5 lb. slaked lime, and 10 to 15 lb. ground indigo are added, +the mixture being left for two or three days to ferment, and stirred +up at intervals.</p> + +<p>Sometimes a little more soda or a little lime is added, as may be +judged from the appearance of the vat, these appearances being +practically the same as those met with in the woad vat, which have +already been described in detail.</p> + +<p>The soda vat closely resembles the potash vat, but is cheaper to +produce. It keeps its dyeing power longer, but is somewhat more liable +to get out of order. It is like the potash vat, easier to manage than +the woad vat, as with all the woad vats it is necessary after working +them for a day to replenish them with a little indigo, soda, or +potash, as the case may be, and a little bran.</p> + +<p>Cleaner vats are obtained if treacle be substituted for the bran, but +the latter ferments better, and gives better results in working.</p> + +<p><b>Urine-Indigo Vat.</b>--This vat has almost, if not quite, gone out of use, +being a rather unpleasant vat to work with, with few advantages over +other vats. One advantage it possesses over the woad and potash vats +is that it is the best for working on a small scale, but the modern +zinc reduction vats run it +<span class="pagenum"><a id="page146" name="page146"></a>(p. 146)</span> +very close in this respect. The +vat is made as follows: To 50 gallons of stale urine 4 lb. of common +salt are added, and the mixture heated to from 120° F. to 140° F. Then +1 lb. madder and 1 lb. ground indigo are added, and the mass is well +stirred. Then the mixture is allowed to stand until the indigo is +completely reduced, when the vat is ready for dyeing.</p> + +<p><b>Indigo-Indophenol Vat.</b>--Messrs. Durand, Huguenin & Co. have introduced +the use of Indophenol along with indigo in wool dyeing. Indophenol can +be reduced in the same way as indigo, and fibres dipped in this +reduced product on exposure to air turn blue in the same way as if +dipped in an indigo vat.</p> + +<p>By itself indophenol has not met with much favour from dyers for a +variety of reasons, but it has been found that, mixed with indigo, it +can be used in dyeing with some advantage on the score of cheapness. +The newly mixed vat is made in the following manner:--</p> + +<p>In a convenient vessel 26 gallons of water, 15 lb. zinc dust, ground +into a paste with 6 gallons of water, and 7 gallons bisulphite of soda +of 55° Tw. strong are mixed. Then 8 pints caustic soda lye of 72° Tw., +and 16 pints liquor ammonia are added, and the whole mass is well +stirred up; 22 lb. good indigo of about 70 per cent. indigotine and +7-1/4 lb. Indophenol are thoroughly ground into a paste with 7 gallons +of water and 2 pints caustic soda lye of 72° Tw. The paste is added to +the previous mixture, and, after being well stirred in, sufficient +water is added to make the total volume of liquor up to 100 gallons. +The mass is stirred up from time to time during a period of from +thirty-six to forty-eight hours, by which time, as a rule, the indigo +and Indophenol will have been completely reduced, and the vat have +acquired a canary-yellow colour; if it has not, add a little more zinc +dust and bisulphite of soda. It is ready for use when it has a good +yellow colour.</p> + +<p>This +<span class="pagenum"><a id="page147" name="page147"></a>(p. 147)</span> +forms what may be called a "mother," or stock vat, from +which the dyeing vat is made in the following manner: Take a +sufficient quantity of water to make the dyeing vat, add some +hydrosulphite of soda (see below) to destroy any oxidising action the +vat liquor may have, then add sufficient of the stock vat to give the +required shade, this point is one which must be determined by +experience. The vat is now quite ready for use, and the wool is +entered and treated in the usual manner.</p> + +<p>After dyeing each lot of wool it is advisable to add some of the stock +vat to replace the indigo abstracted by the goods. When a number of +dyeings have been done, it is possible that the vat may become charged +with oxidised indigo and lose its clean, yellow colour. It may be +restored to its former conditions by adding some hydrosulphite of +soda. Of course, after considerable use this, like all other indigo +vats, becomes too highly charged with sediment, etc., to give +excellent results, in which case the only thing that can be done is to +throw the old vat away and start a new one.</p> + +<p>The hydrosulphite of soda referred to above is made in the following +way: 4-1/2 lb. zinc dust are ground into a paste with 5-1/2 gallons of +water and then mixed with 4 gallons bisulphite of soda at 55° Tw., +stirring well so as to keep the temperature down. Then add 3 pints +caustic soda lye of 72° Tw., and 3-1/2 pints liquor ammonia. Finally, +add sufficient water to make 13 gallons. After standing for two or +three days the preparation is ready for use. It should be alkaline in +property; if not, add a little ammonia to make it so. This vat gives +very good bright shades, from sky blue to dark navy, which are equally +as fast as pure indigo shades.</p> + +<p>Sometimes woollen goods dyed with indigo rub badly. The causes of this +defect vary from time to time, and in many instances are often obscure +in their origin. All goods intended for indigo dyeing, and more +especially when shades fast +<span class="pagenum"><a id="page148" name="page148"></a>(p. 148)</span> +to rubbing are desired, should +be thoroughly cleansed, and before passing into the indigo vat should +be thoroughly freed from any soap which may have been used in the +boiling out. Then, after dyeing, they ought to be well rinsed in water +and passed through a sour made with sulphuric acid (2 lb. in 10 +gallons), and then washed again. Vats highly charged with sedimentary +matter, or with zinc or lime, are often the cause of loose shades. The +remedy is obvious, <i>viz</i>., the discarding of such vats and the +preparation of new ones, in fact old vats are perhaps more fruitful +sources of loose shades than any other cause. Soft water suits indigo +dyeing better than hard water, and is to be preferred.</p> + +<p>It is not advisable to attempt to get full or deep shades of indigo at +one dip, for such would necessitate the use of strong baths. Dyeings +produced in this way are liable to rub badly, because the indigo lies +mostly on the surface, to which it is more or less mechanically +attached. Light shades of indigo are fast to rubbing, and by repeated +dippings in a light vat or a medium shade vat deep shades of fair +fastness to rubbing can be got.</p> + +<p>As repeatedly stated, no indigo vat can be worked continuously with +good results; the continual agitation induced by the passage of the +yarns or cloths into the liquor brings the liquor into contact with +the air, and oxidation sets in, resulting in the indigo being thrown +out of the liquor in its original form. When this happens the vat +loses its original clear yellow or yellowish-brown colour and becomes +greenish, a sure sign that the vat is getting out of condition to give +good results. The remedy has been pointed out in dealing with each +kind of vat, and consists essentially in adding to the vat more of the +active reducing agent and allowing the vat to rest a while.</p> + +<p>The dye-vats may be either round tubs or square wooden tanks; for yarn +in hanks, when cloths or warps are being dyed, +<span class="pagenum"><a id="page149" name="page149"></a>(p. 149)</span> +these may be +fitted with winces and guide rollers so as to draw materials through +the liquor.</p> + +<p>The hawking machine shown in figure 22 is also very good for indigo +cloth dyeing, and is largely used for this purpose.</p> + +<a id="img023" name="img023"></a> +<div class="figcenter" style="width: 500px;"> +<img src="images/img023.jpg" width="500" height="435" +alt="Indigo Dye-vat" title=""> +</div> + +<p>Figure 23 also shows an excellent machine for indigo dyeing on cloth. +In this the vat has a frame carrying guide rollers, round which the +cloth passes, so that it travels several times through the vat liquor +in its passage from one end of the vat to the other, the amount of +liquor in the vat being so arranged that the cloth is entirely +immersed the whole time. After going through the liquor the cloth +passes between a pair of squeezing rollers, in order to have any +surplus liquor taken out, then it traverses the space between sets of +guide rollers arranged over the vat, during which time the indigo +becomes +<span class="pagenum"><a id="page150" name="page150"></a>(p. 150)</span> +oxidised and the blue develops, while finally it is +plaited down on a table. The illustration clearly shows the working of +the machine.</p> + +<p><b>Dyeing Wool with Indigo Extract.</b>--Sulphonated indigo, prepared by +dissolving indigo in sulphuric acid, is sold under the name of "indigo +extract," or "indigo carmine," in two forms--paste (containing, +perhaps, 25 to 30 per cent. actual colour) and powder. Both forms are +freely soluble in water, although some makes are more so than others. +This quality of solubility is dependent upon the proportion of +sulphuric acid which may have been used in the preparation of the +extract. When this is small, what is termed indigo monosulphonic acid +only is formed, which is but slightly soluble in water, and gives red +shades. If a larger proportion of acid be used, then the indigo +disulphonic acid is formed, which is fairly easily soluble in water, +and gives bluer shades than the former.</p> + +<p>As all forms of indigo extract are regular articles of commerce, +details for their preparation will not be given here. It will suffice +to say that indigo is heated with strong sulphuric acid until test +samples show that the indigo has been completely dissolved, and it is +then diluted with water and filtered. Sometimes it is sold in this +condition under the term "chemic," but if this be used in dyeing wool +it gives rather unsatisfactory results. When "sour extract" is +required, the liquor filtered out is next treated with salt until all +the colour has been precipitated out, when it is filtered off, +drained, pressed and sold. Should "neutral" or "sweet" extract be +required, then the acid liquor is neutralised with soda, and the +product is salted out as before, drained and pressed to a suitable +consistence. It is then sold as "indigo extract," or dried, at +150° F., to a powder, which is known as "indigo carmine".</p> + +<p>All forms of indigo extract are dyed on wool from baths of +<span class="pagenum"><a id="page151" name="page151"></a>(p. 151)</span> +Glauber's salt and sulphuric acid, and therefore they can be classed +with the acid-dyeing coal-tar colours. Indigo extract is notable for +its level dyeing and penetrative properties, but it is not fast to +light or milling.</p> + +<p>Messrs. Read Holliday & Sons have a powder form of indigo extract +which will be found very useful and to give better shades than the +usual run of paste extract, while it only takes about one-fifth the +quantity to give a similar shade. Working at the boil should be +avoided with indigo extract, as tending to make the shades greenish in +tone; from 170° to 180° F. will usually be found hot enough to dye +good shades.</p> + +<p>Indigo extract is not much used by itself in dyeing blues on wool, but +it is extensively employed along with other dye-stuffs to produce an +immense variety of shades--drabs, greens, fawns, greys, lilacs, etc., +of which some examples will be given later on.</p> + +<p><i>Indigo Blue.</i>--Prepare a bath with 10 lb. indigo extract, 5 lb. +sulphuric acid, and 10 lb. Glauber's salt. Work just under the boil to +shade.</p> + +<p><i>Sky Blue.</i>--The dye-bath contains 1 lb. indigo extract, 2 lb. +sulphuric acid, and 10 lb. Glauber's salt. Work at about 160° F. to +shade.</p> + +<p><b>Dyeing Wool Blue with Logwood.</b>--This method of dyeing blue on wool has +lost much of its importance since the introduction of the artificial +dyes, but it is still employed when a blue fast to milling is wanted. +Logwood gives dark navy blue shades. The process is as follows: The +wool is first mordanted by boiling for one and a half hours in a bath +of 3 lb. bichromate of potash and 2-1/2 lb. of tartar. The operation +must be so carried out that the non-oxidising green chrome mordant is +developed on the fibre, and therefore the boiling must be thorough. In +place of tartar, argols and oxalic acid are frequently used, while +lactic acid or lignorosine might +<span class="pagenum"><a id="page152" name="page152"></a>(p. 152)</span> +be employed. The dyeing is +done in a bath of 20 to 25 lb. logwood, or 5 to 8 lb. logwood extract; +the bath is started cold, heated slowly to the boil, and kept at that +heat for one to one and a half hours. Between the mordanting and +dyeing the wool should be well rinsed.</p> + + +<p class="p2"><span class="smcap">Dyeing Blue with Coal-tar Dyes.</span></p> + +<p>The blue dyes derived from coal tar are very numerous, direct, basic, +acid and mordant blues being known. The direct and basic dyes are very +little used, but the acid and mordant dyes are extensively employed, +as is indicated in the following recipes.</p> + +<p><b>Dyeing with Direct Dyes.</b> <i>Pale Blue.</i>--Prepare a dye-bath with 1/2 lb. +Sulphon Cyanine and 10 lb. Glauber's salt. Enter the goods, and work +at the boil for one hour, then lift, wash and dry.</p> + +<p><i>Black Blue.</i>--Prepare a dye-bath with 3 lb. Sulphon Cyanine, 5 lb. +Glauber's salt, and 5 lb. acetate of ammonia; work at the boil for one +hour. Sulphon cyanine works well with other dye-stuffs, and gives +shades which are fast to milling.</p> + +<p><b>Dyeing with Acid Dyes.</b> <i>Bright Blue.</i>--Prepare a bath with 2 lb. borax +and 1 lb. Alkali Blue B. Enter the wool at about 170° F., then heat to +the boil, and work for half an hour; then lift, rinse lightly, and +pass into a weak sour bath, with sulphuric acid to raise to the +colour.</p> + +<p>Soda may be used in place of borax, but the latter salt maintains the +softness of the wool fibre better.</p> + +<p>By using various brands of Alkali Blue (3 R to 7 B), various shades of +blue from a reddish with the 3 R to a pure blue with the 6 B and 7 B +brands may be dyed. The Alkali Blues are fairly fast to light.</p> + +<p><i>Dark Blue.</i>--Prepare a dye-bath with 2 lb. Serge Blue, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid, working at the boil +<span class="pagenum"><a id="page153" name="page153"></a>(p. 153)</span> +for one hour. This is a very common way of dyeing blues on +serges, cashmeres and worsted goods. In place of serge blue, what are +known as Blackley blues, or Dewsbury blues, may be employed. These +have a similar composition, but vary a little in the tint of blue they +give.</p> + +<p><i>Navy Blue.</i>--Prepare a dye-bath with 2 lb. Induline A, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid, working at the boil for one +hour.</p> + +<p>The Indulines are very useful colouring matters for dyeing navy or +dark blues on wool. They have the defect of being liable to give +uneven shades. This may be remedied by omitting the acid when first +making up the bath, entering the wool, working for half an hour to +thoroughly impregnate the material with the dye-liquor, then adding +the acid, and continuing the working for another half-hour. Or the +wool may be treated to a weak chlorine bath before it is dyed, by +first passing it through a weak hydrochloric acid bath and then +through a bath of bleaching powder. By using acetic acid in place of +sulphuric acid more even shades are obtained.</p> + +<p><i>Blue.</i>--Prepare a dye-bath with 1 lb. Acid Blue 1 V, 9 oz. Acid +Violet 1 V, 10 lb. Glauber's salt and 2 lb. sulphuric acid, working at +the boil for one hour.</p> + +<p><i>Blue Black.</i>--For this the dye-bath is made with 8 lb. Acid Blue 1 V, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil +for one hour.</p> + +<p><i>Deep Navy Blue.</i>--A very good shade is dyed with 5 lb. Acid Blue 1 V, +3 lb. Acid violet 1 V, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid, working at the boil for one hour.</p> + +<p><i>Deep Navy.</i>--Prepare a dye-bath with 1 lb. Fast acid Magenta B, 3 lb. +Wool Blue B X, 4-3/4 oz. Orange I I, 5 lb. sulphuric acid, and 10 lb. +Glauber's salt, working at the boil for one hour.</p> + +<p>The Patent Blues work exceedingly well on wool, giving good bright +shades of a fair degree of fastness. The following recipes +<span class="pagenum"><a id="page154" name="page154"></a>(p. 154)</span> +will give some idea of the nature of the shades which may be obtained +from them, while later on their use in combination with other dyes for +the production of compound shades will be shown.</p> + +<p><i>Bright Blue.</i>--Prepare a dye-bath with 2 lb. Patent Blue N, or Patent +Blue superior, 10 lb. Glauber's salt, and 2 lb. sulphuric acid, +working at the boil for one hour.</p> + +<p><i>Bright Greenish Blue.</i>--Use 2 lb. Patent Blue V, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid.</p> + +<p><i>Royal Blue.</i>--Use 2 lb. Patent Blue B, or 2 lb. Patent Blue J (No. +3), 10 lb. Glauber's salt, and 2 lb. sulphuric acid. Patent Blue J +(No. 3) gives slightly more violet shades than Patent Blue N, but +there is not much difference between them.</p> + +<p><i>Saxony Blue.</i>--Use 2 lb. Patent Blue J (No. 00), 2 lb. sulphuric +acid, and 10 lb. Glauber's salt. Patent Blue J (No. 00) dyes shades +very closely resembling those dyed with indigo extract, and where the +latter is used in the dyeing of compound shades the former might be +substituted.</p> + +<p><i>Brilliant Royal Blue.</i>--Prepare a bath with 1-1/2 lb. New Victoria +Blue B, and 10 lb. Glauber's salt. Enter at about 100° F., then raise +to the boil and work for one hour. This gives a very brilliant shade +of blue of a violet tone.</p> + +<p><i>Sky Blue.</i>--Prepare a dye-bath with 1-1/2 oz. New Victoria Blue B and +2 lb. Glauber's salt, working in the manner described in the last +recipe.</p> + +<p><i>Dark Blue.</i>--Prepare a dye-bath with 1-1/2 oz. Acid Violet 5 B, and +1-1/2 lb. Fast Green Bluish, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid, working at the boil to shade; then lift, wash and dry.</p> + +<p><i>Deep Blue.</i>--Make a dye-bath with 4 lb. Chromotrop 6 B, 10 lb. +Glauber's salt, and 4 lb. acetic acid. Work for one hour at the boil; +then lift, add 2 lb. bichromate of potash and 3 lb. acetic acid, +re-enter the goods and work for one hour longer; lift, wash and dry.</p> + +<p>The +<span class="pagenum"><a id="page155" name="page155"></a>(p. 155)</span> +blues produced from the Chromotrops according to the last +recipe are full, solid-looking shades, and have a great degree of +fastness to milling and light. Some other examples showing the +production of blue shades from the Chromotrops will be given later on.</p> + +<p><i>Violet Blue.</i>--Prepare a dye-bath with 2 lb. Victoria Violet 8 B S, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil +to shade; then lift, wash and dry.</p> + +<p><i>Deep Blue.</i>--A fine deep blue is dyed on wool from a bath containing +6 lb. Victoria Violet 8 B S, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid, working at the boil to shade.</p> + +<p><i>Deep Sky Blue.</i>--A fine shade is dyed in a bath containing 4 oz. +Cyanole extra, 10 lb. Glauber's salt and 2 lb. acetic acid.</p> + +<p><i>Electric Blue.</i>--Make the dye-bath with 4 oz. Cyanole extra, 1 oz. +Acid Green extra, and 10 lb. bisulphate of soda.</p> + +<p><i>Bright Blue.</i>--A very fine shade of blue can be dyed in a bath +containing 3 lb. Cyanole extra and 10 lb. bisulphate of soda.</p> + +<p><i>Dark Navy Blue.</i>--Prepare the dye-bath with 4 lb. Cyanole extra, +9 oz. Archil Substitute N, and 10 lb. bisulphate of soda.</p> + +<p><i>Dark Navy.</i>--Prepare the dye-bath with 5 lb. Black Blue O, 1-3/4 oz. +Formyl Violet S 4 B, 4 oz. Patent Blue V, 25 lb. Glauber's salt, and +4 lb. bisulphate of soda, adding 1 lb. sulphuric acid when the dyeing +is about half done.</p> + +<p>The navy blues given in the last few recipes possess the merit of +considerable resistance to light, air and milling.</p> + +<p><i>Pale Blue.</i>--Make the dye-bath with 1/2 oz. Chromotrop 2 R, 4 oz. +Cyanine B, 7-1/2 oz. Fast Acid Blue R, 1/2 oz. Azo Yellow, 10 lb. +acetic acid, and 15 lb. Glauber's salt.</p> + +<p><i>Peacock Blue.</i>--A fine shade is dyed with 14 oz. Cyanine B, 1-1/2 lb. +Fast Acid Blue R, 2 oz. Azo Yellow, 10 lb. acetic acid, and 15 lb. +Glauber's salt.</p> + +<p><i>Dark +<span class="pagenum"><a id="page156" name="page156"></a>(p. 156)</span> +Invisible Blue.</i>--Make the dye-bath with 2 lb. Victoria +Black Blue, 10 lb. Glauber's salt, and 3 lb. sulphuric acid.</p> + +<p><i>Bright Blue.</i>--A very fine shade of blue, not, however, fast to +light, is dyed from a bath containing 1/2 lb. Victoria Blue B, and +10 lb. Glauber's salt.</p> + +<p><i>Bright Electric Blue.</i>--Prepare a dye-bath with 3/4 lb. Glacier Blue, +10 lb. Glauber's salt and 3 lb. sulphuric acid, working at the boil. +This gives a very bright green shade of blue.</p> + +<p><i>Dark Peacock Blue.</i>--Make the dye-bath with 1 lb. Naphthol Blue +Black, 10 lb. Glauber's salt, and 3 lb. sulphuric acid.</p> + +<p>Peri Wool Blues B & G dye wool in very fast dark blue shades from +baths of Glauber's salt and acetic acid. They are dye-stuffs which +form with copper blue colour lakes of some fastness. The copper is +amalgamated with the dye-stuffs as put on the market.</p> + +<p><i>Pale Navy Blue.</i>--Mordant, 4 lb. bichromate of potash and 1-1/2 lb. +oxalic acid. Dye, 2-1/2 lb. Alizarine Bordeaux B.</p> + +<p><i>Navy Blue.</i>--Mordant, 4 lb. bichromate of potash and 2 lb. oxalic +acid. Dye, 7 lb. Alizarine Bordeaux G.</p> + +<p><i>Bright Violet Blue.</i>--Mordant, 3 lb. fluoride of chrome and 2 lb. +oxalic acid. Dye, 3/4 lb. Celestine Blue B.</p> + +<p><i>Navy Blue.</i>--A reddish shade of navy blue is dyed by mordanting with +3 lb. fluoride of chrome and 2 lb. oxalic acid, and dyeing with 3 lb. +Celestine Blue B and 3/4 lb. Diamond Black.</p> + +<p>The Alizarine Cyanines are excellent dye-stuffs for giving dark blue +and navy blue shades on wool. They dye fairly easily, and uniform +shades are readily obtained, while they possess some considerable +penetrative power, so that they are well adapted for dyeing heavy +piece goods. The following recipes show their use and indicate the +character of the shades +<span class="pagenum"><a id="page157" name="page157"></a>(p. 157)</span> +the various brands yield. It may be +added that the shades are fast to light and milling.</p> + +<p><i>Red Navy Blue.</i>--Mordant, 4 lb. bichromate of potash, 2 lb. tartar, +and 1-1/2 oz. sulphuric acid. Dye, 6 lb. Alizarine Cyanine R R R +double. By using a mordant of 4 lb. fluoride of chrome and 2 lb. +oxalic acid the shade is made brighter and not so red in tone.</p> + +<p><i>Dark Blue.</i>--A red shade of blue almost approaching a navy is +obtained by mordanting with bichromate of potash, as in the last +recipe, and dyeing with 12 lb. Alizarine Cyanine R R, or with 13 lb. +Alizarine Cyanine R. The shade with the latter dye-stuff is scarcely +so red as with the former.</p> + +<p><i>Dark Blue.</i>--Mordant with 4 lb. fluoride of chrome and 2 lb. oxalic +acid and dye with 13 lb. Alizarine Cyanine R.</p> + +<p><i>Dark Blue.</i>--A somewhat brighter and less red shade than is obtained +by working as in the last recipe is given by mordanting with 3 lb. +bichromate of potash, 2 lb. tartar, and 2-1/2 oz. sulphuric acid, and +then dyeing with 17 lb. Alizarine Cyanine G extra.</p> + +<p><i>Dark Blue.</i>--Mordant with 3-1/2 lb. bichromate of potash, 2 lb. +tartar, and 3 oz. sulphuric acid. Dye with 18 lb. Alizarine Cyanine +G G.</p> + +<p><i>Peacock Blue.</i>--Mordant with 4 lb. fluoride of chrome and 2 lb. +oxalic acid. Dye with 18 lb. Alizarine Cyanine G G.</p> + +<p>The addition of from 2 lb. to 5 lb. acetate of ammonia in working with +the Alizarine Cyanines is a considerable advantage, by causing the +dye-stuff to penetrate the fibre better and to give more uniform +shades.</p> + +<p><i>Medium Blue.</i>--Mordant with 3 lb. bichromate of potash and 2 lb. +oxalic acid. Dye with 5 lb. Brilliant Alizarine Blue G, and 2 lb. +acetic acid.</p> + +<p><i>Black Blue.</i>--Mordant as in the last. Dye with 20 lb. Brilliant +Alizarine Blue G and 2 lb. acetic acid.</p> + +<p><i>Dark Navy.</i>--Mordant as in the last recipe and dye with 5 +<span class="pagenum"><a id="page158" name="page158"></a>(p. 158)</span> +lb. Alizarine Cyanine 3 R double, 5 lb. Alizarine Blue G W, 2 lb. +Brilliant Alizarine Blue G, and 2 lb. acetic acid.</p> + +<p><i>Medium Blue.</i>--Mordant as in the last. Dye with 5 lb. Alizarine Blue +G W, 2-1/2 lb. Brilliant Alizarine Blue G, and 2 lb. acetic acid.</p> + +<p><i>Lavender Blue.</i>--Mordant with 3 lb. bichromate of potash and +2-1/4 lb. tartar. Dye with 2 lb. Alizarine Blue A.</p> + +<p><i>Navy.</i>--Mordant as in the last recipe, and dye with 20 lb. Alizarine +Blue A.</p> + +<p><i>Deep Sky Blue.</i>--Mordant with 3 lb. bichromate of potash and 1 lb. +oxalic acid, then dye with 2-1/2 lb. Chrome Blue.</p> + +<p><i>Bright Blue.</i>--A very fine bright shade is obtained by mordanting as +in the last, and then dyeing with 10 lb. Chrome Blue.</p> + +<p><i>Lilac Blue.</i>--Mordant with 2 lb. bichromate of potash and 1-1/2 lb. +tartar. Dye with 4 lb. Alizarine Blue D N W. Alizarine Blue R gives +somewhat bluer shades than the D N W brand.</p> + +<p><i>Slate Blue.</i>--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar. Dye with 2-1/2 lb. Alizarine Blue D N W, 4 oz. Alizarine +Brown, and 1-2/3 oz. Alizarine Yellow.</p> + +<p><i>Peacock Blue.</i>--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar. Dye with 6 lb. Alizarine Blue D N W, 3 lb. Alizarine Yellow, +and 1-1/2 lb. Patent Blue A, adding a little acetic acid to the +dye-bath.</p> + +<p><i>Paris Blue.</i>--Mordant as in the last recipe. Dye with 3 lb. Galleine, +1 lb. Alizarine Blue D N W, and 1 lb. Patent Blue A, adding a little +acetic acid.</p> + +<p><i>Grey Blue.</i>--Mordant as above and dye with 4-1/2 lb. Alizarine Blue +D N W, and 1 lb. Alizarine Brown.</p> + +<p><i>Blue.</i>--Mordant with 10 lb. alum, 3 lb. tartar, and 2 lb. oxalic +acid. Dye with 15 lb. Anthracene Blue W G, 3 lb. acetate of lime, and +1 lb. tannic acid.</p> + +<p><i>Red Navy.</i>--Mordant as in the last recipe and dye with 15 +<span class="pagenum"><a id="page159" name="page159"></a>(p. 159)</span> +lb. Anthracene Blue B W, 3 lb. acetate of lime, and 3/4 lb. +tannic acid.</p> + +<p><i>Dark Blue.</i>--Mordant with 1 lb. bichromate of potash and 2 lb. +tartar. Then dye with 20 lb. Anthracene Blue W B. Anthracene Blue W G +gives slightly greener shades than the W B brand, while the W R blue +gives redder shades.</p> + +<p>Grounding wool with various tints of indigo is a favourite method of +producing many useful shades on wool. In general it is a good plan, as +the bottom so given is a fast and permanent one, and is not in any way +affected (so far as the stability of the colour is concerned) by the +subsequent dyeing operations, care of course being taken that these +are the usual acid or mordanting baths. The only drawback against +bottoming with indigo is the increased cost of dyeing necessitated by +the extra labour, and materials required to dye the bottom. As to the +methods and materials required, they are just those usually employed +in indigo dyeing, and these have been described. The hydrosulphite +vat, or Messrs. Holliday's patent indigo, is, perhaps, the most +convenient method to adopt.</p> + +<p><i>Dark Slate.</i>--Give a medium indigo bottom, then mordant with 3 lb. +fluoride of chrome and 1 lb. oxalic acid, and dye with 1-1/2 lb. +Anthracene Brown W, 1/2 lb. Alizarine Bordeaux G, and 1 oz. Diamond +Flavine.</p> + +<p><i>Dark Navy.</i>--Give a medium indigo bottom in the vat, then mordant +with 3 lb. fluoride of chrome and 1-1/2 lb. tartar, finally dyeing +with 6-1/2 lb. Alizarine Cyanine G, and 1-1/2 lb. Alizarine +Bordeaux G.</p> + +<p><i>Dark Blue.</i>--Give a medium indigo bottom, then mordant with 6 lb. +fluoride of chrome and 2 lb. oxalic acid, finally dyeing with 14 lb. +Alizarine Cyanine Black.</p> + +<p><i>Blue Black.</i>--Give a deep indigo bottom in the vat, then mordant with +3 lb. bichromate of potash and 2 lb. tartar, finally +<span class="pagenum"><a id="page160" name="page160"></a>(p. 160)</span> +dyeing +with 6 lb. Alizarine Cyanine Black and 1-1/2 lb. Alizarine Cyanine 3 R +double.</p> + + +<p class="p2"><span class="smcap">Violet Shades on Wool.</span></p> + +<p>Violet shades can only be obtained from the coal-tar colours, and of +these there are not many. The recipes which are given below will serve +to show what dye-stuffs are available, and will give some idea of the +tints they dye.</p> + +<p><b>With Direct Dyes.</b> <i>Pale Violet.</i>--Prepare the dye-bath with 1/2 lb. +Sulphon Cyanine, 1/4 lb. Geranine B, 5 lb. Glauber's salt, and 5 lb. +acetate of ammonia, working at the boil for one hour.</p> + +<p><b>With Basic Dyes.</b> <i>Violet.</i>--The dye-bath is made with 1 lb. Methyl +Violet 3 B, and 10 lb. Glauber's salt. A fine pure shade of violet is +obtained. Methyl Violet is made in many brands, distinguished as B, +B B, 2 B, 4 B, etc. By using either one or the other of these, a +variety of tints of violet, from a red shade with Methyl Violet R +through violet (B) to a violet blue with Methyl Violet 7 B, can be +dyed.</p> + +<p><b>Puce.</b>--A very bright shade of puce is dyed by using Methyl Violet R, +and 10 lb. Glauber's salt.</p> + +<p><b>With Acid Dyes.</b> <i>Violet.</i>--Make the dye-bath with 2 lb. Acid Violet +4 B S, 10 lb. Glauber's salt, and 2 lb. sulphuric acid. This gives a +pure violet shade. If Acid Violet 6 B S be used a bluer shade is +obtained.</p> + +<p><i>Reddish Puce.</i>--A very bright red tint of puce is obtained by using +2 lb. Acid Violet 4 R S, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid.</p> + +<p><i>Bluish Violet.</i>--Make the dye-bath with 3 lb. Acid Violet 5 B, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid, working at the boil for one +hour.</p> + +<p><i>Lavender.</i>--Use 4 oz. Acid Violet 5 B, 1 oz. Azo Fuchsine G, 1/16 oz. +Fast Green bluish, 10 lb. Glauber's salt and 2 lb. sulphuric acid.</p> + +<p><i>Deep Violet.</i>--A fine deep shade is obtained by using 2-3/4 lb. +Chromotrop +<span class="pagenum"><a id="page161" name="page161"></a>(p. 161)</span> +6 R, 2-1/2 lb. Cyanine B, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid, working at the boil for one hour.</p> + +<p><i>Mauve.</i>--Use 2 lb. Acid Mauve B, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid.</p> + +<p><i>Bright Violet.</i>--Use 2 lb. Formyl Violet S 4 B, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid.</p> + +<p><i>Bright Violet.</i>--Use 2 lb. Acid Violet 6 B N, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid.</p> + +<p><i>Violet.</i>--Use 2 lb. Acid Violet N, 2 lb. sulphuric acid, and 10 lb. +Glauber's salt.</p> + +<p><b>With Mordant Dyes.</b> <i>Violet.</i>--Mordant the wool with 3 lb. bichromate +of potash and 2 lb. tartar, and dye with 10 lb. Chrome Violet.</p> + +<p><i>Dark Violet.</i>--Mordant as in the last recipe. Then dye with 3 lb. +Chrome Bordeaux 6 B double and 2 lb. Brilliant Alizarine blue G.</p> + + +<p class="p2"><span class="smcap">Brown Shades on Wool.</span></p> + +<p>Brown is a very important colour, of which there is an infinite +variety of shades and it can be dyed in a great variety of ways and +from a variety of dye-stuffs, as will be seen on looking through the +recipes which follow, although these do not by any means exhaust the +methods by which browns may be dyed on woollen goods, but they may be +taken as representative and will serve to show by what combinations of +dyes various tints of browns may be obtained.</p> + +<p><b>With Direct Dyes.</b> <i>Brown.</i>--Make the dye-bath with 1 lb. Nyanza +Black B, 2 lb. Congo Brown R, and 20 lb. Glauber's salt, working at +the boil for one hour; then lift, wash and dry.</p> + +<p><b>With Acid Dyes.</b> <i>Yellow Brown.</i>--Make the dye-bath with 1 lb. Azo +Carmine, 1 lb. Fast Yellow, 1 lb. Indigo Carmine D, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. A good shade is thus obtained.</p> + +<p><i>Olive +<span class="pagenum"><a id="page162" name="page162"></a>(p. 162)</span> +Brown.</i>--Use 3/4 lb. Azo Acid Violet 4 R, 2 lb. Fast +Yellow, 3 oz. Fast Green bluish, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid, working at the boil for one hour; then lift, wash and +dry.</p> + +<p><i>Dark Chestnut.</i>--Dye in a bath containing 6-1/2 oz. Patent Blue V, +3-1/4 oz. Acid Violet V, 1 lb. Azo Yellow, 2 lb. Orange No. 2, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid, working at the boil for one +hour; then lift, wash and dry.</p> + +<p><i>Mouse.</i>--Make the dye-bath with 4 oz. Patent Blue V, 1-2/3 oz. Acid +Violet N, 13 oz. Orange G, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid.</p> + +<p><i>Deep Seal.</i>--Dye in a bath containing 1 lb. Orange G G, 1/2 lb. +Patent Blue J 3, 1/2 lb. Azo Yellow, 3-1/4 oz. Acid Violet N, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid.</p> + +<p><i>Deep Brown.</i>--Make the dye-bath with 1-3/4 lb. Chromotrop 2 R, +1-1/4 lb. Victoria Yellow, 4 lb. Keton Blue G, 2-1/2 oz. Acid Violet +5 B E, 25 lb. Glauber's salt, and 4 lb. sulphuric acid, working at the +boil for one hour.</p> + +<p><i>Walnut.</i>--A fine shade can be dyed with 1-3/4 lb. Azo Acid Magenta G, +14-1/2 oz. Patent Blue V, 3/4 lb. Victoria Yellow, 15 lb. Glauber's +salt and 2 lb. sulphuric acid.</p> + +<p><i>Olive Brown.</i>--Make a dye-bath with 2 lb. sulphuric acid, 10 lb. +Glauber's salt, 1 lb. Azo Fuchsine G, 1/2 lb. Fast Yellow, and 1/2 lb. +Fast Green extra bluish.</p> + +<p><i>Dark Olive Brown.</i>--A very fine shade can be dyed with 1 lb. Fast +Acid Violet 10 B, 1-1/2 lb. Orange 11, 1/2 lb. Fast Green bluish, +7 oz. Fast Yellow, 20 lb. Glauber's salt, and 3 lb. sulphuric acid.</p> + +<p><i>Walnut.</i>--Use 1 lb. Cyanole, 1 lb. Orange extra, 1/2 lb. Archil +Substitute N, 10 lb. Glauber's salt and 2 lb. sulphuric acid, working +at the boil for one hour.</p> + +<p><i>Dark Seal.</i>--Use 1 lb. Cyanole, 1 lb. Orange extra, 10 lb. Glauber's +salt and 2 lb. sulphuric acid.</p> + +<p><i>Golden Brown.</i>--A fine shade is dyed with 1-1/4 lb. Victoria Yellow, +<span class="pagenum"><a id="page163" name="page163"></a>(p. 163)</span> +9-1/2 oz. Chromotrop 2 R, 3-1/2 oz. Patent Blue V, 10 lb. +Glauber's salt and 2 lb. sulphuric acid.</p> + +<p><b>With Mordant Dyes.</b> <i>Golden Brown.</i>--Make the dye-bath with 1 lb. +Diamine Fast Red F, 1-1/2 lb. Anthracene Yellow C, and 5 lb. acetate +of ammonia. Work for half an hour; then add 5 lb. bisulphate of soda +and work for half an hour longer, then add 3 lb. fluoride of chrome, +and work for half an hour at the boil.</p> + +<p><i>Bright Golden Brown.</i>--Use 3/4 lb. Diamine Fast Red F, 1-1/2 lb. +Anthracene Yellow C, 5 lb. bisulphate of soda, as indicated in the +last recipe. The shades so obtained are very fine, and have the merit +of being fast to washing and light.</p> + +<p><i>Chestnut.</i>--Give a medium indigo bottom in the vat, then dye in a +bath containing 1-3/4 lb. Anthracene Yellow C, 1 lb. Diamine Fast +Red F, and 5 lb. bisulphate of soda. Work again for half an hour, then +add 3 lb. fluoride of chrome, and work again for another half hour; +lift, wash and dry.</p> + +<p><i>Dark Brown.</i>--Use a dye-bath containing 1-1/4 lb. Diamine Fast Red F, +3/4 lb. Anthracene Yellow C, 1-1/2 lb. Anthracite Black B, and 5 lb. +acetate of ammonia. After half an hour's boiling, add 5 lb. bisulphate +of soda, work half an hour longer, add 3 lb. fluoride of chrome, and +work together another half hour; then lift, wash and dry.</p> + +<p><i>Brown.</i>--A very fine shade can be dyed in the following way: First +give a medium indigo bottom in the vat, then mordant in a bath +containing 3 lb. bichromate of potash and 2-1/2 lb. tartar, and +finally dye in a bath made from 1-1/2 lb. Alizarine Orange R, 4 lb. +Diamond Flavine, and 2 lb. acetic acid.</p> + +<p><i>Dark Seal.</i>--Give a medium indigo bottom in the vat, and Mordant with +3 lb. bichromate of potash and 2-1/2 lb. tartar, and finally dye in a +bath containing 3-1/2 lb. Alizarine Orange R, 1 lb. Anthracene +Brown R, 2 lb. Diamond Flavine, and 2 lb. acetic acid.</p> + +<p><i>Brown.</i>--A +<span class="pagenum"><a id="page164" name="page164"></a>(p. 164)</span> +full shade is dyed by first mordanting with +3 lb. bichromate of potash and 2 lb. tartar, and then dyeing with +10 lb. Anthracene Brown W, and 1 lb. Mordant Yellow.</p> + +<p><i>Buff.</i>--Mordant as in the last, and dye with 5 lb. Anthracene +Brown W, and 1/4 lb. Mordant Yellow O.</p> + +<p><i>Nut.</i>--Mordant with 3 lb. bichromate of potash and 1 lb. oxalic acid, +and dye with 20 lb. Diamond Brown.</p> + +<p><i>Pale Old Gold Brown.</i>--Mordant as in the last, and dye with 5 lb. +Diamond Brown.</p> + +<p><i>Dark Violet Brown.</i>--Mordant as in the last recipes, and dye with +30 lb. Chrome Brown R.</p> + +<p><i>Bright Chestnut.</i>--Mordant with 3 lb. bichromate of potash and 1 lb. +sulphuric acid, and dye with 30 lb. Gambine R.</p> + +<p><i>Pale Chestnut.</i>--Mordant as in the last recipes, and dye with 20 lb. +Gambine Y.</p> + +<p><i>Olive Brown.</i>--Mordant as in the last recipes, and dye with 10 lb. +Gambine B. The browns dyed with Gambine have the merit of being fast +to milling and light.</p> + +<p><i>Dark Brown.</i>--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar; then dye with 15 lb. Alizarine Brown.</p> + +<p><i>Bright Buff.</i>--Mordant as in the last recipe; then dye with 4-3/4 lb. +Alizarine Brown, 4 lb. Alizarine Yellow, 1-3/4 oz. Alizarine Blue +D N W, and 2 lb. acetic acid.</p> + +<p><i>Dark Violet Brown.</i>--Mordant with 3 lb. bichromate of potash and +2-1/2 lb. tartar. Then dye with 18 lb. Alizarine Brown, 6 lb. +Alizarine Orange H, and 2 lb. acetic acid.</p> + +<p><i>Dark Walnut.</i>--Mordant with 3 lb. bichromate of potash and 1 lb. +sulphuric acid; then dye with 8 lb. Alizarine Brown, 2 lb. Alizarine +Red 3 W S, and 2 lb. Alizarine Yellow G G W.</p> + + +<p class="p2"><span class="smcap">Mode Colours on Wool.</span></p> + +<p>Under the general designation of "mode colours" are included a great +variety of tints or shades unusually described more +<span class="pagenum"><a id="page165" name="page165"></a>(p. 165)</span> +specifically as drabs, buffs, greys, fawns, slates, etc. It is +impossible here to do more than give a few recipes for their +production.</p> + +<p><b>With Direct Dyes.</b> <i>Drab.</i>--Make a dye-bath with 3 oz. Nyanza Black B, +1-1/2 oz. Chrysamine G, 2 oz. Congo orange R, and 20 lb. Glauber's +salt, working at the boil for one hour; then lift, wash and dry.</p> + +<p><b>With Acid Dyes.</b> <i>Bright Buff.</i>--Dye in a bath containing 3/4 oz. each +Cyanole, Orange extra, and Indian Yellow R, 10 lb. Glauber's salt, and +2 lb. sulphuric acid.</p> + +<p><i>Slate.</i>--Use a dye-bath containing 3 oz. Cyanole, 1/4 oz. Archil +Substitute N, 1/2 oz. Orange extra, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid.</p> + +<p><i>Silver Grey.</i>--Use 1-1/4 oz. Orange extra, 3/4 oz. Archil +Substitute N, 10 lb. Glauber's salt and 2 lb. sulphuric acid.</p> + +<p><i>Pale Drab.</i>--Make the dye-bath with 1/2 oz. Cyanine B, 3/4 oz. Azo +Yellow, 1/4 oz. Chromotrop 2 R, 10 lb. Glauber's salt and 2 lb. +sulphuric acid.</p> + +<p><i>Grey.</i>--Make the dye-bath with 1 oz. Chromotrop 2 R, 1-1/4 oz. +Cyanine B, 2-1/2 oz. Fast Acid Blue R, 2 oz. Azo Yellow, 10 lb. +Glauber's salt and 5 lb. acetic acid.</p> + +<p><i>Bright Fawn.</i>--The dye-bath is made with 2 oz. Chromotrop 2 R, 8 oz. +Orange G, 2-1/4 oz. Fast Acid Blue R, 1-1/4 oz. Cyanine B, 10 lb. +Glauber's salt and 5 lb. acetic acid.</p> + +<p><i>Dark Buff.</i>--Use 2 oz. Cyanine B, 5 oz. Azo Yellow, 2-1/2 oz. +Chromotrop 2 R, 10 lb. Glauber's salt and 2 lb. sulphuric acid.</p> + +<p><i>Lilac Grey.</i>--Use 3 oz. each Fast Acid Violet 10 B, Fast Green +bluish, and Fast Yellow, 10 lb. Glauber's salt and 2 lb. sulphuric +acid.</p> + +<p><i>Pale Fawn Drab.</i>--Use 1 oz. Patent Blue V, 1 oz. Rhodamine, 1-3/4 oz. +Orange G, 10 lb. Glauber's salt and 2 lb. sulphuric acid.</p> + +<p><i>Dark +<span class="pagenum"><a id="page166" name="page166"></a>(p. 166)</span> +Grey.</i>--Use 1 lb. Wool Grey R, 10 lb. Glauber's salt +and 2 lb. sulphuric acid.</p> + +<p><i>Stone.</i>--Use 1 oz. Patent Blue J B, 1-3/4 oz. Orange G, 10 lb. +Glauber's salt and 2 lb. sulphuric acid.</p> + +<p><i>Pale Fawn Brown.</i>--Use 4 oz. Fast Acid Violet R, 2 oz. Patent Blue +J O O, 3 oz. Orange G, 10 lb. Glauber's salt and 3 lb. sulphuric acid.</p> + +<p><i>Drab.</i>--Use 3 oz. Azo Carmine, 1-1/2 oz. Fast Yellow, 1-1/4 oz. +Indigo Carmine D, 10 lb. Glauber's salt and 2 lb. sulphuric acid.</p> + +<p><i>Lilac.</i>--Use 1/2 lb. Azo carmine, 1/2 lb. Indigo Carmine D, 1-1/2 oz. +Fast Yellow, 10 lb. Glauber's salt and 2 lb. sulphuric acid.</p> + +<p><b>With Mordant Dyes.</b> <i>Pale Drab.</i>--Mordant with 2 lb. bichromate of +potash and 1-1/2 lb. tartar. Dye with 1 lb. Alizarine Brown paste.</p> + +<p><i>Violet Grey.</i>--Mordant as in the last recipe, and dye with 1 lb. +Alizarine Grey B.</p> + +<p><i>Pale Fawn.</i>--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar, and dye with 4-1/2 lb. Alizarine Yellow, 13 oz. Alizarine +Brown, 11-1/2 oz. Alizarine Orange N, and 2 lb. acetic acid.</p> + +<p><i>Pale Stone.</i>--Mordant with 2 lb. bichromate of potash and 1-1/2 lb. +tartar. Dye with 13 oz. Alizarine Yellow and 1-1/4 lb. Alizarine +Brown.</p> + +<p><i>Dark Slate.</i>--Mordant with 3 lb. bichromate of potash and 2 lb. +tartar. Dye with 2-1/2 lb. Alizarine Blue D N W, and 10 oz. Alizarine +Yellow.</p> + +<p><i>Lavender Grey.</i>--Mordant with 2 lb. bichromate of potash and +1-1/2 lb. tartar. Dye with 13 oz. Alizarine Blue D N W, and 2 oz. +Galleine.</p> + +<p><i>Drab.</i>--Mordant as in the last recipe; then dye with 4 oz. Alizarine +Blue, 1-1/2 lb. Alizarine Yellow and 14 oz. Alizarine Brown.</p> + +<p><i>Drab.</i>--Mordant +<span class="pagenum"><a id="page167" name="page167"></a>(p. 167)</span> +with 3 lb. bichromate of potash and 1 lb. +sulphuric acid, and dye with 1 lb. Gambine R.</p> + +<p><i>Dark Grey.</i>--Give a light indigo bottom in the vat, and then dye in a +bath containing 3/4 oz. Diamine Fast Red F, 3/4 oz. Anthracene +Yellow C, and 5 lb. acetate of ammonia. Work at the boil for half an +hour, then add 5 lb. bisulphate of soda, work half an hour longer, +then add 1 lb. fluoride of chrome, and work for another half hour at +the boil; then lift, wash and dry.</p> + + + + +<h2>CHAPTER V. +<span class="pagenum"><a id="page168" name="page168"></a>(p. 168)</span></h2> + +<h3>DYEING UNION (MIXED COTTON AND WOOL) FABRICS.</h3> + + +<p>There is now produced a great variety of textile fabrics of every +conceivable texture by combining the two fibres, cotton and wool, in a +number of ways. The variety of these fabrics has of late years +considerably increased, which increase may be largely ascribed to the +introduction of the direct dyeing colouring matters--the Diamine dyes, +the Benzo dyes, the Congo and the Zambesi dyes; for in the dyeing of +wool-cotton fabrics they have made a revolution. The dyer of union +fabrics, that is fabrics composed of wool and cotton, was formerly put +to great straits to obtain uniform shades on the fabrics supplied to +him owing to the difference in the affinity of the fibres for the +dye-stuffs then known. Now the direct dyes afford him a means of +easily dyeing a piece of cotton-wool cloth in any colour of a uniform +shade, while the production of two-coloured effects is much more under +his control, and has led to the increased production of figured dress +fabrics with the ground in one fibre (wool) and colour, and the design +in another fibre (cotton) and colour. The number of direct dyes issued +by the various colour manufacturers is so great that it would take a +fairly considerable space to discuss them all.</p> + +<p>To obtain good results it is needful that the dyer of union fabrics +should be a man of keen observation and have a thorough knowledge of +the dyes he is using, for each dye makes a rule to itself as regards +its power of dyeing wool and +<span class="pagenum"><a id="page169" name="page169"></a>(p. 169)</span> +cotton; some go better on to +the cotton than on to the wool, and <i>vice versa</i>. Some dye wool best +at the boil, others equally well below that heat; some go on the +cotton at a moderate temperature, others require the dye-bath to be +boiling; some will go to the cotton only and appear to ignore the +wool.</p> + +<p>The presence or absence in the dye-bath of such bodies as carbonate of +soda, Glauber's salt, etc., has a material influence on the degree of +the affinity of the dye-stuff for the two fibres, as will perhaps be +noted hereafter. Again, while some of the dyes produce equal colours +on both fibres, there are others where the tone is different. With all +these peculiarities of the Diamine and other direct dyes the union +dyer must make himself familiar. These dyes are used in neutral baths, +that is, along with the dye-stuff. It is often convenient to use along +with the direct dyes some azo or acid dyes which have the property of +dyeing the wool from neutral baths; many examples of such will be +found in the practical recipes given below. The dyes now under +consideration may be conveniently classed into five groups.</p> + +<p>(1) <i>Those dyes which dye the cotton and wool from the same bath to +the same shade, or nearly so.</i>--Among such are Thioflavine S, Diamine +Fast Yellow B, Diamine Orange B, Diamine Rose B D, Diamine Reds 4 B, +5 B, 6 B and 10 B, Diamine Fast Red F, Diamine Bordeaux B, Diamine +Brown N, Diamine Brown 3 G, B and G W, Diamine Blue R W, B X, Diamine +Blue G, Diamine Greens G and B, Diamine Black H W, Diamine Dark +Blue B, Union Black B and S, Oxydiamine Blacks B, M, D and A, Diamine +Catechine G, Union Blue B B, Oxyphenine, Chloramine Yellow, +Thioflavine S, Alkali Yellow R, Chromine G, Titan Scarlet S, Mimosa, +Primuline, Auroline, Congo Corinth B, Thiazol Yellow, Columbia Yellow, +Oxydiamine Yellow G G, Oxydiamine Oranges G +<span class="pagenum"><a id="page170" name="page170"></a>(p. 170)</span> +and R, Diamine +Orange O, Oxydiamine Red S.</p> + +<p>(2) <i>Dyes which dye the cotton a deeper shade than the wool.</i>--The +following belong to this group. Diamine Fast Yellow A, Diamine +Orange G and D, Diamine Catechine G, Diamine Catechine B, Diamine sky +Blue, Diamine Blues 2 B, Diamine Blue 3 B, Diamine Blue B G, Diamine +Brilliant Blue G, Diamine New Blue R, Diamine Steel Blue L, Diamine +Black R O, Diamine Black B O, Diamine Black B H, and Oxydiamine Black +S O O O, Diamine Nitrazol Brown G, Diamine Catechine B, Diamine Sky +Blue F F, Diamine Dark Blue B, Diamine Bordeaux B, Diamine Violet N, +Oxydiamine Violet B, Columbia Black B and F B, Zambesi Black B, Congo +Brown G, Direct Yellow G, Direct Orange R, Clayton Yellow, Cotton +Yellow, Orange T A, Benzopurpurine B, Brilliant Congo R, Chicago +Blues B, 4 B and 6 B.</p> + +<p>(3) <i>Dyes which dye wool a deeper shade than the cotton.</i>--The dyes in +this group are not numerous. They are Diamine Gold, Diamine Scarlet B, +Diamine Scarlet 3 B, Diamine Bordeaux S, Diamine Blue R W, and Diamine +Green G, Diamine Red N O and B, Chicago Blue G and R R W, Brilliant +Purpurine R, Diamine Scarlet B, Deltapurpurine 5 B, Chrysamine, Titan +Blue, Titan Pink, Congo Oranges G and R, Erie Blue 2 G, Congo R, +Brilliant Congo R, Erika B N, Benzopurpurine 4 B and 10 B, +Chrysophenine, Titan Yellow, Titan Brown Y, R and O, Congo Brown G, +Sulphon Azurine B, Zambesi Black D.</p> + +<p>(4) <i>Dyes which produce different shades on the two fibres.</i>--Diamine +Brown G and Diamine Blue 3 R, Diamine Brown V, Diamine Brown S, +Diamine Nitrazol Brown B, Diamine Blue B X and 3 R, Diamine Blue +Black E, Benzo Blue Black G, Benzopurpurine 10 B, Benzo Azurine R G +and 3 G, Columbia Red S B, Brilliant Azurine 5 G, Titan Marine +<span class="pagenum"><a id="page171" name="page171"></a>(p. 171)</span> +Blue, Congo Corinths G and B, Azo Blue, Hessian Violet, Titan +Blue, Azo Mauve, Congo Brown, Diamine Bronze G, Zambesi Browns G and +2 G, Zambesi Black F.</p> + +<p>(5) <i>Azo acid dyes which dye wool from neutral baths, and are +therefore suitable for shading up the wool to the cotton in union +fabric dyeing.</i>--Among the dyes thus available may be enumerated +Naphthol Blue G and E, Naphthol Blue Black, Formyl Violet 10 B, +Lanacyl Blue B B, Lanacyl Blue R, Alkaline Blue, Formyl Violet S 4 B +and 6 B, Rocceleine, Azo Red A, Croceine A Z, Brilliant Scarlet, +Orange extra, Orange E N Z, Indian Yellow G, Indian Yellow R, +Tropæoline O O, Naphthylamine Black 4 B, and Naphthol Blue Black, +Brilliant Scarlet G, Lanacyl Violet B, Brilliant Milling Green B, +Thiocarmine R, Formyl Blue B, Naphthylamine Blacks D, 4 B and 6 B, Azo +Acid Yellow, Curcumine Extra, Mandarine G, Ponceau 3 R B, Acid Violet +6 B, Guinea Violet 4 B, Guinea Green B, Wool Black 6 B.</p> + +<p>Regarding the best methods of dyeing, that in neutral baths yields the +most satisfactory results in practical working. It is done in a +boiling hot or in a slightly boiling bath with the addition of +6-1/4 oz. crystallised Glauber's salt per gallon water for the first +bath, and when the baths are kept standing 20 per cent. crystallised +Glauber's salt reckoned upon the weight of the goods for each +succeeding lot.</p> + +<p>In dyeing unions, the dye-baths must be as concentrated as possible +and must not contain more than from 25 to 30 as much water as the +goods weigh. In this respect it serve as a guide that concentrated +baths are best used dyeing dark shades while light shades can be dyed +in more dilute baths. The most important factor for producing uniform +dyeings is the appropriate regulation of the temperature of the +dye-bath. Concerning this the dyer must bear in mind that the direct +colours possess a greater affinity for cotton if dyed below the +boiling-point, and only go on the +<span class="pagenum"><a id="page172" name="page172"></a>(p. 172)</span> +wool when the bath is +boiling, especially so the longer and more intensely the goods are +boiled.</p> + +<p>The following method of dyeing is perhaps the best one. Charge the +dye-bath with the requisite dye-stuff and Glauber's salt, boil up, +shut off the steam, enter the goods and let run for half an hour, +without steam, then sample. If the shade of both cotton and wool is +too light, add some more of the dye-stuffs used for both fibres, boil +up once more, and boil for a quarter to half an hour. If the wool only +is too light, or its shade different from that of the cotton, add some +more of the dye-stuff used for shading the wool and bring them again +to the boil. If, however, the cotton turns out too light or does not +correspond in shade to the wool, add some more of the dye-stuffs used +for dyeing the cotton, without, however, raising the temperature. +Prolonged boiling is necessary only very rarely, and generally only if +the goods to be dyed are difficult to penetrate or contain qualities +of wool which only with difficulty take up the dye-stuff. In such +cases, in making up the bath, dye-stuffs are to be selected some of +which go only on the wool and others which go only on the cotton +(those belonging to the second group).</p> + +<p>The goods can then be boiled for some time, and perfect penetration +and level shades will result. If the wool takes up the dye-stuff +easily (as is frequently the case with goods manufactured from shoddy) +and are therefore dyed too dark a shade, then dye-stuffs have to be +used which principally dye the cotton, and a too high temperature is +to be avoided. In such cases it is advisable to diminish the affinity +of the wool by the addition of one-fifth of the original quantity of +Glauber's salt (about 3/8 oz. per gallon of water), and from +three-quarters to four-fifths of the dye-stuff used for the first lot. +Care has to be taken that not much of the dye-liquor is lost when +taking out the dyed goods, otherwise the quantities of Glauber's salt +and dye-stuff will have to be increased proportionately. Wooden +<span class="pagenum"><a id="page173" name="page173"></a>(p. 173)</span> +vats such as are generally used for piece dyeing have proved the +most suitable, they are heated with direct or still better with +indirect steam. The method which has proved most advantageous is to +let the steam run into a space separated from the vat by a perforated +wall into which space the required dye-stuffs and salt are placed.</p> + +<p>The mode of working is influenced by the character of the goods, and +the following notes will be found useful by the union dyer.</p> + +<p>Very little difficulty will be met with in dyeing such light fabrics +as Italians, cashmeres, serges and similar thin textiles lightly woven +from cotton warp and woollen weft. When deep shades (blacks, dark +blues, browns and greens) are being dyed it is not advisable to make +up the dye-bath with the whole of the dyes at once. It is much better +to add these in quantities of about one-fourth at a time at intervals +during the dyeing of the piece. It is found that the affinity of the +wool for the dyes at the boil is so much greater than is that of the +cotton that it would, if the whole of the dye were used, take up too +much of the colour and then would come up too deep in shade. Never +give a strong boil with such fabrics, but keep the bath just under the +boil which results in the wool dyeing much more nearly like to cotton.</p> + +<p><b>On Union Flannels.</b>--In this class of goods it is important that the +soft open feel of the goods be retained as much as possible, and for +this purpose no class of dyes offers so many advantages as the direct +colours. Only one bath being required, there is not the same amount of +manipulation needed in the dyeing operation, hence there is less risk +that the soft feel and woolly structure will be affected. As no +mordants are needed there is nothing to impart a harsh feel to the +fabrics.</p> + +<p><b>On Dress Goods, Suitings and Coatings.</b>--A large quantity of fabrics +for gentlemen's suits, coats and cloths in general are +<span class="pagenum"><a id="page174" name="page174"></a>(p. 174)</span> +now +made from wool and cotton. Formerly the dyeing of these offered many +difficulties before the application of the direct dyes was properly +understood. Now, however the ease with which such dyes may be applied +has given considerable impetus to this class of goods, and the trade +has grown by leaps and bounds during recent years, and has been one +cause of the great cheapening of clothes which has occurred in the +same period. The dyeing of the goods with the direct colours offers +very little difficulty, and only requires that a little attention be +paid, particularly to goods in which the cotton either appears on the +surface forming a design, or is spun or twisted together with the +wool.</p> + +<p>A good deal of shoddy is used in making the cheaper class of these +goods, and it is quite natural that such "artificial wool" behaves +differently from pure wool, not only with regard to its shade +resulting from mixing and working together differently dyed waste +wools, but also on account of its possessing a greater affinity for +all kinds of dye-stuff than raw wool; this in consequence of the +carbonisation and washing processes it has undergone, and also of the +mordants which the material may retain from previous processes. +Therefore (and especially in dyeing light shades on goods manufactured +of shoddy) only a small quantity of soda or borax is to be added to +the dye-bath and severe boiling is to be avoided. Wherever it is +possible goods which are to be dyed in light shades should be made +from the palest materials, and the dark qualities only used for goods +which are to be dyed in dark shades.</p> + +<p>This rule can, of course, not always be adhered to. Quite often a +light and bright shade is to be dyed on comparatively dark material. +This cannot be achieved by simply dyeing it, the goods must be +stripped or bleached before dyeing. For this purpose either +energetically reacting, oxidising reducing agents are applied. Of the +former, bichromate of potassium +<span class="pagenum"><a id="page175" name="page175"></a>(p. 175)</span> +is principally used. Boil +the goods for half to three-quarters of an hour with 3 to 5 per cent. +bichromate of potassium, 2 to 4 per cent. oxalic acid, and 3 to 5 per +cent. sulphuric acid, wash in a fresh warm bath charged with soda in +order to entirely neutralise the acid which has remained in the goods, +or else the wool would be dyed too deep a shade. In some cases +hydrosulphite has proved a useful reducing agent; it can be easily +prepared from ordinary bisulphite of soda in the following manner. Add +10 oz. ammonia (0·9 specific gravity) to a gallon of bisulphite of +soda, 32° Tw.; then add slowly under a brisk stirring 10 oz. +zinc-dust, and let the entire mixture settle well, using only the +clear solution. Treat the goods from fifteen to twenty minutes in a +bath of 140° F., to which first add at the boil 3/4 oz. acetic acid, +10° Tw., per gallon water, and then 4 to 6 gallons clear hydrosulphite +solution per 100 gallons liquor. Then rinse very well and dye in the +usual manner; avoiding, however, too high a temperature. As on this +class of goods dark shades are mostly dyed, the goods need only very +rarely be stripped.</p> + +<p><i>Bright Yellow.</i>--Use 2 lb. Thioflavine S in a bath which contains +4 lb. Glauber's salt per 10 gallons of dye-liquor.</p> + +<p><i>Good Yellow.</i>--A very fine deep shade is dyed with 2-1/2 lb. Diamine +Gold, and 24 lb. Diamine Fast Yellow A in the same way as the last. +Here advantage is taken of the fact that while the Diamine Gold dyes +the wool better than the cotton the Diamine Yellow dyes the cotton the +deepest shade, and between the two a uniform shade of yellow is got.</p> + +<p><i>Pale Gold Yellow.</i>--Use a dye-liquor containing 4 lb. Glauber's salt +in every 10 gallons, 2-1/2 lb. Diamine Fast Yellow A, 2 oz. Indian +Yellow G, and 3-1/2 oz. Indian Yellow R. In this recipe we use in the +two last dyes purely wool yellows, which dye the wool the same tint as +the Fast Yellow A dyes the cotton.</p> + +<p><i>Bright +<span class="pagenum"><a id="page176" name="page176"></a>(p. 176)</span> +Yellow.</i>--Use in the same way as the last 2-1/2 lb +Diamine Fast Yellow B and 3 oz. Indian Yellow G.</p> + +<p><i>Gold Orange.</i>--Use as above 2 lb. Diamine orange G, 3-1/2 oz. Indian +Yellow R, and 1-1/2 oz. Orange E N Z.</p> + +<p><i>Deep Orange.</i>--Use 2-1/2 lb. Diamine Orange D C, 6-1/2 oz. Orange +E N Z, and 3-1/4 oz. Indian Yellow R.</p> + +<p><i>Black.</i>--Use 4-1/2 lb. Union Black S, 2 oz. Diamine Fast Yellow A, +5 oz. Naphthol Blue Black, 3-1/4 oz. Formyl Violet S 4 B, and 4 lb. +Glauber's salt in 10 gallons dye-liquor.</p> + +<p>The goods are treated at the boil in this bath for one hour, Italian +cloths have frequently if not always to pass through a finishing +process to give them lustre. This treatment, especially with blues and +blacks, has a tendency to affect the shades, reddening them. With some +dye the colour comes back on the goods becoming cold again, but with +others this is not the case. If desired the goods may be subjected +after dyeing to a treatment with alum or, better, bichromate of +potash. The goods after being dyed are rinsed and then passed into a +bath at a temperature of 140° F., containing 3 lb. bichromate of +potash and 1-1/2 to 2 oz. sulphuric acid. After being chromed in this +for about half an hour they are well washed. This chroming thoroughly +fixes the colour on the cotton and it will not change while being +finished, either by crabbing, steaming or hot pressing.</p> + +<p><i>Gold Brown.</i>--Use 1-1/2 lb. Diamine Cutch, 6-1/2 oz. Diamine Fast +Yellow B, 1 oz. each Union Black, Naphthol Blue Black and Azo Red A.</p> + +<p><i>Walnut Brown.</i>--A fine shade is got with 1-1/4 lb. Union Black S, +1-1/4 lb. Diamine Brown M, 3-1/4 oz. Diamine Fast Yellow B, 13 oz. +Indian Yellow G, and 1 oz. Naphthol Blue Black. After dyeing the goods +should be chromed with 3 lb. bichromate of potash and 2 oz. sulphuric +acid.</p> + +<p><i>Dark Blue.</i>--A good full shade is got with 2-1/4 lb. Union Black S, +9-1/2 oz. Diamine Brilliant Blue G, 6-1/2 oz. Alkaline Violet +<span class="pagenum"><a id="page177" name="page177"></a>(p. 177)</span> +C A, and 1/4 lb. Alkaline Blue F. Treatment in a bath of 1/2 lb. +alum and 1/2 oz. soda at 130° F. will fix the colour against +finishing.</p> + +<p><i>Silver Grey.</i>--A fine grey can be got from 1-3/4 oz. Diamine Black +B H, 1/2 oz. Diamine Orange B, 1/2 oz. Naphthol Blue Black, and +1/2 oz. Formyl Violet.</p> + +<p><i>Navy Blue.</i>--Use 1-1/4 lb. Union Black S, 3 lb. Diamine Black B H, +1/2 oz. Naphthol Blue Black, 1/2 lb. Formyl Violet S 4 B, and +2-1/2 oz. Alkaline Blue B.</p> + +<p><i>Red Plum.</i>--Use a dye-bath containing 2-1/2 lb. Oxydiamine Violet B +and 3-1/4 oz. Formyl Violet S 4 B.</p> + +<p><i>Dark Green.</i>--A fine shade can be dyed in a bath containing 3 lb. +Diamine Green B and 1-1/2 lb. Diamine Black H W.</p> + +<p><i>Dark Slate.</i>--Use 4 lb. Diamine Black H W, 2 oz. Naphthol Blue Black, +and 3 oz. Azo Red A.</p> + +<p><i>Sage.</i>--Use a dye-bath containing 4 lb. Diamine Bronze G and +1-1/4 oz. Naphthol Blue Black.</p> + +<p><i>Dark Brown.</i>--A fine dark shade is got from 2-1/2 lb. Diamine +Brown V, and 2 oz. Naphthol Blue Black.</p> + +<p><i>Peacock Green.</i>--Use 3-3/4 lb. Diamine Steel Blue L, 13 oz. Diamine +Fast Yellow B, 14-1/2 oz. Thiocarmine R, and 2-1/4 oz. Indian Yellow G +in a bath of 4 lb. Glauber's salt per gallon of dye-liquor.</p> + +<p><i>Dark Sea Green.</i>--Use 9 oz. Diamine Steel Blue L, 3-3/4 oz. Diamine +Fast Yellow B, 1/2 oz. Diamine Orange G, 1-1/4 oz. Naphthol Blue +Black, and 3/4 oz. Indian Yellow G.</p> + +<p><i>Dark Brown.</i>--Use 1 lb. Diamine Orange B, 1 lb. Diamine Fast +Yellow B, 13-3/4 oz. Union Black S, 1 lb. Diamine Brown M, and 1/2 lb. +Indian Yellow G. Fix in an alum bath after dyeing.</p> + +<p><i>Dark Stone.</i>--Use 1/2 lb. Diamine Orange B, 3-3/4 oz. Union Black, +1/4 oz. Diamine Bordeaux B, 1-1/2 oz. Azo Red A, and 3/4 oz. Naphthol +Blue Black.</p> + +<p><i>Black.</i>--A very fine black can be got from 3-1/2 lb. Oxydiamine +Black +<span class="pagenum"><a id="page178" name="page178"></a>(p. 178)</span> +R M, 2 lb. Union Black S, 9-1/2 oz. Naphthol Blue +Black and 4 oz. Formyl Violet S 4 B, chroming after dyeing as +described above.</p> + +<p><i>Dark Grey.</i>--A fine bluish, shade of grey is got from 7 oz. Diamine +Black B H, 2-1/4 oz. Diamine Orange G, 2-1/2 oz. Naphthol Blue Black, +and 1 oz. Orange E N Z.</p> + +<p><i>Dark Blue.</i>--A fine shade is got by using 2 lb. Diamine Black B H, +1/2 lb. Diamine Black H W and 3-1/2 oz. Alkaline Blue 6 B.</p> + +<p><i>Drab.</i>--Use 3-1/2 oz. Diamine Orange B, 3/4 oz. Union Black, 1/8 oz. +Diamine Bordeaux B, 3/4 oz. Azo Red A, and 1/4 oz. Naphthol Blue +Black.</p> + +<p><i>Plum.</i>--Use 2-1/2 lb. Diamine Violet N, 9-1/2 oz. Union Black, and +1 lb. Formyl Violet S 4 B.</p> + +<p><i>Bright Yellow.</i>--Use a dye-bath containing 4 lb. Thioflavine S, 2 lb. +Naphthol Yellow S, 10 lb. Glauber's salt, and 2 lb, acetic acid.</p> + +<p><i>Pink.</i>--Use 1/6 oz. Diamine Rose B D, 1/4 oz. Diamine Scarlet B, +1/2 oz. Rhodamine B and 20 lb. Glauber's salt.</p> + +<p><i>Scarlet.</i>--A fine shade is got from 1-1/2 lb. Diamine Scarlet B, +1/2 oz. Diamine Red 5 B and 20 lb. Glauber's salt.</p> + +<p><i>Orange.</i>--Use a dye-bath containing 3-1/2 lb. Diamine Orange G, +14-1/2 oz. Tropæoline O O, and 2-3/4 oz. Orange extra.</p> + +<p><i>Sky Blue.</i>--Use 1-1/2 oz. Diamine Sky Blue and 1-1/4 oz. Alkaline +Blue B.</p> + +<p><i>Bright Blue.</i>--A fine shade similar to that formerly known as Royal +Blue is got by using 1-1/2 lb. Diamine Brilliant Blue G, and 9-1/4 oz. +Alkaline Blue 6 B.</p> + +<p><i>Maroon.</i>--Use 3 lb. Diamine Bordeaux B, 2 lb. Diamine Violet N, and +3-1/4 oz. Formyl Violet S 4 B.</p> + +<p><i>Green.</i>--A fine green similar in shade to that used for +billiard-table cloth is got from 2 lb. Diamine Fast Yellow B, 2 lb. +Diamine Steel Blue L, 14-1/2 oz. Thiocarmine R and 7-1/4 oz. Indian +Yellow G.</p> + +<p><i>Gold +<span class="pagenum"><a id="page179" name="page179"></a>(p. 179)</span> +Brown.</i>--A fine brown is got from 3 lb. Diamine +Orange B, 1/2 lb. Union Black, 2-1/2 oz. Diamine Brown, 3/4 oz. +Naphthol Blue Black, and 1/2 lb. Indian Yellow G.</p> + +<p><i>Navy Blue.</i>--Use 3-1/4 lb. Diamine Black B H, 1-1/2 lb. Diamine +Brilliant Blue G, and 1/2 lb. Alkaline Blue.</p> + +<p><i>Fawn Drab.</i>--A fine shade is got by dyeing in a bath containing +6-3/4 oz. Diamine Orange B, 1-3/4 lb. Union Black, 1/4 oz. Naphthol +Blue Black, 1/4 oz. Diamine Bordeaux B, and 1 oz. Azo Red A.</p> + +<p>In all these colours the dye-baths contain Glauber's salt at the rate +of 4 lb. per 10 gallons.</p> + +<p><i>Dark Brown.</i>--2-1/2 lb. Diamine Orange B, 13 oz. Diamine Bordeaux B, +1-1/2 lb. Diamine Fast Yellow B, 1-3/4 lb. Union Black, and 3-1/2 oz. +Naphthol Black.</p> + +<p><i>Drab.</i>--1-3/4 lb. Diamine Fast Yellow R, 3-1/4 oz. Diamine +Bordeaux B, 2-1/2 oz. Union Black, 1/2 oz. Naphthol Blue Black, and +1-1/4 oz. Indian Yellow G.</p> + +<p><i>Dark Blue.</i>--Use in the dye-bath 4-1/4 lb. Diamine Dark Blue B, +1-1/2 lb. Diamine Brilliant Blue G, 3/4 lb. Formyl Violet S 4 B, and +5 oz. Naphthol Blue Black.</p> + +<p><i>Blue Black.</i>--Use 3-1/4 lb. Union Black S, 1-1/2 lb. Oxydiamine Black +B M, 6-1/2 oz. Naphthol Blue Black, and 1/4 lb. Formyl violet S 4 B.</p> + +<p><i>Dark Walnut.</i>--2-3/4 lb. Diamine Brown M, 1-1/2 lb. Union Black S, +and 11-1/4 oz. Indian Yellow G.</p> + +<p><i>Peacock Green.</i>--Use in the dye-bath 3-1/2 lb. Diamine Black H W, +5-1/6 oz. Diamine Fast Yellow B, 1-1/2 lb. Thiocarmine R, and +1-1/6 oz. Indian Yellow G.</p> + +<p><i>Slate Blue.</i>--Use in the dye-bath 6-1/2 oz. Diamine Catechine B, +4-3/4 oz. Diamine Orange B, 2-1/2 oz. Union Black, 2-3/4 oz. Orange +E N Z, and 1-3/4 oz. Naphthol Blue Black.</p> + +<p><i>Dark Sage.</i>--A good shade is dyed with 1 lb. Diamine Orange B, +6-1/2 oz. Union Black, 1-3/4 oz. Diamine Brown M, 3-1/4 oz. Azo Red A, +and 2-1/4 oz. Naphthol Blue Black.</p> + +<p><i>Navy +<span class="pagenum"><a id="page180" name="page180"></a>(p. 180)</span> +Blue.</i>--Use 2 lb. Diamine Dark Blue B, 1-1/4 lb. +Lanacyl Violet B, and 7 oz. Naphthol Blue Black.</p> + +<p><i>Bronze Green.</i>--A good shade is dyed with 2 lb. Diamine Orange B, +5 oz. Diamine Brown N, 3/4 lb. Union Black S, 1 lb. Indian Yellow G, +and 2 oz. Naphthol Blue Black.</p> + +<p><i>Black.</i>--Use 2-1/2 lb. Oxydiamine Black B M and 1-1/2 lb. +Naphthylamine Black 6 B. Another recipe, 2-1/4 lb. Oxydiamine Black +B M, 1 lb. Diamine Brown M, 1 lb. Orange E N Z, and 2 oz. Naphthol +Blue Black.</p> + +<p><i>Dark Brown.</i>--Use 1-1/2 lb. Oxydiamine Black B M, 15-1/2 oz. Diamine +Brown M, 1-3/4 lb. Indian Yellow G, and 2-3/4 oz. Naphthol Blue Black. +Another combination, 1-1/2 lb. Oxydiamine Black B M, 1-1/2 lb. Orange +E N Z, 1 lb. Indian Yellow G, and 5 oz. Naphthol Blue Black.</p> + +<p><i>Scarlet.</i>--3 lb. Benzopurpurine 4 B, 3/4 oz. Ponceau 3 R B, and +1/2 lb. Curcumine S.</p> + +<p><i>Crimson.</i>--1/2 lb. Congo Corinth G, 2 lb. Benzopurpurine 10 B, and +1/2 lb. Curcumine S.</p> + +<p><i>Bright Blue.</i>--2 lb. Chicago Blue 6 B, 3 oz. Alkali Blue 6 B, +1-1/2 oz. Zambesi Blue R X. After dyeing, rinse and develop in a bath +of 8 oz. sulphuric acid in 10 gallons water, then rinse well.</p> + +<p><i>Dark Blue.</i>--2-1/2 lb. Columbia Fast Blue 2 G, 3 oz. Sulphon +Azurine D, 3 oz. Alkali Blue 6 B. After dyeing, rinse and develop in a +bath of 8 oz. sulphuric acid in 20 gallons of water.</p> + +<p><i>Orange.</i>--9 oz. Congo Brown G, 1-1/2 lb. Mikado Orange 4 R O, and +1-1/2 oz. Mandarine G.</p> + +<p><i>Dark Green.</i>--2 lb. Columbia Green, 1/2 lb. Sulphon Azurine D, +1/2 lb. Zambesi Blue B X, 1-1/2 oz. Curcumine S.</p> + +<p><i>Black.</i>--4 lb. Columbia Black F B, and 2 lb. Wool Black 6 B.</p> + +<p><i>Pale Sage Green.</i>--5 oz. Zambesi Black D, 3/4 lb. Chrysophenine G, +and 1-1/2 lb. Curcumine S.</p> + +<p><i>Slate.</i>--1/2 +<span class="pagenum"><a id="page181" name="page181"></a>(p. 181)</span> +lb. Zambesi Black D, 3/4 oz. Zambesi Blue R X, +1/2 oz. Mikado Orange 4 R O, and 1-1/2 oz. Acid Violet 6 B.</p> + +<p><i>Dark Grey.</i>--1 lb. Columbia Black F B, 3 oz. Zambesi Black B, and +3/4 oz. Sulphon Azurine D.</p> + +<p><i>Drab.</i>--1-1/2 oz. Zambesi Black D, 3/4 oz. Mandarine G extra, 1/4 oz. +Curcumine extra, and 3 oz. Mikado Orange 4 R O.</p> + +<p><i>Brown.</i>--5 oz. Zambesi Black D, 3/4 oz. Mandarine G extra, 1-1/2 oz. +Orange T A, and 2 oz. Mikado Orange 4 R O.</p> + +<p><i>Nut Brown.</i>--3/4 lb. Congo Brown G, 1/4 lb. Chicago Blue R W, and +3/4 lb. Mikado Orange 4 R O.</p> + +<p><i>Dark Brown.</i>--1 lb. Congo Brown G, 1-1/2 lb. Benzopurpurine 4 B, +1-1/2 lb. Zambesi Black F, and 1/2 lb. Wool Black 6 B.</p> + +<p><i>Stone.</i>--1 oz. Zambesi Black D, 1/4 oz. Mandarine G, 1/4 oz. +Curcumine extra, and 1-1/4 oz. Mikado Orange 4 R O.</p> + +<p><i>Slate Green.</i>--3 oz. Zambesi Black D, 1-1/2 oz. Guinea Green B.</p> + +<p><i>Sage Brown.</i>--1/2 lb. Zambesi Black D, 1-1/2 oz. Mandarine G extra, +3 oz. Curcumine extra, 3 oz. Acid Violet 6 B, 6 oz. Mikado Orange +4 R O, and 4-1/2 oz. Curcumine S.</p> + +<p><i>Cornflower Blue.</i>--3 oz. Chicago Blue 4 R, 1/4 lb. Zambesi Blue R X, +1/4 lb. Acid Violet 6 B, and 3/4 oz. Zambesi Brown G.</p> + +<p><i>Dark Brown.</i>--1-1/2 lb. Brilliant Orange G, 1/2 lb. Orange T A, 1 lb. +Columbia Black F B, and 1/4 lb. Wool Black 6 B.</p> + +<p><i>Dark Blue.</i>--2 lb. Chicago Blue R W, 1 lb. Zambesi Blue R X, 1/2 lb. +Columbia Black F B, 10 oz. Guinea Green B, and 1/2 lb. Guinea Violet +4 B.</p> + +<p>The Janus dyes may be used for the dyeing of half wool union fabrics. +The best plan of working is to prepare a bath with 5 lb. of sulphate +of zinc. In this the goods are worked at the boil for five minutes, +then there is added the dyes (previously dissolved in water), and the +working continued for a quarter of an hour; then there is added 20 lb. +Glauber's salt and the working at the boil continued for one +<span class="pagenum"><a id="page182" name="page182"></a>(p. 182)</span> +hour, at the end of which time the dye-bath will be fairly well +exhausted of colour. The goods are now taken out and put into a fixing +bath of sumac or tannin, in which they are treated for fifteen +minutes. To this same bath there is next added tartar emetic and 1 lb. +sulphuric acid, and the working continued for a quarter of an hour; +then the bath is heated to 160° F., when the goods are lifted, rinsed +and dried. In the recipes the quantities of dyes, sumac or tannin, and +tartar emetic only are given, the other ingredients and processes are +the same in all.</p> + +<p><i>Dark Blue.</i>--2-1/4 lb. Janus Dark Blue B, and 1/2 lb. Janus Green B, +in the dye-bath; 16 lb. sumac extract and 2 lb. tartar emetic in the +fixing bath.</p> + +<p><i>Blue Black.</i>--3-1/2 lb Janus Black I and 1/3 lb. Janus Black I I in +the dye-bath, and 16 lb. sumac extract and 2 lb. tartar emetic in the +fixing bath.</p> + +<p><i>Dark Brown.</i>--2-1/2 lb. Janus Brown B, 1 lb. Janus Black I, 3-1/2 oz. +Janus Yellow G, and 5 oz. Janus Red B in the dye-bath, with 16 lb. +sumac extract and 2 lb. tartar emetic in the fixing bath.</p> + +<p><i>Drab.</i>--1-1/2 oz. Janus Yellow R, 1/4 oz. Janus Red B, 1 oz. Janus +Blue R, and 1/4 oz. Janus Grey B B, in the dye-bath, and 4 lb. sumac +extract and 1 lb. tartar emetic in the fixing-bath.</p> + +<p><i>Grey.</i>--5 oz. Janus Blue R, 3-1/4 oz. Janus Grey B, 1-1/2 oz. Janus +Yellow R, and 1/4 oz. Janus Red B in the dye-bath, with 4 lb. sumac +extract and 1 lb. tartar emetic in the fixing-bath.</p> + +<p><i>Nut Brown.</i>--1 lb. Janus Brown R, 8 oz. Janus Yellow R, and 1-1/2 oz. +Janus Blue B in the dye-bath, and 8 lb. sumac extract and 1 lb. tartar +emetic in the fixing-bath.</p> + +<p><i>Walnut Brown.</i>--3 lb. Janus Brown B, 1 lb. Janus Red B, 1 lb. Janus +Yellow R, and 1-1/4 oz. Janus Green B in the dye-bath, with 8 lb. +sumac extract and 1 lb. tartar emetic in the fixing-bath.</p> + +<p><i>Crimson.</i>--2-1/2 +<span class="pagenum"><a id="page183" name="page183"></a>(p. 183)</span> +lb. Janus Red B, and 8 oz. Janus Claret +Red B in the dye-bath, with 8 lb. sumac extract and 1 lb. tartar +emetic in the fixing-bath.</p> + +<p><i>Dark Green.</i>--1-1/2 lb. Janus Green B, 1 lb. Janus Yellow R, and +8 oz. Janus Grey B in the dye-bath, with 4 lb. sumac extract and +1-1/4 lb. tartar emetic in the fixing-bath.</p> + +<p><i>Chestnut Brown.</i>--1 lb. Janus Brown R and 1 lb. Janus Yellow R in the +dye-bath, and 8 lb. sumac extract and 1 lb. tartar emetic in the +fixing-bath.</p> + +<p>Before the introduction of the direct dyes the method usually +followed, and indeed is now to a great extent, is that known as +Cross-dyeing. The goods were woven with dyed cotton threads of the +required shade and undyed woollen threads; after weaving and cleansing +the woollen part of the fabric was dyed with acid dyes such as Acid +Magenta, Scarlet R, Acid Yellow, etc. In such methods care has to be +taken that the dyes used for dyeing the cotton are such as stand +acids, a by no means easy condition to fulfil at one time. Many of the +direct dyes are fast to acids and therefore lend themselves more or +less readily to cross-dyeing. For details of the dyes for cotton +reference may be made to the sections on dyeing with the direct +colours in the companion volume to this book on <i>Dyeing of Cotton +Fabrics</i>.</p> + +<p><b>Shot Effects.</b>--A pleasing kind of textile fabric which is now made and +is a great favourite for ladies' dress goods is where the cotton of a +mixed fabric is thrown up to form a figured design. It is possible to +dye the two fibres in different colours and so produce a variety of +shot effects. These latter are so endless that it is impossible here +to enumerate all that may be produced. It will have to suffice to lay +down the lines which may be followed to the best advantage, and then +give some recipes to illustrate the remarks that have been made. The +best plan for the production of shot effects upon union fabrics is to +take advantage of the property of certain +<span class="pagenum"><a id="page184" name="page184"></a>(p. 184)</span> +acid dyes which +dye only the wool in an acid bath and of many of the direct colours +which will only dye the cotton in an alkaline bath. The process, +working on these lines, becomes as follows: The wool is first dyed in +an acid bath with the addition of Glauber's salt and bisulphate of +soda or sulphuric acid, the goods are then washed with water +containing a little ammonia to free them from the acid and afterwards +dyed with the direct colour in an alkaline bath.</p> + +<p>Fancy or the mode shades are obtained by combining suitable +dye-stuffs.</p> + +<p>If the cotton is to be dyed in light shades it is advantageous to dye +on the liquor at 65° to 80° F., with the addition of 3-1/4 oz. +Glauber's salt, and from 20 to 40 grains borax per gallon water. The +addition of an alkali is advisable in order to neutralise slight +quantities of acid which may have remained in the wool, and to prevent +the dye-stuff from dyeing the cotton too deep a shade.</p> + +<p>Very light shades can also be done on the padding machine. The +dye-stuffs of Group (2), which have been previously enumerated, do not +stain the wool at all or only very slightly and are therefore the most +suitable. Less bright effects can be produced by simply dyeing the +goods in one bath. The wool is first dyed at the boil with the wool +dye-stuff in a neutral bath, the steam is then shut off and the cotton +dyed by adding the cotton dye-stuff to the bath and dyeing without +again heating. By passing the goods through cold water to which some +sulphuric or acetic acid is added the brightness of most effects is +greatly increased.</p> + +<p><i>Gold and Green.</i>--First bath, 1 lb. Cyanole extra, 7-1/4 oz. Acid +Green, 1-1/2 oz. Orange G G, and 10 lb. bisulphate of soda; work at +the boil for one hour, then lift and rinse well. Second bath, 4 lb. +Diamine Orange G and 15 lb. Glauber's salt; work in the cold or at a +lukewarm heat. Third bath at 120° F., 4 oz. Chrysoidine and 1/4 oz. +Safranine.</p> + +<p><i>Black +<span class="pagenum"><a id="page185" name="page185"></a>(p. 185)</span> +and Blue.</i>--First bath, 3-1/2 lb. Naphthol Black 3 B +and 10 lb. bisulphate of soda. Second bath, 2 lb. Diamine Sky Blue and +13 lb. Glauber's salt. Third bath, 6-1/2 oz. New Methylene Blue N; +work as in the last recipe.</p> + +<p><i>Green and Claret.</i>--First bath, 3-1/2 lb. Naphthol Red C and 10 lb. +bisulphate of soda. Second bath, 2 lb. Diamine Sky Blue F F, 1-1/4 lb. +Thioflavine S, and 15 lb. Glauber's salt.</p> + +<p><i>Gold Brown and Blue.</i>--First bath, 2-1/2 oz. Orange E N Z, 1-1/2 oz. +Orange G G, 1/4 oz. Cyanole extra, and 10 lb. bisulphate of soda. +Second bath, 14 oz. Diamine Sky Blue F F and 15 lb. Glauber's salt.</p> + +<p><i>Dark Brown and Blue.</i>--First bath, 1/2 lb. Orange G G, 1-1/2 oz. +Orange E N Z, 1-1/2 oz. Cyanole extra and 10 lb. bisulphate of soda. +Second bath, 12 oz. Diamine Sky Blue F F and 15 lb. Glauber's salt.</p> + +<p><i>Black and Green Blue.</i>--First bath, 3 lb. Orange G G, 1 lb. Brilliant +cochineal 4 R, 1 lb. Fast Acid Green B N, and 10 lb. Glauber's salt. +Second bath, 1-3/4 lb. Diamine Sky Blue F F, 3-1/4 lb. Thioflavine S, +and 15 lb. Glauber's salt.</p> + +<p>We may here note that in all the above recipes the second bath (for +dyeing the cotton) should be used cold or at a lukewarm heat, and as +strong as possible. It is not completely exhausted of colour, only +about one-half going on the fibre. If kept as a standing bath this +feature should be borne in mind and less dye-stuff used in the dyeing +of the second and following lots of goods.</p> + +<p><i>Blue and Gold Yellow.</i>--3 lb. Diamine Orange G, 13 oz. Naphthol +Blue G, 14-1/2 oz. Formyl Violet S 4 B, and 15 lb. Glauber's salt; +work at just under the boil.</p> + +<p><i>Brown and Blue.</i>---1 lb. Diamine Steel Blue L, 9-1/2 oz. Diamine Sky +Blue, 1 lb. Orange E N Z, 1 lb. Indian Yellow G, 1-3/4 oz. Naphthol +Blue Black and 15 lb. Glauber's salt. Work at 170° to 180° F.</p> + +<p>In these two last recipes only one bath is used, all the dyes +<span class="pagenum"><a id="page186" name="page186"></a>(p. 186)</span> +being added at once. This is possible if care be taken that +dye-stuffs are used which will dye wool and not cotton from neutral +baths and dyes which dye cotton better than wool. The temperature +should also be kept below the boil and carefully regulated as the +operation proceeds and the results begin to show themselves.</p> + +<p><i>Grey and Orange.</i>--First bath, 3 oz. Orange extra, 1-1/4 lb. Cyanole +extra, 11 lb. Azo Red A, and 10 lb. bisulphate of soda. Second bath, +5 oz. Diamine Orange D C and 3 oz. Diamine Fast Yellow B.</p> + +<p><i>Green and Red.</i>--First bath, 2 lb. Croceine A Z and 10 lb. Glauber's +salt. Second bath, 1 lb. Diamine Sky Blue F F, 1/2 lb. Thioflavine S, +and 15 lb. Glauber's salt.</p> + +<p><i>Brown and Violet.</i>--First bath, 3/4 lb. Orange extra, 3/4 lb. Cyanole +extra, and 10 lb. bisulphate of soda. Second bath, 5 oz. Diamine +Brilliant Blue G and 15 lb. Glauber's salt.</p> + +<p><i>Black and Yellow.</i>--First bath, 7 lb. Naphthol Black B, 1/2 lb. Fast +Yellow S, and 10 lb. bisulphate of soda. Second bath, 3 lb. Diamine +Fast Yellow A and 15 lb. Glauber's salt.</p> + +<p><i>Black and Pink.</i>--Black as above. Pink with Diamine Rose B D (see +above).</p> + +<p><i>Green and Buff.</i>--First bath, 1/4 lb. Orange extra, 3/4 oz. Fast +Yellow S and 10 lb. bisulphate of soda. Second bath, 3/4 lb. Diamine +Sky Blue F F, 1/2 lb. Thioflavine S, and 15 lb. Glauber's salt.</p> + +<p><i>Orange and Violet.</i>--First bath, 9 oz. Orange extra and 10 lb. +bisulphate of soda. Second bath, 3/4 lb. Diamine Violet N and 10 lb. +Glauber's salt.</p> + +<p><i>Black and Blue.</i>--First bath, Naphthol Black, as given above. Second +bath, Diamine Sky Blue, as given above.</p> + +<p><i>Black and Yellow.</i>--Add first 1 lb. Wool Black 6 B and 10 lb. +Glauber's salt, then when the wool has been dyed add 2 lb. Curcumine S +to dye the cotton in the same bath.</p> + +<p><i>Green and Red.</i>--Dye the wool by using 3 lb. Guinea Green B, +<span class="pagenum"><a id="page187" name="page187"></a>(p. 187)</span> +1/4 lb. Curcumine extra, and 10 lb. Glauber's salt, then add to +the bath 3/4 lb. Erika B N and 3/4 lb. Congo Corinth G.</p> + +<p><i>Orange and Blue.</i>--Dye the wool first with 1-1/4 lb. Mandarine G, +2 oz. Wool Black 6 B, and 10 lb. Glauber's salt; then the cotton with +2 lb. Columbia Blue G.</p> + +<p><i>Blue and Orange.</i>--Dye the wool first with 3/4 lb. Guinea Violet B, +3/4 lb. Guinea Green B, and 10 lb. Glauber's salt; then dye the cotton +with 2 lb. Mikado Orange 4 R O.</p> + +<p><i>Green and Orange.</i>--Dye the wool with 3 lb. Guinea Green B, 1/4 lb. +Curcumine extra and 10 lb. Glauber's salt, then dye the cotton in the +same bath with 1-1/2 lb. Mikado Orange 4 R O.</p> + + + + +<h2>CHAPTER VI. +<span class="pagenum"><a id="page188" name="page188"></a>(p. 188)</span></h2> + +<h3>DYEING OF GLORIA.</h3> + + +<p>Gloria is a material which during the last few years has become of +considerable importance as furnishing a fine lustrous fabric at a +comparatively low price. The perfection to which the art of dyeing has +attained and the facilities now available to the dyer, enable this to +be produced more beautiful than ever, and naturally an increased +demand for it as a dress fabric has developed.</p> + +<p>Gloria is woven from the two fibres, wool and silk, of a fine texture +to enable it to be used in the place of a silk fabric. Formerly it was +usually woven with the wool and silk yarns already dyed, especially +when a "shot" effect was to be produced, this being done by a twill +weave of the fabric and by the use of yarns of two very different +colours in the case of "shot" fabrics. By the introduction of +dye-stuffs derived from coal tar the cloth is now dyed after being +woven, care being taken to choose those which will dye the two fibres +equally well when self-shades are wanted, or those which will dye one +fibre better than the other, and thus allow a woven piece of gloria to +be dyed of two different colours. As most dyers know, the most +brilliant effects are obtained when the finished woven piece can be +dyed. Then all the grease and dirt which has become attached to it +during the operations of spinning the yarns and weaving the pieces can +be removed before dyeing, thus leaving the fabric in a perfectly clean +condition. Thus no after cleansing is required, +<span class="pagenum"><a id="page189" name="page189"></a>(p. 189)</span> +whereas when +the fibres are dyed in the yarn the goods must be cleansed after +weaving to free them from dirt, and such cleaning has a somewhat +deleterious effect upon the brilliancy of the colour of the finished +fabric, more especially in the case of light colours.</p> + +<p>Gloria may be in one colour only, a self-colour as it is called; this +case is comparatively simple, the only care that is required being to +select dyes which have an equal affinity for the two fibres or which +give but slightly different shades. Still, some good effects are +obtained when dyes are used which dye the silk and wool different +colours but give the combined effect of a self-colour. Or the fibre +may be purposely dyed in two different colours in some cases to give +the "shot" effect. This is much more troublesome, but with a little +care can be carried out with good results. The dyes available for +dyeing gloria may be classified, according to their behaviour in +regard to their dyeing of the two fibres, into three groups as +follows:--</p> + +<p><i>Group A.</i>--Those which will dye the two fibres of equal shade.</p> + +<p><i>Group B.</i>--Those which will dye the wool at boiling heat more readily +than the silk.</p> + +<p><i>Group C.</i>--Those which will dye the silk only in a cold bath.</p> + +<p><i>Group A</i> consists of those dyes which can be used in dyeing +self-colours on gloria from acid baths. It includes Alkali Blue, +Naphthylamine Blacks, Naphthol Green B, Indian Yellow, Croceine A Z, +Croceine Orange, Orange R, Brilliant Croceine M, Rose Bengale, +Thiocarmine R, Soluble Blue, Formyl Violet S 4 B, Acid Green, Croceine +Orange G, Carmoisin, Acid Violet 5 B, Fast Acid Violet 10 B, Fast +Green Bluish, Rhodamine, Silk Blue, Victoria Black, Archil, Turmeric, +Safranine, Auramine, Quinoline Yellow, Azoflavine, Victoria Blue and +Bismarck Brown.</p> + +<p><i>Group +<span class="pagenum"><a id="page190" name="page190"></a>(p. 190)</span> +B</i> comprises those dye-stuffs which in a boiling acid +bath dye the wool deeper than the silks, in other words have more +affinity for the wool than the silk, Tropæoline O, Acid Magenta, +Indigo Extract, Phloxine, Naphthol Yellow, Orange G G, Scarlet S, Azo +Red A, Eosines, Thiocarmine R, Naphthol Black B B, New Victoria Black +Blue, Erythrosine, and Roccelline.</p> + +<p>The silk becomes tinted to a more or less extent when in such a bath, +but often the colour is readily removed either by subsequent passage +through boiling water or through hot soap liquor. A very good clearing +can be effected by the use of a bath of acetate of ammonia. Naphthol +Yellow, for instance, only imparts a very faint shade of yellow when +thus dyed, and this is easily removed by boiling-water treatment.</p> + +<p><i>Group C.</i>--Those dye-stuffs which will dye the silk more readily in a +cold bath than the wool. These comprise most of the basic dyes, such +as Thioflavine T, Safranine, Brilliant Green, Methyl Violet, Magenta, +New Methylene Blue, Bismarck Brown, Rose Bengale, Phloxine, Acid +Greens, Formyl Violet S 4 B, Rhodamine, Solid Blue, etc.</p> + +<p>Gloria may be dyed either by a one-bath or two-bath process, and +either one or two colours, as may be required. In both cases advantage +may be taken of the different affinities of the two fibres for the +dye-stuffs used, as, for instance, the silk may be dyed brown, the +wool olive by using a mixture of Acid Yellow, Indigo extract and +Orange G. Indigo extract, Cochineal, Acid Magenta, Picric acid, +Naphthol Yellow, and Tartrazine dye the wool only at the boil.</p> + +<p>The following recipes will serve to illustrate the foregoing remarks +and show how this important fabric may be dyed:--</p> + +<p><i>Deep Gold.</i>--The dye-bath is made from 2 lb. Indian Yellow, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid, dyed at the boil. In this +and following recipes the quantities are for 100 lb.</p> + +<p><i>Orange.</i>--The +<span class="pagenum"><a id="page191" name="page191"></a>(p. 191)</span> +dye-bath is made with 2 lb. Indian Yellow, +19 lb. Glauber's salt, and 2 lb. sulphuric acid.</p> + +<p><i>Scarlet.</i>--Make the dye-bath with 2 lb. Scarlet 3 R, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. Another scarlet is got from 2 lb. +sulphuric acid. Another scarlet is got from 2 lb. Croceine Scarlet +3 B, 2 lb. sulphuric acid, and 10 lb. Glauber's salt; by using the 5 B +Scarlet a bluer shade can be dyed. Azo Cochineal also dyes a fine +scarlet on gloria.</p> + +<p><i>Crimson.</i>--Make the dye-bath with 1 lb. Carmoisin B, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. The 7 B Croceine Scarlet also dyes a +fine crimson of a more fiery tone than the last, while 2-1/2 lb. Azo +Fuchsine G dyes a bluer shade of crimson.</p> + +<p><i>Rose.</i>--A fine rose is obtained with 2 lb. Rhodamine B, 10 lb. +Glauber's salt, and a little acetic acid. 1 lb. Phloxine dyes a fine +deep rose; the silk comes out a paler colour than the wool, but the +general effect is good.</p> + +<p><i>Deep Maroon.</i>--Make the dye-bath from 1-1/2 lb. Croceine A Z, 1/2 lb. +Indian Yellow, 1/4 lb. Formyl Violet S 4 B, 10 lb. bisulphate of soda. +Enter the goods, work at the boil for an hour, then cool down to +120° F., enter an equal quantity of dye-stuff and work for an hour +longer.</p> + +<p><i>Pale Maroon.</i>--Make the dye-bath with 3 lb. Azo Bordeaux, 10 lb. +Glauber's salt and 2 lb. sulphuric acid.</p> + +<p><i>Black.</i>--Prepare the dye-bath with 5 lb. Naphthylamine Black D, 1 lb. +Acid Green B, 10 lb. Glauber's salt, and 2 lb. sulphuric acid; work at +the boil for twenty minutes, then allow to cool to 120° or 130° F., +then work an hour longer. Another black can be dyed in a similar way +from 5 lb. Victoria Black B, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid.</p> + +<p><i>Violet.</i>--Use 2 lb. Acid Violet 5 B, or 2 lb. Formyl Violet S 4 B, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. Fast Acid Violet 10 B +gives a bluer shade than the above.</p> + +<p><i>Green.</i>--Make +<span class="pagenum"><a id="page192" name="page192"></a>(p. 192)</span> +the dye-bath with 2 lb. Acid Green G G, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil. +This gives a bright yellow shade of green; a bluer shade can be got +from Acid Green 6 B or Acid Green B, while Fast Green Bluish gives +very blue greens.</p> + +<p><i>Coeruleum Blue.</i>--Dye with 3/4 lb. Silk Blue B E S, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid; this gives a very fine bright blue.</p> + +<p><i>Deep Indigo Blue.</i>--Dye with 4-1/2 lb. Solid Blue R, 2 lb. +Thiocarmine R paste, 10 lb. Glauber's salt and 2 lb. sulphuric acid.</p> + +<p><i>Deep Violet Brown.</i>--Dye with 3 lb. Croceine A Z, 1-1/4 lb. Indian +Yellow, 1-3/4 lb. Formyl Violet S 4 B, 10 lb. Glauber's salt, and +2 lb. sulphuric acid for an hour at the boil, and for an hour at +120° F.</p> + +<p><i>Blue Black.</i>--Make the dye-bath with 5 lb. New Victoria Blue Black, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil. +Another plan is to use 5 lb. Naphthylamine Black 4 B and 10 lb. +bisulphate of soda.</p> + +<p><i>Dark Grey.</i>--Prepare a dye-bath with 3 lb. Naphthol Black 3 B, 4 lb. +Naphthol Green B, 1 lb. Amaranth, 10 lb. Glauber's salt, 8 lb. +copperas, and 3 lb. sulphuric acid, working at the boil for an hour +and then rinsing in water to which a little acetate of ammonia has +been added. The silk is dyed grey and the wool a black.</p> + +<p><i>Brown.</i>--A fine yellow brown shot with lilac is obtained by first +dyeing in a bath of 5 lb. Naphthol Yellow, 10 lb. Glauber's salt and +2 lb. sulphuric acid. Wash in hot water, then dye with 2-1/2 lb. Solid +Blue P G, 1-1/2 oz. Methyl Violet B O, and 5 lb. acetic acid in the +cold.</p> + +<p><i>Wool, Orange; Silk, Pale Green.</i>--Dye the wool with 1-1/2 lb. Orange +G G, 6 oz. Naphthol Green B, 2-1/2 oz. Naphthol Red C, 10 lb. +bisulphate of soda, and 2 lb. sulphuric acid; and the silk with +1/2 lb. Milling Yellow and 1/2 lb. Acid Green.</p> + +<p><i>Wool, +<span class="pagenum"><a id="page193" name="page193"></a>(p. 193)</span> +Black; Silk, Light Grey.</i>--Dye in a bath with 5 lb. +Anthracene Acid Black S T, 4-1/2 oz. Fast Yellow S, 10 lb. bisulphate +of soda, and 2 lb. sulphuric acid. The silk is cleaned by boiling for +ten minutes in a soap bath.</p> + +<p><i>Wool, Bright Red; Silk, Blush Rose.</i>--The gloria silk is dyed in a +bath of 3 lb. Naphthol Red O, 10 lb. bisulphate of soda, and 2 lb. +sulphuric acid. After dyeing, soap for ten minutes.</p> + +<p><i>Wool, Black; Silk, Green.</i>--Dye the wool in a bath containing 5 lb. +Anthracene Acid Black S T, 5 oz. Fast Yellow S, 2 lb. oxalic acid, +10 lb. Glauber's salt, and 15 lb. acetic acid. Work the goods in this +at the boil for an hour, then lift, add 3/4 lb. bichromate of potash, +and boil for twenty minutes longer. Clean the silk by boiling in a +bath of soap for twenty minutes, then dye in a cold bath containing +1 lb. Thioflavine T and 1 lb. Brilliant Green.</p> + +<p><i>Wool, Dark Maroon; Silk, Pale Blue.</i>--After the manner described in +the first recipe, dye the wool with 1 lb. Orange G G, 3 lb. Naphthol +Green B, 2 lb. Brilliant Cochineal 2 R, 10 lb. bisulphate of soda, and +2 lb. sulphuric acid. Dye the silk with 1-1/2 lb. Pure Blue O T.</p> + +<p><i>Wool, Violet; Silk, Green.</i>--Make the dye-bath with 1 lb. Acid Violet +4 B, 9 oz. Indigotine extra, 10 lb. bisulphate of soda, and 2 lb. +sulphuric acid. The dyeing is carried on at the boil until the bath is +exhausted of colour, whereupon the goods are well rinsed in water. +They are next soaped at 160° F. for ten minutes in a liquor containing +1/2 oz. soap per gallon, then rinsed. Next a dye-bath is made with +1 lb. Acid Green, 8 oz. Milling Yellow O, and 1 lb. acetic acid, the +goods being treated in this in the cold until the desired shade is +obtained, then lifted, rinsed and dried.</p> + +<p><i>Violet and Pink.</i>--A fine effect of violet shot with pink is obtained +by dyeing in a bath of 1-1/2 lb. Indigo extract, 1/2 lb. Rhodamine B, +10 lb. Glauber's salt, and 2 lb. sulphuric acid.</p> + +<p><i>Brown Olive and Green</i> is dyed in a bath made with 1 lb. Quinoline +<span class="pagenum"><a id="page194" name="page194"></a>(p. 194)</span> +Yellow, 1 lb. Azo Fuchsine G, 1/4 lb. Fast Green Bluish, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. By using about half +the above quantities of dye-stuffs a drab effect shot with green can +be obtained.</p> + +<p><i>Crimson and Green.</i>--The first bath is made from 4 lb. Azo Red A and +10 lb. bisulphate of soda, worked for an hour at the boil; then treat +in a weak bath of acetate of ammonia; and dye the silk in a cold bath +of 2 oz. Solid Green Crystals, 1/4 lb. Thioflavine T, and 5 lb. acetic +acid.</p> + +<p><i>Violet and Pink.</i>--Dye in a bath of 1-1/4 lb. Indigo extract, 10 lb. +Glauber's salt and 2 lb. sulphuric acid.</p> + +<p><i>Brown and Pink.</i>--This is dyed in a bath made from 1-1/4 lb. Fast +Yellow, 5 oz. Rhodamine B, 1/4 lb. indigo extract, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. The silk dyes a pale pink while the +general effect is that of a fine fawn brown with a reddish shot +effect.</p> + +<p><i>Dark Green and Pale Crimson.</i>--This is done in two baths, the first +is made with 8 lb. Naphthol Green B, 10 lb. Glauber's salt, 3 lb. +sulphuric acid, and 7 lb. copperas, working at the boil; then treat +with hot water and dye in a fresh bath with 6 oz. Safranine Prima and +5 lb. acetic acid in the cold. The combined effect of the two is that +of a brown shot with green.</p> + +<p><i>Orange and Green.</i>--This gives a splendid shot effect and is dyed as +follows. Work for an hour at the boil, for thirty minutes in a bath of +boiling water, then enter into a cold bath of 5 oz. Thioflavine T, +3 oz. Brilliant Green, and 3 lb. acetic acid; work for thirty minutes, +or until shade is obtained.</p> + +<p><i>Orange and Blue.</i>--Use first dye-bath as in the last, then, +after washing in hot water, dye in a bath of 2 oz. New +Methylene Blue N, and 3 lb. acetic acid.</p> + +<p><i>Silk, Sky Blue; Wool, Drab.</i>--Make a dye-bath with 20 lb. acetic +acid, 3/4 oz. Indigotine, 3 oz. Fast Yellow extra and 2 +<span class="pagenum"><a id="page195" name="page195"></a>(p. 195)</span> +oz. +Azo Fuchsine G. Work at the boil for one hour at 100° F., then pass +into a bath of 3/4 oz. Turquoise Blue B B, and 2 lb. acetic acid, +working for half an hour at 80°.</p> + +<p><i>Silk, Pink; Wool, Pale Blue.</i>--Make a dye-bath with 15 lb. acetic +acid and 4-1/2 oz. Indigotine. Work at the boil for an hour, then pass +into a bran bath as before; next enter into a dye-bath at 80° to 90° +of 3/4 oz. Brilliant Rhoduline R B, 1-1/2 oz. Auramine I I, and 2 lb. +acetic acid.</p> + +<p><i>Silk, Green; Wool, Dark Crimson.</i>--The first bath is made from 3 lb. +Azo Fuchsine G, 1 lb. Indian Yellow G and 20 lb. acetic acid; then +follows the bran and the final dye-bath, which is made from 1-1/2 oz. +Imperial Green G I, and 2 lb. acetic acid.</p> + +<p><i>Silk, Orange; Wool, Black.</i>--A dye-bath is made from 2 lb. +Indigotine, 2 lb. Indian Yellow G, 1/2 lb. Rhodamine G, and 20 lb. +acetic acid. Work at the boil for one hour; then lift, wash and dry.</p> + +<p><i>Silk, Light Green; Wool, Dark Blue.</i>--Make a dye-bath from 1/2 lb. +Azo Fuchsine G, 2 lb. Fast Light Green, and 20 lb. acetic acid. Work +at the boil to shade; then lift, wash and dry.</p> + +<p><i>Silk, Yellow; Wool, Terra Cotta.</i>--A dye-bath is made from 1-1/2 oz. +Indigotine, 3/4 lb. Azo Fuchsine G, 9 oz. Indian Yellow R, and 20 lb. +acetic acid. Work at the boil for one hour; then lift, wash and dry.</p> + +<p><i>Silk, Light Sea Green; Wool, Pale Sage.</i>--Make the dye-bath with +1/2 lb. Fast Yellow extra, 3 oz. Azo Fuchsine G, 1-1/2 oz. Fast Green +bluish, and 20 lb. acetic acid. Work as in the last recipe.</p> + +<p><i>Silk, Light Green; Wool, Brown.</i>--Make the dye-bath with 1 lb. Azo +Fuchsine G, 2-1/2 lb. Fast Yellow extra, 1/2 lb. Fast Green bluish, +and 20 lb. acetic acid. Work at the boil for one hour.</p> + +<p><i>Silk, Pale Blue; Wool, Crimson.</i>--Make a dye-bath with 2 lb. +<span class="pagenum"><a id="page196" name="page196"></a>(p. 196)</span> +Azo Crimson L and 20 lb. acetic acid. Work at the boil for one +hour, then pass into a bran bath for half an hour at 90° F., and into +another bath containing 1/2 lb. Turquoise Blue G, and 2 lb. acetic +acid, at 90° F., for half an hour; then wash and dry.</p> + +<p><i>Silk, Light Drab; Wool, Lavender.</i>--Make the first dye-bath from +3 oz. Indigotine, 2 oz. Azo Fuchsine G, and 20 lb. acetic acid. After +working an hour at the boil, pass into a bran bath for half an hour, +afterwards topping with 1-1/2 oz. Bismarck Brown R and 2 lb. acetic +acid.</p> + + + + +<h2>CHAPTER VII. +<span class="pagenum"><a id="page197" name="page197"></a>(p. 197)</span></h2> + +<h3>OPERATIONS FOLLOWING DYEING: WASHING, SOAPING, DRYING.</h3> + + +<p>After loose wool, or woollen yarns or piece goods of every description +have been dyed, before they can be sent out for sale they have to pass +through various operations of a purifying character. There are some +operations through which cloths pass that have as their object the +imparting of a certain appearance and texture to them, these are +generally known as finishing processes, of these it is not intended +here to speak, but only of those which precede them but follow on the +dyeing operations.</p> + +<p>These processes are usually of a very simple character, and common to +most colours which are dyed, and here will be noticed the appliances +and manipulations necessary in the carrying out of these operations.</p> + +<p><b>Squeezing or Wringing.</b>--It is advisable when the goods are taken out +of the dye-bath to squeeze or wring them according to circumstances in +order to express out all surplus dye-liquor, which can be returned to +the dye-bath if needful to be used again. This is an economical +proceeding in many cases, especially in working with many of the old +tannin materials, like sumac, divi-divi, myrobalans, and the modern +direct dyes, which during the dyeing operations are not completely +extracted out of the bath, or in other words the dye-bath is not +exhausted of colouring matter, and therefore it can be used again for +another lot of goods simply by adding fresh material to make up for +that absorbed by the first lot.</p> + +<p>Loose +<span class="pagenum"><a id="page198" name="page198"></a>(p. 198)</span> +wool and loose cotton are somewhat difficult to deal +with by squeezing or wringing, but the material may be passed through +a pair of squeezing rollers such as are shown in figure 24, which will +be more fully dealt with later on.</p> + +<p><b>Yarns in Hanks.</b>--In the hand-dyeing process of hank-dyeing the hanks +are wrung by placing one end of the hank on a wringing-horse placed +over the dye-tub, and a dye-stick in the other end of the hank, giving +two or three sharp pulls to straighten out the yarn and then twisting +the stick round; the twisting of the yarns puts some pressure on the +fibres thoroughly and uniformly squeezing out the surplus liquor from +the yarn.</p> + +<p><b>Hank-Wringing Machines.</b>--Several forms of hank-wringing machines have +been devised. One machine consists of a pair of discs fitted on an +axle, these discs carry strong hooks on which the hanks are placed. +The operator places a hank on a pair of the hooks. The discs revolve +and carry round the hank, during the revolution the hank is twisted +and the surplus liquor wrung out, when the revolution of the discs +carries the hank to the spot where it entered the machine, the hooks +fly back to their original position, the hank unwinds, it is then +removed and a new hank put in its place, and so the machine works on, +hanks being put on and taken off as required. The capacity of such a +machine is great and the efficiency of its working good.</p> + +<p>Mr. S. Spencer, of Whitefield, makes a hank-wringing machine which +consists of a pair of hooks placed over a vat. One of the hooks is +fixed, the other is made to rotate. A hank hung between the hooks is +naturally twisted and all the surplus liquor wrung out, the liquor +falling into the vat.</p> + +<p><b>Roller Squeezing Machines for Yarn.</b>--Hanks may be passed through a +pair of indiarubber squeezing rollers which may be so arranged that +they can be fixed as required on the dye-bath. +<span class="pagenum"><a id="page199" name="page199"></a>(p. 199)</span> +Such a pair +of rollers is a familiar article and quite of common and general use +in dye-houses.</p> + +<p><b>Piece Goods.</b>--These are generally passed open through a pair of +squeezing rollers, which are often attached to the dye-vat in which +the pieces are dyed.</p> + +<a id="img024" name="img024"></a> +<div class="figcenter" style="width: 500px;"> +<img src="images/img024.jpg" width="500" height="615" +alt="Read Holliday's Yarn-squeezing Machine" title=""> +</div> + +<p><b>Read Holiday's Squeezing Machine.</b>--In figure 24 is shown a squeezing +machine very largely employed for squeezing all kinds of piece goods +after dyeing or washing. It consists of a pair of heavy rollers on +which, by means of the screws shown at the top, a very considerable +pressure can be brought to bear. The piece is run through the eye +shown on the left, by which it is made into a rope form, then over +the +<span class="pagenum"><a id="page200" name="page200"></a>(p. 200)</span> +guiding rollers and between the squeezing rollers and +into waggons for conveyance to other machines. This machine is +effective.</p> + +<p>Another plan on which roller, or rather in this case disc, squeezing +machines are made is to make the bottom roller with a square groove in +the centre, into this fits a disc, the cloth passing between them. The +top disc can, by suitable screws, be made to press upon the cloth in +the groove and thus squeeze the water out of it.</p> + + +<p class="p2"><span class="smcap">Washing</span>.</p> + +<p>One of the most important operations following that of dyeing is the +washing with water to free the goods, whether cotton or woollen, from +all traces of loose dye, acids, mordanting materials, etc., which it +is not desirable should be left in, as they might interfere with the +subsequent finishing operations. For this purpose a plentiful supply +of good clean water is required, this should be as soft as possible, +free from any suspended matter which might settle upon the dyed goods +and stain or speck them.</p> + +<p>Washing may be done by hand, as it frequently was in olden days, by +simply immersing the dyed fabrics in a tub of water, shaking, then +wringing out, again placing in fresh water to finish off. Or if the +dye-works were on the banks of a running stream of clean water the +dyed goods were simply hung in the stream to be washed in a very +effectual manner.</p> + +<p>In these days it is best to resort to washing machines adapted to deal +with the various kinds of fibrous materials and fabrics, in which they +can be subjected to a current of water.</p> + +<p><b>Loose Wool.</b>--If this has been dyed by hand then the washing may also +be done in the same way by hand in a plain vat. If the dyeing has been +done on a machine then the washing can be done on the same machine.</p> + +<span class="pagenum"><a id="page201" name="page201"></a>(p. 201)</span> +<a id="img025" name="img025"></a> +<div class="figcenter" style="width: 500px;"> +<a href="images/img025.jpg"> +<img src="images/img025tb.jpg" width="500" height="250" +alt="Hank-washing Machine" title=""></a> +</div> + +<p><b>Yarn +<span class="pagenum"><a id="page202" name="page202"></a>(p. 202)</span> +in Hanks.</b>--A very common form of washing machine is +shown in figure 25. As will be seen it consists of a wooden vat, over +which are arranged a series of revolving reels on which the hanks are +hung, the hanks are kept in motion through the water and so every part +of the yarn is thoroughly washed. Guides keep the hanks of yarn +separate and prevent any entanglement one with another. A pipe +delivers constantly a current of clean water, while another pipe +carries away the used water. Motion is given to the reels in this case +by a donkey engine attached to the machine, but it may also be driven +by a belt from the main driving shaft of the works. This machine is +very effective.</p> + +<a id="img026" name="img026"></a> +<div class="figcenter" style="width: 600px;"> +<img src="images/img026.jpg" width="600" height="393" +alt="Cloth-washing Machine" title=""> +</div> + +<p><b>Piece Goods.</b>--Piece goods are mostly washed in machines, of which two +broad types may be recognised. First those where the pieces are dealt +with in the form of ropes or in a twisted form, and second those where +the pieces are washed while opened out full width. There are some +machines in which the cloths may be treated either in the open or rope +form as may be thought most desirable.</p> + +<p>Figure 26 represents a fairly well-known machine in which the +<span class="pagenum"><a id="page203" name="page203"></a>(p. 203)</span> +pieces are treated in a rope-like form. It consists of a trough +in which a constant current of water is maintained; at one end of this +trough is a square beating roller, at the other a wood lattice roller, +above the square beater and out of the trough are a pair of rollers +whose purpose is to draw the cloth through the machine and also partly +to act as squeezing rollers. As will be seen the cloth is threaded in +rope form spirally round the rollers, passing in at one end and out at +the other, pegs in a guide rail serving to keep the various portions +separate. The square beater in its revolutions has +<span class="pagenum"><a id="page204" name="page204"></a>(p. 204)</span> +a beating +action on the cloth, tending to more effectual washing. The lattice +roller is simply a guide roller.</p> + + +<a id="img027" name="img027"></a> +<div class="figcenter" style="width: 500px;"> +<img src="images/img027.jpg" width="500" height="580" +alt="Cloth-washing Machine" title=""> +</div> + +<p>Figure 27 shows a washing machine very largely used in the wool-dyeing +trade. The principal portion of this machine is of wood.</p> + +<p>The internal parts consist of a large wooden bowl, or oftener, as in +the machine under notice, of a pair of wooden bowls which are pressed +together by springs with some small degree of force. Between these +bowls the cloth is placed, more or less loosely twisted up in a rope +form, and the machines are made to take four, six or eight pieces or +lengths at one time, the ends of the pieces being stitched together so +as to make a continuous band. A pipe running along the front of the +machine conveys a constant current of clean water, which is caused to +impinge in the form of jets on the pieces of cloth as they run through +the machine, while an overflow carries away the used water. The goods +are run in this machine as long as is considered necessary for a +sufficient wash, which may take half to one and a half hours.</p> + +<p>In figure 30 is shown a machine designed to wash pieces in the broad +or open state. The machine contains a large number of guide rollers +built more or less open, round which the pieces are guided, the ends +of the pieces being stitched together, pipes carrying water are so +arranged that jets of clean water impinge on and thoroughly wash cloth +as it passes through, the construction of the guide rollers +facilitating the efficient washing of the goods.</p> + + +<p class="p2"><span class="smcap">Soaping.</span></p> + +<p>Sometimes yarns or cloths have to be passed through a soap-bath after +being dyed in order to brighten up the colours or develop them in some +way. In the case of yarns +<span class="pagenum"><a id="page205" name="page205"></a>(p. 205)</span> +this can be done on the reel +washing machines such as are shown in figure 25. In the case of piece +goods a continuous machine in which the washing, soaping, etc., can be +carried on simultaneously is often employed. Such a machine is shown +in figure 28. It consists of a number of compartments fitted with +guide rollers, so that the cloth passes up and down several times +through the liquors in the compartment; between one compartment and +another is placed a pair of squeezing rollers. The cloth is threaded +in a continuous manner, well shown in the drawing, through the +machine; in one compartment it is treated with water, in another with +soap liquor, and another with water, and so on, and these machines may +be made with two, three or more compartments, as may be necessary for +the particular work in hand. As seen in the drawing the cloth passes +in at one end, and out at the other finished. It is usually arranged +that a continuous current of the various liquors used flows through +the various compartments, thus ensuring the most perfect treatment of +the cloths.</p> + +<a id="img028" name="img028"></a> +<div class="figcenter" style="width: 600px;"> +<img src="images/img028.jpg" width="600" height="379" +alt="Soaping and Washing Machine" title=""> +</div> + +<p class="p2"><span class="smcap">Drying.</span> +<span class="pagenum"><a id="page206" name="page206"></a>(p. 206)</span></p> + +<p>Following on the washing comes the final operation of the dyeing +process, that of drying the dyed and washed goods. Now textile fabrics +of all kinds after they have passed through dye-baths, washing +machines, etc., contain a large amount of water, often exceeding in +amount that of the fabric itself, and to take the goods direct from +the preceding operations to the drying plant means that a considerable +amount of fuel must be expended to drive off this large amount of +water. It is therefore very desirable that the goods be freed from as +much of this water as possible before they are sent into any drying +chambers, and this may be done in three ways, by wringing, squeezing +and hydro-extracting. The first two methods have already been +described (pp. 198, 199) and need not again be alluded to, the last +needs some account.</p> + +<a id="img029" name="img029"></a> +<div class="figcenter" style="width: 600px;"> +<img src="images/img029.jpg" width="600" height="554" +alt="Hydro-extractor" title=""> +</div> + +<p>Hydro-extractors +<span class="pagenum"><a id="page207" name="page207"></a>(p. 207)</span> +are a most efficient means for extracting +water out of textile fabrics. They are made in a variety of forms by +several makers. Essentially they consist of a cylindrical vessel with +perforated sides, so constructed that it can be revolved at a high +speed. This vessel is enclosed in an outer cage. The goods are placed +in the basket, as it is termed, and then this is caused to revolve; at +the high speed at which it revolves centrifugal action comes into play +and the water contained in the goods finds its way to the outside of +the basket through the perforations and so away from the goods. +Hydro-extractors are made in a variety of sizes and forms, in some the +driving gear is above, in others below the basket, in some the driving +is done by belt gearing, in others a steam engine is directly +connected with the basket. Figures 29 and 30 show two forms which are +much in use in the textile industry. They are very efficient and +extract water from textile goods more completely than any other means, +as will be obvious from a study of the table below.</p> + +<a id="img030" name="img030"></a> +<div class="figcenter" style="width: 600px;"> +<img src="images/img030.jpg" width="600" height="401" +alt="Hydro-extractor" title=""> +</div> + +<p>The relative efficiency of the three systems of extracting the +moisture out of textile fabrics has been investigated by Grothe, who +gives in his <i>Appretur der Gewebe</i>, published in 1882, the following +table showing the percentage amount of water removed in fifteen +minutes:--</p> + +<span class="pagenum"><a id="page208" name="page208"></a>(p. 208)</span> + +<table border="0" cellpadding="0" summary="Percentage amount of water +removed in fifteen minutes"> +<colgroup> + <col width="30%"> + <col width="15%"> + <col width="15%"> + <col width="15%"> + <col width="15%"> +</colgroup> + +<tbody> +<tr> + <td class="td-center"> + Yarns. + </td> + <td class="td-center"> + Wool. + </td> + <td class="td-center"> + Silk. + </td> + <td class="td-center"> + Cotton. + </td> + <td class="td-center"> + Linen. + </td> +</tr> +<tr> + <td class="td-left"> + Wringing + </td> + <td class="td-right"> + 44·5 + </td> + <td class="td-right"> + 45·4 + </td> + <td class="td-right"> + 45·3 + </td> + <td class="td-right"> + 50·3 + </td> +</tr> +<tr> + <td class="td-left"> + Squeezing + </td> + <td class="td-right"> + 60·0 + </td> + <td class="td-right"> + 71·4 + </td> + <td class="td-right"> + 60·0 + </td> + <td class="td-right"> + 73·6 + </td> +</tr> +<tr> + <td class="td-left"> + Hydro-extracting + </td> + <td class="td-right"> + 83·5 + </td> + <td class="td-right"> + 77 + </td> + <td class="td-right"> + 81·2 + </td> + <td class="td-right"> + 82·8 + </td> +</tr> +<tr> +<td> +</td> +</tr> +<tr> + <td class="td-center"> + Pieces. + </td> + <td class="td-center"> + </td> + <td class="td-center"> + </td> + <td class="td-center"> + </td> + <td class="td-center"> + </td> +</tr> +<tr> + <td class="td-left"> + Wringing + </td> + <td class="td-right"> + 33·4 + </td> + <td class="td-right"> + 44·5 + </td> + <td class="td-right"> + 44·5 + </td> + <td class="td-right"> + 54·6 + </td> +</tr> +<tr> + <td class="td-left"> + Squeezing + </td> + <td class="td-right"> + 64·0 + </td> + <td class="td-right"> + 69·7 + </td> + <td class="td-right"> + 72·2 + </td> + <td class="td-right"> + 83·0 + </td> +</tr> +<tr> + <td class="td-left"> + Hydro-extracting + </td> + <td class="td-right"> + 77·8 + </td> + <td class="td-right"> + 75·5 + </td> + <td class="td-right"> + 82·3 + </td> + <td class="td-right"> + 86·0 + </td> +</tr> +</table> + + +<p>In the practical working of hydro-extractors it is of the utmost +importance that the goods be carefully and regularly laid in the +basket, not too much in one part and too little in another. Any +unevenness in this respect at the speed at which they are driven +leaves such a strain on the bearings as to seriously endanger the +safety of the machine.</p> + + +<a id="img031" name="img031"></a> +<div class="figcenter" style="width: 400px;"> +<a href="images/img031.jpg"> +<img src="images/img031tb.jpg" width="400" height="188" +alt="Yarn-drying Machine" title=""></a> +</div> + +<p>After being wrung, squeezed or hydro-extracted the goods are ready to +be dried. In the case of yarns this may be done in rooms heated by +steam pipes placed on the floor, the hanks being hung on rods +suspended from racks arranged for the purpose.</p> + +<a id="img032" name="img032"></a> +<div class="figcenter" style="width: 600px;"> +<img src="images/img032.jpg" width="600" height="441" +alt="Cloth-drying Machine" title=""> +</div> + +<p>Where large quantities of yarn have to be dried it is most economical +to employ a yarn or drying machine, and one form of such is shown in +figure 31. The appearance of the machine is that of one long room from +the outside, internally it is divided into compartments, each of which +is heated up by suitably arranged steam pipes, but the degree of +heating in +<span class="pagenum"><a id="page209" name="page209"></a>(p. 209)</span> +each compartment varies, at the entrance end it +is high, at the exit end low. The yarn is fed in at one end, being +hung on rods, and by suitable gearing it is carried directly through +the various chambers or sections, and in its passage the heat to which +it is subject drives off the water it contains. The yarn requires no +attention from the time it passes +<span class="pagenum"><a id="page210" name="page210"></a>(p. 210)</span> +in wet at the one end of +the machine and comes out dry at the other end. The amount of labour +required is slight, only that represented by filling the sticks with +wet yarn and emptying the dried yarn. The machine works regularly and +well.</p> + +<p>The drying is accomplished by circulating heated air through the +yarns, this heating being effected by steam coils; fresh air +continually enters the chambers while water-saturated air is as +continually being taken out at the top of the chamber. One of the +great secrets in all drying operations is to have a constant current +of fresh hot air playing on the goods to be dried, this absorbs the +moisture they contain, and the water-charged air thus produced must be +taken away as quickly as possible.</p> + +<p><b>Piece Goods.</b>--The most convenient manner of drying piece goods is to +employ the steam cylinder drying machine such as is shown in figure +32. This consists of a number of hollow tin or copper cylinders which +can be heated by steam passing in through the axles of the cylinders, +which are made hollow on purpose. The cloth to be dried passes round +these cylinders, which revolve while the cloth passes. They work very +effectually.</p> + + + + +<h2>CHAPTER VIII. +<span class="pagenum"><a id="page211" name="page211"></a>(p. 211)</span></h2> + +<h3>EXPERIMENTAL DYEING AND COMPARATIVE DYE TESTING.</h3> + + +<p>Every dyer ought to be able to make experiments in the mordanting and +dyeing of textile fibres for the purpose of ascertaining the best +methods of applying mordants or dye-stuffs, the best methods of +obtaining any desired shade, and for the purpose of making comparative +tests of dyes or mordanting materials with the object of determining +their strength and value. This is not by any means difficult, nor does +it involve the use of any expensive apparatus, so that a dyer need not +hesitate to set up a small dyeing laboratory for fear of the expense +which it might entail.</p> + +<p>In order to carry out the work indicated above there will be required +several pieces of apparatus. First a small chemical balance; one that +will carry 50 grammes in each pan is quite large enough, and such a +one, quite accurate enough for this work, can be bought for 25s. to +30s., while if the dyer be too poor even for this a cheap pair of +apothecaries' scales might be used. It is advisable to procure a set +of gramme weights and to get accustomed to them, which is not by any +means difficult.</p> + +<p>In using the balance always put the substance to be weighed on the +left-hand pan and the weights on the right-hand pan. Never put +chemicals of any kind direct on the pan, but weigh them in a +watch-glass, small porcelain basin, or glass beaker (which has first +been weighed), according to the nature of the material which is being +weighed. The sets of +<span class="pagenum"><a id="page212" name="page212"></a>(p. 212)</span> +weights are always fitted into a block +or box, and every time they are used they should be put back into +their proper place.</p> + +<p>The experimenter will find it convenient to provide himself with a few +small porcelain basins, glass beakers, cubic centimetre measures, two +or three 200 c.c. flasks with a mark on the neck, a few pipettes of +various sizes, 10 c.c., 20 c.c., 25 c.c.</p> + +<p>The most important feature is the dyeing apparatus. Where only a +single dye test is to be made a small copper or enamelled iron +saucepan, such as can be bought at any ironmongers may be used; this +may conveniently be heated by a gas-boiling burner, such as can also +be bought at an ironmongers or plumbers for 2s.</p> + +<a id="img033" name="img033"></a> +<div class="figcenter" style="width: 400px;"> +<img src="images/img033.jpg" width="400" height="317" +alt="Experimental Dye-bath" title=""> +</div> + +<p>It is, however, advisable to have means whereby several dyeing +experiments can be made at one time and under precisely the same +conditions, and this cannot be done by using the simple means noted +above.</p> + +<p>To be able to make perfectly comparative dyeing experiments it is best +to use porcelain dye-pots (these may be bought from most dealers in +chemical apparatus), and to heat these in a water-bath arrangement.</p> + +<p>The simplest arrangement is sketched in figure 33; it consists of a +copper bath measuring 15 inches long by 10-1/2 inches broad +<span class="pagenum"><a id="page213" name="page213"></a>(p. 213)</span> +and 6-1/2 inches deep; this is covered by a lid on which are six +apertures to take the porcelain dye-baths. The bath is heated by two +round gas-boiling burners of the type already referred to.</p> + +<p>The copper bath is filled with water which, on being heated to the +boil by the gas burners, heat up the dye-liquors in the dye-pots. The +temperature in the dye-pots under such conditions can never reach the +boiling point; where it is desirable, as in some cases of wool +mordanting and dyeing that it should be so high, then there should be +added to the water in the copper bath a quantity of calcium chloride, +which forms a solution that has a much higher boiling point than that +of water, and so the dye-liquors in the dye-pots may be heated up to +the boil.</p> + +<p>An objection might be raised that with such an apparatus the +temperature in every part of the bath may not be uniform, and so the +temperature of the dye-liquors in the pots might vary also, and +differences of temperature often have a considerable influence on the +shade of the colour which is being dyed. This is a minor objection, +which is more academic in its origin than of practical importance. To +obviate it Mr. William Marshall, of the Rochdale Technical School, has +devised a circular form of dye-bath, in which the temperature in every +part can be kept quite uniform.</p> + +<p>The dyeing laboratories of Technical Schools and Colleges are +generally provided with a more elaborate set of dyeing appliances. +These in the latest constructed consist of a copper bath supported on +a hollow pair of trunnions, so that it can be turned over if needed. +Into the bath are firmly fixed three earthenware or porcelain +dye-pots; steam for heating can be sent through the trunnions. After +the dyeing tests have been made the apparatus can be turned over and +the contents of the dye-pots emptied into a sink which is provided for +the purpose.</p> + +<p>Many +<span class="pagenum"><a id="page214" name="page214"></a>(p. 214)</span> +other pieces of apparatus have been devised and made +for the purpose of carrying on dyeing experiments on the small scale, +but it will not be needful to describe these in detail. After all no +more efficient apparatus can be desired than that described above.</p> + +<p>Dyeing experiments can be made with either yarns or pieces of cloth, +swatches as they are commonly called; a very convenient size is a +small skein of yarn or a piece of cloth weighing 5 grammes. These test +skeins or pieces ought to be well washed in hot water before use, so +that they are clean and free from any size or grease. A little soda or +soap will facilitate the cleansing process.</p> + +<p>In carrying out a dyeing test the dye-pot should be filled with the +water required, using as little as is consistent with the dye-swatch +being handled comfortably therein, then there is added the required +mordants, chemicals, dyes, etc., according to the character of the +work which is being done.</p> + +<p>Of such chemicals as soda, caustic soda, sodium sulphate (Glauber's +salt), tartar, bichromate of potash, it will be found convenient to +prepare stock solutions of known strength, say 50 grammes per litre, +and then by means of a pipette any required quantity can be +conveniently added. The same might be followed in the case of dyes +which are constantly in use, in this case 5 grammes per litre will be +found strong enough.</p> + +<p>Supposing it is desired to make a test of a sample of Acid Red, using +the following proportions, 2 per cent. dye-stuff, 3 per cent. +sulphuric acid and 15 per cent. Glauber's salt, and the weight of the +swatch which is being used is 5 grammes, the following calculations +are to be made to give the quantities of the ingredients required:--</p> + +<p>For the dye-stuff, 5 (weight of swatch) multiplied by 2 (per cent. of +dye) and divided by 100 equals (5 x 2) / 100 = 0·1 gramme of dye.</p> + +<p>For +<span class="pagenum"><a id="page215" name="page215"></a>(p. 215)</span> +the acid we have similarly (5 x 3) / 100 = 0·15 gramme +of acid.</p> + +<p>For the Glauber's salt (5 x 15) / 100 = 0·75 gramme of Glauber's salt.</p> + +<p>These quantities may be weighed out and added to the dye-bath, or if +solutions are kept a calculation can be made as to the number of cubic +centimetres which contain the above quantities, and these measured out +and added to the dye-bath.</p> + +<p>When all is ready the bath is heated up, the swatch put in and the +work of the test entered upon.</p> + +<p>Students are recommended to make experiments on such points as:--</p> + +<p>The shades obtained by using various proportions of dye-stuffs.</p> + +<p>The influence of various assistants: common salt, soda, Glauber's +salt, borax, phosphate of soda in the bath.</p> + +<p>The influence of varying proportions of mordants on the shade of +dyeing.</p> + +<p>The value of various assistants, tartar, oxalic acid, lactic acid, +sulphuric acid, on the fixation of mordants.</p> + +<p>The relative value of tannin matters, etc.</p> + +<p>Each dyer should make himself a pattern book into which he should +enter his tests, with full particulars as to how they have been +produced at the side.</p> + +<p>It is important that a dyer should be able to make comparative +dye-tests to ascertain the relative strength of any two or more +samples of dyes which may be sent to him.</p> + +<p>This is not difficult but requires considerable care in carrying out +the various operations involved.</p> + +<p>0·5 gramme of each of the samples of dyes should be weighed out and +dissolved in 100 c.c. of water, care being taken +<span class="pagenum"><a id="page216" name="page216"></a>(p. 216)</span> +that every +portion of the dye is dissolved before any of the solution is used in +making up the dye-vats. Care should be taken that the skeins of yarn +or swatches of cloth are exactly equal in weight, that the same volume +of water is placed in each of the dye-pots, that the same amounts of +sulphate of soda or other dye assistants are added, that the +quantities of dye-stuffs and solutions used are equal, in fact that in +all respects the conditions of dyeing are exactly the same, such in +fact being the vital conditions in making comparative dye-tests of the +actual dyeing strength of several samples of dyes.</p> + +<p>After the swatches have been dyed they are rinsed and then dried, when +the depths of shade dyed on them may be compared one with another. To +prevent any mistakes it is well to mark the swatches with one, two, +three or more cuts as may be required.</p> + +<p>It is easier to ascertain if two dyes are different in strength of +colour than to ascertain the relative difference between them. There +are two plans available for this purpose; one is a dyeing test, the +other is a colorimetric test made with the solutions of the dyes.</p> + +<p><b>Dyeing Test.</b>--This method of ascertaining the relative value of two +dyes as regards strength of colour is carried out as follows. A +preliminary test will show which sample is stronger than the other; +then there is prepared a series of dye-vats, one contains a swatch +with the deepest of the two dyes, which is taken as the standard, the +others with the other dye but containing 2, 5 and 10 per cent. more +dye-stuff, and all these are dyed together, and after drying a +comparison can be made between these and the standard swatch, and a +judgment formed as to the relative strength of the two dyes; a little +experience will soon enable the dyer to form a correct judgment of the +difference in strength between two samples of dye-stuff.</p> + +<p>The +<span class="pagenum"><a id="page217" name="page217"></a>(p. 217)</span> +colorimetric test is based on the principle that the +colour of a solution of dye-stuff is proportionate to its strength. +Two white glass tubes, equal in diameter, are taken; solutions of the +dye-stuffs, 0·5 gramme in 100 c.c. of water, are prepared, care being +taken that the solution is complete. 5 c.c. of one of these solutions +is taken and placed in one of the glass tubes, and 5 c.c. of the other +solution is placed in the other glass tube, 25 c.c. of water is now +added to each tube and then the colour of the diluted liquids is +compared by looking through in a good light. That sample which gives +the deepest solution is the strongest in colouring power. By diluting +the strongest solution with water until it is of the same depth of +colour as the weakest, it may be assumed that the length of the +columns of liquid in the two tubes is in proportion to the relative +strength of the two samples. Thus if in one tube there are 30 +centimetres of liquid and in the other 25 centimetres, then the +relative strength is as 30 to 25, and if the first is taken as the +standard at 100 a proportion sum may be worked out as follows:--</p> + +<p>30: 25 :: 100 : 83·3;</p> + +<p>that is, the weakest sample has only 83·3 per cent. of the strength of +the strongest sample.</p> + + + + +<h2>CHAPTER IX. +<span class="pagenum"><a id="page218" name="page218"></a>(p. 218)</span></h2> + +<h3>TESTING OF THE COLOUR OF DYED FABRICS.</h3> + + +<p>It is frequently desirable that dyers should be able to ascertain with +some degree of accuracy what dyes have been used to dye any particular +sample of dyed cloth that has been offered to them to match. In these +days of the thousand-and-one different dyes that are known it is by no +means an easy thing to do, and when, as is most often the case, two or +three dye-stuffs have been used in the production of a shade, the +difficulty is materially increased.</p> + +<p>The only available method is to try the effect of various acid and +alkaline reagents on the sample, noting whether any change of colour +occurs, and judging accordingly. It would be a good thing for dyers to +accustom themselves to test the dyeings they do and so accumulate a +fund of practical experience which will stand them in good stead +whenever they have occasion to examine a dyed pattern of unknown +origin.</p> + +<p>The limits of this book do not permit of there being given a series of +elaborate tables showing the action of various chemical reagents on +fabrics dyed with various colours, and such indeed serve very little +purpose, for it is most difficult to describe the minor differences +which often serve to distinguish one colour from another. Instead of +doing so we will point out in some detail the methods of carrying out +the various tests, and advise all dyers to carry these out for +themselves on samples dyed with known colours, and when they have an +unknown colour to test to make +<span class="pagenum"><a id="page219" name="page219"></a>(p. 219)</span> +tests comparatively with +known colours that they think are likely to have been used in the +production of the dyed fabric they are testing.</p> + +<p>One very common method is to spot the fabric, that is to put a drop of +the reagent on it, usually with the aid of the stopper of the reagent +bottle, and to observe the colour changes, if any, which ensue.</p> + +<p>This is a very useful test and should not be omitted; and it is often +employed in the testing of indigo dyed goods with nitric acid, those +of logwood with hydrochloric acid, alizarine with caustic soda, and +many others. It is simple and easy to carry out, and only takes a few +minutes.</p> + +<p>To make a complete series of tests of dyed fabrics there should be +provided the following reagents:--</p> + +<p class="quotega10"> +1. Strong sulphuric acid as bought.<br> + +2. Dilute sulphuric acid, being the strong acid diluted +with 20 times its volume of water.<br> + +3. Concentrated hydrochloric acid as bought.<br> + +4. Dilute hydrochloric acid, 1 acid to 20 water.<br> + +5. Concentrated nitric acid as bought.<br> + +6. Dilute nitric acid, 1 acid to 20 water.<br> + +7. Acetic acid.<br> + +8. Caustic soda solution, 5 grammes in 100 c.c. water.<br> + +9. Ammonia (strong).<br> + +10. Dilute ammonia, 1 strong ammonia to 10 water.<br> + +11. Carbonate of soda solution, 5 grammes in 100 c.c. +water.<br> + +12. Bleaching powder solution, 2° Tw.<br> + +13. Bisulphite of soda, 72° Tw.<br> + +14. Stannous chloride, 10 grammes crystals in 100 c.c. +water, with a little hydrochloric acid.<br> + +15. Methylated spirit.</p> + +<p>Small swatches of the dyed goods are put in clean porcelain basins, +and some of these solutions poured over them. Any +<span class="pagenum"><a id="page220" name="page220"></a>(p. 220)</span> +change of +colour of the fabric is noted as well as whether any colour is +imparted to the solutions. After making observations of the effects in +the cold, the liquids may be warmed, and the results again noted. +After being treated with the acids the swatches should be well washed +with water, when the original colour may be wholly or partially +restored.</p> + +<p>To give tables showing the effects of these reagents on the numerous +dyes now known would take up too much room and not serve a very useful +purpose, as such tables if too much relied on leave the operator +somewhat uncertain as to what he has before him. The reader will find +in Hurst's <i>Dictionary of Coal-Tar Colours</i> some useful notes as to +the action of acids and alkalies on the various colours that may be of +service to him.</p> + +<p>Alizarine and the series of dye-stuffs to which it has given its name, +fustic, cochineal, logwood and other dyes of a similar class, require +the fabric to be mordanted, and the presence of such mordant is +occasionally an indirect proof of the presence of these dyes.</p> + +<p>To detect these mordants a piece of the swatch should be burnt in a +porcelain or platinum crucible over a bunsen burner, care being taken +that all carbonaceous matter be burnt off. A white ash will indicate +the presence of alumina mordants, red ash that of iron mordants, and a +greenish ash chrome mordants.</p> + +<p>To confirm these the following chemical tests may be applied. Boil the +ash left in the crucible with a little strong hydrochloric acid and +dilute with water. Pass a current of sulphuretted hydrogen gas through +the solution, if there be any tin present a brown precipitate of tin +sulphide will be obtained. This can be filtered off. The filtrate is +boiled for a short time with nitric acid, and ammonia is added to the +solution when alumina is thrown down as a white, gelatinous +precipitate, +<span class="pagenum"><a id="page221" name="page221"></a>(p. 221)</span> +iron is thrown down as a brown red, bulky +precipitate, while chrome is thrown down as a greyish-looking, +gelatinous precipitate. The precipitate obtained with the ammonia is +filtered off and a drop of ammonium sulphide added, when any zinc +present will be thrown down as white precipitate of zinc sulphide; to +the filtrate from this ammonium oxalate may be added, when if lime is +present a white precipitate of calcium oxalate is obtained.</p> + +<p>A test for iron is to dissolve some of the ash in a little +hydrochloric acid and add a few drops of potassium ferrocyanide +solution, when if any iron be present a blue precipitate will be +obtained.</p> + +<p>To make more certain of the presence of chrome, heat a little of the +ash of the cloth with caustic soda and chlorate of soda in a porcelain +crucible until well fused, then dissolve in water, acidify with acetic +acid and add lead acetate, a yellow precipitate indicates the presence +of chrome.</p> + +<p>A book on qualitative chemical analysis should be referred to for +further details and tests for metallic mordants.</p> + +<p>The fastness of colours to light, air, rubbing, washing, soaping, +acids and alkalies is a feature of some considerable importance, there +are indeed few colours that will resist all these influences, and such +are fully entitled to be called fast. The degree of fastness varies +very considerably, some colours will resist acids and alkalies well, +but are not fast to light and air; some will resist washing and +soaping, but are not fast to acids; some may be fast to light, but are +not so to washing. The following notes will show how to test these +features.</p> + +<p><b>Fastness to Light and Air.</b>--This is simply tested by hanging a piece +of the dyed cloth in the air, keeping a piece in a drawer to refer to, +so that the influence on the original colour can be noted from time to +time. If the piece is left out in the open one gets not only the +effect of light but also that +<span class="pagenum"><a id="page222" name="page222"></a>(p. 222)</span> +of climate on the colour, and +there is no doubt rain, hail and snow have some influence on the +fading of the colour. If the piece is exposed under glass the climatic +influences do not come into play, and one gets the effect of light +alone.</p> + +<p>In making tests of fastness the dyer will and does pay due regard to +the character of the influences that the material will be subjected to +in actual use, and these vary very considerably; thus the colour of +underclothing need not be fast to light, for it is rarely subjected to +that agent of destruction; on the other hand, it must be fast to +washing, for that is an operation to which underclothing is subjected +week by week.</p> + +<p>Window curtains are much exposed to light and air, and, therefore, the +colours in which they are dyed should be fast to light and air. On the +other hand, these curtains are rarely washed, and so the colour need +not be quite fast to washing. And so with other kinds of fabrics; +there are scarcely two kinds which are subjected to the same +influences and require the colours to have the same degree of +fastness.</p> + +<p>The fastness to rubbing is generally tested by rubbing the dyed cloth +with a piece of white paper.</p> + +<p><b>Fastness to Washing.</b>--This is generally tested by boiling a swatch of +the cloth in a solution of soap containing 4 grammes of a good neutral +curd soap per litre for ten minutes, and noting the effect whether the +soap solution becomes coloured and to what degree, or whether it +remains colourless, and also whether the colour of the swatch has +changed at all.</p> + +<p>One very important point in connection with the soaping tests is +whether a colour will run into a white fabric that may be soaped along +with it. This is tested by twisting strands of the dyed yarn or cloth +with white yarn or cloth and boiling them in the soap liquor for ten +minutes and then noting the +<span class="pagenum"><a id="page223" name="page223"></a>(p. 223)</span> +effect, particularly observing +whether the white pieces have taken up any colour.</p> + +<p>Fastness to acids and fastness to alkalies is observed while carrying +out the various acid and alkali tests given above.</p> + + +<h4>THE END.</h4> + + + + +<h2>INDEX. +<span class="pagenum"><a id="page225" +name="page225"></a>(p. 225)</span></h2> + + +<p class="quotega10"><b>A.</b></p> + +<p>Acetate of ammonia, +<a href="#page093">93</a>, +<a href="#page094">94</a>, +<a href="#page101">101</a>, +<a href="#page102">102</a>, +<a href="#page127">127</a>, +<a href="#page128">128</a>, +<a href="#page129">129</a>, +<a href="#page132">132</a>, +<a href="#page167">167</a>, +<a href="#page192">192</a>, +<a href="#page194">194</a>.<br> +------- of chrome, +<a href="#page115">115</a>.<br> +------- of lime, +<a href="#page158">158</a>, +<a href="#page159">159</a>.<br> + +Acetic acid, +<a href="#page127">127</a>.<br> + +Acid black, +<a href="#page037">37</a>, +<a href="#page089">89</a>.<br> +---- ----- B, +<a href="#page092">92</a>, +<a href="#page099">99</a>.<br> +---- ----- B B, +<a href="#page099">99</a>, +<a href="#page111">111</a>, +<a href="#page112">112</a>.<br> +---- ----- S, +<a href="#page090">90</a>, +<a href="#page099">99</a>.<br> +---- blue 4 S, +<a href="#page098">98</a>, +<a href="#page127">127</a>.<br> +---- ---- 1 V, +<a href="#page153">153</a>.<br> +---- dyes for blue, +<a href="#page152">152</a>.<br> +---- ---- for brown, +<a href="#page161">161</a>.<br> +---- ---- for green, +<a href="#page128">128</a>.<br> +---- ---- for mode colours, +<a href="#page165">165</a>.<br> +---- ---- for violet, +<a href="#page160">160</a>.<br> +---- dye-stuffs, +<a href="#page061">61</a>.<br> +---- green, +<a href="#page053">53</a>, +<a href="#page091">91</a>, +<a href="#page092">92</a>, +<a href="#page127">127</a>, +<a href="#page184">184</a>, +<a href="#page189">189</a>, +<a href="#page190">190</a>, +<a href="#page192">192</a>, +<a href="#page193">193</a>.<br> +---- ----- B, +<a href="#page128">128</a>, +<a href="#page191">191</a>.<br> +---- ----- blue shade, +<a href="#page136">136</a>.<br> +---- ----- B N, +<a href="#page136">136</a>.<br> +---- ----- extra, +<a href="#page155">155</a>.<br> +---- ----- G G, +<a href="#page192">192</a>.<br> +---- magenta, +<a href="#page073">73</a>, +<a href="#page105">105</a>, +<a href="#page111">111</a>, +<a href="#page113">113</a>, +<a href="#page183">183</a>, +<a href="#page190">190</a>.<br> +---- mauve, +<a href="#page096">96</a>.<br> +---- ----- B, +<a href="#page161">161</a>.<br> +---- red, test for, +<a href="#page214">214</a>.<br> +---- violet, +<a href="#page105">105</a>.<br> +---- ------ 4 B, +<a href="#page193">193</a>.<br> +---- ------ 5 B, +<a href="#page154">154</a>, +<a href="#page160">160</a>, +<a href="#page189">189</a>, +<a href="#page191">191</a>.<br> +---- ------ 5 B E, +<a href="#page162">162</a>.<br> +---- ------ 6 B, +<a href="#page130">130</a>, +<a href="#page171">171</a>, +<a href="#page181">181</a>.<br> +---- ------ 10 B, +<a href="#page191">191</a>.<br> +---- ------ N, +<a href="#page092">92</a>, +<a href="#page099">99</a>, +<a href="#page161">161</a>, +<a href="#page162">162</a>.<br> +---- ------ 6 R N, +<a href="#page161">161</a>.<br> +---- ------ 4 R S, +<a href="#page160">160</a>.<br> +---- ------ V, +<a href="#page162">162</a>.<br> +---- ---- 1 V, +<a href="#page153">153</a>.<br> +---- yellow, +<a href="#page053">53</a>, +<a href="#page099">99</a>, +<a href="#page123">123</a>, +<a href="#page183">183</a>, +<a href="#page190">190</a>.<br> + +Acids, action on wool, +<a href="#page011">11</a>.<br> + +Acridine red, +<a href="#page102">102</a>.<br> +-------- scarlet, +<a href="#page102">102</a>.<br> + +Adjective group of dye-stuffs, +<a href="#page068">68</a>.<br> + +Alizarine, +<a href="#page061">61</a>, +<a href="#page069">69</a>, +<a href="#page072">72</a>, +<a href="#page073">73</a>, +<a href="#page086">86</a>, +<a href="#page114">114</a>, +<a href="#page220">220</a>.<br> +--------- black, +<a href="#page099">99</a>.<br> +--------- ----- S W, +<a href="#page094">94</a>, +<a href="#page113">113</a>.<br> +--------- blue, +<a href="#page116">116</a>, +<a href="#page119">119</a>, +<a href="#page166">166</a>.<br> +--------- ---- A, +<a href="#page158">158</a>.<br> +--------- ---- D N W, +<a href="#page131">131</a>, +<a href="#page132">132</a>, +<a href="#page133">133</a>, +<a href="#page158">158</a>, +<a href="#page164">164</a>, +<a href="#page166">166</a>.<br> +--------- ---- S W, +<a href="#page108">108</a>.<br> +--------- Bordeaux, +<a href="#page133">133</a>.<br> +--------- -------- B, +<a href="#page098">98</a>, +<a href="#page155">155</a>.<br> +--------- -------- G, +<a href="#page155">155</a>, +<a href="#page159">159</a>.<br> +--------- brown, +<a href="#page131">131</a>, +<a href="#page132">132</a>, +<a href="#page133">133</a>, +<a href="#page158">158</a>, +<a href="#page164">164</a>, +<a href="#page166">166</a>.<br> +--------- claret R, +<a href="#page118">118</a>.<br> +--------- colours, +<a href="#page077">77</a>.<br> +--------- cyanine, +<a href="#page111">111</a>, +<a href="#page119">119</a>, +<a href="#page156">156</a>.<br> +--------- ------- black, +<a href="#page093">93</a>, +<a href="#page094">94</a>, +<a href="#page159">159</a>, +<a href="#page160">160</a>.<br> +--------- ------- G, +<a href="#page159">159</a>.<br> +--------- ------- G G, +<a href="#page098">98</a>, +<a href="#page157">157</a>.<br> +--------- ------- G extra, +<a href="#page157">157</a>.<br> +--------- ------- R, +<a href="#page099">99</a>, +<a href="#page157">157</a>.<br> +--------- ------- R R, +<a href="#page157">157</a>.<br> +--------- ------- R R R, +<a href="#page093">93</a>, +<a href="#page157">157</a>.<br> +--------- ------- 3 R double, +<a href="#page157">157</a>, +<a href="#page160">160</a>.<br> +--------- G, +<a href="#page122">122</a>.<br> +--------- green, +<a href="#page127">127</a>.<br> +--------- ----- S, +<a href="#page132">132</a>.<br> +--------- ----- S W, +<a href="#page132">132</a>.<br> +--------- grey B, +<a href="#page166">166</a>.<br> +--------- orange, +<a href="#page119">119</a>, +<a href="#page123">123</a>.<br> +--------- ------ 2 G, +<a href="#page120">120</a>.<br> +--------- ------ H, +<a href="#page164">164</a>.<br> +--------- ------ N, +<a href="#page118">118</a>, +<a href="#page122">122</a>, +<a href="#page166">166</a>.<br> +--------- ------ W, +<a href="#page119">119</a>.<br> +--------- ------ R, +<a href="#page163">163</a>.<br> +--------- ------ R R, +<a href="#page122">122</a>.<br> +--------- red 1 W S, +<a href="#page118">118</a>, +<a href="#page119">119</a>, +<a href="#page120">120</a>, +<a href="#page122">122</a>.<br> +--------- --- 2 W S, +<a href="#page118">118</a>.<br> +--------- --- 3 W S, +<a href="#page119">119</a>, +<a href="#page164">164</a>.<br> +--------- --- 5 W S, +<a href="#page118">118</a>, +<a href="#page120">120</a>.<br> +--------- S X, +<a href="#page120">120</a>.<br> +--------- yellow, +<a href="#page070">70</a>, +<a href="#page071">71</a>, +<a href="#page115">115</a>, +<a href="#page116">116</a>, +<a href="#page123">123</a>, +<a href="#page131">131</a>, +<a href="#page133">133</a>, +<a href="#page156">156</a>, +<a href="#page164">164</a>, +<a href="#page166">166</a>.<br> +--------- ------ G G, +<a href="#page115">115</a>, +<a href="#page122">122</a>.<br> +--------- ------ G G W, +<a href="#page094">94</a>, +<a href="#page125">125</a>, +<a href="#page126">126</a>, +<a href="#page131">131</a>, +<a href="#page132">132</a>, +<a href="#page164">164</a>.<br> +--------- ------ R W, +<a href="#page122">122</a>.<br> + +Alkali blue, +<a href="#page152">152</a>, +<a href="#page189">189</a>.<br> +------ ---- B, +<a href="#page152">152</a>.<br> +------ ---- 6 B, +<a href="#page180">180</a>.<br> +------ yellow R, +<a href="#page169">169</a>.<br> + +Alkalies, action on wool, +<a href="#page009">9</a>.<br> + +Alkaline blue 6 B, +<a href="#page178">178</a>.<br> +-------- ---- +<a href="#page171">171</a>, +<a href="#page177">177</a>.<br> + +Alpaca, +<a href="#page001">1</a>, +<a href="#page083">83</a>.<br> + +Alum, +<a href="#page074">74</a>, +<a href="#page077">77</a>, +<a href="#page085">85</a>, +<a href="#page086">86</a>, +<a href="#page097">97</a>, +<a href="#page115">115</a>, +<a href="#page117">117</a>, +<a href="#page129">129</a>, +<a href="#page131">131</a>.<br> + +Alumina, +<a href="#page114">114</a>.<br> +------- sulphate, +<a href="#page115">115</a>, +<a href="#page117">117</a>.<br> + +Aluminium salts, +<a href="#page008">8</a>.<br> + +Amaranth, +<a href="#page092">92</a>, +<a href="#page108">108</a>, +<a href="#page111">111</a>, +<a href="#page192">192</a>.<br> + +Amido-benzoic acid, +<a href="#page114">114</a>.<br> + +Ammonia, +<a href="#page017">17</a>, +<a href="#page027">27</a>, +<a href="#page033">33</a>, +<a href="#page078">78</a>.<br> +------- action on wool, +<a href="#page060">60</a>.<br> + +Angora goat, +<a href="#page001">1</a>.<br> + +Annotta, +<a href="#page013">13</a>, +<a href="#page063">63</a>.<br> + +Anthracene acid black S T, +<a href="#page193">193</a>.<br> +---------- ---- browns, +<a href="#page115">115</a>.<br> +---------- blue W B, +<a href="#page159">159</a>.<br> +---------- ---- W G, +<a href="#page132">132</a>, +<a href="#page158">158</a>, +<a href="#page159">159</a>.<br> +---------- brown, +<a href="#page094">94</a>, +<a href="#page119">119</a>, +<a href="#page132">132</a>.<br> +---------- ----- R, +<a href="#page163">163</a>.<br> +---------- ----- W, +<a href="#page159">159</a>, +<a href="#page164">164</a>.<br> +---------- chrome black, +<a href="#page096">96</a>, +<a href="#page099">99</a>.<br> +---------- ------ ----- F, +<a href="#page095">95</a>.<br> +---------- ------ ----- F F, +<a href="#page092">92</a>, +<a href="#page096">96</a>.<br> +---------- red, +<a href="#page122">122</a>, +<a href="#page134">134</a>.<br> +---------- yellow, +<a href="#page069">69</a>, +<a href="#page070">70</a>, +<a href="#page115">115</a>.<br> +---------- ------ B N, +<a href="#page096">96</a>, +<a href="#page126">126</a>, +<a href="#page135">135</a>.<br> +---------- ------ C, +<a href="#page090">90</a>, +<a href="#page098">98</a>, +<a href="#page109">109</a>, +<a href="#page122">122</a>, +<a href="#page124">124</a>, +<a href="#page125">125</a>, +<a href="#page126">126</a>, +<a href="#page132">132</a>, +<a href="#page163">163</a>, +<a href="#page167">167</a>.<br> +---------- ------ G G, +<a href="#page126">126</a>.<br> + +Anthracite black B, +<a href="#page090">90</a>, +<a href="#page096">96</a>, +<a href="#page132">132</a>, +<a href="#page163">163</a>.<br> +---------- ----- R, +<a href="#page090">90</a>, +<a href="#page098">98</a>.<br> + +Anthragallol, +<a href="#page114">114</a>.<br> + +Archil, +<a href="#page075">75</a>, +<a href="#page189">189</a>.<br> +------ substitute N, +<a href="#page099">99</a>, +<a href="#page107">107</a>, +<a href="#page110">110</a>, +<a href="#page131">131</a>, +<a href="#page155">155</a>, +<a href="#page162">162</a>, +<a href="#page165">165</a>.<br> + +Argol, +<a href="#page086">86</a>, +<a href="#page097">97</a>, +<a href="#page115">115</a>, +<a href="#page116">116</a>, +<a href="#page117">117</a>, +<a href="#page151">151</a>.<br> +----- lactic acid, +<a href="#page116">116</a>.<br> + +Artificial wool, +<a href="#page174">174</a>.<br> + +Auramine, +<a href="#page053">53</a>, +<a href="#page064">64</a>, +<a href="#page103">103</a>, +<a href="#page189">189</a>.<br> +-------- base, +<a href="#page064">64</a>.<br> +-------- I I, +<a href="#page195">195</a>.<br> + +Auroline, +<a href="#page169">169</a>.<br> + +Azo acid brown, +<a href="#page130">130</a>.<br> +--- ---- magenta G, +<a href="#page162">162</a>.<br> +--- ---- rubine, +<a href="#page111">111</a>.<br> +--- ---- violet 4 R, +<a href="#page109">109</a>, +<a href="#page111">111</a>, +<a href="#page161">161</a>.<br> +--- ---- yellow, +<a href="#page171">171</a>.<br> +--- black, +<a href="#page089">89</a>.<br> +--- blue, +<a href="#page171">171</a>.<br> +--- Bordeaux, +<a href="#page109">109</a>, +<a href="#page191">191</a>.<br> +--- carmine, +<a href="#page124">124</a>, +<a href="#page161">161</a>, +<a href="#page166">166</a>.<br> +--- ------- B, +<a href="#page130">130</a>.<br> +--- cochineal, +<a href="#page105">105</a>, +<a href="#page112">112</a>, +<a href="#page191">191</a>.<br> +--- crimson L, +<a href="#page196">196</a>.<br> +--- dye-stuffs, +<a href="#page061">61</a>, +<a href="#page066">66</a>.<br> +--- flavine, +<a href="#page189">189</a>.<br> +--- ------- S, +<a href="#page210">210</a>.<br> +--- fuchsine, +<a href="#page109">109</a>, +<a href="#page115">115</a>.<br> +--- -------- G, +<a href="#page108">108</a>, +<a href="#page130">130</a>, +<a href="#page160">160</a>, +<a href="#page162">162</a>, +<a href="#page191">191</a>, +<a href="#page194">194</a>, +<a href="#page195">195</a>, +<a href="#page196">196</a>.<br> +--- green, +<a href="#page070">70</a>, +<a href="#page127">127</a>.<br> +--- mauve, +<a href="#page171">171</a>.<br> +--- red A, +<a href="#page108">108</a>, +<a href="#page111">111</a>, +<a href="#page171">171</a>, +<a href="#page176">176</a>, +<a href="#page177">177</a>, +<a href="#page179">179</a>, +<a href="#page190">190</a>, +<a href="#page194">194</a>.<br> +--- rubine, +<a href="#page092">92</a>.<br> +--- scarlet, +<a href="#page053">53</a>.<br> +--- yellow, +<a href="#page093">93</a>, +<a href="#page124">124</a>, +<a href="#page128">128</a>, +<a href="#page129">129</a>, +<a href="#page130">130</a>, +<a href="#page155">155</a>, +<a href="#page162">162</a>, +<a href="#page165">165</a>.</p> + + +<p class="quotega10"><b>B.</b></p> + +<p>Basic dyes for violet, +<a href="#page160">160</a>.<br> +----- dye-stuffs, +<a href="#page061">61</a>.<br> + +Batching of wool, +<a href="#page015">15</a>, +<a href="#page025">25</a>.<br> + +Benzo azurine 3 G, +<a href="#page170">170</a>.<br> +----- ------- R G, +<a href="#page170">170</a>.<br> +----- blue black G, +<a href="#page170">170</a>.<br> +----- brown, +<a href="#page061">61</a>.<br> +----- dyes, +<a href="#page168">168</a>.<br> +----- fast red, +<a href="#page100">100</a>, +<a href="#page102">102</a>, +<a href="#page110">110</a>.<br> +----- ---- scarlet, +<a href="#page062">62</a>.<br> +----- ---- ------- B S, +<a href="#page102">102</a>.<br> +----- flavine, +<a href="#page064">64</a>.<br> +----- green, +<a href="#page127">127</a>.<br> +----- orange R, +<a href="#page121">121</a>.<br> + +Benzol, +<a href="#page016">16</a>, +<a href="#page024">24</a>.<br> + +Benzoline, +<a href="#page025">25</a>.<br> + +Benzopurpurine, +<a href="#page061">61</a>, +<a href="#page100">100</a>.<br> +-------------- B, +<a href="#page170">170</a>.<br> +-------------- 4 B, +<a href="#page111">111</a>, +<a href="#page170">170</a>, +<a href="#page180">180</a>, +<a href="#page181">181</a>.<br> +-------------- 10 B, +<a href="#page170">170</a>, +<a href="#page180">180</a>.<br> + +Bichromate of potash, +<a href="#page016">16</a>, +<a href="#page115">115</a>, +<a href="#page131">131</a>, +<a href="#page132">132</a>, +<a href="#page133">133</a>, +<a href="#page134">134</a>, +<a href="#page135">135</a>, +<a href="#page166">166</a>, +<a href="#page167">167</a>, +<a href="#page193">193</a>.<br> +---------- of potassium, +<a href="#page175">175</a>.<br> + +Bisulphate of soda, +<a href="#page033">33</a>, +<a href="#page131">131</a>, +<a href="#page141">141</a>, +<a href="#page146">146</a>, +<a href="#page167">167</a>, +<a href="#page184">184</a>, +<a href="#page192">192</a>, +<a href="#page193">193</a>, +<a href="#page194">194</a>.<br> + +Bismarck brown, +<a href="#page189">189</a>, +<a href="#page190">190</a>.<br> +-------- ----- R, +<a href="#page196">196</a>.<br> + +Black, +<a href="#page093">93</a>, +<a href="#page095">95</a>, +<a href="#page176">176</a>, +<a href="#page177">177</a>, +<a href="#page180">180</a>, +<a href="#page191">191</a>, +<a href="#page193">193</a>, +<a href="#page195">195</a>.<br> +----- and blue, +<a href="#page185">185</a>, +<a href="#page186">186</a>.<br> +----- and green blue, +<a href="#page185">185</a>.<br> +----- and pink, +<a href="#page186">186</a>.<br> +----- and yellow, +<a href="#page186">186</a>.<br> +----- blue, +<a href="#page152">152</a>, +<a href="#page157">157</a>.<br> +----- ---- O, +<a href="#page155">155</a>.<br> +----- on wool, +<a href="#page083">83</a>, +<a href="#page091">91</a>.<br> + +Bleaching wool, +<a href="#page029">29</a>.<br> + +Blue, +<a href="#page153">153</a>, +<a href="#page158">158</a>.<br> +---- and gold yellow, +<a href="#page185">185</a>.<br> +---- and orange, +<a href="#page187">187</a>.<br> +---- black, +<a href="#page096">96</a>, +<a href="#page153">153</a>, +<a href="#page159">159</a>, +<a href="#page179">179</a>, +<a href="#page182">182</a>, +<a href="#page192">192</a>.<br> +---- ----- on wool, +<a href="#page089">89</a>, +<a href="#page090">90</a>, +<a href="#page091">91</a>, +<a href="#page092">92</a>, +<a href="#page094">94</a>.<br> +---- green, +<a href="#page127">127</a>, +<a href="#page128">128</a>, +<a href="#page129">129</a>, +<a href="#page130">130</a>.<br> +---- shades on wool, +<a href="#page136">136</a>.<br> + +Bluestone, +<a href="#page074">74</a>, +<a href="#page086">86</a>, +<a href="#page087">87</a>, +<a href="#page088">88</a>, +<a href="#page135">135</a>.<br> + +Bluish Bordeaux red, +<a href="#page110">110</a>.<br> +------ crimson, +<a href="#page108">108</a>.<br> +------ green, +<a href="#page134">134</a>.<br> +------ red, +<a href="#page106">106</a>, +<a href="#page120">120</a>.<br> +------ pink, +<a href="#page111">111</a>, +<a href="#page112">112</a>.<br> +------ purple, +<a href="#page109">109</a>.<br> +------ violet, +<a href="#page160">160</a>.<br> +------ rose, +<a href="#page193">193</a>.<br> + +Borax, +<a href="#page215">215</a>.<br> + +Bordeaux, +<a href="#page102">102</a>.<br> +-------- B L, +<a href="#page110">110</a>.<br> +-------- red, +<a href="#page109">109</a>, +<a href="#page110">110</a>, +<a href="#page113">113</a>.<br> + +Bottle green, +<a href="#page127">127</a>, +<a href="#page130">130</a>, +<a href="#page132">132</a>, +<a href="#page134">134</a>.<br> + +Bran, +<a href="#page138">138</a>, +<a href="#page144">144</a>, +<a href="#page145">145</a>.<br> + +Brazil wood, +<a href="#page114">114</a>.<br> + +Bright blue, +<a href="#page152">152</a>, +<a href="#page153">153</a>, +<a href="#page155">155</a>, +<a href="#page156">156</a>, +<a href="#page158">158</a>, +<a href="#page180">180</a>.<br> +------ Bordeaux red, +<a href="#page109">109</a>, +<a href="#page110">110</a>.<br> +------ buff, +<a href="#page164">164</a>, +<a href="#page165">165</a>.<br> +------ canary, +<a href="#page124">124</a>.<br> +------ cherry red, +<a href="#page109">109</a>, +<a href="#page110">110</a>.<br> +------ chestnut, +<a href="#page164">164</a>.<br> +------ crimson, +<a href="#page108">108</a>.<br> +------ fawn, +<a href="#page165">165</a>.<br> +------ ---- red, +<a href="#page118">118</a>.<br> +------ electric blue. +<a href="#page156">156</a>.<br> +------ golden brown, +<a href="#page163">163</a>.<br> +------ grass green, +<a href="#page130">130</a>, +<a href="#page133">133</a>.<br> +------ green, +<a href="#page127">127</a>, +<a href="#page128">128</a>, +<a href="#page134">134</a>.<br> +------ greenish blue, +<a href="#page154">154</a>.<br> +------ leaf green, +<a href="#page129">129</a>.<br> +------ lemon yellow, +<a href="#page125">125</a>.<br> +------ maroon, +<a href="#page119">119</a>.<br> +------ moss green, +<a href="#page129">129</a>.<br> +------ orange, +<a href="#page121">121</a>, +<a href="#page122">122</a>.<br> +------ pale sage green, +<a href="#page131">131</a>.<br> +------ peacock green, +<a href="#page130">130</a>.<br> +------ red, +<a href="#page111">111</a>, +<a href="#page193">193</a>.<br> +------ scarlet, +<a href="#page102">102</a>, +<a href="#page112">112</a>.<br> +------ straw, +<a href="#page124">124</a>.<br> +------ violet, +<a href="#page161">161</a>.<br> +------ ------ blue, +<a href="#page156">156</a>.<br> +------ yellow, +<a href="#page123">123</a>, +<a href="#page124">124</a>, +<a href="#page175">175</a>, +<a href="#page176">176</a>, +<a href="#page178">178</a>.<br> + +Brilliant alizarine blue G, +<a href="#page133">133</a>, +<a href="#page157">157</a>, +<a href="#page158">158</a>, +<a href="#page161">161</a>.<br> +--------- azurine 5 G, +<a href="#page170">170</a>.<br> +--------- cochineal 2 R, +<a href="#page112">112</a>, +<a href="#page123">123</a>, +<a href="#page193">193</a>.<br> +--------- --------- 4 R, +<a href="#page123">123</a>, +<a href="#page185">185</a>.<br> +--------- Congo G, +<a href="#page102">102</a>.<br> +--------- ----- R, +<a href="#page170">170</a>.<br> +--------- croceine B, +<a href="#page106">106</a>, +<a href="#page123">123</a>.<br> +--------- -------- 3 B, +<a href="#page123">123</a>.<br> +--------- -------- 5 B, +<a href="#page123">123</a>.<br> +--------- -------- 7 B, +<a href="#page123">123</a>.<br> +--------- -------- 9 B, +<a href="#page123">123</a>.<br> +--------- -------- B B, +<a href="#page106">106</a>.<br> +--------- -------- M, +<a href="#page106">106</a>.<br> +--------- -------- M O O, +<a href="#page123">123</a>.<br> +--------- -------- N, +<a href="#page189">189</a>.<br> +--------- green, +<a href="#page053">53</a>, +<a href="#page064">64</a>, +<a href="#page127">127</a>, +<a href="#page190">190</a>, +<a href="#page193">193</a>, +<a href="#page194">194</a>.<br> +--------- milling green B, +<a href="#page171">171</a>.<br> +--------- orange, +<a href="#page092">92</a>.<br> +--------- orseille C, +<a href="#page107">107</a>, +<a href="#page112">112</a>.<br> +--------- pale bluish crimson, +<a href="#page108">108</a>.<br> +--------- ponceau G, +<a href="#page106">106</a>.<br> +--------- ------- 2 R, +<a href="#page106">106</a>.<br> +--------- ------- 4 R, +<a href="#page112">112</a>.<br> +--------- purpurine R, +<a href="#page170">170</a>.<br> +--------- rhoduline R B, +<a href="#page195">195</a>.<br> +--------- royal blue, +<a href="#page154">154</a>.<br> +--------- scarlet, +<a href="#page119">119</a>, +<a href="#page171">171</a>.<br> +--------- ------- G, +<a href="#page171">171</a>.<br> +--------- ------- 4 R, +<a href="#page105">105</a>.<br> + +Bronze green, +<a href="#page131">131</a>, +<a href="#page180">180</a>.<br> + +Brown, +<a href="#page161">161</a>, +<a href="#page163">163</a>, +<a href="#page164">164</a>, +<a href="#page181">181</a>, +<a href="#page192">192</a>, +<a href="#page195">195</a>.<br> +----- and violet, +<a href="#page186">186</a>.<br> +----- and pink, +<a href="#page194">194</a>.<br> +----- and blue, +<a href="#page185">185</a>.<br> +----- black, +<a href="#page094">94</a>.<br> +----- olive and green, +<a href="#page193">193</a>.<br> +----- shades on wool, +<a href="#page161">161</a>.<br> + +Buff, +<a href="#page164">164</a>.</p> + + +<p class="quotega10"><b>C.</b></p> + +<p>Calcium salts, +<a href="#page008">8</a>.<br> + +Camel-hair, +<a href="#page083">83</a>.<br> + +Camwood, +<a href="#page076">76</a>, +<a href="#page086">86</a>.<br> + +Carbohydrate, +<a href="#page007">7</a>.<br> + +Carbonate of soda, +<a href="#page027">27</a>, +<a href="#page078">78</a>, +<a href="#page169">169</a>.<br> + +Carbon disulphide, +<a href="#page016">16</a>, +<a href="#page024">24</a>.<br> + +Carbonising of wool, +<a href="#page011">11</a>.<br> + +Carded wool, dyeing of, +<a href="#page044">44</a>.<br> + +Carmoisin, +<a href="#page189">189</a>.<br> +--------- B, +<a href="#page191">191</a>.<br> + +Cashmere, +<a href="#page083">83</a>, +<a href="#page173">173</a>.<br> +-------- goat, +<a href="#page001">1</a>.<br> + +Caustic soda, +<a href="#page141">141</a>.<br> +------- lye, +<a href="#page147">147</a>.<br> + +Celestine blue B, +<a href="#page155">155</a>.<br> + +Chemical vats, +<a href="#page138">138</a>.<br> + +Chemic extract, +<a href="#page150">150</a>.<br> + +Cherry red, +<a href="#page109">109</a>, +<a href="#page110">110</a>.<br> + +Chestnut, +<a href="#page163">163</a>.<br> +-------- brown, +<a href="#page184">184</a>.<br> + +Chicago blue B, +<a href="#page170">170</a>.<br> +------- ---- 4 B, +<a href="#page170">170</a>.<br> +------- ---- 6 B, +<a href="#page170">170</a>, +<a href="#page180">180</a>.<br> +------- ---- G, +<a href="#page170">170</a>.<br> +------- ---- R W, +<a href="#page181">181</a>.<br> +------- ---- R R W, +<a href="#page170">170</a>.<br> + +Chloramine orange, +<a href="#page121">121</a>.<br> +---------- yellow, +<a href="#page169">169</a>.<br> + +Chlorination of wool, +<a href="#page037">37</a>.<br> + +Chlorine, action on wool, +<a href="#page012">12</a>.<br> + +Cholesterine, +<a href="#page007">7</a>, +<a href="#page023">23</a>.<br> + +Chrome, +<a href="#page114">114</a>.<br> +------ acetate, +<a href="#page129">129</a>.<br> +------ alum, +<a href="#page115">115</a>.<br> +------ blue, +<a href="#page158">158</a>.<br> +------ Bordeaux 6 B, +<a href="#page161">161</a>.<br> +------ brown R, +<a href="#page164">164</a>.<br> +------ fluoride, +<a href="#page077">77</a>.<br> +------ logwood black, +<a href="#page084">84</a>, +<a href="#page085">85</a>.<br> +------ ------ jet black, +<a href="#page085">85</a>.<br> +------ mordant, +<a href="#page151">151</a>.<br> +------ patent black D G, +<a href="#page092">92</a>.<br> +------ violet, +<a href="#page115">115</a>, +<a href="#page119">119</a>.<br> + +Chromine G, +<a href="#page169">169</a>.<br> + +Chromogene I, +<a href="#page120">120</a>.<br> + +Chromotrop, +<a href="#page115">115</a>.<br> +---------- 2 B, +<a href="#page125">125</a>.<br> +---------- 6 B, +<a href="#page108">108</a>, +<a href="#page154">154</a>.<br> +---------- 10 B, +<a href="#page094">94</a>, +<a href="#page109">109</a>.<br> +---------- R, +<a href="#page106">106</a>.<br> +---------- 2 R, +<a href="#page099">99</a>, +<a href="#page107">107</a>, +<a href="#page129">129</a>, +<a href="#page130">130</a>, +<a href="#page155">155</a>, +<a href="#page162">162</a>, +<a href="#page165">165</a>.<br> +---------- S, +<a href="#page093">93</a>, +<a href="#page170">94</a>.<br> + +Chrysamine, +<a href="#page061">61</a>, +<a href="#page128">128</a>, +<a href="#page170">170</a>.<br> +---------- G, +<a href="#page165">165</a>.<br> + +Chrysoidine, +<a href="#page184">184</a>.<br> + +Chrysophenine, +<a href="#page061">61</a>, +<a href="#page102">102</a>, +<a href="#page128">128</a>, +<a href="#page170">170</a>.<br> +------------- G, +<a href="#page180">180</a>.<br> + +Claret, +<a href="#page110">110</a>, +<a href="#page111">111</a>, +<a href="#page118">118</a>, +<a href="#page120">120</a>.<br> +------ red, +<a href="#page110">110</a>.<br> + +Clayton yellow, +<a href="#page170">170</a>.<br> + +Cloth-drying machine, +<a href="#page209">209</a>.<br> +----- red, +<a href="#page073">73</a>.<br> +----- washing machine, +<a href="#page029">29</a>, +<a href="#page030">30</a>, +<a href="#page202">202</a>, +<a href="#page203">203</a>.<br> + +Coal tar, +<a href="#page137">137</a>.<br> +---- --- colours, +<a href="#page114">114</a>.<br> +---- --- dyes, +<a href="#page063">63</a>.<br> +---- --- ---- for dyeing blue, +<a href="#page152">152</a>.<br> + +Coatings, +<a href="#page173">173</a>.<br> + +Cochineal, +<a href="#page097">97</a>, +<a href="#page114">114</a>, +<a href="#page190">190</a>, +<a href="#page220">220</a>.<br> +--------- scarlet, +<a href="#page077">77</a>.<br> + +Coerulein, +<a href="#page114">114</a>, +<a href="#page133">133</a>.<br> +--------- B, +<a href="#page132">132</a>.<br> +--------- S W, +<a href="#page132">132</a>.<br> +--------- blue, +<a href="#page192">192</a>.<br> + +Colour lakes, +<a href="#page113">113</a>.<br> +------ strength, test for, +<a href="#page216">216</a>.<br> +------ testing, +<a href="#page218">218</a>.<br> + +Columbia black B, +<a href="#page170">170</a>.<br> +-------- ---- F B, +<a href="#page170">170</a>, +<a href="#page181">181</a>.<br> +-------- red 8 B, +<a href="#page170">170</a>.<br> +-------- yellow, +<a href="#page169">169</a>.<br> + +Congo blue, +<a href="#page062">62</a>.<br> +----- brown G, +<a href="#page170">170</a>, +<a href="#page180">180</a>.<br> +----- ----- R, +<a href="#page161">161</a>, +<a href="#page171">171</a>.<br> +----- Corinth G, +<a href="#page171">171</a>, +<a href="#page180">180</a>, +<a href="#page187">187</a>.<br> +----- ------- B, +<a href="#page169">169</a>, +<a href="#page171">171</a>.<br> +----- dyes, +<a href="#page168">168</a>.<br> +----- orange G, +<a href="#page170">170</a>.<br> +----- ------ R, +<a href="#page165">165</a>, +<a href="#page170">170</a>.<br> +----- R, +<a href="#page170">170</a>.<br> +----- red, +<a href="#page062">62</a>.<br> + +Copperas, +<a href="#page074">74</a>, +<a href="#page086">86</a>, +<a href="#page087">87</a>, +<a href="#page088">88</a>, +<a href="#page097">97</a>, +<a href="#page133">133</a>, +<a href="#page134">134</a>, +<a href="#page135">135</a>.<br> +-------- vats, +<a href="#page138">138</a>.<br> + +Copper-cased dye beck, +<a href="#page056">56</a>.<br> + +Coral red, +<a href="#page112">112</a>.<br> + +Cornflower blue, +<a href="#page181">181</a>.<br> + +Corron's hank-dyeing machine, +<a href="#page049">49</a>.<br> + +Cotton yellow, +<a href="#page170">170</a>.<br> + +Cream of tartar, +<a href="#page116">116</a>.<br> + +Crimson, +<a href="#page103">103</a>, +<a href="#page108">108</a>, +<a href="#page113">113</a>, +<a href="#page180">180</a>, +<a href="#page183">183</a>, +<a href="#page191">191</a>, +<a href="#page194">194</a>.<br> + +Croceine A Z, +<a href="#page123">123</a>, +<a href="#page171">171</a>, +<a href="#page189">189</a>, +<a href="#page191">191</a>, +<a href="#page192">192</a>.<br> +-------- orange, +<a href="#page121">121</a>, +<a href="#page122">122</a>, +<a href="#page189">189</a>.<br> +-------- ------ E N, +<a href="#page123">123</a>.<br> +-------- scarlet, +<a href="#page108">108</a>.<br> +-------- ------- 3 B, +<a href="#page191">191</a>.<br> +-------- ------- 3 R, +<a href="#page167">167</a>.<br> + +Cross dyeing, +<a href="#page183">183</a>.<br> + +Crushed strawberry, +<a href="#page105">105</a>.<br> +------- ---------- red, +<a href="#page107">107</a>, +<a href="#page118">118</a>.<br> + +Crystal scarlet 6 R, +<a href="#page123">123</a>.<br> + +Cudbear, +<a href="#page097">97</a>.<br> + +Curcumine extra, +<a href="#page171">171</a>, +<a href="#page181">181</a>, +<a href="#page187">187</a>.<br> +--------- S, +<a href="#page180">180</a>, +<a href="#page186">186</a>.<br> + +Cutch, +<a href="#page076">76</a>, +<a href="#page097">97</a>.<br> +----- brown, +<a href="#page076">76</a>.<br> + +Cyanine B, +<a href="#page107">107</a>, +<a href="#page111">111</a>, +<a href="#page124">124</a>, +<a href="#page129">129</a>, +<a href="#page130">130</a>, +<a href="#page155">155</a>, +<a href="#page165">165</a>.<br> +------- scarlet E, +<a href="#page111">111</a>.<br> + +Cyanole, +<a href="#page107">107</a>, +<a href="#page111">111</a>, +<a href="#page131">131</a>, +<a href="#page165">165</a>.<br> +------- extra, +<a href="#page099">99</a>, +<a href="#page108">108</a>, +<a href="#page112">112</a>, +<a href="#page113">113</a>, +<a href="#page131">131</a>, +<a href="#page155">155</a>, +<a href="#page184">184</a>, +<a href="#page185">185</a>, +<a href="#page186">186</a>.<br> +------- green B, +<a href="#page134">134</a>.<br> +------- ----- 6 G, +<a href="#page134">134</a>.<br> + +Cyprus green B, +<a href="#page136">136</a>.<br> +------ ----- R, +<a href="#page136">136</a>.</p> + + +<p class="quotega10"><b>D.</b></p> + +<p>Dark beige green, +<a href="#page130">130</a>.<br> +---- blue, +<a href="#page152">152</a>, +<a href="#page154">154</a>, +<a href="#page157">157</a>, +<a href="#page159">159</a>, +<a href="#page176">176</a>, +<a href="#page178">178</a>, +<a href="#page179">179</a>, +<a href="#page180">180</a>, +<a href="#page181">181</a>, +<a href="#page182">182</a>, +<a href="#page195">195</a>.<br> +---- Bordeaux red, +<a href="#page120">120</a>.<br> +---- bottle green, +<a href="#page131">131</a>, +<a href="#page132">132</a>.<br> +---- brown and blue, +<a href="#page185">185</a>.<br> +---- ----- +<a href="#page163">163</a>, +<a href="#page164">164</a>, +<a href="#page177">177</a>, +<a href="#page179">179</a>, +<a href="#page180">180</a>, +<a href="#page181">181</a>, +<a href="#page182">182</a>.<br> +---- buff, +<a href="#page165">165</a>.<br> +---- chestnut, +<a href="#page162">162</a>.<br> +---- cherry red, +<a href="#page112">112</a>.<br> +---- crimson, +<a href="#page102">102</a>, +<a href="#page195">195</a>.<br> +---- green, +<a href="#page127">127</a>, +<a href="#page128">128</a>, +<a href="#page131">131</a>, +<a href="#page177">177</a>, +<a href="#page180">180</a>, +<a href="#page183">183</a>.<br> +---- ----- and pale crimson, +<a href="#page194">194</a>.<br> +---- grey, +<a href="#page098">98</a>, +<a href="#page166">166</a>, +<a href="#page167">167</a>, +<a href="#page178">178</a>, +<a href="#page181">181</a>, +<a href="#page192">192</a>.<br> +---- invisible blue, +<a href="#page156">156</a>.<br> +---- maroon, +<a href="#page193">193</a>.<br> +---- navy, +<a href="#page157">157</a>, +<a href="#page159">159</a>.<br> +---- ---- blue, +<a href="#page155">155</a>.<br> +---- olive brown, +<a href="#page162">162</a>.<br> +---- orange, +<a href="#page121">121</a>.<br> +---- peacock blue, +<a href="#page156">156</a>.<br> +---- red, +<a href="#page120">120</a>.<br> +---- sage, +<a href="#page179">179</a>.<br> +---- ---- green, +<a href="#page130">130</a>.<br> +---- sea green, +<a href="#page171">171</a>.<br> +---- seal, +<a href="#page162">162</a>, +<a href="#page163">163</a>.<br> +---- slate, +<a href="#page159">159</a>, +<a href="#page166">166</a>, +<a href="#page177">177</a>.<br> +---- stone, +<a href="#page177">177</a>.<br> +---- violet, +<a href="#page161">161</a>.<br> +---- ------ brown, +<a href="#page164">164</a>.<br> +---- walnut, +<a href="#page164">164</a>, +<a href="#page179">179</a>.<br> + +Dead black on wool, +<a href="#page090">90</a>.<br> + +Deep blue, +<a href="#page154">154</a>, +<a href="#page155">155</a>.<br> +---- Bordeaux red, +<a href="#page109">109</a>.<br> +---- brown, +<a href="#page162">162</a>.<br> +---- crimson, +<a href="#page108">108</a>, +<a href="#page112">112</a>, +<a href="#page113">113</a>, +<a href="#page118">118</a>.<br> +---- electric green, +<a href="#page131">131</a>.<br> +---- fawn, +<a href="#page107">107</a>.<br> +---- ---- red, +<a href="#page107">107</a>, +<a href="#page119">119</a>.<br> +---- golden yellow, +<a href="#page125">125</a>.<br> +---- indigo blue, +<a href="#page192">192</a>.<br> +---- leaf green, +<a href="#page130">130</a>.<br> +---- ---- yellow, +<a href="#page125">125</a>.<br> +---- lemon, +<a href="#page125">125</a>.<br> +---- maroon, +<a href="#page111">111</a>, +<a href="#page119">119</a>, +<a href="#page191">191</a>.<br> +---- navy, +<a href="#page153">153</a>.<br> +---- ---- blue, +<a href="#page153">153</a>.<br> +---- olive yellow, +<a href="#page125">125</a>.<br> +---- orange, +<a href="#page122">122</a>, +<a href="#page176">176</a>.<br> +---- red, +<a href="#page103">103</a>.<br> +---- sage green, +<a href="#page131">131</a>, +<a href="#page132">132</a>.<br> +---- scarlet, +<a href="#page160">106</a>, +<a href="#page112">112</a>, +<a href="#page119">119</a>.<br> +---- seal, +<a href="#page162">162</a>.<br> +---- sky blue, +<a href="#page155">155</a>.<br> +---- violet, +<a href="#page160">160</a>.<br> +---- ------ brown, +<a href="#page192">192</a>.<br> +---- yellow, +<a href="#page124">124</a>, +<a href="#page126">126</a>.<br> + +Delahunty's dyeing machine, +<a href="#page042">43</a>, +<a href="#page044">44</a>.<br> + +Deltapurpurine 5 B, +<a href="#page130">130</a>.<br> + +Diamine black, +<a href="#page099">99</a>, +<a href="#page155">155</a>.<br> +------- ----- B H, +<a href="#page170">170</a>, +<a href="#page177">177</a>, +<a href="#page178">178</a>.<br> +------- ----- B O, +<a href="#page170">170</a>.<br> +------- ----- H W, +<a href="#page169">169</a>, +<a href="#page177">177</a>, +<a href="#page178">178</a>.<br> +------- ----- R O, +<a href="#page170">170</a>.<br> +------- blue, +<a href="#page062">62</a>.<br> +------- ---- 2 B, +<a href="#page170">170</a>.<br> +------- ---- 3 B, +<a href="#page170">170</a>.<br> +------- ---- B G, +<a href="#page170">170</a>.<br> +------- ---- B X, +<a href="#page170">170</a>.<br> +------- ---- G, +<a href="#page169">169</a>.<br> +------- ---- R W, 169, +<a href="#page170">170</a>.<br> +------- ---- 3 R, +<a href="#page170">170</a>.<br> +------- ---- black E, +<a href="#page170">170</a>.<br> +------- Bordeaux, +<a href="#page102">102</a>.<br> +------- -------- B, +<a href="#page169">169</a>, +<a href="#page170">170</a>, +<a href="#page177">177</a>, +<a href="#page179">179</a>.<br> +------- -------- S, +<a href="#page170">170</a>.<br> +------- brilliant blue G, +<a href="#page170">170</a>, +<a href="#page176">176</a>, +<a href="#page178">178</a>, +<a href="#page179">179</a>.<br> +------- bronze G, +<a href="#page171">171</a>, +<a href="#page177">177</a>.<br> +------- brown, +<a href="#page062">62</a>, +<a href="#page179">179</a>.<br> +------- ----- B, +<a href="#page169">169</a>.<br> +------- ----- G, +<a href="#page170">170</a>.<br> +------- ----- 3 G, +<a href="#page169">169</a>.<br> +------- ----- G W, +<a href="#page169">169</a>.<br> +------- ----- N, +<a href="#page169">169</a>, +<a href="#page177">177</a>.<br> +------- ----- S, +<a href="#page170">170</a>.<br> +------- ----- V, +<a href="#page170">170</a>, +<a href="#page177">177</a>.<br> +------- catechine B, +<a href="#page170">170</a>, +<a href="#page179">179</a>.<br> +------- --------- G, +<a href="#page169">169</a>, +<a href="#page170">170</a>.<br> +------- cutch, +<a href="#page176">176</a>.<br> +------- dark blue B, +<a href="#page169">169</a>, +<a href="#page170">170</a>, +<a href="#page180">180</a>.<br> +------- dyes, +<a href="#page168">168</a>.<br> +------- fast yellow A, +<a href="#page170">170</a>, +<a href="#page175">175</a>, +<a href="#page186">186</a>.<br> +------- ---- ------ B, +<a href="#page169">169</a>, +<a href="#page176">176</a>, +<a href="#page177">177</a>, +<a href="#page179">179</a>.<br> +------- ---- red F, +<a href="#page098">98</a>, +<a href="#page100">100</a>, +<a href="#page102">102</a>, +<a href="#page109">109</a>, +<a href="#page112">112</a>, +<a href="#page124">124</a>, +<a href="#page132">132</a>, +<a href="#page163">163</a>, +<a href="#page167">167</a>, +<a href="#page169">169</a>.<br> +------- gold, +<a href="#page121">121</a>, +<a href="#page170">170</a>, +<a href="#page175">175</a>.<br> +------- green, +<a href="#page127">127</a>.<br> +------- ----- B, +<a href="#page169">169</a>.<br> +------- ----- G, +<a href="#page169">169</a>, +<a href="#page170">170</a>.<br> +------- new blue R, +<a href="#page170">170</a>.<br> +------- --- nitrazol brown B, +<a href="#page170">170</a>.<br> +------- --- G, +<a href="#page170">170</a>.<br> +------- orange B, +<a href="#page169">169</a>, +<a href="#page177">177</a>, +<a href="#page178">178</a>, +<a href="#page179">179</a>.<br> +------- ------ D, +<a href="#page170">170</a>.<br> +------- ------ D C, +<a href="#page121">121</a>.<br> +------- ------ G, +<a href="#page170">170</a>, +<a href="#page175">175</a>, +<a href="#page178">178</a>, +<a href="#page184">184</a>, +<a href="#page185">185</a>.<br> +------- ------ G C, +<a href="#page121">121</a>.<br> +------- ------ O, +<a href="#page170">170</a>.<br> +------- red, +<a href="#page062">62</a>, +<a href="#page169">169</a>.<br> +------- --- B, +<a href="#page170">170</a>.<br> +------- --- 5 B, +<a href="#page178">178</a>.<br> +------- --- N O, +<a href="#page170">170</a>.<br> +------- rose B D, +<a href="#page102">102</a>, +<a href="#page169">169</a>, +<a href="#page178">178</a>, +<a href="#page186">186</a>.<br> +------- scarlet B, +<a href="#page112">112</a>, +<a href="#page121">121</a>, +<a href="#page122">122</a>, +<a href="#page170">170</a>, +<a href="#page178">178</a>.<br> +------- ------- 3 B, +<a href="#page170">170</a>.<br> +------- sky blue, +<a href="#page170">170</a>, +<a href="#page185">185</a>.<br> +------- --- F F, +<a href="#page170">170</a>, +<a href="#page185">185</a>, +<a href="#page186">186</a>.<br> +------- steel blue L, +<a href="#page170">170</a>, +<a href="#page177">177</a>, +<a href="#page185">185</a>.<br> +------- violet N, +<a href="#page170">170</a>, +<a href="#page178">178</a>, +<a href="#page186">186</a>.<br> + +Diamond black, +<a href="#page093">93</a>, +<a href="#page099">99</a>.<br> +------- ----- F, +<a href="#page092">92</a>.<br> +------- ----- on wool, +<a href="#page093">93</a>.<br> +------- brown, +<a href="#page164">164</a>.<br> +------- flavine, +<a href="#page133">133</a>, +<a href="#page163">163</a>.<br> +------- ------- G, +<a href="#page098">98</a>.<br> +------- green, +<a href="#page093">93</a>.<br> +------- yellow B, +<a href="#page133">133</a>.<br> + +Dihydroxynaphthalene, +<a href="#page088">88</a>.<br> +----------- sulpho acid, +<a href="#page116">116</a>.<br> + +Dinitroso-resorcine, +<a href="#page127">127</a>.<br> + +Direct black, +<a href="#page088">88</a>.<br> +------ dyes, +<a href="#page197">197</a>.<br> +------ ---- for blue, +<a href="#page152">152</a>.<br> +------ ---- for brown, +<a href="#page161">161</a>.<br> +------ ---- for green, +<a href="#page127">127</a>.<br> +------ ---- for mode colours, +<a href="#page165">165</a>.<br> +------ ---- for orange, +<a href="#page121">121</a>.<br> +------ ---- for violet, +<a href="#page160">160</a>.<br> +------ orange R, +<a href="#page170">170</a>.<br> +------ red dyes, +<a href="#page100">100</a>.<br> +------ yellow G, +<a href="#page170">170</a>.<br> + +Divi-divi, +<a href="#page197">197</a>.<br> + +Drab, +<a href="#page165">165</a>, +<a href="#page166">166</a>, +<a href="#page167">167</a>, +<a href="#page178">178</a>, +<a href="#page179">179</a>, +<a href="#page181">181</a>, +<a href="#page182">182</a>, +<a href="#page194">194</a>.<br> + +Dress goods, +<a href="#page173">173</a>.<br> + +Drying of goods, +<a href="#page205">205</a>.<br> + +Dyeing machinery, +<a href="#page040">40</a>, +<a href="#page043">43</a>.<br> +------ test, +<a href="#page216">216</a>.<br> +------ tubs, +<a href="#page041">41</a>.<br> + +Dye-jiggers, +<a href="#page051">51</a>, +<a href="#page052">52</a>.<br> +---- tests, +<a href="#page211">211</a>.<br> +---- vat with steam pipe, +<a href="#page042">42</a>.</p> + + +<p class="quotega10"><b>E.</b></p> + +<p>Electric blue, +<a href="#page155">155</a>.<br> + +Emerald green, +<a href="#page128">128</a>, +<a href="#page129">129</a>, +<a href="#page130">130</a>, +<a href="#page135">135</a>.<br> + +Emin red, +<a href="#page107">107</a>, +<a href="#page110">110</a>.<br> + +Eosine, +<a href="#page190">190</a>.<br> +------ red, +<a href="#page104">104</a>.<br> + +Erie blue, 2 G, +<a href="#page170">170</a>.<br> + +Erika B N, +<a href="#page170">170</a>, +<a href="#page187">187</a>.<br> + +Erythesine D, +<a href="#page112">112</a>.<br> + +Erythrosine, +<a href="#page104">104</a>, +<a href="#page190">190</a>.<br> + +Experimental dye-bath, +<a href="#page212">212</a>.<br> +------------ dyeing, +<a href="#page211">211</a>.</p> + + +<p class="quotega10"><b>F.</b></p> + +<p>Fast acid violet 10 B, +<a href="#page111">111</a>, +<a href="#page130">130</a>, +<a href="#page162">162</a>, +<a href="#page165">165</a>, +<a href="#page189">189</a>.<br> +---- ---- ------ R, +<a href="#page108">108</a>, +<a href="#page110">110</a>, +<a href="#page111">111</a>, +<a href="#page112">112</a>, +<a href="#page113">113</a>, +<a href="#page120">120</a>, +<a href="#page130">130</a>, +<a href="#page166">166</a>.<br> +---- ---- blue R, +<a href="#page099">99</a>, +<a href="#page107">107</a>, +<a href="#page129">129</a>, +<a href="#page155">155</a>, +<a href="#page165">165</a>.<br> +---- ---- green B N, +<a href="#page096">96</a>, +<a href="#page134">134</a>, +<a href="#page185">185</a>.<br> +---- ---- magenta B, +<a href="#page105">105</a>, +<a href="#page108">108</a>, +<a href="#page109">109</a>, +<a href="#page153">153</a>.<br> +---- black, +<a href="#page096">96</a>.<br> +---- blue, +<a href="#page037">37</a>.<br> +---- bright olive, +<a href="#page135">135</a>.<br> +---- chrome black, +<a href="#page092">92</a>.<br> +---- green, +<a href="#page127">127</a>, +<a href="#page133">133</a>.<br> +---- green bluish, +<a href="#page111">111</a>, +<a href="#page130">130</a>, +<a href="#page154">154</a>, +<a href="#page160">160</a>, +<a href="#page162">162</a>, +<a href="#page165">165</a>, +<a href="#page189">189</a>, +<a href="#page192">192</a>, +<a href="#page194">194</a>, +<a href="#page195">195</a>.<br> +---- ----- extra bluish, +<a href="#page162">162</a>.<br> +---- light green, +<a href="#page195">195</a>.<br> +---- red, +<a href="#page102">102</a>, +<a href="#page111">111</a>.<br> +---- scarlet, +<a href="#page105">105</a>.<br> +---- yellow, +<a href="#page109">109</a>, +<a href="#page124">124</a>, +<a href="#page161">161</a>, +<a href="#page162">162</a>, +<a href="#page165">165</a>, +<a href="#page166">166</a>, +<a href="#page194">194</a>.<br> +---- ------ F Y, +<a href="#page090">90</a>, +<a href="#page091">91</a>, +<a href="#page105">105</a>, +<a href="#page123">123</a>, +<a href="#page130">130</a>.<br> +---- ------ S, +<a href="#page111">111</a>, +<a href="#page113">113</a>, +<a href="#page135">135</a>, +<a href="#page186">186</a>, +<a href="#page193">193</a>.<br> +---- ------ extra, +<a href="#page194">194</a>, +<a href="#page195">195</a>.<br> + +Fastness to acid, test for, +<a href="#page223">223</a>.<br> +-------- to alkalies, test for, +<a href="#page223">223</a>.<br> +-------- to light and air, test for, +<a href="#page221">221</a>.<br> +-------- to washing, test for, +<a href="#page222">222</a>.<br> + +Fawn, +<a href="#page118">118</a>.<br> +---- drab, +<a href="#page179">179</a>.<br> +---- red, +<a href="#page107">107</a>, +<a href="#page113">113</a>.<br> + +Ferrous sulphate, +<a href="#page115">115</a>, +<a href="#page117">117</a>.<br> + +Fermentation vats, +<a href="#page138">138</a>.<br> + +Flavazol, +<a href="#page070">70</a>.<br> + +Fluoride of chrome, +<a href="#page091">91</a>, +<a href="#page098">98</a>, +<a href="#page102">102</a>, +<a href="#page110">110</a>, +<a href="#page115">115</a>, +<a href="#page117">117</a>, +<a href="#page129">129</a>, +<a href="#page132">132</a>, +<a href="#page133">133</a>, +<a href="#page167">167</a>.<br> + +Formyl blue B, +<a href="#page171">171</a>.<br> +------ violet, +<a href="#page053">53</a>.<br> +------ ------ 6 B, +<a href="#page171">171</a>.<br> +------ ------ 10 B, +<a href="#page171">171</a>.<br> +------ ------ S 4 B, +<a href="#page155">155</a>, +<a href="#page161">161</a>, +<a href="#page171">171</a>, +<a href="#page175">175</a>, +<a href="#page176">176</a>, +<a href="#page178">178</a>, +<a href="#page179">179</a>, +<a href="#page180">180</a>, +<a href="#page185">185</a>, +<a href="#page189">189</a>, +<a href="#page190">190</a>, +<a href="#page191">191</a>.<br> + +Fulling fast olive, +<a href="#page135">135</a>.<br> + +Fustic, +<a href="#page066">66</a>, +<a href="#page069">69</a>, +<a href="#page070">70</a>, +<a href="#page077">77</a>, +<a href="#page083">83</a>, +<a href="#page085">85</a>, +<a href="#page086">86</a>, +<a href="#page087">87</a>, +<a href="#page097">97</a>, +<a href="#page120">120</a>, +<a href="#page220">220</a>.<br> +------ extract, +<a href="#page088">88</a>, +<a href="#page123">123</a>, +<a href="#page131">131</a>, +<a href="#page133">133</a>, +<a href="#page134">134</a>, +<a href="#page135">135</a>.</p> + + +<p class="quotega10"><b>G.</b></p> + +<p>Galleine, +<a href="#page166">166</a>.<br> + +Gallipoli oil, +<a href="#page026">26</a>.<br> + +Galloflavine, +<a href="#page070">70</a>, +<a href="#page119">119</a>, +<a href="#page133">133</a>.<br> + +Gambine, +<a href="#page061">61</a>, +<a href="#page114">114</a>, +<a href="#page119">119</a>, +<a href="#page127">127</a>.<br> +------- B, +<a href="#page164">164</a>.<br> +------- R, 133, +<a href="#page164">164</a>, +<a href="#page167">167</a>.<br> +------- V, +<a href="#page096">96</a>, +<a href="#page125">125</a>, +<a href="#page133">133</a>, +<a href="#page164">164</a>.<br> +------- yellow, +<a href="#page093">93</a>, +<a href="#page115">115</a>, +<a href="#page125">125</a>.<br> + +Geranine B, +<a href="#page160">160</a>.<br> +-------- G, +<a href="#page102">102</a>.<br> + +Glacier blue, +<a href="#page155">155</a>.<br> + +Glauber's salt, +<a href="#page081">81</a>, +<a href="#page089">89</a>, +<a href="#page091">91</a>, +<a href="#page099">99</a>, +<a href="#page127">127</a>, +<a href="#page128">128</a>, +<a href="#page129">129</a>, +<a href="#page130">130</a>, +<a href="#page135">135</a>, +<a href="#page150">150</a>, +<a href="#page151">151</a>, +<a href="#page169">169</a>, +<a href="#page171">171</a>, +<a href="#page172">172</a>, +<a href="#page184">184</a>, +<a href="#page215">215</a>.<br> + +Gloria, dyeing of, +<a href="#page188">188</a>.<br> + +Gold and green, +<a href="#page184">184</a>.<br> +---- brown, +<a href="#page176">176</a>, +<a href="#page179">179</a>, +<a href="#page185">185</a>.<br> +---- orange, +<a href="#page122">122</a>, +<a href="#page123">123</a>, +<a href="#page176">176</a>.<br> +---- yellow, +<a href="#page126">126</a>.<br> + +Golden brown, +<a href="#page162">162</a>, +<a href="#page163">163</a>.<br> +------ yellow, +<a href="#page125">125</a>, +<a href="#page126">126</a>.<br> + +Good yellow, +<a href="#page175">175</a>.<br> + +Grass green, +<a href="#page128">128</a>.<br> + +Green, +<a href="#page127">127</a>, +<a href="#page131">131</a>, +<a href="#page178">178</a>, +<a href="#page192">192</a>, +<a href="#page193">193</a>, +<a href="#page195">195</a>.<br> +----- and buff, +<a href="#page186">186</a>.<br> +----- and claret, +<a href="#page185">185</a>.<br> +----- and red, +<a href="#page186">186</a>.<br> +----- and orange, +<a href="#page187">187</a>.<br> + +Greenish, +<a href="#page098">98</a>.<br> +-------- black on wool, +<a href="#page091">91</a>.<br> +-------- straw, +<a href="#page124">124</a>.<br> + +Grey, +<a href="#page098">98</a>, +<a href="#page165">165</a>, +<a href="#page182">182</a>.<br> +---- and orange, +<a href="#page186">186</a>.<br> +---- blue, +<a href="#page158">158</a>.<br> +---- on wool, +<a href="#page096">96</a>.<br> + +Guinea green B, +<a href="#page171">171</a>, +<a href="#page181">181</a>, +<a href="#page187">187</a>.<br> +------ violet 4 B, +<a href="#page171">171</a>, +<a href="#page181">181</a>.</p> + + +<p class="quotega10"><b>H.</b></p> + +<p>Hæmatoxylin of logwood, +<a href="#page084">84</a>.<br> + +Hand dyeing, +<a href="#page040">40</a>.<br> +---- scouring of wool, +<a href="#page018">18</a>.<br> + +Hank-washing machine, +<a href="#page201">201</a>.<br> +---- wringing machines, +<a href="#page198">198</a>.<br> + +Hare fur, +<a href="#page083">83</a>.<br> + +Hessian violet, +<a href="#page102">102</a>, +<a href="#page171">171</a>.<br> + +Holliday's patent indigo vat, +<a href="#page143">143</a>.<br> + +Hydrochloric acid, +<a href="#page088">88</a>.<br> + +Hydrochloride of rosaniline, +<a href="#page009">9</a>.<br> + +Hypochlorites, action on wool, +<a href="#page012">12</a>.<br> + +Hydro-extractor, +<a href="#page206">206</a>, +<a href="#page207">207</a>.<br> + +Hydrosulphite of soda, +<a href="#page147">147</a>.<br> +------------- vats, +<a href="#page138">138</a>, +<a href="#page141">141</a>.<br> + +Hydroxy-azo dyes, +<a href="#page114">114</a>.</p> + + +<p class="quotega10"><b>I.</b></p> + +<p>Imperial green G 1, +<a href="#page195">195</a>.<br> + +Indian yellow, +<a href="#page090">90</a>, +<a href="#page091">91</a>, +<a href="#page189">189</a>, +<a href="#page191">191</a>, +<a href="#page192">192</a>.<br> +------ ------ G, +<a href="#page131">131</a>, +<a href="#page171">171</a>, +<a href="#page175">175</a>, +<a href="#page176">176</a>, +<a href="#page177">177</a>, +<a href="#page179">179</a>, +<a href="#page180">180</a>, +<a href="#page185">185</a>, +<a href="#page195">195</a>.<br> +------ ------ R, +<a href="#page126">126</a>, +<a href="#page165">165</a>, +<a href="#page171">171</a>, +<a href="#page175">175</a>, +<a href="#page176">176</a>, +<a href="#page195">195</a>.<br> + +Indigo, +<a href="#page083">83</a>, +<a href="#page085">85</a>, +<a href="#page136">136</a>, +<a href="#page141">141</a>.<br> +------ black, +<a href="#page086">86</a>.<br> +------ blue, +<a href="#page151">151</a>.<br> +------ carmine, +<a href="#page066">66</a>, +<a href="#page150">150</a>.<br> +------ ------- D, +<a href="#page161">161</a>, +<a href="#page166">166</a>.<br> +------ dyeing, +<a href="#page137">137</a>.<br> +------ dye-stuffs, +<a href="#page061">61</a>.<br> +------ dye-vat, +<a href="#page149">149</a>.<br> +------ extract, +<a href="#page073">73</a>, +<a href="#page075">75</a>, +<a href="#page097">97</a>, +<a href="#page105">105</a>, +<a href="#page131">131</a>, +<a href="#page133">133</a>, +<a href="#page134">134</a>, +<a href="#page135">135</a>, +<a href="#page151">151</a>, +<a href="#page190">190</a>, +<a href="#page194">194</a>.<br> +------ ------- for dyeing wool, +<a href="#page150">150</a>.<br> +------ indophenol vat, +<a href="#page146">146</a>.<br> + +Indigotine, +<a href="#page194">194</a>.<br> +---------- extra, +<a href="#page193">193</a>, +<a href="#page195">195</a>, +<a href="#page196">196</a>.<br> + +Indophenol, +<a href="#page146">146</a>.<br> + +Induline, +<a href="#page037">37</a>.<br> +-------- A, +<a href="#page153">153</a>.<br> + +Invisible bronze green, +<a href="#page133">133</a>.<br> +--------- green, +<a href="#page130">130</a>, +<a href="#page132">132</a>, +<a href="#page136">136</a>.<br> + +Iron logwood black, +<a href="#page086">86</a>, +<a href="#page087">87</a>.<br> + +Italian cloths, +<a href="#page176">176</a>.</p> + + +<p class="quotega10"><b>J.</b></p> + +<p>Janus black I, +<a href="#page182">182</a>.<br> +----- ----- I I, +<a href="#page182">182</a>.<br> +----- blue R, +<a href="#page182">182</a>.<br> +----- brown B, +<a href="#page182">182</a>.<br> +----- ----- R, +<a href="#page182">182</a>, +<a href="#page183">183</a>.<br> +----- claret red B, +<a href="#page183">183</a>.<br> +----- dark blue B, +<a href="#page182">182</a>.<br> +----- dyes, +<a href="#page181">181</a>.<br> +----- green B, +<a href="#page182">182</a>, +<a href="#page183">183</a>.<br> +----- grey B, +<a href="#page182">182</a>, +<a href="#page183">183</a>.<br> +----- ---- B B, +<a href="#page182">182</a>.<br> +----- red B, +<a href="#page182">182</a>, +<a href="#page183">183</a>.<br> +----- yellow G, +<a href="#page182">182</a>.<br> +----- ------ R, +<a href="#page182">182</a>, +<a href="#page183">183</a>.<br> + +Jet black, +<a href="#page093">93</a>, +<a href="#page094">94</a>, +<a href="#page095">95</a>, +<a href="#page096">96</a>.<br> +--- ----- on wool, +<a href="#page090">90</a>, +<a href="#page091">91</a>, +<a href="#page093">93</a>.<br> + +Jig wince, +<a href="#page053">53</a>.</p> + + +<p class="quotega10"><b>K.</b></p> + +<p>"Kempy" fibres, +<a href="#page003">3</a>.<br> + +Keratine, +<a href="#page008">8</a>.<br> + +Keton blue G, +<a href="#page111">111</a>, +<a href="#page162">162</a>.<br> + +Klauder-Weldon hank-dyeing machine, +<a href="#page047">47</a>, +<a href="#page048">48</a>.</p> + + +<p class="quotega10"><b>L.</b></p> + +<p>Lactic acid, +<a href="#page115">115</a>, +<a href="#page116">116</a>, +<a href="#page117">117</a>, +<a href="#page151">151</a>, +<a href="#page215">215</a>.<br> + +Lanafuchsine 6 B, +<a href="#page113">113</a>.<br> +------------ S B, +<a href="#page111">111</a>, +<a href="#page113">113</a>.<br> +------------ S G, +<a href="#page111">111</a>, +<a href="#page112">112</a>, +<a href="#page113">113</a>.<br> + +Lanacyl blue B B, +<a href="#page171">171</a>.<br> +------- ---- R, +<a href="#page171">171</a>.<br> +------- violet B, +<a href="#page171">171</a>, +<a href="#page180">180</a>.<br> + +Lavender, +<a href="#page160">160</a>, +<a href="#page196">196</a>.<br> +-------- blue, +<a href="#page158">158</a>.<br> +-------- grey, +<a href="#page166">166</a>.<br> + +Leaf yellow, +<a href="#page125">125</a>.<br> + +Lemon yellow, +<a href="#page125">125</a>.<br> + +Level dyeing, +<a href="#page077">77</a>.<br> + +Light drab, +<a href="#page196">196</a>.<br> +----- green, +<a href="#page133">133</a>, +<a href="#page195">195</a>.<br> +----- grey, +<a href="#page097">97</a>, +<a href="#page193">193</a>.<br> +----- sea green, +<a href="#page195">195</a>.<br> +----- straw, +<a href="#page126">126</a>.<br> + +Lignorosine, +<a href="#page115">115</a>, +<a href="#page117">117</a>, +<a href="#page151">151</a>.<br> + +Lilac, +<a href="#page166">166</a>.<br> +----- blue, +<a href="#page158">158</a>.<br> +----- grey, +<a href="#page165">165</a>.<br> + +Lime, +<a href="#page117">117</a>, +<a href="#page140">140</a>.<br> +---- vats, +<a href="#page138">138</a>.<br> + +Liquor ammonia, +<a href="#page147">147</a>.<br> + +Llama, +<a href="#page001">1</a>.<br> + +Logwood, +<a href="#page066">66</a>, +<a href="#page069">69</a>, +<a href="#page070">70</a>, +<a href="#page083">83</a>, +<a href="#page085">85</a>, +<a href="#page086">86</a>, +<a href="#page087">87</a>, +<a href="#page097">97</a>, +<a href="#page136">136</a>, +<a href="#page151">151</a>, +<a href="#page220">220</a>.<br> +------- black, +<a href="#page087">87</a>, +<a href="#page088">88</a>.<br> +------- ----- on wool, +<a href="#page086">86</a>.<br> +------- extract, +<a href="#page088">88</a>, +<a href="#page133">133</a>, +<a href="#page135">135</a>, +<a href="#page136">136</a>.<br> + +Loose wool, dyeing of, +<a href="#page053">43</a>.<br> +----- ---- washing of, +<a href="#page200">200</a>.</p> + + +<p class="quotega10"><b>M.</b></p> + +<p>Machine-scouring of wool, +<a href="#page020">20</a>.<br> + +Madder, +<a href="#page077">77</a>, +<a href="#page144">144</a>.<br> + +Magenta, +<a href="#page053">53</a>, +<a href="#page061">61</a>, +<a href="#page064">64</a>, +<a href="#page102">102</a>, +<a href="#page103">103</a>, +<a href="#page190">190</a>.<br> + +Maize yellow, +<a href="#page124">124</a>.<br> + +Malachite green, +<a href="#page127">127</a>.<br> + +Mandarine G, +<a href="#page121">121</a>, +<a href="#page171">171</a>, +<a href="#page180">180</a>, +<a href="#page181">181</a>, +<a href="#page187">187</a>.<br> + +Maroon, +<a href="#page111">111</a>, +<a href="#page118">118</a>, +<a href="#page178">178</a>.<br> +------ red, +<a href="#page111">111</a>.<br> + +Marseilles soap, +<a href="#page078">78</a>.<br> + +Mauve, +<a href="#page161">161</a>.<br> + +McNaught's wool-washing machine, +<a href="#page020">20</a>.<br> + +Metallic salts, action on wool, +<a href="#page012">12</a>.<br> + +Methylene blue, +<a href="#page133">133</a>, +<a href="#page134">134</a>.<br> + +Methylrosaniline, +<a href="#page064">64</a>.<br> + +Methyl violet, +<a href="#page053">53</a>, +<a href="#page064">64</a>, +<a href="#page190">190</a>.<br> +------ ------ 3 B, +<a href="#page160">160</a>.<br> +------ ------ B O, +<a href="#page192">192</a>.<br> +------ ------ R, +<a href="#page160">160</a>.<br> + +Medulla, +<a href="#page004">4</a>.<br> + +Medium blue, +<a href="#page157">157</a>, +<a href="#page158">158</a>.<br> +------ green, +<a href="#page133">133</a>.<br> + +Merino wool, +<a href="#page005">5</a>.<br> + +Mikado orange 4 R O, +<a href="#page180">180</a>, +<a href="#page181">181</a>, +<a href="#page187">187</a>.<br> + +Milling red B, +<a href="#page111">111</a>.<br> +------- --- R, +<a href="#page106">106</a>, +<a href="#page110">110</a>.<br> +------- yellow, +<a href="#page192">192</a>.<br> +------- ------ O, +<a href="#page099">99</a>, +<a href="#page125">125</a>, +<a href="#page193">193</a>.<br> + +Mimosa, +<a href="#page169">169</a>.<br> + +Mode colours on wool, +<a href="#page164">164</a>.<br> + +Mordant dyes for brown, +<a href="#page163">163</a>.<br> +------- ---- for orange, +<a href="#page122">122</a>.<br> +------- dye-stuffs, +<a href="#page061">61</a>, +<a href="#page068">68</a>.<br> +------- dyes for violet, +<a href="#page161">161</a>.<br> + +Mordanting, +<a href="#page115">115</a>.<br> +---------- of wool, +<a href="#page012">12</a>.<br> + +Mordant yellow, +<a href="#page119">119</a>, +<a href="#page122">122</a>, +<a href="#page132">132</a>.<br> +------- ------ D, +<a href="#page126">126</a>.<br> +------- ------ O, +<a href="#page164">164</a>.<br> + +Moss green, +<a href="#page129">129</a>, +<a href="#page130">130</a>.<br> + +Mother vat, +<a href="#page147">147</a>.<br> + +Mouse, +<a href="#page162">162</a>.<br> + +Muriate of tin, +<a href="#page097">97</a>.<br> + +Myrobalan, +<a href="#page197">197</a>.</p> + + +<p class="quotega10"><b>N.</b></p> + +<p>Naphthol black, +<a href="#page037">37</a>, +<a href="#page089">89</a>, +<a href="#page099">99</a>, +<a href="#page186">186</a>.<br> +-------- ----- B, +<a href="#page090">90</a>.<br> +-------- ----- B B, +<a href="#page196">196</a>.<br> +-------- ----- 3 B, +<a href="#page090">90</a>, +<a href="#page091">91</a>, +<a href="#page185">185</a>, +<a href="#page192">192</a>.<br> +-------- ----- 4 R, +<a href="#page111">111</a>.<br> +-------- blue G, +<a href="#page171">171</a>, +<a href="#page185">185</a>.<br> +-------- ---- R, +<a href="#page171">171</a>.<br> +-------- ---- black, +<a href="#page155">155</a>, +<a href="#page171">171</a>, +<a href="#page175">175</a>, +<a href="#page177">177</a>, +<a href="#page178">178</a>, +<a href="#page179">179</a>, +<a href="#page180">180</a>, +<a href="#page185">185</a>.<br> +-------- green B, +<a href="#page037">37</a>, +<a href="#page090">90</a>, +<a href="#page127">127</a>, +<a href="#page128">128</a>, +<a href="#page189">189</a>, +<a href="#page192">192</a>, +<a href="#page193">193</a>, +<a href="#page194">194</a>.<br> +-------- red C, +<a href="#page113">113</a>, +<a href="#page185">185</a>, +<a href="#page192">192</a>.<br> +-------- --- O, +<a href="#page193">193</a>.<br> +-------- yellow, +<a href="#page131">131</a>, +<a href="#page136">136</a>, +<a href="#page190">190</a>.<br> +-------- ------ S, +<a href="#page113">113</a>, +<a href="#page130">130</a>, +<a href="#page178">178</a>.<br> + +Naphthyl blue black N, +<a href="#page092">92</a>.<br> + +Naphthylamine black, +<a href="#page089">89</a>, +<a href="#page092">92</a>, +<a href="#page189">189</a>.<br> +------------- ----- 4 B, +<a href="#page091">91</a>, +<a href="#page171">171</a>, +<a href="#page192">192</a>.<br> +------------- ----- 6 B, +<a href="#page171">171</a>, +<a href="#page180">180</a>.<br> +------------- ----- D, +<a href="#page091">91</a>, +<a href="#page099">99</a>, +<a href="#page171">171</a>, +<a href="#page191">191</a>.<br> +------------- ----- S, +<a href="#page096">96</a>.<br> + +Navy, +<a href="#page158">158</a>.<br> +---- blue, +<a href="#page153">153</a>, +<a href="#page136">136</a>, +<a href="#page177">177</a>, +<a href="#page179">179</a>, +<a href="#page180">180</a>.<br> + +Neutral dye-stuffs, +<a href="#page061">61</a>.<br> +------- extract, +<a href="#page150">150</a>.<br> +------- red, +<a href="#page162">162</a>.<br> + +New methylene blue, +<a href="#page190">190</a>.<br> +--- --------- ---- N, +<a href="#page185">185</a>, +<a href="#page194">194</a>.<br> +--- Victoria black blue, +<a href="#page190">190</a>.<br> +--- -------- blue B, +<a href="#page154">154</a>.<br> +--- -------- ---- black, +<a href="#page192">192</a>.<br> + +Nigrosine, +<a href="#page037">37</a>.<br> + +Nitrate of iron, +<a href="#page098">98</a>.<br> + +Nitrazine yellow, +<a href="#page124">124</a>.<br> + +Nut, +<a href="#page164">164</a>.<br> +--- brown, +<a href="#page181">181</a>, +<a href="#page182">182</a>.<br> + +Nyanza black, +<a href="#page095">95</a>.<br> +------ ----- B, +<a href="#page099">99</a>, +<a href="#page128">128</a>, +<a href="#page161">161</a>, +<a href="#page165">165</a>.</p> + + +<p class="quotega10"><b>O.</b></p> + +<p>Obermaier dyeing machine, +<a href="#page044">44</a>, +<a href="#page045">45</a>, +<a href="#page046">46</a>.<br> + +Old gold, +<a href="#page122">122</a>, +<a href="#page126">126</a>.<br> + +Oleic acid, +<a href="#page007">7</a>, +<a href="#page026">26</a>.<br> + +Oleine, +<a href="#page026">26</a>.<br> + +Olive, +<a href="#page128">128</a>, +<a href="#page134">134</a>, +<a href="#page135">135</a>.<br> +----- brown, +<a href="#page162">162</a>, +<a href="#page164">164</a>.<br> +----- bronze, +<a href="#page135">135</a>.<br> +----- green, +<a href="#page128">128</a>, +<a href="#page135">135</a>.<br> +----- oil, +<a href="#page026">26</a>.<br> +----- yellow, +<a href="#page124">124</a>, +<a href="#page125">125</a>.<br> + +Orange, +<a href="#page121">121</a>, +<a href="#page122">122</a>, +<a href="#page178">178</a>, +<a href="#page180">180</a>, +<a href="#page191">191</a>, +<a href="#page192">192</a>, +<a href="#page195">195</a>.<br> +------ No. 2, +<a href="#page162">162</a>.<br> +------ blue, +<a href="#page187">187</a>, +<a href="#page194">194</a>.<br> +------ green, +<a href="#page194">194</a>.<br> +------ violet, +<a href="#page186">186</a>.<br> +------ croceine G, +<a href="#page189">189</a>.<br> +------ E N Z, +<a href="#page123">123</a>, +<a href="#page135">135</a>, +<a href="#page171">171</a>, +<a href="#page176">176</a>, +<a href="#page178">178</a>, +<a href="#page179">179</a>, +<a href="#page180">180</a>, +<a href="#page185">185</a>.<br> +------ extra, +<a href="#page099">99</a>, +<a href="#page107">107</a>, +<a href="#page108">108</a>, +<a href="#page111">111</a>, +<a href="#page113">113</a>, +<a href="#page122">122</a>, +<a href="#page162">162</a>, +<a href="#page163">163</a>, +<a href="#page171">171</a>, +<a href="#page178">178</a>.<br> +------ G, +<a href="#page099">99</a>, +<a href="#page107">107</a>, +<a href="#page110">110</a>, +<a href="#page113">113</a>, +<a href="#page162">162</a>, +<a href="#page165">165</a>, +<a href="#page166">166</a>, +<a href="#page190">190</a>.<br> +------ G G, +<a href="#page112">112</a>, +<a href="#page113">113</a>, +<a href="#page122">122</a>, +<a href="#page162">162</a>, +<a href="#page184">184</a>, +<a href="#page185">185</a>, +<a href="#page190">190</a>, +<a href="#page191">191</a>, +<a href="#page193">193</a>.<br> +------ I I, +<a href="#page153">153</a>, +<a href="#page162">162</a>.<br> +------ O, +<a href="#page111">111</a>.<br> +------ R, +<a href="#page122">122</a>, +<a href="#page189">189</a>.<br> +------ shades on wool, +<a href="#page121">121</a>.<br> +------ T A, +<a href="#page170">170</a>, +<a href="#page181">181</a>.<br> + +Oxalate of ammonia, +<a href="#page095">95</a>.<br> + +Oxalic acid, +<a href="#page085">85</a>, +<a href="#page087">87</a>, +<a href="#page088">88</a>, +<a href="#page093">93</a>, +<a href="#page115">115</a>, +<a href="#page116">116</a>, +<a href="#page133">133</a>, +<a href="#page151">151</a>, +<a href="#page215">215</a>.<br> + +Oxydiamine black A, +<a href="#page169">169</a>.<br> +---------- ----- B, +<a href="#page169">169</a>.<br> +---------- ----- B M, +<a href="#page180">180</a>.<br> +---------- ----- D, +<a href="#page169">169</a>.<br> +---------- ----- M, +<a href="#page169">169</a>.<br> +---------- ----- S O O O, +<a href="#page170">170</a>.<br> +---------- Orange G, +<a href="#page170">170</a>, +<a href="#page178">178</a>.<br> +---------- ------ R, +<a href="#page170">170</a>.<br> +---------- red S, +<a href="#page170">170</a>.<br> +---------- violet B, +<a href="#page170">170</a>.<br> +---------- yellow G G, +<a href="#page170">170</a>.<br> + +Oxyphenine, +<a href="#page169">169</a>.</p> + + +<p class="quotega10"><b>P.</b></p> + +<p>Pale blue, +<a href="#page152">152</a>, +<a href="#page155">155</a>, +<a href="#page193">193</a>, +<a href="#page195">195</a>.<br> +---- bluish crimson, +<a href="#page108">108</a>.<br> +---- chestnut, +<a href="#page164">164</a>.<br> +---- crimson, +<a href="#page108">108</a>.<br> +---- drab, +<a href="#page165">165</a>, +<a href="#page166">166</a>.<br> +---- fawn, +<a href="#page166">166</a>.<br> +---- ---- drab, +<a href="#page165">165</a>.<br> +---- ---- brown, +<a href="#page166">166</a>.<br> +---- gold yellow, +<a href="#page175">175</a>.<br> +---- green, +<a href="#page192">192</a>.<br> +---- lilac rose, +<a href="#page107">107</a>.<br> +---- maroon, +<a href="#page191">191</a>.<br> +---- navy blue, +<a href="#page156">156</a>.<br> +---- old gold brown, +<a href="#page164">164</a>.<br> +---- olive yellow, +<a href="#page126">126</a>.<br> +---- orange, +<a href="#page121">121</a>, +<a href="#page122">122</a>.<br> +---- pea-green, +<a href="#page131">131</a>.<br> +---- Russian green, +<a href="#page128">128</a>.<br> +---- sage, +<a href="#page195">195</a>.<br> +---- ---- green, +<a href="#page130">130</a>, +<a href="#page133">133</a>, +<a href="#page180">180</a>.<br> +---- sea green, +<a href="#page129">129</a>, +<a href="#page132">132</a>.<br> +---- slate green, +<a href="#page133">133</a>.<br> +---- ---- grey, +<a href="#page098">98</a>.<br> +---- stone, +<a href="#page166">166</a>.<br> +---- violet, +<a href="#page160">160</a>.<br> + +Pararosaniline, +<a href="#page064">64</a>.<br> + +Paris blue, +<a href="#page158">158</a>.<br> + +Patent blue, +<a href="#page092">92</a>, +<a href="#page099">99</a>.<br> +------ ---- A, +<a href="#page131">131</a>, +<a href="#page158">158</a>.<br> +------ ---- B, +<a href="#page095">95</a>, +<a href="#page110">110</a>, +<a href="#page154">154</a>.<br> +------ ---- J, +<a href="#page154">154</a>, +<a href="#page162">162</a>.<br> +------ ---- J B, +<a href="#page166">166</a>.<br> +------ ---- J O O, +<a href="#page166">166</a>.<br> +------ ---- N, +<a href="#page128">128</a>, +<a href="#page154">154</a>.<br> +------ ---- V, +<a href="#page111">111</a>, +<a href="#page129">129</a>, +<a href="#page130">130</a>, +<a href="#page154">154</a>, +<a href="#page155">155</a>, +<a href="#page162">162</a>, +<a href="#page168">168</a>.<br> +------ ---- superior, +<a href="#page154">154</a>.<br> + +Peach wood, +<a href="#page086">86</a>.<br> + +Peacock blue, +<a href="#page155">155</a>, +<a href="#page157">157</a>, +<a href="#page158">158</a>.<br> +------- green, +<a href="#page131">131</a>, +<a href="#page132">132</a>, +<a href="#page177">177</a>, +<a href="#page179">179</a>.<br> + +Pearl ash, +<a href="#page017">17</a>.<br> +----- grey, +<a href="#page097">97</a>, +<a href="#page098">98</a>.<br> + +Perchloride of tin, +<a href="#page097">97</a>.<br> + +Peri wool blue, +<a href="#page155">155</a>.<br> + +Peroxide of hydrogen for bleaching wool, +<a href="#page029">29</a>, +<a href="#page034">34</a>.<br> +-------- of soda for bleaching wool, +<a href="#page036">36</a>.<br> + +Persian berries, +<a href="#page069">69</a>, +<a href="#page071">71</a>.<br> + +Petrie's wool-washing machine, +<a href="#page020">20</a>.<br> + +Petroleum spirit, +<a href="#page016">16</a>, +<a href="#page024">24</a>.<br> + +Phenoflavine, +<a href="#page124">124</a>, +<a href="#page130">130</a>.<br> + +Phenolic colours, +<a href="#page114">114</a>.<br> + +Phenyl rosaniline, +<a href="#page064">64</a>.<br> + +Phloxine, +<a href="#page104">104</a>, +<a href="#page190">190</a>, +<a href="#page191">191</a>.<br> + +Phosphate of soda, +<a href="#page218">218</a>.<br> + +Picric acid, +<a href="#page190">190</a>.<br> + +Piece-dyeing machines, +<a href="#page050">50</a>.<br> +----- goods, drying of, +<a href="#page210">210</a>.<br> +----- ---- washing of, +<a href="#page202">202</a>.<br> +----- ---- wringing of, +<a href="#page199">199</a>.<br> + +Pink, +<a href="#page102">102</a>, +<a href="#page111">111</a>, +<a href="#page112">112</a>, +<a href="#page178">178</a>, +<a href="#page195">195</a>.<br> + +Plum, +<a href="#page178">178</a>.<br> + +Plush fabric dyeing machine, +<a href="#page055">55</a>.<br> + +Ponceau, +<a href="#page105">105</a>.<br> +------- 3 G, +<a href="#page121">121</a>.<br> +------- R, +<a href="#page065">65</a>.<br> +------- 3 R B, +<a href="#page171">171</a>, +<a href="#page180">180</a>.<br> + +Potash, +<a href="#page017">17</a>.<br> +------ indigo vat, +<a href="#page144">144</a>.<br> +------ salts, +<a href="#page007">7</a>.<br> + +Potassium salts, +<a href="#page008">8</a>.<br> + +Primuline, +<a href="#page169">169</a>.<br> + +Puce, +<a href="#page160">160</a>.<br> + +Pure blue O T, +<a href="#page193">193</a>.<br> + +Purple, +<a href="#page109">109</a>.<br> +------ red, +<a href="#page113">113</a>.<br> + +Purpuramine, +<a href="#page062">62</a>.</p> + + +<p class="quotega10"><b>Q.</b></p> + +<p>Quick lime, +<a href="#page141">141</a>.<br> + +Quinoline yellow, +<a href="#page189">189</a>, +<a href="#page194">194</a>.</p> + + +<p class="quotega10"><b>R.</b></p> + +<p>Rabbit fur, +<a href="#page083">83</a>.<br> + +Raw merino wool, analysis of, +<a href="#page007">7</a>.<br> + +Read Holliday's hawking machine, +<a href="#page057">57</a>.<br> +---- ---------- indigo extract, +<a href="#page151">151</a>.<br> +---- ---------- squeezing machine, +<a href="#page199">199</a>.<br> +---- ---------- yarn dyeing machine, +<a href="#page046">46</a>, +<a href="#page047">47</a>.<br> + +Red, +<a href="#page106">106</a>, +<a href="#page107">107</a>, +<a href="#page120">120</a>.<br> +--- navy, +<a href="#page158">158</a>.<br> +--- ---- blue, +<a href="#page157">157</a>.<br> +--- plum, +<a href="#page177">177</a>.<br> +--- shades on wool, +<a href="#page100">100</a>.<br> + +Reddish black, +<a href="#page094">94</a>.<br> +------- grey, +<a href="#page097">97</a>.<br> +------- orange, +<a href="#page121">121</a>.<br> +------- puce, +<a href="#page160">160</a>.<br> + + +Rhodamine, +<a href="#page165">165</a>, +<a href="#page189">189</a>, +<a href="#page190">190</a>.<br> +--------- B, +<a href="#page113">113</a>, +<a href="#page191">191</a>, +<a href="#page193">193</a>, +<a href="#page197">197</a>.<br> +--------- G, +<a href="#page195">195</a>.<br> +--------- red, +<a href="#page102">102</a>.<br> + +Rhoduline red, +<a href="#page102">102</a>, +<a href="#page103">103</a>.<br> + +Rocceleine, +<a href="#page171">171</a>, +<a href="#page190">190</a>.<br> + +Roller-squeezing machine, +<a href="#page198">198</a>.<br> + +Rose, +<a href="#page118">118</a>.<br> + +Rosaniline, +<a href="#page064">64</a>.<br> + +Rose bengale, +<a href="#page104">104</a>, +<a href="#page112">112</a>, +<a href="#page189">189</a>, +<a href="#page190">190</a>. +---- red, +<a href="#page113">113</a>.<br> + +Royal blue, +<a href="#page154">154</a>.</p> + + +<p class="quotega10"><b>S.</b></p> + +<p>Saddening of wool, +<a href="#page074">74</a>.<br> + +Saffranine, +<a href="#page061">61</a>, +<a href="#page064">64</a>, +<a href="#page102">102</a>, +<a href="#page103">103</a>, +<a href="#page184">184</a>, +<a href="#page189">189</a>, +<a href="#page190">190</a>.<br> +---------- prima, +<a href="#page103">103</a>, +<a href="#page194">194</a>.<br> + +Saffron, +<a href="#page013">13</a>, +<a href="#page063">63</a>.<br> + +Saffrosine, +<a href="#page104">104</a>.<br> + +Sage, +<a href="#page177">177</a>.<br> +---- brown, +<a href="#page181">181</a>.<br> +---- green, +<a href="#page128">128</a>.<br> + +Salicylic acid, +<a href="#page114">114</a>.<br> + +Salmon, +<a href="#page113">113</a>.<br> +------ red, +<a href="#page113">113</a>.<br> + +Salt, +<a href="#page215">215</a>.<br> + +Sanders, +<a href="#page120">120</a>, +<a href="#page121">121</a>.<br> + +Saxony blue, +<a href="#page154">154</a>.<br> + +Scarlet, +<a href="#page101">101</a>, +<a href="#page102">102</a>, +<a href="#page103">103</a>, +<a href="#page105">105</a>, +<a href="#page106">106</a>, +<a href="#page107">107</a>, +<a href="#page112">112</a>, +<a href="#page118">118</a>, +<a href="#page178">178</a>, +<a href="#page180">180</a>, +<a href="#page191">191</a>.<br> +------- F R, +<a href="#page106">106</a>.<br> +------- O O, +<a href="#page106">106</a>.<br> +------- R, +<a href="#page183">183</a>.<br> +------- 3 R, +<a href="#page191">191</a>.<br> +------- 2 R J, +<a href="#page105">105</a>.<br> +------- R S, +<a href="#page105">105</a>.<br> +------- S, +<a href="#page190">190</a>.<br> + +Schutzenberger and Lalande's vat, +<a href="#page141">141</a>.<br> + +Schweizer's reagent, +<a href="#page009">9</a>.<br> + +Scouring of wool, +<a href="#page015">15</a>, +<a href="#page017">17</a>.<br> +-------- of woollen piece goods, +<a href="#page028">28</a>.<br> + +Sea green, +<a href="#page131">131</a>, +<a href="#page136">136</a>.<br> + +Serge, +<a href="#page173">173</a>.<br> + +Silicate of soda, +<a href="#page017">17</a>.<br> + +Silk blue, +<a href="#page189">189</a>.<br> +---- ---- B E S, +<a href="#page192">192</a>.<br> + +Silver grey, +<a href="#page098">98</a>, +<a href="#page165">165</a>, +<a href="#page177">177</a>.<br> + +Sheep, +<a href="#page001">1</a>.<br> + +Short-stapled wools, scouring of, +<a href="#page018">18</a>.<br> + +Shot effects, +<a href="#page183">183</a>.<br> + +Sky blue, +<a href="#page151">151</a>, +<a href="#page154">154</a>, +<a href="#page178">178</a>, +<a href="#page194">194</a>.<br> + +Slaked lime, +<a href="#page145">145</a>.<br> + +Slate, +<a href="#page165">165</a>, +<a href="#page181">181</a>.<br> +----- blue, +<a href="#page158">158</a>, +<a href="#page179">179</a>.<br> +----- green, +<a href="#page131">131</a>, +<a href="#page132">132</a>, +<a href="#page181">181</a>.<br> +----- grey, +<a href="#page097">97</a>, +<a href="#page098">98</a>.<br> + +Sliver, dyeing of, +<a href="#page044">44</a>.<br> + +Slubbing, dyeing of, +<a href="#page044">44</a>.<br> + +Smithson's dyeing machine, +<a href="#page088">88</a>.<br> + +Soap, +<a href="#page027">27</a>.<br> +---- action on wool, +<a href="#page010">10</a>, +<a href="#page066">66</a>.<br> + +Soaping and washing machine, +<a href="#page205">205</a>.<br> +------- of goods, +<a href="#page204">204</a>.<br> + +Soda, +<a href="#page017">17</a>, +<a href="#page215">215</a>.<br> +---- ash, +<a href="#page017">17</a>.<br> +---- crystals, +<a href="#page145">145</a>.<br> +---- indigo vat, +<a href="#page145">145</a>.<br> + +Sodium hydrosulphite, +<a href="#page143">143</a>.<br> + +Solid blue, +<a href="#page190">190</a>.<br> +----- ---- R, +<a href="#page192">192</a>.<br> +----- ---- P G, +<a href="#page192">192</a>.<br> +----- green crystals, +<a href="#page194">194</a>.<br> + +Soluble blue, +<a href="#page189">189</a>.<br> + +Sour extract, +<a href="#page150">150</a>.<br> + +Southdown wool, +<a href="#page005">5</a>.<br> + +Spencer's hank-wringing machine, +<a href="#page198">198</a>.<br> + +Squeezing of goods, +<a href="#page197">197</a>.<br> + +Stale urine, +<a href="#page017">17</a>, +<a href="#page018">18</a>.<br> + +Stearic acid, +<a href="#page007">7</a>.<br> + +Stone, +<a href="#page166">166</a>, +<a href="#page181">181</a>.<br> + +Straw, +<a href="#page124">124</a>.<br> + +Stuffing of wool, +<a href="#page074">74</a>.<br> + +Suint, +<a href="#page015">15</a>.<br> + +Suitings, +<a href="#page173">173</a>.<br> + +Sulphon azurine B, +<a href="#page170">170</a>.<br> +------- ------- D, +<a href="#page180">180</a>.<br> +------- cyanine, +<a href="#page128">128</a>, +<a href="#page152">152</a>, +<a href="#page160">160</a>.<br> + +Sulphur, +<a href="#page008">8</a>.<br> +------- bleach house, +<a href="#page031">31</a>.<br> +------- dioxide, +<a href="#page033">33</a>.<br> +------- bleaching, +<a href="#page029">29</a>, +<a href="#page030">30</a>.<br> + +Sulphuric acid, +<a href="#page099">99</a>, +<a href="#page115">115</a>, +<a href="#page116">116</a>, +<a href="#page215">215</a>.<br> + +Sumac, +<a href="#page086">86</a>, +<a href="#page120">120</a>, +<a href="#page121">121</a>, +<a href="#page135">135</a>, +<a href="#page197">197</a>.<br> +----- extract, +<a href="#page182">182</a>, +<a href="#page183">183</a>.<br> + +Sweet extract, +<a href="#page150">150</a>.</p> + + +<p class="quotega10"><b>T.</b></p> + +<p>Tannic acid, +<a href="#page098">98</a>.<br> + +Tannin materials, +<a href="#page197">197</a>, +<a href="#page215">215</a>.<br> + +Tartar, +<a href="#page085">85</a>, +<a href="#page086">86</a>, +<a href="#page088">88</a>, +<a href="#page093">93</a>, +<a href="#page115">115</a>, +<a href="#page116">116</a>, +<a href="#page117">117</a>, +<a href="#page131">131</a>, +<a href="#page132">132</a>, +<a href="#page133">133</a>, +<a href="#page134">134</a>, +<a href="#page135">135</a>, +<a href="#page151">151</a>, +<a href="#page166">166</a>, +<a href="#page167">167</a>, +<a href="#page215">215</a>.<br> +------ emetic, +<a href="#page182">182</a>, +<a href="#page183">183</a>.<br> + +Tartaric acid, +<a href="#page085">85</a>, +<a href="#page115">115</a>.<br> + +Tartrazine, +<a href="#page190">190</a>.<br> + +Terra-cotta, +<a href="#page195">195</a>.<br> +----- ----- red, +<a href="#page105">105</a>, +<a href="#page120">120</a>.<br> + +Tin chloride, +<a href="#page115">115</a>.<br> +--- crystals, +<a href="#page077">77</a>.<br> +--- salt, +<a href="#page133">133</a>.<br> + +Thiazol yellow, +<a href="#page169">169</a>.<br> + +Thiocarmine R, +<a href="#page098">98</a>, +<a href="#page171">171</a>, +<a href="#page177">177</a>, +<a href="#page179">179</a>, +<a href="#page189">189</a>, +<a href="#page190">190</a>.<br> + +Thioflavine S, +<a href="#page121">121</a>, +<a href="#page169">169</a>, +<a href="#page175">175</a>, +<a href="#page178">178</a>, +<a href="#page185">185</a>, +<a href="#page186">186</a>.<br> +----------- T, +<a href="#page064">64</a>, +<a href="#page190">190</a>, +<a href="#page193">193</a>, +<a href="#page194">194</a>.<br> + +Titan blue, +<a href="#page170">170</a>, +<a href="#page171">171</a>.<br> +----- ---- 3 B, +<a href="#page127">127</a>.<br> +----- brown O, +<a href="#page110">110</a>, +<a href="#page170">170</a>.<br> +----- ----- R, 98, +<a href="#page170">170</a>.<br> +----- ----- T, +<a href="#page170">170</a>.<br> +----- marine B, +<a href="#page171">171</a>.<br> +----- pink, +<a href="#page170">170</a>.<br> +----- red, +<a href="#page061">61</a>, +<a href="#page098">98</a>, +<a href="#page107">107</a>.<br> +----- scarlet, +<a href="#page100">100</a>.<br> +----- ------- C B, +<a href="#page101">101</a>, +<a href="#page102">102</a>.<br> +----- ------- D, +<a href="#page110">110</a>.<br> +----- ------- S, +<a href="#page169">169</a>.<br> +----- yellow, +<a href="#page061">61</a>, +<a href="#page099">99</a>, +<a href="#page170">170</a>.<br> +----- ------ G, +<a href="#page127">127</a>.<br> +----- ------ R, +<a href="#page125">125</a>.<br> +----- ------ Y, +<a href="#page125">125</a>, +<a href="#page127">127</a>.<br> + +Treacle, +<a href="#page138">138</a>.<br> + +Tropæoline, +<a href="#page122">122</a>, +<a href="#page131">131</a>.<br> +---------- O, +<a href="#page190">190</a>.<br> +---------- O O, +<a href="#page171">171</a>, +<a href="#page178">178</a>.<br> + +Turmeric, +<a href="#page013">13</a>, +<a href="#page063">63</a>, +<a href="#page120">120</a>, +<a href="#page189">189</a>.<br> + +Turquoise blue B B, +<a href="#page195">195</a>.<br> +--------- ---- G, +<a href="#page196">196</a>.<br> +--------- green, +<a href="#page134">134</a>.</p> + + +<p class="quotega10"><b>U.</b></p> + +<p>Union black B, +<a href="#page169">169</a>.<br> +----- ----- S, +<a href="#page169">169</a>, +<a href="#page176">176</a>, +<a href="#page178">178</a>, +<a href="#page179">179</a>, +<a href="#page180">180</a>.<br> +----- blue B B, +<a href="#page169">169</a>.<br> +----- fabrics, dyeing of, +<a href="#page168">168</a>.<br> +----- flannels, +<a href="#page173">173</a>.<br> + +Urine indigo vat, +<a href="#page145">145</a>.</p> + + +<p class="quotega10"><b>V.</b></p> + +<p>Velvet, embossing of, +<a href="#page014">14</a>.<br> + +Victoria black, +<a href="#page089">89</a>, +<a href="#page189">189</a>.<br> +-------- ----- B, +<a href="#page091">91</a>, +<a href="#page191">191</a>.<br> +-------- ----- blue, +<a href="#page155">155</a>.<br> +-------- blue, +<a href="#page189">189</a>.<br> +-------- ---- B, +<a href="#page155">155</a>.<br> +-------- ---- black, +<a href="#page091">91</a>.<br> +-------- scarlet R, +<a href="#page107">107</a>, +<a href="#page110">110</a>, +<a href="#page111">111</a>.<br> +-------- rubine O, +<a href="#page107">107</a>, +<a href="#page111">111</a>.<br> +-------- violet 8 B S, +<a href="#page130">130</a>, +<a href="#page155">155</a>.<br> +-------- yellow, +<a href="#page111">111</a>, +<a href="#page124">124</a>, +<a href="#page130">130</a>, +<a href="#page162">162</a>.<br> + +Violet, +<a href="#page160">160</a>, +<a href="#page192">192</a>, +<a href="#page193">193</a>.<br> +------ and pink, +<a href="#page193">193</a>, +<a href="#page194">194</a>.<br> +------ black on wool, +<a href="#page089">89</a>, +<a href="#page090">90</a>, +<a href="#page091">91</a>, +<a href="#page093">93</a>, +<a href="#page095">95</a>.<br> +------ blue, +<a href="#page155">155</a>.<br> +------ grey, +<a href="#page166">166</a>.<br> +------ shades on wool, +<a href="#page160">160</a>.</p> + + +<p class="quotega10"><b>W.</b></p> + +<p>Walnut, +<a href="#page162">162</a>.<br> +------ brown, +<a href="#page176">176</a>, +<a href="#page182">182</a>.<br> + +Washing of goods, +<a href="#page200">200</a>.<br> + +Water blue, +<a href="#page037">37</a>.<br> + +White indigo, +<a href="#page138">138</a>.<br> + +Wince dye beck, +<a href="#page053">53</a>, +<a href="#page054">54</a>.<br> + +Woad, +<a href="#page138">138</a>.<br> +---- indigo vats, +<a href="#page139">139</a>.<br> +---- vat, +<a href="#page145">145</a>.<br> + +Woaded black, +<a href="#page086">86</a>.<br> + +Wool, +<a href="#page001">1</a>.<br> +---- action of acid on, +<a href="#page011">11</a>.<br> +---- alkalies, action of on, +<a href="#page009">9</a>.<br> +---- batching, +<a href="#page015">15</a>.<br> +---- black, +<a href="#page089">89</a>.<br> +---- ----- 6 B, +<a href="#page171">171</a>, +<a href="#page180">180</a>, +<a href="#page181">181</a>, +<a href="#page186">186</a>.<br> +---- bleaching, +<a href="#page029">29</a>.<br> +---- --------- peroxide of hydrogen, +<a href="#page034">34</a>.<br> +---- --------- -------- of soda, +<a href="#page036">36</a>.<br> +---- --------- with sulphur, +<a href="#page030">30</a>.<br> +---- chemical composition of, +<a href="#page006">6</a>.<br> +---- chlorination of, +<a href="#page037">37</a>.<br> +---- blue B X, +<a href="#page153">153</a>.<br> +---- ---- dyeing with logwood, +<a href="#page161">161</a>.<br> +---- fibre under microscope, +<a href="#page002">2</a>.<br> +---- ----- unscoured, +<a href="#page010">10</a>.<br> +---- ----- chemical composition of, +<a href="#page007">7</a>.<br> +---- ----- scoured badly, +<a href="#page010">10</a>.<br> +---- ----- showing medullary centre, +<a href="#page004">4</a>.<br> +--- ----- heated with acid, +<a href="#page011">11</a>.<br> +---- grey R, +<a href="#page166">166</a>.<br> + +Woollen piece goods, scouring of, +<a href="#page028">28</a>.<br> +------- yarn, +<a href="#page002">2</a>.<br> + +Wool oil, +<a href="#page026">26</a>.<br> + +Wool, physical properties of, +<a href="#page002">2</a>.<br> +---- -------- structure, variations in, +<a href="#page005">5</a>.<br> + +Wool scouring, +<a href="#page015">15</a>, +<a href="#page017">17</a>.<br> +---- -------- by solvents, +<a href="#page023">23</a>.<br> + +Wool-washing machine, +<a href="#page020">20</a>, +<a href="#page021">21</a>.<br> + +Worsted yarn, +<a href="#page002">2</a>.<br> + +Wringing of goods, +<a href="#page197">197</a>.</p> + + +<p class="quotega10"><b>Y.</b></p> + +<p>Yarn-drying machine, +<a href="#page208">208</a>.<br> + +Yarn, washing of, in hanks, +<a href="#page202">202</a>.<br> + +Yarn wringing, +<a href="#page198">198</a>.<br> + +Yellow, +<a href="#page125">125</a>, +<a href="#page195">195</a>.<br> +------ brown, +<a href="#page161">161</a>.<br> +------ N, +<a href="#page125">125</a>, +<a href="#page133">133</a>, +<a href="#page134">134</a>.<br> +------ olive, +<a href="#page135">135</a>.<br> +------ shades on wool, +<a href="#page123">123</a>.<br> + +Yolk, +<a href="#page007">7</a>.<br> + +Yorkshire grease, +<a href="#page026">26</a>.</p> + + +<p class="quotega10"><b>Z.</b></p> + +<p>Zambesi black B, +<a href="#page170">170</a>, +<a href="#page181">181</a>.<br> +------- ----- D, +<a href="#page170">170</a>, +<a href="#page180">180</a>, +<a href="#page181">181</a>.<br> +------- ----- F, +<a href="#page171">171</a>.<br> +------- blue R A, +<a href="#page180">180</a>, +<a href="#page181">181</a>.<br> +------- brown G, +<a href="#page171">171</a>, +<a href="#page181">181</a>.<br> +------- ----- 2 G, +<a href="#page171">171</a>.<br> +------- dyes, +<a href="#page168">168</a>.<br> + +Zinc dust, +<a href="#page141">141</a>.</p> + + + +<h4>THE ABERDEEN UNIVERSITY PRESS LIMITED.</h4> + + + +<h2>Catalogue +<span class="pagenum"> +<a id="pagec01" name="pagec01"></a>(p. c01)</span><br> + +of<br> + +<i>Special Technical Books</i><br> + +for<br><br> + +<span class="smcap">Manufacturers, Technical Students and +Workers, Schools, Colleges, etc.</span></h2> + +<h3>BY EXPERT WRITERS</h3> + + +<h3>INDEX TO SUBJECTS.</h3> + + +<p>Agricultural Chemistry, <a href="#page010">10</a>.<br> +Air, Industrial Use of, <a href="#page012">12</a>.<br> +Alum and its Sulphates, <a href="#page009">9</a>.<br> +Ammonia, <a href="#page009">9</a>.<br> +Aniline Colours, <a href="#page003">3</a>.<br> +Animal Fats, <a href="#page006">6</a>.<br> +Anti-corrosive Paints, <a href="#page004">4</a>.<br> +Architecture, Terms in, <a href="#page030">30</a>.<br> +Architectural Pottery, <a href="#page015">15</a>.<br> +Artificial Perfumes, <a href="#page007">7</a>.<br> +Balsams, <a href="#page010">10</a>.<br> +Bibliography, <a href="#page032">32</a>.<br> +Bleaching, <a href="#page023">23</a>.<br> +Bone Products, <a href="#page008">8</a>.<br> +Bookbinding, <a href="#page031">31</a>.<br> +Brick-making, <a href="#page015">15</a>, +<a href="#page016">16</a>.<br> +Burnishing Brass, <a href="#page028">28</a>.<br> +Carpet Yarn Printing, <a href="#page021">21</a>.<br> +Ceramic Books, <a href="#page014">14</a>, +<a href="#page015">15</a>.<br> +Charcoal, <a href="#page008">8</a>.<br> +Chemical Essays, <a href="#page009">9</a>.<br> +Chemistry of Pottery, <a href="#page016">16</a>.<br> +Chemistry of Dye-stuffs, <a href="#page023">23</a>.<br> +Clay Analysis, <a href="#page016">16</a>.<br> +Coal-dust Firing, <a href="#page026">26</a>.<br> +Colour Matching, <a href="#page022">22</a>.<br> +Colliery Recovery Work, <a href="#page025">25</a>.<br> +Colour-mixing for Dyers, <a href="#page022">22</a>.<br> +Colour Theory, <a href="#page022">22</a>.<br> +Combing Machines, <a href="#page024">24</a>.<br> +Compounding Oils, <a href="#page006">6</a>.<br> +Condensing Apparatus, <a href="#page026">26</a>.<br> +Cosmetics, <a href="#page008">8</a>.<br> +Cotton Dyeing, <a href="#page023">23</a>.<br> +Cotton Spinning, <a href="#page024">24</a>.<br> +Damask Weaving, <a href="#page020">20</a>.<br> +Dampness in Buildings, <a href="#page030">30</a>.<br> +Decorators' Books, <a href="#page028">28</a>.<br> +Decorative Textiles, <a href="#page020">20</a>.<br> +Dental Metallurgy, <a href="#page025">25</a>.<br> +Dictionary of Paint Materials, <a href="#page002">2</a>.<br> +Drying Oils, <a href="#page005">5</a>.<br> +Drying with Air, <a href="#page012">12</a>.<br> +Dyeing Marble, <a href="#page031">31</a>.<br> +Dyeing Woollen Fabrics, <a href="#page023">23</a>.<br> +Dyers' Materials, <a href="#page022">22</a>.<br> +Dye-stuffs, <a href="#page023">23</a>.<br> +Enamelling Metal, <a href="#page018">18</a>.<br> +Enamels, <a href="#page018">18</a>.<br> +Engraving, <a href="#page031">31</a>.<br> +Essential Oils, <a href="#page007">7</a>.<br> +Evaporating Apparatus, <a href="#page026">26</a>.<br> +External Plumbing, <a href="#page027">27</a>.<br> +Fats, <a href="#page005">5</a>, <a href="#page006">6</a>.<br> +Faults in Woollen Goods, <a href="#page021">21</a>.<br> +Gas Firing, <a href="#page026">26</a>.<br> +Glass-making Recipes, <a href="#page016">16</a>.<br> +Glass Painting, <a href="#page017">17</a>.<br> +Glue Making and Testing, <a href="#page008">8</a>.<br> +Greases, <a href="#page005">5</a>.<br> +Hat Manufacturing, <a href="#page020">20</a>.<br> +History of Staffs Potteries, <a href="#page016">16</a>.<br> +Hops, <a href="#page028">28</a>.<br> +Hot-water Supply, <a href="#page028">28</a>.<br> +How to make a Woollen Mill Pay, <a href="#page021">21</a>.<br> +India-rubber, <a href="#page013">13</a>.<br> +Industrial Alcohol, <a href="#page010">10</a>.<br> +Inks, <a href="#page003">3</a>, <a href="#page011">11</a>.<br> +Iron-corrosion, <a href="#page004">4</a>.<br> +Iron, Science of, <a href="#page026">26</a>.<br> +Japanning, <a href="#page028">28</a>.<br> +Lace-Making, <a href="#page020">20</a>.<br> +Lacquering, <a href="#page028">28</a>.<br> +Lake Pigments, <a href="#page002">2</a>.<br> +Lead and its Compounds, <a href="#page011">11</a>.<br> +Leather Industry, <a href="#page013">13</a>.<br> +Leather-working Materials, <a href="#page014">14</a>.<br> +Lithography, <a href="#page031">31</a>.<br> +Lubricants, <a href="#page005">5</a>, <a href="#page006">6</a>.<br> +Manures, <a href="#page008">8</a>, <a href="#page010">10</a>.<br> +Mineral Pigments, <a href="#page003">3</a>.<br> +Mine Ventilation, <a href="#page025">25</a>.<br> +Mine Haulage, <a href="#page025">25</a>.<br> +Oil and Colour Recipes, <a href="#page003">3</a>.<br> +Oil Boiling, <a href="#page005">5</a>.<br> +Oil Merchants' Manual, <a href="#page007">7</a>.<br> +Oils, <a href="#page005">5</a>.<br> +Ozone, Industrial Use of, <a href="#page012">12</a>.<br> +Paint Manufacture, <a href="#page002">2</a>.<br> +Paint Materials, <a href="#page003">3</a>.<br> +Paint-material Testing, <a href="#page004">4</a>.<br> +Paper-pulp Dyeing, <a href="#page017">17</a>.<br> +Petroleum, <a href="#page006">6</a>.<br> +Pigments, Chemistry of, <a href="#page002">2</a>.<br> +Plumbers' Work, <a href="#page027">27</a>.<br> +Porcelain Painting, <a href="#page017">17</a>.<br> +Pottery Clays, <a href="#page016">16</a>.<br> +Pottery Manufacture, <a href="#page014">14</a>.<br> +Power-loom Weaving, <a href="#page019">19</a>.<br> +Preserved Foods, <a href="#page030">30</a>.<br> +Printers' Ready Reckoner, <a href="#page031">31</a>.<br> +Printing Inks, <a href="#page003">3</a>.<br> +Recipes for Oilmen, etc., <a href="#page003">3</a>.<br> +Resins, <a href="#page010">10</a>.<br> +Risks of Occupations, <a href="#page011">11</a>.<br> +Riveting China, etc., <a href="#page016">16</a>.<br> +Sanitary Plumbing, <a href="#page027">27</a>.<br> +Sealing Waxes, <a href="#page011">11</a>.<br> +Silk Dyeing, <a href="#page022">22</a>.<br> +Silk Throwing, <a href="#page018">18</a>.<br> +Smoke Prevention, <a href="#page026">26</a>.<br> +Soaps, <a href="#page007">7</a>.<br> +Spinning, <a href="#page021">21</a>.<br> +Staining Marble, and Bone, <a href="#page031">31</a>.<br> +Steam Drying, <a href="#page012">12</a>.<br> +Sugar Refining, <a href="#page032">32</a>.<br> +Steel Hardening, <a href="#page026">26</a>.<br> +Sweetmeats, <a href="#page030">30</a>.<br> +Terra-cotta, <a href="#page015">15</a>.<br> +Testing Paint Materials, <a href="#page004">4</a>.<br> +Testing Yarns, <a href="#page020">20</a>.<br> +Textile Fabrics, <a href="#page020">20</a>.<br> +Textile Materials, <a href="#page019">19</a>, <a href="#page020">20</a>.<br> +Timber, <a href="#page029">29</a>.<br> +Varnishes, <a href="#page005">5</a>.<br> +Vegetable Fats, <a href="#page007">7</a>.<br> +Waste Utilisation, <a href="#page010">10</a>.<br> +Water, Industrial Use, <a href="#page012">12</a>.<br> +Waterproofing Fabrics, <a href="#page021">21</a>.<br> +Weaving Calculations, <a href="#page021">21</a>.<br> +Wood Waste Utilisation, <a href="#page029">29</a>.<br> +Wood Dyeing, <a href="#page031">31</a>.<br> +Wool Dyeing, <a href="#page022">22</a>, <a href="#page023">23</a>.<br> +Writing Inks, <a href="#page011">11</a>.<br> +X-Ray Work, <a href="#page013">13</a>.<br> +Yarn Testing, <a href="#page020">20</a>.</p> + + +<h3>PUBLISHED BY<br> +SCOTT, GREENWOOD & SON,<br> +8 <span class="smcap">Broadway, Ludgate Hill,<br> +London</span>, E. C.<br> +Telegraphic Address, "Printeries, London".</h3> + + + + + + +<h2><b>Paints, Colours and Printing +<span class="pagenum"><a id="pagec02" name="pagec02"></a>(p. c02)</span> +Inks.</b></h2> + +<p class="p-2"><b>THE CHEMISTRY OF PIGMENTS.</b> By <span class="smcap">Ernest J. Parry</span>, B.Sc. (Lond.), F.I.C., +F.C.S., and <span class="smcap">J. H. Coste</span>, F.I.C., F.C.S. Demy 8vo. Five Illustrations. +285 pp. Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. 3d. +abroad.)</p> + + +<p><b>Contents</b>.</p> + +<p><b>Introductory.</b> Light -- White Light -- The Spectrum -- The Invisible +Spectrum -- Normal Spectrum -- Simple Nature of Pure Spectral Colour +-- The Recomposition of White Light -- Primary and Complementary +Colours -- Coloured Bodies -- Absorption Spectra -- <b>The Application of +Pigments.</b> Uses of Pigments: Artistic, Decorative, Protective -- +Methods of Application of Pigments: Pastels and Crayons, Water Colour, +Tempera Painting, Fresco, Encaustic Painting, Oil-colour Painting, +Keramic Art, Enamel, Stained and Painted Glass, Mosaic -- <b>Inorganic +Pigments.</b> White Lead -- Zinc White -- Enamel White -- Whitening -- Red +Lead -- Litharge -- Vermilion -- Royal Scarle t-- The Chromium Greens +-- Chromates of Lead, Zinc, Silver and Mercury -- Brunswick Green -- +The Ochres -- Indian Red -- Venetian Red -- Siennas and Umbers -- +Light Red -- Cappagh Brown -- Red Oxides -- Mars Colours -- Terre +Verte -- Prussian Brown -- Cobalt Colours -- Coeruleum -- Smalt -- +Copper Pigments -- Malachite -- Bremen Green -- Scheele's Green -- +Emerald Green -- Verdigris -- Brunswick Green -- Non-arsenical Greens +-- Copper Blues -- Ultramarine -- Carbon Pigments -- Ivory Black -- +Lamp Black -- Bistre -- Naples Yellow -- Arsenic Sulphides: Orpiment, +Realgar -- Cadmium Yellow -- Vandyck Brown -- <b>Organic Pigments.</b> +Prussian Blue -- Natural Lakes -- Cochineal -- Carmine -- Crimson -- +Lac Dye -- Scarlet -- Madder -- Alizarin -- Campeachy -- Quercitron -- +Rhamnus -- Brazil Wood -- Alkanet -- Santal Wood -- Archil -- Coal-tar +Lakes -- Red Lakes -- Alizarin Compounds -- Orange and Yellow Lakes -- +Green and Blue Lakes -- Indigo -- Dragon's Blood -- Gamboge -- Sepia +-- Indian Yellow, Puree -- Bitumen, Asphaltum, Mummy -- <b>Index.</b></p> + + +<p class="p-2"><b>THE MANUFACTURE OF PAINT.</b> A Practical Handbook +for Paint Manufacturers, Merchants and Painters. By <span class="smcap">J. Cruickshank +Smith</span>, B.Sc. Demy 8vo. 200 pp. Sixty Illustrations and One Large +Diagram. Price 7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Preparation of Raw Material -- Storing of Raw Material -- Testing and +Valuation of Raw Material -- Paint Plant and Machinery -- The Grinding +of White Lead -- Grinding of White Zinc -- Grinding of other White +Pigments -- Grinding of Oxide Paints -- Grinding of Staining Colours +-- Grinding of Black Paints -- Grinding of Chemical Colours -- Yellows +-- Grinding of Chemical Colours -- Blues -- Grinding Greens -- +Grinding Reds -- Grinding Lakes -- Grinding Colours in Water -- +Grinding Colours in Turpentine -- The Uses of Paint -- Testing and +Matching Paints -- Economic Considerations -- Index.</p> + + +<p class="p-2"><b>DICTIONARY OF CHEMICALS AND RAW PRODUCTS USED IN THE MANUFACTURE OF +PAINTS, COLOURS, VARNISHES AND ALLIED PREPARATIONS.</b> By <span class="smcap">George H. +Hurst</span>, F.C.S. Demy 8vo. 380 pp. Price 7s. 6d. net. (Post free, 8s. +home; 8s. 6d. abroad.)</p> + + +<p class="p-2"><b>THE MANUFACTURE OF LAKE PIGMENTS FROM ARTIFICIAL COLOURS.</b> By <span class="smcap">Francis +H. Jennison</span>, F.I.C., F.C.S. <b>Sixteen Coloured Plates, showing Specimens +of Eighty-nine Colours, specially prepared from the Recipes given in +the Book.</b> 136 pp. Demy 8vo. Price 7s. 6d. net. (Post free, 7s. 10d. +home; 8s. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>The Groups of the Artificial Colouring Matters -- The Nature and +Manipulation of Artificial Colours -- Lake-forming Bodies for Acid +Colours -- Lake-forming Bodies' Basic Colours -- Lake Bases -- The +Principles of Lake Formation -- Red Lakes -- Orange, Yellow, Green, +Blue, Violet and Black Lakes -- The Production of Insoluble Azo +Colours in the Form of Pigments -- The General Properties of Lakes +Produced from Artificial Colours -- Washing, Filtering and Finishing +-- Matching and Testing Lake Pigments -- Index.</p> + + +<p class="p-2"><b>THE MANUFACTURE OF MINERAL AND LAKE +<span class="pagenum"><a id="pagec03" name="pagec03"></a>(p. c03)</span> +PIGMENTS.</b> Containing +Directions for the Manufacture of all Artificial, Artists and +Painters' Colours, Enamel, Soot and Metallic Pigments. A Text-book for +Manufacturers, Merchants, Artists and Painters. By Dr. <span class="smcap">Josef Bersch</span>. +Translated by <span class="smcap">A. C. Wright</span>, M.A. (Oxon.), B.Sc. (Lond.). Forty-three +Illustrations. 476 pp., demy 8vo. Price 12s. 6d. net. (Post free, 13s. +home; 13s. 6d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Introduction -- Physico-chemical Behaviour of Pigments -- Raw +Materials Employed in the Manufacture of Pigments -- Assistant +Materials -- Metallic Compounds -- The Manufacture of Mineral Pigments +-- The Manufacture of White Lead -- Enamel White -- Washing Apparatus +-- Zinc White -- Yellow Mineral Pigments -- Chrome Yellow -- Lead +Oxide Pigments -- Other Yellow Pigments -- Mosaic Gold -- Red Mineral +Pigments -- The Manufacture of Vermilion -- Antimony Vermilion -- +Ferric Oxide Pigments -- Other Red Mineral Pigments -- Purple of +Cassius -- Blue Mineral Pigments -- Ultramarine -- Manufacture of +Ultramarine -- Blue Copper Pigments -- Blue Cobalt Pigments -- Smalts +-- Green Mineral Pigments -- Emerald Green -- Verdigris -- Chromium +Oxide -- Other Green Chromium Pigments -- Green Cobalt Pigments -- +Green Manganese Pigments -- Compounded Green Pigments -- Violet +Mineral Pigments -- Brown Mineral Pigments -- Brown Decomposition +Products -- Black Pigments -- Manufacture of Soot Pigments -- +Manufacture of Lamp Black -- The Manufacture of Soot Black without +Chambers -- Indian Ink -- Enamel Colours -- Metallic Pigments -- +Bronze Pigments -- Vegetable Bronze Pigments.</p> + +<p><span class="smcap">Pigments of Organic Origin</span> -- Lakes -- Yellow Lakes -- Red Lakes -- +Manufacture of Carmine -- The Colouring Matter of Lac -- Safflower or +Carthamine Red -- Madder and its Colouring Matters -- Madder Lakes -- +Manjit (Indian Madder) -- Lichen Colouring Matters -- Red Wood Lakes +-- The Colouring Matters of Sandal Wood and Other Dye Woods -- Blue +Lakes -- Indigo Carmine -- The Colouring Matter of Log Wood -- Green +Lakes -- Brown Organic Pigments -- Sap Colours -- Water Colours -- +Crayons -- Confectionery Colours -- The Preparation of Pigments for +Painting -- The Examination of Pigments -- Examination of Lakes -- The +Testing of Dye-Woods -- The Design of a Colour Works -- Commercial +Names of Pigments -- Appendix: Conversion of Metric to English Weights +and Measures -- Centigrade and Fahrenheit Thermometer Scales -- Index.</p> + + +<p class="p-2"><b>RECIPES FOR THE COLOUR, PAINT, VARNISH, OIL, SOAP AND DRYSALTERY +TRADES.</b> Compiled by <span class="smcap">An Analytical Chemist</span>. 350 pp. Demy 8vo. Price 7s. +6d. net. (Post free, 8s. home; 8s. 3d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p>Pigments or Colours for Paints, Lithographic and Letterpress Printing +Inks, etc. -- Mixed Paints and Preparations for Paint-making, +Painting, Lime-washing, Paperhanging, etc. -- Varnishes for +Coach-builders, Cabinetmakers, Wood-workers, Metal-workers, +Photographers, etc. -- Soaps for Toilet, Cleansing, Polishing, etc. -- +Perfumes -- Lubricating Greases, Oils, etc. -- Cements, Pastes, Glues +and Other Adhesive Preparations -- Writing, Marking, Endorsing and +Other Inks -- Sealing-wax and Office Requisites -- Preparations for +the Laundry, Kitchen, Stable and General Household Uses -- +Disinfectant Preparations -- Miscellaneous Preparations -- Index.</p> + + +<p class="p-2"><b>OIL COLOURS AND PRINTERS' INKS.</b> By <span class="smcap">Louis Edgar Andés</span>. Translated from +the German. 215 pp. Crown 8vo. 56 Illustrations. Price 5s. net. (Post +free, 5s. 4d. home; 5s. 6d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Linseed Oil -- Poppy Oil -- Mechanical Purification of Linseed Oil -- +Chemical Purification of Linseed Oil -- Bleaching Linseed Oil -- +Oxidizing Agents for Boiling Linseed Oil -- Theory of Oil Boiling -- +Manufacture of Boiled Oil -- Adulterations of Boiled Oil -- Chinese +Drying Oil and Other Specialities -- Pigments for House and Artistic +Painting and Inks -- Pigment for Printers' Black Inks -- Substitutes +for Lampblack -- Machinery for Colour Grinding and Rubbing -- Machines +for mixing Pigments with the Vehicle -- Paint Mills -- Manufacture of +House Oil Paints -- Ship Paints -- Luminous Paint -- Artists' Colours +-- Printers' Inks: -- VEHICLES -- Printers' Inks: -- PIGMENTS and +MANUFACTURE -- Index.</p> + +<p>(<i>See also <a href="#pagec11">Writing Inks</a>.</i>)</p> + + +<p class="p-2"><b>THREE HUNDRED SHADES FOR DECORATORS AND +HOW TO MIX THEM.</b></p> + +<p>(<i>See <a href="#pagec28">page 28</a>.</i>)</p> + + +<p class="p-2"><b>CASEIN.</b> +<span class="pagenum"><a id="pagec04" name="pagec04"></a>(p. c04)</span> +By <span class="smcap">Robert Scherer</span>. Translated from the German by +<span class="smcap">Chas. Salter</span>. Demy 8vo. Illustrated. 160 pp. Price 7s. 6d. net, (Post +free, 7s. 10d. home; 8s. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p><b>Casein: its Origin, Preparation and Properties. Various Methods of +Preparing Casein. Composition and Properties of Casein. Casein Paints.</b> +-- "Marble-Lime" Colour for Outside Work -- Casein Enamel Paint -- +Casein Façade Paint -- Cold-Water Paint in Powder Form -- Kistory's +Recipe for Casein Paint and Varnish -- Pure Casein Paints for Walls, +etc. -- Casein Paints for Woodwork and Iron -- Casein-Silicate Paints +-- Milk Paints -- Casein-Silicate Paint Recipes -- Trojel's Boiled Oil +Substitute -- Calsomine Wash -- Quick-Drying Casein Paint -- Boiled +Oil Substitute -- Ring's Cold-Water Paint -- Formo-lactin -- +Waterproof Paint for Playing Cards -- Casein Colour Lake -- +Casein-Cement Paint. <b>The Technics of Casein Painting. Casein Adhesives +and Putties.</b> -- Casein Glue in Plates or Flakes -- Jeromin's Casein +Adhesive -- Hall's Casein Glue -- Waterproof Glue -- Liquid Casein +Glue -- Casein and Borax Glue -- Solid Casein Adhesive -- Casein +Solution -- Glue Powder -- Casein Putties -- Washable Cement for Deal +Boards -- Wenk's Casein Cement -- Casein and Lime Cement "Pitch Barm" +-- Casein Stopping -- Casein Cement for Stone. <b>The Preparation of +Plastic Masses from Casein.</b> -- Imitation Ivory -- Anti-Radiation and +Anti-Corrosive Composition -- Dickmann's Covering for Floors and Walls +-- Imitation Linoleum -- Imitation Leather -- Imitation Bone -- +Plastic Mass of Keratin and Casein -- Insulating Mass -- Plastic +Casein Masses -- Horny Casein Mass -- Plastic Mass from Celluloid -- +Casein Cellulose Composition -- Fire-proof Cellulose Substitute -- +Nitrocellulose and Casein Composition -- Franquet's Celluloid +Substitute -- Galalith. <b>Uses of Casein in the Textile Industry, for +Finishing Colour Printing, etc.</b> -- Caseogum -- "Glutin" -- Casein +Dressing for Linen and Cotton Fabrics -- Printing Colour with Metallic +Lustre -- Process for Softening, Sizing and Loading -- Fixing Casein +and Other Albuminoids on the Fibre -- Fixing Insoluble Colouring +Matters -- Waterproofing and Softening Dressing -- Casein for +Mercerising Crèpe -- Fixing Zinc White on Cotton with Formaldehyde -- +Casein-Magnesia -- Casein Medium for Calico Printing -- Loading Silk. +<b>Casein Foodstuffs.</b> -- Casein Food -- Synthetic Milk -- Milk Food -- +Emulsifiable Casein -- Casein Phosphate for Baking -- Making Bread, +Low in Carbohydrates, from Flour and Curd -- Preparing Soluble Casein +Compounds with Citrates -- Casein Food. <b>Sundry Applications of Casein.</b> +-- Uses of Casein in the Paper Industry -- Metachromotype Paper -- +Sizing Paper with Casein -- Waterproofing Paper -- Casein Solution for +Coating Paper -- Horn's Clear Solution of Casein -- Water- and +Fire-proof Asbestos Paper and Board -- Paper Flasks, etc., for Oils +and Fats -- Washable Drawing and Writing Paper--Paper Wrappering for +Food, Clothing, etc. -- Paint Remover -- Casein Photographic Plates -- +Wood-Cement Roofing Pulp -- Cask Glaze of Casein and Formaldehyde -- +Artists' Canvas -- Solidifying Mineral Oils -- Uses of Casein in +Photography -- Casein Ointment -- Clarifying Glue with Casein -- +Casein in Soap-making -- Casein-Albumose Soap -- Casein in Sheets, +Blocks, etc. -- Waterproof Casein.</p> + + +<p class="p-2"><b>SIMPLE METHODS FOR TESTING PAINTERS' MATERIALS.</b> By <span class="smcap">A. C. Wright</span>, M.A. +(Oxon.), B.Sc. (Lond.). Crown 8vo. 160 pp. <b>Price</b> 5s. net. (Post free, +5s. 3d. home; 5s. 6d. abroad.)</p> + + +<p><b>Contents.</b> + +Necessity for Testing -- Standards -- Arrangement -- The Apparatus -- +The Reagents -- Practical Tests -- Dry Colours -- Stiff Paints -- +Liquid and Enamel Paints -- Oil Varnishes -- Spirit Varnishes -- +Driers -- Putty -- Linseed Oil -- Turpentine -- Water Stains -- The +Chemical Examination -- Dry Colours and Paints -- White Pigments and +Paints -- Yellow Pigments and Paints -- Blue Pigments and Paints -- +Green Pigments and Paints -- Red Pigments and Paints -- Brown Pigments +and Paints -- Black Pigments and Paints -- Oil Varnishes -- Linseed +Oil -- Turpentine.</p> + + +<p class="p-2"><b>IRON-CORROSION, ANTI-FOULING AND ANTI-CORROSIVE PAINTS.</b> Translated +from the German of <span class="smcap">Louis Edgar Andés</span>. Sixty-two Illustrations. 275 pp. +Demy 8vo. Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. 3d. +abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Iron-rust and its Formation -- Protection from Rusting by Paint -- +Grounding the Iron with Linseed Oil, etc. -- Testing Paints -- Use of +Tar for Painting on Iron -- Anti-corrosive Paints -- Linseed Varnish +-- Chinese Wood Oil -- Lead Pigments -- Iron Pigments -- Artificial +Iron Oxides -- Carbon -- Preparation of Anti-corrosive Paints -- +Results of Examination of Several Anti-corrosive Paints -- Paints for +Ship's Bottoms -- Anti-fouling Compositions -- Various Anti-corrosive +and Ship's Paints -- Official Standard Specifications for Ironwork +Paints -- Index.</p> + + +<p class="p-2"><b>THE TESTING AND VALUATION OF RAW MATERIALS USED IN PAINT AND COLOUR +MANUFACTURE.</b> By <span class="smcap">M. W. Jones</span>, F.C.S. A Book for the Laboratories of +Colour Works. 88 pp. Crown 8vo. Price 5s. net. (Post free, 5s. 3d. +home and abroad.)</p> + +<p><b>Contents.</b> +<span class="pagenum"> +<a id="pagec05" name="pagec05"></a>(p. c05)</span></p> + +<p>Aluminium Compounds -- China Clay -- Iron Compounds -- Potassium +Compounds -- Sodium Compounds -- Ammonium Hydrate -- Acids -- Chromium +Compounds -- Tin Compounds -- Copper Compounds -- Lead Compounds -- +Zinc Compounds -- Manganese Compounds -- Arsenic Compounds -- Antimony +Compounds -- Calcium Compounds -- Barium Compounds -- Cadmium +Compounds -- Mercury Compounds -- Ultramarine -- Cobalt and Carbon +Compounds -- Oils -- Index.</p> + + +<p class="p-2"><b>STUDENTS' HANDBOOK OF PAINTS, COLOURS, OILS AND VARNISHES.</b> By <span class="smcap">John +Furnell</span>. Crown 8vo. 12 Illustrations. 96 pp. Price 2s. 6d. net. (Post +free, 2s. 9d. home and abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Plant -- Chromes -- Blues -- Greens -- Earth Colours -- Blacks -- Reds +-- Lakes -- Whites -- Painters' Oils -- Turpentine -- Oil Varnishes -- +Spirit Varnishes -- Liquid Paints -- Enamel Paints.</p> + + + + +<h2>Varnishes and Drying Oils.</h2> + + +<p class="p-2"><b>OIL CRUSHING, REFINING AND BOILING, THE MANUFACTURE OF LINOLEUM, +PRINTING AND LITHOGRAPHIC INKS, AND INDIA-RUBBER SUBSTITUTES.</b> By <span class="smcap">John +Geddes McIntosh</span>. Being Volume I. of the Second, greatly enlarged, +English Edition, in three Volumes, of "The Manufacture of Varnishes +and Kindred Industries," based on and including the work of Ach. +Livache. Demy 8vo. 150 pp. 29 Illustrations. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Oil Crushing and Refining; Oil Boiling -- Theoretical and Practical; +Linoleum Manufacture; Printing Ink Manufacture; Rubber Substitutes; +The Manufacture of Driers; The Detection of Adulteration in Linseed +and other Drying Oils by Chemical, Physical and Organoleptic Methods.</p> + + +<p class="p-2"><b>DRYING OILS, BOILED OIL AND SOLID AND LIQUID DRIERS.</b> By <span class="smcap">L. E. Andés</span>. +Expressly Written for this Series of Special Technical Books, and the +Publishers hold the Copyright for English and Foreign Editions. +Forty-two Illustrations. 342 pp. Demy 8vo. Price 12s. 6d. net. (Post +free, 13s. home; 13s. 3d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Properties of the Drying Oils; Cause of the Drying Property; +Absorption of Oxygen; Behaviour towards Metallic Oxides, etc. -- The +Properties of and Methods for obtaining the Drying Oils -- Production +of the Drying Oils by Expression and Extraction; Refining and +Bleaching; Oil Cakes and Meal; The Refining and Bleaching of the +Drying Oils; The Bleaching of Linseed Oil -- The Manufacture of Boiled +Oil; The Preparation of Drying Oils for Use in the Grinding of Paints +and Artists' Colours and in the Manufacture of Varnishes by Heating +over a Fire or by Steam, by the Cold Process, by the Action of Air, +and by Means of the Electric Current; The Driers used in Boiling +Linseed Oil; The Manufacture of Boiled Oil and the Apparatus therefor; +Livache's Process for Preparing a Good Drying Oil and its Practical +Application -- The Preparation of Varnishes for Letterpress, +Lithographic and Copperplate Printing, for Oilcloth and Waterproof +Fabrics; The Manufacture of Thickened Linseed Oil, Burnt Oil, Stand +Oil by Fire Heat, Superheated Steam, and by a Current of Air -- +Behaviour of the Drying Oils and Boiled Oils towards Atmospheric +Influences, Water, Acids and Alkalies -- Boiled Oil Substitutes -- The +Manufacture of Solid and Liquid Driers from Linseed Oil and Rosin; +Linolic Acid Compounds of the Driers -- The Adulteration and +Examination of the Drying Oils and Boiled Oil.</p> + + + + +<h2><b>Oils, Fats, Greases, Petroleum.</b></h2> + + +<p class="p-2"><b>LUBRICATING OILS, FATS AND GREASES:</b> Their Origin, Preparation, +Properties, Uses and Analyses. A Handbook for Oil Manufacturers, +Refiners and Merchants, and the Oil and Fat Industry in General. By +<span class="smcap">George H. Hurst</span>, F.C.S. Second Revised and Enlarged Edition. +Sixty-five Illustrations. 317 pp. Demy 8vo. Price 10s. 6d. net. (Post +free, 11s. home; 11s. 3d. abroad.)</p> + +<p><b>Contents</b>.</p> + +<p>Introductory -- Hydrocarbon Oils -- Scotch Shale Oils -- Petroleum -- +Vegetable and Animal Oils -- Testing and Adulteration of Oils -- +Lubricating Greases -- Lubrication -- Appendices -- Index.</p> + + +<p class="p-2"><b>TECHNOLOGY +<span class="pagenum"><a id="pagec06" name="pagec06"></a>(p. c06)</span> +OF PETROLEUM:</b> Oil Fields of the World -- Their +History, Geography and Geology -- Annual Production and Development -- +Oil-well Drilling -- Transport. By <span class="smcap">Henry Neuberger</span> and <span class="smcap">Henry Noalhat</span>. +Translated from the French by <span class="smcap">J. G. McIntosh</span>. 550 pp. 153 +Illustrations. 26 Plates. Super Royal 8vo. Price 21s. net. (Post free, +21s. 9d. home; 23s. 6d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p><b>Study of the Petroliferous Strata.</b></p> + +<p><b>Excavations</b>--Hand Excavation or Hand Digging of Oil Wells.</p> + +<p><b>Methods of Boring.</b></p> + +<p><b>Accidents</b> -- Boring Accidents -- Methods of preventing them -- Methods +of remedying them -- Explosives and the use of the "Torpedo" +Levigation -- Storing and Transport of Petroleum -- General Advice -- +Prospecting, Management and carrying on of Petroleum Boring +Operations.</p> + +<p><b>General Data -- Customary Formulæ</b> -- Memento. Practical Part. General +Data bearing on Petroleum -- Glossary of Technical Terms used in the +Petroleum Industry -- Copious Index.</p> + + +<p class="p-2"><b>THE PRACTICAL COMPOUNDING OF OILS, TALLOW AND GREASE FOR LUBRICATION, +ETC.</b> By <span class="smcap">An Expert Oil Refiner</span>. 100 pp. Demy 8vo. Price 7s. 6d. net. +(Post free. 7s. 10d. home; 8s. abroad.)</p> + +<p><b>Contents.</b></p> + +<p><b>Introductory Remarks</b> on the General Nomenclature of Oils, Tallow and +Greases suitable for Lubrication -- <b>Hydrocarbon Oils -- Animal and +Fish Oils -- Compound Oils -- Vegetable Oils -- Lamp Oils -- Engine +Tallow, Solidified Oils and Petroleum Jelly -- Machinery Greases: Loco +and Anti-friction -- Clarifying and Utilisation of Waste Fats, Oils, +Tank Bottoms, Drainings of Barrels and Drums, Pickings Up, Dregs, etc. +-- The Fixing and Cleaning of Oil Tanks, etc. -- Appendix and General +Information.</b></p> + + +<p class="p-2"><b>ANIMAL FATS AND OILS:</b> Their Practical Production, Purification and +Uses for a great Variety of Purposes. Their Properties, Falsification +and Examination. Translated from the German of <span class="smcap">Louis Edgar Andés</span>. +Sixty-two Illustrations. 240 pp. Second Edition, Revised and Enlarged. +Demy 8vo. Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. 3d. +abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Introduction -- Occurrence, Origin, Properties and Chemical +Constitution of Animal Fats -- Preparation of Animal Fats and Oils -- +Machinery -- Tallow-melting Plant -- Extraction Plant -- Presses -- +Filtering Apparatus -- Butter: Raw Material and Preparation, +Properties, Adulterations, Beef Lard or Remelted Butter, Testing -- +Candle-fish Oil -- Mutton-Tallow -- Hare Fat -- Goose Fat -- Neatsfoot +Oil -- Bone Fat: Bone Boiling, Steaming Bones, Extraction, Refining -- +Bone Oil -- Artificial Butter: Oleomargarine, Margarine Manufacture in +France, Grasso's Process, "Kaiser's Butter," Jahr & Münzberg's Method, +Filbert's Process, Winter's Method -- Human Fat -- Horse Fat -- Beef +Marrow -- Turtle Oil -- Hog's Lard: Raw Material -- Preparation, +Properties, Adulterations, Examination -- Lard Oil -- Fish Oils -- +Liver Oils -- Artificial Train Oil -- Wool Fat: Properties, Purified +Wool Fat -- Spermaceti: Examination of Fats and Oils in General.</p> + + +<p class="p-2"><b>THE MANUFACTURE OF LUBRICANTS, SHOE POLISHES AND LEATHER DRESSINGS.</b> By +<span class="smcap">Richard Brunner</span>. Translated from the Sixth German Edition by <span class="smcap">Chas. +Salter</span>. 10 Illustrations. Crown 8vo. 170 pp. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>The Manufacture of Lubricants and Greases -- Properties of the Bodies +used as Lubricants -- Raw Materials for Lubricants -- Solid Lubricants +-- Tallow Lubricants -- Palm Oil Greases -- Lead Soap Lubricants -- +True Soap Greases -- Caoutchouc Lubricants -- Other Solid Lubricants +-- Liquid Lubricants -- Lubricating Oils in General -- Refining Oils +for Lubricating Purposes -- Cohesion Oils -- Resin Oils -- Lubricants +of Fat and Resin Oil -- Neatsfoot Oil -- Bone Fat -- Lubricants for +Special Purposes -- Mineral Lubricating Oils -- Clockmakers' and +Sewing Machine Oils -- The Application of Lubricants to Machinery -- +Removing Thickened Grease and Oil -- Cleaning Oil Rags and Cotton +Waste -- The Use of Lubricants -- Shoe Polishes and Leather Softening +Preparations -- The Manufacture of Shoe Polishes and Preparations for +Varnishing and Softening Leather -- The Preparation of Bone Black -- +Blacking and Shoe Polishes -- Leather Varnishes -- Leather Softening +Preparations -- The Manufacture of Dégras.</p> + + +<p class="p-2"><b>THE +<span class="pagenum"><a id="pagec07" name="pagec07"></a>(p. c07)</span> +OIL MERCHANTS' MANUAL AND OIL TRADE READY RECKONER.</b> +Compiled by <span class="smcap">Frank P. Sherriff</span>. Second Edition Revised and Enlarged. +Demy 8vo. 214 pp. 1904. With Two Sheets of Tables. Price 7s. 6d. net. +(Post free, 7s. 10d. home; 8s. 3d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Trade Terms and Customs -- Tables to Ascertain Value of Oil sold +per cwt. or ton -- Specific Gravity Tables -- Percentage Tare Tables +-- Petroleum Tables -- Paraffine and Benzoline Calculations -- +Customary Drafts -- Tables for Calculating Allowance for Dirt, Water, +etc. -- Capacity of Circular Tanks Tables, etc., etc.</p> + + +<p class="p-2"><b>VEGETABLE FATS AND OILS:</b> Their Practical Preparation. Purification and +Employment for Various Purposes, their Properties, Adulteration and +Examination. Translated from the German of <span class="smcap">Louis Edgar Andés</span>. +Ninety-four Illustrations. 340 pp. Second Edition. Demy 8vo. Price +10s. 6d. net. (Post free, 11s. home; 11s. 6d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p><b>General Properties</b> -- <b>Estimation of the Amount of Oil in Seeds</b> -- <b>The +Preparation of Vegetable Fats and Oils</b> -- Apparatus for Grinding Oil +Seeds and Fruits -- <b>Installation of Oil and Fat Works</b> -- Extraction +Method of Obtaining Oils and Fats -- Oil Extraction Installations -- +Press Moulds -- <b>Non-drying Vegetable Oils</b> -- <b>Vegetable drying Oils</b> -- +<b>Solid Vegetable Fats</b> -- Fruits Yielding Oils and Fats -- +Wool-softening Oils -- Soluble Oils -- Treatment of the Oil after +Leaving the Press -- Improved Methods of Refining -- <b>Bleaching Fats +and Oils</b> -- Practical Experiments on the Treatment of Oils with regard +to Refining and Bleaching -- Testing Oils and Fats.</p> + + + + +<h2><b>Essential Oils and Perfumes.</b></h2> + + +<p class="p-2"><b>THE CHEMISTRY OF ESSENTIAL OILS AND ARTIFICIAL PERFUMES.</b> By <span class="smcap">Ernest J. +Parry</span>, B.Sc. (Lond.), F.I.C., F.C.S. 411 pp. 20 Illustrations. Demy +8vo. Price 12s. 6d. net. (Post free, 13s. home; 13s. 6d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p><b>The General Properties of Essential Oils</b> -- Compounds <b>occurring in +Essential Oils</b> -- <b>The Preparation of Essential Oils</b> -- <b>The Analysis of +Essential Oils</b> -- <b>Systematic Study of the Essential Oils</b> -- +<b>Terpeneless Oils</b> -- <b>The Chemistry of Artificial Perfumes</b> -- <b>Appendix:</b> +Table of Constants -- <b>Index</b>.</p> + + + + +<h2><b>Soaps.</b></h2> + + +<p class="p-2"><b>SOAPS.</b> A Practical Manual of the Manufacture of Domestic, Toilet and +other Soaps. By <span class="smcap">George H. Hurst</span>, F.C.S. 390 pp. 66 Illustrations. +Price 12s. 6d. net. (Post free, 13s. home; 13s. 6d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p><b>Introductory -- Soap-maker's Alkalies -- Soap Fats and Oils -- +Perfumes -- Water as a Soap Material -- Soap Machinery -- Technology +of Soap-making -- Glycerine in Soap Lyes -- Laying out a Soap Factory +-- Soap Analysis -- Appendices.</b></p> + + +<p class="p-2"><b>TEXTILE SOAPS AND OILS.</b> Handbook on the Preparation, Properties and +Analysis of the Soaps and Oils used in Textile Manufacturing, Dyeing +and Printing. By <span class="smcap">George H. Hurst</span>, F.C.S. Crown 8vo. 195 pp. 1904. +Price 5s. net. (Post free, 5s. 4d. home; 5s. 6d. abroad.)</p> + + +<p><b>Contents</b>.</p> + +<p><b>Methods of Making Soaps</b> -- Hard Soap -- Soft Soap. <b>Special Textile +Soaps</b> -- Wool Soaps -- Calico Printers' Soaps -- Dyers' Soaps. +<b>Relation of Soap to Water for Industrial Purposes</b> -- Treating Waste +Soap Liquors -- Boiled Off Liquor -- Calico Printers and Dyers' Soap +Liquors -- <b>Soap Analysis</b> -- <b>Fat in Soap</b>.</p> + +<p class="p-2">ANIMAL AND VEGETABLE OILS AND FATS -- Tallow -- Lard -- Bone +Grease-Tallow Oil. <b>Vegetable Soap, Oils and Fats</b> -- Palm Oil -- +Coco-nut Oil -- Olive Oil -- Cottonseed Oil -- Linseed Oil -- Castor +Oil -- Corn Oil -- Whale Oil or Train Oil -- Repe Oil.</p> + +<p>GLYCERINE. + +<p>TEXTILE OILS -- Oleic Acid -- Blended Wool Oils -- Oils for Cotton +Dyeing, Printing and Finishing -- Turkey Red Oil -- Alizarine Oil -- +Oleine -- Oxy Turkey Red Oils -- Soluble Oil-Analysis of Turkey Red +Oil -- Finisher's Soluble Oil -- Finisher's Soap Softening -- Testing +and Adulteration of Oils -- Index.</p> + + + + +<h2><b>Cosmetical Preparations</b>. +<span class="pagenum"> +<a id="pagec08" name="pagec08"></a>(p. c08)</span></h2> + + +<p class="p-2"><b>COSMETICS: MANUFACTURE, EMPLOYMENT AND TESTING OF ALL COSMETIC +MATERIALS AND COSMETIC SPECIALITIES.</b> Translated from the German of Dr. +<span class="smcap">Theodor Koller</span>. Crown 8vo. 262 pp. Price 5s. net. (Post free, 5s. 4d. +home; 5s. 6d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p>Purposes and Uses of, and Ingredients used in the Preparation of +Cosmetics -- Preparation of Perfumes by Pressure, Distillation, +Maceration, Absorption or Enfleurage, and Extraction Methods -- +Chemical and Animal Products used in the Preparation of Cosmetics -- +Oils and Fats used in the Preparation of Cosmetics -- General Cosmetic +Preparations -- Mouth Washes and Tooth Pastes -- Hair Dyes, Hair +Restorers and Depilatories -- Cosmetic Adjuncts and Specialities -- +Colouring Cosmetic Preparations -- Antiseptic Washes and Soaps -- +Toilet and Hygienic Soaps -- Secret Preparations for Skin, Complexion, +Teeth, Mouth, etc. -- Testing and Examining the Materials Employed in +the Manufacture of Cosmetics -- Index.</p> + + + + +<h2><b>Glue, Bone Products and Manures</b>.</h2> + + +<p class="p-2"><b>GLUE AND GLUE TESTING.</b> By <span class="smcap">Samuel Rideal</span>, D.Sc. (Lond.), F.I.C. +Fourteen Engravings. 144 pp. Demy 8vo. Price 10s. 6d. net. (Post free, +10s. 10d. home; 11s. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p><b>Constitution and Properties:</b> Definitions and Sources, Gelatine, +Chondrin and Allied Bodies, Physical and Chemical Properties, +Classification, Grades and Commercial Varieties -- <b>Raw Materials and +Manufacture:</b> Glue Stock, Lining, Extraction, Washing and Clarifying, +Filter Presses, Water Supply, Use of Alkalies, Action of Bacteria and +of Antiseptics, Various Processes, Cleansing, Forming, Drying, +Crushing, etc., Secondary Products -- <b>Uses of Glue:</b> Selection and +Preparation for Use, Carpentry, Veneering, Paper-Making, Bookbinding, +Printing Rollers, Hectographs, Match Manufacture, Sandpaper, etc., +Substitutes for other Materials, Artificial Leather and Caoutchouc -- +<b>Gelatine:</b> General Characters, Liquid Gelatine, Photographic Uses, +Size, Tanno-, Chrome and Formo-Gelatine, Artificial Silk, Cements, +Pneumatic Tyres, Culinary, Meat Extracts, Isinglass, Medicinal and +other Uses, Bacteriology -- <b>Glue Testing:</b> Review of Processes, +Chemical Examination, Adulteration, Physical Tests, Valuation of Raw +Materials -- <b>Commercial Aspects</b>.</p> + + +<p class="p-2"><b>BONE PRODUCTS AND MANURES:</b> An Account of the most recent Improvements +in the Manufacture of Fat, Glue, Animal Charcoal, Size, Gelatine and +Manures. By <span class="smcap">Thomas Lambert</span>, Technical and Consulting Chemist. +Illustrated by Twenty-one Plans and Diagrams. 162 pp. Demy 8vo. Price +7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Chemical Composition of Bones -- Arrangement of Factory -- Properties +of Glue -- Glutin and Chondrin -- Skin Glue -- Liming of Skins -- +Washing -- Boiling of Skins -- Clarification of Glue Liquors -- +Glue-Boiling and Clarifying-House -- Specification of a Glue -- Size +-- Uses and Preparation and Composition of Size -- Concentrated Size +-- Properties of Gelatine -- Preparation of Skin Gelatine -- Drying -- +Bone Gelatine -- Selecting Bones -- Crushing -- Dissolving -- +Bleaching -- Boiling -- Properties of Glutin and Chondrin -- Testing +of Glues and Gelatines -- The Uses of Glue, Gelatine and Size in +Various Trades -- Soluble and Liquid Glues -- Steam and Waterproof +Glues -- <b>Manures</b> -- Importation of Food Stuffs -- Soils -- Germination +-- Plant Life -- <b>Natural Manures</b> -- Water and Nitrogen in Farmyard +Manure -- Full Analysis of Farmyard Manure -- Action on Crops -- +Water-Closet System -- Sewage Manure -- Green Manures -- <b>Artificial +Manures</b> -- <b>Mineral Manures</b> -- Nitrogenous Matters -- Shoddy -- Hoofs +and Horns -- Leather Waste -- Dried Meat -- Dried Blood -- +Superphosphates -- Composition -- Manufacture -- Common Raw Bones -- +Degreased Bones -- Crude Fat -- Refined Fat -- Degelatinised Bones -- +Animal Charcoal -- Bone Superphosphates -- Guanos -- Dried Animal +Products -- Potash Compounds -- Sulphate of Ammonia -- Extraction in +Vacuo -- French and British Gelatines compared -- Index.</p> + + + + +<h2><b>Chemicals, +<span class="pagenum"><a id="pagec09" name="pagec09"></a>(p. c09)</span> +Waste Products and Agricultural Chemistry</b>.</h2> + + +<p class="p-2">REISSUE OF <b>CHEMICAL ESSAYS OF C. W. SCHEELE</b>. First Published in English +in 1786. Translated from the Academy of Sciences at Stockholm, with +Additions. 300 pp. Demy 8vo, Price 5s. net. (Post free, 5s. 6d. home; +5s. 9d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Memoir: C. W. Scheele and his work (written for this edition by J. G. +McIntosh) -- On Fluor Mineral and its Acid -- On Fluor Mineral -- +Chemical Investigation of Fluor Acid, with a View to the Earth which +it Yields, by Mr. Wiegler -- Additional Information Concerning Fluor +Minerals -- On Manganese, Magnesium, or Magnesia Vitrariorum -- On +Arsenic and its Acid -- Remarks upon Salts of Benzoin--On Silex, Clay +and Alum -- Analysis of the Calculus Vesical -- Method of Preparing +Mercurius Dulcis Via Humida -- Cheaper and more Convenient Method of +Preparing Pulvis Algarothi -- Experiments upon Molybdæna -- +Experiments on Plumbago -- Method of Preparing a New Green Colour -- +Of the Decomposition of Neutral Salts by Unslaked Lime and Iron -- On +the Quantity of Pure Air which is Daily Present in our Atmosphere -- +On Milk and its Acid -- On the Acid of Saccharum Lactis -- On the +Constituent Parts of Lapis Ponderosus or Tungsten -- Experiments and +Observations on Ether -- Index.</p> + + +<p class="p-2"><b>THE MANUFACTURE OF ALUM AND THE SULPHATES AND OTHER SALTS OF ALUMINA +AND IRON.</b> Their Uses and Applications as Mordants in Dyeing and Calico +Printing, and their other Applications in the Arts, Manufactures, +Sanitary Engineering, Agriculture and Horticulture. Translated from +the French of <span class="smcap">Lucien Geschwind</span>. 195 Illustrations. 400 pp. Royal 8vo. +Price 12s. 6d. net. (Post free, 13s. home; 13s. 6d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p><b>Theoretical Study of Aluminium, Iron, and Compounds of these Metals</b> -- +Aluminium and its Compounds -- Iron and Iron Compounds.</p> + +<p><b>Manufacture of Aluminium Sulphates and Sulphates of Iron</b> -- Manufacture +of Aluminium Sulphate and the Alums -- Manufacture of Sulphates of +Iron.</p> + +<p><b>Uses of the Sulphates of Aluminium and Iron</b> -- Uses of Aluminium +Sulphate and Alums -- Application to Wool and Silk -- Preparing and +using Aluminium Acetates -- Employment of Aluminium Sulphate in +Carbonising Wool -- The Manufacture of Lake Pigments -- Manufacture of +Prussian Blue -- Hide and Leather Industry -- Paper Making -- +Hardening Plaster -- Lime Washes -- Preparation of Non-inflammable +Wood, etc. -- Purification of Waste Waters. -- <b>Uses and Applications +of Ferrous Sulphate and Ferric Sulphates</b> -- Dyeing -- Manufacture of +Pigments -- Writing Inks -- Purification of Lighting Gas -- +Agriculture -- Cotton Dyeing -- Disinfectant -- Purifying Waste +Liquors -- Manufacture of Nordhausen Sulphuric Acid -- Fertilising.</p> + +<p><b>Chemical Characteristics of Iron and Aluminium</b> -- <b>Analysis of Various +Aluminous or Ferruginous Products</b> -- Aluminium -- <b>Analysing Aluminium +Products</b> --Alunite Alumina -- Sodium Aluminate -- Aluminium Sulphate +-- <b>Iron</b> -- Analytical Characteristics of Iron Salts -- Analysis of +Pyritic Lignite -- Ferrous and Ferric Sulphates -- Rouil Mordant -- +Index.</p> + + +<p class="p-2"><b>AMMONIA AND ITS COMPOUNDS:</b> Their Manufacture and Uses. By <span class="smcap">Camille +Vincent</span>, Professor at the Central School of Arts and Manufactures, +Paris. Translated from the French by <span class="smcap">M. J. Salter</span>. Royal 8vo. 114 pp. +Thirty-two Illustrations. Price 5s. net. (Post free, 5s. 4d. home; 5s. +6d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p><b>General Considerations</b>: Various Sources of Ammoniacal Products; Human +Urine as a Source of Ammonia -- <b>Extraction of Ammoniacal Products from +Sewage</b> -- <b>Extraction of Ammonia from Gas Liquor</b> -- <b>Manufacture of +Ammoniacal Compounds from Bones, Nitrogenous Waste, Beetroot Wash and +Peat</b> -- <b>Manufacture of Caustic Ammonia, and Ammonium Chloride, +Phosphate and Carbonate</b> -- <b>Recovery of Ammonia from the Ammonia-Soda +Mother Liquors</b> -- <b>Index</b>.</p> + + +<p class="p-2"><b>INDUSTRIAL +<span class="pagenum"><a id="pagec10" name="pagec10"></a>(p. c10)</span> +ALCOHOL.</b> A Practical Manual on the Production and +Use of Alcohol for Industrial Purposes and for Use as a Heating Agent, +as an Illuminant and as a Source of Motive Power. By <span class="smcap">J. G. M'Intosh</span>, +Lecturer on Manufacture and Applications of Industrial Alcohol at The +Polytechnic, Regent Street, London. Demy 8vo. 1907. 250 pp. With 75 +Illustrations and 25 Tables. Price 7s. 6d. net. (Post free, 7s. 9d. +home; 8s. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p><b>Alcohol and its Properties.</b> -- Ethylic Alcohol -- Absolute Alcohol -- +Adulterations -- Properties of Alcohol -- Fractional Distillation -- +Destructive Distillation -- Products of Combustion -- Alcoholometry -- +Proof Spirit -- Analysis of Alcohol -- Table showing Correspondence +between the Specific Gravity and Per Cents. of Alcohol over and under +Proof -- Other Alcohol Tables. <b>Continuous Aseptic and Antiseptic +Fermentation and Sterilisation in Industrial Alcohol Manufacture.</b> <b>The +Manufacture of Industrial Alcohol from Beets.</b> -- Beet Slicing Machines +-- Extraction of Beet Juice by Maceration, by Diffusion -- +Fermentation in Beet Distilleries -- Plans of Modern Beet Distillery, +<b>The Manufacture of Industrial Alcohol from Grain.</b> -- Plan of Modern +Grain Distillery. <b>The Manufacture of Industrial Alcohol from Potatoes.</b> +<b>The Manufacture of Industrial Alcohol from Surplus Stocks of Wine</b>, +Spoilt Wine, Wine Marcs, and from Fruit in General. The Manufacture of +Alcohol from the Sugar Cane and Sugar Cane Molasses -- Plans. <b>Plant, +etc., for the Distillation and Rectification of Industrial Alcohol.</b> -- +The Caffey and other "Patent" Stills -- Intermittent versus Continuous +Rectification -- Continuous Distillation -- Rectification of Spent +Wash. <b>The Manufacture and Uses of Various Alcohol Derivatives</b>, Ether, +Haloid Ethers, Compound Ethers, Chloroform -- Methyl and Amyl Alcohols +and their Ethereal Salts, Acetone -- Barbet's Ether, Methyl Alcohol +and Acetone Rectifying Stills. <b>The Uses of Alcohol in Manufactures, +etc.</b> -- List of Industries in which Alcohol is used, with Key to +Function of Alcohol in each Industry. <b>The Uses of Alcohol for +Lighting, Heating, and Motive Power.</b></p> + + +<p class="p-2"><b>ANALYSIS OF RESINS AND BALSAMS.</b> Translated from the German of Dr. <span class="smcap">Karl +Dieterich</span>. Demy 8vo. 340 pp. Price 7s. 6d. net. (Post free, 7s. 10d. +home; 8s. 3d. abroad.)</p> + + +<p class="p-2"><b>MANUAL OF AGRICULTURAL CHEMISTRY.</b> By <span class="smcap">Herbert Ingle</span>, F.I.C., Lecturer +on Agricultural Chemistry, the Yorkshire College; Lecturer in the +Victoria University. 388 pp. 11 Illustrations. Demy 8vo. Price 7s. 6d. +net. (Post free, 8s. home; 8s. 6d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Introduction -- The Atmosphere -- The Soil -- The Reactions occurring +in Soils -- The Analysis of Soils -- Manures, Natural -- Manures +(continued) -- The Analysis of Manures -- The Constituents of Plants +-- The Plant -- Crops -- The Animal -- Foods and Feeding -- Milk and +Milk Products -- The Analysis of Milk and Milk Products -- +Miscellaneous Products used in Agriculture -- Appendix -- Index.</p> + + +<p class="p-2"><b>THE UTILISATION OF WASTE PRODUCTS.</b> A Treatise on the Rational +Utilisation, Recovery and Treatment of Waste Products of all kinds. By +Dr. <span class="smcap">Theodor Koller</span>. Translated from the Second Revised German Edition. +Twenty-two Illustrations. Demy 8vo. 280 pp. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. 3d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>The Waste of Towns -- <b>Ammonia and Sal-Ammoniac</b> -- Rational Processes +for Obtaining these Substances by Treating Residues and Waste -- +Residues in the Manufacture of Aniline Dyes -- Amber Waste -- Brewers' +Waste -- Blood and Slaughter-House Refuse -- Manufactured Fuels -- +Waste Paper and Bookbinders' Waste -- Iron Slags -- Excrement -- +Colouring Matters from Waste -- Dyers' Waste Waters -- Fat from Waste +-- Fish Waste -- Calamine Sludge -- Tannery Waste -- Gold and Silver +Waste -- India-rubber and Caoutchouc Waste -- Residues in the +Manufacture of Rosin Oil -- Wood Waste -- Horn Waste -- Infusorial +Earth -- Iridium from Goldsmiths' Sweepings -- Jute Waste -- Cork +Waste -- Leather Waste -- Glue Makers' Waste -- Illuminating Gas from +Waste and the By-Products of the Manufacture of Coal Gas -- Meerschum +-- Molasses--Metal Waste -- By-Products in the Manufacture of Mineral +Waters -- Fruit -- The By-Products of Paper and Paper Pulp Works -- +By-Products in the Treatment of Coal Tar Oils -- Fur Waste -- The +Waste Matter in the Manufacture of Parchment Paper -- Mother of Pearl +Waste -- Petroleum Residues -- Platinum Residues -- Broken Porcelain, +Earthenware and Glass -- Salt Waste -- Slate Waste -- Sulphur -- Burnt +Pyrites -- Silk Waste -- Soap Makers' Waste -- Alkali Waste and the +Recovery of Soda--Waste Produced in Grinding Mirrors -- Waste Products +in the Manufacture of Starch -- Stearic Acid -- Vegetable Ivory Waste +-- Turf -- Waste Waters of Cloth Factories -- Wine Residues -- +Tinplate Waste -- Wool Waste -- Wool Sweat -- The Waste Liquids from +Sugar Works -- Index.</p> + + + + +<h2><b>Writing +<span class="pagenum"><a id="pagec11" name="pagec11"></a>(p. c11)</span> +Inks and Sealing Waxes.</b></h2> + + +<p class="p-2"><b>INK MANUFACTURE:</b> Including Writing, Copying, Lithographic, Marking, +Stamping, and Laundry Inks. By <span class="smcap">Sigmund Lehner</span>. Three Illustrations. +Crown 8vo. 162 pp. Translated from the German of the Fifth Edition. +Price 5s. net. (Post free, 5s. 3d. home; 5s. 6d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Varieties of Ink -- Writing Inks -- Raw Materials of Tannin Inks -- +The Chemical Constitution of the Tannin Inks -- Recipes for Tannin +Inks -- Logwood Tannin Inks -- Ferric Inks -- Alizarine Inks--Extract +Inks -- Logwood Inks -- Copying Inks -- Hektographs -- Hektograph Inks +-- Safety Inks -- Ink Extracts and Powders -- Preserving Inks -- +Changes in Ink and the Restoration of Faded Writing -- Coloured Inks +-- Red Inks -- Blue Inks -- Violet Inks -- Yellow Inks -- Green Inks +-- Metallic Inks -- Indian Ink -- Lithographic Inks and Pencils -- Ink +Pencils -- Marking Inks -- Ink Specialities -- Sympathetic Inks -- +Stamping Inks -- Laundry or Washing Blue -- Index.</p> + + +<p class="p-2"><b>SEALING-WAXES, WAFERS AND OTHER ADHESIVES FOR THE HOUSEHOLD, OFFICE, +WORKSHOP AND FACTORY.</b> By <span class="smcap">H. C. Standage</span>. Crown 8vo. 96 pp. Price 5s. +net. (Post free, 5s. 3d. home; 5s. 6d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p><b>Materials Used for Making Sealing=Waxes</b> -- The Manufacture of +Sealing-Waxes -- Wafers -- Notes on the Nature of the Materials Used +in Making Adhesive Compounds -- Cements for Use in the Household -- +Office Gums, Pastes and Mucilages -- Adhesive Compounds for Factory +and Workshop Use.</p> + + + + +<h2><b>Lead Ores and Compounds.</b></h2> + + +<p class="p-2"><b>LEAD AND ITS COMPOUNDS.</b> By <span class="smcap">Thos. Lambert</span>, Technical and Consulting +Chemist. Demy 8vo. 226 pp. Forty Illustrations. Price 7s. 6d. net. +(Post free, 7s. 10d. home; 8s. 3d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>History -- Ores of Lead -- Geographical Distribution of the Lead +Industry -- Chemical and Physical Properties of Lead -- Alloys of Lead +-- Compounds of Lead -- Dressing of Lead Ores -- Smelting of Lead Ores +-- Smelting in the Scotch or American Ore-hearth -- Smelting in the +Shaft or Blast Furnace -- Condensation of Lead Fume -- +Desilverisation, or the Separation of Silver from Argentiferous Lead +-- Cupellation -- The Manufacture of Lead Pipes and Sheets -- +Protoxide of Lead -- Litharge and Massicot -- Red Lead or Minium -- +Lead Poisoning -- Lead Substitutes -- Zinc and its Compounds -- Pumice +Stone -- Drying Oils and Siccatives -- Oil of Turpentine Resin -- +Classification of Mineral Pigments -- Analysis of Raw and Finished +Products -- Tables -- Index.</p> + + +<p class="p-2"><b>NOTES ON LEAD ORES:</b> Their Distribution and Properties. By <span class="smcap">Jas. Fairie</span>, +F.G.S. Crown 8vo. 64 pages. Price 2s. 6d. net. (Post free, 2s. 9d. +home; 3s. abroad.)</p> + + + + +<h2><b>Industrial Hygiene.</b></h2> + + +<p class="p-2"><b>THE RISKS AND DANGERS TO HEALTH OF VARIOUS OCCUPATIONS AND THEIR +PREVENTION.</b> By <span class="smcap">Leonard A. Parry</span>, M.D., B.Sc. (Lond.). 196 pp. Demy +8vo. Price 7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Occupations which are Accompanied by the Generation and Scattering of +Abnormal Quantities of Dust -- Trades in which there is Danger of +Metallic Poisoning -- Certain Chemical Trades -- Some Miscellaneous +Occupations --Trades in which Various Poisonous Vapours are Inhaled +--General Hygienic Considerations -- Index.</p> + + + + +<h2><b>Industrial +<span class="pagenum"><a id="pagec12" name="pagec12"></a>(p. c12)</span> +Uses of Air, Steam and Water.</b></h2> + + +<p class="p-2"><b>DRYING BY MEANS OF AIR AND STEAM.</b> Explanations, Formulæ, and Tables +for Use in Practice. Translated from the German of <span class="smcap">E. Hausrrand</span>. Two +folding Diagrams and Thirteen Tables. Crown 8vo. 72 pp. Price 5s. net. +(Post free, 5s. 3d. home; 5s. 6d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>British and Metric Systems Compared -- Centigrade and Fahr. +Thermometers -- Estimation of the Maximum Weight of Saturated Aqueous +Vapour which can be contained in 1 kilo. of Air at Different Pressure +and Temperatures -- Calculation of the Necessary Weight and Volume of +Air, and of the Least Expenditure of Heat, per Drying Apparatus with +Heated Air, at the Atmospheric Pressure: <i>A</i>, With the Assumption that +the Air is <i>Completely Saturated</i> with Vapour both before Entry and +after Exit from the Apparatus -- <i>B</i>, When the Atmospheric Air is +Completely Saturated <i>before entry</i>, but at its <i>exit</i> is <i>only</i> 3/4, +1/2 or 1/4 Saturated -- <i>C</i>, When the Atmospheric Air is <i>not</i> +Saturated with Moisture before Entering the Drying Apparatus -- Drying +Apparatus, in which, in the Drying Chamber, a Pressure is Artificially +Created, Higher or Lower than that of the Atmosphere -- Drying by +Means of Superheated Steam, without Air --Heating Surface, Velocity of +the Air Current, Dimensions of the Drying Room, Surface of the Drying +Material, Losses of Heat -- Index.</p> + +<p>(<i>See also +<a href="#pagec26">"Evaporating, Condensing and Cooling Apparatus</a>."</i>)</p> + + +<p class="p-2"><b>PURE AIR, OZONE AND WATER.</b> A Practical Treatise of their Utilisation +and Value in Oil, Grease, Soap, Paint, Glue and other Industries, By +<span class="smcap">W. B. Cowell</span>. Twelve Illustrations. Crown 8vo. 85 pp. Price 5s. net. +(Post free, 5s. 3d. home; 5s. 6d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Atmospheric Air; Lifting of Liquids; Suction Process; Preparing Blown +Oils; Preparing Siccative Drying Oils -- Compressed Air; Whitewash -- +Liquid Air; Retrocession -- Purification of Water; Water Hardness -- +Fleshings and Bones -- Ozonised Air in the Bleaching and Deodorising +of Fats, Glues, etc.; Bleaching Textile Fibres -- Appendix: Air and +Gases; Pressure of Air at Various Temperatures; Fuel; Table of +Combustibles; Saving of Fuel by Heating Feed Water; Table of +Solubilities of Scale Making Minerals; British Thermal Units Tables; +Volume of the Flow of Steam into the Atmosphere; Temperature of Steam +-- Index.</p> + + +<p class="p-2"><b>THE INDUSTRIAL USES OF WATER. +COMPOSITION--EFFECTS--TROUBLES--REMEDIES--RESIDUARY +WATERS--PURIFICATION--ANALYSIS.</b> By <span class="smcap">H. de la Coux</span>. Royal 8vo. +Translated from the French and Revised by <span class="smcap">Arthur Morris</span>. 364 pp. 135 +Illustrations. Price 10s. 6d. net. (Post free, 11s. home; 11s. 6d. +abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Chemical Action of Water in Nature and in Industrial Use -- +Composition of Waters -- Solubility of Certain Salts in Water +Considered from the Industrial Point of View -- Effects on the Boiling +of Water -- Effects of Water in the Industries -- Difficulties with +Water -- Feed Water for Boilers -- Water in Dye works, Print Works, +and Bleach Works -- Water in the Textile Industries and in +Conditioning -- Water in Soap Works -- Water in Laundries and +Washhouses -- Water in Tanning -- Water in Preparing Tannin and +Dyewood Extracts -- Water in Papermaking -- Water in Photography -- +Water in Sugar Refining -- Water in Making Ices and Beverages -- Water +in Cider Making -- Water in Brewing -- Water in Distilling -- +Preliminary Treatment and Apparatus -- Substances Used for Preliminary +Chemical Purification -- Commercial Specialities and their Employment +-- Precipitation of Matters in Suspension in Water -- Apparatus for +the Preliminary Chemical Purification of Water -- Industrial Filters +-- Industrial Sterilisation of Water -- Residuary Waters and their +Purification -- Soil Filtration -- Purification by Chemical Processes +-- Analyses -- Index.</p> + +<p>(<i>See Books on <a href="#pagec26">Smoke Prevention, Engineering and Metallurgy +etc</a>.</i>)</p> + + + + +<h2><b>X Rays.</b> +<span class="pagenum"> +<a id="pagec13" name="pagec13"></a>(p. c13)</span></h2> + + +<p class="p-2"><b>PRACTICAL X RAY WORK.</b> By <span class="smcap">Frank T. Addyman</span>, B.Sc. (Lond.), F.I.C., +Member of the Roentgen Society of London; Radiographer to St. George's +Hospital; Demonstrator of Physics and Chemistry, and Teacher of +Radiography in St. George's Hospital Medical School. Demy 8vo. Twelve +Plates from Photographs of X Ray Work. Fifty-two Illustrations. 200 +pp. Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. 3d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p><b>Historical</b> -- Work leading up to the Discovery of the X Rays -- The +Discovery--<b>Apparatus and its Management</b> -- Electrical Terms -- Sources +of Electricity -- Induction Coils -- Electrostatic Machines -- Tubes +-- Air Pumps -- Tube Holders and Stereoscopic Apparatus -- Fluorescent +Screens -- <b>Practical X Ray Work</b> -- Installations -- Radioscopy -- +Radiography -- X Rays in Dentistry -- X Rays in Chemistry -- X Rays in +War -- Index.</p> + + +<p><b>List of Plates.</b></p> + +<p><i>Frontispiece</i> -- Congenital Dislocation of Hip-Joint. -- I., Needle +in Finger. -- II., Needle in Foot. -- III., Revolver Bullet in Calf +and Leg. -- IV., A Method of Localisation. -- V., Stellate Fracture of +Patella showing shadow of "Strapping". -- VI., Sarcoma. -- VII., +Six-weeks-old Injury to Elbow showing new Growth of Bone. -- VIII., +Old Fracture of Tibia and Fibula badly set. -- IX., Heart Shadow. -- +X., Fractured Femur showing Grain of Splint. -- XI., Barrell's Method +of Localisation.</p> + + + + +<h2><b>India-Rubber and Gutta Percha.</b></h2> + + +<p class="p-2"><b>INDIA-RUBBER AND GUTTA-PERCHA.</b> Translated from the French of <span class="smcap">T. +Seeligmann</span>, <span class="smcap">G. Lamy Torvilhon</span> and <span class="smcap">H. Falconnet</span> by <span class="smcap">John Geddes +McIntosh</span>. Royal 8vo.</p> + + +<p>[<i>Out of print. Second Edition in preparation</i>.]</p> + + + +<p><b>Contents.</b></p> + +<p><b>India-Rubber</b> -- Botanical Origin -- Climatology -- Soil -- Rational +Culture and Acclimation of the Different Species of India-Rubber +Plants -- Methods of Obtaining the Latex -- Methods of Preparing Raw +or Crude India-Rubber -- Classification of the Commercial Species of +Raw Rubber -- Physical and Chemical Properties of the Latex and of +India-Rubber -- Mechanical Transformation of Natural Caoutchouc into +Washed or Normal Caoutchouc (Purification) and Normal Rubber into +Masticated Rubber -- Softening, Cutting, Washing, Drying -- +Preliminary Observations -- Vulcanisation of Normal Rubber -- Chemical +and Physical Properties of Vulcanised Rubber -- General Considerations +-- Hardened Rubber or Ebonite -- Considerations on Mineralisation and +other Mixtures -- Coloration and Dyeing -- Analysis of Natural or +Normal Rubber and Vulcanised Rubber -- Rubber Substitutes -- Imitation +Rubber.</p> + +<p><b>Gutta Percha</b> -- Botanical Origin -- Climatology -- Soil -- Rational +Culture -- Methods of Collection -- Classification of the Different +Species of Commercial Gutta Percha -- Physical and Chemical Properties +-- Mechanical Transformation -- Methods of Analysing -- Gutta Percha +Substitutes -- Index.</p> + + + + +<h2><b>Leather Trades.</b></h2> + +<p class="p-2"><b>PRACTICAL TREATISE ON THE LEATHER INDUSTRY.</b> By <span class="smcap">A. M. Villon</span>. Translated +by <span class="smcap">Frank T. Addyman</span>, B.Sc. (Lond.), F.I.C., F.C.S.; and Corrected by +an Eminent Member of the Trade. 500 pp., royal 8vo. 123 Illustrations. +Price 21s. net. (Post free, 21s. 6d. home; 22s. 6d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Preface--Translator's Preface--List of Illustrations.</p> + +<p>Part I., <b>Materials used in Tanning</b> -- Skins: Skin and its Structure; +Skins used in Tanning; Various Skins and their Uses -- Tannin and +Tanning Substances: Tannin; Barks (Oak); Barks other than Oak; Tanning +Woods; Tannin-bearing Leaves; Excrescences; Tan-bearing Fruits; +Tan-bearing Roots and Bulbs; Tanning Juices; Tanning Substances used +in Various Countries; Tannin Extracts; Estimation of Tannin and Tannin +Principles.</p> + +<p>Part II., <b>Tanning</b> -- The Installation of a Tannery: Tan Furnaces; +Chimneys, Boilers, etc.; Steam Engines -- Grinding and Trituration of +Tanning Substances: Cutting up Bark; Grinding Bark; The Grinding of +Tan Woods; Powdering Fruit, Galls and Grains; Notes on the Grinding of +Bark -- Manufacture of Sole Leather: Soaking; Sweating and Unhairing; +Plumping and Colouring; Handling; Tanning; Tanning Elephants' Hides; +Drying; Striking or Pinning -- Manufacture of Dressing Leather: +Soaking; Depilation; New Processes for the Depilation of Skins; +Tanning; Cow Hides; Horse Hides; Goat Skins; Manufacture of +<span class="pagenum"><a id="pagec14" name="pagec14"></a>(p. c14)</span> +Split Hides -- On Various Methods of Tanning: Mechanical Methods; +Physical Methods; Chemical Methods; Tanning with Extracts -- Quantity +and Quality; Quantity; Net Cost; Quality of Leather -- Various +Manipulations of Tanned Leather: Second Tanning; Grease Stains; +Bleaching Leather; Waterproofing Leather; Weighting Tanned Leather; +Preservation of Leather -- Tanning Various Skins.</p> + +<p>Part III., <b>Currying</b> -- Waxed Calf: Preparation; Shaving; Stretching or +Slicking; Oiling the Grain; Oiling the Flesh Side; Whitening and +Graining; Waxing; Finishing; Dry Finishing; Finishing in Colour; Cost +-- White Calf: Finishing in White -- Cow Hide for Upper Leathers: +Black Cow Hide; White Cow Hide; Coloured Cow Hide -- Smooth Cow Hide +-- Black Leather -- Miscellaneous Hides: Horse; Goat; Waxed Goat Skin; +Matt Goat Skin -- Russia Leather: Russia Leather; Artificial Russia +Leather.</p> + +<p>Part IV., <b>Enamelled, Hungary and Chamoy Leather, Morocco, Parchment, +Furs and Artificial Leather</b> -- Enamelled Leather: Varnish Manufacture; +Application of the Enamel; Enamelling in Colour -- Hungary Leather: +Preliminary; Wet Work or Preparation; Aluming; Dressing or Loft Work; +Tallowing; Hungary Leather from Various Hides -- Tawing: Preparatory +Operations; Dressing; Dyeing Tawed Skins; Rugs -- Chamoy Leather -- +Morocco: Preliminary Operations; Morocco Tanning: Mordants used in +Morocco Manufacture; Natural Colours used in Morocco Dyeing; +Artificial Colours; Different Methods of Dyeing; Dyeing with Natural +Colours; Dyeing with Aniline Colours; Dyeing with Metallic Salts; +Leather Printing; Finishing Morocco; Shagreen; Bronzed Leather -- +Gilding and Silvering: Gilding; Silvering; Nickel and Cobalt -- +Parchment -- Furs and Furriery: Preliminary Remarks; Indigenous Furs; +Foreign Furs from Hot Countries; Foreign Furs from Cold Countries; +Furs from Birds' Skins; Preparation of Furs; Dressing; Colouring; +Preparation of Birds' Skins; Preservation of Furs -- Artificial +Leather: Leather made from Scraps; Compressed Leather; American Cloth; +Papier Mâché; Linoleum; Artificial Leather.</p> + +<p>Part V., <b>Leather Testing and the Theory of Tanning</b> -- Testing and +Analysis of Leather: Physical Testing of Tanned Leather; Chemical +Analysis -- The Theory of Tanning and the other Operations of the +Leather and Skin Industry: Theory of Soaking; Theory of Unhairing; +Theory of Swelling; Theory of Handling; Theory of Tanning; Theory of +the Action of Tannin on the Skin; Theory of Hungary Leather Making; +Theory of Tawing; Theory of Chamoy Leather Making; Theory of Mineral +Tanning.</p> + +<p>Part VI., <b>Uses of Leather</b> -- Machine Belts: Manufacture of Belting; +Leather Chain Belts; Various Belts; Use of Belts -- Boot and +Shoe-making: Boots and Shoes; Laces -- Saddlery: Composition of a +Saddle; Construction of a Saddle -- Harness: The Pack Saddle; Harness +-- Military Equipment -- Glove Making -- Carriage Building -- +Mechanical Uses.</p> + +<p>Appendix, <b>The World's Commerce in Leather</b> -- Europe; America; Asia; +Africa; Australasia -- Index.</p> + + +<p class="p-2"><b>THE LEATHER WORKER'S MANUAL.</b> Being a Compendium of Practical Recipes +and Working Formulæ for Curriers, Bootmakers, Leather Dressers, +Blacking Manufacturers, Saddlers, Fancy Leather Workers. By <span class="smcap">H. C. +Standage</span>. Demy 8vo. 165 pp. Price 7s. 6d. net. (Post free, 7s. 10d. +home; 8s. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Blackings, Polishes, Glosses, Dressings, Renovators, etc., for Boot +and Shoe Leather -- Harness Blackings, Dressings, Greases, +Compositions, Soaps, and Boot-top Powders and Liquids, etc., etc. -- +Leather Grinders' Sundries -- Currier's Seasonings, Blacking +Compounds, Dressings, Finishes, Glosses, etc. -- Dyes and Stains for +Leather --Miscellaneous Information -- Chrome Tannage -- Index.</p> + + + + +<h2><b>Books on Pottery, Bricks, Tiles, Glass, etc.</b></h2> + + +<p class="p-2"><b>THE MANUAL OF PRACTICAL POTTING.</b> Compiled by Experts, and Edited by +<span class="smcap">Chas. F. Binns</span>. Revised Third Edition and Enlarged. 200 pp. Price 17s. +6d. net. (Post free, 17s. 10d. home; 18s. 3d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p><b>Introduction.</b> The Rise and Progress of the Potter's Art -- <b>Bodies</b>. +China and Porcelain Bodies, Parian Bodies, Semi-porcelain and Vitreous +Bodies, Mortar Bodies, Earthenwares Granite and C.C. Bodies, +Miscellaneous Bodies, Sagger and Crucible Clays, Coloured Bodies, +Jasper Bodies, Coloured Bodies for Mosaic Painting, Encaustic Tile +Bodies, Body Stains, Coloured Dips -- <b>Glazes.</b> China Glazes, Ironstone +Glazes, Earthenware Glazes, Glazes without Lead, Miscellaneous Glazes, +Coloured Glazes, Majolica Colours -- <b>Gold and Gold Colours.</b> Gold, +Purple of Cassius, Marone and Ruby, Enamel Coloured Bases, Enamel +Colour Fluxes, Enamel Colours, Mixed Enamel Colours, Antique and +Vellum Enamel Colours, Underglaze Colours, Underglaze Colour Fluxes, +Mixed Underglaze Colours, Flow Powders, Oils and Varnishes -- <b>Means +and Methods.</b> Reclamation of Waste Gold, The Use of Cobalt, Notes on +Enamel Colours, Liquid or Bright Gold -- <b>Classification and Analysis.</b> +Classification of Clay Ware, Lord Playfair's Analysis of Clays, The +Markets of the +<span class="pagenum"><a id="pagec15" name="pagec15"></a>(p. c15)</span> +World, Time and Scale of Firing, Weights of +Potter's Material, Decorated Goods Count -- Comparative Loss of Weight +of Clays -- Ground Felspar Calculations -- The Conversion of Slop Body +Recipes into Dry Weight -- The Cost of Prepared Earthenware Clay -- +<b>Forms and Tables.</b> Articles of Apprenticeship, Manufacturer's Guide to +Stocktaking, Table of Relative Values of Potter's Materials, Hourly +Wages Table, Workman's Settling Table, Comparative Guide for +Earthenware and China Manufacturers in the use of Slop Flint and Slop +Stone, Foreign Terms applied to Earthenware and China Goods, Table for +the Conversion of Metrical Weights and Measures on the Continent and +South America -- <b>Index.</b></p> + + +<p class="p-2"><b>CERAMIC TECHNOLOGY:</b> Being some Aspects of Technical Science as Applied +to Pottery Manufacture. Edited by <span class="smcap">Charles F. Binns</span>. 100 pp. Demy 8vo. +Price 12s. 6d. net. (Post free, 12s. 10d. home; 13s. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Preface -- The Chemistry of Pottery -- Analysis and Synthesis -- Clays +and their Components--The Biscuit Oven -- Pyrometry -- Glazes and +their Composition -- Colours and Colour-making -- Index.</p> + + +<p class="p-2"><b>A TREATISE ON THE CERAMIC INDUSTRIES.</b> A Complete Manual for Pottery, +Tile and Brick Works. By <span class="smcap">Emile Bourry</span>. Translated from the French by +<span class="smcap">Wilton P. Rix</span>, Examiner in Pottery and Porcelain to the City and +Guilds of London Technical Institute, Pottery Instructor to the Hanley +School Board. Royal 8vo. 760 pp. 323 Illustrations. Price 21s. net. +(Post free, 22s. home; 24s. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Part I., <b>General Pottery Methods.</b> Definition and History. Definitions +and Classification of Ceramic Products -- Historic Summary of the +Ceramic Art -- Raw Materials of Bodies. Clays: Pure Clay and Natural +Clays -- Various Raw Materials: Analogous to Clay -- Agglomerative and +Agglutinative -- Opening -- Fusible -- Refractory -- Trials of Raw +Materials -- Plastic Bodies. Properties and Composition -- Preparation +of Raw Materials: Disaggregation -- Purification -- Preparation of +Bodies: By Plastic Method -- By Dry Method -- By Liquid Method -- +Formation, Processes of Formation: Throwing -- Expression -- Moulding +by Hand, on the Jolley, by Compression, by Slip Casting -- Slapping -- +Slipping -- Drying. Drying of Bodies -- Processes of Drying; By +Evaporation -- By Aeration -- By Heating -- By Ventilation -- By +Absorption -- Glazes. Composition and Properties -- Raw Materials -- +Manufacture and Application -- Firing. Properties of the Bodies and +Glazes during Firing -- Description of the Kilns -- Working of the +Kilns -- Decoration. Colouring Materials -- Processes of Decoration.</p> + +<p>Part II., <b>Special Pottery Methods.</b> Terra Cottas. Classification: Plain +Ordinary, Hollow, Ornamental, Vitrified, and Light Bricks -- Ordinary +and Black Tiles -- Paving Tiles -- Pipes -- Architectural Terra Cottas +-- Vases, Statues and Decorative Objects -- Common Pottery -- Pottery +for Water and Filters -- Tobacco Pipes -- Lustre Ware -- Properties +and Tests for Terra Cottas--Fireclay Goods. Classification: +Argillaceous, Aluminous, Carboniferous, Silicious and Basic Fireclay +Goods -- Fireclay Mortar (Pug) -- Tests for Fireclay Goods -- +Faiences. Varnished Faiences -- Enamelled Faiences -- Silicious +Faiences -- Pipeclay Faiences -- Pebble Work -- Feldspathic Faiences +-- Composition, Processes of Manufacture and General Arrangements of +Faience Potteries -- Stoneware. Stoneware Properly So-called: Paving +Tiles -- Pipes -- Sanitary Ware -- Stoneware for Food Purposes and +Chemical Productions -- Architectural Stoneware -- Vases, Statues and +other Decorative Objects -- Fine Stoneware -- Porcelain. Hard +Porcelain for Table Ware and Decoration, for the Fire, for Electrical +Conduits, for Mechanical Purposes; Architectural Porcelain, and Dull +or Biscuit Porcelain -- Soft Phosphated or English Porcelain -- Soft +Vitreous Porcelain, French and New Sèvres -- Argillaceous Soft or +Seger's Porcelain -- Dull Soft or Parian Porcelain -- Dull Feldspathic +Soft Porcelain -- <b>Index.</b></p> + + +<p class="p-2"><b>POTTERY DECORATING,</b> By <span class="smcap">R. Hainbach</span>. Translated from the German. Crown +8vo. 22 Illustrations. Deals with Glazes, Colours, etc. [<i>In the +Press.</i>]</p> + + +<p class="p-2"><b>ARCHITECTURAL POTTERY.</b> Bricks, Tiles, Pipes, Enamelled Terra-cottas, +Ordinary and Incrusted Quarries, Stoneware Mosaics, Faïences and +Architectural Stoneware. By <span class="smcap">Leon Lefêvre</span>. With Five Plates. 950 +Illustrations in the Text, and numerous estimates. 500 pp., royal 8vo. +Translated from the French by <span class="smcap">K. H. Bird</span>, M.A., and <span class="smcap">W. Moore Binns</span>. +Price 15s. net. (Post free, 15s. 6d. home; 16s. 6d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Part I. <b>Plain Undecorated Pottery. -- Clays, Bricks, Tiles, Pipes, +Chimney Flues, Terra-cotta.</b></p> + +<p>Part II. <b>Made-up or Decorated Pottery.</b></p> + + +<p class="p-2"><b>THE +<span class="pagenum"><a id="pagec16" name="pagec16"></a>(p. c16)</span> +ART OF RIVETING GLASS, CHINA AND EARTHENWARE.</b> By <span class="smcap">J. +Howarth</span>. Second Edition. Paper Cover. Price 1s. net; by post, home or +abroad, 1s. 1d.</p> + + +<p class="p-2"><b>NOTES ON POTTERY CLAYS.</b> Their Distribution, Properties, Uses and +Analyses of Ball Clays, China Clays and China Stone. By <span class="smcap">Jas. Fairie</span>, +F.G.S. 132 pp. Crown 8vo. Price 3s. 6d. net. (Post free, 3s. 9d. home; +3s. 10d. abroad.)</p> + + +<p>A Reissue of</p> +<p class="p-2"><b>THE HISTORY OF THE STAFFORDSHIRE POTTERIES; AND THE RISE AND PROGRESS +OF THE MANUFACTURE OF POTTERY AND PORCELAIN.</b> With References to +Genuine Specimens, and Notices of Eminent Potters. By <span class="smcap">Simeon Shaw</span>. +(Originally Published in 1829.) 265 pp. Demy 8vo. Price 7s. 6d. net. +(Post free, 7s. 10d. home; 8s. 3d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p><b>Introductory Chapter</b> showing the position of the Pottery Trade at the +present time (1899) -- <b>Preliminary Remarks</b> -- <b>The Potteries</b>, +comprising Tunstall, Brownhills, Greenfield and New Field, Golden +Hill, Latebrook, Green Lane, Burslem, Longport and Dale Hall, Hot Lane +and Cobridge, Hanley and Shelton, Etruria, Stoke, Penkhull, Fenton, +Lane Delph, Foley, Lane End -- <b>On the Origin of the Art</b>, and its +Practice among the early Nations -- <b>Manufacture of Pottery</b>, prior to +1700 -- <b>The Introduction of Red Porcelain</b> by Messrs. Elers, of +Bradwell, 1690 -- <b>Progress of the Manufacture</b> from 1700 to Mr. +Wedgwood's commencement in 1760 -- <b>Introduction of Fluid Glaze</b> -- +Extension of the Manufacture of Cream Colour -- Mr. Wedgwood's Queen's +Ware -- Jasper, and Appointment of Potter to Her Majesty -- Black +Printing -- <b>Introduction of Porcelain.</b> Mr. W. Littler's Porcelain -- +Mr. Cookworthy's Discovery of Kaolin and Petuntse, and Patent -- Sold +to Mr. Champion -- resold to the New Hall Com. -- Extension of Term -- +<b>Blue Printed Pottery.</b> Mr. Turner, Mr. Spode (1), Mr. Baddeley, Mr. +Spode (2), Messrs. Turner, Mr. Wood, Mr. Wilson, Mr. Minton -- Great +Change in Patterns of Blue Printed -- <b>Introduction of Lustre Pottery.</b> +Improvements in Pottery and Porcelain subsequent to 1800.</p> + + +<p>A Reissue of</p> + +<p class="p-2"><b>THE CHEMISTRY OF THE SEVERAL NATURAL AND ARTIFICIAL HETEROGENEOUS +COMPOUNDS USED IN MANUFACTURING PORCELAIN, GLASS AND POTTERY</b>. By +<span class="smcap">Simeon Shaw</span>. (Originally published in 1837.) 750 pp. Royal 8vo. Price +14s. net. (Post free, 15s. home; 17s. abroad.)</p> + + + + +<h2><b>Glassware, Glass Staining and Painting.</b></h2> + + +<p class="p-2"><b>RECIPES FOR FLINT GLASS MAKING.</b> By a British Glass Master and Mixer. +Sixty Recipes. Being Leaves from the Mixing Book of several experts in +the Flint Glass Trade, containing up-to-date recipes and valuable +information as to Crystal, Demi-crystal and Coloured Glass in its many +varieties. It contains the recipes for cheap metal suited to pressing, +blowing, etc., as well as the most costly crystal and ruby. Crown 8vo. +Price 10s. 6d. net. (Post free, 10s. 9d. home; 10s. 10d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Ruby -- Ruby from Copper -- Flint for using with the Ruby for Coating +-- A German Metal -- Cornelian, or Alabaster -- Sapphire Blue -- +Crysophis -- Opal -- Turquoise Blue -- Gold Colour -- Dark Green -- +Green (common) -- Green for Malachite -- Blue for Malachite -- Black +for Malachite -- Black -- Common Canary Batch -- Canary -- White +Opaque Glass -- Sealing-wax Red -- Flint -- Flint Glass (Crystal and +Demi) -- Achromatic Glass -- Paste Glass -- White Enamel -- +Firestone--Dead White (for moons) -- White Agate -- Canary -- Canary +Enamel -- Index.</p> + + +<p class="p-2"><b>A +<span class="pagenum"><a id="pagec17" name="pagec17"></a>(p. c17)</span> +TREATISE ON THE ART OF GLASS PAINTING.</b> Prefaced with a +Review of Ancient Glass. By <span class="smcap">Ernest R. Suffling</span>. With One Coloured +Plate and Thirty-seven Illustrations. Demy 8vo. 140 pp. Price 7s. 6d. +net. (Post free, 7s. 10d. home; 8s. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>A Short History of Stained Glass -- Designing Scale Drawings +--Cartoons and the Cut Line -- Various Kinds of Glass Cutting for +Windows -- The Colours and Brushes used in Glass Painting -- Painting +on Glass, Dispersed Patterns -- Diapered Patterns -- Aciding -- Firing +-- Fret Lead Glazing -- Index.</p> + + +<p class="p-2"><b>PAINTING ON GLASS AND PORCELAIN AND ENAMEL PAINTING.</b> A Complete +Introduction to the Preparation of all the Colours and Fluxes used for +Painting on Porcelain, Enamel, Faïence and Stoneware, the Coloured +Pastes and Coloured Glasses, together with a Minute Description of the +Firing of Colours and Enamels. By <span class="smcap">Felix Hermann</span>, Technical Chemist. +With Eighteen Illustrations. 300 pp. Translated from the German second +and enlarged Edition. Price 10s. 6d. net. (Post free, 10s. 10d. home; +11s. abroad.)</p> + + + + +<h2><b>Paper Making, Paper Dyeing, and Testing.</b></h2> + + +<p class="p-2"><b>THE DYEING OF PAPER PULP.</b> A Practical Treatise for the use of +Papermakers, Paperstainers, Students and others. By <span class="smcap">Julius Erfurt</span>, +Manager of a Paper Mill. Translated into English and Edited with +Additions by <span class="smcap">Julius Hübner</span>, F.C.S., Lecturer on Papermaking at the +Manchester Municipal Technical School. With Illustrations and <b>157 +patterns of paper dyed in the pulp</b>. Royal 8vo, 180 pp. Price 15s. net. +(Post free, 15s. 6d. home; 16s. 6d. abroad.)</p> + + +<p><b>Contents.</b></p> + + +<p><b>Behaviour of the Paper Fibres during the Process of Dyeing, Theory of +the Mordant</b> -- <b>Colour Fixing Mediums</b> (<b>Mordants</b>) -- <b>Influence of the +Quality of the Water Used</b> -- <b>Inorganic Colours</b> -- <b>Organic Colours</b> -- +<b>Practical Application of the Coal Tar Colours according to their +Properties and their Behaviour towards the Different Paper Fibres</b> -- +<b>Dyed Patterns on Various Pulp Mixtures</b> -- <b>Dyeing to Shade</b> -- Index.</p> + + +<p class="p-2"><b>THE PAPER MILL CHEMIST.</b> By <span class="smcap">Henry P. Stevens</span>, M.A., Ph.D., F.I.C. Royal +12mo. 60 Illustrations. [<i>In the press.</i>]</p> + + +<p><b>Contents.</b></p> + +<p><b>Introduction.</b> -- Dealing with the Apparatus required in Chemical Work +and General Chemical Manipulation, introducing the subject of +Qualitative and Quantitative Analysis. <b>Fuels.</b> -- Analysis of Coal, +Coke and other Fuels -- Sampling and Testing for Moisture, Ash, +Calorific Value, etc. -- Comparative Heating Value of different Fuels +and Relative Efficiency. <b>Water.</b> -- Analysis for Steam Raising and for +Paper Making Purposes generally -- Water Softening and Purification -- +A List of the more important Water Softening Plant, giving Power +required, Weight, Space Occupied, Out-put and Approximate Cost. <b>Raw +Materials and Detection of Adulterants.</b> -- Analysis and Valuation of +the more important Chemicals used in Paper Making, including Lime, +Caustic Soda, Sodium Carbonate, Mineral Acids, Bleach Antichlor, Alum, +Rosin and Rosin Size, Glue Gelatin and Casein, Starch, China Clay, +Blanc Fixe, Satin White and other Loading Materials, Mineral Colours +and Aniline Dyes. <b>Manufacturing Operations.</b> -- Rags and the Chemical +Control of Rag Boiling -- Esparto Boiling -- Wood Boiling -- Testing +Spent Liquors and Recovered Ash -- Experimental Tests with Raw Fibrous +Materials -- Boiling in Autoclaves -- Bleaching and making up Hand +Sheets -- Examination of Sulphite Liquors -- Estimation of Moisture in +Pulp and Half-stuff -- Recommendations of the British Wood Pulp +Association. <b>Finished Products.</b> -- Paper Testing, including Physical, +Chemical and Microscopical Tests, Area, Weight, Thickness, Apparent +Specific Gravity, Bulk or Air Space. Determination of Machine +Direction, Thickness, Strength, Stretch, Resistance to Crumpling and +Friction, Transparency, Absorbency and other qualities of Blotting +Papers -- Determination of the Permeability of Filtering Papers -- +Detection and Estimation of Animal and Vegetable Size in Paper -- +Sizing Qualities of Paper -- Fibrous Constituents -- Microscopical +Examination of Fibres -- The Effect of Beating on Fibres -- Staining +Fibres -- Mineral Matter -- Ash -- Qualitative and Quantitative +Examination of Mineral Matter -- Examination of Coated Papers and +Colouring Matters in Paper.</p> + +<p class="p-2"><b>CONTENTS +<span class="pagenum"><a id="pagec18" name="pagec18"></a>(p. c18)</span> +OF "THE TESTING OF PAPER"</b>--<i>continued</i>.</p> + +<p><b>Tables.</b> -- English and Metrical Weights and Measures with Equivalents +-- Conversion of Grams to Grains and <i>vice versa</i> -- Equivalent Costs +per lb., cwt., and ton -- Decimal Equivalents of lbs., qrs., and cwts. +-- Thermometric and Barometric Scales -- Atomic Weights and Molecular +Weights -- Factors for Calculating the Percentage of Substance Sought +from the Weight of Substance Found -- Table of Solubilities of +Substances Treated of in Paper Making -- Specific Gravity Tables of +such substances as are used in Paper Making, including Sulphuric Acid +Hydrochloric Acid, Bleach, Milk of Lime, Caustic Soda, Carbonate of +Soda, etc., giving Percentage Strength with Specific Gravity and +Degrees Tw. -- Hardness Table for Soap Tests -- Dew Point -- Wet and +Dry Bulb Tables -- Properties of Saturated Steam, giving Temperature, +Pressure and Volume -- List of Different Machines used in the Paper +Making Industry, giving Size, Weight, Space Occupied, Power to Drive, +Out-put and Approximate Cost -- Calculation of Moisture in Pulp -- +Rag-Boiling Tables, giving Percentages of Lime Soda and Time required +-- Loss in Weight in Rags and other Raw Materials during Boiling and +Bleaching -- Conditions of Buying and Selling as laid down by the +Paper Makers' Association -- Table of Names and Sizes of Papers -- +Table for ascertaining the Weight per Ream from the Weight per Sheet +-- Calculations of Areas and Volumes -- Logarithms -- Blank pages for +Notes.</p> + + +<p class="p-2"><b>THE TREATMENT OF PAPER FOR SPECIAL PURPOSES.</b> By <span class="smcap">L. E. Andés</span>. Translated +from the German. Crown 8vo. 48 Illustrations. 250 pp. [<i>In the +Press.</i>]</p> + +<p><b>Contents.</b></p> + +<p><b>I., Parchment Paper, Vegetable Parchment.</b> -- The Parchment Paper +Machine -- Opaque Supple Parchment Paper -- Thick Parchment -- +Krugler's Parchment Paper and Parchment Slates -- Double and Triple +Osmotic Parchment -- Utilising Waste Parchment Paper -- Parchmented +Linen and Cotton -- Parchment Millboard -- Imitation Horn and Ivory +from Parchment Paper -- Imitation Parchment Paper -- Artificial +Parchment -- Testing the Sulphuric Acid. II., Papers for Transfer +Pictures. <b>III., Papers for Preservative and Packing Purposes.</b> -- +Butter Paper -- Wax Paper -- Paraffin Paper -- Wrapping Paper for +Silverware -- Waterproof Paper -- Anti-corrosive Paper. IV., Grained +Transfer Papers. V., Fire-proof and Antifalsification Papers, <b>VI., +Paper Articles.</b> -- Vulcanised Paper Maché -- Paper Bottles -- Plastic +Articles of Paper -- Waterproof Coverings for Walls and Ceilings -- +Paper Wheels, Roofing and Boats -- Paper Barrels -- Paper Boxes -- +Paper Horseshoes. VII., Gummed Paper. VIII., Hectograph Papers. <b>IX., +Insecticide Papers.</b> -- Fly Papers -- Moth Papers. <b>X., Chalk and +Leather Papers.</b> -- Glacé Chalk Paper -- Leather Paper -- Imitation +Leather. XI., Luminous Papers -- Blue-Print Papers -- Blotting Papers. +XII., Metal Papers -- Medicated Papers. XIII., Marbled Papers. XIV., +Tracing and Copying Papers -- Iridescent or Mother of Pearl Papers. +XV., Photographic Papers -- Shellac Paper -- Fumigating Papers -- Test +Papers. <b>XVI., Papers for Cleaning and Polishing Purposes -- Glass +Paper</b> -- Pumice Paper -- Emery Paper. XVII., Lithographic Transfer +Papers. <b>XIX., Sundry Special Papers</b> -- Satin Paper -- Enamel Paper -- +Cork Paper -- Split Paper -- Electric Paper -- Paper Matches -- Magic +Pictures -- Laundry Blue Papers -- Blue Paper for Bleachers. XX., +Waterproof Papers -- Washable Drawing Papers -- Washable Card -- +Washable Coloured Paper--Waterproof Millboard -- Sugar Paper. XXI., +The Characteristics of Paper -- Paper Testing.</p> + + + + +<h2>Enamelling on Metal.</h2> + + +<p class="p-2"><b>ENAMELS AND ENAMELLING.</b> For Enamel Makers, Workers in Gold and Silver, +and Manufacturers of Objects of Art. By <span class="smcap">Paul Randau</span>. Translated from +the German. With Sixteen Illustrations. Demy 8vo. 180 pp. Price 10s. +6d. net. (Post free, 10s. 10d. home; 11s. abroad.)</p> + +<p class="p-2"><b>THE ART OF ENAMELLING ON METAL.</b> By <span class="smcap">W. Norman Brown</span>. Twenty-eight +Illustrations. Crown 8vo. 60 pp. Price 2s. 6d. net. (Post free, 2s. +9d. home and abroad.)</p> + + + + +<h2>Silk Manufacture.</h2> + + +<p class="p-2"><b>SILK THROWING AND WASTE SILK SPINNING.</b> By <span class="smcap">Hollins Rayner</span>. Demy 8vo. +170 pp. 117 Illus. Price 5s. net. (Post free, 5s. 4d. home; 5s. 6d. +abroad.)</p> + +<p><b>Contents.</b></p> + +<p>The Silkworm -- Cocoon Reeling and Qualities of Silk -- Silk Throwing +-- Silk Wastes -- The Preparation of Silk Waste for Degumming -- Silk +Waste Degumming, Schapping and Discharging -- The Opening and Dressing +of Wastes -- Silk Waste "Drawing" or "Preparing" Machinery -- Long +Spinning -- Short Spinning -- Spinning and Finishing Processes -- +Utilisation of Waste Products -- Noil Spinning -- Exhaust Noil +Spinning.</p> + + + + +<h2>Books +<span class="pagenum"><a id="pagec19" name="pagec19"></a>(p. c19)</span> +on Textile and Dyeing Subjects.</h2> + + +<p class="p-2"><b>THE CHEMICAL TECHNOLOGY OF TEXTILE FIBRES</b>: Their Origin, Structure, +Preparation, Washing, Bleaching, Dyeing, Printing and Dressing. By Dr. +<span class="smcap">Georg von Georgievics</span>. Translated from the German by <span class="smcap">Charles Salter</span>. +320 pp. Forty-seven Illustrations. Royal 8vo. Price 10s. 6d. net. +(Post free, 11s. home; 11s. 3d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p><b>The Textile Fibres</b> -- <b>Washing, Bleaching, Carbonising</b> -- <b>Mordants and +Mordanting</b> -- <b>Dyeing</b> -- <b>Printing</b> -- <b>Dressing and Finishing.</b></p> + + +<p class="p-2"><b>POWER-LOOM WEAVING AND YARN NUMBERING.</b> According to Various Systems, +with Conversion Tables. Translated from the German of <span class="smcap">Anthon Gruner</span>. +<b>With Twenty-Six Diagrams in Colours.</b> 150 pp. Crown 8vo. Price 7s. 6d. +net. (Post free, 7s. 9d. home; 8s. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p><b>Power-Loom Weaving in General.</b> Various Systems of Looms -- <b>Mounting +and Starting the Power-Loom.</b> English Looms -- Tappet or Treadle Looms +-- Dobbies -- <b>General Remarks on the Numbering, Reeling and Packing of +Yarn</b> -- <b>Appendix</b> -- <b>Useful Hints.</b> Calculating Warps -- Weft +Calculations -- Calculations of Cost Price in Hanks.</p> + + +<p class="p-2"><b>TEXTILE RAW MATERIALS AND THEIR CONVERSION INTO YARNS.</b> (The Study of +the Raw Materials and the Technology of the Spinning Process.) By +<span class="smcap">Julius Zipser</span>. Translated from German by <span class="smcap">Charles Salter</span>. 302 +Illustrations. 500 pp. Demy 8vo. Price 10s. 6d. net. (Post free, 11s. +home; 11s. 6d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p><b>PART 1. -- The Raw Materials Used in the Textile Industry.</b> <span class="smcap">Mineral Raw +Materials. Vegetable Raw Materials. Animal Raw Materials</span>.</p> + +<p><b>PART II. -- The Technology of Spinning or the Conversion of Textile +Raw Materials into Yarn.</b></p> + +<p><span class="smcap">Spinning Vegetable Raw Materials.</span> Cotton Spinning -- Installation of a +Cotton Mill -- Spinning Waste Cotton and Waste Cotton Yarns -- Flax +Spinning -- Fine Spinning -- Tow Spinning -- Hemp Spinning -- Spinning +Hemp Tow String -- Jute Spinning -- Spinning Jute Line Yarn -- +Utilising Jute Waste.</p> + +<p><b>PART III. -- Spinning Animal Raw Materials.</b></p> + +<p>Spinning Carded Woollen Yarn -- Finishing Yarn -- Worsted Spinning -- +Finishing Worsted Yarn -- Artificial Wool or Shoddy Spinning -- Shoddy +and Mungo Manufacture -- Spinning Shoddy and other Wool Substitutes -- +Spinning Waste Silk -- Chappe Silk -- Fine Spinning -- Index.</p> + + +<p class="p-2"><b>GRAMMAR OF TEXTILE DESIGN.</b> By H. <span class="smcap">Nisbet</span>, Weaving and Designing Master, +Bolton Municipal Technical School. Demy 8vo. 280 pp. 490 Illustrations +and Diagrams. Price 6s. net. (Post free, 6s. 10d. home; 7s. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Chapter I., <span class="smcap">Introduction.</span> -- General Principle of Fabric Structure and +the use of Design Paper.</p> + +<p>Chapter II., <span class="smcap">The Plain Weave and its Modifications.</span> -- <b>The Plain, +Calico, or Tabby Weave</b>. -- Firmness of Texture -- Variety of Texture +-- Variety of Form: Ribbed Fabrics -- Corded Fabrics -- Matt Weaves.</p> + +<p>Chapter III., <span class="smcap">Twill and Kindred Weaves</span>. -- Classification of Twill +Weaves. -- <b>1. Continuous Twills</b> -- (<i>a</i>) <i>Warp-face Twills</i> -- (<i>b</i>) +<i>Weft-face Twills</i> -- (<i>c</i>) <i>Warp and Weft-face Twills</i> -- The Angle +of Twill -- Influences affecting the Prominence of Twills and Kindred +Weaves (<i>a</i>) <i>Character of Weave</i>, (<i>b</i>) <i>Character of Yarn</i>, (<i>c</i>) +<i>Number of Threads per Inch</i>, (<i>d</i>) <i>Direction of Twill in Relation to +the Direction of Twist in Yarn</i> -- <b>2. Zigzag or Wavy Twills</b> -- 3. +<b>Rearranged Twills</b>: Satin Weaves -- Table of Intervals of Selection for +the Construction of Satin Weaves -- Corkscrew Twills -- Rearrangement +of Twill Weaves on Satin and other Bases -- <b>4. Combined Twills</b> -- <b>5. +Broken Twills</b> -- <b>6. Figured or Ornamented Twills</b>.</p> + +<p>Chapter IV., <span class="smcap">Diamond and Kindred Weaves</span>, -- <b>Diamond Weaves.</b> -- +Honeycomb and Kindred Weaves -- Brighton Weaves -- Sponge Weaves -- +Huck-a-Back and Kindred Weaves -- Grecian Weaves -- Linear Zigzag +Weaves.</p> + +<p>Chapter +<span class="pagenum"><a id="pagec20" name="pagec20"></a>(p. c20)</span> +V., <span class="smcap">Bedford Cords.</span> -- Plain Calico-ribbed Bedford +Cords -- Plain Twill-ribbed Bedford Cords -- Figured Bedford Cords -- +Tabulated Data of Particulars relating to the Manufacture of Seventeen +Varieties of Bedford Cord Fabrics described in this Chapter.</p> + +<p>Chapter VI., <span class="smcap">Backed Fabrics.</span> -- Weft-backed Fabrics -- Warp-backed +Fabrics -- Reversible or Double-faced Fabrics.</p> + +<p>Chapter VII., <span class="smcap">Fustians.</span> -- <b>Varieties of Fustians.</b> -- Imperials or +Swansdowns -- Cantoons or Diagonals -- Moleskins -- Beaverteens -- +<b>Velveteens</b> and Velveteen Cutting -- Ribbed or Corded Velveteen -- +Figured Velveteen -- <b>Corduroy</b> -- Figured Corduroy -- Corduroy Cutting +Machines.</p> + +<p>Chapter VIII., <span class="smcap">Terry Pile Fabrics</span>. -- Methods of producing Terry Pile +on Textile Fabrics -- Terry-forming Devices -- Varieties of Terry +Fabrics -- Action of the Reed in Relation to Shedding -- Figured Terry +Weaving -- Practical Details of Terry Weaving.</p> + +<p>Chapter IX., <span class="smcap">Gauze and Leno Fabrics</span>. -- <b>Gauze, Net Leno, and Leno +Brocade Varieties of Cross-Weaving.</b> -- Plain Gauze, and a Heald Gauze +or Leno Harness -- Net Leno Fabrics -- Gauze and Net Leno Figuring by +means of several Back Standard Healds to each Doup Heald -- <b>Leno +Specialities produced by a System of Crossing Warp Ends in <i>front</i> of +the Reed</b> -- A Device for the Production of Special Leno Effects -- +Full Cross Leno Fabrics -- Relative Merits of a Top and a Bottom Doup +Harness -- Relative Merits of Different Types of Dobbies for Gauze and +Leno Fabrics -- Shaking Devices for Leno Weaving -- Practical Details +of Leno Weaving -- <b>Tempered Steel-wire Doup Harnesses for +Cross-weaving</b> -- Mock or Imitation Leno Fabrics.</p> + +<p>Chapter X., <span class="smcap">Tissue, Lappet, and Swivel Figuring; also Ondulé Effects, +and Looped Fabrics</span>. -- <b>Tissue Figuring</b> -- Madras Muslin Curtains -- +<b>Lappet Figuring</b> -- Spot Lappet Figuring -- <b>Swivel Figuring</b> -- <b>Woven +Ondulé Effects</b> -- Loom for Weaving Ondulé Effects -- Weft Ondulé +Effects -- <b>Looped Fabrics.</b> -- <span class="smcap">Index</span>.</p> + + +<p class="p-2"><b>NEEDLEWORK AND DESIGN.</b> By Miss <span class="smcap">M. E. Wilkinson</span>. Quarto. 24 Plates and +Text. 52 pp. [<i>In the Press.</i>]</p> + + +<p class="p-2"><b>HOME LACE-MAKING.</b> A Handbook for Teachers and Pupils. By <span class="smcap">M. E. W. +Milroy</span>. Crown 8vo. 64 pp. With 3 Plates and 9 Diagrams. Price 1s. net. +(Post free, 1s. 3d. home; 1s. 4d. abroad.)</p> + + +<p class="p-2"><b>THE CHEMISTRY OF HAT MANUFACTURING.</b> Lectures delivered before the Hat +Manufacturers' Association. By <span class="smcap">Watson Smith</span>, F.C.S., F.I.C. Revised +and Edited by <span class="smcap">Albert Shonk</span>, Crown 8vo. 132 pp. 16 Illustrations. Price +7s. 6d. net. (Post free, 7s. 9d. home; 7s. 10d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Textile Fibres, principally Wool, Fur, and Hair -- Water: its +Chemistry and Properties; Impurities and their Action; Tests of Purity +-- Acids and Alkalis -- Boric Acid, Borax, Soap -- Shellac, Wood +Spirit, and the Stiffening and Proofing Process -- Mordants: their +Nature and Use -- Dye-stuffs and Colours -- Dyeing of Wool and Fur; +and Optical Properties of Colours-Index.</p> + + +<p class="p-2"><b>THE TECHNICAL TESTING OF YARNS AND TEXTILE FABRICS.</b> With Reference to +Official Specifications. Translated from the German of Dr. <span class="smcap">J. +Herzfeld</span>. Second Edition. Sixty-nine Illustrations. 200 pp. Demy 8vo. +Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p><b>Yarn Testing. Determining the Yarn Number</b> -- <b>Testing the Length of +Yarns</b> -- <b>Examination of the External Appearance of Yarn</b> -- <b>Determining +the Twist of Yarn and Twist</b> -- <b>Determination of Tensile Strength and +Elasticity</b> -- <b>Estimating the Percentage of Fat in Yarn</b> -- +<b>Determination of Moisture</b> (Conditioning) -- <b>Appendix</b>.</p> + + +<p class="p-2"><b>DECORATIVE AND FANCY TEXTILE FABRICS.</b> By <span class="smcap">R. T. Lord</span>. Manufacturers and +Designers of Carpets, Damask, Dress and all Textile Fabrics. 200 pp. +Demy 8vo. 132 Designs and Illustrations. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. abroad.)</p> + + +<p class="p-2"><b>THEORY AND PRACTICE OF DAMASK WEAVING.</b> By <span class="smcap">H. Kinzer</span> and <span class="smcap">K. Walter</span>. +Royal 8vo. Eighteen Folding Plates Six Illustrations. Translated from +the German. 110 pp. Price 8s. 6d. net. (Post free, 9s. home; 9s. 6d. +abroad.)</p> + + + +<p><b>Contents.</b> +<span class="pagenum"><a id="pagec21" name="pagec21"></a>(p. c21)</span></p> + +<p><b>The Various Sorts of Damask Fabrics</b> -- Drill (Ticking, Handloom-made) +-- Whole Damask for Tablecloths -- Damask with Ground- and +Connecting-warp Threads -- Furniture Damask -- Lampas or Hangings -- +Church Damasks -- <b>The Manufacture of Whole Damask</b> -- Damask +Arrangement with and without Cross-Shedding -- The Altered +Cone-arrangement -- The Principle of the Corner Lifting Cord -- The +Roller Principle -- The Combination of the Jacquard with the so-called +Damask Machine -- The Special Damask Machine -- The Combination of Two +Tyings.</p> + + +<p class="p-2"><b>FAULTS IN THE MANUFACTURE OF WOOLLEN GOODS AND THEIR PREVENTION.</b> By +<span class="smcap">Nicolas Reiser</span>. Translated from the Second German Edition. Crown 8vo. +Sixty-three Illustrations. 170 pp. Price 5s. net. (Post free, 5s. 4d. +home; 5s. 6d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Improperly Chosen Raw Material or Improper Mixtures -- Wrong Treatment +of the Material in Washing, Carbonisation, Drying, Dyeing and Spinning +-- Improper Spacing of the Goods in the Loom -- Wrong Placing of +Colours -- Wrong Weight or Width of the Goods -- Breaking of Warp and +Weft Threads -- Presence of Doubles, Singles, Thick, Loose, and too +Hard Twisted Threads as well as Tangles, Thick Knots and the Like -- +Errors in Cross-weaving--Inequalities, <i>i.e.</i>, Bands and Stripes -- +Dirty Borders -- Defective Selvedges -- Holes and Buttons -- Rubbed +Places -- Creases -- Spots -- Loose and Bad Colours -- Badly Dyed +Selvedges -- Hard Goods -- Brittle Goods -- Uneven Goods -- Removal of +Bands, Stripes, Creases and Spots.</p> + + +<p class="p-2"><b>SPINNING AND WEAVING CALCULATIONS,</b> especially relating to Woollens. +From the German of <span class="smcap">N. Reiser</span>. Thirty-four Illustrations. Tables. 160 +pp. Demy 8vo. 1904. Price 10s. 6d. net. (Post free, 10s. 10d. home; +11s. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Calculating the Raw Material -- Proportion of Different Grades of Wool +to Furnish a Mixture at a Given Price -- Quantity to Produce a Given +Length -- Yarn Calculations -- Yarn Number -- Working Calculations -- +Calculating the Reed Count -- Cost of Weaving, etc.</p> + + +<p class="p-2"><b>WATERPROOFING OF FABRICS.</b> By Dr. <span class="smcap">S. Mierzinski</span>. Crown 8vo, 104 pp. 29 +Illus. Price 5s. net. (Post free, 5s. 3d. home; 5s. 4d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Introduction -- Preliminary Treatment of the Fabric -- Waterproofing +with Acetate of Alumina -- Impregnation of the Fabric -- Drying -- +Waterproofing with Paraffin -- Waterproofing with Ammonium Cuprate -- +Waterproofing with Metallic Oxides -- Coloured Waterproof Fabrics -- +Waterproofing with Gelatine, Tannin, Caseinate of Lime and other +Bodies -- Manufacture of Tarpaulin -- British Waterproofing Patents -- +Index.</p> + + +<p class="p-2"><b>HOW TO MAKE A WOOLLEN MILL PAY.</b> By <span class="smcap">John Mackie</span>. Crown 8vo. 76 pp. +Price 3s. 6d. net. (Post free, 3s. 9d. home; 3s. 10d. abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Blends, Piles, or Mixtures of Clean Scoured Wools -- Dyed Wool Book -- +The Order Book -- Pattern Duplicate Books -- Management and Oversight +-- Constant Inspection of Hill Departments -- Importance of Delivering +Goods to Time, Shade, Strength, etc. -- Plums.</p> + +<p>(<i>For "Textile Soaps and Oils" see <a href="#pagec07">p. 7.</a></i>)</p> + + + + +<h2><b>Dyeing, Colour Printing, Matching and Dye-stuffs.</b></h2> + + +<p class="p-2"><b>THE COLOUR PRINTING OF CARPET YARNS.</b> Manual for Colour Chemists and +Textile Printers. By <span class="smcap">David Paterson</span>, F.C.S. Seventeen Illustrations. +136 pp. Demy 8vo. Price 7s. 6d. net. (Post free, 7s. 10d, home; 8s. +abroad.)</p> + + +<p><b>Contents.</b></p> + +<p>Structure and Constitution of Wool Fibre -- Yarn Scouring -- Scouring +Materials -- Water for Scouring -- Bleaching Carpet Yarns -- Colour +Making for Yarn Printing -- Colour Printing Pastes -- Colour Recipes +for Yarn Printing -- Science of Colour Mixing -- Matching of Colours +-- "Hank" Printing -- Printing Tapestry Carpet Yarns -- Yarn Printing +-- Steaming Printed Yarns -- Washing of Steamed Yarns -- Aniline +Colours Suitable for Yarn Printing -- Glossary of Dyes and Dye-wares +used in Wood Yarn Printing -- Appendix.</p> + + +<p class="p-2"><b>THE +<span class="pagenum"><a id="pagec22" name="pagec22"></a>(p. c22)</span> +SCIENCE OF COLOUR MIXING.</b> A Manual intended for the use +of Dyers, Calico Printers and Colour Chemists. By <span class="smcap">David Paterson</span>, +F.C.S. Forty-one Illustrations, <b>Five Coloured Plates, and Four Plates +showing Eleven Dyed Specimens of Fabrics</b>. 132 pp. Demy 8vo. Price 7s. +6d. net. (Post free, 7s. 10d. home; 8s. abroad.)</p> + +<p><b>Contents.</b></p> + +<p>Colour a Sensation; Colours of Illuminated Bodies; Colours of Opaque +and Transparent Bodies; Surface Colour -- Analysis of Light; Spectrum; +Homogeneous Colours; Ready Method of Obtaining a Spectrum -- +Examination of Solar Spectrum; The Spectroscope and Its Construction; +Colourists' Use of the Spectroscope -- Colour by Absorption: Solutions +and Dyed Fabrics; Dichroic Coloured Fabrics in Gaslight -- Colour +Primaries of the Scientist <i>versus</i> the Dyer and Artist; Colour Mixing +by Rotation and Lye Dyeing; Hue, Purity, Brightness; Tints; Shades, +Scales, Tones, Sad and Sombre Colours -- Colour Mixing; Pure and +Impure Greens, Orange and Violets; Large Variety of Shades from few +Colours; Consideration of the Practical Primaries: Red, Yellow and +Blue -- Secondary Colours; Nomenclature of Violet and Purple Group; +Tints and Shades of Violet; Changes in Artificial Light -- Tertiary +Shades; Broken Hues; Absorption Spectra of Tertiary Shades -- +Appendix: Four Plates with Dyed Specimens Illustrating Text -- Index. +</p> + + +<p class="p-2"><b>DYERS' MATERIALS</b>: An Introduction to the Examination, Evaluation and +Application of the most important Substances used in Dyeing, Printing, +Bleaching and Finishing. By <span class="smcap">Paul Heerman</span>, Ph.D. Translated from the +German by <span class="smcap">A. C. Wright</span>, M.A. (Oxon.), B.Sc. (Lond.). Twenty-four +Illustrations. Crown 8vo. 150 pp. Price 5s. net. (Post free, 5s. 4d. +home; 5s. 6d. abroad.)</p> + + +<p class="p-2"><b>COLOUR MATCHING ON TEXTILES.</b> A Manual intended for the use of Students +of Colour Chemistry, Dyeing and Textile Printing. By <span class="smcap">David Paterson</span>, +F.C.S. Coloured Frontispiece. Twenty-nine Illustrations and <b>Fourteen +Specimens Of Dyed Fabrics</b>. Demy 8vo. 132 pp. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. abroad.)</p> + +<p><b>Contents.</b></p> + +<p> +Colour Vision and Structure of the Eye -- Perception of Colour -- +Primary and Complementary Colour Sensations -- Daylight for Colour +Matching -- Selection of a Good Pure Light -- Diffused Daylight, +Direct Sunlight, Blue Skylight, Variability of Daylight, etc., etc. -- +Matching of Hues -- Purity and Luminosity of Colours -- Matching +Bright Hues -- Aid of Tinted Films -- Matching Difficulties Arising +from Contrast -- Examination of Colours by Reflected and Transmitted +Lights -- Effect of Lustre and Transparency of Fibres in Colour +Matching -- Matching of Colours on Velvet Pile -- Optical Properties of +Dye-stuffs, Dichroism, Fluorescence -- Use of Tinted Mediums -- Orange +Film -- Defects of the Eye -- Yellowing of the Lens -- Colour +Blindness, etc. -- Matching of Dyed Silk Trimmings and Linings and +Bindings -- Its Difficulties -- Behaviour of Shades in Artificial +Light -- Colour Matching of Old Fabrics, etc. -- Examination of Dyed +Colours under the Artificial Lights -- Electric Arc, Magnesium and +Dufton, Gardner Lights, Welsbach, Acetylene, etc. -- Testing +Qualities of an Illuminant -- Influence of the Absorption Spectrum in +Changes of Hue under the Artificial Lights -- Study of the Causes of +Abnormal Modifications of Hue, etc. +</p> + + +<p class="p-2"><b>COLOUR: A HANDBOOK OF THE THEORY OF COLOUR.</b> By <span class="smcap">George H. Hurst</span>, F.C.S. +<b>With Ten Coloured Plates</b> and Seventy-two Illustrations. 160 pp. Demy +8vo. Price 7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.)</p> + +<p><b>Contents.</b></p> + +<p> +<b>Colour and Its Production -- Cause of Colour in Coloured Bodies -- +Colour Phenomena and Theories -- The Physiology of Light -- Contrast +-- Colour in Decoration and Design -- Measurement of Colour.</b> +</p> + + +<p>Reissue of</p> + +<p class="p-2"><b>THE ART OF DYEING WOOL, SILK AND COTTON.</b> + +Translated from the French of <span class="smcap">M. Hellot</span>, <span class="smcap">M. Macquer</span> and <span class="smcap">M. le Pileur +D'Apligny</span>. First Published in English in 1789. Six Plates. Demy 8vo. +446 pp. Price 5s. net. (Post free, 5s. 6d. home; 6s. abroad.)</p> + +<p><b>Contents.</b></p> + +<p> +Part I., <b>The Art of Dyeing Wool and Woollen Cloth, Stuffs, Yarn, +Worsted, etc.</b> Part II., <b>The Art of Dyeing Silk.</b> Part III., <b>The Art of +Dyeing Cotton and Linen Thread, together with the Method of Stamping +Silks, Cottons, etc.</b> +</p> + + +<p class="p-2"><b>THE +<span class="pagenum"><a id="pagec23" name="pagec23"></a>(p. c23)</span> +CHEMISTRY OF DYE-STUFFS.</b> By Dr. <span class="smcap">Georg Von Georgievics</span>. +Translated from the Second German Edition. 412 pp. Demy 8vo. Price +10s. 6d. net. (Post free, 11s. home; 11s. 6d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p> +Introduction -- Coal Tar -- Intermediate Products in the Manufacture +of Dye-stuffs--The Artificial Dye-stuffs (Coal-tar Dyes) -- Nitroso +Dye-stuffs -- Nitro Dye-stuffs -- Azo Dye-stuffs -- Substantive Cotton +Dye-stuffs -- Azoxystilbene Dye-stuffs -- Hydrazones -- Ketoneimides +-- Triphenylmethane Dye-stuffs -- Rosolic Acid Dye-stuffs -- Xanthene +Dye-stuffs -- Xanthone Dye-stuffs -- Flavones -- Oxyketone Dye-stuffs +-- Quinoline and Acridine Dye-stuffs -- Quinonimide or Diphenylamine +Dye-stuffs -- The Azine Group: Eurhodines, Safranines and Indulines -- +Eurhodines -- Safranines -- Quinoxalines -- Indigo -- Dye-stuffs of +Unknown Constitution -- Sulphur or Sulphine Dye stuffs -- Development +of the Artificial Dye-stuff Industry -- The Natural Dye-stuffs -- +Mineral Colours -- Index. +</p> + + +<p class="p-2"><b>THE DYEING OF COTTON FABRICS</b>: A Practical +Handbook for the Dyer and Student. By <span class="smcap">Franklin Beech</span>, Practical +Colourist and Chemist. 272 pp. Forty-four Illustrations of Bleaching +and Dyeing Machinery. Demy 8vo. Price 7s. 6d. net. (Post free, +7s. 10d. home; 8s. abroad.)</p> + +<p><b>Contents.</b></p> + +<p>Structure and Chemistry of the Cotton Fibre -- Scouring and Bleaching +of Cotton --Dyeing Machinery and Dyeing Manipulations -- Principles +and Practice of Cotton Dyeing -- Direct Dyeing; Direct Dyeing followed +by Fixation with Metallic Salts; Direct Dyeing followed by Fixation +with Developers; Direct Dyeing followed by Fixation with Couplers; +Dyeing on Tannic Mordant; Dyeing on Metallic Mordant; Production of +Colour Direct upon Cotton Fibres; Dyeing Cotton by Impregnation with +Dye-stuff Solution -- Dyeing Union (Mixed Cotton and Wool) Fabrics -- +Dyeing Half Silk (Cotton-Silk, Satin) Fabrics -- Operations following +Dyeing -- Washing, Soaping, Drying -- Testing of the Colour of Dyed +Fabrics -- Experimental Dyeing and Comparative Dye Testing -- Index.</p> + +<p>The book contains numerous recipes for the production on Cotton +Fabrics of all kinds of a great range of colours.</p> + + + +<p class="p-2"><b>THE DYEING OF WOOLLEN FABRICS.</b> By <span class="smcap">Franklin Beech</span>, Practical Colourist +and Chemist. Thirty-three Illustrations. Demy 8vo. 228 pp. Price 7s. +6d. net. (Post free, 7s. 10d. home; 8s. abroad.)</p> + +<p><b>Contents.</b></p> + +<p> +The Wool Fibre -- Structure, Composition and Properties -- Processes +Preparatory to Dyeing -- Scouring and Bleaching of Wool -- Dyeing +Machinery and Dyeing Manipulations -- Loose Wool Dyeing, Yarn Dyeing +and Piece Dyeing Machinery -- The Principles and Practice of Wool +Dyeing -- Properties of Wool Dyeing -- Methods of Wool Dyeing -- +Groups of Dyes -- Dyeing with the Direct Dyes -- Dyeing with Basic +Dyes -- Dyeing with Acid Dyes -- Dyeing with Mordant Dyes -- Level +Dyeing -- Blacks on Wool -- Reds on Wool -- Mordanting of Wool -- +Orange Shades on Wool -- Yellow Shades on Wool -- Green Shades on Wool +-- Blue Shades on Wool -- Violet Shades on Wool -- Brown Shades on +Wool -- Mode Colours on Wool -- Dyeing Union (Mixed Cotton Wool) +Fabrics -- Dyeing of Gloria -- Operations following Dyeing -- Washing, +Soaping, Drying -- Experimental Dyeing and Comparative Dye Testing -- +Testing of the Colour of Dyed Fabrics -- Index. +</p> + + +<h2><b>Bleaching and Washing.</b></h2> + +<p class="p-2"><b>A PRACTICAL TREATISE ON THE BLEACHING OF LINEN AND COTTON YARN AND +FABRICS.</b> By <span class="smcap">L. Tailfer</span>, Chemical and Mechanical Engineer. Translated +from the French by <span class="smcap">John Geddes McIntosh</span>. Demy 8vo. 303 pp. Twenty +Illus. Price 12s. 6d. net. (Post free, 13s. home; 13s. 6d. abroad.)</p> + + +<h2><b>Cotton Spinning and Combing.</b></h2> + + +<p class="p-2"><b>COTTON SPINNING</b> (First Year). By <span class="smcap">Thomas Thornley</span>, Spinning Master, +Bolton Technical School. 160 pp. Eighty-four Illustrations. Crown 8vo. +Second Impression. Price 3s. net. (Post free, 3s. 4d. home; 3s. 6d. +abroad.)</p> + +<p><b>Contents.</b></p> + +<p> +Syllabus and Examination Papers of the City and Guilds of London +Institute -- Cultivation, Classification, Ginning, Baling and Mixing +of the Raw Cotton -- Bale-Breakers, Mixing Lattices and Hopper Feeders +-- Opening and Scutching -- Carding -- Indexes. +</p> + + +<p class="p-2"><b>COTTON +<span class="pagenum"><a id="pagec24" name="pagec24"></a>(p. c24)</span> +SPINNING</b> (Intermediate, or Second Year). By <span class="smcap">Thomas +Thornley</span>. 180 pp. Seventy Illustrations. Crown 8vo. Price 5s. net. +(Post free, 5s. 4d. home; 5s. 6d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p> +Syllabuses and Examination Papers of the City and Guilds of London +Institute -- The Combing Process -- The Drawing Frame -- Bobbin and +Fly Frames -- Mule Spinning -- Ring Spinning -- General Indexes. +</p> + + +<p class="p-2"><b>COTTON SPINNING</b> (Honours, or Third Year). By <span class="smcap">Thomas Thornley</span>. 216 pp. +Seventy-four Illustrations. Crown 8vo. Second Edition. Price 5s. net. +(Post free, 5s. 4d. home; 5s. 6d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p> +Syllabuses and Examination Papers of the City and Guilds of London +Institute -- Cotton--The Practical Manipulation of Cotton Spinning +Machinery -- Doubling and Winding -- Reeling -- Warping -- Production +and Costs -- Main Driving -- Arrangement of Machinery and Mill +Planning -- Waste and Waste Spinning -- Indexes. +</p> + + +<p class="p-2"><b>COTTON COMBING MACHINES.</b> By <span class="smcap">Thos. Thornley</span>, Spinning Master, Technical +School, Bolton. Demy 8vo. 117 Illustrations. 300 pp. Price 7s. 6d. +net. (Post free, 8s. home; 8s. 6d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p> +The Sliver Lap Machine and the Ribbon Cap Machine -- General +Description of the Heilmann Comber -- The Cam Shaft -- On the +Detaching and Attaching Mechanism of the Comber -- Resetting of +Combers -- The Erection of a Heilmann Comber -- Stop Motions: Various +Calculations -- Various Notes and Discussions -- Cotton Combing +Machines of Continental Make -- Index. +</p> + + +<h2><b>Flax, Hemp and Jute Spinning.</b></h2> + + +<p class="p-2"><b>MODERN FLAX, HEMP AND JUTE SPINNING AND TWISTING.</b> A Practical Handbook +for the use of Flax, Hemp and Jute Spinners, Thread, Twine and Rope +Makers. By <span class="smcap">Herbert R. Carter</span>, Mill Manager, Textile Expert and +Engineer, Examiner in Flax Spinning to the City and Guilds of London +Institute. Demy 8vo. 1907. With 92 Illustrations. 200 pp. Price 7s. +6d. net. (Post free, 7s. 9d. home; 8s. abroad.)</p> + +<p><b>Contents.</b></p> + +<p> +<b>Raw Fibre.</b> -- Origin of Flax -- Hemp and Jute Fibre -- Description of +the Plants -- Mode of Cultivation -- Suitable Climate and Soil -- +Sowing -- Harvesting -- Rippling Flax and Hemp -- Water Retting -- Dew +Retting -- Extraction of the Fibre -- Marketing the Fibre -- +Bracquing -- Flax, Hemp and Jute Marks -- Comparative Prices -- +Ports of Export -- Trade Centres -- Fibre Selling Conditions -- Duty +on Fibre -- Fibre Exports. <b>Hackling.</b> -- Sorting and Storing the Raw +Fibre -- Softening Hemp and Jute -- Jute Batching -- Cutting -- +Piecing Out -- Roughing -- Hackling by Hand and Machine -- Tippling -- +Sorting -- Ventilation of Hackling Rooms. <b>Sliver Formation.</b> -- +Spreading Line -- Heavy Spreading System -- Good's Combined Hackle and +Spreader -- Jute Breaking and Carding -- Flax and Hemp Tow Carding -- +Bell Calculation -- Clock System -- Theory of Spreading. <b>Line and Tow +Preparing.</b> -- Drawing and Doubling -- Draft Calculation -- Set +Calculation -- Tow Combing -- Compound Systems -- Automatic Stop +Motions and Independent Heads -- Details of Preparing Machinery -- +Ventilation -- Humidification. <b>Gill Spinning.</b> -- Gill Spinning for +Shoe Threads, Rope Yarns, Binder and Trawl Twines -- The Automatic +Gill Spinner -- Rope and Reaper Yarn Numbering. <b>The Flax, Hemp and +Jute Roving Frame.</b> -- Bobbin Winding -- Differential Motion -- Twist +Calculation -- Practical Changing -- Rove Stock. <b>Dry and Half-Dry +Spinning.</b> -- Flyer and Ring Frames -- Draft and Twist Calculation -- +Bobbin Dragging -- Reaches -- Set of Breast Beam and Tin-rod. <b>Wet +Spinning</b> of Flax, Hemp and Tow -- Hot and Cold Water Spinning -- +Improvements in the Water Trough -- Turn off and Speed of Spindles -- +Reaches -- Belting -- Band Tying -- Tape Driving -- Oiling -- Black +Threads -- Cuts per Spindle -- Ventilation of the Wet Spinning Room. +<b>Yarn Department.</b> -- Reeling -- Cop Winding -- Cheese and Spool Winding +-- Balling Shoe Thread, Reaper Yarn, etc. -- Yarn Drying and +Conditioning -- Yarn Bundling -- Yarn Baling -- Weight of Yarn -- Yarn +Tables -- Duty on Yarn Imports. <b>Manufacture of Threads, Twines and +Cords.</b> -- Hank Winding -- Wet and Dry Twisting -- Cabling -- Fancy +Yarns -- Twine Laying -- Sizing and Polishing Threads and Twines -- +Softening Threads -- Skeining Threads -- Balling Twines -- Leeson's +Universal Winder -- Randing Twines -- Spooling Sewing Threads -- +Comparative Prices of Flax and Hemp Cords, Lines and Threads. <b>Rope +Making.</b> -- Construction of Hawsers and Cables -- Stranding -- Laying +and Closing -- Compound Rope Machines -- Rules for Rope Makers -- +Weight of Ropes -- Balling and Coiling Ropes. <b>Mechanical Department.</b> +-- Boilers, Engines and Turbines -- Power Transmission by Belts and +Ropes -- Electric Light and Power Transmission -- Fans -- Oils and +Oiling -- Repairs -- Fluting. <b>Mill Construction.</b> -- Flax, Hemp and +Jute Spinning Mills and Rope works -- Heating -- Roofs -- Chimneys, +etc. +</p> + + +<h2><b>Collieries +<span class="pagenum"><a id="pagec25" name="pagec25"></a>(p. c25)</span> +and Mines.</b></h2> + +<p class="p-2"><b>RECOVERY WORK AFTER PIT FIRES.</b> By <span class="smcap">Robert Lamprecht</span>, Mining Engineer +and Manager. Translated from the German. Illustrated by Six large +Plates, containing Seventy-six Illustrations. 175 pp., demy 8vo. Price +10s. 6d. net. (Post free, 10s. 10d. home; 11s. abroad.)</p> + +<p><b>Contents.</b></p> + +<p> +<b>Causes of Pit Fires -- Preventive Regulations</b>: (1) The Outbreak and +Rapid Extension of a Shaft Fire can be most reliably prevented by +Employing little or no Combustible Material in the Construction of the +Shaft; (2) Precautions for Rapidly Localising an Outbreak of Fire in +the Shaft; (3) Precautions to be Adopted in case those under 1 and 2 +Fail or Prove Inefficient. Precautions against Spontaneous Ignition of +Coal. Precautions for Preventing Explosions of Fire-damp and Coal +Dust. Employment of Electricity in Mining, particularly in Fiery Pits. +Experiments on the Ignition of Fire-damp Mixtures and Clouds of Coal +Dust by Electricity -- <b>Indications of an Existing or Incipient Fire -- +Appliances for Working in Irrespirable Gases</b>: Respiratory Apparatus; +Apparatus with Air Supply Pipes; Reservoir Apparatus; Oxygen Apparatus +-- <b>Extinguishing Pit Fires</b>: (<i>a</i>) Chemical Means; (<i>b</i>) Extinction +with Water. Dragging down the Burning Masses and Packing with Clay; +(<i>c</i>) Insulating the Seat of the Fire by Dams. Dam Building. Analyses +of Fire Gases. Isolating the Seat of a Fire with Dams: Working in +Irrespirable Gases ("Gas-diving"): Air-Lock Work. Complete Isolation +of the Pit. Flooding a Burning Section isolated by means of Dams. +Wooden Dams: Masonry Dams. Examples of Cylindrical and Dome-shaped +Dams. Dam Doors: Flooding the Whole Pit -- <b>Rescue Stations</b>: (<i>a</i>) +Stations above Ground; (<i>b</i>) Underground Rescue Stations -- +<b>Spontaneous Ignition of Coal in Bulk</b> -- Index.</p> + + + +<p class="p-2"><b>VENTILATION IN MINES.</b> By <span class="smcap">Robert Wabner</span>, Mining Engineer. Translated +from the German. Royal 8vo. Thirty Plates and Twenty-two +Illustrations. 240 pp. Price 10s. 6d. net. (Post free, 11s. home; 11s. +3d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p> +<b>The Causes of the Contamination of Pit Air -- The Means of Preventing +the Dangers resulting from the Contamination of Pit Air -- Calculating +the Volume of Ventilating Current necessary to free Pit Air from +Contamination -- Determination of the Resistance Opposed to the +Passage of Air through the Pit -- Laws of Resistance and Formulæ +therefor -- Fluctuations in the Temperament or Specific Resistance of +a Pit -- Means for Providing a Ventilating Current in the Pit -- +Mechanical Ventilation -- Ventilators and Fans -- Determining the +Theoretical, Initial, and True (Effective) Depression of the +Centrifugal Fan -- New Types of Centrifugal Fan of Small Diameter and +High Working Speed -- Utilising the Ventilating Current to the utmost +Advantage and distributing the same through the Workings -- +Artificially retarding the Ventilating Current -- Ventilating +Preliminary Workings -- Blind Headings -- Separate Ventilation -- +Supervision of Ventilation</b> -- <span class="smcap">Index</span>. +</p> + + +<p class="p-2"><b>HAULAGE AND WINDING APPLIANCES USED IN MINES.</b> By <span class="smcap">Carl Volk</span>. Translated +from the German. Royal 8vo. With Six Plates and 148 Illustrations. 150 +pp. Price 8s. 6d. net. (Post free, 9s. home; 9s. 3d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p> +Haulage Appliances -- Ropes -- Haulage Tubs and Tracks -- Cages and +Winding Appliances -- Winding Engines for Vertical Shafts -- Winding +without Ropes -- Haulage in Levels and Inclines -- The Working of +Underground Engines -- Machinery for Downhill Haulage. +</p> + + +<h2><b>Dental Metallurgy.</b></h2> + + +<p class="p-2"><b>DENTAL METALLURGY: MANUAL FOR STUDENTS AND DENTISTS.</b> By <span class="smcap">A. B. +Griffiths</span>, Ph.D. Demy 8vo. Thirty-six Illustrations. 200 pp. Price 7s. +6d. net. (Post free, 7s. 10d. home; 8s. abroad.)</p> + +<p><b>Contents.</b></p> + +<p> +Introduction -- Physical Properties of the Metals -- Action of Certain +Agents on Metals -- Alloys -- Action of Oral Bacteria on Alloys -- +Theory and Varieties of Blowpipes -- Fluxes -- Furnaces and Appliances +-- Heat and Temperature -- Gold -- Mercury -- Silver -- Iron -- Copper +-- Zinc -- Magnesium -- Cadmium -- Tin -- Lead -- Aluminium -- +Antimony -- Bismuth -- Palladium -- Platinum -- Iridium -- Nickel -- +Practical Work -- Weights and Measures. +</p> + + +<h2><b>Engineering, +<span class="pagenum"><a id="pagec26" name="pagec26"></a>(p. c26)</span> +Smoke Prevention and Metallurgy.</b></h2> + +<p class="p-2"><b>THE PREVENTION OF SMOKE.</b> Combined with the Economical Combustion of +Fuel. By <span class="smcap">W. C. Popplewell</span>, M.Sc., A.M. Inst., C.E., Consulting Engineer. +Forty-six Illustrations. 190 pp. Demy 8vo. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. 3d. abroad.)</p> + +<p><b>Contents</b>.</p> + +<p> +Fuel and Combustion -- Hand Firing in Boiler Furnaces -- Stoking by +Mechanical Means -- Powdered Fuel -- Gaseous Fuel -- Efficiency and +Smoke Tests of Boilers -- Some Standard Smoke Trials -- The Legal +Aspect of the Smoke Question -- The Best Means to be adopted for the +Prevention of Smoke -- Index. +</p> + + +<p class="p-2"><b>GAS AND COAL DUST FIRING.</b> A Critical Review of the Various Appliances +Patented in Germany for this purpose since 1885. By <span class="smcap">Albert Pütsch</span>. 130 +pp. Demy 8vo. Translated from the German. With 103 Illustrations. +Price 7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.)</p> + +<p><b>Contents</b>.</p> + +<p> +Generators -- Generators Employing Steam -- Stirring and Feed +Regulating Appliances -- Direct Generators -- Burners -- Regenerators +and Recuperators -- Glass Smelting Furnaces -- Metallurgical Furnaces +-- Pottery Furnace -- Coal Dust Firing -- Index. +</p> + + +<p class="p-2"><b>THE HARDENING AND TEMPERING OF STEEL IN THEORY AND PRACTICE.</b> By +<span class="smcap">Fridolin Reiser</span>. + +Translated from the German of the Third Edition. Crown 8vo. 120 pp. +Price 5s. net. (Post free, 5s. 3d. home; 5s. 4d. abroad.)</p> + +<p><b>Contents</b>.</p> + +<p> +<b>Steel -- Chemical and Physical Properties of Steel, and their Casual +Connection -- Classification of Steel according to Use -- Testing the +Quality of Steel -- Steel-Hardening -- Investigation of the Causes of +Failure in Hardening -- Regeneration of Steel Spoilt in the Furnace -- +Welding Steel -- Index.</b> +</p> + + +<p class="p-2"><b>SIDEROLOGY: THE SCIENCE OF IRON</b> (The Constitution of Iron Alloys and +Slags). Translated from German of <span class="smcap">Hanns Freiherr v. Jüptner</span>. 350 pp. +Demy 8vo. Eleven Plates and Ten Illustrations. Price 10s. 6d. net. +(Post free, 11s. home; 11s. 6d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p> +<b>The Theory of Solution.</b> -- Solutions -- Molten Alloys -- Varieties of +Solutions -- Osmotic Pressure -- Relation between Osmotic Pressure and +other Properties of Solutions -- Osmotic Pressure and Molecular Weight +of the Dissolved Substance -- Solutions of Gases -- Solid Solutions -- +Solubility -- Diffusion -- Electrical Conductivity -- Constitution of +Electrolytes and Metals -- Thermal Expansion. <b>Micrography.</b> -- +Microstructure -- The Micrographic Constituents of Iron -- Relation +between Micrographical Composition, Carbon-Content, and Thermal +Treatment of Iron Alloys -- The Microstructure of Slags. <b>Chemical +Composition of the Alloys of Iron.</b> -- Constituents of Iron Alloys -- +Carbon -- Constituents of the Iron Alloys, Carbon -- Opinions and +Researches on Combined Carbon -- Applying the Curves of Solution +deduced from the Curves of Recalescence to the Determination of the +Chemical Composition of the Carbon present in Iron Alloys -- The +Constituents of Iron -- Iron -- The Constituents of Iron Alloys -- +Manganese -- Remaining Constituents of Iron Alloys -- A Silicon -- +Gases. <b>The Chemical Composition of Slag.</b> -- Silicate Slags -- +Calculating the Composition of Silicate Slags -- Phosphate Slags -- +Oxide Slags -- Appendix -- Index. +</p> + + +<p class="p-2"><b>EVAPORATING, CONDENSING AND COOLING APPARATUS.</b> Explanations, Formulæ +and Tables for Use in Practice. By <span class="smcap">E. Hausbrand</span>, Engineer. Translated +by <span class="smcap">A. C. Wright</span>, M.A. (Oxon.), B.Sc. (Lond.). With Twenty-one +Illustrations and Seventy-six Tables. 400 pp. Demy 8vo. Price 10s. 6d. +net. (Post free, 11s. home; 11s. 6d. abroad.)</p> + + +<p><b>Contents +<span class="pagenum"><a id="pagec27" name="pagec27"></a>(p. c27)</span> +of "Evaporating, Condensing: and Cooling-Apparatus".</b><7p> + +<p><i>Re</i>Coefficient of Transmission of Heat, k/, and the Mean Temperature +Difference, [**Greek: th θ]/m -- Parallel and Opposite Currents -- +Apparatus for Heating with Direct Fire -- The Injection of Saturated +Steam -- Superheated Steam -- Evaporation by Means of Hot Liquids -- +The Transference of Heat in General, and Transference by means of +Saturated Steam in Particular -- The Transference of Heat from +Saturated Steam in Pipes (Coils) and Double Bottoms -- Evaporation in +a Vacuum -- The Multiple-effect Evaporator -- Multiple-effect +Evaporators from which Extra Steam is Taken -- The Weight of Water +which must be Evaporated from 100 Kilos, of Liquor in order its +Original Percentage of Dry Materials from 1-25 per cent. up to 20-70 +per cent. -- The Relative Proportion of the Heating Surfaces in the +Elements of the Multiple Evaporator and their Actual Dimensions -- The +Pressure Exerted by Currents of Steam and Gas upon Floating Drops of +Water -- The Motion of Floating Drops of Water upon which Press +Currents of Steam -- The Splashing of Evaporating Liquids -- The +Diameter of Pipes for Steam, Alcohol, Vapour and Air -- The Diameter +of Water Pipes -- The Loss of Heat, from Apparatus and Pipes to the +Surrounding Air, and Means for Preventing the Loss -- Condensers -- +Heating Liquids by Means of Steam -- The Cooling of Liquids -- The +Volumes to be Exhausted from Condensers by the Air-pumps -- A Few +Remarks on Air-pumps and the Vacua they Produce -- The Volumetric +Efficiency of Air-pumps -- The Volumes of Air which must be Exhausted +from a Vessel in order to Reduce its Original Pressure to a Certain +Lower Pressure -- Index.</p> + + +<h2><b>Sanitary Plumbing, Metal Work, etc., etc.</b></h2> + +<p class="p-2"><b>EXTERNAL PLUMBING WORK.</b> A Treatise on Lead Work for Roofs. By <span class="smcap">John W. +Hart</span>, R.P.C. 180 Illustrations. 272 pp. Demy 8vo. Second Edition +Revised. Price 7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.)</p> + +<p><b>Contents.</b></p> + +<p>Cast Sheet Lead -- Milled Sheet Lead -- Roof Cesspools -- Socket Pipes +-- Drips -- Gutters -- Gutters (continued) -- Breaks -- Circular +Breaks -- Flats -- Flats (continued) -- Rolls on Flats -- Roll Ends -- +Roll Intersections -- Seam Rolls -- Seam Rolls (continued) -- Tack +Fixings -- Step Flashings -- Step Flashings (continued) -- Secret +Gutters -- Soakers -- Hip and Valley Soakers -- Dormer Windows -- +Dormer Windows (continued) -- Dormer Tops -- Internal Dormers -- +Skylights -- Hips and Ridging -- Hips and Ridging (continued) -- +Fixings for Hips and Ridging -- Ornamental Ridging -- Ornamental Curb +Rolls -- Curb Rolls -- Cornices -- Towers and Finials -- Towers and +Finials (continued) -- Towers and Finials (continued) -- Domes -- +Domes (continued) -- Ornamental Lead Work -- Rain Water Heads -- Rain +Water Heads (continued) -- Rain Water Heads (continued).</p> + + +<p class="p-2"><b>HINTS TO PLUMBERS ON JOINT WIPING, PIPE BENDING AND LEAD BURNING.</b> +Third Edition, Revised and Corrected. By <span class="smcap">John W. Hart</span>, R.P.C. 184 +Illustrations. 313 pp. Demy 8vo. Price 7s. 6d. net. (Post free, 8s. +home; 8s. 6d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p>Pipe Bending -- Pipe Bending (continued) -- Pipe Bending (continued) +-- Square Pipe Bendings-- Half-circular Elbows -- Curved Bends on +Square Pipe -- Bossed Bends -- Curved Plinth Bends -- Rain-water Shoes +on Square Pipe -- Curved and Angle Bends -- Square Pipe Fixings -- +Joint-wiping -- Substitutes for Wiped Joints -- Preparing Wiped Joints +-- Joint Fixings -- Plumbing Irons -- Joint Fixings -- Use of "Touch" +in Soldering -- Underhand Joints -- Blown and Copper Bit Joints -- +Branch Joints -- Branch Joints (continued) -- Block Joints -- Block +Joints (continued) -- Block Fixings -- Astragal Joints -- Pipe Fixings +-- Large Branch Joints -- Large Underhand Joints -- Solders -- +Autogenous Soldering or Lead Burning -- Index.</p> + + +<p class="p-2"><b>SANITARY PLUMBING AND DRAINAGE.</b> By <span class="smcap">John W. Hart</span>. Demy 8vo. With 208 +Illustrations. 250 pp. 1904, Price 7s. 6d. net. (Post free, 7s. 10d. +home; 8s. abroad.)</p> + +<p><b>Contents.</b></p> + +<p>Sanitary Surveys -- Drain Testing -- Drain Testing with Smoke -- +Testing Drains with Water -- Drain Plugs for Testing -- Sanitary +Defects -- Closets -- Baths and Lavatories -- House Drains--Manholes +-- Iron Soil Pipes -- Lead Soil Pipes -- Ventilating Pipes -- +Water-closets -- Flushing Cisterns -- Baths -- Bath Fittings -- +Lavatories -- Lavatory Fittings -- Sinks -- Waste Pipes -- Water +Supply -- Ball Valves -- Town House Sanitary Arrangements -- Drainage +-- Jointing Pipes -- Accessible Drains -- Iron Drains -- Iron +Junctions -- Index.</p> + + +<p class="p-2"><b>THE +<span class="pagenum"><a id="pagec28" name="pagec28"></a>(p. c28)</span> +PRINCIPLES AND PRACTICE OF DIPPING, BURNISHING, +LACQUERING AND BRONZING BRASS WARE.</b> By <span class="smcap">W. Norman Brown</span>. 35 pp. Crown +8vo. Price 2s. net. (Post free, 2s. 3d. home and abroad.)</p> + + +<p class="p-2"><b>A HANDBOOK ON JAPANNING AND ENAMELLING FOR CYCLES, BEDSTEADS, TINWARE, +ETC.</b> By <span class="smcap">William Norman Brown</span>. 52 pp. and Illustrations. Crown 8vo. +Price 2s. net. (Post free, 2s. 3d. home and abroad.)</p> + + +<p class="p-2"><b>THE PRINCIPLES OF HOT WATER SUPPLY.</b> By <span class="smcap">John W. Hart</span>, R.P.C. With 129 +Illustrations. 177 pp., demy 8vo. Price 7s. 6d. net. (Post free, 7s. +10d. home; 8s. abroad.)<7p> + +<p><b>Contents.</b></p> + +<p>Water Circulation -- The Tank System -- Pipes and Joints -- The +Cylinder System -- Boilers for the Cylinder System -- The Cylinder +System -- The Combined Tank and Cylinder System -- Combined +Independent and Kitchen Boiler -- Combined Cylinder and Tank System +with Duplicate Boilers -- Indirect Heating and Boiler Explosions -- +Pipe Boilers -- Safety Valves -- Safety Valves -- The American System +-- Heating Water by Steam -- Steam Kettles and Jets -- Heating Power +of Steam -- Covering for Hot Water Pipes -- Index.</p> + + +<h2><b>House Decorating and Painting.</b></h2> + + +<p class="p-2"><b>THREE HUNDRED SHADES FOR DECORATORS AND HOW TO MIX THEM.</b> By <span class="smcap">A. +Desaint</span>. Quarto. The book will consist of a wide range of shades and +tints suitable for decorators carefully numbered and mounted for easy +reference, with full particulars as to the composition of each shade.</p> + +<p> +[<i>In the press</i>.] +</p> + + +<p class="p-2"><b>HOUSE DECORATING AND PAINTING.</b> By <span class="smcap">W. Norman Brown</span>. Eighty-eight +Illustrations. 150 pp. Crown 8vo. Price 3s. 6d. net. (Post free, 3s. +9d, home and abroad.)</p> + + +<p class="p-2"><b>A HISTORY OF DECORATIVE ART.</b> By <span class="smcap">W. Norman Brown</span>. Thirty-nine +Illustrations. 96 pp. Crown 8vo. Price 2s. 6d. net. (Post free, 2s. +9d. home and abroad.)</p> + + +<p class="p-2"><b>WORKSHOP WRINKLES</b> for Decorators, Painters, Paper-hangers and Others. +By <span class="smcap">W. N. Brown</span>. Crown 8vo. 128 pp. Second Edition. Price 2s. 6d. net. +(Post free, 2s. 9d. home; 2s. 10d. abroad.)</p> + + +<h2><b>Brewing and Botanical.</b></h2> + + +<p class="p-2"><b>HOPS IN THEIR BOTANICAL, AGRICULTURAL AND TECHNICAL ASPECT, AND AS AN +ARTICLE OF COMMERCE.</b> By <span class="smcap">Emmanuel Gross</span>, Professor at the Higher +Agricultural College, Tetschen-Liebwerd. Translated from the German. +Seventy-eight Illustrations. 340 pp. Demy 8vo. Price 12s. 6d. net. +(Post free, 13s. home; 13s. 6d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p>HISTORY OF THE HOP -- THE HOP PLANT -- Introductory -- The Roots -- +The Stem -- and Leaves -- Inflorescence and Flower: Inflorescence and +Flower of the Male Hop; Inflorescence and Flower of the Female Hop -- +The Fruit and its Glandular Structure: The Fruit +<span class="pagenum"><a id="pagec29" name="pagec29"></a>(p. c29)</span> +and Seed -- +Propagation and Selection of the Hop -- Varieties of the Hop: (<i>a</i>) +Red Hops; (<i>b</i>) Green Hops; (<i>c</i>) Pale Green Hops -- Classification +according to the Period of Ripening: Early August Hops; Medium Early +Hops; Late Hops -- Injuries to Growth -- Leaves Turning Yellow, Summer +or Sunbrand, Cones Dropping Off, Honey Dew, Damage from Wind, Hail and +Rain; Vegetable Enemies of the Hop: Animal Enemies of the Hop -- +Beneficial Insects on Hops -- CULTIVATION -- The Requirements of the +Hop in Respect of Climate, Soil and Situation: Climate; Soil; +Situation -- Selection of Variety and Cuttings -- Planting a Hop +Garden: Drainage; Preparing the Ground; Marking-out for Planting; +Planting; Cultivation and Cropping of the Hop Garden in the First Year +-- Work to be Performed Annually in the Hop Garden: Working the +Ground; Cutting; The Non-cutting System; The Proper Performance of the +Operation of Cutting: Method of Cutting: Close Cutting, Ordinary +Cutting, The Long Cut, The Topping Cut; Proper Season for Cutting: +Autumn Cutting, Spring Cutting; Manuring; Training the Hop Plant: +Poled Gardens, Frame Training; Principal Types of Frames; Pruning, +Cropping, Topping, and Leaf Stripping the Hop Plant; Picking, Drying +and Bagging -- Principal and Subsidiary Utilisation of Hops and Hop +Gardens -- Life of a Hop Garden; Subsequent Cropping -- Cost of +Production, Yield and Selling Prices.</p> + +<p><b>Preservation and Storage</b> -- Physical and Chemical Structure of the Hop +Cone -- Judging the Value of Hops.</p> + +<p><b>Statistics of Production</b> -- The Hop Trade -- Index.</p> + + +<h2><b>Timber and Wood Waste.</b></h2> + +<p class="p-2"><b>TIMBER</b>: A Comprehensive Study of Wood in all its Aspects (Commercial +and Botanical), showing the Different Applications and Uses of Timber +in Various Trades, etc. Translated from the French of <span class="smcap">Paul +Charpentier</span>. Royal 8vo. 437 pp. 178 Illustrations. Price 12s. 6d. net. +(Post free, 13s. home; 14s. abroad.)</p> + +<p><b>Contents.</b></p> + +<p><b>Physical and Chemical Properties of Timber</b> -- Composition of the +Vegetable Bodies -- Chief Elements -- M. Fremy's Researches -- +Elementary Organs of Plants and especially of Forests -- Different +Parts of Wood Anatomically and Chemically Considered -- General +Properties of Wood -- <b>Description of the Different Kinds of Wood</b> -- +Principal Essences with Caducous Leaves -- Coniferous Resinous Trees +-- <b>Division of the Useful Varieties of Timber in the Different +Countries of the Globe</b> -- European Timber -- African Timber -- Asiatic +Timber -- American Timber -- Timber of Oceania -- <b>Forests</b> -- General +Notes as to Forests; their Influence -- Opinions as to Sylviculture -- +Improvement of Forests -- Unwooding and Rewooding -- Preservation of +Forests -- Exploitation of Forests -- Damage caused to Forests -- +Different Alterations -- <b>The Preservation of Timber</b> -- Generalities -- +Causes and Progress of Deterioration -- History of Different Proposed +Processes -- Dessication -- Superficial Carbonisation of Timber -- +Processes by Immersion -- Generalities as to Antiseptics Employed -- +Injection Processes in Closed Vessels -- The Boucherie System, Based +upon the Displacement of the Sap -- Processes for Making Timber +Uninflammable -- <b>Applications of Timber</b> -- Generalities -- Working +Timber -- Paving -- Timber for Mines -- Railway Traverses -- Accessory +Products -- Gums -- Works of M. Fremy -- Resins -- Barks -- Tan -- +Application of Cork -- The Application of Wood to Art and Dyeing -- +Different Applications of Wood -- Hard Wood -- Distillation of Wood -- +Pyroligneous Acid -- Oil of Wood -- Distillation of Resins -- Index.</p> + + +<p class="p-2"><b>THE UTILISATION OF WOOD WASTE.</b> Translated from the German of <span class="smcap">Ernst +Hubbard</span>. Crown 8vo. 192 pp. Fifty Illustrations. Price 5s. net. (Post +free, 5s. 4d. home; 5s. 6d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p>General Remarks on the Utilisation of Sawdust -- Employment of Sawdust +as Fuel, with and without Simultaneous Recovery of Charcoal and the +Products of Distillation -- Manufacture of Oxalic Acid from Sawdust -- +Process with Soda Lye; Thorn's Process; Bohlig's Process -- +Manufacture of Spirit (Ethyl Alcohol) from Wood Waste -- Patent Dyes +(Organic Sulphides, Sulphur Dyes, or Mercapto Dyes) -- Artificial Wood +and Plastic Compositions from Sawdust -- Production of Artificial Wood +Compositions for Moulded Decorations -- Employment of Sawdust for +Blasting Powders and Gunpowders -- Employment of Sawdust for +Briquettes -- Employment of Sawdust in the Ceramic Industry and as an +Addition to Mortar -- Manufacture of Paper Pulp from Wood -- Casks -- +Various Applications of Sawdust and Wood Refuse -- Calcium Carbide -- +Manure -- Wood Mosaic Plaques -- Bottle Stoppers -- Parquetry -- +Fire-lighters -- Carborundum -- The Production of Wood Wool -- Bark -- +Index.</p> + + +<h2><b>Building +<span class="pagenum"><a id="pagec30" name="pagec30"></a>(p. c30)</span> +and Architecture.</b></h2> + +<p class="p-2"><b>THE PREVENTION OF DAMPNESS IN BUILDINGS</b>; with Remarks on the Causes, +Nature and Effects of Saline, Efflorescences and Dry-rot, for +Architects, Builders, Overseers, Plasterers Painters and House Owners. +By <span class="smcap">Adolf Wilhelm Keim</span>. Translated from the German of the second +revised Edition by <span class="smcap">M. J. Salter</span>, F.I.C. F.C.S. Eight Coloured Plates +and Thirteen Illustrations. Crown 8vo. 115 pp. Price 5s. net. (Post +free, 5s. 3d. home; 5s. 4d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p>The Various Causes of Dampness and Decay of the Masonry of Buildings, +and the Structural and Hygienic Evils of the Same -- Precautionary +Measures during Building against Dampness and Efflorescence -- Methods +of Remedying Dampness and Efflorescences in the Walls of Old Buildings +-- The Artificial Drying of New Houses, as well as Old Damp Dwellings +and the Theory of the Hardening of Mortar -- New, Certain and +Permanently Efficient Methods for Drying Old Damp Walls and Dwellings +-- The Cause and Origin of Dry-rot: its Injurious Effect on Health, +its Destructive Action on Buildings, and its Successful Repression -- +Methods of Preventing Dry-rot to be Adopted During Construction -- Old +Methods of Preventing Dry-rot -- Recent and More Efficient Remedies +for Dry-rot -- Index.</p> + + +<p class="p-2"><b>HANDBOOK OF TECHNICAL TERMS USED IN ARCHITECTURE AND BUILDING, AND +THEIR ALLIED TRADES AND SUBJECTS.</b> By <span class="smcap">Augustine C. Passmore</span>. Demy 8vo. +380 pp. Price 7s. 6d. net. (Post free, 8s. home; 8s. 6d, abroad.)</p> + + +<h2><b>Foods and Sweetmeats.</b></h2> + + +<p class="p-2"><b>THE MANUFACTURE OF PRESERVED FOODS AND SWEETMEATS.</b> By <span class="smcap">A. Hausner</span>. With +Twenty-eight Illustrations. Translated from the German of the third +enlarged Edition. Crown 8vo. 225 pp. Price 7s. 6d. net. (Post free, +7s. 9d. home; 7s. 10d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p><b>The Manufacture of Conserves</b> -- Introduction -- The Causes of the +Putrefaction of Food -- The Chemical Composition of Foods -- The +Products of Decomposition -- The Causes of Fermentation and +Putrefaction -- Preservative Bodies -- The Various Methods of +Preserving Food -- The Preservation of Animal Food -- Preserving Meat +by Means of Ice -- The Preservation of Meat by Charcoal -- +Preservation of Meat by Drying -- The Preservation of Meat by the +Exclusion of Air -- The Appert Method -- Preserving Flesh by Smoking +-- Quick Smoking -- Preserving Meat with Salt -- Quick Salting by Air +Pressure -- Quick Salting by Liquid Pressure -- Gamgee's Method of +Preserving Meat -- The Preservation of Eggs -- Preservation of White +and Yolk of Egg -- Milk Preservation -- Condensed Milk -- The +Preservation of Fat -- Manufacture of Soup Tablets -- Meat Biscuits -- +Extract of Beef -- The Preservation of Vegetable Foods in General -- +Compressing Vegetables -- Preservation of Vegetables by Appert's +Method -- The Preservation of Fruit -- Preservation of Fruit by +Storage -- The Preservation of Fruit by Drying -- Drying Fruit by +Artificial Heat -- Roasting Fruit -- The Preservation of Fruit with +Sugar -- Boiled Preserved Fruit -- The Preservation of Fruit in +Spirit, Acetic Acid or Glycerine -- Preservation of Fruit without +Boiling -- Jam Manufacture -- The Manufacture of Fruit Jellies -- The +Making of Gelatine Jellies -- The Manufacture of "Sulzen" -- The +Preservation of Fermented Beverages -- <b>The Manufacture of Candies</b> -- +Introduction -- The Manufacture of Candied Fruit -- The Manufacture of +Boiled Sugar and Caramel -- The Candying of Fruit -- Caramelised Fruit +-- The Manufacture of Sugar Sticks, or Barley Sugar -- Bonbon Making +-- Fruit Drops -- The Manufacture of Dragées -- The Machinery and +Appliances used in Candy Manufacture -- Dyeing Candies and Bonbons -- +Essential Oils used in Candy Making -- Fruit Essences -- The +Manufacture of Filled Bonbons, Liqueur Bonbons and Stamped Lozenges -- +Recipes for Jams and Jellies -- Recipes for Bonbon Making -- Dragées +-- Appendix -- Index.</p> + + +<h2><b>Dyeing +<span class="pagenum"><a id="pagec31" name="pagec31"></a>(p. c31)</span> +Fancy Goods.</b></h2> + + +<p class="p-2"><b>THE ART OF DYEING AND STAINING MARBLE, ARTIFICIAL STONE, BONE, HORN, +IVORY AND WOOD, AND OF IMITATING ALL SORTS OF WOOD</b>. A Practical +Handbook for the Use of Joiners, Turners, Manufacturers of Fancy +Goods, Stick and Umbrella Makers, Comb Makers, etc. Translated from +the German of <span class="smcap">D. H. Soxhlet</span>, Technical Chemist. Crown 8vo. 168 pp. +Price 5s. net. (Post free, 5s. 3d. home; 5s. 4d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p>Mordants and Stains -- Natural Dyes -- Artificial Pigments -- Coal Tar +Dyes -- Staining Marble and Artificial Stone -- Dyeing, Bleaching and +Imitation of Bone, Horn and Ivory -- Imitation of Tortoiseshell for +Combs: Yellows, Dyeing Nuts -- Ivory -- Wood Dyeing -- Imitation of +Mahogany: Dark Walnut, Oak, Birch-Bark, Elder-Marquetry, Walnut, +Walnut-Marquetry, Mahogany, Spanish Mahogany, Palisander and Rose +Wood, Tortoiseshell, Oak, Ebony, Pear Tree -- Black Dyeing Processes +with Penetrating Colours -- Varnishes and Polishes: English Furniture +Polish, Vienna Furniture Polish, Amber Varnish, Copal Varnish, +Composition for Preserving Furniture -- Index.</p> + + +<h2><b>Celluloid.</b></h2> + + +<p class="p-2"><b>CELLULOID</b>. The Raw Material, Manufacture and Uses. By Dr. <span class="smcap">Fr. +Böckmann</span>. 49 Illus. Crown 8vo.</p> + +<p> +[<i>In the Press</i>.] +</p> + + +<h2><b>Lithography, Printing and Engraving.</b></h2> + + +<p class="p-2"><b>PRACTICAL LITHOGRAPHY.</b> By <span class="smcap">Alfred Seymour</span>. Demy 8vo. With Frontispiece +and 33 Illus. 120 pp. Price 5s. net. (Post free, 5s. 4d. home; 5s. 6d. +abroad.)</p> + +<p><b>Contents.</b></p> + +<p>Stones -- Transfer Inks -- Transfer Papers -- Transfer Printing -- +Litho Press -- Press Work -- Machine Printing -- Colour Printing -- +Substitutes for Lithographic Stones -- Tin Plate Printing and +Decoration -- Photo-Lithography.</p> + + +<p class="p-2"><b>PRINTERS' AND STATIONERS' READY RECKONER AND COMPENDIUM.</b> Compiled by +<span class="smcap">Victor Graham</span>. Crown 8vo. 112 pp. 1904. Price 3s. 6d. net. (Post free, +3s. 9d. home; 3s. 10d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p>Price of Paper per Sheet, Quire, Ream and Lb. -- Cost of 100 to 1000 +Sheets at various Sizes and Prices per Ream -- Cost of Cards -- +Quantity Table -- Sizes and Weights of Paper, Cards, etc. -- Notes on +Account Books -- Discount Tables -- Sizes of spaces -- Leads to a lb. +-- Dictionary -- Measure for Bookwork -- Correcting Proofs, etc.</p> + + +<p class="p-2"><b>ENGRAVING FOR ILLUSTRATION. HISTORICAL AND PRACTICAL NOTES.</b> By <span class="smcap">J. +Kirkbride</span>. 72 pp. Two Plates and 6 Illustrations. Crown 8vo. Price 2s. +6d. net. (Post free, 2s. 9d. home; 2s. 10d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p>Its Inception -- Wood Engraving -- Metal Engraving -- Engraving in +England -- Etching -- Mezzotint -- Photo-Process Engraving -- The +Engraver's Task -- Appreciative Criticism -- Index.</p> + + +<h2><b>Bookbinding.</b></h2> + + +<p class="p-2"><b>PRACTICAL BOOKBINDING.</b> By <span class="smcap">Paul Adam</span>. Translated from the German. Crown +8vo. 180 pp. 127 Illustrations. Price 5s. net. (Post free, 5s. 4d. +home; 5s. 6d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p>Materials for Sewing and Pasting -- Materials for Covering the Book -- +Materials for Decorating and Finishing -- Tools -- General Preparatory +Work -- Sewing -- Forwarding, Cutting, +<span class="pagenum"><a id="pagec32" name="pagec32"></a>(p. c32)</span> +Rounding and Backing +-- Forwarding, Decoration of Edges and Headbanding -- Boarding -- +Preparing the Cover -- Work with the Blocking Press -- Treatment of +Sewn Books, Fastening in Covers, and Finishing Off -- Handtooling and +Other Decoration -- Account Books -- School Books, Mounting Maps, +Drawings, etc. -- Index.</p> + + +<h2><b>Sugar Refining.</b></h2> + + +<p class="p-2"><b>THE TECHNOLOGY OF SUGAR</b>: Practical Treatise on the Modern Methods of +Manufacture of Sugar from the Sugar Cane and Sugar Beet. By <span class="smcap">John +Geddes McIntosh</span>. Second Revised and Enlarged Edition. Demy 8vo. Fully +Illustrated. 436 pp. Seventy-six Tables. 1906. Price 10s. 6d. net. +(Post free, 11s. home; 11s. 6d. abroad.)</p> + +<p><b>Contents.</b></p> + +<p>Chemistry of Sucrose, Lactose, Maltose, Glucose, Invert Sugar, etc. -- +Purchase and Analysis of Beets -- Treatment of Beets -- Diffusion -- +Filtration -- Concentration -- Evaporation -- <b>Sugar Cane</b>: Cultivation +-- Milling -- Diffusion -- Sugar Refining -- Analysis of Raw Sugars -- +Chemistry of Molasses, etc.</p> + +<p>(<i>See <a href="#pagec26">"Evaporating, +Condensing, etc., Apparatus</a>."</i>)</p> + + +<h2><b>Bibliography.</b></h2> + + +<p class="p-2"><b>CLASSIFIED GUIDE TO TECHNICAL AND COMMERCIAL BOOKS.</b> Compiled by <span class="smcap">Edgar +Greenwood</span>. Demy 8vo. 224 pp. 1904. Being a Subject-list of the +Principal British and American Books in print; giving Title, Author, +Size, Date, Publisher and Price. Price 7s. 6d. net. (Post free, 7s. +10d. home; 8s. 3d. abroad.)</p> + + +<p><b>THE TECHNICAL BOOKS</b> in this Catalogue can be obtained through all +Booksellers, or post free direct from the Publishers by remitting the +amount given in brackets.</p> + +<p><b>Full Particulars of Contents</b> of any of the above books will be sent on +application.</p> + +<p><b>Books In the Press.</b>--The Publishers will send Contents and prices of +books in the press as soon as ready to any one sending their address.</p> + +<p><b>Technical Books</b> upon <b>all Subjects</b> can be obtained through <span class="smcap">Scott, +Greenwood & Son</span>, if requirements are fully stated.</p> + + + +<h3><b>SCOTT, GREENWOOD & SON,</b><br> + +<b>Technical Book Publishers,</b><br> + +<b>8 Broadway, Ludgate Hill</b>,<br> + +<b>London, E.C.</b><br> + +<b>Telegraphic address, "Printeries, London".</b></h3> + +<h3> +[<i>April</i>, 1907.] +</h3> + +<p> </p> +<p> </p> +<center> +<p> </p> +<table border="0" style="background-color: #ddddff;" cellpadding="10"> + <tr> + <td align="left"> + Transcriber's note:<br /> + <br /> + A less obvious printer's error has been corrected on page 16.<br /> + - chlorestine to cholesterine.<br /> + <br /> + The following words could not be checked:<br> + - Caseogum (page c04),<br> + - Crysophis (page c16),<br> + - Dufton (page c22),<br> + - Bracquing (page c24). + </td> + </tr> +</table> +</center> + +<p> </p> +<p> </p> +<hr class="full" /> +<p>***END OF THE PROJECT GUTENBERG EBOOK THE DYEING OF WOOLLEN FABRICS***</p> +<p>******* This file should be named 19985-h.txt or 19985-h.zip *******</p> +<p>This and all associated files of various formats will be found in:<br /> +<a href="http://www.gutenberg.org/dirs/1/9/9/8/19985">http://www.gutenberg.org/1/9/9/8/19985</a></p> +<p>Updated editions will replace the previous one--the old editions +will be renamed.</p> + +<p>Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + + + + +Title: The Dyeing of Woollen Fabrics + + +Author: Franklin Beech + + + +Release Date: December 1, 2006 [eBook #19985] + +Language: English + +Character set encoding: ISO-646-US (US-ASCII) + + +***START OF THE PROJECT GUTENBERG EBOOK THE DYEING OF WOOLLEN FABRICS*** + + +E-text prepared by Christine P. Travers, Jason Isbell, and the Project +Gutenbert Online Distributed Proofreading Team (https://www.pgdp.net/) + + + +Note: Project Gutenberg also has an HTML version of this + file which includes the original illustrations and + in which the index is linked to the corresponding pages. + See 19985-h.htm or 19985-h.zip: + (https://www.gutenberg.org/dirs/1/9/9/8/19985/19985-h/19985-h.htm) + or + (https://www.gutenberg.org/dirs/1/9/9/8/19985/19985-h.zip) + + +Transcriber's note: + + Obvious printer's errors have been corrected, and the original + spelling has been retained. + + Page numbers have been included to allow the reader to use the + index. Page numbers of pages previously only containing + illustration (and now empty) are not shown. + + Illustrations placed in the middle of paragraphes have been + moved, thus, their page numbers have changed. The illustration + index has been corrected to match the new position of the + illustrations. + + In chemical formulas a subscripted number is shown by an + underscore followed by the number within curly brackets. Thus + the formula for water is given as H_{2}O. + + Text enclosed by pound signs (#) was in bold face. + + Additional notes are at the end of the text. + + + + + +THE DYEING OF WOOLLEN FABRICS + +by + +FRANKLIN BEECH +Practical Colourist and Chemist; +Author of +"The Dyeing of Cotton Fabrics," Etc, + +With Thirty-Three Illustrations + + + + + + + +London +Scott, Greenwood & Son +8 Broadway, Ludgate Hill, E.C. + +Canada: The Copp Clark Co., Ltd., Toronto +United States: D. Van Nostrand Co., New York +1902 +[All rights remain with Scott, Greenwood & Son.] + + + + +PREFACE. (p. iii) + + +In this little book the author has endeavoured to supply the dyer of +woollen fabrics with a conveniently arranged handbook dealing with the +various branches of the wool dyeing industry, and trusts that it will +be found to meet the want which undoubtedly exists for such a book. + +The text on which the book is based is expressed in the title "The +Dyeing of Woollen Fabrics," and in enlarging upon it the author has +endeavoured to describe clearly and in some detail the various +processes and operations generally, pointing out the principles +involved and illustrating these by numerous recipes, showing the +applications of a great variety of dyes in the production of the one +thousand and one tints and shades the wool dyer is called upon to +produce on the fabrics with which he is working. In pursuance of this +plan nothing is said of the composition and properties of the various +dyes, mordants, chemicals, etc., which are used. This is information +every wool dyer should possess, but the author believes it is better +dealt with in books devoted to Chemistry proper. + + _May, 1902._ + + + + +CONTENTS. (p. v) + + +CHAPTER I. + Page +THE WOOL FIBRE-- + Structure, Composition and Properties...................... 1 + + +CHAPTER II. + +PROCESSES PREPARATORY TO DYEING-- + Scouring and Bleaching of Wool............................ 15 + + +CHAPTER III. + +DYEING MACHINERY AND DYEING MANIPULATIONS-- + Loose Wool Dyeing, Yarn Dyeing and Piece Dyeing + Machinery................................................. 40 + + +CHAPTER IV. + +THE PRINCIPLES AND PRACTICE OF WOOL DYEING-- + Properties of Wool -- Methods of Wool Dyeing -- Groups + of Dyes --Dyeing with the Direct Dyes -- Dyeing with + Basic Dyes -- Dyeing with Acid Dyes -- Dyeing with + Mordant Dyes -- Level Dyeing -- Blacks on Wool -- Reds + on Wool -- Mordanting of Wool -- Orange Shades on Wool + -- Yellow Shades on Wool -- Green Shades on Wool -- + Blue Shades on Wool -- Violet Shades on Wool -- Brown + Shades on Wool -- Mode Colours on Wool.................... 59 + + +CHAPTER V. + +DYEING UNION (MIXED COTTON AND WOOL) FABRICS............... 168 + + +CHAPTER VI. + +DYEING OF GLORIA........................................... 188 + + +CHAPTER VII. (p. vi) + +OPERATIONS FOLLOWING DYEING-- + Washing--Soaping--Drying................................. 197 + + +CHAPTER VIII. + +EXPERIMENTAL DYEING AND COMPARATIVE DYE TESTING............ 211 + + +CHAPTER IX. + +TESTING OF THE COLOUR OF DYED FABRICS...................... 218 + + +INDEX...................................................... 225 + + + + +LIST OF ILLUSTRATIONS. (p. vii) + + +Fig. Page + + 1. Microscopical Sketch of Wool Fibre....................... 2 + + 2. Kempy Wool Fibres........................................ 3 + + 3. Sectional View of Wool Fibre............................. 4 + + 4. Wool Fibres Showing Action of Alkalies.................. 10 + + 5. Wool Fibres Showing Action of Acids..................... 11 + + 6. Wool Washing Machine.................................... 20 + + 7. Wool Cloth Washing Machine.............................. 28 + + 8. Woollen Cloth Washing Machine........................... 29 + + 9. Sulphur Bleach House.................................... 29 + +10. Dyeing Tubs and Vat..................................... 41 + +11. Section of Dye Vat...................................... 42 + +12. Delahunty's Dyeing Machine.............................. 44 + +13. Obermaier Dyeing Machine................................ 44 + +14. Holliday's Yarn Dyeing Machine.......................... 47 + +15. Klauder-Weldon Yarn Dyeing Machine...................... 47 + +16. Dyeing Jiggers for Cloth................................ 51 + +17. Dyeing Jiggers for Cloth................................ 53 + +18. Jig Winch Dyeing Machine................................ 53 + +19. Cloth Dyeing Machine.................................... 54 + +20. Plush Fabric Dyeing Machine............................. 55 + +21. Dye Beck for Cloth...................................... 56 + +22. Hawking Machine......................................... 57 + +23. Indigo Dye Vat for Cloth............................... 149 + +24. Squeezing Rollers...................................... 199 + +25. Yarn Washing Machine................................... 201 + +26. Cloth Washing Machine.................................. 202 (p. viii) + +27. Cloth Washing Machine.................................. 204 + +28. Soaping and Washing Machine............................ 205 + +29. Hydro-extractor........................................ 206 + +30. Hydro-extractor........................................ 207 + +31. Yarn Drying Apparatus.................................. 208 + +32. Cloth Drying Machine................................... 208 + +33. Experimental Dye Apparatus............................. 212 + + + + +CHAPTER I. (p. 001) + +THE WOOL FIBRE. + + +Wool is one of the most important textile fibres used in the +manufacture of woven fabrics of all kinds. It belongs to the group of +animal fibres of which three kinds are met with in nature, and used in +the manufacture of textile fibres; two of these are derived from +quadruped animals, such as the sheep, goat, etc., while the third +class comprises the products of certain insects, _e.g._, silk. + +The skin of all animals is covered with more or less of a fibrous +coat, which serves as a sort of protecting coat from the weather to +the skin underneath. Two different kinds of fibres are found on +animals; one is a stiff kind of fibre varying in length very much and +called hairy fibres, these sometimes grow to a great length. The other +class of animal fibres are the woolly fibres, short, elastic and soft; +they are the most esteemed for the manufacture of textile fabrics, it +is only when the hairy fibres are long that they are serviceable for +this particular purpose. There is a slight difference in the structure +of the two kinds of fibre, woolly fibres having a more scaly structure +than hairy fibres; the latter also differ in being more cylindrical in +form. + +#Wool.#--By far the most important of the animal fibres is wool, the +fibre of the domestic sheep. Other animals, the llama or alpaca, the +Angora and Cashmere goats also yield fibres of a similar character, +which are imported under the name of wools. There are many (p. 002) +varieties of wools Which are yielded by the various breeds of sheep, +but they may be roughly divided into two kinds, according to the +length of "staple," as it is called. In the long-stapled wools the +fibres average from 7-1/2 to 9-1/2 inches in length, while the +short-stapled wools vary from 1 to 2 inches long. The diameter varies +very considerably from 0.00033 to 0.0018 of an inch. + +[Illustration: Fig. 1.--Wool Fibre under the Microscope.] + +Two varieties of thread are spun from wool, one is known as "worsted," +the other as "woollen" yarns; from these yarns two kinds of cloths are +woven, distinguished as worsted and woollen cloths; the former are in +general not subjected to any milling or felting process, while the +latter invariably are. + +#Physical Properties.#--When seen under the microscope the wool fibres +show a rod-like structure covered with broad scales, the edges of +which project from the body of the fibre, and all point in one +direction. + +Fig. 1 shows typical wool fibres as viewed under the microscope; the +sketch shows very well the scales. + +The shape of the scales varies in different breeds of wool. The (p. 003) +outer scales enclose inner medullary cells, which often contain +pigment matter. A transversed section of the wool fibre shows the +presence of a large number of cells. Sometimes wool fibres are +occasionally met with which have a peculiar white horny appearance; +these do not felt or dye well. They are known as "kempy" fibres. See +figure 2. The microscope shows that they are largely devoid of +structure, and are formed of very horny, impenetrable tissue, which is +difficult to treat in the milling or dyeing process. + +[Illustration: Fig. 2.--Kempy Wool Fibres.] + +The curly or twisted character of the fibre is caused by the unequal +contraction of the outer scales, and depends in a great measure upon +the hygroscopic nature of the wool. It may be entirely removed for the +time by wetting the wool in hot water, then drying it in a stretched +condition, or the curl may be artificially induced by unequal drying, +a fact which is turned to practical account in the curling of feathers +and of hair. + +The amount of curl in different varieties of wool is very variable, +being as a rule greatest in the finer qualities, and diminishing as +the fibre becomes coarser. The diameter of the wool fibre varies (p. 004) +from 1/2000 to 1/5000 of an inch, and the number of curls from about +30 per cent. In fine wool as little as 1 or 2 per cent. in the thicker +fibres. + +Elasticity and strength are properties which, in common with silk, +wool possesses in a greater degree than the vegetable fibres. When +submitted to strain the wool fibre exhibits a remarkable strength, and +when the breaking point is reached the fracture always takes place at +the juncture of two rings of the outer scales, the embedded edges of +the lower layer being pulled out of their seat. The scales themselves +are never broken. + +[Illustration: Fig. 3.--Wool Fibre showing Medullary Centre.] + +When first formed the cells are more or less of a spherical shape, and +contain a nucleus surrounded by the ultimate photoplasmic substance. +Those cells which constitute the core or central portion of the fibre +retain to some extent this original globular form and pulpy condition. +Surrounding this central portion or medulla, as it has been called +(see fig. 3), and forming the main bulk of the fibre, there is a +comparatively thick layer of partially flattened cells, which are also +elongated in the direction of the length of the fibre, and outside +this again there is a thinner stratum which may be compared to the +bark of a tree. This outer covering differs materially from the (p. 005) +rest of the fibre in its physical structure, but is, probably, nearly +identical with it, though possibly not entirely so, in chemical +composition. It consists of a series of flattened horny scales, each +being probably an aggregation of many cells. The scales, which have +been compared to the scales of a fish or to slates on a housetop, +overlap each other, the free edges protruding more or less from the +fibre, while the lower or covered edges are embedded and held in the +inner layer of cells. The free edges always point away from the root +of the fibre, just as do the bracts of a fir cone. + +When viewing a section of a wool fibre there is, of course, no sharp +line of division between the three portions above described, but the +change from the central spherical cells to the elongated cellular +portion, and from these again to the flattened horny scales, is quite +gradual, so that the separation into zones, though well marked, is +very indefinite in respect of boundaries. + +The scaly structure of wool is of great importance in regard to what +is known as felting property. When woollen fabrics are worked in +boiling water, especially in the presence of soap, they shrink in +length and breadth, but become thicker in substance, while there is a +greater amalgamation of the fibres of the fabric together to form a +more compact and dense cloth; this is due to the scaly structure of +the wool fibres enabling them to become entangled and closely united +together. In the manufacture of felt hats this is a property of very +great value. + +#Variations in Physical Structure.#--Wool fibres vary somewhat amongst +themselves; fibres from different breeds of sheep, or even from +different parts of the same animal, vary greatly, not only in +thickness, length, etc., but also in actual structure. A typical wool +fibre, such as may be obtained a good merino or Southdown fleece, will +possess the typical structure described above, but frequently the type +is departed from to such an extent that the central core of (p. 006) +globular cells is entirely absent. Also the serrated character of the +outermost layer of cells reaches a much higher state of development in +some samples of wool than in others. + +Wool is a much more hygroscopic fibre than cotton or any of the other +vegetable fibres, usually it contains about 18 per cent. of water, but +much depends upon the atmospheric conditions that prevail. This water +is contained in the wool in two forms: (1) as water of hydration +amounting to about 81 per cent., and (2) as hygroscopic water. + +Experiments have shown that when a piece of dried wool is exposed to +an atmosphere saturated with water vapour it will absorb 50 per cent. +of its weight; cotton under the same conditions will take up 23 per +cent.; flax, 27.5 per cent.; jute, 28.5 per cent., and silk, 36.5 per +cent. + +Heated to about 100 deg. C. it parts with nearly the whole of its water +and becomes hard, horny and brittle, exposed to the air, the dry wool +again absorbs water and is restored to its former condition. When +heated to 100 deg. C. wool becomes somewhat plastic, so that whatever +form is then imparted to it it will retain when it becomes cold, this +property is very useful in certain processes of finishing wool +fabrics, making hats, etc. + +#Chemical Composition.#--In the natural or raw state each wool fibre is +surrounded by a considerable amount of foreign matter, so that in +treating of its chemical constitution it is necessary to distinguish +between pure wool and the raw fibre. The incrusting substance is +technically known as "Yolk," or "Suint," and is principally composed +of a kind of natural soap, consisting of the potash salts of certain +fatty acids, together with some fats which are incapable of +saponification. + +The amount of yolk present upon different samples of wool varies +greatly, the finer varieties containing, as a rule, a larger +proportion than the coarser, and less valuable sorts. + +The variation in the relative amount of pure fibres and yolk is (p. 007) +well shown in the following analyses which, however, do not by any +means represent extreme cases. + +ANALYSES OF RAW MERINO WOOL. DRIED AT 100 deg. C. + + No. 1. No. 2. +Moisture 6.26 10.4 +Yolk 47.30 27.0 +Pure Wool 30.31 59.5 +Dirt 11.13 3.1 + ------ ------ + 100.00 100.00 + +Yolk consists very largely of two complex substances which have been +termed wool perspiration and wool fat. The former is composed of the +potash salts of fatty acids, principally oleic and stearic acids; the +latter of the neutral carbohydrate, cholesterine, with other similar +bodies. The wool perspiration may be removed by a simple washing with +water, and on the Continent forms a valuable source of potash salts, +since the ash after ignition contains 70 to 90 per cent. of potassium +carbonate. The wool fat is insoluble in water, but dissolves readily +in ether, benzene, carbon disulphide, etc. + +It is also removed from the wool by a treatment with alkali, and it is +not easy to explain the action in the case, since the wool fat is not +a glyceride, and will not form a soap, but is probably emulsified by +the wool perspiration. + +#Chemical Composition of the Pure Fibre.#--The following analyses of +purified and dried wool fibre indicate its percentage composition:-- + + Mulder. Bowman. +Carbon 50.5 per cent. 50.8 per cent. +Hydrogen 6.8 " 7.2 " +Nitrogen 16.8 " 18.5 " +Oxygen 20.5 " 21.2 " +Sulphur 5.4 " 2.3 " + ----- ----- + 100.0 100.0 + +It is sometimes stated that wool fibre consists of a definite (p. 008) +substance, keratine, but this view cannot now be admitted, since wool +appears to be composed of a mixture or combination of several very +complex substances. It is possible and even probable that the outer +epidermal scales have a somewhat different composition to the bulk of +the fibre, but whether that is the case or not is not known with any +degree of certainty, this much can be asserted, that wool is not a +simple definite chemical compound. + +Sulphur is by far the most variable constituent of wool, sometimes as +little as 1.5 and occasionally as much as 5 per cent. being found. It +appears to be always present in two different forms, one portion being +in very feeble combination and easily removed by alkalies, the +remainder, which, according to Knecht, amounts to about 30 per cent. +of the total sulphur, cannot be removed without complete +disintegration of the fibre. This latter portion does not give a black +coloration with plumbite of soda. + +The amount of ash left on incinerating dry wool varies from 1 to 2 per +cent., and some have considered this inorganic matter as an essential +constituent. It consists principally of salts of potassium, calcium +and aluminum, with, of course, sulphur. + +The chemical composition of the wool fibre is evidently of a most +complicated nature; judging from its behaviour in dyeing it is evident +that it may contain two bodies, one of a basic character which enables +it to combine with the azo and acid series of dyes, the other possessing +acid characters enabling it to combine with the basic dyes of the magenta +and auramine type. Dr. Knecht has isolated from the wool fibre by +extraction with alkalies and precipitation with acids a substance to +which the name of lanuginic acid has been given. It is soluble in hot +water, precipitates both acid and basic colouring matters in the form +of coloured lakes. It yields precipitates with alum, stannous (p. 009) +chloride, chrome alum, silver nitrate, iron salts, copper sulphate. It +appears to be an albuminoid body. From its behaviour with the dyes, +and with tannic acid and metallic salts, it would appear that lanuginic +acid contains both acidic and basic groups. It contains all the +elements, carbon, hydrogen, oxygen, nitrogen and sulphur, found in +wool. + +If wool is dyed in a dilute solution of Magenta (hydrochloride of +rosaniline), the whole of the base (rosaniline) is taken up, and the +whole of the acid (HCl) left in the bath, not, however, in the free +state, but probably as NH_{4}Cl, the ammonia being derived from the +wool itself. A further proof of the acid nature of lanuginic acid is +that wool may be dyed a fine magenta colour in a colourless solution +of rosaniline base; for since rosaniline base is colourless, and it +only forms a colour when combined with acids, the fibre has evidently +acted the part of an acid in the combination. + +#Chemical Properties. Action of Alkalies.#--Alkalies have a powerful +action on wool, varying, of course, with the nature of the alkali, +strength of solution and temperature at which the action takes place. + +An ammoniacal solution of copper hydroxide (Schweizer's reagent), has +comparatively little action in the cold, but when hot it dissolves +wool fairly readily. + +The caustic alkalies; sodium hydroxide, NaOH, or potassium hydroxide +KOH, have a most deleterious action on wool. Even when very dilute and +used in the cold they act destructively, and leave the fibre with a +harsh feel and very tender, they cannot therefore be used for scouring +or cleansing wool. Hot solutions, even if weak, have a solvent action +on the wool fibre, producing a liquid of a soapy character from which +the wool is precipitated out on adding acids. + +This action of alkalies has an important bearing on the scouring of +wool, for if this operation be not carried out with due care there (p. 010) +is in consequence great liability to impair the lustre and strength of +this fibre. From microscopical examination this effect of alkalies is +seen to be due to the fact that they tend to disintegrate the fibre, +loosen and open the scales, this is shown by contrasting the two +fibres A and B shown in figure 4, A being a normal wool fibre, B one +strongly treated with an alkali. + +The alkaline carbonates have but little action on wool, none if used +dilute and at temperatures below 120 deg. F. + +[Illustration: Fig. 4.--Showing the Effects of Scouring Agents on the +Wool Fibre. A. Unscoured Fibre. B. Badly Scoured Fibre.] + +Soap has practically no action on wool, and is therefore an excellent +scouring material for wool. The carbonate of ammonia is the best and +has the least action of the alkaline carbonates, those of potash and +soda if used too strong or too hot have a tendency to turn the wool +yellow, the carbonate of potash leaves the wool softer and more +lustrous than the carbonate of soda. + +The influence of scouring agents on wool will be discussed in the +chapter on cleansing wool fabrics in more detail. + +Caustic or quick-lime has a similar injurious action on the wool fibre +as the caustic alkalies. + +#Action of Acids.#--Acids when dilute have but little influence on (p. 011) +the wool fibre, their tendency is to cause a separation of the scales +(see fig. 5) of the wool and so make it feel harsher. Strong acids +have a disintegrating action on the wool fibre. There is a very +considerable difference between the action of acids on wool and on +cotton, and this difference of action is taken advantage of in the +woollen industry to separate cotton from wool by the process commonly +known as "carbonising," which consists in treating the fabric with a +weak solution of hydrochloric acid or some other acid, then drying it; +the cotton is disintegrated and falls away in the form of a powder, +while the wool is not affected, sulphuric acid is used very largely in +dyeing wool with the acid- and azo-colouring matters. + +[Illustration: Fig. 5.--Wool Fibre Heated with Acid.] + +Nitric acid affects wool in a very similar manner to the acids named +above when used in a dilute form; if strong it gives a deep yellow +colour and acts somewhat destructively on the fibre. + +Sulphurous acid (sulphur dioxide) has no effect on the actual fibre, +but exercises a bleaching action on the yellow colouring matter which +the wool contains, it is therefore largely used for bleaching (p. 012) +wool, being applied either in the form of gas or in solution in water; +the method will be found described in another chapter. Wool absorbs +sulphur dioxide in large amount, and if present is liable to retard +any subsequent dyeing processes. + +#Action of Other Substances.#--Chlorine and the hypochlorites have an +energetic action on wool, and although they exert a bleaching action +they cannot well be used for bleaching wool. Hot solutions bring about +a slight oxidation of the fibre, which causes it to have a greater +affinity for colouring matters; advantage is taken of this fact in the +printing of delaines and woollen fabrics, while the woollen dyer would +occasionally find the treatment of service. A paper by Mr. E. Lodge, +in the _Journal of the Society of Dyers and Colourists_, 1892 (p. 41), +may be consulted with advantage on this subject. Wool treated with +chlorine loses its felting property, and hence becomes unshrinkable, a +fact of which advantage is taken in preparing unshrinkable woollen +fabrics. + +When wool is boiled with solutions of metallic salts, such as the +sulphate of iron, chrome, aluminium and copper, the chlorides of tin, +copper and iron, the acetates of the same metals, as well as with some +other salts, decomposition of the salt occurs and a deposit of the +metallic oxide on the wool is obtained with the production of an acid +salt which remains in solution. In some cases this action is +favourably influenced by the presence of some organic acid or organic +salt, as, for examples, oxalic acid and cream of tartar (potassium +tartrate), along with the metallic salt. + +On this fact depends the process of mordanting wool with potassium +bichromate, alum, alumina sulphate, ferrous sulphate, copper sulphate, +etc. The exact nature of the action which occurs is not properly +understood, but there is reason for thinking that the wool fibre has +the capacity of assimilating both the acid and the basic constituents +of the salt employed. + +Excessive treatment with many metallic salts tends to make the (p. 013) +wool harsh to the feel, partly owing to the scales being opened out and +partly owing to the feel naturally imparted by the absorbed metallic +salt. + +The normal salts of the alkaline metals, such as sodium chloride, +potassium sulphate, sodium sulphate, etc., have no action whatever on +the wool fibre. + +Wool has a strong affinity for many colouring matters. For some of the +natural colours, turmeric, saffron, anotta, etc., and for the neutral +and basic coal-tar colours it has a direct affinity, and will combine +with them from their aqueous solutions. Wool is of a very permeable +character, so that it is readily penetrated by dye liquors; in the +case of wool fabrics much depends, however, upon the amount of felting +to which the fabric has been subjected. + +If wool be boiled in water for a considerable time it will be observed +that it loses much of its beautiful lustre, feels harsher to the +touch, and also becomes felted and matted together. This has to be +carefully guarded against in all dyeing operations, where the handling +or moving of the yarns is apt to produce this unfortunate effect. + +After prolonged boiling the fibre shows signs of slight decomposition, +from the traces of sulphuretted hydrogen and ammonia gases which it +evolves. + +When wool is dried at 212 deg. F. it assumes a husky, harsh feel, and +its strength is perceptibly impaired. According to Dr. Bowman, the wool +fibre really undergoes a slight chemical change at this temperature, +which becomes more obvious at 230 deg. F., while at about 260 deg. F. +the fibre begins to disintegrate. According to the researches of Persoz, +however, temperatures ranging from 260 deg. F. to 380 deg. F. can be +employed without any harm to the wool, if it has previously been soaked +in a 10 per cent. solution of glycerine. + +When wool is heated to 212 deg. F. (100 deg. Cent.) it becomes (p. 014) +quite pliant and plastic and may be moulded into almost any shape, +which it still retains when cold. This fact is of much interest in +the processes of finishing various goods, of embossing velvet where +designs are stamped on the woven fabric while hot, and in the +crabbing and steaming of woollen goods, making hats, etc. + + + + +CHAPTER II. (p. 015) + +PROCESSES PREPARATORY TO DYEING, SCOURING AND +BLEACHING OF WOOL. + + +Wool scouring takes place at two stages in the process of manufacture +into cloth. First, in the raw state, to free the wool from the large +amount of grease and dirt it naturally contains; second, after being +manufactured into cloth, it is again scoured to free it from the oil +that has been added to the scoured raw wool to enable it to spin +easily. This oiling is generally known as wool batching, and before +the spun yarns or woven fabrics can be dyed it is necessary to remove +it. + +Raw wool is a very impure substance, containing comparatively little +wool fibre, rarely more than 50 to 60 per cent. in the cleanest +fleeces, while it may be as low as 25 per cent. in the dirtiest. + +First there is a small quantity of dirt; there is what is called the +suint, a kind of soapy matter, which can be removed by washing in hot +water. This soap has for its base potash, while its acids are numerous +and complex. The wool contains a fatty-like substance of the nature of +wax, called cholesterine, and this imparts to the fatty matter, which +be extracted from the wool fibre, very peculiar properties. Besides +these there are several other bodies of minor importance, all of which +have to be removed from the wool before it can be manufactured into +cloth. + +Marker and Schulz give the following analysis of a good sample of (p. 016) +raw wool:-- + +Moisture 23.48 per cent. +Wool fat 7.17 " +Wool soap (suint), soluble in water 21.13 " +Soluble in alcohol 0.35 " +Soluble in ether 0.29 " +Soluble in dilute hydrochloric acid 1.45 " +Wool fibre 43.20 " +Dirt 2.93 " + ------ + 100.00 + +Two principles underlie the methods which are in use for this purpose. +The first principle and the one on which the oldest method is based is +the abstraction of the whole of the grease, etc., from the wool by +means of an alkaline or soapy liquor at one operation. This cannot +nowadays be considered a scientific method. Although it extracts the +grease, etc., from the wool, and leaves the latter in a good condition +for after processes, yet with it one might almost say that the whole +of the soap or alkali used, as well as the wool grease itself, is lost +as a waste product; whereas any good process should aim at obtaining +the wool grease for use in some form or another. The second principle +which underlies all the most recent methods for extracting the grease +from the wool, consists in treating the fibre with some solvent like +benzol, carbon bisulphide, petroleum spirit, carbon tetrachloride, +etc., which dissolves out the cholesterine and any other free +fatty matter which is in the wool fibre, leaving the latter in such a +condition that by washing with water the rest of the impurities in the +wool can be extracted. By distilling off and recondensing the solvent +can be recovered for future use, while the wool fat can also be +obtained in a condition to use for various purposes. This is rather a +more scientific method than the old one, but it has not as yet come +into extensive use. + +#Wool Scouring. Old Methods.#--In the early days of wool scouring (p. 017) +this operation was done in a very primitive fashion, generally in a +few tubs, which could be heated by steam or otherwise, and in which +wool was worked by means of hand forks. These primitive processes are +still in use in some small works, especially where the wool is dyed in +the loose condition, but in all the large works machinery has been +adopted, which machinery has been brought to a high state of +perfection, and does its work very well, and without much attendant +manual labour. + +The alkaline substances used in this process of scouring demand some +notice. These comprise soda ash, soda crystals, caustic soda, silicate +of soda, potash, caustic potash, soaps of various kinds, stale urine, +ammoniacal compounds. Which of these may be used in any particular +case depends upon a variety of reasons. Potash is the best alkaline +agent to use. It agrees better with the fibre than any other, leaving +it soft and elastic. Ammonia is the next best, but it does not take +out the grease as well as the potash. Soda does not suit as well as +potash, as it has a tendency to leave the fibre harsh in feel and +somewhat brittle, yet on account of its being so much cheaper it is +the most largely used. The use of silicate of soda cannot be +recommended, as it has a great tendency to leave the fibre hard, which +may be ascribed to the deposition of silica on the fibre. + +The caustic alkalies cannot be used as they have too solvent an action +on the fibre. The carbonates, therefore, in the form of soda ash or +potash, or pearl ash, are used, or better still, soap is used as it +has a greater solvent action on the fatty matter of the wool than have +the alkalies, and in this respect a potash soap is better than a soda +soap. + +The character of the wool determines the alkali to be used; fine, +long-stapled wools, which are usually very free from grease in excess, +should always be treated with potash, or a potash soap, which will (p. 018) +remove the whole of the grease from the wool, leaving the latter in a +fine, soft, silky condition. + +Short-stapled wools can be treated with soap and a little soda ash, +but too much of the latter is to be avoided. Coarse and greasy wools +may be scoured with soap and soda ash, or other alkali which is almost +necessary to remove the large amount of grease these wools contain. + +Practically the only alkaline products now in use are the various hard +and soft soaps, and the carbonates of soda and potash in their various +forms of soda ash, soda crystals, potashes, pearl ash, etc. Ammonia +and its compounds are rarely used, while stale urine, which acts in +virtue of the ammonia it contains has practically gone out of use. + +#Hand-Scouring.#--Wool scouring by hand is easily done and requires few +appliances, simple tubs or vats of sufficient capacity in which steam +pipes are placed, so that the scouring liquors can be heated up. The +best temperatures to use are about 130 deg. to 140 deg. F., and it is +not advisable to exceed the latter, as there is then some risk that the +alkali may act on the fibre too strongly. + +The strength of the scouring liquor necessarily varies with the kind +of wool being treated, and with the kind of alkaline product used; if +soft, fine wools are being treated, then the liquor may be made with 1 +to 2 lb. of soap to 10 gallons of water (if a mixture of soap and +alkali is used, then it may contain from 1/4 to 1/2 lb. soda ash, and +1/2 lb. to 1 lb. of soap). For coarse, greasy wools these quantities +may be increased by about one-half. The best plan of scouring by hand +is to treat the wool in a tub with a scouring liquor for about half an +hour, then to squeeze out the surplus liquor and to treat again in a +new liquor for half an hour; this liquor may be used for a new batch +of wool. The wool is often put into nets, and these are lifted up and +down in the liquor so as to cause it to penetrate to every part of the +wool. + +It is not advisable to work the wool about too much, otherwise (p. 019) +felting might ensue and this must be avoided. The felting of the wool +is one of the troubles of the wool-scourer and is often difficult to +avoid, it is mostly brought about by excessive working of the wool +during the process, and by the use of too high a temperature in the +scouring bath. The remedies are obvious to the practical man, as +little handling of the wool as possible, and at as low a temperature +as possible. Still it is necessary to see that the scouring liquor +penetrates to every part of the wool which is being treated. + +To ensure this, care must be taken not to scour too much at one time, +so that the wool is loosely placed in the scouring tub, if placed +loose in the latter, the workmen can by means of forks work it to and +fro while in process of treatment. After the wool has been through +these scouring liquors it is thrown on a scray to drain, and is next +placed in cisterns which have perforated false bottoms. In these +cisterns it is washed with cold water two or three times, the water +being run off from the wool between each washing; it is then spread +out in a room to dry. As a rule, a man can wash from 500 lb. to +600 lb. of wool in a day by this method. Another plan which is +sometimes adopted so as to avoid handling the wool as much as +possible, and thus prevent felting, is to place the wool in cages +having perforated sides which will hold about 1 cwt. of wool. They are +lowered by means of cranes into the washing liquors, and the wool in +them is then worked for a quarter of an hour, when the cages and their +contents are lifted out and the surplus liquor allowed to drain off. +They are then lowered into the next bath, treated or worked in this, +again lifted out and dropped into the wash waters. + +There is by this plan a saving of handling, and more wool can be got +through in the same time, but it requires two men to work it. These +hand processes are only in use in small works, having been (p. 020) +replaced in all large works by mechanical methods described below. + +#Machine Scouring.#--Wool-scouring machinery has been brought to a high +state of perfection by the successive efforts of many inventors, and +by their means wool washing has been much simplified and improved. +Wool-washing machinery is made by several firms, among whom may be +mentioned Messrs. J. & W. McNaught, and John Petrie, Junior, Limited, +both of Rochdale. + +[Illustration: Fig. 6.--Wool-washing Machine.] + +Fig. 6 shows one form of wool-washing machine. It consists of a long +trough which contains the scouring liquor. In this machine the wool +enters at the left-hand end, and is seized by a fork or rake and +carried forward by it a short distance, then another rake seizes it +and carries it further forward to another rake, and this to the last +rake of the machine, which draws it out of the machine to a pair of +squeezing rollers which press out the surplus liquor, and from these +rollers the scoured wool passes to a travelling band for delivery from +the machine. Sometimes the wool is not entered into the trough direct, +but is put on a travelling apron which opens it and delivers it in a +more open form into the trough. The movement of the forks causes some +degree of agitation in the scouring liquor which facilitates the +penetration of the liquor through the wool, and thus brings about a +better scouring. + +After the wool has passed through the machine it is taken and run once +more through the machine. Some scourers use the same liquor, but it is +better to use fresh liquors, after which it is washed in the same +machine with water two or three times. With a single machine there is +some time and labour lost in transferring the wool from one end to the +other between the separate treatments, and in large works where a +great deal of wool is scoured it is usual to place three or four of +these machines end to end. + +The first is filled with strong scouring liquor, the second with (p. 022) +a weaker liquor, while the third and fourth contains wash waters, and +the wool is gradually passed by the action of the machine through the +series without requiring any manual aid. Between each machine it is +passed through squeezing rollers as before, and finally emerges +thoroughly scoured. A good plan of working in connection with such a +series of machines is to have four as above, two washing machines and +two soaping machines, the soap liquor is run through these in a +continuous stream, entering in at the delivery end of the second +soaper and passing out at the entering end of the first soaper. The +wool as it first enters the machine comes into contact with rather +dirty soap liquor, but this suffices to rid it of a good deal of loose +dirt; as it passes along the machine it comes in contact with cleaner +and fresher soap liquor, which gradually takes all grease and dirt out +of it, and, finally, when it passes out it comes in contact with fresh +liquor, which removes out the last traces of dirt and grease. In the +same way it passes through the washers, being treated at the last with +clean water. By this plan the scouring is better done, while there is +some saving of soap liquor and wash water, for of these rather less is +required than by the usual system. These are matters of consideration +for wool scourers. The wool-washing liquors after using should be +stored in tanks to be treated for recovery of the grease which they +contain. + +The temperature of the scouring liquors should be about 100 deg. F., +certainly not more than 120 deg. F., high temperatures are very liable to +bring about felting, while tending to increase the harshness of the +wool, particularly when soda is the agent used. By this method all the +wool fat, suint, etc., of the wool find their way into the soap +liquors. These were formerly thrown away, but they are generally +treated with acid and the fat of the soap and wool recovered, under +the name of wool grease or Yorkshire grease. (_Vide_ G. H. Hurst, (p. 023) +"Yorkshire Grease," _Jour. Soc. Chem. Ind._, February, 1889.) + +The wool fat consists largely of a peculiar fat-like body known as +cholesterine. This, however, is unsaponifiable, and cannot be made +into soap; at the same time when it gets into, as it does, the +recovered wool grease it spoils the latter for soap-making purposes. + +Cholesterine has some properties which make it valuable for other +purposes; it is a stable body not prone to decomposition, it is +capable of absorbing a large quantity of water, and it is on these +accounts useful for medicinal purposes in the production of ointments, +and it might be useful in candle-making. When it gets into recovered +grease it cannot be extracted from it in an economical manner. The +wool suint consists largely of the potash soaps of oleic and stearic +acids. These two fatty acids find their way into the recovered wool +grease but the potash salts are lost, while they would be valuable for +various purposes if they could be recovered. + +Another form of wool-washing machine has a frame carrying a number of +forks arranged transversely to the machine. The forks are by suitable +gearing given a motion which consists of the following cycle of +movements. The forks are driven forwards in the trough of the machine, +carrying the wool along with them, they are then lifted out, carried +back, and again allowed to drop into the machine, when they are ready +to go forward again. Thus the forks continually push the wool from one +end of the machine to the other. + +It is a common plan to have three machines placed end to end, so that +the wool passes from one to the other; in a set of this kind the first +machine should have a capacity of 1,500 gallons or thereabouts, the +second 1,000 gallons, and the third 750 gallons. + +#Wool Scouring by Solvents.#--Of late years processes have been (p. 024) +invented for the scouring of wool, either raw or spun by means of +solvents, like carbon bisulphide, benzol, petroleum spirit, etc. Such +processes are in a sense rather more scientific than the alkali +processes, for whereas in the latter the grease, etc., of the wool and +the oil used in batching it are practically lost for further use, and +therefore wasted, being thrown away very often, although they may be +partially recovered from the used scouring liquors, in the solvent +processes the grease and oil may be recovered for future use for some +purpose or other. + +The great objection to these processes is the danger that attends +their use, owing to the inflammable character of the solvents. Several +other objections may be raised, some of which are mechanical, and due +to the want of proper machinery for carrying out the processes. There +are many ways in which solvents may be applied, some are the subject +of patents. It is not possible to describe the details of all these, +but two of the most recent will be mentioned. + +In Singer's process, which was described in detail by Mr. Watson Smith +some time ago before the Society of Dyers and Colourists, carbon +bisulphide is used. The raw wool is placed between two endless bands +of wire, and it is carried through a series of troughs containing +bisulphide of carbon; during its passage through the troughs the +solvent takes out the grease, and loosens the other constituents of +the wool. After going through the bisulphide the wool is dried and +passed through water which completes the process. The carbon +bisulphide that has been used is placed in steam-heated stills, +distilled off from the grease, condensed in suitable condensers, and +used over again. In this process, with care, there is very little loss +of solvent. The grease which is recovered can be used for various +purposes, one of which is the manufacture of ointments, pomades, etc. +The disadvantages of bisulphide are: (1) It tends after some time (p. 025) +to cause the wool to acquire a yellow cast, due to the free +sulphur which it contains, and which being left in the wool gradually +causes it to turn yellow. By using redistilled bisulphide this defect +may be avoided. (2) Another defect is the evil odour of the solvent. +This, however, is less with redistilled bisulphide than with the +ordinary quality, and with suitable apparatus is not insuperable. (3) +Another defect is the volatility and inflammability of carbon +bisulphide. On the other hand, bisulphide possesses the very great +advantage of being at once heavier than, and insoluble in, water, and +it can be, therefore, stored under water very much more safely than +can any of the other solvents which are used. + +Burnell's machine has two troughs filled with benzoline. In these are +arranged a large central roller round which are some smaller rollers. +The wool passes round the large roller and is subjected to a number of +squeezings in passing the smaller rollers. A current of the benzoline +is continually passing through the machine. The whole is enclosed in a +hood to avoid loss of solvent as far as possible. After passing +through the benzoline trough the wool passes through a similar trough +filled with water. Benzoline is better than carbon bisulphide in that +there is no tendency on the part of the wool to turn yellow after its +use, on the other hand it is more inflammable, and when it does take +fire is more dangerous, and being lighter than water is not so readily +and safely stored. Another feature is that it is not so completely +volatile at steam temperatures, so that a little may be left in the +grease and thus tend to deteriorate it. Coal-tar benzol, the quality +known as 90's, would be better to use. + +The solvent processes are well worth the attention of wool scourers, +all that is required for their proper development being the production +and use of suitable machinery. + +After the raw wool has been scoured it is batched, _i.e._, it is (p. 026) +mixed with a quantity of oil for the purpose of lubricating the +wool to enable it more easily to stand the friction to which it is +subjected in the subsequent processes of spinning and weaving by +giving it greater pliability. + +For this purpose various kinds of oil are used. Olive oil is the +principal favourite, the variety mostly used being Gallipoli oil. +Ground-nut oil is also extensively employed, and is cheaper than +olive. Oleic acid a by-product of the candle industry, is extensively +used under the name of cloth oil, there is also used oleine, or wool +oil, obtained by the distillation of Yorkshire grease. + +So far as merely oiling the wool is concerned there is not much to +choose between these different oils, olive perhaps works the best and +agrees best with the wool. Mineral oils have been and can be used +either alone or mixed with the oils above mentioned, and so far as +lubricating the wool is concerned do very well and are much cheaper +than the fatty oils named above. + +The following are some analyses of various oils used as cloth oils +which the author has had occasion to analyse. + + 1. 2. 3. 4. +Specific gravity at 60 deg. F. 0.9031 0.9091 0.6909 0.8904 +Free fatty acid 55.02 64.42 51.52 68.05 +Unsaponifiable oil 34.56 9.95 32.80 9.52 +Saponifiable oil 10.32 25.32 15.68 12.43 + ------ ------ ------ ------ + 100.00 100.00 100.00 100.00 + +Nos. 1 and 2 are prepared from Yorkshire grease. The unsaponifiable +matter in these is purely natural, it will be seen it varies within +wide limits. Nos. 3 and 4 are made from the oleic acid of the candle +factories, and the unsaponifiable matter is due to their containing +mineral oil which has been added to them. + +So far as regards the object for which the wool is oiled, the mineral +oils will answer almost as well as the fatty oils and with most (p. 027) +satisfactory results from an economical point of view, for they are +much cheaper. But this is not the only point to be considered. The oil +has to be got out of the wool before the latter can be dyed. Now while +the fatty oils can be easily removed, by treatment with soap, and they +can be recovered along with the fat of the soap, mineral oils cannot +be entirely removed from the wool, what remains in will interfere very +much with the satisfactory dyeing of the wool, and what is got out +finding its way into the covered wool grease, spoils this for soap +making and other uses, so that on the whole what is gained in lessened +cost of oiling is lost by the increased liability to defects in dyeing +and consequently depreciation in value of the wool, and to decrease in +value of the recovered grease. + +The amount of oil used varies from 7 per cent. with the best wools to +15 per cent. with shoddy wools. The scouring agents generally used are +the same as those used in loose wool scouring, namely, carbonate of +soda for coarse woollen yarns, soap and soda for medium yarns, and +soap and ammonia for fine yarns. Prior to treating the yarns it is +best to allow them to steep in hot water at about 170 deg. F. for twenty +minutes, then to allow them to cool. The actual scouring is often done +in large wooden tubs, across which rods can be put on which to hang +the hanks of yarn, and in which are placed steam pipes for heating up +the bath. The best temperature to treat the yarn at is about 150 deg. F.; +too high a temperature must be avoided, as with increased heat the +tendency to felt is materially augmented, and felting must be avoided. +The hanks are treated for about twenty minutes in the liquor, and are +then wrung out, drained, and again treated in new scouring liquor for +the same length of time. After rinsing in cold water they are dried +and finished. + +When the oiled wool has been spun into yarns, whether worsted or (p. 028) +woollen, and passes into the hands of the dyer, it is necessary to +remove from it all the oil before any dyeing operations can be +satisfactorily carried out. This oil is removed by the use of soap and +weak alkaline liquors, using these at about 110 deg. to 120 deg. F. The +most common way is to have the liquor in a rectangular wooden tank, and +hang the hank of yarn in by sticks resting on the edges of the tank; +from time to time the hanks are turned over until all the oil has been +washed out, then they are wrung out and passed into a tank of clean +water to wash out the soap, after which the yarn is ready for dyeing. + +When the yarn is of such a character that it is liable to curl up, +shrink and become entangled, it is necessary that it be stretched +while it is being treated with the soap liquor; this is effected by a +stretching apparatus consisting of two sets of rollers connected +together by a screw attachment, so that the distance between the two +sets of rollers can be varied. The hanks are hung between each pair of +rollers, and can be stretched tightly as may be required. + +For pressing out the surplus liquor from the hanks of yarn a pair of +squeezing rollers is used. + +#Scouring Woollen Piece Goods.#--Very often before weaving the yarns are +not scoured to remove the oil they contain, as the weaving is more +conveniently done with oily yarn than with a scoured yarn. Before +dyeing the oil must be taken out of the pieces, and this can be +conveniently done by scouring in a washing machine such as is shown in +figures 7 and 8, using soap and soda liquors as before, and following +up with a good rinse with water. + +[Illustration: Fig. 7.--Cloth-washing Machine.] + +The soap liquors used in scouring yarns and pieces become charged with +oil, and they should be kept, and the oil recovered from them together +with the fatty matter of the soap, by treatment with sulphuric acid. +By subjecting the grease or fatty matter so obtained to a boil with +caustic soda soap is obtained which may be again used in scouring (p. 029) +wool. + +[Illustration: Fig. 8.--Cloth-washing Machine.] + +#Bleaching Wool.#--The wool fibre has to be treated very differently +from cotton fibre. It will not stand the action of as powerful +bleaching agents, and, consequently, weaker ones must be used. This is +a decided disadvantage, for whereas with cotton the colouring matter +is effectually destroyed, so that the bleached cotton never regains +its original colour, the same is not the case with wool, especially +with sulphur-bleached wool, here the colouring matter of the fibre is, +as it were, only hidden, and will under certain circumstances return. +The two materials chiefly used for bleaching wool are sulphur and +peroxide of hydrogen. + +[Illustration: Fig. 9.--Sulphur Bleach House.] + +#Sulphur Bleaching.#--Bleaching wool by sulphur is a comparatively (p. 030) +simple process. A sulphur house is built, the usual size being 12 feet +high by 12 feet broad, and about 17 feet long. Brick is the most suitable +material. The house should have well-fitting windows on two sides, +and good tight doors at the ends (see fig. 9). Some houses have a (p. 031) +small furnace at each corner for burning the sulphur, two of these +furnaces are fitted with hoods, so that the sulphur gases can be +conveyed to the upper part of the chamber, but a better plan, and one +mostly adopted where the chamber is used for bleaching pieces, is to +construct a false perforated bottom above the real bottom of the chamber, +the sulphur being burnt in the space between the two floors. If yarn +is being bleached the hanks are hung on wooden rods or poles in (p. 032) +the chamber, while with pieces an arrangement is constructed so that the +pieces which are stitched together are passed in a continuous manner +through the chamber. + +When all is ready the chamber doors are closed, and the furnaces are +heated, some sulphur thrown upon them, which burning evolves sulphur +dioxide gas, sulphurous acid, and this acting upon the wool bleaches +it. The great thing is to cause a thorough circulation of the gas +through every part of the chamber, so that the yarn or pieces are +entirely exposed in every part to the bleaching action of the gas. +This is effected by causing the gas to pass into the chamber at +several points, and, seeing that it passes upwards, to the ventilator +in the roof of the chamber. Generally speaking, a certain quantity of +sulphur depending upon the quantity of goods being treated is placed +in the chamber and allowed to burn itself out; the quantity used being +about 6 to 8 per cent. of the weight of the goods. After the +sulphuring the goods are simply rinsed in water and dried. + +Sulphur bleaching is not an effective process, the colouring matter is +not actually destroyed, having only entered into a chemical +combination with the sulphur dioxide to form a colourless compound, +and it only requires that the wool be treated with some material which +will destroy this combination to bring the colour back again in all +its original strength; washing in weak alkalies or in soap and water +will do this. Another defect of the process lies in sulphur being +volatilised in the free form, and settling upon the wool causes it to +turn yellow, and this yellow colour cannot be got rid of. + +The goods must be thoroughly rinsed with water after the bleaching, +the object being to rid the wool of traces of sulphuric acid, which it +often contains, and which if left in would in time cause the +disintegration of the wool. + +Sometimes the wool is washed in a little weak ammonia or soda (p. 033) +liquor, but this is not advisable, as there is too much tendency for +the colour of the wool to come back again, owing to the neutralising +of the sulphur dioxide by the alkali. + +Instead of using the gas, the sulphur dioxide may be applied in the +form of a solution in water. The goods are then simply steeped for +some hours in a solution of the gas in water until they are bleached, +then they are rinsed in water and dried. In this method it is +important that the solution of the gas be freshly made, otherwise it +is liable to contain but little sulphurous acid, and plenty of +sulphuric acid which has no bleaching properties, but, on the other +hand, is liable to lead to damage of the goods if it be not washed out +afterwards. + +A better method of utilising the bleaching action of sulphur in a +liquid form is to prepare a bath of bisulphite of soda, and acidify it +with hydrochloric acid, then to enter the wool, stirring well for some +time, and allowing it to steep for some hours, next to expose to the +air for a while, and rinse as before. + +It is better to allow the wool to steep for about an hour in a simple +bath of bisulphite, then enter into a weak hydrochloric acid bath for +a few hours. The acid liberates sulphur dioxide in a nascent +condition, which then exerts a more powerful bleaching action than if +it were already free. + +Even with liquid bleaching the bleach is not any more perfect than it +is with the gas bleaching; the colour is liable to come back again on +being washed with soap or alkali, although there is a freedom from the +defect of yellow stains being produced. + +Goods properly bleached will stand exposure to air for some +considerable time, but those imperfectly bleached exhibit a tendency +to regain their yellow colour on exposure to air. One fault which is +sometimes met with in sulphur bleaching is a want of softness in (p. 034) +the wool, the process seeming to render the fibre harsh. + +Washing in a little weak soft soap or in weak soda will remedy this +and restore the suppleness of the wool; at the same time care must be +taken that the alkaline treatment is not too strong, or otherwise the +bleaching effect of the sulphur will be neutralised as pointed out +above. + +#Bleaching Wool by Peroxide of Hydrogen.#--During recent years there has +come into use for bleaching the animal fibres peroxide of hydrogen, +or, as the French call it, oxygenated water. This body is a near +relation to water, being composed of the same two elements, oxygen and +hydrogen; in different proportions in water these elements are +combined in the proportion of 1 part of hydrogen to 8 parts of oxygen, +while in the peroxide the proportions are 1 of hydrogen to 16 of +oxygen. These proportions are by weight, and are expressed by the +chemical formulae for water H_{2}O, and for hydrogen peroxide +H_{2}O_{2}. Water, as is well known, is a very stable body, and +although it can be decomposed, yet it requires some considerable power +to effect it. Now the extra quantity of oxygen which may be considered +to have been introduced into water to convert it into peroxide has +also introduced an element of instability, the extra quantity of +oxygen being ever ready to combine with some other body for which it +has a greater affinity than for the water. This property can be +utilised in the bleaching industry with great advantage, true +bleaching being essentially a process of oxidation. The colouring +matter of the fibre, which has to be destroyed so that the fibre shall +appear white, is best destroyed by oxidation, but the process must not +be carried out too strongly, otherwise the oxidation will not be +confined to the colouring matter, but will extend to the fibre itself +and disintegrate it, with the result that the fibre will become +tendered and be rendered useless. + +Peroxide of hydrogen is a weak oxidiser, and therefore, although (p. 035) +strong enough to destroy the colouring matter of the fibre is not +strong enough to decompose the fibre itself. Hydrogen peroxide is sold +as a water-white liquid, without any odour or taste. Its strength is +measured by the quantity of oxygen which is evolved when one volume of +the liquid is treated with potassium permanganate; the most common +strength is 10 volume peroxide, but 30 and 40 volume peroxide is made. +On keeping it loses its oxygen, so that it is always advisable to use +a supply up as quickly as possible. + +Articles of all kinds can be bleached by simply placing them in a weak +solution of the peroxide, leaving them there for a short time, then +taking out and exposing to the air for some time. The best plan of +applying peroxide of hydrogen is the following: Prepare the bleaching +bath by mixing 1 part of peroxide with 4 parts of water. The strength +can be varied; for those goods that only require a very slight bleach +the proportions may be 1 to 12, while for dark goods the proportions +first given may be used. This bath must be used in either a wooden or +earthenware vessel. Metals of all kinds must be avoided, as they lead +to a decomposition of the peroxide, and therefore a loss of material. +To the bath so prepared just enough ammonia should be added to make it +alkaline, a condition that may be ascertained by using a red litmus +paper, which must just turn blue. Into the bath so prepared the +well-scoured goods are entered and worked well, so that they become +thoroughly saturated. They are then lightly wrung and exposed to the +air for some hours, but must not be allowed to get dry, because only +so long as they are moist is the bleaching going on; if they get dry +the goods should be re-entered into the bath and again exposed to the +air. + +If one treatment is not sufficient the process should be repeated. The +peroxide bath is not exhausted, and only requires new material to (p. 036) +be added to it in sufficient quantity to enable the goods to be +readily and easily worked in the liquor. Any degree of whiteness may +be obtained with a sufficient number of workings. No further treatment +is necessary. It is found in practice that an alkaline bath gives the +best results. + +Another plan of preparing the bleaching bath is to prepare a bath with +peroxide and water as before, then add to a sufficient quantity of a +solution of silicate of soda 4 parts of water to 1 of silicate of soda +at 100 deg. Tw., to make the bath alkaline. Into this bath the goods are +entered and are then exposed to the air as before, after which they +may be passed through a weak bath of sulphurous acid, being next well +washed in water and dried. + +The advantage of bleaching with peroxide is that, as it leaves only +water in the goods as the result of action, there is no danger of +their becoming tendered by an after development of acid due to +defective washing, as is the case with the sulphur bleach. The goods +never alter in colour afterwards, because there is nothing left in +that will change colour. Some bleachers add a little magnesia to the +bath, but this is not at all necessary. + +#Bleaching with Peroxide of Soda.#--Peroxide of soda has come to the +front of late for bleaching wool. With it a stronger bleaching bath +can be made, while the product itself is more stable than peroxide of +hydrogen, only it is needful to keep it in tightly closed metal +vessels, free from any possibility of coming in contact with water or +organic matter of any kind, or accidents may happen. In order to +bleach 100 lb. of wool, a bath of water is prepared, and to this is +added 6 lb. of sulphuric acid and then slowly 4 lb. of peroxide of +sodium in small quantities at a time. Make the bath slightly alkaline +by adding ammonia. Heat the bath to 150 deg. F., enter the wool and allow +to remain five to six hours, then rinse well and dry. If the (p. 037) +colour does not come out sufficiently white repeat the process. + + +THE CHLORINATION OF WOOL. + +The employment of chlorine in wool dyeing and wool printing has of +late years received an impetus in directions previously little thought +of. The addition of a little chlorine to the decoction of logwood has +been recommended as increasing the dyeing power of the wool. Treating +the wool with chlorine has a material influence in increasing its +capacity for taking dye-stuffs, and although but little attention has +been paid to this circumstance by wool dyers, yet among wool printers +it has come largely into use, and enables them to produce fuller and +faster shades than would otherwise be possible. + +The method involves the treatment of the wool first with an acid, then +with a solution of a hypochlorite. The staple becomes soft and supple +and assumes a silky character; in dyeing it shows a greater affinity +for the dyes than it did previously. Although not deteriorated in +strength, it almost entirely loses its felting properties. On account +of this feature the process cannot be adopted for wool which has to be +fulled, but it is of service where felting of the goods is to be +avoided, for worsteds, underwear, woollen and half woollen hosiery, +etc., in which the felting property that occurs on washing is rather +objectionable. + +By the chloring of the wool the intensity of the shade dyed is +increased to such a degree that when dyeing with Acid black, Naphthol +black, Naphthol green, Nigrosine, Fast blue, Water blue, and some +others dyed in an acid bath, but little more than half the dye used on +unchlored wool is required, while with Induline, more even and intense +shades are obtained than is otherwise possible. + +The operation of chlorination can be done either in one or two (p. 038) +baths. The choice depends upon circumstances and the judgment of the +dyer. The process by the two-bath method, with subsequent dyeing in +the second or separate bath is (for 100 lb. of wool), as follows. The +first bath contains, for light cloths, yarn, etc., from 3 to 4 lb. +sulphuric acid, 168 deg. Tw., and for heavier cloths and felt, where the +penetration and equalisation of the colour is difficult, from 8 lb. to +10 lb. of acid. Generally speaking, a temperature of 170 deg. to 175 +deg. F. is sufficient, although for heavy wool and for wool with poor +dyeing qualities it is well to use the bath at the boil. The treatment +lasts for half an hour, in which time the acid is almost completely +absorbed. + +The second bath contains a clear solution of 10 lb. bleaching powder, +which solution is prepared as follows. Dry bleaching powder of the +best quality is stirred in a wooden vat with 70 gallons of water, the +mass is allowed to stand, the clear, supernatant liquor is run into +the vat and the sediment stirred up and again allowed to settle, the +clear liquor being run off as before, and 5 gallons more water is run +in. The clear liquors of these three treatments are then mixed +together to form the chloring bath. Special care should be taken that +no undissolved particles of the bleaching powder should be left in, +for if these settle on the wool they result in too great a development +of chlorine, which injures the wool. + +The goods after being in the acid bath are entered in this chlorine +bath at a temperature of 70 deg. F., which is then raised to the boil. If +the acid bath has been strong, or been used at the boil, it is perhaps +best to rinse the goods before entering into the chlorine bath. The +hypochlorous acid disappears so completely from this bath that it may +at once be used as the dye-bath, for which purpose it is only necessary +to lift the goods, add the required amount of dye-stuff, re-enter the +goods and work until the bath is exhausted, which generally happens when +acid dyes are used. If a separate dye-bath be preferred, this is (p. 039) +made and used as is ordinarily done. + +To perform all the operations in one bath the acid bath is made with +from 3 to 4 lb. sulphuric acid, and the wool is treated therein for +thirty minutes at 170 deg. F., until all the acid has been absorbed. Then +the bath is allowed to cool down to 70 deg. or 80 deg. F., the clear +bleaching powder solution is added, the goods are re-entered, and the +bath is heated to the boil. When all the chlorine has disappeared add the +dye-stuff, and dye as directed above. + +In printing on wool the chlorination of the wool is a most important +preliminary operation. For this purpose the cloth is passed for +fifteen minutes at 170 deg. F. through a bath containing 3/4 oz. sulphuric +acid per gallon of water. Then it is passed through a cold bath of 3/4 +oz. bleaching powder per gallon of water, after which the cloth is +rinsed and dried and is then ready for printing. + +Another method of chloring the wool is to pass the goods through a +bath made with 100 gallons of water, 2 gallons hydrochloric acid and 2 +gallons bleaching powder solution of 16 deg. Tw. As some chlorine is given +off it is best to use this in a well-ventilated place. + + + + +CHAPTER III. (p. 040) + +DYEING MACHINERY AND DYEING MANIPULATIONS. + + +Wool is dyed in a variety of forms, raw, loose wool; partly +manufactured fibre in the form of slubbing or sliver; spun fibres or +yarns, in hanks or skeins and in warps, and lastly in the form of +woven pieces. These different forms necessitate the employment of +different forms of machinery and different modes of handling, it is +evident to the least unobservant that it would be quite impossible to +subject slubbing or sliver to the same treatment as yarn or cloth, +otherwise the slubbing would be destroyed and rendered valueless. + +In the early days all dyeing was done by hand in the simplest possible +contrivances, but during the last quarter of a century there has been +a great development in the quantity of dyeing that has been done, and +this has really necessitated the application of machinery, for hand +work could not possibly cope with the amount of dyeing now done. +Consequently there has been devised during the past two decades a +great variety of machines for dyeing every description of textile +fabrics, some have not been found a practical success for a variety of +reasons and have gone out of use, others have been successful and are +in use in dye-works. + +#Hand Dyeing.#--Dyeing by hand is carried on in the simplest possible +appliances, much depends upon whether the work can be done at the +ordinary temperature or at the boil. Figure 10 shows round and oval +tubs and a rectangular vat much in use in dye-houses. These are (p. 041) +made of wood, but copper dye-vats are also made, these may be used +for all kinds of material--loose fibre, yarns or cloth. In the case of +loose fibre this is stirred about either with poles or with rakes, +care being taken to turn every part over and over and open out the +masses of fibre as much as possible in order to avoid matting or +clotting together. In the case of yarns or skeins, these are hung on +sticks resting on the edges of the tub or vat. These sticks are best +made of hickory, but ash or beech or any hard wood that can be worked +smooth and which does not swell much when treated with water may be +used. The usual method of working is to hang the skein on the stick, +spreading it out as much as possible, then immerse the yarn in the +liquor, lift it up and down two or three times to fully wet out the +yarn, then turn the yarn over on the stick and repeat the dipping +processes, then allow to steep in the dye-liquor. This is done with +all the batch of yarn that is to be dyed at a time. When all the yarn +has been entered into the dye-bath, the first stickful is lifted out, +the yarn turned over and re-entered in the dye-liquor; this operation +is carried out with all the sticks of yarn until the wool has become +dyed of the required depth. In the case of long rectangular vats it is +customary for two men, one on each side of the vat, to turn the yarns, +each man taking charge of the yarn which is nearest to him. + +[Illustration: Fig. 10.--Dyeing-tubs and Vat.] + +Woven goods may be dyed in the tub or vat, the pieces being drawn in +and out by poles, but the results are not altogether satisfactory, (p. 042) +and it is preferable to use machines for dyeing piece goods. + +[Illustration: Fig. 11.--Dye-vat with Steam-pipe.] + +Plain tubs or vats, such as those shown in figure 10, are used for +dyeing and otherwise treating goods in the cold, or at a lukewarm +heat, when the supply of hot water can be drawn from a separate +boiler. When, however, it is necessary to work at the boil, then the +vat must be fitted with a steam coil. This is best laid along the +bottom in a serpentine form. Above the pipe should be an open +lattice-work bottom, which, while it permits the free circulation of +boiling water in the vat, prevents the material being dyed from coming +in contact with the steam pipe. This is important if uniform shades +are to be dyed, for any excessive heating of any portion of the bath +leads to stains being produced on the material in that part of the +bath. Figure 11 shows a vat fitted with a steam pipe. That portion (p. 043) +of the steam pipe which passes down at the end of the vat is in a +small compartment boxed off from the main body of the vat, so that no +part of the material which is being dyed can come in contact with it. +A closed steam coil will, on the whole, give the best results, as then +no weakening of the dye-liquor can take place through dilution by the +condensation of the steam. Many dye-vats are, however, fitted with +perforated, or as they are called, open steam coils, in which case +there is, perhaps, better circulation of the liquor in the dye-vat, +but as some of the steam must condense there is a little dilution of +it. + + +DYEING MACHINES. + +Dye-tubs and vats, such as those described above, have been largely +superseded by machines in which the handling or working of the +materials being dyed is effected by mechanical means. There have been +a large number of dyeing machines invented, some of these have not +been found to be very practical, and so they have gone out of use. +Space will not admit of a detailed account of every kind of machine, +but only of those which are in constant use in dye-works. + +#Dyeing Loose or Raw Wool and Cotton.#--Few machines have been designed +for this purpose, and about the only successful one is + +_Delahunty's Dyeing Machine._--This is illustrated in figure 12. It +consists of a drum made of lattice work which can revolve inside an +outer wooden casing. The interior of the revolving drum is fitted with +hooks or fingers, whose action is to keep the material open. One +segment of the drum is made to open so that the loose cotton or wool +to be dyed can be inserted. By suitable gearing the drum can be +revolved, and the dye-liquor, which is in the lower half of the wooden +casing, penetrates through the lattice work of the drum, and dyes (p. 044) +the material contained in it. The construction of the machine is well +shown in the drawing, while the mode of working is obvious from it and +the description just given. The machine is very successful, and well +adapted for dyeing loose or raw wool and cotton. The material may be +scoured, bleached, dyed or otherwise treated in this machine. + +[Illustration: Fig. 12.--Delahunty's Dyeing Machine.] + +The Obermaier Machine, presently to be described, may also be used for +dyeing loose cotton or wool. + +[Illustration: Fig. 13.--Obermaier Dyeing Machine.] + +#Dyeing Slubbing, Sliver or Carded Wool.#--It is found in practice that +the dyeing of loose wool is not altogether satisfactory, the +impurities they naturally contain interfere with the purity of the (p. 045) +shade they will take. Then again the dyes and mordants used in dyeing +them are found to have some action on the wire of the carding engine +through which they are passed; at any rate, a card does not last as +long when working dyed wools as when used on undyed cotton or wool +fibres. Yet for the production of certain fancy yarns for weaving some +special classes of fabrics it is desirable to dye the wool before it +is spun into thread. The best plan is undoubtedly to dye the fibre +after it has been carded and partly spun into what is known as +slubbing, or sliver. All the impurities have been removed, the wool +fibres are laid straight, and so it becomes much easier to dye. On the +other hand, as it is necessary to keep the sliver or slubbing straight +and level, no working about in the dye-liquors can be allowed to take +place, and so such must be dyed in specially constructed machines, and +one of the best of these is the + +_Obermaier Dyeing Machine_, which is illustrated in figure 13.--In (p. 046) +the Obermaier apparatus dye-vat, A, is placed a cage consisting of an +inner perforated metal cylinder, C, and an outer perforated metal +cylinder, D; between these two is placed the material to be dyed. C is +in contact with the suction end of a centrifugal pump, P, the delivery +end of which discharges into the dye-vat A. The working of the machine +is as follows: the slubbing or sliver is placed in the space between C +and D rather tightly, so that it will not move about. Then the inner +cage is placed in the dye-vat as shown. The vat is filled with the +dye-liquor, which can be heated up by a steam pipe. The pump is set in +motion, the dye-liquor is drawn from A to C, and in so doing passes +through the material packed in B and dyes it. The circulation of the +liquor is carried on as long as experience shows to be necessary. The +dye-liquor is run off, hot water is run in to wash the dyed material, +and the pump is kept running for some time to ensure thorough rinsing, +then the water is run off, and by keeping the pump running and air +going through a certain amount of drying can be effected. This machine +works very well, and with a little experience constant results can (p. 047) +be obtained. The slubbing or sliver may be scoured, bleached, rinsed, +dyed, washed, soaped, or otherwise treated without removing it from +the machine, which is a most decided advantage. + +[Illustration: Fig. 14.--Read Holliday's Yarn-dyeing Machine.] + +#Yarn Dyeing Machines.#--In figure 14 is given an illustration of a +machine for dyeing yarn in the hank form, made by Messrs. Read +Holliday & Sons, of Huddersfield. The illustration gives a very good +idea of the machine. It consists of a wooden dye-vat, which can be +heated by steam pipes in the usual way. Extending over the vat are a +number of reels or bobbins, these are best made of wood or enamelled +iron. These reels are in connection with suitable gearing, so that +they can be revolved. There is also an arrangement by means of which +the reels can be lifted bodily in and out of the dye-vat for the +purpose of taking on and off the hanks of yarn. A reel will hold about +2 lb. of yarn. The working of the machine is simple. The vat is filled +with the requisite dye-liquor. The reels which are lifted out of the +vat are then charged with the yarn, which has been previously wetted +out. They are then set in revolution and dropped into the dye-vat, and +kept there until it is seen that the yarn has acquired the desired +shade. The reels are lifted out and the hanks removed when the machine +is ready for another lot of yarn. + +There are several makers of hank-dyeing machines of this type, and as +a rule they work very well. The only source of trouble is a slight +tendency for the yarn on one reel if hung loosely of becoming +entangled with the yarn on other reels. This is to some extent +obviated by hanging in the bottom of the hank a roller, which acts as +a weight and keeps the yarn stretched and so prevents it flying about. + +To some makes of these machines a hank wringer is attached. + +[Illustration: Fig. 15.--Klauder-Weldon Dyeing Machine.] + +_Klauder-Weldon Hank-dyeing Machine._--This is illustrated in (p. 048) +figure 15, which shows the latest form. It consists of a +half-cylindrical dye-vat built of wood. On a central axis is built two +discs or rod carriers, which can revolve in the dye-vat, the +revolution being given by suitable gearing which is shown at the side +of the machine. On the outer edge of the discs are clips for carrying +rods on which one end of the hanks of yarn is hung, while the other +end is placed on a similar rod carrier near the axle. The revolution +of the discs carries the yarn through the dye-liquor contained in the +lower semi-cylindrical part of the machine previously alluded to. (p. 049) +At a certain point in every revolution of the discs the rods carrying +the yarns are turned a little; this causes the yarn to move on the +rods, and this motion helps to bring about greater evenness of dyeing. +The most modern form of this machine is provided with an arrangement +by means of which the whole batch of yarn can be lifted out of the +dye-liquor. Arrangements are made by which from time to time fresh +quantities of dyes can be added if required to bring up the dyed yarn +to any desired shade. This machine works well and gives good results. +Beyond the necessary labour in charging and discharging, and a little +attention from time to time as the operation proceeds, to see if the +dyeing is coming up to shade, the machine requires little attention. + +Many other forms of hank-dyeing machine have been devised. There is +Corron's, in which an ordinary rectangular dye-vat is used. Round this +is a framework which carries a lifting and falling arrangement that +travels to and fro along the vat. The hanks of yarn are hung on rods +of a special construction designed to open them out in a manner as +nearly approaching hand work as is possible. The machine works in this +way. The lifting arrangement is at one end of the vat, the hanks are +hung on the rods and placed in the vat. Then the lifter is set in +motion and moves along the vat; as it does so it lifts up each rod +full of yarn, turns it over, opening out the yarn in so doing, then it +drops it again in the vat. When it has travelled to the end of the vat +it returns, packing up the rods of yarn in so doing, and this motion +is kept up until the dyeing is completed. This machine is very +ingenious. + +A type of machine which has been made by several makers consists of an +ordinary rectangular dye-vat surrounded with a framework carrying a +number of sets of endless chains, the links of which carry fingers. +The hanks of yarn are hung on rods at one end of which is a tooth (p. 050) +wheel that when in position fits into a rack on the side of the vat. +The action of the machine is this, the hanks are hung on the rods and +placed at the entrance end of the vat, by the moving of the chains it +is carried along the vat and at the same time revolves, thus turning +over the yarn, which hangs in the dye-liquor; when it reaches the +opposite end of the vat, the rod full of yarn is lifted out, carried +upwards and then towards the other end of the vat when it is again +dropped into the dye-vat to go through the same cycle of movements +which is continued until the yarn is properly dyed. + +#Piece Dyeing Machines.#--Wherever it is possible it is far more +preferable to dye textile fabrics in the form of woven pieces rather +than in the yarn from which they are woven. During the process of +weaving it is quite impossible to avoid the material getting dirty and +somewhat greasy, and the operations of scouring necessary to remove +this dirt and grease has an impairing action on the colour if dyed +yarns have been used in weaving it. This is avoided when the pieces +are woven first and dyed afterwards, and this can always be done when +the cloths are dyed in one colour only. Of course when the goods are +fancy goods containing several colours they have to be woven from dyed +yarns. + +The most common form of machine in which pieces are dyed is the +jigger, commonly called the jig, this is shown in figure 16. It +consists of a dye-vessel made long, sufficiently so to take the piece +full width, wide at the top, narrow at the bottom. At the top on each +side is placed a large winding roller on which the cloth is wound. At +the bottom of the jig is placed a guide roller round which passes the +cloth. In some makes of jigs there are two guide rollers at the bottom +and one at the top as shown in the illustration, so that the cloth +passes several times through the dye-liquor. In working the cloth is +first wound on one of the rollers then threaded through the guide (p. 051) +rollers and attached to the other winding roller. When this is done +dye-liquor is run into the jig, and the gearing set in motion, and the +cloth wound from the full on to the empty roller. With the object of +keeping the piece tight a heavy press roller is arranged to bear on +the cloth on the full roller. When all the cloth has passed from one +roller to the other it is said to have been given "one end". The +direction of motion is now changed and the cloth sent in the opposite +direction through the jig and the piece has now received another +"end". This alternation from one roller to the other is continued as +long as is deemed necessary, much depending on the depth of colour +which is being dyed, some pale shades may only take two or three ends, +deeper shades may take more. When dyeing wool with acid colours which +are all absorbed from the dye-liquor, or the bath is exhausted, it is +a good plan to run the pieces several ends so as to ensure thorough +fixation of the dye on the cloth. + +[Illustration: Fig. 16.--Dye-jiggers.] + +It is not advisable in working these jigs to add the whole of the dye +to the liquor at the commencement, but only a part of it, then when +one end is given another portion of the dye may be added, such (p. 052) +portions being always in the form of solution. Adding dyes in powder +form inevitably leads to the production of colour specks on the +finished goods. The reason for thus adding the dye-stuff in portions +is that with some dyes the affinity for the fibre is so great that if +all were added at once it would be absorbed before the cloth had been +given one end, and, further, the cloth would be very deep at the front +end while it would shade off to no colour at the other end. By adding +the dye in portions this difficulty is overcome and more level shades +are obtained, but it is met with in all cases of jigger dyeing. It is +most common in dyeing wool with basic dyes like Magenta, Auramine, (p. 053) +Methyl Violet or Brilliant Green, and with acid dyes like Acid Green, +Formyl Violets, Azo Scarlet or Acid Yellow. + +[Illustration: Fig. 17.--Dye-jigger in Section.] + +Some attempts have been made to make jiggers automatic in their +reversing action, but they have not been successful owing to the +greatly varying conditions of length of pieces, their thickness, etc., +which have to be dyed, and it is next to impossible to make all +allowances for such varying conditions. + +[Illustration: Fig. 18.--Wince Dye Beck.] + +In figure 17 is shown the jig in section, when the working of the +machine can be more easily traced. + +#The Jig Wince or Wince Dye Beck.#--This dyeing machine is very largely +used, particularly in the dyeing of woollen cloths. It is made by many +makers, and varies somewhat in form accordingly. Figures 18 to 21 show +three forms by different makers. In any make the jig wince or wince +dye beck consists of a large rectangular, or in some cases (p. 054) +semi-cylindrical, dye-vat. Probably the best shape would be to have a +vat with one straight side at the front, and one curved side at the +back. + +[Illustration: Fig. 19.--Wince Dye Beck.] + +In some a small guide roller is fitted at the bottom, under which the +pieces to be dyed pass. Steam pipes are provided for heating the +dye-liquors. The beck should be fitted with a false bottom, made of +wood, perforated with holes, or of wooden lattice work, and under +which the steam pipes are placed. The object being to prevent the +pieces from coming in contact with the steam pipes, and so (p. 055) +preventing the production of stains. Above the dye-vat and towards the +back is the wince, a revolving skeleton wheel, which draws the pieces +out of the dye-vat at the front, and delivers them into it again at +the back. The construction of this wince is well shown in the +drawings. The wince will take the pieces full breadth, but often they +are somewhat folded, and so several pieces, four, five or six, can be +dealt with at one time. In this case a guide rail is provided in the +front part of the machine. In this rail are pegs which serve to keep +the pieces of cloth separate, and so prevent entanglements. The pieces +are stitched end to end so as to form an endless band. When running +through the vat they fall down in folds at the back part of the beck, +and are drawn out from the bottom and up in the front. Each part thus +remains for some time in the dye-liquor, during which it necessarily +takes up the dye. + +[Illustration: Fig. 20.--Plush Fabric Dyeing Machine.] + +Figures 18 and 19 show forms of these wince dyeing machines, +constructed of wood, and very largely used in the dyeing of woollen +cloths. They are serviceable forms, and give very good results, being +suitable for all dyes. + +Figure 20 is a form of machine better adapted than the preceding (p. 056) +for the dyeing of plush fabrics. In this kind of cloth it is important +that the pile should not be interfered with in any way, and experience +has shown that the winces of the form shown in figures 18 and 19 are +rather apt to spoil the pile; further, of course, plush fabrics are +dyed full breadth or open. In the wince now shown all troubles are (p. 057) +avoided, and plush fabrics can be satisfactorily dyed in them. + +[Illustration: Fig. 21.--Copper Cased Dye Beck. Mather & Platt.] + +Figure 21 shows a dye-bath built of iron, cased with copper, suitable +for dyeing most colours on woollen cloths. + +[Illustration: Fig. 22.--Read Holliday's Hawking Machine.] + +In the jig and wince dyeing machines the pieces necessarily are for a +part of the time, longer in the case of the jigger than in that of the +wince, out of the dye-liquor and exposed to the air. In the case of +some dyes, indigo especially, this is not desirable, and yet it is +advisable to run the cloth open for some time in the liquor so as to +get thoroughly impregnated with the dye-liquor. + +The so-called hawking machine, figure 22, is an illustration of Read +Holliday's hawking machine, made by Messrs. Read Holliday & Sons, of +Huddersfield. There is the dye-vat as usual; in this is suspended the +drawing mechanism, whose construction is well shown in the drawing. +This is a pair of rollers driven by suitable gearing, between which +the cloth passes, and by which it is drawn through the machine. A +small roller ensures the cloth properly leaving the large rollers, (p. 058) +then there is a lattice-work arrangement over the pieces are drawn. In +actual work the whole of this arrangement is below the surface of the +dye-liquor in the vat. The piece to be dyed is threaded through the +machine the ends stitched together, then the arrangement is lowered +into the dye-vat and set in motion, whereby the cloth is drawn +continuously in the open form through the dye-liquor, this being done +as long as experience shows to be necessary. This hawking machine will +be found useful in dyeing indigo on wool, in mordanting and dyeing +wool with the Alizarine series of dyes. + + + + +CHAPTER IV. (p. 059) + +THE PRINCIPLES AND PRACTICE OF WOOL DYEING. + + +The various methods which are used in dyeing wool have, of course, +underlying them certain principles on which they are based, and on the +observance of which much of the success of the process depends. +Sometimes these principles are overlooked by dyers, with the result +that they do not get good results from their work. It must be obvious +to any person with any technical knowledge that all processes of +dyeing either wool or silk, or cotton or any other fibre, must take +into consideration the properties of the fibre on the one hand, and +that of the dye-stuff on the other. Wool must be treated differently +from cotton, a process of dyeing which gives good results with the +latter fibre would lead to nothing but disastrous effects with wool or +silk; on the other hand, processes are used in the dyeing of wool +which could not be possibly used for cotton on account of the very +different properties of the fibre. + +A few words as to the properties of wool as far as they relate to the +methods of dyeing may be of use. Wool has the property of resisting +the action of acids in a great degree, so that it may be treated with +even strong acids with impunity. On the other hand, alkalies and +alkaline solutions have strong action on it; the caustic alkalies +rapidly dissolve wool, and their use must be avoided in all cases of +dyeing this fibre. The carbonates of the alkalies have not so strong +an action, and therefore may be used in moderation; nevertheless, (p. 060) +too strong solutions of these should not be used. Soap has no +disintegrating action on wool, and soap solutions may be used whenever +necessary for cleansing or dyeing wool. Ammonia has no action on wool, +and it may be used in place of soap if desired. There is one feature +of wool that must be alluded to here, and that is its felting +property. When wool is boiled with water and is handled a good deal, +the fibres clot or felt together into a firm coherent mass. This +should be avoided as much as possible, and when wool is cleansed and +dyed in the loose condition it is absolutely necessary that every care +be taken to avoid felting. This condition is much influenced by the +temperature and the condition of the bath in which the wool is being +treated, too high a temperature or too prolonged a treatment tends to +increase the felting, therefore in dyeing wool prolonged treatment at +the boil must be avoided. + +Further, the condition of the bath has some influence on this point; +it is found that an alkaline bath tends to considerably increase the +felting properties of the wool, and on this account dyers invariably +avoid the use of both the caustic and carbonated alkalies. Strong soap +liquors have also some influence in the direction of increasing the +felting, therefore soap should not be used if it can possibly be done +without. Ammonia has not so strong a felting action as the other +alkalies. Acids, on the other hand, exert a retarding action on the +felting of the wool, and this is a matter of some interest and +importance in the dyeing of wool, as an acid condition of the bath is +necessary for dyeing by far the great majority of colouring matters on +this fibre. Alkaline salts, such as Glauber's salt and common salt, +exert little or no influence on this felting property, and can be +added to dye-baths with impunity, and in many cases with good effect, +so far as the quality of dyeing is concerned. + +So far as the properties of the wool are concerned, it is seen (p. 061) +that an acid condition of the dye-bath will work better than an +alkaline condition, and wherever it is possible to use acids such +should be added. + +What has been said in regard to wool is equally true of all fibres +derived from animals in the same way as wool is, such as horse-hair, +fur of rabbits, hares and other animals, although, of course, there +are some minor differences between different furs in their resistance +to the action of acids and alkalies. + +The next feature that influences the methods of dyeing wool is the +varying properties of the dye-stuffs, or colouring matters. It is +obvious that those which, like Magenta or Saffranine, have a strong +affinity for the wool fibre must be dyed differently from those which, +like Alizarine and Gambine, have no direct affinity for the wool +fibre, and, further, which require the aid of mordants before they can +be dyed, and on the character of which mordants the colour that is +fixed on the fibre depends. + +The dye-stuffs, independently of the question whether they be derived +from natural sources or be of artificial origin, may be roughly +divided into five groups, some of which may also be subdivided again +as will be shown later on. These groups may be named the (1) Neutral, +(2) Basic, (3) Acid, (4) Mordant, and (5) Indigo dye-stuffs. The first +two classes are practically dyed in the same way; but as there is a +great difference in the chemical composition of the colouring matters +comprised in them, it will be best to consider them separately. + +_First Method_.--This method is used in applying the now large and +increasing group of azo dye-stuffs, which are characterised by being +able to dye unmordanted cotton from a simple boiling bath. The +dye-stuffs that are applied by the method now to be described include +such as Benzopurpurine, Chrysamine, Chrysophenine, Titan red, Titan +yellow, Benzo brown, Diamine red, Diamine brown, Diamine blue, (p. 062) +Congo blue, Congo red, etc. The dyeing is done in a bath at the boil. +If the bath contained only the dye-stuffs there would be a liability +for the dyeing to be uneven, to prevent which a saline compound, such +as salt, is added. Taking it all round, salt is the best body to add +as it suits all colours very well indeed. Then come Glauber's salts; +borax and phosphate of soda can also be used, but, owing to their +slight alkaline properties, they are not so good as the neutral salts, +like the two first named. When these colouring matters are dyed on +cotton some of them dye best in a bath containing potash or soda, but +these bodies, for reasons previously pointed out, are not available in +wool dyeing, and should never be used. Wool dyes best in a slightly +acid bath, and this may be taken advantage of in dyeing the yellows +and blues of this group by adding a small quantity of acetic acid. The +reds, as a rule, are affected by acids, and, therefore, it is not +possible to use an acid bath with Benzopurpurine, Congo red, with the +possible exception of the Titan reds and scarlets, Diamine scarlet, +Benzo fast scarlet, Purpuramine, which are faster to acetic acid than +the other reds of this class of dye-stuffs. + +Probably the best plan of dyeing these colours is to first heat the +bath to about 160 deg. F., then enter the goods, and turn over two or +three times to ensure that they are thoroughly impregnated with +dye-liquor. The bath is now raised to the boil, and, steam being +turned off, the goods are handled without further steam until the +desired shade is obtained. Another plan is to enter the goods when the +bath is at about 150 deg. F., and, after raising to the boil, to work for +half to one hour at that heat; but the plan first described gives +rather better results, and is far preferable. The dye-baths, as a +rule, are not completely exhausted, except when very pale shades are +being dyed; in no case is it necessary to throw the dye-bath away, but +simply to add the required amount of dye-stuff for a new batch; (p. 063) +with those colouring matters which are not entirely exhausted from the +bath a smaller amount, generally about three-fourths only, is required +to be added, with about one-third the quantity of salt which was added +to the first bath. Of course it is not advisable to keep the same bath +or liquor in work always, but after about twenty or thirty batches of +goods are dyed to throw it away and start a fresh liquor. + +As a rule it will be found that these dye-stuffs are more thoroughly +taken up from the bath than is the case in dyeing cotton; thus often +with the same amount of dye-stuff in proportion to the material used +the wool will dye rather a deeper shade than will cotton. In some +cases, especially with the blues and violets, the shade is greatly +different on wool from what it is on cotton, being generally redder +and much stronger. (See the chapter on Union Dyeing.) While the shades +are somewhat faster to light on wool than they are on cotton, they are +no faster to soaping and in some cases not so fast. What may be the +function of the salt, or other such added substance, is not very +clear, probably it plays the same part as to similar bodies in dyeing +the basic dye-stuffs. The dye-stuffs which are referred to above are +all derived from coal-tar, and in the recipes which follow many +examples of their use will be found. + +There are but few natural dye-stuffs that have any direct affinity for +wool. Turmeric, saffron, anotta, are about the only representatives, +and these are not of much importance in wool dyeing by themselves, +although they are sometimes used in conjunction with other natural +dye-stuffs, when they are applied by a process which is adapted more +especially for the other dye-stuff which is used. + +_Second Method_.--The method of wool dyeing now being dealt with does +not differ essentially from that described above, but as it is applied +to quite a different class of dye-stuffs it is thought better to +consider it as a second method. The dye-stuffs made use of in (p. 064) +this method are what are called the basic coal-tar colours, and it may +be remarked in passing that there are no natural colouring matters +having the same properties. These dye-stuffs are derived from a number +of so-called colour bases, such as Rosaniline, Pararosaniline, +Methylrosaniline, Phenyl-rosaniline, and Auramine base. Many of these +are colourless bodies containing the Amidogen group NH_{2}, which +imparts to them basic properties enabling them to combine with solids +to form salts, and these salts have a strong colouring power. They +form the commercial dye-stuffs Magenta, Saffranine, Thioflavine T, +Auramine, Benzoflavine, Brilliant green, Methyl violet, etc., and +these are salts (usually the hydrochloride) of colour bases. All these +basic dye-stuffs have strong affinity for the wool fibre, and will +immediately combine with it, dyeing it in colours which resist +washing, etc., to a considerable extent, although there are great +differences between the various members of the group in this respect. +It has been shown that what takes place in dying wool with these +colouring matters is that the colour base combines with the fibre the +acid of the dye-stuff remaining in the dye-liquor. + +Although it is possible to dye wool with the basic dyes from a plain +bath containing water only, yet the results are not satisfactory, +especially when working on a large scale; and for dyeing pale shades +especially, the affinity of the dye-stuff for the fibre is so great +that the first portions of the goods which are entered into the +dye-bath have a great tendency to absorb all the dye-stuff, or the +larger proportion of it, so that uneven dyeing is the result, one end +of the piece of cloth being darker than the other end. This defect is +particularly accentuated when pale tints are being dyed, the colouring +matter being completely absorbed before all the goods are entered into +the bath, but it may be remedied by adding the dye-stuff to the bath +in small quantities at intervals during the process of dyeing. The (p. 065) +best and most satisfactory method, however, is to add to the bath 10 +per cent. of the weight of the wool of Glauber's salt, or some other +neutral alkaline salt, which addition almost entirely prevents any +defect of uneven dyeing. How these assistant mordants act is somewhat +uncertain, the explanation generally given is that they exert a +slightly solvent action on the dye-stuff, and so prevent it from going +upon the fibre too readily. This is scarcely an adequate explanation, +but in want of a better it will have to stand. + +The affinity of the basic dyes for wool increases with increase of +temperature. This is a property that has an important bearing on the +method of dyeing, and to any person who pays some attention to theory +in its practical applications it indicates the most rational method of +working, which is to enter the goods into the bath cold, or, at the +most, at a hand heat, then, after working a short time to get the +goods thoroughly impregnated with the dye-stuff, to gradually raise +the temperature to the boil and work for from half an hour to an hour +longer, even if before this time the dye-bath be exhausted. The reason +for giving a fair length of time in the bath is to get the colour +properly fixed on the fibre. The combination of the dye-stuff and the +fibre is a chemical one, and, as stated above, the dye-stuff has to be +decomposed so that the base may combine with the essential constituent +of the wool fibre, while it is obvious that this decomposition and +then the union of the colour base with the wool must take time, and as +it is effected more easily and completely at the boiling point, it is +advisable to work the goods in the bath so as to fully insure that +they are given the necessary time for the chemical change to take +place. + +The dye-bath is generally completely exhausted of colour, but if +fairly clean it need not be thrown away, but used for another batch of +wool by simply adding more Glauber's salt and dye-stuff. After a (p. 066) +time the bath gets too dirty to used, when it may be thrown away, and a +new dye-liquor made up. + +In dyeing for pale shades it is best to add the dye-stuff in small +quantities at intervals during the process of dyeing, and to run the +goods quickly through the bath, so as not to give the dye-stuff too +much opportunity to become absorbed by a portion of the goods only. + +Working according to the hints given above, the dyeing of wool with +the basic coal-tar colours may be carried out in a very satisfactory +manner. + +_Third Method_.--This method consists in dyeing the wool in a bath +containing the dye-stuff, a little acid (usually sulphuric) with the +addition of Glauber's salt, or some other alkaline salt, the essential +feature or principle being that the bath is an acid one. This method +is applicable to the large group of azo dye-stuffs derived from coal +tar, and also to the acid dyes prepared from the basic coal-tar +colours by the process of sulphonation. + +It is also used to apply indigo carmine to wool, probably the only +good example of a natural dye-stuff applied by this process. Most of +the natural colouring matters, such as logwood and fustic, belong to +another group of dye-stuffs. + +The simple azo dyes are combinations of two or more organic bases, +united together by a peculiar and characteristic group of nitrogen +atoms. Such azo colours are, however, insoluble in water, and +therefore they cannot be used in dyeing and textile colouring, +although the firm of Messrs. Read Holliday & Sons years ago patented a +process whereby these insoluble azo colours could be developed on the +cotton fibre direct, and thus fabrics made from that fibre could be +dyed in fast colours. When these insoluble azo colours are treated +with sulphuric acid they are converted into sulpho acids, undergoing +what is called sulphonation, an operation of the greatest (p. 067) +importance and value in the preparation of dye-stuffs. The preparation +of indigo extract or indigo carmine from indigo is also a case of +sulphonation. The sulpho-acids of the azo colours, of the basic dyes, +and of indigo are usually insoluble in water, although there are great +differences in their properties in this respect. They will combine +with bases such as soda, calcium and potash to form salts which are +soluble in water, and it is usually in the form of sodium salts that +these azo and acid dye-stuffs are sold to the dyer and calico printer. +It is this power of combination with bases that makes them of value in +wool dyeing. As Knecht and other authorities have pointed out, the +wool fibre contains a basic principle capable of combining with acid +bodies, and in wool dyeing with the colouring matters under +discussion, this combination occurs between the sulpho-acid of the +dye-stuff and the basic principle of the wool fibre. + +This points to the fact that the dye-stuffs of this class do not +combine with the wool in the form in which they are supplied to the +dyer as sodium salts, which is shown by a property that many if not +all of them possess, of not dyeing the wool fibre in a neutral bath. +If a piece of wool be immersed in a solution of, say, a scarlet or +indigo extract, which is neutral it is not dyed. The dye-liquor may +penetrate thoroughly throughout the fabric, but if the piece of wool +be lifted out, and allowed to drain, nearly all the liquor will drain +away, and leave the wool nearly if not quite white, showing that the +dye-stuff in the form in which it is sold has no affinity for the wool +fibre. If now a few drops of sulphuric acid be added to the dye-liquor +the wool will become dyed. The sulphuric acid liberates the free +sulpho-acid of the dye-stuff, and this is now in a form to combine +with the wool fibre, which it does. This is the fundamental principle +underlying the acid method for dyeing wool with the acid group of +colouring matters. + +The practical application of the principle laid down above is a (p. 068) +matter of simplicity compared with the other methods of dyeing. The +composition of the bath is given above. It is best to enter the wool +at from 150 deg. to 160 deg. F. and then to raise the temperature slowly +to the boil. This method of proceeding gives time for the free colour +acid of the dye to be liberated from the dye-stuff on the one hand, +and for its combination with the wool fibre on the other. In dyeing +pale tints with acid dye-stuffs it is a good plan not to add the acid +until after the goods have been entered into the bath and worked for a +short time to enable them to become impregnated with the dye-liquor; +the acid may be then added, and the dyeing may be finished as usual. + +By this plan of working more even dyeings can be obtained than by +simply entering the goods direct into an acidified dye-liquor. + +Any kind of acid may be employed, but generally sulphuric acid is +used, partly because it is cheap, and partly because it is the +commonest acid known. Acetic acid is also used in many cases. + +_Fourth Method_.--We now come to the fourth method of dyeing wool. +Strictly, perhaps, it is not a single method, but a group of methods, +which are used to supply a certain class of dye-stuffs to the wool +fibre; but as the governing principle depends upon the peculiar +property of the dye-stuffs now to be noticed, which underlies all the +variations of the process of dyeing, it has been thought better to +speak of the fourth method rather than to subdivide further, in which +case the fundamental principle might be lost sight of. + +The class of dye-stuffs included in the fourth group was named by +Bancroft the "adjective" group, because they require the aid of a +second body, named the mordant, to properly develop and to fix the +colour of the dye-stuff on the wool. It is sometimes known as the +"mordant dye-stuff" class, and this is perhaps its best name. This (p. 069) +group of colouring matters comprises dye-stuffs of both natural and +artificial origin, the latter of which are getting very numerous and +valuable, and bid fair to displace the natural members of the group. +With but few exceptions the adjective dye-stuffs are not colouring +matters of themselves, _i.e._, they will not dye wool or other fibres +by themselves. Some are coloured bodies, such as fustic, logwood, +Persian berries, Anthracene yellow, etc., but many are not so, and +some possess but little colour, which, moreover, gives no clue to the +colours that can be developed therefrom. + +All the colouring matters of this class possess either a distinctively +acid character, or belong to the class of phenols, which, while not +being true acids, still possess weak acid functions that enable them +to combine with bases like acids. These bodies have the property of +combining with bases and metallic oxides, such as soda, potash, iron, +alumina, chrome, tin, nickel, cobalt, etc., forming a series of salts. +Those of soda and potash are usually soluble in water, while those of +the other metals are insoluble, and are usually of strong colour. It +is on this property of forming these insoluble coloured bodies, colour +lakes, as they are called, that the value of the adjective dye-stuffs +in dyeing depends. + +The group of adjective colouring matters may be subdivided into two +divisions, not depending upon any differences in the mode of +application, but upon certain differences in the results they give. +Perhaps the best example of an adjective dye-stuff is Alizarine. This +body has a faint red colour, but of itself possesses absolutely no +colouring power. When, however, it is brought into combination with +such metallic oxide as alumina, iron and chrome, then it forms +coloured bodies, the colour of which varies with the metal with which +it is in union, thus with alumina, it is a bright red; with iron, a +dark violet, almost black; with chrome, a deep red; with tin, a (p. 070) +scarlet; and so on. This is a representative of the true adjective +dyes, which comprise most of the so-called Alizarine dye-stuffs, and +logwood, fustic, and most of the natural dye-stuffs. Another division +of the group includes a few colouring matters of recent introduction, +like Azo green, Alizarine yellow, Galloflavine, Anthracene yellow, +Flavazol, etc., which, while forming insoluble colour lakes with +metallic oxides, do not give different colours with different metals. + +This class of dye-stuffs, owing to their forming these insoluble +colours, gives really fast colours, capable of resisting lengthened +exposure to light and air, and resisting washing, acids and alkalies. +Of course there are differences between the various members of the +group in this respect, and even the resisting power of an individual +member depends a good deal on the metal with which it is combined, and +the care with which the process of dyeing has been carried out. + +In the dyeing of these adjective dye-stuffs, upon the various fibres, +and on wool in any particular, the object is to bring about in any +convenient way the formation on the fibre of the metallic combination +of the colouring principle and the mordant, and it is obvious that if +a satisfactory result is to be obtained, then this must be done in a +very thorough manner. There are three ways in which this combination +of colouring principle and mordant may be brought about in dyeing wool +with these bodies, we may either mordant the wool first, and then +apply the dye-stuff, or we may impregnate the wool with the dye-stuff +first, and then fix or develop the colour afterwards, or, lastly, we +may carry on both operations in one process. Each of these methods +will now be discussed, and their relative advantages pointed out. + +The mordanting method is one of the most generally useful. It consists +in first causing a combination of the metal with the wool fibre. (p. 071) +This is carried out by boiling the wool in a solution of the metal, +such as bichromate of potash, chrome alum or chrome fluoride when +chrome is to be used as a mordant, with alum or sulphate of alumina +when alumina is required to be deposited on the fibre, and with +copperas when iron is to be the mordant. It is best to add a little +oxalic acid, cream of tartar, or tartaric acid to the mordanting bath, +which addition helps in the decomposition of the metallic salt by the +wool fibre, and the deposition of the metallic oxide on the wool. With +bichromate of potash, sulphuric acid is often used, much depending +upon the character of the mordant required. Some dye-stuffs, such as +logwood for blacks, work best when the wool is mordanted with chromic +acid, which is effected when sulphuric acid is the assistant mordant. +Other dye-stuffs, such as fustic, Persian berries and Alizarine +yellow, are best dyed on a basic chrome mordant, which is effected +when tartar or oxalic acid is the assistant mordant used, or when some +other form of chrome compound than bichrome is employed. + +The actual mordanting is done by boiling the wool in a bath of the +mordant, the quantity of which should be varied according to the +particular mordant that is being employed and to the quantity of +dye-stuffs which is to be used. It is obvious that for a fixing deep +shade of, say, Alizarine on the wool, a larger quantity of mordant +will be required than to fix a pale shade; sometimes this point is +overlooked and the same amount of mordant employed for pale or deep +shades. The best plan of carrying out the mordanting is to enter the +wool in the cold bath or at a hand heat, and then raise to the boil +and continue the boiling for one hour; of course the goods should be +kept turned over during the process to facilitate the even mordanting +of the wool. A great deal of the success of dyeing with the dye-stuffs +now under consideration depends upon the efficiency with which the (p. 072) +mordanting has been carried out. If this is at all unevenly done then +no amount of care in the succeeding dyeing process will lead to the +development of an even dyeing. After the mordanting is finished the +goods should be rinsed with water, but it is not necessary to dry +them. + +The next stage in the process is the actual dyeing operations, which +is done by immersing the mordanted wool in a bath of the dye-stuff or +mixture of dye-stuffs. + +The fundamental principle is to bring about the combination between +the colouring principle of the dye-stuff and the metallic oxide which +has been deposited on the wool in the previous mordanting process. As +neither of these bodies, however, is very energetic it follows that +the action must be a slow one, and, therefore, time is a highly +important factor in the dyeing of wool by the mordanting process. The +combination between the dye-stuff and the mordant is influenced also +by temperature, and is most active at the boiling point of water. It +is, therefore, needful to conduct this operation at that temperature, +but it would be a wrong way to introduce the mordanted material into a +boiling bath of the dye-stuff; nothing would conduce to uneven dyeing +so much as that course. The best method of working, which, moreover, +is most particularly applicable to the series of Alizarine dye-stuffs, +is to enter the goods in a cold bath of the dye-stuff, and to work +them for a short time to get them thoroughly impregnated, a condition +which is essential if even dyeing is the goal aimed at, then to raise +the temperature of the bath gradually to the boil, the goods being in +the meantime well worked. The dyeing is continued for from one to one +and a half hours at the boil. + +It is important in dyeing by this process, especially when using +Alizarine, to keep the temperature of the bath as uniform as possible, +and the goods well worked. Alizarine, and some other members of (p. 073) +this class, are rather sensitive to heat, and if a dye-vat be hot at +the bottom and cold at the top uneven dyeing is sure to be the result; +this is due to the greater affinity of the Alizarine for the mordant +at the high than at the low temperature, and thus more is fixed on to +the wool. The remedy for this is to so construct the heating +arrangements of the vat that the temperature shall be as uniform as +possible, while the goods should be kept continually turned over, and +every portion of them brought into intimate contact with the +dye-liquor. The continuance of the dyeing operations for one and a +half to two hours after the vat has reached the boil is necessary to +properly develop and fix the colour on the fibre; a short boil leaves +the goods of a poor shade, without any solidity about it, and the +colour is loose, while a longer boil brings up a solid shade and a +fast colour. + +Although it is not absolutely necessary to add any acid to the +dye-bath during the dyeing operations, yet as the Alizarines and most +of this class of dye-stuffs dye better in a slightly acid bath it is +advisable to add a small quantity of acetic acid, say about one pint +to every 100 lb. of goods; this serves to correct any alkalinity of +the water, which may be due to its containing any lime. Dye-stuffs of +the acid class, such as indigo extract, Cloth red, Acid magenta, etc., +may be used along with the Alizarine dye-stuffs, in which case the +addition of acid to the dye-bath becomes necessary, but too great an +excess of acid should be avoided, as it interferes somewhat with the +dyeing of the mordant dyes. + +This is by far the best and most generally used method of applying +these mordant dyes. It is not a costly process, being indeed economical, +as it only requires just the right amounts of drugs and dye-stuffs, +and there is the minimum loss of material in the mordanting and +dye-baths. Shades can be brought up with the greatest ease, although +it is well in the dyeing to add rather less dye-stuff than is (p. 074) +actually required, and to add more when it is seen how the shade is +coming up. The labour is the most important item in the mordanting and +dyeing method. + +The proportions of material used to the weight of the wool are: Of +bichromate of potash, 3 per cent. for full shades, and 1 per cent. for +pale shades; of fluoride of chrome, the same quantities; of acetate of +chrome, according to the strength of the solution used; of alum, 10 to +20 per cent.; of sulphate of alumina, 5 to 10 per cent.; of copperas, +5 to 10 per cent.; of tartar, 1-1/2 to 2-1/2 per cent.; of oxalic +acid, 1 to 1-1/2 per cent.; of sulphuric acid, 1 per cent.; of argol, +2-1/2 to 5 per cent.; of tartaric acid, 1 to 1-1/2 per cent.; but of +course in an article like this it is impossible to give definite +quantities. + +_Second Method_. #Stuffing and Saddening.#--This method consists in +first treating the wool with a solution of the dye-stuff, and then +with a solution of the mordant required to develop and fix the colour. +This method is more particularly applicable to such dye-stuffs as +camwood, cutch, logwood, madder, fustic, etc., the colouring +principles of which have some affinity for the wool fibre and will +directly combine with it. It is not suitable for the application of +the Alizarine colours. The saddening may be and is commonly done in +the same bath, that is, after the wool has been stuffed it is lifted, +the mordant--copperas, bluestone, bichrome, or alum--is added, and the +wool is re-entered into the bath. This cannot be considered a good +method of working; the shades obtained are full and deep and fairly +fast, but there is usually a considerable loss of colouring matter, as +the wool in no case abstracts the whole of the dye-stuff from the +bath; what excess is left combines with the mordant when the latter is +added, forming an insoluble colour lake, which falls down to the +bottom of the dye-vat and is wasted, or it may go upon the wool in (p. 075) +a loose, unfixed form, and cause it to rub badly and come off in +milling. Then it is rather difficult to dye to shade, much of the +result depending on conditions over which the dyer has little control. +Working as he does with dye-stuffs of unknown colouring power, which +may vary from time to time with every fresh batch of material, it is +evident that, although the same quantities may be used at all times, +at one time a deeper shade may be obtained than at another, and as it +is impossible to see what is going to be the result, and if by +mischance the shade does not come deep enough it cannot well be +rectified by adding a quantity of dye-wood to the bath, because the +mordant in the latter will prevent the colouring matter from being +properly extracted, and only a part of that which is extracted is +fixed on the wool, the rest being thrown away in the dye-bath, and +partly on the particles of wood themselves, when logwood, camwood, +etc., are used in the form of chips or powder. Dyers being well aware +of this, are in the habit when mistakes occur of bringing up to shade +with soluble dye-stuffs--archil, indigo extract, and such like. + +This method, as stated above, is very wasteful, not only of +dye-stuffs, but of mordants. In no case does the wool absorb the whole +of the colouring matter from the bath, the unabsorbed portion goes +down to the bottom of the bath when the mordant is added, so that when +the dyeing is finished, the dye-bath is charged with a large quantity +of colouring matter in an unusable form which has to be thrown away, +thus at once adding to the pollution of the river into which it is +run, and to the cost of the process of dyeing. As attention is being +directed more and more to the question of the prevention of pollution +of rivers, and as the waste liquors from dye-works add to the apparent +pollution to a very considerable extent, dyers will have to develop +other modes of dyeing than that of stuffing and saddening in one bath. + +The principle of dyeing by stuffing and saddening may be carried (p. 076) +out by the use of two separate baths; in fact, it is done in the case +of dyeing a cutch brown from cutch and bichromate of potash. The goods +are first treated in a bath of the dye-wood for a short time, then +rinsed, and the colour is developed by padding into a saddening bath +of the mordant. By this method the baths, which are never quite +exhausted, can be retained for future use, only requiring about 1/2 to +3/4 of the original quantities to be added for each succeeding batch +of the goods, in fact, in some cases, as in cutch, old baths work +better than new ones. + +The advantage attached to this method of working is that arising from +economy of dye-stuff and mordant, and the reduction of the pollution +of the stream on which the works are situated. The disadvantages are +that the cost of labour is increased by there being two baths instead +of one, and that the shades obtained are not always so full as with +the one-bath method. This, of course, can be remedied by running the +goods through the baths again, which, however, adds to the cost of the +process, but there is this much to be said, the shade can be better +brought up than by the one-bath process. In some cases the methods of +mordanting, dyeing and saddening are combined together in the dyeing +of wool, thus, for instance, a brown can be dyed by first mordanting +with bichrome, then dyeing with camwood and saddening in the same bath +with copperas. The shades obtained are fairly fast and will stand +milling. The disadvantages of this process are the same as those +attached to the dyeing and saddening in one bath. + +Now we come to the last method of dyeing wool with mordant and colours, +that in which the operation is carried out in one bath. This can only +be done in those cases where the colour lake that is formed is somewhat +soluble in dye-liquors, which usually have slightly acid properties; or +where the affinity between the two bodies (colouring matter and (p. 077) +mordant) is too great. This method can be carried out in, for instance, +dyeing a cochineal scarlet with tin crystals, a yellow from fustic and +alum, a black from logwood and copperas and bluestone, a red from +madder and bichrome, and the dyeing of the Alizarine colours by the +use of chrome fluoride, etc. + +The shades obtained are usually not so deep as those got by the +mordanting and dyeing process, but are frequently nearly so. In some +cases, as in dyeing with fustic or logwood, it gives rather brighter +colours, due to the fact that the tanning matters present in the +dye-stuffs is not fixed on the wool, as is the case with the +mordanting method, but is retained in the dye-bath. For dyeing with +logwood and copperas or bluestone the process is not a good one, as it +does not give as full shades as by the ordinary process. For dyeing +with the Alizarine colours, using chrome fluoride as the mordant, it +can be applied with fair success. There are advantages in the saving +of time and labour and in the amount of steam required, all of which +are important items in dyeing. + +It is rather troublesome to match off by this process, but it can be +done. For light shades the process will be found very useful, as these +cost less than by any other process. The dye-baths may be retained for +future use, although in process of time they become too dirty for use, +when they must be thrown away. + +#Level Dyeing.#--The first condition for successful dyeing is that the +fibres to be treated are absolutely clean. A careful washing is not +enough for this purpose. Cleanliness is undoubtedly the condition +which the fibre must possess to enable the dye to hold on and not to +come off the fibre, this latter causes a loss of dye-stuff, soils the +whites, and gives rise to trouble between the dyer and finisher; it is +also the condition for making the dye go on the wool evenly. The (p. 078) +washing must be done at the boil, so that the fibre is well wetted +out and all the air bubbles adhering to it are driven out. But this is +not enough; it must be accompanied by a scouring operation, not only +in the case of fibres of which the dyer does not know whether they +have been scoured, but also when they have already been scoured and +bleached. The kind of scouring that the fibres receive in this case +need only be of a comparatively light character, but it must never be +omitted, even for dark shades, as the traces of grease which the fibre +contains are the causes of nearly irremediable stains in the dyeing +operations. Even in dyeing black wool it is of the greatest importance +to have the fibre suitably scoured. + +The fatty matters which the fibre contains may belong to the +components of the fibre itself and be natural matters, but in the case +of wool yarns and cloths they are mostly dressing oils, from which the +dyer cannot be too anxious to free the wool before dyeing. Some +practical methods of preparatory treatment of the fibres before dyeing +may therefore be described here with advantage. + +Cotton is boiled off at actual boiling heat for two hours, with 8 per +cent. of its weight of carbonate of soda and a little soft soap, which +treatment is sufficient for dark colours. + +For light colours it is necessary that the cotton be bleached. Wool is +scoured with soda and soap in the proportion of 10 lb. soda and 2 lb. +Marseilles soap for 100 lb. wool. Silk is scoured by boiling for one +and a half hours in a boiling bath with 30 per cent. of its weight of +soap. For light colours a second boiling should be given, with 15 per +cent. + +The careful cleaning of wool previous to dyeing is of exceptional +importance. Raw wool is cleaned with carbonate of soda and ammonia. For +50 lb. wool to be cleaned 6 lb. carbonate of soda and 1-1/2 lb. (p. 079) +ammonia are added to a bath of 150 gallons water. The wool is laid +down in it for twenty minutes at 35 deg. C., taken up, squeezed, treated +for fifteen minutes in another bath, with 5 lb. carbonate of soda and +then rinsed. The first bath must be renewed as often as possible, +because it contains all the impurities. In the case of woollen yarn +30 lb. require two tubs of 40 gallons capacity. The first tub is to +contain 35 gallons water and 2 lb. ammonia at 10 deg. Be. After working +the skeins for three minutes in it they are left to stand for fifteen +minutes, then wrung out, and the operation is repeated in the second +tub. Finally, the yarn is rinsed several times in soft water. + +Woollen piece goods are treated in a large wooden tub at 40 deg. C. with +4 lb. carbonate of soda and 2 lb. carbonate of ammonia for 80 lb. +material. The pieces are moved about for twenty minutes, laid down in +the bath overnight, again turned for ten minutes and hydro-extracted. +They may also be handled for forty minutes in a bath of 2 oz. ammonia +for 100 lb. wool at 60 deg. C., and then for twenty minutes in clear water +at 60 deg. C. + +After wetting or preparatory treatment, it will be best to proceed +immediately to dyeing; if the fibres be left in a heap for too long a +time, there is danger that they may become heated, or at least that +the moisture may be irregularly distributed by the occurrence of +partial drying, causing an uneven fixation of the colour in the first +stages of dyeing. The first two conditions of successful dyeing are, +therefore, a suitable wetting out and scouring. The dyer, however, +must not be less careful to see that the dye-bath is what it ought to +be. + +Whenever possible the dye-stuff must be dissolved separately, or at +least the bath not entered before the dye-stuff is well dissolved. +Artificial dye-stuffs require particular attention to this point, +because the presence of undissolved particles is the cause of (p. 080) +irregularities, such as streaks, or, at least, specks. The solution is +mostly made hot as follows: After pouring water at 180 deg. F. upon the +dye-stuff, stir gently, strain through flannel or through a very fine +sieve, and pour more water upon the residue until nothing more is +dissolved. As is well known, the artificial dye-stuffs often contain +insoluble matter, resins, etc. It is therefore advisable to use only +soft water for this operation. + +The solutions of artificial dye-stuffs are ordinarily made at the rate +of 1 to 5 lb. per 10 gallons of water, 2 lb. being the proportion +mostly employed. This depends more or less on the solubility of the +dye-stuff. Old solutions sometimes contain crystals of the dye-stuff +which have separated out. These should be redissolved by heating +before the solution is used. But it is best to make only such a +quantity of solution as will suffice for immediate requirements. + +With paste colours care should be taken to keep them in closed vessels +in such a manner that they will not become hard by evaporation, and +they should not be kept in any place where they are likely to freeze +in winter time. In such an event it is not an uncommon circumstance +for the casks or other vessels containing them to burst, with a +consequent loss of dye-stuff. Before any of the paste is withdrawn +from the cask, it is advisable to stir well up with a wooden stirrer. + +In adding dye-stuff during the actual dyeing operation, it is +advisable to add the dye-stuff to the bath in two or three portions, +always taking out the goods before adding each lot of dye-stuff, and +stirring up the contents of the bath before re-entering the goods. +Another important condition of obtaining a level dyeing is to proceed +slowly, beginning with a weak bath at a moderate temperature, and +rising gradually to a boil. If necessary to retard the dyeing from the +commencement, then an assistant mordant is added to the dye-bath, in +the shape of soda crystals or phosphate of soda for the benzidine (p. 081) +colours on cotton; bisulphate of soda or Glauber's salt in dyeing with +azo colours or acid colours on wool; or tartar may be used in most +cases with good effect, causing the wool to have a softer feel. Finally, +the evenness of the dyeing is much increased by the frequent turning +over of the material in the dye-bath, so managing this in the case of +wool as to avoid felting. + +When dyeing with a mordant, the dyer should see that the mordanting +operation is thoroughly well done, for as much care is required for +the mordanting as for the actual dyeing; in fact, if anything, the +mordanting should be done with rather more care, as if it be at all +defective no amount of care in the following dyeing operations will +ensure a level dyeing. Chrome mordanted wool should be dyed without +delay, as it is rather sensitive to light, especially the yellow sort, +which gradually changes into the green sort of chromed wool. + +One peculiarity of dyed wool is that it will continue to take up +colour after it is removed from the dye-bath, especially if it +contains any of the hot dye-liquor, therefore it is very desirable to +wash the wool as soon as possible after its removal from the dye-bath. +It is best, however, not to take the wool out of the hot bath, but to +leave it in until the bath becomes cool, and then to take it out, by +this means the colour becomes deeper and more solid looking, and is +faster on the wool. + +One cause of irregular dyeing may be mentioned, as it is occasionally +met with, namely, the presence of foreign fibres in the goods, cotton +in wool fabrics, and even of different varieties of the same fibre. +All dyers know that dead or immature cotton will not dye up properly, +a fact or defect more especially met with in indigo dyeing than probably +in any other colour. Then wools from different breeds of sheep vary +considerably in their dyeing power. Fine wools take up more colour (p. 082) +than coarse, and, consequently, even from the same bath, will come out a +deeper shade; if a fabric, therefore, contains the two kinds of cotton, +or the two kinds of wool, they will not dye up evenly. + +In the preceding sections brief notes have been given about the +principal methods of dyeing wool, with some indications of the dyes +which can be used under each method. In the succeeding sections will +be given a number of recipes showing how, and with what dye-stuffs, +various colours, shades and tints can be dyed upon wool. It will be +understood that these recipes are applicable to all kinds of woollen +fabrics, loose wool, slubbing, yarns in any form, woven worsted or +woollen cloths, felts of any kind, etc., all these different forms +require handling in a different way; it would not do, for instance, to +treat a quantity of slubbing in the same way as a piece of worsted +cloth, while hanks of yarn require a different mode of handling to a +quantity of hat bodies. The different kinds of woollen fabrics require +to be dealt with in different kinds of machines, and this has already +been dealt with in the chapter on Dyeing Machinery and Dyeing +Manipulations. + +To describe and illustrate the application of all the various woollen +dye-stuffs, whether of natural or artificial origin, and to show the +great variety of shades, etc., which can be obtained with them, either +all one or in combination, would require not one, but many volumes of +the size that this present work is intended to be. Therefore, it +becomes necessary to make a selection from the best-known and most +used of the various dyes, and illustrate their application by a number +of recipes, all of which, unless otherwise stated, are intended to be +for 100 lb. weight of woollen material of any kind. It may also be +pointed out that, as a rule, the recipes may be applied to the dyeing +of fabrics made with other animal fibres than the wool of the sheep, +as, for alpaca, cashmere, camel-hair, hare or rabbit fur, etc., (p. 083) +inasmuch, as, with the exception of silk, all animal fibres practically +possess the same dyeing properties. + +It will be convenient to point out here that a very large proportion +of the shades dyed on wool and other fabrics are obtained, not by the +use of a single dye-stuff, although this should always be done, +whenever possible, but by the combination of two or more dye-stuffs +together in various proportions. It is truly astonishing what a great +range of shades can thus be dyed by using two or three dyes suitably +mixed together, and one of the things which go to making a successful +dyer and colourist is the grasping of this fact by careful +observation, and working accordingly. Dyers will find much assistance +in acquiring a knowledge of colour and colour mixing from the two +little books on _Colour_, by Mr. George H. Hurst, and the _Science of +Colour Mixing_, by Mr. David Paterson, both issued by Messrs. Scott, +Greenwood & Co., the publishers of the present work. + +#Black on Wool.#--Until within a comparatively recent time black was +dyed on wool solely by the use of logwood, combined with a few other +natural dye-stuffs, such as fustic, indigo, etc., but of late the +researches of colour chemists have resulted in the production of a +large number of black dyes obtained from various coal-tar products. +These have come largely into use, but still, so far they have not been +able to entirely displace logwood, chiefly on the score of greater +cost, the use of the natural dye still remaining the cheapest way of +producing a black on wool; although the blacks yielded by some of the +coal-tar black dyes are superior to it in point of intensity of colour +and fastness to scouring, acids and light, as well as being easier to +dye. + +Blacks may be obtained from logwood by several methods, either by +previous mordanting of the wool or by the stuffing and saddening +methods, or by the one-bath process. The following recipes will (p. 084) +show how these various methods are carried out in practice:-- + +_Chrome Logwood Black_.--The wool is first mordanted by boiling for +one and a half hours with 3 lb. bichromate of potash and 1 lb. of +sulphuric acid, working well the whole of the time. It is not +advisable to exceed the amounts of either the bichromate or the acid +here given, these quantities will result in a full bloomy black being +obtained, but any excess gives rise to greyish dull blacks, which are +undesirable. After mordanting rinse well with water, when the goods +will be quite ready for the dye-bath. + +The dyeing is done in a bath made from a decoction of 40 lb. of good +logwood. It is perhaps preferable to start cold or only lukewarm, +raise to the boil and work for one hour, then lift, rinse well, and +pass into a boiling bath made from 1 lb. of bichromate of potash and +1/4 lb. of sulphuric acid for half an hour. This extra chrome bath +fixes any colouring matter which may have been absorbed by the wool +but not properly fixed by the mordant already on, it leads to fuller +shades which are faster to rubbing and milling. + +The mordanting bath may be kept standing and used again for fresh lots +of wool, in which case it is only necessary to add 2-1/2 lb. of +bichromate of potash and 1 lb. sulphuric acid to the bath for each +additional lot of wool that is being dealt with. Old mordant baths +work rather better than new ones, but the use cannot be prolonged +indefinitely, there comes a time when the bath gets too dirty to use +and then it must be thrown away. + +During the operation the bichromate of potash becomes more or less +decomposed and there is formed on the wool fibre a deposit of chromic +acid and chromic oxide, this deposit forms the mordant that in the +subsequent dye-bath combines with and fixes the colouring matter, the +haematoxylin of the logwood, and develops the black on the wool. + +In place of sulphuric acid, hydrochloric acid can be used with (p. 085) +some advantage as regards the proportion of bichromate decomposed, and +therefore an increase in the amount of chromium oxide deposited on the +wool. + +This gives a deep blue black, somewhat wanting in bloom. The following +recipe gives a much bloomier black, but is rather more expensive to +dye. + +_Chrome Logwood Black_.--Mordant by boiling in a bath containing 3 lb. +bichromate of potash and 7 lb. tartar. Dye and otherwise treat as in +the last recipe; 4 lb. of tartaric acid used in place of the tartar, +gives rather brighter and bloomier shades. The use of so-called tartar +substitutes is not to be recommended, they give no better results than +does sulphuric acid and are much dearer to use. + +A somewhat greener shade of black than is yielded by either of the +above two recipes is the following:-- + +_Chrome Logwood Black_.--Mordant the wool in a bath containing 4 lb. +oxalic acid and 3 lb. bichromate of potash, afterwards dyeing as in +the first recipe. + +All the above recipes give blacks of a bluish tone, which on the whole +have a good bloomy and solid appearance. Often what is called a jet +black is wanted, this can be obtained by following the recipe given +below. + +_Chrome Logwood Jet Black_.--Mordant the wool by any of the methods +given above. The dyeing is done in a bath made from 40 lb. logwood and +5 lb. fustic, working as described in the first recipe. Using these +properties a good jet black is obtained, which is quite satisfactory +on the score of solidity and fastness. It is not advisable to exceed +the quantity of fustic here given, or otherwise the black will have a +tendency to assume a greenish tone that is not at all desirable. This +greening becomes more marked when from 7-1/2 to 10 lb. of fustic is +used, or if alum be added to the mordant along with the bichromate of +potash. + +Chrome blacks are the best blacks which can be obtained from (p. 086) +logwood. They have, however, a tendency to turn green on exposure to +the weather, which tendency seems to be most prevalent in those blacks +in which sulphuric acid has been used as the acid constituent of the +mordanting bath. The greening may be reduced to a minimum by adding to +the dye-bath about 1 to 2 lb. of Alizarine. Another plan which has +been followed is to give the wool a bottom with 5 to 6 lb. of camwood +or peachwood, then mordanting and dyeing us usual. + +_Logwood Black on Wool_.--Boil first for one hour with a decoction of +8 lb. camwood, then lay down for fifty minutes in a boiling bath of +3 lb. bichromate of potash, 1 lb. alum, 1 lb. tartar. It is a good +plan to allow the goods to hang overnight. + +The dye-bath is prepared with 45 lb. logwood, 8 lb. fustic, 4 lb. +sumac. Dye one hour at the boil, wash and dry. + +_Indigo Black_.--This is sometimes called woaded black, and has an +excellent reputation as a fast black. It is dyed by first giving the +wool a medium blue bottom in the indigo vat by the method of vat +dyeing, which will be described later on, and then dyeing by either +the second or third recipe given above. The use of sulphuric acid is +rather to be avoided in dyeing an indigo vat with chrome and logwood, +as the chromic acid set free during the process is likely to attack +and by destroying the indigo to materially reduce the intensity of the +blue bottom. Or, after blueing in the vat, the black may be dyed or +topped on by the process with copperas, which will be described below. + +_Iron Logwood Black_.--Mordant the wool by boiling one and a half to +two hours in a bath made with 5 lb. copperas, 2 lb. bluestone, 2 lb. +alum, and 10 lb. argol. The dyeing is done in a bath of 50 lb. +logwood. + +It is not advisable to use more argol than is here given, for (p. 087) +although a little excess will not materially affect the beauty or +brilliancy of the resulting shade, yet such excess is wasteful, and +makes the dyeing cost more than it otherwise would. On the other hand, +too little will cause the shade to become greyish in tone and wanting +in solidity. The copper sulphate (bluestone) added increases the +fastness of the finished black to light, the best proportions to add +are from 2 lb. to 4 lb. for 100 lb. of wool. The shade obtained in the +above recipe is of a bluish-violet hue, if a jet black be wanted, add +5 lb. of fustic to the dye-bath. Another and very common method of +working is the "stuffing and saddening" process, given in the next +recipe. + +_Iron Logwood Black_.--Make a bath of 50 lb. logwood, 6 lb. fustic, +and 1 lb. sumac. Work the wool in this for one hour at the boil, lift, +allow the bath to become cool, then add 6 lb. of copperas (ferrous +sulphate) and 2 lb. bluestone; re-enter the wool, raise the +temperature to the boil, and work half an hour, then lift, wash and +dry. On the whole the first method is the most economical and yields +the best blacks, fastest to rubbing. + +The iron-copper-logwood blacks are not so fast to acids as the +chrome-logwood blacks, but they are rather faster to light and air, +and equally so to scouring and milling. + +One-bath methods of dyeing blacks are sometimes preferred by wool +dyers. Of these the following is an example. + +_Logwood Black_.--Make a dye-bath with 50 lb. logwood, 5 lb. fustic, +6 lb. copperas, 2 lb. copper sulphate, and 4 lb. oxalic acid. Enter +the goods and work at the boil to shade. The oxalic acid is added for +the purpose of retaining the logwood-iron-copper black lake, which is +formed on mixing the various ingredients together in solution. On +boiling the wool in the liquor the fibre gradually extracts out the +dye matter and becomes dyed. The use of some of the so-called (p. 088) +"direct blacks" (_noir reduit_, Bonsor's black) is based on the same +principle. + +These dyes are mixtures of logwood, fustic or other dye-stuff with +copperas, bluestone and oxalic acid, and only require adding to water +to make the dye-bath. This method of working enables logwood to be +used in conjunction with dihydroxynaphthalene and some other coal-tar +derivatives to obtain blacks of good solidity and much faster to +light, air, acids and scouring than the ordinary logwood blacks. + +Another recipe for a one-bath logwood black, using the extracts in +place of the dye-wood itself, is the following:-- + +_Logwood Black_.--Prepare a dye-bath with 12 lb. logwood extract, +2 lb. fustic extract, 6 lb. copperas, 4 lb. bluestone, 3 lb. oxalic +acid, 2 lb. tartar. Boil the goods in this for one hour. + +Some dyers use the dye-woods and prepare from them a decoction by +boiling in water; in some respects this is the most economical plan, +only the dyer has to get rid of the spent dye-wood from which the +colouring matter has been extracted, and this is not always an easy +matter. Some dyeing machines (Smithson's) have been devised which +contain as one of their features a dye-wood extractor, in which the +extraction of the colouring matter of the wood proceeds at the same +time as the dyeing. Good results are got with such machines, although +they leave something to be desired. + +Many dyers use the dye-wood extracts which are now made on a large +scale. These are for the dyer much more convenient to use, although +naturally rather more costly. They are approximately five times the +strength of the dye-wood, but they vary very greatly in this respect. + +Logwood blacks can be readily distinguished from nearly all other +blacks, in that by treatment with moderately strong hydrochloric acid +they turn a bright red. + +No other natural dye-stuff is used in the dyeing of black than these +here given. + +Of late years many black dyes derived from coal tar have been (p. 089) +placed on the market. Among these may be enumerated the Acid Blacks of +Messrs. Bead Holliday & Sons; the Naphthol and Naphthylamine Blacks of +Leopold Cassella & Co.; the Victoria Blacks of the Farbenfabriken +vorm, Fr. Bayer & Co.; the Wool Blacks of the Actiengesellschaft fuer +Anilin Fabrikation; the Azo Blacks of the Farbwerke vorm, Meister, +Lucius & Bruning; and one or two other blacks. These blacks are dyed +very simply, as will be seen from the recipes given below, showing +their application in the production of blacks of a great variety of +tone. None of them dye a true jet black, but generally a bluish black +or a violet black, but the tone may be readily changed to a jet or +dead black by the addition of a little orange, yellow or green +dye-stuff. + +They give blacks of a very solid appearance and very bright in tone, +and have the advantage over the logwood blacks of leaving the wool +more supple and less liable to be felted. Moreover, as a rule they are +faster to acids, alkalies and milling than are the logwood blacks, and +as regards fastness to light they excel that dye-stuff. Unfortunately +they are more costly to use, which tells against their entirely +displacing logwood in dyeing blacks on wool. + +Still, year by year their use is increasing, and as their price +becomes less their employment will yet further extend. They may be +combined with logwood, as they will dye with equal facility on +mordanted and unmordanted wool. + +_Violet Black on Wool_.--Make the dye-bath with 4 lb. Acid Black B, or +Acid Black B B, 3 lb. sulphuric acid, and 10 lb. Glauber's salt. Work +at the boil for one hour. The B brand of these blacks gives shades +slightly redder in tone than the B B. The blacks are quite fast to +light and acids, but not to soaping. + +_Blue Black on Wool_.--Dye as in the last recipe, but use Acid (p. 090) +Black S. This dye-stuff produces bluer shades of black than either B or +B B, and they are faster to soaping. + +_Jet Black on Wool_.--Make the dye-bath with 4-1/2 lb. Acid Black S, +1/2 lb. Fast Yellow F Y, 3 lb. sulphuric acid, and 10 lb. Glauber's +salt. This shows how, by the addition of a little yellow dye-stuff, +the blue shade may be changed to a full jet black. + +_Blue Black on Wool_.--The dye-bath is made with 4-1/2 lb. Naphthol +Black B (or 6 lb. Naphthol Black 3 B), 4 lb. sulphuric acid, and +10 lb. Glauber's salt. Work at the boil for one hour, then lift, wash +and dry. The Naphthol Blacks have long been used in wool dyeing, and +give excellent results, the 3 B brand dyeing much bluer shades than +the B brand. There is also a 4 R brand giving violet blacks. These +blacks are quite fast to acids and alkalies, are fast to light, and +resist washing very well, the B brand being the fastest. The following +recipe shows how a full jet shade can be obtained for these blacks:-- + +_Jet Black on Wool_.--Prepare the dye-bath with 4-1/2 lb, Naphthol +Black B, 1 lb. Naphthol Green B, 1/4 lb. Indian Yellow, 4 lb. +sulphuric acid, and 10 lb. Glauber's salt. + +_Blue Black on Wool_.--Make the dye-bath with 5 lb. Anthracite Black +B, 10 lb. Glauber's salt, and 5 lb. bisulphate of soda, working at the +boil for one hour. Anthracite Black does not require a bath so acid as +do some other coal-tar blacks. The shade obtained is a full blue +black, which is fast to acids; alkalies turn it a little bluer, and +soaping causes some loss of colour. + +_Violet Black on Wool_.--Make the dye-bath with 5 lb. Anthracite +Black R, and 10 lb. bisulphate of soda. The black thus obtained is a +good one, fairly fast to acids, alkalies and soaping. + +_Dead Black on Wool_.--Make the dye-bath with 6 lb. Anthracite Black R, +1 lb. Anthracene Yellow C, and 10 lb. bisulphate of soda. Work at (p. 091) +the boil for one hour, then lift, add 3 lb. fluoride of chrome and work +again at the boil for twenty minutes. This black is a very fine one, and +is very fast. + +_Violet Black on Wool_.--Make the dye-bath with 4 lb. Naphthylamine +Black D, 10 lb. Glauber's salt, and 5 lb. acetic acid. This black is +pretty fast to acids, alkalies and light, but is somewhat loose to +soaping, and, therefore, cannot be used for black goods that have to +be strongly milled. Naphthylamine Black 4 B dyes somewhat bluer shades +than the B brand. + +_Blue Black on Wool_.--Prepare the dye-bath with 6 lb. Victoria Blue +Black, 20 lb. Glauber's salt, and 1-1/2 lb. acetic acid, working at +the boil for one hour. A fine blue black, is obtained which is quite +fast to acids, washing and light. + +_Greenish Black on Wool_.--The dye-bath is made with 3 lb. Victoria +Black Blue, 2 lb. Fast Yellow F Y, 20 lb. Glauber's, salt, and +1/1-2 lb. acetic acid. The dyeing is done at the boil and takes about +an hour. This shade has a good full tone, and is fast. + +_Jet Black on Wool_.--Make the dye-bath with 4 lb. Victoria Black B, +1/2 lb. Fast Yellow F Y, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid, working at the boil for one hour. A very fine shade is thus +obtained, which is fast to acids, alkalies and soaping. By omitting +the Fast Yellow a blue black is obtained, while by using Acid Green +instead a greener tone is given to the black. In place of the Victoria +Black B the two other brands, 5 G, and G, of these blacks may be used. +These give equally fast blacks of a deeper and more jet black. + +_Black on Wool_.--Prepare a bath with 5 lb. acetic acid, 9 deg. Tw.; +enter the wool for one hour, then lift and add 5lb. Naphthol Black 3 B, +and 1/4 lb. Indian Yellow. Re-enter the goods and boil for one hour, +wash and dry. + +Many of the black dyes--Naphthol Black, Naphthylamine Blacks, (p. 092) +Naphthyl Blue Black N, Acid Black B, etc.--are capable of slowly dyeing +wool from neutral baths, that is, containing only Glauber's salt, or +rather more quickly if a little acetic acid be present. Such dyes are +very useful for dyeing heavily milled or felted fabrics, such as hat +bodies for instance, as then the dye possesses greater penetrative +properties and passes more into the substance of the fabric, which is, +therefore, better dyed through. Also they are suitable for dyeing +half-wool fabrics as will be seen on referring to the chapter dealing +with the dyeing of union or cotton-wool fabrics. + +It is quite possible to dye a black on wool by using a combination of +acid and azo dye-stuffs, and below is given a recipe illustrating this +method; it is one, however, rarely adopted. + +_Blue-Black on Wool_.--Prepare the dye-bath with 10 lb. Glauber's +salt, 2 lb. Patent Blue, 6 oz. Brilliant Orange, 4 oz. Amaranth, 4 oz. +Acid Violet N, 4 lb. sulphuric acid. Enter the goods at about 150 deg. F., +raise to the boil and work to shade; lift, wash and dry. It may be of +interest to note that by using a mixture of Azo Rubine and Acid green +good blacks can be got. + +There is a range of Acid and Azo dyes which are capable of dyeing from +the usual acid baths on to wool, and yet can be developed and fixed on +the fibre to good, full blacks. Types of such dyes are Anthracene +Chrome Black F F, Diamond Black F, Chrome Patent Black D G and D G G, +Fast Chrome Black, etc. Generally the blacks dyed on wool with these +dyes are very fine, have a full, bloomy appearance, and are very fast. +They are much used in dyeing hat bodies and fine cloths which have to +be very fast to the weather. + +The method of application will be gleaned from the recipes given +below. + +_Black_.--Prepare a dye-bath with 5 lb. Chromotrop S, 1/4 lb. Azo (p. 093) +Yellow, 50 lb. Glauber's salt. Work for one and a half hours at the +boil, then add 4 lb. sulphuric acid. Work at the boil for another half +hour, then lift. Add to the same dye-bath 3 lb. bichromate of potash. +Re-enter the goods and work at the boil for half an hour, then lift, +rinse and dry. + +_Jet Black_.--Mordant the wool by boiling for one hour in a bath made +from 4 lb. bichromate of potash and 3 lb. of tartar. Then rinse, and +dye in a bath containing 3-1/2 lb. Diamond Black, 1-1/4 lb. Alizarine +Cyanine R R R double, and 1 lb. Gambine Yellow, working at the boil +for from one to one and a half hours. + +_Diamond Black on Wool_.--Mordant by boiling for one hour with 3 lb. +bichromate of potash, 1 lb. oxalic acid. Wash and dry in a bath made +with 2 lb. Diamond Black, 2 lb. acetic acid. Work at 120 deg. F. for one +hour, then heat to boil, and work until the dye is fully fixed. Lift, +wash and dry. + +A more common method of using the Diamond Black is given in the +following recipe. + +_Diamond Black_.--Prepare a dye-bath with 10 lb. Glauber's salt, +2-1/2 lb. Diamond Black, 1/2 lb. Diamond Green. Boil for an hour, then +pass through a fresh bath of 2 lb. bichromate of potash for +three-quarters of an hour at the boil; wash and dry. + +This gives a fine jet shade of black, quite fast to a strong milling, +and to light, alkalies and acids. Diamond Black by itself gives bluish +shades. This dye is much used in the hat-dyeing trade. + +_Violet Black_.--Mordant the wool by boiling for one and a half hours +in a bath made with 3 lb. fluoride of chrome and 1 lb. oxalic acid, +then rinse and dye in a bath containing 25 lb. Alizarine Cyanine +Black G, 5 lb. acetate of ammonia, and 1 lb. acetic acid, working at +the boil for one and a half hours. A fine full shade is obtained (p. 094) +which is quite fast to acids, milling and light. + +_Brown Black_.--Mordant the wool as in the last recipe, then dye in a +new bath 25 lb. Alizarine Cyanine Black G, 3 lb. Anthracene Brown, +5 lb. acetate of ammonia, and 1 lb. acetic acid, working at the boil +for one to one and a half hours. + +_Jet Black_.--Mordant as in either of the above recipes, then dye in a +bath containing 20 lb. Alizarine Black S W, and 2 lb. acetic acid. +This black possesses a great degree of resistance to acid, alkali, +milling and light, and is one of the best blacks at the disposal of +the dyer. + +_Reddish Black on Wool_.--Prepare the dye-bath containing 5 lb. +Chromotrop 2 B, 10 lb. Glauber's salt, and 4 lb. sulphuric acid, work +at the boil for one hour, then lift. Add to the same bath 3 lb. +bichromate of potash and 1 lb. sulphuric acid, and work half an hour +longer. + +_Blue Black_.--Make the dye-bath with 6 lb. Chromotrop 10 B and 4 lb. +sulphuric acid; dye, and develop the black by adding to the same bath +3 lb. bichromate of potash and 1 lb. sulphuric acid. + +_Jet Black_.--Prepare the dye-bath with 5-1/2 lb. Chromotrop S, +1/4 lb. Alizarine Yellow G G W, 10 lb. Glauber's salt, and 4 lb. +sulphuric acid. Slowly raise to the boil and work for one hour, then +add to the same dye-bath 3 lb. bichromate of potash, and 1 lb. +sulphuric acid, working at the boil for one hour. + +These are but a few examples of how the Chromotrops (one of the most +interesting series of dye-stuffs at the service of the dyer) may be +used to dye blacks. They of themselves dye brilliant reds, from bright +scarlet (2 R), crimson (6 B), and purple (8 B and 10 B), to maroon and +clarets (S and S B). These being turned black on being chromed, give +various shades--blue blacks, violet blacks, and jet blacks, which have +the merit of being fast to acids, strong milling, and light in a +great degree. The blue and violet blacks may be converted to jet (p. 095) +shades by adding to the dye-bath some yellow dye-stuff, such as Azo +Yellow, Alizarine Yellow, or Gambine Yellow, which will resist the +action of the bichrome in the developing bath. + +Chromotrop blacks while so very fast have the disadvantage of being +expensive, but by combining them with logwood it is possible to obtain +blacks that have a great degree of resistance to light, acids and +milling. They are in this respect much superior to pure logwood +blacks, while the cost is not prohibitive. + +The following recipe will serve as an example of how these two +dye-stuffs may be combined:-- + +_Jet Black_.--Make a bath with 2 lb. Chromotrop S, 15 lb. Glauber's +salt, and 5 lb. hydrochloric acid. Work in this bath for one hour, +then add 2-1/2 lb. bichromate of potash, and work again for half an +hour, at the boil. Lift, rinse and dye in a new bath containing 25 lb. +logwood, 1 lb. fustic extract and 1/4 lb. sulphuric acid, working at +the boil for an hour. + +_Violet Black on Wool_.--Dye the wool in the Chromotrop bath, and +develop as in the last recipe. The final dye-bath is made with 6 lb. +logwood, 8 oz. Patent Blue B, and 4 lb. sulphuric acid. By using +logwood alone blue blacks can be dyed, by increasing the proportion of +fustic a greener tone can be obtained, while by the use of a larger +proportion of Chromotrop a redder tone of black is the result. + +_Jet Black_.--Make the dye-bath with 20 lb. Glauber's salt, and 6 lb. +Nyanza Black; when obtained is a good one and of solid appearance. +Alkalies turn it red, but it is fast to dilute acid and soaping. + +_Black_.--Prepare the dye-bath with 10 lb. Glauber's salt, 5 lb. +oxalate of ammonia, 5 lb. acetic acid and 6 lb. Anthracene Chrome +Black F. Work at the boil for three-quarters of an hour, or until (p. 096) +the bath is exhausted of dye-stuff, then add 1-1/2 lb. bichromate of +potash and 2 lb. hydrochloric acid to the same bath and work for half +an hour longer. + +The Anthracene Chrome Blacks, of which there are three brands, F, 5 B +and F E, are excellent dyes, producing very fine blacks, and owing to +the slowness of dyeing and great penetrative properties are very +suitable for dyeing hat felts and other closely woven fabrics. The 5 B +dyes more bluish shades than the F, while the F E brand gives full +black. By combining these with Anthracene Yellow B N, Anthracene Acid +Brown G, or other similar dyes, jet blacks can be got as per the +following recipe:-- + +_Jet Black_.--Make the dye-bath with 6 lb. Anthracene Chrome +Black F E, 5 oz. Anthracene Yellow B N, 10 lb. Glauber's salt, 2 lb. +oxalate of ammonia and 5 lb. acetic acid, after dyeing, and the +dye-bath, is exhausted of colour, add 1-1/2 lb. bichromate of potash +and 3 lb. hydrochloric acid, and boil again for half an hour. Finish +in the usual way. + +One of the reasons for adding the oxalate of ammonia, is to +precipitate out any lime which may be in the water in such a form that +it will not react with the dye-stuff. + +_Fast Black_.--Mordant the yarn with copperas (sulphate of iron). Dye +in a bath with 5 lb. Gambine Y, 2 lb. Acid Mauve, 2 lb. bisulphate of +soda. Proceed as described for full green. + +_Blue Black_.--3-1/2 lb. Naphthylamine Black S, 10 lb. Glauber's salt, +and 5 lb. acetic acid; to fully exhaust the dye-bath add 8 lb. +bisulphate of soda. + +_Jet Black_.--5 lb. Naphthylamine Black S, 1/4 lb. Fast Acid +Green B N, 10 lb. Glauber's salt, and 5 lb. acetic acid, adding 8 lb. +bisulphate of soda to exhaust the bath. + +_Blue Black_.--Give a deep blue bottom in the indigo vat and dye with +2 lb. Anthracite Black B, 10 lb. Glauber's salt and 2 lb. acetic acid. + +#Greys on Wool.#--The dyeing of greys follows very naturally after (p. 097) +the dyeing of blacks, for from a broad point of view greys are simply +light blacks, and any dye-stuffs that will dye black will if used in +smaller proportions give greys. There is a great variety of tone among +greys: reddish greys, bluish greys, greenish greys, and so on. They +may be dyed in a considerable variety of ways from a large number of +dye-stuffs, both natural and artificial. Of these two classes the +latter gives the best result as far as regards brightness of tone, and +as regards other properties the greys obtained from the artificial +coal-tar colours are fully equal to those from natural dyes. + +A large number of recipes are in use by dyers for the production of +greys, so many that it becomes almost an impossibility to do more than +give a mere fraction of them here. However, a number of representative +recipes will be given, covering all classes of dye-stuffs capable of +being used for the purpose, and thus forming a guide to the methods of +dyeing and the proportions of dye-stuffs to be used. + +_Light Grey_.--Dye at the boil for three-quarters of an hour, in a +bath containing 1 lb. perchloride of tin, 3 lb. alum, 3 oz. indigo +extract, and 2 oz. cochineal. + +_Slate Grey_.--Mordant by boiling with 4 lb. alum and 1 lb. argol, +then dye with 6 lb. logwood, 6 oz. cudbear and 3 oz. indigo extract. + +_Slate Grey_.--Another method is to boil the wool with 10 lb. logwood, +2 lb. Glauber's salt and 1 lb. sulphuric acid for three-quarters of an +hour, then lift, add 1 lb. copperas, and re-enter the wool, working at +the boil for three-quarters of an hour, then lift, wash and dry. + +_Reddish Grey_.--Boil for an hour with 10 lb. fustic, 11 lb. cutch, +1/2 lb. bichromate of potash and 1-1/2 lb. copperas. + +_Pearl Grey_.--Give a light blue ground in the indigo vat, then dye in +a new bath with 2 lb. muriate of tin and 3/4 lb. cochineal, working at +the boil to shade. + +_Silver Grey_.--Prepare a bath with 3/4 lb. tannic acid; work for (p. 098) +an hour in a warm bath, then sadden with 3 lb. nitrate of iron to shade, +then lift, wash and dry. + +_Pearl Grey_.--Prepare a bath with 3 lb. fluoride of chrome and 4 lb. +Alizarine Bordeaux B. Enter into the bath when cold, then heat to the +boil and work for one and a half hours, then lift, wash and dry. + +_Silver Grey_.--The dye-bath is made with 3 lb. fluoride of chrome and +6-1/2 oz. Alizarine Cyanine G G, the dyeing being done as in the last +recipe. + +_Greenish Grey_.--A good shade is dyed with 3 lb. fluoride of chrome, +4 oz. Alizarine Bordeaux B, and 4 oz. Diamond Flavine G, working as +given in the above recipe. + +_Grey_.--Give a pale blue bottom with an indigo vat, then dye in a +bath containing 1 lb. fluoride of chrome, 1/2 oz. Diamine Fast Red F, +and 3/4 oz. Anthracene Yellow C; work at the boil for one hour, lift, +wash, and dry. + +_Dark Grey_.--A very fine dark grey, almost approaching a black is +obtained by the following plan: bottom the wool with a medium blue by +means of the indigo vat, dye in a bath containing 1 lb. fluoride of +chrome, 3 oz. Diamine Fast Red F, and 3 oz. Anthracene Yellow C. + +_Slate Grey_.--A good slate grey of a slightly greenish tone can be +dyed in a bath of 5 lb. acetate of ammonia, 3/4 lb. Acid Blue 4 S, and +1/4 lb. Titan Brown R, working at the boil to shade. + +_Pale Slate Grey_.--The dyeing is done in a bath made with 5 lb. +acetate of ammonia, 5 oz. Acid Blue 4 S, and 1-1/2 oz. Titan Brown R, +working at the boil for one hour. + +_Silver Grey_.--A very nice shade is dyed with 3 oz. Acid Blue 4 S, +1/4 oz. Titan Red, and 5 oz. acetate of ammonia. + +_Silver Grey_.--A shade similar to the last is dyed in a bath +containing 10 lb. Glauber's salt, 5 lb. bisulphate of soda, and +3/4 oz. Anthracite Black R. By adding a little Thiocarmine R the (p. 099) +shade can be turned bluer in tone, while the addition of a little +Milling Yellow O, or Titan Yellow, turns it to the green side. + +_Pearl Grey_.--Make the dye-bath with 10 lb. Glauber's salt, 5 lb. +acetic acid, and 3/4 lb. Naphthylamine Black D. This gives fine shades +of pearl grey. + +_Bluish Grey_.--Mordant the wool by boiling in a bath made with 2 lb. +bichromate of potash, 1 lb. tartar, and 1 lb. sulphuric acid. Dye in a +bath containing 2 oz. Diamine Black (or 3/4 oz. Diamond Black and +1-1/2 oz. Alizarine Cyanine R), working at the boil for an hour and a +half. + +_Grey_.--This can be dyed with 3 oz. Nyanza Black B, and 10 lb. +Glauber's salt, working at the boil. + +_Reddish Grey_.--A good full shade is dyed with 1-1/2 oz. Cyanole +extra, 1/4 oz. Orange extra, 3/4 oz. Archil Substitute N, 10 lb. +Glauber's salt and 3 lb. sulphuric acid. + +_Slate Grey_.--The dye-bath is made with 3 oz. Cyanole extra, 1/2 oz. +Archil Substitute N, 3/4 oz. Orange extra, 10 lb. Glauber's salt and +2 lb. sulphuric acid. + +_Bright Pearl Grey_.--Prepare a dye-bath with 3/4 oz. Patent Blue, +1/2 oz. Acid Violet N, 3/4 oz. Orange G, 10 lb. Glauber's salt and +2 lb. sulphuric acid. + +_Stone Grey on Wool_.--The dye-bath is made with 1/2 oz. +Chromotrop 2 R, 3/4 oz. Cyanole extra, 1-1/2 oz. Fast Acid Blue R, +3/4 oz. Acid Yellow, 20 lb. Glauber's salt, 3 lb. acetic acid. Enter +at 80 deg. F., then warm slowly and work to shade, lift, wash and dry. + +These recipes will probably be sufficient to show the lines on which +greys may be obtained in wool dyeing. It may be added that from the +Acid Blacks B, B B, and S, good greys of a violet tone may be +obtained, using from 1/2 to 3/4 oz. dye-stuff. The Naphthol Blacks +will also be found useful in the same way, while the greys from +Anthracene Chrome Blacks and the Alizarine blacks are very good and +fast. + +#Red Shades on Wool.#--The number of red shades that may be dyed (p. 100) +on wool is infinite. They range over every variety of tint of red, from +the palest blush-rose to the deepest crimson, and from the most brilliant +pink to the dullest grenat shade. + +It is quite impossible here to describe the dyeing of every imaginable +shade of red, while the great variety of red dye-stuffs, both natural +and artificial, adds to the difficulty of dealing in the space at +command with all the various methods and dyes that may be used in the +dyeing of reds on wool. + +The methods that may be adopted for dyeing red shades on wool are many +and various, depending not only on the particular dye-stuff used, but +often on the particular shade that is being dyed. One method, which +will yield a pale and useful tint with a particular dye-stuff, would +fail if a full shade were necessary. + +The greater number of red shades are now dyed by means of the +artificial dye-stuffs, as these are much easier to dye than are the +natural dyes, and they give, on the whole, more even and brilliant +shades, while as regards fastness to milling, acids, and light they +are fully equal, and in most cases superior, to the natural dyes. + +#The Direct Red Dyes.#--Of this group of red dye-stuffs, Benzopurpurine, +Titan Scarlet, Diamine Fast Red F, and Benzo Fast Red are types; many +of them have been found to be very serviceable in wool dyeing. They +may be dyed either from plain baths containing common salt or +Glauber's salt, or from baths containing common salt or Glauber's salt +and a little acetic acid. + +Alkaline or soap baths do not work well as a rule, and must be avoided +in wool dyeing. Generally the dye-bath is exhausted of colour, and +full shades are easily obtained, while these reds are in general +remarkable for the evenness and uniformity of tint which can be (p. 101) +produced. The reds so dyed are, on the whole, fairly fast to soaping, +and can be used for dyeing goods that have to be milled, while their +resistance to light and air is fairly good. Benzopurpurine and Diamine +Red are more or less affected by acids, but the Titan Red and some of +the more modern reds, Diamine Brilliant Scarlet, Benzo Fast Scarlets, +are all fast to acids. The fastness to washing and light of some of +them, Benzo Fast Red, Diamine Fast Red F, Titan Red, is much increased +by adding, after the wool has been dyed, 3 per cent. of fluoride of +chromium to the dye-bath, and working a little longer. + +The dyeing with these colours is done at the boil, and the goods may +be entered direct into the boiling bath without fear of uneven shades +being produced. This bath may be kept as a standing one, simply adding +as each lot is dyed the necessary quantity of dye-stuff, a little +fresh water to bring the bath up to its original volume, and a +corresponding quantity of the salt originally added. The wool can then +be entered and dyed. + +In place of using salt or Glauber's salt, acetate of ammonia is an +excellent assistant for this class of dyes. + +The following are some recipes for dyeing various shades of red on +wool with this class of dyes. + +_Scarlet_.--The dye-bath is made with 3 lb. Titan Scarlet C B, and +10 lb. acetate of ammonia. This gives a good bright shade of scarlet, +which is fast to acids and soaping, although not fast to light. + +_Scarlet_.--Dye in a bath made with 3 lb. Diamine Scarlet B and 10 lb. +Glauber's salt. This yields a light shade, not so fast to acids as the +last, but equally fast to soaping and light. + +_Scarlet_.--Make the dye-bath with 3 lb. Benzopurpurine 4 B, and +10 lb. Glauber's salt. This also gives a good shade of Scarlet fast to +soaping. It is turned dark blue by acids, and is not fast to (p. 102) +light. It is very largely used on underwear goods, but is not so +satisfactory for this as the Titan Scarlet C B, or Benzo Fast +Scarlet B S. + +_Scarlet_.--The dye-bath may be made with 3 lb. Brilliant Congo G, +10 lb. Glauber's salt and 2 lb. acetate of ammonia. This gives a +satisfactory shade of scarlet. + +_Bright Scarlet_.--The dye-bath prepared with 2 lb. Geranine G, 5 lb. +sulphate of soda, 5 lb. acetate of ammonia. Work at the boil for one +hour, then wash and dry. + +_Dark Crimson_.--Prepare a dye-bath with 1-1/2 lb. Chrysophenine, +1-1/2 lb. Hessian Violet, 25 lb. salt. Heat to 150 deg. F., enter the +goods, heat to boil and dye boiling for one hour, take out, rinse and +wash. + +_Scarlet_.--A brilliant shade of scarlet can be dyed in a bath of +3 lb. Benzo Fast Red, 1 lb. Chrysophenine, 10 lb. Glauber's salt and +2 lb. acetic acid. + +_Fast Red_.--Dye the wool in a bath boiling, containing 1 lb. Diamine +Fast Red F, 10 lb. Glauber's salt, and 2 lb. acetic acid, until the +bath is exhausted, then add 3 lb. fluoride of Chrome and work half an +hour longer at the boil. + +_Bordeaux_.--Dye with 3 lb. Diamine Bordeaux, and 10 lb. Glauber's +salt. + +_Pink_.--Dye with 2 lb. Diamine Rose B D, 10 lb. Glauber's salt and +1 lb. acetic acid. + +The basic red dyes are not very numerous, and comprise Magenta, +Saffranine, Acridine Reds, Acridine Scarlets, Rhoduline Reds, +Rhodamine and Neutral Beds. For successful dyeing they require a +perfectly neutral bath. This bath should contain 10 per cent. of +Glauber's salt, and is started cold and not too strong; when all the +material has been entered the steam may be turned on and the +temperature slowly raised, the material being turned over and over. +The operation is continued only until the bath has been exhausted of +colour, when it is stopped, and the wool taken out, and washed (p. 103) +and dried. The liquor in the dye-baths may be allowed to cool down, +and then it may be used for making the dye-bath for a second lot of +goods, or it may be run away. It is best not to add the dye to the +bath all at once, but in several portions as the work proceeds. The +affinity of the wool for the basic dyes is usually so strong that if +all were added to the dye-bath at the start, then the first portion of +the goods entered might take up all, or nearly all, the colour, +leaving but little for the last portion; the consequence being that +the goods are dyed of an uneven colour, deeper in some parts than +others. This defect is remedied by adding the dye in portions, +entering the goods rather quickly, working cold, or by adding a little +acetic acid and plenty of Glauber's salt. Notwithstanding all these +precautions it is quite possible for the shades to come up somewhat +uneven. These remarks are applicable not only to the basic reds but to +the whole range of basic dyes, hence this class of dye-stuffs is but +little used in the dyeing of wool. + +_Crimson_.--Make the dye-bath with 2 lb. Magenta, and 15 lb. Glauber's +salt, working as described above. This gives a fine crimson shade +which, however, is not fast to soaping or to light. The quantity of +dye-stuff given above should not be exceeded or the shades may come up +bronzy, this may be avoided if a trace of acetic acid is added to the +dye-bath. + +_Crimson_.--Dye with 2-1/2 lb. of Saffranine and 15 lb. Glauber's +salt. This dyes a fine Crimson shade. + +_Deep Red_.--Use 3 lb. Rhoduline Red and 10 lb. Glauber's salt. + +_Scarlet_.--The dye-bath is made with 1 lb. Saffranine Prima, 1 lb. +Auramine, and 10 lb. Glauber's salt. The goods are entered into the +dye-bath at about 120 deg. F., and well worked about, then the temperature +is raised slowly. When the dye-bath is exhausted the goods are lifted, +washed and dried. There are no pure basic scarlets, and the above and +similar combinations of a basic red and a basic yellow are the (p. 104) +only ways in which a scarlet can be dyed on wool with basic coal-tar +colours. + +The basic colours are, in general, the hydrochlorides of some colour +base, and in the process of dyeing the acid constituent of the wool +fibre unites with the colour base, while the hydrochloric acid which +is liberated passes into the dye-bath. + +The acid reds are a very large group of red dyes, of somewhat varied +chemical composition, which all have the property of dyeing from baths +containing Glauber's salt and sulphuric acid or acetic acid, the usual +proportions being 10 per cent. of the former, and 2 to 5 per cent. of +the acid. Some are best dyed from a bath containing bisulphate of +soda. The dyeing should be started cold, or at a lukewarm heat, then +steam should be turned on and the temperature raised to the boil, at +which it is maintained for an hour; this boiling serving to more +intimately fix the dye-stuff on the woollen fibre. + +The Eosine reds, of which Eosine in its various brands, Rose Bengale, +Phloxine, Saffrosine and Erythrosine, are examples, are best dyed upon +wool from a bath containing Glauber's salt and a little acetic acid. +They do not require a very acid bath, hence the reason of using acetic +acid. The method of dyeing is that given above as for basic reds, +namely, enter into cold, or at most lukewarm bath, and raise the heat +slowly, continuing the work until the shade required has been +obtained. It is a good plan to start work in a neutral bath, and then +when the material has become thoroughly impregnated with the +dye-liquor to add the acetic acid. The shades obtained from these +Eosine reds are remarkable for their brilliance, but unfortunately +their fastness to light, washing, etc., is but slight, although it may +be increased by treating the dyed wool in a bath of alum or acetate of +lead. + +Some of the acid reds, _e.g._, Acid Magenta, Acid Violet, belong (p. 105) +to the group of sulphonated basic dyes. The vast majority belong to the +group of azo dyes, which can be employed to dye from palest pinks to +the deepest crimson reds. Some dye very brilliant shades, others only +yield dull reds. Some dye shades remarkable for their fastness to all +agencies, soap, acids, alkalies, light and air; others dye shades +which may be fast to soap, but loose to acids and light. Generally +even shades are readily obtained on any kind of woollen fabric. It is +practically impossible to name all the acid reds that are known and +that may be used, but a fairly representative series of recipes will +be given. + +_Ponceau_.--Wet out, then prepare a bath with 2 lb. Ponceau R, 10 lb. +Glauber's salt, 2 lb. sulphuric acid. Enter the wool in the cold, +bring to a boil and work to shade, wash and dry. + +_Crushed Strawberry_.--Prepare a bath containing 10 lb. Glauber's +salt, 4 oz. Scarlet R S, 9 oz. Indigo extract, 2 oz. Orange Y, 4 oz. +sulphuric acid. Enter wool at 160 deg. F., give four turns, raise +temperature slowly to a boil, and turn to shade, lift and wash. + +_Scarlet_.--Prepare a dye-bath with 2 lb. Azo cochineal, 10 lb. +Glauber's salt, 4 lb. sulphuric acid. Work at the boil until the full +shade is obtained, then lift, wash and dry. + +_Terra Cotta Red_.--The dye-bath is made from 2-1/2 lb. Fast Acid +Magenta B, 2-1/2 lb. Fast Yellow F Y, 10 lb. Glauber's salt, 2 lb. +sulphuric acid. Work at the boil to shade. + +_Fast Scarlet_.--Prepare a dye-bath with 3 lb. Glauber's salt, +1-1/4 lb. sulphuric acid, 2-1/2 lb. Brilliant Scarlet 4 R. Work at the +boil for one and a half hours. + +_Scarlet_.--Make the dye-bath with 2 lb. Scarlet 2 R J, 10 lb. +Glauber's salt and 2 lb. sulphuric acid. The goods may be entered at +about 150 deg. F., and the temperature raised at the boil and maintained +at that heat for one hour, then the goods are lifted, rinsed and +dried. + +The method given in the above recipes is that usually followed (p. 106) +with the acid colours. When closely woven or thick goods are being +dyed, where it is desired that the colour should penetrate well into +the substance of the goods, the following modification of working may +be adopted:-- + +The dye-bath is made up with the dye-stuff and Glauber's salt only, +and the goods are worked in this at the boil until they are thoroughly +impregnated with the dye-stuff liquor, then the acid is added in small +quantities at a time, and the dyeing is continued for one hour to fix +the colouring matter on the wool fibre. The goods may then be lifted +out, washed and dried. + +_Scarlet_.--Make the dye-bath with 2 lb. Scarlet F R, 10 lb. Glauber's +salt and 2 lb. sulphuric acid. In place of scarlet F R, the F 2 R or +F 3 R brands may be used, the latter giving the reddest shades. + +_Scarlet_.--Make the dye-bath with 2 lb. Scarlet O O, 10 lb. Glauber's +salt and 2 lb. sulphuric acid. Scarlet O dyes a yellower shade of +scarlet, while scarlets O O and O O O dye slightly redder shades. + +_Scarlet_.--The dye-bath is made with 3 lb. Brilliant Ponceau 2 R, +10 lb. Glauber's salt and 10 lb. bisulphate of soda. This gives a +brilliant shade of scarlet. Brilliant Ponceau G, used in the same way, +gives a much yellower tone of scarlet, the R gives a slightly yellower +tone, while the 3 and 4 R brands dye redder shades. + +_Bluish Red_.--The dye-bath is made with 2 lb. Brilliant Croceine B, +10 lb. Glauber's salt, and 10 lb. bisulphate of soda. Brilliant +croceine B B and the brand M dye redder shades of scarlet. + +_Red_.--Make the dye-bath with 3 lb. Milling Red R, 20 lb. Glauber's +salt, and 5 lb. acetic acid. This is a good bright shade, and is quite +fast to soaping and milling. + +_Deep Scarlet_.--Dye with 3 lb. Chromotrop R, 10 lb. Glauber's (p. 107) +salt, and 2 lb. sulphuric acid. This scarlet is very fast to milling, +acid and light. + +_Red_.--Make the dye-bath with 2 lb. Victoria Scarlet R, 1 lb. +Victoria Rubine O, 10 lb. Glauber's salt, and 4 lb. sulphuric acid. A +fine deep scarlet red is obtained. + +_Scarlet_.--Dye with 2 lb. Brilliant Orseille C, 10 lb. Glauber's +salt, and 3 lb. sulphuric acid. This gives a bright bluish shade of +scarlet. + +_Red_.--Dye with 1 lb. Emin Red and 5 lb. bisulphate of soda. + +_Scarlet_.--Make the dye-bath with 3 lb. Croceine Scarlet 3 R, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. + +_Fawn Red_.--Make the dye-bath with 1-1/2 oz. Cyanole, 1-1/2 oz. +Orange extra, 2-1/2 oz. Archil Substitute N, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid. This gives a nice light tint of fawn red, of +a somewhat bluish tone. + +_Deep Fawn Red_.--A very deep shade of fawn red is dyed with 4-1/2 oz. +Cyanole, 2-1/4 lb. Orange extra, 1-1/4 lb. Archil Substitute N, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. The same dye-stuffs are used +as in the last, but the result is a deeper shade, of a yellow tone. + +_Crushed Strawberry Red_.--Use 4 oz. Chromotrop 2 R, 2 oz. Cyanine B, +1 oz. Azo yellow, 10 lb. Glauber's salt, and 2 lb. sulphuric acid. + +_Pale Lilac Rose_.--Dye with 1 oz. Chromotrop 2 R, 1/2 oz. Cyanine B, +1/2 oz. Azo yellow, 10 lb. Glauber's salt, and 2 lb. sulphuric acid. + +_Deep Fawn_.--Dye with 3-1/4 oz. Chromotrop 2 R, 1-1/2 oz. Orange G, +2 oz. Cyanine B, 4 oz. Fast Acid Blue R, 10 lb. acetic acid, and +20 lb. Glauber's salt. + +_Crimson_.--Make the dye-bath with 3 lb. Titan Red 6 B, 20 lb. salt, +with a little acetic acid, and work at the boil. This gives a fine +shade of crimson, fast to acids and capable of standing milling very +well. + +_Deep Crimson_.--A bright and deep crimson is dyed with 4 lb. Fast (p. 108) +Acid Magenta B, 10 lb. Glauber's salt, and 3 lb. sulphuric acid, working +at the boil. + +_Pale Crimson_.--Make the dye-bath with 2 lb. Fast Acid Magenta B, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil. +Level shades are readily obtained, and the dye is fast to washing. + +_Deep Crimson_.--Make the dye-bath with 4 lb. Azo Fuchsine G, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. This gives a very deep shade +of crimson, of a bluish tone. + +_Bluish Crimson_.--Use in the dye-bath 2 lb. Azo Fuchsine G, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. + +_Pale Bluish Crimson_.--Use in the dye-bath 1 lb. Azo Fuchsine G, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. This gives a very +bright shade of pale crimson. The B brand of the Azo Fuchsines gives +slightly bluer shades than the above. + +_Deep Crimson_.--A very solid crimson is dyed in a bath containing +3 lb. Azo Red A, 2 oz. Orange extra, 2 oz. Cyanole extra, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. Work at the boil. + +_Bright Crimson_.--A fine bluish crimson can be dyed on wool with +4 lb. Azo Red A, 10 lb. Glauber's salt, and 10 lb. bisulphate of soda. +Work at the boil. + +_Deep Crimson_.--A good shade can be dyed with 6 lb. Amaranth, 10 lb. +Glauber's salt, and 10 lb. bisulphate of soda, working at the boil. + +_Brilliant Pale Bluish Crimson_.--A really brilliant shade, bordering +on a violet red, is dyed in a bath containing 1-1/2 lb. Fast Acid +Violet R, 10 lb. Glauber's salt, and 2 lb. sulphuric acid. + +_Bluish Crimson_.--Make the dye-bath with 3 lb. Croceine Scarlet, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. This gives a good +full shade of a bluish tone and very bright. + +_Bluish Crimson_.--Dye with 3 lb. Chromotrop 6 B, 10 lb. +Glauber's salt, and 3 lb. sulphuric acid. This gives a fine tint, (p. 109) +very fast to acids, milling and light. + +_Purple_.--Make the dye-bath with 3 lb. Chromotrop 10 B, 10 lb. +Glauber's salt, and 3 lb. sulphuric acid. + +The Chromotrops are remarkable for the fulness of the shades they dye, +the brightness of their tint, and their fastness to acids, washing and +light. + +_Purple_.--Use 4 lb. Azo Fuchsine B, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. + +_Bluish Purple_.--A very dark shade of purple is dyed with 4 lb. Azo +Acid Violet 4 R, 10 lb. Glauber's salt, and 2 lb. sulphuric acid. + +#Bordeaux Reds#.--These are shades that lie intermediately between the +scarlets and the crimsons. They are in general duller than the +scarlets, and have a more solid and fuller look; while they are less +blue in tone than the crimson. They can be obtained from a large +variety of dye-stuffs, and the recipes given below may be regarded as +typical examples. + +_Bright Bordeaux Red_.--Make the dye-bath with 1 lb. Azo Bordeaux, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil +to shade. This is a very bright shade, of a somewhat bluish tone. + +_Cherry Red_.--Make the dye-bath with 2-1/2 lb. Fast Acid Magenta B, +2-1/2 lb. Fast Yellow, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid. This gives a fine deep shade. + +_Bright Cherry Red_.--A very yellow shade of red, fast to milling, is +dyed by making a dye-bath with 1-1/2 lb. Anthracene Yellow C, 3 lb. +Diamine Fast Red F, 10 lb. Glauber's salt, 5 lb. acetate of soda, and +2 lb. bisulphate of soda. Work at the boil for one hour, then lift, +add 3 lb. fluoride of chrome, re-enter the wool and work half an hour +longer; wash and dry. + +_Deep Bordeaux Red_.--The dye-bath is made with 4 lb. Diamine Fast +Red F, 5 lb. acetate of soda, and 3 lb. bisulphate of soda. Work (p. 110) +at the boil for one hour, then lift, add to the bath 3 lb. fluoride of +chrome, re-enter the goods and work again for half an hour; lift, wash +and dry. + +_Bright Cherry Red_.--Make a dye-bath with 4 lb. Benzo Fast Red, +10 lb. Glauber's salt, and 2 lb. acetic acid. Work at the boil for one +hour, then lift, add 3 lb. fluoride of chrome, re-enter the goods and +work for half an hour longer; wash and dry. + +_Cherry Red_.--Make the dye-bath with 2 lb. Azo Fuchsine G, 1-1/2 lb. +Fast Yellow, 10 lb. Glauber's salt, and 2 lb. sulphuric acid. Work at +the boil for one hour. + +_Bluish Bordeaux Red_.--For a very fast shade use 8 oz. Fast Acid +Violet R, 8 oz. Orange G, 3/4 oz. Patent Blue B, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. Work at the boil for one hour. + +_Bright Bordeaux Red_.--A good bright and fast shade of red is dyed +with 3-1/2 lb. Emin Red and 7 lb. bisulphate of soda. Work at the boil +for one hour, then lift, add 3 lb. fluoride of chrome, work for +three-quarters of an hour, then lift, wash and dry. + +_Bordeaux Red_.--Use 3 lb. Titan Scarlet D, 1/4 lb. Titan Brown O, and +20 lb. salt. Work at the boil for one hour, then lift, wash and dry. + +#Claret Reds.#--Claret reds are very useful shades and are great +favourites of the dress-loving public. They are dark reds of a yellow +tone, and can be dyed upon wool in a variety of ways, of which the +following recipes just indicate a few. + +_Claret_.--Make the dye-bath with 4 lb. Milling red R, 10 lb. +Glauber's salt, and 4 lb. sulphuric acid. + +_Claret_.--Use 4 lb. Archil Substitute N, 10 lb. Glauber's salt, and +2 lb. sulphuric acid. + +_Claret_.--Make the dye-bath with 2 lb. Bordeaux B L, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. + +_Claret_.--A deep shade is dyed with 2-1/2 lb. Victoria Scarlet R, (p. 111) +2 lb. Victoria Rubine O, 1 oz. Cyanine Scarlet R, 2 lb. Victoria +Rubine O, 1 oz. Cyanine B, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid. + +_Claret_.--A fine deep shade is dyed with 2 lb. Azo Red A, 1/4 lb. +Orange extra, 1/4 lb. Cyanole, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. + +#Maroon Reds.#--From clarets to maroons is not a wide interval, they are +both dark shade reds, the former tending to a yellow tone, the latter +to a more bluish shade of red. A few recipes will be given to show +some of the best methods of dyeing maroons. + +_Maroon_.--Use 6 lb. Amaranth B, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. This gives a fine bright shade. + +_Deep Maroon_.--Make the dye-bath with 4-1/2 lb. Fast Acid +Violet 10 B, 80 lb. Glauber's salt, and 3 lb. sulphuric acid. This +gives a fine blue shade of maroon of great depth. + +_Maroon_.--The dye-bath is made with 3 lb. Azo acid violet 4 R, 1 lb. +Fast Yellow S, 1-1/2 oz. Fast Green Bluish, 10 lb. Glauber's salt, and +2 lb. sulphuric acid. + +_Deep Maroon_.--Make the dye-bath with 2 lb. Acid Magenta, 1/2 lb. +Orange O, 1/2 lb. Patent Blue V, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. + +_Deep Maroon_.--Make a dye-bath with 3 lb. Azo Acid Rubine, 1-1/2 oz. +Acid Black B B, 10 lb. Glauber's salt, and 2 lb. sulphuric acid. + +_Maroon_.--The dye-bath is made with 3 lb. Milling Red B, 1-1/2 oz. +Naphthol Black 4 R, 10 lb. Glauber's salt, and 3 lb. sulphuric acid. + +_Deep Maroon_.--Make the dye-bath with 1-1/2 lb. Victoria Scarlet R, +13 oz. Victoria Rubine O, 1/2 lb. Victoria Yellow, 2 lb. Keton Blue G, +10 lb. Glauber's salt, and 3 lb. sulphuric acid. + +_Bright Red_.--A good shade is dyed with 4 lb. Lanafuchsine S G, and +10 lb. bisulphate of soda. Lanafuchsine S B dyes somewhat bluer +shades. + +_Fast Red_.--Dye with 4 lb. Milling Red B, 10 lb. Glauber's salt, (p. 112) +and 2 lb. sulphuric acid. + +_Bright Scarlet_.--Dye with 3 lb. Brilliant Cochineal 2 R, 10 lb. +Glauber's salt, and 3 lb. sulphuric acid. + +_Deep Scarlet_.--Dye with 3 lb. Brilliant Ponceau 4 R, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. + +#Pinks.#--_Pink_.--Use 1-1/2 oz. Erythesine D, and 5 lb. acetic acid. +These two pinks are very much alike and are very bright. + +_Bluish Pink_.--Use 1-1/2 oz. Rose Bengale and 5 lb. acetic acid. + +_Pink_.--Make the dye-bath with 3 oz. Azo Cochineal, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. + +_Bluish Pink_.--Make the dye-bath with 3/4 to 1 oz. Fast Acid Violet R +and a little Orange G, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid. + +_Pink_.--By using 1-1/2 oz. Fast Acid Violet R, 3/4 oz. Orange G, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, a good full pink is +obtained. + +_Bluish Pink_.--Use 2 oz. Fast Acid Violet R, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid. + +Many of the other acid reds may be used for dyeing pinks if from 2 to +4 oz. of dye-stuff be used. + +_Pink_.--Use in the dye-bath 1-1/2 oz. Diamine Fast Red F, 5 lb. +acetate of soda, and 3 lb. bisulphate of soda. + +_Coral Red_.--Make the dye-bath with 1/2 lb. Diamine Scarlet B, 10 lb. +Glauber's salt, and 1 lb. acetic acid. + +_Dark Cherry Red_.--The dye-bath is made with 2-1/2 lb. Orange G G, +1 lb. Brilliant Orseille C, 3/4 oz. Cyanole extra, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. + +_Deep Crimson_.--Use in the dye-bath 4 lb. Brilliant Orseille C, +1-1/2 oz. Cyanole extra, 3 oz. Orange G G, 10 lb. Glauber's salt, and +2 lb. sulphuric acid. + +_Scarlet_.--Make the dye-bath with 4 lb. Lanafuchsine S G, and 10 lb. +bisulphate of soda. Work at the boil to shade. + +_Crimson_.--Make the dye-bath with 4 lb. Lanafuchsine S B, and (p. 113) +10 lb. bisulphate of soda. Work at the boil to shade. + +The Lanafuchsines, of which there are three brands, S G, S B, and 6 B, +dye very good level shades of red from scarlet to crimson, which are +of good fastness to milling, acids and light. + +_Salmon_.--Use 1/2 lb. Rhodamine B, 1/4 oz. Naphthol Yellow S, 10 lb. +Glauber's salt, and 2 lb. acetic acid. + +_Rose Red_.--Use 1/4 lb. Lanafuchsine S B, 3 oz. Lanafuchsine S G, +10 lb. Glauber's salt, and 1 lb. sulphuric acid. + +_Salmon Red_.--Use 1-1/2 oz. Lanafuchsine S G, 1/4 oz. Fast Yellow S, +10 lb. Glauber's salt, and 1/2 lb. sulphuric acid. + +_Deep Crimson_.--The dye-bath is made with 2 lb. Naphthol Red C, 9 oz. +Acid Magenta, 3/4 oz. Cyanole extra, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. + +_Purple Red_.--Dye with 2-1/2 lb. Naphthol Red C, 3/4 lb. Acid +Magenta, 1 oz. Cyanole extra, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. + +_Bordeaux Red_.--Dye with 4 lb. Lanafuchsine S B, 1 oz. Orange extra, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. + +_Fawn Red_.--Dye with 1/4 lb. Orange G G, 3 oz. Lanafuchsine S B, +1/2 oz. Cyanole extra, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid. + +_Salmon_.--Prepare the dye-bath with 1/4 oz. Fast Acid Violet R, +1/2 oz. Orange G, 10 lb. Glauber's salt, 1 lb. sulphuric acid. Work at +the boil to shade. + +The mordant reds are fairly numerous, and include both natural and +artificial red dye-stuffs. The principle or property on which the +application of this group of dye-stuffs to the dyeing of textile +fabrics depends is that they are of an acid character and combine with +metallic oxides, like those of iron, aluminium, or chromium to form +insoluble coloured bodies, or "colour lakes" as they are called. The +shade or tint of these colour lakes depends, firstly, upon the (p. 114) +dye-stuff, and, secondly, upon the metallic oxide. Thus Alizarine with +alumina gives a scarlet, with chrome a dark red, and with iron a dull +violet. Alumina and chrome are the metallic mordants most commonly +used in the dyeing of reds; sometimes tin is used, but never iron. + +The coal-tar colour makers have placed at the service of dyers a great +variety of mordant dyes, which may be classified somewhat roughly into +groups, according to their chemical composition. The first group is +called phenolic colours. These contain the group, or radical OH, +hydroxyl, once or oftener. It is to the presence of this group that +they owe their acid character and the property of combination with +metallic oxides. To this group of dye-stuffs belong such dyes as +Alizarine, Alizarine Cyanine, Anthragallol, Gambine, Coerulein, and +some others. The natural red dye-stuffs, Cochineal, Brazil-wood, +madder, etc., probably belong to this class. + +None of these are essentially dyes of themselves, and used alone will +not dye any fibre, it is only when they are brought into combination +with the mordant that they will dye the wool fibre. + +The next group may be called hydroxy-azo dyes, and are quite of modern +introduction. They are azo dyes, one of whose constituents is a body +like salicylic acid, amido-benzoic acid, dihydroxy-naphthalene-sulpho +acid, which contain the group OH, hydroxyl with carboxyl COOH. The +first group imparts phenolic characters, while the second gives true +acid properties, and both of these acting together cause the dyes to +be able to form colour lakes with metallic oxides. There is one point +of difference between the two groups of dyes, the phenolic dyes are as +a rule not dyes of themselves, some of them are practically free from +colour, and it is only when brought into combination with the metallic +oxide or mordant that they form a colour and dye a fibre. On the (p. 115) +other hand the azo mordants are in general colouring matters, and can +be used to dye wool without the aid of a mordant, the latter only +serving to make the colour faster to light, acids, milling, etc., and +it often has no material effect on the shade or tone of colour being +dyed. Alizarine Yellow G G, Gambine Yellow, Anthracene Yellow, Chrome +Violet, are examples of such dyes. + +There are, however, some dyes (such as the Chromotrops, Azofuchsine, +Anthracene Acid Browns, etc.) on which the mordant has a marked +effect. + +The methods adopted in practice for the application of this class of +dyes are many and varied. The mordants used are alum, alumina +sulphate, acetate of chrome, chrome alum, fluoride of chrome, ferrous +sulphate and tin chloride, while, in addition, along with these true +mordanting materials, assistant mordants are used, such as argol, +tartar, tartaric acid, lactic acid, lignorosine, oxalic acid and +sulphuric acid. + +The mordanting may be done either before or after the dyeing, the +first plan being that commonly adopted with the phenolic colours, +while the second method may be used and is the best to use with +azo-mordant dyes. Sometimes the mordanting and dyeing may be done in +one bath, but this method is one which leads to a loss of colouring +matter and often to the production of colours which are loose to +rubbing, and cannot, therefore, be recommended. + +#Mordanting.#--This operation is carried out in the same way in all +cases. The goods are entered into the bath at a temperature of about +150 deg. F. The heat is raised to the boil, and is then maintained for +one and a half hours, after which the mordanted wool is lifted and well +rinsed, when it is ready for the dye-bath. As mordanting materials +bichromate of potash and fluoride of chrome are chiefly used when +chrome mordants are required, sometimes chrome alum. With these (p. 116) +are used sulphuric acid, oxalic acid, cream of tartar or argol, lactic +acid, etc. + +Which of these are used depends entirely on the results which are to +be got and the dye-stuff to be used, more particularly is this the +case when bichromate of potash is the mordanting material. When +sulphuric acid is used as the assistant along with the bichrome, then +there is formed on the wool fibre a deposit of chromic acid and +chromium oxide, and this exerts an oxidising effect on the colouring +matter or dye-stuff, which in some cases, as the Alizarine Blue, +Alizarine Yellow, etc., leads to a destructive effect, and, therefore, +the production of weak shades, so that it is not possible always to +use an oxidising mordant. When tartar, argol, oxalic acid, lactic +acids and other assistants of an organic nature are used, then a +different effect is obtained, the bichromate is completely decomposed, +and a deposit of chromium oxide formed on the wool. This does not +exert any action on the colouring matter, and hence this mordant is +known as the non-oxidising mordant. It may be pointed out that when +wool is mordanted with potassium or sodium bichromate and sulphuric +acid (oxidising mordant) it has a deep yellow colour, while when +mordanted with bichromate or other chrome salt, and the organic +assistants enumerated above (non-oxidising mordant), it has a green +colour, and one sign of a well-mordanted wool is when it has a good +bright tone free from yellowness. + +Of the organic assistants tartar is undoubtedly the best in general +use, and, although slow in its action, leaves a good deposit of oxide +of chrome on the wool in a suitable condition to develop the best +results on dyeing. Argols are only an impure tartar. They can only be +used when dark shades are to be dyed. Oxalic acid does not work as +well as tartar, and there is not so much chrome oxide deposited on the +wool, while there is a slight tendency for a small proportion of this +to be in the form of chromic acid. Of late years lactic acid and (p. 117) +lignorosine have been added to the list of assistant mordants; both +these give excellent results, they lead to a more complete and more +uniform decomposition of the bichromate, and therefore the mordanting +baths are more completely exhausted, so that rather less bichromate is +required; the shades which are obtained are in general fuller and +brighter. Examples of the use of these assistants will be found among +the recipes given below. + +With fluoride of chrome either oxalic acid or tartar is used, and a +deposit of chromium oxide is formed on the wool, the general effect +being the same as when bichromate of potash is used with oxalic acid +or tartar. + +Alumina is applied either in the form of alum or of sulphate of +alumina, argol or tartar being used as the assistant, oxide of alumina +being deposited on the fibre. + +When ferrous sulphate (copperas) is used then tartar is almost +invariably used as the assistant mordant, oxalic acid only rarely. + +The dyeing with mordant dyes must be done in a special way and with +great care, if uniform, level shades and fast colours are to be +obtained. + +The dye-bath must be started cold, and the wool be entered and worked +for twenty to thirty minutes, the object being to cause the dye-stuffs +to penetrate well into the substance of the fibre, then the +temperature is slowly raised to the boil, not less than three-quarters +of an hour being taken in doing so; the temperature is maintained at +the boil for fully one and a half hours longer. During the boiling +operation the mordant and dye-stuff combine together, and form the +characteristic colour lake, and the boiling fixes this firmly on to +the wool. + +The water used plays a very important part. If too hard in character, +the lime it contains shows a tendency to combine with the (p. 118) +dye-stuff and form a colour lake, which is deposited in a loose form +on the wool or in the bath, tending to make the shades dull and loose +to rubbing. This defect can be remedied by adding a little acetic acid +to the dye-bath, say about 3 lb. to 100 gallons of the water. It +combines with and neutralises the influence of the lime, in so far as +the formation of a loose colour lake is concerned; still the lime does +unite with the dye-stuff, but the combination is formed more slowly, +and in or on the wool fibre so that it is fast. + +By working in the manner laid down above very fast shades can be dyed +on wool with mordant dyes, and the following recipes will give the +other details as to tints, shades, quantities, etc., not noted above. + +_Claret_.--Mordant, 2 lb. bichromate of potash and 2 lb. tartar; dye, +8 lb. Alizarine Claret R. + +_Fawn_.--Mordant, 3 lb. bichromate of potash and 1-1/2 lb. tartar; +dye, 3 lb. Alizarine Orange N. + +_Maroon_.--Mordant, 3 lb. bichromate of potash and 2-1/2 lb. tartar; +dye, 15 lb. Alizarine Orange N. + +_Deep Crimson_.--Mordant, 3 lb. bichromate of potash and 2-1/2 lb. +tartar; dye, 8 lb. Alizarine Red 1 W S. + +_Lilac Rose_.--Mordant, 1-1/2 lb. bichromate of potash and 1-1/2 lb. +tartar; dye, 1 lb. Alizarine Red 1 W S. + +_Crushed Strawberry Tint_.--Mordant, 2 lb. bichromate of potash and +1-1/2 lb. tartar; dye, 3 lb. Alizarine Red 2 W S. + +_Deep Claret_.--Mordant, 3 lb. bichromate of potash and 2-1/2 lb. +tartar; dye, 5 lb. Alizarine Red 1 W S. + +_Bright Fawn Red_.--Mordant, 2 lb. bichromate of potash and 1-1/2 lb. +tartar; dye, 1 lb. Alizarine Red 5 W S. + +_Scarlet_.--Mordant, 10 lb. alum and 6 lb. tartar; dye, 4 lb. +Alizarine Red 5 W S. + +_Rose_.--Mordant, 6 lb. alum and 4 lb. tartar; dye, 1 lb. Alizarine +Red 1 W S. + +_Deep Scarlet_.--Mordant, 10 lb. alum and 6 lb. tartar; dye, (p. 119) +4 lb. Alizarine Red 1 W S. + +_Deep Maroon_.--Mordant, 3 lb. bichromate of potash and 1 lb. +sulphuric acid; dye, 5 lb. Alizarine Red 3 W S. + +_Bright Maroon_.--Mordant, 3 lb. bichromate of potash and 2 lb. +tartar; dye, 5 lb. Alizarine Red S W, 10 lb. Mordant Yellow. + +_Deep Fawn Red_.--Mordant, 3 lb. bichromate of potash and 2-1/2 lb. +tartar; dye, 10 lb. Alizarine Orange W and 1 lb. Mordant Yellow. + +These typical recipes are here given to show what tints may be +obtained from the alizarine and the quantity of dye-stuffs required. +By using other proportions of dye-stuffs than those given a variety of +other tints may be dyed. + +The method of working described above is applicable to other mordant +dyeing colours besides the alizarine reds, such as Alizarine Orange, +Alizarine Blue, Anthracene Brown, Alizarine Cyanine, Galloflavine, +Gambine, Chrome Violet, etc. It will therefore not be required to +repeat this description of the process when the use of mordant colours +for producing other colours, such as blues, navies, drabs, browns, +etc., is dealt with. + +Although the shades dyed with the alizarines and allied colouring +matters are lacking in the brilliance characteristic of the azo +scarlets, yet they have the very great advantage of being quite fast +to washing, acids and light. + +There is another method of using those alizarine reds that are sold in +the form of powder, and which are distinguished by the letter S. They +are of some value in dyeing heavy woollen cloths, and the method is +indicated in the two recipes which follow:-- + +_Brilliant Scarlet_.--Prepare a dye-bath with 20 lb. Glauber's salt +and 4 lb. Alizarine Red 1 W S, boil the wool in this for +three-quarters of an hour; then lift, add to the same bath 4 lb. (p. 120) +sulphuric acid, again work at the boil for three-quarters of an hour; +then lift, add 10 lb. alum, re-enter the goods, and work +three-quarters of an hour longer; then lift, wash and dry. + +_Claret_.--Prepare a bath with 20 lb. Glauber's salt and 4 lb. +Alizarine Red 1 W S, boil for three-quarters of an hour; then lift, +add 4 lb. sulphuric acid, re-enter the wool, boil for three-quarters +of an hour; then lift, add 3 lb. bichromate of potash, re-enter the +wool, and boil for three-quarters of an hour longer; then lift, wash +and dry. + +_Bluish Red_.--Mordant, 2 lb. bichromate of potash and 2 lb. lactic +acid; dye, 2 lb. Alizarine Red S. In this recipe there is used lactic +acid as the assistant, and a very fine shade results. + +_Red_.--Mordant, 3 lb. lignorosine, 2 lb. bichromate of soda and 1 lb. +sulphuric acid; dye with 12 lb. Alizarine Orange 2 G. + +_Dark Bordeaux Red_.--Mordant, 3 lb. lignorosine, 3 lb. bichromate of +soda and 1-1/2 lb. sulphuric acid; dye, 12 lb. Alizarine S X. + +_Dark Red_.--Mordant, 3 lb. lignorosine, 2-1/2 lb. bichromate of soda +and 1-1/4 lb. sulphuric acid; dye, 6 lb. Alizarine Orange 2 G and +4 lb. Alizarine S X. + +Lignorosine used as the assistant mordant in the above recipes works +very well, and gives bright shades. + +_Fast Bordeaux_.--Prepare a bath with 4 lb. Chromogene I, 1-1/2 lb. +Alizarine Red 1 W S, 1 lb. Alizarine Red 5 W S, 1/2 lb. Fast Acid +Violet R, 10 lb. Glauber's salt and 3 lb. sulphuric acid. Work at the +boil for one hour, then lift; add to the same bath 3 lb. bichromate of +potash and 1-1/2 lb. sulphuric acid. Re-enter the goods and work to +shade, then lift, wash and dry. + +_Terra Cotta_.--Make a dye-bath of 30 lb. Fustic, 8 lb. Turmeric, +30 lb. Sanders and 10 lb. Sumac. Boil the goods in this for one (p. 121) +hour, then add 3 lb. sulphate of copper, previously dissolved in +water, boil for one hour; cool, sadden with Copperas, using about +3-1/2 lb. or less if required; then rinse and dry. + +Another method is to mordant the goods at a boil for one and a half +hours in 2 lb. bichromate of potash and 2 lb. tartar. Drain and wash. +Dye in a fresh bath with 8 lb. sanders and 10 lb. fustic; afterwards +sadden with 1/4 lb. copperas; allow to stand one hour; wash and dry. + + +ORANGE SHADES ON WOOL. + +#With Direct Dyes.# Make a dye-bath with 2 lb. Titan Orange, 20 lb. +Glauber's salt, and 1/2 lb. acetic acid. Work at the boil for one and +a half hours, then lift, wash and dry. + +_Bright Orange_.--Dye with 1-1/2 lb. Benzo Orange R, 10 lb. salt, and +1 lb. acetic acid, working at the boil for one hour. + +_Orange_.--Dye with 2 lb. Chloramine Orange, 20 lb. salt, and a little +acetic acid, working at the boil for one hour. + +_Orange_.--Dye with 2 lb. Diamine Orange G C, and 20 lb. Glauber's +salt. + +_Pale Orange_.--Dye with 3 lb. Diamine Gold, 10 lb. Glauber's salt, +and 5 lb. ammonium acetate. + +_Reddish Orange_.--Dye with 3 lb. Diamine Orange D C and 20 lb. +Glauber's salt. + +_Orange_.--Dye with 2 lb. Diamine Scarlet B, 1 lb. Thioflavine S, and +20 lb. Glauber's salt. + +_Dark Orange_.--Dye with 1 lb. Diamine Red 5 B, 1 lb. Thioflavine S, +and 20 lb. Glauber's salt. + +#With Acid Colours.# _Orange_.--Dye with 2 lb. Ponceau 3 G, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. + +_Bright Orange_.--Dye with 2 lb. Mandarine G, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid. + +_Orange_.--Dye with 2 lb. Croceine Orange, 10 lb. Glauber's salt, and +2 lb. sulphuric acid. + +_Bright Orange_.--Use 3 lb. Orange G G, 10 lb. Glauber's salt, and (p. 122) +2 lb. sulphuric acid, boiling for one hour. + +_Orange_.--Use 3 lb. Orange R, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. Work at the boil. Orange Extra will give a slightly +less red tone of orange, Croceine orange gives a good bright shade of +a yellowish tone. + +There are several brands of Orange dyes which can be used; they differ +but little in shade from one another. In general they give fast +colours. The Tropaeolines also dye orange shades, but they are not so +fast as the other dyes which have been named. + +_Gold Orange_.--Make a dye-bath with 1/2 lb. Diamine scarlet B, 2 lb. +Anthracene Yellow C, 50 lb. Glauber's salt, 5 lb. acetate of ammonia. +Enter the wool, work for half an hour, then add 3 lb. bisulphate of +soda. Boil again for half an hour, then lift. Add 3 lb. fluoride of +chrome, re-enter the wool, boil again for half an hour, then lift, +wash and dry. This gives a very fast orange. + +#With Mordant Dyes.# _Old Gold_.--Mordant with 3 lb. bichromate of +potash and 1 lb. sulphuric acid; dye with 6 lb. Alizarine Yellow R W. + +_Pale Orange_.--Mordant with 6 lb. alum and 4 lb. tartar; dye with +1 lb. Alizarine Orange G G. + +_Deep Orange_.--Mordant with 10 lb. alum and 6 lb. tartar; dye with +10 lb. Alizarine Orange N. This last dye-stuff gives a slightly redder +shade of Orange than does the Alizarine Orange G. + +_Deep Orange_.--Dye in a bath with 1-3/4 lb. Azo Alizarine Orange R R, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, and fix in the same +bath with 1 lb. bichromate of potash. + +_Orange_.--Dye in a bath with 1 lb. Alizarine Red 1 W S, 2 lb. Mordant +Yellow O, 10 lb. Glauber's salt, and 2 lb. sulphuric acid, then fix +with 1-1/2 lb. bichromate of potash. + +_Orange_.--Dye in a bath with 1 lb. Anthracene Red, 2 lb. (p. 123) +Alizarine Yellow, 10 lb. Glauber's salt and 2 lb. sulphuric acid. +After dyeing fix with 2 lb. fluoride of chrome. + +_Gold Orange_. Mordant with 3 lb. bichromate of potash, and 2 lb. +tartar, for one and a half hours at the boil; rinse. Then dye in a new +bath with 1 lb. Alizarine Orange, 17 lb. Fustic extract. Work at +100 deg. F. for half an hour, then heat gradually to the boil and dye for +one and a half hours at that temperature; lift, rinse and wash. + +#Olive Yellow on Worsted Yarn.#--Mordant the yarn by boiling for one +hour or one and a half hours in a bath of 3 lb. bichromate of potash; +then dye in a bath of 1-1/2 lb. Gambine Yellow and 10 lb. of fustic +chips. + +Red and orange form a kind of group of colours which shade off one +into the other almost imperceptibly by using a range of dyes such as +Croceine A Z, Brilliant Croceine 9 B, Brilliant Croceine 7 B, +Brilliant Croceine 5 B, Brilliant Croceine 3 B, Brilliant Croceine +M O O, Crystal Scarlet 6 R, Brilliant Cochineal 4 R, Brilliant +Croceine B, Brilliant Cochineal 2 R, Orange E N Z, and Croceine Orange +E N. It is possible to dye shades from a scarlet crimson to a bright +orange. + + +YELLOW SHADES ON WOOL. + +The number of yellow dye-stuffs is very great, and the variety of +tints infinite. Yellow may be dyed with both natural and artificial +dye-stuffs, and the recipes given will include examples showing the +use of both kinds. Speaking generally, yellow dye-stuffs include +amongst them some of the fastest colours known, and there is a larger +proportion of fast yellow colouring matters than of any other class of +dye-stuffs. + +#With Acid Yellows.# _Bright Yellow_.--Make the dye-bath with 1 lb. Fast +Yellow F Y, 10 lb. Glauber's salt, and 2 lb. sulphuric acid, working +at the boil to shade. + +_Olive Yellow_.--Prepare the dye-bath with 1 lb. Azo Carmine, (p. 124) +1-1/2 oz. indigo carmine, 1/2 lb. Fast Yellow, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid, working at the boil to shade. + +_Maize Yellow_.--Prepare a dye-bath with 5 lb. acetate of ammonia, +3 oz. Anthracene Yellow C, 1/4 oz. Diamine Fast Red F. Work for twenty +minutes at the boil, then add 3 lb. bisulphate of soda; work half an +hour longer, and then wash and dry. + +_Bright Canary_.--Prepare a dye-bath with 4 lb. bisulphate of soda, +1/2 lb. Nitrazine Yellow. Heat the bath to about 120 deg. F., enter the +goods and heat up to the boil, and work till the bath is exhausted, +then lift; add to the dye-bath 3 lb. alum, 3 lb. tin spirits; re-enter +the goods, and boil for twenty minutes longer; lift, wash and dry. + +_Bright Straw_.--Dye with 3 oz. Phenoflavine and 20 lb. bisulphate of +soda. + +_Straw_.--Make the dye-bath with 1-1/4 oz. Azo Yellow, 1 dr. +Cyanine B, 1 dr. Chromotrop 2 R, 10 lb. Glauber's salt, and 1 lb. +sulphuric acid. + +_Greenish Straw_.--Dye with 1/4 oz. Cyanine B, 1 oz. Victoria Yellow, +1/4 oz. Chromotrop 2 B, 10 lb. Glauber's salt, and 1 lb. sulphuric +acid. + +_Olive Yellow_.--Mordant with 3 lb. bichromate of potash and 1 lb. +sulphuric acid; dye with 3 lb. Milling yellow O and 1 lb. acetic acid. + +_Bright Yellow_.--A good shade is dyed in a bath of 2 lb. Milling +yellow O, 10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at +the boil. + +_Olive Yellow_.--Dye with 1-1/2 lb. Titan Yellow R, 10 lb. common +salt, and 1 lb. acetic acid; after the colour has fully gone on to the +wool, add to the bath 1-1/2 lb. fluoride of chrome and maintain at the +boil for half an hour; then lift, wash and dry. + +_Deep Yellow_.--The dye-bath is made with 1-1/2 lb. Titan (p. 125) +Yellow R, 10 lb. common salt, and 1 lb. acetic acid, working at the +boil to shade. + +_Yellow_.--A good shade is dyed with 1-1/2 lb. Titan Yellow Y, 10 lb. +common salt, and 1/2 lb. acetic acid, working at the boil to shade. + +_Golden Yellow_.--Mordant with 3 lb. bichromate of potash and 2 lb. +tartar; dye with 1 lb. Anthracene Yellow C. + +_Deep Golden Yellow_.--Make the dye-bath with 3 lb. Anthracene +Yellow C, and 3 lb. bisulphate of soda. Work at the boil for half an +hour, then lift; add 3 lb. fluoride of chrome, re-enter the wool and +work at the boil for another half-hour, then wash and dry. + +_Deep Olive Yellow_.--Mordant with 3 lb. bichromate of potash and +2 lb. tartar; dye with 20 lb. fustic extract. This gives a very deep +shade of olive Yellow. + +_Bright Lemon Yellow_.--Make the dye-bath with 10 lb. Gambine Yellow, +7 lb. alum, and 2 lb. oxalic acid. Enter cold, then slowly heat to the +boil and work to shade; then lift, wash and dry. + +_Leaf Yellow_.--Mordant with 3 lb. bichromate of potash and 1/2 lb. +sulphuric acid; then dye with 2 lb. Gambine Y and 1 lb. Yellow N. + +_Deep Leaf Yellow_.--A somewhat deeper shade than the last is dyed by +first mordanting with 2 lb. bichromate of potash and 1/2 lb. sulphuric +acid, then dyeing with 2 lb. Gambine R and 1 lb. Yellow N. + +_Lemon Yellow_.--Prepare a bath with 40 lb. fustic, 6 lb. alum, 6 lb. +tartar, and 3/4 lb. tin crystals; enter the wool and work at the boil +for one and a half hours, then lift, wash and dry. + +_Olive Yellow_.--Mordant, 3 lb. bichromate of potash and 2 lb. tartar; +dye, 3 lb. extract of fustic. + +_Deep Lemon_.--Mordant, 3 lb. bichromate of potash and 2 lb. tartar; +dye, 1 lb. Alizarine Yellow G G W. + +_Golden Yellow_.--Mordant, 3 lb. bichromate of potash and 1 lb. (p. 126) +sulphuric acid; dye, 10 lb. Alizarine Yellow G G W. + +_Light Straw_.--Make the dye-bath with 3 oz. Anthracene Yellow B N, +5 lb. acetate of ammonia, and 3 lb. bisulphate of soda; work at the +boil to shade, then lift, wash and dry. + +_Old Gold_.--A very fine shade of old gold is obtained by dyeing in a +bath of 3 lb. Anthracene Yellow C, 5 lb. acetate of ammonia, and 3 lb. +bisulphate of soda. Work at the boil for three-quarters of an hour, +then lift; add to the dye-bath 3 lb. fluoride of chrome, re-enter the +wool, and work for one and a half hours longer at the boil; lift, wash +and dry. + +_Deep Yellow_.--Mordant, 3 lb. bichromate of potash and 2-1/2 lb. +tartar; dye, 2 lb. Mordant Yellow D. + +_Pale Olive Yellow_.--Dye with 3 lb. Anthracene Yellow G G, 10 lb. +Glauber's salt, and 2 lb. acetic acid; after the dye-bath is exhausted +of colour add 3 lb. fluoride of chrome, and work at the boil half an +hour longer. + +_Gold Yellow_.--Dye with 3 lb. Anthracene Yellow B N, 10 lb. Glauber's +salt, and 3 lb. acetic acid; after half an hour's boil, add 1-1/2 lb. +bichromate of potash, work for half an hour longer. + +_Gold Yellow_.--Dye with 2 lb. Indian Yellow R, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid. + + +GREEN SHADES ON WOOL. + +Of green shades there is an infinite variety, and these can be dyed in +several ways. Either a simple green dye-stuff may be used or mixtures +of blue and yellow dye-stuffs may be employed, this latter method +being extremely common. It is somewhat interesting to notice that, +notwithstanding the great prevalence of green in Nature, the dyer has +at his command no natural green dye-stuff, but must, if he prefers to +adopt natural dye-stuffs, use a mixture of blue and yellow dye-stuffs +to produce green shades. There are but few green colouring (p. 127) +matters derived from coal tar: Gambine, Dinitroso-resorcine, Alizarine +Green, Brilliant Green, Malachite Green, Azo Green, Fast Green, +Naphthol Green, Acid Green, Diamine Green, Benzo Green almost exhaust +the list. Compared with the numerous red and blue dyes which are +obtained from coal-tar products, green dyes are conspicuous by their +fewness. On the other hand, the dyer has in the blue and yellow dyes +from coal tar a means of producing any tint or shade of green he may +require. + +Members of all the classes of basic, direct, acid, azo and mordant +dyes, can be found among the dye-stuffs which can be used in dyeing +green, and the methods and principles of their application have been +fully described in previous pages. The following recipes contain all +the practical information that is needed:-- + +#With Direct Dyes.# _Dark Green_.--The dye-bath is made with 1 lb. Titan +Blue 3 B, 1 lb. Titan Yellow Y, 2 lb. salt, and 1/2 lb. acetic acid. + +_Bright Green_.--Prepare a dye-bath with 1 lb. Titan Yellow G, 1 lb. +Titan Blue 3 B, 20 lb. salt, and 1/2 lb. acetic acid, working at the +boil for one hour. + +_Dark Green_.--Make a dye-bath with 4 lb. Acid Blue 4 S, 2 lb. Titan +Yellow Y, and 5 lb. acetate of ammonia, working at the boil to shade. + +_Blue Green_.--Make the dye-bath with 6 lb. Acid Blue 4 S, 2-1/2 lb. +Titan Yellow Y, and 5 lb. acetate of ammonia, working at the boil to +shade. + +_Bottle Green_.--The dye-bath is made with 5 lb. Acid Blue 4 S, +2-1/2 lb. Titan Yellow Y, and 5 lb. acetate of ammonia, working at the +boil to shade. The greens shown in the last three recipes are of a +very satisfactory character, and show how, by the use of acetate of +ammonia in the dye-bath, the direct dyeing Titan colours can be +combined with acid colours. + +_Green_.--Make the dye-bath with 5 lb. Glauber's salt, 5 lb. (p. 128) +acetate of ammonia, 2 lb. Sulphon Cyanine, and 1-1/2 lb. Chrysophenine. + +_Dark Green_.--The dye-bath is made with 2 lb. Sulphon Cyanine, +3/4 lb. Chrysophenine, 5 lb. Glauber's salt, and 5 lb. acetate of +ammonia. + +_Pale Russian Green_.--Make the dye-bath with 1/2 lb. Sulphon Cyanine, +2-1/2 oz. Chrysophenine, and 10 lb. Glauber's salt. + +The last three shades have the merit of being fast to milling, and +fairly so to light. + +_Olive_.--Make a dye-bath with 1 lb. Nyanza Black B, 1 lb. Chrysamine, +and 20 lb. Glauber's salt. Work at the boil to shade, lift, wash and +dry. + +#With Acid Dyes.# _Blue Green_.--Make a dye-bath with 10 lb. Glauber's +salt, 2 lb. sulphuric acid, 2 lb. Patent Blue N, and 1 lb. Azo Yellow, +working at the boil. + +_Sage Green_.--The dye-bath is made with 10 lb. Glauber's salt, 2 lb. +sulphuric acid, 2 lb. Azo Yellow, and 1 lb. Patent Blue N, working at +the boil. + +_Olive Green_.--Make the dye-bath with 3 lb. Naphthol Green B, 10 lb. +Glauber's salt, 15 lb. bisulphate of soda, and 1 lb. copperas, working +at the boil to shade. + +_Bright Green_.--Make the dye-bath with 10 lb. Glauber's salt, 5 lb. +bisulphate of soda, and 1-1/2 lb. Acid Green B, working at the boil to +shade. + +_Emerald Green_.--The dye-bath is made with 1/2 lb. Acid Green B, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. The wool might also +be previously mordanted with 15 lb. hyposulphite of soda, and 5 lb. +sulphuric acid at the boil for one and a half hours, when it will give +a bright shade of emerald green. + +_Grass Green_.--Dye a medium indigo bottom on the wool from the vat, +then dye in a bath with 1 lb. Milling Yellow O, 5 lb. Glauber's salt, +and 5 lb. bisulphate of soda; lift, wash and dry. + +The last recipe shows the use of the indigo vat in giving the blue (p. 129) +constituent in dyeing greens and other compound colours on wool. This, +while being a very effective method of dyeing, yet necessitates two +operations which add very materially to the cost of dyeing such +shades, hence it is not used for dyeing low class woollen fabrics, but +for better class goods it is frequently adopted, fast colours being +thus obtained. + +In thus using the indigo vat as a bottom dye regard to the properties +of indigo must be paid in carrying out any subsequent dyeing +operation, so that the indigo on the fibre be not destroyed. As a +rule, the indigo will resist any ordinary baths made with Glauber's +salt, acetate of ammonia, sulphuric or acetic acids, but it will not +resist mordanting operations with bichromate of potash, for the latter +salt destroys the indigo. Fluoride of chrome, chrome acetate, or alum, +may be used as mordants if necessary. + +_Pale Sea Green_.--The dye-bath contains 1 oz. Cyanine B, 1 oz. Azo +Yellow, 5 lb. Glauber's salt, and 1 lb. sulphuric acid. + +_Moss Green_.--The dye-bath is made with 1/2 oz. Chromotrop 2 R, 2 oz. +Cyanine B, 4 oz. Fast Acid Blue R, 3-1/4 oz. Azo Yellow, 5 lb. acetic +acid, and 10 lb. Glauber's salt. + +_Deep Moss Green_.--Prepare the dye-bath with 4-1/2 oz. Cyanine B, +9 oz. Fast Acid Blue R, 4-1/2 oz. Azo yellow, 1/2 oz. Chromotrop 2 R, +5 lb. acetic acid, and 10 lb. Glauber's salt. + +_Blue Green_.--A very fine shade of blue green is dyed with 9-1/2 oz. +Cyanine B, 1-1/4 lb. Fast Acid Blue R, 4 oz. Azo Yellow, 5 lb. acetic +acid, and 10 lb. Glauber's salt. + +_Emerald Green_.--A pale, but brilliant shade of green is dyed with +1-1/4 oz. Patent Blue V, 4-1/4 oz. Azo Yellow, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid. + +_Bright Leaf Green_.--Dye in a bath with 13 oz. Victoria Yellow, (p. 130) +1/2 lb. Patent Blue V, 1/2 oz. Chromotrop 2 R, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. + +_Deep Leaf Green_.--The dye-bath is made with 22 oz. Cyanine B, 1 lb. +Azo Yellow, 2-1/2 oz. Chromotrop 2 R, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. + +_Bright Peacock Green_.--The dye-bath is made with 5 oz. Chromotrop +6 B, 4 oz. Patent Blue V, 7 oz. Azo Yellow, 10 lb. Glauber's salt, and +2 lb. sulphuric acid. + +_Dark Beige Green_.--Make the dye-bath with 1/2 lb. Fast Green Bluish, +6 oz. Fast Yellow F Y, 4-1/2 oz. Azo Fuchsine G, 10 lb. Glauber's salt +and 2 lb. sulphuric acid. + +_Invisible Green_.--Make the dye-bath with 1-1/2 lb. Fast Green +Bluish, 1-1/4 lb. Fast Yellow F Y, 1 lb. Azo Fuchsine G, 10 lb. +Glauber's salt and 2 lb. sulphuric acid. + +_Pale Sage Green_.--Make the dye-bath with 1 lb. Azo Acid Brown, +1/2 lb. Fast Acid Violet 10 B, 10 lb. Glauber's salt and 2 lb. +sulphuric acid. + +_Bright Grass Green_.--Make a dye-bath with 10 lb. Glauber's salt, +2 lb. sulphuric acid, 3/4 lb. Phenoflavine, 3/4 lb. Azo Carmine B, and +5-3/4 lb. extract of indigo. + +_Moss Green_.--Prepare a dye-bath with 1 lb. Azo Acid Brown, 1/4 lb. +Fast Acid Violet 10 B, 10 lb. Glauber's salt and 2 lb. sulphuric acid. + +_Dark Sage Green_.--Make the dye-bath with 3 lb. Azo Acid Brown, +1/2 lb. Fast Acid Violet 10 B, 10 lb. Glauber's salt and 2 lb. +sulphuric acid. + +_Emerald Green_.--A fine shade of emerald green can be dyed in a bath +which is made from 1/2 lb. Fast Green Bluish, 1 lb. Fast Yellow F Y, +1 lb. Acid Violet 6 B, 10 lb. Glauber's salt and 2 lb. sulphuric acid. + +_Bottle Green_.--Make a dye-bath with 1-1/2 lb. Victoria Violet 8 B S, +3/4 lb. Victoria Yellow, 2 oz. Naphthol Yellow S, 1 oz. Fast Acid +Violet R, 1/2 oz. Cyanine B, 10 lb. Glauber's salt and 2 lb. sulphuric +acid. Work for one hour at the boil, then lift; add 3 lb. fluoride (p. 131) +of chrome, re-enter the wool, and work for half an hour at the boil. + +_Pale Pea Green_.--A fine bright shade is dyed in a bath containing +1-1/2 oz. Cyanole, 3/4 oz. Naphthol Yellow and 10 lb. bisulphate of +soda. By increasing the quantity of dye-stuff in proportion to the +material, fine deep shades of green can be dyed. + +_Deep Electric Green_.--Make the dye-bath with 2 lb. Cyanole, 1 lb. +Indian Yellow G and 10 lb. bisulphate of soda, working at the boil for +one hour; then lift, wash and dry. + +#With Mordant Dyes.# _Green_.--Mordant with 10 lb. alum, 1 lb. +bichromate of potash and 16 lb. tartar. Dye with 10 lb. indigo +extract, 2 lb. fustic extract and 3 lb. alum, working at the boil; +lift, wash and dry. + +_Dark Green_.--Mordant with 3 lb. bichromate of potash, 8 lb. alum and +3 lb. tartar. Dye with 10 lb. extract of indigo, 2 lb. extract of +fustic and 3 lb. alum, working at the boil. + +_Sea Green_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar at the boil for one and a half hours. Dye with 1-1/4 lb. +Alizarine Blue D N W, 3-3/4 lb. Alizarine Yellow and 5 oz. Alizarine +Brown, at the boil for two hours. + +_Bronze Green_.--Make a dye-bath with 2 lb. Cyanole extra, 2 lb. +Tropeoline O, 1 lb. Archil Substitute N and 10 lb. bisulphate of soda, +working at the boil to shade. + +_Green_.--A very fine shade of green is dyed as follows: Mordant with +3 lb. bichromate of potash and 2-1/2 lb. tartar. Dye with 4 lb. +Alizarine Blue D N W, 1-1/2 lb. Patent Blue A and 2-3/4 lb. Alizarine +Yellow. + +_Blue Green_.--Mordant as in the last recipe. Dye with 6 lb. Alizarine +Blue D N W, 1-1/2 lb. Patent Blue A, and 1-1/4 lb. Alizarine Yellow +G G W. + +_Bright Pale Sage Green_.--Mordant with 3 lb. bichromate of potash and +2 lb. sulphuric acid. Dye with 5 lb. Alizarine Yellow G G W, (p. 132) +3/4 lb. Alizarine Brown and 1-1/4 lb. Alizarine Blue D N W. + +_Deep Sage Green_.--Mordant with 3 lb. bichromate of potash and +2-1/2 lb. tartar. Dye with 4 lb. Alizarine Yellow G G W, 3-1/4 lb. +Anthracene Brown and 2-1/4 lb. Alizarine Blue D N W. + +_Pale Sea Green_.--Mordant with 2 lb. bichromate of potash and +1-1/2 lb. tartar. Dye with 1 lb. Coeruleine B. + +_Bottle Green_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar. Dye with 20 lb. Coeruleine S W. + +_Slate Green_.--Mordant with 2 lb. bichromate of potash and 1-1/2 lb. +tartar. Dye with 3 lb. Alizarine Green S. + +_Invisible Green_.--Mordant with 3 lb. bichromate of potash and +2-1/2 lb. tartar. Dye with 17-1/2 lb. Alizarine Green S. + +_Peacock Green_.--Mordant with 3 lb. bichromate of potash and +2-1/2 lb. tartar. Dye with 8 lb. Alizarine Green S. + +_Dark Bottle Green_.--Mordant with 4 lb. bichromate of potash and +3 lb. tartar. Dye with 15 lb. Anthracene Blue W G, and 1-1/2 lb. +Mordant Yellow. + +_Invisible Green_.--Mordant with 3-1/2 lb. bichromate of potash and +2-1/2 lb. tartar, working at the boil for one and a half hours. Dye +with 20 lb. Alizarine Green S W, and 1 lb. acetic acid. + +_Sage Green_.--Give a medium indigo ground to the wool in a vat, then +dye for one hour at the boil in a vat containing 1/2 lb. Anthracite +Black B, 2 lb. Anthracene Yellow C, 2 oz. Diamine Fast Red F, and +5 lb. acetate of ammonia; then lift, add 3 lb. fluoride of chrome, +re-enter into the dye-bath and work half an hour longer at the boil; +lift, wash and dry. + +_Peacock Green_.--Give a medium indigo bottom on the vat, then dye for +one hour at the boil in a dye-bath made with 1/2 lb. Anthracene +Yellow C, 2 oz. Diamine Fast Red F, and 5 lb. acetic acid; then lift, +add 3 lb. fluoride of chrome, work for half an hour longer at the +boil, then lift, wash and dry. + +_Bottle Green_.--Mordant by boiling in a bath of 3 lb. copperas (p. 133) +and 1 lb. oxalic acid. Dye in a bath with 15 lb. Gambine R. + +_Light Green_.--Mordant with 3 lb. copperas and 1 lb. oxalic acid. Dye +with 2-1/2 lb. Gambine Y. + +_Medium Green_.--Mordant as in the last dye with 10 lb. Gambine Y. + +_Deep Grass Green_.--Mordant with 3 lb. bichromate of potash and +2-1/2 lb. tartar. Dye with 9 lb. Coerulein and 1-3/4 lb. +Galloflavine. + +_Bright Grass Green_.--Mordant with 4 lb. copperas and 1 lb. oxalic +acid. Dye with 5 lb. Gambine Y, 1/2 lb. Yellow N, and 2 lb. bisulphate +of soda. + +Shades dyed with Gambine are very fast to milling and light. + +_Pale Sage Green_.--Mordant with 3 lb. bichromate of potash and 1 lb. +tartar. Dye with 1/2 lb. Milling Yellow O, 2 lb. Alizarine Black S W, +and 2 lb. acetic acid. + +_Medium Green_.--Mordant with 2-1/2 lb. bichromate of potash and +1-1/2 lb. oxalic acid. Dye with 1-1/2 lb. Diamond Yellow B, 3-1/2 lb. +Brilliant Alizarine Blue G, and 1 lb. acetic acid. + +_Invisible Bronze Green_.--Give a medium bottom on the indigo vat and +then mordant with 3 lb. fluoride of chrome and 2 lb. tartar. Finally +dye with 3 lb. Alizarine Bordeaux S, and 4 lb. Diamond Flavine, +working at the boil for two hours. + +_Pale Slate Green_.--Mordant with 3 lb. bichromate of potash and +2-1/2 lb. tartar, and then dye with 1 lb. Alizarine Blue D N W, +Alizarine Yellow and 5 oz. Alizarine Brown. + +_Light Green_.--Mordant in the usual way with 2-1/2 lb. bichromate of +potash and 2 lb. tartar. Dye with 1 lb. Methylene Blue and 1 lb. +fustic extract, working at the boil. + +_Fast Green_.--Mordant with 8 lb. alum, 2 lb. bichromate of potash, +2 lb. sulphuric acid and 3/4 lb. tin salt. Dye with 20 lb. indigo (p. 134) +extract and 10 oz. fustic extract, working at the boil for one and a +half hours. + +_Bottle Green_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar. Dye with 4 lb. extract of fustic, 1 lb. extract of logwood, +and 2 oz. Anthracene Red. Work for one and a half hours, then add +3/4 lb. copperas, and work for half an hour longer. + +_Dark Green_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar. Dye with 1-1/2 lb. Methylene Blue, 1-1/2 lb. extract of +logwood, and 4 lb. extract of fustic, working at the boil for two +hours. + +_Olive_.--Prepare a dye-bath with 1-1/2 lb. Yellow N, 1/4 lb. Archil +Substitute, 4 lb. extract of indigo, 10 lb. Glauber's salt, 2 lb. +sulphuric acid, and 2 lb. alum, working at the boil to shade. + +_Bright Green_.--Prepare a dye-bath containing 8 oz. Acid Green Extra +and 10 per cent. bisulphate of soda. Enter at 130 deg. F., raise to the +boil, boil for three-quarters of an hour, and rinse. + +_Bluish Green_.--Prepare a dye-bath containing 8 oz. Fast Acid Green +B N and 10 lb. bisulphate of soda. Enter at 130 deg. F., raise to the +boil, boil for three-quarters of an hour, and rinse. + +_Bluish Green_.--Prepare a dye-bath containing 8 oz. Cyanole Green 6 G +and 10 lb. bisulphate of soda. Enter at 130 deg. F., raise to the boil, +boil for three-quarters of an hour, and rinse. + +_Turquoise Green_.--Prepare a dye-bath containing 8 oz. Cyanole +Green B and 10 lb. bisulphate of soda. Enter at 130 deg. F., raise to the +boil, boil for three-quarters of an hour, and rinse. + +_Slate Green_.--Mordant the wool by boiling for one and a half (p. 135) +hours in a bath containing 3 lb. bichromate of potash, 1-1/4 lb. +Copper sulphate and 2-1/4 lb. tartar; then rinse well, and dye in a +bath containing 2-1/2 lb. Logwood Extract (dry), 1-1/4 lb. Fustic +Extract (dry), and 3 lb. Sumac. Enter the goods in a warm bath, work +for half an hour, then raise to the boil and work for three-quarters +of an hour; lift, and sadden by adding 6 oz. Copperas. After +re-entering the goods, work to shade. + +_Olive_.--Boil two hours in a bath consisting of 1-1/2 lb. tin salt, +2-1/2 lb. bichromate of potash, 10 lb. alum and 2-1/2 lb. sulphuric +acid. Then enter in a boiling dye-bath containing 1-1/2 lb. alum, +4 lb. fustic extract and 3-1/2 lb. indigo extract. + +_Fulling Fast Olive_.--For one hour upon a bath containing 50 lb. +Fustic, 5 lb. Bluestone, 2 lb. Tartar, 4 lb. Sumac, 1 lb. Copperas; +lift and wash. + +_Fast Bright Olive_.--Boil for one hour upon a bath of 50 lb. Fustic, +3 lb. Bluestone, 2 lb. tartar, 1 lb. copperas, 2 oz. indigo extract. + +_Yellow Olive_.--Prepare a bath containing 10 lb. Glauber's salt, +1-1/2 lb. Anthracene Yellow B N, 2 lb. extract of indigo, 3 oz. Orange +E N Z, 4 lb. sulphuric acid. Enter yarn at 160 deg. F., give three turns, +raise the temperature slowly to the boil, turn to shade; lift, and +wash. + +_Olive Green_.--Mordant with 2 lb. potash bichromate, 1-1/2 lb. +sulphate of copper, 1/2 lb. sulphuric acid. Boil for an hour and a +half. Dye in a bath with 8 lb. Fustic extract, 5 lb. Sumac, 5 lb. +Logwood, at the boil for an hour and a half. + +_Olive Bronze_.--Make the dye-bath with 10 oz. Fast Yellow S, 5 lb. +Indigo extract, 5 oz. Orange E N Z, 4 lb. sulphuric acid, 10 lb. +Glauber's salt. Enter yarn at 140 deg. F., work for a few minutes, then +bring slowly to the boil and work to shade. + +_Emerald Green_.--Prepare the dye-bath with 1 lb. Acid Green B N, (p. 136) +2 oz. Naphthol Yellow S, 10 lb. Glauber's salt, 2 lb. sulphuric +acid. Enter cold, then raise to the boil and work for a quarter of an +hour; wash and dry. + +_Invisible Green_.--First mordant the wool in a bath containing 3 lb. +bichromate of potash, 1-1/2 lb. copper sulphate, 1 lb. sulphuric acid. +Work at the boil for one and a half hours, then dye in a fresh bath +containing 2 lb. Milling Yellow O, 2 lb. Logwood extract, 20 lb. +Glauber's salt. Work at the boil for one and a half hours, then lift, +wash and dry. + +_Sea Green_.--Prepare a dye-bath with 5 lb. Glauber's salt, 2 lb. +sulphuric acid, 2 lb. indigo extract, 1/2 per cent. Acid Green blue +shade. Dye as usual. + +Cyprus Green B, and Cyprus Blue B, belong to a new group of dyes that +owe their value in wool dyeing to the fact that the dyeings after +being treated with copper sulphate become very fast to light and +washing. Three per cent. of each gives very full shades of bluish +green or dark blue. The dyeing is done with Glauber's salt and acetic +acid when reddish shades are got; these in a bath of copper sulphate +turn green or blue. + + +BLUE SHADES ON WOOL. + +There are a very large number of blue artificial dyes of every class, +but only a few natural ones, indigo and logwood, and with these every +imaginable tint and shade of blue from the palest sky tints to the +darkest navy blue or blue black can be produced. + +While some of the blue colouring matters possess no great powers of +resistance to light, air, washing, etc., the great majority are +remarkable for their fastness to those destructive agencies. + +There are but two natural dye-stuffs, indigo and logwood, from which +blue tints can be dyed. With the former, a great variety of shades can +be dyed of a satisfactory character as regards fastness; with the (p. 137) +latter, only dark blues can be dyed, these are fairly fast to milling, +but only moderately so to light. + +The artificial blues derived from coal tar are very numerous, and +representatives of all classes, direct, basic, acid and mordant of +dye-stuffs may be found among them. The direct blue dyes do not work +very well on wool. They are apt to dye very red, and somewhat dull +shades, which are, however, fairly fast to washing and light. The +basic blue dyes are fairly numerous, and may be used to dye from pale +sky to deep navy tints. They are apt to work somewhat unevenly on to +wool, owing to their great affinity for the fibre. They give shades +possessing some degree of resistance to light, but which are not very +fast to washing and milling, although, in this respect, there are very +great differences among them. The acid dyeing blues are fairly +numerous, but they dye a great variety of tints, usually fairly fast +to washing, milling and light. The mordant blues are pretty numerous +and of great value for dyeing wool, as they give shades which are +remarkable for their fastness to light, acids and milling, hence they +are most extensively used, especially for dyeing fabrics that are +subject to very hard wear. + +#Indigo Dyeing.#--It will be most convenient to begin the description of +the methods of dyeing blues by showing how, and in what manner, indigo +is applied in wool dyeing. + +The dyeing of indigo on wool is effected in two ways, either in the +usual way with acid baths, as with acid scarlets, when the so-called +indigo extract is used, or in vats, when indigo itself forms the +dye-stuff. + +Indigo is, as all dyers know, or should know, a natural dye-stuff, +prepared from the leaves and twigs of the indigo plant by a species of +fermentation which produces the indigo in a soluble form from the +indigo substance in the plant, followed by oxidation which results in +the separation of the indigo from this solution. + +It comes into this country in the form of lumps, which have a dark (p. 138) +blue to bronze blue colour. The dye-stuff is insoluble in water, cold +alcohol, alkalies or weak acids. When heated with strong and fuming +sulphuric acid it dissolves, forming a blue liquor from which the +colouring matter may be obtained on addition of soda in the form of a +paste, which is used in wool and silk dyeing under the name of indigo +extract. But dissolving in sulphuric acid materially affects the +properties of indigo as a dye-stuff, as will be seen later on. + +By the action of reducing agents the insoluble blue indigo is +converted into a soluble white indigo. This body is rather unstable, +and on exposure to the air it rapidly becomes oxidised and converted +back again into the blue indigo. Upon this principle is based the +application of indigo in dyeing by means of the vat. + +Various methods may be adopted to cause the indigo to become +dissolved. These may be divided into two groups: (1) Fermentation +vats, in which the action of reducing agents is brought about through +the influences of the fermentation of organic bodies, such as woad, +bran, treacle, etc; (2) Chemical vats in which the reducing effect is +brought about by the reaction of various agents on one another. + +Of such vats the copperas and lime and the hydrosulphite vats are +examples. The fermentation vats, when in good order, work well and +give good results, but they are most difficult to prepare or set. The +chemical vats are the easiest to work, and (especially the +hydrosulphite vats) are coming to the fore, and are gradually driving +out the fermentation vats. + +The actual method of dyeing with the indigo vat is the same with all +methods of preparation. The material to be dyed is well wetted or +wrung out in water. It is then dipped into the vat, handled a few +minutes to ensure its thorough impregnation, then lifted out, the +surplus liquor wrung out, and the material exposed to the air, (p. 139) +when the indigo white on it soon absorbs oxygen and turns into blue +indigo. + +With these few preliminary remarks the methods of setting the various +indigo vats will now be described in detail. + +#Woad Indigo Vats.#--This is one of the most difficult of the various +methods of setting vats. There are so many opportunities for it to go +wrong, and to be able to set a woad vat successfully will go far to +make a man a successful indigo dyer. No two woad vat dyers use exactly +the same recipe in setting a woad vat, and each considers he has a +secret art by means of which he ensures the successful working of this +vat, and this he jealously guards. All these differences in the manner +of setting the vat are brought about not by any radical differences in +the materials used, but by some unnoticed differences in other +surroundings; differences in the mean temperature of the water used, +in the general conditions of the atmosphere of the indigo shed and in +other similar circumstances, all of which have a material influence on +the development of the vat, but which are, in the majority of cases, +overlooked by the indigo dyer, the result being that a method of +working which is successful in one place would not be so in another. +The fermentation processes depend upon the reducing action brought +about by certain organisms of the nature of the yeast plant which grow +and develop in such vats. + +To ensure the proper growth and development of these organisms every +condition must be perfect, correct temperature, proper proportions of +food for them to live on, and a certain degree of alkalinity or +acidity of the vat, and these points are most difficult to regulate as +they will vary very much from time to time. + +A successful vat maker is one who closely observes his vats, and the +way in which they are working, and who, as the result of such (p. 140) +observations, is able to tell in what way his vats are deficient, +so that he may know how to supply that deficiency. + +The following method of setting a woad vat may be adopted. It is +calculated for 100 gallons of liquor. The vat is filled with hot +water, and 80 lb. of woad are allowed to steep overnight in it, having +first been well stirred into the water, so as to ensure that every +part is wetted out. The next morning there is added 8 lb. madder, +12 lb. bran, 5 lb. quick-lime (previously slaked with water), and +2-1/2 lb. soda. These are thoroughly stirred together, then from 5 to +7-1/2 lb. indigo is stirred in. The indigo should have been previously +ground into a fine paste with water. The temperature of the vat should +now be maintained at from 115 deg. to 125 deg. F. for two to three days, +at the end of which time it ought to be in a state of quiet working. +Should it be found that the fermentation is going on too rapidly, a +little lime may be thrown in, which will retard it. On the other hand, +if it should not be going on with sufficient energy, this may be +remedied by adding a little bran, or better, a little treacle. + +When in perfect condition the vat should have a slight smell of +ammonia. If this is not noticed it indicates that the vat is deficient +in alkalinity, and a little more lime should be added. Soda may be +used in the place of lime, but it is so much more energetic in +character that any additions of it have to be made with great care, or +the vat will become too alkaline in character, and the fermentation +will go on too rapidly, the ammoniacal odour is lost, and a peculiar +putrid smell takes its place. As soon as this is noticed, lime ought +to be added to retard the fermentation and to develop the ammoniacal +smell. The colour of a good well-set vat is olive brown. + +When all the indigo is dissolved and the colour of the vat is a (p. 141) +clear olive yellow to brown the vat is then ready for dyeing, and +may be used for a long time, until, in fact, the deposit gets too +large and the wool becomes dirtied. But it must not be continually +worked, or it will give bad shades and loose colours. When in a bad +condition it will usually turn of a dark brown colour, and give dull +greenish shades. To remedy this there should be added some bran, +treacle, and a little madder, as well as indigo, and the vat should be +left for a day, at a temperature of 130 deg. F., to get up to full +strength again. Every night when in work indigo ought to be added to +the vat in proportion to that consumed during the day, with bran and +lime, the latter in not too great amount, just sufficient to keep it +of the necessary alkalinity. + +#Hydrosulphite Vat.#--This is one of the best vats to use in dyeing with +indigo on wool, or, indeed, on any textile fabric. It is easy to +prepare and cleanly to work. While depending solely on chemical action +for its preparation and use, it is freer from those peculiar defects +to which organic vats, like the woad vats, are liable. + +There is a further advantage about this vat, it is not necessary to +prepare each individual vat separately, but a strong mother liquor or +concentrated indigo solution may be prepared, and this only requires +letting down with water to produce a vat of any required strength. + +In the preparation of this vat, which was devised by Schutzenberger +and Lalande, bisulphite of soda and zinc dust are used with either +quick-lime or caustic soda. The bisulphite of soda is allowed to act +on the zinc as will be detailed when an acid solution of sodium +hydrosulphite NaHSO_{2}, more strictly hydrogen sodium hydrosulphite, +is obtained. The acid solution of hydrosulphite has the property of +rapidly reducing and dissolving indigo, and this solution may be used +in dyeing. To prepare the hydrosulphite a vessel which is fitted (p. 142) +with an agitator and can be closed is filled with zinc, either in the +form of dust, foils, or granules. Then bisulphite of soda of 50 deg. to +60 deg. Tw. strength is poured over the zinc in sufficient quantity to +cover it. All access of air should be avoided as much as possible, as +it leads to oxidation. In the case of using zinc powder the action is +often so rapid as to lead to heating, which also should be avoided. +The operation takes from an hour to two hours, when the liquor may be +drawn off. It must be used immediately to dissolve the indigo; or +otherwise, as it is a very unstable body, it is liable to decompose +and become oxidised, when it loses its solvent properties. If more +hydrosulphite is required, fresh bisulphite may be poured over the +zinc which is left unused in the vessel; if no more is wanted the zinc +which is left should be well rinsed in water and the vessel filled +with water, so as to prevent any oxidation of the zinc, and so keep it +ready for use when required. The liquor thus made will usually have a +specific gravity of 62 deg. Tw. The zinc which is used up in the +preparation of the liquor is replaced by fresh zinc from time to time. + +The liquor so obtained is, as stated above, rather unstable, and +contains acid sodium hydrosulphite. By mixing with milk of lime, the +acidity is neutralised, zinc oxide and calcium sulphite are thrown +down, and a solution of neutral sodium hydrosulphite is obtained which +is more stable and can be kept longer without decomposition. To +prepare this, take 10 gallons of the acid liquor, as prepared in the +manner described above, and mix it with 48 lb. of milk of lime, which +is made from 2 lb. good quick-lime. Stir well together, allow all +sediment to settle, or better, filter-press the mass. A liquor of +36 deg. Tw. strength will usually be obtained. Do not let it stand too +long before use, make it alkaline by adding a little lime. + +To make the mother or stock indigo, the following method of (p. 143) +procedure may be adopted. Indigo, say 10 lb., is ground into as fine a +paste as possible with 13 lb. milk of lime, of such a strength that 1 +gallon shall contain 30 oz. quick-lime. To this is then added so much +of either the acid or the neutral sodium hydrosulphite as can be made +from 90 lb. of bisulphite of soda, the mixture being kept at 150 deg. F., +until a comparatively clear, greenish yellow solution is obtained, +this will contain about 1 lb. of indigo per gallon. + +This mother liquor may be used in setting the vat as follows. The vat +is filled with water which is heated to 120 deg. F., about 200 gallons +being used. To this is then added 1 gallon of either hydrosulphite or +bisulphite of soda to destroy the free oxygen it contains, and prevent +it from oxidising the indigo solution, which is next added. The +quantity of the latter is solely regulated by the depth of shade it is +desired to dye, and as soon as the requisite quantity has been added +the dyeing may be proceeded with at once, and the first portion of +goods put through will soon show the dyer whether too much or too +little of the mother indigo has been added. + +Continued use and the consequent agitation of the vat thereby +generated causes it to become oxidised, and the vat acquires a +greenish colour, and does not give fast colours. When this is noticed +the use of the vat is stopped; it is heated to about 160 deg. F., and a +little lime and hydrosulphite added, when all the oxidised indigo in +the vat will speedily be reduced, and the vat put into a workable +condition again. By use this vat tends to become alkaline, and +consequently will spoil the wool, making it harsh and brittle. This is +remedied by adding a little hydrochloric acid. + +#Holliday's Patent Indigo Vat.#--Messrs. Read Holliday & Sons have +patented an improved method of making an indigo solution and the +method of using it. They supply the indigo in the form of solution in +two strengths, ordinary and concentrated. Both are used in the same +way, only of the latter less, about one-fourth to one-third, is (p. 144) +required than of the former. For those who would wish to buy their +indigo ready prepared for use these are very convenient forms. + +The best way of working the vat for wool is the following: 40 gallons +of water heated to about 50 deg. C., add 1/4 lb. of a mixture of 1-1/4 +gallons bisulphite of soda, 52 deg. Tw., and 1 lb. zinc dust, and, say, +1/2 gallon to 2 gallons, of the patent indigo solution, according to +the depth of shade required. The boiled out wool is worked below the +surface of the liquor for about three minutes, then taken out, and the +excess of liquor squeezed back into the vat, the whole operation is +repeated until the shade is arrived at. After dyeing, rinse in an acid +bath of 1 deg. to 2 deg. Tw. + +The advantages of this new vat are that brighter shades are obtained +and the darker shades with fewer dips, while the goods are dyed +cleaner and the shades are more quickly obtained, and, we think, +somewhat faster than by the other process. + +There is also the advantage that no lime or other alkali is used with +this new indigo vat. The wool should be boiled out before dipping, if +the best results and even shades are desired. + +#Potash-Indigo Vat.#--This is also a fermentation vat, and is set in the +following manner: 5 lb. of madder and 4 lb. of bran are mixed with 50 +gallons of water and heated for from three to four hours, until a +temperature of from 180 deg. to 212 deg. F. is attained. Then 15 lb. of +carbonate of potash are added and the liquor is allowed to cool down +to about 120 deg. F. Next 10 lb., more or less according to shade +required, of finely ground indigo is added, and the whole is left for +from forty-eight to sixty hours to ferment, being stirred up at +intervals of twelve hours. This vat ferments in much the same way as +the woad vat, and presents the same general appearances. It is not so +liable to get out of order as the woad vat, and in consequence is (p. 145) +much more easily managed. It does not, however, give such bright +shades as either of the vats previously described, but it dyes a +little quicker, and deeper shades can be produced. It is the best vat +to use where indigo dyeing is carried on at irregular intervals, also +for dyeing dark shades of navy blue and for giving an indigo bottom +for dark blues, browns and greens. Such shades stand milling and +alkalies very well. + +#Soda-Indigo Vat.#--The soda-indigo vat is set in the following manner: +100 lb. bran is boiled with 200 gallons of water for three hours, then +the liquor is allowed to cool from 100 deg. to 120 deg. F. Then 20 lb. +of soda crystals, 5 lb. slaked lime, and 10 to 15 lb. ground indigo +are added, the mixture being left for two or three days to ferment, +and stirred up at intervals. + +Sometimes a little more soda or a little lime is added, as may be +judged from the appearance of the vat, these appearances being +practically the same as those met with in the woad vat, which have +already been described in detail. + +The soda vat closely resembles the potash vat, but is cheaper to +produce. It keeps its dyeing power longer, but is somewhat more liable +to get out of order. It is like the potash vat, easier to manage than +the woad vat, as with all the woad vats it is necessary after working +them for a day to replenish them with a little indigo, soda, or +potash, as the case may be, and a little bran. + +Cleaner vats are obtained if treacle be substituted for the bran, but +the latter ferments better, and gives better results in working. + +#Urine-Indigo Vat.#--This vat has almost, if not quite, gone out of use, +being a rather unpleasant vat to work with, with few advantages over +other vats. One advantage it possesses over the woad and potash vats +is that it is the best for working on a small scale, but the modern +zinc reduction vats run it very close in this respect. The vat is (p. 146) +made as follows: To 50 gallons of stale urine 4 lb. of common salt are +added, and the mixture heated to from 120 deg. F. to 140 deg. F. Then +1 lb. madder and 1 lb. ground indigo are added, and the mass is well +stirred. Then the mixture is allowed to stand until the indigo is +completely reduced, when the vat is ready for dyeing. + +#Indigo-Indophenol Vat.#--Messrs. Durand, Huguenin & Co. have introduced +the use of Indophenol along with indigo in wool dyeing. Indophenol can +be reduced in the same way as indigo, and fibres dipped in this +reduced product on exposure to air turn blue in the same way as if +dipped in an indigo vat. + +By itself indophenol has not met with much favour from dyers for a +variety of reasons, but it has been found that, mixed with indigo, it +can be used in dyeing with some advantage on the score of cheapness. +The newly mixed vat is made in the following manner:-- + +In a convenient vessel 26 gallons of water, 15 lb. zinc dust, ground +into a paste with 6 gallons of water, and 7 gallons bisulphite of soda +of 55 deg. Tw. strong are mixed. Then 8 pints caustic soda lye of 72 deg. +Tw., and 16 pints liquor ammonia are added, and the whole mass is well +stirred up; 22 lb. good indigo of about 70 per cent. indigotine and +7-1/4 lb. Indophenol are thoroughly ground into a paste with 7 gallons +of water and 2 pints caustic soda lye of 72 deg. Tw. The paste is added +to the previous mixture, and, after being well stirred in, sufficient +water is added to make the total volume of liquor up to 100 gallons. +The mass is stirred up from time to time during a period of from +thirty-six to forty-eight hours, by which time, as a rule, the indigo +and Indophenol will have been completely reduced, and the vat have +acquired a canary-yellow colour; if it has not, add a little more zinc +dust and bisulphite of soda. It is ready for use when it has a good +yellow colour. + +This forms what may be called a "mother," or stock vat, from which (p. 147) +the dyeing vat is made in the following manner: Take a sufficient +quantity of water to make the dyeing vat, add some hydrosulphite of +soda (see below) to destroy any oxidising action the vat liquor may +have, then add sufficient of the stock vat to give the required shade, +this point is one which must be determined by experience. The vat is +now quite ready for use, and the wool is entered and treated in the +usual manner. + +After dyeing each lot of wool it is advisable to add some of the stock +vat to replace the indigo abstracted by the goods. When a number of +dyeings have been done, it is possible that the vat may become charged +with oxidised indigo and lose its clean, yellow colour. It may be +restored to its former conditions by adding some hydrosulphite of +soda. Of course, after considerable use this, like all other indigo +vats, becomes too highly charged with sediment, etc., to give +excellent results, in which case the only thing that can be done is to +throw the old vat away and start a new one. + +The hydrosulphite of soda referred to above is made in the following +way: 4-1/2 lb. zinc dust are ground into a paste with 5-1/2 gallons of +water and then mixed with 4 gallons bisulphite of soda at 55 deg. Tw., +stirring well so as to keep the temperature down. Then add 3 pints +caustic soda lye of 72 deg. Tw., and 3-1/2 pints liquor ammonia. Finally, +add sufficient water to make 13 gallons. After standing for two or +three days the preparation is ready for use. It should be alkaline in +property; if not, add a little ammonia to make it so. This vat gives +very good bright shades, from sky blue to dark navy, which are equally +as fast as pure indigo shades. + +Sometimes woollen goods dyed with indigo rub badly. The causes of this +defect vary from time to time, and in many instances are often obscure +in their origin. All goods intended for indigo dyeing, and more +especially when shades fast to rubbing are desired, should be (p. 148) +thoroughly cleansed, and before passing into the indigo vat should be +thoroughly freed from any soap which may have been used in the boiling +out. Then, after dyeing, they ought to be well rinsed in water and +passed through a sour made with sulphuric acid (2 lb. in 10 gallons), +and then washed again. Vats highly charged with sedimentary matter, or +with zinc or lime, are often the cause of loose shades. The remedy is +obvious, _viz_., the discarding of such vats and the preparation of +new ones, in fact old vats are perhaps more fruitful sources of loose +shades than any other cause. Soft water suits indigo dyeing better +than hard water, and is to be preferred. + +It is not advisable to attempt to get full or deep shades of indigo at +one dip, for such would necessitate the use of strong baths. Dyeings +produced in this way are liable to rub badly, because the indigo lies +mostly on the surface, to which it is more or less mechanically +attached. Light shades of indigo are fast to rubbing, and by repeated +dippings in a light vat or a medium shade vat deep shades of fair +fastness to rubbing can be got. + +As repeatedly stated, no indigo vat can be worked continuously with +good results; the continual agitation induced by the passage of the +yarns or cloths into the liquor brings the liquor into contact with +the air, and oxidation sets in, resulting in the indigo being thrown +out of the liquor in its original form. When this happens the vat +loses its original clear yellow or yellowish-brown colour and becomes +greenish, a sure sign that the vat is getting out of condition to give +good results. The remedy has been pointed out in dealing with each +kind of vat, and consists essentially in adding to the vat more of the +active reducing agent and allowing the vat to rest a while. + +The dye-vats may be either round tubs or square wooden tanks; for yarn +in hanks, when cloths or warps are being dyed, these may be fitted (p. 149) +with winces and guide rollers so as to draw materials through the liquor. + +The hawking machine shown in figure 22 is also very good for indigo +cloth dyeing, and is largely used for this purpose. + +[Illustration: Fig. 23.--Indigo Dye-vat.] + +Figure 23 also shows an excellent machine for indigo dyeing on cloth. +In this the vat has a frame carrying guide rollers, round which the +cloth passes, so that it travels several times through the vat liquor +in its passage from one end of the vat to the other, the amount of +liquor in the vat being so arranged that the cloth is entirely +immersed the whole time. After going through the liquor the cloth +passes between a pair of squeezing rollers, in order to have any +surplus liquor taken out, then it traverses the space between sets of +guide rollers arranged over the vat, during which time the indigo +becomes oxidised and the blue develops, while finally it is (p. 150) +plaited down on a table. The illustration clearly shows the working of +the machine. + +#Dyeing Wool with Indigo Extract.#--Sulphonated indigo, prepared by +dissolving indigo in sulphuric acid, is sold under the name of "indigo +extract," or "indigo carmine," in two forms--paste (containing, +perhaps, 25 to 30 per cent. actual colour) and powder. Both forms are +freely soluble in water, although some makes are more so than others. +This quality of solubility is dependent upon the proportion of +sulphuric acid which may have been used in the preparation of the +extract. When this is small, what is termed indigo monosulphonic acid +only is formed, which is but slightly soluble in water, and gives red +shades. If a larger proportion of acid be used, then the indigo +disulphonic acid is formed, which is fairly easily soluble in water, +and gives bluer shades than the former. + +As all forms of indigo extract are regular articles of commerce, +details for their preparation will not be given here. It will suffice +to say that indigo is heated with strong sulphuric acid until test +samples show that the indigo has been completely dissolved, and it is +then diluted with water and filtered. Sometimes it is sold in this +condition under the term "chemic," but if this be used in dyeing wool +it gives rather unsatisfactory results. When "sour extract" is +required, the liquor filtered out is next treated with salt until all +the colour has been precipitated out, when it is filtered off, +drained, pressed and sold. Should "neutral" or "sweet" extract be +required, then the acid liquor is neutralised with soda, and the +product is salted out as before, drained and pressed to a suitable +consistence. It is then sold as "indigo extract," or dried, at +150 deg. F., to a powder, which is known as "indigo carmine". + +All forms of indigo extract are dyed on wool from baths of (p. 151) +Glauber's salt and sulphuric acid, and therefore they can be classed +with the acid-dyeing coal-tar colours. Indigo extract is notable for +its level dyeing and penetrative properties, but it is not fast to +light or milling. + +Messrs. Read Holliday & Sons have a powder form of indigo extract +which will be found very useful and to give better shades than the +usual run of paste extract, while it only takes about one-fifth the +quantity to give a similar shade. Working at the boil should be +avoided with indigo extract, as tending to make the shades greenish in +tone; from 170 deg. to 180 deg. F. will usually be found hot enough to +dye good shades. + +Indigo extract is not much used by itself in dyeing blues on wool, but +it is extensively employed along with other dye-stuffs to produce an +immense variety of shades--drabs, greens, fawns, greys, lilacs, etc., +of which some examples will be given later on. + +_Indigo Blue_.--Prepare a bath with 10 lb. indigo extract, 5 lb. +sulphuric acid, and 10 lb. Glauber's salt. Work just under the boil to +shade. + +_Sky Blue_.--The dye-bath contains 1 lb. indigo extract, 2 lb. +sulphuric acid, and 10 lb. Glauber's salt. Work at about 160 deg. F. to +shade. + +#Dyeing Wool Blue with Logwood.#--This method of dyeing blue on wool has +lost much of its importance since the introduction of the artificial +dyes, but it is still employed when a blue fast to milling is wanted. +Logwood gives dark navy blue shades. The process is as follows: The +wool is first mordanted by boiling for one and a half hours in a bath +of 3 lb. bichromate of potash and 2-1/2 lb. of tartar. The operation +must be so carried out that the non-oxidising green chrome mordant is +developed on the fibre, and therefore the boiling must be thorough. In +place of tartar, argols and oxalic acid are frequently used, while +lactic acid or lignorosine might be employed. The dyeing is done (p. 152) +in a bath of 20 to 25 lb. logwood, or 5 to 8 lb. logwood extract; +the bath is started cold, heated slowly to the boil, and kept at that +heat for one to one and a half hours. Between the mordanting and +dyeing the wool should be well rinsed. + + +DYEING BLUE WITH COAL-TAR DYES. + +The blue dyes derived from coal tar are very numerous, direct, basic, +acid and mordant blues being known. The direct and basic dyes are very +little used, but the acid and mordant dyes are extensively employed, +as is indicated in the following recipes. + +#Dyeing with Direct Dyes.# _Pale Blue_.--Prepare a dye-bath with 1/2 lb. +Sulphon Cyanine and 10 lb. Glauber's salt. Enter the goods, and work +at the boil for one hour, then lift, wash and dry. + +_Black Blue_.--Prepare a dye-bath with 3 lb. Sulphon Cyanine, 5 lb. +Glauber's salt, and 5 lb. acetate of ammonia; work at the boil for one +hour. Sulphon cyanine works well with other dye-stuffs, and gives +shades which are fast to milling. + +#Dyeing with Acid Dyes.# _Bright Blue_.--Prepare a bath with 2 lb. borax +and 1 lb. Alkali Blue B. Enter the wool at about 170 deg. F., then heat +to the boil, and work for half an hour; then lift, rinse lightly, and +pass into a weak sour bath, with sulphuric acid to raise to the +colour. + +Soda may be used in place of borax, but the latter salt maintains the +softness of the wool fibre better. + +By using various brands of Alkali Blue (3 R to 7 B), various shades of +blue from a reddish with the 3 R to a pure blue with the 6 B and 7 B +brands may be dyed. The Alkali Blues are fairly fast to light. + +_Dark Blue_.--Prepare a dye-bath with 2 lb. Serge Blue, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid, working at the boil (p. 153) +for one hour. This is a very common way of dyeing blues on serges, +cashmeres and worsted goods. In place of serge blue, what are known as +Blackley blues, or Dewsbury blues, may be employed. These have a +similar composition, but vary a little in the tint of blue they give. + +_Navy Blue_.--Prepare a dye-bath with 2 lb. Induline A, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid, working at the boil for one +hour. + +The Indulines are very useful colouring matters for dyeing navy or +dark blues on wool. They have the defect of being liable to give +uneven shades. This may be remedied by omitting the acid when first +making up the bath, entering the wool, working for half an hour to +thoroughly impregnate the material with the dye-liquor, then adding +the acid, and continuing the working for another half-hour. Or the +wool may be treated to a weak chlorine bath before it is dyed, by +first passing it through a weak hydrochloric acid bath and then +through a bath of bleaching powder. By using acetic acid in place of +sulphuric acid more even shades are obtained. + +_Blue_.--Prepare a dye-bath with 1 lb. Acid Blue 1 V, 9 oz. Acid +Violet 1 V, 10 lb. Glauber's salt and 2 lb. sulphuric acid, working at +the boil for one hour. + +_Blue Black_.--For this the dye-bath is made with 8 lb. Acid Blue 1 V, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil +for one hour. + +_Deep Navy Blue_.--A very good shade is dyed with 5 lb. Acid Blue 1 V, +3 lb. Acid violet 1 V, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid, working at the boil for one hour. + +_Deep Navy_.--Prepare a dye-bath with 1 lb. Fast acid Magenta B, 3 lb. +Wool Blue B X, 4-3/4 oz. Orange I I, 5 lb. sulphuric acid, and 10 lb. +Glauber's salt, working at the boil for one hour. + +The Patent Blues work exceedingly well on wool, giving good bright +shades of a fair degree of fastness. The following recipes will (p. 154) +give some idea of the nature of the shades which may be obtained +from them, while later on their use in combination with other dyes for +the production of compound shades will be shown. + +_Bright Blue_.--Prepare a dye-bath with 2 lb. Patent Blue N, or Patent +Blue superior, 10 lb. Glauber's salt, and 2 lb. sulphuric acid, +working at the boil for one hour. + +_Bright Greenish Blue_.--Use 2 lb. Patent Blue V, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. + +_Royal Blue_.--Use 2 lb. Patent Blue B, or 2 lb. Patent Blue J (No. +3), 10 lb. Glauber's salt, and 2 lb. sulphuric acid. Patent Blue J +(No. 3) gives slightly more violet shades than Patent Blue N, but +there is not much difference between them. + +_Saxony Blue_.--Use 2 lb. Patent Blue J (No. 00), 2 lb. sulphuric +acid, and 10 lb. Glauber's salt. Patent Blue J (No. 00) dyes shades +very closely resembling those dyed with indigo extract, and where the +latter is used in the dyeing of compound shades the former might be +substituted. + +_Brilliant Royal Blue_.--Prepare a bath with 1-1/2 lb. New Victoria +Blue B, and 10 lb. Glauber's salt. Enter at about 100 deg. F., then +raise to the boil and work for one hour. This gives a very brilliant +shade of blue of a violet tone. + +_Sky Blue_.--Prepare a dye-bath with 1-1/2 oz. New Victoria Blue B and +2 lb. Glauber's salt, working in the manner described in the last +recipe. + +_Dark Blue_.--Prepare a dye-bath with 1-1/2 oz. Acid Violet 5 B, and +1-1/2 lb. Fast Green Bluish, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid, working at the boil to shade; then lift, wash and dry. + +_Deep Blue_.--Make a dye-bath with 4 lb. Chromotrop 6 B, 10 lb. +Glauber's salt, and 4 lb. acetic acid. Work for one hour at the boil; +then lift, add 2 lb. bichromate of potash and 3 lb. acetic acid, +re-enter the goods and work for one hour longer; lift, wash and dry. + +The blues produced from the Chromotrops according to the last (p. 155) +recipe are full, solid-looking shades, and have a great degree of +fastness to milling and light. Some other examples showing the +production of blue shades from the Chromotrops will be given later on. + +_Violet Blue_.--Prepare a dye-bath with 2 lb. Victoria Violet 8 B S, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil +to shade; then lift, wash and dry. + +_Deep Blue_.--A fine deep blue is dyed on wool from a bath containing +6 lb. Victoria Violet 8 B S, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid, working at the boil to shade. + +_Deep Sky Blue_.--A fine shade is dyed in a bath containing 4 oz. +Cyanole extra, 10 lb. Glauber's salt and 2 lb. acetic acid. + +_Electric Blue_.--Make the dye-bath with 4 oz. Cyanole extra, 1 oz. +Acid Green extra, and 10 lb. bisulphate of soda. + +_Bright Blue_.--A very fine shade of blue can be dyed in a bath +containing 3 lb. Cyanole extra and 10 lb. bisulphate of soda. + +_Dark Navy Blue_.--Prepare the dye-bath with 4 lb. Cyanole extra, +9 oz. Archil Substitute N, and 10 lb. bisulphate of soda. + +_Dark Navy_.--Prepare the dye-bath with 5 lb. Black Blue O, 1-3/4 oz. +Formyl Violet S 4 B, 4 oz. Patent Blue V, 25 lb. Glauber's salt, and +4 lb. bisulphate of soda, adding 1 lb. sulphuric acid when the dyeing +is about half done. + +The navy blues given in the last few recipes possess the merit of +considerable resistance to light, air and milling. + +_Pale Blue_.--Make the dye-bath with 1/2 oz. Chromotrop 2 R, 4 oz. +Cyanine B, 7-1/2 oz. Fast Acid Blue R, 1/2 oz. Azo Yellow, 10 lb. +acetic acid, and 15 lb. Glauber's salt. + +_Peacock Blue_.--A fine shade is dyed with 14 oz. Cyanine B, 1-1/2 lb. +Fast Acid Blue R, 2 oz. Azo Yellow, 10 lb. acetic acid, and 15 lb. +Glauber's salt. + +_Dark Invisible Blue_.--Make the dye-bath with 2 lb. Victoria (p. 156) +Black Blue, 10 lb. Glauber's salt, and 3 lb. sulphuric acid. + +_Bright Blue_.--A very fine shade of blue, not, however, fast to +light, is dyed from a bath containing 1/2 lb. Victoria Blue B, and +10 lb. Glauber's salt. + +_Bright Electric Blue_.--Prepare a dye-bath with 3/4 lb. Glacier Blue, +10 lb. Glauber's salt and 3 lb. sulphuric acid, working at the boil. +This gives a very bright green shade of blue. + +_Dark Peacock Blue_.--Make the dye-bath with 1 lb. Naphthol Blue +Black, 10 lb. Glauber's salt, and 3 lb. sulphuric acid. + +Peri Wool Blues B & G dye wool in very fast dark blue shades from +baths of Glauber's salt and acetic acid. They are dye-stuffs which +form with copper blue colour lakes of some fastness. The copper is +amalgamated with the dye-stuffs as put on the market. + +_Pale Navy Blue_.--Mordant, 4 lb. bichromate of potash and 1-1/2 lb. +oxalic acid. Dye, 2-1/2 lb. Alizarine Bordeaux B. + +_Navy Blue_.--Mordant, 4 lb. bichromate of potash and 2 lb. oxalic +acid. Dye, 7 lb. Alizarine Bordeaux G. + +_Bright Violet Blue_.--Mordant, 3 lb. fluoride of chrome and 2 lb. +oxalic acid. Dye, 3/4 lb. Celestine Blue B. + +_Navy Blue_.--A reddish shade of navy blue is dyed by mordanting with +3 lb. fluoride of chrome and 2 lb. oxalic acid, and dyeing with 3 lb. +Celestine Blue B and 3/4 lb. Diamond Black. + +The Alizarine Cyanines are excellent dye-stuffs for giving dark blue +and navy blue shades on wool. They dye fairly easily, and uniform +shades are readily obtained, while they possess some considerable +penetrative power, so that they are well adapted for dyeing heavy +piece goods. The following recipes show their use and indicate the +character of the shades the various brands yield. It may be added (p. 157) +that the shades are fast to light and milling. + +_Red Navy Blue_.--Mordant, 4 lb. bichromate of potash, 2 lb. tartar, +and 1-1/2 oz. sulphuric acid. Dye, 6 lb. Alizarine Cyanine R R R +double. By using a mordant of 4 lb. fluoride of chrome and 2 lb. +oxalic acid the shade is made brighter and not so red in tone. + +_Dark Blue_.--A red shade of blue almost approaching a navy is +obtained by mordanting with bichromate of potash, as in the last +recipe, and dyeing with 12 lb. Alizarine Cyanine R R, or with 13 lb. +Alizarine Cyanine R. The shade with the latter dye-stuff is scarcely +so red as with the former. + +_Dark Blue_.--Mordant with 4 lb. fluoride of chrome and 2 lb. oxalic +acid and dye with 13 lb. Alizarine Cyanine R. + +_Dark Blue_.--A somewhat brighter and less red shade than is obtained +by working as in the last recipe is given by mordanting with 3 lb. +bichromate of potash, 2 lb. tartar, and 2-1/2 oz. sulphuric acid, and +then dyeing with 17 lb. Alizarine Cyanine G extra. + +_Dark Blue_.--Mordant with 3-1/2 lb. bichromate of potash, 2 lb. +tartar, and 3 oz. sulphuric acid. Dye with 18 lb. Alizarine Cyanine +G G. + +_Peacock Blue_.--Mordant with 4 lb. fluoride of chrome and 2 lb. +oxalic acid. Dye with 18 lb. Alizarine Cyanine G G. + +The addition of from 2 lb. to 5 lb. acetate of ammonia in working with +the Alizarine Cyanines is a considerable advantage, by causing the +dye-stuff to penetrate the fibre better and to give more uniform +shades. + +_Medium Blue_.--Mordant with 3 lb. bichromate of potash and 2 lb. +oxalic acid. Dye with 5 lb. Brilliant Alizarine Blue G, and 2 lb. +acetic acid. + +_Black Blue_.--Mordant as in the last. Dye with 20 lb. Brilliant +Alizarine Blue G and 2 lb. acetic acid. + +_Dark Navy_.--Mordant as in the last recipe and dye with 5 lb. (p. 158) +Alizarine Cyanine 3 R double, 5 lb. Alizarine Blue G W, 2 lb. +Brilliant Alizarine Blue G, and 2 lb. acetic acid. + +_Medium Blue_.--Mordant as in the last. Dye with 5 lb. Alizarine Blue +G W, 2-1/2 lb. Brilliant Alizarine Blue G, and 2 lb. acetic acid. + +_Lavender Blue_.--Mordant with 3 lb. bichromate of potash and +2-1/4 lb. tartar. Dye with 2 lb. Alizarine Blue A. + +_Navy_.--Mordant as in the last recipe, and dye with 20 lb. Alizarine +Blue A. + +_Deep Sky Blue_.--Mordant with 3 lb. bichromate of potash and 1 lb. +oxalic acid, then dye with 2-1/2 lb. Chrome Blue. + +_Bright Blue_.--A very fine bright shade is obtained by mordanting as +in the last, and then dyeing with 10 lb. Chrome Blue. + +_Lilac Blue_.--Mordant with 2 lb. bichromate of potash and 1-1/2 lb. +tartar. Dye with 4 lb. Alizarine Blue D N W. Alizarine Blue R gives +somewhat bluer shades than the D N W brand. + +_Slate Blue_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar. Dye with 2-1/2 lb. Alizarine Blue D N W, 4 oz. Alizarine +Brown, and 1-2/3 oz. Alizarine Yellow. + +_Peacock Blue_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar. Dye with 6 lb. Alizarine Blue D N W, 3 lb. Alizarine Yellow, +and 1-1/2 lb. Patent Blue A, adding a little acetic acid to the +dye-bath. + +_Paris Blue_.--Mordant as in the last recipe. Dye with 3 lb. Galleine, +1 lb. Alizarine Blue D N W, and 1 lb. Patent Blue A, adding a little +acetic acid. + +_Grey Blue_.--Mordant as above and dye with 4-1/2 lb. Alizarine Blue +D N W, and 1 lb. Alizarine Brown. + +_Blue_.--Mordant with 10 lb. alum, 3 lb. tartar, and 2 lb. oxalic +acid. Dye with 15 lb. Anthracene Blue W G, 3 lb. acetate of lime, and +1 lb. tannic acid. + +_Red Navy_.--Mordant as in the last recipe and dye with 15 lb. (p. 159) +Anthracene Blue B W, 3 lb. acetate of lime, and 3/4 lb. tannic acid. + +_Dark Blue_.--Mordant with 1 lb. bichromate of potash and 2 lb. +tartar. Then dye with 20 lb. Anthracene Blue W B. Anthracene Blue W G +gives slightly greener shades than the W B brand, while the W R blue +gives redder shades. + +Grounding wool with various tints of indigo is a favourite method of +producing many useful shades on wool. In general it is a good plan, as +the bottom so given is a fast and permanent one, and is not in any way +affected (so far as the stability of the colour is concerned) by the +subsequent dyeing operations, care of course being taken that these +are the usual acid or mordanting baths. The only drawback against +bottoming with indigo is the increased cost of dyeing necessitated by +the extra labour, and materials required to dye the bottom. As to the +methods and materials required, they are just those usually employed +in indigo dyeing, and these have been described. The hydrosulphite +vat, or Messrs. Holliday's patent indigo, is, perhaps, the most +convenient method to adopt. + +_Dark Slate_.--Give a medium indigo bottom, then mordant with 3 lb. +fluoride of chrome and 1 lb. oxalic acid, and dye with 1-1/2 lb. +Anthracene Brown W, 1/2 lb. Alizarine Bordeaux G, and 1 oz. Diamond +Flavine. + +_Dark Navy_.--Give a medium indigo bottom in the vat, then mordant +with 3 lb. fluoride of chrome and 1-1/2 lb. tartar, finally dyeing +with 6-1/2 lb. Alizarine Cyanine G, and 1-1/2 lb. Alizarine +Bordeaux G. + +_Dark Blue_.--Give a medium indigo bottom, then mordant with 6 lb. +fluoride of chrome and 2 lb. oxalic acid, finally dyeing with 14 lb. +Alizarine Cyanine Black. + +_Blue Black_.--Give a deep indigo bottom in the vat, then mordant with +3 lb. bichromate of potash and 2 lb. tartar, finally dyeing with (p. 160) +6 lb. Alizarine Cyanine Black and 1-1/2 lb. Alizarine Cyanine 3 R double. + + +VIOLET SHADES ON WOOL. + +Violet shades can only be obtained from the coal-tar colours, and of +these there are not many. The recipes which are given below will serve +to show what dye-stuffs are available, and will give some idea of the +tints they dye. + +#With Direct Dyes.# _Pale Violet_.--Prepare the dye-bath with 1/2 lb. +Sulphon Cyanine, 1/4 lb. Geranine B, 5 lb. Glauber's salt, and 5 lb. +acetate of ammonia, working at the boil for one hour. + +#With Basic Dyes.# _Violet_.--The dye-bath is made with 1 lb. Methyl +Violet 3 B, and 10 lb. Glauber's salt. A fine pure shade of violet is +obtained. Methyl Violet is made in many brands, distinguished as B, +B B, 2 B, 4 B, etc. By using either one or the other of these, a +variety of tints of violet, from a red shade with Methyl Violet R +through violet (B) to a violet blue with Methyl Violet 7 B, can be +dyed. + +#Puce.#--A very bright shade of puce is dyed by using Methyl Violet R, +and 10 lb. Glauber's salt. + +#With Acid Dyes.# _Violet_.--Make the dye-bath with 2 lb. Acid Violet +4 B S, 10 lb. Glauber's salt, and 2 lb. sulphuric acid. This gives a +pure violet shade. If Acid Violet 6 B S be used a bluer shade is +obtained. + +_Reddish Puce_.--A very bright red tint of puce is obtained by using +2 lb. Acid Violet 4 R S, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid. + +_Bluish Violet_.--Make the dye-bath with 3 lb. Acid Violet 5 B, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid, working at the boil for one +hour. + +_Lavender_.--Use 4 oz. Acid Violet 5 B, 1 oz. Azo Fuchsine G, 1/16 oz. +Fast Green bluish, 10 lb. Glauber's salt and 2 lb. sulphuric acid. + +_Deep Violet_.--A fine deep shade is obtained by using 2-3/4 lb. +Chromotrop 6 R, 2-1/2 lb. Cyanine B, 10 lb. Glauber's salt, and (p. 161) +2 lb. sulphuric acid, working at the boil for one hour. + +_Mauve_.--Use 2 lb. Acid Mauve B, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. + +_Bright Violet_.--Use 2 lb. Formyl Violet S 4 B, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. + +_Bright Violet_.--Use 2 lb. Acid Violet 6 B N, 10 lb. Glauber's salt, +and 2 lb. sulphuric acid. + +_Violet_.--Use 2 lb. Acid Violet N, 2 lb. sulphuric acid, and 10 lb. +Glauber's salt. + +#With Mordant Dyes.# _Violet_.--Mordant the wool with 3 lb. bichromate +of potash and 2 lb. tartar, and dye with 10 lb. Chrome Violet. + +_Dark Violet_.--Mordant as in the last recipe. Then dye with 3 lb. +Chrome Bordeaux 6 B double and 2 lb. Brilliant Alizarine blue G. + + +BROWN SHADES ON WOOL. + +Brown is a very important colour, of which there is an infinite +variety of shades and it can be dyed in a great variety of ways and +from a variety of dye-stuffs, as will be seen on looking through the +recipes which follow, although these do not by any means exhaust the +methods by which browns may be dyed on woollen goods, but they may be +taken as representative and will serve to show by what combinations of +dyes various tints of browns may be obtained. + +#With Direct Dyes.# _Brown_.--Make the dye-bath with 1 lb. Nyanza +Black B, 2 lb. Congo Brown R, and 20 lb. Glauber's salt, working at +the boil for one hour; then lift, wash and dry. + +#With Acid Dyes.# _Yellow Brown_.--Make the dye-bath with 1 lb. Azo +Carmine, 1 lb. Fast Yellow, 1 lb. Indigo Carmine D, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. A good shade is thus obtained. + +_Olive Brown_.--Use 3/4 lb. Azo Acid Violet 4 R, 2 lb. Fast (p. 162) +Yellow, 3 oz. Fast Green bluish, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid, working at the boil for one hour; then lift, wash and +dry. + +_Dark Chestnut_.--Dye in a bath containing 6-1/2 oz. Patent Blue V, +3-1/4 oz. Acid Violet V, 1 lb. Azo Yellow, 2 lb. Orange No. 2, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid, working at the boil for one +hour; then lift, wash and dry. + +_Mouse_.--Make the dye-bath with 4 oz. Patent Blue V, 1-2/3 oz. Acid +Violet N, 13 oz. Orange G, 10 lb. Glauber's salt, and 2 lb. sulphuric +acid. + +_Deep Seal_.--Dye in a bath containing 1 lb. Orange G G, 1/2 lb. +Patent Blue J 3, 1/2 lb. Azo Yellow, 3-1/4 oz. Acid Violet N, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid. + +_Deep Brown_.--Make the dye-bath with 1-3/4 lb. Chromotrop 2 R, +1-1/4 lb. Victoria Yellow, 4 lb. Keton Blue G, 2-1/2 oz. Acid Violet +5 B E, 25 lb. Glauber's salt, and 4 lb. sulphuric acid, working at the +boil for one hour. + +_Walnut_.--A fine shade can be dyed with 1-3/4 lb. Azo Acid Magenta G, +14-1/2 oz. Patent Blue V, 3/4 lb. Victoria Yellow, 15 lb. Glauber's +salt and 2 lb. sulphuric acid. + +_Olive Brown_.--Make a dye-bath with 2 lb. sulphuric acid, 10 lb. +Glauber's salt, 1 lb. Azo Fuchsine G, 1/2 lb. Fast Yellow, and 1/2 lb. +Fast Green extra bluish. + +_Dark Olive Brown_.--A very fine shade can be dyed with 1 lb. Fast +Acid Violet 10 B, 1-1/2 lb. Orange 11, 1/2 lb. Fast Green bluish, +7 oz. Fast Yellow, 20 lb. Glauber's salt, and 3 lb. sulphuric acid. + +_Walnut_.--Use 1 lb. Cyanole, 1 lb. Orange extra, 1/2 lb. Archil +Substitute N, 10 lb. Glauber's salt and 2 lb. sulphuric acid, working +at the boil for one hour. + +_Dark Seal_.--Use 1 lb. Cyanole, 1 lb. Orange extra, 10 lb. Glauber's +salt and 2 lb. sulphuric acid. + +_Golden Brown_.--A fine shade is dyed with 1-1/4 lb. Victoria (p. 163) +Yellow, 9-1/2 oz. Chromotrop 2 R, 3-1/2 oz. Patent Blue V, 10 lb. +Glauber's salt and 2 lb. sulphuric acid. + +#With Mordant Dyes.# _Golden Brown_.--Make the dye-bath with 1 lb. +Diamine Fast Red F, 1-1/2 lb. Anthracene Yellow C, and 5 lb. acetate +of ammonia. Work for half an hour; then add 5 lb. bisulphate of soda +and work for half an hour longer, then add 3 lb. fluoride of chrome, +and work for half an hour at the boil. + +_Bright Golden Brown_.--Use 3/4 lb. Diamine Fast Red F, 1-1/2 lb. +Anthracene Yellow C, 5 lb. bisulphate of soda, as indicated in the +last recipe. The shades so obtained are very fine, and have the merit +of being fast to washing and light. + +_Chestnut_.--Give a medium indigo bottom in the vat, then dye in a +bath containing 1-3/4 lb. Anthracene Yellow C, 1 lb. Diamine Fast +Red F, and 5 lb. bisulphate of soda. Work again for half an hour, then +add 3 lb. fluoride of chrome, and work again for another half hour; +lift, wash and dry. + +_Dark Brown_.--Use a dye-bath containing 1-1/4 lb. Diamine Fast Red F, +3/4 lb. Anthracene Yellow C, 1-1/2 lb. Anthracite Black B, and 5 lb. +acetate of ammonia. After half an hour's boiling, add 5 lb. bisulphate +of soda, work half an hour longer, add 3 lb. fluoride of chrome, and +work together another half hour; then lift, wash and dry. + +_Brown_.--A very fine shade can be dyed in the following way: First +give a medium indigo bottom in the vat, then mordant in a bath +containing 3 lb. bichromate of potash and 2-1/2 lb. tartar, and +finally dye in a bath made from 1-1/2 lb. Alizarine Orange R, 4 lb. +Diamond Flavine, and 2 lb. acetic acid. + +_Dark Seal_.--Give a medium indigo bottom in the vat, and Mordant with +3 lb. bichromate of potash and 2-1/2 lb. tartar, and finally dye in a +bath containing 3-1/2 lb. Alizarine Orange R, 1 lb. Anthracene +Brown R, 2 lb. Diamond Flavine, and 2 lb. acetic acid. + +_Brown_.--A full shade is dyed by first mordanting with 3 lb. (p. 164) +bichromate of potash and 2 lb. tartar, and then dyeing with 10 lb. +Anthracene Brown W, and 1 lb. Mordant Yellow. + +_Buff_.--Mordant as in the last, and dye with 5 lb. Anthracene +Brown W, and 1/4 lb. Mordant Yellow O. + +_Nut_.--Mordant with 3 lb. bichromate of potash and 1 lb. oxalic acid, +and dye with 20 lb. Diamond Brown. + +_Pale Old Gold Brown_.--Mordant as in the last, and dye with 5 lb. +Diamond Brown. + +_Dark Violet Brown_.--Mordant as in the last recipes, and dye with +30 lb. Chrome Brown R. + +_Bright Chestnut_.--Mordant with 3 lb. bichromate of potash and 1 lb. +sulphuric acid, and dye with 30 lb. Gambine R. + +_Pale Chestnut_.--Mordant as in the last recipes, and dye with 20 lb. +Gambine Y. + +_Olive Brown_.--Mordant as in the last recipes, and dye with 10 lb. +Gambine B. The browns dyed with Gambine have the merit of being fast +to milling and light. + +_Dark Brown_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar; then dye with 15 lb. Alizarine Brown. + +_Bright Buff_.--Mordant as in the last recipe; then dye with 4-3/4 lb. +Alizarine Brown, 4 lb. Alizarine Yellow, 1-3/4 oz. Alizarine Blue +D N W, and 2 lb. acetic acid. + +_Dark Violet Brown_.--Mordant with 3 lb. bichromate of potash and +2-1/2 lb. tartar. Then dye with 18 lb. Alizarine Brown, 6 lb. +Alizarine Orange H, and 2 lb. acetic acid. + +_Dark Walnut_.--Mordant with 3 lb. bichromate of potash and 1 lb. +sulphuric acid; then dye with 8 lb. Alizarine Brown, 2 lb. Alizarine +Red 3 W S, and 2 lb. Alizarine Yellow G G W. + + +MODE COLOURS ON WOOL. + +Under the general designation of "mode colours" are included a great +variety of tints or shades unusually described more specifically (p. 165) +as drabs, buffs, greys, fawns, slates, etc. It is impossible here to +do more than give a few recipes for their production. + +#With Direct Dyes.# _Drab_.--Make a dye-bath with 3 oz. Nyanza Black B, +1-1/2 oz. Chrysamine G, 2 oz. Congo orange R, and 20 lb. Glauber's +salt, working at the boil for one hour; then lift, wash and dry. + +#With Acid Dyes.# _Bright Buff_.--Dye in a bath containing 3/4 oz. each +Cyanole, Orange extra, and Indian Yellow R, 10 lb. Glauber's salt, and +2 lb. sulphuric acid. + +_Slate_.--Use a dye-bath containing 3 oz. Cyanole, 1/4 oz. Archil +Substitute N, 1/2 oz. Orange extra, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. + +_Silver Grey_.--Use 1-1/4 oz. Orange extra, 3/4 oz. Archil +Substitute N, 10 lb. Glauber's salt and 2 lb. sulphuric acid. + +_Pale Drab_.--Make the dye-bath with 1/2 oz. Cyanine B, 3/4 oz. Azo +Yellow, 1/4 oz. Chromotrop 2 R, 10 lb. Glauber's salt and 2 lb. +sulphuric acid. + +_Grey_.--Make the dye-bath with 1 oz. Chromotrop 2 R, 1-1/4 oz. +Cyanine B, 2-1/2 oz. Fast Acid Blue R, 2 oz. Azo Yellow, 10 lb. +Glauber's salt and 5 lb. acetic acid. + +_Bright Fawn_.--The dye-bath is made with 2 oz. Chromotrop 2 R, 8 oz. +Orange G, 2-1/4 oz. Fast Acid Blue R, 1-1/4 oz. Cyanine B, 10 lb. +Glauber's salt and 5 lb. acetic acid. + +_Dark Buff_.--Use 2 oz. Cyanine B, 5 oz. Azo Yellow, 2-1/2 oz. +Chromotrop 2 R, 10 lb. Glauber's salt and 2 lb. sulphuric acid. + +_Lilac Grey_.--Use 3 oz. each Fast Acid Violet 10 B, Fast Green +bluish, and Fast Yellow, 10 lb. Glauber's salt and 2 lb. sulphuric +acid. + +_Pale Fawn Drab_.--Use 1 oz. Patent Blue V, 1 oz. Rhodamine, 1-3/4 oz. +Orange G, 10 lb. Glauber's salt and 2 lb. sulphuric acid. + +_Dark Grey_.--Use 1 lb. Wool Grey R, 10 lb. Glauber's salt and (p. 166) +2 lb. sulphuric acid. + +_Stone_.--Use 1 oz. Patent Blue J B, 1-3/4 oz. Orange G, 10 lb. +Glauber's salt and 2 lb. sulphuric acid. + +_Pale Fawn Brown_.--Use 4 oz. Fast Acid Violet R, 2 oz. Patent Blue +J O O, 3 oz. Orange G, 10 lb. Glauber's salt and 3 lb. sulphuric acid. + +_Drab_.--Use 3 oz. Azo Carmine, 1-1/2 oz. Fast Yellow, 1-1/4 oz. +Indigo Carmine D, 10 lb. Glauber's salt and 2 lb. sulphuric acid. + +_Lilac_.--Use 1/2 lb. Azo carmine, 1/2 lb. Indigo Carmine D, 1-1/2 oz. +Fast Yellow, 10 lb. Glauber's salt and 2 lb. sulphuric acid. + +#With Mordant Dyes.# _Pale Drab_.--Mordant with 2 lb. bichromate of +potash and 1-1/2 lb. tartar. Dye with 1 lb. Alizarine Brown paste. + +_Violet Grey_.--Mordant as in the last recipe, and dye with 1 lb. +Alizarine Grey B. + +_Pale Fawn_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb. +tartar, and dye with 4-1/2 lb. Alizarine Yellow, 13 oz. Alizarine +Brown, 11-1/2 oz. Alizarine Orange N, and 2 lb. acetic acid. + +_Pale Stone_.--Mordant with 2 lb. bichromate of potash and 1-1/2 lb. +tartar. Dye with 13 oz. Alizarine Yellow and 1-1/4 lb. Alizarine +Brown. + +_Dark Slate_.--Mordant with 3 lb. bichromate of potash and 2 lb. +tartar. Dye with 2-1/2 lb. Alizarine Blue D N W, and 10 oz. Alizarine +Yellow. + +_Lavender Grey_.--Mordant with 2 lb. bichromate of potash and +1-1/2 lb. tartar. Dye with 13 oz. Alizarine Blue D N W, and 2 oz. +Galleine. + +_Drab_.--Mordant as in the last recipe; then dye with 4 oz. Alizarine +Blue, 1-1/2 lb. Alizarine Yellow and 14 oz. Alizarine Brown. + +_Drab_.--Mordant with 3 lb. bichromate of potash and 1 lb. (p. 167) +sulphuric acid, and dye with 1 lb. Gambine R. + +_Dark Grey_.--Give a light indigo bottom in the vat, and then dye in a +bath containing 3/4 oz. Diamine Fast Red F, 3/4 oz. Anthracene +Yellow C, and 5 lb. acetate of ammonia. Work at the boil for half an +hour, then add 5 lb. bisulphate of soda, work half an hour longer, +then add 1 lb. fluoride of chrome, and work for another half hour at +the boil; then lift, wash and dry. + + + + +CHAPTER V. (p. 168) + +DYEING UNION (MIXED COTTON AND WOOL) FABRICS. + + +There is now produced a great variety of textile fabrics of every +conceivable texture by combining the two fibres, cotton and wool, in a +number of ways. The variety of these fabrics has of late years +considerably increased, which increase may be largely ascribed to the +introduction of the direct dyeing colouring matters--the Diamine dyes, +the Benzo dyes, the Congo and the Zambesi dyes; for in the dyeing of +wool-cotton fabrics they have made a revolution. The dyer of union +fabrics, that is fabrics composed of wool and cotton, was formerly put +to great straits to obtain uniform shades on the fabrics supplied to +him owing to the difference in the affinity of the fibres for the +dye-stuffs then known. Now the direct dyes afford him a means of +easily dyeing a piece of cotton-wool cloth in any colour of a uniform +shade, while the production of two-coloured effects is much more under +his control, and has led to the increased production of figured dress +fabrics with the ground in one fibre (wool) and colour, and the design +in another fibre (cotton) and colour. The number of direct dyes issued +by the various colour manufacturers is so great that it would take a +fairly considerable space to discuss them all. + +To obtain good results it is needful that the dyer of union fabrics +should be a man of keen observation and have a thorough knowledge of +the dyes he is using, for each dye makes a rule to itself as regards +its power of dyeing wool and cotton; some go better on to the (p. 169) +cotton than on to the wool, and _vice versa_. Some dye wool best +at the boil, others equally well below that heat; some go on the +cotton at a moderate temperature, others require the dye-bath to be +boiling; some will go to the cotton only and appear to ignore the +wool. + +The presence or absence in the dye-bath of such bodies as carbonate of +soda, Glauber's salt, etc., has a material influence on the degree of +the affinity of the dye-stuff for the two fibres, as will perhaps be +noted hereafter. Again, while some of the dyes produce equal colours +on both fibres, there are others where the tone is different. With all +these peculiarities of the Diamine and other direct dyes the union +dyer must make himself familiar. These dyes are used in neutral baths, +that is, along with the dye-stuff. It is often convenient to use along +with the direct dyes some azo or acid dyes which have the property of +dyeing the wool from neutral baths; many examples of such will be +found in the practical recipes given below. The dyes now under +consideration may be conveniently classed into five groups. + +(1) _Those dyes which dye the cotton and wool from the same bath to +the same shade, or nearly so._--Among such are Thioflavine S, Diamine +Fast Yellow B, Diamine Orange B, Diamine Rose B D, Diamine Reds 4 B, +5 B, 6 B and 10 B, Diamine Fast Red F, Diamine Bordeaux B, Diamine +Brown N, Diamine Brown 3 G, B and G W, Diamine Blue R W, B X, Diamine +Blue G, Diamine Greens G and B, Diamine Black H W, Diamine Dark +Blue B, Union Black B and S, Oxydiamine Blacks B, M, D and A, Diamine +Catechine G, Union Blue B B, Oxyphenine, Chloramine Yellow, +Thioflavine S, Alkali Yellow R, Chromine G, Titan Scarlet S, Mimosa, +Primuline, Auroline, Congo Corinth B, Thiazol Yellow, Columbia Yellow, +Oxydiamine Yellow G G, Oxydiamine Oranges G and R, Diamine (p. 170) +Orange O, Oxydiamine Red S. + +(2) _Dyes which dye the cotton a deeper shade than the wool._--The +following belong to this group. Diamine Fast Yellow A, Diamine +Orange G and D, Diamine Catechine G, Diamine Catechine B, Diamine sky +Blue, Diamine Blues 2 B, Diamine Blue 3 B, Diamine Blue B G, Diamine +Brilliant Blue G, Diamine New Blue R, Diamine Steel Blue L, Diamine +Black R O, Diamine Black B O, Diamine Black B H, and Oxydiamine Black +S O O O, Diamine Nitrazol Brown G, Diamine Catechine B, Diamine Sky +Blue F F, Diamine Dark Blue B, Diamine Bordeaux B, Diamine Violet N, +Oxydiamine Violet B, Columbia Black B and F B, Zambesi Black B, Congo +Brown G, Direct Yellow G, Direct Orange R, Clayton Yellow, Cotton +Yellow, Orange T A, Benzopurpurine B, Brilliant Congo R, Chicago +Blues B, 4 B and 6 B. + +(3) _Dyes which dye wool a deeper shade than the cotton._--The dyes in +this group are not numerous. They are Diamine Gold, Diamine Scarlet B, +Diamine Scarlet 3 B, Diamine Bordeaux S, Diamine Blue R W, and Diamine +Green G, Diamine Red N O and B, Chicago Blue G and R R W, Brilliant +Purpurine R, Diamine Scarlet B, Deltapurpurine 5 B, Chrysamine, Titan +Blue, Titan Pink, Congo Oranges G and R, Erie Blue 2 G, Congo R, +Brilliant Congo R, Erika B N, Benzopurpurine 4 B and 10 B, +Chrysophenine, Titan Yellow, Titan Brown Y, R and O, Congo Brown G, +Sulphon Azurine B, Zambesi Black D. + +(4) _Dyes which produce different shades on the two fibres._--Diamine +Brown G and Diamine Blue 3 R, Diamine Brown V, Diamine Brown S, +Diamine Nitrazol Brown B, Diamine Blue B X and 3 R, Diamine Blue +Black E, Benzo Blue Black G, Benzopurpurine 10 B, Benzo Azurine R G +and 3 G, Columbia Red S B, Brilliant Azurine 5 G, Titan Marine (p. 171) +Blue, Congo Corinths G and B, Azo Blue, Hessian Violet, Titan +Blue, Azo Mauve, Congo Brown, Diamine Bronze G, Zambesi Browns G and +2 G, Zambesi Black F. + +(5) _Azo acid dyes which dye wool from neutral baths, and are +therefore suitable for shading up the wool to the cotton in union +fabric dyeing._--Among the dyes thus available may be enumerated +Naphthol Blue G and E, Naphthol Blue Black, Formyl Violet 10 B, +Lanacyl Blue B B, Lanacyl Blue R, Alkaline Blue, Formyl Violet S 4 B +and 6 B, Rocceleine, Azo Red A, Croceine A Z, Brilliant Scarlet, +Orange extra, Orange E N Z, Indian Yellow G, Indian Yellow R, +Tropaeoline O O, Naphthylamine Black 4 B, and Naphthol Blue Black, +Brilliant Scarlet G, Lanacyl Violet B, Brilliant Milling Green B, +Thiocarmine R, Formyl Blue B, Naphthylamine Blacks D, 4 B and 6 B, Azo +Acid Yellow, Curcumine Extra, Mandarine G, Ponceau 3 R B, Acid Violet +6 B, Guinea Violet 4 B, Guinea Green B, Wool Black 6 B. + +Regarding the best methods of dyeing, that in neutral baths yields the +most satisfactory results in practical working. It is done in a +boiling hot or in a slightly boiling bath with the addition of +6-1/4 oz. crystallised Glauber's salt per gallon water for the first +bath, and when the baths are kept standing 20 per cent. crystallised +Glauber's salt reckoned upon the weight of the goods for each +succeeding lot. + +In dyeing unions, the dye-baths must be as concentrated as possible +and must not contain more than from 25 to 30 as much water as the +goods weigh. In this respect it serve as a guide that concentrated +baths are best used dyeing dark shades while light shades can be dyed +in more dilute baths. The most important factor for producing uniform +dyeings is the appropriate regulation of the temperature of the +dye-bath. Concerning this the dyer must bear in mind that the direct +colours possess a greater affinity for cotton if dyed below the +boiling-point, and only go on the wool when the bath is boiling, (p. 172) +especially so the longer and more intensely the goods are boiled. + +The following method of dyeing is perhaps the best one. Charge the +dye-bath with the requisite dye-stuff and Glauber's salt, boil up, +shut off the steam, enter the goods and let run for half an hour, +without steam, then sample. If the shade of both cotton and wool is +too light, add some more of the dye-stuffs used for both fibres, boil +up once more, and boil for a quarter to half an hour. If the wool only +is too light, or its shade different from that of the cotton, add some +more of the dye-stuff used for shading the wool and bring them again +to the boil. If, however, the cotton turns out too light or does not +correspond in shade to the wool, add some more of the dye-stuffs used +for dyeing the cotton, without, however, raising the temperature. +Prolonged boiling is necessary only very rarely, and generally only if +the goods to be dyed are difficult to penetrate or contain qualities +of wool which only with difficulty take up the dye-stuff. In such +cases, in making up the bath, dye-stuffs are to be selected some of +which go only on the wool and others which go only on the cotton +(those belonging to the second group). + +The goods can then be boiled for some time, and perfect penetration +and level shades will result. If the wool takes up the dye-stuff +easily (as is frequently the case with goods manufactured from shoddy) +and are therefore dyed too dark a shade, then dye-stuffs have to be +used which principally dye the cotton, and a too high temperature is +to be avoided. In such cases it is advisable to diminish the affinity +of the wool by the addition of one-fifth of the original quantity of +Glauber's salt (about 3/8 oz. per gallon of water), and from +three-quarters to four-fifths of the dye-stuff used for the first lot. +Care has to be taken that not much of the dye-liquor is lost when +taking out the dyed goods, otherwise the quantities of Glauber's salt +and dye-stuff will have to be increased proportionately. Wooden (p. 173) +vats such as are generally used for piece dyeing have proved the +most suitable, they are heated with direct or still better with +indirect steam. The method which has proved most advantageous is to +let the steam run into a space separated from the vat by a perforated +wall into which space the required dye-stuffs and salt are placed. + +The mode of working is influenced by the character of the goods, and +the following notes will be found useful by the union dyer. + +Very little difficulty will be met with in dyeing such light fabrics +as Italians, cashmeres, serges and similar thin textiles lightly woven +from cotton warp and woollen weft. When deep shades (blacks, dark +blues, browns and greens) are being dyed it is not advisable to make +up the dye-bath with the whole of the dyes at once. It is much better +to add these in quantities of about one-fourth at a time at intervals +during the dyeing of the piece. It is found that the affinity of the +wool for the dyes at the boil is so much greater than is that of the +cotton that it would, if the whole of the dye were used, take up too +much of the colour and then would come up too deep in shade. Never +give a strong boil with such fabrics, but keep the bath just under the +boil which results in the wool dyeing much more nearly like to cotton. + +#On Union Flannels.#--In this class of goods it is important that the +soft open feel of the goods be retained as much as possible, and for +this purpose no class of dyes offers so many advantages as the direct +colours. Only one bath being required, there is not the same amount of +manipulation needed in the dyeing operation, hence there is less risk +that the soft feel and woolly structure will be affected. As no +mordants are needed there is nothing to impart a harsh feel to the +fabrics. + +#On Dress Goods, Suitings and Coatings.#--A large quantity of fabrics +for gentlemen's suits, coats and cloths in general are now made (p. 174) +from wool and cotton. Formerly the dyeing of these offered many +difficulties before the application of the direct dyes was properly +understood. Now, however the ease with which such dyes may be applied +has given considerable impetus to this class of goods, and the trade +has grown by leaps and bounds during recent years, and has been one +cause of the great cheapening of clothes which has occurred in the +same period. The dyeing of the goods with the direct colours offers +very little difficulty, and only requires that a little attention be +paid, particularly to goods in which the cotton either appears on the +surface forming a design, or is spun or twisted together with the +wool. + +A good deal of shoddy is used in making the cheaper class of these +goods, and it is quite natural that such "artificial wool" behaves +differently from pure wool, not only with regard to its shade +resulting from mixing and working together differently dyed waste +wools, but also on account of its possessing a greater affinity for +all kinds of dye-stuff than raw wool; this in consequence of the +carbonisation and washing processes it has undergone, and also of the +mordants which the material may retain from previous processes. +Therefore (and especially in dyeing light shades on goods manufactured +of shoddy) only a small quantity of soda or borax is to be added to +the dye-bath and severe boiling is to be avoided. Wherever it is +possible goods which are to be dyed in light shades should be made +from the palest materials, and the dark qualities only used for goods +which are to be dyed in dark shades. + +This rule can, of course, not always be adhered to. Quite often a +light and bright shade is to be dyed on comparatively dark material. +This cannot be achieved by simply dyeing it, the goods must be +stripped or bleached before dyeing. For this purpose either +energetically reacting, oxidising reducing agents are applied. Of the +former, bichromate of potassium is principally used. Boil the (p. 175) +goods for half to three-quarters of an hour with 3 to 5 per cent. +bichromate of potassium, 2 to 4 per cent. oxalic acid, and 3 to 5 per +cent. sulphuric acid, wash in a fresh warm bath charged with soda in +order to entirely neutralise the acid which has remained in the goods, +or else the wool would be dyed too deep a shade. In some cases +hydrosulphite has proved a useful reducing agent; it can be easily +prepared from ordinary bisulphite of soda in the following manner. Add +10 oz. ammonia (0.9 specific gravity) to a gallon of bisulphite of +soda, 32 deg. Tw.; then add slowly under a brisk stirring 10 oz. +zinc-dust, and let the entire mixture settle well, using only the +clear solution. Treat the goods from fifteen to twenty minutes in a +bath of 140 deg. F., to which first add at the boil 3/4 oz. acetic acid, +10 deg. Tw., per gallon water, and then 4 to 6 gallons clear hydrosulphite +solution per 100 gallons liquor. Then rinse very well and dye in the +usual manner; avoiding, however, too high a temperature. As on this +class of goods dark shades are mostly dyed, the goods need only very +rarely be stripped. + +_Bright Yellow_.--Use 2 lb. Thioflavine S in a bath which contains +4 lb. Glauber's salt per 10 gallons of dye-liquor. + +_Good Yellow_.--A very fine deep shade is dyed with 2-1/2 lb. Diamine +Gold, and 24 lb. Diamine Fast Yellow A in the same way as the last. +Here advantage is taken of the fact that while the Diamine Gold dyes +the wool better than the cotton the Diamine Yellow dyes the cotton the +deepest shade, and between the two a uniform shade of yellow is got. + +_Pale Gold Yellow_.--Use a dye-liquor containing 4 lb. Glauber's salt +in every 10 gallons, 2-1/2 lb. Diamine Fast Yellow A, 2 oz. Indian +Yellow G, and 3-1/2 oz. Indian Yellow R. In this recipe we use in the +two last dyes purely wool yellows, which dye the wool the same tint as +the Fast Yellow A dyes the cotton. + +_Bright Yellow_.--Use in the same way as the last 2-1/2 lb Diamine (p. 176) +Fast Yellow B and 3 oz. Indian Yellow G. + +_Gold Orange_.--Use as above 2 lb. Diamine orange G, 3-1/2 oz. Indian +Yellow R, and 1-1/2 oz. Orange E N Z. + +_Deep Orange_.--Use 2-1/2 lb. Diamine Orange D C, 6-1/2 oz. Orange +E N Z, and 3-1/4 oz. Indian Yellow R. + +_Black_.--Use 4-1/2 lb. Union Black S, 2 oz. Diamine Fast Yellow A, +5 oz. Naphthol Blue Black, 3-1/4 oz. Formyl Violet S 4 B, and 4 lb. +Glauber's salt in 10 gallons dye-liquor. + +The goods are treated at the boil in this bath for one hour, Italian +cloths have frequently if not always to pass through a finishing +process to give them lustre. This treatment, especially with blues and +blacks, has a tendency to affect the shades, reddening them. With some +dye the colour comes back on the goods becoming cold again, but with +others this is not the case. If desired the goods may be subjected +after dyeing to a treatment with alum or, better, bichromate of +potash. The goods after being dyed are rinsed and then passed into a +bath at a temperature of 140 deg. F., containing 3 lb. bichromate of +potash and 1-1/2 to 2 oz. sulphuric acid. After being chromed in this +for about half an hour they are well washed. This chroming thoroughly +fixes the colour on the cotton and it will not change while being +finished, either by crabbing, steaming or hot pressing. + +_Gold Brown_.--Use 1-1/2 lb. Diamine Cutch, 6-1/2 oz. Diamine Fast +Yellow B, 1 oz. each Union Black, Naphthol Blue Black and Azo Red A. + +_Walnut Brown_.--A fine shade is got with 1-1/4 lb. Union Black S, +1-1/4 lb. Diamine Brown M, 3-1/4 oz. Diamine Fast Yellow B, 13 oz. +Indian Yellow G, and 1 oz. Naphthol Blue Black. After dyeing the goods +should be chromed with 3 lb. bichromate of potash and 2 oz. sulphuric +acid. + +_Dark Blue_.--A good full shade is got with 2-1/4 lb. Union Black S, +9-1/2 oz. Diamine Brilliant Blue G, 6-1/2 oz. Alkaline Violet (p. 177) +C A, and 1/4 lb. Alkaline Blue F. Treatment in a bath of 1/2 lb. alum +and 1/2 oz. soda at 130 deg. F. will fix the colour against finishing. + +_Silver Grey_.--A fine grey can be got from 1-3/4 oz. Diamine Black +B H, 1/2 oz. Diamine Orange B, 1/2 oz. Naphthol Blue Black, and +1/2 oz. Formyl Violet. + +_Navy Blue_.--Use 1-1/4 lb. Union Black S, 3 lb. Diamine Black B H, +1/2 oz. Naphthol Blue Black, 1/2 lb. Formyl Violet S 4 B, and +2-1/2 oz. Alkaline Blue B. + +_Red Plum_.--Use a dye-bath containing 2-1/2 lb. Oxydiamine Violet B +and 3-1/4 oz. Formyl Violet S 4 B. + +_Dark Green_.--A fine shade can be dyed in a bath containing 3 lb. +Diamine Green B and 1-1/2 lb. Diamine Black H W. + +_Dark Slate_.--Use 4 lb. Diamine Black H W, 2 oz. Naphthol Blue Black, +and 3 oz. Azo Red A. + +_Sage_.--Use a dye-bath containing 4 lb. Diamine Bronze G and +1-1/4 oz. Naphthol Blue Black. + +_Dark Brown_.--A fine dark shade is got from 2-1/2 lb. Diamine +Brown V, and 2 oz. Naphthol Blue Black. + +_Peacock Green_.--Use 3-3/4 lb. Diamine Steel Blue L, 13 oz. Diamine +Fast Yellow B, 14-1/2 oz. Thiocarmine R, and 2-1/4 oz. Indian Yellow G +in a bath of 4 lb. Glauber's salt per gallon of dye-liquor. + +_Dark Sea Green_.--Use 9 oz. Diamine Steel Blue L, 3-3/4 oz. Diamine +Fast Yellow B, 1/2 oz. Diamine Orange G, 1-1/4 oz. Naphthol Blue +Black, and 3/4 oz. Indian Yellow G. + +_Dark Brown_.--Use 1 lb. Diamine Orange B, 1 lb. Diamine Fast +Yellow B, 13-3/4 oz. Union Black S, 1 lb. Diamine Brown M, and 1/2 lb. +Indian Yellow G. Fix in an alum bath after dyeing. + +_Dark Stone_.--Use 1/2 lb. Diamine Orange B, 3-3/4 oz. Union Black, +1/4 oz. Diamine Bordeaux B, 1-1/2 oz. Azo Red A, and 3/4 oz. Naphthol +Blue Black. + +_Black_.--A very fine black can be got from 3-1/2 lb. Oxydiamine +Black R M, 2 lb. Union Black S, 9-1/2 oz. Naphthol Blue Black and (p. 178) +4 oz. Formyl Violet S 4 B, chroming after dyeing as described above. + +_Dark Grey_.--A fine bluish, shade of grey is got from 7 oz. Diamine +Black B H, 2-1/4 oz. Diamine Orange G, 2-1/2 oz. Naphthol Blue Black, +and 1 oz. Orange E N Z. + +_Dark Blue_.--A fine shade is got by using 2 lb. Diamine Black B H, +1/2 lb. Diamine Black H W and 3-1/2 oz. Alkaline Blue 6 B. + +_Drab_.--Use 3-1/2 oz. Diamine Orange B, 3/4 oz. Union Black, 1/8 oz. +Diamine Bordeaux B, 3/4 oz. Azo Red A, and 1/4 oz. Naphthol Blue +Black. + +_Plum_.--Use 2-1/2 lb. Diamine Violet N, 9-1/2 oz. Union Black, and +1 lb. Formyl Violet S 4 B. + +_Bright Yellow_.--Use a dye-bath containing 4 lb. Thioflavine S, 2 lb. +Naphthol Yellow S, 10 lb. Glauber's salt, and 2 lb, acetic acid. + +_Pink_.--Use 1/6 oz. Diamine Rose B D, 1/4 oz. Diamine Scarlet B, +1/2 oz. Rhodamine B and 20 lb. Glauber's salt. + +_Scarlet_.--A fine shade is got from 1-1/2 lb. Diamine Scarlet B, +1/2 oz. Diamine Red 5 B and 20 lb. Glauber's salt. + +_Orange_.--Use a dye-bath containing 3-1/2 lb. Diamine Orange G, +14-1/2 oz. Tropaeoline O O, and 2-3/4 oz. Orange extra. + +_Sky Blue_.--Use 1-1/2 oz. Diamine Sky Blue and 1-1/4 oz. Alkaline +Blue B. + +_Bright Blue_.--A fine shade similar to that formerly known as Royal +Blue is got by using 1-1/2 lb. Diamine Brilliant Blue G, and 9-1/4 oz. +Alkaline Blue 6 B. + +_Maroon_.--Use 3 lb. Diamine Bordeaux B, 2 lb. Diamine Violet N, and +3-1/4 oz. Formyl Violet S 4 B. + +_Green_.--A fine green similar in shade to that used for +billiard-table cloth is got from 2 lb. Diamine Fast Yellow B, 2 lb. +Diamine Steel Blue L, 14-1/2 oz. Thiocarmine R and 7-1/4 oz. Indian +Yellow G. + +_Gold Brown_.--A fine brown is got from 3 lb. Diamine Orange B, (p. 179) +1/2 lb. Union Black, 2-1/2 oz. Diamine Brown, 3/4 oz. Naphthol Blue +Black, and 1/2 lb. Indian Yellow G. + +_Navy Blue_.--Use 3-1/4 lb. Diamine Black B H, 1-1/2 lb. Diamine +Brilliant Blue G, and 1/2 lb. Alkaline Blue. + +_Fawn Drab_.--A fine shade is got by dyeing in a bath containing +6-3/4 oz. Diamine Orange B, 1-3/4 lb. Union Black, 1/4 oz. Naphthol +Blue Black, 1/4 oz. Diamine Bordeaux B, and 1 oz. Azo Red A. + +In all these colours the dye-baths contain Glauber's salt at the rate +of 4 lb. per 10 gallons. + +_Dark Brown_.--2-1/2 lb. Diamine Orange B, 13 oz. Diamine Bordeaux B, +1-1/2 lb. Diamine Fast Yellow B, 1-3/4 lb. Union Black, and 3-1/2 oz. +Naphthol Black. + +_Drab_.--1-3/4 lb. Diamine Fast Yellow R, 3-1/4 oz. Diamine +Bordeaux B, 2-1/2 oz. Union Black, 1/2 oz. Naphthol Blue Black, and +1-1/4 oz. Indian Yellow G. + +_Dark Blue_.--Use in the dye-bath 4-1/4 lb. Diamine Dark Blue B, +1-1/2 lb. Diamine Brilliant Blue G, 3/4 lb. Formyl Violet S 4 B, and +5 oz. Naphthol Blue Black. + +_Blue Black_.--Use 3-1/4 lb. Union Black S, 1-1/2 lb. Oxydiamine Black +B M, 6-1/2 oz. Naphthol Blue Black, and 1/4 lb. Formyl violet S 4 B. + +_Dark Walnut_.--2-3/4 lb. Diamine Brown M, 1-1/2 lb. Union Black S, +and 11-1/4 oz. Indian Yellow G. + +_Peacock Green_.--Use in the dye-bath 3-1/2 lb. Diamine Black H W, +5-1/6 oz. Diamine Fast Yellow B, 1-1/2 lb. Thiocarmine R, and +1-1/6 oz. Indian Yellow G. + +_Slate Blue_.--Use in the dye-bath 6-1/2 oz. Diamine Catechine B, +4-3/4 oz. Diamine Orange B, 2-1/2 oz. Union Black, 2-3/4 oz. Orange +E N Z, and 1-3/4 oz. Naphthol Blue Black. + +_Dark Sage_.--A good shade is dyed with 1 lb. Diamine Orange B, +6-1/2 oz. Union Black, 1-3/4 oz. Diamine Brown M, 3-1/4 oz. Azo Red A, +and 2-1/4 oz. Naphthol Blue Black. + +_Navy Blue_.--Use 2 lb. Diamine Dark Blue B, 1-1/4 lb. Lanacyl (p. 180) +Violet B, and 7 oz. Naphthol Blue Black. + +_Bronze Green_.--A good shade is dyed with 2 lb. Diamine Orange B, +5 oz. Diamine Brown N, 3/4 lb. Union Black S, 1 lb. Indian Yellow G, +and 2 oz. Naphthol Blue Black. + +_Black_.--Use 2-1/2 lb. Oxydiamine Black B M and 1-1/2 lb. +Naphthylamine Black 6 B. Another recipe, 2-1/4 lb. Oxydiamine Black +B M, 1 lb. Diamine Brown M, 1 lb. Orange E N Z, and 2 oz. Naphthol +Blue Black. + +_Dark Brown_.--Use 1-1/2 lb. Oxydiamine Black B M, 15-1/2 oz. Diamine +Brown M, 1-3/4 lb. Indian Yellow G, and 2-3/4 oz. Naphthol Blue Black. +Another combination, 1-1/2 lb. Oxydiamine Black B M, 1-1/2 lb. Orange +E N Z, 1 lb. Indian Yellow G, and 5 oz. Naphthol Blue Black. + +_Scarlet_.--3 lb. Benzopurpurine 4 B, 3/4 oz. Ponceau 3 R B, and +1/2 lb. Curcumine S. + +_Crimson_.--1/2 lb. Congo Corinth G, 2 lb. Benzopurpurine 10 B, and +1/2 lb. Curcumine S. + +_Bright Blue_.--2 lb. Chicago Blue 6 B, 3 oz. Alkali Blue 6 B, +1-1/2 oz. Zambesi Blue R X. After dyeing, rinse and develop in a bath +of 8 oz. sulphuric acid in 10 gallons water, then rinse well. + +_Dark Blue_.--2-1/2 lb. Columbia Fast Blue 2 G, 3 oz. Sulphon +Azurine D, 3 oz. Alkali Blue 6 B. After dyeing, rinse and develop in a +bath of 8 oz. sulphuric acid in 20 gallons of water. + +_Orange_.--9 oz. Congo Brown G, 1-1/2 lb. Mikado Orange 4 R O, and +1-1/2 oz. Mandarine G. + +_Dark Green_.--2 lb. Columbia Green, 1/2 lb. Sulphon Azurine D, +1/2 lb. Zambesi Blue B X, 1-1/2 oz. Curcumine S. + +_Black_.--4 lb. Columbia Black F B, and 2 lb. Wool Black 6 B. + +_Pale Sage Green_.--5 oz. Zambesi Black D, 3/4 lb. Chrysophenine G, +and 1-1/2 lb. Curcumine S. + +_Slate_.--1/2 lb. Zambesi Black D, 3/4 oz. Zambesi Blue R X, (p. 181) +1/2 oz. Mikado Orange 4 R O, and 1-1/2 oz. Acid Violet 6 B. + +_Dark Grey_.--1 lb. Columbia Black F B, 3 oz. Zambesi Black B, and +3/4 oz. Sulphon Azurine D. + +_Drab_.--1-1/2 oz. Zambesi Black D, 3/4 oz. Mandarine G extra, 1/4 oz. +Curcumine extra, and 3 oz. Mikado Orange 4 R O. + +_Brown_.--5 oz. Zambesi Black D, 3/4 oz. Mandarine G extra, 1-1/2 oz. +Orange T A, and 2 oz. Mikado Orange 4 R O. + +_Nut Brown_.--3/4 lb. Congo Brown G, 1/4 lb. Chicago Blue R W, and +3/4 lb. Mikado Orange 4 R O. + +_Dark Brown_.--1 lb. Congo Brown G, 1-1/2 lb. Benzopurpurine 4 B, +1-1/2 lb. Zambesi Black F, and 1/2 lb. Wool Black 6 B. + +_Stone_.--1 oz. Zambesi Black D, 1/4 oz. Mandarine G, 1/4 oz. +Curcumine extra, and 1-1/4 oz. Mikado Orange 4 R O. + +_Slate Green_.--3 oz. Zambesi Black D, 1-1/2 oz. Guinea Green B. + +_Sage Brown_.--1/2 lb. Zambesi Black D, 1-1/2 oz. Mandarine G extra, +3 oz. Curcumine extra, 3 oz. Acid Violet 6 B, 6 oz. Mikado Orange +4 R O, and 4-1/2 oz. Curcumine S. + +_Cornflower Blue_.--3 oz. Chicago Blue 4 R, 1/4 lb. Zambesi Blue R X, +1/4 lb. Acid Violet 6 B, and 3/4 oz. Zambesi Brown G. + +_Dark Brown_.--1-1/2 lb. Brilliant Orange G, 1/2 lb. Orange T A, 1 lb. +Columbia Black F B, and 1/4 lb. Wool Black 6 B. + +_Dark Blue_.--2 lb. Chicago Blue R W, 1 lb. Zambesi Blue R X, 1/2 lb. +Columbia Black F B, 10 oz. Guinea Green B, and 1/2 lb. Guinea Violet +4 B. + +The Janus dyes may be used for the dyeing of half wool union fabrics. +The best plan of working is to prepare a bath with 5 lb. of sulphate +of zinc. In this the goods are worked at the boil for five minutes, +then there is added the dyes (previously dissolved in water), and the +working continued for a quarter of an hour; then there is added 20 lb. +Glauber's salt and the working at the boil continued for one hour, (p. 182) +at the end of which time the dye-bath will be fairly well exhausted of +colour. The goods are now taken out and put into a fixing bath of +sumac or tannin, in which they are treated for fifteen minutes. To +this same bath there is next added tartar emetic and 1 lb. sulphuric +acid, and the working continued for a quarter of an hour; then the +bath is heated to 160 deg. F., when the goods are lifted, rinsed and +dried. In the recipes the quantities of dyes, sumac or tannin, and +tartar emetic only are given, the other ingredients and processes are +the same in all. + +_Dark Blue_.--2-1/4 lb. Janus Dark Blue B, and 1/2 lb. Janus Green B, +in the dye-bath; 16 lb. sumac extract and 2 lb. tartar emetic in the +fixing bath. + +_Blue Black_.--3-1/2 lb Janus Black I and 1/3 lb. Janus Black I I in +the dye-bath, and 16 lb. sumac extract and 2 lb. tartar emetic in the +fixing bath. + +_Dark Brown_.--2-1/2 lb. Janus Brown B, 1 lb. Janus Black I, 3-1/2 oz. +Janus Yellow G, and 5 oz. Janus Red B in the dye-bath, with 16 lb. +sumac extract and 2 lb. tartar emetic in the fixing bath. + +_Drab_.--1-1/2 oz. Janus Yellow R, 1/4 oz. Janus Red B, 1 oz. Janus +Blue R, and 1/4 oz. Janus Grey B B, in the dye-bath, and 4 lb. sumac +extract and 1 lb. tartar emetic in the fixing-bath. + +_Grey_.--5 oz. Janus Blue R, 3-1/4 oz. Janus Grey B, 1-1/2 oz. Janus +Yellow R, and 1/4 oz. Janus Red B in the dye-bath, with 4 lb. sumac +extract and 1 lb. tartar emetic in the fixing-bath. + +_Nut Brown_.--1 lb. Janus Brown R, 8 oz. Janus Yellow R, and 1-1/2 oz. +Janus Blue B in the dye-bath, and 8 lb. sumac extract and 1 lb. tartar +emetic in the fixing-bath. + +_Walnut Brown_.--3 lb. Janus Brown B, 1 lb. Janus Red B, 1 lb. Janus +Yellow R, and 1-1/4 oz. Janus Green B in the dye-bath, with 8 lb. +sumac extract and 1 lb. tartar emetic in the fixing-bath. + +_Crimson_.--2-1/2 lb. Janus Red B, and 8 oz. Janus Claret Red B (p. 183) +in the dye-bath, with 8 lb. sumac extract and 1 lb. tartar emetic in +the fixing-bath. + +_Dark Green_.--1-1/2 lb. Janus Green B, 1 lb. Janus Yellow R, and +8 oz. Janus Grey B in the dye-bath, with 4 lb. sumac extract and +1-1/4 lb. tartar emetic in the fixing-bath. + +_Chestnut Brown_.--1 lb. Janus Brown R and 1 lb. Janus Yellow R in the +dye-bath, and 8 lb. sumac extract and 1 lb. tartar emetic in the +fixing-bath. + +Before the introduction of the direct dyes the method usually +followed, and indeed is now to a great extent, is that known as +Cross-dyeing. The goods were woven with dyed cotton threads of the +required shade and undyed woollen threads; after weaving and cleansing +the woollen part of the fabric was dyed with acid dyes such as Acid +Magenta, Scarlet R, Acid Yellow, etc. In such methods care has to be +taken that the dyes used for dyeing the cotton are such as stand +acids, a by no means easy condition to fulfil at one time. Many of the +direct dyes are fast to acids and therefore lend themselves more or +less readily to cross-dyeing. For details of the dyes for cotton +reference may be made to the sections on dyeing with the direct +colours in the companion volume to this book on _Dyeing of Cotton +Fabrics_. + +#Shot Effects.#--A pleasing kind of textile fabric which is now made and +is a great favourite for ladies' dress goods is where the cotton of a +mixed fabric is thrown up to form a figured design. It is possible to +dye the two fibres in different colours and so produce a variety of +shot effects. These latter are so endless that it is impossible here +to enumerate all that may be produced. It will have to suffice to lay +down the lines which may be followed to the best advantage, and then +give some recipes to illustrate the remarks that have been made. The +best plan for the production of shot effects upon union fabrics is to +take advantage of the property of certain acid dyes which dye only (p. 184) +the wool in an acid bath and of many of the direct colours which will +only dye the cotton in an alkaline bath. The process, working on these +lines, becomes as follows: The wool is first dyed in an acid bath with +the addition of Glauber's salt and bisulphate of soda or sulphuric +acid, the goods are then washed with water containing a little ammonia +to free them from the acid and afterwards dyed with the direct colour +in an alkaline bath. + +Fancy or the mode shades are obtained by combining suitable +dye-stuffs. + +If the cotton is to be dyed in light shades it is advantageous to dye +on the liquor at 65 deg. to 80 deg. F., with the addition of 3-1/4 oz. +Glauber's salt, and from 20 to 40 grains borax per gallon water. The +addition of an alkali is advisable in order to neutralise slight +quantities of acid which may have remained in the wool, and to prevent +the dye-stuff from dyeing the cotton too deep a shade. + +Very light shades can also be done on the padding machine. The +dye-stuffs of Group (2), which have been previously enumerated, do not +stain the wool at all or only very slightly and are therefore the most +suitable. Less bright effects can be produced by simply dyeing the +goods in one bath. The wool is first dyed at the boil with the wool +dye-stuff in a neutral bath, the steam is then shut off and the cotton +dyed by adding the cotton dye-stuff to the bath and dyeing without +again heating. By passing the goods through cold water to which some +sulphuric or acetic acid is added the brightness of most effects is +greatly increased. + +_Gold and Green_.--First bath, 1 lb. Cyanole extra, 7-1/4 oz. Acid +Green, 1-1/2 oz. Orange G G, and 10 lb. bisulphate of soda; work at +the boil for one hour, then lift and rinse well. Second bath, 4 lb. +Diamine Orange G and 15 lb. Glauber's salt; work in the cold or at a +lukewarm heat. Third bath at 120 deg. F., 4 oz. Chrysoidine and 1/4 oz. +Safranine. + +_Black and Blue_.--First bath, 3-1/2 lb. Naphthol Black 3 B and (p. 185) +10 lb. bisulphate of soda. Second bath, 2 lb. Diamine Sky Blue and +13 lb. Glauber's salt. Third bath, 6-1/2 oz. New Methylene Blue N; +work as in the last recipe. + +_Green and Claret_.--First bath, 3-1/2 lb. Naphthol Red C and 10 lb. +bisulphate of soda. Second bath, 2 lb. Diamine Sky Blue F F, 1-1/4 lb. +Thioflavine S, and 15 lb. Glauber's salt. + +_Gold Brown and Blue_.--First bath, 2-1/2 oz. Orange E N Z, 1-1/2 oz. +Orange G G, 1/4 oz. Cyanole extra, and 10 lb. bisulphate of soda. +Second bath, 14 oz. Diamine Sky Blue F F and 15 lb. Glauber's salt. + +_Dark Brown and Blue_.--First bath, 1/2 lb. Orange G G, 1-1/2 oz. +Orange E N Z, 1-1/2 oz. Cyanole extra and 10 lb. bisulphate of soda. +Second bath, 12 oz. Diamine Sky Blue F F and 15 lb. Glauber's salt. + +_Black and Green Blue_.--First bath, 3 lb. Orange G G, 1 lb. Brilliant +cochineal 4 R, 1 lb. Fast Acid Green B N, and 10 lb. Glauber's salt. +Second bath, 1-3/4 lb. Diamine Sky Blue F F, 3-1/4 lb. Thioflavine S, +and 15 lb. Glauber's salt. + +We may here note that in all the above recipes the second bath (for +dyeing the cotton) should be used cold or at a lukewarm heat, and as +strong as possible. It is not completely exhausted of colour, only +about one-half going on the fibre. If kept as a standing bath this +feature should be borne in mind and less dye-stuff used in the dyeing +of the second and following lots of goods. + +_Blue and Gold Yellow_.--3 lb. Diamine Orange G, 13 oz. Naphthol +Blue G, 14-1/2 oz. Formyl Violet S 4 B, and 15 lb. Glauber's salt; +work at just under the boil. + +_Brown and Blue_.---1 lb. Diamine Steel Blue L, 9-1/2 oz. Diamine Sky +Blue, 1 lb. Orange E N Z, 1 lb. Indian Yellow G, 1-3/4 oz. Naphthol +Blue Black and 15 lb. Glauber's salt. Work at 170 deg. to 180 deg. F. + +In these two last recipes only one bath is used, all the dyes (p. 186) +being added at once. This is possible if care be taken that dye-stuffs +are used which will dye wool and not cotton from neutral baths and +dyes which dye cotton better than wool. The temperature should also be +kept below the boil and carefully regulated as the operation proceeds +and the results begin to show themselves. + +_Grey and Orange_.--First bath, 3 oz. Orange extra, 1-1/4 lb. Cyanole +extra, 11 lb. Azo Red A, and 10 lb. bisulphate of soda. Second bath, +5 oz. Diamine Orange D C and 3 oz. Diamine Fast Yellow B. + +_Green and Red_.--First bath, 2 lb. Croceine A Z and 10 lb. Glauber's +salt. Second bath, 1 lb. Diamine Sky Blue F F, 1/2 lb. Thioflavine S, +and 15 lb. Glauber's salt. + +_Brown and Violet_.--First bath, 3/4 lb. Orange extra, 3/4 lb. Cyanole +extra, and 10 lb. bisulphate of soda. Second bath, 5 oz. Diamine +Brilliant Blue G and 15 lb. Glauber's salt. + +_Black and Yellow_.--First bath, 7 lb. Naphthol Black B, 1/2 lb. Fast +Yellow S, and 10 lb. bisulphate of soda. Second bath, 3 lb. Diamine +Fast Yellow A and 15 lb. Glauber's salt. + +_Black and Pink_.--Black as above. Pink with Diamine Rose B D (see +above). + +_Green and Buff_.--First bath, 1/4 lb. Orange extra, 3/4 oz. Fast +Yellow S and 10 lb. bisulphate of soda. Second bath, 3/4 lb. Diamine +Sky Blue F F, 1/2 lb. Thioflavine S, and 15 lb. Glauber's salt. + +_Orange and Violet_.--First bath, 9 oz. Orange extra and 10 lb. +bisulphate of soda. Second bath, 3/4 lb. Diamine Violet N and 10 lb. +Glauber's salt. + +_Black and Blue_.--First bath, Naphthol Black, as given above. Second +bath, Diamine Sky Blue, as given above. + +_Black and Yellow_.--Add first 1 lb. Wool Black 6 B and 10 lb. +Glauber's salt, then when the wool has been dyed add 2 lb. Curcumine S +to dye the cotton in the same bath. + +_Green and Red_.--Dye the wool by using 3 lb. Guinea Green B, (p. 187) +1/4 lb. Curcumine extra, and 10 lb. Glauber's salt, then add to +the bath 3/4 lb. Erika B N and 3/4 lb. Congo Corinth G. + +_Orange and Blue_.--Dye the wool first with 1-1/4 lb. Mandarine G, +2 oz. Wool Black 6 B, and 10 lb. Glauber's salt; then the cotton with +2 lb. Columbia Blue G. + +_Blue and Orange_.--Dye the wool first with 3/4 lb. Guinea Violet B, +3/4 lb. Guinea Green B, and 10 lb. Glauber's salt; then dye the cotton +with 2 lb. Mikado Orange 4 R O. + +_Green and Orange_.--Dye the wool with 3 lb. Guinea Green B, 1/4 lb. +Curcumine extra and 10 lb. Glauber's salt, then dye the cotton in the +same bath with 1-1/2 lb. Mikado Orange 4 R O. + + + + +CHAPTER VI. (p. 188) + +DYEING OF GLORIA. + + +Gloria is a material which during the last few years has become of +considerable importance as furnishing a fine lustrous fabric at a +comparatively low price. The perfection to which the art of dyeing has +attained and the facilities now available to the dyer, enable this to +be produced more beautiful than ever, and naturally an increased +demand for it as a dress fabric has developed. + +Gloria is woven from the two fibres, wool and silk, of a fine texture +to enable it to be used in the place of a silk fabric. Formerly it was +usually woven with the wool and silk yarns already dyed, especially +when a "shot" effect was to be produced, this being done by a twill +weave of the fabric and by the use of yarns of two very different +colours in the case of "shot" fabrics. By the introduction of +dye-stuffs derived from coal tar the cloth is now dyed after being +woven, care being taken to choose those which will dye the two fibres +equally well when self-shades are wanted, or those which will dye one +fibre better than the other, and thus allow a woven piece of gloria to +be dyed of two different colours. As most dyers know, the most +brilliant effects are obtained when the finished woven piece can be +dyed. Then all the grease and dirt which has become attached to it +during the operations of spinning the yarns and weaving the pieces can +be removed before dyeing, thus leaving the fabric in a perfectly clean +condition. Thus no after cleansing is required, whereas when the (p. 189) +fibres are dyed in the yarn the goods must be cleansed after weaving +to free them from dirt, and such cleaning has a somewhat deleterious +effect upon the brilliancy of the colour of the finished fabric, more +especially in the case of light colours. + +Gloria may be in one colour only, a self-colour as it is called; this +case is comparatively simple, the only care that is required being to +select dyes which have an equal affinity for the two fibres or which +give but slightly different shades. Still, some good effects are +obtained when dyes are used which dye the silk and wool different +colours but give the combined effect of a self-colour. Or the fibre +may be purposely dyed in two different colours in some cases to give +the "shot" effect. This is much more troublesome, but with a little +care can be carried out with good results. The dyes available for +dyeing gloria may be classified, according to their behaviour in +regard to their dyeing of the two fibres, into three groups as +follows:-- + +_Group A_.--Those which will dye the two fibres of equal shade. + +_Group B_.--Those which will dye the wool at boiling heat more readily +than the silk. + +_Group C_.--Those which will dye the silk only in a cold bath. + +_Group A_ consists of those dyes which can be used in dyeing +self-colours on gloria from acid baths. It includes Alkali Blue, +Naphthylamine Blacks, Naphthol Green B, Indian Yellow, Croceine A Z, +Croceine Orange, Orange R, Brilliant Croceine M, Rose Bengale, +Thiocarmine R, Soluble Blue, Formyl Violet S 4 B, Acid Green, Croceine +Orange G, Carmoisin, Acid Violet 5 B, Fast Acid Violet 10 B, Fast +Green Bluish, Rhodamine, Silk Blue, Victoria Black, Archil, Turmeric, +Safranine, Auramine, Quinoline Yellow, Azoflavine, Victoria Blue and +Bismarck Brown. + +_Group B_ comprises those dye-stuffs which in a boiling acid (p. 190) +bath dye the wool deeper than the silks, in other words have more +affinity for the wool than the silk, Tropaeoline O, Acid Magenta, +Indigo Extract, Phloxine, Naphthol Yellow, Orange G G, Scarlet S, Azo +Red A, Eosines, Thiocarmine R, Naphthol Black B B, New Victoria Black +Blue, Erythrosine, and Roccelline. + +The silk becomes tinted to a more or less extent when in such a bath, +but often the colour is readily removed either by subsequent passage +through boiling water or through hot soap liquor. A very good clearing +can be effected by the use of a bath of acetate of ammonia. Naphthol +Yellow, for instance, only imparts a very faint shade of yellow when +thus dyed, and this is easily removed by boiling-water treatment. + +_Group C_.--Those dye-stuffs which will dye the silk more readily in a +cold bath than the wool. These comprise most of the basic dyes, such +as Thioflavine T, Safranine, Brilliant Green, Methyl Violet, Magenta, +New Methylene Blue, Bismarck Brown, Rose Bengale, Phloxine, Acid +Greens, Formyl Violet S 4 B, Rhodamine, Solid Blue, etc. + +Gloria may be dyed either by a one-bath or two-bath process, and +either one or two colours, as may be required. In both cases advantage +may be taken of the different affinities of the two fibres for the +dye-stuffs used, as, for instance, the silk may be dyed brown, the +wool olive by using a mixture of Acid Yellow, Indigo extract and +Orange G. Indigo extract, Cochineal, Acid Magenta, Picric acid, +Naphthol Yellow, and Tartrazine dye the wool only at the boil. + +The following recipes will serve to illustrate the foregoing remarks +and show how this important fabric may be dyed:-- + +_Deep Gold_.--The dye-bath is made from 2 lb. Indian Yellow, 10 lb. +Glauber's salt, and 2 lb. sulphuric acid, dyed at the boil. In this +and following recipes the quantities are for 100 lb. + +_Orange_.--The dye-bath is made with 2 lb. Indian Yellow, 19 lb. (p. 191) +Glauber's salt, and 2 lb. sulphuric acid. + +_Scarlet_.--Make the dye-bath with 2 lb. Scarlet 3 R, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. Another scarlet is got from 2 lb. +sulphuric acid. Another scarlet is got from 2 lb. Croceine Scarlet +3 B, 2 lb. sulphuric acid, and 10 lb. Glauber's salt; by using the 5 B +Scarlet a bluer shade can be dyed. Azo Cochineal also dyes a fine +scarlet on gloria. + +_Crimson_.--Make the dye-bath with 1 lb. Carmoisin B, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. The 7 B Croceine Scarlet also dyes a +fine crimson of a more fiery tone than the last, while 2-1/2 lb. Azo +Fuchsine G dyes a bluer shade of crimson. + +_Rose_.--A fine rose is obtained with 2 lb. Rhodamine B, 10 lb. +Glauber's salt, and a little acetic acid. 1 lb. Phloxine dyes a fine +deep rose; the silk comes out a paler colour than the wool, but the +general effect is good. + +_Deep Maroon_.--Make the dye-bath from 1-1/2 lb. Croceine A Z, 1/2 lb. +Indian Yellow, 1/4 lb. Formyl Violet S 4 B, 10 lb. bisulphate of soda. +Enter the goods, work at the boil for an hour, then cool down to +120 deg. F., enter an equal quantity of dye-stuff and work for an hour +longer. + +_Pale Maroon_.--Make the dye-bath with 3 lb. Azo Bordeaux, 10 lb. +Glauber's salt and 2 lb. sulphuric acid. + +_Black_.--Prepare the dye-bath with 5 lb. Naphthylamine Black D, 1 lb. +Acid Green B, 10 lb. Glauber's salt, and 2 lb. sulphuric acid; work at +the boil for twenty minutes, then allow to cool to 120 deg. or 130 deg. +F., then work an hour longer. Another black can be dyed in a similar +way from 5 lb. Victoria Black B, 10 lb. Glauber's salt, and 2 lb. +sulphuric acid. + +_Violet_.--Use 2 lb. Acid Violet 5 B, or 2 lb. Formyl Violet S 4 B, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. Fast Acid Violet 10 B +gives a bluer shade than the above. + +_Green_.--Make the dye-bath with 2 lb. Acid Green G G, 10 lb. (p. 192) +Glauber's salt, and 2 lb. sulphuric acid, working at the boil. This +gives a bright yellow shade of green; a bluer shade can be got from +Acid Green 6 B or Acid Green B, while Fast Green Bluish gives very +blue greens. + +_Coeruleum Blue_.--Dye with 3/4 lb. Silk Blue B E S, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid; this gives a very fine bright blue. + +_Deep Indigo Blue_.--Dye with 4-1/2 lb. Solid Blue R, 2 lb. +Thiocarmine R paste, 10 lb. Glauber's salt and 2 lb. sulphuric acid. + +_Deep Violet Brown_.--Dye with 3 lb. Croceine A Z, 1-1/4 lb. Indian +Yellow, 1-3/4 lb. Formyl Violet S 4 B, 10 lb. Glauber's salt, and +2 lb. sulphuric acid for an hour at the boil, and for an hour at +120 deg. F. + +_Blue Black_.--Make the dye-bath with 5 lb. New Victoria Blue Black, +10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil. +Another plan is to use 5 lb. Naphthylamine Black 4 B and 10 lb. +bisulphate of soda. + +_Dark Grey_.--Prepare a dye-bath with 3 lb. Naphthol Black 3 B, 4 lb. +Naphthol Green B, 1 lb. Amaranth, 10 lb. Glauber's salt, 8 lb. +copperas, and 3 lb. sulphuric acid, working at the boil for an hour +and then rinsing in water to which a little acetate of ammonia has +been added. The silk is dyed grey and the wool a black. + +_Brown_.--A fine yellow brown shot with lilac is obtained by first +dyeing in a bath of 5 lb. Naphthol Yellow, 10 lb. Glauber's salt and +2 lb. sulphuric acid. Wash in hot water, then dye with 2-1/2 lb. Solid +Blue P G, 1-1/2 oz. Methyl Violet B O, and 5 lb. acetic acid in the +cold. + +_Wool, Orange; Silk, Pale Green._--Dye the wool with 1-1/2 lb. Orange +G G, 6 oz. Naphthol Green B, 2-1/2 oz. Naphthol Red C, 10 lb. +bisulphate of soda, and 2 lb. sulphuric acid; and the silk with +1/2 lb. Milling Yellow and 1/2 lb. Acid Green. + +_Wool, Black; Silk, Light Grey._--Dye in a bath with 5 lb. (p. 193) +Anthracene Acid Black S T, 4-1/2 oz. Fast Yellow S, 10 lb. bisulphate +of soda, and 2 lb. sulphuric acid. The silk is cleaned by boiling for +ten minutes in a soap bath. + +_Wool, Bright Red; Silk, Blush Rose._--The gloria silk is dyed in a +bath of 3 lb. Naphthol Red O, 10 lb. bisulphate of soda, and 2 lb. +sulphuric acid. After dyeing, soap for ten minutes. + +_Wool, Black; Silk, Green._--Dye the wool in a bath containing 5 lb. +Anthracene Acid Black S T, 5 oz. Fast Yellow S, 2 lb. oxalic acid, +10 lb. Glauber's salt, and 15 lb. acetic acid. Work the goods in this +at the boil for an hour, then lift, add 3/4 lb. bichromate of potash, +and boil for twenty minutes longer. Clean the silk by boiling in a +bath of soap for twenty minutes, then dye in a cold bath containing +1 lb. Thioflavine T and 1 lb. Brilliant Green. + +_Wool, Dark Maroon; Silk, Pale Blue._--After the manner described in +the first recipe, dye the wool with 1 lb. Orange G G, 3 lb. Naphthol +Green B, 2 lb. Brilliant Cochineal 2 R, 10 lb. bisulphate of soda, and +2 lb. sulphuric acid. Dye the silk with 1-1/2 lb. Pure Blue O T. + +_Wool, Violet; Silk, Green._--Make the dye-bath with 1 lb. Acid Violet +4 B, 9 oz. Indigotine extra, 10 lb. bisulphate of soda, and 2 lb. +sulphuric acid. The dyeing is carried on at the boil until the bath is +exhausted of colour, whereupon the goods are well rinsed in water. +They are next soaped at 160 deg. F. for ten minutes in a liquor containing +1/2 oz. soap per gallon, then rinsed. Next a dye-bath is made with +1 lb. Acid Green, 8 oz. Milling Yellow O, and 1 lb. acetic acid, the +goods being treated in this in the cold until the desired shade is +obtained, then lifted, rinsed and dried. + +_Violet and Pink._--A fine effect of violet shot with pink is obtained +by dyeing in a bath of 1-1/2 lb. Indigo extract, 1/2 lb. Rhodamine B, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. + +_Brown Olive and Green_ is dyed in a bath made with 1 lb. (p. 194) +Quinoline Yellow, 1 lb. Azo Fuchsine G, 1/4 lb. Fast Green Bluish, +10 lb. Glauber's salt, and 2 lb. sulphuric acid. By using about half +the above quantities of dye-stuffs a drab effect shot with green can +be obtained. + +_Crimson and Green._--The first bath is made from 4 lb. Azo Red A and +10 lb. bisulphate of soda, worked for an hour at the boil; then treat +in a weak bath of acetate of ammonia; and dye the silk in a cold bath +of 2 oz. Solid Green Crystals, 1/4 lb. Thioflavine T, and 5 lb. acetic +acid. + +_Violet and Pink._--Dye in a bath of 1-1/4 lb. Indigo extract, 10 lb. +Glauber's salt and 2 lb. sulphuric acid. + +_Brown and Pink._--This is dyed in a bath made from 1-1/4 lb. Fast +Yellow, 5 oz. Rhodamine B, 1/4 lb. indigo extract, 10 lb. Glauber's +salt, and 2 lb. sulphuric acid. The silk dyes a pale pink while the +general effect is that of a fine fawn brown with a reddish shot +effect. + +_Dark Green and Pale Crimson._--This is done in two baths, the first +is made with 8 lb. Naphthol Green B, 10 lb. Glauber's salt, 3 lb. +sulphuric acid, and 7 lb. copperas, working at the boil; then treat +with hot water and dye in a fresh bath with 6 oz. Safranine Prima and +5 lb. acetic acid in the cold. The combined effect of the two is that +of a brown shot with green. + +_Orange and Green._--This gives a splendid shot effect and is dyed as +follows. Work for an hour at the boil, for thirty minutes in a bath of +boiling water, then enter into a cold bath of 5 oz. Thioflavine T, +3 oz. Brilliant Green, and 3 lb. acetic acid; work for thirty minutes, +or until shade is obtained. + +_Orange and Blue._--Use first dye-bath as in the last, then, after +washing in hot water, dye in a bath of 2 oz. New Methylene Blue N, and +3 lb. acetic acid. + +_Silk, Sky Blue; Wool, Drab._--Make a dye-bath with 20 lb. acetic +acid, 3/4 oz. Indigotine, 3 oz. Fast Yellow extra and 2 oz. Azo (p. 195) +Fuchsine G. Work at the boil for one hour at 100 deg. F., then pass +into a bath of 3/4 oz. Turquoise Blue B B, and 2 lb. acetic acid, +working for half an hour at 80 deg. + +_Silk, Pink; Wool, Pale Blue._--Make a dye-bath with 15 lb. acetic +acid and 4-1/2 oz. Indigotine. Work at the boil for an hour, then pass +into a bran bath as before; next enter into a dye-bath at 80 deg. to +90 deg. of 3/4 oz. Brilliant Rhoduline R B, 1-1/2 oz. Auramine I I, +and 2 lb. acetic acid. + +_Silk, Green; Wool, Dark Crimson._--The first bath is made from 3 lb. +Azo Fuchsine G, 1 lb. Indian Yellow G and 20 lb. acetic acid; then +follows the bran and the final dye-bath, which is made from 1-1/2 oz. +Imperial Green G I, and 2 lb. acetic acid. + +_Silk, Orange; Wool, Black._--A dye-bath is made from 2 lb. +Indigotine, 2 lb. Indian Yellow G, 1/2 lb. Rhodamine G, and 20 lb. +acetic acid. Work at the boil for one hour; then lift, wash and dry. + +_Silk, Light Green; Wool, Dark Blue._--Make a dye-bath from 1/2 lb. +Azo Fuchsine G, 2 lb. Fast Light Green, and 20 lb. acetic acid. Work +at the boil to shade; then lift, wash and dry. + +_Silk, Yellow; Wool, Terra Cotta._--A dye-bath is made from 1-1/2 oz. +Indigotine, 3/4 lb. Azo Fuchsine G, 9 oz. Indian Yellow R, and 20 lb. +acetic acid. Work at the boil for one hour; then lift, wash and dry. + +_Silk, Light Sea Green; Wool, Pale Sage._--Make the dye-bath with +1/2 lb. Fast Yellow extra, 3 oz. Azo Fuchsine G, 1-1/2 oz. Fast Green +bluish, and 20 lb. acetic acid. Work as in the last recipe. + +_Silk, Light Green; Wool, Brown._--Make the dye-bath with 1 lb. Azo +Fuchsine G, 2-1/2 lb. Fast Yellow extra, 1/2 lb. Fast Green bluish, +and 20 lb. acetic acid. Work at the boil for one hour. + +_Silk, Pale Blue; Wool, Crimson._--Make a dye-bath with 2 lb. (p. 196) +Azo Crimson L and 20 lb. acetic acid. Work at the boil for one +hour, then pass into a bran bath for half an hour at 90 deg. F., +and into another bath containing 1/2 lb. Turquoise Blue G, and +2 lb. acetic acid, at 90 deg. F., for half an hour; then wash +and dry. + +_Silk, Light Drab; Wool, Lavender._--Make the first dye-bath from +3 oz. Indigotine, 2 oz. Azo Fuchsine G, and 20 lb. acetic acid. After +working an hour at the boil, pass into a bran bath for half an hour, +afterwards topping with 1-1/2 oz. Bismarck Brown R and 2 lb. acetic +acid. + + + + +CHAPTER VII. (p. 197) + +OPERATIONS FOLLOWING DYEING: WASHING, SOAPING, DRYING. + + +After loose wool, or woollen yarns or piece goods of every description +have been dyed, before they can be sent out for sale they have to pass +through various operations of a purifying character. There are some +operations through which cloths pass that have as their object the +imparting of a certain appearance and texture to them, these are +generally known as finishing processes, of these it is not intended +here to speak, but only of those which precede them but follow on the +dyeing operations. + +These processes are usually of a very simple character, and common to +most colours which are dyed, and here will be noticed the appliances +and manipulations necessary in the carrying out of these operations. + +#Squeezing or Wringing.#--It is advisable when the goods are taken out +of the dye-bath to squeeze or wring them according to circumstances in +order to express out all surplus dye-liquor, which can be returned to +the dye-bath if needful to be used again. This is an economical +proceeding in many cases, especially in working with many of the old +tannin materials, like sumac, divi-divi, myrobalans, and the modern +direct dyes, which during the dyeing operations are not completely +extracted out of the bath, or in other words the dye-bath is not +exhausted of colouring matter, and therefore it can be used again for +another lot of goods simply by adding fresh material to make up for +that absorbed by the first lot. + +Loose wool and loose cotton are somewhat difficult to deal with by (p. 198) +squeezing or wringing, but the material may be passed through a pair +of squeezing rollers such as are shown in figure 24, which will be +more fully dealt with later on. + +#Yarns in Hanks.#--In the hand-dyeing process of hank-dyeing the hanks +are wrung by placing one end of the hank on a wringing-horse placed +over the dye-tub, and a dye-stick in the other end of the hank, giving +two or three sharp pulls to straighten out the yarn and then twisting +the stick round; the twisting of the yarns puts some pressure on the +fibres thoroughly and uniformly squeezing out the surplus liquor from +the yarn. + +#Hank-Wringing Machines.#--Several forms of hank-wringing machines have +been devised. One machine consists of a pair of discs fitted on an +axle, these discs carry strong hooks on which the hanks are placed. +The operator places a hank on a pair of the hooks. The discs revolve +and carry round the hank, during the revolution the hank is twisted +and the surplus liquor wrung out, when the revolution of the discs +carries the hank to the spot where it entered the machine, the hooks +fly back to their original position, the hank unwinds, it is then +removed and a new hank put in its place, and so the machine works on, +hanks being put on and taken off as required. The capacity of such a +machine is great and the efficiency of its working good. + +Mr. S. Spencer, of Whitefield, makes a hank-wringing machine which +consists of a pair of hooks placed over a vat. One of the hooks is +fixed, the other is made to rotate. A hank hung between the hooks is +naturally twisted and all the surplus liquor wrung out, the liquor +falling into the vat. + +#Roller Squeezing Machines for Yarn.#--Hanks may be passed through a +pair of indiarubber squeezing rollers which may be so arranged that +they can be fixed as required on the dye-bath. Such a pair of (p. 199) +rollers is a familiar article and quite of common and general use in +dye-houses. + +#Piece Goods.#--These are generally passed open through a pair of +squeezing rollers, which are often attached to the dye-vat in which +the pieces are dyed. + +[Illustration: Fig. 24.--Read Holliday's Yarn-squeezing Machine.] + +#Read Holiday's Squeezing Machine.#--In figure 24 is shown a squeezing +machine very largely employed for squeezing all kinds of piece goods +after dyeing or washing. It consists of a pair of heavy rollers on +which, by means of the screws shown at the top, a very considerable +pressure can be brought to bear. The piece is run through the eye +shown on the left, by which it is made into a rope form, then over +the guiding rollers and between the squeezing rollers and into (p. 200) +waggons for conveyance to other machines. This machine is effective. + +Another plan on which roller, or rather in this case disc, squeezing +machines are made is to make the bottom roller with a square groove in +the centre, into this fits a disc, the cloth passing between them. The +top disc can, by suitable screws, be made to press upon the cloth in +the groove and thus squeeze the water out of it. + + +WASHING. + +One of the most important operations following that of dyeing is the +washing with water to free the goods, whether cotton or woollen, from +all traces of loose dye, acids, mordanting materials, etc., which it +is not desirable should be left in, as they might interfere with the +subsequent finishing operations. For this purpose a plentiful supply +of good clean water is required, this should be as soft as possible, +free from any suspended matter which might settle upon the dyed goods +and stain or speck them. + +Washing may be done by hand, as it frequently was in olden days, by +simply immersing the dyed fabrics in a tub of water, shaking, then +wringing out, again placing in fresh water to finish off. Or if the +dye-works were on the banks of a running stream of clean water the +dyed goods were simply hung in the stream to be washed in a very +effectual manner. + +In these days it is best to resort to washing machines adapted to deal +with the various kinds of fibrous materials and fabrics, in which they +can be subjected to a current of water. + +#Loose Wool.#--If this has been dyed by hand then the washing may also +be done in the same way by hand in a plain vat. If the dyeing has been +done on a machine then the washing can be done on the same machine. + +[Illustration: Fig. 25.--Hank-washing Machine.] + +#Yarn in Hanks.#--A very common form of washing machine is shown (p. 202) +in figure 25. As will be seen it consists of a wooden vat, over which +are arranged a series of revolving reels on which the hanks are hung, +the hanks are kept in motion through the water and so every part of +the yarn is thoroughly washed. Guides keep the hanks of yarn separate +and prevent any entanglement one with another. A pipe delivers +constantly a current of clean water, while another pipe carries away +the used water. Motion is given to the reels in this case by a donkey +engine attached to the machine, but it may also be driven by a belt +from the main driving shaft of the works. This machine is very +effective. + +[Illustration: Fig. 26.--Cloth-washing Machine.] + +#Piece Goods.#--Piece goods are mostly washed in machines, of which two +broad types may be recognised. First those where the pieces are dealt +with in the form of ropes or in a twisted form, and second those where +the pieces are washed while opened out full width. There are some +machines in which the cloths may be treated either in the open or rope +form as may be thought most desirable. + +Figure 26 represents a fairly well-known machine in which the (p. 203) +pieces are treated in a rope-like form. It consists of a trough +in which a constant current of water is maintained; at one end of this +trough is a square beating roller, at the other a wood lattice roller, +above the square beater and out of the trough are a pair of rollers +whose purpose is to draw the cloth through the machine and also partly +to act as squeezing rollers. As will be seen the cloth is threaded in +rope form spirally round the rollers, passing in at one end and out at +the other, pegs in a guide rail serving to keep the various portions +separate. The square beater in its revolutions has a beating (p. 204) +action on the cloth, tending to more effectual washing. The lattice +roller is simply a guide roller. + +[Illustration: Fig. 27.--Cloth-washing Machine.] + +Figure 27 shows a washing machine very largely used in the wool-dyeing +trade. The principal portion of this machine is of wood. + +The internal parts consist of a large wooden bowl, or oftener, as in +the machine under notice, of a pair of wooden bowls which are pressed +together by springs with some small degree of force. Between these +bowls the cloth is placed, more or less loosely twisted up in a rope +form, and the machines are made to take four, six or eight pieces or +lengths at one time, the ends of the pieces being stitched together so +as to make a continuous band. A pipe running along the front of the +machine conveys a constant current of clean water, which is caused to +impinge in the form of jets on the pieces of cloth as they run through +the machine, while an overflow carries away the used water. The goods +are run in this machine as long as is considered necessary for a +sufficient wash, which may take half to one and a half hours. + +In figure 30 is shown a machine designed to wash pieces in the broad +or open state. The machine contains a large number of guide rollers +built more or less open, round which the pieces are guided, the ends +of the pieces being stitched together, pipes carrying water are so +arranged that jets of clean water impinge on and thoroughly wash cloth +as it passes through, the construction of the guide rollers +facilitating the efficient washing of the goods. + + +SOAPING. + +Sometimes yarns or cloths have to be passed through a soap-bath after +being dyed in order to brighten up the colours or develop them in some +way. In the case of yarns this can be done on the reel washing (p. 205) +machines such as are shown in figure 25. In the case of piece goods a +continuous machine in which the washing, soaping, etc., can be carried +on simultaneously is often employed. Such a machine is shown in figure +28. It consists of a number of compartments fitted with guide rollers, +so that the cloth passes up and down several times through the liquors +in the compartment; between one compartment and another is placed a +pair of squeezing rollers. The cloth is threaded in a continuous +manner, well shown in the drawing, through the machine; in one +compartment it is treated with water, in another with soap liquor, and +another with water, and so on, and these machines may be made with +two, three or more compartments, as may be necessary for the +particular work in hand. As seen in the drawing the cloth passes in at +one end, and out at the other finished. It is usually arranged that a +continuous current of the various liquors used flows through the +various compartments, thus ensuring the most perfect treatment of the +cloths. + +[Illustration: Fig. 28.--Soaping and Washing Machine.] + + +DRYING. (p. 206) + +Following on the washing comes the final operation of the dyeing +process, that of drying the dyed and washed goods. Now textile fabrics +of all kinds after they have passed through dye-baths, washing +machines, etc., contain a large amount of water, often exceeding in +amount that of the fabric itself, and to take the goods direct from +the preceding operations to the drying plant means that a considerable +amount of fuel must be expended to drive off this large amount of +water. It is therefore very desirable that the goods be freed from as +much of this water as possible before they are sent into any drying +chambers, and this may be done in three ways, by wringing, squeezing +and hydro-extracting. The first two methods have already been +described (pp. 198, 199) and need not again be alluded to, the last +needs some account. + +[Illustration: Fig. 29.--Hydro-extractor.] + +Hydro-extractors are a most efficient means for extracting water (p. 207) +out of textile fabrics. They are made in a variety of forms by several +makers. Essentially they consist of a cylindrical vessel with +perforated sides, so constructed that it can be revolved at a high +speed. This vessel is enclosed in an outer cage. The goods are placed +in the basket, as it is termed, and then this is caused to revolve; at +the high speed at which it revolves centrifugal action comes into play +and the water contained in the goods finds its way to the outside of +the basket through the perforations and so away from the goods. +Hydro-extractors are made in a variety of sizes and forms, in some the +driving gear is above, in others below the basket, in some the driving +is done by belt gearing, in others a steam engine is directly +connected with the basket. Figures 29 and 30 show two forms which are +much in use in the textile industry. They are very efficient and +extract water from textile goods more completely than any other means, +as will be obvious from a study of the table below. + +[Illustration: Fig. 30.--Hydro-extractor.] + +The relative efficiency of the three systems of extracting the +moisture out of textile fabrics has been investigated by Grothe, who +gives in his _Appretur der Gewebe_, published in 1882, the following +table showing the percentage amount of water removed in fifteen +minutes:-- + + Yarns. Wool. Silk. Cotton. Linen. (p. 208) +Wringing 44.5 45.4 45.3 50.3 +Squeezing 60.0 71.4 60.0 73.6 +Hydro-extracting 83.5 77 81.2 82.8 + + Pieces. +Wringing 33.4 44.5 44.5 54.6 +Squeezing 64.0 69.7 72.2 83.0 +Hydro-extracting 77.8 75.5 82.3 86.0 + +In the practical working of hydro-extractors it is of the utmost +importance that the goods be carefully and regularly laid in the +basket, not too much in one part and too little in another. Any +unevenness in this respect at the speed at which they are driven +leaves such a strain on the bearings as to seriously endanger the +safety of the machine. + +[Illustration: Fig. 31.--Yarn-drying Machine.] + +After being wrung, squeezed or hydro-extracted the goods are ready to +be dried. In the case of yarns this may be done in rooms heated by +steam pipes placed on the floor, the hanks being hung on rods +suspended from racks arranged for the purpose. + +[Illustration: Fig. 32.--Cloth-drying Machine.] + +Where large quantities of yarn have to be dried it is most economical +to employ a yarn or drying machine, and one form of such is shown in +figure 31. The appearance of the machine is that of one long room from +the outside, internally it is divided into compartments, each of which +is heated up by suitably arranged steam pipes, but the degree of +heating in each compartment varies, at the entrance end it is (p. 209) +high, at the exit end low. The yarn is fed in at one end, being +hung on rods, and by suitable gearing it is carried directly through +the various chambers or sections, and in its passage the heat to which +it is subject drives off the water it contains. The yarn requires no +attention from the time it passes in wet at the one end of the (p. 210) +machine and comes out dry at the other end. The amount of labour +required is slight, only that represented by filling the sticks with +wet yarn and emptying the dried yarn. The machine works regularly and +well. + +The drying is accomplished by circulating heated air through the +yarns, this heating being effected by steam coils; fresh air +continually enters the chambers while water-saturated air is as +continually being taken out at the top of the chamber. One of the +great secrets in all drying operations is to have a constant current +of fresh hot air playing on the goods to be dried, this absorbs the +moisture they contain, and the water-charged air thus produced must be +taken away as quickly as possible. + +#Piece Goods.#--The most convenient manner of drying piece goods is to +employ the steam cylinder drying machine such as is shown in figure +32. This consists of a number of hollow tin or copper cylinders which +can be heated by steam passing in through the axles of the cylinders, +which are made hollow on purpose. The cloth to be dried passes round +these cylinders, which revolve while the cloth passes. They work very +effectually. + + + + +CHAPTER VIII. (p. 211) + +EXPERIMENTAL DYEING AND COMPARATIVE DYE TESTING. + + +Every dyer ought to be able to make experiments in the mordanting and +dyeing of textile fibres for the purpose of ascertaining the best +methods of applying mordants or dye-stuffs, the best methods of +obtaining any desired shade, and for the purpose of making comparative +tests of dyes or mordanting materials with the object of determining +their strength and value. This is not by any means difficult, nor does +it involve the use of any expensive apparatus, so that a dyer need not +hesitate to set up a small dyeing laboratory for fear of the expense +which it might entail. + +In order to carry out the work indicated above there will be required +several pieces of apparatus. First a small chemical balance; one that +will carry 50 grammes in each pan is quite large enough, and such a +one, quite accurate enough for this work, can be bought for 25s. to +30s., while if the dyer be too poor even for this a cheap pair of +apothecaries' scales might be used. It is advisable to procure a set +of gramme weights and to get accustomed to them, which is not by any +means difficult. + +In using the balance always put the substance to be weighed on the +left-hand pan and the weights on the right-hand pan. Never put +chemicals of any kind direct on the pan, but weigh them in a +watch-glass, small porcelain basin, or glass beaker (which has first +been weighed), according to the nature of the material which is being +weighed. The sets of weights are always fitted into a block or (p. 212) +box, and every time they are used they should be put back into their +proper place. + +The experimenter will find it convenient to provide himself with a few +small porcelain basins, glass beakers, cubic centimetre measures, two +or three 200 c.c. flasks with a mark on the neck, a few pipettes of +various sizes, 10 c.c., 20 c.c., 25 c.c. + +The most important feature is the dyeing apparatus. Where only a +single dye test is to be made a small copper or enamelled iron +saucepan, such as can be bought at any ironmongers may be used; this +may conveniently be heated by a gas-boiling burner, such as can also +be bought at an ironmongers or plumbers for 2s. + +[Illustration: Fig. 33.--Experimental Dye-bath.] + +It is, however, advisable to have means whereby several dyeing +experiments can be made at one time and under precisely the same +conditions, and this cannot be done by using the simple means noted +above. + +To be able to make perfectly comparative dyeing experiments it is best +to use porcelain dye-pots (these may be bought from most dealers in +chemical apparatus), and to heat these in a water-bath arrangement. + +The simplest arrangement is sketched in figure 33; it consists of a +copper bath measuring 15 inches long by 10-1/2 inches broad and (p. 213) +6-1/2 inches deep; this is covered by a lid on which are six apertures +to take the porcelain dye-baths. The bath is heated by two round +gas-boiling burners of the type already referred to. + +The copper bath is filled with water which, on being heated to the +boil by the gas burners, heat up the dye-liquors in the dye-pots. The +temperature in the dye-pots under such conditions can never reach the +boiling point; where it is desirable, as in some cases of wool +mordanting and dyeing that it should be so high, then there should be +added to the water in the copper bath a quantity of calcium chloride, +which forms a solution that has a much higher boiling point than that +of water, and so the dye-liquors in the dye-pots may be heated up to +the boil. + +An objection might be raised that with such an apparatus the +temperature in every part of the bath may not be uniform, and so the +temperature of the dye-liquors in the pots might vary also, and +differences of temperature often have a considerable influence on the +shade of the colour which is being dyed. This is a minor objection, +which is more academic in its origin than of practical importance. To +obviate it Mr. William Marshall, of the Rochdale Technical School, has +devised a circular form of dye-bath, in which the temperature in every +part can be kept quite uniform. + +The dyeing laboratories of Technical Schools and Colleges are +generally provided with a more elaborate set of dyeing appliances. +These in the latest constructed consist of a copper bath supported on +a hollow pair of trunnions, so that it can be turned over if needed. +Into the bath are firmly fixed three earthenware or porcelain +dye-pots; steam for heating can be sent through the trunnions. After +the dyeing tests have been made the apparatus can be turned over and +the contents of the dye-pots emptied into a sink which is provided for +the purpose. + +Many other pieces of apparatus have been devised and made for the (p. 214) +purpose of carrying on dyeing experiments on the small scale, but it +will not be needful to describe these in detail. After all no more +efficient apparatus can be desired than that described above. + +Dyeing experiments can be made with either yarns or pieces of cloth, +swatches as they are commonly called; a very convenient size is a +small skein of yarn or a piece of cloth weighing 5 grammes. These test +skeins or pieces ought to be well washed in hot water before use, so +that they are clean and free from any size or grease. A little soda or +soap will facilitate the cleansing process. + +In carrying out a dyeing test the dye-pot should be filled with the +water required, using as little as is consistent with the dye-swatch +being handled comfortably therein, then there is added the required +mordants, chemicals, dyes, etc., according to the character of the +work which is being done. + +Of such chemicals as soda, caustic soda, sodium sulphate (Glauber's +salt), tartar, bichromate of potash, it will be found convenient to +prepare stock solutions of known strength, say 50 grammes per litre, +and then by means of a pipette any required quantity can be +conveniently added. The same might be followed in the case of dyes +which are constantly in use, in this case 5 grammes per litre will be +found strong enough. + +Supposing it is desired to make a test of a sample of Acid Red, using +the following proportions, 2 per cent. dye-stuff, 3 per cent. +sulphuric acid and 15 per cent. Glauber's salt, and the weight of the +swatch which is being used is 5 grammes, the following calculations +are to be made to give the quantities of the ingredients required:-- + +For the dye-stuff, 5 (weight of swatch) multiplied by 2 (per cent. of +dye) and divided by 100 equals (5 x 2) / 100 = 0.1 gramme of dye. + +For the acid we have similarly (5 x 3) / 100 = 0.15 gramme of (p. 215) +acid. + +For the Glauber's salt (5 x 15) / 100 = 0.75 gramme of Glauber's salt. + +These quantities may be weighed out and added to the dye-bath, or if +solutions are kept a calculation can be made as to the number of cubic +centimetres which contain the above quantities, and these measured out +and added to the dye-bath. + +When all is ready the bath is heated up, the swatch put in and the +work of the test entered upon. + +Students are recommended to make experiments on such points as:-- + +The shades obtained by using various proportions of dye-stuffs. + +The influence of various assistants: common salt, soda, Glauber's +salt, borax, phosphate of soda in the bath. + +The influence of varying proportions of mordants on the shade of +dyeing. + +The value of various assistants, tartar, oxalic acid, lactic acid, +sulphuric acid, on the fixation of mordants. + +The relative value of tannin matters, etc. + +Each dyer should make himself a pattern book into which he should +enter his tests, with full particulars as to how they have been +produced at the side. + +It is important that a dyer should be able to make comparative +dye-tests to ascertain the relative strength of any two or more +samples of dyes which may be sent to him. + +This is not difficult but requires considerable care in carrying out +the various operations involved. + +0.5 gramme of each of the samples of dyes should be weighed out and +dissolved in 100 c.c. of water, care being taken that every (p. 216) +portion of the dye is dissolved before any of the solution is used in +making up the dye-vats. Care should be taken that the skeins of yarn +or swatches of cloth are exactly equal in weight, that the same volume +of water is placed in each of the dye-pots, that the same amounts of +sulphate of soda or other dye assistants are added, that the +quantities of dye-stuffs and solutions used are equal, in fact that in +all respects the conditions of dyeing are exactly the same, such in +fact being the vital conditions in making comparative dye-tests of the +actual dyeing strength of several samples of dyes. + +After the swatches have been dyed they are rinsed and then dried, when +the depths of shade dyed on them may be compared one with another. To +prevent any mistakes it is well to mark the swatches with one, two, +three or more cuts as may be required. + +It is easier to ascertain if two dyes are different in strength of +colour than to ascertain the relative difference between them. There +are two plans available for this purpose; one is a dyeing test, the +other is a colorimetric test made with the solutions of the dyes. + +#Dyeing Test.#--This method of ascertaining the relative value of two +dyes as regards strength of colour is carried out as follows. A +preliminary test will show which sample is stronger than the other; +then there is prepared a series of dye-vats, one contains a swatch +with the deepest of the two dyes, which is taken as the standard, the +others with the other dye but containing 2, 5 and 10 per cent. more +dye-stuff, and all these are dyed together, and after drying a +comparison can be made between these and the standard swatch, and a +judgment formed as to the relative strength of the two dyes; a little +experience will soon enable the dyer to form a correct judgment of the +difference in strength between two samples of dye-stuff. + +The colorimetric test is based on the principle that the colour (p. 217) +of a solution of dye-stuff is proportionate to its strength. Two white +glass tubes, equal in diameter, are taken; solutions of the +dye-stuffs, 0.5 gramme in 100 c.c. of water, are prepared, care being +taken that the solution is complete. 5 c.c. of one of these solutions +is taken and placed in one of the glass tubes, and 5 c.c. of the other +solution is placed in the other glass tube, 25 c.c. of water is now +added to each tube and then the colour of the diluted liquids is +compared by looking through in a good light. That sample which gives +the deepest solution is the strongest in colouring power. By diluting +the strongest solution with water until it is of the same depth of +colour as the weakest, it may be assumed that the length of the +columns of liquid in the two tubes is in proportion to the relative +strength of the two samples. Thus if in one tube there are 30 +centimetres of liquid and in the other 25 centimetres, then the +relative strength is as 30 to 25, and if the first is taken as the +standard at 100 a proportion sum may be worked out as follows:-- + +30: 25 :: 100 : 83.3; + +that is, the weakest sample has only 83.3 per cent. of the strength of +the strongest sample. + + + + +CHAPTER IX. (p. 218) + +TESTING OF THE COLOUR OF DYED FABRICS. + + +It is frequently desirable that dyers should be able to ascertain with +some degree of accuracy what dyes have been used to dye any particular +sample of dyed cloth that has been offered to them to match. In these +days of the thousand-and-one different dyes that are known it is by no +means an easy thing to do, and when, as is most often the case, two or +three dye-stuffs have been used in the production of a shade, the +difficulty is materially increased. + +The only available method is to try the effect of various acid and +alkaline reagents on the sample, noting whether any change of colour +occurs, and judging accordingly. It would be a good thing for dyers to +accustom themselves to test the dyeings they do and so accumulate a +fund of practical experience which will stand them in good stead +whenever they have occasion to examine a dyed pattern of unknown +origin. + +The limits of this book do not permit of there being given a series of +elaborate tables showing the action of various chemical reagents on +fabrics dyed with various colours, and such indeed serve very little +purpose, for it is most difficult to describe the minor differences +which often serve to distinguish one colour from another. Instead of +doing so we will point out in some detail the methods of carrying out +the various tests, and advise all dyers to carry these out for +themselves on samples dyed with known colours, and when they have an +unknown colour to test to make tests comparatively with known (p. 219) +colours that they think are likely to have been used in the production +of the dyed fabric they are testing. + +One very common method is to spot the fabric, that is to put a drop of +the reagent on it, usually with the aid of the stopper of the reagent +bottle, and to observe the colour changes, if any, which ensue. + +This is a very useful test and should not be omitted; and it is often +employed in the testing of indigo dyed goods with nitric acid, those +of logwood with hydrochloric acid, alizarine with caustic soda, and +many others. It is simple and easy to carry out, and only takes a few +minutes. + +To make a complete series of tests of dyed fabrics there should be +provided the following reagents:-- + + 1. Strong sulphuric acid as bought. + + 2. Dilute sulphuric acid, being the strong acid diluted with 20 + times its volume of water. + + 3. Concentrated hydrochloric acid as bought. + + 4. Dilute hydrochloric acid, 1 acid to 20 water. + + 5. Concentrated nitric acid as bought. + + 6. Dilute nitric acid, 1 acid to 20 water. + + 7. Acetic acid. + + 8. Caustic soda solution, 5 grammes in 100 c.c. water. + + 9. Ammonia (strong). + + 10. Dilute ammonia, 1 strong ammonia to 10 water. + + 11. Carbonate of soda solution, 5 grammes in 100 c.c. water. + + 12. Bleaching powder solution, 2 deg. Tw. + + 13. Bisulphite of soda, 72 deg. Tw. + + 14. Stannous chloride, 10 grammes crystals in 100 c.c. water, + with a little hydrochloric acid. + + 15. Methylated spirit. + +Small swatches of the dyed goods are put in clean porcelain basins, +and some of these solutions poured over them. Any change of colour (p. 220) +of the fabric is noted as well as whether any colour is imparted to +the solutions. After making observations of the effects in the cold, +the liquids may be warmed, and the results again noted. After being +treated with the acids the swatches should be well washed with water, +when the original colour may be wholly or partially restored. + +To give tables showing the effects of these reagents on the numerous +dyes now known would take up too much room and not serve a very useful +purpose, as such tables if too much relied on leave the operator +somewhat uncertain as to what he has before him. The reader will find +in Hurst's _Dictionary of Coal-Tar Colours_ some useful notes as to +the action of acids and alkalies on the various colours that may be of +service to him. + +Alizarine and the series of dye-stuffs to which it has given its name, +fustic, cochineal, logwood and other dyes of a similar class, require +the fabric to be mordanted, and the presence of such mordant is +occasionally an indirect proof of the presence of these dyes. + +To detect these mordants a piece of the swatch should be burnt in a +porcelain or platinum crucible over a bunsen burner, care being taken +that all carbonaceous matter be burnt off. A white ash will indicate +the presence of alumina mordants, red ash that of iron mordants, and a +greenish ash chrome mordants. + +To confirm these the following chemical tests may be applied. Boil the +ash left in the crucible with a little strong hydrochloric acid and +dilute with water. Pass a current of sulphuretted hydrogen gas through +the solution, if there be any tin present a brown precipitate of tin +sulphide will be obtained. This can be filtered off. The filtrate is +boiled for a short time with nitric acid, and ammonia is added to the +solution when alumina is thrown down as a white, gelatinous precipitate, +iron is thrown down as a brown red, bulky precipitate, while (p. 221) +chrome is thrown down as a greyish-looking, gelatinous precipitate. +The precipitate obtained with the ammonia is filtered off and a drop +of ammonium sulphide added, when any zinc present will be thrown down +as white precipitate of zinc sulphide; to the filtrate from this +ammonium oxalate may be added, when if lime is present a white +precipitate of calcium oxalate is obtained. + +A test for iron is to dissolve some of the ash in a little +hydrochloric acid and add a few drops of potassium ferrocyanide +solution, when if any iron be present a blue precipitate will be +obtained. + +To make more certain of the presence of chrome, heat a little of the +ash of the cloth with caustic soda and chlorate of soda in a porcelain +crucible until well fused, then dissolve in water, acidify with acetic +acid and add lead acetate, a yellow precipitate indicates the presence +of chrome. + +A book on qualitative chemical analysis should be referred to for +further details and tests for metallic mordants. + +The fastness of colours to light, air, rubbing, washing, soaping, +acids and alkalies is a feature of some considerable importance, there +are indeed few colours that will resist all these influences, and such +are fully entitled to be called fast. The degree of fastness varies +very considerably, some colours will resist acids and alkalies well, +but are not fast to light and air; some will resist washing and +soaping, but are not fast to acids; some may be fast to light, but are +not so to washing. The following notes will show how to test these +features. + +#Fastness to Light and Air.#--This is simply tested by hanging a piece +of the dyed cloth in the air, keeping a piece in a drawer to refer to, +so that the influence on the original colour can be noted from time to +time. If the piece is left out in the open one gets not only the +effect of light but also that of climate on the colour, and there (p. 222) +is no doubt rain, hail and snow have some influence on the fading of +the colour. If the piece is exposed under glass the climatic +influences do not come into play, and one gets the effect of light +alone. + +In making tests of fastness the dyer will and does pay due regard to +the character of the influences that the material will be subjected to +in actual use, and these vary very considerably; thus the colour of +underclothing need not be fast to light, for it is rarely subjected to +that agent of destruction; on the other hand, it must be fast to +washing, for that is an operation to which underclothing is subjected +week by week. + +Window curtains are much exposed to light and air, and, therefore, the +colours in which they are dyed should be fast to light and air. On the +other hand, these curtains are rarely washed, and so the colour need +not be quite fast to washing. And so with other kinds of fabrics; +there are scarcely two kinds which are subjected to the same +influences and require the colours to have the same degree of +fastness. + +The fastness to rubbing is generally tested by rubbing the dyed cloth +with a piece of white paper. + +#Fastness to Washing.#--This is generally tested by boiling a swatch of +the cloth in a solution of soap containing 4 grammes of a good neutral +curd soap per litre for ten minutes, and noting the effect whether the +soap solution becomes coloured and to what degree, or whether it +remains colourless, and also whether the colour of the swatch has +changed at all. + +One very important point in connection with the soaping tests is +whether a colour will run into a white fabric that may be soaped along +with it. This is tested by twisting strands of the dyed yarn or cloth +with white yarn or cloth and boiling them in the soap liquor for ten +minutes and then noting the effect, particularly observing (p. 223) +whether the white pieces have taken up any colour. + +Fastness to acids and fastness to alkalies is observed while carrying +out the various acid and alkali tests given above. + + +THE END. + + + + +INDEX. (p. 225) + + +#A.# + +Acetate of ammonia, 93, 94, 101, 102, 127, 128, 129, 132, 167, + 192, 194. +------- of chrome, 115. +------- of lime, 158, 159. + +Acetic acid, 127. + +Acid black, 37, 89. +---- ----- B, 92, 99. +---- ----- B B, 99, 111, 112. +---- ----- S, 90, 99. +---- blue 4 S, 98, 127. +---- ---- 1 V, 153. +---- dyes for blue, 152. +---- ---- for brown, 161. +---- ---- for green, 128. +---- ---- for mode colours, 165. +---- ---- for violet, 160. +---- dye-stuffs, 61. +---- green, 53, 91, 92, 127, 184, 189, 190, 192, 193. +---- ----- B, 128, 191. +---- ----- blue shade, 136. +---- ----- B N, 136. +---- ----- extra, 155. +---- ----- G G, 192. +---- magenta, 73, 105, 111, 113, 183, 190. +---- mauve, 96. +---- ----- B, 161. +---- red, test for, 214. +---- violet, 105. +---- ------ 4 B, 193. +---- ------ 5 B, 154, 160, 189, 191. +---- ------ 5 B E, 162. +---- ------ 6 B, 130, 171, 181. +---- ------ 10 B, 191. +---- ------ N, 92, 99, 161, 162. +---- ------ 6 R N, 161. +---- ------ 4 R S, 160. +---- ------ V, 162. +---- ------ 1 V, 153. +---- yellow, 53, 99, 123, 183, 190. + +Acids, action on wool, 11. + +Acridine red, 102. +-------- scarlet, 102. + +Adjective group of dye-stuffs, 68. + +Alizarine, 61, 69, 72, 73, 86, 114, 220. +--------- black, 99. +--------- ----- S W, 94, 113. +--------- blue, 116, 119, 166. +--------- ---- A, 158. +--------- ---- D N W, 131, 132, 133, 158, 164, 166. +--------- ---- S W, 108. +--------- Bordeaux, 133. +--------- -------- B, 98, 155. +--------- -------- G, 155, 159. +--------- brown, 131, 132, 133, 158, 164, 166. +--------- claret R, 118. +--------- colours, 77. +--------- cyanine, 111, 119, 156. +--------- ------- black, 93, 94, 159, 160. +--------- ------- G, 159. +--------- ------- G G, 98, 157. +--------- ------- G extra, 157. +--------- ------- R, 99, 157. +--------- ------- R R, 157. +--------- ------- R R R, 93, 157. +--------- ------- 3 R double, 157, 160. +--------- G, 122. +--------- green, 127. +--------- ----- S, 132. +--------- ----- S W, 132. +--------- grey B, 166. +--------- orange, 119, 123. +--------- ------ 2 G, 120. +--------- ------ H, 164. +--------- ------ N, 118, 122, 166. +--------- ------ W, 119. +--------- ------ R, 163. +--------- ------ R R, 122. +--------- red 1 W S, 118, 119, 120, 122. +--------- --- 2 W S, 118. +--------- --- 3 W S, 119, 164. +--------- --- 5 W S, 118, 120. +--------- S X, 120. +--------- yellow, 70, 71, 115, 116, 123, 131, 133, 156, 164, 166. +--------- ------ G G, 115, 122. +--------- ------ G G W, 94, 125, 126, 131, 132, 164. +--------- ------ R W, 122. + +Alkali blue, 152, 189. +------ ---- B, 152. +------ ---- 6 B, 180. +------ yellow R, 169. + +Alkalies, action on wool, 9. + +Alkaline blue 6 B, 178. +-------- ---- 171, 177. + +Alpaca, 1, 83. + +Alum, 74, 77, 85, 86, 97, 115, 117, 129, 131. + +Alumina, 114. +------- sulphate, 115, 117. + +Aluminium salts, 8. + +Amaranth, 92, 108, 111, 192. + +Amido-benzoic acid, 114. + +Ammonia, 17, 27, 33, 78. +------- action on wool, 60. + +Angora goat, 1. + +Annotta, 13, 63. + +Anthracene acid black S T, 193. +---------- ---- browns, 115. +---------- blue W B, 159. +---------- ---- W G, 132, 158, 159. +---------- brown, 94, 119, 132. +---------- ----- R, 163. +---------- ----- W, 159, 164. +---------- chrome black, 96, 99. +---------- ------ ----- F, 95. +---------- ------ ----- F F, 92, 96. +---------- red, 122, 134. +---------- yellow, 69, 70, 115. +---------- ------ B N, 96, 126, 135. +---------- ------ C, 90, 98, 109, 122, 124, 125, 126, 132, 163, 167. +---------- ------ G G, 126. + +Anthracite black B, 90, 96, 132, 163. +---------- ----- R, 90, 98. + +Anthragallol, 114. + +Archil, 75, 189. +------ substitute N, 99, 107, 110, 131, 155, 162, 165. + +Argol, 86, 97, 115, 116, 117, 151. +----- lactic acid, 116. + +Artificial wool, 174. + +Auramine, 53, 64, 103, 189. +-------- base, 64. +-------- I I, 195. + +Auroline, 169. + +Azo acid brown, 130. +--- ---- magenta G, 162. +--- ---- rubine, 111. +--- ---- violet 4 R, 109, 111, 161. +--- ---- yellow, 171. +--- black, 89. +--- blue, 171. +--- Bordeaux, 109, 191. +--- carmine, 124, 161, 166. +--- ------- B, 130. +--- cochineal, 105, 112, 191. +--- crimson L, 196. +--- dye-stuffs, 61, 66. +--- flavine, 189. +--- ------- S, 210. +--- fuchsine, 109, 115. +--- -------- G, 108, 130, 160, 162, 191, 194, 195, 196. +--- green, 70, 127. +--- mauve, 171. +--- red A, 108, 111, 171, 176, 177, 179, 190, 194. +--- rubine, 92. +--- scarlet, 53. +--- yellow, 93, 124, 128, 129, 130, 155, 162, 165. + + +#B.# + +Basic dyes for violet, 160. +----- dye-stuffs, 61. + +Batching of wool, 15, 25. + +Benzo azurine 3 G, 170. +----- ------- R G, 170. +----- blue black G, 170. +----- brown, 61. +----- dyes, 168. +----- fast red, 100, 102, 110. +----- ---- scarlet, 62. +----- ---- ------- B S, 102. +----- flavine, 64. +----- green, 127. +----- orange R, 121. + +Benzol, 16, 24. + +Benzoline, 25. + +Benzopurpurine, 61, 100. +-------------- B, 170. +-------------- 4 B, 111, 170, 180, 181. +-------------- 10 B, 170, 180. + +Bichromate of potash, 16, 115, 131, 132, 133, 134, 135, 166, 167, 193. +---------- of potassium, 175. + +Bisulphate of soda, 33, 131, 141, 146, 167, 184, 192, 193, 194. + +Bismarck brown, 189, 190. +-------- ----- R, 196. + +Black, 93, 95, 176, 177, 180, 191, 193, 195. +----- and blue, 185, 186. +----- and green blue, 185. +----- and pink, 186. +----- and yellow, 186. +----- blue, 152, 157. +----- ---- O, 155. +----- on wool, 83, 91. + +Bleaching wool, 29. + +Blue, 153, 158. +---- and gold yellow, 185. +---- and orange, 187. +---- black, 96, 153, 159, 179, 182, 192. +---- ----- on wool, 89, 90, 91, 92, 94. +---- green, 127, 128, 129, 130. +---- shades on wool, 136. + +Bluestone, 74, 86, 87, 88, 135. + +Bluish Bordeaux red, 110. +------ crimson, 108. +------ green, 134. +------ red, 106, 120. +------ pink, 111, 112. +------ purple, 109. +------ violet, 160. +------ rose, 193. + +Borax, 215. + +Bordeaux, 102. +-------- B L, 110. +-------- red, 109, 110, 113. + +Bottle green, 127, 130, 132, 134. + +Bran, 138, 144, 145. + +Brazil wood, 114. + +Bright blue, 152, 153, 155, 156, 158, 180. +------ Bordeaux red, 109, 110. +------ buff, 164, 165. +------ canary, 124. +------ cherry red, 109, 110. +------ chestnut, 164. +------ crimson, 108. +------ fawn, 165. +------ ---- red, 118. +------ electric blue. 156. +------ golden brown, 163. +------ grass green, 130, 133. +------ green, 127, 128, 134. +------ greenish blue, 154. +------ leaf green, 129. +------ lemon yellow, 125. +------ maroon, 119. +------ moss green, 129. +------ orange, 121, 122. +------ pale sage green, 131. +------ peacock green, 130. +------ red, 111, 193. +------ scarlet, 102, 112. +------ straw, 124. +------ violet, 161. +------ ---- blue, 156. +------ yellow, 123, 124, 175, 176, 178. + +Brilliant alizarine blue G, 133, 157, 158, 161. +--------- azurine 5 G, 170. +--------- cochineal 2 R, 112, 123, 193. +--------- --------- 4 R, 123, 185. +--------- Congo G, 102. +--------- ----- R, 170. +--------- croceine B, 106, 123. +--------- -------- 3 B, 123. +--------- -------- 5 B, 123. +--------- -------- 7 B, 123. +--------- -------- 9 B, 123. +--------- -------- B B, 106. +--------- -------- M, 106. +--------- -------- M O O, 123. +--------- -------- N, 189. +--------- green, 53, 64, 127, 190, 193, 194. +--------- milling green B, 171. +--------- orange, 92. +--------- orseille C, 107, 112. +--------- pale bluish crimson, 108. +--------- ponceau G, 106. +--------- ------- 2 R, 106. +--------- ------- 4 R, 112. +--------- purpurine R, 170. +--------- rhoduline R B, 195. +--------- royal blue, 154. +--------- scarlet, 119, 171. +--------- ------- G, 171. +--------- ------- 4 R, 105. + +Bronze green, 131, 180. + +Brown, 161, 163, 164, 181, 192, 195. +----- and violet, 186. +----- and pink, 194. +----- and blue, 185. +----- black, 94. +----- olive and green, 193. + +Brown shades on wool, 161. + +Buff, 164. + + +#C.# + +Calcium salts, 8. + +Camel-hair, 83. + +Camwood, 76, 86. + +Carbohydrate, 7. + +Carbonate of soda, 27, 78, 169. + +Carbon disulphide, 16, 24. + +Carbonising of wool, 11. + +Carded wool, dyeing of, 44. + +Carmoisin, 189. +--------- B, 191. + +Cashmere, 83, 173. +-------- goat, 1. + +Caustic soda, 141. +------- lye, 147. + +Celestine blue B, 155. + +Chemical vats, 138. + +Chemic extract, 150. + +Cherry red, 109, 110. + +Chestnut, 163. +-------- brown, 184. + +Chicago blue B, 170. +------- ---- 4 B, 170. +------- ---- 6 B, 170, 180. +------- ---- G, 170. +------- ---- R W, 181. +------- ---- R R W, 170. + +Chloramine orange, 121. +---------- yellow, 169. + +Chlorination of wool, 37. + +Chlorine, action on wool, 12. + +Cholesterine, 7, 23. + +Chrome, 114. +------ acetate, 129. +------ alum, 115. +------ blue, 158. +------ Bordeaux 6 B, 161. +------ brown R, 164. +------ fluoride, 77. +------ logwood black, 84, 85. +------ ------- jet black, 85. +------ mordant, 151. +------ patent black D G, 92. +------ violet, 115, 119. + +Chromine G, 169. + +Chromogene I, 120. + +Chromotrop, 115. +---------- 2 B, 125. +---------- 6 B, 108, 154. +---------- 10 B, 94, 109. +---------- R, 106. +---------- 2 R, 99, 107, 129, 130, 155, 162, 165. +---------- S, 93, 94. + +Chrysamine, 61, 128, 170. +---------- G, 165. + +Chrysoidine, 184. + +Chrysophenine, 61, 102, 128, 170. +------------- G, 180. + +Claret, 110, 111, 118, 120. +------ red, 110. + +Clayton yellow, 170. + +Cloth-drying machine, 209. +------------ red, 73. +------------ washing machine, 29, 30, 202, 203. + +Coal tar, 137. +---- --- colours, 114. +---- --- dyes, 63. +---- --- ---- for dyeing blue, 152. + +Coatings, 173. + +Cochineal, 97, 114, 190, 220. +--------- scarlet, 77. + +Coerulein, 114, 133. +--------- B, 132. +--------- S W, 132. +--------- blue, 192. + +Colour lakes, 113. +------ strength, test for, 216. +------ testing, 218. + +Columbia black B, 170. +-------- ----- F B, 170, 181. +-------- red 8 B, 170. +-------- yellow, 169. + +Congo blue, 62. +----- brown G, 170, 180. +----- ----- R, 161, 171. +----- Corinth G, 171, 180, 187. +----- ------- B, 169, 171. +----- dyes, 168. +----- orange G, 170. +----- ------ R, 165, 170. +----- R, 170. +----- red, 62. + +Copperas, 74, 86, 87, 88, 97, 133, 134, 135. +-------- vats, 138. + +Copper-cased dye beck, 56. + +Coral red, 112. + +Cornflower blue, 181. + +Corron's hank-dyeing machine, 49. + +Cotton yellow, 170. + +Cream of tartar, 116. + +Crimson, 103, 108, 113, 180, 183, 191, 194. + +Croceine A Z, 123, 171, 189, 191, 192. +-------- orange, 121, 122, 189. +-------- ------ E N, 123. +-------- scarlet, 108. +-------- ------- 3 B, 191. +-------- ------- 3 R, 167. + +Cross dyeing, 183. + +Crushed strawberry, 105. +------- ---------- red, 107, 118. + +Crystal scarlet 6 R, 123. + +Cudbear, 97. + +Curcumine extra, 171, 181, 187. +--------- S, 180, 186. + +Cutch, 76, 97. +----- brown, 76. + +Cyanine B, 107, 111, 124, 129, 130, 155, 165. +------- scarlet R, 111. + +Cyanole, 107, 111, 131, 165. +------- extra, 99, 108, 112, 113, 131, 155, 184, 185, 186. +------- green B, 134. +------- ----- 6 G, 134. + +Cyprus green B, 136. +------ ----- R, 136. + + +#D.# + +Dark beige green, 130. +---- blue, 152, 154, 157, 159, 176, 178, 179, 180, 181, 182, 195. +---- Bordeaux red, 120. +---- bottle green, 131, 132. +---- brown and blue, 185. +---- ----- 163, 164, 177, 179, 180, 181, 182. +---- buff, 165. +---- chestnut, 162. +---- cherry red, 112. +---- crimson, 102, 195. +---- green, 127, 128, 131, 177, 180, 183. +---- ----- and pale crimson, 194. +---- grey, 98, 166, 167, 178, 181, 192. +---- invisible blue, 156. +---- maroon, 193. +---- navy, 157, 159. +---- ---- blue, 155. +---- olive brown, 162. +---- orange, 121. +---- peacock blue, 156. +---- red, 120. +---- sage, 179. +---- ---- green, 130. +---- sea green, 171. +---- seal, 162, 163. +---- slate, 159, 166, 177. +---- stone, 177. +---- violet, 161. +---- ------ brown, 164. +---- walnut, 164, 179. + +Dead black on wool, 90. + +Deep blue, 154, 155. +---- Bordeaux red, 109. +---- brown, 162. +---- crimson, 108, 112, 113, 118. +---- electric green, 131. +---- fawn, 107. +---- ---- red, 107, 119. +---- golden yellow, 125. +---- indigo blue, 192. +---- leaf green, 130. +---- ---- yellow, 125. +---- lemon, 125. +---- maroon, 111, 119, 191. +---- navy, 153. +---- ---- blue, 153. +---- olive yellow, 125. +---- orange, 122, 176. +---- red, 103. +---- sage green, 131, 132. +---- scarlet, 106, 112, 119. +---- seal, 162. +---- sky blue, 155. +---- violet, 160. +---- ------ brown, 192. +---- yellow, 124, 126. + +Delahunty's dyeing machine, 43, 44. + +Deltapurpurine 5 B, 130. + +Diamine black, 99, 155. +------- ----- B H, 170, 177, 178. +------- ----- B O, 170. +------- ----- H W, 169, 177, 178. +------- ----- R O, 170. +------- blue, 62. +------- ---- 2 B, 170. +------- ---- 3 B, 170. +------- ---- B G, 170. +------- ---- B X, 170. +------- ---- G, 169. +------- ---- R W, 169, 170. +------- ---- 3 R, 170. +------- ---- black E, 170. +------- Bordeaux, 102. +------- -------- B, 169, 170, 177, 179. +------- -------- S, 170. +------- brilliant blue G, 170, 176, 178, 179. +------- bronze G, 171, 177. +------- brown, 62, 179. +------- ----- B, 169. +------- ----- G, 170. +------- ----- 3 G, 169. +------- ----- G W, 169. +------- ----- N, 169, 177. +------- ----- S, 170. +------- ----- V, 170, 177. +------- catechine B, 170, 179. +------- --------- G, 169, 170. +------- cutch, 176. +------- dark blue B, 169, 170, 180. +------- dyes, 168. +------- fast yellow A, 170, 175, 186. +------- ---- ------ B, 169, 176, 177, 179. +------- ---- red F, 98, 100, 102, 109, 112, 124, 132, 163, 167, 169. +------- gold, 121, 170, 175. +------- green, 127. +------- ----- B, 169. +------- ----- G, 169, 170. +------- new blue R, 170. +------- nitrazol brown B, 170. +------- -------- G, 170. +------- orange B, 169, 177, 178, 179. +------- ------ D, 170. +------- ------ D C, 121. +------- ------ G, 170, 175, 178, 184, 185. +------- ------ G C, 121. +------- ------ O, 170. +------- red, 62, 169. +------- --- B, 170. +------- --- 5 B, 178. +------- --- N O, 170. +------- rose B D, 102, 169, 178, 186. +------- scarlet B, 112, 121, 122, 170, 178. +------- ------- 3 B, 170. +------- sky blue, 170, 185. +------- --- ---- F F, 170, 185, 186. +------- steel blue L, 170, 177, 185. +------- violet N, 170, 178, 186. + +Diamond black, 93, 99. +------- ----- F, 92. +------- ----- on wool, 93. +------- brown, 164. +------- flavine, 133, 163. +------- ------- G, 98. +------- green, 93. +------- yellow B, 133. + +Dihydroxynaphthalene, 88. +--------- sulpho acid, 116. + +Dinitroso-resorcine, 127. + +Direct black, 88. +------ dyes, 197. +------ ---- for blue, 152. +------ ---- for brown, 161. +------ ---- for green, 127. +------ ---- for mode colours, 165. +------ ---- for orange, 121. +------ ---- for violet, 160. +------ orange R, 170. +------ red dyes, 100. +------ yellow G, 170. + +Divi-divi, 197. + +Drab, 165, 166, 167, 178, 179, 181, 182, 194. + +Dress goods, 173. + +Drying of goods, 205. + +Dyeing machinery, 40, 43. +------ test, 216. +------ tubs, 41. + +Dye-jiggers, 51, 52. +----------- tests, 211. +----------- vat with steam pipe, 42. + + +#E.# + +Electric blue, 155. + +Emerald green, 128, 129, 130, 135. + +Emin red, 107, 110. + +Eosine, 190. +------ red, 104. + +Erie blue, 2 G, 170. + +Erika B N, 170, 187. + +Erythesine D, 112. + +Erythrosine, 104, 190. + +Experimental dye-bath, 212. +------------ dyeing, 211. + + +#F.# + +Fast acid violet 10 B, 111, 130, 162, 165, 189. +---- ---- ------ R, 108, 110, 111, 112, 113, 120, 130, 166. +---- ---- blue R, 99, 107, 129, 155, 165. +---- ---- green B N, 96, 134, 185. +---- ---- magenta B, 105, 108, 109, 153. +---- black, 96. +---- blue, 37. +---- bright olive, 135. +---- chrome black, 92. +---- green, 127, 133. +---- green bluish, 111, 130, 154, 160, 162, 165, 189, 192, 194, 195. +---- ----- extra bluish, 162. +---- light green, 195. +---- red, 102, 111. +---- scarlet, 105. +---- yellow, 109, 124, 161, 162, 165, 166, 194. +---- ------ F Y, 90, 91, 105, 123, 130. +---- ------ S, 111, 113, 135, 186, 193. +---- ------ extra, 194, 195. + +Fastness to acid, test for, 223. +-------- to alkalies, test for, 223. +-------- to light and air, test for, 221. +-------- to washing, test for, 222. + +Fawn, 118. +---- drab, 179. +---- red, 107, 113. + +Ferrous sulphate, 115, 117. + +Fermentation vats, 138. + +Flavazol, 70. + +Fluoride of chrome, 91, 98, 102, 110, 115, 117, 129, 132, 133, 167. + +Formyl blue B, 171. +------ violet, 53. +------ ------ 6 B, 171. +------ ------ 10 B, 171. +------ ------ S 4 B, 155, 161, 171, 175, 176, 178, 179, 180, 185, + 189, 190, 191. + +Fulling fast olive, 135. + +Fustic, 66, 69, 70, 77, 83, 85, 86, 87, 97, 120, 220. +------ extract, 88, 123, 131, 133, 134, 135. + + +#G.# + +Galleine, 166. + +Gallipoli oil, 26. + +Galloflavine, 70, 119, 133. + +Gambine, 61, 114, 119, 127. +------- B, 164. +------- R, 133, 164, 167. +------- V, 96, 125, 133, 164. +------- yellow, 93, 115, 125. + +Geranine B, 160. +-------- G, 102. + +Glacier blue, 155. + +Glauber's salt, 81, 89, 91, 99, 127, 128, 129, 130, 135, 150, 151, + 169, 171, 172, 184, 215. + +Gloria, dyeing of, 188. + +Gold and green, 184. +---- brown, 176, 179, 185. +---- orange, 122, 123, 176. +---- yellow, 126. + +Golden brown, 162, 163. +------ yellow, 125, 126. + +Good yellow, 175. + +Grass green, 128. + +Green, 127, 131, 178, 192, 193, 195. +----- and buff, 186. +----- and claret, 185. +----- and red, 186. +----- and orange, 187. + +Greenish, 98. +-------- black on wool, 91. +-------- straw, 124. + +Grey, 98, 165, 182. +---- and orange, 186. +---- blue, 158. +---- on wool, 96. + +Guinea green B, 171, 181, 187. +------ violet 4 B, 171, 181. + + +#H.# + +Haematoxylin of logwood, 84. + +Hand dyeing, 40. +---- scouring of wool, 18. + +Hank-washing machine, 201. +---- wringing machines, 198. + +Hare fur, 83. + +Hessian violet, 102, 171. + +Holliday's patent indigo vat, 143. + +Hydrochloric acid, 88. + +Hydrochloride of rosaniline, 9. + +Hypochlorites, action on wool, 12. + +Hydro-extractor, 206, 207. + +Hydrosulphite of soda, 147. +------------- vats, 138, 141. + +Hydroxy-azo dyes, 114. + + +#I.# + +Imperial green G 1, 195. + +Indian yellow, 90, 91, 189, 191, 192. +------ ------ G, 131, 171, 175, 176, 177, 179, 180, 185, 195. +------ ------ R, 126, 165, 171, 175, 176, 195. + +Indigo, 83, 85, 136, 141. +------ black, 86. +------ blue, 151. +------ carmine, 66, 150. +------ carmine D, 161, 166. +------ dyeing, 137. +------ dye-stuffs, 61. +------ dye-vat, 149. +------ extract, 73, 75, 97, 105, 131, 133, 134, 135, 151, 190, 194. +------ ------- for dyeing wool, 150. +------ indophenol vat, 146. + +Indigotine, 194. +---------- extra, 193, 195, 196. + +Indophenol, 146. + +Induline, 37. +-------- A, 153. + +Invisible bronze green, 133. +--------- green, 130, 132, 136. + +Iron logwood black, 86, 87. + +Italian cloths, 176. + + +#J.# + +Janus black I, 182. +----- ----- I I, 182. +----- blue R, 182. +----- brown B, 182. +----- ----- R, 182, 183. +----- claret red B, 183. +----- dark blue B, 182. +----- dyes, 181. +----- green B, 182, 183. +----- grey B, 182, 183. +----- ---- B B, 182. +----- red B, 182, 183. +----- yellow G, 182. +----- ------ R, 182, 183. + +Jet black, 93, 94, 95, 96. +--- ----- on wool, 90, 91, 93. + +Jig wince, 53. + + +#K.# + +"Kempy" fibres, 3. + +Keratine, 8. + +Keton blue G, 111, 162. + +Klauder-Weldon hank-dyeing machine, 47, 48. + + +#L.# + +Lactic acid, 115, 116, 117, 151, 215. + +Lanafuchsine 6 B, 113. +------------ S B, 111, 113. +------------ S G, 111, 112, 113. + +Lanacyl blue B B, 171. +------- ---- R, 171. +------- violet B, 171, 180. + +Lavender, 160, 196. +-------- blue, 158. +-------- grey, 166. + +Leaf yellow, 125. + +Lemon yellow, 125. + +Level dyeing, 77. + +Light drab, 196. +----- green, 133, 195. +----- grey, 97, 193. +----- sea green, 195. +----- straw, 126. + +Lignorosine, 115, 117, 151. + +Lilac, 166. +----- blue, 158. +----- grey, 165. + +Lime, 117, 140. +---- vats, 138. + +Liquor ammonia, 147. + +Llama, 1. + +Logwood, 66, 69, 70, 83, 85, 86, 87, 97, 136, 151, 220. +------- black, 87, 88. +------- ----- on wool, 86. +------- extract, 88, 133, 135, 136. + +Loose wool, dyeing of, 43. +----- ---- washing of, 200. + + +#M.# + +Machine-scouring of wool, 20. + +Madder, 77, 144. + +Magenta, 53, 61, 64, 102, 103, 190. + +Maize yellow, 124. + +Malachite green, 127. + +Mandarine G, 121, 171, 180, 181, 187. + +Maroon, 111, 118, 178. +------ red, 111. + +Marseilles soap, 78. + +Mauve, 161. + +McNaught's wool-washing machine, 20. + +Metallic salts, action on wool, 12. + +Methylene blue, 133, 134. + +Methylrosaniline, 64. + +Methyl violet, 53, 64, 190. +------ ------ 3 B, 160. +------ ------ B O, 192. +------ ------ R, 160. + +Medulla, 4. + +Medium blue, 157, 158. +------ green, 133. + +Merino wool, 5. + +Mikado orange 4 R O, 180, 181, 187. + +Milling red B, 111. +------- --- R, 106, 110. +------- yellow, 192. +------- ------ O, 99, 125, 193. + +Mimosa, 169. + +Mode colours on wool, 164. + +Mordant dyes for brown, 163. +------- ---- for orange, 122. +------- dye-stuffs, 61, 68. +------- dyes for violet, 161. + +Mordanting, 115. +---------- of wool, 12. + +Mordant yellow, 119, 122, 132. +------- ------ D, 126. +------- ------ O, 164. + +Moss green, 129, 130. + +Mother vat, 147. + +Mouse, 162. + +Muriate of tin, 97. + +Myrobalan, 197. + + +#N.# + +Naphthol black, 37, 89, 99, 186. +-------- ----- B, 90. +-------- ----- B B, 196. +-------- ----- 3 B, 90, 91, 185, 192. +-------- ----- 4 R, 111. +-------- blue G, 171, 185. +-------- ---- R, 171. +-------- ---- black, 155, 171, 175, 177, 178, 179, 180, 185. +-------- green B, 37, 90, 127, 128, 189, 192, 193, 194. +-------- red C, 113, 185, 192. +-------- --- O, 193. +-------- yellow, 131, 136, 190. +-------- ------ S, 113, 130, 178. + +Naphthyl blue black N, 92. + +Naphthylamine black, 89, 92, 189. +------------- ----- 4 B, 91, 171, 192. +------------- ----- 6 B, 171, 180. +------------- ----- D, 91, 99, 171, 191. +------------- ----- S, 96. + +Navy, 158. +---- blue, 153, 136, 177, 179, 180. + +Neutral dye-stuffs, 61. +------- extract, 150. +------- red, 162. + +New methylene blue, 190. +--- --------- ---- N, 185, 194. +--- Victoria black blue, 190. +--- -------- blue B, 154. +--- -------- ---- black, 192. + +Nigrosine, 37. + +Nitrate of iron, 98. + +Nitrazine yellow, 124. + +Nut, 164. +--- brown, 181, 182. + +Nyanza black, 95. +------ ----- B, 99, 128, 161, 165. + + +#O.# + +Obermaier dyeing machine, 44, 45, 46. + +Old gold, 122, 126. + +Oleic acid, 7, 26. + +Oleine, 26. + +Olive, 128, 134, 135. +----- brown, 162, 164. +----- bronze, 135. +----- green, 128, 135. +----- oil, 26. +----- yellow, 124, 125. + +Orange, 121, 122, 178, 180, 191, 192, 195. +------ No. 2, 162. +------ blue, 187, 194. +------ green, 194. +------ violet, 186. +------ croceine G, 189. +------ E N Z, 123, 135, 171, 176, 178, 179, 180, 185. +------ extra, 99, 107, 108, 111, 113, 122, 162, 163, 171, 178. +------ G, 99, 107, 110, 113, 162, 165, 166, 190. +------ G G, 112, 113, 122, 162, 184, 185, 190, 191, 193. +------ I I, 153, 162. +------ O, 111. +------ R, 122, 189. +------ shades on wool, 121. +------ T A, 170, 181. + +Oxalate of ammonia, 95. + +Oxalic acid, 85, 87, 88, 93, 115, 116, 133, 151, 215. + +Oxydiamine black A, 169. +---------- ----- B, 169. +---------- ----- B M, 180. +---------- ----- D, 169. +---------- ----- M, 169. +---------- ----- S O O O, 170. +---------- Orange G, 170, 178. +---------- ------ R, 170. +---------- red S, 170. +---------- violet B, 170. +---------- yellow G G, 170. + +Oxyphenine, 169. + + +#P.# + +Pale blue, 152, 155, 193, 195. +---- bluish crimson, 108. +---- chestnut, 164. +---- crimson, 108. +---- drab, 165, 166. +---- fawn, 166. +---- ---- drab, 165. +---- ---- brown, 166. +---- gold yellow, 175. +---- green, 192. +---- lilac rose, 107. +---- maroon, 191. +---- navy blue, 156. +---- old gold brown, 164. +---- olive yellow, 126. +---- orange, 121, 122. +---- pea-green, 131. +---- Russian green, 128. +---- sage, 195. +---- ---- green, 130, 133, 180. +---- sea green, 129, 132. +---- slate green, 133. +---- ----- grey, 98. +---- stone, 166. +---- violet, 160. + +Pararosaniline, 64. + +Paris blue, 158. + +Patent blue, 92, 99. +------ ---- A, 131, 158. +------ ---- B, 95, 110, 154. +------ ---- J, 154, 162. +------ ---- J B, 166. +------ ---- J O O, 166. +------ ---- N, 128, 154. +------ ---- V, 111, 129, 130, 154, 155, 162, 168. +------ ---- superior, 154. + +Peach wood, 86. + +Peacock blue, 155, 157, 158. +------- green, 131, 132, 177, 179. + +Pearl ash, 17. +----- grey, 97, 98. + +Perchloride of tin, 97. + +Peri wool blue, 155. + +Peroxide of hydrogen for bleaching wool, 29, 34. +-------- of soda for bleaching wool, 36. + +Persian berries, 69, 71. + +Petrie's wool-washing machine, 20. + +Petroleum spirit, 16, 24. + +Phenoflavine, 124, 130. + +Phenolic colours, 114. + +Phenyl rosaniline, 64. + +Phloxine, 104, 190, 191. + +Phosphate of soda, 218. + +Picric acid, 190. + +Piece-dyeing machines, 50. +----- goods, drying of, 210. +----- ---- washing of, 202. +----- ---- wringing of, 199. + +Pink, 102, 111, 112, 178, 195. + +Plum, 178. + +Plush fabric dyeing machine, 55. + +Ponceau, 105. +------- 3 G, 121. +------- R, 65. +------- 3 R B, 171, 180. + +Potash, 17. +------ indigo vat, 144. +------ salts, 7. + +Potassium salts, 8. + +Primuline, 169. + +Puce, 160. + +Pure blue O T, 193. + +Purple, 109. +------ red, 113. + +Purpuramine, 62. + + +#Q.# + +Quick lime, 141. + +Quinoline yellow, 189, 194. + + +#R.# + +Rabbit fur, 83. + +Raw merino wool, analysis of, 7. + +Read Holliday's hawking machine, 57. +---- -------- indigo extract, 151. +---- -------- squeezing machine, 199. +---- -------- yarn dyeing machine, 46, 47. + +Red, 106, 107, 120. +--- navy, 158. +--- ---- blue, 157. +--- plum, 177. +--- shades on wool, 100. + +Reddish black, 94. +------- grey, 97. +------- orange, 121. +------- puce, 160. + +Rhodamine, 165, 189, 190. +--------- B, 113, 191, 193, 197. +--------- G, 195. +--------- red, 102. + +Rhoduline red, 102, 103. + +Rocceleine, 171, 190. + +Roller-squeezing machine, 198. + +Rose, 118. + +Rosaniline, 64. + +Rose bengale, 104, 112, 189, 190. +---- red, 113. + +Royal blue, 154. + + +#S.# + +Saddening of wool, 74. + +Saffranine, 61, 64, 102, 103, 184, 189, 190. +---------- prima, 103, 194. + +Saffron, 13, 63. + +Saffrosine, 104. + +Sage, 177. +---- brown, 181. +---- green, 128. + +Salicylic acid, 114. + +Salmon, 113. +------ red, 113. + +Salt, 215. + +Sanders, 120, 121. + +Saxony blue, 154. + +Scarlet, 101, 102, 103, 105, 106, 107, 112, 118, 178, 180, 191. +------- F R, 106. +------- O O, 106. +------- R, 183. +------- 3 R, 191. +------- 2 R J, 105. +------- R S, 105. +------- S, 190. + +Schutzenberger and Lalande's vat, 141. + +Schweizer's reagent, 9. + +Scouring of wool, 15, 17. +-------- of woollen piece goods, 28. + +Sea green, 131, 136. + +Serge, 173. + +Silicate of soda, 17. + +Silk blue, 189. +---- ---- B E S, 192. + +Silver grey, 98, 165, 177. + +Sheep, 1. + +Short-stapled wools, scouring of, 18. + +Shot effects, 183. + +Sky blue, 151, 154, 178, 194. + +Slaked lime, 145. + +Slate, 165, 181. +----- blue, 158, 179. +----- green, 131, 132, 181. +----- grey, 97, 98. + +Sliver, dyeing of, 44. + +Slubbing, dyeing of, 44. + +Smithson's dyeing machine, 88. + +Soap, 27. +---- action on wool, 10, 66. + +Soaping and washing machine, 205. +------- of goods, 204. + +Soda, 17, 215. +---- ash, 17. +---- crystals, 145. +---- indigo vat, 145. + +Sodium hydrosulphite, 143. + +Solid blue, 190. +----- ---- R, 192. +----- ---- P G, 192. +----- green crystals, 194. + +Soluble blue, 189. + +Sour extract, 150. + +Southdown wool, 5. + +Spencer's hank-wringing machine, 198. + +Squeezing of goods, 197. + +Stale urine, 17, 18. + +Stearic acid, 7. + +Stone, 166, 181. + +Straw, 124. + +Stuffing of wool, 74. + +Suint, 15. + +Suitings, 173. + +Sulphon azurine B, 170. +------- ------- D, 180. +------- cyanine, 128, 152, 160. + +Sulphur, 8. +------- bleach house, 31. +------- dioxide, 33. +------- bleaching, 29, 30. + +Sulphuric acid, 99, 115, 116, 215. + +Sumac, 86, 120, 121, 135, 197. +----- extract, 182, 183. + +Sweet extract, 150. + + +#T.# + +Tannic acid, 98. + +Tannin materials, 197, 215. + +Tartar, 85, 86, 88, 93, 115, 116, 117, 131, 132, 133, 134, 135, 151, + 166, 167, 215. +------ emetic, 182, 183. + +Tartaric acid, 85, 115. + +Tartrazine, 190. + +Terra-cotta, 195. +----- ----- red, 105, 120. + +Tin chloride, 115. +--- crystals, 77. +--- salt, 133. + +Thiazol yellow, 169. + +Thiocarmine R, 98, 171, 177, 179, 189, 190. + +Thioflavine S, 121, 169, 175, 178, 185, 186. +----------- T, 64, 190, 193, 194. + +Titan blue, 170, 171. +----- ---- 3 B, 127. +----- brown O, 110, 170. +----- ----- R, 98, 170. +----- ----- T, 170. +----- marine B, 171. +----- pink, 170. +----- red, 61, 98, 107. +----- scarlet, 100. +----- ------- C B, 101, 102. +----- ------- D, 110. +----- ------- S, 169. +----- yellow, 61, 99, 170. +----- ------ G, 127. +----- ------ R, 125. +----- ------ Y, 125, 127. + +Treacle, 138. + +Tropaeoline, 122, 131. +---------- O, 190. +---------- O O, 171, 178. + +Turmeric, 13, 63, 120, 189. + +Turquoise blue B B, 195. +--------- ---- G, 196. +--------- green, 134. + + +#U.# + +Union black B, 169. +----- ----- S, 169, 176, 178, 179, 180. +----- blue B B, 169. +----- fabrics, dyeing of, 168. +----- flannels, 173. + +Urine indigo vat, 145. + + +#V.# + +Velvet, embossing of, 14. + +Victoria black, 89, 189. +-------- black B, 91, 191. +-------- ---- blue, 155. +-------- blue, 189. +-------- ---- B, 155. +-------- ---- black, 91. +-------- scarlet R, 107, 110, 111. +-------- rubine O, 107, 111. +-------- violet 8 B S, 130, 155. +-------- yellow, 111, 124, 130, 162. + +Violet, 160, 192, 193. +------ and pink, 193, 194. +------ black on wool, 89, 90, 91, 93, 95. +------ blue, 155. +------ grey, 166. +------ shades on wool, 160. + + +#W.# + +Walnut, 162. +------ brown, 176, 182. + +Washing of goods, 200. + +Water blue, 37. + +White indigo, 138. + +Wince dye beck, 53, 54. + +Woad, 138. +---- indigo vats, 139. +---- vat, 145. + +Woaded black, 86. + +Wool, 1. +---- action of acid on, 11. +---- alkalies, action of on, 9. +---- batching, 15. +---- black, 89. +---- ----- 6 B, 171, 180, 181, 186. +---- bleaching, 29. +---- --------- peroxide of hydrogen, 34. +---- --------- -------- of soda, 36. +---- --------- with sulphur, 30. +---- chemical composition of, 6. +---- chlorination of, 37. +---- blue B X, 153. +---- ---- dyeing with logwood, 161. +---- fibre under microscope, 2. +---- ----- unscoured, 10. +---- ----- chemical composition of, 7. +---- ----- scoured badly, 10. +---- ----- showing medullary centre, 4. +---- ----- heated with acid, 11. +---- grey R, 166. + +Woollen piece goods, scouring of, 28. +------- yarn, 2. + +Wool oil, 26. +---- physical properties of, 2. +---- -------- structure, variations in, 5. + +Wool scouring, 15, 17. +---- -------- by solvents, 23. + +Wool-washing machine, 20, 21. + +Worsted yarn, 2. + +Wringing of goods, 197. + + +#Y.# + +Yarn-drying machine, 208. + +Yarn, washing of, in hanks, 202. + +Yarn wringing, 198. + +Yellow, 125, 195. +------ brown, 161. +------ N, 125, 133, 134. +------ olive, 135. +------ shades on wool, 123. + +Yolk, 7. + +Yorkshire grease, 26. + + +#Z.# + +Zambesi black B, 170, 181. +------- ----- D, 170, 180, 181. +------- ----- F, 171. +------- blue R A, 180, 181. +------- brown G, 171, 181. +------- ----- 2 G, 171. +------- dyes, 168. + +Zinc dust, 141. + + +The Aberdeen University Press Limited. + + + + +CATALOGUE (p. c01) + +Of + +_Special Technical Books_ + +For + +Manufacturers, Technical Students And +Workers, Schools, Colleges, Etc. + +By Expert Writers + + + +Index To Subjects. + + Page +Agricultural Chemistry........... 10 +Air, Industrial Use of........... 12 +Alum and its Sulphates............ 9 +Ammonia........................... 9 +Aniline Colours................... 3 +Animal Fats....................... 6 +Anti-corrosive Paints............. 4 +Architecture, Terms in........... 30 +Architectural Pottery............ 15 +Artificial Perfumes............... 7 +Balsams.......................... 10 +Bibliography..................... 32 +Bleaching........................ 23 +Bone Products..................... 8 +Bookbinding...................... 31 +Brick-making................. 15, 16 +Burnishing Brass................. 28 +Carpet Yarn Printing............. 21 +Ceramic Books................ 14, 15 +Charcoal.......................... 8 +Chemical Essays................... 9 +Chemistry of Pottery............. 16 +Chemistry of Dye-stuffs.......... 23 +Clay Analysis.................... 16 +Coal-dust Firing................. 26 +Colour Matching.................. 22 +Colliery Recovery Work........... 25 +Colour-mixing for Dyers.......... 22 +Colour Theory.................... 22 +Combing Machines................. 24 +Compounding Oils.................. 6 +Condensing Apparatus............. 26 +Cosmetics......................... 8 +Cotton Dyeing.................... 23 +Cotton Spinning.................. 24 +Damask Weaving................... 20 +Dampness in Buildings............ 30 +Decorators' Books................ 28 +Decorative Textiles.............. 20 +Dental Metallurgy................ 25 +Dictionary of Paint Materials..... 2 +Drying Oils....................... 5 +Drying with Air.................. 12 +Dyeing Marble.................... 31 +Dyeing Woollen Fabrics........... 23 +Dyers' Materials................. 22 +Dye-stuffs....................... 23 +Enamelling Metal................. 18 +Enamels.......................... 18 +Engraving........................ 31 +Essential Oils.................... 7 +Evaporating Apparatus............ 26 +External Plumbing................ 27 +Fats........................... 5, 6 +Faults in Woollen Goods.......... 21 +Gas Firing....................... 26 +Glass-making Recipes............. 16 +Glass Painting................... 17 +Glue Making and Testing........... 8 +Greases........................... 5 +Hat Manufacturing................ 20 +History of Staffs Potteries...... 16 +Hops............................. 28 +Hot-water Supply................. 28 +How to make a Woollen Mill Pay... 21 +India-rubber..................... 13 +Industrial Alcohol............... 10 +Inks.......................... 3, 11 +Iron-corrosion.................... 4 +Iron, Science of................. 26 +Japanning........................ 28 +Lace-Making...................... 20 +Lacquering....................... 28 +Lake Pigments..................... 2 +Lead and its Compounds........... 11 +Leather Industry................. 13 +Leather-working Materials........ 14 +Lithography...................... 31 +Lubricants..................... 5, 6 +Manures....................... 8, 10 +Mineral Pigments.................. 3 +Mine Ventilation................. 25 +Mine Haulage..................... 25 +Oil and Colour Recipes............ 3 +Oil Boiling....................... 5 +Oil Merchants' Manual............. 7 +Oils.............................. 5 +Ozone, Industrial Use of......... 12 +Paint Manufacture................. 2 +Paint Materials................... 3 +Paint-material Testing............ 4 +Paper-pulp Dyeing................ 17 +Petroleum......................... 6 +Pigments, Chemistry of............ 2 +Plumbers' Work................... 27 +Porcelain Painting............... 17 +Pottery Clays.................... 16 +Pottery Manufacture.............. 14 +Power-loom Weaving............... 19 +Preserved Foods.................. 30 +Printers' Ready Reckoner......... 31 +Printing Inks..................... 3 +Recipes for Oilmen, etc........... 3 +Resins........................... 10 +Risks of Occupations............. 11 +Riveting China, etc.............. 16 +Sanitary Plumbing................ 27 +Sealing Waxes.................... 11 +Silk Dyeing...................... 22 +Silk Throwing.................... 18 +Smoke Prevention................. 26 +Soaps............................. 7 +Spinning......................... 21 +Staining Marble, and Bone........ 31 +Steam Drying..................... 12 +Sugar Refining................... 32 +Steel Hardening.................. 26 +Sweetmeats....................... 30 +Terra-cotta...................... 15 +Testing Paint Materials........... 4 +Testing Yarns.................... 20 +Textile Fabrics.................. 20 +Textile Materials............ 19, 20 +Timber........................... 29 +Varnishes......................... 5 +Vegetable Fats.................... 7 +Waste Utilisation................ 10 +Water, Industrial Use............ 12 +Waterproofing Fabrics............ 21 +Weaving Calculations............. 21 +Wood Waste Utilisation........... 29 +Wood Dyeing...................... 31 +Wool Dyeing.................. 22, 23 +Writing Inks..................... 11 +X-Ray Work....................... 13 +Yarn Testing..................... 20 + + +Published By +Scott, Greenwood & Son, +8 Broadway, Ludgate Hill, +London, E.c. +Telegraphic Address, "Printeries, London". + + + + +#PAINTS, COLOURS AND PRINTING INKS.# (p. c02) + + +#THE CHEMISTRY OF PIGMENTS.# By Ernest J. PARRY, B.Sc. (Lond.), F.I.C., +F.C.S., and J. H. COSTE, F.I.C., F.C.S. Demy 8vo. Five Illustrations. +285 pp. Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. 3d. +abroad.) + +#Contents.# + +#Introductory.# Light -- White Light -- The Spectrum -- The Invisible +Spectrum -- Normal Spectrum -- Simple Nature of Pure Spectral Colour +-- The Recomposition of White Light -- Primary and Complementary +Colours -- Coloured Bodies -- Absorption Spectra -- #The Application of +Pigments.# Uses of Pigments: Artistic, Decorative, Protective -- +Methods of Application of Pigments: Pastels and Crayons, Water Colour, +Tempera Painting, Fresco, Encaustic Painting, Oil-colour Painting, +Keramic Art, Enamel, Stained and Painted Glass, Mosaic -- #Inorganic +Pigments.# White Lead -- Zinc White -- Enamel White -- Whitening -- Red +Lead -- Litharge -- Vermilion -- Royal Scarle t-- The Chromium Greens +-- Chromates of Lead, Zinc, Silver and Mercury -- Brunswick Green -- +The Ochres -- Indian Red -- Venetian Red -- Siennas and Umbers -- +Light Red -- Cappagh Brown -- Red Oxides -- Mars Colours -- Terre +Verte -- Prussian Brown -- Cobalt Colours -- Coeruleum -- Smalt -- +Copper Pigments -- Malachite -- Bremen Green -- Scheele's Green -- +Emerald Green -- Verdigris -- Brunswick Green -- Non-arsenical Greens +-- Copper Blues -- Ultramarine -- Carbon Pigments -- Ivory Black -- +Lamp Black -- Bistre -- Naples Yellow -- Arsenic Sulphides: Orpiment, +Realgar -- Cadmium Yellow -- Vandyck Brown -- #Organic Pigments.# +Prussian Blue -- Natural Lakes -- Cochineal -- Carmine -- Crimson -- +Lac Dye -- Scarlet -- Madder -- Alizarin -- Campeachy -- Quercitron -- +Rhamnus -- Brazil Wood -- Alkanet -- Santal Wood -- Archil -- Coal-tar +Lakes -- Red Lakes -- Alizarin Compounds -- Orange and Yellow Lakes -- +Green and Blue Lakes -- Indigo -- Dragon's Blood -- Gamboge -- Sepia +-- Indian Yellow, Puree -- Bitumen, Asphaltum, Mummy -- #Index.# + + +#THE MANUFACTURE OF PAINT.# A Practical Handbook +for Paint Manufacturers, Merchants and Painters. By J. CRUICKSHANK +SMITH, B.Sc. Demy 8vo. 200 pp. Sixty Illustrations and One Large +Diagram. Price 7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +Preparation of Raw Material -- Storing of Raw Material -- Testing and +Valuation of Raw Material -- Paint Plant and Machinery -- The Grinding +of White Lead -- Grinding of White Zinc -- Grinding of other White +Pigments -- Grinding of Oxide Paints -- Grinding of Staining Colours +-- Grinding of Black Paints -- Grinding of Chemical Colours -- Yellows +-- Grinding of Chemical Colours -- Blues -- Grinding Greens -- +Grinding Reds -- Grinding Lakes -- Grinding Colours in Water -- +Grinding Colours in Turpentine -- The Uses of Paint -- Testing and +Matching Paints -- Economic Considerations -- Index. + + +#DICTIONARY OF CHEMICALS AND RAW PRODUCTS USED IN THE MANUFACTURE OF +PAINTS, COLOURS, VARNISHES AND ALLIED PREPARATIONS.# By George H. +HURST, F.C.S. Demy 8vo. 380 pp. Price 7s. 6d. net. (Post free, 8s. +home; 8s. 6d. abroad.) + + +#THE MANUFACTURE OF LAKE PIGMENTS FROM ARTIFICIAL COLOURS.# By Francis +H. JENNISON, F.I.C., F.C.S. #Sixteen Coloured Plates, showing Specimens +of Eighty-nine Colours, specially prepared from the Recipes given in +the Book.# 136 pp. Demy 8vo. Price 7s. 6d. net. (Post free, 7s. 10d. +home; 8s. abroad.) + +#Contents.# + +The Groups of the Artificial Colouring Matters -- The Nature and +Manipulation of Artificial Colours -- Lake-forming Bodies for Acid +Colours -- Lake-forming Bodies' Basic Colours -- Lake Bases -- The +Principles of Lake Formation -- Red Lakes -- Orange, Yellow, Green, +Blue, Violet and Black Lakes -- The Production of Insoluble Azo +Colours in the Form of Pigments -- The General Properties of Lakes +Produced from Artificial Colours -- Washing, Filtering and Finishing +-- Matching and Testing Lake Pigments -- Index. + + +#THE MANUFACTURE OF MINERAL AND LAKE PIGMENTS.# Containing (p. c03) +Directions for the Manufacture of all Artificial, Artists and +Painters' Colours, Enamel, Soot and Metallic Pigments. A Text-book for +Manufacturers, Merchants, Artists and Painters. By Dr. Josef BERSCH. +Translated by A. C. WRIGHT, M.A. (Oxon.), B.Sc. (Lond.). Forty-three +Illustrations. 476 pp., demy 8vo. Price 12s. 6d. net. (Post free, 13s. +home; 13s. 6d. abroad.) + +#Contents.# + +Introduction -- Physico-chemical Behaviour of Pigments -- Raw +Materials Employed in the Manufacture of Pigments -- Assistant +Materials -- Metallic Compounds -- The Manufacture of Mineral Pigments +-- The Manufacture of White Lead -- Enamel White -- Washing Apparatus +-- Zinc White -- Yellow Mineral Pigments -- Chrome Yellow -- Lead +Oxide Pigments -- Other Yellow Pigments -- Mosaic Gold -- Red Mineral +Pigments -- The Manufacture of Vermilion -- Antimony Vermilion -- +Ferric Oxide Pigments -- Other Red Mineral Pigments -- Purple of +Cassius -- Blue Mineral Pigments -- Ultramarine -- Manufacture of +Ultramarine -- Blue Copper Pigments -- Blue Cobalt Pigments -- Smalts +-- Green Mineral Pigments -- Emerald Green -- Verdigris -- Chromium +Oxide -- Other Green Chromium Pigments -- Green Cobalt Pigments -- +Green Manganese Pigments -- Compounded Green Pigments -- Violet +Mineral Pigments -- Brown Mineral Pigments -- Brown Decomposition +Products -- Black Pigments -- Manufacture of Soot Pigments -- +Manufacture of Lamp Black -- The Manufacture of Soot Black without +Chambers -- Indian Ink -- Enamel Colours -- Metallic Pigments -- +Bronze Pigments -- Vegetable Bronze Pigments. + +PIGMENTS OF ORGANIC ORIGIN -- Lakes -- Yellow Lakes -- Red Lakes -- +Manufacture of Carmine -- The Colouring Matter of Lac -- Safflower or +Carthamine Red -- Madder and its Colouring Matters -- Madder Lakes -- +Manjit (Indian Madder) -- Lichen Colouring Matters -- Red Wood Lakes +-- The Colouring Matters of Sandal Wood and Other Dye Woods -- Blue +Lakes -- Indigo Carmine -- The Colouring Matter of Log Wood -- Green +Lakes -- Brown Organic Pigments -- Sap Colours -- Water Colours -- +Crayons -- Confectionery Colours -- The Preparation of Pigments for +Painting -- The Examination of Pigments -- Examination of Lakes -- The +Testing of Dye-Woods -- The Design of a Colour Works -- Commercial +Names of Pigments -- Appendix: Conversion of Metric to English Weights +and Measures -- Centigrade and Fahrenheit Thermometer Scales -- Index. + + +#RECIPES FOR THE COLOUR, PAINT, VARNISH, OIL, SOAP AND DRYSALTERY +TRADES.# Compiled by AN ANALYTICAL CHEMIST. 350 pp. Demy 8vo. Price 7s. +6d. net. (Post free, 8s. home; 8s. 3d. abroad.) + +#Contents.# + +Pigments or Colours for Paints, Lithographic and Letterpress Printing +Inks, etc. -- Mixed Paints and Preparations for Paint-making, +Painting, Lime-washing, Paperhanging, etc. -- Varnishes for +Coach-builders, Cabinetmakers, Wood-workers, Metal-workers, +Photographers, etc. -- Soaps for Toilet, Cleansing, Polishing, etc. -- +Perfumes -- Lubricating Greases, Oils, etc. -- Cements, Pastes, Glues +and Other Adhesive Preparations -- Writing, Marking, Endorsing and +Other Inks -- Sealing-wax and Office Requisites -- Preparations for +the Laundry, Kitchen, Stable and General Household Uses -- +Disinfectant Preparations -- Miscellaneous Preparations -- Index. + + +#OIL COLOURS AND PRINTERS' INKS.# By Louis Edgar ANDES. Translated from +the German. 215 pp. Crown 8vo. 56 Illustrations. Price 5s. net. (Post +free, 5s. 4d. home; 5s. 6d. abroad.) + +#Contents.# + +Linseed Oil -- Poppy Oil -- Mechanical Purification of Linseed Oil -- +Chemical Purification of Linseed Oil -- Bleaching Linseed Oil -- +Oxidizing Agents for Boiling Linseed Oil -- Theory of Oil Boiling -- +Manufacture of Boiled Oil -- Adulterations of Boiled Oil -- Chinese +Drying Oil and Other Specialities -- Pigments for House and Artistic +Painting and Inks -- Pigment for Printers' Black Inks -- Substitutes +for Lampblack -- Machinery for Colour Grinding and Rubbing -- Machines +for mixing Pigments with the Vehicle -- Paint Mills -- Manufacture of +House Oil Paints -- Ship Paints -- Luminous Paint -- Artists' Colours +-- Printers' Inks: -- VEHICLES -- Printers' Inks: -- PIGMENTS and +MANUFACTURE -- Index. + (_See also Writing Inks, p. 11._) + + +#THREE HUNDRED SHADES FOR DECORATORS AND HOW TO MIX THEM.# + (_See page 28._) + + +#CASEIN.# By Robert SCHERER. Translated from the German by (p. c04) +Chas. SALTER. Demy 8vo. Illustrated. 160 pp. Price 7s. 6d. net, (Post +free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +#Casein: its Origin, Preparation and Properties. Various Methods of +Preparing Casein. Composition and Properties of Casein. Casein Paints.# +-- "Marble-Lime" Colour for Outside Work -- Casein Enamel Paint -- +Casein Facade Paint -- Cold-Water Paint in Powder Form -- Kistory's +Recipe for Casein Paint and Varnish -- Pure Casein Paints for Walls, +etc. -- Casein Paints for Woodwork and Iron -- Casein-Silicate Paints +-- Milk Paints -- Casein-Silicate Paint Recipes -- Trojel's Boiled Oil +Substitute -- Calsomine Wash -- Quick-Drying Casein Paint -- Boiled +Oil Substitute -- Ring's Cold-Water Paint -- Formo-lactin -- +Waterproof Paint for Playing Cards -- Casein Colour Lake -- +Casein-Cement Paint. #The Technics of Casein Painting. Casein Adhesives +and Putties.# -- Casein Glue in Plates or Flakes -- Jeromin's Casein +Adhesive -- Hall's Casein Glue -- Waterproof Glue -- Liquid Casein +Glue -- Casein and Borax Glue -- Solid Casein Adhesive -- Casein +Solution -- Glue Powder -- Casein Putties -- Washable Cement for Deal +Boards -- Wenk's Casein Cement -- Casein and Lime Cement "Pitch Barm" +-- Casein Stopping -- Casein Cement for Stone. #The Preparation of +Plastic Masses from Casein.# -- Imitation Ivory -- Anti-Radiation and +Anti-Corrosive Composition -- Dickmann's Covering for Floors and Walls +-- Imitation Linoleum -- Imitation Leather -- Imitation Bone -- +Plastic Mass of Keratin and Casein -- Insulating Mass -- Plastic +Casein Masses -- Horny Casein Mass -- Plastic Mass from Celluloid -- +Casein Cellulose Composition -- Fire-proof Cellulose Substitute -- +Nitrocellulose and Casein Composition -- Franquet's Celluloid +Substitute -- Galalith. #Uses of Casein in the Textile Industry, for +Finishing Colour Printing, etc.# -- Caseogum -- "Glutin" -- Casein +Dressing for Linen and Cotton Fabrics -- Printing Colour with Metallic +Lustre -- Process for Softening, Sizing and Loading -- Fixing Casein +and Other Albuminoids on the Fibre -- Fixing Insoluble Colouring +Matters -- Waterproofing and Softening Dressing -- Casein for +Mercerising Crepe -- Fixing Zinc White on Cotton with Formaldehyde -- +Casein-Magnesia -- Casein Medium for Calico Printing -- Loading Silk. +#Casein Foodstuffs.# -- Casein Food -- Synthetic Milk -- Milk Food -- +Emulsifiable Casein -- Casein Phosphate for Baking -- Making Bread, +Low in Carbohydrates, from Flour and Curd -- Preparing Soluble Casein +Compounds with Citrates -- Casein Food. #Sundry Applications of Casein.# +-- Uses of Casein in the Paper Industry -- Metachromotype Paper -- +Sizing Paper with Casein -- Waterproofing Paper -- Casein Solution for +Coating Paper -- Horn's Clear Solution of Casein -- Water- and +Fire-proof Asbestos Paper and Board -- Paper Flasks, etc., for Oils +and Fats -- Washable Drawing and Writing Paper--Paper Wrappering for +Food, Clothing, etc. -- Paint Remover -- Casein Photographic Plates -- +Wood-Cement Roofing Pulp -- Cask Glaze of Casein and Formaldehyde -- +Artists' Canvas -- Solidifying Mineral Oils -- Uses of Casein in +Photography -- Casein Ointment -- Clarifying Glue with Casein -- +Casein in Soap-making -- Casein-Albumose Soap -- Casein in Sheets, +Blocks, etc. -- Waterproof Casein. + + +#SIMPLE METHODS FOR TESTING PAINTERS' MATERIALS.# By A. C. WRIGHT, M.A. +(Oxon.), B.Sc. (Lond.). Crown 8vo. 160 pp. #Price# 5s. net. (Post free, +5s. 3d. home; 5s. 6d. abroad.) + +#Contents.# + +Necessity for Testing -- Standards -- Arrangement -- The Apparatus -- +The Reagents -- Practical Tests -- Dry Colours -- Stiff Paints -- +Liquid and Enamel Paints -- Oil Varnishes -- Spirit Varnishes -- +Driers -- Putty -- Linseed Oil -- Turpentine -- Water Stains -- The +Chemical Examination -- Dry Colours and Paints -- White Pigments and +Paints -- Yellow Pigments and Paints -- Blue Pigments and Paints -- +Green Pigments and Paints -- Red Pigments and Paints -- Brown Pigments +and Paints -- Black Pigments and Paints -- Oil Varnishes -- Linseed +Oil -- Turpentine. + + +#IRON-CORROSION, ANTI-FOULING AND ANTI-CORROSIVE PAINTS.# Translated +from the German of Louis Edgar ANDES. Sixty-two Illustrations. 275 pp. +Demy 8vo. Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. 3d. +abroad.) + +#Contents.# + +Iron-rust and its Formation -- Protection from Rusting by Paint -- +Grounding the Iron with Linseed Oil, etc. -- Testing Paints -- Use of +Tar for Painting on Iron -- Anti-corrosive Paints -- Linseed Varnish +-- Chinese Wood Oil -- Lead Pigments -- Iron Pigments -- Artificial +Iron Oxides -- Carbon -- Preparation of Anti-corrosive Paints -- +Results of Examination of Several Anti-corrosive Paints -- Paints for +Ship's Bottoms -- Anti-fouling Compositions -- Various Anti-corrosive +and Ship's Paints -- Official Standard Specifications for Ironwork +Paints -- Index. + + +#THE TESTING AND VALUATION OF RAW MATERIALS USED IN PAINT AND COLOUR +MANUFACTURE.# By M. W. JONES, F.C.S. A Book for the Laboratories of +Colour Works. 88 pp. Crown 8vo. Price 5s. net. (Post free, 5s. 3d. +home and abroad.) + +#Contents.# (p. c05) + +Aluminium Compounds -- China Clay -- Iron Compounds -- Potassium +Compounds -- Sodium Compounds -- Ammonium Hydrate -- Acids -- Chromium +Compounds -- Tin Compounds -- Copper Compounds -- Lead Compounds -- +Zinc Compounds -- Manganese Compounds -- Arsenic Compounds -- Antimony +Compounds -- Calcium Compounds -- Barium Compounds -- Cadmium +Compounds -- Mercury Compounds -- Ultramarine -- Cobalt and Carbon +Compounds -- Oils -- Index. + + +#STUDENTS' HANDBOOK OF PAINTS, COLOURS, OILS AND VARNISHES.# By John +FURNELL. Crown 8vo. 12 Illustrations. 96 pp. Price 2s. 6d. net. (Post +free, 2s. 9d. home and abroad.) + +#Contents.# + +Plant -- Chromes -- Blues -- Greens -- Earth Colours -- Blacks -- Reds +-- Lakes -- Whites -- Painters' Oils -- Turpentine -- Oil Varnishes -- +Spirit Varnishes -- Liquid Paints -- Enamel Paints. + + + +#VARNISHES AND DRYING OILS.# + + +#OIL CRUSHING, REFINING AND BOILING, THE MANUFACTURE OF LINOLEUM, +PRINTING AND LITHOGRAPHIC INKS, AND INDIA-RUBBER SUBSTITUTES.# By John +GEDDES MCINTOSH. Being Volume I. of the Second, greatly enlarged, +English Edition, in three Volumes, of "The Manufacture of Varnishes +and Kindred Industries," based on and including the work of Ach. +Livache. Demy 8vo. 150 pp. 29 Illustrations. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +Oil Crushing and Refining; Oil Boiling -- Theoretical and Practical; +Linoleum Manufacture; Printing Ink Manufacture; Rubber Substitutes; +The Manufacture of Driers; The Detection of Adulteration in Linseed +and other Drying Oils by Chemical, Physical and Organoleptic Methods. + + +#DRYING OILS, BOILED OIL AND SOLID AND LIQUID DRIERS.# By L. E. ANDES. +Expressly Written for this Series of Special Technical Books, and the +Publishers hold the Copyright for English and Foreign Editions. +Forty-two Illustrations. 342 pp. Demy 8vo. Price 12s. 6d. net. (Post +free, 13s. home; 13s. 3d. abroad.) + +#Contents.# + +Properties of the Drying Oils; Cause of the Drying Property; +Absorption of Oxygen; Behaviour towards Metallic Oxides, etc. -- The +Properties of and Methods for obtaining the Drying Oils -- Production +of the Drying Oils by Expression and Extraction; Refining and +Bleaching; Oil Cakes and Meal; The Refining and Bleaching of the +Drying Oils; The Bleaching of Linseed Oil -- The Manufacture of Boiled +Oil; The Preparation of Drying Oils for Use in the Grinding of Paints +and Artists' Colours and in the Manufacture of Varnishes by Heating +over a Fire or by Steam, by the Cold Process, by the Action of Air, +and by Means of the Electric Current; The Driers used in Boiling +Linseed Oil; The Manufacture of Boiled Oil and the Apparatus therefor; +Livache's Process for Preparing a Good Drying Oil and its Practical +Application -- The Preparation of Varnishes for Letterpress, +Lithographic and Copperplate Printing, for Oilcloth and Waterproof +Fabrics; The Manufacture of Thickened Linseed Oil, Burnt Oil, Stand +Oil by Fire Heat, Superheated Steam, and by a Current of Air -- +Behaviour of the Drying Oils and Boiled Oils towards Atmospheric +Influences, Water, Acids and Alkalies -- Boiled Oil Substitutes -- The +Manufacture of Solid and Liquid Driers from Linseed Oil and Rosin; +Linolic Acid Compounds of the Driers -- The Adulteration and +Examination of the Drying Oils and Boiled Oil. + + + +#OILS, FATS, GREASES, PETROLEUM.# + + +#LUBRICATING OILS, FATS AND GREASES:# Their Origin, Preparation, +Properties, Uses and Analyses. A Handbook for Oil Manufacturers, +Refiners and Merchants, and the Oil and Fat Industry in General. By +George H. HURST, F.C.S. Second Revised and Enlarged Edition. +Sixty-five Illustrations. 317 pp. Demy 8vo. Price 10s. 6d. net. (Post +free, 11s. home; 11s. 3d. abroad.) + +#Contents.# + +#Introductory -- Hydrocarbon Oils -- Scotch Shale Oils -- Petroleum -- +Vegetable and Animal Oils -- Testing and Adulteration of Oils -- +Lubricating Greases -- Lubrication -- Appendices -- Index.# + + +#TECHNOLOGY OF PETROLEUM:# Oil Fields of the World -- Their (p. c06) +History, Geography and Geology -- Annual Production and Development -- +Oil-well Drilling -- Transport. By Henry NEUBERGER and Henry NOALHAT. +Translated from the French by J. G. McINTOSH. 550 pp. 153 +Illustrations. 26 Plates. Super Royal 8vo. Price 21s. net. (Post free, +21s. 9d. home; 23s. 6d. abroad.) + +#Contents.# + +#Study of the Petroliferous Strata.# + +#Excavations#--Hand Excavation or Hand Digging of Oil Wells. + +#Methods of Boring.# + +#Accidents# -- Boring Accidents -- Methods of preventing them -- Methods +of remedying them -- Explosives and the use of the "Torpedo" +Levigation -- Storing and Transport of Petroleum -- General Advice -- +Prospecting, Management and carrying on of Petroleum Boring +Operations. + +#General Data -- Customary Formulae# -- Memento. Practical Part. General +Data bearing on Petroleum -- Glossary of Technical Terms used in the +Petroleum Industry -- Copious Index. + + +#THE PRACTICAL COMPOUNDING OF OILS, TALLOW AND GREASE FOR LUBRICATION, +ETC.# By AN EXPERT OIL REFINER. 100 pp. Demy 8vo. Price 7s. 6d. net. +(Post free. 7s. 10d. home; 8s. abroad.) + +#Contents.# + +#Introductory Remarks# on the General Nomenclature of Oils, Tallow and +Greases suitable for Lubrication -- #Hydrocarbon Oils -- Animal and +Fish Oils -- Compound Oils -- Vegetable Oils -- Lamp Oils -- Engine +Tallow, Solidified Oils and Petroleum Jelly -- Machinery Greases: Loco +and Anti-friction -- Clarifying and Utilisation of Waste Fats, Oils, +Tank Bottoms, Drainings of Barrels and Drums, Pickings Up, Dregs, etc. +-- The Fixing and Cleaning of Oil Tanks, etc. -- Appendix and General +Information.# + + +#ANIMAL FATS AND OILS:# Their Practical Production, Purification and +Uses for a great Variety of Purposes. Their Properties, Falsification +and Examination. Translated from the German of Louis Edgar ANDES. +Sixty-two Illustrations. 240 pp. Second Edition, Revised and Enlarged. +Demy 8vo. Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. 3d. +abroad.) + +#Contents.# + +Introduction -- Occurrence, Origin, Properties and Chemical +Constitution of Animal Fats -- Preparation of Animal Fats and Oils -- +Machinery -- Tallow-melting Plant -- Extraction Plant -- Presses -- +Filtering Apparatus -- Butter: Raw Material and Preparation, +Properties, Adulterations, Beef Lard or Remelted Butter, Testing -- +Candle-fish Oil -- Mutton-Tallow -- Hare Fat -- Goose Fat -- Neatsfoot +Oil -- Bone Fat: Bone Boiling, Steaming Bones, Extraction, Refining -- +Bone Oil -- Artificial Butter: Oleomargarine, Margarine Manufacture in +France, Grasso's Process, "Kaiser's Butter," Jahr & Muenzberg's Method, +Filbert's Process, Winter's Method -- Human Fat -- Horse Fat -- Beef +Marrow -- Turtle Oil -- Hog's Lard: Raw Material -- Preparation, +Properties, Adulterations, Examination -- Lard Oil -- Fish Oils -- +Liver Oils -- Artificial Train Oil -- Wool Fat: Properties, Purified +Wool Fat -- Spermaceti: Examination of Fats and Oils in General. + + +#THE MANUFACTURE OF LUBRICANTS, SHOE POLISHES AND LEATHER DRESSINGS.# By +Richard BRUNNER. Translated from the Sixth German Edition by Chas. +SALTER. 10 Illustrations. Crown 8vo. 170 pp. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +The Manufacture of Lubricants and Greases -- Properties of the Bodies +used as Lubricants -- Raw Materials for Lubricants -- Solid Lubricants +-- Tallow Lubricants -- Palm Oil Greases -- Lead Soap Lubricants -- +True Soap Greases -- Caoutchouc Lubricants -- Other Solid Lubricants +-- Liquid Lubricants -- Lubricating Oils in General -- Refining Oils +for Lubricating Purposes -- Cohesion Oils -- Resin Oils -- Lubricants +of Fat and Resin Oil -- Neatsfoot Oil -- Bone Fat -- Lubricants for +Special Purposes -- Mineral Lubricating Oils -- Clockmakers' and +Sewing Machine Oils -- The Application of Lubricants to Machinery -- +Removing Thickened Grease and Oil -- Cleaning Oil Rags and Cotton +Waste -- The Use of Lubricants -- Shoe Polishes and Leather Softening +Preparations -- The Manufacture of Shoe Polishes and Preparations for +Varnishing and Softening Leather -- The Preparation of Bone Black -- +Blacking and Shoe Polishes -- Leather Varnishes -- Leather Softening +Preparations -- The Manufacture of Degras. + + +#THE OIL MERCHANTS' MANUAL AND OIL TRADE READY RECKONER.# (p. c07) +Compiled by Frank P. SHERRIFF. Second Edition Revised and Enlarged. +Demy 8vo. 214 pp. 1904. With Two Sheets of Tables. Price 7s. 6d. net. +(Post free, 7s. 10d. home; 8s. 3d. abroad.) + +#Contents.# + +Trade Terms and Customs -- Tables to Ascertain Value of Oil sold +per cwt. or ton -- Specific Gravity Tables -- Percentage Tare Tables +-- Petroleum Tables -- Paraffine and Benzoline Calculations -- +Customary Drafts -- Tables for Calculating Allowance for Dirt, Water, +etc. -- Capacity of Circular Tanks Tables, etc., etc. + + +#VEGETABLE FATS AND OILS:# Their Practical Preparation. Purification and +Employment for Various Purposes, their Properties, Adulteration and +Examination. Translated from the German of Louis Edgar ANDES. +Ninety-four Illustrations. 340 pp. Second Edition. Demy 8vo. Price +10s. 6d. net. (Post free, 11s. home; 11s. 6d. abroad.) + +#Contents.# + +#General Properties# -- #Estimation of the Amount of Oil in Seeds# -- +#The Preparation of Vegetable Fats and Oils# -- Apparatus for Grinding +Oil Seeds and Fruits -- #Installation of Oil and Fat Works# -- Extraction +Method of Obtaining Oils and Fats -- Oil Extraction Installations -- +Press Moulds -- #Non-drying Vegetable Oils# -- #Vegetable drying Oils# +-- #Solid Vegetable Fats# -- Fruits Yielding Oils and Fats -- +Wool-softening Oils -- Soluble Oils -- Treatment of the Oil after +Leaving the Press -- Improved Methods of Refining -- #Bleaching Fats +and Oils# -- Practical Experiments on the Treatment of Oils with regard +to Refining and Bleaching -- Testing Oils and Fats. + + + +#ESSENTIAL OILS AND PERFUMES.# + + +#THE CHEMISTRY OF ESSENTIAL OILS AND ARTIFICIAL PERFUMES.# By Ernest J. +PARRY, B.Sc. (Lond.), F.I.C., F.C.S. 411 pp. 20 Illustrations. Demy +8vo. Price 12s. 6d. net. (Post free, 13s. home; 13s. 6d. abroad.) + +#Contents.# + +#The General Properties of Essential Oils# -- Compounds #occurring in +Essential Oils# -- #The Preparation of Essential Oils# -- #The Analysis of +Essential Oils# -- #Systematic Study of the Essential Oils# -- +#Terpeneless Oils# -- #The Chemistry of Artificial Perfumes# -- #Appendix:# +Table of Constants -- #Index#. + + + +#SOAPS.# + + +#SOAPS.# A Practical Manual of the Manufacture of Domestic, Toilet and +other Soaps. By George H. HURST, F.C.S. 390 pp. 66 Illustrations. +Price 12s. 6d. net. (Post free, 13s. home; 13s. 6d. abroad.) + +#Contents.# + +#Introductory -- Soap-maker's Alkalies -- Soap Fats and Oils -- +Perfumes -- Water as a Soap Material -- Soap Machinery -- Technology +of Soap-making -- Glycerine in Soap Lyes -- Laying out a Soap Factory +-- Soap Analysis -- Appendices.# + + +#TEXTILE SOAPS AND OILS.# Handbook on the Preparation, Properties and +Analysis of the Soaps and Oils used in Textile Manufacturing, Dyeing +and Printing. By George H. HURST, F.C.S. Crown 8vo. 195 pp. 1904. +Price 5s. net. (Post free, 5s. 4d. home; 5s. 6d. abroad.) + +#Contents#. + +#Methods of Making Soaps# -- Hard Soap -- Soft Soap. #Special Textile +Soaps# -- Wool Soaps -- Calico Printers' Soaps -- Dyers' Soaps. +#Relation of Soap to Water for Industrial Purposes# -- Treating Waste +Soap Liquors -- Boiled Off Liquor -- Calico Printers and Dyers' Soap +Liquors -- #Soap Analysis# -- #Fat in Soap#. + +ANIMAL AND VEGETABLE OILS AND FATS -- Tallow -- Lard -- Bone +Grease-Tallow Oil. #Vegetable Soap, Oils and Fats# -- Palm Oil -- +Coco-nut Oil -- Olive Oil -- Cottonseed Oil -- Linseed Oil -- Castor +Oil -- Corn Oil -- Whale Oil or Train Oil -- Repe Oil. + +GLYCERINE. + +TEXTILE OILS -- Oleic Acid -- Blended Wool Oils -- Oils for Cotton +Dyeing, Printing and Finishing -- Turkey Red Oil -- Alizarine Oil -- +Oleine -- Oxy Turkey Red Oils -- Soluble Oil-Analysis of Turkey Red +Oil -- Finisher's Soluble Oil -- Finisher's Soap Softening -- Testing +and Adulteration of Oils -- Index. + + + +COSMETICAL PREPARATIONS. (p. c08) + + +#COSMETICS: MANUFACTURE, EMPLOYMENT AND TESTING OF ALL COSMETIC +MATERIALS AND COSMETIC SPECIALITIES.# Translated from the German of Dr. +Theodor KOLLER. Crown 8vo. 262 pp. Price 5s. net. (Post free, 5s. 4d. +home; 5s. 6d. abroad.) + +#Contents.# + +Purposes and Uses of, and Ingredients used in the Preparation of +Cosmetics -- Preparation of Perfumes by Pressure, Distillation, +Maceration, Absorption or Enfleurage, and Extraction Methods -- +Chemical and Animal Products used in the Preparation of Cosmetics -- +Oils and Fats used in the Preparation of Cosmetics -- General Cosmetic +Preparations -- Mouth Washes and Tooth Pastes -- Hair Dyes, Hair +Restorers and Depilatories -- Cosmetic Adjuncts and Specialities -- +Colouring Cosmetic Preparations -- Antiseptic Washes and Soaps -- +Toilet and Hygienic Soaps -- Secret Preparations for Skin, Complexion, +Teeth, Mouth, etc. -- Testing and Examining the Materials Employed in +the Manufacture of Cosmetics -- Index. + + + +GLUE, BONE PRODUCTS AND MANURES. + + +#GLUE AND GLUE TESTING.# By Samuel RIDEAL, D.Sc. (Lond.), F.I.C. +Fourteen Engravings. 144 pp. Demy 8vo. Price 10s. 6d. net. (Post free, +10s. 10d. home; 11s. abroad.) + +#Contents.# + +#Constitution and Properties:# Definitions and Sources, Gelatine, +Chondrin and Allied Bodies, Physical and Chemical Properties, +Classification, Grades and Commercial Varieties -- #Raw Materials and +Manufacture:# Glue Stock, Lining, Extraction, Washing and Clarifying, +Filter Presses, Water Supply, Use of Alkalies, Action of Bacteria and +of Antiseptics, Various Processes, Cleansing, Forming, Drying, +Crushing, etc., Secondary Products -- #Uses of Glue:# Selection and +Preparation for Use, Carpentry, Veneering, Paper-Making, Bookbinding, +Printing Rollers, Hectographs, Match Manufacture, Sandpaper, etc., +Substitutes for other Materials, Artificial Leather and Caoutchouc -- +#Gelatine:# General Characters, Liquid Gelatine, Photographic Uses, +Size, Tanno-, Chrome and Formo-Gelatine, Artificial Silk, Cements, +Pneumatic Tyres, Culinary, Meat Extracts, Isinglass, Medicinal and +other Uses, Bacteriology -- #Glue Testing:# Review of Processes, +Chemical Examination, Adulteration, Physical Tests, Valuation of Raw +Materials -- #Commercial Aspects#. + + +#BONE PRODUCTS AND MANURES:# An Account of the most recent Improvements +in the Manufacture of Fat, Glue, Animal Charcoal, Size, Gelatine and +Manures. By Thomas LAMBERT, Technical and Consulting Chemist. +Illustrated by Twenty-one Plans and Diagrams. 162 pp. Demy 8vo. Price +7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +Chemical Composition of Bones -- Arrangement of Factory -- Properties +of Glue -- Glutin and Chondrin -- Skin Glue -- Liming of Skins -- +Washing -- Boiling of Skins -- Clarification of Glue Liquors -- +Glue-Boiling and Clarifying-House -- Specification of a Glue -- Size +-- Uses and Preparation and Composition of Size -- Concentrated Size +-- Properties of Gelatine -- Preparation of Skin Gelatine -- Drying -- +Bone Gelatine -- Selecting Bones -- Crushing -- Dissolving -- +Bleaching -- Boiling -- Properties of Glutin and Chondrin -- Testing +of Glues and Gelatines -- The Uses of Glue, Gelatine and Size in +Various Trades -- Soluble and Liquid Glues -- Steam and Waterproof +Glues -- #Manures# -- Importation of Food Stuffs -- Soils -- Germination +-- Plant Life -- #Natural Manures# -- Water and Nitrogen in Farmyard +Manure -- Full Analysis of Farmyard Manure -- Action on Crops -- +Water-Closet System -- Sewage Manure -- Green Manures -- #Artificial +Manures# -- #Mineral Manures# -- Nitrogenous Matters -- Shoddy -- Hoofs +and Horns -- Leather Waste -- Dried Meat -- Dried Blood -- +Superphosphates -- Composition -- Manufacture -- Common Raw Bones -- +Degreased Bones -- Crude Fat -- Refined Fat -- Degelatinised Bones -- +Animal Charcoal -- Bone Superphosphates -- Guanos -- Dried Animal +Products -- Potash Compounds -- Sulphate of Ammonia -- Extraction in +Vacuo -- French and British Gelatines compared -- Index. + + + +CHEMICALS, WASTE PRODUCTS AND AGRICULTURAL CHEMISTRY. (p. c09) + + +REISSUE OF #CHEMICAL ESSAYS OF C. W. SCHEELE#. First Published in English +in 1786. Translated from the Academy of Sciences at Stockholm, with +Additions. 300 pp. Demy 8vo, Price 5s. net. (Post free, 5s. 6d. home; +5s. 9d. abroad.) + +#Contents.# + +Memoir: C. W. Scheele and his work (written for this edition by J. G. +McIntosh) -- On Fluor Mineral and its Acid -- On Fluor Mineral -- +Chemical Investigation of Fluor Acid, with a View to the Earth which +it Yields, by Mr. Wiegler -- Additional Information Concerning Fluor +Minerals -- On Manganese, Magnesium, or Magnesia Vitrariorum -- On +Arsenic and its Acid -- Remarks upon Salts of Benzoin--On Silex, Clay +and Alum -- Analysis of the Calculus Vesical -- Method of Preparing +Mercurius Dulcis Via Humida -- Cheaper and more Convenient Method of +Preparing Pulvis Algarothi -- Experiments upon Molybdaena -- +Experiments on Plumbago -- Method of Preparing a New Green Colour -- +Of the Decomposition of Neutral Salts by Unslaked Lime and Iron -- On +the Quantity of Pure Air which is Daily Present in our Atmosphere -- +On Milk and its Acid -- On the Acid of Saccharum Lactis -- On the +Constituent Parts of Lapis Ponderosus or Tungsten -- Experiments and +Observations on Ether -- Index. + + +#THE MANUFACTURE OF ALUM AND THE SULPHATES AND OTHER SALTS OF ALUMINA +AND IRON.# Their Uses and Applications as Mordants in Dyeing and Calico +Printing, and their other Applications in the Arts, Manufactures, +Sanitary Engineering, Agriculture and Horticulture. Translated from +the French of Lucien GESCHWIND. 195 Illustrations. 400 pp. Royal 8vo. +Price 12s. 6d. net. (Post free, 13s. home; 13s. 6d. abroad.) + +#Contents.# + +#Theoretical Study of Aluminium, Iron, and Compounds of these Metals# -- +Aluminium and its Compounds -- Iron and Iron Compounds. + +#Manufacture of Aluminium Sulphates and Sulphates of Iron# -- Manufacture +of Aluminium Sulphate and the Alums -- Manufacture of Sulphates of +Iron. + +#Uses of the Sulphates of Aluminium and Iron# -- Uses of Aluminium +Sulphate and Alums -- Application to Wool and Silk -- Preparing and +using Aluminium Acetates -- Employment of Aluminium Sulphate in +Carbonising Wool -- The Manufacture of Lake Pigments -- Manufacture of +Prussian Blue -- Hide and Leather Industry -- Paper Making -- +Hardening Plaster -- Lime Washes -- Preparation of Non-inflammable +Wood, etc. -- Purification of Waste Waters. -- #Uses and Applications +of Ferrous Sulphate and Ferric Sulphates# -- Dyeing -- Manufacture of +Pigments -- Writing Inks -- Purification of Lighting Gas -- +Agriculture -- Cotton Dyeing -- Disinfectant -- Purifying Waste +Liquors -- Manufacture of Nordhausen Sulphuric Acid -- Fertilising. + +#Chemical Characteristics of Iron and Aluminium# -- #Analysis of Various +Aluminous or Ferruginous Products# -- Aluminium -- #Analysing Aluminium +Products# --Alunite Alumina -- Sodium Aluminate -- Aluminium Sulphate +-- #Iron# -- Analytical Characteristics of Iron Salts -- Analysis of +Pyritic Lignite -- Ferrous and Ferric Sulphates -- Rouil Mordant -- +Index. + + +#AMMONIA AND ITS COMPOUNDS:# Their Manufacture and Uses. By Camille +VINCENT, Professor at the Central School of Arts and Manufactures, +Paris. Translated from the French by M. J. SALTER. Royal 8vo. 114 pp. +Thirty-two Illustrations. Price 5s. net. (Post free, 5s. 4d. home; 5s. +6d. abroad.) + +#Contents.# + +#General Considerations#: Various Sources of Ammoniacal Products; Human +Urine as a Source of Ammonia -- #Extraction of Ammoniacal Products from +Sewage# -- #Extraction of Ammonia from Gas Liquor# -- #Manufacture of +Ammoniacal Compounds from Bones, Nitrogenous Waste, Beetroot Wash and +Peat# -- #Manufacture of Caustic Ammonia, and Ammonium Chloride, +Phosphate and Carbonate# -- #Recovery of Ammonia from the Ammonia-Soda +Mother Liquors# -- #Index#. + + +#INDUSTRIAL ALCOHOL.# A Practical Manual on the Production and (p. c10) +Use of Alcohol for Industrial Purposes and for Use as a Heating Agent, +as an Illuminant and as a Source of Motive Power. By J. G. M'INTOSH, +Lecturer on Manufacture and Applications of Industrial Alcohol at The +Polytechnic, Regent Street, London. Demy 8vo. 1907. 250 pp. With 75 +Illustrations and 25 Tables. Price 7s. 6d. net. (Post free, 7s. 9d. +home; 8s. abroad.) + +#Contents.# + +#Alcohol and its Properties.# -- Ethylic Alcohol -- Absolute Alcohol -- +Adulterations -- Properties of Alcohol -- Fractional Distillation -- +Destructive Distillation -- Products of Combustion -- Alcoholometry -- +Proof Spirit -- Analysis of Alcohol -- Table showing Correspondence +between the Specific Gravity and Per Cents. of Alcohol over and under +Proof -- Other Alcohol Tables. #Continuous Aseptic and Antiseptic +Fermentation and Sterilisation in Industrial Alcohol Manufacture.# #The +Manufacture of Industrial Alcohol from Beets.# -- Beet Slicing Machines +-- Extraction of Beet Juice by Maceration, by Diffusion -- +Fermentation in Beet Distilleries -- Plans of Modern Beet Distillery, +#The Manufacture of Industrial Alcohol from Grain.# -- Plan of Modern +Grain Distillery. #The Manufacture of Industrial Alcohol from Potatoes.# +#The Manufacture of Industrial Alcohol from Surplus Stocks of Wine#, +Spoilt Wine, Wine Marcs, and from Fruit in General. The Manufacture of +Alcohol from the Sugar Cane and Sugar Cane Molasses -- Plans. #Plant, +etc., for the Distillation and Rectification of Industrial Alcohol.# -- +The Caffey and other "Patent" Stills -- Intermittent versus Continuous +Rectification -- Continuous Distillation -- Rectification of Spent +Wash. #The Manufacture and Uses of Various Alcohol Derivatives#, Ether, +Haloid Ethers, Compound Ethers, Chloroform -- Methyl and Amyl Alcohols +and their Ethereal Salts, Acetone -- Barbet's Ether, Methyl Alcohol +and Acetone Rectifying Stills. #The Uses of Alcohol in Manufactures, +etc.# -- List of Industries in which Alcohol is used, with Key to +Function of Alcohol in each Industry. #The Uses of Alcohol for +Lighting, Heating, and Motive Power.# + + +#ANALYSIS OF RESINS AND BALSAMS.# Translated from the German of Dr. Karl +DIETERICH. Demy 8vo. 340 pp. Price 7s. 6d. net. (Post free, 7s. 10d. +home; 8s. 3d. abroad.) + + +#MANUAL OF AGRICULTURAL CHEMISTRY.# By Herbert INGLE, F.I.C., Lecturer +on Agricultural Chemistry, the Yorkshire College; Lecturer in the +Victoria University. 388 pp. 11 Illustrations. Demy 8vo. Price 7s. 6d. +net. (Post free, 8s. home; 8s. 6d. abroad.) + +#Contents.# + +Introduction -- The Atmosphere -- The Soil -- The Reactions occurring +in Soils -- The Analysis of Soils -- Manures, Natural -- Manures +(continued) -- The Analysis of Manures -- The Constituents of Plants +-- The Plant -- Crops -- The Animal -- Foods and Feeding -- Milk and +Milk Products -- The Analysis of Milk and Milk Products -- +Miscellaneous Products used in Agriculture -- Appendix -- Index. + + +#THE UTILISATION OF WASTE PRODUCTS.# A Treatise on the Rational +Utilisation, Recovery and Treatment of Waste Products of all kinds. By +Dr. Theodor KOLLER. Translated from the Second Revised German Edition. +Twenty-two Illustrations. Demy 8vo. 280 pp. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. 3d. abroad.) + +#Contents.# + +The Waste of Towns -- #Ammonia and Sal-Ammoniac# -- Rational Processes +for Obtaining these Substances by Treating Residues and Waste -- +Residues in the Manufacture of Aniline Dyes -- Amber Waste -- Brewers' +Waste -- Blood and Slaughter-House Refuse -- Manufactured Fuels -- +Waste Paper and Bookbinders' Waste -- Iron Slags -- Excrement -- +Colouring Matters from Waste -- Dyers' Waste Waters -- Fat from Waste +-- Fish Waste -- Calamine Sludge -- Tannery Waste -- Gold and Silver +Waste -- India-rubber and Caoutchouc Waste -- Residues in the +Manufacture of Rosin Oil -- Wood Waste -- Horn Waste -- Infusorial +Earth -- Iridium from Goldsmiths' Sweepings -- Jute Waste -- Cork +Waste -- Leather Waste -- Glue Makers' Waste -- Illuminating Gas from +Waste and the By-Products of the Manufacture of Coal Gas -- Meerschum +-- Molasses--Metal Waste -- By-Products in the Manufacture of Mineral +Waters -- Fruit -- The By-Products of Paper and Paper Pulp Works -- +By-Products in the Treatment of Coal Tar Oils -- Fur Waste -- The +Waste Matter in the Manufacture of Parchment Paper -- Mother of Pearl +Waste -- Petroleum Residues -- Platinum Residues -- Broken Porcelain, +Earthenware and Glass -- Salt Waste -- Slate Waste -- Sulphur -- Burnt +Pyrites -- Silk Waste -- Soap Makers' Waste -- Alkali Waste and the +Recovery of Soda--Waste Produced in Grinding Mirrors -- Waste Products +in the Manufacture of Starch -- Stearic Acid -- Vegetable Ivory Waste +-- Turf -- Waste Waters of Cloth Factories -- Wine Residues -- +Tinplate Waste -- Wool Waste -- Wool Sweat -- The Waste Liquids from +Sugar Works -- Index. + + + +#WRITING INKS AND SEALING WAXES.# (p. c11) + + +#INK MANUFACTURE:# Including Writing, Copying, Lithographic, Marking, +Stamping, and Laundry Inks. By Sigmund LEHNER. Three Illustrations. +Crown 8vo. 162 pp. Translated from the German of the Fifth Edition. +Price 5s. net. (Post free, 5s. 3d. home; 5s. 6d. abroad.) + +#Contents.# + +Varieties of Ink -- Writing Inks -- Raw Materials of Tannin Inks -- +The Chemical Constitution of the Tannin Inks -- Recipes for Tannin +Inks -- Logwood Tannin Inks -- Ferric Inks -- Alizarine Inks--Extract +Inks -- Logwood Inks -- Copying Inks -- Hektographs -- Hektograph Inks +-- Safety Inks -- Ink Extracts and Powders -- Preserving Inks -- +Changes in Ink and the Restoration of Faded Writing -- Coloured Inks +-- Red Inks -- Blue Inks -- Violet Inks -- Yellow Inks -- Green Inks +-- Metallic Inks -- Indian Ink -- Lithographic Inks and Pencils -- Ink +Pencils -- Marking Inks -- Ink Specialities -- Sympathetic Inks -- +Stamping Inks -- Laundry or Washing Blue -- Index. + + +#SEALING-WAXES, WAFERS AND OTHER ADHESIVES FOR THE HOUSEHOLD, OFFICE, +WORKSHOP AND FACTORY.# By H. C. STANDAGE. Crown 8vo. 96 pp. Price 5s. +net. (Post free, 5s. 3d. home; 5s. 6d. abroad.) + +#Contents.# + +#Materials Used for Making Sealing=Waxes# -- The Manufacture of +Sealing-Waxes -- Wafers -- Notes on the Nature of the Materials Used +in Making Adhesive Compounds -- Cements for Use in the Household -- +Office Gums, Pastes and Mucilages -- Adhesive Compounds for Factory +and Workshop Use. + + + +#LEAD ORES AND COMPOUNDS.# + + +#LEAD AND ITS COMPOUNDS.# By Thos. LAMBERT, Technical and Consulting +Chemist. Demy 8vo. 226 pp. Forty Illustrations. Price 7s. 6d. net. +(Post free, 7s. 10d. home; 8s. 3d. abroad.) + +#Contents.# + +History -- Ores of Lead -- Geographical Distribution of the Lead +Industry -- Chemical and Physical Properties of Lead -- Alloys of Lead +-- Compounds of Lead -- Dressing of Lead Ores -- Smelting of Lead Ores +-- Smelting in the Scotch or American Ore-hearth -- Smelting in the +Shaft or Blast Furnace -- Condensation of Lead Fume -- Desilverisation, +or the Separation of Silver from Argentiferous Lead -- Cupellation -- The +Manufacture of Lead Pipes and Sheets -- Protoxide of Lead -- Litharge and +Massicot -- Red Lead or Minium -- Lead Poisoning -- Lead Substitutes -- +Zinc and its Compounds -- Pumice Stone -- Drying Oils and Siccatives -- Oil +of Turpentine Resin -- Classification of Mineral Pigments -- Analysis of +Raw and Finished Products -- Tables -- Index. + + +#NOTES ON LEAD ORES:# Their Distribution and Properties. By Jas. FAIRIE, +F.G.S. Crown 8vo. 64 pages. Price 2s. 6d. net. (Post free, 2s. 9d. +home; 3s. abroad.) + + + +#INDUSTRIAL HYGIENE.# + + +#THE RISKS AND DANGERS TO HEALTH OF VARIOUS OCCUPATIONS AND THEIR +PREVENTION.# By Leonard A. PARRY, M.D., B.Sc. (Lond.). 196 pp. Demy +8vo. Price 7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +Occupations which are Accompanied by the Generation and Scattering of +Abnormal Quantities of Dust -- Trades in which there is Danger of +Metallic Poisoning -- Certain Chemical Trades -- Some Miscellaneous +Occupations --Trades in which Various Poisonous Vapours are Inhaled +--General Hygienic Considerations -- Index. + + + +#INDUSTRIAL USES OF AIR, STEAM AND WATER.# (p. c12) + + +#DRYING BY MEANS OF AIR AND STEAM.# Explanations, Formulae, and Tables +for Use in Practice. Translated from the German of E. HAUSRRAND. Two +folding Diagrams and Thirteen Tables. Crown 8vo. 72 pp. Price 5s. net. +(Post free, 5s. 3d. home; 5s. 6d. abroad.) + +#Contents.# + +British and Metric Systems Compared -- Centigrade and Fahr. +Thermometers -- Estimation of the Maximum Weight of Saturated Aqueous +Vapour which can be contained in 1 kilo. of Air at Different Pressure +and Temperatures -- Calculation of the Necessary Weight and Volume of +Air, and of the Least Expenditure of Heat, per Drying Apparatus with +Heated Air, at the Atmospheric Pressure: _A_, With the Assumption that +the Air is _Completely Saturated_ with Vapour both before Entry and +after Exit from the Apparatus -- _B_, When the Atmospheric Air is +Completely Saturated _before entry_, but at its _exit_ is _only_ 3/4, +1/2 or 1/4 Saturated -- _C_, When the Atmospheric Air is _not_ +Saturated with Moisture before Entering the Drying Apparatus -- Drying +Apparatus, in which, in the Drying Chamber, a Pressure is Artificially +Created, Higher or Lower than that of the Atmosphere -- Drying by +Means of Superheated Steam, without Air --Heating Surface, Velocity of +the Air Current, Dimensions of the Drying Room, Surface of the Drying +Material, Losses of Heat -- Index. + + (_See also "Evaporating, Condensing and Cooling + Apparatus," p. 26._) + + +#PURE AIR, OZONE AND WATER.# A Practical Treatise of their Utilisation +and Value in Oil, Grease, Soap, Paint, Glue and other Industries, By +W. B. COWELL. Twelve Illustrations. Crown 8vo. 85 pp. Price 5s. net. +(Post free, 5s. 3d. home; 5s. 6d. abroad.) + +#Contents.# + +Atmospheric Air; Lifting of Liquids; Suction Process; Preparing Blown +Oils; Preparing Siccative Drying Oils -- Compressed Air; Whitewash -- +Liquid Air; Retrocession -- Purification of Water; Water Hardness -- +Fleshings and Bones -- Ozonised Air in the Bleaching and Deodorising +of Fats, Glues, etc.; Bleaching Textile Fibres -- Appendix: Air and +Gases; Pressure of Air at Various Temperatures; Fuel; Table of +Combustibles; Saving of Fuel by Heating Feed Water; Table of +Solubilities of Scale Making Minerals; British Thermal Units Tables; +Volume of the Flow of Steam into the Atmosphere; Temperature of Steam +-- Index. + + +#THE INDUSTRIAL USES OF WATER. +COMPOSITION--EFFECTS--TROUBLES--REMEDIES--RESIDUARY +WATERS--PURIFICATION--ANALYSIS.# By H. de la COUX. Royal 8vo. +Translated from the French and Revised by Arthur MORRIS. 364 pp. 135 +Illustrations. Price 10s. 6d. net. (Post free, 11s. home; 11s. 6d. +abroad.) + +#Contents.# + +Chemical Action of Water in Nature and in Industrial Use -- +Composition of Waters -- Solubility of Certain Salts in Water +Considered from the Industrial Point of View -- Effects on the Boiling +of Water -- Effects of Water in the Industries -- Difficulties with +Water -- Feed Water for Boilers -- Water in Dye works, Print Works, +and Bleach Works -- Water in the Textile Industries and in +Conditioning -- Water in Soap Works -- Water in Laundries and +Washhouses -- Water in Tanning -- Water in Preparing Tannin and +Dyewood Extracts -- Water in Papermaking -- Water in Photography -- +Water in Sugar Refining -- Water in Making Ices and Beverages -- Water +in Cider Making -- Water in Brewing -- Water in Distilling -- +Preliminary Treatment and Apparatus -- Substances Used for Preliminary +Chemical Purification -- Commercial Specialities and their Employment +-- Precipitation of Matters in Suspension in Water -- Apparatus for +the Preliminary Chemical Purification of Water -- Industrial Filters +-- Industrial Sterilisation of Water -- Residuary Waters and their +Purification -- Soil Filtration -- Purification by Chemical Processes +-- Analyses -- Index. + + (_See Books on Smoke Prevention, Engineering and + Metallurgy, p. 26, etc._) + + + +#X RAYS.# (p. c13) + + +#PRACTICAL X RAY WORK.# By Frank T. ADDYMAN, B.Sc. (Lond.), F.I.C., +Member of the Roentgen Society of London; Radiographer to St. George's +Hospital; Demonstrator of Physics and Chemistry, and Teacher of +Radiography in St. George's Hospital Medical School. Demy 8vo. Twelve +Plates from Photographs of X Ray Work. Fifty-two Illustrations. 200 +pp. Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. 3d. abroad.) + +#Contents.# + +#Historical# -- Work leading up to the Discovery of the X Rays -- The +Discovery--#Apparatus and its Management# -- Electrical Terms -- Sources +of Electricity -- Induction Coils -- Electrostatic Machines -- Tubes +-- Air Pumps -- Tube Holders and Stereoscopic Apparatus -- Fluorescent +Screens -- #Practical X Ray Work# -- Installations -- Radioscopy -- +Radiography -- X Rays in Dentistry -- X Rays in Chemistry -- X Rays in +War -- Index. + +#List of Plates.# + +_Frontispiece_ -- Congenital Dislocation of Hip-Joint. -- I., Needle +in Finger. -- II., Needle in Foot. -- III., Revolver Bullet in Calf +and Leg. -- IV., A Method of Localisation. -- V., Stellate Fracture of +Patella showing shadow of "Strapping". -- VI., Sarcoma. -- VII., +Six-weeks-old Injury to Elbow showing new Growth of Bone. -- VIII., +Old Fracture of Tibia and Fibula badly set. -- IX., Heart Shadow. -- +X., Fractured Femur showing Grain of Splint. -- XI., Barrell's Method +of Localisation. + + + +#INDIA-RUBBER AND GUTTA PERCHA.# + + +#INDIA-RUBBER AND GUTTA-PERCHA.# Translated from the French of T. +SEELIGMANN, G. LAMY TORVILHON and H. FALCONNET by John GEDDES +McINTOSH. Royal 8vo. + + [_Out of print. Second Edition in preparation._] + +#Contents.# + +#India-Rubber# -- Botanical Origin -- Climatology -- Soil -- Rational +Culture and Acclimation of the Different Species of India-Rubber +Plants -- Methods of Obtaining the Latex -- Methods of Preparing Raw +or Crude India-Rubber -- Classification of the Commercial Species of +Raw Rubber -- Physical and Chemical Properties of the Latex and of +India-Rubber -- Mechanical Transformation of Natural Caoutchouc into +Washed or Normal Caoutchouc (Purification) and Normal Rubber into +Masticated Rubber -- Softening, Cutting, Washing, Drying -- +Preliminary Observations -- Vulcanisation of Normal Rubber -- Chemical +and Physical Properties of Vulcanised Rubber -- General Considerations +-- Hardened Rubber or Ebonite -- Considerations on Mineralisation and +other Mixtures -- Coloration and Dyeing -- Analysis of Natural or +Normal Rubber and Vulcanised Rubber -- Rubber Substitutes -- Imitation +Rubber. + +#Gutta Percha# -- Botanical Origin -- Climatology -- Soil -- Rational +Culture -- Methods of Collection -- Classification of the Different +Species of Commercial Gutta Percha -- Physical and Chemical Properties +-- Mechanical Transformation -- Methods of Analysing -- Gutta Percha +Substitutes -- Index. + + + +#LEATHER TRADES.# + + +#PRACTICAL TREATISE ON THE LEATHER INDUSTRY.# By A. M. VILLON. Translated +by Frank T. ADDYMAN, B.Sc. (Lond.), F.I.C., F.C.S.; and Corrected by +an Eminent Member of the Trade. 500 pp., royal 8vo. 123 Illustrations. +Price 21s. net. (Post free, 21s. 6d. home; 22s. 6d. abroad.) + +#Contents.# + +Preface--Translator's Preface--List of Illustrations. + +Part I., #Materials used in Tanning# -- Skins: Skin and its Structure; +Skins used in Tanning; Various Skins and their Uses -- Tannin and +Tanning Substances: Tannin; Barks (Oak); Barks other than Oak; Tanning +Woods; Tannin-bearing Leaves; Excrescences; Tan-bearing Fruits; +Tan-bearing Roots and Bulbs; Tanning Juices; Tanning Substances used +in Various Countries; Tannin Extracts; Estimation of Tannin and Tannin +Principles. + +Part II., #Tanning# -- The Installation of a Tannery: Tan Furnaces; +Chimneys, Boilers, etc.; Steam Engines -- Grinding and Trituration of +Tanning Substances: Cutting up Bark; Grinding Bark; The Grinding of +Tan Woods; Powdering Fruit, Galls and Grains; Notes on the Grinding of +Bark -- Manufacture of Sole Leather: Soaking; Sweating and Unhairing; +Plumping and Colouring; Handling; Tanning; Tanning Elephants' Hides; +Drying; Striking or Pinning -- Manufacture of Dressing Leather: +Soaking; Depilation; New Processes for the Depilation of Skins; +Tanning; Cow Hides; Horse Hides; Goat Skins; Manufacture of (p. c14) +Split Hides -- On Various Methods of Tanning: Mechanical Methods; +Physical Methods; Chemical Methods; Tanning with Extracts -- Quantity +and Quality; Quantity; Net Cost; Quality of Leather -- Various +Manipulations of Tanned Leather: Second Tanning; Grease Stains; +Bleaching Leather; Waterproofing Leather; Weighting Tanned Leather; +Preservation of Leather -- Tanning Various Skins. + +Part III., #Currying# -- Waxed Calf: Preparation; Shaving; Stretching or +Slicking; Oiling the Grain; Oiling the Flesh Side; Whitening and +Graining; Waxing; Finishing; Dry Finishing; Finishing in Colour; Cost +-- White Calf: Finishing in White -- Cow Hide for Upper Leathers: +Black Cow Hide; White Cow Hide; Coloured Cow Hide -- Smooth Cow Hide +-- Black Leather -- Miscellaneous Hides: Horse; Goat; Waxed Goat Skin; +Matt Goat Skin -- Russia Leather: Russia Leather; Artificial Russia +Leather. + +Part IV., #Enamelled, Hungary and Chamoy Leather, Morocco, Parchment, +Furs and Artificial Leather# -- Enamelled Leather: Varnish Manufacture; +Application of the Enamel; Enamelling in Colour -- Hungary Leather: +Preliminary; Wet Work or Preparation; Aluming; Dressing or Loft Work; +Tallowing; Hungary Leather from Various Hides -- Tawing: Preparatory +Operations; Dressing; Dyeing Tawed Skins; Rugs -- Chamoy Leather -- +Morocco: Preliminary Operations; Morocco Tanning: Mordants used in +Morocco Manufacture; Natural Colours used in Morocco Dyeing; +Artificial Colours; Different Methods of Dyeing; Dyeing with Natural +Colours; Dyeing with Aniline Colours; Dyeing with Metallic Salts; +Leather Printing; Finishing Morocco; Shagreen; Bronzed Leather -- +Gilding and Silvering: Gilding; Silvering; Nickel and Cobalt -- +Parchment -- Furs and Furriery: Preliminary Remarks; Indigenous Furs; +Foreign Furs from Hot Countries; Foreign Furs from Cold Countries; +Furs from Birds' Skins; Preparation of Furs; Dressing; Colouring; +Preparation of Birds' Skins; Preservation of Furs -- Artificial +Leather: Leather made from Scraps; Compressed Leather; American Cloth; +Papier Mache; Linoleum; Artificial Leather. + +Part V., #Leather Testing and the Theory of Tanning# -- Testing and +Analysis of Leather: Physical Testing of Tanned Leather; Chemical +Analysis -- The Theory of Tanning and the other Operations of the +Leather and Skin Industry: Theory of Soaking; Theory of Unhairing; +Theory of Swelling; Theory of Handling; Theory of Tanning; Theory of +the Action of Tannin on the Skin; Theory of Hungary Leather Making; +Theory of Tawing; Theory of Chamoy Leather Making; Theory of Mineral +Tanning. + +Part VI., #Uses of Leather# -- Machine Belts: Manufacture of Belting; +Leather Chain Belts; Various Belts; Use of Belts -- Boot and +Shoe-making: Boots and Shoes; Laces -- Saddlery: Composition of a +Saddle; Construction of a Saddle -- Harness: The Pack Saddle; Harness +-- Military Equipment -- Glove Making -- Carriage Building -- +Mechanical Uses. + +Appendix, #The World's Commerce in Leather# -- Europe; America; Asia; +Africa; Australasia -- Index. + + +#THE LEATHER WORKER'S MANUAL.# Being a Compendium of Practical Recipes +and Working Formulae for Curriers, Bootmakers, Leather Dressers, +Blacking Manufacturers, Saddlers, Fancy Leather Workers. By H. C. +STANDAGE. Demy 8vo. 165 pp. Price 7s. 6d. net. (Post free, 7s. 10d. +home; 8s. abroad.) + +#Contents.# + +Blackings, Polishes, Glosses, Dressings, Renovators, etc., for Boot +and Shoe Leather -- Harness Blackings, Dressings, Greases, +Compositions, Soaps, and Boot-top Powders and Liquids, etc., etc. -- +Leather Grinders' Sundries -- Currier's Seasonings, Blacking +Compounds, Dressings, Finishes, Glosses, etc. -- Dyes and Stains for +Leather --Miscellaneous Information -- Chrome Tannage -- Index. + + + +#BOOKS ON POTTERY, BRICKS, TILES, GLASS, ETC.# + + +#THE MANUAL OF PRACTICAL POTTING.# Compiled by Experts, and Edited by +Chas. F. BINNS. Revised Third Edition and Enlarged. 200 pp. Price 17s. +6d. net. (Post free, 17s. 10d. home; 18s. 3d. abroad.) + +#Contents.# + +#Introduction.# The Rise and Progress of the Potter's Art -- #Bodies#. +China and Porcelain Bodies, Parian Bodies, Semi-porcelain and Vitreous +Bodies, Mortar Bodies, Earthenwares Granite and C.C. Bodies, +Miscellaneous Bodies, Sagger and Crucible Clays, Coloured Bodies, +Jasper Bodies, Coloured Bodies for Mosaic Painting, Encaustic Tile +Bodies, Body Stains, Coloured Dips -- #Glazes.# China Glazes, Ironstone +Glazes, Earthenware Glazes, Glazes without Lead, Miscellaneous Glazes, +Coloured Glazes, Majolica Colours -- #Gold and Gold Colours.# Gold, +Purple of Cassius, Marone and Ruby, Enamel Coloured Bases, Enamel +Colour Fluxes, Enamel Colours, Mixed Enamel Colours, Antique and +Vellum Enamel Colours, Underglaze Colours, Underglaze Colour Fluxes, +Mixed Underglaze Colours, Flow Powders, Oils and Varnishes -- #Means +and Methods.# Reclamation of Waste Gold, The Use of Cobalt, Notes on +Enamel Colours, Liquid or Bright Gold -- #Classification and Analysis.# +Classification of Clay Ware, Lord Playfair's Analysis of Clays, The +Markets of the World, Time and Scale of Firing, Weights of (p. c15) +Potter's Material, Decorated Goods Count -- Comparative Loss of Weight +of Clays -- Ground Felspar Calculations -- The Conversion of Slop Body +Recipes into Dry Weight -- The Cost of Prepared Earthenware Clay -- +#Forms and Tables.# Articles of Apprenticeship, Manufacturer's Guide to +Stocktaking, Table of Relative Values of Potter's Materials, Hourly +Wages Table, Workman's Settling Table, Comparative Guide for +Earthenware and China Manufacturers in the use of Slop Flint and Slop +Stone, Foreign Terms applied to Earthenware and China Goods, Table for +the Conversion of Metrical Weights and Measures on the Continent and +South America -- #Index.# + + +#CERAMIC TECHNOLOGY:# Being some Aspects of Technical Science as Applied +to Pottery Manufacture. Edited by Charles F. BINNS. 100 pp. Demy 8vo. +Price 12s. 6d. net. (Post free, 12s. 10d. home; 13s. abroad.) + +#Contents.# + +Preface -- The Chemistry of Pottery -- Analysis and Synthesis -- Clays +and their Components--The Biscuit Oven -- Pyrometry -- Glazes and +their Composition -- Colours and Colour-making -- Index. + + +#A TREATISE ON THE CERAMIC INDUSTRIES.# A Complete Manual for Pottery, +Tile and Brick Works. By Emile BOURRY. Translated from the French by +Wilton P. RIX, Examiner in Pottery and Porcelain to the City and +Guilds of London Technical Institute, Pottery Instructor to the Hanley +School Board. Royal 8vo. 760 pp. 323 Illustrations. Price 21s. net. +(Post free, 22s. home; 24s. abroad.) + +#Contents.# + +Part I., #General Pottery Methods.# Definition and History. Definitions +and Classification of Ceramic Products -- Historic Summary of the +Ceramic Art -- Raw Materials of Bodies. Clays: Pure Clay and Natural +Clays -- Various Raw Materials: Analogous to Clay -- Agglomerative and +Agglutinative -- Opening -- Fusible -- Refractory -- Trials of Raw +Materials -- Plastic Bodies. Properties and Composition -- Preparation +of Raw Materials: Disaggregation -- Purification -- Preparation of +Bodies: By Plastic Method -- By Dry Method -- By Liquid Method -- +Formation, Processes of Formation: Throwing -- Expression -- Moulding +by Hand, on the Jolley, by Compression, by Slip Casting -- Slapping -- +Slipping -- Drying. Drying of Bodies -- Processes of Drying; By +Evaporation -- By Aeration -- By Heating -- By Ventilation -- By +Absorption -- Glazes. Composition and Properties -- Raw Materials -- +Manufacture and Application -- Firing. Properties of the Bodies and +Glazes during Firing -- Description of the Kilns -- Working of the +Kilns -- Decoration. Colouring Materials -- Processes of Decoration. + +Part II., #Special Pottery Methods.# Terra Cottas. Classification: Plain +Ordinary, Hollow, Ornamental, Vitrified, and Light Bricks -- Ordinary +and Black Tiles -- Paving Tiles -- Pipes -- Architectural Terra Cottas +-- Vases, Statues and Decorative Objects -- Common Pottery -- Pottery +for Water and Filters -- Tobacco Pipes -- Lustre Ware -- Properties +and Tests for Terra Cottas--Fireclay Goods. Classification: +Argillaceous, Aluminous, Carboniferous, Silicious and Basic Fireclay +Goods -- Fireclay Mortar (Pug) -- Tests for Fireclay Goods -- +Faiences. Varnished Faiences -- Enamelled Faiences -- Silicious +Faiences -- Pipeclay Faiences -- Pebble Work -- Feldspathic Faiences +-- Composition, Processes of Manufacture and General Arrangements of +Faience Potteries -- Stoneware. Stoneware Properly So-called: Paving +Tiles -- Pipes -- Sanitary Ware -- Stoneware for Food Purposes and +Chemical Productions -- Architectural Stoneware -- Vases, Statues and +other Decorative Objects -- Fine Stoneware -- Porcelain. Hard +Porcelain for Table Ware and Decoration, for the Fire, for Electrical +Conduits, for Mechanical Purposes; Architectural Porcelain, and Dull +or Biscuit Porcelain -- Soft Phosphated or English Porcelain -- Soft +Vitreous Porcelain, French and New Sevres -- Argillaceous Soft or +Seger's Porcelain -- Dull Soft or Parian Porcelain -- Dull Feldspathic +Soft Porcelain -- #Index.# + + +#POTTERY DECORATING,# By R. HAINBACH. Translated from the German. Crown +8vo. 22 Illustrations. Deals with Glazes, Colours, etc. [_In the +Press._] + + +#ARCHITECTURAL POTTERY.# Bricks, Tiles, Pipes, Enamelled Terra-cottas, +Ordinary and Incrusted Quarries, Stoneware Mosaics, Faiences and +Architectural Stoneware. By Leon LEFEVRE. With Five Plates. 950 +Illustrations in the Text, and numerous estimates. 500 pp., royal 8vo. +Translated from the French by K. H. BIRD, M.A., and W. Moore BINNS. +Price 15s. net. (Post free, 15s. 6d. home; 16s. 6d. abroad.) + +#Contents.# + +Part I. #Plain Undecorated Pottery. -- Clays, Bricks, Tiles, Pipes, +Chimney Flues, Terra-cotta.# + +Part II. #Made-up or Decorated Pottery.# + + +#THE ART OF RIVETING GLASS, CHINA AND EARTHENWARE.# By J. HOWARTH. (p. c16) +Second Edition. Paper Cover. Price 1s. net; by post, home or abroad, +1s. 1d. + + +#NOTES ON POTTERY CLAYS.# Their Distribution, Properties, Uses and +Analyses of Ball Clays, China Clays and China Stone. By Jas. FAIRIE, +F.G.S. 132 pp. Crown 8vo. Price 3s. 6d. net. (Post free, 3s. 9d. home; +3s. 10d. abroad.) + + +A Reissue of +#THE HISTORY OF THE STAFFORDSHIRE POTTERIES; AND THE RISE AND PROGRESS +OF THE MANUFACTURE OF POTTERY AND PORCELAIN.# With References to +Genuine Specimens, and Notices of Eminent Potters. By Simeon SHAW. +(Originally Published in 1829.) 265 pp. Demy 8vo. Price 7s. 6d. net. +(Post free, 7s. 10d. home; 8s. 3d. abroad.) + +#Contents.# + +#Introductory Chapter# showing the position of the Pottery Trade at the +present time (1899) -- #Preliminary Remarks# -- #The Potteries#, +comprising Tunstall, Brownhills, Greenfield and New Field, Golden +Hill, Latebrook, Green Lane, Burslem, Longport and Dale Hall, Hot Lane +and Cobridge, Hanley and Shelton, Etruria, Stoke, Penkhull, Fenton, +Lane Delph, Foley, Lane End -- #On the Origin of the Art#, and its +Practice among the early Nations -- #Manufacture of Pottery#, prior to +1700 -- #The Introduction of Red Porcelain# by Messrs. Elers, of +Bradwell, 1690 -- #Progress of the Manufacture# from 1700 to Mr. +Wedgwood's commencement in 1760 -- #Introduction of Fluid Glaze# -- +Extension of the Manufacture of Cream Colour -- Mr. Wedgwood's Queen's +Ware -- Jasper, and Appointment of Potter to Her Majesty -- Black +Printing -- #Introduction of Porcelain.# Mr. W. Littler's Porcelain -- +Mr. Cookworthy's Discovery of Kaolin and Petuntse, and Patent -- Sold +to Mr. Champion -- resold to the New Hall Com. -- Extension of Term -- +#Blue Printed Pottery.# Mr. Turner, Mr. Spode (1), Mr. Baddeley, Mr. +Spode (2), Messrs. Turner, Mr. Wood, Mr. Wilson, Mr. Minton -- Great +Change in Patterns of Blue Printed -- #Introduction of Lustre Pottery.# +Improvements in Pottery and Porcelain subsequent to 1800. + + +A Reissue of +#THE CHEMISTRY OF THE SEVERAL NATURAL AND ARTIFICIAL HETEROGENEOUS +COMPOUNDS USED IN MANUFACTURING PORCELAIN, GLASS AND POTTERY#. By +Simeon SHAW. (Originally published in 1837.) 750 pp. Royal 8vo. Price +14s. net. (Post free, 15s. home; 17s. abroad.) + + + +#GLASSWARE, GLASS STAINING AND PAINTING.# + + +#RECIPES FOR FLINT GLASS MAKING.# By a British Glass Master and Mixer. +Sixty Recipes. Being Leaves from the Mixing Book of several experts in +the Flint Glass Trade, containing up-to-date recipes and valuable +information as to Crystal, Demi-crystal and Coloured Glass in its many +varieties. It contains the recipes for cheap metal suited to pressing, +blowing, etc., as well as the most costly crystal and ruby. Crown 8vo. +Price 10s. 6d. net. (Post free, 10s. 9d. home; 10s. 10d. abroad.) + +#Contents.# + +Ruby -- Ruby from Copper -- Flint for using with the Ruby for Coating +-- A German Metal -- Cornelian, or Alabaster -- Sapphire Blue -- +Crysophis -- Opal -- Turquoise Blue -- Gold Colour -- Dark Green -- +Green (common) -- Green for Malachite -- Blue for Malachite -- Black +for Malachite -- Black -- Common Canary Batch -- Canary -- White +Opaque Glass -- Sealing-wax Red -- Flint -- Flint Glass (Crystal and +Demi) -- Achromatic Glass -- Paste Glass -- White Enamel -- +Firestone--Dead White (for moons) -- White Agate -- Canary -- Canary +Enamel -- Index. + + +#A TREATISE ON THE ART OF GLASS PAINTING.# Prefaced with a Review (p. c17) +of Ancient Glass. By Ernest R. SUFFLING. With One Coloured Plate and +Thirty-seven Illustrations. Demy 8vo. 140 pp. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +A Short History of Stained Glass -- Designing Scale Drawings +--Cartoons and the Cut Line -- Various Kinds of Glass Cutting for +Windows -- The Colours and Brushes used in Glass Painting -- Painting +on Glass, Dispersed Patterns -- Diapered Patterns -- Aciding -- Firing +-- Fret Lead Glazing -- Index. + + +#PAINTING ON GLASS AND PORCELAIN AND ENAMEL PAINTING.# A Complete +Introduction to the Preparation of all the Colours and Fluxes used for +Painting on Porcelain, Enamel, Faience and Stoneware, the Coloured +Pastes and Coloured Glasses, together with a Minute Description of the +Firing of Colours and Enamels. By Felix HERMANN, Technical Chemist. +With Eighteen Illustrations. 300 pp. Translated from the German second +and enlarged Edition. Price 10s. 6d. net. (Post free, 10s. 10d. home; +11s. abroad.) + + + +#PAPER MAKING, PAPER DYEING, AND TESTING.# + + +#THE DYEING OF PAPER PULP.# A Practical Treatise for the use of +Papermakers, Paperstainers, Students and others. By Julius ERFURT, +Manager of a Paper Mill. Translated into English and Edited with +Additions by Julius HUeBNER, F.C.S., Lecturer on Papermaking at the +Manchester Municipal Technical School. With Illustrations and #157 +patterns of paper dyed in the pulp#. Royal 8vo, 180 pp. Price 15s. net. +(Post free, 15s. 6d. home; 16s. 6d. abroad.) + +#Contents.# + +#Behaviour of the Paper Fibres during the Process of Dyeing, Theory of +the Mordant# -- #Colour Fixing Mediums# (#Mordants#) -- #Influence of the +Quality of the Water Used# -- #Inorganic Colours# -- #Organic Colours# -- +#Practical Application of the Coal Tar Colours according to their +Properties and their Behaviour towards the Different Paper Fibres# -- +#Dyed Patterns on Various Pulp Mixtures# -- #Dyeing to Shade# -- Index. + + +#THE PAPER MILL CHEMIST.# By Henry P. STEVENS, M.A., Ph.D., F.I.C. Royal +12mo. 60 Illustrations. [_In the press._] + +#Contents.# + +#Introduction.# -- Dealing with the Apparatus required in Chemical Work +and General Chemical Manipulation, introducing the subject of +Qualitative and Quantitative Analysis. #Fuels.# -- Analysis of Coal, +Coke and other Fuels -- Sampling and Testing for Moisture, Ash, +Calorific Value, etc. -- Comparative Heating Value of different Fuels +and Relative Efficiency. #Water.# -- Analysis for Steam Raising and for +Paper Making Purposes generally -- Water Softening and Purification -- +A List of the more important Water Softening Plant, giving Power +required, Weight, Space Occupied, Out-put and Approximate Cost. #Raw +Materials and Detection of Adulterants.# -- Analysis and Valuation of +the more important Chemicals used in Paper Making, including Lime, +Caustic Soda, Sodium Carbonate, Mineral Acids, Bleach Antichlor, Alum, +Rosin and Rosin Size, Glue Gelatin and Casein, Starch, China Clay, +Blanc Fixe, Satin White and other Loading Materials, Mineral Colours +and Aniline Dyes. #Manufacturing Operations.# -- Rags and the Chemical +Control of Rag Boiling -- Esparto Boiling -- Wood Boiling -- Testing +Spent Liquors and Recovered Ash -- Experimental Tests with Raw Fibrous +Materials -- Boiling in Autoclaves -- Bleaching and making up Hand +Sheets -- Examination of Sulphite Liquors -- Estimation of Moisture in +Pulp and Half-stuff -- Recommendations of the British Wood Pulp +Association. #Finished Products.# -- Paper Testing, including Physical, +Chemical and Microscopical Tests, Area, Weight, Thickness, Apparent +Specific Gravity, Bulk or Air Space. Determination of Machine +Direction, Thickness, Strength, Stretch, Resistance to Crumpling and +Friction, Transparency, Absorbency and other qualities of Blotting +Papers -- Determination of the Permeability of Filtering Papers -- +Detection and Estimation of Animal and Vegetable Size in Paper -- +Sizing Qualities of Paper -- Fibrous Constituents -- Microscopical +Examination of Fibres -- The Effect of Beating on Fibres -- Staining +Fibres -- Mineral Matter -- Ash -- Qualitative and Quantitative +Examination of Mineral Matter -- Examination of Coated Papers and +Colouring Matters in Paper. + +#Tables.# -- English and Metrical Weights and Measures with (p. c18) +Equivalents -- Conversion of Grams to Grains and _vice versa_ -- +Equivalent Costs per lb., cwt., and ton -- Decimal Equivalents +of lbs., qrs., and cwts. -- Thermometric and Barometric Scales -- +Atomic Weights and Molecular Weights -- Factors for Calculating the +Percentage of Substance Sought from the Weight of Substance Found -- +Table of Solubilities of Substances Treated of in Paper Making -- +Specific Gravity Tables of such substances as are used in Paper +Making, including Sulphuric Acid Hydrochloric Acid, Bleach, Milk of +Lime, Caustic Soda, Carbonate of Soda, etc., giving Percentage +Strength with Specific Gravity and Degrees Tw. -- Hardness Table for +Soap Tests -- Dew Point -- Wet and Dry Bulb Tables -- Properties of +Saturated Steam, giving Temperature, Pressure and Volume -- List of +Different Machines used in the Paper Making Industry, giving Size, +Weight, Space Occupied, Power to Drive, Out-put and Approximate Cost +-- Calculation of Moisture in Pulp --Rag-Boiling Tables, giving +Percentages of Lime Soda and Time required -- Loss in Weight in Rags +and other Raw Materials during Boiling and Bleaching -- Conditions of +Buying and Selling as laid down by the Paper Makers' Association -- +Table of Names and Sizes of Papers --Table for ascertaining the Weight +per Ream from the Weight per Sheet -- Calculations of Areas and +Volumes -- Logarithms -- Blank pages for Notes. + + +#THE TREATMENT OF PAPER FOR SPECIAL PURPOSES.# By L. E. ANDES. Translated +from the German. Crown 8vo. 48 Illustrations. 250 pp. [_In the Press._] + +#Contents.# + +#I., Parchment Paper, Vegetable Parchment.# -- The Parchment Paper +Machine -- Opaque Supple Parchment Paper -- Thick Parchment -- +Krugler's Parchment Paper and Parchment Slates -- Double and Triple +Osmotic Parchment -- Utilising Waste Parchment Paper -- Parchmented +Linen and Cotton -- Parchment Millboard -- Imitation Horn and Ivory +from Parchment Paper -- Imitation Parchment Paper -- Artificial +Parchment -- Testing the Sulphuric Acid. II., Papers for Transfer +Pictures. #III., Papers for Preservative and Packing Purposes.# -- +Butter Paper -- Wax Paper -- Paraffin Paper -- Wrapping Paper for +Silverware -- Waterproof Paper -- Anti-corrosive Paper. IV., Grained +Transfer Papers. V., Fire-proof and Antifalsification Papers, #VI., +Paper Articles.# -- Vulcanised Paper Mache -- Paper Bottles -- Plastic +Articles of Paper -- Waterproof Coverings for Walls and Ceilings -- +Paper Wheels, Roofing and Boats -- Paper Barrels -- Paper Boxes -- +Paper Horseshoes. VII., Gummed Paper. VIII., Hectograph Papers. #IX., +Insecticide Papers.# -- Fly Papers -- Moth Papers. #X., Chalk and +Leather Papers.# -- Glace Chalk Paper -- Leather Paper -- Imitation +Leather. XI., Luminous Papers -- Blue-Print Papers -- Blotting Papers. +XII., Metal Papers -- Medicated Papers. XIII., Marbled Papers. XIV., +Tracing and Copying Papers -- Iridescent or Mother of Pearl Papers. +XV., Photographic Papers -- Shellac Paper -- Fumigating Papers -- Test +Papers. #XVI., Papers for Cleaning and Polishing Purposes -- Glass +Paper# -- Pumice Paper -- Emery Paper. XVII., Lithographic Transfer +Papers. #XIX., Sundry Special Papers# -- Satin Paper -- Enamel Paper -- +Cork Paper -- Split Paper -- Electric Paper -- Paper Matches -- Magic +Pictures -- Laundry Blue Papers -- Blue Paper for Bleachers. XX., +Waterproof Papers -- Washable Drawing Papers -- Washable Card -- +Washable Coloured Paper--Waterproof Millboard -- Sugar Paper. XXI., +The Characteristics of Paper -- Paper Testing. + + + +ENAMELLING ON METAL. + + +#ENAMELS AND ENAMELLING.# For Enamel Makers, Workers in Gold and Silver, +and Manufacturers of Objects of Art. By Paul RANDAU. Translated from +the German. With Sixteen Illustrations. Demy 8vo. 180 pp. Price 10s. +6d. net. (Post free, 10s. 10d. home; 11s. abroad.) + +#THE ART OF ENAMELLING ON METAL.# By W. Norman BROWN. Twenty-eight +Illustrations. Crown 8vo. 60 pp. Price 2s. 6d. net. (Post free, 2s. +9d. home and abroad.) + + + +SILK MANUFACTURE. + + +#SILK THROWING AND WASTE SILK SPINNING.# By Hollins RAYNER. Demy 8vo. +170 pp. 117 Illus. Price 5s. net. (Post free, 5s. 4d. home; 5s. 6d. +abroad.) + +#Contents.# + +The Silkworm -- Cocoon Reeling and Qualities of Silk -- Silk Throwing +-- Silk Wastes -- The Preparation of Silk Waste for Degumming -- Silk +Waste Degumming, Schapping and Discharging -- The Opening and Dressing +of Wastes -- Silk Waste "Drawing" or "Preparing" Machinery -- Long +Spinning -- Short Spinning -- Spinning and Finishing Processes -- +Utilisation of Waste Products -- Noil Spinning -- Exhaust Noil +Spinning. + + + +BOOKS ON TEXTILE AND DYEING SUBJECTS. (p. c19) + + +#THE CHEMICAL TECHNOLOGY OF TEXTILE FIBRES#: Their Origin, Structure, +Preparation, Washing, Bleaching, Dyeing, Printing and Dressing. By Dr. +Georg von GEORGIEVICS. Translated from the German by Charles SALTER. +320 pp. Forty-seven Illustrations. Royal 8vo. Price 10s. 6d. net. +(Post free, 11s. home; 11s. 3d. abroad.) + +#Contents.# + +#The Textile Fibres# -- #Washing, Bleaching, Carbonising# -- #Mordants and +Mordanting# -- #Dyeing# -- #Printing# -- #Dressing and Finishing.# + + +#POWER-LOOM WEAVING AND YARN NUMBERING.# According to Various Systems, +with Conversion Tables. Translated from the German of Anthon GRUNER. +#With Twenty-Six Diagrams in Colours.# 150 pp. Crown 8vo. Price 7s. 6d. +net. (Post free, 7s. 9d. home; 8s. abroad.) + +#Contents.# + +#Power-Loom Weaving in General.# Various Systems of Looms -- #Mounting +and Starting the Power-Loom.# English Looms -- Tappet or Treadle Looms +-- Dobbies -- #General Remarks on the Numbering, Reeling and Packing of +Yarn# -- #Appendix# -- #Useful Hints.# Calculating Warps -- Weft +Calculations -- Calculations of Cost Price in Hanks. + + +#TEXTILE RAW MATERIALS AND THEIR CONVERSION INTO YARNS.# (The Study of +the Raw Materials and the Technology of the Spinning Process.) By +Julius ZIPSER. Translated from German by Charles SALTER. 302 +Illustrations. 500 pp. Demy 8vo. Price 10s. 6d. net. (Post free, 11s. +home; 11s. 6d. abroad.) + +#Contents.# + +#PART 1. -- The Raw Materials Used in the Textile Industry.# MINERAL RAW +MATERIALS. VEGETABLE RAW MATERIALS. ANIMAL RAW MATERIALS. + +#PART II. -- The Technology of Spinning or the Conversion of Textile +Raw Materials into Yarn.# + +SPINNING VEGETABLE RAW MATERIALS. Cotton Spinning -- Installation of a +Cotton Mill -- Spinning Waste Cotton and Waste Cotton Yarns -- Flax +Spinning -- Fine Spinning -- Tow Spinning -- Hemp Spinning -- Spinning +Hemp Tow String -- Jute Spinning -- Spinning Jute Line Yarn -- +Utilising Jute Waste. + +#PART III. -- Spinning Animal Raw Materials.# + +Spinning Carded Woollen Yarn -- Finishing Yarn -- Worsted Spinning -- +Finishing Worsted Yarn -- Artificial Wool or Shoddy Spinning -- Shoddy +and Mungo Manufacture -- Spinning Shoddy and other Wool Substitutes -- +Spinning Waste Silk -- Chappe Silk -- Fine Spinning -- Index. + + +#GRAMMAR OF TEXTILE DESIGN.# By H. NISBET, Weaving and Designing Master, +Bolton Municipal Technical School. Demy 8vo. 280 pp. 490 Illustrations +and Diagrams. Price 6s. net. (Post free, 6s. 10d. home; 7s. abroad.) + +#Contents.# + +Chapter I., INTRODUCTION. -- General Principle of Fabric Structure and +the use of Design Paper. + +Chapter II., THE PLAIN WEAVE AND ITS MODIFICATIONS. -- #The Plain, +Calico, or Tabby Weave#. -- Firmness of Texture -- Variety of Texture +-- Variety of Form: Ribbed Fabrics -- Corded Fabrics -- Matt Weaves. + +Chapter III., TWILL AND KINDRED WEAVES. -- Classification of Twill +Weaves. -- #1. Continuous Twills# -- (_a_) _Warp-face Twills_ -- (_b_) +_Weft-face Twills_ -- (_c_) _Warp and Weft-face Twills_ -- The Angle +of Twill -- Influences affecting the Prominence of Twills and Kindred +Weaves (_a_) _Character of Weave_, (_b_) _Character of Yarn_, (_c_) +_Number of Threads per Inch_, (_d_) _Direction of Twill in Relation to +the Direction of Twist in Yarn_ -- #2. Zigzag or Wavy Twills# -- 3. +#Rearranged Twills#: Satin Weaves -- Table of Intervals of Selection for +the Construction of Satin Weaves -- Corkscrew Twills -- Rearrangement +of Twill Weaves on Satin and other Bases -- #4. Combined Twills# -- #5. +Broken Twills# -- #6. Figured or Ornamented Twills#. + +Chapter IV., DIAMOND AND KINDRED WEAVES, -- #Diamond Weaves.# -- +Honeycomb and Kindred Weaves -- Brighton Weaves -- Sponge Weaves -- +Huck-a-Back and Kindred Weaves -- Grecian Weaves -- Linear Zigzag +Weaves. + +Chapter V., BEDFORD CORDS. -- Plain Calico-ribbed Bedford Cords (p. c20) +-- Plain Twill-ribbed Bedford Cords -- Figured Bedford Cords -- +Tabulated Data of Particulars relating to the Manufacture of Seventeen +Varieties of Bedford Cord Fabrics described in this Chapter. + +Chapter VI., BACKED FABRICS. -- Weft-backed Fabrics -- Warp-backed +Fabrics -- Reversible or Double-faced Fabrics. + +Chapter VII., FUSTIANS. -- #Varieties of Fustians.# -- Imperials or +Swansdowns -- Cantoons or Diagonals -- Moleskins -- Beaverteens -- +#Velveteens# and Velveteen Cutting -- Ribbed or Corded Velveteen -- +Figured Velveteen -- #Corduroy# -- Figured Corduroy -- Corduroy Cutting +Machines. + +Chapter VIII., TERRY PILE FABRICS. -- Methods of producing Terry Pile +on Textile Fabrics -- Terry-forming Devices -- Varieties of Terry +Fabrics -- Action of the Reed in Relation to Shedding -- Figured Terry +Weaving -- Practical Details of Terry Weaving. + +Chapter IX., GAUZE AND LENO FABRICS. -- #Gauze, Net Leno, and Leno +Brocade Varieties of Cross-Weaving.# -- Plain Gauze, and a Heald Gauze +or Leno Harness -- Net Leno Fabrics -- Gauze and Net Leno Figuring by +means of several Back Standard Healds to each Doup Heald -- #Leno +Specialities produced by a System of Crossing Warp Ends in _front_ of +the Reed# -- A Device for the Production of Special Leno Effects -- +Full Cross Leno Fabrics -- Relative Merits of a Top and a Bottom Doup +Harness -- Relative Merits of Different Types of Dobbies for Gauze and +Leno Fabrics -- Shaking Devices for Leno Weaving -- Practical Details +of Leno Weaving -- #Tempered Steel-wire Doup Harnesses for +Cross-weaving# -- Mock or Imitation Leno Fabrics. + +Chapter X., TISSUE, LAPPET, AND SWIVEL FIGURING; ALSO ONDULE EFFECTS, +AND LOOPED FABRICS. -- #Tissue Figuring# -- Madras Muslin Curtains -- +#Lappet Figuring# -- Spot Lappet Figuring -- #Swivel Figuring# -- #Woven +Ondule Effects# -- Loom for Weaving Ondule Effects -- Weft Ondule +Effects -- #Looped Fabrics.# -- INDEX. + + +#NEEDLEWORK AND DESIGN.# By Miss M. E. WILKINSON. Quarto. 24 Plates and +Text. 52 pp. [_In the Press._] + + +#HOME LACE-MAKING.# A Handbook for Teachers and Pupils. By M. E. W. +MILROY. Crown 8vo. 64 pp. With 3 Plates and 9 Diagrams. Price 1s. net. +(Post free, 1s. 3d. home; 1s. 4d. abroad.) + + +#THE CHEMISTRY OF HAT MANUFACTURING.# Lectures delivered before the Hat +Manufacturers' Association. By Watson SMITH, F.C.S., F.I.C. Revised +and Edited by Albert SHONK, Crown 8vo. 132 pp. 16 Illustrations. Price +7s. 6d. net. (Post free, 7s. 9d. home; 7s. 10d. abroad.) + +#Contents.# + +Textile Fibres, principally Wool, Fur, and Hair -- Water: its +Chemistry and Properties; Impurities and their Action; Tests of Purity +-- Acids and Alkalis -- Boric Acid, Borax, Soap -- Shellac, Wood +Spirit, and the Stiffening and Proofing Process -- Mordants: their +Nature and Use -- Dye-stuffs and Colours -- Dyeing of Wool and Fur; +and Optical Properties of Colours-Index. + + +#THE TECHNICAL TESTING OF YARNS AND TEXTILE FABRICS.# With Reference to +Official Specifications. Translated from the German of Dr. J. +HERZFELD. Second Edition. Sixty-nine Illustrations. 200 pp. Demy 8vo. +Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. abroad.) + +#Contents.# + +#Yarn Testing. Determining the Yarn Number# -- #Testing the Length of +Yarns# -- #Examination of the External Appearance of Yarn# -- #Determining +the Twist of Yarn and Twist# -- #Determination of Tensile Strength and +Elasticity# -- #Estimating the Percentage of Fat in Yarn# -- +#Determination of Moisture# (Conditioning) -- #Appendix#. + + +#DECORATIVE AND FANCY TEXTILE FABRICS.# By R. T. LORD. Manufacturers and +Designers of Carpets, Damask, Dress and all Textile Fabrics. 200 pp. +Demy 8vo. 132 Designs and Illustrations. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. abroad.) + + +#THEORY AND PRACTICE OF DAMASK WEAVING.# By H. KINZER and K. WALTER. +Royal 8vo. Eighteen Folding Plates Six Illustrations. Translated from +the German. 110 pp. Price 8s. 6d. net. (Post free, 9s. home; 9s. 6d. +abroad.) + +#Contents.# (p. c21) + +#The Various Sorts of Damask Fabrics# -- Drill (Ticking, Handloom-made) +-- Whole Damask for Tablecloths -- Damask with Ground- and +Connecting-warp Threads -- Furniture Damask -- Lampas or Hangings -- +Church Damasks -- #The Manufacture of Whole Damask# -- Damask +Arrangement with and without Cross-Shedding -- The Altered +Cone-arrangement -- The Principle of the Corner Lifting Cord -- The +Roller Principle -- The Combination of the Jacquard with the so-called +Damask Machine -- The Special Damask Machine -- The Combination of Two +Tyings. + + +#FAULTS IN THE MANUFACTURE OF WOOLLEN GOODS AND THEIR PREVENTION.# By +Nicolas REISER. Translated from the Second German Edition. Crown 8vo. +Sixty-three Illustrations. 170 pp. Price 5s. net. (Post free, 5s. 4d. +home; 5s. 6d. abroad.) + +#Contents.# + +Improperly Chosen Raw Material or Improper Mixtures -- Wrong Treatment +of the Material in Washing, Carbonisation, Drying, Dyeing and Spinning +-- Improper Spacing of the Goods in the Loom -- Wrong Placing of +Colours -- Wrong Weight or Width of the Goods -- Breaking of Warp and +Weft Threads -- Presence of Doubles, Singles, Thick, Loose, and too +Hard Twisted Threads as well as Tangles, Thick Knots and the Like -- +Errors in Cross-weaving--Inequalities, _i.e._, Bands and Stripes -- +Dirty Borders -- Defective Selvedges -- Holes and Buttons -- Rubbed +Places -- Creases -- Spots -- Loose and Bad Colours -- Badly Dyed +Selvedges -- Hard Goods -- Brittle Goods -- Uneven Goods -- Removal of +Bands, Stripes, Creases and Spots. + + +#SPINNING AND WEAVING CALCULATIONS,# especially relating to Woollens. +From the German of N. REISER. Thirty-four Illustrations. Tables. 160 +pp. Demy 8vo. 1904. Price 10s. 6d. net. (Post free, 10s. 10d. home; +11s. abroad.) + +#Contents.# + +Calculating the Raw Material -- Proportion of Different Grades of Wool +to Furnish a Mixture at a Given Price -- Quantity to Produce a Given +Length -- Yarn Calculations -- Yarn Number -- Working Calculations -- +Calculating the Reed Count -- Cost of Weaving, etc. + + +#WATERPROOFING OF FABRICS.# By Dr. S. MIERZINSKI. Crown 8vo, 104 pp. 29 +Illus. Price 5s. net. (Post free, 5s. 3d. home; 5s. 4d. abroad.) + +#Contents.# + +Introduction -- Preliminary Treatment of the Fabric -- Waterproofing +with Acetate of Alumina -- Impregnation of the Fabric -- Drying -- +Waterproofing with Paraffin -- Waterproofing with Ammonium Cuprate -- +Waterproofing with Metallic Oxides -- Coloured Waterproof Fabrics -- +Waterproofing with Gelatine, Tannin, Caseinate of Lime and other +Bodies -- Manufacture of Tarpaulin -- British Waterproofing Patents -- +Index. + + +#HOW TO MAKE A WOOLLEN MILL PAY.# By John MACKIE. Crown 8vo. 76 pp. +Price 3s. 6d. net. (Post free, 3s. 9d. home; 3s. 10d. abroad.) + +#Contents.# + +Blends, Piles, or Mixtures of Clean Scoured Wools -- Dyed Wool Book -- +The Order Book -- Pattern Duplicate Books -- Management and Oversight +-- Constant Inspection of Hill Departments -- Importance of Delivering +Goods to Time, Shade, Strength, etc. -- Plums. + + (_For "Textile Soaps and Oils" see p. 7._) + + + +#DYEING, COLOUR PRINTING, MATCHING AND DYE-STUFFS.# + + +#THE COLOUR PRINTING OF CARPET YARNS.# Manual for Colour Chemists and +Textile Printers. By David PATERSON, F.C.S. Seventeen Illustrations. +136 pp. Demy 8vo. Price 7s. 6d. net. (Post free, 7s. 10d, home; 8s. +abroad.) + +#Contents.# + +Structure and Constitution of Wool Fibre -- Yarn Scouring -- Scouring +Materials -- Water for Scouring -- Bleaching Carpet Yarns -- Colour +Making for Yarn Printing -- Colour Printing Pastes -- Colour Recipes +for Yarn Printing -- Science of Colour Mixing -- Matching of Colours +-- "Hank" Printing -- Printing Tapestry Carpet Yarns -- Yarn Printing +-- Steaming Printed Yarns -- Washing of Steamed Yarns -- Aniline +Colours Suitable for Yarn Printing -- Glossary of Dyes and Dye-wares +used in Wood Yarn Printing -- Appendix. + + +#THE SCIENCE OF COLOUR MIXING.# A Manual intended for the use of (p. c22) +Dyers, Calico Printers and Colour Chemists. By David PATERSON, +F.C.S. Forty-one Illustrations, #Five Coloured Plates, and Four Plates +showing Eleven Dyed Specimens of Fabrics#. 132 pp. Demy 8vo. Price 7s. +6d. net. (Post free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +Colour a Sensation; Colours of Illuminated Bodies; Colours of Opaque +and Transparent Bodies; Surface Colour -- Analysis of Light; Spectrum; +Homogeneous Colours; Ready Method of Obtaining a Spectrum -- +Examination of Solar Spectrum; The Spectroscope and Its Construction; +Colourists' Use of the Spectroscope -- Colour by Absorption: Solutions +and Dyed Fabrics; Dichroic Coloured Fabrics in Gaslight -- Colour +Primaries of the Scientist _versus_ the Dyer and Artist; Colour Mixing +by Rotation and Lye Dyeing; Hue, Purity, Brightness; Tints; Shades, +Scales, Tones, Sad and Sombre Colours -- Colour Mixing; Pure and +Impure Greens, Orange and Violets; Large Variety of Shades from few +Colours; Consideration of the Practical Primaries: Red, Yellow and +Blue -- Secondary Colours; Nomenclature of Violet and Purple Group; +Tints and Shades of Violet; Changes in Artificial Light -- Tertiary +Shades; Broken Hues; Absorption Spectra of Tertiary Shades -- +Appendix: Four Plates with Dyed Specimens Illustrating Text -- Index. + + +#DYERS' MATERIALS#: An Introduction to the Examination, Evaluation and +Application of the most important Substances used in Dyeing, Printing, +Bleaching and Finishing. By Paul HEERMAN, Ph.D. Translated from the +German by A. C. WRIGHT, M.A. (Oxon.), B.Sc. (Lond.). Twenty-four +Illustrations. Crown 8vo. 150 pp. Price 5s. net. (Post free, 5s. 4d. +home; 5s. 6d. abroad.) + + +#COLOUR MATCHING ON TEXTILES.# A Manual intended for the use of Students +of Colour Chemistry, Dyeing and Textile Printing. By David PATERSON, +F.C.S. Coloured Frontispiece. Twenty-nine Illustrations and #Fourteen +Specimens Of Dyed Fabrics#. Demy 8vo. 132 pp. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +Colour Vision and Structure of the Eye -- Perception of Colour -- +Primary and Complementary Colour Sensations -- Daylight for Colour +Matching -- Selection of a Good Pure Light -- Diffused Daylight, +Direct Sunlight, Blue Skylight, Variability of Daylight, etc., etc. -- +Matching of Hues -- Purity and Luminosity of Colours -- Matching +Bright Hues -- Aid of Tinted Films -- Matching Difficulties Arising +from Contrast -- Examination of Colours by Reflected and Transmitted +Lights -- Effect of Lustre and Transparency of Fibres in Colour +Matching -- Matching of Colours on Velvet Pile -- Optical Properties of +Dye-stuffs, Dichroism, Fluorescence -- Use of Tinted Mediums -- Orange +Film -- Defects of the Eye -- Yellowing of the Lens -- Colour +Blindness, etc. -- Matching of Dyed Silk Trimmings and Linings and +Bindings -- Its Difficulties -- Behaviour of Shades in Artificial +Light -- Colour Matching of Old Fabrics, etc. -- Examination of Dyed +Colours under the Artificial Lights -- Electric Arc, Magnesium and +Dufton, Gardner Lights, Welsbach, Acetylene, etc. -- Testing +Qualities of an Illuminant -- Influence of the Absorption Spectrum in +Changes of Hue under the Artificial Lights -- Study of the Causes of +Abnormal Modifications of Hue, etc. + + +#COLOUR: A HANDBOOK OF THE THEORY OF COLOUR.# By George H. HURST, F.C.S. +#With Ten Coloured Plates# and Seventy-two Illustrations. 160 pp. Demy +8vo. Price 7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +#Colour and Its Production -- Cause of Colour in Coloured Bodies -- +Colour Phenomena and Theories -- The Physiology of Light -- Contrast +-- Colour in Decoration and Design -- Measurement of Colour.# + + +Reissue of +#THE ART OF DYEING WOOL, SILK AND COTTON.# + +Translated from the French of M. HELLOT, M. MACQUER and M. le PILEUR +D'APLIGNY. First Published in English in 1789. Six Plates. Demy 8vo. +446 pp. Price 5s. net. (Post free, 5s. 6d. home; 6s. abroad.) + +#Contents.# + +Part I., #The Art of Dyeing Wool and Woollen Cloth, Stuffs, Yarn, +Worsted, etc.# Part II., #The Art of Dyeing Silk.# Part III., #The Art of +Dyeing Cotton and Linen Thread, together with the Method of Stamping +Silks, Cottons, etc.# + + +#THE CHEMISTRY OF DYE-STUFFS.# By Dr. Georg Von GEORGIEVICS. (p. c23) +Translated from the Second German Edition. 412 pp. Demy 8vo. Price +10s. 6d. net. (Post free, 11s. home; 11s. 6d. abroad.) + +#Contents.# + +Introduction -- Coal Tar -- Intermediate Products in the Manufacture +of Dye-stuffs--The Artificial Dye-stuffs (Coal-tar Dyes) -- Nitroso +Dye-stuffs -- Nitro Dye-stuffs -- Azo Dye-stuffs -- Substantive Cotton +Dye-stuffs -- Azoxystilbene Dye-stuffs -- Hydrazones -- Ketoneimides +-- Triphenylmethane Dye-stuffs -- Rosolic Acid Dye-stuffs -- Xanthene +Dye-stuffs -- Xanthone Dye-stuffs -- Flavones -- Oxyketone Dye-stuffs +-- Quinoline and Acridine Dye-stuffs -- Quinonimide or Diphenylamine +Dye-stuffs -- The Azine Group: Eurhodines, Safranines and Indulines -- +Eurhodines -- Safranines -- Quinoxalines -- Indigo -- Dye-stuffs of +Unknown Constitution -- Sulphur or Sulphine Dye stuffs -- Development +of the Artificial Dye-stuff Industry -- The Natural Dye-stuffs -- +Mineral Colours -- Index. + + +#THE DYEING OF COTTON FABRICS#: A Practical +Handbook for the Dyer and Student. By Franklin BEECH, Practical +Colourist and Chemist. 272 pp. Forty-four Illustrations of Bleaching +and Dyeing Machinery. Demy 8vo. Price 7s. 6d. net. (Post free, +7s. 10d. home; 8s. abroad.) + +#Contents.# + +Structure and Chemistry of the Cotton Fibre -- Scouring and Bleaching +of Cotton --Dyeing Machinery and Dyeing Manipulations -- Principles +and Practice of Cotton Dyeing -- Direct Dyeing; Direct Dyeing followed +by Fixation with Metallic Salts; Direct Dyeing followed by Fixation +with Developers; Direct Dyeing followed by Fixation with Couplers; +Dyeing on Tannic Mordant; Dyeing on Metallic Mordant; Production of +Colour Direct upon Cotton Fibres; Dyeing Cotton by Impregnation with +Dye-stuff Solution -- Dyeing Union (Mixed Cotton and Wool) Fabrics -- +Dyeing Half Silk (Cotton-Silk, Satin) Fabrics -- Operations following +Dyeing -- Washing, Soaping, Drying -- Testing of the Colour of Dyed +Fabrics -- Experimental Dyeing and Comparative Dye Testing -- Index. + +The book contains numerous recipes for the production on Cotton +Fabrics of all kinds of a great range of colours. + + +#THE DYEING OF WOOLLEN FABRICS.# By Franklin BEECH, Practical Colourist +and Chemist. Thirty-three Illustrations. Demy 8vo. 228 pp. Price 7s. +6d. net. (Post free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +The Wool Fibre -- Structure, Composition and Properties -- Processes +Preparatory to Dyeing -- Scouring and Bleaching of Wool -- Dyeing +Machinery and Dyeing Manipulations -- Loose Wool Dyeing, Yarn Dyeing +and Piece Dyeing Machinery -- The Principles and Practice of Wool +Dyeing -- Properties of Wool Dyeing -- Methods of Wool Dyeing -- +Groups of Dyes -- Dyeing with the Direct Dyes -- Dyeing with Basic +Dyes -- Dyeing with Acid Dyes -- Dyeing with Mordant Dyes -- Level +Dyeing -- Blacks on Wool -- Reds on Wool -- Mordanting of Wool -- +Orange Shades on Wool -- Yellow Shades on Wool -- Green Shades on Wool +-- Blue Shades on Wool -- Violet Shades on Wool -- Brown Shades on +Wool -- Mode Colours on Wool -- Dyeing Union (Mixed Cotton Wool) +Fabrics -- Dyeing of Gloria -- Operations following Dyeing -- Washing, +Soaping, Drying -- Experimental Dyeing and Comparative Dye Testing -- +Testing of the Colour of Dyed Fabrics -- Index. + + + +#BLEACHING AND WASHING.# + + +#A PRACTICAL TREATISE ON THE BLEACHING OF LINEN AND COTTON YARN AND +FABRICS.# By L. TAILFER, Chemical and Mechanical Engineer. Translated +from the French by John GEDDES McINTOSH. Demy 8vo. 303 pp. Twenty +Illus. Price 12s. 6d. net. (Post free, 13s. home; 13s. 6d. abroad.) + + + +#COTTON SPINNING AND COMBING.# + + +#COTTON SPINNING# (First Year). By Thomas THORNLEY, Spinning Master, +Bolton Technical School. 160 pp. Eighty-four Illustrations. Crown 8vo. +Second Impression. Price 3s. net. (Post free, 3s. 4d. home; 3s. 6d. +abroad.) + +#Contents.# + +Syllabus and Examination Papers of the City and Guilds of London +Institute -- Cultivation, Classification, Ginning, Baling and Mixing +of the Raw Cotton -- Bale-Breakers, Mixing Lattices and Hopper Feeders +-- Opening and Scutching -- Carding -- Indexes. + + +#COTTON SPINNING# (Intermediate, or Second Year). By Thomas (p. c24) +THORNLEY. 180 pp. Seventy Illustrations. Crown 8vo. Price 5s. net. +(Post free, 5s. 4d. home; 5s. 6d. abroad.) + +#Contents.# + +Syllabuses and Examination Papers of the City and Guilds of London +Institute -- The Combing Process -- The Drawing Frame -- Bobbin and +Fly Frames -- Mule Spinning -- Ring Spinning -- General Indexes. + + +#COTTON SPINNING# (Honours, or Third Year). By Thomas THORNLEY. 216 pp. +Seventy-four Illustrations. Crown 8vo. Second Edition. Price 5s. net. +(Post free, 5s. 4d. home; 5s. 6d. abroad.) + +#Contents.# + +Syllabuses and Examination Papers of the City and Guilds of London +Institute -- Cotton--The Practical Manipulation of Cotton Spinning +Machinery -- Doubling and Winding -- Reeling -- Warping -- Production +and Costs -- Main Driving -- Arrangement of Machinery and Mill +Planning -- Waste and Waste Spinning -- Indexes. + + +#COTTON COMBING MACHINES.# By Thos. THORNLEY, Spinning Master, Technical +School, Bolton. Demy 8vo. 117 Illustrations. 300 pp. Price 7s. 6d. +net. (Post free, 8s. home; 8s. 6d. abroad.) + +#Contents.# + +The Sliver Lap Machine and the Ribbon Cap Machine -- General +Description of the Heilmann Comber -- The Cam Shaft -- On the +Detaching and Attaching Mechanism of the Comber -- Resetting of +Combers -- The Erection of a Heilmann Comber -- Stop Motions: Various +Calculations -- Various Notes and Discussions -- Cotton Combing +Machines of Continental Make -- Index. + + + +#FLAX, HEMP AND JUTE SPINNING.# + + +#MODERN FLAX, HEMP AND JUTE SPINNING AND TWISTING.# A Practical Handbook +for the use of Flax, Hemp and Jute Spinners, Thread, Twine and Rope +Makers. By Herbert R. CARTER, Mill Manager, Textile Expert and +Engineer, Examiner in Flax Spinning to the City and Guilds of London +Institute. Demy 8vo. 1907. With 92 Illustrations. 200 pp. Price 7s. +6d. net. (Post free, 7s. 9d. home; 8s. abroad.) + +#Contents.# + +#Raw Fibre.# -- Origin of Flax -- Hemp and Jute Fibre -- Description of +the Plants -- Mode of Cultivation -- Suitable Climate and Soil -- +Sowing -- Harvesting -- Rippling Flax and Hemp -- Water Retting -- Dew +Retting -- Extraction of the Fibre -- Marketing the Fibre -- +Bracquing -- Flax, Hemp and Jute Marks -- Comparative Prices -- +Ports of Export -- Trade Centres -- Fibre Selling Conditions -- Duty +on Fibre -- Fibre Exports. #Hackling.# -- Sorting and Storing the Raw +Fibre -- Softening Hemp and Jute -- Jute Batching -- Cutting -- +Piecing Out -- Roughing -- Hackling by Hand and Machine -- Tippling -- +Sorting -- Ventilation of Hackling Rooms. #Sliver Formation.# -- +Spreading Line -- Heavy Spreading System -- Good's Combined Hackle and +Spreader -- Jute Breaking and Carding -- Flax and Hemp Tow Carding -- +Bell Calculation -- Clock System -- Theory of Spreading. #Line and Tow +Preparing.# -- Drawing and Doubling -- Draft Calculation -- Set +Calculation -- Tow Combing -- Compound Systems -- Automatic Stop +Motions and Independent Heads -- Details of Preparing Machinery -- +Ventilation -- Humidification. #Gill Spinning.# -- Gill Spinning for +Shoe Threads, Rope Yarns, Binder and Trawl Twines -- The Automatic +Gill Spinner -- Rope and Reaper Yarn Numbering. #The Flax, Hemp and +Jute Roving Frame.# -- Bobbin Winding -- Differential Motion -- Twist +Calculation -- Practical Changing -- Rove Stock. #Dry and Half-Dry +Spinning.# -- Flyer and Ring Frames -- Draft and Twist Calculation -- +Bobbin Dragging -- Reaches -- Set of Breast Beam and Tin-rod. #Wet +Spinning# of Flax, Hemp and Tow -- Hot and Cold Water Spinning -- +Improvements in the Water Trough -- Turn off and Speed of Spindles -- +Reaches -- Belting -- Band Tying -- Tape Driving -- Oiling -- Black +Threads -- Cuts per Spindle -- Ventilation of the Wet Spinning Room. +#Yarn Department.# -- Reeling -- Cop Winding -- Cheese and Spool Winding +-- Balling Shoe Thread, Reaper Yarn, etc. -- Yarn Drying and +Conditioning -- Yarn Bundling -- Yarn Baling -- Weight of Yarn -- Yarn +Tables -- Duty on Yarn Imports. #Manufacture of Threads, Twines and +Cords.# -- Hank Winding -- Wet and Dry Twisting -- Cabling -- Fancy +Yarns -- Twine Laying -- Sizing and Polishing Threads and Twines -- +Softening Threads -- Skeining Threads -- Balling Twines -- Leeson's +Universal Winder -- Randing Twines -- Spooling Sewing Threads -- +Comparative Prices of Flax and Hemp Cords, Lines and Threads. #Rope +Making.# -- Construction of Hawsers and Cables -- Stranding -- Laying +and Closing -- Compound Rope Machines -- Rules for Rope Makers -- +Weight of Ropes -- Balling and Coiling Ropes. #Mechanical Department.# +-- Boilers, Engines and Turbines -- Power Transmission by Belts and +Ropes -- Electric Light and Power Transmission -- Fans -- Oils and +Oiling -- Repairs -- Fluting. #Mill Construction.# -- Flax, Hemp and +Jute Spinning Mills and Rope works -- Heating -- Roofs -- Chimneys, +etc. + + + +#COLLIERIES AND MINES.# (p. c25) + + +#RECOVERY WORK AFTER PIT FIRES.# By Robert LAMPRECHT, Mining Engineer +and Manager. Translated from the German. Illustrated by Six large +Plates, containing Seventy-six Illustrations. 175 pp., demy 8vo. Price +10s. 6d. net. (Post free, 10s. 10d. home; 11s. abroad.) + +#Contents.# + +#Causes of Pit Fires -- Preventive Regulations#: (1) The Outbreak and +Rapid Extension of a Shaft Fire can be most reliably prevented by +Employing little or no Combustible Material in the Construction of the +Shaft; (2) Precautions for Rapidly Localising an Outbreak of Fire in +the Shaft; (3) Precautions to be Adopted in case those under 1 and 2 +Fail or Prove Inefficient. Precautions against Spontaneous Ignition of +Coal. Precautions for Preventing Explosions of Fire-damp and Coal +Dust. Employment of Electricity in Mining, particularly in Fiery Pits. +Experiments on the Ignition of Fire-damp Mixtures and Clouds of Coal +Dust by Electricity -- #Indications of an Existing or Incipient Fire -- +Appliances for Working in Irrespirable Gases#: Respiratory Apparatus; +Apparatus with Air Supply Pipes; Reservoir Apparatus; Oxygen Apparatus +-- #Extinguishing Pit Fires#: (_a_) Chemical Means; (_b_) Extinction +with Water. Dragging down the Burning Masses and Packing with Clay; +(_c_) Insulating the Seat of the Fire by Dams. Dam Building. Analyses +of Fire Gases. Isolating the Seat of a Fire with Dams: Working in +Irrespirable Gases ("Gas-diving"): Air-Lock Work. Complete Isolation +of the Pit. Flooding a Burning Section isolated by means of Dams. +Wooden Dams: Masonry Dams. Examples of Cylindrical and Dome-shaped +Dams. Dam Doors: Flooding the Whole Pit -- #Rescue Stations#: (_a_) +Stations above Ground; (_b_) Underground Rescue Stations -- +#Spontaneous Ignition of Coal in Bulk# -- Index. + + +#VENTILATION IN MINES.# By Robert WABNER, Mining Engineer. Translated +from the German. Royal 8vo. Thirty Plates and Twenty-two +Illustrations. 240 pp. Price 10s. 6d. net. (Post free, 11s. home; 11s. +3d. abroad.) + +#Contents.# + +#The Causes of the Contamination of Pit Air -- The Means of Preventing +the Dangers resulting from the Contamination of Pit Air -- Calculating +the Volume of Ventilating Current necessary to free Pit Air from +Contamination -- Determination of the Resistance Opposed to the +Passage of Air through the Pit -- Laws of Resistance and Formulae +therefor -- Fluctuations in the Temperament or Specific Resistance of +a Pit -- Means for Providing a Ventilating Current in the Pit -- +Mechanical Ventilation -- Ventilators and Fans -- Determining the +Theoretical, Initial, and True (Effective) Depression of the +Centrifugal Fan -- New Types of Centrifugal Fan of Small Diameter and +High Working Speed -- Utilising the Ventilating Current to the utmost +Advantage and distributing the same through the Workings -- +Artificially retarding the Ventilating Current -- Ventilating +Preliminary Workings -- Blind Headings -- Separate Ventilation -- +Supervision of Ventilation# -- INDEX. + + +#HAULAGE AND WINDING APPLIANCES USED IN MINES.# By Carl VOLK. Translated +from the German. Royal 8vo. With Six Plates and 148 Illustrations. 150 +pp. Price 8s. 6d. net. (Post free, 9s. home; 9s. 3d. abroad.) + +#Contents.# + +Haulage Appliances -- Ropes -- Haulage Tubs and Tracks -- Cages and +Winding Appliances -- Winding Engines for Vertical Shafts -- Winding +without Ropes -- Haulage in Levels and Inclines -- The Working of +Underground Engines -- Machinery for Downhill Haulage. + + + +#DENTAL METALLURGY.# + + +#DENTAL METALLURGY: MANUAL FOR STUDENTS AND DENTISTS.# By A. B. +GRIFFITHS, Ph.D. Demy 8vo. Thirty-six Illustrations. 200 pp. Price 7s. +6d. net. (Post free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +Introduction -- Physical Properties of the Metals -- Action of Certain +Agents on Metals -- Alloys -- Action of Oral Bacteria on Alloys -- +Theory and Varieties of Blowpipes -- Fluxes -- Furnaces and Appliances +-- Heat and Temperature -- Gold -- Mercury -- Silver -- Iron -- Copper +-- Zinc -- Magnesium -- Cadmium -- Tin -- Lead -- Aluminium -- +Antimony -- Bismuth -- Palladium -- Platinum -- Iridium -- Nickel -- +Practical Work -- Weights and Measures. + + + +#ENGINEERING, SMOKE PREVENTION AND METALLURGY.# (p. c26) + + +#THE PREVENTION OF SMOKE.# Combined with the Economical Combustion of +Fuel. By W. C. POPPLEWELL, M.Sc., A.M.Inst., C.E., Consulting Engineer. +Forty-six Illustrations. 190 pp. Demy 8vo. Price 7s. 6d. net. (Post +free, 7s. 10d. home; 8s. 3d. abroad.) + +#Contents#. + +Fuel and Combustion -- Hand Firing in Boiler Furnaces -- Stoking by +Mechanical Means -- Powdered Fuel -- Gaseous Fuel -- Efficiency and +Smoke Tests of Boilers -- Some Standard Smoke Trials -- The Legal +Aspect of the Smoke Question -- The Best Means to be adopted for the +Prevention of Smoke -- Index. + + +#GAS AND COAL DUST FIRING.# A Critical Review of the Various Appliances +Patented in Germany for this purpose since 1885. By Albert PUeTSCH. 130 +pp. Demy 8vo. Translated from the German. With 103 Illustrations. +Price 7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.) + +#Contents#. + +Generators -- Generators Employing Steam -- Stirring and Feed +Regulating Appliances -- Direct Generators -- Burners -- Regenerators +and Recuperators -- Glass Smelting Furnaces -- Metallurgical Furnaces +-- Pottery Furnace -- Coal Dust Firing -- Index. + + +#THE HARDENING AND TEMPERING OF STEEL IN THEORY AND PRACTICE.# By +Fridolin REISER. + +Translated from the German of the Third Edition. Crown 8vo. 120 pp. +Price 5s. net. (Post free, 5s. 3d. home; 5s. 4d. abroad.) + +#Contents#. + +#Steel -- Chemical and Physical Properties of Steel, and their Casual +Connection -- Classification of Steel according to Use -- Testing the +Quality of Steel -- Steel-Hardening -- Investigation of the Causes of +Failure in Hardening -- Regeneration of Steel Spoilt in the Furnace -- +Welding Steel -- Index.# + + +#SIDEROLOGY: THE SCIENCE OF IRON# (The Constitution of Iron Alloys and +Slags). Translated from German of Hanns Freiherr v. JUePTNER. 350 pp. +Demy 8vo. Eleven Plates and Ten Illustrations. Price 10s. 6d. net. +(Post free, 11s. home; 11s. 6d. abroad.) + +#Contents.# + +#The Theory of Solution.# -- Solutions -- Molten Alloys -- Varieties of +Solutions -- Osmotic Pressure -- Relation between Osmotic Pressure and +other Properties of Solutions -- Osmotic Pressure and Molecular Weight +of the Dissolved Substance -- Solutions of Gases -- Solid Solutions -- +Solubility -- Diffusion -- Electrical Conductivity -- Constitution of +Electrolytes and Metals -- Thermal Expansion. #Micrography.# -- +Microstructure -- The Micrographic Constituents of Iron -- Relation +between Micrographical Composition, Carbon-Content, and Thermal +Treatment of Iron Alloys -- The Microstructure of Slags. #Chemical +Composition of the Alloys of Iron.# -- Constituents of Iron Alloys -- +Carbon -- Constituents of the Iron Alloys, Carbon -- Opinions and +Researches on Combined Carbon -- Applying the Curves of Solution +deduced from the Curves of Recalescence to the Determination of the +Chemical Composition of the Carbon present in Iron Alloys -- The +Constituents of Iron -- Iron -- The Constituents of Iron Alloys -- +Manganese -- Remaining Constituents of Iron Alloys -- A Silicon -- +Gases. #The Chemical Composition of Slag.# -- Silicate Slags -- +Calculating the Composition of Silicate Slags -- Phosphate Slags -- +Oxide Slags -- Appendix -- Index. + + +#EVAPORATING, CONDENSING AND COOLING APPARATUS.# Explanations, Formulae +and Tables for Use in Practice. By E. HAUSBRAND, Engineer. Translated +by A. C. WRIGHT, M.A. (Oxon.), B.Sc. (Lond.). With Twenty-one +Illustrations and Seventy-six Tables. 400 pp. Demy 8vo. Price 10s. 6d. +net. (Post free, 11s. home; 11s. 6d. abroad.) + +#Contents.# (p. c27) + +_Re_Coefficient of Transmission of Heat, k/, and the Mean Temperature +Difference, [Greek: theta]/m -- Parallel and Opposite Currents -- +Apparatus for Heating with Direct Fire -- The Injection of Saturated +Steam -- Superheated Steam -- Evaporation by Means of Hot Liquids -- +The Transference of Heat in General, and Transference by means of +Saturated Steam in Particular -- The Transference of Heat from +Saturated Steam in Pipes (Coils) and Double Bottoms -- Evaporation in +a Vacuum -- The Multiple-effect Evaporator -- Multiple-effect +Evaporators from which Extra Steam is Taken -- The Weight of Water +which must be Evaporated from 100 Kilos, of Liquor in order its +Original Percentage of Dry Materials from 1-25 per cent. up to 20-70 +per cent. -- The Relative Proportion of the Heating Surfaces in the +Elements of the Multiple Evaporator and their Actual Dimensions -- The +Pressure Exerted by Currents of Steam and Gas upon Floating Drops of +Water -- The Motion of Floating Drops of Water upon which Press +Currents of Steam -- The Splashing of Evaporating Liquids -- The +Diameter of Pipes for Steam, Alcohol, Vapour and Air -- The Diameter +of Water Pipes -- The Loss of Heat, from Apparatus and Pipes to the +Surrounding Air, and Means for Preventing the Loss -- Condensers -- +Heating Liquids by Means of Steam -- The Cooling of Liquids -- The +Volumes to be Exhausted from Condensers by the Air-pumps -- A Few +Remarks on Air-pumps and the Vacua they Produce -- The Volumetric +Efficiency of Air-pumps -- The Volumes of Air which must be Exhausted +from a Vessel in order to Reduce its Original Pressure to a Certain +Lower Pressure -- Index. + + + +#SANITARY PLUMBING, METAL WORK, ETC., ETC.# + + +#EXTERNAL PLUMBING WORK.# A Treatise on Lead Work for Roofs. By John W. +HART, R.P.C. 180 Illustrations. 272 pp. Demy 8vo. Second Edition +Revised. Price 7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.) + +#Contents.# + +Cast Sheet Lead -- Milled Sheet Lead -- Roof Cesspools -- Socket Pipes +-- Drips -- Gutters -- Gutters (continued) -- Breaks -- Circular +Breaks -- Flats -- Flats (continued) -- Rolls on Flats -- Roll Ends -- +Roll Intersections -- Seam Rolls -- Seam Rolls (continued) -- Tack +Fixings -- Step Flashings -- Step Flashings (continued) -- Secret +Gutters -- Soakers -- Hip and Valley Soakers -- Dormer Windows -- +Dormer Windows (continued) -- Dormer Tops -- Internal Dormers -- +Skylights -- Hips and Ridging -- Hips and Ridging (continued) -- +Fixings for Hips and Ridging -- Ornamental Ridging -- Ornamental Curb +Rolls -- Curb Rolls -- Cornices -- Towers and Finials -- Towers and +Finials (continued) -- Towers and Finials (continued) -- Domes -- +Domes (continued) -- Ornamental Lead Work -- Rain Water Heads -- Rain +Water Heads (continued) -- Rain Water Heads (continued). + + +#HINTS TO PLUMBERS ON JOINT WIPING, PIPE BENDING AND LEAD BURNING.# +Third Edition, Revised and Corrected. By John W. HART, R.P.C. 184 +Illustrations. 313 pp. Demy 8vo. Price 7s. 6d. net. (Post free, 8s. +home; 8s. 6d. abroad.) + +#Contents.# + +Pipe Bending -- Pipe Bending (continued) -- Pipe Bending (continued) +-- Square Pipe Bendings-- Half-circular Elbows -- Curved Bends on +Square Pipe -- Bossed Bends -- Curved Plinth Bends -- Rain-water Shoes +on Square Pipe -- Curved and Angle Bends -- Square Pipe Fixings -- +Joint-wiping -- Substitutes for Wiped Joints -- Preparing Wiped Joints +-- Joint Fixings -- Plumbing Irons -- Joint Fixings -- Use of "Touch" +in Soldering -- Underhand Joints -- Blown and Copper Bit Joints -- +Branch Joints -- Branch Joints (continued) -- Block Joints -- Block +Joints (continued) -- Block Fixings -- Astragal Joints -- Pipe Fixings +-- Large Branch Joints -- Large Underhand Joints -- Solders -- +Autogenous Soldering or Lead Burning -- Index. + + +#SANITARY PLUMBING AND DRAINAGE.# By John W. HART. Demy 8vo. With 208 +Illustrations. 250 pp. 1904, Price 7s. 6d. net. (Post free, 7s. 10d. +home; 8s. abroad.) + +#Contents.# + +Sanitary Surveys -- Drain Testing -- Drain Testing with Smoke -- +Testing Drains with Water -- Drain Plugs for Testing -- Sanitary +Defects -- Closets -- Baths and Lavatories -- House Drains--Manholes +-- Iron Soil Pipes -- Lead Soil Pipes -- Ventilating Pipes -- +Water-closets -- Flushing Cisterns -- Baths -- Bath Fittings -- +Lavatories -- Lavatory Fittings -- Sinks -- Waste Pipes -- Water +Supply -- Ball Valves -- Town House Sanitary Arrangements -- Drainage +-- Jointing Pipes -- Accessible Drains -- Iron Drains -- Iron +Junctions -- Index. + + +#THE PRINCIPLES AND PRACTICE OF DIPPING, BURNISHING, LACQUERING (p. c28) +AND BRONZING BRASS WARE.# By W. Norman BROWN. 35 pp. Crown 8vo. Price 2s. +net. (Post free, 2s. 3d. home and abroad.) + + +#A HANDBOOK ON JAPANNING AND ENAMELLING FOR CYCLES, BEDSTEADS, TINWARE, +ETC.# By William Norman BROWN. 52 pp. and Illustrations. Crown 8vo. +Price 2s. net. (Post free, 2s. 3d. home and abroad.) + + +#THE PRINCIPLES OF HOT WATER SUPPLY.# By John W. HART, R.P.C. With 129 +Illustrations. 177 pp., demy 8vo. Price 7s. 6d. net. (Post free, 7s. +10d. home; 8s. abroad.) + +#Contents.# + +Water Circulation -- The Tank System -- Pipes and Joints -- The +Cylinder System -- Boilers for the Cylinder System -- The Cylinder +System -- The Combined Tank and Cylinder System -- Combined +Independent and Kitchen Boiler -- Combined Cylinder and Tank System +with Duplicate Boilers -- Indirect Heating and Boiler Explosions -- +Pipe Boilers -- Safety Valves -- Safety Valves -- The American System +-- Heating Water by Steam -- Steam Kettles and Jets -- Heating Power +of Steam -- Covering for Hot Water Pipes -- Index. + + + +#HOUSE DECORATING AND PAINTING.# + + +#THREE HUNDRED SHADES FOR DECORATORS AND HOW TO MIX THEM.# By A. +DESAINT. Quarto. The book will consist of a wide range of shades and +tints suitable for decorators carefully numbered and mounted for easy +reference, with full particulars as to the composition of each shade. + [_In the press_.] + + +#HOUSE DECORATING AND PAINTING.# By W. Norman BROWN. Eighty-eight +Illustrations. 150 pp. Crown 8vo. Price 3s. 6d. net. (Post free, 3s. +9d, home and abroad.) + + +#A HISTORY OF DECORATIVE ART.# By W. Norman BROWN. Thirty-nine +Illustrations. 96 pp. Crown 8vo. Price 2s. 6d. net. (Post free, 2s. +9d. home and abroad.) + + +#WORKSHOP WRINKLES# for Decorators, Painters, Paper-hangers and Others. +By W. N. BROWN. Crown 8vo. 128 pp. Second Edition. Price 2s. 6d. net. +(Post free, 2s. 9d. home; 2s. 10d. abroad.) + + + +#BREWING AND BOTANICAL.# + + +#HOPS IN THEIR BOTANICAL, AGRICULTURAL AND TECHNICAL ASPECT, AND AS AN +ARTICLE OF COMMERCE.# By Emmanuel GROSS, Professor at the Higher +Agricultural College, Tetschen-Liebwerd. Translated from the German. +Seventy-eight Illustrations. 340 pp. Demy 8vo. Price 12s. 6d. net. +(Post free, 13s. home; 13s. 6d. abroad.) + +#Contents.# + +HISTORY OF THE HOP -- THE HOP PLANT -- Introductory -- The Roots -- +The Stem -- and Leaves -- Inflorescence and Flower: Inflorescence and +Flower of the Male Hop; Inflorescence and Flower of the Female Hop -- +The Fruit and its Glandular Structure: The Fruit and Seed -- (p. c29) +Propagation and Selection of the Hop -- Varieties of the Hop: (_a_) +Red Hops; (_b_) Green Hops; (_c_) Pale Green Hops -- Classification +according to the Period of Ripening: Early August Hops; Medium Early +Hops; Late Hops -- Injuries to Growth -- Leaves Turning Yellow, Summer +or Sunbrand, Cones Dropping Off, Honey Dew, Damage from Wind, Hail and +Rain; Vegetable Enemies of the Hop: Animal Enemies of the Hop -- +Beneficial Insects on Hops -- CULTIVATION -- The Requirements of the +Hop in Respect of Climate, Soil and Situation: Climate; Soil; +Situation -- Selection of Variety and Cuttings -- Planting a Hop +Garden: Drainage; Preparing the Ground; Marking-out for Planting; +Planting; Cultivation and Cropping of the Hop Garden in the First Year +-- Work to be Performed Annually in the Hop Garden: Working the +Ground; Cutting; The Non-cutting System; The Proper Performance of the +Operation of Cutting: Method of Cutting: Close Cutting, Ordinary +Cutting, The Long Cut, The Topping Cut; Proper Season for Cutting: +Autumn Cutting, Spring Cutting; Manuring; Training the Hop Plant: +Poled Gardens, Frame Training; Principal Types of Frames; Pruning, +Cropping, Topping, and Leaf Stripping the Hop Plant; Picking, Drying +and Bagging -- Principal and Subsidiary Utilisation of Hops and Hop +Gardens -- Life of a Hop Garden; Subsequent Cropping -- Cost of +Production, Yield and Selling Prices. + +#Preservation and Storage# -- Physical and Chemical Structure of the Hop +Cone -- Judging the Value of Hops. + +#Statistics of Production# -- The Hop Trade -- Index. + + + +#TIMBER AND WOOD WASTE.# + + +#TIMBER#: A Comprehensive Study of Wood in all its Aspects (Commercial +and Botanical), showing the Different Applications and Uses of Timber +in Various Trades, etc. Translated from the French of Paul +CHARPENTIER. Royal 8vo. 437 pp. 178 Illustrations. Price 12s. 6d. net. +(Post free, 13s. home; 14s. abroad.) + +#Contents.# + +#Physical and Chemical Properties of Timber# -- Composition of the +Vegetable Bodies -- Chief Elements -- M. Fremy's Researches -- +Elementary Organs of Plants and especially of Forests -- Different +Parts of Wood Anatomically and Chemically Considered -- General +Properties of Wood -- #Description of the Different Kinds of Wood# -- +Principal Essences with Caducous Leaves -- Coniferous Resinous Trees +-- #Division of the Useful Varieties of Timber in the Different +Countries of the Globe# -- European Timber -- African Timber -- Asiatic +Timber -- American Timber -- Timber of Oceania -- #Forests# -- General +Notes as to Forests; their Influence -- Opinions as to Sylviculture -- +Improvement of Forests -- Unwooding and Rewooding -- Preservation of +Forests -- Exploitation of Forests -- Damage caused to Forests -- +Different Alterations -- #The Preservation of Timber# -- Generalities -- +Causes and Progress of Deterioration -- History of Different Proposed +Processes -- Dessication -- Superficial Carbonisation of Timber -- +Processes by Immersion -- Generalities as to Antiseptics Employed -- +Injection Processes in Closed Vessels -- The Boucherie System, Based +upon the Displacement of the Sap -- Processes for Making Timber +Uninflammable -- #Applications of Timber# -- Generalities -- Working +Timber -- Paving -- Timber for Mines -- Railway Traverses -- Accessory +Products -- Gums -- Works of M. Fremy -- Resins -- Barks -- Tan -- +Application of Cork -- The Application of Wood to Art and Dyeing -- +Different Applications of Wood -- Hard Wood -- Distillation of Wood -- +Pyroligneous Acid -- Oil of Wood -- Distillation of Resins -- Index. + + +#THE UTILISATION OF WOOD WASTE.# Translated from the German of Ernst +HUBBARD. Crown 8vo. 192 pp. Fifty Illustrations. Price 5s. net. (Post +free, 5s. 4d. home; 5s. 6d. abroad.) + +#Contents.# + +General Remarks on the Utilisation of Sawdust -- Employment of Sawdust +as Fuel, with and without Simultaneous Recovery of Charcoal and the +Products of Distillation -- Manufacture of Oxalic Acid from Sawdust -- +Process with Soda Lye; Thorn's Process; Bohlig's Process -- +Manufacture of Spirit (Ethyl Alcohol) from Wood Waste -- Patent Dyes +(Organic Sulphides, Sulphur Dyes, or Mercapto Dyes) -- Artificial Wood +and Plastic Compositions from Sawdust -- Production of Artificial Wood +Compositions for Moulded Decorations -- Employment of Sawdust for +Blasting Powders and Gunpowders -- Employment of Sawdust for +Briquettes -- Employment of Sawdust in the Ceramic Industry and as an +Addition to Mortar -- Manufacture of Paper Pulp from Wood -- Casks -- +Various Applications of Sawdust and Wood Refuse -- Calcium Carbide -- +Manure -- Wood Mosaic Plaques -- Bottle Stoppers -- Parquetry -- +Fire-lighters -- Carborundum -- The Production of Wood Wool -- Bark -- +Index. + + +#BUILDING AND ARCHITECTURE.# (p. c30) + + +#THE PREVENTION OF DAMPNESS IN BUILDINGS#; with Remarks on the Causes, +Nature and Effects of Saline, Efflorescences and Dry-rot, for +Architects, Builders, Overseers, Plasterers Painters and House Owners. +By Adolf Wilhelm KEIM. Translated from the German of the second +revised Edition by M. J. SALTER, F.I.C. F.C.S. Eight Coloured Plates +and Thirteen Illustrations. Crown 8vo. 115 pp. Price 5s. net. (Post +free, 5s. 3d. home; 5s. 4d. abroad.) + +#Contents.# + +The Various Causes of Dampness and Decay of the Masonry of Buildings, +and the Structural and Hygienic Evils of the Same -- Precautionary +Measures during Building against Dampness and Efflorescence -- Methods +of Remedying Dampness and Efflorescences in the Walls of Old Buildings +-- The Artificial Drying of New Houses, as well as Old Damp Dwellings +and the Theory of the Hardening of Mortar -- New, Certain and +Permanently Efficient Methods for Drying Old Damp Walls and Dwellings +-- The Cause and Origin of Dry-rot: its Injurious Effect on Health, +its Destructive Action on Buildings, and its Successful Repression -- +Methods of Preventing Dry-rot to be Adopted During Construction -- Old +Methods of Preventing Dry-rot -- Recent and More Efficient Remedies +for Dry-rot -- Index. + + +#HANDBOOK OF TECHNICAL TERMS USED IN ARCHITECTURE AND BUILDING, AND +THEIR ALLIED TRADES AND SUBJECTS.# By Augustine C. PASSMORE. Demy 8vo. +380 pp. Price 7s. 6d. net. (Post free, 8s. home; 8s. 6d, abroad.) + + + +#FOODS AND SWEETMEATS.# + + +#THE MANUFACTURE OF PRESERVED FOODS AND SWEETMEATS.# By A. HAUSNER. With +Twenty-eight Illustrations. Translated from the German of the third +enlarged Edition. Crown 8vo. 225 pp. Price 7s. 6d. net. (Post free, +7s. 9d. home; 7s. 10d. abroad.) + +#Contents.# + +#The Manufacture of Conserves# -- Introduction -- The Causes of the +Putrefaction of Food -- The Chemical Composition of Foods -- The +Products of Decomposition -- The Causes of Fermentation and +Putrefaction -- Preservative Bodies -- The Various Methods of +Preserving Food -- The Preservation of Animal Food -- Preserving Meat +by Means of Ice -- The Preservation of Meat by Charcoal -- +Preservation of Meat by Drying -- The Preservation of Meat by the +Exclusion of Air -- The Appert Method -- Preserving Flesh by Smoking +-- Quick Smoking -- Preserving Meat with Salt -- Quick Salting by Air +Pressure -- Quick Salting by Liquid Pressure -- Gamgee's Method of +Preserving Meat -- The Preservation of Eggs -- Preservation of White +and Yolk of Egg -- Milk Preservation -- Condensed Milk -- The +Preservation of Fat -- Manufacture of Soup Tablets -- Meat Biscuits -- +Extract of Beef -- The Preservation of Vegetable Foods in General -- +Compressing Vegetables -- Preservation of Vegetables by Appert's +Method -- The Preservation of Fruit -- Preservation of Fruit by +Storage -- The Preservation of Fruit by Drying -- Drying Fruit by +Artificial Heat -- Roasting Fruit -- The Preservation of Fruit with +Sugar -- Boiled Preserved Fruit -- The Preservation of Fruit in +Spirit, Acetic Acid or Glycerine -- Preservation of Fruit without +Boiling -- Jam Manufacture -- The Manufacture of Fruit Jellies -- The +Making of Gelatine Jellies -- The Manufacture of "Sulzen" -- The +Preservation of Fermented Beverages -- #The Manufacture of Candies# -- +Introduction -- The Manufacture of Candied Fruit -- The Manufacture of +Boiled Sugar and Caramel -- The Candying of Fruit -- Caramelised Fruit +-- The Manufacture of Sugar Sticks, or Barley Sugar -- Bonbon Making +-- Fruit Drops -- The Manufacture of Dragees -- The Machinery and +Appliances used in Candy Manufacture -- Dyeing Candies and Bonbons -- +Essential Oils used in Candy Making -- Fruit Essences -- The +Manufacture of Filled Bonbons, Liqueur Bonbons and Stamped Lozenges -- +Recipes for Jams and Jellies -- Recipes for Bonbon Making -- Dragees +-- Appendix -- Index. + + + +#DYEING FANCY GOODS.# (p. c31) + + +#THE ART OF DYEING AND STAINING MARBLE, ARTIFICIAL STONE, BONE, HORN, +IVORY AND WOOD, AND OF IMITATING ALL SORTS OF WOOD#. A Practical +Handbook for the Use of Joiners, Turners, Manufacturers of Fancy +Goods, Stick and Umbrella Makers, Comb Makers, etc. Translated from +the German of D. H. SOXHLET, Technical Chemist. Crown 8vo. 168 pp. +Price 5s. net. (Post free, 5s. 3d. home; 5s. 4d. abroad.) + +#Contents.# + +Mordants and Stains -- Natural Dyes -- Artificial Pigments -- Coal Tar +Dyes -- Staining Marble and Artificial Stone -- Dyeing, Bleaching and +Imitation of Bone, Horn and Ivory -- Imitation of Tortoiseshell for +Combs: Yellows, Dyeing Nuts -- Ivory -- Wood Dyeing -- Imitation of +Mahogany: Dark Walnut, Oak, Birch-Bark, Elder-Marquetry, Walnut, +Walnut-Marquetry, Mahogany, Spanish Mahogany, Palisander and Rose +Wood, Tortoiseshell, Oak, Ebony, Pear Tree -- Black Dyeing Processes +with Penetrating Colours -- Varnishes and Polishes: English Furniture +Polish, Vienna Furniture Polish, Amber Varnish, Copal Varnish, +Composition for Preserving Furniture -- Index. + + + +#CELLULOID.# + + +#CELLULOID#. The Raw Material, Manufacture and Uses. By Dr. Fr. +BOECKMANN. 49 Illus. Crown 8vo. [_In the Press_.] + + + +#LITHOGRAPHY, PRINTING AND ENGRAVING.# + + +#PRACTICAL LITHOGRAPHY.# By Alfred SEYMOUR. Demy 8vo. With Frontispiece +and 33 Illus. 120 pp. Price 5s. net. (Post free, 5s. 4d. home; 5s. 6d. +abroad.) + +#Contents.# + +Stones -- Transfer Inks -- Transfer Papers -- Transfer Printing -- +Litho Press -- Press Work -- Machine Printing -- Colour Printing -- +Substitutes for Lithographic Stones -- Tin Plate Printing and +Decoration -- Photo-Lithography. + + +#PRINTERS' AND STATIONERS' READY RECKONER AND COMPENDIUM.# Compiled by +Victor GRAHAM. Crown 8vo. 112 pp. 1904. Price 3s. 6d. net. (Post free, +3s. 9d. home; 3s. 10d. abroad.) + +#Contents.# + +Price of Paper per Sheet, Quire, Ream and Lb. -- Cost of 100 to 1000 +Sheets at various Sizes and Prices per Ream -- Cost of Cards -- +Quantity Table -- Sizes and Weights of Paper, Cards, etc. -- Notes on +Account Books -- Discount Tables -- Sizes of spaces -- Leads to a lb. +-- Dictionary -- Measure for Bookwork -- Correcting Proofs, etc. + + +#ENGRAVING FOR ILLUSTRATION. HISTORICAL AND PRACTICAL NOTES.# By J. +KIRKBRIDE. 72 pp. Two Plates and 6 Illustrations. Crown 8vo. Price 2s. +6d. net. (Post free, 2s. 9d. home; 2s. 10d. abroad.) + +#Contents.# + +Its Inception -- Wood Engraving -- Metal Engraving -- Engraving in +England -- Etching -- Mezzotint -- Photo-Process Engraving -- The +Engraver's Task -- Appreciative Criticism -- Index. + + + +#BOOKBINDING.# + + +#PRACTICAL BOOKBINDING.# By Paul ADAM. Translated from the German. Crown +8vo. 180 pp. 127 Illustrations. Price 5s. net. (Post free, 5s. 4d. +home; 5s. 6d. abroad.) + +#Contents.# + +Materials for Sewing and Pasting -- Materials for Covering the Book -- +Materials for Decorating and Finishing -- Tools -- General Preparatory +Work -- Sewing -- Forwarding, Cutting, Rounding and Backing (p. c32) +-- Forwarding, Decoration of Edges and Headbanding -- Boarding -- +Preparing the Cover -- Work with the Blocking Press -- Treatment of +Sewn Books, Fastening in Covers, and Finishing Off -- Handtooling and +Other Decoration -- Account Books -- School Books, Mounting Maps, +Drawings, etc. -- Index. + + + +#SUGAR REFINING.# + + +#THE TECHNOLOGY OF SUGAR#: Practical Treatise on the Modern Methods of +Manufacture of Sugar from the Sugar Cane and Sugar Beet. By John +GEDDES McINTOSH. Second Revised and Enlarged Edition. Demy 8vo. Fully +Illustrated. 436 pp. Seventy-six Tables. 1906. Price 10s. 6d. net. +(Post free, 11s. home; 11s. 6d. abroad.) + +#Contents.# + +Chemistry of Sucrose, Lactose, Maltose, Glucose, Invert Sugar, etc. -- +Purchase and Analysis of Beets -- Treatment of Beets -- Diffusion -- +Filtration -- Concentration -- Evaporation -- #Sugar Cane#: Cultivation +-- Milling -- Diffusion -- Sugar Refining -- Analysis of Raw Sugars -- +Chemistry of Molasses, etc. + + (_See "Evaporating, Condensing, etc., Apparatus," + p. 26._) + + + +#BIBLIOGRAPHY.# + + +#CLASSIFIED GUIDE TO TECHNICAL AND COMMERCIAL BOOKS.# Compiled by Edgar +GREENWOOD. Demy 8vo. 224 pp. 1904. Being a Subject-list of the +Principal British and American Books in print; giving Title, Author, +Size, Date, Publisher and Price. Price 7s. 6d. net. (Post free, 7s. +10d. home; 8s. 3d. abroad.) + + +#THE TECHNICAL BOOKS# in this Catalogue can be obtained through all +Booksellers, or post free direct from the Publishers by remitting the +amount given in brackets. + +#Full Particulars of Contents# of any of the above books will be sent on +application. + +#Books In the Press.#--The Publishers will send Contents and prices of +books in the press as soon as ready to any one sending their address. + +#Technical Books# upon #all Subjects# can be obtained through SCOTT, +GREENWOOD & Son, if requirements are fully stated. + + + +SCOTT, GREENWOOD & SON, +Technical Book Publishers, +8 Broadway, Ludgate Hill, +London, E.C. +Telegraphic address, "Printeries, London". +[_April_, 1907.] + + + + + * * * * * * + + + + +Transcriber's note: + +A less obvious printer's error has been corrected on page 16. + chlorestine to cholesterine. + +The following words could not be checked: + Caseogum (page c04), + Crysophis (page c16), + Dufton (page c22), + Bracquing (page c24). + + + +***END OF THE PROJECT GUTENBERG EBOOK THE DYEING OF WOOLLEN FABRICS*** + + +******* This file should be named 19985.txt or 19985.zip ******* + + +This and all associated files of various formats will be found in: +https://www.gutenberg.org/dirs/1/9/9/8/19985 + + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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