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diff --git a/21224-h/21224-h.htm b/21224-h/21224-h.htm new file mode 100644 index 0000000..73ba96e --- /dev/null +++ b/21224-h/21224-h.htm @@ -0,0 +1,14895 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of The Dyeing of Cotton Fabrics, by Franklin Beech. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 65%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{ background-color: #ffffff; + color: #000000; + margin-left: 10%; + margin-right: 10%} +a:link {color: #000000} +a:visited {color: #000000} +a:hover {color: #000000} + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + } /* page numbers */ + + .linenum {position: absolute; top: auto; left: 4%;} /* poetry number */ + .blockquot{margin-left: 5%; margin-right: 10%;} + + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + + + .caption {font-weight: bold;} + + .figcenter {margin: auto; text-align: center;} + + + .footnotes {border: dashed 1px;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align: super; font-size: .8em; text-decoration: none;} + + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +Project Gutenberg's The Dyeing of Cotton 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 Cotton Fabrics + A Practical Handbook for the Dyer and Student + +Author: Franklin Beech + +Release Date: April 27, 2007 [EBook #21224] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE DYEING OF COTTON FABRICS *** + + + + +Produced by Audrey Longhurst, Labyrinths and the Online +Distributed Proofreading Team at https://www.pgdp.net + + + + + + +</pre> + + + + +<h1>THE<br /> +DYEING OF COTTON FABRICS</h1> +<h2><i>A PRACTICAL HANDBOOK FOR THE DYER AND STUDENT</i></h2> + +<h3>BY</h3> + +<h2>FRANKLIN BEECH</h2> + +<h4>PRACTICAL COLOURIST AND CHEMIST</h4> + +<h3><i>ILLUSTRATED BY FORTY-FOUR ENGRAVINGS</i></h3> + +<h4>LONDON<br /> +SCOTT, GREENWOOD & CO.<br /> +19 LUDGATE HILL, E.C.</h4> + +<h4>1901</h4> + +<h5>[<i>All rights reserved</i>]</h5> +<br /> +<br /> +<br /> +<br /> +<h3>PREFACE.</h3> + + +<p>In writing this little book the author believes he is supplying a want +which most Students and Dyers of Cotton Fabrics have felt—that of a +small handbook clearly describing the various processes and operations +of the great industry of dyeing Cotton.</p> + +<p>The aim has not been to produce a very elaborate treatise but rather a +book of a convenient size, and in order to do so it has been necessary +to be brief and to omit many matters that would rightfully find a place +in a larger treatise, but the author hopes that nothing of importance +has been omitted. The most modern processes have been described in some +detail; care has been taken to select those which experience shows to be +thoroughly reliable and to give good results.</p> + +<p>FRANKLIN BEECH.</p> + +<p><i>May, 1901.</i></p> + + +<div class='center'> +<table border="0" cellpadding="2" cellspacing="0" summary=""> +<tr><td align='left'><div align="center"><strong>CONTENTS.</strong></div></td> +<td align='left'> </td> +</tr> +<tr><td align='left'> </td><td align='left'><strong>PAGE</strong></td> +</tr> +<tr><td align='left'><strong>CHAPTER I.</strong></td><td align='left'> </td> +</tr> +<tr><td align='left'><strong>STRUCTURE AND CHEMISTRY OF THE COTTON FIBRE</strong></td><td align='right'><a href="#Page_1">1</a></td></tr> +<tr><td align='left'> Action of Alkalies</td><td align='right'><a href="#Page_6">6</a></td></tr> +<tr><td align='left'> Action of Acids on Cellulose</td><td align='right'><a href="#Page_9">9</a></td></tr> +<tr><td align='left'> Action of Sulphuric Acid on Cotton</td><td align='right'><a href="#Page_10">10</a></td></tr> +<tr><td align='left'> Action of Hydrochloric Acid</td><td align='right'><a href="#Page_11">11</a></td></tr> +<tr><td align='left'> Action of Nitric Acid</td><td align='right'><a href="#Page_12">12</a></td></tr> +<tr><td align='left'> Action of Oxidising Agents on Cellulose or Cotton</td><td align='right'><a href="#Page_16">16</a></td></tr> +<tr><td align='left'> </td><td align='right'> </td></tr> +<tr><td align='left'><strong>CHAPTER II.</strong></td><td align='right'> </td></tr> +<tr><td align='left'><strong>SCOURING AND BLEACHING OF COTTON</strong></td><td align='right'><a href="#Page_23">23</a></td></tr> +<tr><td align='left'> Stains and Damages in Bleached Goods</td><td align='right'><a href="#Page_50">50</a></td></tr> +<tr><td align='left'> </td><td align='right'> </td></tr> +<tr><td align='left'><strong>CHAPTER III.</strong></td><td align='right'> </td></tr> +<tr><td align='left'><strong>DYEING MACHINERY AND DYEING MANIPULATIONS</strong></td><td align='right'><a href="#Page_53">53</a></td></tr> +<tr><td align='left'> Hand Dyeing</td><td align='right'><a href="#Page_53">53</a></td></tr> +<tr><td align='left'> Dyeing Machines</td><td align='right'><a href="#Page_57">57</a></td></tr> +<tr><td align='left'> Dyeing, Slubbing, Sliver or Carded Cotton and Wool</td><td align='right'><a href="#Page_58">58</a></td></tr> +<tr><td align='left'> Cop Dyeing</td><td align='right'><a href="#Page_64">64</a></td></tr> +<tr><td align='left'> </td><td align='right'> </td></tr> +<tr><td align='left'><strong>CHAPTER IV.</strong></td><td align='right'> </td></tr> +<tr><td align='left'><strong>THE PRINCIPLES AND PRACTICE OF COTTON DYEING</strong></td><td align='right'><a href="#Page_82">82</a></td></tr> +<tr><td align='left'> (1) Direct Dyeing</td><td align='right'><a href="#Page_85">85</a></td></tr> +<tr><td align='left'> (2) Direct Dyeing followed by Fixation with Metallic Salts</td><td align='right'><a href="#Page_112">112</a></td></tr> +<tr><td align='left'> (3) Direct Dyeing followed by Fixation with Developers</td><td align='right'><a href="#Page_128">128</a></td></tr> +<tr><td align='left'> (4) Direct Dyeing followed by Fixation with Couplers</td><td align='right'><a href="#Page_139">139</a></td></tr> +<tr><td align='left'> (5) Dyeing on Tannic Mordant</td><td align='right'><a href="#Page_147">147</a></td></tr> +<tr><td align='left'> (6) Dyeing on Metallic Mordants</td><td align='right'><a href="#Page_156">156</a></td></tr> +<tr><td align='left'> (7) Production of Colour Direct upon Cotton Fibres</td><td align='right'><a href="#Page_181">181</a></td></tr> +<tr><td align='left'> (8) Dyeing Cotton by Impregnation with Dye-stuff Solution</td><td align='right'><a href="#Page_198">198</a></td></tr> +<tr><td align='left'><!-- Page vi --><span class='pagenum'><a name="Page_vi" id="Page_vi">[Pg vi]</a></span></td><td align='right'> </td></tr> +<tr><td align='left'><strong>CHAPTER V.</strong></td><td align='right'> </td></tr> +<tr><td align='left'><strong>DYEING UNION (MIXED COTTON AND WOOL) FABRICS</strong></td><td align='right'><a href="#Page_208">208</a></td></tr> +<tr><td align='left'> </td><td align='right'> </td></tr> +<tr><td align='left'><strong>CHAPTER VI.</strong></td><td align='right'> </td></tr> +<tr><td align='left'><strong>DYEING HALF SILK (COTTON-SILK, SATIN) FABRICS</strong></td><td align='right'><a href="#Page_225">225</a></td></tr> +<tr><td align='left'> Method of Dyeing </td><td align='right'><a href="#Page_225">225</a></td></tr> +<tr><td align='left'> </td><td align='right'> </td></tr> +<tr><td align='left'><strong>CHAPTER VII.</strong></td><td align='right'> </td></tr> +<tr><td align='left'><strong>OPERATIONS FOLLOWING DYEING</strong></td><td align='right'><a href="#Page_239">239</a></td></tr> +<tr><td align='left'> Washing, Soaping, Drying </td><td align='right'><a href="#Page_239">239</a></td></tr> +<tr><td align='left'> </td><td align='right'> </td></tr> +<tr><td align='left'><strong>CHAPTER VIII.</strong></td><td align='right'> </td></tr> +<tr><td align='left'><strong>TESTING OF THE COLOUR OF DYED FABRICS</strong></td><td align='right'><a href="#Page_257">257</a></td></tr> +<tr><td align='left'> </td><td align='right'> </td></tr> +<tr><td align='left'><strong>CHAPTER IX.</strong></td><td align='right'> </td></tr> +<tr><td align='left'><strong>EXPERIMENTAL DYEING AND COMPARATIVE DYE TESTING</strong></td><td align='right'><a href="#Page_262">262</a></td></tr> +</table></div> +<br /> +<br /> +<br /> +<br /> + +<div class='center'> +<table border="0" cellpadding="2" cellspacing="0" summary="Illustrations"> +<tr><td align='left' colspan="2"><strong>LIST OF ILLUSTRATIONS</strong></td></tr> +<tr><td align='left'><strong>FIG.</strong></td><td align='right'><strong>PAGE</strong></td></tr> +<tr><td align='left'>1. Cotton Fibre</td><td align='right'><a href="#Page_5">5</a></td></tr> +<tr><td align='left'>1A. Cross-section of Cotton Fibre</td><td align='right'><a href="#Page_5">5</a></td></tr> +<tr><td align='left'>2. Mercerised Cotton Fibre</td><td align='right'><a href="#Page_7">7</a></td></tr> +<tr><td align='left'>2A. Cross-section of Mercerised Cotton Fibre</td><td align='right'><a href="#Page_7">7</a></td></tr> +<tr><td align='left'>3. Silkified Cotton Fibre</td><td align='right'><a href="#Page_9">9</a></td></tr> +<tr><td align='left'>3A. Cross-section of Silkified Cotton Fibre</td><td align='right'><a href="#Page_9">9</a></td></tr> +<tr><td align='left'>4. Mather & Platt's Low-pressure Bleaching Kier</td><td align='right'><a href="#Page_31">31</a></td></tr> +<tr><td align='left'>5. Mather & Platt's Yarn-bleaching Kier</td><td align='right'><a href="#Page_49">49</a></td></tr> +<tr><td align='left'>6. Rectangular Dye-tank</td><td align='right'><a href="#Page_54">54</a></td></tr> +<tr><td align='left'>7. Round Dye-tub</td><td align='right'><a href="#Page_54">54</a></td></tr> +<tr><td align='left'>8. Section of Dye-vat</td><td align='right'><a href="#Page_56">56</a></td></tr> +<tr><td align='left'>9. Delahunty's Dyeing Machine</td><td align='right'><a href="#Page_58">58</a></td></tr> +<tr><td align='left'>10. Obermaier Dyeing Machine</td><td align='right'><a href="#Page_59">59</a></td></tr> +<tr><td align='left'>11. Holliday's Yarn-dyeing Machine</td><td align='right'><a href="#Page_60">60</a></td></tr> +<tr><td align='left'>12. Klauder-Weldon Dyeing Machine</td><td align='right'><a href="#Page_62">62</a></td></tr> +<tr><td align='left'>13. Graemiger Cop-dyeing Machine</td><td align='right'><a href="#Page_65">65</a></td></tr> +<tr><td align='left'>14. Graemiger Cop-dyeing Machine</td><td align='right'><a href="#Page_66">66</a></td></tr> +<tr><td align='left'>15. Beaumont's Cop-dyeing Machine</td><td align='right'><a href="#Page_67">67</a></td></tr> +<tr><td align='left'>16. Warp-dyeing Machine</td><td align='right'><a href="#Page_70">70</a></td></tr> +<tr><td align='left'>17. Warp-dyeing Machine</td><td align='right'><a href="#Page_71">71</a></td></tr> +<tr><td align='left'>18. Dye-jiggers</td><td align='right'><a href="#Page_72">72</a></td></tr> +<tr><td align='left'>19. Dye-jigger</td><td align='right'><a href="#Page_73">73</a></td></tr> +<tr><td align='left'>20. Jig Wince</td><td align='right'><a href="#Page_75">75</a></td></tr> +<tr><td align='left'>21. Cloth-dyeing Machine</td><td align='right'><a href="#Page_76">76</a></td></tr> +<tr><td align='left'>22. Dye Beck</td><td align='right'><a href="#Page_77">77</a></td></tr> +<tr><td align='left'>23. Holliday's Machine for Hawking Cloth</td><td align='right'><a href="#Page_78">78</a></td></tr> +<tr><td align='left'>24. Continuous Dyeing Machine</td><td align='right'><a href="#Page_79">79</a></td></tr> +<tr><td align='left'>25. Padding Machine</td><td align='right'><a href="#Page_80">80</a></td></tr> +<tr><td align='left'>26. Padding Machine</td><td align='right'><a href="#Page_81">81</a></td></tr> +<tr><td align='left'>27. Dye-tub for Paranitroaniline Red<!-- Page viii --><span class='pagenum'><a name="Page_viii" id="Page_viii">[Pg viii]</a></span></td><td align='right'><a href="#Page_191">191</a></td></tr> +<tr><td align='left'>28. Padding Machine for Paranitroaniline Red</td><td align='right'><a href="#Page_192">192</a></td></tr> +<tr><td align='left'>29. Developing Machine for Paranitroaniline Red</td><td align='right'><a href="#Page_194">194</a></td></tr> +<tr><td align='left'>30. Indigo Dye-vat for Cloth</td><td align='right'><a href="#Page_199">199</a></td></tr> +<tr><td align='left'>31. Squeezing Rollers</td><td align='right'><a href="#Page_240">240</a></td></tr> +<tr><td align='left'>32. Yarn-washing Machine</td><td align='right'><a href="#Page_243">243</a></td></tr> +<tr><td align='left'>33. Dye-house Washing Machine</td><td align='right'><a href="#Page_244">244</a></td></tr> +<tr><td align='left'>34. Cloth-washing Machine</td><td align='right'><a href="#Page_245">245</a></td></tr> +<tr><td align='left'>35. Cloth-washing Machine</td><td align='right'><a href="#Page_247">247</a></td></tr> +<tr><td align='left'>36. Washing and Soaping Vats</td><td align='right'><a href="#Page_248">248</a></td></tr> +<tr><td align='left'>37. Steaming Cottage</td><td align='right'><a href="#Page_249">249</a></td></tr> +<tr><td align='left'>38. Steaming and Ageing Chamber</td><td align='right'><a href="#Page_250">250</a></td></tr> +<tr><td align='left'>39. Hydro-extractor</td><td align='right'><a href="#Page_251">251</a></td></tr> +<tr><td align='left'>40. Hydro-extractor</td><td align='right'><a href="#Page_252">252</a></td></tr> +<tr><td align='left'>41. Automatic Yarn-dryer</td><td align='right'><a href="#Page_253">253</a></td></tr> +<tr><td align='left'>42. Truck Yarn-dryer</td><td align='right'><a href="#Page_254">254</a></td></tr> +<tr><td align='left'>43. Drying Cylinders</td><td align='right'><a href="#Page_255">255</a></td></tr> +<tr><td align='left'>44. Experimental Dye-bath</td><td align='right'><a href="#Page_263">263</a></td></tr> +</table></div> + + +<hr style="width: 65%;" /><!-- Page 1 --><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span> +<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.</h2> + +<h3>STRUCTURE AND CHEMISTRY OF THE COTTON FIBRE.</h3> + + +<p>There is scarcely any subject of so much importance to the bleacher, +textile colourist or textile manufacturer as the structure and chemistry +of the cotton fibre with which he has to deal. By the term chemistry we +mean not only the composition of the fibre substance itself, but also +the reactions it is capable of undergoing when brought into contact with +various chemical substances—acids, alkalies, salts, etc. These +reactions have a very important bearing on the operations of bleaching +and dyeing of cotton fabrics.</p> + +<p>A few words on vegetable textile fibres in general may be of interest. +Fibres are met with in connection with plants in three ways.</p> + +<p>First, as cuticle or ciliary fibres or hairs; these are of no practical +use, being much too short for preparing textile fabrics from, but they +play an important part in the physiology of the plant.</p> + +<p>Second, as seed hairs; that is fibres that are attached to the seeds of +many plants, such, for instance, as the common thistle and dandelion; +the cotton fibre belongs to this group of seed hairs, while there are +others, kapok, etc., that have been tried from time to time in spinning +and weaving, but without much success. These seed hairs vary much in +length, from ¼ inch to 1½ inches or even 2 inches; each fibre +consists of a single unit. Whether it is serviceable as a textile fibre<!-- Page 2 --><span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span> +depends upon its structure, which differs in different plants, and also +upon the quantity available.</p> + +<p>The third class of fibre, which is by far the most numerous, consists of +those found lying between the bark or outer cuticle and the true woody +tissues of the plant. This portion is known as the bast, and hence these +fibres are known as "bast fibres". They are noticeable on account of the +great length of the fibres, in some cases upwards of 6 feet, which can +be obtained; but it should be pointed out that these long fibres are not +the unit fibres, but are really bundles of the ultimate fibres +aggregated together to form one long fibre, as found in and obtained +from the plant. Thus the ultimate fibres of jute are really very +short—from 1/10 to 1/8 of an inch in length; those of flax are somewhat +longer. Jute, flax, China grass and hemp are common fibres which are +derived from the bast of the plants.</p> + +<p>There is an important point of difference between seed fibres and bast +fibres, that is in the degree of purity. While the seed fibres are +fairly free from impurities—cotton rarely containing more than 5 per +cent.—the bast fibres contain a large proportion of impurity, from 25 +to 30 per cent. as they are first obtained from the plant, and this +large quantity has much influence on the extent and character of the +treatments to which they are subjected.</p> + +<p>As regards the structure of the fibres, it will be sufficient to say +that while seed hairs are cylindrical and tubular and have thin walls, +bast fibres are more or less polygonal in form and are not essentially +tubular, having thick walls and small central canals.</p> + +<p><b>The Cotton Fibre</b>.—The seed hairs of the cotton plant are separated +from the seeds by the process of ginning, and they then pass into +commerce as raw cotton. In this condition the fibre is found to consist +of the actual fibrous substance itself, containing, however, about 8 per +cent. of hygroscopic<!-- Page 3 --><span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span> or natural moisture, and 5 per cent. of impurities +of various kinds, which vary in amount and in kind in various +descriptions of cotton. In the process of manufacture into cotton +cloths, and as the material passes through the operations of bleaching, +dyeing or printing, the impurities are eliminated.</p> + +<p><b>Impurities of the Cotton Fibre.</b>—Dr. E. Schunck made an investigation +many years ago into the character of the impurities, and found them to +consist of the following substances:—</p> + +<p><b>Cotton Wax.</b>—This substance bears a close resemblance to carnauba wax. +It is lighter than water, has a waxy lustre, is somewhat translucent, is +easily powdered, and melts below the boiling point of water. It is +insoluble in water, but dissolves in alcohol and in ether. When boiled +with weak caustic soda it melts but is not dissolved by the alkali; it +can, however, be dissolved by boiling with alcoholic caustic potash. +This wax is found fairly uniformly distributed over the surface of the +cotton fibre, and it is due to this fact that raw cotton is wetted by +water only with difficulty.</p> + +<p><b>Fatty Acids.</b>—A solid, fatty acid, melting at 55° C. is also present +in cotton. Probably stearic acid is the main constituent of this fatty +acid.</p> + +<p><b>Colouring Matter.</b>—Two brown colouring matters, both containing +nitrogen, can be obtained from raw cotton. One of these is readily +soluble in alcohol, the other only sparingly so. The presence in +relatively large quantities of these bodies accounts for the brown +colour of Egyptian and some other dark-coloured varieties of cotton.</p> + +<p><b>Pectic Acid.</b>—This is the chief impurity found in raw cotton. It can +be obtained in the form of an amorphous substance of a light yellow +colour, not unlike gum in appearance. It is soluble in boiling water, +and the solution has a faint acid reaction. Acids and many metallic<!-- Page 4 --><span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span> +salts, such as mercury, chloride and lead acetate, precipitate pectic +acid from its solutions. Alkalies combine with it, and these compounds +form brown substances, are but sparingly soluble in water, and many of +them can be precipitated out by addition of neutral salts, like sodium +and ammonium chlorides.</p> + +<p><b>Albumens</b>.—A small quantity of albuminous matter is found among the +impurities of cotton.</p> + +<p><b>Structure of the Cotton Fibre</b>.—The cotton fibre varies in length from +1 to 2 inches, not only in fibres of the same class but also in fibres +from different localities—Indian fibres varying from 0.8 in the +shortest to 1.4 in the longest stapled varieties; Egyptian cotton fibres +range from 1.1 to 1.6 inches long; American cotton ranges from 0.8 in +the shortest to 2 inches in the longest fibres. The diameter is about +1/1260 of an inch. When seen under the microscope fully ripe cotton +presents the appearance of irregularly twisted ribbons, with thick +rounded edges. The thickest part is the root end, or point of attachment +to the seed. The free end terminates in a point. The diameter is fairly +uniform through ¾ to ⅞ of its length, the rest is taper. In Fig. 1 +is given some illustrations of the cotton fibre, showing this twisted +and ribbon-like structure, while in Fig. 1A is given some transverse +sections of the fibre. These show that it is a collapsed cylinder, the +walls being of considerable thickness when compared with the internal +bore or canal.</p> + +<p>Perfectly developed, well-formed cotton fibres always present this +appearance. But all commercial cottons contain more or less of fibres +which are not perfectly developed or are unripe. These are known as +"dead fibres"; they do not spin well and they do not dye well. On +examination under the microscope it is seen that these fibres have not +the flattened, twisted appearance of the ripe fibres, but are flatter,<!-- Page 5 --><span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span> +and the central canal is almost obliterated and the fibres are but +little twisted. Dead fibres are thin, brittle and weak.</p> + +<p><b>Composition of the Cotton Fibres.</b>—Of all the vegetable textile fibres +cotton is found to have the simplest chemical composition and to be, as +it were, the type substance of all such fibres, the others differing +from it in several respects. When stripped of the comparatively small +quantities of impurities, cotton is found to consist of a substance to +which the name of cellulose has been given.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/dcfillus001.jpg" width="300" height="240" alt="FIG. 1.--Cotton Fibre." title="Cotton Fibre" /> +<span class="caption">FIG. 1.—Cotton Fibre.</span> +</div> + +<p>Cellulose is a compound of the three elements, carbon, hydrogen and +oxygen, in the proportions shown in the following analysis:—</p> + +<p>Carbon, 44.2 per cent., +Hydrogen, 6.3 per cent., +Oxygen, 49.5 per cent.,</p> + +<p>which corresponds to the empirical formula C<sub>6</sub>H<sub>10</sub>O<sub>5</sub>, which shows +it to belong to the group of carbo-hydrates, that is, bodies which +contain the hydrogen and oxygen present in them in the proportion in +<!-- Page 6 --><span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span>which they are present in water, namely H<sub>2</sub>O.</p> + +<p>Cellulose may be obtained in a pure condition from cotton by treatment +with alkalies, followed by washing, and by treatment with alkaline +hypochlorites, acids, washing and, finally, drying. As thus obtained it +is a white substance having the form of the fibre from which it is +procured, showing a slight lustre, and is slightly translucent. The +specific gravity is 1.5, it being heavier than water. It is +characterised by being very inert, a property of considerable value from +a technical point of view, as enabling the fibres to stand the various +operations of bleaching, dyeing, printing, finishing, etc. Nevertheless, +by suitable means, cellulose can be made to undergo various chemical +decompositions which will be noted in some detail.</p> + +<p>Cellulose on exposure to the air will absorb moisture or water. This is +known as hygroscopic moisture, or "water of condition". The amount in +cotton is about 8 per cent., and it has a very important bearing on the +spinning properties of the fibre, as it makes the fibre soft and +elastic, while absolutely dry cotton fibre is stiff, brittle and +non-elastic; hence it is easier to spin and weave cotton in moist +climates or weather than in dry climates or weather. Cotton cellulose is +insoluble in all ordinary solvents, such as water, ether, alcohol, +chloroform, benzene, etc., and these agents have no influence in any way +on the material, but it is soluble in some special solvents that will be +noted later on.</p> + + +<p>ACTION OF ALKALIES.</p> + +<p>The action of alkalies on cellulose or cotton is one of great importance +in view of the universal use of alkaline liquors made from soda or +caustic soda in the scouring, bleaching and dyeing of cotton, while +great interest attaches to the use of caustic soda in the "mercerising" +of cotton.</p> + +<p>Dilute solutions of the caustic alkalies, caustic soda or caustic +potash, of from 2 to 7 per cent. strength, have no<!-- Page 7 --><span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span> action on cellulose +or cotton, in the cold, even when a prolonged digestion of the fibre +with the alkaline solution takes place. Caustic alkali solutions of from +1 to 2 per cent. strength have little or no action even when used at +high temperatures and under considerable pressure—a fact of very great +importance from a bleacher's point of view, as it enables him to subject +cotton to a boil in kiers, with such alkaline solutions at high +pressures, for the purpose of scouring the cotton, without damaging the +fibre itself.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/dcfillus002.jpg" width="300" height="190" alt="FIG. 2.--Mercerised Cotton Fibre." title="Mercerised Cotton Fibre" /> +<span class="caption">Mercerised Cotton Fibre.</span> +</div> + + +<p>Solutions of caustic soda of greater strength than 3 per cent. tend, +when boiled under pressure, to convert the cellulose into soluble +bodies, and as much as 20 per cent. of the fibre may become dissolved +under such treatment. The action of strong solutions of caustic soda or +caustic potash upon cellulose or cotton is somewhat different. Mercer +found that solutions containing 10 per cent. of alkali had a very +considerable effect upon the fibre, causing it to swell up and become +gelatinous and transparent in its structure, each individual cotton +fibre losing its ribbon-like appearance, and assuming a rod-like form, +the central canal being more or less obliterated. This is shown in Fig. +2 and 2A, where the fibre is shown as a rod and the cross section in +Fig.<!-- Page 8 --><span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span> 2A has no central canal. The action which takes place is as +follows: The cellulose enters into a combination with the alkali and +there is formed a sodium cellulose, which has the formula +C<sub>6</sub>H<sub>10</sub>O<sub>5</sub>2NaOH. This alkali cellulose, however, is not a stable +body; by washing with water the alkali is removed, and hydrated +cellulose is obtained, which has the formula C<sub>6</sub>H<sub>10</sub>O<sub>5</sub>H<sub>2</sub>O. +Water removes the whole of the alkali, but alcohol only removes one +half. It has been observed that during the process of washing with water +the fibre shrinks very much. This shrinkage is more particularly to be +observed in the case of cotton. As John Mercer was the first to point +out the action of the alkaline solutions on cotton, the process has +become known as "mercerisation".</p> + +<p>Solutions of caustic soda of 1.000 or 20° Tw. in strength have very +little mercerising action, and it is only by prolonged treatment that +mercerisation can be effected. It is interesting to observe that the +addition of zinc oxide to the caustic solution increases its mercerising +powers. Solutions of 1.225 to 1.275 (that is from 45° to 55° Tw. in +strength) effect the mercerisation almost immediately in the cold, and +this is the best strength at which to use caustic soda solutions for +this purpose. In addition to the change brought about by the shrinking +and thickening of the material, the mercerised fibres are stronger than +the untreated fibres, and at the same time they have a stronger affinity +for dyes, a piece of cloth mercerised taking up three times as much +colouring matter as a piece of unmercerised cloth from the same +dye-bath.</p> + +<p>The shrinkage of the cotton, which takes place during the operation of +washing with water, was for a long time a bar to any practical +application of the "mercerising" process, but some years ago Lowe +ascertained that by conducting the operation while the cotton was +stretched or in a state of tension this shrinkage did not take place; +further, Thomas and Prevost found that the cotton so treated gained a +silky<!-- Page 9 --><span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span> lustre, and it has since been ascertained that this lustre is +most highly developed with the long-stapled Egyptian and Sea Island +cottons. This mercerising under tension is now applied on a large scale +to produce silkified cotton. When viewed under the microscope, the +silkified cotton fibres have the appearance shown in Fig. 3, long +rod-like fibres nearly if not quite cylindrical; the cross section of +those fibres has the appearance shown in Fig. 3A. This structure fully +accounts for the silky lustre possessed by the mercerised fibres. Silky +mercerised cotton has very considerable affinity for dye-stuffs, taking +them up much more readily from dye-baths, and it is dyed in very +brilliant shades.</p> + +<div class="figcenter" style="width: 300px;"> +<img src="images/dcfillus003.jpg" width="300" height="300" alt="FIG. 3.--Silkified Cotton Fibre." title="Silkified Cotton Fibre" /> +<span class="caption">FIG. 3.—Silkified Cotton Fibre.</span> +</div> + +<p>In the chapter on Scouring and Bleaching of Cotton, some reference will +be made to the action of alkalies on cotton.</p> + + +<p>ACTION OF ACIDS ON CELLULOSE.</p> + +<p>The action of acids on cellulose is a very varied one, being dependent +upon several factors, such as the particular acid<!-- Page 10 --><span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span> used, the strength of +the acid, duration of action, temperature, etc. As a rule, organic +acids—for example acetic, oxalic, citric, tartaric—have no action on +cellulose or cotton. Solutions of sulphuric acid or hydrochloric acid of +2 per cent. strength have practically no action in the cold, and if +after immersion the cotton or cellulose be well washed there is no +change of any kind. This is important, as in certain operations of +bleaching cotton and other vegetable fibres it is necessary to sour +them, which could not be done if acids acted on them, but it is +important to thoroughly wash the goods afterwards. When the acid +solutions are used at the boil they have a disintegrating effect on the +cellulose, the latter being converted into hydrocellulose. When dried, +the cellulose is very brittle and powdery, which in the case of cotton +yarn being so treated would show itself by the yarn becoming tender and +rotten. The degree of action varies with the temperature (the higher +this is the stronger the action), and also according to the strength of +the acid solution. Thus a 10 per cent. solution of sulphuric acid used +at a temperature of 80° C. begins to act on cotton after about five +minutes' immersion, in half an hour there is a perceptible amount of +disintegration, but the complete conversion of the cotton into +hydrocellulose requires one hour's immersion. A dilute acid with 8 +volumes of water, used in the cold, takes three hours' immersion before +any action on the cotton becomes evident.</p> + + +<p>ACTION OF SULPHURIC ACID ON COTTON.</p> + +<p>When cellulose (cotton) is immersed in strong sulphuric acid the cotton +becomes gradually dissolved; as the action progresses cellulose +sulphates are formed, and some hydrolytic action takes place, with the +formation of sugar. This fact has long been known, but only recently has +it been shown that dextrose was the variety of sugar which was<!-- Page 11 --><span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span> formed. +On diluting the strong acid solution with water there is precipitated +out the hydro or oxycelluloses that have been formed, while the +cellulose sulphates are retained in solution.</p> + +<p>By suitable means the calcium, barium, or lead salts of these +cellulose-sulphuric acids can be prepared. Analysis of them shows that +these salts undergo hydrolysis, and lose half their sulphuric acid.</p> + +<p>The action of strong sulphuric acid has a practical application in the +production of parchment paper; unsized paper is immersed in strong acid +of the proper strength for about a minute, and then immediately rinsed +in water. The acid acts upon the surface of the paper and forms the +cellulose-sulphuric acid which remains attached to the surface. On +passing into the water this is decomposed, the acid is washed away, and +the cellulose is deposited in an amorphous form on the paper, filling up +its pores and rendering it waterproof and grease-proof. Such papers are +now largely used for packing purposes.</p> + + +<p>ACTION OF HYDROCHLORIC ACID.</p> + +<p>Dilute hydrochloric acid of from 1° to 2° Tw. in strength, used in the +cold, has no action on cellulose. Cotton immersed in acids of the +strength named and then well washed in water is not materially affected +in any way, which is a feature of some value in connection with the +bleaching of cotton, where the material has to be treated at two points +in the process with weak acids. Boiling dilute hydrochloric acid of 10° +Tw. disintegrates cellulose very rapidly. The product is a white very +friable powder, which if viewed under the microscope appears to be +fragments of the fibre that has been used to prepare it. The product has +the composition C<sub>12</sub>H<sub>22</sub>O<sub>11</sub>, and is therefore a hydrate of +cellulose, the latter having undergone hydrolysis by taking up the +<!-- Page 12 --><span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span>elements of water according to the equation 2C<sub>6</sub>H<sub>10</sub>O<sub>5</sub> + H<sub>2</sub>O += C<sub>12</sub>H<sub>22</sub>O<sub>11</sub>. By further digestion with the acid, the +hydrocellulose, as it is called, undergoes molecular change, and is +converted into dextrine. In composition hydrocellulose resembles the +product formed by the addition of sulphuric acid which has received the +name of amyloid. It differs from cellulose in containing free carboxyl, +CO, groups, while its hydroxyl groups, HO, are much more active in their +chemical reactions.</p> + +<p>Hydrocellulose is soluble in nitric acid, 1.5 specific gravity, without +undergoing oxidation. Nitrates are formed varying in composition.</p> + +<p>The formation of hydrocellulose has a very important bearing in woollen +manufacture. It is practically impossible to obtain wool free from +vegetable fibres, and it is often desirable to separate these vegetable +fibres. For this purpose the goods are passed into a bath of +hydrochloric acid or of weak sulphuric acid. On drying the acid converts +the cotton or vegetable fibre into hydrocellulose which, being friable +or powdery, can be easily removed, while the wool not having been acted +on by the acid remains quite intact. The process is known as +"carbonising". It may not only be done by means of the acids named but +also by the use of acid salts, such as aluminium chloride, which on +being heated are decomposed into free acid and basic oxide. For the same +reason it is important to avoid the use of these bodies, aluminium +chloride and sulphate, zinc and magnesium chlorides, etc., in the +treatment of cotton fabrics; as in finishing processes, where the goods +are dried afterwards, there is a great liability to form hydrocellulose +with the accompaniment of the tendering of the goods.</p> + + +<p>ACTION OF NITRIC ACID.</p> + +<p>The action of nitric acid on cellulose is a variable one, depending on +many factors, strength of acid, duration of<!-- Page 13 --><span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span> action and temperature. +Naturally as nitric acid is a strong oxidising agent the action of +nitric acid on cellulose is essentially in all cases that of an oxidant, +but the character of the product which is obtained varies very much +according to the conditions just noted. When cellulose or cotton in any +form is immersed in nitric acid of 1.4 to 1.5 specific gravity for a +moment, and the fibre be well washed, there is a formation of hydrate of +cellulose which has a gelatinous nature. This is deposited on the rest +of the material, which is not materially affected so far as regards +strength and appearance, but its power of affinity for dyes is +materially increased. There is some shrinkage in the size of the cotton +or paper acted upon.</p> + +<p>Nitric acid changes all kinds of cellulose into nitro products, the +composition of which depends upon the strength of the acid, the duration +of treatment, and one or two other factors. The nitrocelluloses are all +highly inflammable bodies, the more highly nitrated burning with +explosive force. They are produced commercially and are known as "gun +cotton" or "pyroxyline". The most highly nitrated body forms the basis +of the explosive variety; the least highly nitrated forms that of the +soluble gun cotton used for making collodion for photographic and other +purposes.</p> + +<p>The products formed by the action of nitric acid are usually considered +to be nitrocelluloses. It would appear that they are more correctly +described as cellulose-nitrates, for analysis indicates the presence of +the NO<sub>3</sub> group, which is characteristic of nitrates, and not of the +NO<sub>2</sub> group, which is the feature of nitro bodies in general. Further, +nitro compounds, when subject to the action of reducing agents, are +converted into amido compounds, as is the case, for instance, with +nitro-benzene, C<sub>6</sub>H<sub>5</sub>NO<sub>2</sub>, into aniline, C<sub>6</sub>H<sub>5</sub>NH<sub>2</sub>, or with +nitro-naphthalene, C<sub>10</sub>H<sub>7</sub>NO<sub>2</sub>, which changes into naphthylamine, +<!-- Page 14 --><span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span>C<sub>10</sub>H<sub>7</sub>NH<sub>2</sub>.</p> + +<p>But the nitric acid derivatives of cellulose are not capable of +conversion by reducing agents into similar amido compounds. They have +the following properties, which accord more closely with nitrates than +with nitric bodies: alkalies remove the nitric acid; cold sulphuric acid +expels the nitric acid, cellulose sulphates being formed; boiling with +ferrous sulphate and hydrochloric acid causes the elimination of the +nitric acid as nitric oxide (on which reaction a method for determining +the degree of nitration of gun cotton is based). It is best therefore to +consider them as cellulose nitrates. Several well-characterised +cellulose nitrates have been prepared, but is an exceedingly difficult +matter to obtain any one in a state of purity, the commercial articles +being always mixtures of two or three. Those that are best known and of +the most importance are the following:—</p> + +<p>Cellulose Hexa-nitrate, C<sub>6</sub>H<sub>4</sub>O<sub>5</sub>(NO<sub>3</sub>)<sub>6</sub>. This forms the +principal portion of the commercial explosive gun cotton, and is made +when a mixture of strong nitric acid and strong sulphuric acid is +allowed to act on cotton at from 50 to 55° F. for twenty-four hours. The +longer the action is prolonged, the more completely is the cotton +converted into the nitrate, with a short duration the finished product +contains lower nitrates. This hexa-nitrate is insoluble in ether, +alcohol, or in a mixture of those solvents, likewise in glacial acetic +acid or in methyl alcohol.</p> + +<p>Cellulose Penta-nitrate, C<sub>6</sub>H<sub>5</sub>O<sub>5</sub>(NO<sub>3</sub>)<sub>5</sub>, is found in +explosive gun cotton to a small extent. When gun cotton is dissolved in +nitric acid and sulphuric acid is added, the penta-nitrate is thrown +down as a precipitate. It is not soluble in alcohol, but is so in a +mixture of ether and alcohol, it is also slightly soluble in acetic +acid. Solutions of caustic potash convert it into the di-nitrate.</p> + +<p>Cellulose Tetra-nitrate, C<sub>6</sub>H<sub>6</sub>O<sub>5</sub>(NO<sub>3</sub>)<sub>4</sub>, and Cellulose +Tri-nitrate, C<sub>6</sub>H<sub>7</sub>O<sub>5</sub>,(NO<sub>3</sub>)<sub>3</sub>, form the basis of the +pyroxyline or solu<!-- Page 15 --><span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span>ble gun cotton of commerce. It has not been found +possible to separate them owing to their behaviour to solvents being +very similar. These nitrates are obtained by treating cotton with nitric +acid for twenty or thirty minutes. They are characterised by being more +soluble than the higher nitrates and less inflammable. They are freely +soluble in a mixture of ether and alcohol, from which solutions they are +precipitated in a gelatinous form on adding chloroform. Acetic ether, +methyl alcohol, acetone and glacial acetic acid, will also dissolve +these nitrates.</p> + +<p>Cellulose Di-nitrate, C<sub>6</sub>H<sub>8</sub>O<sub>5</sub>(NO<sub>3</sub>)<sub>2</sub>, is obtained when +cellulose is treated with hot dilute nitric acid, or when the high +nitrates are boiled with solutions of caustic soda or caustic potash. +Like the last-mentioned nitrates it is soluble in a mixture of alcohol +and ether, in acetic ether, and in absolute alcohol. The solution of the +pyroxyline nitrates in ether and alcohol is known as collodion, and is +used in photography and in medical and surgical work.</p> + +<p>One of the most interesting applications of the cellulose nitrates is in +the production of artificial silk. Several processes, the differences +between which are partly chemical and partly mechanical, have been +patented for the production of artificial silk, those of Lehner and of +Chardonnet being of most importance. They all depend upon the fact that +when a solution of cellulose nitrate is forced through a fine aperture +or tube, the solvent evaporates almost immediately, leaving a gelatinous +thread of the cellulose nitrate which is very tough and elastic, and +possesses a brilliant lustre. Chardonnet dissolves the cellulose nitrate +in a mixture of alcohol and ether, and the solution is forced through +fine capillary tubes into hot water, when the solvents immediately +evaporate, leaving the cellulose nitrate in the form of very fine fibre, +which by suitable machinery is drawn away as fast as it is formed. +Lehner's process<!-- Page 16 --><span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span> is very similar to that of Chardonnet. Lehner uses a +solution of cellulose nitrate in ether and alcohol, and adds a small +quantity of sulphuric acid; by the adoption of the latter ingredient he +is able to use a stronger solution of cellulose nitrate, 10 to 15 per +cent., than would otherwise be possible, and thereby obtains a stronger +thread which resists the process of drawing much better than is the case +when only a weak solution in alcohol and ether is employed. By +subsequent treatment the fibre can be denitrated and so rendered less +inflammable.</p> + +<p>The denitrated fibres thus prepared very closely resemble silk in their +lustre; they are not quite so soft and supple, nor are they in any way +so strong as ordinary silk fibre of the same diameter.</p> + +<p>Artificial silk can be dyed in the same manner as ordinary silk.</p> + +<p>ACTION OF OXIDISING AGENTS ON CELLULOSE OR COTTON</p> + +<p>Cellulose resists fairly well the action of weak oxidising agents; still +too prolonged an action of weak oxidising agents has some influence upon +the cotton fibre, and it may be worth while to point out the action of +some bodies having an oxidising effect.</p> + +<p>Nitric acid of about 1.15 specific gravity has little action in the +cold, and only slowly on it when heated. The action is one of oxidation, +the cellulose being transformed into a substance known as oxycellulose. +This oxycellulose is white and flocculent. It tends to form gelatinous +hydrates with water, and has a composition corresponding to the formula +C<sub>6</sub>H<sub>10</sub>O<sub>6</sub>. It is soluble in a mixture of nitric and sulphuric +acids, and on diluting this solution with water a tri-nitrate +precipitates out. A weak solution of soda dissolves this oxycellulose +with a yellow colour, while strong sulphuric acid forms a pink +colouration. It is important to note that<!-- Page 17 --><span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span> nitric acid of the strength +given does not convert all the cellulose into oxycellulose, but there +are formed also carbonic and oxalic acids. When cotton is passed into +strong solutions of bleaching powder and of alkaline hypochlorites and +then dried, it is found to be tendered very considerably. This effect of +bleaching powder was first observed some thirteen years ago by George +Witz, who ascribed the tendering of the cotton to the formation of an +oxycellulose. Although the composition of this particular oxycellulose +so formed has not yet been ascertained, there is reason to think that it +differs somewhat from the oxycellulose formed by the action of the weak +nitric acid. A notable property of the oxycellulose now under +consideration is its affinity for the basic coal-tar dyes, which it will +absorb directly. The oxycellulose is soluble in alkaline solutions.</p> + +<p>In the ordinary bleaching process there is considerable risk of the +formation of oxycellulose by the employment of the bleaching solutions +of too great a strength, or in allowing the goods to lie too long before +the final washing off. The presence of any oxycellulose in bleached +cotton may be readily determined by immersing it in a weak solution of +Methylene blue, when, if there be any oxycellulose present, the fibre +will take up some of the dye-stuff.</p> + +<p>Permanganate of potash is a very powerful oxidising agent. On cellulose +neutral solutions have but little action, either in the cold or when +heated. They may, therefore, be used for the bleaching of cotton or +other cellulose fibres.</p> + +<p>Alkaline solutions of permanganate convert the cellulose into +oxycellulose, which resembles the oxycellulose obtained by the action of +the nitric acid.</p> + +<p>Chromic acid, when used in the form of a solution, has but little action +on cellulose. In the presence of mineral acids, and used warm or +boiling, chromic acid oxidises cellulose into oxycellulose and other +products.<!-- Page 18 --><span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span></p> + +<p>It is therefore always advisable in carrying out any technical process +connected with cotton which involves its treatment with oxidising agents +of any kind, and where it is desired not to alter the cotton, to allow +these actions to be as short as possible.</p> + +<p><b>Dyes and Cotton Dyeing.</b>—An account of the chemistry of the cotton +fibre would not be complete unless something is said about the reactions +involved in the processes of dyeing and printing cotton. This is a most +interesting subject and opens up quite a number of problems relating to +the combination of the fibre with colouring matter of various kinds, but +here only a brief outline of the principles that present themselves in +considering the behaviour of the cotton fibre as regards colouring +matter will be given.</p> + +<p>When the question is considered from a broad point of view, and having +regard to the various affinities of the dyes for cotton; we notice (1) +that there is a large number of dye-stuffs—the Benzo, Congo, Diamine, +Titan, Mikado, etc., dyes—that will dye the cotton from a plain bath or +from a bath containing salt, sodium sulphate, borax or similar salts; +(2) that there are dyes which, like Magenta, Safranine, Auramine and +Methyl violet, will not dye the cotton fibre direct, but require it to +be mordanted or prepared with tannic acid; (3) that there are some dyes +or rather colouring matters which, like Alizarine, Nitroso-resorcine, +barwood, logwood, etc., require alumina, chrome and iron mordants; (4) +that there are some dyes which, like the azo scarlet and azo colours in +general, cannot be used in cotton dyeing; (5) that there are a few dyes, +<i>i.e.</i>, indigo, which do not come under this grouping.</p> + +<p>From the results of recent investigations into the chemistry of dyeing +it is now considered that for perfect dyeing to take place there must be +formed on the fibre a combination which is called a "colour lake," which +consists of at least two constituents; one of these is the dye-stuff or +the colour<!-- Page 19 --><span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span>ing matter itself, the other being either the fibre or a +mordant, if such has to be used. The question of the formation of colour +lakes is one connected with the molecular constitution of the colouring +matter, but much yet remains to be done before the proper functions and +mode of action of the various groups or radicles in the dye-stuffs can +be definitely stated. While the constitution of the dye-stuff is of +importance, that of the substance being dyed is also a factor in the +question of the conditions under which it is applied.</p> + +<p>In dealing with the first of the above groups of dyes, the direct dyes, +the colourist is somewhat at a loss to explain in what manner the +combination with the cotton fibre is brought about. The affinity of +cellulose for dyes appears to be so small and its chemical activities so +weak, that to assume the existence of a reaction between the dye-stuff +and the fibre, tending to the formation of a colour lake, seems to be +untenable. Then, again, the chemical composition and constitution of the +dyes of this group are so varied that an explanation which would hold +good for one might not do so for another. The relative fastness of the +dyes against washing and soaping precludes the idea of a merely +mechanical absorption of the dye by the fibre; on the other hand the +great difference in the fastness to soaping and light between the same +dyes on cotton and wool would show that there has not been a true +formation of colour lake.</p> + +<p>The dyeing of cotton with the second group of dyes is more easily +explained. The cotton fibre has some affinity for the tannic acid used +in preparing it and absorbs it from the mordanting bath. The tannic acid +has the property of combining with the basic constituents of these dyes +and forms a true colour lake, which is firmly fixed on the fibre. The +colour lake can be formed independently of the fibre by bringing the +tannic acid and the dye into contact with one another.<!-- Page 20 --><span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span></p> + +<p>In the case of the dyes of the third group, the formation of a colour +lake between the metallic oxide and the colouring matter can be readily +demonstrated. In dyeing with these colours the cotton is first of all +impregnated with the mordanting oxide, and afterwards placed in the +dye-bath, the mordant already fixed on the fibre then reacts with the +dye, and absorbs it, thus dyeing the cotton. To some extent the dyeing +of cotton with the basic dyes of the second group and the mordant dyes +of the third group is almost a mechanical one, the cotton fibre taking +no part in it from a chemical point of view, but simply playing the part +of a base or foundation on which the colour lake may be formed. In the +case of the dyes of the fourth group, there being no chemical affinity +of the cotton known for them, these dyes cannot be used in a successful +manner; cotton will, if immersed in a bath containing them, more or less +mechanically take up some of the colour from the liquor, but such colour +can be almost completely washed out again, hence these dyes are not used +in cotton dyeing, although many attempts have been made to render them +available.</p> + +<p>Indigo is a dye-stuff that stands by itself. Its combination with the +cotton fibre is chiefly of a physical rather than a chemical nature; it +does not form colour lakes in the same way as Alizarine and Magenta do.</p> + +<p>Cellulose can be dissolved by certain metallic solutions and +preparations:—</p> + +<p>(1) <b>Zinc Chloride.</b>—When cotton or other form of cellulose is heated +with a strong solution, 40 to 50 per cent., it slowly dissolves to a +syrupy liquid. On diluting this liquid with water the cellulose is +thrown down in a gelatinous form, but more or less hydrated, and +containing some zinc oxide, 18 to 25 per cent., in combination.</p> + +<p>(2) <b>Zinc Chloride and Hydrochloric Acid.</b>—When zinc chloride is +dissolved in hydrochloric acid a liquid is ob<!-- Page 21 --><span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span>tained which dissolves +cellulose; on dilution the cellulose is re-precipitated in a hydrated +form. It is worth noting that the solution is not a stable one: on +keeping, the cellulose changes its character and undergoes hydrolysis to +a greater or less extent.</p> + +<p>(3) <b>Ammoniacal Copper.</b>—When ammonia is added to a solution of copper +sulphate, there is formed at first a pale blue precipitate of copper +hydroxide, which on adding excess of ammonia dissolves to a deep blue +solution—a reaction highly characteristic of copper. The ammoniacal +copper solution thus prepared has, as was first observed by John Mercer, +the property of dissolving cellulose fairly rapidly, even in the cold.</p> + +<p>If instead of preparing the ammoniacal copper solution in the manner +indicated above, which results in its containing a neutral ammonium +salt, the copper hydroxide be prepared separately and then dissolved in +ammonia a solution is obtained which is stronger in its action.</p> + +<p>The cupra-ammonium solutions of cellulose are by no means stable but +change on keeping. When freshly prepared, the cellulose may be +precipitated from them almost unchanged by the addition of such bodies +as alcohol, sugar and solutions of neutral alkaline salts. On keeping +the cellulose undergoes more or less hydrolysis or even oxidation, for +it has been observed that oxycellulose is formed on prolonged digestion +of cellulose with cupra-ammonium solutions, while there is formed a +fairly large proportion of a nitrite.</p> + +<p>On adding lead acetate to the cupra-ammonium solution of cellulose, a +compound of lead oxide and cellulose of somewhat variable composition is +precipitated. It is of interest also to note that on adding metallic +zinc to the cupra-ammonium solution the copper is thrown out and a +solution containing zinc is obtained.</p> + +<p>This action of cupra-ammonium solutions on cellulose has<!-- Page 22 --><span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span> been made the +basis for the production of the "Willesden" waterproof cloths. Cotton +cloths or paper are passed through these solutions of various degrees of +strength according to requirements, they are then passed through rollers +which causes the surface to become more compact. There is formed on the +surface of the goods a deposit of a gelatinous nature which makes the +surface more compact, and the fabric becomes waterproof in character +while the copper imparts to them a green colour and acts as a +preservative. The "Willesden" fabrics have been found very useful for a +variety of purposes.<!-- Page 23 --><span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.</h2> + +<p>SCOURING AND BLEACHING OF COTTON.</p> + + +<p>Preparatory to the actual dyeing operations, it is necessary to treat +cotton in any condition—loose cotton, yarn, or piece—so that the +dyeing shall be properly done. Raw cotton contains many impurities, +mechanical and otherwise; cotton yarns accumulate dirt and impurities of +various kinds during the various spinning operations, while in weaving a +piece of cotton cloth it is practically impossible to keep it clean and +free from dirt, etc. Before the cotton can be dyed a perfectly level and +uniform shade, free from dark spots or light patches, these impurities +must be removed, and therefore the cotton is subjected to various +scouring or cleansing operations with the object of effecting this end. +Then again cotton naturally, especially Egyptian cotton, contains a +small quantity of a brown colouring matter, and this would interfere +with the purity of any pale tints of blue, rose, yellow, green, etc., +which may be dyed on the cotton, and so it becomes necessary to remove +this colour and render the cotton quite bright. This is commonly called +"bleaching". It is these preparatory processes that will be dealt with +in this chapter.</p> + +<p><b>Scouring Cotton.</b>—When dark shades—blacks, browns, olives, sages, +greens, etc., are to be dyed it is not needful to subject the cotton to +a bleaching operation, but simply to a scouring by boiling it with soda +or caustic soda. This is very often-carried out in the same machine as +the goods will<!-- Page 24 --><span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span> be dyed in; thus, for instance, in the case of pieces, +they would be charged in a jigger, this would be filled with a liquor +made from soda or from caustic soda, and the pieces run from end to end, +while the liquor is being heated to the boil—usually half to +three-quarters of an hour is sufficient. Then the alkali liquor is run +out, clean water run into the jigger and the pieces washed, after which +the dyes, etc., are run into the jigger and the dyeing done. There is +usually used 2 lb. to 3 lb. of caustic soda, or 3 lb. to 4 lb. of soda +for each 100 lb. of goods so treated.</p> + +<p>If the ordinary dyeing machines are not used for this purpose, then the +ordinary bleachers' kiers may be used. These will be described +presently.</p> + +<p><b>Bleaching of Cotton.</b>—Cotton is bleached in the form of yarn, or in +the finished pieces. In the latter case the method depends very largely +on the nature of the fabric; it is obvious that fine fabrics, like +muslins or lace curtains, cannot stand the same rough treatment as a +piece of twilled calico will. Then, again, the bleaching process is +varied according to what is going to be done with the goods after they +are bleached; sometimes they are sent out as they leave the +bleach-house; again, they may have to be dyed or printed. In the first +case the bleach need not be of such a perfect character as in the last +case, which again must be more perfect than the second class of bleach. +There may be recognised:—</p> + +<p>(1) Market or white bleach. +(2) Dyers or printers' bleach. +(3) Madder bleach.</p> + +<p>As the madder bleach is by far the most perfect of the three, and +practically includes the others, this will be described in detail, and +differences between it and the others will be then pointed out. A piece +is subjected to the madder<!-- Page 25 --><span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span> bleach which has afterwards to be printed +with madder or alizarine. Usually in this kind of work the cloths are +printed with mordant colours, and then dyed in a bath of the dye-stuff. +This stains the whole of the piece, and to rid the cloth of the stain +where it has to be left white, it is subjected to a soap bath. Now, +unless the bleach has been thorough, the whites will be more or less +stained permanently, and to avoid this cloths which are to be printed +with alizarine colours are most thoroughly bleached. The madder bleach +of the present day generally includes the following series of +operations:—</p> + +<p>(1) Stitching. +(2) Singeing. +(3) Singeing wash. +(4) Lime boil. +(5) Lime sour. +(6) Lye boil. +(7) Resin boil. +(8) Wash. +(9) Chemicing. +(10) White sour.</p> + +<p>(1) <b>Stitching.</b>—The pieces are fastened together by stitching into one +long rope, which is passed in a continuous manner through all operations +in which such a proceeding is possible. This stitching is done by +machines, the simplest of which is the donkey machine, whereby the ends +of the pieces, which are to be stitched together, are forced by a pair +of cogwheels working together on to the needle carrying a piece of +thread, this is then pulled through and forms a running stitch, a +considerable length of thread being left on each side so as to prevent +as far as possible the pulling asunder of the pieces by an accidental +drawing out of the thread.</p> + +<p>Birch's sewing machine is very largely used in bleach works. It consists +essentially of a Wilcox & Gibb machine fitted on a stand so as to be +driven by power. The pieces are carried under the needle by a large +wheel, the periphery of which contains a number of projecting pins that, +engaging in the cloth, carry it along.<!-- Page 26 --><span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span></p> + +<p>There is also a contrivance by which these pieces to be sewn can be kept +stretched, this takes the form of an arm with clips at the end, which +hold one end of the cloth while it is running through the machine. The +clip arrangement is automatic, and just before the end passes under the +needle it is released, and the arm flies back ready for the next piece; +it is, however, not necessary to use this arm always. This machine gives +a chain stitch sufficiently firm to resist a pull in the direction of +the length of the pieces, but giving readily to a pull at the end of the +thread.</p> + +<p>The Rayer & Lincoln machine is an American invention, and is much more +complicated than Birch's. It consists of a sewing machine mounted on the +periphery of a large revolving wheel. This carries a number of pins, +which, engaging in the cloth to be stitched, carry it under the needle +of the machine. Besides sewing the pieces together this machine is +fitted with a pair of revolving cutters which trim the ends of the +pieces as they pass through in a neat clean manner. There is also an +arrangement to mark the pieces as they are being stitched. Like Birch's +it produces a chain stitch.</p> + +<p>What is important in sewing the ends of pieces together is to get a firm +uniform stitch that lies level with the cloths without any knots +projecting, which would catch in the bleaching machinery during the +processes of bleaching, and this might lead to much damage being done.</p> + +<p>Should it be necessary to mark the pieces so that they can be recognised +after bleaching, the best thing to use is printers' ink. Gas tar is also +much used, and is very good for the purpose. Coloured inks do not resist +the bleaching sufficiently well to be used satisfactory. Vermilion and +Indian red are used for reds, yellow ochre is the fastest of the +yellows, there is no blue which will stand the process, and Guignet's +green is the only green that will at all resist<!-- Page 27 --><span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span> the process, umber will +serve for brown. All these colours are used in the form of printing ink.</p> + +<p>The next operation is a very important one, which cannot be too +carefully carried out, that is:—</p> + +<p>(2) <b>Singeing.</b>—For printing bleaches the cloths are singed. This has +for its object the removal from the surface of the cloth of the fine +fibres with which it is covered, and which would, if allowed to remain, +prevent the designs printed on from coming out with sufficient +clearness, giving them a blurred appearance.</p> + +<p>Singeing is done in various ways, by passing the cloth over a red-hot +copper plate, or over a red-hot revolving copper cylinder, or through a +coke flame, or through gas flames, and more recently over a rod of +platinum made red hot by electricity.</p> + +<p>Plate singeing is the oldest of these methods and is still largely used. +In this method a semi-cylindrical copper plate is heated in a suitable +furnace to a bright red heat, the cloths are rapidly passed over it, and +the loose fibres thereby burnt off. One great trouble is to keep the +plate at one uniform heat over the whole of its surface, some parts will +get hotter than others, and it is only by careful attention to the +firing of the furnace that this can be obtained. To get over these +difficulties Worral introduced a roller singeing machine in which the +plate was replaced by a revolving copper roller, heated by a suitable +furnace; the roller can be kept at a more uniform temperature than the +plate. The singe obtained by the plate and roller is good, the principal +fault being that if the cloths happen to get pressed down too much on +the hot plate the loose ends are not burnt off as they should be. With +both plate and roller the cloths are singed only on one side, and if +both sides require to be singed a second passage is necessary. Both +systems still retain their hold as the principal methods in use, +notwithstanding the introduction of more modern methods.<!-- Page 28 --><span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span></p> + +<p>Singeing by passing the cloths over a row of Bunsen burners has come +largely into use. This has the great advantage of being very cleanly, +and of doing the work very effectually, much more thoroughly than any +other method, which is due to the fact that while in the methods +described above only the loose fibres on the surface are burnt off; with +gas all the loose fibres are burnt off. This is brought about by the gas +flame passing straight through the cloth. It is not necessary to +describe the gas singeing machine in detail. Singeing machines should be +kept scrupulously clean and free from fluff, which is liable to collect +round them, and very liable to fire. Some machines are fitted with a +flue having a powerful draught which carries off this fluff, away from +any source of danger.</p> + +<p>(3) <b>Singeing Wash.</b>—After being singed the cloths are run through a +washing machine to remove by water as much of the loose charred fibres +as possible. The construction of a washing machine is well known. It +consists of a pair of large wooden rollers set above a trough containing +water and into which a constant stream of water flows. In the trough is +also fixed another wooden roller and the pieces are passed round this +bottom roller and between the top rollers. The cloth is passed through +and round the rollers several times in a spiral form so that it passes +through the water in the trough frequently, which is a great advantage, +as the wash is thus much more effectual. The pressure between the two +top rollers presses out any surplus water. The operation scarcely needs +any further description.</p> + +<p>(4) <b>Lime Boil.</b>—After the cloth leaves the singeing or grey wash, as +it is often called, it passes through the liming machine, which is made +very similar to the washing machine. In this it passes through milk of +lime, which should be made from freshly slaked lime. The latter maybe +prepared in a pasty form in a stone cistern. The lime used should be of<!-- Page 29 --><span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span> +good quality, free from stones, badly burnt pieces or any other +insoluble material, so that when slaked it should give a fine smooth +pasty mass.</p> + +<p>Lime should not be slaked too long before using, as it absorbs carbonic +acid from the atmosphere, whereby carbonate of lime is formed, and this +is useless for liming cloth. The pasty slaked lime may be mixed with +water to form the milk of lime, and this can be run from the cistern in +which it is prepared into the liming machine as it is required; the +supply pipe should be run into the bottom of the trough of the liming +machine and not over the top, in which latter case it may splash on to +the cloths and lead to overliming, which is not to be desired on account +of its liability to rot the cloth. The amount of lime used varies in +different bleachworks, and there is no rule on the subject; about 5 lb. +to 7 lb. of dry lime to 100 lb. of cloth may be taken as a fair quantity +to use.</p> + +<p>The lime boil has for its object the removal or rather the +saponification of the resinous and fatty matters present in the grey +cloth, either naturally or which have been added in the process of +weaving, or have got upon the cloth accidentally during the processes of +spinning and weaving. With these bodies the lime forms insoluble lime +soaps; these remain in the cloth, but in a form easily decomposable and +removable by treatment with acids and washing. Soda or potash is not +nearly so good for this first boiling as lime—for what reason is +somewhat uncertain, but probably because they form with the grease in +the cloths soluble soaps, which might float about the kier and +accumulate in places where they are not required and thus lead to +stains, whereas the insoluble lime soap remains where it was formed. The +lime also seems to attack the natural colouring matter of the cotton, +and although the colour of the limed cloth is darker than before +boiling, yet the nature of the colour is so altered that it is more +easily removed in the after processes. Besides<!-- Page 30 --><span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span> these changes the +starchy matters put into the cloth in the sizing are dissolved away. +Great care should be taken to see that the goods are evenly laid in the +kiers, not too tight, or the liquor will not penetrate properly; and not +too slack, or they will float about and get entangled and more or less +damaged. Then again care should be taken, especially when using +low-pressure kiers, to see that the supply of liquor does not get too +low, in which case the goods in the upper part of the kier are liable to +get dry and are tendered thereby. So long as the goods in the kiers are +not allowed to get dry there is no risk of damage; this trouble rarely +arises with the Barlow and injector kiers. The inside of the kiers +should be kept well limed, so that the goods shall not come in contact +with the bare iron or metal of which the kier is constructed, as this +would be very likely to lead to stains being produced which are by no +means easy to remove. It is usual, and it is a good plan with almost all +kinds of kiers, except the Mather and Edmeston kiers, to put a number of +large pebbles or small stones at the bottom of the kier, which serves to +make a false bottom on which the goods rest and through which the liquor +penetrates and flows away. Before using, the stones should be well +washed to free them from dirt and grit.</p> + +<p>The lime boil is carried out in what are called "kiers". Many forms of +kiers have been devised, but the one in most general use is that known +as the "injector kier," of which a drawing is given in Fig. 4, of the +form made by Messrs. Mather & Platt of Salford. Injector kiers are made +to work either under a pressure of 40 lb. to 50 lb. of steam per square +inch, when they are called high-pressure kiers, or at a pressure of 15 +lb. to 20 lb., when they are called low-pressure kiers. The one shown in +the drawing is intended for low-pressure kiers. The principle of +construction is the same in all, the details varying somewhat with +different makers. Injector<!-- Page 31 --><span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span></p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus004.jpg" width="400" height="560" alt="Fig. 4.--Mather & Platt's Low-pressure Bleaching Kier." title="Mather & Platt's Low-pressure Bleaching Kier" /> +<span class="caption">Fig. 4.—Mather & Platt's Low-pressure Bleaching Kier.</span> +</div> + +<p>kiers consist of a hollow, upright iron cylinder made of plates riveted +together; the top is made to lift off, but can be fastened down tightly +by means of bolts and nuts as shown in the drawing. From the bottom, and +placed centrally, rises a pipe, known as the puffer pipe; this +terminates at the<!-- Page 32 --><span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span> top in a rose arrangement. The lower end of the pipe +is perforated. A jet of steam is sent in at the bottom of this pipe, and +by its force any liquor at the bottom of the kier is forced up the +puffer pipe and distributed in a spray over any goods which may be in +the kier. The liquor ultimately finds its way to the bottom of the kier +ready to be blown up again. This circulation of the liquor can be +maintained for any length of time and through its agency every part of +the goods gets thorough and effectual treatment.</p> + +<p>The length of the boil depends upon the kiers; with the open kier about +ten hours are usually given, with the Barlow and injector kiers, working +at a pressure of 40 lb. to 50 lb., six to seven hours are given.</p> + +<p>(5) <b>Lime or Grey Sour.</b>—After the lime boil, the next operation is +that of the lime sour or grey sour as it is often called to distinguish +it from a subsequent souring. The souring is done in a machine +constructed in the same way as a washing machine; the trough of the +machine is filled with hydrochloric acid at 2° Tw., which is kept ready +prepared in a stone cistern and run into the machine as required (it is +not advisable to use acid stronger than this). After passing through the +sour the goods are piled in a heap on the stillage for a few hours. The +acid attacks the lime soap which was formed during the lime boil, +decomposes it and dissolves out the lime with the formation of calcium +chloride, while the fat of the soap is liberated, the former is washed +away in the subsequent washing, while the latter remains to a large +extent on the goods, and is removed by the lye boil that follows. +Sulphuric acid is not so satisfactory to use for the lime sour as +hydrochloric acid, because it forms with the lime the insoluble sulphate +of calcium, which is difficult to entirely remove from the goods, +whereas the chloride is very soluble and is entirely eliminated from the +goods by the washing that follows.<!-- Page 33 --><span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span></p> + +<p>It is advisable to keep the acid at a uniform strength in the machine. +The Twaddell is here of no use as an indicator of the actual strength, +because the lime which the acid dissolves, while it neutralises and +reduces the strength of the acid, actually raises the Twaddell, under +which circumstance the only safe method is a chemical test. This can be +carried out very simply and with a sufficient degree of accuracy by the +workmen, and if it be done at regular intervals during the souring, and +the supply of the fresh acid be regulated, the sour will be kept at a +more uniform strength and more uniform results will be obtained than if +the souring were done in a more empirical fashion. The test is best and +most easily done as follows:—</p> + +<p>Prepare a solution of 1 oz. of the powdered high strength 98 per cent. +caustic soda in 1 pint of water, weighing and measuring these quantities +very carefully. Now take a tall, narrow, white bottle of about 5 oz. +capacity and make a mark on the neck. Fill this bottle with the test +solution.</p> + +<p>Now take exactly 5 ozs. of freshly prepared sour of 2° Tw., pour into a +jar, and add carefully some of the soda-test solution until a piece of +cloth dyed with turmeric is turned brown, when the acid is neutralised. +Now make a mark on the bottle of soda to show how much has been used. In +all subsequent tests of the sour 5 ozs. should always take the same +quantity of soda solution; if it takes less it is too weak, if more it +is too strong; the remedy in each case is obvious. It is worth while to +graduate the test bottle for 1°, 3°, 4°, 5° Twaddell, as well as for 2° +Tw. acid.</p> + +<p>After the souring it is often the custom to pile the goods on to a +wooden stillage, but the goods should not be left too long so piled up +for they may become dry, either entirely or in parts. In any case, as +the goods dry the acid becomes concentrated and attacks them and makes +them tender, which is not at all desirable. Therefore, if it is not +convenient<!-- Page 34 --><span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span> to proceed with them for some time after souring, they +should be moistened with water from time to time, but it is best to wash +them off at once, whereby they are made ready for the next operation.</p> + +<p>(6) <b>Lye Boil</b>.—This is, perhaps, the most important operation in the +whole process of bleaching, especially if the cloths are going to be +printed in the so-called madder style with alizarine colours, or +otherwise stains are liable to occur in the final stage, and it is then +sometimes difficult to put the blame for these upon the right shoulders.</p> + +<p>In principle the lye boil is simple, consisting in boiling the goods +with a solution of soda ash, or caustic soda. The quantity of ash used +varies in different works, as might naturally be expected; from 170 lb. +to 200 lb. of ash to 10,000 lb. of cloth is a fair proportion to use. +The length of boil averages about four hours, certainly not less than +three should be given, and it is not necessary to give more than five +hours in either ordinary kiers, with central puffer pipe, or in injector +kiers.</p> + +<p>Care should be taken to see that the goods are well packed into the +kiers, not too tightly or the lye will fail to penetrate equally all +through, and this is important if a uniform bleach is desired; neither +should they be too loose, or they will float about and get torn. It is +not necessary to be particular about the quantity of water used, except +that it must be sufficient to keep the goods well covered, and still +have enough to keep the circulation energetic. When the water is not +sufficient in amount the goods get somewhat dry; there is then a +liability to tendering, but with plenty of water there is no fear of any +damage being done during a boil with alkali. Some works use caustic soda +instead of soda ash in which case less is required, from 120 lb. to 150 +lb. to 10,000 lb. of cloth, otherwise no alteration is made in the mode +of boiling.<!-- Page 35 --><span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span></p> + +<p>This lye boil clears away the fatty and waxy matter left in the goods +after the lime sour, and thus prepares the way for the next boil. There +is no advantage in using caustic soda in this preliminary boil, soda ash +being just as effective and cheaper.</p> + +<p>(7) <b>Resin Boil.</b>—Following the lye boil is the resin boil which +consists in boiling the goods in a resin soap liquor. This is made as +follows: a soda ash liquor of about 15° to 20° Tw. is prepared, and into +this is thrown resin, broken up into small pieces.</p> + +<p>The whole is boiled up until the resin is dissolved, and then as much +more is added in small quantities as the alkali will take up. The soda +liquor should not be much weaker than 20° Tw., it will then be heavier +than the resin which will float on the top, it is found to dissolve +quicker and better than when the liquor is weak, in which case, the +resin would sink to the bottom of the boiler and would there melt into a +single mass difficult to dissolve. The resin soap liquor when made is +ready to be used. The proportions of resin and alkali used in the boil +vary in different works, but, as a rule, the quantities for 10,000 lb. +of goods are 430 lb. of 58 per cent. soda ash, 180 lb. of resin, and 80 +lb. of 70 per cent. caustic soda. Too much resin should be avoided, as +it is found that with an excess the whites obtained are not nearly so +good as when the right quantity is used; on the other hand, too little +acts much in the same way. It may be taken that from 1½ to 1¾ per +cent. of the weight of the goods is about the right proportion; 1 per +cent. being too little, and 2 per cent. too much. The quantity of soda +used should be rather more than twice that of the resin, from 3½ to 4 +per cent. The length of boil is usually about twelve hours in a +low-pressure kier; in a high-pressure kier about seven hours is +sufficient.</p> + +<p>What the special function of the resin is in this boil is<!-- Page 36 --><span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span> not +definitely known; but experience, both on a large and small scale, +proves that it is essential to obtaining a good white for alizarine +printing; without it, when the goods are dyed with alizarine after the +mordants have been printed on, they frequently take a brown stain—with +the resin this never or but rarely happens.</p> + +<p>(8) <b>Wash.</b>—After the lye boils the goods must be washed, and it is +important that this be done in as thorough a manner as possible. With +the object of accomplishing this most thoroughly many washing machines +have been invented, the main idea in all being to bring every part of +the goods into contact with as much water as possible. Bridson's is an +old form, and a very good one, the principle of this machine is to cause +the cloth to pass to and fro, and to flap upon the surface of the water +in the trough of the machine.</p> + +<p>Furnival's square beater works on much the same principle, and does its +work effectively. More modern washing machines are those of Birch, +Farmer, Mather & Platt, and Hawthorne, where by the peculiar +construction of the rollers and the use of beaters the cloth is very +effectually washed. These machines are much more economical in the use +of water than the older forms, and yet they do their work as well, if +not better.</p> + +<p>(9) <b>Chemicing.</b>—This is the actual bleaching operation, familiarly +known as "chemicing," that is, the treatment of the goods with bleaching +powder. The previous operations have resulted in obtaining a cloth free +from grease, natural or acquired, and from other impurities, but it +still has a slight brownish colour. This has to be removed before the +goods can be considered a good white, which it is the aim of every +bleacher they should be.</p> + +<p>To get rid of this colour they are subjected to some final operations, +the first of which is now to be considered. The chemicing consists in +running the goods through a weak<!-- Page 37 --><span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span> solution of bleaching powder (chloride +of lime), piling the goods up into heaps, and allowing them to lie +overnight, the next day they are finished. As the cloth has received, or +ought to have received, a thorough bottoming, only a weak bath of chemic +is required, about ½ to 1° Tw. is quite sufficient. The solution is +prepared in a stone cistern. There is very little difficulty in making +it, the only precaution necessary is to have the solution quite clear +and free from undissolved particles, for if these get upon the cloth +they will either lead to the production of minute holes, or they may +overbleach the fibre, which in such case will have the power of +attracting excess of colour in any subsequent dyeing process and thus +lead to stains, the origin of which may not be readily grasped at the +first sight.</p> + +<p>It is best, therefore, either to allow the solution to settle in the +cistern till quite clear, which is the simplest way, or to filter +through cloth.</p> + +<p>The chemicing is best done cold and with weak solution, at ½° Tw. +rather than 1° Tw. Warming the liquor increases the rapidity of the +bleaching action, but there is a risk of over-chloring, which must be +avoided as far as possible, because there is then danger of tendering +the fibre, moreover, such over-chlored cloth has an affinity for +colouring matters that is not at all desirable, as it leads to the +production of stains and patches in the dyeing operations. It is much +better, when a single chemicing does not bleach the cloth sufficiently +and give a white, to run the cloth twice through a weak liquor rather +than once through a strong liquor.</p> + +<p>Although the chemicing is followed by a sour, which, acting on the +bleaching powder, liberates chlorine that bleaches the fabric, yet the +greatest proportion of the bleaching effect is brought about while the +pieces are being piled up into heaps between the chemicing and the sour. +In this state they should be left for some hours, covered<!-- Page 38 --><span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span> over with a +damp sheet, care being taken that they are not left piled so long as to +become dry, as in this event there is a great risk of tendering the +cloth or fabric; it is, therefore, a good plan to moisten them with a +little water from time to time. They should not be tightly piled up, but +be as loose as possible, so that the air can get to them, as it is the +carbonic acid and other acid vapours in the air, that by acting on the +chemic causes slow liberation of chlorine, which effects the bleaching +of the goods.</p> + +<p>(10) <b>White Sour</b>.—After the chemicing the goods are treated to a sour, +for which purpose either hydrochloric acid or sulphuric acid may be +used.</p> + +<p>Hydrochloric acid possesses the advantage of forming a more soluble salt +of lime (calcium chloride) than does sulphuric acid (calcium sulphate), +and it has a more solvent action upon any traces of iron and other +metallic oxide stains which may be present in the goods. On the other +hand, on account of its fuming properties, it is unpleasant to work +with. The souring is done by passing the goods through an acid liquor at +2° Tw. strong and piling for two or three hours, after which it is +washed. This final washing must be thorough, so that all traces of acid +and chemic are washed out, otherwise there is a tendency for the goods +to acquire a yellowish colouration.</p> + +<p>So far the routine has been described of the so-called madder bleach, +the most perfect kind of bleach applied to cotton cloths. Besides this +two other kinds of bleach are distinguished in the trade. Turkey red and +market bleach. The former is used when the cloth or yarn is to be dyed +plain or self-coloured with delicate shades with Alizarine; the latter +is used for cloth sold in the white. As the operations involved in +producing these are identical in their method of manipulation to those +already described, it will only be necessary to give an outline of the +process for each one.<!-- Page 39 --><span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span></p> + +<p><b>Turkey Red Bleach</b>—(1) Rinse through water into a kier and boil for +two hours. (2) Lime boil for three to four hours. The amount of lime +required is rather less than what is used with the madder bleach, from +2½ lb. to 3 lb, lime to each 1 cwt. of goods being quite sufficient. +(3) Souring as in the madder bleach. (4) Lye boil, using about 100 lb. +caustic soda to a ton of goods, and giving ten hours' boil. (5) Second +lye boil using about 50 lb. soda ash to a ton of goods, after which the +goods are well washed. (6) Chemicing as with the madder bleach. (7) +Souring as with the madder bleach, then washing well.</p> + +<p>This represents an average process, but almost every bleacher has his +own methods, differing from the above in some of the details and this +applies to all bleaching processes. It is obvious that the details may +be varied to a great extent without changing the principles on which the +process depends.</p> + +<p><b>Market Bleach</b>—Here all that requires to be done is to get the cloth +of a sufficient degree of whiteness to please the eye of the customer. +Market bleachers have, however, to deal with a wider range of goods than +is dealt with in the former kinds of bleaches, from very fine muslins to +very heavy sheetings. Now it is obvious from a merely mechanical point +of view, that the former could not stand as rough a process as the +latter, therefore there must be some differences in the details of +muslin bleaching and sheeting bleaching. Then again with goods sold in +the white, it is customary to weave coloured headings or markings, and +as these have to be preserved, to do so will cause some slight +alteration of the details of the bleach with this object. On all these +points it is difficult to lay down general rules because of the very +varying feature of the conditions which are met with by the market +bleacher.</p> + +<p>The resin boil may be omitted, only two lye boils being required, and +these need not be so long or of such a searching<!-- Page 40 --><span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span> character as the +corresponding boils of the madder bleach. Outlines of two or three such +processes, which are now in use in bleach works, will serve to show the +general routine of a market bleach. The proportions given are calculated +for 10,000 lb. of goods:—</p> + +<p>(1) Lime boil, using 500 lb. of lime, and giving a twelve-hours' boil.</p> + +<p>(2) Grey sour, hydrochloric acid of 2° Tw., then wash well.</p> + +<p>(3) Lye boil, 100 lb. caustic soda, 70 per cent. solid, ten to twelve +hours' boil; wash.</p> + +<p>(4) Second lye boil, 100 lb., 58 per cent. soda ash, twelve-hours' boil.</p> + +<p>(5) Chemic, bleaching powder liquor at 1° Tw., boil for three hours; +wash.</p> + +<p>(6) White sour, sulphuric acid at 2° Tw.; wash well.</p> + +<p>The length of boil with the lime and lyes will depend upon the quality +of the goods, heavy goods will require from two to three hours longer +than will light goods, such as cambrics, the time given above being that +for heavy goods, sheetings, etc.</p> + +<p>Another process is the following:—</p> + +<p>(1) Lime boil, using 480 lb. lime, and boiling for ten hours.</p> + +<p>(2) Grey sour, hydrochloric acid at 2° Tw.; wash.</p> + +<p>(3) Lye boil, 300 lb. soda ash, 58 per cent.; 50 lb. caustic soda, 70 +per cent., and 30 lb. soft soap, giving ten hours' boil; wash.</p> + +<p>(4) Chemic as above.</p> + +<p>(5) White sour as above; wash well.</p> + +<p>A smaller quantity of lime is used here, but on the other hand the lye +boil is a stronger one. This process gives good results. Some bleachers +do not use lime in their market bleaches, but give two lye boils, in +which case the process becomes:<!-- Page 41 --><span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span>—</p> + +<p>(1) Lye boil, using 140 lb. caustic soda, of 70 per cent., giving ten +hours' boil and washing well.</p> + +<p>(2) Second lye boil, using 120 lb. soda ash, 58 per cent., and giving +ten hours' boil; wash.</p> + +<p>(3) Chemic as above.</p> + +<p>(4) White sour as above; wash well.</p> + +<p>Light fabrics, such as laces, lace curtains, muslins, etc., cannot stand +the strain of the continuous process, and they are therefore subjected +to a different bleaching process, which varies much at different bleach +works. One method is to lime by steeping for an hour in a weak lime +liquor, using about 2 lb. of lime to 100 lb. of goods; they are then +boiled in the kier for eight hours, after which they are washed. This +washing is done in what are called dash wheels, large hollow wheels, the +interior of each being divided into four compartments. Into these the +goods are put, and the wheel is caused to revolve, while at the same +time a current of water flows with some force into the interior of the +wheel and washes the goods.</p> + +<p>The wheels do their work well, and the action being gentle the finest +fabrics can be washed without fear of any damage. It is necessary that +the speed at which they are driven should be such that as the wheel +revolves the goods are thrown from side to side of each compartment; if +the speed be too slow they will simply slide down, and then they do not +get properly washed; on the other hand, if the speed be too great then +centrifugal action comes into play and the goods remain in a stationary +position in the wheels with the same result. As to the amount of +washing, it should be as before. After this washing they are boiled +again in the kier with soda ash, using about 8 lb. ash for 100 lb. goods +and giving seven hours' boil, which, after washing, is followed by a +second boil with 5 lb. ash and 4 lb. soft soap for each 100 lb. of +goods, giving eight hours' boil. They are then washed and<!-- Page 42 --><span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span> entered into +the chemic. The chemicing is done in stone cisterns, which are fitted +with false bottoms, on which the goods can rest, and which allow any +insoluble particles of bleaching powder to settle out and prevent them +from getting on the goods. The liquor is used at the strength of about +½° Tw., and the goods are allowed to steep about two hours; they are +then placed in a hydro-extractor and the surplus chemic is whizzed out, +after which they are steeped in sour of hydrochloric acid at 1° Tw., +kept in a stone cistern, the goods being allowed to steep for two hours. +Next they are washed, well whizzed, passed through a blueing water, +whizzed again, and dried. The remarks made when describing similar +operations of the madder bleach as to the action, testing, etc., of the +chemicals, are equally applicable here.</p> + +<p>Another plan of bleaching fine fabrics is shown in outline in the +following scheme:—</p> + +<p>(1) Wash; boil in water for two hours.</p> + +<p>(2) Boil in soda for five hours, using 80 lb. soda ash of 58 per cent., +and 30 lb. soft soap for 1,000 lb. of goods.</p> + +<p>(3) Second soda boil, using from 40 lb. to 50 lb. soda ash, and 15 lb. +to 20 lb. soft soap, giving four hours' boil; after each soda boil the +goods should be washed.</p> + +<p>(4) Chemic, using bleaching powder liquor at ½° Tw., allowing them to +steep for two hours, then wash and whiz.</p> + +<p>(5) White sour, using hydrochloric acid at 2° Tw., steeping two hours; +wash.</p> + +<p>A further extension of the same process is sometimes given for the best +goods, which consists, after the above, in giving:—</p> + +<p>(6) A third soda boil, using 25 lb. to 30 lb. soda ash and 15 lb. to 20 +lb. soft soap, giving one hour's boil; washing.</p> + +<p>(7) Chemic as before.</p> + +<p>(8) Sour as before, after which the goods are well washed.</p> + +<p>In the bleaching of Nottingham lace curtains for the soda<!-- Page 43 --><span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span> boils there +is used what is called the "dolly," which consists of a large round +wooden tub about 5 feet to 6 feet in diameter and about 2 feet 6 inches +to 3 feet deep; this is made to revolve slowly at about one revolution +per minute. Above the tub on a strong frame are arranged four stampers +or beaters, which are caused to rise and fall by means of cams. The +goods are placed in the tub with the scouring liquors and the dolly is +set in motion, the beaters force the liquor into the goods, and the +revolution of the tub causes the beaters to work on a fresh portion of +the goods at every fall.</p> + +<p>This is rather an old-fashioned form of machine, and is being replaced +by more modern forms of boiling kiers. In bleaching certain kinds of +muslins in which the warp threads are double, and in the case of lace +curtains, it is necessary to endeavour to keep the threads as open and +prominent as possible. This cannot be done with the continuous process, +which puts a strain on the threads and thus effaces their individuality. +To avoid this the fabrics have to be dealt with in bundles or lumps, and +on these no strain is put, therefore every thread retains its +individuality. The process above described is applicable.</p> + +<p><b>Yarn Bleaching.</b>—Yarn is supplied to the bleacher in two forms: (1) +warps in which the length of the threads may vary from as little as 50 +to as much as 5,000 yards; these can be dealt with in much the same +manner as a piece of cloth, that is, a continuous system can be adopted; +(2) hanks, which are too well known to require description. Sometimes +yarn is bleached in the form of cops, but as the results of cop +bleaching are not very satisfactory it is done as little as possible.</p> + +<p><b>Warp Bleaching.</b>—The warp, if very long, is doubled two, three or four +times upon itself, so as to reduce its length. Care should be taken that +the ends of the warp are tied together to prevent any chance of +entangling, which would<!-- Page 44 --><span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span> very likely happen if the ends were left loose +to float about. As a rule, warps are not limed, but the adoption of the +liming would assist the bleaching. In outline warp bleaching consists of +the following operations:—</p> + +<p>(1) Lye boil, using 30 lb. caustic soda, 70 per cent., and 50 lb. soda +ash, 58 per cent., giving six hours' boil, and washing.</p> + +<p>(2) Sweeting, boil with 80 lb. soda ash, 58 per cent., for two hours.</p> + +<p>(3) Washing.</p> + +<p>(4) Chemicing, bleaching powder liquor at 1° Tw., washing.</p> + +<p>(5) Sour, sulphuric acid at 2° Tw,. washing well.</p> + +<p>(6) Hydro extracting and drying.</p> + +<p>About 2,000 to 3,000 lb. of warps are usually treated at one time.</p> + +<p>The machinery used may be the same as that used in the cloth bleach, and +each operation may be conducted in the same manner. In some warp +bleachworks, while the kiers are made in the same way, the other +machines are made differently. The chemicing and souring is done in +strong cisterns provided with a false bottom; in these the warps are +allowed to remain for about two hours. A more complicated form of +chemicing cistern is also in use. This is made of stone, and is provided +with a false bottom. Above is a tank or sieve, as it is called, having a +perforated bottom through which the liquor flows on the warp in the +cistern below.</p> + +<p>Under the chemicing cistern is a tank into which the liquor flows, and +from which it is pumped up into the sieve above. A circulation of liquor +is thus kept up during the whole of the operation. Owing to the action +of the chemic or acid on the metal work of the pump there is great wear +and tear of the latter, necessitating frequent repairs. This is a defect +in this form of chemicing machine. For drying the warps a +hydro-extractor is first used to get the surplus<!-- Page 45 --><span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span> liquor from the goods. +This machine is now well known, and is in use in every bleachworks, +where it is familiarly known as the "whiz," and the operation is +generally called whizzing. Hydro-extractors are described under the head +of "Dyeing Machinery".</p> + +<p>The actual drying of the warps is done over the "tins" as they are +called. These are a number of large cylinders measuring about 20 inches +in diameter and about—for warp drying—5 feet long. Usually they are +arranged vertically in two tiers, each tier consisting of about five +cylinders, not arranged directly one above another but in a zig-zag +manner, the centres of the first, third and fifth being in one line, and +the centres of the others in another line. The cylinders are made to +revolve by suitable driving mechanism, and into them is sent steam at +about 5 lb. to 10 lb. pressure, which heats up the cylinders, whereby +the warp passing over them is dried. This drying may be partial or +complete, being regulated by the speed at which the warps pass over the +cylinders and by the quantity of steam passed into the same. The quicker +the speed and the smaller the amount of steam, the less the warps are +dried; while, on the other hand, the slower the speed and the larger the +amount and greater the pressure of the steam, the quicker and more +thoroughly are the warps dried. As there is a great deal of water formed +in the cylinders by the condensation of the steam, means are always +provided for carrying off this water, as its retention in the cylinders +often leads to serious results and damage to the machine.</p> + +<p><b>Hank Bleaching.</b>—So far as the chemical part of hank bleaching is +concerned it does not differ from that of warp bleaching; the same +operations and proportions of chemicals may be used and in the same +order, but there is some difference in the machinery which is used. The +hanks may be manipulated in two ways: they may be either kept in +separate hanks, which is the method mostly in vogue in modern +bleach-<!-- Page 46 --><span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span>houses, or they may be linked together in the form of a chain. +In the latter case the operations and the machinery may be the same as +used in the madder bleach, with a few unimportant minor differences. In +the final washing the dumping machine is used, which consists of two +wooden bowls set over a wooden trough containing the wash waters. The +top bowl is covered with a thick layer of rope and merely rests on the +bottom bowl by its own weight, and is driven by friction from the +latter. The chain of hanks passing through between the two bowls has the +surplus liquor squeezed out of it, and as there is considerable increase +in the thickness at the points of linkage between the hanks, when these +pass through the bowls they lift up the top bowl, which, when the thick +places have passed through, falls down with a sudden bump upon the thin +places, and this bumping drives out all the surplus liquor and drives +the liquor itself into the very centre of the hanks, which is sometimes +an advantage.</p> + +<p>In modern bleach-houses the chain form is gradually giving place to the +method of bleaching separate hanks, partly because so many improvements +have been made in the hank-bleaching machinery of late years, which +enables bleachers to handle the yarn in the form of separate hanks +better than they could do formerly; and as bleaching in separate hanks +means that the cotton is kept in a more open form, and is thus more +easily penetrated by the various liquors which are used, it follows that +the bleach will be better and more thorough, which is what the bleacher +aims at. At the same time weaker liquors or, what is the same thing, +less material can be used, which means a saving in the cost of the +process. For bleaching yarn in the hank the following process may be +followed with good results:—</p> + +<p>(1) Lye boil, using 1,000 lb. yarn, 40 lb. caustic soda of 70 per cent., +and 50 lb. of soda ash of 58 per cent., giving five to six hours' boil +at low pressure.<!-- Page 47 --><span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span></p> + +<p>(2) Wash through washing machine.</p> + +<p>(3) Second lye boil, using 40 lb. soda ash of 58 per cent., and giving +two to three hours' boil, wash again through a washing machine.</p> + +<p>(4) Chemic as in warp bleaching.</p> + +<p>(5) Sour as in warp bleaching.</p> + +<p>(6) Wash well.</p> + +<p>(7) Hydro extract and dry.</p> + +<p>Sometimes, if the yarn is to be sold in thread form, before the last +operation it passes through another, <i>viz.</i>, treating with soap and blue +liquors, which will be dealt with presently.</p> + +<p>The lye boils are done in the ordinary kiers, and do not call for +further notice, except that in filling the goods into the kiers care +should be taken that while sufficiently loose to permit of the alkaline +liquors penetrating through the hanks properly, yet they should be so +packed that they will not float about and thus become entangled and +damaged.</p> + +<p>The washing is nowadays done in a special form of washing machine, +designed to wash the hanks quickly and well with as little expenditure +of labour and washing liquor as possible. There are now several makes of +these washing machines on the market, most of them do their work well, +and it is difficult to say which is the best. Some machines are made to +wash only one bundle at once, while others will do several bundles. +Generally the principle on which they are constructed is the same in +all, a trough containing the ash liquor, over which is suspended a +revolving reel or bobbin, usually made of wood or enamelled iron, the +bobbin being polygonal in form so that it will overcome readily any +resistance the yarn may offer and carry the hank round as it revolves. +The hank dips into the wash liquor in the trough, and as it is drawn +through by the revolution of the bobbin it is washed very effectually. +The moving of the hank opens<!-- Page 48 --><span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span> out the threads, and thus the wash liquor +thoroughly penetrates to every part of the hank, so that a few minutes' +run through this machine thoroughly washes the yarn. A constant stream +of clean water is passed through the trough. This machine may also be +used for soaping and sizing the hanks if required. By extending the +trough in a horizontal direction, and increasing the number of reels or +bobbins, the quantity of material that can be washed at one time can be +extended, although not to an indefinite extent. The workman can start at +one end of the machine and fill all the bobbins with yarn, by the time +he has finished this the first bobbinful will have been washed +sufficiently and can be taken off and replaced with another quantity of +yarn, and thus one by one the bobbins may be emptied and refilled, which +means that a considerable amount of material can be got through in the +course of a day. To avoid the labour of walking to and fro to fill and +refill the bobbins, washing machines are constructed in which the trough +is made in a circular form. The bobbins are placed at the ends of radial +arms which are caused to revolve round over the trough, the workman is +stationed constantly at one part of the circle, and as the arms pass him +in their motion round the trough he takes off the washed hanks and puts +on the unwashed hanks. By this machine he is saved a very considerable +amount of labour, and is able to do his work in a more convenient +manner. The yarn is well washed in such a machine. The trough may be +entire or it may be divided into a number of compartments, each of which +may contain a different kind of wash liquor if necessary. Of course it +goes almost without saying that in all these machines the liquors in +them may be heated up by means of steam pipes if required.</p> + +<p>The chemicing and souring of the hanks does not call for special +mention, beyond the fact that these operations are done in the same +manner as warp bleaching. In Fig. 5 is<!-- Page 49 --><span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span> shown Mather & Platt's +yarn-bleaching kier, which is designed to bleach cotton yarn, either in +hanks or in the warp forms, without removing it from the vessel into +which it is first placed. The process is as follows: The hot alkali +solution is circulated by means of a distributing pipe through the +action of an injector or centrifugal pump to scour the yarn; then water +is circulated by means of a centrifugal pump for washing. The chemic and +sour liquors are circulated also by means of pumps, so that without the +slightest disturbance to the yarn it is quickly and economically +bleached.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus005.jpg" width="400" height="400" alt="FIG. 5.--Mather & Platt's Yarn-bleaching Kier." title="Mather & Platt's Yarn-bleaching Kier" /> +<span class="caption">FIG. 5.—Mather & Platt's Yarn-bleaching Kier.</span> +</div> +<p><!-- Page 50 --><span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span></p> + +<p>STAINS AND DAMAGES IN BLEACHED GOODS.</p> + +<p>Some of the stains in bleached goods which are met are beyond the +control of the bleacher to avoid, while others are due to various +defects in the process. Now the subject of stains can only be dealt with +in a very general way, because of the varying manner in which they +arise. The recognition of the particular way in which the stains have +been formed is sometimes difficult to discover. First, there are iron +stains, which are the most common kind of stains that a bleacher is +troubled with. These generally make their appearance in the form of red +spots of greater or less extent. As a rule they are not visible before +the pieces are fully bleached. Their origin is varied. Sometimes they +arise from the machinery; if the kiers are not kept thoroughly +whitewashed out, there is a great liability to produce iron stains. +Every other machine which is used in the process is made of iron, and +should be kept free from rust, or the chances of stains are considerably +increased. The water used in the bleaching must be free from iron. A +small trace will not make much difference, but some waters contain a +great deal of iron, so much so that they are absolutely unusable for +bleaching purposes. Iron stains are often due to a very curious cause: +the dropping of the oil used in the spinning or weaving machinery on to +the cotton during the process of manufacture. This oil is often charged +with iron derived from the wear and tear of the machinery, and which +often gets fixed in the form of red spots of oxide on the fibre. Iron +stains cannot readily be extracted.</p> + +<p>Oil stains are also common. These take the form of bright yellow stains +in various shapes, sometimes extending along the piece in streaks, at +other times in patches in various places about the piece. Generally +these oil stains do not make their appearance as soon as the piece is +bleached,<!-- Page 51 --><span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span> and often the bleacher sends out his goods quite white and +apparently all right, and yet soon afterwards comes a complaint that the +goods are stained yellow. One cause of these yellow oil stains can be +traced to the use of paraffin wax in the sizing of the warps. In this +case the stains are more or less streaky in form, and extend along the +length of the piece. They are due to the fact that paraffin wax is not +saponifiable by the action of the alkalies used in the process, and is +therefore not extracted. When the goods are chemiced the chlorine acts +upon the paraffin and forms chlorine compounds, which are acted upon by +light, and turn yellow by exposure to that agent and to the atmosphere. +Paraffin, when used for the sizing of warps, may sometimes be completely +extracted from the fabric, but this depends upon the proportion of +tallow or other fat which is used in the composition of the sizing +grease. If the paraffin is only present in small quantities, and the +grease well mixed, then it may be possible to extract all the paraffin +out of the fabric during the bleaching process, but if the paraffin is +in large proportion, or the grease not well mixed, it is scarcely +possible to extract it all out, and stains must be the result. These +stains can hardly be considered the fault of the bleacher, but are due +to the manufacturer of the cloth using cheap sizing compositions on his +warps. There are no means which can be adopted before bleaching to +ascertain whether paraffin exists in the cloth. If found to be present, +the remedy which is the easiest practically is to saturate the cloth +with a little olive oil, or better, pale oleic acid. Allow the fatty +matter to soak well in, and then boil the goods in a little caustic +soda. Another cause of oil stains is the use of mineral oils in the +lubrication of cotton machinery. These mineral oils partake of the +nature of paraffin in their properties, and therefore they are +unsaponifiable <!-- Page 52 --><span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span>by the action of alkalies. Like paraffin wax, they +resist the bleaching process, and much in the same manner produce +stains. Oil stains show themselves in various forms—sometimes as spots. +These may be due to the splashing of oil from the spindles during the +process of spinning, or they may be in patches of a comparatively large +size over the pieces.</p> + +<p>These are perhaps due to the oil dropping on to the piece during the +process of weaving when in the loom. The oils used for the lubrication +of spinning and weaving machinery should contain a fair proportion of +some fatty oil, such as olive or rape or cocoanut oil. Not less than 10 +per cent. should be used. More would be better, but the cost of course +would be greater and oil is an item with spinners and manufacturers.</p> + +<p>Stains are occasionally due to other causes rather too numerous to be +dealt with in detail, and sometimes these stains only appear once in a +lifetime, and often do not make their appearance during the bleaching +process, but only in after dyeing or calico printing processes in +curious ways the causes of which are very baffling to find out.<!-- Page 53 --><span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.</h2> + +<p>DYEING MACHINERY AND DYEING MANIPULATIONS.</p> + + +<p>Cotton is dyed in a variety of forms: raw, loose cotton, partly +manufactured fibre in the form of slubbing or sliver, spun fibres or +yarns wound in cop or bobbin forms, 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>HAND DYEING.</p> + +<p>Dyeing by hand is carried on in the simplest possible appliances; much +depends upon whether the work can be<!-- Page 54 --><span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span> done at the ordinary temperature +or at the boil. Figs. 6 and 7 show respectively a rectangular vat and a +round tub much in use in dye-houses. These are made of wood, but</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus006.jpg" width="400" height="360" alt="FIG. 6.--Rectangular Dye-tank." title="Rectangular Dye-tank" /> +<span class="caption">FIG. 6.—Rectangular Dye-tank.</span> +</div> + +<div class="figcenter" style="width: 350px;"> +<img src="images/dcfillus007.jpg" width="350" height="400" alt="FIG. 7.--Round Dye-tub." title="Round Dye-tub" /> +<span class="caption">FIG. +7.—Round Dye-tub.</span> +</div> + +<p>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<!-- Page 55 --><span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span> 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 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 cotton +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. +The turning over one lot of yarn is technically called "one turn" and +the dyer often gives "three turns" or "four turns" as may be required.</p> + +<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 satisfactory and it is +preferable to use machines for dyeing piece goods.</p> + +<p>Plain tubs or vats, such as those shown in Figs. 6 and 7, 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<!-- Page 56 --><span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span></p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus008.jpg" width="400" height="375" alt="FIG. 8.--Section of Dye-vat." title="Section of Dye-vat" /> +<span class="caption">FIG. 8.—Section of Dye-vat.</span> +</div> + +<p>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. Fig. 8 shows a vat fitted with a steam pipe. That portion 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<!-- Page 57 --><span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span> condense, there is a little dilution of the +dye-liquor in the vat.</p> + + +<p>DYEING MACHINES.</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 Cotton.</b>—Few machines have been designed for this +purpose, and about the only successful one is:</p> + +<p><b>Delahunty's Dyeing Machine.</b>—This is illustrated in Fig. 9. 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 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> + +<p>The Obermaier machine, presently to be described, may also be used for +dyeing loose cotton or wool.<!-- Page 58 --><span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span></p> + +<p>DYEING, SLUBBING, SLIVER OR CARDED COTTON AND WOOL.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus009.jpg" width="400" height="400" alt="FIG. 9.--Delahunty's Dyeing Machine." title="Delahunty's Dyeing Machine" /> +<span class="caption">FIG. 9.—Delahunty's Dyeing Machine.</span> +</div> + +<p>It is found in practice that the dyeing of loose wool or cotton is not +altogether satisfactory—the impurities they naturally contain interfere +with 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 cotton or wool 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 cotton or wool<!-- Page 59 --><span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span></p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus010.jpg" width="400" height="330" alt="FIG. 10.--Obermaier Dyeing Machine." title="Obermaier Dying Machine" /> +<span class="caption">FIG. 10.—Obermaier Dyeing Machine.</span> +</div> + +<p>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 cotton +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 Fig. 10. The Obermaier apparatus consists of a dye vat A. +In this 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<!-- Page 60 --><span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span> 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 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> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus011.jpg" width="400" height="200" alt="FIG. 11.--Holliday's Yarn-dyeing Machine." title="Holliday's Yarn-dyeing Machine" /> +<span class="caption">FIG. 11.—Holliday's Yarn-dyeing Machine.</span> +</div> + +<p><b>Holliday's Yarn-dyeing Machine.</b>—In Fig. 11 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<!-- Page 61 --><span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span> 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, "doffing," the hanks of yarn for the reels. A reel +will hold about two pounds 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 makes 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 one of the 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> + +<p><b>Klauder-Weldon Hank-dyeing Machine.</b>—This is illustrated in Fig. 12, +which shows the latest form. This machine 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<!-- Page 62 --><span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span></p> + +<div class="figcenter" style="width: 320px;"> +<img src="images/dcfillus012.jpg" width="320" height="400" alt="FIG. 12.--Klauder-Weldon Dyeing Machine." title="Klauder-Weldon Dyeing Machine" /> +<span class="caption">FIG. 12.—Klauder-Weldon Dyeing Machine.</span> +</div> + +<p>end is placed on a similar rod carried 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. At a certain +point, 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<!-- Page 63 --><span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span> to time fresh quantities of +dye 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 machines 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 handwork 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, picking 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 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<!-- Page 64 --><span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span> dropped into the dye-vat to go +through the same cycle of movements which is continued until the yarn is +properly dyed.</p> + + +<p>COP DYEING.</p> + +<p>In weaving fancy-coloured fabrics the ordinary mode is to dye the yarn +in the hank form, then those which have to be used for the weft are +wound into the cop form for placing in the shuttles. The cop form is +that in which the yarn leaves the spinning frame, and necessarily apart +from the dyeing there is labour involved in reeling it into hanks and +winding it back again into the cop form, not only so but there is +necessarily some waste made in these operations. Many attempts have been +made, with more or less success, to dye the yarn while in the cop form +and so save the cost of the hanking and copping above referred to as +well as the waste which occurs. Cops cannot be satisfactorily dyed by +simple immersion in a boiling dye-bath, the outside becomes dyed but the +central portions as often as not remain quite white, and there is a +distinct grading of colour or shade throughout the cop, the outer +portions being deeply dyed while the middle portion will only have a +medium shade and the central portions either not being dyed at all or +only faintly tinted, much depending on the firmness with which the cop +has been wound. A soft, loosely wound cop is much more thoroughly dyed +than a hard, tightly wound cop. This uneven dyeing of the cops is not +satisfactory, and must be avoided if cop dyeing is to be a success. Many +dyers have turned their attention to this question of dyeing yarn in the +cop form, and many machines have been devised for the purpose; some of +these have not been a success, but a few have been found to yield +satisfactory results and proved in practice very successful.</p> + +<p>In all machines for dyeing cops one principle has been<!-- Page 65 --><span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span> adopted—that of +drawing or forcing the dye-liquor through the cop.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus013.jpg" width="400" height="240" alt="FIG. 13.--Graemiger Cop-dyeing Machine." title="Graemiger Cop-dyeing Machine" /> +<span class="caption">FIG. 13.—Graemiger Cop-dyeing Machine.</span> +</div> + +<p><b>Graemiger's Cop-dyeing Machine.</b>—This is shown in section in Figs. 13 +and 14. Although simple in its work it is somewhat complex in its +construction and difficult to describe. The machine consists of a +dye-vat to hold the requisite dye-liquors. In the upper portions of this +is an iron casting formed with four chambers, the two lower ones of +which are immersed in the dye-liquor while the upper chambers are above +it. The sides of this casting are formed of metal plates which fit +tightly against the casting and form as nearly air-and water-tight +joints with it as it is possible to make. These metal plates are on a +spindle and can be rotated. They are perforated and made to carry +spindles, on which are placed the cops to be dyed. The two lower +chambers are in connection with a pump which draws the air from them and +so creates a vacuum inside the chambers. To fill this, liquor from the +dye-vat passes through the cops and into the chambers, and is in turn +drawn through the pump and returned to the dye-vat. In this way there is +a<!-- Page 66 --><span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span> continual circulation of dye-liquors from the vat through the cops, +chambers and pump back to the vat again.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus014.jpg" width="400" height="280" alt="FIG. 14.--Graemiger Cop-dyeing Machine." title="Graemiger Cop-dyeing Machine" /> +<span class="caption">FIG. 14.—Graemiger Cop-dyeing Machine.</span> +</div> + +<p>The left upper chamber is practically a blank chamber. Those portions of +the cop carriers in contact with it are filled with cops, which are +placed on perforated spindles; the discs are given a quarter revolution +which brings the cops into the dye-liquor and in connection with the +left lower chamber and are dyed. At the same time the section of the cop +carriers now in contact with the left top chamber is filled with a new +lot of cops, another quarter of a revolution is given to the cop +carriers, which immerse the new lot of cops in the dye-liquor. The third +quarter of the cop plates is filled with cops. A third movement of the +cop plates now takes place; this brings the first lot of cops out of the +dye-liquor and in contact with the right upper chamber, where the +surplus liquor is drawn out of them and returned to the dye-vat. Another +revolution brings the cops back to their first position, they are now +removed and a new lot substituted. These<!-- Page 67 --><span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span> proceedings go on +continuously. Although not quite free from defects the machine gives +very good results, the cops being very uniformly dyed through.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus015.jpg" width="400" height="370" alt="FIG. 15.--Beaumont's Cop-dyeing Machine." title="Beaumont's Cop-dyeing Machine" /> +<span class="caption">FIG. 15.—Beaumont's Cop-dyeing Machine.</span> +</div> + +<p><b>Beaumont's Cop-dyeing Machine.</b>—This is illustrated in Fig. 15. It +consists of a copper hemispherical dye-vessel, which is provided with a +tightly fitting lid, although this is not needed in all cases. The +bottom of the vessel is in communication with the suction end of a +centrifugal pump, while the delivery end of the pump is attached to the +upper end of the dye-vessel, the action of the pump being to secure a +constant circulation of dye-liquor from the bottom to the top of the +dye-vessel. Arrangements are provided by a peculiar and ingenious +contrivance fitted in one side of the dye-kettle for<!-- Page 68 --><span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span> introducing steam +to heat the dye-liquor to any required degree. As in most forms of +cop-dyeing machines, the cops are placed on perforated metal spindles. +The cops and spindles are inserted in holes in a perforated metal plate, +and over them is placed a thin metal plate, technically called the +antifloater, whose object is to prevent the cops from becoming detached +from the plate. This plate, full of cops, is now placed in the +dye-vessel and rests upon a flange which is provided for that purpose. +When the cop plate is in position the dye-vessel is divided into two +chambers—a lower chamber and an upper one, in the latter being the +cops.</p> + +<p>The pump draws liquor from the chamber under the cop plate and so +creates a vacuum, which during the working of the machines ranges from +10 to 20 inches in degree. To supply this vacuum, dye-liquor is drawn +from the upper chamber through the cops. The pump returns the liquor to +the dye-vessel. A very rapid circulation of dye-liquor takes place, from +25 to 50 gallons per minute passing through the cops and pump. From five +to ten minutes is sufficient to dye the cops. The machine is simple in +its construction and gives good results, the cops being completely dyed +through. One important consideration in cop dyeing is to be able to dye +successive batches of cops to exactly the same shade, and this is quite +possible with this machine.</p> + +<p><b>Young & Crippin's Cop-dyeing Machine.</b>—So far as simplicity of +construction is concerned this lies between the two preceding machines. +It consists of four parts with some accessory mechanism. There is first +a dye-liquor storage tank at the base of the apparatus in which the +liquor is kept stored and boiling (if necessary) ready for use, above +this and at the front end is the dye-chamber, this communicates at its +lower end by a pipe with the dye-liquor in the dye-vat. Then there is a +large vacuum chamber, in which by means of an injector a vacuum can be +formed, this directly com<!-- Page 69 --><span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span>municates with a liquor-receiving chamber +which again in turn is in communication with the upper part of the +dye-chamber. The cops are placed on perforated spindles as usual, and +these on a perforated plate and are kept in place by a plate which is +screwed down on them. The charged cop plate is placed in the dye-chamber +on which a cover is placed and screwed down. By means of a lever the +injector is set at work, a vacuum created in the vacuum and receiving +chambers, the consequence being that dye-liquor is drawn from the vat +through the cops in the dye-chamber into the receiving chamber. When a +certain quantity of liquor has passed through, by a movement of a lever, +the vacuum is destroyed, and the dye-liquor runs back into the dye-vat; +these operations are repeated until from past experience of the working +of the machine it is thought sufficient has passed through to dye the +cops, when the dye-chamber is opened and the cops taken out. This +machine works very well.</p> + +<p><b>Mommer's Cop-dyeing Machine.</b>—This is in use in several continental +dye-works. The central portion of this machine is a rectangular +dye-chamber, which can be hermetically closed by hinged doors, the cops +are placed side by side on trays provided with perforated bottoms, the +trays being placed one on the top of the other in the dye-chamber. From +the top of the dye-chamber passes a pipe to a centrifugal pump, and a +similar pipe passes from the bottom of the chamber to the pump. A +separate vat contains the dye-liquor which is used. The pump forces the +dye-liquor through the cops which take up the dye. Arrangements are +provided by which the direction of the flow of the dye-liquor can be +changed. This machine gives fairly good results, not perhaps equal to +those with the machines previously described.</p> + +<p><b>Warp-dyeing Machines.</b>—Although many warps, especially for fancy +fabrics, are prepared from yarns dyed in the hank<!-- Page 70 --><span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span> or cop form, yet it +is found advantageous when a warp is of one colour, a self-colour as it +is called, to form the warp from grey or white yarns and to dye it after +warping. If the warp were so wound as to be able to go into a Obermaier +dyeing machine, it would be possible to dye it in that machine, but +generally warps are dyed in the open form and are passed through a +dyeing vat, commonly called a warp-vat which is constructed as shown in +Fig. 16. These warp-dyeing machines generally consist of a long +rectangular wooden dye-vat, divided by two partitions into three +compartments, each provided with steam pipes to heat up its contents; +between the first and second and between the second and third +compartments is fitted a pair of squeezing rollers, while the third +compartment is fitted with a heavier pair of squeezing rollers. Motion +is given to these rollers by suitable gearing, and they serve to draw +the warp through the machine. Guide rollers are fitted in the +compartment, and the warp being taken round these, it passes several +times up and down and through the dye-liquors contained in the +compartments. These warp-dyeing machines may be made of sufficient width +to take one, two, three or more warps at one time as desired.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus016.jpg" width="400" height="150" alt="FIG. 16.--Warp-dyeing Machine." title="Warp-dyeing Machine" /> +<span class="caption">FIG. 16.—Warp-dyeing Machine.</span> +</div> + +<p>The three compartments of the machine may contain different liquids or +all the same liquid according as the nature of the shade to be dyed +demands. The passage is done<!-- Page 71 --><span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span> slowly so as to give the warp time to +absorb the liquors and take up the dye. When all the length of warp has +been sent through, it is said to have been dyed "one end". Sometimes +this will be enough, but often it is not, and so the warp is sent +through again, given another end, and still again if the full shade has +not been attained.</p> + +<p>After being dyed in this machine the warp is sent through another one +containing various wash liquors to finish the process.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus017.jpg" width="400" height="300" alt="FIG. 17.--Warp-dyeing Machine." title="Warp-dyeing Machine" /> +<span class="caption">FIG. 17.—Warp-dyeing Machine.</span> +</div> + +<p>Fig. 17 shows a warp-dyeing machine similar to, but a little more +elaborate in construction than, the vats just described.</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<!-- Page 72 --><span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span> 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> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus018.jpg" width="400" height="225" alt="FIG. 18.--Dye-jiggers." title="Dye-jiggers" /> +<span class="caption">FIG. 18.—Dye-jiggers.</span> +</div> + +<p>The most common form of machine in which pieces are dyed is The Jigger, +commonly called the jig. This is shown in Figs. 18 and 19. It consists +of a dye-vessel made sufficiently long to take the piece full +width—wide at the top and narrow at the bottom. At the top at 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 (Fig. 19) 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 +rollers and attached to the other winding roller. When this is done +dye-liquor is run into the jig, the gearing set in motion, and<!-- Page 73 --><span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span></p> + +<div class="figcenter" style="width: 365px;"> +<img src="images/dcfillus019.jpg" width="365" height="400" alt="FIG. 19.--Dye-jigger." title="Dye-jigger" /> +<span class="caption">FIG. 19.—Dye-jigger.</span> +</div> + +<p>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<!-- Page 74 --><span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span> 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 more ends so as to ensure thorough fixation of the +dye on the cloth.</p> + +<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 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 all 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; it is +met with in all cases of jigger dyeing, but it is most common in dyeing +cotton or wool with basic dyes like magenta, auramine, methyl violet or +brilliant green, and in dyeing wool with acid dyes like acid green, +formyl violets, azo scarlet, or acid yellow.</p> + +<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> + +<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. Figs. 20, 21 and 22, +show three forms<!-- Page 75 --><span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span></p> + +<div class="figcenter" style="width: 290px;"> +<img src="images/dcfillus020.jpg" width="290" height="400" alt="FIG. 20--Jig Wince." title="Jig Wince" /> +<span class="caption">FIG. 20—Jig Wince.</span> +</div> + +<p>by different makers. In any make the jig wince, or wince dye beck, +consists of a large rectangular, or, in some cases, hemicylindrical +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. 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 +becks should be fitted with a false bottom made of wood, perforated with +holes, or of wooden lattice work, and below<!-- Page 76 --><span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span></p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus021.jpg" width="400" height="335" alt="FIG. 21.--Cloth-dyeing Machine." title="Cloth-dyeing Machine" /> +<span class="caption">FIG. 21.—Cloth-dyeing Machine.</span> +</div> + +<p>which the steam pipes are placed; the object being to prevent the pieces +from coming in contact with the steam pipe, 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 strings as they are called, 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<!-- Page 77 --><span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span> beck, and are +drawn out of 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> + +<div class="figcenter" style="width: 290px;"> +<img src="images/dcfillus022.jpg" width="290" height="400" alt="FIG. 22.--Dye Beck." title="Dye Beck" /> +<span class="caption">FIG. 22.—Dye Beck.</span> +</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<!-- Page 78 --><span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span> 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 it thoroughly impregnated with the dye-liquor, or to become dyed. +This may be done on such a machine, as is shown in Fig. 24, page 79, but +having all the guide rollers below the liquor, so that at no time is the +piece out of the liquor, except, of course, when entering and leaving.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus023.jpg" width="400" height="250" alt="FIG. 23.--Holliday's Machine for Hawking Cloth." title="Holliday's Machine for Hawking Cloth" /> +<span class="caption">FIG. 23.—Holliday's Machine for Hawking Cloth.</span> +</div> + +<p>The so-called hawking machines have also this object in view, and Fig. +23 is an illustration of 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; then there is a lattice-work arrangement over which +the pieces are drawn. In actual work the whole of this arrangement is +below the<!-- Page 79 --><span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span> 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 into 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 cotton or wool, +or in dyeing cotton cloths with such dyes as Immedial blacks, Cross-dye +blacks, Amidazol blacks, Vidal blacks, where it is necessary to keep the +goods below the surface of the dye-liquor during the operation.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus024.jpg" width="400" height="200" alt="FIG. 24.--Continuous Dyeing Machine." title="Continuous Dyeing Machine" /> +<span class="caption">FIG. 24.—Continuous Dyeing Machine.</span> +</div> + +<p>Fig. 24 shows a form of cloth-dyeing machine much used in the cotton +trade. It consists of a number of compartments fitted with guide rollers +at top and bottom, and round which the cloth is threaded, so that it +passes up and down in the dye-liquor several times. Between each two +compartments is a pair of squeezing rollers to press out all surplus +liquors. All the compartments may be filled with the same dye-liquor, or +with different dye-liquors and developing liquors, as may be most +convenient and required for the work in hand. Such a machine is used in +dyeing logwood black, aniline black, and many of the direct colours, +etc.<!-- Page 80 --><span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span></p> + +<p>From the direct colours a large number of light shades are dyed on to +cotton cloth by the process known as padding; this consists in passing +the cloth through a liquor containing the dye-stuff, usually a little +phosphate of soda is added, then between squeezing rollers, and finally +drying the cloth. For this process there is used what is called a +padding machine. This is shown in Figs. 25 and 26.</p> + +<div class="figcenter" style="width: 310px;"> +<img src="images/dcfillus025.jpg" width="310" height="400" alt="FIG. 25.--Padding Machine." title="Padding Machine" /> +<span class="caption">FIG. 25.—Padding Machine.</span> +</div> + +<p>It consists essentially of a trough, which contains two or more guide +rollers, and in this is placed the padding liquor. Above the trough is +fitted squeezing rollers, sometimes two as in Fig. 25, or three as in +Fig. 26. Besides these, there<!-- Page 81 --><span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span></p> + +<div class="figcenter" style="width: 320px;"> +<img src="images/dcfillus026.jpg" width="320" height="400" alt="FIG. 26.--Padding Machine." title="Padding Machine" /> +<span class="caption">FIG. 26.—Padding Machine.</span> +</div> + +<p>are winding and beaming and other guide rollers. Fig. 25 shows the +simplest padding machine, where the cloth passes once through the liquor +and through the squeezing rollers. In Fig. 26 the cloth passes several +times through the liquor and twice through the squeezing rollers, thus +ensuring a more perfect impregnation of the cloth with the dye-liquor, +and therefore a more uniform dyeing of the cloth.<!-- Page 82 --><span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.</h2> + +<p>THE PRINCIPLES AND PRACTICE OF COTTON DYEING.</p> + + +<p>Students of cotton dyeing should have a good knowledge of the principles +that underlie the processes of dyeing cotton fabrics. It is only by +recognising these principles and then endeavouring to apply them to each +individual case of dyeing, that the dyer or student will obtain a +thorough grasp of his subject. It is the aim of the author to lay down +these principles in a clear and intelligible form. Cotton is dyed in its +loose raw condition, as yarn in the form of hanks, yarn in the form of +cops, and in the woven pieces of every kind. Formerly the idea was +prevalent among cotton dyers that the process which succeeds with piece +goods would not answer with yarns. It is now recognised however that +this is not so, that a process which will dye cotton yarn will also dye +cotton piece goods or loose cotton. The differences which do exist in +the practical working of the processes entirely arise from the +difference in the form in which the cotton is presented to the dyer, for +it must be obvious to any one that the mode of handling a piece of +cotton cloth during the time it is in the dye-bath must be different +from that of a hank of yarn, a parcel of loose cotton or a number of +cops. The various machines used for dyeing all these forms and the +manner of working them have been already described.</p> + +<p>The dyes, whether natural—derived from the various dye-woods, etc.—or +artificial—prepared from coal tar—may according to their varied +chemical composition and consti<!-- Page 83 --><span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span>tution be divided into seventeen or +eighteen distinct groups, but it is not intended here to give any +account of them; the reader is referred to other books such as <i>The +Dictionary of Coal Tar Colours</i>, by George H. Hurst; <i>The Chemistry of +Coal Tar Colours</i>, by Benedikt and Knecht; or <i>The Chemistry of Organic +Colouring Matters</i>, by Nietzki, where the composition and properties of +the dyes are fully described.</p> + +<p>From the manner in which the various dyes are applied to cotton, linen, +wool and other fibres we can divide them into five groups, thus:—</p> + + +<div class='center'> +<table border="0" cellpadding="2" cellspacing="0" summary="Five Groups"> +<tr><td align='center'>Group</td><td align='left'>1.</td><td align='left'>Direct dyes.</td></tr> +<tr><td align='center'>"</td><td align='left'>2.</td><td align='left'>Basic dyes.</td></tr> +<tr><td align='center'>"</td><td align='left'>3.</td><td align='left'>Acid dyes.</td></tr> +<tr><td align='center'>"</td><td align='left'>4.</td><td align='left'>Mordant dyes.</td></tr> +<tr><td align='center'>"</td><td align='left'>5.</td><td align='left'>Miscellaneous dyes.</td></tr> +</table></div> + +<p>First group, direct dyes, are now very numerous; they dye cotton, linen +and other vegetable fibres from a plain bath, and do not require those +fibres to be prepared in any way. Hence the reason of their being named +direct, or by some the substantive colours. They will also dye wool and +silk.</p> + +<p>The second group, basic dyes, comprise some of the oldest of the +coal-tar dyes; they dye wool and silk direct from plain baths, but +require cotton, linen and other vegetable fibres to be previously +prepared in baths of tannic acid, sumach or other tanning material.</p> + +<p>The third group, acid dyes, are very numerous, and from both their +chemical composition and mode of dyeing can be divided into several +sub-groups. Their principal feature is that they dye wool and silk from +baths containing Glauber's salt and some acid, hence their name of "acid +dyes". They do not dye cotton or linen well, some not at all, others are +absorbed to a slight extent by the cotton, but only pale tints<!-- Page 84 --><span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span> are +produced, while others may be used along with metallic mordants to dye +bright but pale and fugitive shades. The acid dyes comprise such as Acid +green, Formyl violet, Acid magenta, Azo scarlet, Orange. Thiocarmine R., +Patent blues, Wool greens, indigo extract, Eosines, etc.</p> + +<p>The fourth group, mordant dyes, includes the alizarine series of +coal-tar colours, logwood, Brazil wood and most natural colours, and +some others. The principal feature of these dyes is that they require +the cotton to be prepared with some metallic oxide, like those of +chrome, alumina and iron, before dyeing, and the colour which is got +depends partly upon the particular dye-stuff used and partly upon the +oxide with which the cotton has been prepared.</p> + +<p>The fifth group includes a few dyes like indigo, which are dyed on to +cotton by various and special processes.</p> + +<p>The processes of cotton dyeing employed to-day may be comprised under +eight heads, namely:—</p> + +<p>(1) Direct dyeing. +(2) Direct dyeing followed by fixation with metallic salts. +(3) Direct dyeing followed by fixation with developers. +(4) Direct dyeing followed by fixation with couplers. +(5) Dyeing on tannic mordant. +(6) Dyeing on metallic mordant. +(7) Developing the colour direct on fibre. +(8) Dyeing by impregnating the cotton with the dye-stuff, +followed by oxidation or steaming.</p> + +<p>It is of course not easy to elaborate a simple scheme of grouping the +processes that shall definitely include all processes, but the above +grouping will be found as successful as any, and each will be considered +as fully as is deemed necessary.<!-- Page 85 --><span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span></p> + +<p>(1) DIRECT DYEING.</p> + +<p>Nothing in the history of cotton dyeing caused such a revolution in the +methods of working as did the introduction some fifteen years ago of the +forerunners (Congo red, Benzo purpurine, Chrysamine, Azo blue) of the +now numerous group of direct dyes, followed as they were by the Benzo, +Congo, Diamine, Titan, Chicago and Zambesi members of the group. Prior +to their introduction cotton dyeing was always more or less complicated +and mordanting methods had to be employed.</p> + +<p>With the introduction of the direct dyes cotton dyeing has become even +more simple than wool or silk dyeing, and now all that is necessary is +to prepare a dye liquor containing the necessary amount of dye-stuff and +Glauber's salt, or common salt or soda, or some similar body, or a +combination thereof. The method of working is to place the cotton in a +lukewarm or even in a hot bath, raise to the boil, allow the goods to +remain in the boiling bath for half an hour to an hour, then take them +out, wring, wash and dry. This method is simple and will answer for all +the dyes of this group. There are some that do not require the working +to be done boiling; it is simply needful to enter the cotton into a +boiling bath and work without steam until the bath has cooled down. +Furious boiling is not needed—a gentle simmer gives the best results. +Uneven dyeing seems to be an impossibility in this group of dyes, unless +the cotton is dirty; no matter how the operations are carried on, level +dyeing is the rule not the exception. An enormous variety of shades and +tints can be obtained from these dyes, and they can be combined together +in every conceivable manner and proportions.</p> + +<p>No satisfactory explanation has yet been given as to what feature in the +chemical composition of these dye-stuffs give them such an affinity for +the cotton fibre as to enable<!-- Page 86 --><span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span> them to dye in so simple a manner such +fast shades as they do; it is a fact there is such an affinity and there +the matter must rest.</p> + +<p>It has been found in practice that the efficiency of the dyeing +operation depends, primarily of course, on the particular dye-stuff +used, but also upon other factors, that a certain assistant be used. +Some dyes work on the cotton better from a bath containing Glauber's +salt, while with others common salt works best, while a little soda +along with the salt facilitates the dyeing in some cases. It is +practically impossible to specify here the best assistant for all the +direct colours, on account of the great number of such dyes which are +known, but in the practical recipes given below much useful advice will +be found. Then the quantity of such assistants used is of much +importance; there is one proportion at which the best results are +obtained for each dye. The dyer should find out for himself by +experiment and the use of the dyes he employs in his work what assistant +and how much is best, and make his baths up to that strength. With some +dyes 10 per cent. of the assistant will be found sufficient, while with +others, 25 to 30 per cent. will not be too much. The percentage refers +to the weight of the cotton that is taken.</p> + +<p>One function of the assistants must be pointed out here: it is that in +some cases they—especially the alkaline ones, soda, potash, borax, +phosphate of soda—help the dyeing by promoting the solubility of the +dye-stuff in the bath, thereby retarding the exhaustion of the bath and +ensuring the production of level shades.</p> + +<p>The following formulas show the application of the foregoing principles +to the dyeing of numerous shades on to cotton and also the dyes which +are applicable, some of the combinations which are possible with these +direct dyes, and give some idea of the tints and shades of the colours +that can<!-- Page 87 --><span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span> be got by their means. The best assistants to use are also +indicated in the formulæ.</p> + +<p>All the formulæ here given and all that will be given in future chapters +are intended for 100 lb. weight of cotton fabrics in any condition, +whether of loose cotton, yarn in cops, hanks or wraps and woven fabrics +of every kind.</p> + +<p><i>Bright Red.</i>—Dye with 3 lb. Benzo purpurine 4 B, 3 lb. soda and 15 lb. +Glauber's salt. This dye may also be used with 3 lb. soap and 10 lb. +soda in the bath with equally good results.</p> + +<p><i>Pale Salmon.</i>—Prepare a dye-bath with 3 lb. salt, 5 lb. phosphate of +soda, 1 lb. soap, ½ oz. Benzo orange R. For a pale shade like this it +is not necessary to heat to the boil, a temperature of 170° to 180° F. +is sufficient.</p> + +<p><i>Dark Plum.</i>—Prepare a dye-bath with 20 lb. of Glauber's salt, 2½ +lb. soap, 1½ lb. Diamine black R O. and 2 lb. Diamine red N. Enter at +180° F., work for a few minutes, then raise to boil and dye to shade; +lift, wash and dry.</p> + +<p><i>Turkey Red.</i>—Prepare a dye-bath with 1½ lb. Benzo purpurine 4 B, 1 +lb. Brilliant purpurine, 2 lb. soap, 10 lb. borax. Enter the cotton at +the boil and work for one hour; lift, wash and dry.</p> + +<p><i>Lilac Red.</i>—Prepare the dye-bath with 2 lb. soap, 5 lb. soda, 3 lb. +Rose azurine G. Work at the boil for one hour.</p> + +<p><i>Pink.</i>—Prepare a bath containing 10 lb. soda, 1 oz. Rose azurine B. +Enter at a boil and work for one hour, boiling to shade; lift, wash and +dry.</p> + +<p><i>Bordeaux.</i>—Prepare a dye-bath with 15 lb. Glauber's salt, 5 lb. soda +crystals, 3 lb. Diamine fast red F, 1 lb. Diamine violet N, 1 lb. Rose +azurine G. Enter cold, then raise to the boil, and work for one and a +half hours; lift, wash and dry.</p> + +<p><i>Rose Pink.</i>—The dye-bath is made with 2 lb. Erika B, 20 lb. Glauber's +salt and 3 lb. soap, working at near the boil to shade.<!-- Page 88 --><span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span></p> + +<p><i>Brilliant Red.</i>—Make the dye-bath with 24 lb. Brilliant purpurine R +and 25 lb. Glauber's salt, working at the boil for one hour.</p> + +<p><i>Deep Pink.</i>—Make the dye-bath with ½ lb. Diamine rose B D, ½ lb. +soda, 1 lb. soap and 5 lb. Glauber's salt, working at 150° F. for half +an hour.</p> + +<p><i>Dark Red.</i>—Use in the dye-bath 3 lb. Diamine red 5 B, 2 lb. soda and +20 lb. Glauber's salt, working at the boil for one hour.</p> + +<p><i>Pink.</i>—Prepare the dye-bath with 4 oz. Diamine rose B D, 1 lb. +Turkey-red oil, 40 lb. Glauber's salt. Dye at the boil for one hour.</p> + +<p><i>Scarlet.</i>—Prepare the dye-bath with 4 lb. Diamine scarlet 3 B, 1 lb. +Turkey-red oil, 20 lb. Glauber's salt. Dye at the boil for one hour.</p> + +<p><i>Scarlet.</i>—Prepare the dye-bath with 3 lb. Titan scarlet C, ½ lb. +Titan orange, 50 lb. salt. Work at the boil for thirty minutes, then +lift, wash and dry. The dye-bath is not exhausted and may be used for +further lots.</p> + +<p><i>Crimson Red.</i>—Prepare the dye-bath with 5 lb. Titan scarlet D and 50 +lb. salt. Work at the boil for fifty minutes, then lift, wash and dry. +The bath is not exhausted, the cotton taking up only about 3 lb. of the +dye-stuff; it may therefore be kept for further use, when for each +succeeding lot 3 to 3½ lb. of colour and 25 lb. of salt only need be +added.</p> + +<p><i>Scarlet.</i>—Prepare the dye-bath with 5 lb. Rosophenine 5 B, dissolved +in 50 gallons hot water, 2 gallons caustic soda lye (60° Tw.). When +thoroughly dissolved add 150 lb. salt. Make up the bath to 100 gallons. +Enter the yarn and work for a quarter to half an hour at about 180° F; +squeeze off and wash thoroughly in cold water until the water runs off +clean.</p> + +<p><i>Rose Red.</i>—Use 1 lb. Diamine red 10 B, 3 lb. soda, and 20 lb. +Glauber's salt.<!-- Page 89 --><span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span></p> + +<p><i>Deep Crimson.</i>—Use 3 lb. Diamine red 10 B, 3 lb. soda and 20 lb. +Glauber's salt.</p> + +<p><i>Claret.</i>—Use 3 lb. Diamine Bordeaux B, 3 lb. soda and 20 lb. Glauber's +salt.</p> + +<p><i>Pink.</i>—The dye-bath is made with 5 oz. Dianil red 4 B, 5 lb. salt and +3 lb. soda.</p> + +<p><i>Scarlet.</i>—Use in the dye-bath 3 lb. Dianil red 4 B, 15 lb. salt and 5 +lb. soda. Work at the boil for one hour.</p> + +<p><i>Claret.</i>—Dye with 1½ lb. Dianil claret G, 3 lb. soda and 20 lb. +salt. Work at the boil for one hour.</p> + +<p><i>Maroon.</i>—Dye with 3 lb. Dianil claret B, 3 lb. soda and 20 lb. salt. +Work at the boil for one hour.</p> + +<p><i>Bright Scarlet.</i>—Use in the dye-bath 2½ lb. Dianil red 4 B 5 oz. +Dianil orange G, 3 lb. soda and 15 lb. salt.</p> + +<p><i>Dark Maroon.</i>—Make the dye-bath with 1 lb. Dianil red 4 B, 2 lb. +Dianil claret G, 13 oz. Dianil claret B, 5 lb. soda and 20 lb. salt.</p> + +<p><i>Crimson.</i>—Dye with 3 lb. Congo rubine, 5 lb. soda and 20 lb. Glauber's +salt.</p> + +<p><i>Dark Maroon.</i>—Use in the dye-bath 1 lb. Benzo purpurine 4 B, 3 lb. +Congo Corinth G, 3 lb. soda and 20 lb. Glauber's salt, working at the +boil to shade.</p> + +<p><i>Pale Fawn Red.</i>—Use in the dye-bath 1½ oz. Diamine red 5 B, 1½ +oz. Diamine catechine G, 3 lb. soda and 10 lb. Glauber's salt.</p> + +<p><i>Rose Red.</i>—Prepare the dye-bath with ¾ lb. Diamine Bordeaux B, 3 oz. +Diamine orange B, 3 lb. soda and 20 lb. salt.</p> + +<p><i>Crimson.</i>—Use in the dye-bath ¾ lb. Diamine Bordeaux B, 3 oz. +Diamine fast yellow B, 3 lb. soda and 20 lb. Glauber's salt.</p> + +<p><i>Salmon.</i>—Dye with 1½ oz. Diamine fast red F, 1½ oz. Diamine fast +yellow B, 3 lb. soda and 10 lb. Glauber's salt.<!-- Page 90 --><span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span></p> + +<p><i>Terra-Gotta Red.</i>—Dye with 1½ lb. Diamine brown M, ¾ lb. Diamine +fast red F, 3 lb. soda and 20 lb. Glauber's salt.</p> + +<p><i>Lilac Red.</i>—Dye with 4 lb. Heliotrope B B, 3 lb. soda and 15 lb. +Glauber's salt.</p> + +<p><i>Bright Pink.</i>—Use in the dye-bath 2 oz. Rose azurine G, 1 lb. soda and +10 lb. Glauber's salt. Nearly all the direct reds give good pink tints +when used in proportion, varying from 0.1 to 0.25 per cent. of +dye-stuff.</p> + +<p><i>Bright Straw.</i>—Dye in a bath made of ¼ lb. Titan yellow G G, 10 lb. +salt, for three-quarters of an hour, then lift, wash and dry.</p> + +<p><i>Yellow.</i>—Prepare a dye-bath with 1 lb. Titan yellow Y, 10 lb. salt. +Heat to 180° F., enter the goods, raise to boil, and dye for one hour; +lift, wash and dry.</p> + +<p><i>Yellow.</i>—Prepare the dye-bath with ¼ lb. Diamine fast yellow A, 1 +lb. Turkey red oil, 20 lb. Glauber's salt. Dye at the boil for one hour.</p> + +<p><i>Sun Yellow.</i>—Prepare the dye-bath with 2 lb. Sun yellow, 30 lb. common +salt. Dye at the boil. The bath is kept for further lots.</p> + +<p><i>Yellow.</i>—Prepare the dye-bath with 1 lb. Direct yellow R, 20 lb. +Glauber's salt. Dye at the boil for one hour.</p> + +<p><i>Yellow.</i>—Prepare the dye-bath with 2 lb. Curcuphenine, 20 lb. common +salt. Work at the boil for one hour; lift, rinse and dry.</p> + +<p><i>Old Gold.</i>—Make the dye-bath with 5 lb. Diamine yellow N powder, 20 +lb. phosphate of soda, 10 lb. soap. Work at the boil for one hour; +finish in the usual way. The bath may be kept for other lots of goods.</p> + +<p><i>Dark Yellow.</i>—The bath is made from 2 lb. Toluylene orange G, 10 lb. +phosphate of soda, and 2½ lb. soap, working at the boil to shade.</p> + +<p><i>Bright Yellow.</i>—Use 1 lb. Chrysophenine, 2 lb. phosphate of soda and +10 lb. Glauber's salt.<!-- Page 91 --><span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span></p> + +<p><i>Lemon Yellow.</i>—Use 1 oz. Chrysamine G, 2 lb. phosphate of soda and 10 +lb. Glauber's salt.</p> + +<p><i>Yellow.</i>—Dye with 2 lb. Oxyphenine and 20 lb. salt.</p> + +<p><i>Yellow Olive.</i>—Use in the dye-bath 2 oz. Cotton brown N, 4½ oz. +Diamine bronze G, 4½ oz. Diamine fast yellow B, 3 lb. soda and 20 lb. +salt.</p> + +<p><i>Green Yellow.</i>—Dye with ½ lb. Diamine fast yellow B. 2 oz. Diamine +bronze G, 3 lb. soda and 10 lb. Glauber's salt.</p> + +<p><i>Gold Yellow.</i>—Use in the dye-bath 3 lb. Columbia yellow, 3 lb. soda +and 20 lb. Glauber's salt.</p> + +<p><i>Cream.</i>—Dye with ½ oz. Toluylene orange G, 24 grains Brilliant +orange G, 1 lb. soda and 10 lb. Glauber's salt.</p> + +<p><i>Primrose.</i>—Dye with 3 oz. Dianil yellow 3 G, 2 lb. soda and 10 lb. +salt.</p> + +<p><i>Gold Yellow.</i>—Dye with 2½ lb. Dianil yellow G, ½ lb. soda and 15 +lb. salt.</p> + +<p><i>Buff Yellow.</i>—Dye with 3½ oz. Dianil yellow 2 R, ½ lb. soda and +10 lb. salt.</p> + +<p><i>Orange.</i>—Prepare the dye-bath with 2 lb. Chlorophenine orange R, 20 +lb. common salt. Work at the boil for one hour; lift, rinse and dry.</p> + +<p><i>Red Orange.</i>—Make the dye-bath with 3 lb. Mikado orange 4 R and 25 lb. +salt. Work at the boil for one hour.</p> + +<p><i>Orange.</i>—Make the dye-bath with 3 lb. Mikado orange G and 25 lb. salt. +Work at the boil for one hour.</p> + +<p><i>Pale Orange.</i>—The dye-bath contains 6 oz. Diamine Orange G, 1½ oz. +Diamine fast yellow B, ¼ oz. Diamine scarlet B, 3 lb. soda and 15 lb. +Glauber's salt.</p> + +<p><i>Olive Yellow.</i>—Dye with ¾ lb. Diamine fast yellow B, 1 oz. +Oxydiamine black N, 1½ oz. Diamine bronze G, 3 lb. soda and 20 lb. +Glauber's salt.</p> + +<p><i>Dark Orange.</i>—Dye with 3 lb. Columbia orange R, 3 lb. soda and 20 lb. +Glauber's salt at the boil for one hour.<!-- Page 92 --><span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span></p> + +<p><i>Bright Orange.</i>—Use 3 lb. Congo orange R, 3 lb. soda and 20 lb. +Glauber's salt at the boil for one hour.</p> + +<p><i>Pale Orange.</i>—Dye with 3 lb. Dianil orange 2 R, 2 lb. soda and 10 lb. +salt at the boil for one hour.</p> + +<p><i>Brilliant Orange.</i>—Dye with 4 lb. Dianil orange G and 20 lb. salt for +one hour.</p> + +<p><i>Deep Orange.</i>—Dye with 2 lb. Oxydiamine orange R, ¾ lb. soda and 20 +lb. salt for an hour.</p> + +<p><i>Pale Orange.</i>—Dye with ¾ lb. Diamine fast yellow B, 1 lb. Diamine +orange B, 3 lb. soda and 15 lb. Glauber's salt.</p> + +<p><i>Bright Orange.</i>—Dye with 1½ lb. Benzo orange R, 1½ lb. +Chrysamine R, 10 lb. phosphate of soda and 2 lb. soap.</p> + +<p><i>Green.</i>—Prepare the dye-bath with 2 lb. Benzo green G, 10 lb. +Glauber's salt. Enter lukewarm, bring slowly to the boil, dye for one +hour at the boil.</p> + +<p><i>Russian Green.</i>—Make the dye-bath with 16 oz. Diamine black H W, 4 oz. +Diamine fast yellow A, 3 lb. soda, 15 lb. Glauber's salt, working at the +boil for one hour, then lift, wash and dry.</p> + +<p><i>Dark Olive.</i>—Prepare a dye-bath with 3½ lb. Benzo olive, 2½ lb. +Diamine black B O, 2 lb. Diamine yellow, 20 lb. common salt, 2 lb. soap. +The goods are entered into the bath at 160° F., then heat is raised to +the boil, and the dyeing continued for one hour, then lift, wash and +dry.</p> + +<p><i>Dark Olive.</i>—Dye in a bath of 2 lb. Titan yellow Y, 1 lb. Diamine +brown Y, 1½ lb. Diamine blue 3 B, 2 lb. soda. Work for one hour, then +lift, wash and dry.</p> + +<p><i>Olive.</i>—Prepare a dye-bath with 15 lb. phosphate of soda, 3 lb. soap, +1½ lb. Diamine yellow N, 4 oz. Diamine blue 3 B, 1½ oz. Diamine +brown V. Dye at the boil to shade; lift, wash and dry.</p> + +<p><i>Green Olive.</i>—Prepare the dye-bath with 1 lb. Diamine black R O, 1 lb. +Chrysamine, ¼ lb. Benzo brown, 5 lb. soda, 5 lb. salt, 2 lb. soap. The +goods are entered at about 180°<!-- Page 93 --><span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span> F. and worked for a short time, then +the temperature is raised to the boil, and the goods are worked for one +hour, lifted, washed and dried.</p> + +<p><i>Reseda.</i>—Prepare a bath with 10 lb. Glauber's salt, 2 lb. soap, ½ +lb. Diamine black R O, 2 lb. Diamine yellow N. Enter at 120° F., heat to +boil and dye for one hour at that temperature; lift, wash and dry.</p> + +<p><i>Sage Green.</i>—Prepare a dye-bath with 10 lb. Glauber's salt, ½ lb. +Diamine black R O, 2 lb. Diamine yellow N. Enter at about 150° F. and +then raise to boil and dye boiling for one hour, wash and dry.</p> + +<p><i>Drab.</i>—Prepare the dye-bath with 10 lb. Cross dye drab, 5 lb. soda +crystals. Enter at the boil and work at this temperature for half an +hour. Whilst dyeing add gradually 75 lb. salt. Rinse well and dry.</p> + +<p><i>Olive.</i>—Prepare the dye-bath with 2 lb. Dianil olive, 5 lb. phosphate +of soda, 5 lb. common salt. Dye at the boil for one hour.</p> + +<p><i>Olive.</i>—The dyeing is done in a bath containing 4 oz. Diamine black H +W, 1¾ lb. Diamine bronze G, 5 lb. soda, 15 lb. Glauber's salt. Work +at the boil for one hour.</p> + +<p><i>Grass Green.</i>—Make the dye-bath with 2 lb. Chrysamine G, 1½ oz. +Benzo azurine G, 3 lb. soap and 10 lb. borax, working at the boil for +one hour.</p> + +<p><i>Green.</i>—Make the dye-bath with 2 lb. Titan yellow Y, 1 lb. Titan blue +3 B and 20 lb. salt.</p> + +<p><i>Bright Grass Green.</i>—Dye for an hour at the boil with 1 lb. Sulphon +azurine D, 2 lb. Thiazole yellow and 20 lb. Glauber's salt.</p> + +<p><i>Green.</i>—Use in the dye-bath 3 lb. Diamine green B, 3 lb. soda and 20 +lb. Glauber's salt, working at the boil to shade.</p> + +<p><i>Dark Green.</i>—Dye with 3 lb. Diamine dark green N, 3 lb. soda and 20 +lb. Glauber's salt.<!-- Page 94 --><span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span></p> + +<p><i>Green.</i>—Use in the bath 3 lb. Benzo green B B, 3 lb. soda and 20 lb. +Glauber's salt at the boil for one hour.</p> + +<p><i>Dark Sea Green.</i>—Dye with 5 oz. Diamine black H W, 3 oz. Diamine +catechine G, 3 oz. Diamine fast yellow B, 3 lb. soda and 10 lb. +Glauber's salt.</p> + +<p><i>Pale Green.</i>—Use in the dye-bath 3 lb. Diamine fast yellow B, 2 oz. +Diamine black H W, 3 lb. soda and 10 lb. Glauber's salt.</p> + +<p><i>Bright Pea Green.</i>—Use in the dye-bath 1 oz. Thioflavine S, ¼ oz. +Diamine sky blue F F and 20 lb. Glauber's salt.</p> + +<p><i>Dark Green.</i>—Use 1¾ lb. Diamine green G, ¾ lb. Oxydiamine yellow +G G, 3 lb. soda and 20 lb. Glauber's salt, working at the boil for one +hour.</p> + +<p><i>Deep Green.</i>—Use 1¾ lb. Diamine green G, ¾ lb. Diamine black B H, +½ lb. Oxydiamine yellow G G, 3 lb. soda, and 20 lb. Glauber's salt.</p> + +<p><i>Sea Green.</i>—Use 2 oz. Dianil yellow R, 2½ oz. Dianil blue B, 1¾ +oz. Dianil dark blue R, 1 lb. soda, and 20 lb. salt, working at the +boil.</p> + +<p><i>Leaf Green.</i>—Dye with 1½ lb. Dianil yellow 3 G, 1 lb. Dianil blue +B, 11 oz. Dianil blue 2 R, 3 lb. soda, and 20 lb. salt at the boil for +one hour.</p> + +<p><i>Deep Green.</i>—Dye with 2½ lb. Dianil yellow 3 G, 2½ lb. Dianil +blue 2 R, 6 oz. Dianil dark blue R, 3 lb. soda, and 20 lb. salt at the +boil for one hour.</p> + +<p>Greens are largely produced by mixing yellows and blues together as will +be seen from the recipes given above; the particular shade of green +which is got from a combination of blue and green depends upon the +quality of the dye-stuffs used: thus, to produce bright greens of a pure +tone, it is essential that the yellow used shall have a greenish tone +like Thioflavine S, Thiazole yellow, or Dianil yellow 3 G, while the +blue must also have a greenish tone like Diamine <!-- Page 95 --><span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span>sky blue, Benzo blue 3 +B, etc. By using yellows like Diamine fast yellow R, and dark blues like +Benzo azurine 3 R, Diamine blue R W, Dianil dark blue R, the green which +is got is darker and duller in tone. The addition of such a dye as +Diamine black B H throws the shade more on to an olive, while a brown +dye-stuff, like Diamine brown M, or an orange dye, like Titan orange N, +throws the green on to a sage tone. Examples of these effects will be +found among the recipes given above.</p> + +<p>It may be added here that by using smaller quantities, but in the same +proportions as given in the above recipes, a great range of tints and +shades of green can be dyed from very pale to very deep.</p> + +<p><i>Bright Blue.</i>—Prepare a dye-bath with ½ lb. Congo blue 2 B, 5 lb. +salt, 5 lb. phosphate of soda, 2 lb. soap. Work at the boil for one +hour, then rinse and dry.</p> + +<p><i>Dark Navy.</i>—Prepare a dye-bath with 1 lb. Diamine black R O, 2 lb. +Diamine blue 3 R, 8 lb. Glauber's salt, 2 lb. soap. Enter the cotton at +180° F., and boil for one hour.</p> + +<p><i>Pale Blue.</i>—Prepare a dye-bath with 10 lb. salt, 3 lb. soda, 3 oz. +diamine blue 3 R. Work for one hour at the boil, then lift, wash and +dry.</p> + +<p><i>Sky Blue.</i>—Prepare a dye-bath with 2 lb. Titan como G, 20 lb. common +salt, 2 oz. acetic acid. Work at the boil for half an hour, then lift, +wash and dry.</p> + +<p><i>Bright Blue.</i>—Prepare the dye-bath with 1½ lb. Chicago blue 6 B, 20 +lb. Glauber's salt, 3 lb. soap. Work at the boil for one hour, then +lift, wash and dry.</p> + +<p><i>Pale Sky Blue.</i>—Make the dye-bath with 1 oz. Chicago blue 6 B, 10 lb. +Glauber's salt, 2 lb. soap. Work at the boil for one hour, then lift, +wash and dry.</p> + +<p><i>Sky Blue.</i>—Prepare the dye-bath with 1 lb. Diamine sky blue F F, 1 lb. +Turkey-red oil, 20 lb. Glauber's salt. Dye at the boil for one hour.</p> + +<p><i>Dark Blue.</i>—Prepare the dye-bath with 2½ lb. Diamineral<!-- Page 96 --><span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span> blue R, +2½ lb. Diamine deep black Cr, 1 lb. Turkey-red oil, 40 lb. Glauber's +salt. Dye at the boil for one hour.</p> + +<p><i>Dark Blue.</i>—Prepare the dye-bath with 3 lb. Triamine black B, 15 lb. +Glauber's salt, in 50 gallons of water. Enter at 150° F., and boil for +one hour. Allow the goods to remain until the water is cold, when the +dye-bath will be completely exhausted.</p> + +<p><i>Blue.</i>—Prepare the dye-bath with 2 lb. Diamine steel blue L, 2 lb. +soda, 15 lb. Glauber's salt. Dye at the boil for one hour.</p> + +<p><i>Blue.</i>—Prepare the dye-bath with 4 lb. Diamine blue B G, 2 lb. soda, +20 lb. Glauber's salt. Dye at the boil for one hour. In shade this is +very similar to that got with Diamine brilliant blue G, which however +should be used for light shades on account of its brightness. For deep +shades Diamine blue B G, is preferable, because of its greater +tinctorial power.</p> + +<p><i>Light Indigo Blue.</i>—Prepare the dye-bath with 1 lb. Paramine indigo +blue, 2 lb. soda, 20 lb. Glauber's salt. Enter at about 150° F., and dye +at the boil for one hour.</p> + +<p><i>Navy Blue.</i>—Prepare the dye-bath with 4 lb. Paramine navy blue R, 2 +lb. soda, 20 lb. Glauber's salt. Enter at about 150° F., and dye at the +boil for one hour.</p> + +<p><i>Blue.</i>—Prepare the dye-bath with 1 lb. Paramine navy blue R, 2 lb. +soda, 20 lb. Glauber's salt. Enter at about 150° F., and dye at the boil +for one hour.</p> + +<p><i>Navy Blue.</i>—Prepare the dye-bath with 4 lb. Benzo chrome black blue B, +15 lb. Glauber's salt, 3 lb. soda. Work at the boil for one hour; lift, +rinse and dry.</p> + +<p><i>Grey Blue.</i>—Prepare the dye-bath with 2 lb. Paramine blue black S, 2 +lb. soda, 20 lb. Glauber's salt. Enter at 150° F., and dye for one hour +at boil.</p> + +<p><i>Blue.</i>—Prepare the dye-bath with 1 lb. Paramine blue B, 2 lb. soda, 20 +lb. Glauber's salt. Enter at about 150° F., and dye at the boil for one +hour.<!-- Page 97 --><span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span></p> + +<p><i>Slate Blue.</i>—Prepare the dye-bath with ¼ lb. Diamine black B H, ¾ +oz. Diamine fast yellow B, 2 lb. soda, and 10 lb. Glauber's salt. Dye at +the boil to shade.</p> + +<p><i>Deep Blue.</i>—Use 3¼ lb. Diamine blue B X, ½ lb. Oxydiamine black +N, 3 lb. soda and 20 lb. Glauber's salt at the boil for one hour.</p> + +<p><i>Blue.</i>—Dye at the boil for one hour with 1½ lb. Diamine sky blue, 2 +oz. Diamine green B, 2 lb. soda and 10 lb. Glauber's salt.</p> + +<p><i>Navy.</i>—Dye with 1 lb. Dianil dark blue R, 8 oz. Dianil black C R, 5 +lb. soda and 20 lb. salt at the boil for one hour.</p> + +<p><i>Dark Navy.</i>—Use 2 lb. Dianil blue B, 2 lb. Dianil dark blue R, ¾ lb. +Dianil black C R, 2 lb. soda and 25 lb. salt, working at the boil for +one hour.</p> + +<p><i>Deep Blue.</i>—Dye with 3½ lb. Diamine blue black E, 5 lb. soda and 20 +lb. Glauber's salt at the boil for one hour.</p> + +<p><i>Deep Blue.</i>—Dye with 3 lb. Zambesi black B R, 3 lb. soda and 20 lb. +Glauber's salt at the boil for one hour.</p> + +<p><i>Dark Navy.</i>—Use 3 lb. Dianil dark blue R, 3 lb. caustic soda 70° Tw., +and 25 lb. salt, working at the boil for one hour.</p> + +<p><i>Violet Blue.</i>—Dye with 3 lb. Dianil dark blue 3 R and 25 lb. salt at +the boil for one hour.</p> + +<p><i>Bright Blue.</i>—Use 1 lb. Dianil blue B, and 20 lb. salt, working at the +boil for one hour.</p> + +<p><i>Full Blue.</i>—Dye with 3 lb. Brilliant azurine 5 G, 5 lb. common salt, 5 +lb. phosphate of soda and 2 lb. soap at the boil for one hour.</p> + +<p><i>Dark Blue.</i>—Dye with 3 lb. Erie blue B X, 3 lb. soda and 20 lb. +Glauber's salt at the boil for one hour.</p> + +<p><i>Pale Blue.</i>—Dye with 1 lb. Chicago blue 6 B, 3 lb. soda and 20 lb. +salt at the boil for one hour.</p> + +<p><i>Deep Blue.</i>—Dye with 1½ lb. Oxydiamine black A, 2 lb. Diamine deep +blue R, 3 lb. soda and 20 lb. Glauber's salt at the boil for one hour.<!-- Page 98 --><span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span></p> + +<p><i>Blue.</i>—Dye with 6 oz. Diamine blue 3 B, 1½ oz. Diamine sky blue F +F, 3 lb. soda and 10 lb. Glauber's salt.</p> + +<p><i>Navy.</i>—Dye with 4 lb. Diamine new blue R, 3 lb. soda and 20 lb. +Glauber's salt at the boil for one hour.</p> + +<p><i>Dark Navy.</i>—Dye with 1¾ lb. Diamineral blue R, 3 lb. soda and 20 +lb. Glauber's salt at the boil for one hour.</p> + +<p><i>Sky Blue.</i>—Prepare the dye-bath with 6 oz. Diamine sky blue F F, 3 lb. +soda and 10 lb. Glauber's salt, working at the boil for one hour.</p> + +<p><i>Dark Blue.</i>—Use in the dye-bath 3 lb. Diamine blue R W, 2 lb. soda and +20 lb. Glauber's salt, working at the boil for one hour.</p> + +<p><i>Dark Blue.</i>—Prepare the dye-bath with 3 lb. Triamine black B T, and 15 +lb. Glauber's salt; work at the boil to shade.</p> + +<p><i>Blue.</i>—Use 2 lb. Direct indigo blue and 15 lb. Glauber's salt; work at +the boil.</p> + +<p><i>Bright Blue.</i>—Use in the dye-bath 3 lb. Titan como S N, 2 lb. acetic +acid and 20 lb. salt, working at the boil for one hour.</p> + +<p><i>Turquoise Blue.</i>—Dye with 1 lb. Diamine sky blue, 1 oz. Diamine fast +yellow B, 2 lb. soda and 10 lb. Glauber's salt, working at the boil to +shade.</p> + +<p><i>Dark Navy.</i>—Use 4 lb. Titan navy R, and 20 lb. salt at the boil for +one hour.</p> + +<p><i>Green Blue.</i>—Dye with 1 lb. Dianil blue G, 2½ oz. Dianil yellow G, +1 lb. soda and 20 lb. salt at the boil for one hour.</p> + +<p>Many more formulæ could have been given, but the above will perhaps +suffice; they include all the best of the direct blues. Paler tints of +blue may be got by using from 1 to 2 per cent. of any of these blues and +also of the many direct blacks now on the market. The direct blues as a +rule have a good degree of fastness to light.</p> + +<p><i>Lilac.</i>—Prepare a dye-bath with ¼ lb. Hessian brown 2 M,<!-- Page 99 --><span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span> 1 oz. Azo +mauve A M, 1 lb. soap, 2 lb. soda, 10 lb. salt. Work at the boil for one +hour, then lift, wash and dry.</p> + +<p><i>Plum.</i>—Dye with 3 lb. Oxydiamine violet G, 3 lb. soda and 20 lb. salt.</p> + +<p><i>Dark Plum.</i>—Use in the dye-bath 3 lb. Oxydiamine violet B, 3 lb. soda +and 20 lb. Glauber's salt, working at the boil.</p> + +<p><i>Violet.</i>—Make the dye-bath with ¾ lb. Oxydiamine violet B, 1 lb. +soda and 10 lb. Glauber's salt, and dye at the boil to shade.</p> + +<p><i>Violet.</i>—Dye with 12 oz. Dianil blue 4 R, 2 oz. Dianil blue B and 10 +lb. salt at the boil.</p> + +<p><i>Lilac.</i>—Dye with 1½ oz. Diamine rose G D, ¾ oz. Diamine sky blue +F F, 1 lb. soda and 10 lb. Glauber's salt at the boil to shade.</p> + +<p><i>Red Violet.</i>—Make the dye-bath with ½ lb. Diamine violet N, ½ oz. +Diamine brilliant blue G, 1 lb. soda and 10 lb. Glauber's salt, working +at the boil.</p> + +<p><i>Red Violet.</i>—Dye with 1 lb. Diamine violet N, 1 lb. soda and 10 lb. +Glauber's salt.</p> + +<p><i>Bright Red Lilac.</i>—Dye with 1¾ lb. Erika B N, 4 oz. Chicago blue 4 +R, 3 lb. soda and 20 lb. Glauber's salt at the boil.</p> + +<p><i>Grey Lilac.</i>—Dye with 12 oz. Neutral grey G, 3 oz. erika B N, 1 lb. +soda and 10 lb. Glauber's salt at the boil for one hour.</p> + +<p><i>Pale Lilac.</i>—Dye with 2½ oz. Dianil claret B, 2½ oz. Dianil blue +4 R, and 10 lb. salt.</p> + +<p><i>Light Plum.</i>—Dye with 10 oz. Dianil claret B, 10 oz. Dianil blue and +20 lb. salt.</p> + +<p><i>Dull Lilac.</i>—Dye with ½ lb. Diamine brown V, 1 lb. soda and 10 lb. +Glauber's salt.</p> + +<p><i>Heliotrope.</i>—Dye with 4 oz. Heliotrope 2 B, 1 lb. soda and 10 lb. +Glauber's salt.</p> + +<p><i>Plum.</i>—Dye with 3 lb. Congo Corinth B, 3 lb. soda and 10 lb. Glauber's +salt.<!-- Page 100 --><span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span></p> + +<p><i>Dull Violet.</i>—Use in the dye-bath 1½ lb. Chicago blue 4 R, 14 oz. +Erika B N, 3 lb. soda and 20 lb. Glauber's salt, working at the boil for +one hour.</p> + +<p><i>Red Lilac.</i>—Dye with 6 oz. Oxydiamine violet G, 2 oz. Oxydiamine +violet B, 1 lb. soda and 10 lb. Glauber's salt at the boil for one hour.</p> + +<p><i>Violet.</i>—Dye with 3 oz. Diamine violet N, 2 oz. diamine blue 3 R, 1 +lb. soda and 10 lb. Glauber's salt.</p> + +<p><i>Fawn Drab.</i>—Prepare a dye-bath with 1 lb. Cachou de laval, ¼ oz. +Benzo purpurine B. Enter the cotton into this bath in the cold and heat +to the boil, taking about one hour for the operation, then add 4 lb. +common salt and boil for three-quarters of an hour longer; lift, wash +and dry.</p> + +<p><i>Pale Olive Brown.</i>—The dye-bath is made with 1 lb. Diamine bronze G, 1 +oz. Cotton brown N, 3 oz. Diamine gold, 5 lb. soda, 15 lb. Glauber's +salt. Work at the boil for one hour, then lift, wash and dry.</p> + +<p><i>Red Brown.</i>—Prepare a dye-bath with 1¾ lb. Cotton yellow, 4 lb. +Hessian brown 2 B N, 2 lb. Diamine black R O, 1 lb. soda, 2 lb. salt. +Enter the goods at 180° F., then raise to the boil and work to the +shade; lift, wash and dry.</p> + +<p><i>Brown Drab.</i>—Prepare a dye-bath with ¼ lb. Cotton brown N, ¾ oz. +Diamine yellow N, ¾ oz. Diamine black B O, 15 lb. phosphate of soda, 3 +lb. soap. Work at the boil for one hour.</p> + +<p><i>Gold Brown.</i>—Prepare the dye-bath with 16¼ oz. Toluylene orange G, +9½ oz. Toluylene orange R, 4¾ oz. azo mauve, 2½ lb. soap, 5 lb. +soda. Dye at the boil for one hour.</p> + +<p><i>Chestnut Brown.</i>—Prepare a dye-bath with 10 lb. common salt, 2 lb. +Benzo brown G, ½ lb. Benzo azurine G, ½ lb. Chrysophenine. Enter the +goods at 150° F., raise to the boil and dye boiling for one hour.</p> + +<p><i>Purple Brown.</i>—Prepare a dye-bath with 10 lb. common salt, 2 lb. Benzo +brown N B, 1 lb. Azo violet. Enter the<!-- Page 101 --><span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span> cotton at 150° F., raise to the +boil and dye boiling for an hour; lift, wash and dry.</p> + +<p><i>Brown.</i>—Prepare a dye-bath with 5 lb. soda, 10 lb. Glauber's salt, 12 +oz. Chrysamine, 1 oz. Benzo purpurine, 6¼ oz. Benzo azurine. Dye at +the boil for one hour, rinse and dry. The brown thus got is fast to +washing.</p> + +<p><i>Dark Chestnut Brown.</i>—Prepare a dye-bath with 10 lb. salt, 3 lb. Benzo +brown N B X, raise to 150° F., enter goods, heat to boil, and work for +one hour; lift, rinse and dry.</p> + +<p><i>Dark Brown.</i>—Prepare a dye-bath with 20 oz. Glauber's salt per gallon +of water used, 2½ lb. soap, 1½ lb. Diamine black R O, 2 lb. Cotton +brown N. Enter the yarn at 180° F., give three turns, raise temperature +to boil, and work to shade; lift, rinse and wash.</p> + +<p><i>Gold Brown.</i>—Prepare the dye-bath with 4 lb. Titan gold, 50 lb. salt. +Work at the boil for thirty minutes, then lift, wash and dry. The +dye-bath is not exhausted, only about 3 lb. of the colour being taken up +by the cotton. It may, therefore, be kept for further lots, adding 3 lb. +more colour and about 20 lb. more salt for each batch of cotton, or if +it is not desired to keep the bath, add less colour to start with, and +towards the end of the operation add more salt.</p> + +<p><i>Brown.</i>—Prepare the dye-bath with 4 lb. Paramine brown G, 20 lb. +Glauber's salt, 2 lb. soda. Dye at the boil for one hour.</p> + +<p><i>Light Brown.</i>—Prepare the dye-bath with 3 lb. Diamine catechine G, 3 +lb. soda, 15 lb. Glauber's salt. Dye at the boil for one hour.</p> + +<p><i>Dark Brown.</i>—Prepare the dye-bath with 5 lb. Diamine catechine B, 3 +lb. soda, 15 lb. Glauber's salt. Dye at the boil for one hour.</p> + +<p><i>Dark Drab.</i>—Prepare the dye-bath with 1 lb. Titan brown Y, 3 oz. +Columbia green, 32¾ oz. Diamine bronze, 17 lb. Glauber's salt. Work +at the boil for one hour, then lift, wash and dry.<!-- Page 102 --><span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span></p> + +<p><i>Pale Brown.</i>—The dye-bath is made with 2 lb. Mikado orange 4 R, 3 oz. +Benzo fast grey, 30 lb. Glauber's salt. Work at the boil for one hour, +then lift, ash and dry.</p> + +<p><i>Gold Brown.</i>—Make a dye-bath with 1 lb. Titan gold, 50 lb. common +salt. Enter at the boil, work for an hour, then lift, wash and dry. Keep +the bath for another lot of goods; it will only require the addition of +about 14 oz. of colour and 10 lb. salt.</p> + +<p><i>Buff Brown.</i>—Make the dye-bath with ¾ lb. Titan gold, ¼ lb. Titan +brown R, 5 oz. Titan blue 3 B, 40 lb. common salt. Work at the boil to +shade, then lift, wash and dry.</p> + +<p><i>Deep Chestnut Brown.</i>—Make the dye-bath with 3 lb. Titan brown R, +1½ lb. Titan blue R, 25 lb. common salt. Work at the boil for an +hour, then lift, wash and dry.</p> + +<p><i>Light Seal Brown.</i>—Make the dye-bath with 10 lb. salt, 2 lb. soda, 14 +oz. Oxyphenine, ¾ lb. Atlas red R, 6 oz. Diamine blue B X. Work at the +boil to shade, then lift, wash and dry.</p> + +<p><i>Orange Brown.</i>—Make a dye-bath with 10 lb. salt, 2 lb soda, 14 oz. +Oxyphenine, 1 lb. Atlas red R, 1 oz. Diamine blue B X. Work at the boil +to shade, then lift, wash and dry.</p> + +<p><i>Pale Nut Brown.</i>—Use in the dye-bath 4½ oz. Diamine catechine G, 1 +oz. Diamine brown M, 1 oz. Diamine catechine B, 2 lb. soda and 10 lb. +Glauber's salt, working at the boil for one hour.</p> + +<p><i>Walnut Brown.</i>—Dye with 1 lb. Diamine brown M, 3 oz. Diamine orange G, +2 oz. Diamine black H W, 2 lb. soda and 10 lb. Glauber's salt at the +boil for one hour.</p> + +<p><i>Black Brown.</i>—Use in the dye-bath 3 lb. Diamine brown M, ¾ lb. +Diamine blue black R, 3 lb. soda and 20 lb. Glauber's salt, working at +the boil.</p> + +<p><i>Reddish Brown.</i>—Dye with 2 lb. Dianil brown R, 5 lb. salt and 5 lb. +phosphate of soda at the boil for one hour.</p> + +<p><i>Chocolate Brown.</i>—Dye with 2 lb. Dianil brown T, 5 lb. phosphate of +soda and 5 lb. salt at the boil for one hour.<!-- Page 103 --><span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span></p> + +<p><i>Dark Brown.</i>—Dye with 2 lb. Dianil dark brown, 5 lb. salt and 5 lb. +phosphate of soda at the boil for one hour.</p> + +<p><i>Light Brown.</i>—Prepare the dye-bath with 5 lb. Diamine catechine G, 3 +lb. soda and 15 lb. Glauber's salt.</p> + +<p><i>Brown.</i>—Dye with 2¼ lb. Cotton brown N, 4 oz. Diamine black H W, 2 +lb. soda and 20 lb. Glauber's salt at the boil for one hour.</p> + +<p><i>Dark Walnut Brown.</i>—Make the dye-bath with 3¼ lb. Diamine brown M, +6 oz. Diamine catechine B, 6 oz. Diamine red 5 B, 2 lb. soda and 20 lb. +Glauber's salt; work at the boil.</p> + +<p><i>Dark Chestnut Brown.</i>—Dye with 2½ lb. Dianil brown R, 1 lb. soda +and 20 lb. salt at the boil.</p> + +<p><i>Dark Brown.</i>—Dye with 2 lb. Dianil brown 3 G O, 2 lb. Dianil brown B +D, 1 lb. Dianil red 4 B, 3 lb. soda and 25 lb. salt at the boil for one +hour.</p> + +<p><i>Brown.</i>—Prepare the dye-bath with 5 lb. Mikado brown M and 25 lb. +salt; work the cotton in this at the boil for one hour.</p> + +<p><i>Nut Brown.</i>—Use in the dye-bath 2½ lb. Benzo brown G and 15 lb. +salt, working at the boil.</p> + +<p><i>Dark Brown.</i>—Use in the dye-bath 3 lb. Benzo brown N B and 15 lb. +Glauber's salt, working at the boil.</p> + +<p><i>Dark Brown.</i>—Make the dye-bath with 4 lb. Diphenyl brown B N, 10 lb. +Glauber's salt and 4 lb. soap, working at the boil to shade.</p> + +<p><i>Black Brown.</i>—Use in the dye-bath 2½ lb. Dianil brown 3 G O, 1½ +lb. Dianil brown G, ¾ lb. Dianil dark blue R, 3 lb. soda and 25 lb. +salt.</p> + +<p><i>Dark Brown.</i>—Dye with 1½ lb. Zambesi black D, 1¼ lb. Brilliant +orange G, 3 lb. soda and 20 lb. Glauber's salt at the boil to shade.</p> + +<p><i>Gold Brown.</i>—Dye with 2 lb. Curcumine S, 1 lb. Columbia orange R, 5 +oz. Columbia black F B, 3 lb. soda and 15 lb. Glauber's salt at the +boil.<!-- Page 104 --><span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span></p> + +<p><i>Dark Chestnut.</i>—Dye at the boil with 2 lb. Columbia Orange R, 8 oz. +Columbia black F B, 2 lb. soda and 10 lb. Glauber's salt.</p> + +<p><i>Sage Brown.</i>—Dye with 1 lb. Zambesi black D, 1 lb. Curcumine S, ¾ +lb. Diamine orange G D, 3 lb. soda and 30 lb. Glauber's salt at the +boil.</p> + +<p><i>Deep Brown.</i>—Dye 3½ lb. Diamine brown M, ¾ lb. Oxydiamine orange +G, ¾ lb. Diamine black H W, 3 lb. soda and 20 lb. Glauber's salt at +the boil.</p> + +<p><i>Chestnut.</i>—Dye with 2½ lb. Diamine brown G, ¾ lb. Oxydiamine +orange R, 3 lb. soda and 20 lb. Glauber's salt.</p> + +<p><i>Pale Walnut Brown.</i>—Dye with 3½ lb. Diamine brown M, ¾ lb. +Oxydiamine orange G, 1½ oz. Diamine black B H, 3 lb. soda and 20 lb. +Glauber's salt.</p> + +<p>Various other browns may be obtained by combining the various direct +browns together or with other direct dyes. The use of a yellow or orange +will brighten them; that of a red will redden the shade; the addition of +a dark blue or a black will darken the shade considerably. It may be +useful to remember that a combination of red, orange and blue or black +produces a brown, and by using various proportions a great range of +shades can be dyed.</p> + +<p><i>Black.</i>—Prepare a dye-bath with 6 lb. Diamine black R O, 2 oz. +Thioflavine S, 2 lb. soap, 10 lb. salt. Enter the cotton at the boil and +dye for one hour; lift, wash and dry.</p> + +<p><i>Black.</i>—Prepare the dye-bath with 5 lb. Direct deep black E extra, and +½ to 1½ oz. common salt per gallon of water. Dye at the boil for +one hour.</p> + +<p><i>Deep Black.</i>—Prepare the dye-bath with 5½ lb. Diamine deep black R +B, 2 lb. soda, 20 lb. Glauber's salt. Dye at the boil for one hour; +lift, wash and dry.</p> + +<p><i>Black.</i>—Prepare the dye-bath with 5 lb. Direct triamine black G X, 15 +lb. Glauber's salt. Dye for one hour at the<!-- Page 105 --><span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span> boil; lift, rinse and dry. +In working for from two to three hours the dye-bath will exhaust +completely.</p> + +<p><i>Black.</i>—Prepare the dye-bath with 5 lb. Oxydiamine black A, 20 lb. +Glauber's salt, 2 lb. soda. Dye at the boil for one hour.</p> + +<p><i>Black.</i>—Prepare the dye-bath with 6 lb. Pluto black B. Dye at the boil +for one hour with the addition of ¾ to 1¼ oz. Glauber's salt, ½ +to ¾ oz. soda ash per gallon of liquor. To develop the shade it is +necessary to dye in a boiling liquor.</p> + +<p><i>Black.</i>—Use 2½ lb. Diamine jet black Cr, 2½ lb. Diamine jet +black R B, 2 lb. soda, and 20 lb. Glauber's salt, working at the boil +for one hour.</p> + +<p><i>Black.</i>—Use 6 lb. Oxydiamine black N R, 2 lb. soda and 20 lb. +Glauber's salt, working at the boil for one hour.</p> + +<p><i>Black.</i>—Use 6 lb. Columbia Black F B B, 3 lb. soda and 20 lb. +Glauber's salt, working at the boil to shade.</p> + +<p>Besides the blacks given in the above recipes, there are other brands +which are used in the same way, and vary slightly in the shade of black +they give.</p> + +<p>All the direct blacks require working in strong baths to give anything +like black shades; they all have, more or less, a bluish tone, which can +be changed to a jetter shade by the addition of a yellow or green dye in +small proportions, which has been done in one of the recipes given +above.</p> + +<p>By coupling, chroming or developing, the direct blacks can be made to +give full, deep and fast blacks, and examples of their use in this +manner will be found in following sections.</p> + +<p>By using all the direct blacks in proportions varying from ¼ to 1 per +cent. of dye-stuff to the weight of the cotton they give greys of +various tints and depths; a few examples of such greys will now be +given.</p> + +<p><i>Blue Grey.</i>—Prepare the dye-bath with ½ lb. Oxydiamine black A, 1 +lb. soda, 10 lb. Glauber's salt. Dye at the boil for one hour.<!-- Page 106 --><span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span></p> + +<p><i>Bright Grey.</i>—Prepare a dye-bath with 4½ oz. Azo mauve A M, 1½ +oz. Direct yellow G, 3 lb. soda, 15 lb. common salt.</p> + +<p><i>Silver Grey.</i>—Prepare the dye-bath with ½ oz. Neutral grey G, 10 lb. +sulphate of soda. Work at the boil to shade, then lift, wash and dry.</p> + +<p><i>Slate.</i>—Dye in a bath with ½ lb. Diamine black B H, 3 oz. Diamine +bronze G, 15 lb. Glauber's salt at the boil for three-quarters of an +hour.</p> + +<p><i>Bronze Grey.</i>—Prepare a dye-bath with ½ lb. Diamine bronze G, 15 lb. +Glauber's salt, 3 lb. soap. Enter at about 160° F., raise to boil and +work for one hour; lift, wash and dry.</p> + +<p><i>Dark Slate.</i>—Prepare a dye-bath with 10 lb. Glauber's salt, 1½ lb. +soap, 1 lb. Diamine black R O, 2 lb. Cotton brown N. Heat to about 150° +F. Enter the goods, work for a short time, then raise to the boil and +work for one hour; lift, wash and dry.</p> + +<p><i>Green Grey.</i>—Prepare a dye-bath with 10 lb. Glauber's salt, 1 lb. +Diamine black R O, ¾ oz. Thioflavine S. Enter at from 150° Tw. to 180° +F., raise to boil and dye for one hour; wash and dry.</p> + +<p><i>Light Slate.</i>—Prepare a dye-bath containing 2¼ lb. soap, 15 lb. +Glauber's salt, 6 oz. Diamine black R O, ½ oz. thioflavine S. Enter +cotton at 140° F., work a little, then heat to boil and dye to shade; +lift, wash and dry.</p> + +<p><i>Grey.</i>—Prepare the dye-bath with ½ lb. Diamine grey G, ½ oz. +Diamine scarlet B, 1 lb. soda, 1 lb. soap, 5 lb. Glauber's salt. Dye for +one hour at the boil.</p> + +<p><i>Light Grey.</i>—Prepare the dye-bath with 1 lb. Diamine grey G, 1 lb. +soda, 1 lb. soap, 5 lb. Glauber's salt. Dye for one hour at the boil; +lift, rinse and dry.</p> + +<p>It may be convenient here to deal with the question of the fastness of +the direct dyes to such influences as light, air,<!-- Page 107 --><span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span> acids, alkalies, +washing and soaping, that have a very material influence on the use of +these dyes in dyeing various fabrics. This matter can only be dealt with +here in very general terms, for space is limited and the dyes are too +numerous for detailed mention. They vary very greatly in degrees of +fastness, some are absolutely fast to all influences; the blacks are +among the fastest, generally these resist washing and soaping, stand +acids well and are fast to alkalies, light however affects them more or +less, though they cannot be reckoned fugitive colours. The few direct +greens known are good colours; they stand washing, soaping and light +well, but they are affected by acids and alkalies. The blues vary very +much, generally they stand soaping and have a fair degree of fastness to +light, acids have but little action, alkalies tend to redden the shade, +while heat also affects them. The direct browns are very variable; they +are in general not fast to light; they stand washing and soaping and +resist alkalies, but are altered by acids slightly. The yellows rank +among the fastest of colours to light and washing and soaping; acids +have but little effect; they are reddened by alkalies. Among the reds +there is great variation in properties, generally they are not fast to +light, standing washing and soaping well and resisting weak alkalies; +some of them, such as the Benzo purpurines and Congo reds are very +sensitive to acids, being turned blue with very weak acids, but on +washing or soaping the original colour comes back; others, like the +Titan reds, Diamine reds and Delta purpurines are not so sensitive, but +these are affected by moderately strong acids; there are one or two reds +like Benzo fast scarlet 4 B S and Purpuramine D H, which are fast to +acids. The depth of shade which is dyed has some considerable influence +on the degree of fastness, the deeper shades of a colour are always +faster than the paler shades, particularly as regards light, a +difference of ½ per cent, of dye-stuff has been known to make a very<!-- Page 108 --><span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span> +appreciable degree of difference as regards the fastness of a colour to +light.</p> + +<p>In dyeing cotton with all the direct dyes, it is found that the whole of +the dye-stuff is not removed from the dye-bath, how much is taken up by +the cotton, and the depth of the shade which is dyed upon the cotton +chiefly depends upon three factors:—</p> + +<p>(1) Volume of water used. +(2) Quantity of saline salts used. +(3) Degree of affinity of the dye-stuff for the fibre.</p> + +<p>There may also be some minor factors such as temperature at which the +dyeing is carried on, the character and condition of the fabrics being +dyed, etc.</p> + +<p>The volume of water used in making the dye-bath has a very great +influence upon the amount of dye taken up by the cotton, the greater the +volume of water the less dye is absorbed and the paler the colour which +is produced upon the fibre. It is therefore important to use as little +water as possible in making up the dye-bath, indeed, for anything like +good results to be obtained with some dyes, especially those of the +sulphur series like Vidal black, Immedial blacks, Katigen browns, +Cross-dye blacks, Amidazol blacks, etc., it is necessary to employ what +is called a short bath, that is making it as strong as possible. The +proportion of water with such dyes should not exceed fifteen times the +weight of the cotton being dyed, that is, for every pound of cotton, +1½ gallons of water can be allowed. This will suit the dyeing of +yarns and loose fabrics like knitted stockings and hosiery goods very +well. In the case of dyeing piece goods on a jigger or continuous dyeing +machines even stronger liquors can be used with advantage. With some of +the older, direct dyes like Congo red, Benzo azurine, Diamine scarlets, +the proportion of water may be increased to twenty times the weight of +the<!-- Page 109 --><span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span> cotton. In any case the quantity of water used should not exceed +twenty-five times the weight of the cotton.</p> + +<p>The second factor, the quantity of saline salts, like Glauber's salt, +soda, borax, etc., added in the dyeing, is not without influence, +generally the more that is added the more dye there is left in the bath, +but here again much depends upon the salt and the colouring matters +used. Some salts, more particularly Glauber's salt and common salt, tend +to throw some dye-stuffs out of the bath, and so the more there is used +of them the deeper the shade produced on the fabric. It is quite +impossible, having regard to the scope of this book, to deal with this +question in detail. The dyer should ascertain for himself the best salts +and the best proportions of these to use with the particular dyes he is +using. The recipes given above will give him some ideas on this point.</p> + +<p>The third factor, the degree of affinity of the dye for the cotton +fibre, has some influence on the depth of shade which can be dyed from +any given strength of the dye-bath. There is a very considerable +difference among the direct dyes in this respect. There are some which +have a fair degree of affinity, while there are others which have but +little affinity, and while in the former case there is little dye left +in the bath, in the latter case there is a good deal. When dyeing plain +shades with single dye-stuffs this is not of much moment, because if the +bath be kept for further use, as will be spoken of presently, the bath +may be brought up to its original strength by adding a proportionate +amount of dye-stuff, but when compound shades are being dyed, using two +or more dyes, then this feature has some influence, for they will not be +absorbed by the fibre in the same proportion as they were put in the +bath, and so when making up the dye-bath for the second lot, and adding +the same proportion of dyes, the shade which is produced will not be +quite the same, for the first lot of cotton in taking up the dyes in +vary<!-- Page 110 --><span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span>ing quantities has altered their relative proportions, and so the +bath for the second lot of cotton will actually contain more of one dye +than did the first bath, and the influence of this excess of the one +constituent will show itself in the shade ultimately dyed. The more lots +of cotton there are dyed in the bath the greater will this influence be. +The dyer must by practical experience find out for himself in what +direction this feature of the direct dyes exerts its influence on the +particular dyes he is working with and make due allowance.</p> + +<p>It is found in practice that from one-fourth to one-half of the original +weight of dye-stuff is left in the bath, and in order to be as +economical as possible a custom has arisen of keeping the bath and using +it again for dyeing further lots of cotton. In thus making a continuous +use of dye-baths it is important in preparing the baths for the next lot +of cotton to add first the requisite quantities of dye-stuffs, how much +will depend upon the factors and conditions already detailed, but from +one-half to three-fourths of the original quantities are added. +Practical experience alone is the guide to be followed.</p> + +<p>Having added the dye-stuff, then sufficient water must be added to bring +up the volume of the bath to the proper amount, for it will have lost +some. The loss of water arises from two sources: first there is the +evaporation, which always occurs when dye-baths are heated up, and, +second, there is the mechanical loss due to its absorption by the +material which is being dyed. When a piece of cotton or other textile +fabric is immersed in a dye liquor it absorbs mechanically some of it, +and this amount may be roughly put down as about its own weight; thus +100 lb. weight of cotton will take up 10 gallons of liquor and carry +that quantity out of the bath. To some extent this may be minimised by a +previous wetting out of the cotton, which will then have in it as much +liquor as it will take up, and so practically no more will be taken up +from the<!-- Page 111 --><span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span> dye-bath. Any loss of volume which may thus occur can be +remedied by the addition of water.</p> + +<p>The dye-baths containing in solution, in addition to the dye-stuff, +salt, or Glauber's salt, or any other added substance, the cotton in +taking up the dye liquor will of course take up some of these in +proportion to the volume of liquor absorbed. The amount may range from 4 +oz. to 1 lb. per gallon of liquor, and if 100 lb. cotton is being dyed +and takes up from 10 to 15 gallons of liquor, it is obvious that it must +absorb from 3 to 10 lb. of saline matter, and as the salinity of the dye +liquor is of some importance in dyeing direct colours, in making up the +bath for the next lot of cotton this must be allowed for and suitable +additions made. In order to do this properly it is a good plan to rely +upon the Twaddell.</p> + +<p>The dyer should take the Twaddell of his bath before use and always make +up his baths to that strength. This will be found to range from 3° to +12° Tw.</p> + +<p>Thus, for instance, a dye-bath made from 120 gallons of water with 20 +lb. to 25 lb. common salt or Glauber's salt with the dye-stuffs will +stand at 4° Tw., one made with 50 lb. common salt or Glauber's salt at +8° Tw., while one which is made with 80 lb. to 100 lb. salt will stand +at 12° to 13° Tw. If the dyer always maintains his liquors at one +uniform degree Twaddell he can invariably depend upon getting uniform +shades from his dye-baths. This uniform strength is attained by adding +more salt or more water as the case may require.</p> + +<p>Of course the continuous working of dye-baths cannot go on for ever; +sooner or later the baths become thick and dirty, and then they must be +thrown away and a new bath started.<!-- Page 112 --><span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span></p> + +<p>(2) DIRECT DYEING FOLLOWED BY FIXATION WITH METALLIC SALTS.</p> + +<p>It is an acknowledged principle in dyeing that to produce colours fast +to washing, soaping and rubbing, there must be produced on the fibre an +insoluble coloured substance. Now as the direct dyes do not essentially +produce such insoluble bodies when dyed on the cotton, the colours they +form are not always fast to washing and soaping. It has been +ascertained, however, that some of the direct dyes, <i>e.g.</i>, Benzo +azurine, Chicago blue, Catechu browns, Diamine blues, Diamine browns, +etc., are capable of uniting with metallic bodies to form insoluble +colour lakes, and this combination can take place on the fibre. Fast +shades may be dyed with the dye-stuffs named above, and with others of +this group, by first dyeing them in the usual way, then passing through +a boiling bath containing bichromate of potash or copper sulphate, +either together or separately. The two fixing agents here named have +been found to be the best, although others, as, for instance, zinc +sulphate, chromium fluoride and iron sulphate have been tried. With some +dyes there is little or no alteration in shade, but in others there is +some change, thus the blues as a rule tend to become greener in tone, +and browns also tend to acquire a greener tone and deeper shade. The +treated shades thus obtained are notable for considerable fastness to +washing, soaping and light. It is to be noted that bichromate of potash +exercises both a fixing and an oxidising action on dye-stuffs, hence it +is needful to use it with some degree of caution and not in too great an +amount, otherwise with some dyes there is a risk of over-oxidation, and +in consequence poor shades will be developed. The following recipes will +serve to show what dyes may thus be used, and the colours that can be +obtained with them.<!-- Page 113 --><span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span></p> + +<p><i>Dark Red.</i>—Use in the dye-bath 3 lb. Diamine fast red F, 3 lb. soda +and 20 lb. Glauber's salt, work at the boil for one hour, then lift, +rinse and pass into a boiling bath containing 3 lb. fluoride of chromium +for ten to fifteen minutes, then lift, rinse and dry. By using 1 lb. of +the dye-stuff in the same way a light red shade is got.</p> + +<p><i>Orange.</i>—Dye at the boil for one hour with 1 lb. Chrysamine G, 3 lb. +soap and 10 lb. Glauber's salt, then rinse and fix in a fresh boiling +bath with 1 lb. bichromate of potash, 3 lb. sulphate of copper and 2 lb. +acetic acid.</p> + +<p><i>Yellow.</i>—Dye with 3½ lb. Diamine yellow N, 3 lb. soap and 15 lb. +phosphate of soda, then fix with 4 lb. fluoride of chromium.</p> + +<p><i>Gold Yellow.</i>—Prepare the dye-bath with 3 lb. Benzo chrome brown 5 G, +1 lb. soda ash, 12 lb. Glauber's salt. Dye at the boil for one hour and +rinse. This gives an orange brown. To get the yellow shade, afterwards +chrome with 3 lb. bichromate of potash, 3 lb. sulphate of copper, 1 lb. +acetic acid, in a fresh bath. Enter at about 130° F., bring to the boil, +and boil for half an hour.</p> + +<p><i>Pale Leaf Green.</i>—Dye with 3 lb. Dianil yellow 3 G, 1 lb. Dianil +yellow R, 1 lb. Dianil blue G, and 20 lb. salt, then fix with 3 lb. +copper sulphate and 2 lb. acetic acid.</p> + +<p><i>Leaf Green.</i>—Dye with 3 lb. Dianil yellow 3 G, 3 lb. Dianil blue G, +and 20 lb. salt, fixing with 4 lb. copper sulphate and 2 lb. acetic +acid.</p> + +<p><i>Dark Green.</i>—Dye with 2 lb. Dianil yellow R, 1½ lb. Dianil dark +blue R, 1 lb. soda and 20 lb. salt, fixing with 3 lb. copper sulphate.</p> + +<p><i>Pale Olive Green.</i>—Dye with 2¾ lb. Diamine fast yellow B, 1¼ lb. +Diamine blue R W, ¾ lb. Diamine blue R W, ¾ lb. Diamine catechine G; +fix with 4 lb. sulphate of copper and 2 lb. acetic acid.</p> + +<p><i>Russia Green.</i>—Dye with 2½ lb. Diamine blue R W, 10 oz.<!-- Page 114 --><span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span> Diamine +dark blue B, 2½ lb. Diamine fast yellow B, 3 lb. soda and 20 lb. +Glauber's salt; fix with 4 lb. sulphate of copper and 2 lb. acetic acid.</p> + +<p><i>Blue Green.</i>—Dye with 1¾ lb. Diamine sky blue F F, 6 oz. Diamine +fast yellow B, 1 lb. soda and 10 lb. Glauber's salt; fix with 2 lb. +sulphate of copper and 1 lb. acetic acid.</p> + +<p><i>Bronze Green.</i>—Use in the bath at the boil 4 lb. Diamine bronze G, 2 +lb. soda and 10 lb. Glauber's salt, then fix with 4 lb. fluoride of +chromium.</p> + +<p><i>Pea Green.</i>—Dye in a boiling bath with ½ lb. Diamine sky blue F F, +2¼ lb. Diamine fast yellow A, 1 lb. soda and 10 lb. Glauber's salt, +then fix in a fresh bath with 2 lb. sulphate of copper and 1 lb. acetic +acid.</p> + +<p><i>Leaf Green.</i>—Dye at the boil for one hour in a bath containing 2¾ +lb. Diamine fast yellow B, 1¾ lb. Diamine blue R W, 7 oz. Diamine +catechine B, 2 lb. soda and 20 lb. Glauber's salt, then fix in a new +bath with 4 lb. sulphate of copper and 2 lb. acetic acid.</p> + +<p><i>Light Green.</i>—Prepare the dye-bath with 7¼ oz. Diamine blue R W, +5½ oz. Diamine orange B, 2 lb. Diamine fast yellow B, 1 lb. soda and +10 lb. Glauber's salt, work at the boil for one hour, then treat in a +fresh bath with 3 lb. sulphate of copper.</p> + +<p><i>Olive Green.</i>—Dye with 2¼ lb. Chicago blue R W, 15 oz. Chrysamine +G, 2 lb. soda and 10 lb. Glauber's salt; fix with 1 lb. bichromate of +potash, 3 lb. sulphate of copper and 2 lb. acetic acid.</p> + +<p><i>Pea Green.</i>—Use in the dye-bath 3 lb. Chrysophenine G, 1 lb. Chicago +blue 6 B, 2 lb. soda and 10 lb. Glauber's salt, working at the boil for +one hour, then fix in a fresh boiling bath with 3 lb. sulphate of copper +and 2 lb. acetic acid.</p> + +<p><i>Green.</i>—Dye with 2¾ lb. Chicago blue 6 B, 5 oz. Chrysamine G, 2 lb. +soap and 20 lb. Glauber's salt; fix with 1 lb. bichromate of potash, 3 +lb. sulphate of copper and 2 lb. acetic acid.<!-- Page 115 --><span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span></p> + +<p><i>Dark Green.</i>—Dye with 1½ lb. Diamine green B, 1½ oz. Diamine +bronze G, 1 lb. Diamine fast yellow A, 3 lb. soda and 20 lb. Glauber's +salt, working at the boil for one hour, then lift, rinse and fix in a +fresh boiling bath with 3 lb. fluoride of chromium for one to fifteen +minutes.</p> + +<p><i>Dark Bronze.</i>—Use in the dye-bath 2½ lb. Diamine bronze G, 3 lb. +soda and 20 lb. Glauber's salt, working at the boil for one hour, then +lift, rinse and fix with 3 lb. fluoride of chromium as above.</p> + +<p><i>Dark Blue.</i>—Prepare the dye-bath with 3 lb. Benzo blue R W, 10 lb. +Glauber's salt; dye for one hour at the boil, then treat in fresh bath +with 1 lb. sulphate of copper at the boil for half an hour.</p> + +<p><i>Blue.</i>—Dye with 1¾ lb. Diamine brilliant blue G, 1¼ lb. Diamine +sky blue F F, 2 lb. soda and 20 lb. Glauber's salt; fix in a bath with 4 +lb. sulphate of copper and 2 lb. acetic acid.</p> + +<p><i>Light Navy.</i>—Dye with 1 lb. Diamine blue 3 R, 2¼ lb. Diamine blue R +W, 2 lb. soda and 20 lb. Glauber's salt; fix with 4 lb. sulphate of +copper and 20 lb. acetic acid.</p> + +<p><i>Bright Navy.</i>—Dye with 4 lb. Diamine brilliant blue G, 2 lb. soda and +20 lb. Glauber's salt; fix with 4 lb. sulphate of copper and 2 lb. +acetic acid.</p> + +<p><i>Blue.</i>—Dye with 3 lb. Chicago blue R W, 3 lb. soda and 20 lb. +Glauber's salt; fix with 3 lb. sulphate of copper and 2 lb. acetic acid.</p> + +<p><i>Dark Blue.</i>—- Dye with 3 lb. Chicago blue R W, 1½ lb. Zambesi black +F, 3 lb. soda and 20 lb. Glauber's salt; fix with 3 lb. sulphate of +copper and 2 lb. acetic acid.</p> + +<p><i>Deep Slate Blue.</i>—Dye with 1¼ lb. Zambesi black F, 1¼ lb. +Chicago blue B, 6 oz. Columbia yellow, 3 lb. soda and 20 lb. Glauber's +salt; fix with 3 lb. sulphate of copper and 2 lb. acetic acid.</p> + +<p><i>Light Blue.</i>—Prepare the dye-bath with 2 oz. Diamine<!-- Page 116 --><span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span> sky blue F F, +¾ oz. Diamine fast yellow A, ½ lb. soda, 2 lb. soap and 5 lb. +Glauber's salt; dye for one hour at the boil, then treat in a fresh bath +with 1½ lb. sulphate of copper for half an hour.</p> + +<p><i>Dark Blue.</i>—Prepare the dye-bath with 4 lb. Benzo chrome black blue B, +15 lb. Glauber's salt and 3 lb. soda. Work at the boil for one hour, +then chrome in a fresh bath with 1 lb. bichromate of potash, 1 lb. +sulphate of copper and ½ lb. sulphuric acid.</p> + +<p><i>Dark Blue.</i>—Dye with 2½ lb. Diamineral blue R, 3 lb. soda and 20 +lb. Glauber's salt; fix with 2 lb. sulphate of copper, 2 lb. bichromate +of potash and 2 lb. acetic acid.</p> + +<p><i>Turquoise Blue.</i>—Dye with 1 lb. Chicago blue 6 B, 2 lb. soda and 10 +lb. Glauber's salt, and fix with 3 lb. sulphate of copper and 2 lb. +acetic acid.</p> + +<p><i>Dark Turquoise Blue.</i>—Dye with 3 lb. Chicago blue 4 B, 2 lb. soda and +10 lb. Glauber's salt, and fix with 3 lb. sulphate of copper and 2 lbs. +acetic acid.</p> + +<p><i>Black Blue.</i>—Dye with 4¼ lb. Diamine dark blue B, 1 lb. Diamine new +blue R, 2 lb. soda and 10 lb. Glauber's salt, fixing with 5 lb. sulphate +of copper and 2 lb. acetic acid.</p> + +<p>By mixing together the various Diamine blues a very great range of +shades can be produced, from pale sky-blue tints to the deepest of +blues.</p> + +<p><i>Bright Blue.</i>—Dye with 2¼ lb. Dianil blue B and 20 lb. Glauber's +salt; fix with 3 lb. of fluoride of chromium.</p> + +<p><i>Dark Blue.</i>—Dye with 3 lb. Dianil blue B, 1 lb. Dianil dark blue R, 1 +lb. soda and 20 lb. salt, fixing with 3 lb. fluoride of chromium.</p> + +<p><i>Red Violet.</i>—Dye with 1 lb. Dianil blue 4 R and 10 lb, salt, fixing +with 4 lb. fluoride of chromium.</p> + +<p><i>Dark Plum.</i>—Dye with 3 lb. Dianil blue 4 R and 15 lb. salt, fixing +with 4 lb. fluoride of chromium.</p> + +<p><i>Red Violet.</i>—Dye with 1 lb. Diamine blue 3 R, 1 lb. soda<!-- Page 117 --><span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span> and 10 lb. +Glauber's salt, fixing with 1½ lb. sulphate of copper and 1 lb. +acetic acid.</p> + +<p><i>Red Plum</i>.—Use 3¾ lb. Diamine blue 3 R, 3 lb. soda and 20 lb. +Glauber's salt, fixing with 5 lb. sulphate of copper and 2 lb. acetic +acid.</p> + +<p><i>Dark Brown</i>.—Prepare the dye-bath with 5 lb. Diamine catechine B, 3 +lb. soda and 15 lb. Glauber's salt and dye at the boil for one hour, +then treat with 2 lb. sulphate of copper and 2 lb. bichromate of potash.</p> + +<p><i>Brown</i>.—Prepare the dye-bath with 4 lb. Paramine brown C, 20 lb. +Glauber's salt, 2 lb. soda and dye at the boil for one hour; treat with +3 lb. copper sulphate.</p> + +<p><i>Light Brown</i>.—Dye at the boil for one hour in a bath containing 5 lb. +Diamine catechine G, 3 lb. soda and 15 lb. Glauber's salt, then treat in +a fresh bath with 2 lb. sulphate of copper and 2 lb. bichromate of +potash.</p> + +<p><i>Dark Chestnut Brown</i>.—Dye for an hour in a boiling bath with 2¼ lb. +Diamine catechine G, 1¼ lb. Diamine fast yellow B, 3 lb. soda and 20 +lb. Glauber's salt; then fix in a fresh boiling bath with 2 lb. sulphate +of copper, 2 lb. bichromate of potash and 2 lb. acetic acid, working for +fifteen to twenty minutes, then rinsing and drying.</p> + +<p><i>Brown</i>.—Use 3 lb. Catechu brown G K, 15 lb. Glauber's salt and ½ lb. +soap; after dyeing for one hour at the boil treat in a fresh boiling +bath with 3 lb. copper sulphate.</p> + +<p><i>Dark Brown</i>.—Dye at the boil for one hour with 3 lb. Catechu brown F +K, 15 lb. Glauber's salt and 1 lb. soap, then treat in a fresh boiling +bath with 3 lb. copper sulphate.</p> + +<p><i>Brown</i>.—Prepare the dye-bath with 9 oz. Diamine blue R W, 12½ oz. +Diamine orange B, 1¾ lb. Diamine fast yellow B, 2 lb. soda and 20 lb. +Glauber's salt; after working for one hour at the boil treat in a fresh +boiling bath with 4 lb. sulphate of copper.</p> + +<p><i>Brown</i>.—Prepare the dye-bath with 4 lb. Benzo chrome<!-- Page 118 --><span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span> brown 2 R, 20 +lb. Glauber's salt (crystals) and dye at the boil for one hour; +afterwards treat with bichromate of potash and sulphate of copper.</p> + +<p><i>Nut Brown.</i>—Dye in a bath with 4 lb. Benzo chrome brown G and 20 lb. +salt, then treat in a fresh bath with 4 lb. bichromate of potash, 4 lb. +copper sulphate and 1 lb. acetic acid.</p> + +<p><i>Chestnut Brown.</i>—Dye at the boil for one hour in a bath containing 4 +lb. Benzo chrome brown R, and boiling bath with 4 lb. bichromate of +potash, 4 lb. sulphate of copper and 1 lb. acetic acid.</p> + +<p><i>Dark Olive Brown.</i>—Dye with 4 lb. Diamine bronze G, 1 lb. Diamine +orange B, 2 lb. soda and 20 lb. Glauber's salt; fix with 5 lb. sulphate +of copper and 2 lb. acetic acid.</p> + +<p><i>Deep Brown.</i>—Use in the Dye-bath 1¾ lb. Diamine brown B, 1¾ lb. +Diamine fast yellow B, ½ oz. Diamine black B H, 3 lb. soda and 20 lb. +Glauber's salt. The fixing bath contains 2 lb. sulphate of copper, 2 lb. +bichromate of potash, and 2 lb. acetic acid.</p> + +<p><i>Dark Brown.</i>—Dye with 2 lb. Diamine brown M, 1 lb. Diamine fast red F, +½ lb. Diamine jet black Cr, 3 lb. soda and 20 lb. Glauber's salt. The +fixing bath contains 2 lb. sulphate of copper, 2 lb. bichromate of +potash and 2 lb. acetic acid.</p> + +<p><i>Black Brown.</i>—Dye with 1¾ lb. Diamine dark blue B, ¾ lb. Diamine +orange B, 1¾ lb. Diamine fast yellow B, 2 lb. soda and 20 lb. +Glauber's salt, fixing with 5 lb. sulphate of copper and 2 lb. acetic +acid.</p> + +<p><i>Light Sage Brown.</i>—Dye with ¾ lb. Diamine brown B, 1½ lb. Diamine +fast yellow B, 3 oz. Diamine dark blue B, 2 lb. soda and 20 lb. +Glauber's salt, fixing with 3 lb. sulphate of copper and 1 lb. acetic +acid.</p> + +<p><i>Pale Brown.</i>—Use in the dye-bath 1 lb. Dianil brown 3 G O, 4 oz. +Dianil brown E, 4 oz. Dianil black N, 1 lb. soda and 20<!-- Page 119 --><span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span> lb. salt, +fixing with 1½ lb. sulphate of copper and 1 lb. acetic acid.</p> + +<p><i>Walnut Brown.</i>—Dye with 2½ lb. Diamine blue 3 R, 1 lb. Diamine +brown M, 2 lb. soda and 20 lb. Glauber's salt, then fix with 5 lb. +sulphate of copper and 2 lb. acetic acid.</p> + +<p><i>Pale Fawn Brown.</i>—Dye with 2 lb. Diamine blue 3 R, 1 lb. Diamine brown +M, 2 lb. soda and 20 lb. Glauber's salt, then fix with 5 lb. sulphate of +copper and 2 lb. acetic acid.</p> + +<p><i>Pale Fawn Brown.</i>—Dye with ½ lb. Diamine orange B, ¼ lb. Diamine +fast yellow B, 1 lb. soda and 10 lb. Glauber's salt, fixing with 2 lb. +sulphate of copper and 1 lb. acetic acid.</p> + +<p><i>Sage Brown.</i>—Dye with 9 oz. Diamine blue R W, ¾ lb. Diamine orange +B, 1¾ lb. Diamine fast yellow B, 2 lb. soda and 20 lb. Glauber's +salt. The fixing is done with 4 lb. sulphate of copper and 2 lb. acetic +acid.</p> + +<p><i>Red Chocolate.</i>—Dye with 3 lb. Diamine orange B, 1 lb. soda and 10 lb. +Glauber's salt; fix with 2 lb. sulphate of copper and 1 lb. acetic acid.</p> + +<p><i>Dark Chestnut.</i>—Dye with 2½ lb. Dianil brown 3 G O, 13 oz. Dianil +brown R, 13 oz. Dianil brown B D, 1 lb. soda and 20 lb. salt, fixing +with 3 lb. copper sulphate and 1 lb. acetic acid.</p> + +<p><i>Brown.</i>—Dye with 2¼ lb. Chrysophenine G, 1¼ lb. Diamine brown G, +1¼ lb. Chicago blue R W, 3 lb. soda and 20 lb. Glauber's salt; fix +with 3 lb. sulphate of copper and 2 lb. acetic acid.</p> + +<p><i>Nut Brown.</i>—Dye with 3 lb. Chromanil brown 2 G, 3 lb. soda and 20 lb. +Glauber's salt; fix with 1 lb. bichromate of potash, 3 lb. sulphate of +copper and 2 lb. acetic acid.</p> + +<p><i>Dark Grey.</i>—Dye at the boil for one hour with 1 lb. Zambesi black F, 3 +lb. soda and 10 lb. Glauber's salt; fix in a fresh boiling bath with 3 +lb. sulphate of copper, 1 lb. bichromate of potash and 10 lb. Glauber's +salt.</p> + +<p><i>Dark Grey.</i>—Dye with 3 lb. Chromanil black 4 R F, 3 lb. soda and 10 +lb. Glauber's salt; fix with 1 lb. bichromate of potash, 3 lb. sulphate +of copper and 2 lb. acetic acid.<!-- Page 120 --><span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span></p> + +<p><i>Dark Grey.</i>—Use in the dye-bath 1 lb. Diamine blue R W, ½ lb. +Diamine orange B, ¼ lb. Diamine new blue R, 2 lb. soda and 20 lb. +Glauber's salt, fixing with 4 lb. sulphate of copper and 2 lb. acetic +acid.</p> + +<p><i>Pale Greenish Grey.</i>—Dye with ¼ oz. Diamine orange B, 3 oz. Diamine +blue R W, ½ lb. soda, 2 lb. soap and 5 lb. Glauber's salt, fixing with +1 lb. sulphate of copper and ½ lb. acetic acid.</p> + +<p><i>Slate Blue.</i>—Dye with ¼ lb. Diamine dark blue B, 2 oz. Diamine new +blue R, 1 lb. soda and 10 lb. Glauber's salt; fix with 2 lb. sulphate of +copper and 1 lb. acetic acid.</p> + +<p><i>Grey.</i>—Prepare the dye-bath with 2 lb. Cross-dye black 2 B, 5 lb. soda +ash, 15 lb. common salt; after rinsing leave the cotton in the air to +age overnight, rinse again and work for half to three-quarters of an +hour at from 150° to 160° F. in a bath containing 5 lb. bichromate of +potash and 5 lb. sulphuric acid, then thoroughly rinse and dry.</p> + +<p><i>Dark Grey.</i>—Dye with 1 lb. Diamine jet black Cr, 1 lb. soda and 10 lb. +Glauber's salt, fixing with 1 lb. bichromate of potash and ½ lb. +acetic acid.</p> + +<p><i>Green Grey.</i>—Dye with 1 lb. Diamine dark blue B, 2 oz. Diamine orange +B, 4 oz. Diamine fast yellow B, 1 lb. soda and 10 lb. Glauber's salt, +fixing with 3 lb. sulphate of copper and 1 lb. acetic acid.</p> + +<p><i>Grey.</i>—Dye with 4 oz. Dianil black N, 1 lb. soda and 10 lb. salt, +fixing with 1 lb. copper sulphate and ½ lb. acetic acid.</p> + +<p><i>Black.</i>—Prepare the dye-bath with 5½ lb. Diamine jet black R B, 1 +lb. Diamine dark blue B, 20 lb. Glauber's salt; dye at the boil for one +hour, rinse and then treat the goods simmering for twenty minutes with 4 +lb. bichromate of potash.</p> + +<p><i>Black.</i>—Prepare the dye-bath with 8 lb. Chromanil black R F and 20 lb. +Glauber's salt; dye at the boil for one hour, then treat boiling hot for +about thirty minutes in a fresh bath<!-- Page 121 --><span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span> with 1 lb. bichromate of potash +and 3 lb. sulphate of copper. Add 6 lb. only of the dye-stuff to the +bath for a second batch.</p> + +<p><i>Black.</i>—Use 5 lb. Dianil black N, 5 lb. soda and 20 lb. salt; then fix +with 3 lb. copper sulphate, 3 lb. bichromate of potash and 2 lb. acetic +acid.</p> + +<p><i>Black.</i>—Use in the dye-bath 5 lb. Dianil black C R. 3 lb. caustic +soda, 36° Tw. and 20 lb. salt, fixing with 3 lb. copper sulphate, 3 lb. +bichromate of potash and 2 lb. acetic acid.</p> + +<p><i>Jet Black.</i>—Dye with 5 lb. Diamine jet black Cr, 1 lb. soda and 20 lb. +Glauber's salt, fixing with 4 lb. bichromate of potash and 2 lb. acetic +acid.</p> + +<p>It will be convenient here to deal with a small but growing and +important class of dye-stuffs which contain sulphur in their +composition, and which, therefore, are named:—</p> + + +<p><b>Sulphur or Sulphyl Colours.</b></p> + +<p>The original type of this group is Cachou de laval, sent out a good many +years ago, but of late years Vidal black, St. Dennis black, Cross-dye +blacks and drab, Immedial blacks, blues and browns, Amidazol blacks, +browns and olives, Sulfaniline black and brown, Katigen blacks, greens +and browns, etc., have been added, and the group is likely to become a +very numerous one in the future.</p> + +<p>All these colours are dyed on to the cotton or linen from baths +containing soda and salt, while some require the addition of sodium +sulphide or caustic soda in order to have the dye-stuff properly +dissolved. They are very weak dyes compared with the direct colours, and +require from 20 to 60 per cent. to produce full shades, although of this +fully one-third remains in the bath unabsorbed by the cotton. It is, +therefore, important in order to work as economically as possible to +retain the bath, bringing it up to strength by the addition of fresh +dye-stuffs, etc.<!-- Page 122 --><span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span></p> + +<p>Most of the dyes require the dyed goods to pass through a second bath of +some reagent, bichromate of potash, sulphate of copper, etc., in order +to fully develop and fix the dye on the fabric.</p> + +<p>The best method of using the various dyes of this group will be given in +the form of formulæ. Two points of importance are to use as strong a dye +liquor as possible, and to expose the cotton as little as possible to +the air during the dyeing operation. The dye-stuffs when exposed to the +air readily become oxidised, and are thereby converted into insoluble +products which become fixed on the fibre in a loose form, and in that +case the dyed fibre rubs rather badly.</p> + +<p><i>Pale Brown.</i>—Prepare a dye-bath with 15 lb. Cachou de laval, 10 lb. of +soda, and 10 lb. salt. The bath is not exhausted of colouring matter, +and by adding one-half of the above quantities of dye-stuff and salt may +be used again for another lot of cotton. After the dyeing the cotton is +passed into a fixing bath of 2 lb. bichromate of potash and 1 lb. acetic +acid, working at 180° F. ten to fifteen minutes.</p> + +<p><i>Black.</i>—Prepare the dye-bath with 200 gallons of water, 10 lb. soda, +10 lb. sulphide of sodium, 60 lb. salt and 16 lb. Immedial black V +extra. Work at the boil for one hour, keeping the cotton well under the +surface during the operation, in the case of yarns this is effected by +using bent iron rods on which to hang the hanks in the vat, in the case +of pieces by working with vats the guide rollers of which are below the +surface of the dye liquor. After the dyeing the yarn or pieces are +squeezed, well rinsed in water, then passed into the fixing bath, which +contains 2 lb. sulphate of copper, 2 lb. bichromate of potash and 3 lb. +of acetic acid, for half an hour at 170° to 180° F. Bichromate of potash +used alone gives a reddish shade of black, sulphate of copper a greenish +shade, a mixture of the two gives a greenish shade.</p> + +<p>There are three brands of Immedial black, <i>viz.</i>, V extra, G<!-- Page 123 --><span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span> extra and +F F, which vary a little in the tone of black they produce. The method +of using is identical for all three. The dye-bath is not exhausted of +colour and so should be kept standing, for each subsequent lot of cotton +add 8 lb. Immedial black and 3 lb. sulphide of soda, and to every 10 +gallons of water added to bring the bath up to volume ½ lb. soda and 3 +lb. salt.</p> + +<p>These blacks are very fast to washing, light, etc. By using smaller +quantities of dye-stuff good greys can be dyed.</p> + +<p><i>Black</i>.—Prepare the dye-bath with 10 lb. soda, 10 lb. sulphide of +sodium, 60 lb. salt and 25 lb. Vidal black, work at the boil for one +hour, then rinse and fix with 3 lb bichromate of potash and 2 lb. +sulphuric acid.</p> + +<p><i>Black</i>.—Prepare the dye-bath with 30 lb. Cross-dye black B, 10 lb. +soda, 150 lb. salt. Dissolve the dye-stuff in boiling water, then add +the soda crystals and finally the salt. Enter the previously well-boiled +cotton at about 175° F. After a few turns raise the temperature to the +boil as quickly as possible, and work for one hour (just at the boil). +Lift and thoroughly rinse without delay. (The better the cotton is +washed the clearer the ultimate shade.) After washing, wring up and let +air age for about one hour; the intensity of the black is thereby +increased.</p> + +<p>Meanwhile prepare a bath with 5 lb. bichromate of potash, 4 lb. +sulphuric acid (168° Tw.). Enter at 150° to 160° F., and work at this +for about ten minutes. After chroming, wash thoroughly to remove all +traces of acid. At this stage, the usual softening may take place if +desirable, and finally dry at a low temperature.</p> + +<p>The bath is kept up for further lots, and three-fourths the quantity of +colouring matter, and about half soda and one fourth salt are used. +Wood, or iron cisterns are most suitable, and copper pans or pipes must +be avoided.</p> + +<p>The dye-bath should be kept as short as possible, about<!-- Page 124 --><span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span> twelve to +fifteen times the amount of water on the weight of cotton is advisable. +The cotton when in the dye-bath should be exposed as little as possible +to the air.</p> + +<p>There are several brands of these Cross-dye blacks varying in the tone +of black they give.</p> + +<p><i>Black</i>.—Prepare the dye-bath with 5 lb. soda ash, 200 lb. salt and 20 +lb. Amidazol black G, this is heated to 150° F., the cotton is entered, +the heat raised to the boil, and the dyeing done for an hour at that +heat. Lift, rinse well, then pass into a chroming bath, made from 5 lb. +bichromate of potash and 3 lb. sulphuric acid, used at 160° F. for +twenty minutes, then lift, wash well and dry. The bath may be kept +standing and used for other lots of cotton by replenishing with about +two-thirds of the original weight of dye-stuff and a little soda. There +are four brands of these Amidazol blacks which dye from a jet black with +the G to a deep blue black with the 6 G brand. The G, 2 G, and 4 G, used +in small quantities, 2½ to 3 lb., dye good greys of a bluish tone, +the 6 G gives a dull blue, the 4 G and 6 G, used in the proportions of +7½ to 10 per cent., give dark blues.</p> + +<p>All these blacks may be combined with aniline black with good results as +shown in the following recipe:—</p> + +<p><i>Black</i>.—Prepare the dye-bath with 10 lb. Amidazol black 2 G, 5 lb. +soda and 100 lb. salt. Work at the boil for an hour, then rinse, pass +into a cold bath made from 2½ lb. aniline oil, 2½ lb. hydrochloric +acid, 6½ lb. sulphuric acid, 7½ lb. bichromate of potash, and +5½ lb. perchloride of iron, 66° Tw. This is used cold for an hour, +then the heat is slowly raised to 160° F., when the operation is +finished, and the cotton is taken out well rinsed and finished as usual. +Any of this class of black may be so topped with aniline black if +thought necessary A very fast black is thus got.</p> + +<p><i>Black</i>.—Make the dye-bath with 15 lb. Sulfaniline black G, 60 lb. +salt, 10 lb. soda, and 5 lb. sulphide of sodium. Work<!-- Page 125 --><span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span> at a little under +the boil, then lift, rinse well and pass into a hot bath of 3 lb. +bichromate of potash, 3 lb. sulphate of copper, and 4 lb. acetic acid +for half an hour, then lift, rinse well and dry.</p> + +<p>It has been observed in the practical application on a large scale of +these sulphur blacks that the cotton is liable to become tendered on +being stored, although there are few signs of such after the dyeing is +finished. The exact cause of this is somewhat uncertain, the most +probable reason is that during the process of dyeing a deposit of +sulphur in a fine state of division has been thrown down on the cotton +by decomposition of the dye-stuff, and that this sulphur has in time +become oxidised to sulphuric acid which then exerts its well-known +tendering action on the cotton.</p> + +<p>The remedy for this evil lies partly with the dye manufacturer and +chiefly with the dyer. The dye manufacturer should see that his product +is made as free from sulphur as possible, while the dyer by careful +attention to thorough washing, thorough fixation in the chrome, etc. +baths, tends to eliminate all sulphur from the goods, and so prevent all +possibility of the cotton becoming affected.</p> + +<p><i>Blue</i>.—Make the dye-bath with 22 lb. Immedial blue C, 13 lb. sulphide +of sodium, 50 lb. salt and 15 lb. caustic soda lye at 70° Tw. Work at +just under the boil for one hour, keeping the goods well under the +surface of the liquor. After the dyeing the goods are well rinsed in the +water and then passed into a vat which contains 1 lb. peroxide of sodium +and 1 lb. sulphuric acid. This is started cold, after about fifteen +minutes heat slowly to about 150°, work for twenty minutes, then lift, +wash and dry. For subsequent lots of cotton there only need be used 7 +lb. Immedial blue C. 2 lb. sulphide of sodium, 3 lb. salt and 1½ lb. +caustic soda lye at 70° Tw. The blue may also be developed by steaming +with air in a suitable chest or steaming chamber. By topping<!-- Page 126 --><span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span> with ¼ +lb. New methylene blue N, very bright blue shades can be dyed.</p> + +<p><i>Dark Navy.</i>—Prepare the dye-bath with 25 lb. Immedial blue C, 24 lb. +sulphide of sodium, 35 lb. common salt and 12 lb. caustic soda lye, +working at the boil for one hour, then rinse and develop in a bath made +from 2½ lb. peroxide of sodium and 2½ lb. sulphuric acid, started +cold, then after twenty minutes heated to 160° F., twenty minutes longer +at that heat will be sufficient. For second and subsequent lots of +cotton there is added to the old bath 15 lb. Immedial blue C, 4 lb. +sulphide of sodium, 5 lb. salt and 2 lb. caustic soda lye of 70° Tw.</p> + +<p><i>Blue.</i>—A pale but not very bright shade of blue is dyed in a bath of 3 +lb. Amidazol black 6 G, 5 lb. soda and 25 lb. salt. After working for +one hour at the boil, lift, rinse and pass into a bath which contains +2½ lb. peroxide of sodium and 2½ lb. sulphuric acid; this is +started cold, then heated to 150° F., and kept at that heat for twenty +minutes, when the cotton is taken out, well washed and dried.</p> + +<p><i>Deep Blue.</i>—Dye with 20 lb. Amidazol black 6 G, 5 lb. soda and 200 lb. +salt; develop with 2 lb. peroxide of sodium and 2½ lb. sulphuric +acid, working as noted above.</p> + +<p><i>Dark Drab.</i>—Prepare the dye-bath with 20 lb. Cross-dye drab, 5 lb. +soda crystals and 80 lb. salt, work at the boil for an hour, then lift, +wash well and dry; this can be chromed if desired.</p> + +<p><i>Brown.</i>—Dye with 20 lb. Amidazol cutch, 5 lb. soda ash and 150 lb. +salt, working at the boil for one hour, then lift, wash thoroughly and +dry. By after treatment in a bath of 3 lb. potassium bichromate and 3 +lb. sulphuric acid the colour is made fast to washing. The shade is not +altered.</p> + +<p><i>Buff.</i>—Dye with 2½ lb. Amidazol cutch, 5 lb. soda and 25 lb. salt, +working at the boil for one hour, then lift, wash and dry.<!-- Page 127 --><span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span></p> + +<p><i>Pale Sea Green.</i>—Dye with 4 lb. Amidazol green Y, 5 lb. soda and 25 +lb. salt, working at the boil for one hour, then lift, wash well and +dry.</p> + +<p><i>Dark Green.</i>—Dye with 20 lb. Amidazol green B, 5 lb. soda and 20 lb. +salt; work at the boil for one hour, then lift, wash thoroughly and dry.</p> + +<p><i>Dark Brown.</i>—Dye with 20 lb. Amidazol cachou, 5 lb. soda and 200 lb. +salt, working for an hour at the boil, then lift, rinse well and pass +into a chrome bath of 4 lb. potassium bichromate and 3 lb. sulphuric +acid at 50° F. for half an hour, then wash well and dry.</p> + +<p><i>Dark Sage.</i>—Dye with 20 lb. Amidazol drab, 5 lb. soda ash and 150 lb. +salt for an hour at the boil, then lift and chrome with 4 lb. potassium +bichromate and 8 lb. sulphuric acid for thirty minutes at 150° F., +washing well afterwards.</p> + +<p>All the Amidazol dyes are very fast to washing, acids, etc. They can be +treated with sulphate of copper or peroxide of sodium when they produce +good shades. They may even be diazotised and developed with +beta-naphthol and phenylene diamine. The pale tints got by using from 2 +to 4 per cent. of dye-stuff are useful ones, as also are the medium +shades with 10 per cent. of dye-stuff.</p> + +<p><i>Brown.</i>—Prepare the dye-bath with 10 lb. Sulfaniline brown 4 B, 50 lb. +salt, 10 lb. soda and 5 lb sulphide of sodium; work at the boil for one +hour, then lift, wash and treat in a fresh bath with 3 lb. potassium +bichromate and 2 lb. acetic acid at 160° F. for half an hour, then wash +well and dry.</p> + +<p><i>Olive.</i>—Dye with 10 lb. Katigen olive G, 50 lb. salt, 10 lb. soda and +6 lb. sulphide of sodium; work for one hour at the boil, then lift, wash +and treat in a fresh bath with 2 lb. bichromate of potash, 2 lb. +sulphate of copper and 2 lb. acetic acid for half an hour at the boil, +then wash.</p> + +<p><i>Dark Olive.</i>—Dye with 20 lb. Katigen olive G, 50 lb. salt, 10 lb. +soda, and 6 lb. sulphide of sodium, working at the boil<!-- Page 128 --><span class='pagenum'><a name="Page_128" id="Page_128">[Pg 128]</a></span> for one hour, +then lift, wash and dry. By chroming a darker and faster olive is got.</p> + +<p><i>Brown.</i>—Dye with 20 lb. Katigen dark brown, 50 lb. salt, 10 lb. soda +and 6 lb. sulphide of sodium at the boil for one hour, then treat in a +fresh bath with 2 lb. bichromate of potash, 2 lb. sulphate of copper and +2 lb. acetic acid for half an hour at the boil, then wash well.</p> + +<p><i>Pale Brown.</i>—Dye with 8 lb. Immedial bronze A, 2 lb. soda, 2 lb. +sulphide of sodium and 10 lb. Glauber's salt at the boil for one hour, +then lift, rinse and pass into a fresh bath containing 1 lb. bichromate +of potash and 2 lb. acetic-acid at 150° F. for half an hour, then lift, +wash and dry.</p> + +<p><i>Dark Brown</i>.—Dye with 12 lb. Immedial brown B, 5 lb. sulphide of +sodium, 5 lb. soda and 20 lb. salt at the boil for one hour, then lift +and treat in a fresh bath with 2 lb. bichromate of potash, 2 lb. +sulphate of copper and 2 lb. acetic acid.</p> + +<p>The Immedial blacks, blue, bronze and brown dye very fast shades, +standing soaping, acids and light. They may be combined together to +produce a great range of shades of blue, brown, green, grey, etc.</p> + +<p>These examples will perhaps suffice to show how this new but important +class of sulphyl colours are applied to the dyeing of cotton. They may +be topped with aniline black, indigo, basic dyes, or combined with such +direct dyes as produce shades fast to chroming to form a very great +range of shades which have the merit of fastness.</p> + + +<p>(3) DIRECT DYEING FOLLOWED BY FIXATION WITH DEVELOPERS.</p> + +<p>A large number of the dyes prepared from coal tar are called azo +colours, such for instance are the Biebrich and Croceine scarlets and +oranges, Naphthol black, Congo red, etc., <!-- Page 129 --><span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span>just to name a few. The +preparation of these is about the simplest operation of colour +chemistry, and consists in taking as the base an amido compound as the +chemist calls such. These amido compounds, of which aniline, toluidine, +benzidine, naphthylamine are familiar examples, are characterised by +containing the molecular group NH<sub>2</sub>, which radicle is built up of the +two elements nitrogen and hydrogen. All compounds which contain this +group are basic in character and combine with acids to form well-defined +salts. When these amido bodies are treated with sodium nitrite and +hydrochloric acid they undergo a chemical change, the feature of which +is that the nitrogen atoms present in the amido compound and in the +nitrite unite together and a new compound is produced which is called a +diazo compound, and the operation is called "diazotisation".</p> + +<p>For example when paranitroaniline is subjected to this reaction it +undergoes a change indicated in the chemical equation:—</p> + +<p>C<sub>6</sub>H<sub>4</sub>NO<sub>2</sub>NH<sub>2</sub>, + NaNO<sub>2</sub>, + 2HCl = Paranitroaniline, Sodium +nitrite, Hydrochloric acid.</p> + +<p>C<sub>6</sub>H<sub>4</sub>NO<sub>2</sub>N: NCl + NaCl + 2H<sub>2</sub>0 = Paranitro benzene Sodium +chloride, Water, diazo chloride.</p> + +<p>The above, put into words, means that when paranitroaniline is dissolved +with hydrochloric acid and treated with nitrite of soda it forms +diazonitro benzene chloride, sodium chloride and water. Now the diazo +compounds are rather unstable bodies, but they have a great affinity for +other compounds, such as naphthol, phenylene diamine, phenol, and +combine easily with them when brought into contact with them. The new +compounds thus made form the dye-stuffs of commerce.</p> + +<p>The azo dyes contain the characteristic group of two <!-- Page 130 --><span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span>nitrogen atoms +shown in the formula N: N. In dealing with the production of colours +direct on the fibre this subject will be elaborated more fully.</p> + +<p>Now many of the direct dyes, Diamine blacks, Diamine cutch, Primuline, +Diazo brown, Zambesi blues, browns, etc., contain amido groups, by +reason of having been made from such bodies as phenylene diamine, amido +naphthol, toluidine, etc., and it has been found that when dyed on the +fibre they are capable of being diazotised by passing the dyed fibre +into a bath of sodium nitrite acidified with hydrochloric acid, and if +then they are placed into a bath containing such a body as +beta-naphthol, phenylene diamine, etc., new compounds or dyes are +produced, which are characterised by being insoluble in water, and +therefore as formed on the fibre in the manner indicated are very fast +to washing, soaping and similar agencies.</p> + +<p>Often the new or developed dye formed on the fibre differs markedly in +colour from the original dye. Perhaps in no case is this more strongly +shown than with Primuline. The original colour is a greenish yellow, but +by using various developers, as they are called, a great variety of +shade can be got, as shown in this table.</p> + + +<p><i>Developer</i>. <i>Colour produced.</i></p> + +<p>Beta-naphthol Bright scarlet. +Alpha-naphthol Crimson. +Phenylene diamine Brown. +Phenol Gold yellow. +Resorcine Orange. +Naphthylamine ether Blue. +Blue developer A N Green.</p> + +<p>As regards the dyeing operation, it no way differs from that described +for simple direct colours. It should, however, be noted that if good +results are required full shades must be <!-- Page 131 --><span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span>dyed. The cotton must be +rinsed in cold water, and be quite cold before it is subjected to the +diazotising operation. <i>Diazotising</i> is a simple operation, yet it must +be carried out with care if good results are desired. It consists +essentially in the use of an acidulated bath of sodium nitrite.</p> + +<p>To make the bath for diazotising there is taken (for each 100 lb. of +goods) sufficient water to handle them in comfortably, 8 lb. of sodium +nitrite and 6 lb. hydrochloric acid. This bath must be quite cold +otherwise it does not work well. The goods are handled in this for from +fifteen to twenty minutes, when they are ready for the next operation. +The bath is not exhausted of nitrite, etc., hence it can be kept +standing, and for each succeeding lot of cotton it is strengthened up by +adding one-third of the quantities of nitrite and acid originally used. +Of course the bath cannot be kept for ever, sooner or later it will get +dirty, and then it must be thrown away and a new bath be made up.</p> + +<p>The diazo compounds formed on the fibre are not very stable bodies. They +decompose on being exposed for any great length of time to the air, +while light has a strong action on most, if not all of them; hence it +follows that the diazotising process should not be carried out in a room +where direct, strong sunlight can enter or fall upon the goods. Then +again, after diazotising, the treated goods should not be allowed to lie +about exposed to air and light, but the operation of developing should +be proceeded with at once, otherwise the diazo body will decompose, and +weak and defective colours are liable to be obtained on subsequent +development.</p> + +<p>For <i>developing</i>, quite a large number of substances are used. Some of +these are regular articles of commerce, others are the special +productions of certain firms, who advise their use with the dyes that +they also manufacture. These latter are sent out under such designations +as Developer B, Developer A N, or Fast-blue developer. Those most in use +are beta-naphthol for red from Primuline, and for bluish blacks from<!-- Page 132 --><span class='pagenum'><a name="Page_132" id="Page_132">[Pg 132]</a></span> +Diamine blacks, Diazo blacks, Zambesi blacks, etc.; for dark blues from +Diamine blues, Diazo blues, etc.; for greys from Diamine blues, Neutral +grey, etc. Alpha-naphthol for dark reds from Primuline, greys from +Diamine blues, Neutral grey, etc. Phenylene diamine for blacks from +Diamine blacks, Diazo blacks, Zambesi blacks, Triamine blacks, etc.; for +dark browns from Diamine browns, Diazo browns, etc.; for light browns +from Cotton browns, Diamine cutch, Primuline, etc. Naphthylamine ether +for blues from Diamine blacks, etc. Phenol for claret from Diamine +cutch, and for gold yellow from Primuline, etc. Resorcine for orange +from Primuline, etc. Soda for browns from Diamine cutch, Diazo browns, +Zambesi browns, for orange from Diamine orange, and yellow from +Primuline.</p> + +<p><b>Beta-naphthol.</b>—This is by far the most important of the developers. +It is a white body, insoluble in water, but readily soluble in soda lye, +and a solution is easily made by taking 10 lb. beta-naphthol and heating +it with 10 lb. caustic soda lye of 70° Tw. and 60 gallons of water. This +bath may be used as the developing bath, or it may be diluted with more +water. It is not desirable to use any more caustic soda than is +necessary to dissolve the beta-naphthol, so that the bath is not too +alkaline. To produce full shades it usually takes 1 per cent. of the +weight of the cotton of the beta-naphthol, but it is best to use the +bath as a continuous one and for the first lot of cotton use 2 per cent. +of naphthol, while for each succeeding lot only 1 per cent. more +naphthol need be added to the same bath.</p> + +<p>This bath is alkaline, while the diazotising bath is acid, unless, +therefore, the cotton be well washed when it is taken from the latter +bath there is a risk of the alkali of the one being neutralised by the +acidity of the other, and the naphthol being thrown out in an insoluble +form. This, of course, is easily remedied should it occur.<!-- Page 133 --><span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span></p> + +<p>Developer A (Bayer) is a mixture of beta-naphthol and caustic soda in +the powder form, so that a solution is obtained by simply adding water. +Rather more (about 1½ per cent.) of this is required than of +beta-naphthol.</p> + +<p><b>Alpha-naphthol</b> has similar properties to, and is used in the same way +as, beta-naphthol; it develops much darker and rather duller colours, +which are less fast to washing.</p> + +<p><b>Resorcine</b>, like naphthol, is insoluble in water, but it can be +dissolved by using either soda ash or caustic soda. The latter is +preferable, as the former is liable to give a developing bath that +froths in working, especially if much acid has been left in the cotton +from the diazotising bath. The proportions are: 10 lb. resorcine, 25 lb. +caustic soda lye of 70° Tw., and 60 gallons of water; or 10 lb. +resorcine, 20 lb. soda ash, and 60 gallons of water, heated until a +solution is obtained. In the developing bath 1 per cent. of resorcine is +usually sufficient to use. It develops an orange with Primuline.</p> + +<p>Developer F (Bayer) is a mixture of resorcine and soda ash. It requires +1½ per cent, to make a developing bath.</p> + +<p><b>Phenol</b>, better known as carbolic acid, finds a use as a developer. It +is dissolved in caustic soda, 10 lb. phenol, 15 lb. caustic soda lye of +70° Tw., and 60 gallons of water. Generally 1 per cent. is sufficient to +use as a developer. It is often called yellow developer.</p> + +<p><b>Naphthylamine ether</b> is used as a developer for blues in conjunction +with the Diamine blacks. It is prepared for use by dissolving in +hydrochloric acid, 10 lb. naphthylamine ether powder heated with 5 lb. +hydrochloric acid and 50 gallons water. About 1¼ per cent. is +required to form a developing bath. Naphthylamine ether is also sent out +in the form of a paste mixed with acid, and containing about 25 per +cent. of the actual developer.</p> + +<p><b>Fast blue developer A D</b> (Cassella), is amidodiphenylamine. It is +insoluble in water, but soluble in dilute acid,<!-- Page 134 --><span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span> 10 lb. fast blue +developer A D, 5 lb. hydrochloric acid and 35 gallons of water making +the bath. To develop full shades 1 to 1½ per cent, is required.</p> + +<p><b>Blue developer A N</b> (Cassella). The base of this is insoluble in water, +but dissolves in soda, and is probably a naphthol-sulpho acid. The +product, as met with in the market, is soluble in water, and 27 lb. +dissolved in 20 gallons of water form the bath. To produce full shades +1½ per cent, is usually required.</p> + +<p><b>Phenylene diamine</b> is a most important developer. It comes into the +market in two forms, as a powder, very nearly pure, made into a solution +by dissolving 10 lb. with 20 gallons of water and 5 lb. hydrochloric +acid, and as a solution prepared ready for use. Developer C (Bayer) and +developer E (Bayer) are preparations of diamine, the former in a powder, +the latter in a solution. Phenylene diamine can be used with the +addition to the developing bath of acetic acid or soda.</p> + +<p><b>Schaeffer's acid</b> is a sulpho acid of beta-naphthol, and is dissolved +by taking 10 lb. of the acid and 7½ lb. soda, boiling with 50 gallons +of water. About 1¼ per cent. is required for developing full shades.</p> + +<p>Developer B (Bayer) is ethyl beta-naphthylamine, in the form of its +hydrochloric acid compound. The bath is made from 10 lb. of the +developer and 50 gallons of water, 1¼ per cent. being used to obtain +full shades.</p> + +<p>Developer D (Bayer) is dioxy-naphthalene-sulpho acid, and simply +requires dissolving in water to make the bath.</p> + +<p><b>Toluylene diamine</b> is a homologue of phenylene diamine and is used in +precisely the same way.</p> + +<p>Generally the special developers issued by the various colour firms +simply require dissolving in water to form the developing bath.</p> + +<p>The cotton, previously being passed through the diazo<!-- Page 135 --><span class='pagenum'><a name="Page_135" id="Page_135">[Pg 135]</a></span>tising bath, is +then run into the developing bath, in which it is kept for from twenty +to thirty minutes or until the required shade is fully developed, after +which it is taken out, rinsed and dried. The method of working is the +same for all the developers, and may be carried out in any kind of +vessels. As is indicated above, the developing baths may be kept +standing and be freshened up as required; they are used cold. Sometimes +two developers are mixed together, in which case care should be taken +that an alkaline developer naphthol or phenol be not mixed with an acid +developer (phenylene diamine, naphthylamine, etc.), unless the acidity +of the latter has been neutralised with soda; otherwise the developer +might be thrown out of the bath in an insoluble and hence useless form.</p> + +<p>The advantages of the diazotising and developing process just described +may be summed as—easy and quick working, superior fastness to washing, +soaping and milling, increased fastness to light and softness of the +dyed fibre.</p> + +<p><i>Scarlet.</i>—Dye with 3 lb. Primuline and 20 lb. salt, at the boil for +one hour, diazotise and develop with beta-naphthol.</p> + +<p><i>Crimson.</i>—Dye with 3 lb. Primuline and 20 lb. salt, then diazotise and +develop with alpha-naphthol.</p> + +<p><i>Red Brown.</i>—Dye with 4 lb. Primuline and 20 lb. salt, then diazotise +and develop with phenylene diamine.</p> + +<p><i>Deep Orange.</i>—Dye with 3 lb. Primuline and 20 lb. salt, then diazotise +and develop with resorcine.</p> + +<p><i>Pale Orange.</i>—Dye with 3 lb. Primuline and 20 lb. salt, then diazotise +and develop with phenol.</p> + +<p><i>Sage Brown.</i>—Dye with 6 lb. Primuline, 3 lb. Titan ingrain blue and 20 +lb. salt, then diazotise and develop with resorcine.</p> + +<p><i>Dark Maroon.</i>—Dye with 6 lb. Primuline, 3 lb. Titan ingrain blue and +20 lb. salt, then diazotise and develop with beta-naphthol.<!-- Page 136 --><span class='pagenum'><a name="Page_136" id="Page_136">[Pg 136]</a></span></p> + +<p><i>Dark Crimson.</i>—Dye with 5¾ lb. Primuline, ¼ lb. Titan ingrain +blue and 20 lb. salt, then diazotise and develop with beta-naphthol.</p> + +<p><i>Dark Blue.</i>—Dye with 3 lb. Zambesi blue B X, 2 lb. soda and 20 lb. +Glauber's salt, then diazotise and develop with amidonaphthol ether.</p> + +<p><i>Dark Brown.</i>—Dye with 8 lb. Zambesi brown 2 G, 2 lb. soda and 20 lb. +Glauber's salt, then diazotise and develop with toluylene diamine.</p> + +<p><i>Blue Black.</i>—Dye with 4 lb. Zambesi blue B X, 2 lb. Zambesi black D, 2 +lb. soda and 20 lb. salt, then diazotise and develop with ¾ lb. +toluylene diamine and ½ lb. beta-naphthol.</p> + +<p><i>Red.</i>—Dye with 4½ lb. Primuline, ½ lb. Diamine fast yellow A and +20 lb. salt, then diazotise and develop with beta-naphthol.</p> + +<p><i>Dark Brown.</i>—Dye with 4 lb. Primuline, 1 lb. Diamine azo blue R R, and +20 lb. salt, then diazotise and develop with beta-napthol.</p> + +<p><i>Deep Chestnut Brown.</i>—Dye with 5 lb. Diamine cutch, 1 lb. soda and 20 +lb. Glauber's salt, then diazotise and develop by passing for twenty +minutes in a boiling bath of soda.</p> + +<p><i>Dark Brown.</i>—Dye with 4 lb. Diamine cutch, 1 lb. Diamine black B H, 2 +lb. soda and 20 lb. Glauber's salt, then diazotise and develop with +phenol.</p> + +<p><i>Black Brown.</i>—Dye with 1 lb. Diamine brown M, 1½ lb. Primuline, 1 +oz. Diamine black B H, 2 lb. soda and 20 lb. Glauber's salt, then +diazotise and develop with phenylene diamine.</p> + +<p><i>Blue.</i>—Dye with 2 lb. Diaminogene blue B B, ½ lb. soda and 20 lb. +Glauber's salt, then diazotise and develop with beta-naphthol. A dark +blue is got by using 8 lb. of Diaminogene blue B B in the same way.</p> + +<p><i>Dark Blue.</i>—Prepare the dye-bath with 1½ lb. Diaminogene<!-- Page 137 --><span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span> blue B B, +1-1/10 lb. Diamine azo blue R R, 2 lb. soda and 20 lb. Glauber's salt. +Dye at the boil for one hour, rinse slightly in cold water, then enter +into a fresh cold bath prepared with 4 lb nitrite of soda previously +dissolved in water, and 12½ lb. hydrochloric acid. For subsequent +lots in the same bath one-third of these additions is sufficient. After +diazotising rinse the goods in a bath weakly acidulated with +hydrochloric or sulphuric acid, and then immediately develop with +beta-naphthol.</p> + +<p><i>Black.</i>—Prepare the dye-bath with 3 lb. Triamine black B, 15 lb. +Glauber's salt, in fifty gallons of water. Dye exactly as in the +preceding recipe. Wash and rinse very thoroughly after lifting, then +diazotise in a bath of about 250 gallons of cold water, to which add +separately 2½ lb. sodium nitrite dissolved in five times its bulk of +water and 8 lb. hydrochloric acid diluted. Enter the damp cotton and +treat it for about half an hour. Lift, pass through a weak acid bath, +rinse, and develop immediately in a bath of about 250 gallons of cold +water, containing 1 lb. developer T, 1 lb. soda, previously dissolved +together in hot water. Enter the damp goods, work well for half an hour, +then lift, wash and dry.</p> + +<p><i>Blue Black.</i>—Dye with 4 lb. Diamine black B H, 2 lb. soda and 10 lb. +Glauber's salt, then diazotise and develop with naphthylamine ether.</p> + +<p><i>Dark Navy.</i>—Dye with 3 lb. Diamine azo blue R R, 2 lb. soda and 10 lb. +Glauber's salt, then diazotise and develop with beta-naphthol.</p> + +<p><i>Light Chestnut Brown.</i>—Dye with 2 lb. Cotton brown N, 1 lb. diamine +fast yellow A, 1 lb. soda and 10 lb. salt, then diazotise and develop +with phenylene diamine.</p> + +<p><i>Dark Brown.</i>—Dye with 5 lb. Diamine cutch, 3 lb. soda and 20 lb. +Glauber's salt, then diazotise and develop with fast blue developer A D.</p> + +<p><i>Black.</i>—Dye with 4 lb. Diamine black B H, 3 lb. soda and<!-- Page 138 --><span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span> 20 lb. +Glauber's salt, diazotise and develop with 2 lb. resorcine and 1 lb. +phenylene diamine.</p> + +<p><i>Blue Black.</i>—Dye with 4 lb. Diaminogene B, 2 lb. soda and 20 lb. +Glauber's salt, then diazotise and develop with beta-naphthol.</p> + +<p><i>Black.</i>—Dye with 4½ lb. Diaminogene B, ½ oz. Diamine fast yellow +B, 3 lb. soda and 20 lb. Glauber's salt, then diazotise and develop with +3 lb. resorcine and 1 lb. phenylene diamine.</p> + +<p><i>Light Blue.</i>—Dye with 1½ lb. Diaminogene blue B B, 1 lb. soda and +10 lb. Glauber's salt, then diazotised and develop with beta-naphthol.</p> + +<p><i>Maroon.</i>—Dye with 6 lb. Primuline and 20 lb. salt, diazotise and +develop with blue developer A N.</p> + +<p><i>Olive Brown.</i>—Dye with 5½ lb. Diamine cutch, 3 lb. soda and 10 lb. +Glauber's salt, then diazotise and develop with fast blue developer A D.</p> + +<p><i>Gold Brown.</i>—Dye with 1 lb. Cotton brown N, ¾ lb. Diamine bronze G, +2 lb. soda and 10 lb. Glauber's salt, then diazotise and develop with +phenylene diamine.</p> + +<p><i>Walnut Brown.</i>—Dye with 3 lb. Diamine brown M, 3 lb. soda and 20 lb. +Glauber's salt, then diazotise and develop with beta-naphthol.</p> + +<p><i>Brown.</i>—Dye with 1½ lb. Diamine brown M, 1 lb. Diamine fast yellow +B, 1 lb. cotton brown N, 1 lb. soda and 10 lb. Glauber's salt, then +diazotise and develop with phenylene diamine.</p> + +<p><i>Dark Plum.</i>—Dye with 3 lb. Diamine brown V, 1 lb. soda and 10 lb. +Glauber's salt, then diazotise and develop with beta-naphthol.</p> + +<p><i>Black Brown.</i>—Dye with 3 lb. Diamine cutch, 3 lb. Diamine black B H, 8 +lb. soda and 20 lb. Glauber's salt, then diazotised and develop with +phenylene diamine.</p> + +<p><i>Blue Black.</i>—Dye with 4½ lb. Diamine black R O, 3 lb. soda and 20 +lb. Glauber's salt, then diazotise and develop with beta-naphthol.<!-- Page 139 --><span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span></p> + +<p><i>Blue Black.</i>—Dye with 4½ lb. Diamine black R O, 3 lb. soda and 20 +lb. Glauber's salt, then diazotise and develop with naphthylamine ether.</p> + +<p><i>Blue Black.</i>—Dye with 5 lb. Diamine black B O, 3 lb. soda and 20 lb. +Glauber's salt, then diazotise and develop with beta-naphthol.</p> + +<p><i>Dark Blue.</i>—Dye with 4 lb. Diamine black R O, 3 lb. soda and 20 lb. +Glauber's salt, then diazotise and develop with blue developer A N.</p> + +<p><i>Black.</i>—Dye with 5 lb. Diamine black R O, 1 oz. Diamine bronze G, 3 +lb. soda and 20 lb. Glauber's salt, then diazotise and develop with +phenylene diamine.</p> + +<p>The Diamine blacks are a range of very useful dye-stuffs, and by their +means alone and in conjunction with the various developers as seen in +the examples given above a range of useful shades of blue, navy blue, +and blacks of every tone can be obtained. It may also be added that many +of the direct dyes, although not diazotisable, are not altered by the +process and so may be used along with diazotisable dyes for the purpose +of shading them, and in that way a great range of shades can be +produced, particularly by combining Primuline with other dyes.</p> + + +<p>(4) DIRECT DYEING FOLLOWED BY FIXATION WITH COUPLERS.</p> + +<p>A further development in the application of the direct dyes has of late +years been made. This is a two-bath method. The cotton is dyed with +certain of the direct dyes: Primuline, Diamine jet blacks, Diazo blacks, +Toluylene orange and brown, Diazo brown, Diamine nitrazol dyes, Benzo +nitrol dyes, etc., in the usual way. Then a bath is prepared by +diazotising paranitroaniline, benzidine, metanitraniline, dianisidine, +etc., or by using the ready diazotised preparations which are now on the +market, Nitrazol C, Azophor red P N, Azophor blue<!-- Page 140 --><span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span> P N, etc., and +immersing the dyed cotton in this bath. Combination takes place between +the dye on the fibre and the diazo compound in this bath, and a new +product is produced direct on the fibre, which being insoluble is very +resistant to washing and soaping. These "coupled" shades, as they will +probably come to be called, differ from those produced on the fibre by +the original dye-stuff, thus the Diamine jet blacks and some of the +Diazo blacks give, with paranitroaniline, browns of various shades.</p> + +<p>In this section also may be considered the method of dyeing cotton by +using the direct colours in the ordinary way, and then "topping," as it +is called, with a basic dye in a fresh bath.</p> + +<p>Practically in the "coupling process" of dyeing only diazotised +paranitroaniline is used as the coupler, although other amido bases of a +similar nature are available.</p> + +<p>When paranitroaniline is used as the source for the coupling bath it is +well to prepare a stock bath of diazotised paranitroaniline, which may +be done in the following manner:—</p> + +<p><b>Preparation of diazotised paranitroaniline.</b>—Take 1 lb. +paranitroaniline, mix with 1 gallon boiling water and 1 quart +hydrochloric acid, stir well, when the paranitroaniline will dissolve +the solution may if necessary be assisted by a little heat. Now add +1½ gallons of cold water, and set aside to cool, when the +hydrochloride of paranitroaniline will separate out in the form of fine +crystals; when the mixture is quite cold (it cannot be too cold) there +is added ½ lb. sodium nitrite dissolved in ½ gallon cold water, stir +well for fifteen to twenty minutes, by the end of which time the +paranitroaniline will have become fully diazotised, cold water is added +to bring up the volume of the mixture to 10 gallons. This stock bath +well prepared and kept in a cool, dark place will keep good for three to +four weeks. This bath contains 1 lb. of paranitroaniline in 10 gallons, +and it is a good rule<!-- Page 141 --><span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span> to allow ½ lb., or 5 gallons of this stock bath +to each pound of dye-stuff used in dyeing the ground colour to be +developed up.</p> + +<p>To prepare the coupling bath there is taken 5 gallons of the stock bath, +1 lb. sodium acetate with sufficient water for each 1 lb. of dye that +has been used.</p> + +<p>This bath is used cold, and the cotton is worked in it for half an hour, +then it is taken out, washed well and dried.</p> + +<p>Nitrazol C is a ready prepared diazotised paranitroaniline in a powder +form which keeps well if stored in a dry place. The method of using is +to take 8 lb. Nitrazol C, stir into a paste with water and then add this +paste to the coupling bath, together with 2 lb. soda and ¾ lb. acetate +of soda. This bath is used cold and the dyed cotton is immersed in it +for half an hour, then taken out, well washed and dried.</p> + +<p>The quantity of Nitrazol C given will suffice for all shades dyed with +from 2 to 4 per cent, of dye-stuff, but when paler shades are dyed, +using less than say ½ per cent. of dye-stuff, about 4 lb. Nitrazol C, +with the soda and acetate of soda in proportionate quantities, may be +used.</p> + +<p>Azophor red P N is also a preparation of diazotised paranitroaniline in +the form of a dry powder which keeps well.</p> + +<p>To prepare the coupling bath there is taken 2 lb. of Azophor red P N, +which is dissolved in water and added to the bath along with 1 lb. +acetate of soda. The dyed goods are worked in the cold bath for half an +hour, then taken out, well washed and dried.</p> + +<p>The quantities given are sufficient for shades dyed with 2 to 4 per +cent. of dye-stuff; for weaker shades half the quantities may be taken.</p> + +<p>Benzo-nitrol developer is sold in the form of a yellow paste. To use it +take 5 lb., stir into a smooth paste with water, then add to the +coupling bath. There is then added <!-- Page 142 --><span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span>3 pints of hydrochloric acid, with +some stirring. Allow to stand for half an hour, add 1½ lb. acetate of +soda and 6½ oz. soda, when the bath is ready for use. The cotton is +entered and worked for half an hour, then lifted out, washed and dried.</p> + +<p>It may be mentioned that solutions of the three couplers just named may +be kept for some time without decomposition, but as soon as soda and +acetate of soda are added they begin to decompose and then cannot be +kept more than a few hours in a good condition. It is a good plan +therefore not to add the acetate of soda until the bath is to be used.</p> + +<p>An excess of coupler in the bath does no harm, but a deficiency may lead +to poor and weak shades being developed.</p> + +<p>The following recipes show the dyes which may be applied by this method +and give some idea of the colours that can be got. Only the dye-stuffs +are given. Any of the above couplers can be used with them as may be +most convenient.</p> + +<p><i>Black</i>.—Dye with 5 lb. Benzo-nitrol black B, 1 lb. soda and 20 lb. +Glauber's salt.</p> + +<p><i>Olive Green.</i>—Dye with 6 lb. Primuline, 3 lb. Titan ingrain blue and +20 lb. salt.</p> + +<p><i>Black</i>.—Dye with 4 lb. Dianil black C R, 2 lb. soda and 25 lb. salt.</p> + +<p><i>Dark Blue.</i>—Dye with 2 lb. Dianil dark blue R, 1 lb. Dianil dark blue +3 R, 2 lb. soda and 25 lb. salt.</p> + +<p><i>Gold Brown.</i>—Dye with 1 lb. Primuline, 8 oz. Dianil brown R and 20 lb. +salt.</p> + +<p><i>Chestnut</i>.—Dye with 3 lb. Primuline, ¾ lb. Dianil brown G O, 1 lb. +Dianil brown E, 1 lb. soda and 20 lb. salt.</p> + +<p><i>Dark Brown.</i>—Dye with 1 lb. Dianil brown 3 G O, 3 lb. Dianil brown D, +1 lb. soda and 20 lb. salt.</p> + +<p><i>Dark Green.</i>—Dye with 4 lb. Primuline, 1½ lb. Dianil black C R, 1 +lb. soda and 20 lb. salt.</p> + +<p><i>Walnut Brown.</i>—Dye with 1 lb. Dianil brown 3 G O, 8 oz. Dianil brown +R, 3 lb. Dianil brown B D, 1 lb. soda, and 20 lb. salt.<!-- Page 143 --><span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span></p> + +<p><i>Light Green</i>.—Dye with 3 lb. Primuline, 8 oz. Dianil blue B, 5 oz. +Dianil dark blue R, 1 lb. soda, and 20 lb. salt.</p> + +<p><i>Orange Yellow</i>.—Dye with 3¼ lb. Primuline, 1 lb. Oxydianil yellow, +and 25 lb. salt.</p> + +<p><i>Olive</i>.—Dye with 3½ lb. Primuline, 8 oz. Dianil brown 3 G O, 8 oz. +Dianil blue B, 4 oz. Dianil dark blue R, 1 lb. soda, and 25 lb. salt.</p> + +<p><i>Bright Yellow.</i>—Dye with 2 lb. Primuline, and 20 lb. salt.</p> + +<p><i>Gold Yellow.</i>—Dye with 2 lb. Diamine fast yellow A, 1 lb. soda, and 20 +lb. salt.</p> + +<p><i>Bright Walnut.</i>—Dye with ½ lb. Diamine nitrazol brown B, 1 lb. +Oxydiamine orange R, 1 lb. soda, and 20 lb. Glauber's salt.</p> + +<p><i>Gold Brown.</i>—Dye with ½ lb. Diamine nitrazol brown G, 1 lb. +Primuline, and 20 lb. salt.</p> + +<p><i>Green</i>.—Dye with 2 lb. Primuline, 1 lb. Diamine nitrazol black B, 1 +lb. soda and 20 lb. salt.</p> + +<p><i>Pale Chestnut.</i>—Dye with 1 lb. Primuline, ½ lb. Oxydiamine orange R +and 20 lb. salt.</p> + +<p><i>Moss Brown,</i>—Dye with 2 lb. Primuline, 1 lb. diamine jet black O O and +20 lb. salt.</p> + +<p><i>Chocolate</i>.—Dye with 1½ lb. Diamine brown V, 2 lb. Diamine nitrazol +brown R D, 2 lb. soda and 20 lb. Glauber's salt.</p> + +<p><i>Olive Brown.</i>—Dye with 2 lb. Diamine nitrazol brown G, 1 lb. Diamine +nitrazol black B, 1 lb. soda and 20 lb. Glauber's salt.</p> + +<p><i>Russian Green.</i>—Dye with 2 lb. Diaminogene extra, 2 lb. soda and 20 +lb. Glauber's salt.</p> + +<p><i>Bronze Green.</i>—Dye with 2 lb. Diamine grey G, 2 lb. soda and 20 lb. +Glauber's salt.</p> + +<p><i>Terra-cotta Bed.</i>—Dye with 2 lb. Oxydiamine orange R, 1 lb. soda and +20 lb. Glauber's salt.</p> + +<p><i>Terra-cotta Brown</i>.—Dye with 2 lb. Diamine nitrazol brown R D, 1 lb. +soda and 20 lb. Glauber's salt.<!-- Page 144 --><span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span></p> + +<p><i>Olive Green.</i>—Dye with 1 lb. Primuline, 2 lb. Diamine bronze G, 1 lb. +soda and 20 lb. Glauber's salt.</p> + +<p><i>Dark Green.</i>—Dye with 1 lb. Primuline, 2 lb. Diamine nitrazol black B, +2 lb. soda and 20 lb. salt.</p> + +<p><i>Sage Brown.</i>—Dye with 1 lb. Primuline, 2 lb. Diamine jet black O O, 1 +lb. soda and 20 lb. salt.</p> + +<p><i>Black Brown.</i>—Dye with 1 lb. Diamine brown V, 2 lb. Diamine nitrazol +black B, 2 lb. soda and 20 lb. Glauber's salt.</p> + +<p><i>Dark Walnut.</i>—Dye with 1 lb. Diamine brown V, 2 lb. Oxydiamine orange +R, 2 lb. soda and 20 lb. Glauber's salt.</p> + +<p><i>Pale Sage.</i>—Dye with 1 lb. Diamine brown V, 2 lb. Primuline, 1 lb. +soda and 20 lb. salt.</p> + +<p><i>Brown.</i>—Prepare the dye-bath with 3 lb. Diamine jet black O O, 20 lb. +Glauber's salt, 2 lb. soda. Dye at the boil for one hour.</p> + +<p><i>Brown.</i>—Prepare the dye-bath with ¾ lb. Benzo nitrol brown G, 20 lb. +Glauber's salt, 2 lb. soda. Dye for one hour at the boil.</p> + +<p><i>Dark Brown.</i>—Prepare the dye-bath with 2 lb. Benzo nitrol dark brown +N, 20 lb. Glauber's salt, 2 lb. soda. Dye for one hour at the boil.</p> + +<p><i>Brown.</i>—Prepare the dye-bath with 4 lb. Direct fast brown B, 20 lb. +Glauber's salt, 2 lb. soda. Dye for one hour at the boil.</p> + +<p><i>Brown.</i>—Prepare the dye-bath with 1 lb. 11 oz. Diamine jet black O O, +2 lb. Cotton brown N, 1 lb. 5 oz. Diamine brown V, 20 lb. Glauber's +salt, 2 lb. soda. Dye at the boil for one hour.</p> + +<p><i>Brown.</i>—Prepare the dye-bath with 2 lb. Diamine bronze G, 6½ oz. +Cotton brown N, 9¾ oz. Diamine fast yellow A, 20 lb. Glauber's salt, +2 lb. soda.</p> + +<p><i>Black.</i>—Prepare the dye-bath with 5 lb. Pluto black B, 20 lb. +Glauber's salt, 2 lb. soda. Dye for one hour at the boil.<!-- Page 145 --><span class='pagenum'><a name="Page_145" id="Page_145">[Pg 145]</a></span></p> + +<p>Solidogen A is a new coupler that has latterly been applied. It is a +syrupy liquid, and the coupling bath is made by taking from 4 lb. to 6 +lb. of the Solidogen A, and 1 lb. to 2 lb. of hydrochloric acid, in +place of which 3 lb. to 5 lb. alum may be used. This bath is used at the +boil, the goods being treated for half an hour, then well rinsed and +dried. It increases the fastness of the colours to washing and soaping.</p> + +<p>The following recipes show its application:—</p> + +<p><i>Bright Bed.</i>—Dye with 3 lb. Dianil red 4 B, 2 lb. soap, 3 lb. soda and +15 lb. Glauber's salt, then fix with Solidogen A.</p> + +<p><i>Scarlet.</i>—Dye with 3 lb. Dianil scarlet G, 2 lb. soda and 25 lb. salt; +fix with Solidogen A.</p> + +<p><i>Plum.</i>—Dye with 3 lb. Dianil claret B, 5 lb. soda and 10 lb. Glauber's +salt, then fix with Solidogen A.</p> + +<p><b>Topping with Basic Dyes.</b>—The shades dyed with the direct dyes may be +materially brightened and new shades produced by topping with any of the +basic dyes, which are applied in a fresh warm bath. A great variety of +effects may be thus got of which the following recipes give a few +examples:—</p> + +<p><i>Green.</i>—Dye with 1 lb. Titan yellow G and 20 lb. salt; top with ½ +lb. Brilliant green.</p> + +<p><i>Blue.</i>—Dye with 1¾ lb. Diamine azo blue R, 1 lb. soda and 20 lb. +Glauber's salt, then top with 2 oz. New Methylene blue N.</p> + +<p><i>Bright Blue.</i>—Dye with ¾ lb. Diamine brilliant blue G, 1 lb. soda +and 10 lb. Glauber's salt; top with 2 oz. New Methylene blue 3 R.</p> + +<p><i>Blue.</i>—Dye with 1 lb. Diamine sky blue, 1 lb. soda and 10 lb. +Glauber's salt, and top with 4 oz. Brilliant green.</p> + +<p><i>Bose Lilac.</i>—Dye with 1½ oz. Diamine violet N, 1 lb. soda and 10 +lb. Glauber's salt, then top with 2 oz. Tannin heliotrope.</p> + +<p><i>Green.</i>—Dye at the boil for one hour with 2 lb. Benzo<!-- Page 146 --><span class='pagenum'><a name="Page_146" id="Page_146">[Pg 146]</a></span> green G and 10 +lb. Glauber's salt, then top in a fresh bath with ½ lb. Turquoise blue +B B.</p> + +<p><i>Violet.</i>—Dye with 5 oz. Diamine violet N, 2 oz. Diamine brilliant blue +G, 1 lb. soda and 10 lb. salt, and top with 1 oz. Methyl violet 2 B.</p> + +<p><i>Plum.</i>—Dye with 1½ lb. Oxydiamine violet B, 5 oz. Diamine red 10 B, +2 lb. soda and 10 lb. Glauber's salt, then top with 1½ oz. Methyl +violet R.</p> + +<p><i>Bright Green.</i>—Dye with 1¼ lb. Diamine green G, 1¼ lb. +Oxydiamine yellow G G, 2 lb. soda and 10 lb. Glauber's salt, then top +with 2 oz. Brilliant green.</p> + +<p><i>Blue.</i>—Dye with 2 lb. Benzo azurine G, 3 oz. Brilliant azurine B, 1 +lb. soda and 20 lb. Glauber's salt, topping with 6 oz. Turquoise blue G +and 3 oz. New Victoria blue B.</p> + +<p><i>Dark Lilac.</i>—Dye with 3¾ lb. Heliotrope B B, 1 lb. soda and 20 lb. +Glauber's salt, then top with 1 lb. Methyl violet R, and ½ lb. Methyl +violet 3 R.</p> + +<p><i>Scarlet.</i>—Dye with 3 lb. Brilliant Congo R, 3 lb. soda and 20 lb. +Glauber's salt, then top with 8 oz. Safranine.</p> + +<p><i>Bright Green.</i>—Dye with 3 lb. Chrysamine G, 2 lb. soap and 10 lb. +phosphate of soda, topping with ¾ lb. Malachite green.</p> + +<p><i>Bright Violet.</i>—Dye with 1½ lb. Chicago blue 6 B, 1 lb. soda and 20 +lb. Glauber's salt, topping with 10 oz. Methyl violet B.</p> + +<p><i>Dark Green.</i>—Dye with 2 lb. Columbia green, 3 lb. soda and 10 lb. +Glauber's salt, topping with 10 oz. Malachite green.</p> + +<p><i>Claret.</i>—Prepare a dye-bath with ¾ oz. Diamine black R O, 2½ lb. +Benzo purpurine 6 B, 10 lb. Glauber's salt. Dye at the boil for one +hour, then enter in a fresh cold bath of ½ lb. Safranine G. Work for +twenty minutes, lift, wash and dry.</p> + +<p><i>Seal Brown.</i>—Make up a dye-bath with 2 lb. Benzo azurine G, 20 lb. +Glauber's salt. Enter yarn at 180° F., dye at the boil for one hour, +lift, wring, and enter into a fresh bath of<!-- Page 147 --><span class='pagenum'><a name="Page_147" id="Page_147">[Pg 147]</a></span> 1½ lb. Bismarck brown. +Work for one hour at about 180° F., lift, rinse well and dry.</p> + + +<p>(5) DYEING ON TANNIC MORDANT.</p> + +<p>The oldest group of coal-tar dyes are the basic dyes, of which Magenta, +Brilliant green, Chrysoidine, Bismarck brown, Auramine are typical +representatives. For a long time these dyes were only used for dyeing +wool and silk; for cotton, linen, and some other vegetable fibres they +have little or no affinity, and hence cannot dye them direct. However, +it was found out that if the cotton be prepared or mordanted (as it is +called) with tannic acid or with any substance containing that compound +they could be used for dyeing cotton.</p> + +<p>The mordant used, tannic acid, has the property of combining with the +dyes of this group to form insoluble coloured tannates. Now tannic acid +has a certain amount of affinity for cotton, if the latter be immersed +in solution of tannic acid or any material containing it some of the +latter is taken up and more or less fixed by the cotton fibre. Tannic +acid is a vegetable product found in a large number of plants, and plant +products, such as sumac, myrabolams, divi-divi, galls, oak bark, +gambier, cutch, algarobilla, valonia, etc., which are commonly known as +tannins, or tannin matters, on account of their use in the conversion of +animal skins or hides into leather, which is done in the tanning +industry.</p> + +<p>By itself the tannin-colour lake, which may be formed on the cotton +fibre by immersion first in a bath of tannin and then in a dye-bath, is +not fast to washing and soaping, but by taking advantage of the fact +with such metals as tin, iron, antimony, etc., it combines to form +insoluble tannates; the tannic acid can be fixed on the cotton by +immersion in a bath containing such fixing salts as tartar emetic, tin +crystals, copperas, antimony fluoride, and antimony oxalate. The dye<!-- Page 148 --><span class='pagenum'><a name="Page_148" id="Page_148">[Pg 148]</a></span>ing +of cotton with the basic colours therefore resolves itself into three +operations:—</p> + +<p>(1) Tanning with tannic acid or some tanning matters.</p> + +<p>(2) Fixation with tartar emetic or other fixing agent.</p> + +<p>(3) Dyeing with the required colour or mixture of colours.</p> + +<p>(1) <b>The Tanning Operation.</b>—The practice of tanning or mordanting +cotton with tannin is variously carried on by dyers. Some steep the +cotton in the tannin bath over night, others immerse it from two to +three hours in a lukewarm bath, while some enter it in a boiling bath, +which is then allowed to cool down and the cotton is lifted out. The +last is perhaps the quickest method, and experiments have shown that it +is as good as any other method, if the quantity of tannic acid taken up +be regarded as the criterion of success.</p> + +<p>In the natural products which have just been enumerated, the tannic acid +is accompanied by some colouring matter, which is also absorbed by the +cotton; in some (sumac and galls) this colour is present in but small +quantities; in others (divi-divi, myrabolams, algarobilla), there is a +large quantity; therefore cotton treated with these comes out more or +less coloured. Now it is obvious that such forms of tannin cannot be +used when light tints are to be dyed, for such the acid itself must be +used, for medium shades sumac or galls may be used; while when dark +shades—browns, maroons, dark greens, navy blues, etc., are to be dyed, +then such tannin matters as divi-divi or myrabolams may be conveniently +and economically adopted. The quantity used varies according to +circumstances; the character of the shades that are to be dyed, the +dye-stuff used, the quality and character of the tannin matter used. For +pale shades about 1 per cent. of tannic acid may be used, deep shades +require from 3 to 4 per cent. Of tannin matters from 5 per cent. may be +used for pale shades, from 20 to 25 per cent. for deep shades. The<!-- Page 149 --><span class='pagenum'><a name="Page_149" id="Page_149">[Pg 149]</a></span> +tannin baths are not exhausted, and may be kept standing, adding for +each succeeding lot of cotton from ½ to ¾ of the above quantities of +tannin matters. Of course sooner or later the baths become unusable from +various causes, and then they may be thrown away; but old tannin baths +often work better than the new ones.</p> + +<p>(2) <b>The Fixing Bath.</b>—Following on the tannin bath comes the fixing +bath to fix the tannin on the cotton in the form of insoluble metallic +tannates. A variety of metallic salts may be used for this purpose, +those of antimony, tin, iron, lead, etc., the substances most commonly +used being tartar emetic, antimony fluoride, oxalate of antimony, tin +crystals and copperas.</p> + +<p>Beyond forming the insoluble tannate of antimony or tin, as the case may +be, the salts of antimony and tin have no further effect on the tanned +cotton, and they may be used to fix the tannin for all tints or shades, +from very pale to very deep. Of all these salts tartar emetic has been +found to be the best, probably because it is the least acid in its +reactions, and therefore there is no tendency to remove any tannin from +the fibre, as is the case with the other salts. Tin salt is little used +for this purpose, because of its acidity, which prevents it from fixing +the tannin as completely as is the case with tartar emetic.</p> + +<p>With copperas or iron liquor the question comes up not only of the mere +fixation of the tannin, but also the fact that iron forms with tannin +grey to black compounds, hence cotton which has been tanned and then +immersed in a bath of copperas becomes coloured grey to black, according +to the quantity of the tannin matter used. The property is useful when +dark shades of maroons, clarets, greens, browns, blues, etc., are to be +dyed, and is frequently employed.</p> + +<p>(3) <b>Dyeing.</b>—After the tannin and fixing operations comes the dyeing. +This is not by any means a difficult operation.<!-- Page 150 --><span class='pagenum'><a name="Page_150" id="Page_150">[Pg 150]</a></span> It is best carried out +by preparing a cold bath, entering the prepared or mordanted cotton in +this and heating slowly up. It is not necessary to raise to the boil nor +to maintain the dye-bath at that heat, a temperature of 180° F. being +quite sufficient in dyeing with the basic colours, and the operation +should last only until the colouring matter is extracted from the +dye-bath. Working in this way, level uniform shades can be got.</p> + +<p>One source of trouble in the dyeing of basic dyes, more especially with +magentas, violets and greens, lies in their slight solubility and great +strength. In preparing solutions of such dyes it is best to dissolve the +dye-stuff by pouring boiling water over it, and stirring well until all +appears to be dissolved.</p> + +<p>This solution should be strained through a fine cloth, as any +undissolved specks will be sure to fix themselves on the cloth and lead +to dark spots and stains, as, owing to the weak solubility of the dye, +and this being also fixed as insoluble tannate by the tannic acid on the +fibre, there is no tendency for the dye to diffuse itself over the +cloth, as occasionally happens in other methods of dyeing. No advantage +is gained by adding to the dye-bath such substances as common salt or +Glauber's salt.</p> + +<p>Some few of the dyes, <i>e.g.</i>, Soluble blue, Victoria blue, which will +dye on a tannic mordant, are sulphonated compounds of the colour base. +These can be dyed in medium or light shades on to unmordanted cotton +from a bath containing alum, and in the ordinary method of dyeing the +addition of alum is beneficial, as tending to result in the production +of deep shades. These are somewhat faster to washing and soaping, which +is owing to the dye-stuff combining with the alumina in the alum to form +an insoluble colour lake of the sulphuric acid groups it contains.</p> + +<p>Many recipes can be given for the dyeing of basic dyes on cotton; for +the range of tints and shades of all colours<!-- Page 151 --><span class='pagenum'><a name="Page_151" id="Page_151">[Pg 151]</a></span> that can be produced by +their means is truly great. Typical recipes will be given showing what +basic dyes are available and how they can be combined together. The +dyer, however, who knows how to produce shades by combining one +dye-stuff with another is able to get many more shades than space will +permit to be given here.</p> + +<p><i>Sky Blue</i>.—Mordant with 1 lb. tannic acid and ½ lb. tartar emetic, +then dye with 2½ oz. Victoria blue B, and ½ oz. Turquoise blue G.</p> + +<p><i>Bright Blue</i>.—Mordant with 2 lb. tannic acid and 1½ lb. tartar +emetic, then dye with 1½ lb. New Victoria blue B, and ¾ lb. +Turquoise blue G.</p> + +<p><i>Pale Green</i>.—Mordant with 1½ lb. tannic acid and ¼ lb. tartar +emetic, then dye with ¼ oz. Brilliant green and ½ oz. Auramine I I.</p> + +<p><i>Bright Green</i>.—Mordant with 1 lb. tannic acid and 1 lb. tartar emetic, +then dye with 6 oz. Brilliant green and 8 oz. Auramine I I.</p> + +<p><i>Turquoise Blue</i>.—Mordant with 2 lb. tannic acid and 1½ lb. tartar +emetic; dye with 1 lb. Turquoise blue G.</p> + +<p><i>Crimson</i>.—Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, then +dye with 1¼ lb. Brilliant rhoduline red B and 5 oz. Auramine I I.</p> + +<p><i>Bright Violet</i>.—Mordant with 2 lb. tannic acid and 1 lb. tartar +emetic; dye with 1¼ lb. Rhoduline violet and 3 oz. Methyl violet B.</p> + +<p><i>Rose Lilac</i>.—Mordant with 2 lb. tannic acid and 1 lb. tartar emetic; +dye with ¾ lb. Rhoduline violet.</p> + +<p><i>Yellow</i>.—Mordant with 3 lb. tannic acid and 2½ lb. tartar emetic; +dye with 2 lb. Auramine I I.</p> + +<p><i>Orange</i>.—Mordant with 3 lb. tannic acid and 2¼ lb. tartar emetic; +dye with 2 lb. Chrysoidine.</p> + +<p><i>Green</i>.—Mordant with 3 lb. tannic acid and 2½ lb. tartar emetic, +then dye with 2 lb. Brilliant green.<!-- Page 152 --><span class='pagenum'><a name="Page_152" id="Page_152">[Pg 152]</a></span></p> + +<p><i>Red Violet</i>.—Mordant with 1½ lb. tannic acid and 1¼ lb. tartar +emetic, then dye with 8 oz. Methyl violet 4 R.</p> + +<p>The same method may be followed with all the brands of Methyl, Paris and +Hoffmann violets, and so a range of shades from a purple to a pure +violet can be dyed. The 4 R to R brands of these violets dye reddish +shades, the redness decreasing according to the mark, the B to 6 B +brands dye bluish shades, the blueness increasing till the 6 B brand +dyes a very blue shade of violet.</p> + +<p><i>Bright Sea-Green</i>.—Mordant with 1 lb. tannic acid and ½ lb. tartar +emetic, then dye with 2 oz. Turquoise blue G and ¼ oz. New Victoria +blue B. With these two blues a very great variety of tints and shades of +blue can be dyed.</p> + +<p><i>Sea Green</i>.—Mordant with 1 lb. tannic acid and ¾ lb. tartar emetic, +and dye with 2 oz. Malachite green.</p> + +<p><i>Dark Green</i>.—Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, +then dye with 1¼ lb. Malachite green and ¾ oz. Auramine I I.</p> + +<p>By combination of Brilliant green or Malachite green (which are the +principal basic greens) with Auramine in various proportions a great +range of greens of all tints and shades, from pale to deep and from very +yellow to very green tints, can be dyed.</p> + +<p><i>Scarlet</i>.—Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, then +dye with 1½ lb. Rhodamine 6 G and ¼ lb. Auramine I I.</p> + +<p><i>Pink</i>.—Mordant with 1 lb. tannic acid and ¾ lb. tartar emetic, and +dye with ¼ lb. Rhodamine G.</p> + +<p><i>Pink</i>.—Mordant with 1 lb. tannic acid and ¾ lb. tartar emetic, and +dye with ½ lb. Irisamine G.</p> + +<p><i>Slate Blue</i>.—Mordant with 1½ lb. tannic acid and 1 lb. tartar +emetic, then dye with ¾ lb. Victoria blue B and 2 oz. Malachite green.</p> + +<p><i>Indigo Blue</i>.—Mordant with 3 lb. tannic acid and 2½ lb.<!-- Page 153 --><span class='pagenum'><a name="Page_153" id="Page_153">[Pg 153]</a></span> tartar +emetic, then dye with 1 lb. Methylene blue 2 B and ½ lb. Malachite +green.</p> + +<p><i>Dark Scarlet</i>.—Mordant with 3 lb. tannic acid and 2½ lb. tartar +emetic, then dye with 1 lb. Safranine prima and ½ lb. Auramine I I.</p> + +<p><i>Grey</i>.—Mordant with 1 lb. tannic acid and ½ lb. tartar emetic, then +dye with ½ lb. New Methylene grey B.</p> + +<p><i>Bluish Rose.</i>—Mordant with 2 lb. tannic acid and 1 lb. tartar emetic, +then dye with 1 lb. Rhodamine B.</p> + +<p><i>Maroon</i>.—Mordant with 4 lb. tannic acid and 2 lb. tartar emetic, and +dye with 2 lb. Magenta and ½ lb. Auramine.</p> + +<p><i>Dark Green</i>.—Mordant with 5 lb. tannic acid and 2½ lb. tartar +emetic, and dye with ½ lb. Methylene blue B B, ½ lb. Methyl violet 2 +B and 2½ lb. Auramine I I.</p> + +<p><i>Orange</i>.—Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, and +dye with 1 lb. New Phosphine G.</p> + +<p><i>Lilac Grey</i>.—Mordant with 1 lb. tannic acid and 1½ lb. tartar +emetic, and dye with ¼ lb. Methylene grey B F.</p> + +<p><i>Gold Brown</i>.—Mordant with 3 lb. tannic acid and 1½ lb. tartar +emetic, and dye with ¾ lb. Thioflavine T and ¾ lb. Bismarck brown.</p> + +<p><i>Orange</i>.—Mordant with 2 lb. tannic acid and 1 lb. tartar emetic, and +dye with 1 lb. Auramine and ¼ lb. Safranine.</p> + +<p><i>Dark Blue</i>.—Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, +and dye with 2¼ lb. New Methylene blue R and ¾ lb. Naphtindone B B.</p> + +<p><i>Olive Green</i>.—Mordant with 5 lb. sumac extract and 2 lb. copperas, and +dye with 1 lb. Auramine.</p> + +<p><i>Russian Green</i>.—Mordant with 5 lb. sumac extract and 2 lb. copperas, +and dye with 2 lb. Malachite green.</p> + +<p><i>Scarlet</i>.—Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, and +dye with 1½ lb. Thioflavine T and ½ lb. Irisamine G. With these two +dye-stuffs it is possible to produce a variety of useful shades from a +pure greenish yellow, with<!-- Page 154 --><span class='pagenum'><a name="Page_154" id="Page_154">[Pg 154]</a></span> Thioflavine T alone, to a bright bluish +pink, with the Irisamine alone, through orange, scarlet, etc., with +combinations of the two dye-stuffs.</p> + +<p><i>Dark Grey.</i>—Mordant with 5 lb. sumac extract and 3 lb. copperas, then +dye with 1 lb. New Methylene grey G.</p> + +<p><i>Blue Black.</i>—Mordant with 8 lb. sumac extract and 4 lb. copperas, or +better with iron liquor, then dye with 2 lb. Indamine blue N.</p> + +<p><i>Olive Brown.</i>—Mordant with 5 lb. sumac extract and 3 lb. copperas, and +dye with 1½ lb. New Phosphine G.</p> + +<p><i>Indigo Blue.</i>—Mordant with 1½ lb. tannic acid and 1 lb. tartar +emetic; dye with ½ lb. New Methylene blue N.</p> + +<p><i>Sky Blue.</i>—Mordant with ½ lb. tannic acid and ¾ lb. tartar emetic; +dye with 1½ oz. New Methylene blue G G.</p> + +<p><i>Dark Violet.</i>—Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, +then dye with 4 lb. Fast neutral violet B.</p> + +<p><i>Bright Yellow.</i>—Mordant with 2 lb. tannic acid and 1 lb. tartar +emetic, and dye with 2 lb. Thioflavine T.</p> + +<p><i>Primrose Yellow.</i>—Mordant with 1 lb. tannic acid and ¼ lb. tartar +emetic, and dye with 2 oz. Thioflavine T.</p> + +<p><i>Navy Blue.</i>—Mordant with 5 lb. sumac extract and 3 lb. copperas, then +dye with 2 lb. New Methylene blue R.</p> + +<p><i>Violet</i>.—Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, and +dye with 2 lb. New Methylene blue 3 R.</p> + +<p><i>Dark Blue.</i>—Mordant with 5 lb. sumac extract and 3 lb copperas, and +dye with 2 lb. New Methylene blue N X.</p> + +<p><i>Blue Black.</i>—Mordant with 8 lb. sumac extract and iron liquor, then +dye with 3 lb. Metaphenylene blue B.</p> + +<p><i>Emerald Tint.</i>—Mordant the cotton in the usual way with 1 lb. tannic +acid and 1 lb. tartar emetic; dye to shade at 180° F. in a bath +containing 14 oz. Auramine G, 2 oz. Brilliant green, then lift, wash and +dry.</p> + +<p><i>Orange</i>.—Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, then +dye with 4 lb. Tannin orange R.<!-- Page 155 --><span class='pagenum'><a name="Page_155" id="Page_155">[Pg 155]</a></span></p> + +<p><i>Scarlet.</i>—Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, and +dye with 2 lb. Tannin orange R and 1 lb. Safranine S.</p> + +<p><i>Dark Scarlet.</i>—Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, +and dye with ½ lb. Tannin orange R and 2 lb. Safranine S.</p> + +<p>The Janus colours are a series of dyes of a basic nature which can be +applied somewhat differently to the ordinary basic dyes, although the +ordinary method can be followed. With these Janus dyes a two-bath +process is followed. A dye-bath is prepared containing the dye-stuff, +sulphuric acid and common salt, and this is used at the boil from half +to three-quarters of an hour, and the goods are allowed to remain in +another three-quarters of an hour while the bath cools down. Next the +dyed goods are run in a fixing bath of sulphuric acid, tannic acid and +tartar emetic, this is used at the boil from half to one hour, after +which the dyed goods are taken out and washed. If necessary the goods +may be now topped with basic colours in order to produce any desired +shade. The following recipes will show how the Janus dyes may be used:—</p> + +<p><i>Blue.</i>—Dye with 9 oz. sulphuric acid, 8 oz. Janus blue G, and 5 lb. +common salt; fix with ¾ lb. sulphuric acid, 8 oz. tannic acid and 4 +oz. tartar emetic.</p> + +<p><i>Turquoise Blue.</i>—Dye with 9 oz. sulphuric acid, 1 lb. Janus green B +and 10 lb. salt, fixing with ¾ lb. sulphuric acid, 1 lb. tannin and +½ lb. tartar emetic.</p> + +<p><i>Dark Blue.</i>—Dye with 9 oz. sulphuric acid, 2½ lb. Janus blue R and +15 lb. common salt; fix with ¾ lb. sulphuric acid, 2½ lb. tannic +acid and 1¼ lb. tartar emetic.</p> + +<p><i>Buff.</i>—Dye with 9 oz. sulphuric acid, 2 oz. Janus yellow R and 3 lb. +salt; fix with ¾ lb. sulphuric acid, 3 oz. tannic acid and 3 lb. +tartar emetic.</p> + +<p><i>Crimson.</i>—Dye with 9 oz. sulphuric acid, 2½ lb. Janus red<!-- Page 156 --><span class='pagenum'><a name="Page_156" id="Page_156">[Pg 156]</a></span> B and 15 +lb. salt, fixing with ¾ lb. sulphuric acid, 2½ lb. tannic acid and +1¼ lb. tartar emetic.</p> + +<p><i>Red Violet.</i>—Dye with 9 oz. sulphuric acid, 1 lb. Janus claret red B +and 10 lb. salt; fix with 12 oz. sulphuric acid, 1 lb. tannic acid and +½ lb. tartar emetic.</p> + +<p><i>Orange.</i>—Dye with 9 oz. sulphuric acid, 1 lb. Janus yellow R and 10 +lb. salt; fix with 12 oz. sulphuric acid, 1 lb. tannic acid and ½ lb. +tartar emetic.</p> + +<p><i>Dark Violet.</i>—Dye with 9 oz. sulphuric acid, 2 lb. Janus grey B and 15 +lb. salt; fix with 12 oz. sulphuric acid, 2½ lb. tannic acid and +1¼ lb. tartar emetic.</p> + +<p><i>Chocolate Brown.</i>—Dye with 9 oz. sulphuric acid, 3½ lb. Janus brown +B and 15 lb. salt, fixing with 2 oz. sulphuric acid, 2½ lb. tannic +acid and 1 lb. tartar emetic.</p> + +<hr style='width: 45%;' /> + +<p>(6) DYEING ON METALLIC MORDANTS.</p> + +<p>There are a number of dye-stuffs or colouring matters like alizarine, +logwood, fustic, barwood, cutch, resorcine green, etc., which have no +affinity for the cotton fibre, and of themselves will not dye it. They +have the property of combining with metallic oxides such as those of +iron, chromium, aluminium, tin, lead, calcium, etc., to form coloured +bodies which are more or less insoluble in water. These coloured bodies +are called "colour lakes," and the metallic compounds used in connection +with their production "mordants," hence often the dye-stuffs applied by +this method are termed "mordant dyes". In the case of the natural +dye-stuffs—logwood, fustic, Persian berries, Brazil wood, camwood, +cochineal, quercitron, cutch, etc.—which belong to this group of +"mordant dyes," the whole of the material does not enter into the +operation, but only a certain constituent contained therein, which is +commonly soluble in boiling water, and extracted out by boiling. This +constituent is called the "colouring principle" of the dye-stuff or +wood, and naturally varies with each. It is not<!-- Page 157 --><span class='pagenum'><a name="Page_157" id="Page_157">[Pg 157]</a></span> intended here to deal +in detail with these colouring principles. The methods of applying and +the colours which can be got from these dyes varies very much. Roughly, +the modes of application fall under three heads: (1) the particular +metallic mordant is first fixed on the fibre by any suitable method, and +then the fibre is dyed; (2) the dye-stuff is first applied to the fibre, +and then the colour is fixed and developed by treatment with the +mordant; and (3) the dye-stuff and the mordant are applied at the same +time. This last method is not much used. In the following sections many +examples of these methods will be given.</p> + +<p>The dyes fixed with metallic mordant vary in their composition and +properties. There is first the group of eosine dyes, which are acid +derivatives of a colour-base, and, in virtue of being so, will combine +with the metallic oxides. The colour of these colour lakes is quite +independent of what oxide is used, depending only on that of the +particular eosine dye employed. Then there are some members of the azo +dyes, particularly the croceine scarlets, which can also be dyed on the +cotton by the aid of tin, lead or alum mordants. Here, again, the +mordant has no influence on the colour, but only fixes it on the cotton.</p> + +<p>The most important class of dye-stuffs which are dyed on to cotton with +a metallic mordant is that to which the term "mordant dyes" is now +given. This includes such dyes as logwood, fustic, madder, alizarine, +and all the dyes derived from anthracene. Many of these are not really +dyes, that is, they will not of themselves produce or develop a colour +on to any fibre when used alone; it is only when they combine with the +mordant oxide which is used, and then the colour varies with the +mordant. Thus, for instance, logwood with iron produces a bluish black; +with chrome, a blue; with alumina, a reddish blue. Alizarine with iron +produces a dark violet; with alumina, a scarlet; with chrome, a red; +with<!-- Page 158 --><span class='pagenum'><a name="Page_158" id="Page_158">[Pg 158]</a></span> tin, a bright scarlet. Fustic gives with tin and alumina, bright +yellows; with chrome, a dark yellow; with iron, an olive, and so on with +other members of this group, of which more will be said later on.</p> + + +<p><i>Dyeing with Eosines.</i></p> + +<p>At one time a fairly large quantity of cotton was dyed with the eosines, +owing to the brightness of the shades given by them; but the +introduction of such direct dyes as the Erikas, Ceranines, etc., has +thrown the eosines out of use.</p> + +<p>The method adopted for the production of eosine pinks and scarlets on +cotton involves three operations: (1) impregnating the cloth with sodium +stannate; (2) fixing oxide of tin by a bath of weak sulphuric acid; and +(3) dyeing with the eosine.</p> + +<p><b>(1) Preparing with Sodium Stannate.</b>—A bath of 8° Tw. is prepared, and +the cotton is allowed to steep in this bath until it becomes thoroughly +impregnated, after which it is taken out and wrung.</p> + +<p><b>(2) Fixing the Tin Oxide.</b>—A bath of sulphuric acid of 2° to 4° Tw. is +prepared, and the cotton is sent through it, after which it is washed +well with water, when it is ready for dyeing.</p> + +<p>Stannate of soda is easily decomposed by acids; even the carbonic acid +present in the air will bring about this change. The tin contained in +the stannate is deposited on the cotton in the form of stannic oxide, +or, more strictly, stannic acid. As this is somewhat soluble in acids, +it is important that the sulphuric acid bath be not too strong, or there +will be a tendency for the tin oxide to be dissolved off the cotton, and +then but weak shades will be obtained in the final operation of dyeing. +Further, owing to the decomposition of the stannate by exposure to the +air, it is important that the substance should be used while fresh, and +that only fresh baths should be used.<!-- Page 159 --><span class='pagenum'><a name="Page_159" id="Page_159">[Pg 159]</a></span></p> + +<p><b>(3) Dyeing with Eosine Colours.</b>—After the treatment with stannate of +soda and sulphuric acid the prepared cotton is ready for dyeing. This +process is carried out by preparing a cold bath with the required +dye-stuff, entering the cotton therein, and then slowly raising to about +180° F., and maintaining at that heat until the desired shade is +obtained. It is not needful to raise to the boil and work at that heat. +No better results are obtained, while there is even a tendency for +colours to be produced that rub badly, which is due to the too rapid +formation of the colour lake; and it is worthy of note that when a +colour lake is rapidly formed on the fibre in dyeing it is apt to be but +loosely fixed, and the colour is then loose to both washing and rubbing.</p> + +<hr style='width: 45%;' /> + +<p><i>Dyeing with Acid and Azo Dyes.</i></p> + +<p>In dyeing with this class of colours stannate of soda, acetate of lead +or alum may be used as mordants. The stannate of soda is employed in the +same manner as when the eosines are used, and, therefore, does not +require to be further dealt with.</p> + +<p>Acetate of lead is used in a similar way. The cotton is first steeped in +a bath of acetate of lead of about 10° Tw. strong, used cold, and from +half an hour to an hour is allowed for the cotton to be thoroughly +impregnated with the lead solution, it is then wrung and passed a second +time into a bath of soda, when lead oxide or lead carbonate is deposited +on the cotton. After this treatment the cotton is ready for dyeing with +any kind of acid, azo and even eosine dyes, and this is done in the same +manner as is used in dyeing the eosines on a stannate mordant. The +shades obtained on a lead mordant cannot be considered as fast; they +bleed on washing and rub off badly.</p> + +<p>When alum is used as the mordant it may be employed in the same way as +acetate of lead, but as a rule it is added to<!-- Page 160 --><span class='pagenum'><a name="Page_160" id="Page_160">[Pg 160]</a></span> the dye-bath direct, and +the dyeing is done at the boil. This latter method gives equally good +results, and is more simple.</p> + +<p>The eosines and erythrosines, water blues, soluble blues, croceine +scarlets, cloth scarlets, and a few other dyes of the azo and acid +series are used according to this method. The results are by no means +first class, deep shades cannot be obtained, and they are not fast to +washing, soaping and rubbing.</p> + +<p>The methods of employing the much more important group of colouring +matters known as the mordant dyes, which comprise such well-known +products as logwood, fustic and alizarine, require more attention. With +these, alumina, iron, and chromium mordants are used as chief mordants, +either alone or in combination with one another, and with other bodies. +The principal point is to obtain a good deposit of the mordant on the +cotton fibre, and this is by no means easy.</p> + +<p>There are several methods by the use of which a deposit is formed of the +mordant, either in the form of metallic oxide (or, perhaps, hydroxide) +or of a basic salt. In some cases the cotton is passed through alternate +baths containing, on one hand, the mordanting salt, <i>e.g.</i>, alum, +copperas, etc., and, on the other, a fixing agent, such as soda or +phosphate of soda. Or a mordanting salt may be used, containing some +volatile acid that on being subjected to a subsequent steaming is +decomposed. Both these methods will be briefly discussed.</p> + +<hr style='width: 45%;' /> + +<p><i>Methods of Mordanting.</i></p> + +<p>The cotton is first steeped in a bath containing Turkey-red oil, and is +then dried. By this means there is formed on the fibre a deposit of +fatty acid, which is of great value in the subsequent dyeing operations +to produce bright and fast shades. After the oiling comes a bath of alum +or alumina sulphate, either used as bought, or made basic by<!-- Page 161 --><span class='pagenum'><a name="Page_161" id="Page_161">[Pg 161]</a></span> the +addition of soda. The result is to bring about on the fibre a +combination of the fatty acid with the alumina. Following on the alum +bath comes a bath containing soda or phosphate of soda, which brings +about a better fixation of the alumina.</p> + +<p>These operations may be repeated several times, especially when a full +shade having a good degree of fastness is desired, as, for instance, +Turkey-reds from Alizarine. This method of mordanting is subject to +considerable variations as regards the order in which the various +operations are carried out, the strength of the baths, and their +composition. A great deal depends upon the ultimate result desired to be +obtained, and the price to be paid for the work.</p> + +<p>Iron is much easier to fix on cotton than is either alumina or chrome. +It is usually sufficient to pass the cotton through a bath of either +copperas or iron liquor, hang up to dry or age, and then pass into a +bath of lime, soda or even phosphate of soda. The other mordants require +two passages to ensure proper deposition of the mordant on the fibre.</p> + +<p>Following on the mordanting operations comes the dyeing, which is +carried out in the following manner. The bath is made cold with the +required amount of dye-stuff and not too small a quantity of water, the +cotton is immersed and worked for a short time to ensure impregnation, +then the temperature is slowly raised to the boil. This operation should +be carefully carried out, inasmuch as time is an important element in +the dyeing with mordant colours; the colouring principle contained in +the dye-stuff must enter into a chemical combination with the mordant +that has been fixed on the fibre. Heat greatly assists this being +brought about, but if the operation is carried on too quickly, then +there is a tendency for uneven shades to be formed. This can only be +remedied by keeping the temperature low until the dye-stuff has been +fairly well united with the mordant, and then maintaining<!-- Page 162 --><span class='pagenum'><a name="Page_162" id="Page_162">[Pg 162]</a></span> the heat at +the boil to ensure complete formation of the colouring lake on the +fibre, and therefore the production of fast colours.</p> + +<p>It has been noticed in the dyeing of alizarines on both cotton and wool +that when, owing to a variety of circumstances, local overheating of the +bath happens to take place dark strains or streaks are sure to be +formed. To avoid these care should be taken that no such local heating +can occur.</p> + +<p>It only remains to add that it is possible to dye a great range of +shades by this method, reds with alizarine and alumina; blacks with +logwood and iron; greens from logwood, fustic, or Persian berries, with +chrome and iron; blues from alizarine blues; greens from Coeruleine or +Dinitrosoresorcine, etc.</p> + +<p>Another method of mordanting cotton for the mordant group of dye-stuffs +is that in which the cotton is impregnated with a salt of the mordant +oxide derived from a volatile acid such as acetic acid, and then +subjected to heat or steaming. This method is largely taken advantage of +by calico printers for grounds, and dyers might make use of it to a much +larger extent than they do.</p> + +<p>There are used in this process the acetates of iron, chromium and +aluminium, and bisulphites of the same metals and a few other compounds. +Baths of these are prepared, and the cotton is impregnated by steeping +in the usual way; then it is gently wrung out and aged, that is, hung up +in a warm room overnight. During this time the mordant penetrates more +thoroughly into the substance of the fabric, while the acid, being more +or less volatile, passes off—probably not entirely, but at any rate +some of the metal is left in the condition of oxide and the bulk of it +as a basic salt. Instead of ageing the cotton may be subjected to a +process of steaming with the same results. After this the<!-- Page 163 --><span class='pagenum'><a name="Page_163" id="Page_163">[Pg 163]</a></span> cotton is +ready for dyeing, which is done by the method described in the last +section.</p> + +<p>There is still another method to be noticed here, that is, one in which +a bath is prepared containing both the mordant and the dye-stuff. In +this case the character of the mordant must be such that, under the +conditions that prevail, it will not form a colour lake with the +dye-stuff. Such substances are the bisulphites, if used with the +bisulphite compounds of the dye-stuffs; the acetates, if mixed with some +acetic acid, may also be used. The process consists in preparing the +dye-bath containing both the mordant and the dye-stuff, entering the +cotton, steeping for some time, then wringing and steaming. During the +latter operation the acid combined with the mordant, being volatile, +passes away, and the colouring matter and mordant enter into combination +to form the colour lake, which is firmly fixed upon the fibre. Very good +results may be obtained by this method.</p> + +<p>Lastly, in connection with the mordant colours, attention may be +directed to the process of using some of them, which consists in making +a solution of the dye-stuff in ammonia, impregnating the cotton with +this alkaline solution, and subjecting it to a steaming operation, +during which the alkali, being volatile, passes away, leaving the +colouring matter behind in an insoluble form. The cotton is next passed +into a weak bath of the mordant (preferably the acetates of iron, +etc.)., this being used first cold and then gradually heated up. The dye +on the fibre and the mordant combine to form the desired colour, which +is fixed on the fibre.</p> + +<p>The chrome mordants are those which are most commonly applied by the +methods here sketched out, and with the large and increasing number of +mordant dyes available, the processes should be worth attention from the +cotton dyer.</p> + +<p>The following recipes give fuller details than the outline<!-- Page 164 --><span class='pagenum'><a name="Page_164" id="Page_164">[Pg 164]</a></span> sketches of +the methods given above for the use of the various dyes produced with +the mordant dyes and metallic mordants. In some cases as will be seen +other dyes may be added to produce special shades:—</p> + +<p><i>Dark Olive.</i>—Prepare a bath from 8 lb. cutch, 4 lb. logwood extract, 7 +lb. fustic extract, 2 lb. copper sulphate. Work in this for one to one +and a half hours at the boil. This bath may be kept standing, adding new +ingredients from time to time, and works best when it gets old. Then +pass into a cold bath of 3 lb. copperas for one hour, then wash and +enter into a new bath of 10 lb. salt, 6 oz. Titan blue 3 B, 6 oz. Titan +brown R, 6 oz. Titan yellow Y, work for one hour at the boil, then lift, +wash and dry.</p> + +<p><i>Brown</i>.—Prepare a bath with 20 lb. cutch, 2 lb. copper sulphate, 4 lb. +quercitron extract. Work for one and a quarter hours at the boil, then +allow to lie for a day, when the goods are passed into a bath containing +3 lb. bichromate of potash and 1 lb. alum. Work at 150° to 160° F. in +this for a few minutes, then allow to lie for four to five hours, wash +well and dry.</p> + +<p><i>Olive</i>.—Work for twenty minutes at 80° F. in a bath of 10 lb. fustic +extract, 5 lb. quercitron extract, 2 lb. logwood extract; heat to boil, +work for half an hour, then enter in a cold bath of 2 lb. sodium +bichromate and 5 lb. copper sulphate; work for twenty minutes, then heat +to boil; work for twenty minutes more, wash and dry.</p> + +<p><i>Pale Brown.</i>—Treat in a hot bath of 25 lb. cutch, 1¾ lb. bluestone; +work for half an hour in this bath, then lift, wring, and work in a bath +of 1¾ lb. bichromate of potash for twenty to thirty minutes. Dye in a +bath of 2¼ lb. alum, 7 oz. Chrysoidin, 14 oz. Ponceau B.</p> + +<p><i>Fast Brown.</i>—The cotton is heated in a boiling bath containing 20 lb. +cutch, 4 oz. copper sulphate for one hour, it is then treated in a bath +containing 8 oz. bichromate of potash for half an hour, then dyed in a +bath containing 2 oz. Benzo<!-- Page 165 --><span class='pagenum'><a name="Page_165" id="Page_165">[Pg 165]</a></span> black blue, 6 oz. Benzo brown N B, 2 lb. +soap, 8 lb. salt, for one hour at the boil, washed and dried.</p> + +<p><i>Drab</i>.—Dissolve ½ lb. cutch, 7 lb. bluestone, 8 lb. extract of +fustic; enter goods at 120° F., give six turns, lift and drain. Prepare +a fresh bath containing 2 lb. copperas; enter goods, give three turns, +lift, and enter fresh bath at 120°, containing 2 lb. bichromate of +potash, give four turns, drain, wash and dry.</p> + +<p><i>Coffee Brown.</i>—For one piece, wet out in hot water, run for half an +hour upon a jigger in a bath of 6 lb. good cutch, take up and drain in a +bath of 8 lb. black iron liquor; drain, run again through each bath and +rinse well. Prepare a fresh bath with Bismarck brown, enter at 100° F., +heat slowly to 200° F., drain, rinse and dry.</p> + +<p><i>Dark Brown Olive.</i>—Prepare the dye-bath with 12 lb. cutch, 2 lb. +bluestone, 2½ lb. alum, 10 lb. quercitron extract, 2 lb. indigo +carmine 4 lb. turmeric, ¼ lb. Bismarck brown; boil for one and a half +hours, then lift and add 1 lb. copperas; re-enter the goods, give +another half-hour, boil, then add 1½ lb. bichromate of potash, work +two hours more, then wash and dry.</p> + +<p><i>Red Drab.</i>—Boil up 10 lb. cutch and 5 lb. sumac; enter the cotton at +140° F., work fifteen minutes and lift. Prepare a fresh bath of 4 lb. +black iron liquor; enter the cotton cold, work ten minutes and lift. +Prepare another bath with 3 lb. bichromate of potash; enter cotton at +160° F., work fifteen minutes, lift and wash. Finish in a fresh bath +containing 3 lb. logwood, 6 lb. red liquor; enter cotton at 100° F., +work ten minutes, lift, wash and dry.</p> + +<p><i>Fawn</i>.—Boil up 5 lb. cutch and 5 oz. bluestone, cool to 100° F.; +enter, give six turns, lift, and add 2 lb. copperas; re-enter cotton, +give four turns, lift and wring. Prepare a fresh bath with 1 lb. +bichromate of potash; enter cotton at 110° F., give five turns, lift, +wash and dry.<!-- Page 166 --><span class='pagenum'><a name="Page_166" id="Page_166">[Pg 166]</a></span></p> + +<p><i>Grey Slate</i>.—Boil up 10 lb. sumac, 3 lb. fustic extract; cool down to +120° F., give eight turns, lift and wring. Prepare a fresh bath with 5 +lb. copperas; enter cotton cold, give five turns, lift and wash.</p> + +<p><i>Dark Plum</i>.—Lay down overnight in 30 lb. sumac. Next morning wring and +enter in a fresh bath of oxy-muriate of tin 20° Tw., give four turns, +lift and wash well in two waters. Boil out 40 lb. ground logwood, 10 lb. +ground fustic, cool bath down to 140° F.; enter cotton, give eight +turns, lift and add 1½ gallons red liquor; re-enter yarn, give four +turns, lift, wash and dry.</p> + +<p><i>Pale Chamois</i>.—Work the cotton seven turns in a cold bath of 3 lb. +copperas, then wring and pass into a cold bath of 3 lb. soda ash; work +well, wash and dry.</p> + +<p><i>Dark Brown Olive</i>.—Prepare a bath of 28 lb. fustic, ¾ lb. logwood, +18 lb. cutch, 4 lb. turmeric, 2 lb. copper sulphate, ¾ lb. alum; work +for an hour at the boil, then sadden in a new bath of 1 lb. bichromate +of potash for half an hour, then sadden in a new bath of ¼ lb. nitrate +of iron, working in the cold for half an hour, lift, wash and dry.</p> + +<p><i>Havana Brown</i>.—Prepare a bath with 4 lb. cutch and 1 lb. bluestone; +work at the boil for one hour, then pass through a warm bath of ½ lb. +bichromate of potash, 1 lb. sulphuric acid. Wash and dye in a bath of +¾ lb. Bismarck brown and 4 lb. alum; work for one hour at about 180° +F., wash and dry.</p> + +<p><i>Black</i>.—Prepare a dye-bath with 20 lb. extract of logwood, 4 lb. +cutch, 5 lb. soda ash, 5 lb. copper sulphate. Heat to the boil, enter +the cotton, and work well for three hours, then lift, and allow to lie +overnight in a wet condition, wash and pass into a bath of 1 lb. +bichromate of potash for half an hour; lift, wash and dry. The dye-bath +is not exhausted, and only about one-third of the various drugs need be +added for further batches of cotton.<!-- Page 167 --><span class='pagenum'><a name="Page_167" id="Page_167">[Pg 167]</a></span></p> + +<p><i>Reseda Green</i>.—Prepare a bath with 15 lb. cutch, 8 lb. turmeric; work +in this for fifteen minutes at about 150° F., then pass through a hot +bath of 2 lb. bichromate of potash for one hour, then re-enter into a +cutch bath to which has been added, 1 lb. sulphate of iron; work for one +hour, then add 2 lb. alum and work half an hour longer, rinse, wash and +dry.</p> + +<p><i>Fawn Brown</i>.—Prepare a dye-bath with 4 lb. cutch, 2 lb. fustic +extract; work for one hour at hand heat, then lift, and pass through a +bath of 1¼ lb. bichromate of potash; work for a quarter of an hour, +rinse and pass into a fresh bath of 1 oz. Bismarck brown for ten +minutes, then lift, wash and dry.</p> + +<p><i>Beige</i>.—Prepare a bath with 20 lb. sumac; enter cotton at 120° F., +give six turns, lift and add ½ lb. copperas; re-enter cotton, give +four turns and wring. Prepare a fresh bath containing 2 lb. extract of +fustic, 3 oz. extract of indigo; enter cotton at 120° F., give three +turns, raise temperature to 140° F., and turn to shade, lift, wash and +dry.</p> + +<p><i>Turkey Red</i>.—One of the most important colours dyed on cotton is that +known as Turkey red, a bright red of a bluish tone, characterised by its +great fastness to light, washing, etc. Strong alkalies turn it more +yellowish, but weak acids and alkalies have little action.</p> + +<p>Into the history of the dyeing of Turkey red it is not intended to +enter, those who are interested in the subject should refer to old works +on dyeing; nor is it intended to speak of old methods of producing it +with the aid of madder, but rather to give some of the most modern +methods for dyeing it with alizarine.</p> + +<p>Many processes differing somewhat in detail have been devised for dyeing +Turkey red on cotton, and it is probable that no two Turkey-red dyers +work exactly alike. It is difficult to produce the most perfect red, and +a very great<!-- Page 168 --><span class='pagenum'><a name="Page_168" id="Page_168">[Pg 168]</a></span> deal of care in carrying out the various operations is +necessary to obtain it. This care and the number of operations makes +Turkey red an expensive colour to dye, and so shorter methods are in use +which dye a red on cotton that is cheaper, but not so brilliant or fast +as a true Turkey red.</p> + +<p><i>Process</i> 1.—This process is perhaps the most elaborate of all +processes, but it yields a fine red. The process is applicable to cloth +or yarn, although naturally the machinery used will vary to suit the +different conditions of the material. Bleached yarn or cloth may be +treated, although a full bleach is not necessary, but the cloth or yarn +must be clean or well scoured, so that it is free from grease and other +impurities.</p> + +<p>Operation 1. Boil the cotton for six to eight hours with a carbonate of +soda lye at 1° Tw. in a kier at ordinary pressure, then wash well, +wring, or, better, hydro-extract.</p> + +<p>Operation 2. First "greening": What is called the "first green liquor" +is prepared by taking 15 lb. of gallipoli oil, 3 lb. phosphate of soda +and 15 lb. carbonate of soda, the liquor to stand at 2° Tw. Originally +this "liquor" was made with sheep dung, but this is now omitted. The +cotton is worked in this liquor, which is kept at 100° F., until it is +thoroughly impregnated, then it is taken out, squeezed and dried, or in +some cases piled overnight and then stoved.</p> + +<p>Operation 3. Second green liquor. As before.</p> + +<p>Operation 4. Third green liquor. As before.</p> + +<p>Operation 5. A carbonate of soda liquor of 2° Tw. strength is prepared, +and the cotton steeped in this until it is thoroughly impregnated, then +it is wrung out and stoved. This is called "white liquor treatment".</p> + +<p>Operation 6. Second white liquor. As before.</p> + +<p>Operation 7. Steeping: Prepare a bath of water at 150° F., and steep for +twelve hours, then wring and dry.</p> + +<p>Operation 8. Sumacing: A liquor is made from 12 lb.<!-- Page 169 --><span class='pagenum'><a name="Page_169" id="Page_169">[Pg 169]</a></span> sumac with water, +and after straining from undissolved sumac leaves the liquor is made to +stand at 2° Tw., this is kept at about a 100° F., and the cotton is well +worked in it and allowed to steep for four hours, after which it is +taken out and wrung.</p> + +<p>Operation 9. Mordanting or aluming: 20 lb. of alum are dissolved in hot +water, and 5 lb. of soda crystals are slowly added in order to prepare a +basic alum solution; this is now made by the addition of water to stand +at 8° Tw.</p> + +<p>The sumaced cotton is worked in this bath and allowed to steep for +twenty-four hours, when it is taken out and wrung. Some dyers add a +little tin crystals to this bath; others add a small quantity of red +liquor.</p> + +<p>Operation 10. The dyeing: A cold bath is prepared with 10 lb. to 12 lb. +alizarine, 3 lb. sumac extract, and 2 oz. lime. The cotton is entered +into the cold bath, worked from fifteen to twenty minutes so as to get +it thoroughly impregnated; then the heat is slowly raised to the boil +and the dyeing carried on at that heat until the full shade is obtained, +which usually takes about an hour. According to the brand of alizarine +used so will the shade that is obtained vary, as will be mentioned later +on.</p> + +<p>Operation 11. First clearing: The dyed cotton is placed in a boiler and +boiled for four hours with 3 lb. soda crystals and 3 lb. palm oil soap, +afterwards washing well.</p> + +<p>Operation 12. Second clearing: The dyed cotton is again boiled for two +hours with 2½ lb. soap and ½ lb. tin crystals, then give a good +washing and dry.</p> + +<p>This process is a long one—indeed, some dyers by repeating some of the +operations lengthen it—and it takes at least two weeks, in some cases +three weeks, to carry out.</p> + +<p>The first idea is to get the cotton thoroughly impregnated with the oil, +and this oxidised to some extent on the fibre, and to this end the oil +treatments are carried out. In this<!-- Page 170 --><span class='pagenum'><a name="Page_170" id="Page_170">[Pg 170]</a></span> process experience has shown that +olive oil is the best to use, although other oils have been tried from +time to time. The sumacing enables the alumina to be more firmly fixed +on to the cotton. The alumina combines with both the oil and the sumac, +and the resulting mordant produces a better and more brilliant red with +the alizarine. The clearing operations serve to remove impurities, to +brighten the colour, and to more fully fix it on the cotton.</p> + +<p><i>Process</i> 2.—Operation 1. The cotton is well bleached or scoured with +soda in the usual way.</p> + +<p>Operation 2. Oiling or preparing: A liquor is made from 10 lb. alizarine +oil or Turkey-red oil in 10 gallons water. This oil is prepared from +castor oil by a process of treatment with sulphuric acid, washing with +water and neutralising with caustic soda. The cotton is thoroughly +impregnated with this oil by steeping, then it is wrung out and dried.</p> + +<p>Operation 3. Steaming: The cotton is put into a steaming cottage or +continuous steaming chamber and steamed for from one to one and a half +hours at about 5 lb. pressure.</p> + +<p>Operation 4. A bath of red liquor (acetate of alumina) at 8° Tw. is +prepared. Some dyers use basic alum at the same strength. In this bath +the cotton is steeped at 100° F. for two hours; then it is wrung out and +dried. This aluming bath can be repeated. Next it is run through a bath +of chalk and water containing 2 lb. chalk in 10 gallons water. This +helps to fix the alumina on the cotton. Phosphate of soda also makes a +good fixing agent.</p> + +<p>Operation 5. Dyeing: This is carried out in precisely the same way as in +the other process.</p> + +<p>Operation 6. Oiling: A second oiling is now given in a bath of 5 lb. +alizarine oil, or Turkey-red oil, in 10 gallons water, after which the +cotton is dried, when it is ready for <!-- Page 171 --><span class='pagenum'><a name="Page_171" id="Page_171">[Pg 171]</a></span>further treatment. In place of +giving a second oiling after the dyeing, it is, perhaps, better to give +it after the mordanting and before dyeing.</p> + +<p>Operation 7. Clearing: The dyed cotton is cleared with soap in the same +manner as the clearing operations of the first process, which see.</p> + +<p>Any of the treatments preparatory to, and following the actual dyeing +of, any of these processes may be repeated if deemed necessary. The +text-books on dyeing and the technical journals devoted to the subject +frequently contain accounts of methods of dyeing Turkey red, but when +these come to be dissected the methods are but little more than variants +of those which have just been given.</p> + +<p>Seeing that the theory or theories involved in this rather complex +process of dyeing Turkey red, and that colourists are not agreed as to +the real part played by the oil, the sumac and the clearing operations +in the formation of a Turkey red on cotton, nothing will be said here as +to the theory of Turkey-red dyeing.</p> + +<p><i>Alizarine Red</i>.—It is possible to dye a red with alizarine on cotton +which, while being a good colour, is not quite so fast to washing, etc., +as a Turkey red. This is done by using fewer treatments, as shown in the +following process:—</p> + +<p><i>Process</i> 1.—Boil the cotton in soda.</p> + +<p><i>Process</i> 2.—Oil with Turkey-red oil, as in the Turkey-red process No. +2 above.</p> + +<p><i>Process</i> 3.—Mordant with alum or acetate of alumina.</p> + +<p><i>Process</i> 4.—Dye with alizarine as before.</p> + +<p><i>Process</i> 5.—Soap.</p> + +<p>There are three distinct colouring matters which are sold commercially +under the name of "alizarine". These are: alizarine itself, which +produces a bluish shade of red; anthra-purpurine, which gives a similar +but less blue red than alizarine; and flavo-purpurine, which produces +the yellowest reds. The makers send out all these various products under +various marks.<!-- Page 172 --><span class='pagenum'><a name="Page_172" id="Page_172">[Pg 172]</a></span></p> + +<p>For dyeing Turkey reds the flavo-and anthra-purpurine brands or yellow +alizarines are to be preferred; for pinks and rose shades the alizarine +or blue shade brands are best.</p> + +<p><i>Alizarine Pink</i>.—This can be dyed in the same way as Turkey red, only +using for full pinks 4 per cent, of alizarine in the dye-bath, or for +pale pinks 1 to 2 per cent. It is advisable to reduce the strength of +the oiling and mordanting baths down to one-half.</p> + +<p><i>Alizarine Violet</i>.—Alizarine has the property of combining with iron +to form a dark violet colour, and advantage is taken of this fact to dye +what are called in the dyeing and calico printing trades alizarine +purples and lilacs, although these do not resemble in hue or brilliance +the purples and lilacs which can be got from the direct dyes. They have +not the importance which they formerly possessed, and but a mere outline +of two processes for their production will be given.</p> + +<p><i>Alizarine Purple</i>.—<i>Process</i> 1. (1) Boil with soda, (2) prepare with +Turkey red oil, (3) mordant by steeping in copperas liquor at 4° Tw. for +twenty minutes, take out, allow to lie on stillages overnight, then wash +and dry. For deep purples it may be advisable to repeat these +treatments; for pale lilacs using them at half strength is advisable. +(4) Dye with 8 to 10 per cent. of alizarine blue shade, working as +described under Turkey red. The best results are obtained when 1 per +cent, of chalk is added to the dye-bath. (5) Soap as in red dyeing.</p> + +<p><i>Process</i> 2. (1) Boil with soda, (2) oil with Turkey-red oil, (3) steep +in pyrolignite of iron (iron liquor) for one hour, then age by hanging +in the air. (4) Dye as before. (5) Soap.</p> + +<p>Fine blacks are got if after oiling the cotton is treated with sumac or +tannic acid, then mordanted with iron and dyed with alizarine as usual.</p> + +<p><i>Chocolate Browns</i>.—Fine fast chocolate browns can be<!-- Page 173 --><span class='pagenum'><a name="Page_173" id="Page_173">[Pg 173]</a></span> got from +alizarine by using a mixed mordant of iron and alumina, either the +acetate or the sulphate. By varying the relative proportions various +shades can be obtained.</p> + +<p><i>Alizarine Orange</i>—Prepare the cotton as if for dyeing a Turkey red, +but use in the dye-bath 8 to 10 per cent. of Alizarine orange.</p> + +<p><i>Alizarine Blue</i>—The cotton is boiled three hours with 3 per cent. +ammonia soda at 30 lb. pressure, and then washed thoroughly. The boiled, +washed and hydro-extracted yarn is oiled with a solution containing from +¼ lb. to 1½ lb. Turkey-red oil, 50 per cent. for every gallon of +water. It is then wrung out evenly and dried for twelve hours at 150° F.</p> + +<p><i>Tannin Grounding.</i></p> + +<p>The oiled and dried cotton is worked three-quarters of an hour in a vat +containing a tannin solution (1 oz. per gallon). The cotton remains in +this liquid, which is allowed to cool off for twelve hours, then it is +hydro-extracted. Sumac turns the shade somewhat greener, which is +noticed especially after bleaching, therefore tannin is given the +preference.</p> + +<p><i>Chromium Mordant</i>.</p> + +<p>The cotton treated with tannin and then hydro-extracted is worked cold +for one hour in a vat containing a solution of chromium chloride at 32° +Tw., and remains in this solution twelve hours. The cotton is then +hydro-extracted and washed directly; it is best to employ running water. +A special fixation does not take place. The cotton is now ready for +dyeing. The solution of chromium chloride and the tannin solution can be +used continuously, adding fresh liquor to keep the baths up to strength.</p> + +<p><i>Dyeing</i>—For dyeing, water free from lime must be used. Water having +not more than 2.5° hardness can be employed <!-- Page 174 --><span class='pagenum'><a name="Page_174" id="Page_174">[Pg 174]</a></span>if it is corrected with +acetic acid, thereby converting the carbonate of lime into acetate of +lime. Very calcareous water must be freed from lime before use. The +dye-bath contains for 100 lb. cotton 15 lb. Alizarine blue paste (A R or +F, according to the shade desired), 35 lb. acetic acid (12° Tw.), 15½ +lb. ammonia (25 per cent.), 2¼ oz. tannin. The cotton is worked a +quarter of an hour in the cold; the temperature is raised slowly to a +boil, taking about one hour, and the cotton is worked three-quarters of +an hour at that heat. Finally the cotton is washed and hydro-extracted. +The dyed and washed cotton is steamed two hours at 15 lb. to 22 lb. +pressure. Steaming turns the shade greener and darker, and increases the +fastness. After steaming the cotton it is soaped one or two hours at the +boil, with or without pressure. According to the quality of water +employed, 2 to 5 parts soap per 1,000 parts water are taken.</p> + +<p><i>Brown.</i>—A fine brown is got by a similar process to this, if instead +of Alizarine blue, Alizarine orange is used in the dye-bath. A deeper +brown still if Anthracene brown, or a mixture of Anthracene brown and +Alizarine blue, be used.</p> + +<p><i>Claret Red.</i>—Clarets to maroon shade of red are got by preparing the +cotton as for blue given above, then dyeing with alizarine.</p> + +<p><i>Logwood Black.</i>—One of the most important colours that come under this +section is logwood black, the formation of which on the fibre depends +upon the fact that the colouring principle of logwood forms a black +colour lake with iron and also one with chromium.</p> + +<p>There are many ways of dyeing logwood blacks on cotton, whether that be +in form of hanks of yarns, warps or pieces. While these blacks may be, +and in the case of hanks are, dyed by what may be termed an intermittent +process, yet for warps and piece goods a continuous process is preferred +by dyers. Examples of both methods will be given. As in the dyeing of +Turkey reds it is probable that no two dyers<!-- Page 175 --><span class='pagenum'><a name="Page_175" id="Page_175">[Pg 175]</a></span> of logwood blacks quite +agree in the details of their process, there may be variations in the +order of the various baths and in their relative strengths. Typical +methods will be noted here.</p> + +<p><b>Dyeing Logwood Black on Yarn in Hanks</b>.—Operation 1. Sumacing: Prepare +a bath with 10 lb. sumac extract in hot water. Work the yarn in this for +half an hour, then allow to steep for six hours or overnight, lift and +wring. The liquor which is left may be used again for another lot of +yarn by adding 5 lb. sumac extract for each successive lot of yarn. In +place of using sumac the cheaper myrabolam extract may be used.</p> + +<p>Operation 2. Ironing or Saddening: Prepare a bath with 3½ gallons +nitrate of iron, 80° Tw. Work the yarn in this for fifteen minutes, then +wring out. The bath may be used again when 1 gallon of nitrate of iron +is added for each lot of yarn worked in it. In place of the nitrate of +iron, the pyrolignite of iron or iron liquor may be used.</p> + +<p>Operation 3. Liming: Work for ten minutes in a weak bath of milk of +lime.</p> + +<p>Operation 4. Dyeing: This is done in a bath made from 10 lb. logwood +extract and 1 lb. fustic extract. The yarn is entered into the cold or +tepid bath, the heat slowly raised to about 150° F, then kept at this +heat until a good black is got, when the yarn is taken out, rinsed and +wrung. The addition of the fustic extract enables a much deeper and +jetter shade of black to be dyed.</p> + +<p>Operation 5. Saddening: To obtain a fuller black the dyed cotton is sent +through a bath of 1½ lb. of copperas, then washed well.</p> + +<p>Operation 6. Soaping: Work for twenty minutes in a bath of 2 lb. soap at +140° to 150° F. Then wash well.</p> + +<p>Much the same process may be followed for dyeing<!-- Page 176 --><span class='pagenum'><a name="Page_176" id="Page_176">[Pg 176]</a></span> logwood black on warps +and piece goods, jiggers being used for each operation.</p> + +<p>Another method is to first work the cotton in pyrolignite (iron liquor) +at 10° Tw., until it is thoroughly impregnated, then to dry and hang in +the air for some hours, next to pass through lime water to fix the iron, +and then to dye as before.</p> + +<p><i>Continuous Process.</i>—In this case a continuous dyeing machine is +provided, fitted with five to six compartments. The cotton is first of +all prepared by steeping in a bath of 12 lb. myrabolam extract for +several hours, then it is taken to the continuous machine and run in +succession through nitrate of iron liquor, lime water, logwood and +fustic, iron liquor and water. The nitrate of iron bath contains 2 +gallons of the nitrate to 10 gallons of water, and as the pieces go +through fresh additions of this liquor are made from time to time to +keep up the volume and strength of the liquor to the original points.</p> + +<p>The logwood bath is made from 10 lb. logwood extract and 1 lb. fustic +extract, and it is used at about 160° F. The quantities here given will +serve for 100 lb. of cotton, and it is well to add them dissolved up in +hot water in small quantities from time to time as the cotton goes +through the bath.</p> + +<p>The iron liquor given after the dyeing contains 2 lb. of copperas in 10 +gallons of water.</p> + +<p>Between the various compartments of the machine is fitted squeezing +rollers to press out any surplus liquor, which is run back into the +compartment. The rate of running the warp or pieces through should not +be too rapid, and the dyer must adapt the rate to the speed with which +the cloth dyes up in the dye-bath.</p> + +<p>The addition of a little red liquor (alumina acetate) to the iron bath +is sometimes made, this is advantageous, as it results in the production +of a finer black. Iron by itself<!-- Page 177 --><span class='pagenum'><a name="Page_177" id="Page_177">[Pg 177]</a></span> tends to give a rusty-looking, or +brownish black, but the violet, or lilac shade that alumina gives with +logwood, tones the black and makes it look more pleasant.</p> + +<p>Some dyers add a small quantity, 1 per cent., of the weight of the +cotton of sulphate of copper to the iron bath, others add even more than +this. Some use nitrate of copper; the copper giving a greenish shade of +black with logwood, and this tones down the iron black and makes it more +bloomy in appearance.</p> + +<p>Single bath methods of dyeing logwood blacks are in use, such methods +are not economical as a large quantity, both of dye-wood and mordants, +remain in the bath unused. Although full intense blacks can be dyed with +them, the black is rather loosely fixed and tends to rub off. This is +because as both the dye-stuff and the mordant are in the same bath +together they tend to enter into combination and form a colour lake that +precipitates out in the dye-bath, causing the loss of material alluded +to above, while some of it gets mechanically fixed on the cotton, in a +more or less loose form, and this looseness causes the colour to rub +off.</p> + +<p>For a <i>chrome-logwood black</i>, a dye-bath is made with 3 lb. bichromate +of potash, 100 gallons logwood decoction at 3° Tw., and 6½ lb. +hydrochloric acid. Enter the cotton into the cold bath, raise slowly to +the boil and work until the cotton has acquired a full black blue +colour, then take it out and rinse in a hot lime water when a blue black +will be got.</p> + +<p>A <i>copper-logwood black</i> is got by taking 100 gallons logwood decoction +at 3° Tw., and 6 lb. copper acetate (verdigris); the cotton is entered +cold and brought up to the boil. Copper nitrate may be used in the place +of the copper acetate, when it is a good plan to add a little soda to +the bath. Some dyers in working a copper-logwood black make the dye-bath +from 100 gallons logwood liquor at 2° Tw., 4 lb.<!-- Page 178 --><span class='pagenum'><a name="Page_178" id="Page_178">[Pg 178]</a></span> copper sulphate +(bluestone) and 4 lb. soda. This bath is used at about 180° to 190° F., +for three-quarters of an hour, then the cotton is lifted out, wrung and +aged or as it is sometimes called "smothered" for five hours. The +operations are repeated two or three times to develop a full black.</p> + +<p>Logwood black dyeing has lost much of its importance of late years owing +to the introduction of the many direct blacks, which are much easier of +application and leave the cotton with a fuller and softer feel.</p> + +<p><i>Logwood Greys</i>.—These are much dyed on cotton and are nothing more +than weak logwood blacks, and may be dyed by the same processes only +using baths of about one-tenth the strength.</p> + +<p>By a one-bath process 5 lb. of logwood are made into a decoction and to +this 1 lb. of copperas (ferrous sulphate) is added and the cotton is +dyed at about 150° F. in this bath. By adding to the dye-bath small +quantities of other dye-woods, fustic, peach wood, sumach, etc., greys +of various shades are obtained. Some recipes bearing on this point are +given in this section.</p> + +<p>Logwood is not only used for dyeing blacks and greys as the principal +colouring matter, but is also used as a shading colour along with cutch, +fustic, quercitron, etc., in dyeing olives, browns, etc., and among the +recipes given in this section examples of its use in this direction will +be found.</p> + +<p>The dye-woods—fustic, Brazil wood, bar wood, Lima wood, cam wood, +cutch, peach wood, quercitron bark, Persian berries—have since the +introduction of the direct dyes lost much of their importance and are +now little used. Cutch is used in the dyeing of browns and several +recipes have already been given. Their production consists essentially +in treating the cotton in a bath of cutch, either alone or for the +purpose of shading with other dye-woods when the cotton takes up<!-- Page 179 --><span class='pagenum'><a name="Page_179" id="Page_179">[Pg 179]</a></span> the +tannin and colouring matter of the cutch, etc. The colour is then +developed by treatment with bichromate of potash, either with or without +the addition of an iron salt to darken the shade of brown.</p> + +<p>The usual methods of applying all the other dye-woods, to obtain +scarlets to reds with Brazil wood, Lima wood, peach wood; or yellows +with fustic, quercitron or Persian berries, is to first prepare the +cotton with sumac, then mordant with alumina acetate or tin crystals +(the latter gives the brightest shades), then dye in a decoction of the +dye-woods. Sometimes the cotton is boiled in a bath of the wood when it +takes up some of the dye-wood, next there is added alumina acetate or +tin crystals and the dyeing is continued when the colour becomes +developed and fixed upon the cotton.</p> + +<p>Iron may be used as a mordant for any of these dye-woods but it gives +dull sad shades.</p> + +<p>Chrome mordants can also be used and these produce darker shades than +tin or alumina mordants.</p> + +<p>As practically all these dye-woods are now not used by themselves it has +not been deemed necessary to give specific recipes for their +application, on previous pages several are given showing their use in +combination with other dyes.</p> + +<p>The dye-stuff Dinitroso-resorcine or Solid green O is used along with +iron mordants for producing fast greens and with chrome mordants for +producing browns to a limited extent in cotton dyeing. The following +recipes give the details of the process.</p> + +<p><i>Green</i>.—Steep the cotton yarn or cloth in the following liquor until +well impregnated, then dry: 3 gallons iron liquor (pyrolignite of iron), +22° Tw. gallons of water, ¾ gallon acetic acid, 12° Tw., 2 lb. +ammonium chloride. Then pass the cotton through a warm bath of 3 oz. +phosphate of soda and 4 oz. chalk per gallon, then enter into a dye-bath +containing 6 lb. Solid green O. Work as described for dyeing<!-- Page 180 --><span class='pagenum'><a name="Page_180" id="Page_180">[Pg 180]</a></span> alizarine +red. For darker greens of a Russian green shade use 10 lb. of solid +green O, in the dye-bath.</p> + +<p><i>Brown</i>.—A fine brown is got by steeping the cotton in a bath of 8 lb. +Solid green O, 6¾ gallons water, 1½ gallons ammonia and 2 lb. +acetate of chrome; dry, then pass through a soap-bath, wash and dry.</p> + +<p><i>Deep Olive Brown</i>.—Mix 8 lb. Solid green O and 4½ lb. borax with 6 +gallons water, add ½ lb. Turkey-red oil, 5 lb. ammonia, then 2 gallons +water and 1½ lb. copper-soda solution and another 2 gallons water. +Steep the cotton in this, dry, soap well and wash. The copper-soda +solution is made from 10 lb. chloride of copper (75° Tw.), 5 lb. +tartaric acid, 12 lb. caustic soda (75° Tw.) and 4 lb. glycerine.</p> + +<p><i>Khaki</i>.—Make the dye liquor from 14 lb. Solid green O, ½ lb. +Alizarine yellow N, 1 lb. caustic soda (36° Tw.), ½ lb. Turkey-red oil +and 8 gallons water. To this add 2½ lb. acetate of chrome (32° Tw.), +2¼ lb. copper-soda solution and 4 gallons water.</p> + +<p><i>Sage Green</i>.—Use 1¼ lb. Solid green O, 3 lb. caustic soda (36° +Tw.), ½ lb. Ceruleine, ½ lb. Turkey-red oil, 1 gallon water to which +is added 2½ lb. acetate of chrome (32° Tw.) and 2¼ lb. copper-soda +solution dissolved in 4 gallons water.</p> + +<p><i>Pale Brown</i>.—Use 4 lb. Solid green O, 2½ lb. borax, 3 lb. ammonia, +½ lb. Turkey-red oil, 6 gallons of water and 1½ lb. copper-soda +solution dissolved in 2 gallons water.</p> + +<p><i>Pale Fawn Brown</i>.—The dye-bath is made from ½ lb. Alizarine, 1¼ +lb. Solid green O, 1½ lb. borax, ½ lb. Turkey-red oil and 5 gallons +of water to which is added 1½ lb. acetate of chrome (32° Tw.), 1½ +lb. copper-soda solution and 4 gallons water. In all cases the cotton is +steeped in the dye liquors until thoroughly impregnated, then the excess +liquor is wrung out, the cotton dried, then passed through a soap bath, +washed well and dried.</p> + +<p><i>Dark Brown</i>.—Place the cotton in a lukewarm bath of 25<!-- Page 181 --><span class='pagenum'><a name="Page_181" id="Page_181">[Pg 181]</a></span> lb. cutch and +1½ lb. copper sulphate; work for half an hour, then steep for six +hours, then lift, wring and enter into a bath of 3¼ lb. bichromate of +potash at 160° F. for twenty minutes. Then wash and dry.</p> + +<p><i>Yellow Brown</i>.—Make a bath with 14 lb. cutch and ½ lb. copper +sulphate; work in this bath for four hours at 120° F., then pass into a +bath of 2 lb. copperas and ½ lb. chalk, work for half an hour in the +cold, then pass into a hot bath of 2½ lb. bichromate of potash at +150° F. for half an hour.</p> + +<p><i>Dark Brown</i>.—Make a dye-bath with 15 lb. cutch, 2 lb. logwood extract +and 2 lb. fustic extract; work the cotton in this at 160° F. for three +hours, then pass into a cold bath of 1 lb. copperas and ¼ lb. chalk +for half an hour, then into a bath of 3 lb. bichromate of potash for +half an hour at 150° F., then wash and dry.</p> + + + +<hr style="width: 65%;" /> +<h2><a name="PRODUCTION_OF_COLOUR_DIRECT_UPON_COTTON_FIBRES" id="PRODUCTION_OF_COLOUR_DIRECT_UPON_COTTON_FIBRES"></a>(7) PRODUCTION OF COLOUR DIRECT UPON COTTON FIBRES.</h2> + + +<p>By the action of nitrous acid upon the salts of the primary organic +amines the so-called diazo compounds are formed. An example of this +important process is that of nitrous acid on aniline hydrochloride shown +in the following equation:—</p> + +<p>C<sub>6</sub>H<sub>5</sub>NH<sub>2</sub> + HCl + HNO<sub>2</sub> 2H<sub>2</sub>O + C<sub>6</sub>H<sub>5</sub>N:NCl +Hydrochloric acid Nitrous Water, Diazo-benzene +aniline, acid, chloride.</p> + +<p>These diazo compounds are distinguished by their active properties, +especially in combining with amines in acid solutions, or with phenols +in alkaline solution to form the azo dyes, thus diazobenzene chloride +will combine with naphthol to form naphthol-azo-benzene, thus:—</p> + +<p>C<sub>6</sub>H<sub>5</sub>N:NCl + C<sub>10</sub>H<sub>7</sub>OH + NaOH = +Diazo-benzene chloride, Naphthol, Caustic soda.</p> + +<p>C<sub>10</sub>H<sub>6</sub>OHN:NC<sub>6</sub>H<sub>5</sub> + NaCl + H<sub>2</sub>O +Naphthol-azo-benzene, Salt, Water.<!-- Page 182 --><span class='pagenum'><a name="Page_182" id="Page_182">[Pg 182]</a></span></p> + +<p>These azo compounds are coloured, but are perfectly insoluble in water, +alkalies, or acids; on the other hand the sulphonates of these bodies +are easily soluble and form the numerous azo dyes now so largely made +and used in wool and silk dyeing, but which on account of their being +sulphonates cannot be used for cotton dyeing.</p> + +<p>Methods have been devised for producing the insoluble azo colours direct +upon the fibres. They are also called naphthol colours from the use of +beta-and alpha-naphthol in their production. Although these azo dyes, +when produced on the fibre, do not possess the fastness of the alizarine +dyes, yet, on account of their cheapness and relative great fastness to +soap and the action of sunlight, they are better than many of the newer +cotton dyes.</p> + +<p>By this method (first introduced in England by Holliday) colours of +exceptional brightness and fastness can be obtained which were not +obtainable with the dyes then known. Those which are obtained from +phenols are of the first importance.</p> + + +<p><i>The Diazotisation of the Amido Bases.</i></p> + +<p>With most bases this must be accomplished as cold as possible below 65° +F. At a higher temperature, and when allowed to stand, most diazo +compounds decompose quickly with evolution of nitrogen, which +decomposition results in the mixture losing its power of producing +colour, or at the most gives unsatisfactory results. For this reason it +is therefore always necessary to work as cold and as quickly as +possible.</p> + +<p>The amido-azo bodies, whose compounds with the phenols are also +distinguished by their great fastness, are in this respect an exception. +They can be diazotised at the ordinary temperature, and their diazo +compounds are much stabler than those, for example, of alpha-and +beta-naphthylamine or of aniline, which must always be used as quickly +as possible.<!-- Page 183 --><span class='pagenum'><a name="Page_183" id="Page_183">[Pg 183]</a></span></p> + +<p>From anisidine, phenetidine and amido-diphenylamine, still more stable +diazo compounds can be obtained, but the prices of these bases are +rather high, and the colours produced with them are not fast to light.</p> + +<p>The cheapest and most convenient method of obtaining nitrous acid for +diazotising is by the action of a mineral acid, preferably hydrochloric +acid, upon nitrite of soda.</p> + +<p>For diazotising one molecule of base requires one molecule of +hydrochloric acid to form a salt of the base, a molecule of nitrite of +soda, and another molecule of hydrochloric acid to decompose the +nitrite. The diazotisation is better carried out and the diazo solution +rendered more stable if another molecule of hydrochloric acid and an +excess of nitrite of soda are used. The presence of an excess of nitrite +can be determined by testing the diazo solution with potassium iodide +starch paper, which in the presence of excess of nitrite gives the blue +iodine starch reaction.</p> + +<p>In carrying out the diazotisation, the base is first dissolved in the +whole amount of hydrochloric acid which has to be used, and the solution +is filtered. The diazotisation takes place in the manner shown in the +equation:—</p> + +<span style="margin-left: 1em;">C<sub>6</sub>H<sub>5</sub>NH<sub>2</sub> + HCl + HCl + NaNO<sub>2</sub> =</span><br /> +Aniline hydrochloride, Hydrochloric acid, Sodium nitrite,<br /> + +<span style="margin-left: 1.5em;">NaCl + C<sub>6</sub>H<sub>5</sub>N:NCl + H<sub>2</sub>0</span><br /> +<span style="margin-left: 1.5em;">Salt, Diazo-benzene chloride, Water.</span><br /> + +<p>The bases which form salts soluble with difficulty, such as nitroaniline +and the amido-azo bodies, offer special difficulties in diazotising.</p> + +<p>It has been found that the operation with these is best carried out if +the chemically pure bases in paste form are mixed with the requisite +amount of nitrite, and the diluted paste then poured into the +hydrochloric acid.<!-- Page 184 --><span class='pagenum'><a name="Page_184" id="Page_184">[Pg 184]</a></span></p> + +<p>It has been found by experience that the colour is developed much +brighter upon the fibre when the diazo solution contains acetic acid and +no free mineral acid. However, the diazotisation is better carried out +with hydrochloric acid, and the presence of the latter is necessary to +give stability to the solution. If before the diazo solution is used a +quantity of acetate of soda be added to it, the free hydrochloric acid +liberates acetic acid from the acetate, and the chloride of the diazo +body changes into its acetate. It is better to add an excess above the +two molecules of acetate of soda which are required.</p> + +<p>The combination when aniline and beta-naphthol are used, as the amine +and phenol respectively, is shown in the following equations:—</p> + +<span style="margin-left: 1.5em;">C<sub>6</sub>H<sub>5</sub>N:NCl + C<sub>10</sub>H<sub>7</sub>OH +</span><br /> +Diazo-benzene chloride, B. naphthol,<br /> + +<p>NaOH = 2NaCl + C<sub>6</sub>H<sub>5</sub>N:NC<sub>10</sub>H<sub>6</sub>OH + H<sub>2</sub>O +Caustic soda, Benzene- azo-naphthol, Water.</p> + +<p>Or, with naphthylamine and naphthol, thus:—</p> + +<p>C<sub>10</sub>H<sub>7</sub>N:NCl + C<sub>10</sub>H<sub>7</sub>OH + NaOH =</p> + +<span style="margin-left: 1em;">NaCl + C<sub>10</sub>H<sub>7</sub>N:NC<sub>10</sub>H<sub>6</sub>OH + H<sub>2</sub>O</span><br /> +<span style="margin-left: 9.5em;">Naphthalene azo-naphthol.</span><br /> + +<p>By the action of nitrous acid upon amido-azo bodies a group of bodies +called diazo-azo compounds are obtained which contain the group N:N +twice over, thus:—</p> + +<span style="margin-left: 1em;">C<sub>6</sub>H<sub>5</sub>N:NC<sub>6</sub>H<sub>4</sub>NH<sub>2</sub>HCl + NaNO<sub>2</sub> + 2HCl =</span><br /> +<span style="margin-left: 4em;">Benzene-azo-aniline-hydrochloride,</span><br /> + +NaCl + C<sub>6</sub>H<sub>5</sub>N:NC<sub>6</sub>H<sub>4</sub>N:NCl + 2H<sub>2</sub>O.<br /> +<p><!-- Page 185 --><span class='pagenum'><a name="Page_185" id="Page_185">[Pg 185]</a></span></p><span style="margin-left: 5.5em;">Diazo-azo-benzene-chloride.</span><br /> + +<p>When this compound is combined with naphthol diazo-azo dyes are +produced.</p> + +<p>C<sub>6</sub>H<sub>5</sub>N:NC<sub>6</sub>H<sub>4</sub>N:NC<sub>10</sub>H<sub>6</sub>OH. +Benzene-azo-benzene-azo-naphthol.</p> + +<p>The molecular weights of the bases, phenols and chemicals employed are +the following:—</p> + +<p>1. Hydrochloric acid, HCl—36.5. 2. Caustic soda, NaOH—40. 3. Nitrite +of soda, NaNO<sub>2</sub>—69. 4. Acetate of soda, +NaC<sub>2</sub>H<sub>3</sub>O<sub>2</sub>3H<sub>2</sub>O—136.</p> + +<p>1. Commercial hydrochloric acid at 32° Tw. contains about 365 grams of +HCl in a litre, or 3½ lb. in a gallon.</p> + +<p>2. The commercial 77 per cent. soda must always be used, and for +practical purposes it may be taken as pure. It is best to make a +solution which contains 160 grams NaOH in a litre of water.</p> + +<p>3. The nitrite supplied is almost chemically pure, and is easily soluble +in water. In order to make a solution 140 or 290 grams are dissolved per +litre.</p> + +<p>4. Crystallised acetate of soda contains 3 molecules of water of +crystallisation, and is usually somewhat moist. Instead of 136 grams 140 +are taken to allow for moisture. The amount is dissolved in about 500 +cubic centimetres of water.</p> + + +<p><i>Bases.</i></p> + +<p>1. Aniline, C<sub>6</sub>H<sub>5</sub>NH<sub>2</sub>—93.<br /> +2. Toluidine, C<sub>7</sub>H<sub>7</sub>NH<sub>2</sub>—107.<br /> +3. Alpha-and beta-naphthylamine, C<sub>10</sub>H<sub>7</sub>NH<sub>2</sub>—143.<br /> +4. Para-or meta-nitroaniline, C<sub>6</sub>H<sub>4</sub>NO<sub>2</sub>NH<sub>2</sub>—138.<br /> +5. Nitro-para-toluidine, C<sub>7</sub>H<sub>6</sub>NO<sub>2</sub>NH<sub>2</sub>—152.<br /> +6. Amidoazobenzene (base), <!-- Page 186 --><span class='pagenum'><a name="Page_186" id="Page_186">[Pg 186]</a></span>C<sub>6</sub>H<sub>5</sub>N:NC<sub>6</sub>H<sub>4</sub>NH<sub>2</sub>—197.<br /> +7. Orthoamidoazotoluol (base), C<sub>7</sub>H<sub>7</sub>N:NC<sub>7</sub>H<sub>6</sub>NH<sub>2</sub>—225.<br /> +8. Alpha-or beta-naphthol C<sub>10</sub>H<sub>7</sub>OH—144.</p> + + +<p><i>Example of Quantities Taken.</i></p> + +<span style="margin-left: 1em;">Molecular Weight.</span><br /> +1. Molecule nitrite 69 grams.<br /> +2. Molecule aniline 93 "<br /> +3. Molecule hydrochloric acid 365 "<br /> +4. Molecule acetate of soda 136 "<br /> +5. Molecule of naphthol 144 "<br /> +6. Molecule caustic soda 40 "<br /> + +<p>Applying the principles which have just been described to the dyeing of +cotton, it is found that the cotton may be dyed by taking the base and +preparing the diazo body, impregnating the cotton with this, and +developing the colour by passing into a bath of the phenol. On the other +hand, the cotton can be prepared with the phenol and the colour +developed by passing into a bath of the diazotised base, and practice +has shown that this latter proceeding is the best. Practically the only +phenol that is used is the beta-naphthol; alpha-naphthol is occasionally +used, but not often.</p> + +<p>The purer the beta-naphthol the better, especially for producing the +paranitroaniline red. Various preparations of beta-naphthol have been +brought out by colour makers.</p> + +<p>The process of dyeing cotton with a naphthol colour takes place in two +stages, the first being the grounding or preparing with the naphthol, +the second the developing with the diazotised base. Some of the effects +which can be obtained from the two naphthols and various bases are given +in the following table:—</p> + +<span style="margin-left: 2.5em;">Base. With beta-naphthol, gives With alpha-naphthol, gives</span><br /> +1. Aniline, Orange yellow; Cutch brown.<br /> +2. Paratoluidine, Full yellow orange; Cutch brown.<br /> +3. Metanitroaniline, Fiery yellowish red; Brownish orange.<br /> +4. Paranitroaniline, Bright scarlet; " "<br /> +<p><!-- Page 187 --><span class='pagenum'><a name="Page_187" id="Page_187">[Pg 187]</a></span><span style="margin-left: 2.5em;">Base. With beta-naphthol, gives With alpha-naphthol, gives</span><br /> +5. Nitroparatoluidine, Orange; Very bright catechu.<br /> +6. Alpha-naphthylamine, Bluish claret red; Reddish puce.<br /> +7. Beta-naphthylamine, Turkey red; "<br /> +8. Amidoazobenzene, Red; "<br /> +9. Orthoamidoazotoluene, Yellowish claret red; "</p> + +<p>By mixing alpha-and beta-naphthols together a variety of grenat and +claret reds and browns can be obtained.</p> + +<p>With regard to the fastness of the shades produced the following may be +considered:—</p> + +<span style="margin-left: 6.5em;"><i>Fast to Soaping.</i></span><br /> + +Combination of A-Naphthol with Toluidine.<br /> +<span style="margin-left: 2.5em;">" " A-Naphthylamine.</span><br /> +<span style="margin-left: 2.5em;">" " B-Naphthylamine.</span><br /> +<span style="margin-left: 2.5em;">" " Amidoazobenzene.</span><br /> +<span style="margin-left: 2.5em;">" B-Naphthol with Toluidine.</span><br /> +<span style="margin-left: 2.5em;">" " Paranitroaniline.</span><br /> +<span style="margin-left: 2.5em;">" " Nitroparatoluidine.</span><br /> +<span style="margin-left: 2.5em;">" " B-Naphthylamine.</span><br /> +<span style="margin-left: 2.5em;">" " A-Naphthylamine.</span><br /> + +<span style="margin-left: 8em;"><i>Moderately Fast.</i></span><br /> + +Combination of A-Naphthol with Aniline.<br /> +<span style="margin-left: 2.5em;">" " Paranitroaniline.</span><br /> +<span style="margin-left: 2.5em;">" " Orthoamidoazotoluene.</span><br /> +<span style="margin-left: 2.5em;">" B-Naphthol with Metanitroaniline.</span><br /> +<span style="margin-left: 2.5em;">" " Amidoazobenzene.</span><br /> + +<span style="margin-left: 7em;"><i>Very Loose.</i></span><br /> + +Combination of A-Naphthol with Paratoluidine.<br /> +<span style="margin-left: 2.5em;">" " Metanitroaniline.</span><br /> +<span style="margin-left: 2.5em;">" " Nitroparatoluidine.</span><br /> +<span style="margin-left: 2.5em;">" B-Naphthol with Aniline.</span><br /> +<span style="margin-left: 2.5em;">" " Paratoluidine.</span><br /> +<p><!-- Page 188 --><span class='pagenum'><a name="Page_188" id="Page_188">[Pg 188]</a></span></p><span style="margin-left: 2.5em;">" " Orthoamidoazotoluene.</span><br /> + +<p>The samples were tested for fastness to light by exposing them for nine +days with the following results:—</p> + + +<p><i>Fast.</i></p> + +Combination of A-Naphthol with Aniline.<br /> +<span style="margin-left: 2em;">" " Toluidine.</span><br /> +<span style="margin-left: 2em;">" " Metanitroaniline.</span><br /> +<span style="margin-left: 2em;">" " Paranitroaniline.</span><br /> +<span style="margin-left: 2em;">" " Nitroparatoluidine.</span><br /> +<span style="margin-left: 2em;">" " B-Naphthylamine.</span><br /> +<span style="margin-left: 2em;">" " Amidoazobenzol.</span><br /> +<span style="margin-left: 2em;">" " Orthoamidoazotoluol.</span><br /> +<span style="margin-left: 2em;">" B-Naphthol with Aniline.</span><br /> +<span style="margin-left: 2em;">" " Paratoluidine.</span><br /> +<span style="margin-left: 2em;">" " Metanitroaniline.</span><br /> +<span style="margin-left: 2em;">" " Paranitroaniline.</span><br /> +<span style="margin-left: 2em;">" " B-Naphthylamine.</span><br /> +<span style="margin-left: 2em;">" " A-Naphthylamine.</span><br /> + +<span style="margin-left: 8em;"><i>Moderately Fast.</i></span><br /> + +<p>Combination of B- Naphthol with Nitroparatoluidine.</p> + +<span style="margin-left: 8.5em;"><i>Very Loose.</i></span><br /> + + +Combination of A-Naphthol with Toluidine.<br /> +<span style="margin-left: 2em;">" " A-Naphthylamine</span><br /> +<span style="margin-left: 2em;">" B-Naphthol with Toluidine.</span><br /> +<span style="margin-left: 2em;">" " Amidoazobenzene.</span><br /> +<span style="margin-left: 2em;">" " Orthoamidoazotoluene.</span><br /> + +<p>The most important of the naphthol colours is undoubtedly +paranitroaniline red, produced by the combination of paranitroaniline +and beta-naphthol. In order to produce the best and brightest shades +these two bodies must be quite pure. <!-- Page 189 --><span class='pagenum'><a name="Page_189" id="Page_189">[Pg 189]</a></span>The following directions may be +followed:—</p> + +<p><b>Dyeing Paranitroaniline Red on Yarn.</b></p> + +<p>It unfortunately happens that this red does not admit of being worked in +large quantities at a time, particularly in the diazo bath where the +colour is developed, as the previous operations seem to render the yarn +slightly waterproof, and hence if large quantities of yarn were dealt +with at one time some would be found to be dyed all right, others would +be defective. It has, therefore, been found best to work only about 2 +lb. of yarn at a time, carefully carrying out each operation with this +quantity. As, however, the process can be quickly worked it follows that +in the course of a day a fairly large quantity of yarn can be treated.</p> + +<p>1. <i>Grounding.</i> The grounding or preparing bath for 100 lb. of yarn is +best made in the following manner: 4 lb. of beta-naphthol are stirred in +2½ lb. of caustic soda liquor 70° Tw., then 1½ quarts of boiling +water is added, when dissolved 1½ quarts of cold water. In a separate +vessel dissolve 5 lb. Turkey-red oil in 11 quarts of water, then mix the +two liquors together and add sufficient water to make up the whole to 12 +gallons.</p> + +<p>In working sufficient of this liquor is taken and put into a deep tub in +which 2 lb. of yarn can be conveniently worked. It is best to work at a +tepid heat, say 100° to 110° F.; 2 lb. of the yarn are worked in this +liquor, so that it becomes thoroughly impregnated, then it is gently +wrung out and hung up. This operation is repeated with each 2 lb. until +the whole 100 lb. has been treated, adding from time to time some of the +naphthol liquor to make up for that taken up by the cotton. When all the +yarn has been through the liquor, give it another dip through the same +liquor. Place the yarn in a hydro-extractor for five to seven minutes. +Next open out the yarn well, and hang on sticks and dry in a stove at +140° to 150° F. The stove should be<!-- Page 190 --><span class='pagenum'><a name="Page_190" id="Page_190">[Pg 190]</a></span> heated with iron pipes, through +which steam at 30 lb. to 40 lb. pressure passes. This stove should be +reserved entirely for this work, for if other goods be dried in it along +with the naphthol-prepared cotton, any steam or acid vapours which might +be given off from the former might damage the latter.</p> + +<p>When thoroughly dry the yarn is ready for the next operation.</p> + +<p>2. <i>Developing</i>. The developing bath is made in the following manner: +1½ lb. paranitroaniline is mixed with 1½ gallons of boiling water, +and 1¾ quarts of hydrochloric acid at 30° to 32° Tw. Stir well until +the paranitroaniline is completely dissolved, add 3½ gallons of cold +water, which will cause a precipitation of the hydrochlorate of +paranitroaniline as a yellow powder. Let the mixture thoroughly cool +off, best by allowing to stand all night; 1¼ lb. of nitrite of soda +is dissolved in 4 quarts of cold water, and this solution is added to +the paranitroaniline solution slowly and with constant stirring; in +about fifteen to twenty minutes the diazotisation will be complete. At +this and following stages the temperature of working should be kept as +low as possible. Some dyers use ice in preparing their diazo solutions, +and certainly the best results are attained thereby, but with +paranitroaniline the ice can be dispensed with. After the end of the +time sufficient cold water is added to bring the volume of the liquor up +to 10 gallons. This diazo liquor will keep for some days, but it +decomposes in time, so that it should not be kept too long.</p> + +<p>Another liquor is made by dissolving 4 lb. acetate of soda in 11 quarts +of water.</p> + +<p>The developing bath is made by taking 4 gallons of the diazo liquor and +1 gallon of the acetate liquor and mixing together, and in this bath the +prepared yarn, 2 lb. at a time, <!-- Page 191 --><span class='pagenum'><a name="Page_191" id="Page_191">[Pg 191]</a></span>is worked. The colour develops +immediately. The yarn when dyed is lifted out, wrung, and then it is +well washed with water, soaped in a bath at 120° F., with a liquor +containing ½ oz. soap per gallon, then dried. As the cotton yarn is +being passed through the developing bath, the latter is freshened up +from time to time by suitable additions of the diazo and acetate liquors +in the proportions given above.</p> + +<p>Some dyers use a special form of dye vat for dyeing paranitroaniline red +on yarn, whose construction can be seen from Fig. 27.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus027.jpg" width="400" height="350" alt="FIG. 27.--Dye-tub for Paranitroaniline Red." title="Dye-tub for Paranitroaniline Red" /> +<span class="caption">FIG. 27.—Dye-tub for Paranitroaniline Red.</span> +</div> + +<p>The beta-naphthol bath does not keep well and in time tends to grow +brown, and when this occurs stains are invariably produced on the +cotton. When the yarn or cloth has been prepared with the beta-naphthol, +and dried, the developing should be immediately proceeded with, for it +is found that by allowing the prepared cotton to lie about it becomes +covered with brown stains, and when such stained cotton is passed +through the developing bath stains and defective dyeing result.<!-- Page 192 --><span class='pagenum'><a name="Page_192" id="Page_192">[Pg 192]</a></span></p> + +<p>It has been found that by adding a little tartar emetic to the +beta-naphthol bath this is largely if not entirely prevented, and the +prepared cloth may be kept for a reasonable length of time before +proceeding with the development without fear of stains being formed.</p> + +<p>Various additions have been made from time to time to the naphthol bath. +Some of these take the form of special preparations of the colour +manufacturers, and are sold as naphthol D, naphthol X, red developer C, +etc., sometimes gum tragacanth has been added, at others in place of +Turkey-red oil there is used a soap made from castor oil with soda and +ammonia, but such complicated baths do not yield any better results than +the simple preparing liquor given above.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus028.jpg" width="400" height="300" alt="FIG. 28.--Padding Machine for Paranitroaniline Red." title="Padding Machine for Paranitroaniline Red" /> +<span class="caption">FIG. 28.—Padding Machine for Paranitroaniline Red.</span> +</div> + + +<p><b>Dyeing Paranitroaniline Red on Piece Goods.</b></p> + +<p>The dyeing of this red on to piece goods only differs from that on yarn +by reason of the difference in the form of material that is dealt with.<!-- Page 193 --><span class='pagenum'><a name="Page_193" id="Page_193">[Pg 193]</a></span></p> + +<p>1. <i>Preparing or Grounding.</i>—The same liquor may be used. This +operation is best done on a padding machine, a sketch of which is given +in Fig. 26, showing the course of the cloth through the liquor. This is +contained in the box of the machine, and this is kept full by a constant +stream flowing in from a store vat placed beside the machine. After +going through the liquor, the cloth passes between a pair of squeezing +rollers which squeeze out the surplus liquor. Fig. 28 shows a view of a +padding machine adapted for grounding paranitroaniline reds. After the +padding, the cloth is dried by being sent over a set of drying +cylinders, or through what is known as the hot flue.</p> + +<p>2. <i>The Developing.</i>—After being dried, the pieces are sent through a +padding machine charged with the developing liquor made as described +above, after which the cloth is rinsed, then soaped, and then washed. +Some dyers use a continuous machine for these operations, such as shown +in Fig. 29.</p> + +<p>While the developing bath used for piece goods may be the same as that +used for yarns, some dyers prefer to use one made somewhat differently, +thus 6¼ lb. paranitroaniline are mixed with 7 gallons boiling-water +and 1½ gallons hydrochloric acid; when dissolved 16 gallons of cold +water are added, then, after completely cooling, 3½ lb. sodium +nitrite dissolved in 3 gallons cold water. After twenty minutes, when +the diazotisation is complete, water is added to make the whole up to 40 +gallons. The acetate liquor is made from 13¼ lb. acetate of soda in +13½ gallons of water.</p> + +<p>Equal quantities of these two liquors are used in making the developing +bath.</p> + +<p>Of late years, under the names of Azophor red P N, Nitrazol C, +Nitrosamine, etc., there has been offered to dyers preparations of +diazotised paranitroaniline in the form of a powder or paste, readily +soluble in water, that will keep in a<!-- Page 194 --><span class='pagenum'><a name="Page_194" id="Page_194">[Pg 194]</a></span></p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/dcfillus029.jpg" width="150" height="400" alt="FIG. 29--Developing Machine for Paranitroaniline Red." title="Developing Machine for Paranitroaniline Red" /> +<span class="caption">FIG. 29—Developing Machine for Paranitroaniline Red.</span> +</div> + +<p>cool and dry place for any reasonable length of time. These are prepared +in various ways, and to any dyer who does not<!-- Page 195 --><span class='pagenum'><a name="Page_195" id="Page_195">[Pg 195]</a></span> want the trouble of +diazotising the paranitroaniline they offer some advantages. They +produce a red equal in every respect to that obtained from +paranitroaniline. The following details show the method to be followed +with some of these products, others are very similar to make the +developing baths.</p> + +<p><i>Paranitroaniline Red with Nitrazol C.</i>—Dissolve 25 lb. Nitrazol C in +12 gallons of cold water with constant stirring, then add sufficient +cold water to make 37 gallons. In another vessel dissolve 11 lb. of +acetate of soda in 5½ gallons water, then add 1½ gallons caustic +soda, 36° Tw., mixed with 5½ gallons water. The developing bath is +made by mixing both these solutions. It will suffice for both yarn and +piece goods.</p> + +<p><i>Paranitroaniline Red with Azophor Red P N.</i>—Dissolve 5½ lb. of +Azophor red P N in 4 gallons of water—it dissolves almost completely +but usually a few particles of a flocculent character remain +undissolved, these can be removed; 2¼ gallons of caustic soda lye of +36° Tw. are diluted with water to 10 gallons, and this is added with +constant stirring to the azophor red P N solution. When all is mixed and +a clear solution obtained, the developing bath is ready for use, and is +used in the same way as the paranitroaniline bath.</p> + +<p><i>Metanitroaniline Orange.</i>—This orange is produced in the same way as +the paranitroaniline red, using metanitroaniline or Azophor orange M N +in place of the paranitroaniline or the Azophor red P N given for the +red. The quantities of all the materials used are identical.</p> + +<p><i>Nitrosamine Red.</i>—Dissolve 5 lb. Nitrosamine red in 5 gallons of water +and 2¼ lb. hydrochloric acid, when well mixed there is added 2½ +lb. acetate of soda, when all is dissolved add sufficient water to make +6½ gallons. This bath is used exactly in the same way as the +paranitroaniline developing bath, and it produces identical results in +every way.<!-- Page 196 --><span class='pagenum'><a name="Page_196" id="Page_196">[Pg 196]</a></span></p> + +<p><i>Paranitroaniline Brown.</i>—By boiling the paranitroaniline red dyed +cotton in a weak bath of copper sulphate a very fine fast brown +resembling a cutch brown is produced. A better plan, however, is to +prepare the cotton with a ground containing an alkaline solution of +copper, 3 lb. beta-naphthol are dissolved in 5 pints of caustic soda lye +of 36° Tw., to which is added 5 lb. Turkey-red oil and 10 pints alkaline +copper solution, water being added to make 13 gallons of liquor. The +cotton is treated in this way as with the ordinary beta-naphthol +preparation. The alkaline copper solution is made by taking 5 pints of +copper chloride solution at 76° Tw., adding 3¼ lb. tartaric acid, 6 +pints caustic soda lye, 70° Tw., and 2 pints of glycerine. The +developing bath for the brown is the same as for the paranitroaniline +red, or the Azophor red P N bath may be used.</p> + +<p><i>Toluidine Orange.</i>—For this colour the cotton is prepared with the +beta-naphthol in the ordinary way. The developing bath is made from 2 +lb. orthonitrotoluidine mixed with 12 pints boiling water and 2¼ +pints hydrochloric acid; when dissolved allow to cool and then add +12½ lb. ice. When thoroughly cold stir in 2½ pints of sodium +nitrite solution containing 3 lb. per gallon. Stir well for twenty +minutes, then filter; add 4 lb. sodium acetate and sufficient ice-cold +water to make 13 gallons. Use this bath in the same way as the +paranitroaniline bath.</p> + +<p><i>Beta-naphthylamine Red.</i>—This red is a good one, but is not so bright +or so fast as the paranitroaniline red, hence although somewhat older in +point of time it is not dyed to the same extent. The developing bath is +made from 1¾ lb. beta-naphthylamine dissolved with the aid of 10 +pints boiling water and 1 pint hydrochloric acid. When dissolved allow +to cool; add 27 lb. ice and 2 pints hydrochloric acid. When cooled to +32° to 36° Tw., add 3 pints sodium nitrite solution (3 lb. per gallon) +and 4 lb. sodium acetate, making up to<!-- Page 197 --><span class='pagenum'><a name="Page_197" id="Page_197">[Pg 197]</a></span> 13 gallons with water. This also +is used in precisely the same way as the paranitroaniline red developing +liquor.</p> + +<p><i>Alpha-Naphthylamine Claret.</i>—This is a very fine and fairly fast red, +and next to the paranitroaniline red may be considered the most +important of the naphthol colours. The developing bath is a little more +difficult to make, owing to the fact that it is more difficult to get +the alpha-naphthylamine into solution. The best way of proceeding is the +following: Heat 1¾ lb. of alpha-naphthylamine in 10 pints of boiling +water, agitating well until the base is very finely divided in the +water, then 1¼ pints of hydrochloric acid is added, and the heat and +stirring continued until the base is dissolved, then the mass is allowed +to cool, 27 lb. of ice is added and 1½ pints of hydrochloric acid. +When cooled down to 32° to 36° F., there is added 3 pints sodium nitrite +solution (3 lb. per gallon), and after allowing the diazotisation to be +completed, 4 lb. sodium acetate and sufficient water to make 13 gallons +of liquor.</p> + +<p>The bath is used in the same manner as the previous developing baths.</p> + +<p><i>Dianisidine Blue.</i>—Dianisidine develops with beta-naphthol, a violet +blue, which is not very fast, but by the addition of some copper to the +developing bath a very fine blue is got which has a fair degree of +fastness. The developing bath is made as follows: Mix 10½ oz. +dianisidine with 7 oz. hydrochloric acid and 7½ pints of boiling +water, when complete solution is obtained it is allowed to cool, then 20 +lb. of ice is added. Next 1¾ pints of nitrite of soda solution, +containing 1½ lb. per gal. and 2½ pints of cold water. Stir for +thirty minutes, then add 1¼ pints copper chloride solution at 72° +Tw., and sufficient water to make up 6½ gallons.</p> + +<p>The cotton is prepared with beta-naphthol in the usual way, and then +passed through this developing bath.<!-- Page 198 --><span class='pagenum'><a name="Page_198" id="Page_198">[Pg 198]</a></span></p> + +<p><i>Amidoazotoluol Garnet.</i>—Amidoazotoluol produces with beta-naphthol a +fine garnet red in the usual way.</p> + +<p>The developing bath is made from 14 oz. amidoazotoluol, mixed with 1½ +pints of sodium nitrite solution containing 1½ lb. per gallon, when +well mixed add 1 pint of hydrochloric acid diluted with 2 pints water, +when this is well mixed add sufficient water to make up a gallon, then +add 1 lb. acetate of soda.</p> + +<p>The cotton is passed through this dye-bath, then washed well, passed +through a weak acid bath, then soaped well, washed and dried.</p> + +<hr style='width: 45%;' /> + +<p>(8) DYEING COTTON BY IMPREGNATION WITH DYE-STUFF SOLUTION.</p> + +<p>Indigo is a dye-stuff which requires special processes for its +application to the cotton or wool fibre.</p> + +<p>Its peculiarity is that in the form in which it comes to the dyer it is +insoluble in water, and to enable it to be dissolved and therefore to be +used as a dye, the indigo has to go under a special treatment. The +colouring principle of indigo is a body named indigotin, to which the +formula C<sub>16</sub>H<sub>16</sub>N<sub>2</sub>O<sub>2</sub> has been given. When indigo is mixed with +substances like lime and copperas, lime and zinc, zinc and bisulphite of +soda, which cause the evolution of nascent hydrogen, it takes up this +body and passes into another substance which is called indigo white that +has the formula C<sub>16</sub>H<sub>12</sub>N<sub>2</sub>O<sub>2</sub>, leuco, or white indigo; this +substance is soluble in water, and so when it is formed the indigo +passes into solution and can then be used for dyeing. But indigo white +is an unstable substance on exposure to air, the oxygen of the latter +attacks the hydrogen which it has taken up, and indigotin is reformed, +the indigo white changing again into indigo blue.</p> + +<p>Indigo dyeing consists of three operations:<!-- Page 199 --><span class='pagenum'><a name="Page_199" id="Page_199">[Pg 199]</a></span>—</p> + +<span style="margin-left: 2.5em;">(1) Preparation of the indigo solution, or, as it is called,</span><br /> +<span style="margin-left: 2.5em;">setting the dye vat. (2) Steeping the cotton in this vat. (3)</span><br /> +<span style="margin-left: 2.5em;">Exposing to the air.</span><br /> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus030.jpg" width="400" height="330" alt="FIG. 30.--Indigo Dye-vat for Cloth." title="Indigo Dye-vat for Cloth" /> +<span class="caption">FIG. 30.—Indigo Dye-vat for Cloth.</span> +</div> + +<p>There are several methods of preparing, or setting the dye vat, and of +each of these modifications are in use in every indigo dye-house:—</p> + +<span style="margin-left: 2.5em;">(1) With lime and copperas. (2) Zinc and lime vat. (3) Zinc and</span><br /> +<span style="margin-left: 2.5em;">bisulphite of soda.</span><br /> + +<p>In all cases it is necessary for the indigo to be ground to the form of +a fine paste with water; this is usually done in what is known as the +ball-grinding mill. The finer it is ground the more easy is it to make +the dye-vats.<!-- Page 200 --><span class='pagenum'><a name="Page_200" id="Page_200">[Pg 200]</a></span></p> + +<p>The dye-vats may be either round tubs or square wooden tanks; when +cloths or warps are being dyed these may be fitted with winces and guide +rollers, so as to draw the materials through the liquor. In the case of +yarns in hanks these appliances are not necessary.</p> + +<p>Fig. 30 is a sketch of an indigo dye-vat for cloth or warps.</p> + + +<p>(1) <b>Lime and Copperas Vat</b>.—To prepare this vat take 75 gallons of +water, 4 lb. of indigo, 8 lb. copperas, and 10 lb. of good quicklime. +Put these into the vat in the order shown. The amount of indigo is added +in proportion to the shade which is required to be dyed: for pale +shades, 2 lb. to 3 lb. will be sufficient; while for deep shades, 6 lb. +to 7 lb. may be used. The amount of copperas should be from one and a +half to twice that of the indigo. The vat should be stirred very well +and then left to stand. The changes which occur are probably the +following: The lime acts upon the copperas and produces ferrous +hydrate—this is unstable and tends to take up oxygen and hydrogen from +the water, particularly when there is some indigo present, and forms +ferric hydrate; hydrogen is at the same time liberated, and combines +with the indigo to form the soluble indigo white. It takes about +twenty-four hours to make an indigo vat. When properly made and in good +condition, the liquor will be clear and of a brownish-yellow colour, a +bluish scum may collect on the surface. If the liquor appears at all +greenish it is an indication that the indigo has not been completely +reduced, and the vat needs a further addition of lime and copperas, +which should be of good quality. Too much of each should not be used, +because with them there is formed at the bottom of the vat a sediment of +calcium sulphate and ferric hydrate, and it is not wise to increase this +to too great an extent, which would be the case if too much lime and +copperas were added.</p> + +<p><i>To Use this Vat.</i>—Any scum on the surface is raked on one<!-- Page 201 --><span class='pagenum'><a name="Page_201" id="Page_201">[Pg 201]</a></span> side, the +cotton yarn immersed for a few minutes, then it is taken out, wrung, +allowing the excess liquor to flow back into the vat, and the yarn hung +up in the air for the blue to develop. The depth of shade which is dyed +depends chiefly upon the amount of indigo in the vat, and also upon the +time during which the hanks are dipped in the liquor. Light and medium +shades can be readily and conveniently got by a single dip, but deep +shades are best got by repeating the dipping once or twice as occasion +demands. Deep shades got by using a strong bath at a single dip are +found to rub badly, while by repeated dips the dye gets more into the +substance of the fibre, and therefore the colour is more firmly fixed +and it rubs less.</p> + +<p>Some indigo dyers have quite a range of vats, using those fresh made for +dyeing deep shades, while the old vats being nearly exhausted are used +only for light shades and finally when completely exhausted are thrown +away. After the day's work the vat should be stirred up and then allowed +to stand. If necessary it may be strengthened by the addition of fresh +quantities of indigo, lime and copperas, the next morning it will be +ready for use. Generally a lime-copperas vat will remain in good working +order for about a month, when it will be necessary to throw it away.</p> + +<p><b>(2) Zinc and Lime Vat</b>.—Zinc dust is a bye-product in the process of +zinc extraction. It is a grey, very heavy powder, consisting mostly of +finely divided metallic zinc, with traces of oxide and sulphide of zinc. +Of these only the metallic zinc is active in reducing the indigo, the +rest of the ingredients are not of any consequence. The valuation of +zinc dust is a very difficult operation, but it is desirable that this +be done, as the product is liable to be very variable in the proportion +of actual zinc it contains, and it will pay large buyers always to have +it tested. Zinc dust must always be kept in a dry place.<!-- Page 202 --><span class='pagenum'><a name="Page_202" id="Page_202">[Pg 202]</a></span></p> + +<p>For the reduction of zinc powder lime is chiefly used. The following are +two good mixtures.</p> + +<p>Vat with zinc and lime:—</p> + +<p>10 lb. indigo, dry and ground fine; +5½ lb. zinc dust; +22 lb. slaked lime, dry.</p> + +<p>The vat is set as follows, a part of the lime is mixed with the indigo, +and the two bodies are well mixed together and allowed to stand for ten +minutes, then the zinc powder is added. It is best to make this into a +smooth paste with water before adding it to the other ingredients, then +the rest of the lime is added and the whole is thoroughly stirred +together with the necessary quantity of water.</p> + +<p>Vat with zinc powder, lime and soda:—</p> + +<p>10 lb. indigo, dry and ground fine; +10 lb. zinc powder; +10 lb. slaked lime, dry; +35 lb. caustic soda at 11° Tw.</p> + +<p>Add the lime to the ground indigo, then add the zinc and finally the +soda lye.</p> + +<p>Soon after the various ingredients of the vats are added together the +whole mass becomes hot, when it must be well stirred. It soon begins to +evolve gas and the mixture froths. In from two to four hours the +evolution of gas ceases. The dark blue solution now becomes yellow and +the liquor shows all the characteristics of the indigo vat. It is +necessary to keep the vat well stirred up during the time of setting, +which takes from five to six hours. If there is much evolution of gas +after this time it indicates that too much zinc powder has been added; +this is a common fault with dyers, and such excess causes the vat to be +too much disturbed and to work dirty. A lime-zinc vat, with occasional +additions of new<!-- Page 203 --><span class='pagenum'><a name="Page_203" id="Page_203">[Pg 203]</a></span> materials, keeps good for three months, and even then +is in a better condition than the copperas vat.</p> + +<p>This vat is used in precisely the same way as the copperas vat; as it +contains no sediment, or but little, it works cleaner than the copperas +vat and as a rule the indigo blues dyed in it are faster to rubbing.</p> + +<p>After a day's work it can be well stirred up and fresh additions of +lime, zinc and indigo made to bring it up to its original dyeing +strength.</p> + +<p><b>(3) Zinc-Bisulphite Indigo Vat.</b>—When zinc dust and bisulphite of soda +are mixed together a reaction sets in, the zinc dissolves, and there is +formed sodium hydrosulphite and zinc and sodium sulphites. If now indigo +is mixed with this solution the sodium hydrosulphite exerts a reducing +action on it, forming white indigo and sodium sulphite, a perfectly +clear solution being obtained, which may be used in dyeing cotton or +wool.</p> + +<p>With this vat it is customary to prepare a strong stock solution of +reduced indigo, and to add this to the dyeing vats as may be required.</p> + +<p><i>To Make the Stock Liquor.</i>—Take 20 lb. of indigo, grind into a paste +with 20 gallons of boiled water, then add 25 lb. lime slaked into a +milk. In a separate tub there is mixed 80 lb. bisulphite of soda, 70° +Tw., with 9 lb. zinc dust; this mixture is well stirred and every care +taken to prevent it getting hot. When the zinc has dissolved and the +mixture is free from any sulphurous smell it is run into the indigo +mixture given above. The whole is well stirred together for some time, +and then at intervals, until the indigo has become dissolved, sufficient +water is added to make up 50 gallons, when the stock liquor will be +ready. It should have a deep yellow colour. The surface may have a scum +of a bronzy colour collect on it. This stock liquor should be kept in +casks free from exposure to the air.<!-- Page 204 --><span class='pagenum'><a name="Page_204" id="Page_204">[Pg 204]</a></span></p> + +<p>To make the working vat from this stock liquor the following is the +method of proceeding:—</p> + +<p>Water is run into the vat, and this is heated from 70° to 80° C. in +order to expel air from it, after which it may be allowed to cool, then +for each 1,000 gallons contained in the vat there is added 30 lb. +bisulphite of soda, 3 lb. zinc dust and 3 lb. lime, made into a cream. +When all these ingredients are dissolved a quantity of the stock liquor +is added in proportion to the shade that it is desired to dye. The whole +is well stirred, then the vat is allowed to rest for half an hour to +enable any sediment to settle, and then the dyeing is proceeded with.</p> + +<p>Should the vat show signs of becoming green in colour it is a good plan +to add a mixture of 1 lb. zinc dust and 10 lb. bisulphite of soda. The +vat should be kept alkaline, and so a little lime may be added from time +to time.</p> + +<p>After a day's work it is well to add a little of the zinc and bisulphite +mixture, to stir well and allow to stand overnight; the next morning +strengthen up the vat by adding fresh stock liquor.</p> + +<p>In place of using lime in making up the vat it is possible to use a +mixture of caustic soda and ammonia. The lime will tend to cause some +sediment to form in the vat, whereas the soda and ammonia will not. When +they are used the following mode of working may be followed:—</p> + +<p><i>Stock Liquor.</i>—Soda zinc vat: Put in a tub 26 gallons cold water, 15 +lb. zinc powder ground into a paste with 6 gallons water, then stir in 8 +gallons bisulphite of soda at 60° Tw., stir well, keeping the heat down +as much as possible, after which add 8 pints caustic soda lye at 70° Tw. +and 14 pints 20 per cent. liquor ammonia. When all is thoroughly mixed +add 30 lb. indigo, ground into a paste with 7 gallons water, allow to +stand for half an hour, then add water to make<!-- Page 205 --><span class='pagenum'><a name="Page_205" id="Page_205">[Pg 205]</a></span> 100 gallons, stir at +intervals for twelve hours or so, when the stock liquor will be ready +for use.</p> + +<p>This is used to make the vat in the same way as the first above +described. It is needful before adding the stock liquor in making a vat +to destroy any oxygen or air which is present in the vat. This may most +conveniently be done by adding thereto a solution of hydrosulphite of +soda, which may be made by mixing 4½ lb. zinc dust with 5 gallons of +water and 3 gallons bisulphite of soda at 70° Tw., stirring well, so +that the temperature does not rise too high, there is then added 2 pints +caustic soda and 3 pints liquor ammonia, 20 per cent.; when all is +dissolved, water is added to make up 13 gallons.</p> + +<p>Should the vat show signs of becoming charged with indigo, indicated by +its becoming of a green colour, a little of this hydrosulphite added +from time to time will correct it.</p> + +<p>The hydrosulphite-indigo vat made by either of the two methods indicated +above works well, and with due care may be kept in work for months. It +gives good shades of indigo, although some dyers consider that these +have not the rich bronze hue got from the lime and copperas vat. The +shades are rather faster to rubbing.</p> + +<p>It has been proposed to employ the dye-stuff indophenol in conjunction +with indigo, in which case the method of making the vat is with zinc, +bisulphite of soda, caustic soda and ammonia as last described, only in +place of using all indigo a mixture of 22 lb. indigo and 7½ lb. +indophenol is used. Good blue shades of considerable fastness can thus +be got.</p> + +<p><i>Aniline Black.</i>—This black is produced direct upon the cotton fibre by +various processes which entail the oxidation of aniline. The chemical +composition and constitution of aniline black has not yet been worked +out. It is not by any means an easy colour to dye, but still with +careful attention<!-- Page 206 --><span class='pagenum'><a name="Page_206" id="Page_206">[Pg 206]</a></span> to carrying out the various operations in detail +excellent results can be attained.</p> + +<p>Aniline black is the fastest black which is known, it resists when well +dyed exposure to air and light, is quite fast to washing and soaping. +Its disadvantages are that there is, with some methods of working, a +tendency to tender the cotton fibre, making it tear easily; secondly, on +exposure to air it tends to turn green, this however only happens when +the black has not been dyed properly.</p> + +<p>At the present day it is perhaps without doubt the most used of all +blacks. The methods for producing it are many and varied, the following +recipes show how some of the finest aniline blacks can be dyed:—</p> + +<p>Ungreenable black is formed when the aniline is by the action of the +oxidising agents converted into a substance named nigraniline. This +compound when formed will not turn green on the fibre under the +influence of acids.</p> + +<p>1. The most usual oxidising agent employed for dyeing aniline black is +bichromate of soda, which salt will be found much better for all +purposes than bichromate of potash. Two separate solutions are prepared: +(1) 61 lb. aniline, 9 lb. hydrochloric acid and 10 gallons of water; and +(2) 12 lb. bichromate of soda and 20 gallons of water. After cooling, +equal quantities of these solutions are mixed and the cotton worked +rapidly through the mixture, in a few minutes it assumes a bronze black. +The material is then wrung out and steamed for twenty minutes at 3½ +lb. pressure, which process renders it jet black and also ungreenable.</p> + +<p>2. Another aniline black: For 100 lb. cotton use 11 lb. aniline oil, 15 +lb. bichromate of soda, 40 lb. hydrochloric acid and 160 gallons water +or 12 lb. sulphuric acid. The dye-bath is filled with the water and the +cold solution of aniline oil and a part of the hydrochloric acid in +water is first added, afterwards the bichromate is dissolved in a small +quantity<!-- Page 207 --><span class='pagenum'><a name="Page_207" id="Page_207">[Pg 207]</a></span> of water, working cold at first and gradually rising to the +boil.</p> + +<p>3. Another method is the following and gives a black that is fast and +ungreenable and will not rub: 10 lb. chlorate of soda, 10 lb. ammonium +chloride, 10 lb. copper sulphate, 35 lb. aniline salt, 101 lb. aniline +oil and 20 gallons water. The sodium chlorate and ammonium chloride are +dissolved in 6½ gallons and the copper sulphate separately in 5½ +gallons water. The aniline salt is dissolved in as little hot water as +possible and neutralised with a small amount of aniline oil (10 lb.). +The solution of aniline salt is first added to the bath, then the sodium +chlorate and ammonium chloride, and lastly the copper sulphate, dilute +the whole to 14° Tw. and then enter the goods. Next steam, then run +through a solution containing 10 lb. bichromate and 5 lb. soda per 100 +gallons water at 160° F., after which the goods are washed and dry +steamed at 15 lb. pressure.</p> + +<p>4. A very good black is the prussiate or steam aniline black whose +cheapness should recommend it. Prepare concentrated solutions of 1¾ +lb. aniline salt in 1 gallon water, 1½ lb. ferrocyanide of potash in +¾ gallons water and 1½ lb. potassium chlorate in 1½ gallons +water. Mix the solutions and work in a jigger, then steam in a Mather & +Platt apparatus for two minutes, then work hot in a jigger in a solution +of 2 lb. bichromate per 50 gallons water, dry and finish.</p> + +<p>Either of these methods yields a good full black; with a little +experience and care perfectly uniform shades will be got.<!-- Page 208 --><span class='pagenum'><a name="Page_208" id="Page_208">[Pg 208]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V.</h2> + +<p>DYEING UNION (MIXED COTTON AND WOOL) FABRICS.</p> + +<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 two 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 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<!-- Page 209 --><span class='pagenum'><a name="Page_209" id="Page_209">[Pg 209]</a></span> 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 on 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. 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 browns 3 G, B and G, Diamine blues R W, B X, Diamine blue G, +Diamine greens G and B, Diamine black H W, Diamine dark blue B, Union +blacks B and S, Oxydiamine blacks B, M, D and A, Diamine catechine G, +Union blue B B, Oxyphenine, Chloramine yellow, Alkali yellow R, Chromine +G, Titan scarlet S, Mimosa, Curcumine, Primuline, Auroline, Congo +Corinth B, Thiazole yellow, Columbia yellow, Oxydiamine yellow G G, +Oxydiamine oranges G and R, Diamine orange F, Oxydiamine red S.</p> + +<p>2. Dyes which dye the cotton a deeper shade than the<!-- Page 210 --><span class='pagenum'><a name="Page_210" id="Page_210">[Pg 210]</a></span> wool. The +following belong to this group: Diamine fast yellow A, Diamine oranges G +and D, Diamine catechine G, Diamine catechine B, Diamine sky blue, +Diamine blue 2 B, Diamine blue 8 B, Diamine blue B G, Diamine brilliant +blue G, Diamine new blue R, Diamine steel blue L, Diamine black R O, +Diamine black B 0, Diamine black B H, and Oxydiamine black S O O O, +Diamine nitrazol brown G, Diamine sky blue F F, Diamine dark blue B, +Diamine Bordeaux B, Diamine violet N, Oxydiamine violet B, Columbia +blacks B and F B, Zambesi black B, Congo brown G, Direct yellow G, +Direct orange B, Clayton yellow, Cotton yellow, orange T A, Benzo +purpurine B, Brilliant Congo R, Chicago blues B and 4 B and 6 B.</p> + +<p>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 reds N 0 and B, Chicago blues G and R, Brilliant +purpurine R, Diamine scarlet B, Delta purpurine 5 B, Chrysamine, Titan +blue, Titan pink, Congo oranges G and R, Erie blue 2 G, Congo R, +Brilliant Congo R, Erika B N, Benzo purpurines 4 B and 10 B, +Chrysophenine, Titan yellow, Titan browns Y, R and O, Congo brown G, +Sulphon azurine B, Zambesi black B.</p> + +<p>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 blues B X and 3 R, Diamine blue black E, Benzo +blue black G, Benzo purpurine 10 B, Benzo azurines R, G and 3 G, +Columbia red S, Brilliant azurine 5 G, Titan marine 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><!-- Page 211 --><span class='pagenum'><a name="Page_211" id="Page_211">[Pg 211]</a></span></p><p>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 blues G and R, +Naphthol blue black, Formyl violet 10 B, Lanacyl blue B B, Lanacyl blue +R, Alkaline blue, Formyl violets 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 6¼ 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 times as much water as the +goods weigh. In this respect it may serve as a guide that concentrated +baths are best used when dyeing dark shades, while light shades can be +dyed in more diluted 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 the cotton if dyed below the +boiling point, and only go on the 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<!-- Page 212 --><span class='pagenum'><a name="Page_212" id="Page_212">[Pg 212]</a></span> 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 +only necessary 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 should 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 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 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<!-- Page 213 --><span class='pagenum'><a name="Page_213" id="Page_213">[Pg 213]</a></span> 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 rather 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, cashmere, 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><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 2½ lb. Diamine +gold and 2½ 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 yellow dyes the cotton the deeper +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, 2½ lb. Diamine fast yellow A, 2 oz. Indian yellow G +and 3½ oz. Indian yellow R. In this recipe there is used in the two +last dyes purely wool yellows, which dye the wool the same tint as the +fast yellow A dyes the cotton.<!-- Page 214 --><span class='pagenum'><a name="Page_214" id="Page_214">[Pg 214]</a></span></p> + +<p><i>Bright Yellow.</i>—Use in the same way as the last, 2½ 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, 5½ oz. Indian +yellow K and 1½ oz. Orange E N Z.</p> + +<p><i>Deep Orange.</i>—Use 2½ lb. Diamine orange D C, 6½ oz. Orange E N +Z, and 3¼ oz. Indian yellow R.</p> + +<p><i>Black</i>.—Use 4½ lb. Union black S, 2 oz. Diamine fast yellow A, 5 +oz. Naphthol blue black and 3¼ oz. Formyl violet S 4 B, with 4 lb. +Glauber's salt in each 10 gallons dye liquor.</p> + +<p><i>Navy Blue.</i>—Use 1¼ lb. Union black S, 3 lb. Diamine black B H, ½ +oz. Naphthol blue black, ½ lb. Formyl violet S 4 B and 2½ oz. +alkaline blue B.</p> + +<p><i>Red Plum.</i>—Use a dye-bath containing 2½ lb. Oxydiamine violet B and +3¼ 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 1½ 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 1¼ oz. +Naphthol blue black.</p> + +<p><i>Dark Brown.</i>—A fine dark shade is got from 2½ lb. Diamine brown V +and 2 oz. Naphthol blue black.</p> + +<p><i>Peacock Green.</i>—Use 3¾ lb. Diamine steel blue L, 13 oz. Diamine +fast yellow B, 14½ oz. Thiocarmine K and 2¼ oz. Indian yellow G in +a bath of 4 lb. Glauber's salt per gallon dye liquor.</p> + +<p><i>Dark Sea Green.</i>—Use 9 oz. Diamine steel blue L, 3¾ oz. Diamine +fast yellow B, ½ oz. Diamine orange G, 1¼ oz. Naphthol blue black +and ¾ oz. Indian yellow G.</p> + +<p><i>Dark Brown.</i>—Use 1 lb. Diamine orange B, 1 lb. Diamine Fast yellow S, +13¾ oz. Union black S, 1 lb. Diamine brown M and ½ lb. Indian +yellow G. Fix in an alum bath after dyeing.</p> + +<p><i>Dark Stone.</i>—Use ½ lb. Diamine orange B, 3¾ oz. Union<!-- Page 215 --><span class='pagenum'><a name="Page_215" id="Page_215">[Pg 215]</a></span> black, ¼ +oz. Diamine Bordeaux B, 1½ oz. Azo red A and ¾ oz. Naphthol blue +black.</p> + +<p><i>Black.</i>—A very fine black can be got from 3½ lb. Oxydiamine black B +M, 2 lb. Union black S, 9½ oz. Naphthol blue black and 4 oz. Formyl +violet S 4 B.</p> + +<p><i>Dark Grey.</i>—A fine bluish shade of grey is got from 7 oz. Diamine +black B H, 2¼ oz. Diamine orange G, 2½ oz. Diamine orange G, 2½ +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, ½ +lb. Diamine black H W, and 3½ oz. Alkaline blue 6 B.</p> + +<p><i>Drab.</i>—Use 3½ oz. Diamine orange B, ¾ oz. Union black, 1/8 oz. +Diamine Bordeaux B, ¾ oz. Azo red A and ¼ oz. Naphthol blue black.</p> + +<p><i>Plum.</i>—Use 2½ lb. Diamine violet N, 9½ 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, ¼ oz. Diamine scarlet B, ½ +oz. Rhodamine B and 20 lb. Glauber's salt.</p> + +<p><i>Scarlet.</i>—A fine shade is got from 1½ lb. Diamine scarlet B, ½ +oz. Diamine red 5 B and 20 lb. Glauber's salt.</p> + +<p><i>Orange.</i>—Use a dye-bath containing 3½ lb. Diamine orange G, 14½ +oz. Tropæoline O O, and 2¾ oz. Orange extra.</p> + +<p><i>Sky Blue.</i>—Use 1½ oz. Diamine sky blue and 1¼ 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 1½ lb. Diamine brilliant blue G and 9¼ oz. +Alkaline blue 6 B.</p> + +<p><i>Maroon.</i>—Use 3 lb. Diamine Bordeaux B, 2 lb. Diamine violet N and +3¼ 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<!-- Page 216 --><span class='pagenum'><a name="Page_216" id="Page_216">[Pg 216]</a></span> lb. Diamine steel blue +L, 14½ oz. Thiocarmine R and 7¼ oz. Indian yellow G.</p> + +<p><i>Gold Brown</i>—A fine brown is got from 3 lb. Diamine orange B, ½ lb. +Union black, 2½ oz. Diamine brown, ¾ oz. Naphthol blue black and +½ lb. Indian yellow G.</p> + +<p><i>Navy Blue.</i>—Use 3¼ lb. Diamine black B H, 1½ lb. Diamine +brilliant blue G and ½ lb. Alkaline blue.</p> + +<p><i>Fawn Drab.</i>—A fine shade is got by dyeing in a bath containing 6¾ +oz. Diamine orange B, 1¾ lb. Union black, ¼ oz. Naphthol blue +black, ¼ 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>—2½ lb. Diamine orange B, 13 oz. Diamine Bordeaux B, +1½ lb. Diamine fast yellow B, 1¾ lb. Union black and 3½ oz. +Naphthol black.</p> + +<p><i>Drab</i>.—1¾ lb. Diamine fast yellow R, 3¼ oz. Diamine Bordeaux B, +2½ oz. Union black, ½ oz. Naphthol blue black and 1¼ oz. Indian +yellow G.</p> + +<p><i>Dark Blue.</i>—Use in the dye-bath 4¼ lb. Diamine dark blue B, 1½ +lb. Diamine brilliant blue G, ¾ lb. Formyl violet S 4 B and 5 oz. +Naphthol blue black.</p> + +<p><i>Blue Black-</i>—Use 3½ lb. Union black S, 1½ lb. Oxydiamine black B +M, 6½ oz. Naphthol blue black and ¼ lb. Formyl violet S 4 B.</p> + +<p><i>Dark Walnut.</i>—2¾ lb. Diamine brown M, 1½ lb. Union black S, and +11¼ oz. Indian yellow G.</p> + +<p><i>Peacock Green.</i>—Use in the dye-bath 3 lb. Diamine black H W, 5-1/6 oz. +Diamine fast yellow B, 1¼ lb. Thiocarmine R and 1-1/6 oz. Indian +yellow G.</p> + +<p><i>Slate Blue.</i>—Use in the dye-bath 6½ oz. Diamine carechine B, 4¾ +oz. Diamine orange B, 2½ oz. Union black, 2¾ oz. Orange E N Z, and +1¾ oz. Naphthol blue black.</p> + +<p><i>Dark Sage.</i>—A good shade is dyed with 1 lb. Diamine<!-- Page 217 --><span class='pagenum'><a name="Page_217" id="Page_217">[Pg 217]</a></span> orange B, 6½ +oz. Union black, 1¾ oz. Diamine brown M, 3¼ oz. azo red A and +2¼ oz. Naphthol blue black.</p> + +<p><i>Navy Blue.</i>—Use 2 lb. Diamine dark blue B, 1¼ 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, ¾ lb. Union black S, 1 lb. Indian yellow G and 2½ +oz. Naphthol blue black.</p> + +<p><i>Black</i>.—Use 2½ lb. Oxydiamine black B M and 1½> lb. +Naphthylamine black 6 B. Another recipe, 2¼ 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 1½ lb. Oxydiamine black B M, 15½ oz. Diamine +brown M, 1¾ lb. Indian yellow G and 2¾ oz. Naphthol blue black. +Another combination, 1½ lb. Oxydiamine black B M, 1½ lb. Orange E +N Z, 1 lb. Indian yellow G and 5 oz. Naphthol blue black.</p> + +<p><i>Scarlet</i>.—3 lb. Benzo purpurine 4 B, ¾ oz. Ponceau 3 R B and ½ lb. +Curcumine S.</p> + +<p><i>Crimson</i>.—½ lb. Congo Corinth G, 2 lb. Benzo purpurine 10 B and ½ +lb. Curcumine S.</p> + +<p><i>Bright Blue.</i>—2 lb. Chicago blue 6 B, 3 oz. Alkali blue 6 B, 1½ oz. +Zambesi blue R X. After dyeing rinse and develop in a bath of 8 oz. +sulphuric acid in 10 gallons of water, then rinse well.</p> + +<p><i>Dark Blue.</i>—2½ lb. Columbia fast blue 2 G, 3 oz. Sulphon azurine D, +8 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, 1½ lb. Mikado orange 4 R O and 1½ +oz. Mandarine G.</p> + +<p><i>Dark Green.</i>—2 lb. Columbia green, ½ lb. Sulphon azurine D, 1 lb. +Zambesi blue B X, 1½ 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, ¾ lb. Chrysophenine G and +1½ lb. Curcumine S.<!-- Page 218 --><span class='pagenum'><a name="Page_218" id="Page_218">[Pg 218]</a></span></p> + +<p><i>Slate</i>.—½ lb. Zambesi black D, ¾ oz. Zambesi blue R X, ½ oz. +Mikado orange 4 R 0 and 1½ oz. Acid violet 6 B.</p> + +<p><i>Dark Grey.</i>—1 lb. Columbia black F B, 3 oz. Zambesi black B and ¾ +oz. Sulphon azurine D.</p> + +<p><i>Drab</i>.—1½ oz. Zambesi black D, ¾ oz. Mandarine G extra, ¼ oz. +Curcumine extra and 3 oz. Mikado orange 4 R O.</p> + +<p><i>Brown</i>.—5 oz. Zambesi black D, ¾ oz. Mandarine G extra, 1½ oz. +Orange T A and 2 oz. Mikado orange 4 R 0.</p> + +<p><i>Nut Brown.</i>—¾ lb. Congo brown G, ¼ lb. Chicago blue R W and ¾ +lb. Mikado orange 4 R 0.</p> + +<p><i>Dark Brown.</i>—1 lb. Congo brown G, 1½ lb. Benzo purpurine 4 B, 1½ +lb. Zambesi black F and ½ lb. Wool black 6 B.</p> + +<p><i>Stone</i>.—1 oz. Zambesi black D, ¼ oz. Mandarine G, ¼ oz. Curcumine +extra and 1¼ oz. Mikado orange 4 R 0.</p> + +<p><i>Slate Green.</i>—3 oz. Zambesi black D, 1½ oz. Guinea green B.</p> + +<p><i>Sage Brown.</i>—½ lb. Zambesi black D, 1½ oz. Mandarine G extra, 3 +oz. Curcumine extra, 3 oz. Acid violet 6 B, 6 oz. Mikado orange 4 R 0 +and 4½ oz. Curcumine S.</p> + +<p><i>Cornflower Blue.</i>—3 oz. Chicago blue 4 R, ¼ lb. Zambesi blue R X, +¼ lb. Acid violet 6 B and ¾ oz. Zambesi brown G.</p> + +<p><i>Dark Brown</i>.—1½ lb. Brilliant orange G, ½ lb. Orange T A, 1 lb. +Columbia black F B and ¼ lb. Wool black 6 B.</p> + +<p><i>Dark Blue</i>.—2 lb. Chicago blue W, 1 lb. Zambesi blue R X, ½ lb. +Columbia black F B, 10 oz. Guinea green B and ½ 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; there is then added 20 lb. Glauber's +salt, and the working at the boil continued for one hour, at the end of +which time the dye-bath will be fairly <!-- Page 219 --><span class='pagenum'><a name="Page_219" id="Page_219">[Pg 219]</a></span>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 the dyes, sumac or tannin and tartar emetic are given +only, the other ingredients and processes are the same in all.</p> + +<p><i>Dark Blue.</i>—2¼ lb. Janus dark blue B and ¼ lb. Janus green B in +the dye-bath, and 16 lb. sumac extract and 2 lb. tartar emetic in the +fixing-bath.</p> + +<p><i>Blue Black.</i>—3½ lb. Janus black I and ½ lb. Janus black II in the +dye-bath, and 16 lb. sumac extract and 2 lb. tartar emetic in the +fixing-bath.</p> + +<p><i>Dark Brown.</i>—2½ lb. Janus brown B, 1 lb. Janus black I, 3½ 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>—1½ oz. Janus yellow R, ¾ oz. Janus red B, 1 oz. Janus blue +R and ¼ 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, 3¼ oz. Janus grey B, 1½ oz. Janus +yellow R and ¼ oz. Janus red B in the dye-bath, with 4 lb. sumach +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 1½ 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, 1¼ 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>—2½ 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.<!-- Page 220 --><span class='pagenum'><a name="Page_220" id="Page_220">[Pg 220]</a></span></p> + +<p><i>Dark Green.</i>—1½ lb. Janus green B, 1½ lb. Janus yellow R and 8 +oz. Janus grey B B in the dye-bath, with 12 lb. sumac extract and 1¼ +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 still used 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, page 85, etc., while +information as to methods of dyeing the wool will be found in the +companion volume to this on <i>Dyeing of Woollen 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 acid dyes which dye only the wool +in<!-- Page 221 --><span class='pagenum'><a name="Page_221" id="Page_221">[Pg 221]</a></span> 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 3¼ 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 any 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 II., 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 +respective 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, 7¼ oz. Acid +green, 1½ 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 ¼ oz. Safranine.<!-- Page 222 --><span class='pagenum'><a name="Page_222" id="Page_222">[Pg 222]</a></span></p> + +<p><i>Black and Blue.</i>—First bath, 3½ 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, 6½ oz. New Methylene blue N. Work as in +the last recipe.</p> + +<p><i>Green and Claret.</i>—First bath, 3½ lb. Naphthol red C and 10 lb. +bisulphate of soda. Second bath, 2 lb. Diamine sky blue F F, 1¼ lb. +Thioflavine S, and 15 lb. Glauber's salt.</p> + +<p><i>Gold Brown and Blue.</i>—First bath, 2½ oz. orange E N Z, 1½ oz. +Orange G G, ¼ 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, ½ lb. Orange G G, 1½ oz. Orange +E N Z, 1½ 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, 1¾ lb. Diamine sky blue F F, 3¼ 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 +dying the cotton) should be used cold or at 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, +14½ 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, 9½ oz. Diamine sky +blue, 1 lb. Orange E N Z, 1 lb. Indian yellow G, 1¾ 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<!-- Page 223 --><span class='pagenum'><a name="Page_223" id="Page_223">[Pg 223]</a></span> dyes being +added at once. This is possible if care be taken that dye-stuffs of two +kinds are used, one or more which will dye wool and not cotton from +neutral baths, and those direct 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, 1¼ lb. Cyanole +extra, 1 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, ½ lb. Thioflavine S, +and 15 lb. Glauber's salt.</p> + +<p><i>Brown and Violet.</i>—First bath, ¾ lb. Orange extra, ¾ 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, ½ 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, ¼ lb. Orange extra, ¾ oz. Fast yellow +S, and 10 lb. bisulphate of soda. Second bath, ¾ lb. Diamine sky blue +F F, ½ 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, ¾ 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.<!-- Page 224 --><span class='pagenum'><a name="Page_224" id="Page_224">[Pg 224]</a></span></p> + +<p><i>Green and Red.</i>—Dye the wool by using 3 lb. Guinea green B, ¼ lb. +Curcumeine extra, and 10 lb. Glauber's salt, then add to the bath ¾ +lb. Erika B N, and ¾ lb. Congo Corinth G.</p> + +<p><i>Orange and Blue.</i>—Dye the wool first with 1¼ 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 ¾ lb. Guinea violet B, ¾ +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, ¼ lb. +Curcumeine extra, and 10 lb. Glauber's salt, then dye the cotton in the +same bath with 1½ lb. Mikado orange 4 R O.<!-- Page 225 --><span class='pagenum'><a name="Page_225" id="Page_225">[Pg 225]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI.</h2> + +<p>DYEING HALF SILK (COTTON-SILK, SATIN) FABRICS.</p> + + +<p>The direct dyes of the Diamine, Benzo and Congo types have been of late +years increasingly used for dyeing satin (silk and cotton), and they +have quite displaced the old methods of dyeing this class of fabrics, +which consisted in first dyeing the silk with an acid dye and then +dyeing the cotton with a basic dye. For details of the method of +applying acid dyes to silk reference may be made to Mr. G.H. Hurst's +book on <i>Silk Dyeing</i>.</p> + +<p>Most of the direct colours are exceedingly well adapted for this +purpose, some under certain conditions possess the property of dyeing +the cotton a deeper shade than the silk, which is an advantage rather +than otherwise.</p> + +<p>The dyeing of goods composed of silk and cotton is generally done in +winch dye-vats, in some cases also on the jigger.</p> + + +<p>METHOD OF DYEING.</p> + +<p>The direct colours are as a rule dyed in a soap-bath with addition of +phosphate of soda, Glauber's salt or common salt and a little soda.</p> + +<p>The addition of these salts effects a better exhaustion of the baths; +they are therefore principally used for dark and full shades, whilst +pale shades are dyed with the addition of soap only or in combination +with phosphate of soda. Dark or pale shades may thus be produced at will +by selecting the<!-- Page 226 --><span class='pagenum'><a name="Page_226" id="Page_226">[Pg 226]</a></span> proper additions, but the fact should not be +overlooked that the greater exhaustion of the baths not only increases +the depth of shade of the cotton but also causes the silk to absorb more +dye-stuff. Too large a proportion of salt would cause the dye-stuffs to +go on the fibre too quickly and thus make the dyeing liable to turn out +uneven.</p> + +<p>A large proportion of soap counteracts the effects of the salts, causing +the dye-stuff to go on less quickly and tending to leave the silk +lighter than the cotton, in some cases even almost white, a property +which is valuable in many cases, especially as enabling the silk and +cotton to be dyed in different colours to obtain shot effects.</p> + +<p>It is thus obvious that a general method applicable in all cases cannot +be given; it will vary according to the effect desired, and partly also +depend on the material to be dyed.</p> + +<p>The following particulars may serve as a guide for the first bath:—</p> + +<p>For pale shades each 10 gallons dye-liquor should contain 3¼ to 6½ +oz. soap and 4 to 7 drs. soda or 3¼ to 6½ oz. soap, 4 to 5½ +drs. soda and 3¼ to 6½ oz. phosphate of soda.</p> + +<p>For medium and dark shades each 10 gallons dye-liquor may contain 3¼ +to 6½ oz. soap, 4 to 7 drs. soda, 3¼ to 6½ oz. phosphate of +soda and 6½ to 13 oz. cryst. Glauber's salt.</p> + +<p>For two coloured effects or dyeings, in which the silk is intended to +remain as pale as possible or even white, each 10 gallons dye-liquor may +contain 4¾ to 8 oz. soap, 4 to 6 drs. soda, 3¼ to 8 oz. phosphate +of soda and 4¾ to 9½ oz. cryst. Glauber's salt.</p> + +<p>The temperature of the dye-baths is generally 175° to 195° F.; in +practical dyeing it is usual to boil up the fully charged dye-bath, shut +off the steam, enter the goods and dye for about three-quarters of an +hour.</p> + +<p>For obtaining level dyeings in pale shades it is advisable not to enter +the goods too hot, but to raise the temperature<!-- Page 227 --><span class='pagenum'><a name="Page_227" id="Page_227">[Pg 227]</a></span> gradually. Raising the +temperature, or dyeing for some time at the boil will deepen the shade +of the cotton, but at the same time will have the same effect on the +silk which may sometimes be an advantage when dyeing dark shades.</p> + +<p>As a complete exhaustion of the baths does not take place, especially +when dyeing dark shades, it is advantageous, nay, even imperative, to +preserve the baths for further use, they are then replenished with only +about three-fourths of the quantities of dye-stuffs used for the first +bath, of the soap only about one fourth, of Glauber's salt, soda and +phosphate of soda only about one-fifth, of the first quantities are +necessary.</p> + +<p>The first bath should be prepared with condensed water. If none is at +hand ordinary water should be boiled up with soda and soap and the scum +removed. Clear soap baths are absolutely necessary for the production of +pure shades and clean pieces.</p> + +<p>After dyeing, the pieces must be very well rinsed, and the colour raised +or brightened with 1 pint of acetic acid in 10 gallons of water.</p> + +<p>Many of the Diamine and Titan colours being very fast to acids, but few +of them will be affected by this treatment.</p> + +<p>In the following tables are given those Diamine, etc., colours +especially adapted for the dyeing of goods composed of silk and cotton, +divided into three groups according to their relation to silk and +cotton:—</p> + +<p>1. Dye-stuffs possessing a great affinity to cotton and tinting the silk +not at all or only very little. To this class belong Chicago blues, +Benzo blues, Diamine fast yellow A, Diamine orange G G, Diamine orange D +C, Diamine blue B B, Diamine blue 3 B, Diamine sky blue F F, Diamine +brilliant blue G, Diamineral blue E, Diamine black B, Mikado browns, +Mikado oranges, Mikado yellows.</p> + +<p><!-- Page 228 --><span class='pagenum'><a name="Page_228" id="Page_228">[Pg 228]</a></span></p><p>2. Dye-stuffs producing on cotton and silk the same or nearly the same +shade but covering the cotton better than the silk. These are +Thioflavine S, Diamine yellow N, Diamine gold, Diamine fast yellow B, +Diamine orange B, Diamine grey G, Diamine rose B D, Diamine scarlet S, +Diamine scarlet B, Diamine scarlet 3 B, Diamine red 5 B, Diamine fast +red F, Diamine Bordeaux B, Diamine Bordeaux S, Diamine violet N, +Oxydiamine violet B, Diamine blue R W, Diamine black H W, Diamine steel +blue L, Diamine dark blue B, Union black S, Oxydiamine black D, +Diaminogene extra, Diaminogene B, Diamine brown M, Diamine brown 3 G, +Diamine green B, Diamine green G.</p> + +<p>3. Dye-stuffs producing on cotton more or less different shades than on +silk. This group comprises Diamine blue C B, Diamine blue B G, Diamine +blue B X, Diamine azo blue 2 R, Diamine blue 3 R, Diamine blue black E, +Diamine black R O, Oxydiamine black S O O O, Diamine brown V, Diamine +brown B, Diamine bronze G. Cotton brown N produces on silk darker shades +than on cotton.</p> + +<p>Of course this classification cannot be taken as absolutely correct, as +by raising or lowering the temperature during the dyeing process or by a +larger or smaller addition of soap or Glauber's salt (common salt, +phosphate of soda), the dye-stuffs are more or less influenced in one or +the other direction. Diamine violet N, for instance, when dyed with an +increased addition of soap would dye the cotton somewhat lighter, but at +the same time leave the silk perfectly white.</p> + +<p><b>Topping with Basic and Acid Dye-stuffs.</b>—As in very few cases only the +desired shade can be obtained in the first instance by bottoming with +direct colours, topping generally has to be resorted to. This is best +done with basic dyes, in some cases also with acid dye-stuffs in cold or +tepid bath with addition of sulphuric acid, hydrochloric or acetic acid. +The use of acid dye-stuffs is restricted to cases where the silk<!-- Page 229 --><span class='pagenum'><a name="Page_229" id="Page_229">[Pg 229]</a></span> alone +is to be shaded. In most cases basic dye-stuffs are made use of, which +dye silk and cotton the same shade and deepen the shade of the cotton if +the latter has a sufficiently good bottom, thus giving the goods a +better and fuller appearance.</p> + +<p>It is not advisable to employ basic and acid dye-stuffs in the same bath +except when the quantities of either class are very small. Should it be +necessary to dye with large quantities of both classes, the acid +dye-stuffs are first dyed in a tepid acid bath and then the goods are +topped with the basic dye-stuffs in a fresh cold bath with the addition +of a little hydrochloric or acetic acid.</p> + +<p>Of the basic dye-stuffs which are available, the following are the most +suitable for topping: New methylene blue N, and other brands; New blue D +and other brands; Cresyl blue, Methylindone B and R, Metaphenylene blue, +Indazine; the various brands of Brilliant green, Solid green and +Malachite green, Capri green, Cresyl violet, Thioflavine T, New +phosphine G, Tannin orange R, and the various brands of Bismarck brown; +Safranine, Magenta all brands, Tannin heliotrope, all brands of Neutral +violet, Methyl violet.</p> + +<p>Of the acid dye-stuffs, the following are good for topping or shading +the silk: Cyanole extra, Indigo blue N, Indigo blue S G N, and the +various brands of Water blue, Soluble blue, Solid blue, and Induline; +the various brands of Acid green and Fast acid green; Indian yellow G +and R, Naphthol yellow S, Tropæoline O and O O, and the various brands +of Milling yellow and Orange; Azo red A, Azo rubine A, Archil substitute +N, Azo orseille B B, Brilliant orseille C, and the various brands of +Eosine, Erythrosine, Rose bengale, Rhodamine, Brilliant croceine and +Brilliant scarlet; the various brands of Formyl violet and Acid violet; +Aniline grey B and Nigrosine, soluble in water.</p> + +<p><i>Bright Yellow.</i>—Use 2 lb. Thioflavine S.<!-- Page 230 --><span class='pagenum'><a name="Page_230" id="Page_230">[Pg 230]</a></span></p> + +<p><i>Deep Orange Yellow.</i>—This can be dyed by using 2 lb. Diamine yellow N.</p> + +<p><i>Gold Yellow.</i>—Dye with 2 lb. Diamine gold. Some care must be taken +with this, especially not to dye too hot or the silk will be dyed deeper +than the cotton.</p> + +<p><i>Deep Orange.</i>—Use 2 lb. Diamine orange B.</p> + +<p><i>Bright Rose.</i>—Use 2 lb. Diamine Rose B D. Do not work too high, +especially when dyeing light rose shades, as then the silk is apt to +take up too much colour.</p> + +<p><i>Scarlet.</i>—Use in the dye-bath 2 lb. Diamine scarlet H S. The heat of +the dye-bath should not be allowed to exceed 160° to 170° F., or there +is a risk of the shades becoming somewhat duller.</p> + +<p><i>Crimson.</i>—Dye with 2 lb. Diamine fast red F.</p> + +<p><i>Violet.</i>—Use 2 lb. Oxydiamine violet B.</p> + +<p><i>Bright Blue.</i>—A fine shade is dyed with 2 lb. Diamine blue R W.</p> + +<p><i>Dark Green.</i>—Use 2 lb. Diamine black H W. This gives a fine shade of +bluish green.</p> + +<p><i>Gold Brown.</i>—Dye with 2 lb. Diamine brown 3 G at a low heat, from 150° +to 160° F., otherwise the silk takes up too much colour.</p> + +<p><i>Dark Green.</i>—Dye with 2 lb. Diamine green B.</p> + +<p><i>Deep Rose.</i>—Dye with 2 lb. Diamine red 10 B.</p> + +<p><i>Brilliant Yellow.</i>—Dye with 1½ lb. Mikado golden yellow 8 G; then +enter into a cold bath which contains 1½ per cent. Auramine II. This +gives a very bright shade of yellow.</p> + +<p><i>Dark Brown.</i>—Dye a bottom with 2 lb. Mikado brown 3 G O, and then top +with 3 lb. Bismarck brown and ½ lb. Capri blue G O N.</p> + +<p><i>Crimson</i>.—Dye with 2 lb. Mikado orange 5 R O and 2 lb. Hessian purple +N.</p> + +<p><i>Sage Green.</i>—Dye a bottom with 2 lb. Mikado yellow G, 14 oz. Eboli +green T and 3 oz. Mikado brown M, then top in<!-- Page 231 --><span class='pagenum'><a name="Page_231" id="Page_231">[Pg 231]</a></span> a fresh cold bath with +½ lb. Auramine II and ½ oz. Acridine Orange N 0.</p> + +<p><i>Leaf Green.</i>—Dye a bottom with 3 lb. Mikado golden yellow 8 G and 1 +lb. Eboli blue B; then top with 1½ lb. Capri green 2 G in a cold +bath.</p> + +<p><i>Deep Brown.</i>—Dye with 2 lb. Mikado orange 3 R O, 3 lb. Hessian grey S +and 1 lb. Hessian brown 2 B N; then top with 7 oz. Azine green T 0 and +2¼ lb. Acridine orange N 0.</p> + +<p><i>Dark Cream.</i>—Bottom with 1 oz. Diamine orange G; then top in a fresh +warm bath with 1 oz. Orange G G, ½ oz. Indian yellow R, 5 lb. +Glauber's salt and 1 lb. acetic acid.</p> + +<p><i>Brilliant Violet.</i>—Give a bottom with 1 lb. Diamine violet N; then top +in a fresh warm bath with 4 oz. Methyl violet B and 2 oz. Rhodamine.</p> + +<p><i>Slate</i>.—Bottom in a hot bath with 6 oz. Diamine dark blue B and 1½ +oz. Diamine brown M; then top in a fresh bath at 170° F. with 4 oz. +Aniline grey B, 1 oz. Cyanole extra, 5 lb. Glauber's salt and 1 lb. +acetic acid.</p> + +<p><i>Black Brown.</i>—Give a bottom with 2 lb. Cotton brown A, 1 lb. Diamine +gold and 3½ lb. Oxydiamine black S O O O; then top in a fresh bath at +120° F. with 4 oz. New methylene blue N, 1 oz. Safranine and ½ oz. +Indian yellow G.</p> + +<p><i>Bright Violet.</i>—Use ½ lb. Oxydiamine violet B and ¾ oz. Diamine +dark blue B; top after dyeing with ½ oz. Safranine, ¼ oz. +Methylindone B and ¼ oz. Cyanole extra.</p> + +<p><i>Drab</i>.—Dye with 6 oz. Diamine orange G, 1 lb. Diamine bronze G and ¾ +lb. Diamine brown M, topping afterwards in a bath of ¼ oz. Aniline +grey B and ¼ oz. Bismarck brown F F.</p> + +<p><i>Leaf Green.</i>—Dye with ½ lb. Diamine black H W, and 1 lb. Diamine +fast yellow B; top with ¼ oz. Brilliant green, ¼ oz. Indian yellow +R, ½ oz. Thioflavine T and ½ oz. Cyanole extra.</p> + +<p><i>Dark Crimson.</i>—Use in the dye-bath 3 lb. Diamine Bordeaux S, ¾ lb. +Diamine orange D C and 1½ lb. Diamine brown V, topping with 1 oz. +Magenta and ½ oz. Formyl violet S 4 B.<!-- Page 232 --><span class='pagenum'><a name="Page_232" id="Page_232">[Pg 232]</a></span></p> + +<p><i>Turquoise Blue.</i>—Use to dye the ground, 6 oz. Diamine sky blue F F and +½ oz. Diamine fast yellow A; top with 1½ oz. Cyanole extra and ¼ +oz. Brilliant green.</p> + +<p><i>Dark Grey.</i>—Dye with ½ oz. Diamine grey G, and 1½ oz. Diamine +brown M; top with ¼ oz. Orange extra and 1 oz. Cyanole extra.</p> + +<p><i>Brilliant Orange.</i>—Dye with 1 lb. Mikado orange R O, and top with 6 +oz. Acridine orange N O and 12 oz. Auramine I I.</p> + +<p><i>Brown</i>.—Dye a bottom colour with 3 lb. Mikado brown M, and top with 2 +lb. Bismarck brown and 6 oz. Cresyl fast violet 2 R N.</p> + +<p><i>Deep Crimson.</i>—Dye with 1 lb. Columbia black R and top with 6 oz. +Magenta.</p> + +<p><i>Pale Sea Green.</i>—Use in the dye-bath ½ oz. Chrysophenine G, 1½ +oz. Chicago blue 6 B and 1½ oz. Alkali blue 6 B.</p> + +<p><i>Bright Crimson.</i>—Dye with 3 lb. Congo Corinth and top with 1 lb. +Magenta.</p> + +<p><i>Dark Russian Green.</i>—Dye with 3 lb. Columbia black B; then top with 1 +lb. Malachite green.</p> + +<p><i>Gold Drab.</i>—Dye with 5 oz. Columbia black, and top with 5 oz. +Chrysoidine R.</p> + +<p><i>Bright Olive Yellow.</i>—Dye with 1½ lb. Diamine gold, 1½ lb. +Diamine fast yellow A and ¾ lb. Diamine bronze G; top with ½ lb. +Thioflavine T and ¼ lb. Chrysoidine.</p> + +<p><i>Moss Brown.</i>—Dye with 1 oz. Diamine brown M, 6 oz. Diamine fast yellow +A, 6 oz. Diamine bronze G, topping with 1 oz. new Methylene blue N and 4 +oz. Orange G G.</p> + +<p><i>Dark Sea Green</i>—Dye a bottom with 9 oz. Diamine black B and 4½ oz. +Diamine fast yellow B, then top with 2 oz. New methylene blue M and 2 +oz. New phosphine G.</p> + +<p><i>Old Gold.</i>—Dye a ground with ½ lb. Diamine gold, 1¼ lb. Diamine +fast yellow A, and 6 oz. Diamine bronze G, topping with 8 oz. +Thioflavine T, 1 oz. Indian yellow R and 1 oz. Brilliant green.<!-- Page 233 --><span class='pagenum'><a name="Page_233" id="Page_233">[Pg 233]</a></span></p> + +<p><i>Cornflower Blue.</i>—Dye the ground with 2½ lb. Diamine azo blue 2 B, +1½ oz. Alkali blue 3 B, ½ lb. Oxydiamine black S O O O, and top +with 1 oz. Metaphenylene blue B, 2 oz. New methylene blue R and 1 oz. +Indigo blue N.</p> + +<p><i>Slate.</i>—Dye with 7 oz. Diamine dark blue B and 1 oz. Diamine brown M; +top with 1 oz. Aniline grey B and 1 oz. Cyanole extra.</p> + +<p><i>Pale Drab.</i>—Dye the ground with 1 oz. Diamine orange G C, ¾ oz. +Diamine bronze G and ½ oz. Diamine brown M; top with ¾ oz. New +methylene blue N, 1 oz. Bismarck brown and 1 oz. Cyanole extra.</p> + +<p><i>Deep Leaf Green.</i>—Dye a ground colour with 1¼ lb. Diamine bronze G, +1½ lb. Diamine fast yellow A and 1½ lb. Diamine black H W; the +topping bath is made with ½ lb. Brilliant green, ½ lb. Chrysoidine +and ¼ lb. New methylene blue N.</p> + +<p><i>Maroon.</i>—Dye with 3 lb. Diamine Bordeaux S, ½ lb. Diamine orange D C +and ½ lb. Diamine brown V; top with ½ lb. Magenta and ¼ lb. Formyl +violet S 4 B.</p> + +<p><i>Heliotrope.</i>—Dye with 1 lb. Heliotrope 2 B.</p> + +<p><i>Lilac Rose.</i>—Dye with 8 lb. Columbia black R and 1 lb. Alkali blue B; +after dyeing pass through a weak acetic acid bath, then wash well.</p> + +<p><i>Pea Green.</i>—Dye with 2 lb. Chrysophenine, 1 lb. Chicago blue 6 B and 1 +lb. Alkali blue 6 B; pass, after dyeing, through a weak acetic acid +bath, then wash well.</p> + +<p><i>Dark Drab.</i>—Dye with ¼ lb. Diamine brown M, 1 lb. Diamine fast +yellow A and ¾ lb. Diamine bronze G; top with ½ lb. Orange G G and +½ lb. Cyanole extra.</p> + +<p><i>Deep Rose.</i>—Dye the bottom colour with ½ lb. Diamine rose B D and +top with ¼ lb. Rhodamine B and 1 oz. Safranine.</p> + +<p><i>Walnut Brown.</i>—Dye the bottom colour with 1 lb. Oxydiamine black D, 1 +lb. Diamine brown M and 1 lb. Oxydiamine violet B; the topping is done +with 4 oz. Safranine, 2 oz. New methylene blue N and 2 oz. Chrysoidine.<!-- Page 234 --><span class='pagenum'><a name="Page_234" id="Page_234">[Pg 234]</a></span></p> + +<p><b>Dyeing of Plain Black.</b>—Diamine blacks find a very extensive +application for dyeing blacks on satin, either dyed direct in one bath, +or dyed, diazotised and developed.</p> + +<p>Union black S and Oxydiamine black D are particularly suitable for +direct blacks, and are used either alone or in a combination with +Diamine jet black S S, which produces a better covering of the silk, or +with Oxydiamine black S O O O, which deepens the shade of the cotton. +According to the shade required Diamine fast yellow A and B, Diamine +green B or G, or Alkaline blue may be used for shading.</p> + +<p>Dye for about one hour at about 175° to 195° F. in as concentrated a +bath as possible, with about 7 to 8 lb. dye per 100 lb. of satin, 8 to +16 oz. Glauber's salt and 5 to 8 oz. soap per 10 gallons dye liquor; +keep cool in the bath for some time and rinse.</p> + +<p>The raising is either done in a tepid soap bath with the addition of +some new methylene blue, or in an acid bath to which Naphthol, blue +black, Acid green, etc., is added for shading the silk.</p> + +<p>Direct dyed blacks are especially suitable for cheap goods (ribbons, +light linings, etc.), for which special fastness to water is not +required; also for tram and tussar silk plushes, which are afterwards +topped with logwood.</p> + +<p>If greater fastness is required, and more especially if it is a case of +replacing aniline black, Diaminogene diazotised and developed is a good +dye-stuff. It is extensively used for dyeing umbrella cloths and +linings. Against aniline black it has the great advantage of not +tendering the fibre in the least, and not turning green during storage. +Diaminogene B and Diaminogene extra are mostly used for this purpose, +the former for jet blacks, the latter for blue-black shades.</p> + +<p>Proceed as follows: Enter the boiled off and acidulated goods in a +boiling bath as concentrated as possible, charged <!-- Page 235 --><span class='pagenum'><a name="Page_235" id="Page_235">[Pg 235]</a></span>with 16 oz. Glauber's +salt per 10 gallons liquor, and 1 lb. acetic acid per 100 lb. dry goods. +For jet black add for 100 lb. satin, 6 to 8 lb. Diaminogene, 1 to 2 lb. +Naphthylamine black D, ½ to 1 lb. Diamine fast yellow A or Diamine +green B; for very deep shades about 1/5 of the quantity of Diaminogene B +may be replaced with Diamine jet black S S. For blue black, 6 to 8 lb. +Diaminogene B, or 3 to 4 lb. Diaminogene B, and 3 to 4 lb. Diaminogene +extra. Dye for three-quarters to one hour at the boil, allow to cool in +the bath for about thirty minutes, then rinse, diazotise and develop.</p> + +<p>Phenylene diamine (93 per cent.) serves for developing jet blacks mixed +with resorcine for greenish shades. Beta-naphthol is used for blue +blacks (1 lb. 5 oz. per 100 lb. of dry material, dissolved in its own +weight of soda lye, 75° Tw.). The three developers may also be mixed +with each other in any proportions.</p> + +<p>After developing soap hot with addition of new methylene blue, by +choosing a reddish or a bluish brand of new methylene, blue and black +may be shaded at will in the soap bath; finally rinse and raise with +acetic acid.</p> + +<p>If properly carried out this process will give a black almost equal to +aniline black; but having, as already mentioned, the advantage of not +impairing the strength of the fibre, and not turning green during +storage.</p> + +<p>As the dye-baths for blacks are charged with a proportionately high +percentage of dye-stuff for the first bath, and will not exhaust +completely, it is advisable to preserve them for further use.</p> + +<p>For subsequent lots only two-thirds to three-fourths of the quantities +of dye-stuffs used for the first baths are required, which fact has to +be taken into consideration when calculating the cost of dyeing.</p> + +<p><b>Dyeing Shot Effects on Satin.</b>—Not all direct colours are equally well +adapted for the production of shot effects; <!-- Page 236 --><span class='pagenum'><a name="Page_236" id="Page_236">[Pg 236]</a></span>those enumerated in Group +I. are most suitable for the purpose, and should be dyed with a larger +quantity of soap than is usual for solid shades, in order to leave the +silk as little tinted as possible. Dye-stuffs of the other groups may be +used if the dyeing is conducted with proper care, <i>i.e.</i>, keeping the +baths more alkaline and lowering the temperature. The goods are dyed +with the addition for the two coloured effects previously mentioned, +then they are well rinsed, and afterwards the silk is dyed with the +suitable acid dye-stuffs, with addition of sulphuric acid at a +temperature of about 150° F. Care should be taken not to use too much +acid, and to keep the temperature of the bath sufficiently low, as +otherwise the acid may cause some of the dye-stuff to go off the cotton +and tint the silk. It is best to work at a temperature of about 150° F., +with addition of about 3 oz. concentrated sulphuric acid per 10 gallons +dye-liquor.</p> + +<p>For shading the silk all acid dye-stuffs can be used which have been +mentioned in the foregoing tables.</p> + +<p>If in shot effects the cotton is to be dyed bright and full shades, this +is best achieved by dyeing with direct colours first, and then topping +with basic colours as follows:—</p> + +<p>Bottom the cotton first with the suitable direct colours, then dye the +silk and then treat the pieces for about two hours in a cold tannin bath +(about 8 oz. tannin per 10 gallons of water), then rinse once and pass +through a tartar emetic bath (about 3 oz. per 10 gallons), rinse +thoroughly and dye the cotton to shade with basic colours in a cold bath +to which some acetic acid has been added.</p> + +<p>Should the silk become a little dull after this process, this may be +remedied by a slight soaping. After dyeing rinse well and raise with +acetic acid.</p> + +<p><b>Shot Effects with Black Cotton Warp.</b>—Effects much in favour are +designs composed of black cotton and light or<!-- Page 237 --><span class='pagenum'><a name="Page_237" id="Page_237">[Pg 237]</a></span> coloured silk. The most +suitable black dye for this purpose is Diamine black B H, diazotised and +developed.</p> + +<p>Dye in as concentrated a bath as possible at about 160° F. with about 6 +lb. Diamine black B H, 1 lb. Diamine sky blue, pat., per 100 lb. of dry +goods, ½ lb. Diamine orange D C, pat., with an addition of 6½ oz. +soap, 4 to 5 dr. soda per 10 gallons liquor, 16 oz. Glauber's salt. +After dyeing rinse well in a bath containing 6 dr. soda and 3 oz. soap +per 10 gallons water, diazotised in a fresh bath with 4 lb. nitrite of +soda and 12 lb. hydrochloric acid (per 100 lb. of dry goods), rinse +thoroughly and develop with 3 to 16 oz. phenylene diamine (93 per +cent.), with addition of 1 to 2 lb. soda. These two operations should +follow each other as quickly as possible, also care has to be taken that +the diazotised goods are not exposed to direct sunlight or heat, which +causes unlevel dyeings. The silk is then cleaned as far as possible by +hot soaping, and dyed at about 120° to 140° F., with acid dye-stuffs and +the addition of sulphuric acid. After dyeing rinse as usual and +brighten.</p> + +<p><i>Yellow and Violet,</i>—Dye the cotton with 2 lb. Diamine fast yellow A, +the silk with 1 lb. Cyanole extra, and 1 lb. Forinyl violet S 4 B.</p> + +<p><i>Black and Blue.</i>—Dye the cotton with 5 lb. Diamine black B H, 1 lb. +Diamine sky blue, and ¼ lb. Diamine orange D C. After dyeing, +diazotise and develop with phenylene diamine as described above. Then +dye the silk with ½ lb. Pure soluble blue and 1 lb. Cyanole extra.</p> + +<p><i>Black and Crimson.</i>—Dye the black as in the previous recipe, then dye +the silk with 2 lb. Brilliant croceine 3 B and ½ lb. Rhodamine S.</p> + +<p><i>Blue and Gold.</i>—Dye the cotton with 2 lb. Diamine sky blue and the +silk with 1 lb. Fast yellow S.</p> + +<p><i>Dark Blue and Green.</i>—Dye the cotton with 1½ lb. Diamine black B H, +1½ lb. Diamine sky blue and ½ lb. Diamine azo<!-- Page 238 --><span class='pagenum'><a name="Page_238" id="Page_238">[Pg 238]</a></span> blue 2 R; the silk +with 2 lb. Naphthol yellow S and 1 lb. New methylene blue G G.</p> + +<p><i>Violet and Yellow.</i>—Dye the cotton with 2 oz. Diamine violet N and the +silk with 1 lb. Fast yellow S.</p> + +<p><i>Orange and Violet.</i>—Dye the cotton with 2 lb. Diamine orange D C and +the silk with 1 lb. Formyl violet S 4 B.</p> + +<p><i>Dark Blue and Olive.</i>—Dye the cotton with 1½ lb. Diamineral blue R +and ½ lb. Diamine azo blue 2 R, and the silk with 1 lb. Naphthol +yellow B and 1 lb. Orange G G.</p> + +<p><i>Green and Pink.</i>—Dye the cotton with 1½ lb. Diamine fast yellow A +and ¼ lb. Diamine sky blue, and the silk with 1 lb. Erythrosine B.</p> + +<p><i>Brown and Blue.</i>—Dye the cotton with 3 lb. Mikado brown 2 B, and the +silk with ½ lb. Pure blue.</p> + +<p>It is quite possible to produce two coloured effects containing blue in +one bath by using Alkali blue as a constituent with a direct dye which +works only on to the cotton, the alkali blue going on to the silk, as, +for example, in the following recipes:—</p> + +<p><i>Orange and Blue.</i>—The dye-bath is made with 3 lb. Mikado orange 5 R O +and 1¼ lb. Alkali blue 6 B. After the dyeing the goods are rinsed, +then passed through a bath of 1½ lb. sulphuric acid in 10 gallons +water, washed well and dried.</p> + +<p><i>Olive and Blue.</i>—The dye-bath is made with 1½ lb. Diamine fast +yellow A, 2½ lb. Diamine orange DC, ¼ lb. Diamine sky blue, and 1 +lb. Alkali blue 6 B, After dyeing rinse, then acidulate as above and +wash well.<!-- Page 239 --><span class='pagenum'><a name="Page_239" id="Page_239">[Pg 239]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII.</h2> + +<p>OPERATIONS FOLLOWING DYEING.</p> + +<p>WASHING, SOAPING, DRYING.</p> + + +<p>After loose cotton or wool, or cotton and 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, generally known as finishing processes; of these it is not +intended here to speak, but only of those which precede these, 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 +manipulation 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 press 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, myrobolams, and the modern direct dyes +which in 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<!-- Page 240 --><span class='pagenum'><a name="Page_240" id="Page_240">[Pg 240]</a></span> be used again for another lot of goods, +simply by adding fresh material to make up for that absorbed by the +first lot of goods.</p> + +<p>Loose 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 Fig. 31, which will be more +fully dealt with later on. The machine shown is made by Messrs Read +Holliday & Sons.</p> + +<div class="figcenter" style="width: 350px;"> +<img src="images/dcfillus031.jpg" width="350" height="400" alt="FIG. 31.--Squeezing Rollers." title="Squeezing Rollers" /> +<span class="caption">FIG. 31.—Squeezing Rollers.</span> +</div> + +<p><i>Yarns in Hanks.</i>—In the hank-dyeing process the hanks are wrung by +placing one end of the hank on a wringing <!-- Page 241 --><span class='pagenum'><a name="Page_241" id="Page_241">[Pg 241]</a></span>horse placed over the +dye-tub, a dye stick on 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><i>Hank-wringing Machines.</i>—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 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><i>Roller Squeezing Machines for Yarn.</i>—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 rollers is +a familiar article, and quite common and in general use in dye houses.</p> + +<p><i>Piece Goods.</i>—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> + +<p><i>Read Holliday's Squeezing Machine.</i>—In Fig. 31 is shown a squeezing +machine very largely employed for squeezing<!-- Page 242 --><span class='pagenum'><a name="Page_242" id="Page_242">[Pg 242]</a></span> all kinds of piece goods +and cotton warps 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 +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 is 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><b>Washing.</b>—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.<!-- Page 243 --><span class='pagenum'><a name="Page_243" id="Page_243">[Pg 243]</a></span></p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus032.jpg" width="400" height="188" alt="FIG. 32.--Yarn-washing Machine." title="Yarn-washing Machine" /> +<span class="caption">FIG. 32.—Yarn-washing Machine.</span> +</div> +<p><!-- Page 244 --><span class='pagenum'><a name="Page_244" id="Page_244">[Pg 244]</a></span></p> + +<p><i>Loose Wool and Cotton.</i>—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> + +<p><i>Yarns.</i>—Yarn in the cop form is best washed in the machine in which it +is dyed.</p> + +<p><i>Yarns in Hanks.</i>—A very common form of washing machine is shown in +Fig. 32. 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> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus033.jpg" width="400" height="250" alt="FIG. 33.--Dye-house Washing Machine." title="Dye-house Washing Machine" /> +<span class="caption">FIG. 33.—Dye-house Washing Machine.</span> +</div> + +<p><i>Piece Goods.</i>—Piece goods are mostly washed in machines, <!-- Page 245 --><span class='pagenum'><a name="Page_245" id="Page_245">[Pg 245]</a></span>of which two +broad types may be recognised; first, those where the pieces are dealt +with in the form of ropes in a twisted form, and, second, those where +the pieces are washed open. 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> + +<div class="figcenter" style="width: 300px;"> +<img src="images/dcfillus034.jpg" width="300" height="400" alt="FIG. 34.--Cloth-washing Machine." title="Cloth-washing Machine" /> +<span class="caption">FIG. 34.—Cloth-washing Machine.</span> +</div> +<p><!-- Page 246 --><span class='pagenum'><a name="Page_246" id="Page_246">[Pg 246]</a></span></p> + +<p>Fig. 33 represents a fairly well-known machine, made by Messrs. Mather & +Platt, in which the 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 wooden +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 action on the cloth tending to more effectual washing. The +lattice roller is simply a guide roller.</p> + +<p>Fig. 34 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 of +pieces, at one time, the ends of the pieces being stitched together. 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 until +they are considered to be sufficiently washed, which may take half to +one and a half hours.</p> + +<p>In Fig. 35 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<!-- Page 247 --><span class='pagenum'><a name="Page_247" id="Page_247">[Pg 247]</a></span> 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 the cloth as it +passes through—the construction of the guide rollers facilitating the +efficient washing of the goods.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus035.jpg" width="400" height="325" alt="FIG. 35.--Cloth-washing Machine." title="Cloth-washing Machine" /> +<span class="caption">FIG. 35.—Cloth-washing Machine.</span> +</div> + +<p><b>Soaping.</b>—- 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 machine such as is shown in Fig. 32. 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 +Fig. 36. 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<!-- Page 248 --><span class='pagenum'><a name="Page_248" id="Page_248">[Pg 248]</a></span> compartments. 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 soap liquor, in +another 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> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus036.jpg" width="400" height="220" alt="FIG. 36.--Washing and Soaping Vats." title="Washing and Soaping Vats" /> +<span class="caption">FIG. 36.—Washing and Soaping Vats.</span> +</div> + +<p><b>Steaming.</b>—Sometimes it becomes necessary to subject dyed goods to a +process of steaming, as, for instance, with steam aniline blacks, khaki +shades, alizarine reds, etc., for the purpose of more fully developing +and fixing the dye upon the fibre. In the case of yarns, this operation +is carried out in the steaming cottage, one form of which is shown in +Fig. 37. It consists of a horizontal cylindrical iron vessel like a +steam boiler, one end is entirely closed, while the other is made to +open and be closed tightly and hermeti<!-- Page 249 --><span class='pagenum'><a name="Page_249" id="Page_249">[Pg 249]</a></span>cally. The cottage is fitted with +the necessary steam inlet and outlet pipes, drain pipes for condensed +water, pressure gauges. The yarn to be steamed is hung on rods placed on +a skeleton frame waggon on wheels which can be run in and out of the +steaming cottage as is required. The drawing shows well the various +important parts of the machine. In the case of piece goods these also +can be hung from rods in folds on such a waggon, but it is much more +customary to employ a continuous steaming chamber, very similar to</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus037.jpg" width="400" height="230" alt="FIG. 37.--Steaming Cottage." title="Steaming Cottage" /> +<span class="caption">FIG. 37.—Steaming Cottage.</span> +</div> + +<p>the ageing and oxidising machine shown in Fig. 38, and also used in the +dyeing of aniline black.</p> + +<p><b>Drying</b>.—Following on the washing comes the final operation of the +dyeing process, that of drying the dyed and washed goods. Textile +fabrics of all kinds after they have passed through dye-baths, washing +machines, etc., contain a large amount of water, often exceeding in +weight that of the fibre 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<!-- Page 250 --><span class='pagenum'><a name="Page_250" id="Page_250">[Pg 250]</a></span></p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus038.jpg" width="400" height="155" alt="FIG. 38.--Steaming and Ageing Chamber." title="Steaming and Ageing Chamber" /> +<span class="caption">FIG. 38.—Steaming and Ageing Chamber.</span> +</div> +<p><!-- Page 251 --><span class='pagenum'><a name="Page_251" id="Page_251">[Pg 251]</a></span></p> + +<p>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 (p. 239, etc.) and need not again be alluded to; +the last needs some account.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus039.jpg" width="400" height="370" alt="FIG. 39.--Hydro-extractor." title="Hydro-extractor" /> +<span class="caption">FIG. 39.—Hydro-extractor.</span> +</div> + +<p>Hydro-extractors 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, or basket, as it is +called, 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 high speed, when centrifugal action comes into play, and the +water contained in the goods finds its way to the outside of the basket +through the perforations,<!-- Page 252 --><span class='pagenum'><a name="Page_252" id="Page_252">[Pg 252]</a></span> 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. Figs. 39 and 40 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> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus040.jpg" width="400" height="270" alt="FIG. 40.--Hydro-extractor." title="Hydro-extractor" /> +<span class="caption">FIG. 40.—Hydro-extractor.</span> +</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> + +<p><i>Yarns. Wool. Silk. Cotton. Linen.</i> +Wringing 44.5 45.4 45.3 50.3 +Squeezing 60.0 71.4 60.0 73.6 +Hydro-extracting 83.5 77.0 81.2 82.8</p> + +<p><i>Pieces</i>. +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<!-- Page 253 --><span class='pagenum'><a name="Page_253" id="Page_253">[Pg 253]</a></span></p> + +<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 lays +such a strain on the bearings as to seriously endanger the safety of the +machine.</p> + +<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> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus041.jpg" width="400" height="170" alt="FIG. 41.--Automatic Yarn-dryer." title="Automatic Yarn-dryer" /> +<span class="caption">FIG. 41.—Automatic Yarn-dryer.</span> +</div> + +<p>Where large quantities of yarn have to be dried, it is most economical +to employ a yarn-drying machine, and one form of such is shown in Fig. +41. 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 high, at the exit end +lower. 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 subjected drives +off the water it contains. The yarn requires no attention<!-- Page 254 --><span class='pagenum'><a name="Page_254" id="Page_254">[Pg 254]</a></span> from the time +it passes 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 them of the +dried yarn. The machine works regularly and well.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus042.jpg" width="400" height="360" alt="FIG. 42.--Truck Yarn-dryer." title="Truck Yarn-dryer" /> +<span class="caption">FIG. 42.—Truck Yarn-dryer.</span> +</div> + +<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<!-- Page 255 --><span class='pagenum'><a name="Page_255" id="Page_255">[Pg 255]</a></span> they contain, and the +water-charged air thus produced must be taken away as quickly as +possible.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus043.jpg" width="400" height="285" alt="FIG 43.--Drying Cylinders." title="Drying Cylinders" /> +<span class="caption">FIG 43.—Drying Cylinders.</span> +</div> + +<p>Fig. 42 shows what is called a truck yarn-dryer, which consists of a +chamber heated with steam pipes and fitted with an exhausting fan to +draw out the air and water vapour which is produced. The yarns are hung +on trucks<!-- Page 256 --><span class='pagenum'><a name="Page_256" id="Page_256">[Pg 256]</a></span> which can be run in and out of the chamber for filling and +emptying.</p> + +<p><i>Piece Goods</i>.—The most convenient manner of drying piece goods is to +employ the steam cylinder drying machine, such as is shown in Fig. 43. +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. The cylinders are arranged sometimes, as in the drawing, +vertically; at other times horizontally.<!-- Page 257 --><span class='pagenum'><a name="Page_257" id="Page_257">[Pg 257]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII</h2> + +<p>TESTING OF THE COLOUR OF DYED FABRICS.</p> + + +<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 +samples 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 does 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<!-- Page 258 --><span class='pagenum'><a name="Page_258" id="Page_258">[Pg 258]</a></span> colours, and when they have an +unknown colour to test to make 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 end 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.</p> + +<p>To make a complete series of tests of dyed fabrics there should be +provided the following reagents:—</p> + +<p>1. Strong sulphuric acid, as bought.</p> + +<p>2. Dilute sulphuric acid, being the strong acid diluted with twenty +times its volume of water.</p> + +<p>3. Concentrated hydrochloric acid.</p> + +<p>4. Dilute hydrochloric acid, 1 acid to 20 water.</p> + +<p>5. Concentrated nitric acid.</p> + +<p>6. Dilute nitric acid, 1 acid to 20 water.</p> + +<p>7. Acetic acid.</p> + +<p>8. Caustic soda solution, 5 grams in 100 c.c. water.</p> + +<p>9. Ammonia (strong).</p> + +<p>10. Dilute ammonia, 1 strong ammonia to 10 water.</p> + +<p>11. Carbonate of soda solution, 6 grams in 100 c.c. water.</p> + +<p>12. Bleaching powder solution, 2° Tw.</p> + +<p>13. Bisulphite of soda, 72° Tw.</p> + +<p>14. Stannous chloride, 10 grams crystals in 100 c.c. water, with a +little hydrochloric acid.</p> + +<p>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<!-- Page 259 --><span class='pagenum'><a name="Page_259" id="Page_259">[Pg 259]</a></span> change of colour of the +cloth 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; +iron is thrown down as a brown red bulky pre<!-- Page 260 --><span class='pagenum'><a name="Page_260" id="Page_260">[Pg 260]</a></span>cipitate; 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 decree 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 of climate on the colour, and there is no doubt +wind, rain, hail and snow have some influence on the fading of the +colour.<!-- Page 261 --><span class='pagenum'><a name="Page_261" id="Page_261">[Pg 261]</a></span></p> + +<p>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, +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 on +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 grams 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 test 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 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.<!-- Page 262 --><span class='pagenum'><a name="Page_262" id="Page_262">[Pg 262]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX.</h2> + +<p>EXPERIMENTAL DYEING AND COMPARATIVE DYE TESTING.</p> + + +<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 100 grams 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 +gram weights, and to get accustomed to them, which is not a very +difficult task.</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, <!-- Page 263 --><span class='pagenum'><a name="Page_263" id="Page_263">[Pg 263]</a></span>according to the nature of the material which is being +weighed. The sets of 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 ironmonger's, may be used; this may conveniently +be heated by a gas boiling burner, such as can also be bought at an +ironmonger's or plumber's for 2s.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/dcfillus044.jpg" width="400" height="275" alt="FIG. 44.--Experimental Dye-bath." title="Experimental Dye-bath" /> +<span class="caption">FIG. 44.—Experimental Dye-bath.</span> +</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 them in a water-bath arrangement.</p> + +<p>The simplest arrangement is sketched in Fig. 44; it consists of a copper +bath measuring 15 inches long by 10½<!-- Page 264 --><span class='pagenum'><a name="Page_264" id="Page_264">[Pg 264]</a></span> inches broad and 6½ inches +deep—this is covered by a lid in 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, heats up the dye liquids 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 boil, 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 may 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 this 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, that the bath 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.<!-- Page 265 --><span class='pagenum'><a name="Page_265" id="Page_265">[Pg 265]</a></span></p> + +<p>Many 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 having a weight of 5 grams. +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 can be 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 grams per litre, and +then by means of a pipette any required quantity can be conveniently +added. The same plan might be followed in the case of dyes which are +constantly in use, in this case, 5 grams per litre will be found strong +enough.</p> + +<p>Supposing it is desired to make a test of a sample of direct red, using +the following proportions: 2 per cent. dye-stuff, 3 per cent. soda, 15 +per cent. Glauber's salt, and the weight of the swatch which is being +used is 5 grams. The following calculations are to be made to give the +quantities of the ingredients required.<!-- Page 266 --><span class='pagenum'><a name="Page_266" id="Page_266">[Pg 266]</a></span></p> + +<p>For the dye-stuff:—</p> + +<p>5 (weight of swatch) multiplied by 2 (per cent. of dye) and divided by +100 equals—</p> + +<span style="margin-left: 12em;">5 x 2</span><br /> +<span style="margin-left: 11.5em;">——— = 0.1 gram dye</span><br /> +<span style="margin-left: 12.5em;">100</span><br /> + +<p>For the soda we have similarly:—</p> + +<span style="margin-left: 9.5em;">5 x 3</span><br /> +<span style="margin-left: 9em;">——— = 0.15 gram soda.</span><br /> +<span style="margin-left: 10em;">100</span><br /> + +<p>For the Glauber's salt:—</p> + +<span style="margin-left: 8.5em;">5 x 15</span><br /> +<span style="margin-left: 8em;">———— = 0.75 gram Glauber's salt.</span><br /> +<span style="margin-left: 9em;">100</span><br /> + +<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 entered, 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 different 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<!-- Page 267 --><span class='pagenum'><a name="Page_267" id="Page_267">[Pg 267]</a></span> 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.</p> + +<p>Of each of the samples of dyes 0.5 gram should be weighed out and +dissolved in 100 c.c. of water, care being taken that every portion of +the dye is dissolved before any of the solution is used in making up the +dye-vats. Care should also 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 amount of sulphate of soda +or other dye assistants are added; that the quantities of dye-stuff 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 depth 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 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, swatches +with the other dye, but containing 2, 5 and 10 per cent. more dye<!-- Page 268 --><span class='pagenum'><a name="Page_268" id="Page_268">[Pg 268]</a></span>stuff, +and all these swatches are dyed together, and after drying a comparison +can be made between them 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><b>Colorimetric Test.</b>—This is based on the principle that the colour of +a solution of dye-stuff will be proportionate to its strength. Two white +glass tubes equal in diameter are taken. Solutions of the dye-stuff, 0.5 +gram in 100 c.c. of water, are prepared, care being taken that the +solution is complete. Of one of these solutions 5 c.c. 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. Of water 25 c.c. is now added to each +tube, and then the colour of the diluted liquids is compared by looking +through them in a good light. That sample which gives the deeper +solution is the stronger in colouring power. By diluting the stronger +solution with water until it is of the same depth of colour as the +weaker, it may be assumed that the depth 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 c. of liquid and in the other 25 c., +then the relative strength is as 30 to 25; and if the first is taken as +the standard at 100, a proportion sum gives</p> + +<p>30 : 25 : : 100 : 83.3,</p> + +<p>that is, the weaker sample has only 83.3 per cent, of the strength of +the stronger sample.<!-- Page 269 --><span class='pagenum'><a name="Page_269" id="Page_269">[Pg 269]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="INDEX" id="INDEX"></a>INDEX.</h2> + +<h4>COMPILED BY MISS GRACE GREENWOOD, B.A. (LOND.).</h4> + +<p> +<span style="margin-left: 1em;">A.</span><br /> +<br /> +<span style="margin-left: 1em;">Acetate liquor, <a href='#Page_190'><b>190</b></a>, <a href='#Page_193'><b>193</b></a>.</span><br /> +<span style="margin-left: 1em;">— of alumina, <a href='#Page_170'><b>170</b></a>.</span><br /> +<span style="margin-left: 1em;">— of chrome, <a href='#Page_180'><b>180</b></a>.</span><br /> +<span style="margin-left: 1em;">— of lead, <a href='#Page_159'><b>159</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Acetic acid, <a href='#Page_174'><b>174</b></a>, <a href='#Page_180'><b>180</b></a>, <a href='#Page_184'><b>184</b></a>, <a href='#Page_227'><b>227</b></a>, <a href='#Page_231'><b>231</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Acid dyes;, <a href='#Page_83'><b>83</b></a>, <a href='#Page_159'><b>159</b></a>.</span><br /> +<span style="margin-left: 1em;">— dye-stuffs, topping with, <a href='#Page_228'><b>228</b></a>.</span><br /> +<span style="margin-left: 1em;">— green, <a href='#Page_84'><b>84</b></a>, <a href='#Page_221'><b>221</b></a>, <a href='#Page_229'><b>229</b></a>, <a href='#Page_234'><b>234</b></a>.</span><br /> +<span style="margin-left: 1em;">— magenta, <a href='#Page_84'><b>84</b></a>. <a href='#Page_220'><b>220</b></a>.</span><br /> +<span style="margin-left: 1em;">— violet, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 6 B, <a href='#Page_211'><b>211</b></a>, <a href='#Page_218'><b>218</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow, <a href='#Page_220'><b>220</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Acids, action of, on cellulose, <a href='#Page_9'><b>9</b></a>.</span><br /> +<span style="margin-left: 1em;">Acridine orange N O, <a href='#Page_231'><b>231</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Affinity of dye-stuff for fibre, <a href='#Page_109'><b>109</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Albumens, <a href='#Page_4'><b>4</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Algarobilla, <a href='#Page_147'><b>147</b></a>, <a href='#Page_148'><b>148</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Alizarine, <a href='#Page_18'><b>18</b></a>, <a href='#Page_150'><b>150</b></a>, <a href='#Page_157'><b>157</b></a>, <a href='#Page_169'><b>169</b></a>, <a href='#Page_180'><b>180</b></a>, <a href='#Page_259'><b>259</b></a>.</span><br /> +<span style="margin-left: 1em;">— blue, <a href='#Page_173'><b>173</b></a>, <a href='#Page_174'><b>174</b></a>.</span><br /> +<span style="margin-left: 1em;">— — paste, <a href='#Page_174'><b>174</b></a>.</span><br /> +<span style="margin-left: 1em;">— dyed goods, test of, <a href='#Page_258'><b>258</b></a>.</span><br /> +<span style="margin-left: 1em;">— dyes, <a href='#Page_84'><b>84</b></a>.</span><br /> +<span style="margin-left: 1em;">— oil, <a href='#Page_170'><b>170</b></a>.</span><br /> +<span style="margin-left: 1em;">— orange, <a href='#Page_173'><b>173</b></a>. <a href='#Page_174'><b>174</b></a>.</span><br /> +<span style="margin-left: 1em;">— pink, <a href='#Page_172'><b>172</b></a>.</span><br /> +<span style="margin-left: 1em;">— purple, <a href='#Page_172'><b>172</b></a>.</span><br /> +<span style="margin-left: 1em;">— red, <a href='#Page_171'><b>171</b></a>, <a href='#Page_248'><b>248</b></a>.</span><br /> +<span style="margin-left: 1em;">— violet, <a href='#Page_172'><b>172</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow N, <a href='#Page_180'><b>180</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Alkali blue B, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 3 B, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 6 B, <a href='#Page_217'><b>217</b></a>, <a href='#Page_232'><b>232</b></a>, <a href='#Page_233'><b>233</b></a>, <a href='#Page_238'><b>238</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow R, <a href='#Page_209'><b>209</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Alkalies, action of, on cotton, <a href='#Page_6'><b>6</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Alkaline blue, <a href='#Page_211'><b>211</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_216'><b>216</b></a>.</span><br /> +<span style="margin-left: 1em;">— copper solution, <a href='#Page_196'><b>196</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Alpha-naphthol, <a href='#Page_130'><b>130</b></a>, <a href='#Page_132'><b>132</b></a>, <a href='#Page_133'><b>133</b></a>, <a href='#Page_186'><b>186</b></a>, <a href='#Page_187'><b>187</b></a>, <a href='#Page_188'><b>188</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Alpha-naphthylamine, <a href='#Page_182'><b>182</b></a>, <a href='#Page_185'><b>185</b></a>, <a href='#Page_187'><b>187</b></a>, <a href='#Page_188'><b>188</b></a>.</span><br /> +<span style="margin-left: 1em;">— claret, <a href='#Page_197'><b>197</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Alum, <a href='#Page_159'><b>159</b></a>, <a href='#Page_164'><b>164</b></a>, <a href='#Page_165'><b>165</b></a>. <a href='#Page_166'><b>166</b></a>, <a href='#Page_167'><b>167</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Alumina, <a href='#Page_157'><b>157</b></a>.</span><br /> +<span style="margin-left: 1em;">— acetate, <a href='#Page_179'><b>179</b></a>.</span><br /> +<span style="margin-left: 1em;">— mordants, <a href='#Page_259'><b>259</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Amidazol blacks, <a href='#Page_79'><b>79</b></a>, <a href='#Page_121'><b>121</b></a>, <a href='#Page_179'><b>179</b></a>.</span><br /> +<span style="margin-left: 1em;">— black G, <a href='#Page_124'><b>124</b></a>, <a href='#Page_126'><b>126</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_121'><b>121</b></a>.</span><br /> +<span style="margin-left: 1em;">— cachou, <a href='#Page_127'><b>127</b></a>.</span><br /> +<span style="margin-left: 1em;">— cutch, <a href='#Page_126'><b>126</b></a>.</span><br /> +<span style="margin-left: 1em;">— drab, <a href='#Page_127'><b>127</b></a>.</span><br /> +<span style="margin-left: 1em;">— green B, <a href='#Page_127'><b>127</b></a>.</span><br /> +<span style="margin-left: 1em;">— — Y, <a href='#Page_127'><b>127</b></a>.</span><br /> +<span style="margin-left: 1em;">— olive, <a href='#Page_121'><b>121</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Amidoazobenzene, <a href='#Page_185'><b>185</b></a>, <a href='#Page_187'><b>187</b></a>, <a href='#Page_188'><b>188</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Amido-azo bodies, <a href='#Page_183'><b>183</b></a>.</span><br /> +<span style="margin-left: 1em;">— compounds, <a href='#Page_182'><b>182</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Amidoazotoluol, <a href='#Page_198'><b>198</b></a>.</span><br /> +<span style="margin-left: 1em;">— garnet, <a href='#Page_198'><b>198</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Amido bases, diazotisation of, <a href='#Page_182'><b>182</b></a>.</span><br /> +<span style="margin-left: 1em;">— groups, <a href='#Page_130'><b>130</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Amido-diphenylamine, <a href='#Page_183'><b>183</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Amido-phenylamine, <a href='#Page_133'><b>133</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Amines, <a href='#Page_181'><b>181</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Ammonia, <a href='#Page_174'><b>174</b></a>, <a href='#Page_180'><b>180</b></a>.</span><br /> +<span style="margin-left: 1em;">— soda, <a href='#Page_173'><b>173</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Ammoniacal copper, <a href='#Page_21'><b>21</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Ammonium chloride, <a href='#Page_180'><b>180</b></a>, <a href='#Page_207'><b>207</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Amyloid, <a href='#Page_12'><b>12</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Aniline, <a href='#Page_13'><b>13</b></a>, <a href='#Page_182'><b>182</b></a>, <a href='#Page_184'><b>184</b></a>, <a href='#Page_185'><b>185</b></a>, <a href='#Page_186'><b>186</b></a>, <a href='#Page_188'><b>188</b></a>.</span><br /> +<span style="margin-left: 1em;">— black, <a href='#Page_79'><b>79</b></a>, <a href='#Page_205'><b>205</b></a>, <a href='#Page_234'><b>234</b></a>.</span><br /> +<span style="margin-left: 1em;">— grey B, <a href='#Page_229'><b>229</b></a>, <a href='#Page_231'><b>231</b></a>.</span><br /> +<span style="margin-left: 1em;">— hydrochloride, <a href='#Page_181'><b>181</b></a>.</span><br /> +<span style="margin-left: 1em;">— oil, <a href='#Page_206'><b>206</b></a>, <a href='#Page_207'><b>207</b></a>.</span><br /> +<span style="margin-left: 1em;">— salt, <a href='#Page_207'><b>207</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Anisidine, <a href='#Page_183'><b>183</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Anthracene brown, <a href='#Page_174'><b>174</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Anthrapurpurine, <a href='#Page_171'><b>171</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Antimony fluoride, <a href='#Page_147'><b>147</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— oxalate, <a href='#Page_147'><b>147</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;"><i>Appretur der Gewebe</i>, <a href='#Page_252'><b>252</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Archil substitute N, <a href='#Page_229'><b>229</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Artificial silk, <a href='#Page_15'><b>15</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Atlas red R, <a href='#Page_102'><b>102</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Auramine, <a href='#Page_18'><b>18</b></a>, <a href='#Page_147'><b>147</b></a>, <a href='#Page_153'><b>153</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— G. <a href='#Page_154'><b>154</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— I I, <a href='#Page_151'><b>151</b></a>, <a href='#Page_152'><b>152</b></a>, <a href='#Page_153'><b>153</b></a>, <a href='#Page_230'><b>230</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Auroline, <a href='#Page_209'><b>209</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Automatic yarn-dryer, <a href='#Page_253'><b>253</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Azine green, T O, <a href='#Page_231'><b>231</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Azo-acid dyes, <a href='#Page_210'><b>210</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— yellow, <a href='#Page_211'><b>211</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Azo blue, <a href='#Page_85'><b>85</b></a>, <a href='#Page_211'><b>211</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— 2 R, <a href='#Page_228'><b>228</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— compounds, <a href='#Page_182'><b>182</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— dyes, <a href='#Page_18'><b>18</b></a>, <a href='#Page_129'><b>129</b></a>, <a href='#Page_159'><b>159</b></a>, <a href='#Page_181'><b>181</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— mauve. <a href='#Page_100'><b>100</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— A M, <a href='#Page_99'><b>99</b></a>, <a href='#Page_106'><b>106</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— orseille B B, <a href='#Page_229'><b>229</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— red A, <a href='#Page_211'><b>211</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_223'><b>223</b></a>, <a href='#Page_229'><b>229</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— rubine A, <a href='#Page_229'><b>229</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— scarlet, <a href='#Page_84'><b>84</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— violet, <a href='#Page_100'><b>100</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Azophor orange M N, <a href='#Page_195'><b>195</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— red P N, <a href='#Page_139'><b>139</b></a>, <a href='#Page_141'><b>141</b></a>, <a href='#Page_193'><b>193</b></a>,<a href='#Page_195'><b>195</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">B.</span><br /> +<br /> +<span style="margin-left: 1em;">Barlow kiers, <a href='#Page_30'><b>30</b></a>, <a href='#Page_32'><b>32</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Barwood, <a href='#Page_18'><b>18</b></a>, <a href='#Page_156'><b>156</b></a>, <a href='#Page_178'><b>178</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Basic dyes, <a href='#Page_83'><b>83</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— topping with, <a href='#Page_145'><b>145</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— dye-stuffs, topping with, <a href='#Page_228'><b>228</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Bast fibre, <a href='#Page_2'><b>2</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Bayer developer, <a href='#Page_133'><b>133</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Beaumont's cop-dyeing machine, <a href='#Page_67'><b>67</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Beige, <a href='#Page_167'><b>167</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Benzo azurine, <a href='#Page_101'><b>101</b></a>, <a href='#Page_107'><b>107</b></a>, <a href='#Page_112'><b>112</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— G, <a href='#Page_93'><b>93</b></a>, <a href='#Page_101'><b>101</b></a>, <a href='#Page_146'><b>146</b></a>, <a href='#Page_201'><b>201</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— 3 G, <a href='#Page_211'><b>211</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— R, <a href='#Page_210'><b>210</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— black blue, <a href='#Page_164'><b>164</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— blue, <a href='#Page_227'><b>227</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— 3 B, <a href='#Page_94'><b>94</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— black G, <a href='#Page_210'><b>210</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— R W, <a href='#Page_115'><b>115</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— brown, <a href='#Page_92'><b>92</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— G, <a href='#Page_100'><b>100</b></a>, <a href='#Page_103'><b>103</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— N B, <a href='#Page_100'><b>100</b></a>, <a href='#Page_103'><b>103</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— N B X, <a href='#Page_101'><b>101</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— chrome black blue B, <a href='#Page_96'><b>96</b></a>, <a href='#Page_118'><b>118</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— brown G, <a href='#Page_118'><b>118</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— —— 5 G, <a href='#Page_113'><b>113</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— —— R, <a href='#Page_118'><b>118</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— —— 2 R, <a href='#Page_117'><b>117</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— dyes, <a href='#Page_18'><b>18</b></a>, <a href='#Page_85'><b>85</b></a>, <a href='#Page_208'><b>208</b></a>, <a href='#Page_225'><b>225</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— fast grey, <a href='#Page_102'><b>102</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— scarlet <a href='#Page_4'><b>4</b></a> B S, <a href='#Page_107'><b>107</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— green, B B, <a href='#Page_93'><b>93</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— G, <a href='#Page_92'><b>92</b></a>, <a href='#Page_145'><b>145</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Benzo-nitrol black B, <a href='#Page_142'><b>142</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— brown G, <a href='#Page_144'><b>144</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— dark brown N, <a href='#Page_144'><b>144</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— developer, <a href='#Page_141'><b>141</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— dyes, <a href='#Page_139'><b>139</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Benzo olive, <a href='#Page_92'><b>92</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— orange R, <a href='#Page_87'><b>87</b></a>, <a href='#Page_92'><b>92</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— purpurine, <a href='#Page_85'><b>85</b></a>, <a href='#Page_101'><b>101</b></a>, <a href='#Page_107'><b>107</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— B, <a href='#Page_100'><b>100</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— 4 B, <a href='#Page_87'><b>87</b></a>, <a href='#Page_89'><b>89</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_217'><b>217</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— 6 B, <a href='#Page_146'><b>146</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— 10 B, <a href='#Page_210'><b>210</b></a>, <a href='#Page_217'><b>217</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Beta-naphthol, <a href='#Page_130'><b>130</b></a>, <a href='#Page_131'><b>131</b></a>, <a href='#Page_132'><b>132</b></a>, <a href='#Page_184'><b>184</b></a>, <a href='#Page_186'><b>186</b></a>, <a href='#Page_187'><b>187</b></a>, <a href='#Page_188'><b>188</b></a>, <a href='#Page_189'><b>189</b></a>, <a href='#Page_191'><b>191</b></a>, <a href='#Page_196'><b>196</b></a>, <a href='#Page_235'><b>235</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Beta-naphthylamine, <a href='#Page_182'><b>182</b></a>, <a href='#Page_185'><b>185</b></a>, <a href='#Page_187'><b>187</b></a>, <a href='#Page_188'><b>188</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— red, <a href='#Page_196'><b>196</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Bichromate of potash, <a href='#Page_164'><b>164</b></a>, <a href='#Page_165'><b>165</b></a>, <a href='#Page_166'><b>166</b></a>, <a href='#Page_167'><b>167</b></a>, <a href='#Page_177'><b>177</b></a>, <a href='#Page_179'><b>179</b></a>, <a href='#Page_181'><b>181</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— of soda, <a href='#Page_206'><b>206</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Biebrich orange, <a href='#Page_128'><b>128</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— scarlet, <a href='#Page_128'><b>128</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Birch's sewing machine, <a href='#Page_25'><b>25</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— washing machine, <a href='#Page_36'><b>36</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Bismarck brown, <a href='#Page_146'><b>146</b></a>, <a href='#Page_147'><b>147</b></a>, <a href='#Page_153'><b>153</b></a>, <a href='#Page_165'><b>165</b></a>, <a href='#Page_166'><b>166</b></a>, <a href='#Page_167'><b>167</b></a>, <a href='#Page_229'><b>229</b></a>, <a href='#Page_230'><b>230</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— F F, <a href='#Page_231'><b>231</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Bisulphate of soda, <a href='#Page_221'><b>221</b></a>, <a href='#Page_222'><b>222</b></a>, <a href='#Page_223'><b>223</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Black, <a href='#Page_104'><b>104</b></a>, <a href='#Page_120'><b>120</b></a>, <a href='#Page_121'><b>121</b></a>, <a href='#Page_122'><b>122</b></a>, <a href='#Page_123'><b>123</b></a>, <a href='#Page_124'><b>124</b></a>, <a href='#Page_137'><b>137</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_139'><b>139</b></a>, <a href='#Page_142'><b>142</b></a>, <a href='#Page_144'><b>144</b></a>,</span><br /> +<span style="margin-left: 4.5em;"><a href='#Page_166'><b>166</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_217'><b>217</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— and blue shot, <a href='#Page_222'><b>222</b></a>, <a href='#Page_223'><b>223</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— and crimson shot dyes, <a href='#Page_237'><b>237</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— and green blue shot, <a href='#Page_222'><b>222</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— and pink shot, <a href='#Page_223'><b>223</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— and yellow shot, <a href='#Page_223'><b>223</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— blue, <a href='#Page_116'><b>116</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— brown, <a href='#Page_102'><b>102</b></a>, <a href='#Page_103'><b>103</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_136'><b>136</b></a>, <a href='#Page_138'><b>138</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— dyeing of, <a href='#Page_234'><b>234</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— iron liquor, <a href='#Page_165'><b>165</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Bleaching of cotton, <a href='#Page_24'><b>24</b></a>.</span><br /> +<span style="margin-left: 1em;">— of fine fabrics, <a href='#Page_42'><b>42</b></a>.</span><br /> +<span style="margin-left: 1em;">— of yarn, <a href='#Page_43'><b>43</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Blue, <a href='#Page_96'><b>96</b></a>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_98'><b>98</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_125'><b>125</b></a>, <a href='#Page_126'><b>126</b></a>, <a href='#Page_130'><b>130</b></a>, <a href='#Page_136'><b>136</b></a>, <a href='#Page_145'><b>145</b></a>, <a href='#Page_146'><b>146</b></a>, <a href='#Page_155'><b>155</b></a>.</span><br /> +<span style="margin-left: 1em;">— and gold shot dyes, <a href='#Page_237'><b>237</b></a>.</span><br /> +<span style="margin-left: 1em;">— and gold yellow shot, <a href='#Page_222'><b>222</b></a>.</span><br /> +<span style="margin-left: 1em;">— and orange shot, <a href='#Page_224'><b>224</b></a>.</span><br /> +<span style="margin-left: 1em;">— black, <a href='#Page_136'><b>136</b></a>, <a href='#Page_137'><b>137</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_139'><b>139</b></a>, <a href='#Page_154'><b>154</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_219'><b>219</b></a>.</span><br /> +<span style="margin-left: 1em;">— developer A, <a href='#Page_130'><b>130</b></a>.</span><br /> +<span style="margin-left: 1em;">— — AN, <a href='#Page_134'><b>134</b></a>.</span><br /> +<span style="margin-left: 1em;">— green, <a href='#Page_114'><b>114</b></a>.</span><br /> +<span style="margin-left: 1em;">— grey, <a href='#Page_105'><b>105</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Bluestone, <a href='#Page_164'><b>164</b></a>, <a href='#Page_165'><b>165</b></a>, <a href='#Page_166'><b>166</b></a>, <a href='#Page_178'><b>178</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Bluish claret red, <a href='#Page_187'><b>187</b></a>.</span><br /> +<span style="margin-left: 1em;">— rose, <a href='#Page_153'><b>153</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Borax, <a href='#Page_86'><b>86</b></a>, <a href='#Page_180'><b>180</b></a>, <a href='#Page_221'><b>221</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Brazil wood, <a href='#Page_84'><b>84</b></a>, <a href='#Page_156'><b>156</b></a>, <a href='#Page_178'><b>178</b></a>, <a href='#Page_179'><b>179</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Bridson's washing machine, <a href='#Page_36'><b>36</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Bright blue, <a href='#Page_95'><b>95</b></a>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_98'><b>98</b></a>, <a href='#Page_145'><b>145</b></a>, <a href='#Page_151'><b>151</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_230'><b>230</b></a>.</span><br /> +<span style="margin-left: 1em;">— crimson, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— grass green, <a href='#Page_93'><b>93</b></a>.</span><br /> +<span style="margin-left: 1em;">— green, <a href='#Page_146'><b>146</b></a>, <a href='#Page_151'><b>151</b></a>.</span><br /> +<span style="margin-left: 1em;">— grey, <a href='#Page_106'><b>106</b></a>.</span><br /> +<span style="margin-left: 1em;">— navy, <a href='#Page_115'><b>115</b></a>, <a href='#Page_116'><b>116</b></a>.</span><br /> +<span style="margin-left: 1em;">— olive yellow, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— orange, <a href='#Page_92'><b>92</b></a>.</span><br /> +<span style="margin-left: 1em;">— pea green, <a href='#Page_94'><b>94</b></a>.</span><br /> +<span style="margin-left: 1em;">— pink, <a href='#Page_90'><b>90</b></a>.</span><br /> +<span style="margin-left: 1em;">— red, <a href='#Page_87'><b>87</b></a>, <a href='#Page_145'><b>145</b></a>.</span><br /> +<span style="margin-left: 1em;">— —lilac, <a href='#Page_99'><b>99</b></a>.</span><br /> +<span style="margin-left: 1em;">— rose, <a href='#Page_230'><b>230</b></a>.</span><br /> +<span style="margin-left: 1em;">— scarlet, <a href='#Page_89'><b>89</b></a>, <a href='#Page_130'><b>130</b></a>, <a href='#Page_186'><b>186</b></a>.</span><br /> +<span style="margin-left: 1em;">— sea green, <a href='#Page_151'><b>151</b></a>.</span><br /> +<span style="margin-left: 1em;">— straw, <a href='#Page_90'><b>90</b></a>.</span><br /> +<span style="margin-left: 1em;">— violet, <a href='#Page_231'><b>231</b></a>.</span><br /> +<span style="margin-left: 1em;">— walnut, <a href='#Page_143'><b>143</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow, <a href='#Page_90'><b>90</b></a>, <a href='#Page_143'><b>143</b></a>, <a href='#Page_154'><b>154</b></a>, <a href='#Page_213'><b>213</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_229'><b>229</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Brilliant azurine B, <a href='#Page_146'><b>146</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 5 G, <a href='#Page_97'><b>97</b></a>, <a href='#Page_211'><b>211</b></a>.</span><br /> +<span style="margin-left: 1em;">— cochineal <a href='#Page_4'><b>4</b></a> R, <a href='#Page_222'><b>222</b></a>.</span><br /> +<span style="margin-left: 1em;">— Congo R, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— croceine, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 3 B, <a href='#Page_237'><b>237</b></a>.</span><br /> +<span style="margin-left: 1em;">— green, <a href='#Page_145'><b>145</b></a>, <a href='#Page_146'><b>146</b></a>, <a href='#Page_147'><b>147</b></a>, <a href='#Page_151'><b>151</b></a>, <a href='#Page_154'><b>154</b></a>, <a href='#Page_229'><b>229</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_232'><b>232</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— milling green B, <a href='#Page_211'><b>211</b></a>.</span><br /> +<span style="margin-left: 1em;">— orange, <a href='#Page_92'><b>92</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_103'><b>103</b></a>, <a href='#Page_218'><b>218</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— orseille C, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— purpurine, <a href='#Page_87'><b>87</b></a>.</span><br /> +<span style="margin-left: 1em;">— — R, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— red, <a href='#Page_88'><b>88</b></a>.</span><br /> +<span style="margin-left: 1em;">— rhoduline red B, <a href='#Page_151'><b>151</b></a>.</span><br /> +<span style="margin-left: 1em;">— scarlet, <a href='#Page_211'><b>211</b></a>, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_211'><b>211</b></a></span><br /> +<span style="margin-left: 1em;">— violet, <a href='#Page_231'><b>231</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow, <a href='#Page_230'><b>230</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Bronze green, <a href='#Page_114'><b>114</b></a>, <a href='#Page_217'><b>217</b></a>.</span><br /> +<span style="margin-left: 1em;">— grey, <a href='#Page_106'><b>106</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Brown, <a href='#Page_101'><b>101</b></a>, <a href='#Page_103'><b>103</b></a>, <a href='#Page_117'><b>117</b></a>, <a href='#Page_120'><b>120</b></a>, <a href='#Page_127'><b>127</b></a>, <a href='#Page_128'><b>128</b></a>, <a href='#Page_130'><b>130</b></a>, <a href='#Page_144'><b>144</b></a>, <a href='#Page_164'><b>164</b></a>, <a href='#Page_174'><b>174</b></a>, <a href='#Page_180'><b>180</b></a>, <a href='#Page_218'><b>218</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— and blue shot dyes, <a href='#Page_222'><b>222</b></a>, <a href='#Page_238'><b>238</b></a>.</span><br /> +<span style="margin-left: 1em;">— and violet shot, <a href='#Page_223'><b>223</b></a>.</span><br /> +<span style="margin-left: 1em;">— drab, <a href='#Page_100'><b>100</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Brownish orange, <a href='#Page_186'><b>186</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Buff brown, <a href='#Page_102'><b>102</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_126'><b>126</b></a>, <a href='#Page_135'><b>135</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow, <a href='#Page_91'><b>91</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">C.</span><br /> +<br /> +<span style="margin-left: 1em;">Cachou de laval, <a href='#Page_100'><b>100</b></a>, <a href='#Page_121'><b>121</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Camwood, <a href='#Page_156'><b>156</b></a>, <a href='#Page_178'><b>178</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Capri blue, <a href='#Page_230'><b>230</b></a>.</span><br /> +<span style="margin-left: 1em;">— green, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 2 G, <a href='#Page_231'><b>231</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Carbonate of soda, <a href='#Page_168'><b>168</b></a>, <a href='#Page_209'><b>209</b></a>,</span><br /> +<span style="margin-left: 1em;">— of soda lye, <a href='#Page_168'><b>168</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Carbonising of woollen goods, <a href='#Page_12'><b>12</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Catechu, <a href='#Page_187'><b>187</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_112'><b>112</b></a>.</span><br /> +<span style="margin-left: 1em;">— — F K, <a href='#Page_117'><b>117</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G K, <a href='#Page_117'><b>117</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Caustic soda, <a href='#Page_180'><b>180</b></a>.</span><br /> +<span style="margin-left: 1em;">— — liquor, <a href='#Page_189'><b>189</b></a>.</span><br /> +<span style="margin-left: 1em;">— — lye, <a href='#Page_196'><b>196</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Cellulose, <a href='#Page_5'><b>5</b></a>, <a href='#Page_6'><b>6</b></a>.</span><br /> +<span style="margin-left: 1em;">— di-nitrate, <a href='#Page_14'><b>14</b></a>, <a href='#Page_15'><b>15</b></a>.</span><br /> +<span style="margin-left: 1em;">— hexa-nitrate, <a href='#Page_14'><b>14</b></a>.</span><br /> +<span style="margin-left: 1em;">— penta-nitrate, <a href='#Page_14'><b>14</b></a>.</span><br /> +<span style="margin-left: 1em;">— tetra-nitrate, <a href='#Page_14'><b>14</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Ceruleine, <a href='#Page_180'><b>180</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chalk, <a href='#Page_180'><b>180</b></a>, <a href='#Page_181'><b>181</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chardonnet's process for making silk, <a href='#Page_15'><b>15</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chemical reagents, action of, <a href='#Page_257'><b>257</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chemicing of cotton, <a href='#Page_36'><b>36</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chemistry of cotton fibre, <a href='#Page_1'><b>1</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chestnut, <a href='#Page_100'><b>100</b></a>, <a href='#Page_104'><b>104</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_142'><b>142</b></a>, <a href='#Page_219'><b>219</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chicago blue, <a href='#Page_112'><b>112</b></a>, <a href='#Page_227'><b>227</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B, <a href='#Page_115'><b>115</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 4 B, <a href='#Page_116'><b>116</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 6 B, <a href='#Page_95'><b>95</b></a>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_114'><b>114</b></a>, <a href='#Page_116'><b>116</b></a>, <a href='#Page_146'><b>146</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_232'><b>232</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— — R, <a href='#Page_210'><b>210</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chicago blue G, <a href='#Page_210'><b>210</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— 4 R, <a href='#Page_99'><b>99</b></a>, <a href='#Page_100'><b>100</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— R W, <a href='#Page_114'><b>114</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_119'><b>119</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— dyes, <a href='#Page_85'><b>85</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chloramine yellow, <a href='#Page_209'><b>209</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chloride of copper, <a href='#Page_180'><b>180</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— of lime, <a href='#Page_37'><b>37</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— of soda, <a href='#Page_207'><b>207</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chlorophenine orange R, <a href='#Page_91'><b>91</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chocolate brown, <a href='#Page_102'><b>102</b></a>, <a href='#Page_143'><b>143</b></a>, <a href='#Page_155'><b>155</b></a>, <a href='#Page_172'><b>172</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chromanil black R F, <a href='#Page_120'><b>120</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— 4 R F, <a href='#Page_119'><b>119</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— brown 2 G, <a href='#Page_119'><b>119</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chrome, <a href='#Page_157'><b>157</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chrome-logwood black, <a href='#Page_177'><b>177</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chrome mordants, <a href='#Page_259'><b>259</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chromic acid, <a href='#Page_17'><b>17</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chromine G, <a href='#Page_209'><b>209</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chromium chloride, <a href='#Page_173'><b>173</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— fluoride, <a href='#Page_112'><b>112</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— mordant, <a href='#Page_173'><b>173</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chrysamine, <a href='#Page_85'><b>85</b></a>, <a href='#Page_92'><b>92</b></a>, <a href='#Page_101'><b>101</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— G, <a href='#Page_91'><b>91</b></a>, <a href='#Page_93'><b>93</b></a>, <a href='#Page_113'><b>113</b></a>, <a href='#Page_114'><b>114</b></a>, <a href='#Page_146'><b>146</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— R, <a href='#Page_92'><b>92</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chrysoidine, <a href='#Page_147'><b>147</b></a>, <a href='#Page_151'><b>151</b></a>, <a href='#Page_164'><b>164</b></a>, <a href='#Page_221'><b>221</b></a>, <a href='#Page_232'><b>232</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— R, <a href='#Page_232'><b>232</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Chrysophenine, <a href='#Page_90'><b>90</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— G, <a href='#Page_114'><b>114</b></a>, <a href='#Page_119'><b>119</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Ciliary fibres, <a href='#Page_1'><b>1</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Claret, <a href='#Page_89'><b>89</b></a>, <a href='#Page_146'><b>146</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— red, <a href='#Page_174'><b>174</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Clayton yellow, <a href='#Page_210'><b>210</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Cloth-dyeing machine, <a href='#Page_76'><b>76</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Cloth scarlet, <a href='#Page_160'><b>160</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— washing machine, illustration of, <a href='#Page_245'><b>245</b></a>, <a href='#Page_246'><b>246</b></a>, <a href='#Page_247'><b>247</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Cochineal, <a href='#Page_156'><b>156</b></a>, <a href='#Page_259'><b>259</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Coffee brown, <a href='#Page_165'><b>165</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Collodion, <a href='#Page_15'><b>15</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Colorimetric test for relative value of dyes, <a href='#Page_268'><b>268</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Colouring matter, <a href='#Page_3'><b>3</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— principle of dye-stuff, <a href='#Page_156'><b>156</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Colour lake, <a href='#Page_18'><b>18</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— lakes, <a href='#Page_156'><b>156</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Columbia black B, <a href='#Page_210'><b>210</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— F B, <a href='#Page_103'><b>103</b></a>, <a href='#Page_104'><b>104</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_218'><b>218</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— F B B, <a href='#Page_105'><b>105</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— R, <a href='#Page_232'><b>232</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— blue G, <a href='#Page_224'><b>224</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— green, <a href='#Page_101'><b>101</b></a>, <a href='#Page_146'><b>146</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Columbia orange R, <a href='#Page_91'><b>91</b></a>, <a href='#Page_103'><b>103</b></a>, <a href='#Page_104'><b>104</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— red S, <a href='#Page_211'><b>211</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— yellow, <a href='#Page_91'><b>91</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_209'><b>209</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Comparative dye testing, <a href='#Page_262'><b>262</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Condensed water, <a href='#Page_227'><b>227</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Congo blue <a href='#Page_2'><b>2</b></a> B, <a href='#Page_95'><b>95</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— brown, <a href='#Page_210'><b>210</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— G, <a href='#Page_210'><b>210</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_218'><b>218</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— Corinth, <a href='#Page_232'><b>232</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— B, <a href='#Page_99'><b>99</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_211'><b>211</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— G. <a href='#Page_89'><b>89</b></a>, <a href='#Page_211'><b>211</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_224'><b>224</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— dyes, <a href='#Page_18'><b>18</b></a>, <a href='#Page_85'><b>85</b></a>, <a href='#Page_208'><b>208</b></a>, <a href='#Page_225'><b>225</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— orange G, <a href='#Page_210'><b>210</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— R, <a href='#Page_92'><b>92</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— R, <a href='#Page_210'><b>210</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— red, <a href='#Page_85'><b>85</b></a>, <a href='#Page_107'><b>107</b></a>, <a href='#Page_128'><b>128</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— rubine, <a href='#Page_89'><b>89</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Continuous dyeing machine, <a href='#Page_79'><b>79</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Cop dyeing, <a href='#Page_64'><b>64</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Cop-dyeing machine, Beaumont's, <a href='#Page_67'><b>67</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— Graemiger, <a href='#Page_65'><b>65</b></a>, <a href='#Page_66'><b>66</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— Mommer's, <a href='#Page_69'><b>69</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— Young & Crippin, <a href='#Page_68'><b>68</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Copper acetate, <a href='#Page_177'><b>177</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— logwood black, <a href='#Page_177'><b>177</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— nitrate, <a href='#Page_177'><b>177</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— soda solution, <a href='#Page_180'><b>180</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— sulphate, <a href='#Page_112'><b>112</b></a>, <a href='#Page_164'><b>164</b></a>, <a href='#Page_166'><b>166</b></a>, <a href='#Page_177'><b>177</b></a>, <a href='#Page_181'><b>181</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Copperas, <a href='#Page_147'><b>147</b></a>, <a href='#Page_164'><b>164</b></a>, <a href='#Page_165'><b>165</b></a>, <a href='#Page_166'><b>166</b></a>, <a href='#Page_167'><b>167</b></a>, <a href='#Page_172'><b>172</b></a>, <a href='#Page_175'><b>175</b></a>, <a href='#Page_178'><b>178</b></a>, <a href='#Page_181'><b>181</b></a>, <a href='#Page_200'><b>200</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Cornflower blue, <a href='#Page_218'><b>218</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Corron's hank-dyeing machine, <a href='#Page_63'><b>63</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Cotton bleaching, <a href='#Page_23'><b>23</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— brown A, <a href='#Page_231'><b>231</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— <a href='#Page_91'><b>91</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_101'><b>101</b></a>, <a href='#Page_103'><b>103</b></a>, <a href='#Page_106'><b>106</b></a>, <a href='#Page_132'><b>132</b></a>, <a href='#Page_137'><b>137</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_144'><b>144</b></a>, <a href='#Page_228'><b>228</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— dyeing, <a href='#Page_18'><b>18</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— fibre, <a href='#Page_2'><b>2</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— illustration of, <a href='#Page_5'><b>5</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— impurities of, <a href='#Page_3'><b>3</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— structure of, <a href='#Page_4'><b>4</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— structure and chemistry of, <a href='#Page_1'><b>1</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— fibres, composition of, <a href='#Page_5'><b>5</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— —— production of colour direct on, <a href='#Page_181'><b>181</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— scouring, <a href='#Page_23'><b>23</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Cotton-silk fabrics, dyeing of, <a href='#Page_225'><b>225</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Cotton wax, <a href='#Page_3'><b>3</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">—— yellow, <a href='#Page_100'><b>100</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Coupling process, <a href='#Page_139'><b>139</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Cream, <a href='#Page_91'><b>91</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Cresyl blue, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— fast violet 2 R N, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— violet, <a href='#Page_229'><b>229</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Crimson, <a href='#Page_130'><b>130</b></a>, <a href='#Page_135'><b>135</b></a>, <a href='#Page_151'><b>151</b></a>, <a href='#Page_155'><b>155</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_219'><b>219</b></a>, <a href='#Page_230'><b>230</b></a>.</span><br /> +<span style="margin-left: 1em;">— red, <a href='#Page_88'><b>88</b></a>, <a href='#Page_130'><b>130</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Croceine AZ, <a href='#Page_223'><b>223</b></a>.</span><br /> +<span style="margin-left: 1em;">— orange, <a href='#Page_128'><b>128</b></a>, <a href='#Page_211'><b>211</b></a>.</span><br /> +<span style="margin-left: 1em;">— scarlet, <a href='#Page_128'><b>128</b></a>, <a href='#Page_160'><b>160</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Cross-dye black, <a href='#Page_79'><b>79</b></a>, <a href='#Page_107'><b>107</b></a>, <a href='#Page_121'><b>121</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B, <a href='#Page_123'><b>123</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 2 B, <a href='#Page_120'><b>120</b></a>.</span><br /> +<span style="margin-left: 1em;">— drab, <a href='#Page_93'><b>93</b></a>, <a href='#Page_121'><b>121</b></a>, <a href='#Page_126'><b>126</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Cross dyeing, <a href='#Page_220'><b>220</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Curcumeine, extra, <a href='#Page_211'><b>211</b></a>, <a href='#Page_218'><b>218</b></a>, <a href='#Page_224'><b>224</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Curcumine, <a href='#Page_209'><b>209</b></a>, <a href='#Page_217'><b>217</b></a>.</span><br /> +<span style="margin-left: 1em;">— S, <a href='#Page_103'><b>103</b></a>, <a href='#Page_104'><b>104</b></a>, <a href='#Page_223'><b>223</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Curcuphenine, <a href='#Page_90'><b>90</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Cutch, <a href='#Page_147'><b>147</b></a>, <a href='#Page_156'><b>156</b></a>, <a href='#Page_164'><b>164</b></a>, <a href='#Page_165'><b>165</b></a>, <a href='#Page_166'><b>166</b></a>, <a href='#Page_167'><b>167</b></a>, <a href='#Page_178'><b>178</b></a>, <a href='#Page_181'><b>181</b></a>, <a href='#Page_186'><b>186</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Cuticle fibres, <a href='#Page_1'><b>1</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Cyanole extra, <a href='#Page_221'><b>221</b></a>, <a href='#Page_222'><b>222</b></a>, <a href='#Page_223'><b>223</b></a>, <a href='#Page_229'><b>229</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_232'><b>232</b></a>, <a href='#Page_233'><b>233</b></a>, <a href='#Page_237'><b>237</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">D.</span><br /> +<br /> +<span style="margin-left: 1em;">Damages in bleached goods, <a href='#Page_50'><b>50</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Dark blue, <a href='#Page_95'><b>95</b></a>, <a href='#Page_96'><b>96</b></a>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_98'><b>98</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_116'><b>116</b></a>, <a href='#Page_136'><b>136</b></a>, <a href='#Page_139'><b>139</b></a>, <a href='#Page_142'><b>142</b></a>, <a href='#Page_153'><b>153</b></a>, <a href='#Page_154'><b>154</b></a>, <a href='#Page_155'><b>155</b></a>,<a href='#Page_215'><b>215</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_218'><b>218</b></a>, <a href='#Page_219'><b>219</b></a>.</span><br /> +<span style="margin-left: 1em;">— — and green shot dyes, <a href='#Page_237'><b>237</b></a>.</span><br /> +<span style="margin-left: 1em;">— — and olive shot dyes, <a href='#Page_238'><b>238</b></a>.</span><br /> +<span style="margin-left: 1em;">— bronze, <a href='#Page_115'><b>115</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_180'><b>180</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_218'><b>218</b></a>, <a href='#Page_219'><b>219</b></a>, <a href='#Page_230'><b>230</b></a>, <a href='#Page_231'><b>231</b></a>.</span><br /> +<span style="margin-left: 1em;">— — and blue shot, <a href='#Page_222'><b>222</b></a>.</span><br /> +<span style="margin-left: 1em;">— — olive, <a href='#Page_165'><b>165</b></a>, <a href='#Page_166'><b>166</b></a>.</span><br /> +<span style="margin-left: 1em;">— chestnut, <a href='#Page_104'><b>104</b></a>.</span><br /> +<span style="margin-left: 1em;">— — brown, <a href='#Page_101'><b>101</b></a>, <a href='#Page_103'><b>103</b></a>, <a href='#Page_117'><b>117</b></a>, <a href='#Page_119'><b>119</b></a>.</span><br /> +<span style="margin-left: 1em;">— cream, <a href='#Page_231'><b>231</b></a>.</span><br /> +<span style="margin-left: 1em;">— crimson, <a href='#Page_136'><b>136</b></a>, <a href='#Page_231'><b>231</b></a>.</span><br /> +<span style="margin-left: 1em;">— drab, <a href='#Page_102'><b>102</b></a>, <a href='#Page_126'><b>126</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— green, <a href='#Page_93'><b>93</b></a>, <a href='#Page_94'><b>94</b></a>, <a href='#Page_113'><b>113</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_127'><b>127</b></a>, <a href='#Page_142'><b>142</b></a>, <a href='#Page_144'><b>144</b></a>, <a href='#Page_146'><b>146</b></a>, <a href='#Page_151'><b>151</b></a>, <a href='#Page_153'><b>153</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_219'><b>219</b></a>, <a href='#Page_230'><b>230</b></a>.</span><br /> +<span style="margin-left: 1em;">— grey, <a href='#Page_119'><b>119</b></a>, <a href='#Page_120'><b>120</b></a>, <a href='#Page_154'><b>154</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_218'><b>218</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— lilac, <a href='#Page_146'><b>146</b></a>.</span><br /> +<span style="margin-left: 1em;">— maroon, <a href='#Page_89'><b>89</b></a>, <a href='#Page_135'><b>135</b></a>.</span><br /> +<span style="margin-left: 1em;">— navy, <a href='#Page_95'><b>95</b></a>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_98'><b>98</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_126'><b>126</b></a>, <a href='#Page_137'><b>137</b></a>.</span><br /> +<span style="margin-left: 1em;">— olive, <a href='#Page_92'><b>92</b></a>, <a href='#Page_127'><b>127</b></a>, <a href='#Page_164'><b>164</b></a>.</span><br /> +<span style="margin-left: 1em;">— — brown, <a href='#Page_118'><b>118</b></a>.</span><br /> +<span style="margin-left: 1em;">— orange, <a href='#Page_91'><b>91</b></a>.</span><br /> +<span style="margin-left: 1em;">— plum, <a href='#Page_87'><b>87</b></a>, <a href='#Page_99'><b>99</b></a>, <a href='#Page_116'><b>116</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_166'><b>166</b></a>.</span><br /> +<span style="margin-left: 1em;">— red, <a href='#Page_88'><b>88</b></a>, <a href='#Page_113'><b>113</b></a>.</span><br /> +<span style="margin-left: 1em;">— Russian green, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— sage, <a href='#Page_127'><b>127</b></a>, <a href='#Page_216'><b>216</b></a>.</span><br /> +<span style="margin-left: 1em;">— scarlet, <a href='#Page_153'><b>153</b></a>, <a href='#Page_155'><b>155</b></a>.</span><br /> +<span style="margin-left: 1em;">— sea green, <a href='#Page_94'><b>94</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— slate, <a href='#Page_106'><b>106</b></a>, <a href='#Page_214'><b>214</b></a>.</span><br /> +<span style="margin-left: 1em;">— stone, <a href='#Page_214'><b>214</b></a>.</span><br /> +<span style="margin-left: 1em;">— turquoise blue, <a href='#Page_116'><b>116</b></a>.</span><br /> +<span style="margin-left: 1em;">— violet, <a href='#Page_156'><b>156</b></a>.</span><br /> +<span style="margin-left: 1em;">— walnut, <a href='#Page_216'><b>216</b></a>.</span><br /> +<span style="margin-left: 1em;">— — brown, <a href='#Page_103'><b>103</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow, <a href='#Page_90'><b>90</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">"Dead" cotton fibres, <a href='#Page_4'><b>4</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Deep black, <a href='#Page_104'><b>104</b></a>.</span><br /> +<span style="margin-left: 1em;">— blue, <a href='#Page_97'><b>97</b></a>, <a href='#Page_126'><b>126</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_104'><b>104</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_231'><b>231</b></a>.</span><br /> +<span style="margin-left: 1em;">— chestnut brown, <a href='#Page_102'><b>102</b></a>, <a href='#Page_136'><b>136</b></a>.</span><br /> +<span style="margin-left: 1em;">— crimson, <a href='#Page_89'><b>89</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— green, <a href='#Page_94'><b>94</b></a>.</span><br /> +<span style="margin-left: 1em;">— leaf green, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— olive brown, <a href='#Page_180'><b>180</b></a>.</span><br /> +<span style="margin-left: 1em;">— orange, <a href='#Page_92'><b>92</b></a>, <a href='#Page_135'><b>135</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_230'><b>230</b></a>.</span><br /> +<span style="margin-left: 1em;">— — yellow, <a href='#Page_230'><b>230</b></a>.</span><br /> +<span style="margin-left: 1em;">— pink, <a href='#Page_88'><b>88</b></a>.</span><br /> +<span style="margin-left: 1em;">— rose, <a href='#Page_230'><b>230</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Delahunty's dyeing machine, <a href='#Page_57'><b>57</b></a>, <a href='#Page_58'><b>58</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Delta purpurine, <a href='#Page_107'><b>107</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 5 B, <a href='#Page_210'><b>210</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Developing, <a href='#Page_131'><b>131</b></a>.</span><br /> +<span style="margin-left: 1em;">—machine for paranitroaniline red, <a href='#Page_194'><b>194</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Diamine azo blue, <a href='#Page_2'><b>2</b></a> B, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — R, <a href='#Page_145'><b>145</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — 2 R, <a href='#Page_237'><b>237</b></a>, <a href='#Page_238'><b>238</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — RR, <a href='#Page_136'><b>136</b></a>, <a href='#Page_137'><b>137</b></a>.</span><br /> +<span style="margin-left: 1em;">— black B, <a href='#Page_227'><b>227</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B H. <a href='#Page_104'><b>104</b></a>, <a href='#Page_106'><b>106</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_136'><b>136</b></a>, <a href='#Page_137'><b>137</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_237'><b>237</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B O, <a href='#Page_92'><b>92</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_139'><b>139</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— — H W, <a href='#Page_92'><b>92</b></a>, <a href='#Page_93'><b>93</b></a>, <a href='#Page_94'><b>94</b></a>, <a href='#Page_95'><b>95</b></a>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_102'><b>102</b></a>, <a href='#Page_103'><b>103</b></a>, <a href='#Page_104'><b>104</b></a>, <a href='#Page_130'><b>130</b></a>, <a href='#Page_132'><b>132</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_230'><b>230</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— — R O, <a href='#Page_87'><b>87</b></a>, <a href='#Page_92'><b>92</b></a>, <a href='#Page_93'><b>93</b></a>, <a href='#Page_95'><b>95</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_101'><b>101</b></a>, <a href='#Page_104'><b>104</b></a>, <a href='#Page_106'><b>106</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_139'><b>139</b></a>, <a href='#Page_146'><b>146</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_228'><b>228</b></a>.</span><br /> +<span style="margin-left: 1em;">— blue, <a href='#Page_112'><b>112</b></a>. <a href='#Page_132'><b>132</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 2 B, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 3 B, <a href='#Page_92'><b>92</b></a>, <a href='#Page_98'><b>98</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_227'><b>227</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B B, <a href='#Page_227'><b>227</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B G, <a href='#Page_96'><b>96</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_228'><b>228</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B X, <a href='#Page_102'><b>102</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_228'><b>228</b></a>.</span><br /> +<span style="margin-left: 1em;">— — C B, <a href='#Page_228'><b>228</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_209'><b>209</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Diamine blue <a href='#Page_3'><b>3</b></a> R, <a href='#Page_95'><b>95</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_116'><b>116</b></a>, <a href='#Page_117'><b>117</b></a>, <a href='#Page_119'><b>119</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_228'><b>228</b></a>.</span><br /> +<span style="margin-left: 1em;">— — R W, <a href='#Page_95'><b>95</b></a>, <a href='#Page_98'><b>98</b></a>, <a href='#Page_113'><b>113</b></a>, <a href='#Page_114'><b>114</b></a>, <a href='#Page_117'><b>117</b></a>, <a href='#Page_120'><b>120</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_230'><b>230</b></a>.</span><br /> +<span style="margin-left: 1em;">— — black E, <a href='#Page_97'><b>97</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_228'><b>228</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — R, <a href='#Page_102'><b>102</b></a>.</span><br /> +<span style="margin-left: 1em;">— Bordeaux, <a href='#Page_87'><b>87</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B, <a href='#Page_89'><b>89</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_228'><b>228</b></a>.</span><br /> +<span style="margin-left: 1em;">— — S, <a href='#Page_210'><b>210</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— brilliant blue G, <a href='#Page_96'><b>96</b></a>, <a href='#Page_99'><b>99</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_145'><b>145</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_223'><b>223</b></a>, <a href='#Page_227'><b>227</b></a>.</span><br /> +<span style="margin-left: 1em;">— bronze G, <a href='#Page_91'><b>91</b></a>, <a href='#Page_93'><b>93</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_106'><b>106</b></a>, <a href='#Page_114'><b>114</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_139'><b>139</b></a>, <a href='#Page_144'><b>144</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_232'><b>232</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_112'><b>112</b></a>, <a href='#Page_132'><b>132</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B, <a href='#Page_209'><b>209</b></a>, <a href='#Page_228'><b>228</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_104'><b>104</b></a>, <a href='#Page_119'><b>119</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 3 G, <a href='#Page_209'><b>209</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_230'><b>230</b></a>.</span><br /> +<span style="margin-left: 1em;">— — M, <a href='#Page_90'><b>90</b></a>, <a href='#Page_95'><b>95</b></a>, <a href='#Page_102'><b>102</b></a>, <a href='#Page_104'><b>104</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_119'><b>119</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— — N, <a href='#Page_209'><b>209</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— — S, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— — V, <a href='#Page_92'><b>92</b></a>, <a href='#Page_98'><b>98</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_143'><b>143</b></a>, <a href='#Page_144'><b>144</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— — Y, <a href='#Page_92'><b>92</b></a>.</span><br /> +<span style="margin-left: 1em;">— catechine B, <a href='#Page_101'><b>101</b></a>, <a href='#Page_102'><b>102</b></a>, <a href='#Page_103'><b>103</b></a>, <a href='#Page_114'><b>114</b></a>, <a href='#Page_117'><b>117</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_216'><b>216</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_89'><b>89</b></a>, <a href='#Page_94'><b>94</b></a>, <a href='#Page_101'><b>101</b></a>, <a href='#Page_102'><b>102</b></a>, <a href='#Page_103'><b>103</b></a>, <a href='#Page_113'><b>113</b></a>, <a href='#Page_117'><b>117</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— colours, <a href='#Page_227'><b>227</b></a>.</span><br /> +<span style="margin-left: 1em;">— cutch, <a href='#Page_130'><b>130</b></a>, <a href='#Page_132'><b>132</b></a>, <a href='#Page_136'><b>136</b></a>, <a href='#Page_137'><b>137</b></a>, <a href='#Page_138'><b>138</b></a>.</span><br /> +<span style="margin-left: 1em;">— dark blue B, <a href='#Page_114'><b>114</b></a>, <a href='#Page_116'><b>116</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_120'><b>120</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— — green N, <a href='#Page_93'><b>93</b></a>.</span><br /> +<span style="margin-left: 1em;">— deep black Cr, <a href='#Page_96'><b>96</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — RB, <a href='#Page_104'><b>104</b></a>.</span><br /> +<span style="margin-left: 1em;">— dyes, <a href='#Page_18'><b>18</b></a>, <a href='#Page_85'><b>85</b></a>, <a href='#Page_208'><b>208</b></a>, <a href='#Page_225'><b>225</b></a>.</span><br /> +<span style="margin-left: 1em;">— fast red, F, <a href='#Page_87'><b>87</b></a>, <a href='#Page_89'><b>89</b></a>, <a href='#Page_90'><b>90</b></a>, <a href='#Page_113'><b>113</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_230'><b>230</b></a>.</span><br /> +<span style="margin-left: 1em;">— — yellow A, <a href='#Page_90'><b>90</b></a>, <a href='#Page_92'><b>92</b></a>, <a href='#Page_114'><b>114</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_116'><b>116</b></a>, <a href='#Page_136'><b>136</b></a>, <a href='#Page_137'><b>137</b></a>, <a href='#Page_143'><b>143</b></a>, <a href='#Page_144'><b>144</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_213'><b>213</b></a>, <a href='#Page_223'><b>223</b></a>, <a href='#Page_227'><b>227</b></a>, <a href='#Page_232'><b>232</b></a>, <a href='#Page_233'><b>233</b></a>, <a href='#Page_235'><b>235</b></a>, <a href='#Page_237'><b>237</b></a>, <a href='#Page_238'><b>238</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — B, <a href='#Page_89'><b>89</b></a>, <a href='#Page_91'><b>91</b></a>, <a href='#Page_92'><b>92</b></a>, <a href='#Page_94'><b>94</b></a>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_98'><b>98</b></a>, <a href='#Page_113'><b>113</b></a>, <a href='#Page_114'><b>114</b></a>, <a href='#Page_117'><b>117</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_119'><b>119</b></a>, <a href='#Page_120'><b>120</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_223'><b>223</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— gold, <a href='#Page_100'><b>100</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_213'><b>213</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_230'><b>230</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— green B, <a href='#Page_93'><b>93</b></a>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_146'><b>146</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_230'><b>230</b></a>, <a href='#Page_235'><b>235</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_94'><b>94</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_228'><b>228</b></a>.</span><br /> +<span style="margin-left: 1em;">— grey G, <a href='#Page_106'><b>106</b></a>, <a href='#Page_143'><b>143</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— jet black, <a href='#Page_139'><b>139</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — Cr, <a href='#Page_105'><b>105</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_120'><b>120</b></a>, <a href='#Page_121'><b>121</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — O O, <a href='#Page_144'><b>144</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — R B, <a href='#Page_105'><b>105</b></a>, <a href='#Page_120'><b>120</b></a>.</span><br /> +<span style="margin-left: 1em;">— new blue R, <a href='#Page_98'><b>98</b></a>, <a href='#Page_116'><b>116</b></a>, <a href='#Page_120'><b>120</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— nitrazol black B, <a href='#Page_143'><b>143</b></a>, <a href='#Page_144'><b>144</b></a>.</span><br /> +<span style="margin-left: 1em;">— — brown B, <a href='#Page_143'><b>143</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — G, <a href='#Page_143'><b>143</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— — dye, <a href='#Page_139'><b>139</b></a>.</span><br /> +<span style="margin-left: 1em;">— orange, <a href='#Page_132'><b>132</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B, <a href='#Page_89'><b>89</b></a>, <a href='#Page_92'><b>92</b></a>, <a href='#Page_114'><b>114</b></a>, <a href='#Page_117'><b>117</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_119'><b>119</b></a>, <a href='#Page_120'><b>120</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_230'><b>230</b></a>.</span><br /> +<span style="margin-left: 1em;">— — D, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— — D C, <a href='#Page_223'><b>223</b></a>, <a href='#Page_227'><b>227</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_233'><b>233</b></a>, <a href='#Page_237'><b>237</b></a>, <a href='#Page_238'><b>238</b></a>.</span><br /> +<span style="margin-left: 1em;">— — F, <a href='#Page_209'><b>209</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_91'><b>91</b></a>, <a href='#Page_102'><b>102</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_221'><b>221</b></a>, <a href='#Page_222'><b>222</b></a>, <a href='#Page_231'><b>231</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G D, <a href='#Page_104'><b>104</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G G, <a href='#Page_227'><b>227</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— red, <a href='#Page_107'><b>107</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 4 B, <a href='#Page_209'><b>209</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 5 B, <a href='#Page_88'><b>88</b></a>, <a href='#Page_89'><b>89</b></a>, <a href='#Page_103'><b>103</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_228'><b>228</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 6 B, <a href='#Page_209'><b>209</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 10 B, <a href='#Page_88'><b>88</b></a>, <a href='#Page_89'><b>89</b></a>, <a href='#Page_146'><b>146</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_230'><b>230</b></a>.</span><br /> +<span style="margin-left: 1em;">— — N, <a href='#Page_87'><b>87</b></a>.</span><br /> +<span style="margin-left: 1em;">— — N O, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— rose, <a href='#Page_223'><b>223</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B D, <a href='#Page_88'><b>88</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_230'><b>230</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G D, <a href='#Page_99'><b>99</b></a>.</span><br /> +<span style="margin-left: 1em;">— scarlet, <a href='#Page_107'><b>107</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B, <a href='#Page_91'><b>91</b></a>, <a href='#Page_106'><b>106</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_228'><b>228</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 3 B, <a href='#Page_88'><b>88</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_228'><b>228</b></a>.</span><br /> +<span style="margin-left: 1em;">— — H S, <a href='#Page_230'><b>230</b></a>.</span><br /> +<span style="margin-left: 1em;">— — S, <a href='#Page_228'><b>228</b></a>.</span><br /> +<span style="margin-left: 1em;">— sky blue, <a href='#Page_94'><b>94</b></a>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_98'><b>98</b></a>, <a href='#Page_145'><b>145</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_222'><b>222</b></a>, <a href='#Page_237'><b>237</b></a>, <a href='#Page_238'><b>238</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — F F, <a href='#Page_94'><b>94</b></a>, <a href='#Page_96'><b>96</b></a>, <a href='#Page_98'><b>98</b></a>, <a href='#Page_114'><b>114</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_222'><b>222</b></a>, <a href='#Page_223'><b>223</b></a>, <a href='#Page_227'><b>227</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— steel blue L, <a href='#Page_96'><b>96</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_222'><b>222</b></a>, <a href='#Page_228'><b>228</b></a>.</span><br /> +<span style="margin-left: 1em;">— violet N, <a href='#Page_87'><b>87</b></a>, <a href='#Page_99'><b>99</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_145'><b>145</b></a>, <a href='#Page_146'><b>146</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_223'><b>223</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_238'><b>238</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow, <a href='#Page_92'><b>92</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow N, <a href='#Page_90'><b>90</b></a>, <a href='#Page_92'><b>92</b></a>, <a href='#Page_93'><b>93</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_113'><b>113</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_230'><b>230</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Diamineral blue R, <a href='#Page_95'><b>95</b></a>, <a href='#Page_116'><b>116</b></a>, <a href='#Page_227'><b>227</b></a>, <a href='#Page_238'><b>238</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Diaminogene, <a href='#Page_234'><b>234</b></a>, <a href='#Page_235'><b>235</b></a>.</span><br /> +<span style="margin-left: 1em;">— B, <a href='#Page_138'><b>138</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_234'><b>234</b></a>, <a href='#Page_235'><b>235</b></a>.</span><br /> +<span style="margin-left: 1em;">— blue B B, <a href='#Page_136'><b>136</b></a>, <a href='#Page_138'><b>138</b></a>.</span><br /> +<span style="margin-left: 1em;">— extra, <a href='#Page_143'><b>143</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_234'><b>234</b></a>, <a href='#Page_235'><b>235</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Dianil black C R, <a href='#Page_97'><b>97</b></a>, <a href='#Page_119'><b>119</b></a>, <a href='#Page_142'><b>142</b></a>.</span><br /> +<span style="margin-left: 1em;">— — N, <a href='#Page_118'><b>118</b></a>, <a href='#Page_120'><b>120</b></a>, <a href='#Page_121'><b>121</b></a>.</span><br /> +<span style="margin-left: 1em;">— blue B, <a href='#Page_94'><b>94</b></a>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_98'><b>98</b></a>, <a href='#Page_116'><b>116</b></a>, <a href='#Page_142'><b>142</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_98'><b>98</b></a>, <a href='#Page_113'><b>113</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 2 K, <a href='#Page_94'><b>94</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 4 R, <a href='#Page_99'><b>99</b></a>, <a href='#Page_116'><b>116</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown B D, <a href='#Page_119'><b>119</b></a>, <a href='#Page_142'><b>142</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G O, <a href='#Page_142'><b>142</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 3 G O, <a href='#Page_103'><b>103</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_119'><b>119</b></a>, <a href='#Page_142'><b>142</b></a>, <a href='#Page_143'><b>143</b></a>.</span><br /> +<span style="margin-left: 1em;">— — R, <a href='#Page_102'><b>102</b></a>, <a href='#Page_103'><b>103</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_119'><b>119</b></a>, <a href='#Page_142'><b>142</b></a>.</span><br /> +<span style="margin-left: 1em;">— — T, <a href='#Page_102'><b>102</b></a>.</span><br /> +<span style="margin-left: 1em;">— claret B, <a href='#Page_89'><b>89</b></a>, <a href='#Page_99'><b>99</b></a>, <a href='#Page_145'><b>145</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_89'><b>89</b></a>.</span><br /> +<span style="margin-left: 1em;">— dark blue R, <a href='#Page_94'><b>94</b></a>, <a href='#Page_95'><b>95</b></a>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_116'><b>116</b></a>, <a href='#Page_142'><b>142</b></a>, <a href='#Page_143'><b>143</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — 3 R, <a href='#Page_97'><b>97</b></a>, <a href='#Page_142'><b>142</b></a>.</span><br /> +<span style="margin-left: 1em;">— — brown, <a href='#Page_103'><b>103</b></a>.</span><br /> +<span style="margin-left: 1em;">— olive, <a href='#Page_93'><b>93</b></a>.</span><br /> +<span style="margin-left: 1em;">— orange G, <a href='#Page_89'><b>89</b></a>, <a href='#Page_92'><b>92</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 2 R, <a href='#Page_92'><b>92</b></a>.</span><br /> +<span style="margin-left: 1em;">— red <a href='#Page_4'><b>4</b></a> B, <a href='#Page_89'><b>89</b></a>, <a href='#Page_145'><b>145</b></a>.</span><br /> +<span style="margin-left: 1em;">— scarlet G, <a href='#Page_145'><b>145</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow, <a href='#Page_94'><b>94</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_91'><b>91</b></a>, <a href='#Page_98'><b>98</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 3 G, <a href='#Page_91'><b>91</b></a>, <a href='#Page_94'><b>94</b></a>, <a href='#Page_113'><b>113</b></a>.</span><br /> +<span style="margin-left: 1em;">— — R, <a href='#Page_94'><b>94</b></a>, <a href='#Page_113'><b>113</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 2 R, <a href='#Page_91'><b>91</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Dianisidine blue, <a href='#Page_197'><b>197</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Diazo-benzene chloride, <a href='#Page_181'><b>181</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Diazo black. <a href='#Page_132'><b>132</b></a>, <a href='#Page_139'><b>139</b></a>.</span><br /> +<span style="margin-left: 1em;">— blue, <a href='#Page_132'><b>132</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_130'><b>130</b></a>, <a href='#Page_139'><b>139</b></a>.</span><br /> +<span style="margin-left: 1em;">— compounds, <a href='#Page_181'><b>181</b></a>.</span><br /> +<span style="margin-left: 1em;">— liquor, <a href='#Page_190'><b>190</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Diazotisation, <a href='#Page_129'><b>129</b></a>.</span><br /> +<span style="margin-left: 1em;">— of amido bases, <a href='#Page_182'><b>182</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Diazotised paranitroaniline, <a href='#Page_140'><b>140</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;"><i>Dictionary of Coal-tar Colours</i>, <a href='#Page_259'><b>259</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Dinitroso-resorcine, <a href='#Page_179'><b>179</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Diphenyl brown B N, <a href='#Page_103'><b>103</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Direct deep black E extra, <a href='#Page_104'><b>104</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Direct dyeing, <a href='#Page_85'><b>85</b></a>.</span><br /> +<span style="margin-left: 1em;">— dyes, <a href='#Page_83'><b>83</b></a>.</span><br /> +<span style="margin-left: 1em;">— — fastness of, <a href='#Page_106'><b>106</b></a>.</span><br /> +<span style="margin-left: 1em;">— fast brown B, <a href='#Page_144'><b>144</b></a>.</span><br /> +<span style="margin-left: 1em;">— indigo blue, <a href='#Page_98'><b>98</b></a>.</span><br /> +<span style="margin-left: 1em;">— orange R, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— red, test of, <a href='#Page_265'><b>265</b></a>.</span><br /> +<span style="margin-left: 1em;">— triamine black G X, <a href='#Page_104'><b>104</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow G, <a href='#Page_90'><b>90</b></a>, <a href='#Page_106'><b>106</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Divi-divi, <a href='#Page_147'><b>147</b></a>, <a href='#Page_148'><b>148</b></a>, <a href='#Page_239'><b>239</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Drab, <a href='#Page_93'><b>93</b></a>, <a href='#Page_165'><b>165</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_218'><b>218</b></a>, <a href='#Page_219'><b>219</b></a>, <a href='#Page_231'><b>231</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Drying cylinders, <a href='#Page_255'><b>255</b></a>.</span><br /> +<span style="margin-left: 1em;">— of dyed goods, <a href='#Page_249'><b>249</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Dull lilac, <a href='#Page_99'><b>99</b></a>.</span><br /> +<span style="margin-left: 1em;">— violet, <a href='#Page_100'><b>100</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Dye-beck, <a href='#Page_77'><b>77</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Dye-house washing machine, <a href='#Page_244'><b>244</b></a>, <a href='#Page_246'><b>246</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Dyeing apparatus, <a href='#Page_263'><b>263</b></a>.</span><br /> +<span style="margin-left: 1em;">— of basic dyes, <a href='#Page_149'><b>149</b></a>.</span><br /> +<span style="margin-left: 1em;">— machinery, <a href='#Page_53'><b>53</b></a>, <a href='#Page_57'><b>57</b></a>.</span><br /> +<span style="margin-left: 1em;">— on metallic mordants, <a href='#Page_156'><b>156</b></a>.</span><br /> +<span style="margin-left: 1em;">— test for relative value of dyes, <a href='#Page_267'><b>267</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Dye-jigger, <a href='#Page_72'><b>72</b></a>, <a href='#Page_73'><b>73</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Dyers' bleach, <a href='#Page_24'><b>24</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Dye-tank, illustration of, <a href='#Page_54'><b>54</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Dye-tub, illustration of, <a href='#Page_54'><b>54</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Dye-vat, section of, <a href='#Page_56'><b>56</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">E.</span><br /> +<br /> +<span style="margin-left: 1em;">Eboli blue B, <a href='#Page_231'><b>231</b></a>.</span><br /> +<span style="margin-left: 1em;">— green T, <a href='#Page_230'><b>230</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Emerald tint, <a href='#Page_154'><b>154</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Eosine, <a href='#Page_84'><b>84</b></a>, <a href='#Page_229'><b>229</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Eosines, dyeing with, <a href='#Page_158'><b>158</b></a>, <a href='#Page_159'><b>159</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Erie blue B X, <a href='#Page_97'><b>97</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 2 G, <a href='#Page_210'><b>210</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Erika B, <a href='#Page_87'><b>87</b></a>.</span><br /> +<span style="margin-left: 1em;">— B N, <a href='#Page_99'><b>99</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_224'><b>224</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Erythrosine, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— B, <a href='#Page_238'><b>238</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Erythrosines, <a href='#Page_160'><b>160</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Experimental dye-bath, <a href='#Page_263'><b>263</b></a>.</span><br /> +<span style="margin-left: 1em;">— dyeing, <a href='#Page_262'><b>262</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">F.</span><br /> +<br /> +<span style="margin-left: 1em;">Farmer's washing machine, <a href='#Page_36'><b>36</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Fast acid green, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — B N, <a href='#Page_222'><b>222</b></a>.</span><br /> +<span style="margin-left: 1em;">— blue developer A D, <a href='#Page_133'><b>133</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_164'><b>164</b></a>.</span><br /> +<span style="margin-left: 1em;">— neutral violet B, <a href='#Page_154'><b>154</b></a>,</span><br /> +<span style="margin-left: 1em;">— yellow S, <a href='#Page_223'><b>223</b></a>, <a href='#Page_237'><b>237</b></a>, <a href='#Page_238'><b>238</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Fastness of colours, <a href='#Page_260'><b>260</b></a>.</span><br /> +<span style="margin-left: 1em;">— of colours to light and air, <a href='#Page_260'><b>260</b></a></span><br /> +<span style="margin-left: 1em;">— of colours to rubbing, <a href='#Page_261'><b>261</b></a>.</span><br /> +<span style="margin-left: 1em;">— of colours to washing, <a href='#Page_261'><b>261</b></a>.</span><br /> +<span style="margin-left: 1em;">— of direct dyes, <a href='#Page_106'><b>106</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Fatty acids, <a href='#Page_3'><b>3</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Fawn, <a href='#Page_165'><b>165</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_167'><b>167</b></a>.</span><br /> +<span style="margin-left: 1em;">— drab, <a href='#Page_100'><b>100</b></a>, <a href='#Page_216'><b>216</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Fiery yellowish red, <a href='#Page_186'><b>186</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">First green liquor, <a href='#Page_168'><b>168</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Fixation, <a href='#Page_149'><b>149</b></a>.</span><br /> +<span style="margin-left: 1em;">— with couplers, <a href='#Page_139'><b>139</b></a>.</span><br /> +<span style="margin-left: 1em;">— — developers, <a href='#Page_128'><b>128</b></a>.</span><br /> +<span style="margin-left: 1em;">— — metallic salts, <a href='#Page_112'><b>112</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Flavo-purpurine, <a href='#Page_171'><b>171</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Formyl blue B, <a href='#Page_211'><b>211</b></a>.</span><br /> +<span style="margin-left: 1em;">— violet, <a href='#Page_84'><b>84</b></a>, <a href='#Page_229'><b>229</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 6 B, <a href='#Page_211'><b>211</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 10 B, <a href='#Page_211'><b>211</b></a>.</span><br /> +<span style="margin-left: 1em;">— — S 4 B, <a href='#Page_211'><b>211</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_222'><b>222</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_237'><b>237</b></a>, <a href='#Page_238'><b>238</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Full blue, <a href='#Page_43'><b>43</b></a>, <a href='#Page_97'><b>97</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow orange, <a href='#Page_186'><b>186</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Furnival's Square beater, <a href='#Page_30'><b>30</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Fustic, <a href='#Page_156'><b>156</b></a>, <a href='#Page_157'><b>157</b></a>, <a href='#Page_166'><b>166</b></a>, <a href='#Page_178'><b>178</b></a>, <a href='#Page_259'><b>259</b></a>.</span><br /> +<span style="margin-left: 1em;">— extract, <a href='#Page_164'><b>164</b></a>, <a href='#Page_165'><b>165</b></a>, <a href='#Page_166'><b>166</b></a>, <a href='#Page_167'><b>167</b></a>, <a href='#Page_175'><b>175</b></a>, <a href='#Page_176'><b>176</b></a>, <a href='#Page_181'><b>181</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">G.</span><br /> +<br /> +<span style="margin-left: 1em;">Gallipoli oil, <a href='#Page_168'><b>168</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Galls, <a href='#Page_147'><b>147</b></a>, <a href='#Page_148'><b>148</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Gambier, <a href='#Page_147'><b>147</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Glauber's salt, <a href='#Page_83'><b>83</b></a>, <a href='#Page_108'><b>108</b></a>, <a href='#Page_111'><b>111</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_221'><b>221</b></a>, <a href='#Page_222'><b>222</b></a>, <a href='#Page_223'><b>223</b></a>,</span><br /> +<span style="margin-left: 9em;"><a href='#Page_225'><b>225</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_234'><b>234</b></a>, <a href='#Page_237'><b>237</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Glycerine, <a href='#Page_180'><b>180</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Gold and green shot dyes, <a href='#Page_221'><b>221</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_100'><b>100</b></a>, <a href='#Page_101'><b>101</b></a>, <a href='#Page_102'><b>102</b></a>, <a href='#Page_103'><b>103</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_142'><b>142</b></a>, <a href='#Page_143'><b>143</b></a>, <a href='#Page_153'><b>153</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_230'><b>230</b></a>.</span><br /> +<span style="margin-left: 1em;">— — and blue shot, <a href='#Page_222'><b>222</b></a>.</span><br /> +<span style="margin-left: 1em;">— drab, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— orange, <a href='#Page_214'><b>214</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow, <a href='#Page_91'><b>91</b></a>, <a href='#Page_113'><b>113</b></a>, <a href='#Page_130'><b>130</b></a>, <a href='#Page_142'><b>142</b></a>, <a href='#Page_230'><b>230</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Good yellow, <a href='#Page_213'><b>213</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Graemiger cop-dyeing machine, <a href='#Page_65'><b>65</b></a>, <a href='#Page_66'><b>66</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Grass green, <a href='#Page_93'><b>93</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Green, <a href='#Page_92'><b>92</b></a>, <a href='#Page_93'><b>93</b></a>, <a href='#Page_94'><b>94</b></a>, <a href='#Page_114'><b>114</b></a>, <a href='#Page_130'><b>130</b></a>, <a href='#Page_143'><b>143</b></a>, <a href='#Page_145'><b>145</b></a>, <a href='#Page_151'><b>151</b></a>, <a href='#Page_180'><b>180</b></a>, <a href='#Page_215'><b>215</b></a>.</span><br /> +<span style="margin-left: 1em;">— and buff shot, <a href='#Page_223'><b>223</b></a>.</span><br /> +<span style="margin-left: 1em;">— and claret shot, <a href='#Page_222'><b>222</b></a>.</span><br /> +<span style="margin-left: 1em;">— and pink shot dyes, <a href='#Page_238'><b>238</b></a>.</span><br /> +<span style="margin-left: 1em;">— and orange shot, <a href='#Page_224'><b>224</b></a>.</span><br /> +<span style="margin-left: 1em;">— and red shot, <a href='#Page_223'><b>223</b></a>, <a href='#Page_224'><b>224</b></a>.</span><br /> +<span style="margin-left: 1em;">— blue, <a href='#Page_98'><b>98</b></a>.</span><br /> +<span style="margin-left: 1em;">— grey, <a href='#Page_106'><b>106</b></a>, <a href='#Page_120'><b>120</b></a>.</span><br /> +<span style="margin-left: 1em;">— olive, <a href='#Page_92'><b>92</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow, <a href='#Page_91'><b>91</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Greening operation, <a href='#Page_168'><b>168</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Grey, <a href='#Page_106'><b>106</b></a>, <a href='#Page_120'><b>120</b></a>, <a href='#Page_153'><b>153</b></a>, <a href='#Page_219'><b>219</b></a>.</span><br /> +<span style="margin-left: 1em;">— and orange shot, <a href='#Page_223'><b>223</b></a>.</span><br /> +<span style="margin-left: 1em;">— blue, <a href='#Page_96'><b>96</b></a>.</span><br /> +<span style="margin-left: 1em;">— lilac, <a href='#Page_99'><b>99</b></a>, <a href='#Page_153'><b>153</b></a>.</span><br /> +<span style="margin-left: 1em;">— slate, <a href='#Page_166'><b>166</b></a>.</span><br /> +<span style="margin-left: 1em;">— sour operation, <a href='#Page_32'><b>32</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Grothe, <a href='#Page_252'><b>252</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Ground fustic, <a href='#Page_166'><b>166</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Guinea green B, <a href='#Page_211'><b>211</b></a>, <a href='#Page_218'><b>218</b></a>, <a href='#Page_224'><b>224</b></a>.</span><br /> +<span style="margin-left: 1em;">— violet B, <a href='#Page_224'><b>224</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 4 B, <a href='#Page_211'><b>211</b></a>, <a href='#Page_218'><b>218</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Gum tragacanth, <a href='#Page_192'><b>192</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Gun cotton, <a href='#Page_13'><b>13</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">H.</span><br /> +<br /> +<span style="margin-left: 1em;">Half-silk fabrics, dyeing of, <a href='#Page_225'><b>225</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Hand dyeing, <a href='#Page_53'><b>53</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Hank bleaching, <a href='#Page_45'><b>45</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Hank-dyeing machine. Corron's, <a href='#Page_63'><b>63</b></a>.</span><br /> +<span style="margin-left: 1em;">— — Klauder-Weldon's, <a href='#Page_61'><b>61</b></a>, <a href='#Page_62'><b>62</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Hank-wringing machines, <a href='#Page_241'><b>241</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Havanna brown, <a href='#Page_166'><b>166</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Hawking machine, Holliday's, <a href='#Page_78'><b>78</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Hawthorne's washing machine, <a href='#Page_36'><b>36</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Heliotrope, <a href='#Page_99'><b>99</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— B B, <a href='#Page_90'><b>90</b></a>, <a href='#Page_146'><b>146</b></a>.</span><br /> +<span style="margin-left: 1em;">— 2 B, <a href='#Page_99'><b>99</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Hessian brown <a href='#Page_2'><b>2</b></a> M, <a href='#Page_98'><b>98</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 2 B N, <a href='#Page_100'><b>100</b></a>, <a href='#Page_231'><b>231</b></a>.</span><br /> +<span style="margin-left: 1em;">— grey S, <a href='#Page_231'><b>231</b></a>.</span><br /> +<span style="margin-left: 1em;">— purple N, <a href='#Page_230'><b>230</b></a>.</span><br /> +<span style="margin-left: 1em;">— violet, <a href='#Page_211'><b>211</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Hoffman violet, <a href='#Page_152'><b>152</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Holliday, <a href='#Page_182'><b>182</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Holliday's hawking machine, <a href='#Page_78'><b>78</b></a>.</span><br /> +<span style="margin-left: 1em;">— yarn-dyeing machine, <a href='#Page_60'><b>60</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Hurst's <i>Silk Dyeing</i>, <a href='#Page_225'><b>225</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Hydrocellulose, <a href='#Page_12'><b>12</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Hydrochloric acid, <a href='#Page_177'><b>177</b></a>, <a href='#Page_183'><b>183</b></a>, <a href='#Page_184'><b>184</b></a>, <a href='#Page_190'><b>190</b></a>.</span><br /> +<span style="margin-left: 1em;">— — action of, <a href='#Page_11'><b>11</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Hydro-extractors, <a href='#Page_251'><b>251</b></a>, <a href='#Page_252'><b>252</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Hydrosulphite indigo vat, <a href='#Page_204'><b>204</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">I.</span><br /> +<br /> +<span style="margin-left: 1em;">Immedial black, <a href='#Page_107'><b>107</b></a>, <a href='#Page_121'><b>121</b></a>.</span><br /> +<span style="margin-left: 1em;">— blacks, <a href='#Page_79'><b>79</b></a>.</span><br /> +<span style="margin-left: 1em;">— blue, <a href='#Page_121'><b>121</b></a>.</span><br /> +<span style="margin-left: 1em;">— — C, <a href='#Page_125'><b>125</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Immedial bronze A, <a href='#Page_128'><b>128</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B, <a href='#Page_128'><b>128</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_121'><b>121</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Impregnation with dye-stuff solution, <a href='#Page_198'><b>198</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Indamine blue N, <a href='#Page_154'><b>154</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Indazine, <a href='#Page_229'><b>229</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Indian yellow G, <a href='#Page_211'><b>211</b></a>, <a href='#Page_213'><b>213</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_222'><b>222</b></a>, <a href='#Page_229'><b>229</b></a>, <a href='#Page_231'><b>231</b></a>.</span><br /> +<span style="margin-left: 1em;">— — R, <a href='#Page_211'><b>211</b></a>, <a href='#Page_213'><b>213</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_229'><b>229</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Indigo, <a href='#Page_18'><b>18</b></a>, <a href='#Page_20'><b>20</b></a>, <a href='#Page_198'><b>198</b></a>.</span><br /> +<span style="margin-left: 1em;">— blue, <a href='#Page_152'><b>152</b></a>, <a href='#Page_154'><b>154</b></a>.</span><br /> +<span style="margin-left: 1em;">— — N, <a href='#Page_229'><b>229</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— — S G N, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— carmine, <a href='#Page_165'><b>165</b></a>.</span><br /> +<span style="margin-left: 1em;">— dyed goods, test of, <a href='#Page_258'><b>258</b></a>.</span><br /> +<span style="margin-left: 1em;">— dyeing, <a href='#Page_199'><b>199</b></a>.</span><br /> +<span style="margin-left: 1em;">— dye-vat for cloth, <a href='#Page_199'><b>199</b></a>.</span><br /> +<span style="margin-left: 1em;">— extract, <a href='#Page_84'><b>84</b></a>, <a href='#Page_167'><b>167</b></a>.</span><br /> +<span style="margin-left: 1em;">— white, <a href='#Page_200'><b>200</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Indigotin, <a href='#Page_198'><b>198</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Indophenol, <a href='#Page_205'><b>205</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Induline, <a href='#Page_229'><b>229</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Irisamine G, <a href='#Page_152'><b>152</b></a>, <a href='#Page_153'><b>153</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Iron, <a href='#Page_157'><b>157</b></a>.</span><br /> +<span style="margin-left: 1em;">— liquor, <a href='#Page_172'><b>172</b></a>, <a href='#Page_175'><b>175</b></a>, <a href='#Page_176'><b>176</b></a>, <a href='#Page_180'><b>180</b></a>.</span><br /> +<span style="margin-left: 1em;">— mordants, <a href='#Page_259'><b>259</b></a>.</span><br /> +<span style="margin-left: 1em;">— stains, <a href='#Page_50'><b>50</b></a>.</span><br /> +<span style="margin-left: 1em;">— sulphate, <a href='#Page_112'><b>112</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">J.</span><br /> +<br /> +<span style="margin-left: 1em;">Janus black I, <a href='#Page_219'><b>219</b></a>.</span><br /> +<span style="margin-left: 1em;">— — II, <a href='#Page_219'><b>219</b></a>.</span><br /> +<span style="margin-left: 1em;">— blue G, <a href='#Page_155'><b>155</b></a>.</span><br /> +<span style="margin-left: 1em;">— — R, <a href='#Page_155'><b>155</b></a>, <a href='#Page_219'><b>219</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown B, <a href='#Page_156'><b>156</b></a>, <a href='#Page_219'><b>219</b></a>.</span><br /> +<span style="margin-left: 1em;">— — R, <a href='#Page_219'><b>219</b></a>, <a href='#Page_220'><b>220</b></a>.</span><br /> +<span style="margin-left: 1em;">— claret red B, <a href='#Page_156'><b>156</b></a>, <a href='#Page_219'><b>219</b></a>.</span><br /> +<span style="margin-left: 1em;">— dark blue B, <a href='#Page_219'><b>219</b></a>.</span><br /> +<span style="margin-left: 1em;">— dyes, <a href='#Page_155'><b>155</b></a>, <a href='#Page_218'><b>218</b></a>.</span><br /> +<span style="margin-left: 1em;">— green B, <a href='#Page_155'><b>155</b></a>, <a href='#Page_219'><b>219</b></a>, <a href='#Page_220'><b>220</b></a>.</span><br /> +<span style="margin-left: 1em;">— grey B, <a href='#Page_156'><b>156</b></a>.</span><br /> +<span style="margin-left: 1em;">— — BB, <a href='#Page_219'><b>219</b></a>, <a href='#Page_220'><b>220</b></a>.</span><br /> +<span style="margin-left: 1em;">— red B, <a href='#Page_155'><b>155</b></a>, <a href='#Page_219'><b>219</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow G, <a href='#Page_219'><b>219</b></a>.</span><br /> +<span style="margin-left: 1em;">— — R, <a href='#Page_155'><b>155</b></a>, <a href='#Page_156'><b>156</b></a>, <a href='#Page_219'><b>219</b></a>, <a href='#Page_220'><b>220</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Jet black, <a href='#Page_121'><b>121</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Jigger, <a href='#Page_72'><b>72</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Jig-wince, <a href='#Page_74'><b>74</b></a>, <a href='#Page_75'><b>75</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">K.</span><br /> +<br /> +<span style="margin-left: 1em;">Katigen black, <a href='#Page_121'><b>121</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_107'><b>107</b></a>, <a href='#Page_121'><b>121</b></a>.</span><br /> +<span style="margin-left: 1em;">— dark brown, <a href='#Page_128'><b>128</b></a>.</span><br /> +<span style="margin-left: 1em;">— green, <a href='#Page_121'><b>121</b></a>.</span><br /> +<span style="margin-left: 1em;">— olive G, <a href='#Page_127'><b>127</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Khaki, <a href='#Page_180'><b>180</b></a>.</span><br /> +<span style="margin-left: 1em;">— shades, <a href='#Page_248'><b>248</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Kiers, <a href='#Page_30'><b>30</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Klauder-Weldon hank-dyeing machine, <a href='#Page_61'><b>61</b></a>, <a href='#Page_62'><b>62</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">L.</span><br /> +<br /> +<span style="margin-left: 1em;">Lanacyl blue B B, <a href='#Page_211'><b>211</b></a>.</span><br /> +<span style="margin-left: 1em;">— violet B, <a href='#Page_211'><b>211</b></a>, <a href='#Page_217'><b>217</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Leaf green, <a href='#Page_94'><b>94</b></a>, <a href='#Page_113'><b>113</b></a>, <a href='#Page_114'><b>114</b></a>, <a href='#Page_231'><b>231</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Lehner's process for making silk, <a href='#Page_15'><b>15</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Lemon yellow, <a href='#Page_91'><b>91</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Leuco, <a href='#Page_198'><b>198</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Light blue, <a href='#Page_115'><b>115</b></a>, <a href='#Page_138'><b>138</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_101'><b>101</b></a>, <a href='#Page_103'><b>103</b></a>, <a href='#Page_117'><b>117</b></a>.</span><br /> +<span style="margin-left: 1em;">— chestnut brown, <a href='#Page_137'><b>137</b></a>.</span><br /> +<span style="margin-left: 1em;">— green, <a href='#Page_114'><b>114</b></a>, <a href='#Page_143'><b>143</b></a>.</span><br /> +<span style="margin-left: 1em;">— grey, <a href='#Page_106'><b>106</b></a>.</span><br /> +<span style="margin-left: 1em;">— indigo blue, <a href='#Page_96'><b>96</b></a>.</span><br /> +<span style="margin-left: 1em;">— plum, <a href='#Page_99'><b>99</b></a>.</span><br /> +<span style="margin-left: 1em;">— sage brown, <a href='#Page_118'><b>118</b></a>.</span><br /> +<span style="margin-left: 1em;">— seal brown, <a href='#Page_102'><b>102</b></a>.</span><br /> +<span style="margin-left: 1em;">— slate, <a href='#Page_106'><b>106</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Lilac, <a href='#Page_98'><b>98</b></a>, <a href='#Page_99'><b>99</b></a>.</span><br /> +<span style="margin-left: 1em;">— red, <a href='#Page_87'><b>87</b></a>.</span><br /> +<span style="margin-left: 1em;">— rose, <a href='#Page_233'><b>233</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Lima wood, <a href='#Page_178'><b>178</b></a>, <a href='#Page_179'><b>179</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Lime, <a href='#Page_169'><b>169</b></a>, <a href='#Page_202'><b>202</b></a>.</span><br /> +<span style="margin-left: 1em;">— and copperas vat for indigo dyeing, <a href='#Page_200'><b>200</b></a>.</span><br /> +<span style="margin-left: 1em;">— boil for cotton, <a href='#Page_28'><b>28</b></a>.</span><br /> +<span style="margin-left: 1em;">— sour operation, <a href='#Page_32'><b>32</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Logwood, <a href='#Page_18'><b>18</b></a>, <a href='#Page_84'><b>84</b></a>, <a href='#Page_156'><b>156</b></a>, <a href='#Page_157'><b>157</b></a>, <a href='#Page_165'><b>165</b></a>, <a href='#Page_167'><b>167</b></a>, <a href='#Page_234'><b>234</b></a>, <a href='#Page_259'><b>259</b></a>.</span><br /> +<span style="margin-left: 1em;">— black, <a href='#Page_79'><b>79</b></a>, <a href='#Page_174'><b>174</b></a>.</span><br /> +<span style="margin-left: 1em;">— — dyeing on yarn in hanks, <a href='#Page_175'><b>175</b></a>.</span><br /> +<span style="margin-left: 1em;">— decoction, <a href='#Page_177'><b>177</b></a>.</span><br /> +<span style="margin-left: 1em;">— dyed goods, test of, <a href='#Page_258'><b>258</b></a>.</span><br /> +<span style="margin-left: 1em;">— extract, <a href='#Page_164'><b>164</b></a>, <a href='#Page_175'><b>175</b></a>, <a href='#Page_176'><b>176</b></a>, <a href='#Page_181'><b>181</b></a>.</span><br /> +<span style="margin-left: 1em;">— greys, <a href='#Page_178'><b>178</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Loose wool and cotton, washing of, <a href='#Page_244'><b>244</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Lye boil operation. <a href='#Page_34'><b>34</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">M.</span><br /> +<br /> +<span style="margin-left: 1em;">Machinery for dyeing, <a href='#Page_53'><b>53</b></a>, <a href='#Page_57'><b>57</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Madder, <a href='#Page_157'><b>157</b></a>.</span><br /> +<span style="margin-left: 1em;">— bleach, <a href='#Page_24'><b>24</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Magenta, <a href='#Page_18'><b>18</b></a>, <a href='#Page_147'><b>147</b></a>, <a href='#Page_153'><b>153</b></a>, <a href='#Page_229'><b>229</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_232'><b>232</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Malachite green, <a href='#Page_146'><b>146</b></a>, <a href='#Page_152'><b>152</b></a>, <a href='#Page_153'><b>153</b></a>, <a href='#Page_229'><b>229</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Mandarine G, <a href='#Page_211'><b>211</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_218'><b>218</b></a>, <a href='#Page_224'><b>224</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Market bleach, <a href='#Page_24'><b>24</b></a>, <a href='#Page_38'><b>38</b></a>, <a href='#Page_39'><b>39</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Maroon, <a href='#Page_89'><b>89</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_153'><b>153</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Mather & Platt's apparatus, <a href='#Page_207'><b>207</b></a>.</span><br /> +<span style="margin-left: 1em;">— — bleaching kier, <a href='#Page_30'><b>30</b></a>, <a href='#Page_31'><b>31</b></a>.</span><br /> +<span style="margin-left: 1em;">— — machine, <a href='#Page_246'><b>246</b></a>.</span><br /> +<span style="margin-left: 1em;">— — washing machine, <a href='#Page_36'><b>36</b></a>.</span><br /> +<span style="margin-left: 1em;">— — yarn-bleaching kier, <a href='#Page_49'><b>49</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Mercerisation of cotton, <a href='#Page_8'><b>8</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Mercerised cotton fibres, illustrations of, <a href='#Page_7'><b>7</b></a>, <a href='#Page_9'><b>9</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Mercer, John, <a href='#Page_8'><b>8</b></a>, <a href='#Page_21'><b>21</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Metallic mordants, <a href='#Page_156'><b>156</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Metanitroaniline, <a href='#Page_185'><b>185</b></a>, <a href='#Page_186'><b>186</b></a>, <a href='#Page_187'><b>187</b></a>, <a href='#Page_188'><b>188</b></a>.</span><br /> +<span style="margin-left: 1em;">— orange, <a href='#Page_195'><b>195</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Metaphenylene blue, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B, <a href='#Page_154'><b>154</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Methylene blue, <a href='#Page_17'><b>17</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B B, <a href='#Page_153'><b>153</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 2 B, <a href='#Page_153'><b>153</b></a>.</span><br /> +<span style="margin-left: 1em;">— — N, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— grey B F, <a href='#Page_153'><b>153</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Methylindone B, <a href='#Page_229'><b>229</b></a>, <a href='#Page_231'><b>231</b></a>.</span><br /> +<span style="margin-left: 1em;">— R, <a href='#Page_229'><b>229</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Methyl violet, <a href='#Page_18'><b>18</b></a>, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B, <a href='#Page_146'><b>146</b></a>, <a href='#Page_151'><b>151</b></a>, <a href='#Page_231'><b>231</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 2 B, <a href='#Page_146'><b>146</b></a>.</span><br /> +<span style="margin-left: 1em;">— — R, <a href='#Page_146'><b>146</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 3 R, <a href='#Page_146'><b>146</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 4 R, <a href='#Page_152'><b>152</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Mikado brown, <a href='#Page_227'><b>227</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 2 B, <a href='#Page_238'><b>238</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 3 G O, <a href='#Page_230'><b>230</b></a>.</span><br /> +<span style="margin-left: 1em;">— — M, <a href='#Page_103'><b>103</b></a>, <a href='#Page_230'><b>230</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— dyes, <a href='#Page_18'><b>18</b></a>.</span><br /> +<span style="margin-left: 1em;">— golden yellow <a href='#Page_8'><b>8</b></a> G, <a href='#Page_230'><b>230</b></a>, <a href='#Page_231'><b>231</b></a>.</span><br /> +<span style="margin-left: 1em;">— orange, <a href='#Page_227'><b>227</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_91'><b>91</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 4 R, <a href='#Page_91'><b>91</b></a>, <a href='#Page_102'><b>102</b></a>.</span><br /> +<span style="margin-left: 1em;">— — R O, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 3 R O, <a href='#Page_231'><b>231</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 4 R O, <a href='#Page_218'><b>218</b></a>, <a href='#Page_224'><b>224</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 5 R O, <a href='#Page_230'><b>230</b></a>, <a href='#Page_238'><b>238</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow, <a href='#Page_227'><b>227</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_230'><b>230</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Milk of lime, <a href='#Page_28'><b>28</b></a>, <a href='#Page_175'><b>175</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Milling orange, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow, <a href='#Page_229'><b>229</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Mimosa, <a href='#Page_209'><b>209</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Mixed cotton and wool fabrics, dyeing of, <a href='#Page_208'><b>208</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Mommer's cop-dyeing machine, <a href='#Page_69'><b>69</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Mordant dyes, <a href='#Page_84'><b>84</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Mordants, <a href='#Page_156'><b>156</b></a>.</span><br /> +<span style="margin-left: 1em;">— detection of, <a href='#Page_259'><b>259</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Moss brown, <a href='#Page_143'><b>143</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Muslin bleaching, <a href='#Page_41'><b>41</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Myrabolam, <a href='#Page_147'><b>147</b></a>, <a href='#Page_148'><b>148</b></a>, <a href='#Page_239'><b>239</b></a>.</span><br /> +<span style="margin-left: 1em;">— extract, <a href='#Page_175'><b>175</b></a>, <a href='#Page_176'><b>176</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">N.</span><br /> +<br /> +<span style="margin-left: 1em;">Naphthol, <a href='#Page_184'><b>184</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">— -azo-benzene, <a href='#Page_181'><b>181</b></a>.</span><br /> +<span style="margin-left: 1em;">— black, <a href='#Page_128'><b>128</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B, <a href='#Page_223'><b>223</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 3 B, <a href='#Page_222'><b>222</b></a>.</span><br /> +<span style="margin-left: 1em;">— blue black, <a href='#Page_211'><b>211</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_222'><b>222</b></a>, <a href='#Page_234'><b>234</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_211'><b>211</b></a>, <a href='#Page_222'><b>222</b></a>.</span><br /> +<span style="margin-left: 1em;">— — R, <a href='#Page_211'><b>211</b></a>.</span><br /> +<span style="margin-left: 1em;">— colours, <a href='#Page_182'><b>182</b></a>.</span><br /> +<span style="margin-left: 1em;">— D, <a href='#Page_192'><b>192</b></a>.</span><br /> +<span style="margin-left: 1em;">— X, <a href='#Page_192'><b>192</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow S, <a href='#Page_229'><b>229</b></a>, <a href='#Page_238'><b>238</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Naphthylamine, <a href='#Page_13'><b>13</b></a>, <a href='#Page_132'><b>132</b></a>, <a href='#Page_133'><b>133</b></a>, <a href='#Page_184'><b>184</b></a>.</span><br /> +<span style="margin-left: 1em;">— black, <a href='#Page_235'><b>235</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 4 B, <a href='#Page_211'><b>211</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 6 B, <a href='#Page_211'><b>211</b></a>, <a href='#Page_217'><b>217</b></a>.</span><br /> +<span style="margin-left: 1em;">— — D, <a href='#Page_211'><b>211</b></a>.</span><br /> +<span style="margin-left: 1em;">— ether, <a href='#Page_130'><b>130</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Naphtindone B B, <a href='#Page_153'><b>153</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Navy, <a href='#Page_97'><b>97</b></a>, <a href='#Page_98'><b>98</b></a>, <a href='#Page_154'><b>154</b></a>.</span><br /> +<span style="margin-left: 1em;">— blue, <a href='#Page_96'><b>96</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_217'><b>217</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Neutral grey, <a href='#Page_132'><b>132</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_99'><b>99</b></a>, <a href='#Page_106'><b>106</b></a>.</span><br /> +<span style="margin-left: 1em;">— violet, <a href='#Page_229'><b>229</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">New blue D, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— methylene blue, <a href='#Page_234'><b>234</b></a>, <a href='#Page_235'><b>235</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — G G, <a href='#Page_238'><b>238</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — M, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — N, <a href='#Page_126'><b>126</b></a>, <a href='#Page_145'><b>145</b></a>, <a href='#Page_154'><b>154</b></a>, <a href='#Page_229'><b>229</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — N X, <a href='#Page_154'><b>154</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — R, <a href='#Page_153'><b>153</b></a>, <a href='#Page_154'><b>154</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — 3 R, <a href='#Page_145'><b>145</b></a>, <a href='#Page_153'><b>153</b></a>.</span><br /> +<span style="margin-left: 1em;">— — grey B, <a href='#Page_153'><b>153</b></a>.</span><br /> +<span style="margin-left: 1em;">— — — G, <a href='#Page_154'><b>154</b></a>.</span><br /> +<span style="margin-left: 1em;">— phosphine G. <a href='#Page_153'><b>153</b></a>, <a href='#Page_154'><b>154</b></a>, <a href='#Page_229'><b>229</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— Victoria blue B, <a href='#Page_146'><b>146</b></a>, <a href='#Page_151'><b>151</b></a>, <a href='#Page_152'><b>152</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Nigraniline, <a href='#Page_206'><b>206</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Nigrosine, <a href='#Page_229'><b>229</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Nitrate of copper, <a href='#Page_177'><b>177</b></a>.</span><br /> +<span style="margin-left: 1em;">— of iron, <a href='#Page_166'><b>166</b></a>, <a href='#Page_175'><b>175</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Nitrazol C, <a href='#Page_139'><b>139</b></a>, <a href='#Page_141'><b>141</b></a>, <a href='#Page_193'><b>193</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Nitric acid, action of, on cotton, <a href='#Page_12'><b>12</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Nitrite of soda, <a href='#Page_183'><b>183</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Nitro-aniline, <a href='#Page_183'><b>183</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Nitro-benzene, <a href='#Page_13'><b>13</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Nitro-naphthalene, <a href='#Page_13'><b>13</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Nitro-para-toluidine, <a href='#Page_185'><b>185</b></a>, <a href='#Page_187'><b>187</b></a>, <a href='#Page_188'><b>188</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Nitrosamine, <a href='#Page_193'><b>193</b></a>.</span><br /> +<span style="margin-left: 1em;">— red, <a href='#Page_195'><b>195</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Nitroso-resorcine, <a href='#Page_18'><b>18</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Nitrous acid, <a href='#Page_184'><b>184</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Nut brown, <a href='#Page_103'><b>103</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_119'><b>119</b></a>, <a href='#Page_218'><b>218</b></a>, <a href='#Page_219'><b>219</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">O.</span><br /> +<br /> +<span style="margin-left: 1em;">Oak bark, <a href='#Page_147'><b>147</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Obermaier machine, <a href='#Page_57'><b>57</b></a>, <a href='#Page_59'><b>59</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Oil stains, <a href='#Page_50'><b>50</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Old gold, <a href='#Page_90'><b>90</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Olive, <a href='#Page_92'><b>92</b></a>, <a href='#Page_93'><b>93</b></a>, <a href='#Page_127'><b>127</b></a>, <a href='#Page_143'><b>143</b></a>, <a href='#Page_164'><b>164</b></a>.</span><br /> +<span style="margin-left: 1em;">— and blue shot dyes, <a href='#Page_238'><b>238</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_143'><b>143</b></a>, <a href='#Page_154'><b>154</b></a>.</span><br /> +<span style="margin-left: 1em;">— green, <a href='#Page_114'><b>114</b></a>, <a href='#Page_142'><b>142</b></a>, <a href='#Page_144'><b>144</b></a>, <a href='#Page_153'><b>153</b></a>.</span><br /> +<span style="margin-left: 1em;">— oil, <a href='#Page_170'><b>170</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow, <a href='#Page_91'><b>91</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Orange, <a href='#Page_84'><b>84</b></a>, <a href='#Page_91'><b>91</b></a>, <a href='#Page_113'><b>113</b></a>, <a href='#Page_130'><b>130</b></a>, <a href='#Page_137'><b>137</b></a>, <a href='#Page_151'><b>151</b></a>, <a href='#Page_153'><b>153</b></a>, <a href='#Page_154'><b>154</b></a>, <a href='#Page_155'><b>155</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_217'><b>217</b></a>.</span><br /> +<span style="margin-left: 1em;">— and blue shot, <a href='#Page_224'><b>224</b></a>, <a href='#Page_238'><b>238</b></a>.</span><br /> +<span style="margin-left: 1em;">— and violet shot, <a href='#Page_223'><b>223</b></a>, <a href='#Page_238'><b>238</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_102'><b>102</b></a>.</span><br /> +<span style="margin-left: 1em;">— E N Z, <a href='#Page_211'><b>211</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_222'><b>222</b></a>.</span><br /> +<span style="margin-left: 1em;">— extra, <a href='#Page_211'><b>211</b></a>, <a href='#Page_223'><b>223</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— G G, <a href='#Page_221'><b>221</b></a>, <a href='#Page_222'><b>222</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_232'><b>232</b></a>, <a href='#Page_233'><b>233</b></a>, <a href='#Page_238'><b>238</b></a>.</span><br /> +<span style="margin-left: 1em;">— T A, <a href='#Page_218'><b>218</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow, <a href='#Page_143'><b>143</b></a>, <a href='#Page_186'><b>186</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Orthoamidoazotoluol, <a href='#Page_186'><b>186</b></a>, <a href='#Page_187'><b>187</b></a>, <a href='#Page_188'><b>188</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Orthonitrotoluidine, <a href='#Page_196'><b>196</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Oxidising agents, action of, on cotton, <a href='#Page_16'><b>16</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Oxycellulose, <a href='#Page_16'><b>16</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Oxydiamine black A, <a href='#Page_97'><b>97</b></a>, <a href='#Page_105'><b>105</b></a>, <a href='#Page_209'><b>209</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B M, <a href='#Page_209'><b>209</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_217'><b>217</b></a>.</span><br /> +<span style="margin-left: 1em;">— — D, <a href='#Page_209'><b>209</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_233'><b>233</b></a>, <a href='#Page_234'><b>234</b></a>.</span><br /> +<span style="margin-left: 1em;">— — M, <a href='#Page_209'><b>209</b></a>.</span><br /> +<span style="margin-left: 1em;">— — N, <a href='#Page_91'><b>91</b></a>, <a href='#Page_97'><b>97</b></a>.</span><br /> +<span style="margin-left: 1em;">— — N R, <a href='#Page_105'><b>105</b></a>.</span><br /> +<span style="margin-left: 1em;">— — S O O O, <a href='#Page_210'><b>210</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— orange G, <a href='#Page_104'><b>104</b></a>, <a href='#Page_209'><b>209</b></a>.</span><br /> +<span style="margin-left: 1em;">— — R, <a href='#Page_92'><b>92</b></a>, <a href='#Page_104'><b>104</b></a>, <a href='#Page_143'><b>143</b></a>, <a href='#Page_144'><b>144</b></a>, <a href='#Page_209'><b>209</b></a>.</span><br /> +<span style="margin-left: 1em;">— red S, <a href='#Page_209'><b>209</b></a>.</span><br /> +<span style="margin-left: 1em;">— violet B, <a href='#Page_99'><b>99</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_210'><b>210</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_230'><b>230</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_99'><b>99</b></a>, <a href='#Page_100'><b>100</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow G G, <a href='#Page_94'><b>94</b></a>, <a href='#Page_146'><b>146</b></a>, <a href='#Page_209'><b>209</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Oxydianil yellow, <a href='#Page_143'><b>143</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Oxymuriate of tin, <a href='#Page_166'><b>166</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Oxyphenine, <a href='#Page_91'><b>91</b></a>, <a href='#Page_102'><b>102</b></a>, <a href='#Page_209'><b>209</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">P.</span><br /> +<br /> +<span style="margin-left: 1em;">Padding machine, <a href='#Page_80'><b>80</b></a>, <a href='#Page_81'><b>81</b></a>, <a href='#Page_193'><b>193</b></a>, <a href='#Page_221'><b>221</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Pale blue, <a href='#Page_95'><b>95</b></a>, <a href='#Page_97'><b>97</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_102'><b>102</b></a>, <a href='#Page_119'><b>119</b></a>, <a href='#Page_122'><b>122</b></a>, <a href='#Page_128'><b>128</b></a>, <a href='#Page_164'><b>164</b></a>, <a href='#Page_180'><b>180</b></a>.</span><br /> +<span style="margin-left: 1em;">— chamois, <a href='#Page_166'><b>166</b></a>.</span><br /> +<span style="margin-left: 1em;">— chestnut, <a href='#Page_143'><b>143</b></a>.</span><br /> +<span style="margin-left: 1em;">— drab, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— fawn brown, <a href='#Page_119'><b>119</b></a>, <a href='#Page_130'><b>130</b></a>.</span><br /> +<span style="margin-left: 1em;">— — red, <a href='#Page_89'><b>89</b></a>.</span><br /> +<span style="margin-left: 1em;">— gold yellow, <a href='#Page_213'><b>213</b></a>.</span><br /> +<span style="margin-left: 1em;">— green, <a href='#Page_94'><b>94</b></a>, <a href='#Page_151'><b>151</b></a>.</span><br /> +<span style="margin-left: 1em;">— greenish grey, <a href='#Page_120'><b>120</b></a>.</span><br /> +<span style="margin-left: 1em;">— leaf green, <a href='#Page_113'><b>113</b></a>.</span><br /> +<span style="margin-left: 1em;">— lilac, <a href='#Page_99'><b>99</b></a>.</span><br /> +<span style="margin-left: 1em;">— nut brown, <a href='#Page_102'><b>102</b></a>.</span><br /> +<span style="margin-left: 1em;">— olive brown, <a href='#Page_100'><b>100</b></a>.</span><br /> +<span style="margin-left: 1em;">— — green, <a href='#Page_113'><b>113</b></a>.</span><br /> +<span style="margin-left: 1em;">— orange, <a href='#Page_91'><b>91</b></a>, <a href='#Page_92'><b>92</b></a>, <a href='#Page_135'><b>135</b></a>.</span><br /> +<span style="margin-left: 1em;">— sage, <a href='#Page_144'><b>144</b></a>.</span><br /> +<span style="margin-left: 1em;">— — green, <a href='#Page_217'><b>217</b></a>.</span><br /> +<span style="margin-left: 1em;">— salmon, <a href='#Page_87'><b>87</b></a>.</span><br /> +<span style="margin-left: 1em;">— sea green, <a href='#Page_127'><b>127</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— sky blue, <a href='#Page_95'><b>95</b></a>.</span><br /> +<span style="margin-left: 1em;">— walnut brown, <a href='#Page_104'><b>104</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Palm oil soap, <a href='#Page_169'><b>169</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Paramine blue B, <a href='#Page_96'><b>96</b></a>.</span><br /> +<span style="margin-left: 1em;">— — black S, <a href='#Page_96'><b>96</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown C, <a href='#Page_117'><b>117</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_101'><b>101</b></a>.</span><br /> +<span style="margin-left: 1em;">— indigo blue, <a href='#Page_96'><b>96</b></a>.</span><br /> +<span style="margin-left: 1em;">— navy blue R, <a href='#Page_96'><b>96</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Paranitroaniline, <a href='#Page_185'><b>185</b></a>, <a href='#Page_186'><b>186</b></a>, <a href='#Page_187'><b>187</b></a>, <a href='#Page_188'><b>188</b></a>, <a href='#Page_190'><b>190</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_196'><b>196</b></a>.</span><br /> +<span style="margin-left: 1em;">— red, <a href='#Page_186'><b>186</b></a>, <a href='#Page_188'><b>188</b></a>, <a href='#Page_189'><b>189</b></a>.</span><br /> +<span style="margin-left: 1em;">— — dyed cotton, <a href='#Page_196'><b>196</b></a>.</span><br /> +<span style="margin-left: 1em;">— — dye-tub, <a href='#Page_191'><b>191</b></a>.</span><br /> +<span style="margin-left: 1em;">— — on piece goods, <a href='#Page_192'><b>192</b></a>.</span><br /> +<span style="margin-left: 1em;">— — on yarn, <a href='#Page_189'><b>189</b></a>.</span><br /> +<span style="margin-left: 1em;">— — with azophor red P N, <a href='#Page_195'><b>195</b></a>.</span><br /> +<span style="margin-left: 1em;">— — with nitrazol C, <a href='#Page_195'><b>195</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Paratoluidine, <a href='#Page_186'><b>186</b></a>, <a href='#Page_187'><b>187</b></a>, <a href='#Page_188'><b>188</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Parchment paper, <a href='#Page_11'><b>11</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Paris violet, <a href='#Page_152'><b>152</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Patent blue, <a href='#Page_84'><b>84</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Peach wood, <a href='#Page_178'><b>178</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Peacock green, <a href='#Page_214'><b>214</b></a>, <a href='#Page_216'><b>216</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Pea green, <a href='#Page_114'><b>114</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Pectic acid, <a href='#Page_3'><b>3</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Permanganate of potash, <a href='#Page_17'><b>17</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Persian berries, <a href='#Page_156'><b>156</b></a>, <a href='#Page_178'><b>178</b></a>, <a href='#Page_179'><b>179</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Phenetidine, <a href='#Page_183'><b>183</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Phenol, <a href='#Page_130'><b>130</b></a>, <a href='#Page_132'><b>132</b></a>, <a href='#Page_133'><b>133</b></a>, <a href='#Page_181'><b>181</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Phenylene diamine, <a href='#Page_130'><b>130</b></a>, <a href='#Page_132'><b>132</b></a>, <a href='#Page_134'><b>134</b></a>, <a href='#Page_235'><b>235</b></a>, <a href='#Page_237'><b>237</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Phosphate of soda, <a href='#Page_86'><b>86</b></a>, <a href='#Page_90'><b>90</b></a>, <a href='#Page_91'><b>91</b></a>, <a href='#Page_168'><b>168</b></a>, <a href='#Page_170'><b>170</b></a>, <a href='#Page_180'><b>180</b></a>, <a href='#Page_225'><b>225</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Piece-dyeing machines, <a href='#Page_71'><b>71</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Piece goods, drying of, <a href='#Page_256'><b>256</b></a>.</span><br /> +<span style="margin-left: 1em;">— — washing of, <a href='#Page_244'><b>244</b></a>.</span><br /> +<span style="margin-left: 1em;">— — wringing of, <a href='#Page_241'><b>241</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Pink, <a href='#Page_87'><b>87</b></a>, <a href='#Page_88'><b>88</b></a>, <a href='#Page_89'><b>89</b></a>, <a href='#Page_152'><b>152</b></a>, <a href='#Page_215'><b>215</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Plate singeing, <a href='#Page_27'><b>27</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Plum, <a href='#Page_99'><b>99</b></a>, <a href='#Page_145'><b>145</b></a>, <a href='#Page_146'><b>146</b></a>, <a href='#Page_215'><b>215</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Pluto black B, <a href='#Page_108'><b>108</b></a>, <a href='#Page_144'><b>144</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Ponceau B, <a href='#Page_164'><b>164</b></a>.</span><br /> +<span style="margin-left: 1em;">— 3 R B, <a href='#Page_211'><b>211</b></a>, <a href='#Page_217'><b>217</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Potash, <a href='#Page_86'><b>86</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Primrose, <a href='#Page_91'><b>91</b></a>, <a href='#Page_154'><b>154</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Primuline, <a href='#Page_130'><b>130</b></a>, <a href='#Page_131'><b>131</b></a>, <a href='#Page_132'><b>132</b></a>, <a href='#Page_135'><b>135</b></a>, <a href='#Page_136'><b>136</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_142'><b>142</b></a>, <a href='#Page_143'><b>143</b></a>, <a href='#Page_144'><b>144</b></a>, <a href='#Page_209'><b>209</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Production of colour direct on cotton fibres, <a href='#Page_181'><b>181</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Prussiate black, <a href='#Page_207'><b>207</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Pure blue, <a href='#Page_238'><b>238</b></a>.</span><br /> +<span style="margin-left: 1em;">— soluble blue, <a href='#Page_237'><b>237</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Purple brown, <a href='#Page_100'><b>100</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Purpuramine, D H, <a href='#Page_107'><b>107</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Pyrolignite of iron, <a href='#Page_172'><b>172</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Pyroxyline, <a href='#Page_13'><b>13</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">Q.</span><br /> +<br /> +<span style="margin-left: 1em;">Quercitron, <a href='#Page_156'><b>156</b></a>, <a href='#Page_178'><b>178</b></a>, <a href='#Page_179'><b>179</b></a>.</span><br /> +<span style="margin-left: 1em;">— bark, <a href='#Page_178'><b>178</b></a>.</span><br /> +<span style="margin-left: 1em;">— extract, <a href='#Page_164'><b>164</b></a>, <a href='#Page_165'><b>165</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Quicklime, <a href='#Page_200'><b>200</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">R.</span><br /> +<br /> +<span style="margin-left: 1em;">Rayer & Lincoln machine, <a href='#Page_26'><b>26</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Read Holliday's squeezing machine, <a href='#Page_241'><b>241</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Red, <a href='#Page_136'><b>136</b></a>, <a href='#Page_187'><b>187</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_100'><b>100</b></a>, <a href='#Page_135'><b>135</b></a>.</span><br /> +<span style="margin-left: 1em;">— chocolate, <a href='#Page_119'><b>119</b></a>.</span><br /> +<span style="margin-left: 1em;">— developer C, <a href='#Page_192'><b>192</b></a>.</span><br /> +<span style="margin-left: 1em;">— drab, <a href='#Page_165'><b>165</b></a>.</span><br /> +<span style="margin-left: 1em;">— lilac, <a href='#Page_100'><b>100</b></a>.</span><br /> +<span style="margin-left: 1em;">— liquor, <a href='#Page_165'><b>165</b></a>, <a href='#Page_166'><b>166</b></a>, <a href='#Page_169'><b>169</b></a>, <a href='#Page_170'><b>170</b></a>, <a href='#Page_176'><b>176</b></a>,</span><br /> +<span style="margin-left: 1em;">— orange, <a href='#Page_91'><b>91</b></a>.</span><br /> +<span style="margin-left: 1em;">— plum, <a href='#Page_117'><b>117</b></a>, <a href='#Page_214'><b>214</b></a>.</span><br /> +<span style="margin-left: 1em;">— violet, <a href='#Page_99'><b>99</b></a>, <a href='#Page_116'><b>116</b></a>, <a href='#Page_152'><b>152</b></a>, <a href='#Page_155'><b>155</b></a>, <a href='#Page_156'><b>156</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Reddish brown, <a href='#Page_102'><b>102</b></a>.</span><br /> +<span style="margin-left: 1em;">— puce, <a href='#Page_187'><b>187</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Reseda, <a href='#Page_93'><b>93</b></a>.</span><br /> +<span style="margin-left: 1em;">— green, <a href='#Page_167'><b>167</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Resin boil, <a href='#Page_35'><b>35</b></a>.</span><br /> +<span style="margin-left: 1em;">— soap liquor, <a href='#Page_35'><b>35</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Resorcine, <a href='#Page_130'><b>130</b></a>, <a href='#Page_132'><b>132</b></a>, <a href='#Page_133'><b>133</b></a>, <a href='#Page_235'><b>235</b></a>.</span><br /> +<span style="margin-left: 1em;">— green, <a href='#Page_156'><b>156</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Rhodamine, <a href='#Page_229'><b>229</b></a>, <a href='#Page_231'><b>231</b></a>.</span><br /> +<span style="margin-left: 1em;">— B, <a href='#Page_153'><b>153</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— G, <a href='#Page_152'><b>152</b></a>.</span><br /> +<span style="margin-left: 1em;">— 6, G, <a href='#Page_152'><b>152</b></a>.</span><br /> +<span style="margin-left: 1em;">— S, <a href='#Page_237'><b>237</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Rhoduline violet, <a href='#Page_151'><b>151</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Rocceleine, <a href='#Page_211'><b>211</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Roller squeezing machines for yarn, <a href='#Page_241'><b>241</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Rose azurine B, <a href='#Page_87'><b>87</b></a>.</span><br /> +<span style="margin-left: 1em;">— G, <a href='#Page_87'><b>87</b></a>, <a href='#Page_90'><b>90</b></a>.</span><br /> +<span style="margin-left: 1em;">— bengale, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— lilac, <a href='#Page_145'><b>145</b></a>, <a href='#Page_151'><b>151</b></a>.</span><br /> +<span style="margin-left: 1em;">— pink, <a href='#Page_87'><b>87</b></a>.</span><br /> +<span style="margin-left: 1em;">— red, <a href='#Page_88'><b>88</b></a>, <a href='#Page_89'><b>89</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Rosophenine, <a href='#Page_5'><b>5</b></a> B, <a href='#Page_88'><b>88</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Russia green, <a href='#Page_92'><b>92</b></a>, <a href='#Page_113'><b>113</b></a>, <a href='#Page_143'><b>143</b></a>, <a href='#Page_153'><b>153</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">S.</span><br /> +<br /> +<span style="margin-left: 1em;">Safranine, <a href='#Page_18'><b>18</b></a>, <a href='#Page_146'><b>146</b></a>, <a href='#Page_153'><b>153</b></a>, <a href='#Page_221'><b>221</b></a>, <a href='#Page_229'><b>229</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— G, <a href='#Page_146'><b>146</b></a>.</span><br /> +<span style="margin-left: 1em;">— prima, <a href='#Page_153'><b>153</b></a>.</span><br /> +<span style="margin-left: 1em;">— S, <a href='#Page_155'><b>155</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Sage, <a href='#Page_214'><b>214</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_104'><b>104</b></a>, <a href='#Page_119'><b>119</b></a>, <a href='#Page_135'><b>135</b></a>, <a href='#Page_144'><b>144</b></a>, <a href='#Page_218'><b>218</b></a>.</span><br /> +<span style="margin-left: 1em;">— green, <a href='#Page_93'><b>93</b></a>, <a href='#Page_180'><b>180</b></a>, <a href='#Page_230'><b>230</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">St. Dennis black, <a href='#Page_121'><b>121</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Saline salts, quantity used, <a href='#Page_108'><b>108</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Salmon, <a href='#Page_89'><b>89</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Salt, <a href='#Page_165'><b>165</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Satin fabrics, dyeing of, <a href='#Page_225'><b>225</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Scarlet, <a href='#Page_88'><b>88</b></a>, <a href='#Page_89'><b>89</b></a>, <a href='#Page_135'><b>135</b></a>, <a href='#Page_145'><b>145</b></a>, <a href='#Page_146'><b>146</b></a>, <a href='#Page_152'><b>152</b></a>, <a href='#Page_153'><b>153</b></a>, <a href='#Page_155'><b>155</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_230'><b>230</b></a>.</span><br /> +<span style="margin-left: 1em;">— R, <a href='#Page_220'><b>220</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Schaeffer's acid, <a href='#Page_134'><b>134</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Scouring cotton, <a href='#Page_23'><b>23</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Sea green, <a href='#Page_94'><b>94</b></a>, <a href='#Page_151'><b>151</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Seal brown, <a href='#Page_146'><b>146</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Seed hairs, <a href='#Page_1'><b>1</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Shot effects, <a href='#Page_220'><b>220</b></a>.</span><br /> +<span style="margin-left: 1em;">— on satin, dyeing of, <a href='#Page_235'><b>235</b></a>.</span><br /> +<span style="margin-left: 1em;">— with black cotton warp, <a href='#Page_236'><b>236</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Silver grey, <a href='#Page_106'><b>106</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Singeing of cotton, <a href='#Page_27'><b>27</b></a>.</span><br /> +<span style="margin-left: 1em;">— wash of cotton, <a href='#Page_28'><b>28</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Sky blue, <a href='#Page_95'><b>95</b></a>, <a href='#Page_98'><b>98</b></a>, <a href='#Page_151'><b>151</b></a>, <a href='#Page_215'><b>215</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Slate, <a href='#Page_106'><b>106</b></a>, <a href='#Page_218'><b>218</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<span style="margin-left: 1em;">— blue, <a href='#Page_97'><b>97</b></a>, <a href='#Page_120'><b>120</b></a>, <a href='#Page_152'><b>152</b></a>, <a href='#Page_216'><b>216</b></a>.</span><br /> +<span style="margin-left: 1em;">— green, <a href='#Page_218'><b>218</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Sliver dyeing, <a href='#Page_58'><b>58</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Slubbing dyeing, <a href='#Page_58'><b>58</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Soap, <a href='#Page_165'><b>165</b></a>.</span><br /> +<span style="margin-left: 1em;">— effect on dye-stuffs, <a href='#Page_226'><b>226</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Soaping of dyed goods, <a href='#Page_247'><b>247</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Soda, <a href='#Page_86'><b>86</b></a>, <a href='#Page_132'><b>132</b></a>, <a href='#Page_178'><b>178</b></a>.</span><br /> +<span style="margin-left: 1em;">— ash, <a href='#Page_34'><b>34</b></a>, <a href='#Page_166'><b>166</b></a>.</span><br /> +<span style="margin-left: 1em;">— crystals, <a href='#Page_169'><b>169</b></a>.</span><br /> +<span style="margin-left: 1em;">— lye, <a href='#Page_202'><b>202</b></a>, <a href='#Page_235'><b>235</b></a>.</span><br /> +<span style="margin-left: 1em;">— zinc vat for indigo dyeing, <a href='#Page_204'><b>204</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Sodium acetate, <a href='#Page_196'><b>196</b></a>.</span><br /> +<span style="margin-left: 1em;">— bichromate, <a href='#Page_164'><b>164</b></a>.</span><br /> +<span style="margin-left: 1em;">— nitrite solution, <a href='#Page_196'><b>196</b></a>, <a href='#Page_198'><b>198</b></a>.</span><br /> +<span style="margin-left: 1em;">— stannate, preparing with, <a href='#Page_158'><b>158</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Solid blue, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— green, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— O, <a href='#Page_179'><b>179</b></a>, <a href='#Page_180'><b>180</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Solidogen A, <a href='#Page_145'><b>145</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Soluble blue, <a href='#Page_150'><b>150</b></a>, <a href='#Page_160'><b>160</b></a>, <a href='#Page_229'><b>229</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Spencer's hank-wringing machine, <a href='#Page_241'><b>241</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Squeezing rollers, <a href='#Page_240'><b>240</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Stains in bleached goods, <a href='#Page_50'><b>50</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Steam aniline black, <a href='#Page_207'><b>207</b></a>.</span><br /> +<span style="margin-left: 1em;">— — blacks, <a href='#Page_248'><b>248</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Steaming and ageing chamber, <a href='#Page_250'><b>250</b></a>.</span><br /> +<span style="margin-left: 1em;">— cottage, illustration of, <a href='#Page_249'><b>249</b></a>.</span><br /> +<span style="margin-left: 1em;">— of dyed goods, <a href='#Page_248'><b>248</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Stearic acid, <a href='#Page_3'><b>3</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Stitching of cotton, <a href='#Page_25'><b>25</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Stone, <a href='#Page_218'><b>218</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Structure of cotton fibre, <a href='#Page_1'><b>1</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Sulfaniline black, <a href='#Page_121'><b>121</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_124'><b>124</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_121'><b>121</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 4 B, <a href='#Page_127'><b>127</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Sulphate of copper, <a href='#Page_177'><b>177</b></a>.</span><br /> +<span style="margin-left: 1em;">— of iron, <a href='#Page_167'><b>167</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Sulphonates, <a href='#Page_182'><b>182</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Sulphon azurine B, <a href='#Page_210'><b>210</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_218'><b>218</b></a>.</span><br /> +<span style="margin-left: 1em;">— D, <a href='#Page_93'><b>93</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Sulphur colours, <a href='#Page_121'><b>121</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Sulphuric acid, <a href='#Page_166'><b>166</b></a>.</span><br /> +<span style="margin-left: 1em;">— action of, on cotton, <a href='#Page_10'><b>10</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Sulphyl colours, <a href='#Page_121'><b>121</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Sumac, <a href='#Page_83'><b>83</b></a>, <a href='#Page_147'><b>147</b></a>, <a href='#Page_148'><b>148</b></a>, <a href='#Page_165'><b>165</b></a>, <a href='#Page_166'><b>166</b></a>, <a href='#Page_167'><b>167</b></a>, <a href='#Page_172'><b>172</b></a>, <a href='#Page_173'><b>173</b></a>, <a href='#Page_178'><b>178</b></a>, <a href='#Page_239'><b>239</b></a>.</span><br /> +<span style="margin-left: 1em;">— extract, <a href='#Page_169'><b>169</b></a>, <a href='#Page_175'><b>175</b></a>, <a href='#Page_219'><b>219</b></a>, <a href='#Page_220'><b>220</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Sun yellow, <a href='#Page_90'><b>90</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">T.</span><br /> +<br /> +<span style="margin-left: 1em;">Tannic acid, <a href='#Page_18'><b>18</b></a>, <a href='#Page_20'><b>20</b></a>, <a href='#Page_83'><b>83</b></a>, <a href='#Page_147'><b>147</b></a>, <a href='#Page_172'><b>172</b></a>.</span><br /> +<span style="margin-left: 1em;">— mordant, dyeing on, <a href='#Page_147'><b>147</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Tannin, <a href='#Page_173'><b>173</b></a>, <a href='#Page_174'><b>174</b></a>, <a href='#Page_236'><b>236</b></a>.</span><br /> +<span style="margin-left: 1em;">— grounding, <a href='#Page_173'><b>173</b></a>.</span><br /> +<span style="margin-left: 1em;">— heliotrope, <a href='#Page_145'><b>145</b></a>, <a href='#Page_153'><b>153</b></a>, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— orange R, <a href='#Page_154'><b>154</b></a>, <a href='#Page_155'><b>155</b></a>, <a href='#Page_229'><b>229</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Tanning, <a href='#Page_148'><b>148</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Tartar emetic, <a href='#Page_147'><b>147</b></a>, <a href='#Page_192'><b>192</b></a>, <a href='#Page_219'><b>219</b></a>, <a href='#Page_220'><b>220</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Tartaric acid, <a href='#Page_180'><b>180</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Temperature of dye-baths, <a href='#Page_226'><b>226</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Terra-cotta brown, <a href='#Page_143'><b>143</b></a>.</span><br /> +<span style="margin-left: 1em;">— red, <a href='#Page_90'><b>90</b></a>, <a href='#Page_143'><b>143</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Testing of the colour of dyed fabrics, <a href='#Page_257'><b>257</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Thiazole yellow, <a href='#Page_93'><b>93</b></a>, <a href='#Page_94'><b>94</b></a>, <a href='#Page_209'><b>209</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Thiocarmine R, <a href='#Page_84'><b>84</b></a>, <a href='#Page_211'><b>211</b></a>, <a href='#Page_214'><b>214</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Thioflavine S, <a href='#Page_94'><b>94</b></a>, <a href='#Page_104'><b>104</b></a>, <a href='#Page_106'><b>106</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_213'><b>213</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_222'><b>222</b></a>, <a href='#Page_223'><b>223</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— T, <a href='#Page_153'><b>153</b></a>, <a href='#Page_154'><b>154</b></a>, <a href='#Page_229'><b>229</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Tin crystals, <a href='#Page_147'><b>147</b></a>, <a href='#Page_169'><b>169</b></a>, <a href='#Page_179'><b>179</b></a>.</span><br /> +<span style="margin-left: 1em;">— oxide, fixing, <a href='#Page_158'><b>158</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Titan blue, <a href='#Page_210'><b>210</b></a>, <a href='#Page_211'><b>211</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 3 B, <a href='#Page_93'><b>93</b></a>, <a href='#Page_102'><b>102</b></a>, <a href='#Page_164'><b>164</b></a>.</span><br /> +<span style="margin-left: 1em;">— — R, <a href='#Page_102'><b>102</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown O, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— — P, <a href='#Page_164'><b>164</b></a>.</span><br /> +<span style="margin-left: 1em;">— — R, <a href='#Page_102'><b>102</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— — Y, <a href='#Page_161'><b>161</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— colours, <a href='#Page_227'><b>227</b></a>.</span><br /> +<span style="margin-left: 1em;">— como G, <a href='#Page_95'><b>95</b></a>.</span><br /> +<span style="margin-left: 1em;">— — S N, <a href='#Page_98'><b>98</b></a>.</span><br /> +<span style="margin-left: 1em;">— dyes, <a href='#Page_18'><b>18</b></a>, <a href='#Page_85'><b>85</b></a>.</span><br /> +<span style="margin-left: 1em;">— gold, <a href='#Page_101'><b>101</b></a>, <a href='#Page_102'><b>102</b></a>.</span><br /> +<span style="margin-left: 1em;">— ingrain blue, <a href='#Page_135'><b>135</b></a>, <a href='#Page_136'><b>136</b></a>, <a href='#Page_142'><b>142</b></a>.</span><br /> +<span style="margin-left: 1em;">— marine blue, <a href='#Page_211'><b>211</b></a>.</span><br /> +<span style="margin-left: 1em;">— navy R, <a href='#Page_98'><b>98</b></a>.</span><br /> +<span style="margin-left: 1em;">— orange, <a href='#Page_88'><b>88</b></a>.</span><br /> +<span style="margin-left: 1em;">— — N, <a href='#Page_95'><b>95</b></a>.</span><br /> +<span style="margin-left: 1em;">— pink, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— red, <a href='#Page_107'><b>107</b></a>.</span><br /> +<span style="margin-left: 1em;">— scarlet C, <a href='#Page_88'><b>88</b></a>.</span><br /> +<span style="margin-left: 1em;">— — D, <a href='#Page_88'><b>88</b></a>.</span><br /> +<span style="margin-left: 1em;">— — S, <a href='#Page_209'><b>209</b></a>.</span><br /> +<span style="margin-left: 1em;">— yellow, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_145'><b>145</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G G, <a href='#Page_90'><b>90</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Titan yellow Y, <a href='#Page_90'><b>90</b></a>, <a href='#Page_92'><b>92</b></a>, <a href='#Page_93'><b>93</b></a>, <a href='#Page_164'><b>164</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Toluidine, <a href='#Page_185'><b>185</b></a>, <a href='#Page_187'><b>187</b></a>, <a href='#Page_188'><b>188</b></a>.</span><br /> +<span style="margin-left: 1em;">— orange, <a href='#Page_196'><b>196</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Toluylene brown, <a href='#Page_139'><b>139</b></a>.</span><br /> +<span style="margin-left: 1em;">— diamine, <a href='#Page_134'><b>134</b></a>.</span><br /> +<span style="margin-left: 1em;">— orange, <a href='#Page_139'><b>139</b></a>.</span><br /> +<span style="margin-left: 1em;">— —G, <a href='#Page_90'><b>90</b></a>, <a href='#Page_91'><b>91</b></a>, <a href='#Page_100'><b>100</b></a>.</span><br /> +<span style="margin-left: 1em;">— —K, <a href='#Page_100'><b>100</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Topping, <a href='#Page_140'><b>140</b></a>.</span><br /> +<span style="margin-left: 1em;">— with acid and basic dye-stuffs, <a href='#Page_228'><b>228</b></a>.</span><br /> +<span style="margin-left: 1em;">— with basic dyes, <a href='#Page_145'><b>145</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Triamine black, <a href='#Page_132'><b>132</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B, <a href='#Page_96'><b>96</b></a>, <a href='#Page_137'><b>137</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B T, <a href='#Page_98'><b>98</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Tropæoline O, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— O O, <a href='#Page_211'><b>211</b></a>, <a href='#Page_229'><b>229</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Truck yarn-dyer, <a href='#Page_254'><b>254</b></a>, <a href='#Page_255'><b>255</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Turkey red, <a href='#Page_87'><b>87</b></a>, <a href='#Page_167'><b>167</b></a>, <a href='#Page_181'><b>181</b></a>.</span><br /> +<span style="margin-left: 1em;">— — bleach, <a href='#Page_38'><b>38</b></a>, <a href='#Page_39'><b>39</b></a>.</span><br /> +<span style="margin-left: 1em;">— — oil, <a href='#Page_88'><b>88</b></a>, <a href='#Page_90'><b>90</b></a>, <a href='#Page_95'><b>95</b></a>, <a href='#Page_96'><b>96</b></a>, <a href='#Page_160'><b>160</b></a>, <a href='#Page_170'><b>170</b></a>, <a href='#Page_171'><b>171</b></a>, <a href='#Page_172'><b>172</b></a>, <a href='#Page_173'><b>173</b></a>, <a href='#Page_180'><b>180</b></a>, <a href='#Page_189'><b>189</b></a>, <a href='#Page_192'><b>192</b></a>, <a href='#Page_196'><b>196</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Turmeric, <a href='#Page_165'><b>165</b></a>, <a href='#Page_166'><b>166</b></a>, <a href='#Page_167'><b>167</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Turquoise blue, <a href='#Page_98'><b>98</b></a>, <a href='#Page_116'><b>116</b></a>, <a href='#Page_151'><b>151</b></a>, <a href='#Page_155'><b>155</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_146'><b>146</b></a>, <a href='#Page_151'><b>151</b></a>, <a href='#Page_152'><b>152</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">U.</span><br /> +<br /> +<span style="margin-left: 1em;">Union black B, <a href='#Page_209'><b>209</b></a>, <a href='#Page_214'><b>214</b></a>.</span><br /> +<span style="margin-left: 1em;">— — S, <a href='#Page_209'><b>209</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_216'><b>216</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_228'><b>228</b></a>, <a href='#Page_234'><b>234</b></a>.</span><br /> +<span style="margin-left: 1em;">— blue B B, <a href='#Page_209'><b>209</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">V.</span><br /> +<br /> +<span style="margin-left: 1em;">Valonia, <a href='#Page_147'><b>147</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Verdigris, <a href='#Page_177'><b>177</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Victoria blue, <a href='#Page_150'><b>150</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B, <a href='#Page_151'><b>151</b></a>, <a href='#Page_152'><b>152</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Vidal black, <a href='#Page_107'><b>107</b></a>, <a href='#Page_121'><b>121</b></a>, <a href='#Page_123'><b>123</b></a>.</span><br /> +<span style="margin-left: 1em;">— blacks, <a href='#Page_79'><b>79</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Violet, <a href='#Page_99'><b>99</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_146'><b>146</b></a>, <a href='#Page_154'><b>154</b></a>, <a href='#Page_230'><b>230</b></a>.</span><br /> +<span style="margin-left: 1em;">— and yellow shot dyes, <a href='#Page_238'><b>238</b></a>.</span><br /> +<span style="margin-left: 1em;">— blue, <a href='#Page_97'><b>97</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">W.</span><br /> +<br /> +<span style="margin-left: 1em;">Walnut brown, <a href='#Page_102'><b>102</b></a>, <a href='#Page_119'><b>119</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_142'><b>142</b></a>, <a href='#Page_219'><b>219</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Warp bleaching, <a href='#Page_43'><b>43</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Warp-dyeing machines, <a href='#Page_69'><b>69</b></a>, <a href='#Page_70'><b>70</b></a>, <a href='#Page_71'><b>71</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Washing after dyeing, <a href='#Page_239'><b>239</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Washing and soaping vats, illustration of, <a href='#Page_248'><b>248</b></a>.</span><br /> +<span style="margin-left: 1em;">— of cotton in bleaching, <a href='#Page_36'><b>36</b></a>.</span><br /> +<span style="margin-left: 1em;">— operations after dyeing, <a href='#Page_242'><b>242</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Water blue, <a href='#Page_229'><b>229</b></a>.</span><br /> +<span style="margin-left: 1em;">— of condition, <a href='#Page_6'><b>6</b></a>.</span><br /> +<span style="margin-left: 1em;">— volume used in dyeing, <a href='#Page_107'><b>107</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">White indigo, <a href='#Page_198'><b>198</b></a>.</span><br /> +<span style="margin-left: 1em;">— liquor treatment, <a href='#Page_168'><b>168</b></a>.</span><br /> +<span style="margin-left: 1em;">— sour operation, <a href='#Page_38'><b>38</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Whizzing, <a href='#Page_45'><b>45</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Willesden waterproof cloths, <a href='#Page_22'><b>22</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Wince dye beck, <a href='#Page_74'><b>74</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Witz, George, <a href='#Page_17'><b>17</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Wool black <a href='#Page_6'><b>6</b></a> B, <a href='#Page_211'><b>211</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_218'><b>218</b></a>, <a href='#Page_223'><b>223</b></a>, <a href='#Page_224'><b>224</b></a>.</span><br /> +<span style="margin-left: 1em;">— green, <a href='#Page_84'><b>84</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Worral's singeing machine, <a href='#Page_27'><b>27</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Wringing of dyed goods, <a href='#Page_239'><b>239</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">Y.</span><br /> +<br /> +<span style="margin-left: 1em;">Yarn bleaching, <a href='#Page_43'><b>43</b></a>.</span><br /> +<span style="margin-left: 1em;">— washing machine, illustration of, <a href='#Page_243'><b>243</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Yarns in cop form, washing of, <a href='#Page_244'><b>244</b></a>.</span><br /> +<span style="margin-left: 1em;">— in hanks, washing of, <a href='#Page_244'><b>244</b></a>.</span><br /> +<span style="margin-left: 1em;">— in hanks, wringing of, <a href='#Page_240'><b>240</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Yellow, <a href='#Page_90'><b>90</b></a>, <a href='#Page_91'><b>91</b></a>, <a href='#Page_113'><b>113</b></a>, <a href='#Page_151'><b>151</b></a>.</span><br /> +<span style="margin-left: 1em;">— and violet shot dyes, <a href='#Page_237'><b>237</b></a>.</span><br /> +<span style="margin-left: 1em;">— olive, <a href='#Page_91'><b>91</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Yellowish claret red, <a href='#Page_187'><b>187</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Young & Crippin's cop-dyeing machine, <a href='#Page_68'><b>68</b></a>.</span><br /> +<br /> +<br /> +<span style="margin-left: 1em;">Z.</span><br /> +<br /> +<span style="margin-left: 1em;">Zambesi black, <a href='#Page_132'><b>132</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B, <a href='#Page_210'><b>210</b></a>, <a href='#Page_218'><b>218</b></a>.</span><br /> +<span style="margin-left: 1em;">— — B R, <a href='#Page_97'><b>97</b></a>.</span><br /> +<span style="margin-left: 1em;">— — D, <a href='#Page_103'><b>103</b></a>, <a href='#Page_104'><b>104</b></a>, <a href='#Page_218'><b>218</b></a>.</span><br /> +<span style="margin-left: 1em;">— — F, <a href='#Page_115'><b>115</b></a>, <a href='#Page_119'><b>119</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— blue, <a href='#Page_130'><b>130</b></a>,</span><br /> +<span style="margin-left: 1em;">— — B X, <a href='#Page_136'><b>136</b></a>.</span><br /> +<span style="margin-left: 1em;">— — R X, <a href='#Page_217'><b>217</b></a>, <a href='#Page_218'><b>218</b></a>.</span><br /> +<span style="margin-left: 1em;">— brown, <a href='#Page_130'><b>130</b></a>.</span><br /> +<span style="margin-left: 1em;">— — G, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— — 2 G, <a href='#Page_136'><b>136</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br /> +<span style="margin-left: 1em;">— dyes, <a href='#Page_85'><b>85</b></a>, <a href='#Page_208'><b>208</b></a>.</span><br /> +<br /> +<span style="margin-left: 1em;">Zinc and lime vat for indigo dyeing, <a href='#Page_201'><b>201</b></a>.</span><br /> +<span style="margin-left: 1em;">— bisulphite indigo vat, <a href='#Page_203'><b>203</b></a>.</span><br /> +<span style="margin-left: 1em;">— chloride, <a href='#Page_20'><b>20</b></a>.</span><br /> +<span style="margin-left: 1em;">— sulphate, <a href='#Page_112'><b>112</b></a>.</span><br /> +</p> + +<hr style="width: 96%;" /> + +<h2>THE ABERDEEN UNIVERSITY PRESS LIMITED.</h2> + +<h4>SEPTEMBER, 1901.</h4> + +<p class='center'><i>This Catalogue cancels all former editions.</i></p> + +<blockquote><p>The Publishers seek to issue thoroughly helpful works. These books in +every instance will, they believe, be found of good value. Employers +will do well to place copies of these books in the hands of the bright +and promising young men in their employ, in order the better to equip +them to become increasingly useful as employees. A workman who uses his +brains must be preferable to one who does not <i>think</i> about his work. +Brains require stimulus. These books provide that stimulus.</p></blockquote> + +<h2>A Catalogue</h2> + +<h4>OF</h4> + +<h2>Special Technical Works</h2> + +<h4>FOR</h4> + +<h3>MANUFACTURERS, PROFESSIONAL MEN, STUDENTS,</h3> + +<h3>COLLEGES AND TECHNICAL SCHOOLS</h3> + +<h4>BY EXPERT WRITERS</h4> + +<h4>FOR THE</h4> + +<p class='center'>OIL, PAINT, COLOUR VARNISH, SOAP, CHEMICAL, +TEXTILE, LEATHER, PAPER, COLLIERY, POTTERY, +GLASS, PLUMBING AND DECORATING TRADES +AND SCIENTIFIC PROFESSIONS.</p> + +<h4>PUBLISHED BY</h4> + +<p class='center'><b>SCOTT, GREENWOOD & CO.,</b></p> + +<h4>PUBLISHERS OF TECHNICAL BOOKS,</h4> + +<p class='center'><b>19 LUDGATE HILL, LONDON, E.C.</b></p> + +<p class='center'><b>Tel. Address: "PRINTERIES, LONDON". Tel. No. 5403, Bank.</b></p> + +<p class='center'>N.B.—<i>Full Particulars of Contents of any of the following books +sent post free on application.</i></p> + +<p class='center'><b>Messrs. Scott, Greenwood &. Co. are open to make offers +for the publication of technical works.</b></p> + +<hr style="width: 65%;" /> + +<h2>Books on Oils, Soaps, Colours, Chemicals, Glue, Varnishes, etc.</h2> + +<p><b>THE PRACTICAL COMPOUNDING OF OILS, TALLOW AND GREASE FOR LUBRICATION, +ETC.</b></p> + +<p><b>By AN EXPERT OIL REFINER</b>. 100 pp. 1898. Demy 8vo. Price 7s. 6d.; India +and Colonies, 8s.; Other Countries, 8s. 6d.; strictly net.</p> + + +<p><b>Contents.</b></p> + +<p>Chapters I., <b>Introductory Remarks</b> on the General Nomenclature of Oils, +Tallow and Greases suitable for Lubrication.—II., Hydrocarbon +Oils.—III., Animal and Fish Oils.—IV., Compound Oils.—V., Vegetable +Oils.—VI., Lamp Oils.—VII., Engine Tallow, Solidified Oils and +Petroleum Jelly.—VIII., Machinery Greases: Loco and +Anti-friction.—IX., Clarifying and Utilisation of Waste Fats, Oils, +Tank Bottoms, Drainings of Barrels and Drums, Pickings Up, Dregs, +etc.—X., The Fixing and Cleaning of Oil Tanks, etc.—Appendix and +General Information.</p> + + +<blockquote><p><b>Press Opinions.</b></p> + + <p>"This work is written from the standpoint of the oil trade, but its + perusal will be found very useful by users of machinery and all who + have to do with lubricants in any way."—<i>Colliery Guardian.</i></p> + + <p>"The properties of the different grades of mineral oil and of the + animal and vegetable non-drying oils are carefully described, and + the author justly insists that the peculiarities of the machinery + on which the lubricants are to be employed must be considered + almost before everything else.... The chapters on grease and + solidified oils, etc., are excellent."—<i>The Ironmonger.</i></p></blockquote> + +<hr style='width: 45%;' /> + +<p><b>SOAPS.</b> A Practical Manual of the Manufacture of Domestic, Toilet and +other Soaps. By GEORGE H. HURST, F.C.S. Illustrated with Sixty-six +Engravings. 390 pp. 1898. Price 12s. 6d.; India and Colonies, 13s. 6d.; +Other Countries, 15s.; strictly net.</p> + + +<p><b>Contents.</b></p> + +<p>Chapters I., Introductory.—II., Soap-maker's Alkalies.—III., Soap Fats +and Oils.—IV., Perfumes.—V., Water as a Soap Material.—VI., Soap +Machinery.—VII., Technology of Soap-making.—VIII., Glycerine in Soap +Lyes.—IX., Laying out a Soap Factory.—X., Soap Analysis.—Appendices.</p> + + +<blockquote><p><b>Press Opinions.</b></p> + + <p>"We think it is the most practical book on these subjects that has + come to us from England so far."—<i>American Soap Journal.</i></p> + + <p>"Much useful information is conveyed in a convenient and + trustworthy manner which will appeal to practical + soap-makers."—<i>Chemical Trade Journal.</i></p> + + <p>"Works that deal with manufacturing processes, and applied + chemistry in particular, are always welcome. Especially is this the + case when the material presented is so up-to-date as we find it + here."—<i>Bradford Observer.</i></p> + + <p>"The best and most reliable methods of analysis are fully + discussed, and form a valuable source of reference to any works' + chemist.... Our verdict is a capitally produced book, and one that + is badly needed."—<i>Birmingham Post.</i></p></blockquote> + +<hr style='width: 45%;' /> + +<p><b>ANIMAL FATS AND OILS</b>: Their Practical Production, Purification and Uses +for a great Variety of Purposes. Their Properties, Falsification and +Examination. A Handbook for Manufacturers of Oil and Fat Products, Soap +and Candle Makers, Agriculturists, Tanners, Margarine Manufacturers, +etc., etc. By LOUIS EDGAR ANDÉS. Sixty-two Illustrations. 240 pp. 1898. +Demy 8vo. Price 10s. 6d.; India and Colonies, 11s.; Other Countries, +12s.; strictly net.</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.<!-- Page 3 --><span class='pagenum'><a name="Page_a3" id="Page_a3">[Pg a3]</a></span></p> + +<blockquote><p><b>Press Opinions.</b></p> + + <p>"The descriptions of technical processes are clear, and the book is + well illustrated and should prove useful."—<i>Manchester Guardian.</i></p> + + <p>"It is a valuable work, not only for the student, but also for the + practical manufacturer of oil and fat products."—<i>Journal of the + American Chemical Society.</i></p> + + <p>"The work is very fully illustrated, and the style throughout is in + strong contrast to that employed in many such treatises, being + simple and clear."—<i>Shoe and Leather Record.</i></p> + + <p>"An important handbook for the 'fat industry,' now a large one. The + explanation of the most scientific processes of production lose + nothing of their clearness in the translation."—<i>Newcastle</i> + <i>Chronicle.</i></p> + + <p>"The latest and most improved forms of machinery are in all cases + indicated, and the many advances which have been made during the + past years in the methods of producing the more common animal + fats—lard, tallow and butter—receive due attention."—<i>Glasgow + Herald.</i></p></blockquote> + + +<p><b>VEGETABLE FATS AND OILS:</b> Their Practical Preparation, Purification and +Employment for Various Purposes, their Properties, Adulteration and +Examination. A Handbook for Oil Manufacturers and Refiners, Candle, Soap +and Lubricating Oil Makers, and the Oil and Fat Industry in General. +Translated from the German of LOUIS EDGAR ANDÉS. 94 Illustrations. 320 +pp. 1897. Demy 8vo. Price 10s. 6d.; India and Colonies, 11s.; Other +Countries, 12s.; strictly net.</p> + +<p><b>Contents.</b></p> + +<p>Statistical Data. General Properties of the Vegetable Fats and Oils. +Estimation of the Amount of Oil in Seeds. Table of Vegetable Fats and +Oils, with French and German Nomenclature, Source and Origin and +Percentage of Fat in the Plants from which they are Derived. The +Preparation of Vegetable Fats and Oils: Storing Oil Seeds: Cleaning the +Seed. 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 with Sulphuric Acid and +Zinc Oxide or Lead Oxide. Refining with Caustic Alkalies, Ammonia, +Carbonates of the Alkalies, Lime. Bleaching Fats and Oils. Practical +Experiments on the Treatment of Oils with regard to Refining and +Bleaching. Testing Oils and Fats.</p> + +<blockquote><p><b>Press Opinions.</b></p> + + "Concerning that and all else within the wide and comprehensive + connection involved, this book must be invaluable to every one + directly or indirectly interested in the matters it treats + of."—<i>Commerce</i>. + + "The proprietors of the <i>Oil and Colourman's Journal</i> have not only + placed a valuable and highly interesting book of reference in the + hands of the fats and oils industry in general, but have rendered + no slight service to experimental and manufacturing + chemists."—<i>Manufacturing Chemist.</i></blockquote> + +<p><b>IRON-CORROSION, ANTI-FOULING AND ANTI-CORROSIVE PAINTS.</b> By LOUIS EDGAR +ANDÉS. 62 Illustrations. 275 pp. Translated from the German. Demy 8vo. +1900. Price 10s. 6d.; India and Colonies, 11s.; Other Countries, 12s.; +strictly net.</p> + +<p><b>Contents.</b></p> + +<p>Ironrust 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> + +<blockquote><p><b>Press Opinions.</b></p> + + <p>"This is a very valuable book, translated from the German, + discussing in detail anti-fouling and anti-corrosive + paints."—<i>British Mercury.</i></p> + + <p>"Will be of great service to paint manufacturers, engineering + contractors, ironfounders, shipbuilders and others."—<i>Engineer and + Iron Trades Advertiser.</i></p> + + <p>"The book before us deals with the subject in a manner at once + practical and scientific, and is well worthy of the attention of + all builders, architects and engineers."—<i>The Builder.</i></p> + + <p>"The book is very readable and full of valuable information, and + bearing in mind the importance of the subject treated, it is one + which engineers will be well advised to procure at an early + date."—<i>Railway Engineer.</i></p> + + <p>"The author goes fully into his subject, and the translator has + been successful in reproducing in another language what he has to + say. There are given in the text numerous illustrations of the + rusting of iron, prepared in the course of a series of personal + experiments on the formation of rust."—<i>Journal of Gas Lighting.</i> +</p> + <p>"This work is a very elaborate and useful record of the various + phenomena in connection with the corrosion of iron and its + protection against corrosion.... The book is an exceedingly useful + record of what has been done in connection with iron preservation, + and will undoubtedly prove to be of much value to railway +<!-- Page 4 --><span class='pagenum'><a name="Page_a4" id="Page_a4">[Pg a4]</a></span>engineers, shipowners, etc."—<i>Fairplay</i>.</p> + + <p>"Herr Andés' book, written purely from a scientific standpoint, + will be particularly useful to iron manufacturers, shipbuilders and + shipowners.... The book is beautifully printed on good paper, and + its appearance does credit to the publishers; the work of + translation has been remarkably well done, the language bearing + none of those irritating traces of Teutonism which disfigure so + many English versions of German technical works."—<i>The + Ironmonger.</i></p> + + <p>"This knowledge is conveyed with characteristic German thoroughness + in this useful work of Herr Andés, which loses nothing of clearness + in Mr. Salter's excellent translation. The causes of rust formation + are examined, the proper methods of cleansing the ironwork + detailed, and the constitution and application of suitable + preventative coverings explained.... The book is a welcome + contribution to technological literature, and will be found worthy + of the careful study of all who are professionally engaged in the + arrangement or superintendence of the class of work dealt + with."—<i>Western Daily Mercury.</i></p> + + <p>"The author explains the nature of rust and its formation, and the + text is illustrated from about fifty photographs. An immense amount + of carefully arranged information follows as to the best methods of + applying anti-corrosive substances and the various pigments most + efficacious for use under all circumstances. The author has + evidently thoroughly investigated and mastered the subject of iron + corrosion, its cause and its prevention; and we regard his book as + of the greatest importance to bridge-builders and makers and users + of structural iron and steel. The book is illustrated throughout + and is admirably indexed and arranged."—<i>Iron and Steel Trades + Journal.</i></p></blockquote> + + +<p><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 LUCIEN GESCHWIND. 195 Illustrations. Nearly 400 pp. Royal 8vo. +1901. Price 12s. 6d.; India and Colonies, 13s. 6d.; Other Countries, +15s.; strictly net.</p> + + +<p><b>Contents.</b></p> + +<p>Part I., <b>Theoretical Study of Aluminium, Iron, and Compounds of these +Metals.</b>—Chapters I., Aluminium and its Compounds.—II., Iron and Iron +Compounds.</p> + +<p>Part II., <b>Manufacture of Aluminium Sulphates and Sulphates of +Iron.</b>—Chapters III., Manufacture of Aluminium Sulphate and the +Alums.—IV., Manufacture of Sulphates of Iron.</p> + +<p>Part III., <b>Uses of the Sulphates of Aluminium and Iron.</b>—Chapters V., +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.—VI., <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>Part IV., <b>Chemical Characteristics of Iron and Aluminium.</b>—<b>Analysis +of Various Aluminous or Ferruginous Products.</b>—Chapter VII., +Aluminium.—<b>Analysing Aluminium Products.</b>—Alunite Alumina—Sodium +Aluminate—Aluminium Sulphate. Chapter VIII., <b>Iron.</b>—Analytical +Characteristics of Iron Salts—Analysis of Pyritic Lignite—Ferrous and +Ferric Sulphates—Rouil Mordant—Index.</p> + + +<p><b>MANUAL OF AGRICULTURAL CHEMISTRY.</b> By HERBERT INGLE, F.I.C., Lecturer +on Agricultural Chemistry, the Yorkshire College; Lecturer in the +Victoria University. [<i>In the press.</i></p> + +<p><b>Contents.</b></p> + +<p>Chapters I., Introduction.—II., The Atmosphere.—III., The Soil.—IV., +The Reactions occurring in Soils.—V., The Analysis of Soils.—VI., +Manures, Natural.—VII., Manures (continued).—VIII., The Analysis of +Manures.—IX., The Constituents of Plants.—X., The Plant.—XI, +Crops.—XII., The Animal.</p> + + +<p><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 +GEORGE H. HURST, F.C.S. Second Edition. Sixty-five Illustrations. 313 +pp. Demy 8vo. 1901. Price 10s. 6d.; India and Colonies, 11s.; Other +Countries, 12s.; strictly net.</p> + +<p><b>Contents.</b></p> + +<p>Chapters I., <b>Introductory.</b> Oils and Fats, Fatty Oils and Fats, +Hydrocarbon Oils, Uses of Oils.—II., <b>Hydrocarbon Oils.</b> Distillation, +Simple Distillation, Destructive Distillation, Products of Distillation, +Hydrocarbons, Paraffins, Olefins, Napthenes.—III., <b>Scotch Shale Oils.</b> +Scotch Shales, Distillation of Scotch Oils, Shale Retorts, Products of +Distilling Shales.<!-- Page 5 --><span class='pagenum'><a name="Page_a5" id="Page_a5">[Pg a5]</a></span></p> + +<p>Separating Products, Treating Crude Shale Oil, Refining Shale Oil, Shale +Oil Stills, Shale Naphtha Burning Oils, Lubricating Oils, Wax.—IV., +<b>Petroleum</b>. Occurrence, Geology, Origin, Composition, Extraction, +Refining, Petroleum Stills, Petroleum Products, Cylinder Oils, Russian +Petroleum, Deblooming Mineral Oils.—V., <b>Vegetable and Animal Oils</b>. +Introduction, Chemical Composition of Oils and Fats, Fatty Acids, +Glycerine, Extraction of Animal and Vegetable Fats and Oils, Animal +Oils, Vegetable Oils, Rendering, Pressing, Refining, Bleaching, Tallow, +Tallow Oil, Lard Oil, Neatsfoot Oil, Palm Oil, Palm Nut Oil, Cocoa-nut +Oil, Castor Oil, Olive Oil, Rape and Colza Oils, Arachis Oil, Niger Seed +Oil, Sperm Oils, Whale Oil, Seal Oil, Brown Oils, Lardine, Thickened +Rape Oil.—VI., <b>Testing and Adulteration of Oils</b>. Specific Gravity, +Alkali Tests, Sulphuric Acid Tests, Free Acids in Oils, Viscosity Tests, +Flash and Fire Tests, Evaporation Tests, Iodine and Bromide Tests, +Elaidin Test, Melting Point of Fat, Testing Machines.—VII., +<b>Lubricating Greases</b>. Rosin Oil, Anthracene Oil, Making Greases, +Testing and Analysis of Greases.—VIII., <b>Lubrication</b>. Friction and +Lubrication, Lubricant, Lubrication of Ordinary Machinery, Spontaneous +Combustion of Oils, Stainless Oils, Lubrication of Engine Cylinders, +Cylinder Oils.—<b>Appendices</b>. A. Table of Baume's Hydrometer—B. Table +of Thermometric Degrees—C. Table of Specific Gravities of +Oils—<b>Index</b>.</p> + +<blockquote><p><b>Press Opinions</b>.</p> + + <p>"The book is well printed, and is a credit alike to author, printer + and publisher."—<i>Textile Mercury.</i></p> + + <p>"It will be a valuable addition to the technical library of every + steam user's establishment." —<i>Machinery Market.</i></p> + + <p>"Mr. Hurst has in this work supplied a practical treatise which + should prove of especial value to oil dealers, and also, though in + a less degree, to oil users."—<i>Textile Manufacturer.</i></p> + + <p>"This is a clear and concise treatment of the method of + manufacturing and refining lubricating oils.... The book is one + which is well worthy the attention of readers who are users of + oil."—<i>Textile Recorder.</i></p> + + <p>"We have no hesitation in saying that in our opinion this book + ought to be very useful to all those who are interested in oils, + whether as manufacturers or users of lubricants, or to those + chemists or engineers whose duty it may be to report upon the + suitability of the same for any particular class of + work."—<i>Engineer</i>.</p> + + <p>"The author is widely known and highly respected as an authority on + the chemistry of oils and the technics of lubrication, and it is + safe to say that no work of similar interest or equal value to the + general oil-selling and consuming public has heretofore appeared in + the English language."—<i>Drugs, Oils and Paints,</i> U.S.A.</p> + + <p>"This valuable and useful work, which is both scientific and + practical, has been written with a view of supplying those who deal + in and use oils, etc., for the purpose of lubrication, with some + information respecting the special properties of the various + products which cause these various oils to be of value as + lubricants."—<i>Industries and Iron.</i></p> + + <p>"A mere glance at the table of contents is sufficient to show how + various are the conditions to which these materials have to be + applied, how much knowledge is required for the selection of the + right kind for each particular purpose, and how by processes of + mixture or manufacture the requisite qualities are obtained in each + case."—<i>Manchester Guardian.</i></p></blockquote> + +<p><b>AMMONIA AND ITS COMPOUNDS</b>: 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. 113 pp. +1901. Thirty-two Illustrations. Price 5s.; India and Colonies, 5s. 6d.; +Other Countries, 6s.; strictly net.</p> + +<p><b>Contents</b>.</p> + +<p>Chapters I., <b>General Considerations</b>: Sections 1. Various Sources of +Ammoniacal Products; 2. Human Urine as a Source of Ammonia. II., +<b>Extraction of Ammoniacal Products from Sewage</b>: Sections 1. +Preliminary Treatment of Excreta in the Settling Tanks—The Lencauchez +Process, The Bilange Process, The Kuentz Process; 2. Treatment of the +Clarified Liquors for the Manufacture of Ammonium Sulphate—The Figuera +Process and Apparatus, Apparatus of Margueritte and Sourdeval, The Lair +Apparatus, Apparatus of Sintier and Muhe, Apparatus of Bilange, The +Kuentz Process, Process and Apparatus of Hennebutte and De Vauréal; 3. +Treatment of Entire Sewage—Chevalet's Apparatus, Paul Mallet's +Apparatus, Lencauchez's Apparatus. III., <b>Extraction of Ammonia from Gas +Liquor</b>: Sections 1. Clarification of Gas Liquor; 2. Manufacture of +Ammonium Sulphate—A. Mallet's Apparatus, A. Mallet's Modified +Apparatus, Paul Mallet's Apparatus, Chevalet's Apparatus, Grüneberg's +Apparatus; 3. Concentration of Gas Liquor—Solvay's Apparatus, Kuentz's +Apparatus, Grüneberg's Apparatus. IV., <b>Manufacture of Ammoniacal +Compounds from Bones, Nitrogenous Waste, Beetroot Wash and Peat</b>: +Sections 1. Ammonia from Bones: 2. Ammonia from Nitrogenous Waste +Materials; 3. Ammonia from Beetroot Wash (Vinasse): 4. Ammonia from +Peat—Treatment of the Ammoniacal Liquors. V., <b>Manufacture of Caustic +Ammonia, and Ammonium Chloride, Phosphate and Carbonate</b>: Sections 1. +Manufacture of Caustic Ammonia; 2. Manufacture of Ammonium +Chloride—From Fermented Urine, Process of the Lesage Company, Kuentz's +Process; From Gas Liquor, English Process, Kuentz's Process; From the +Dry Distillation of Animal Matter; From Ammonium Sulphate, Sublimation; +3. Ammonium Phosphates; 4. Carbonates of Ammonium—Sesquicarbonate from +Animal Matter, English Process. Uses. VI., <b>Recovery of Ammonia from the +Ammonia-Soda Mother Liquors</b>: Sections 1. General Considerations; 2. +Apparatus of Schlœsing and Rolland; 3. Apparatus of the Société Anonyme +de l'Est.—<b>Index</b>.<!-- Page 6 --><span class='pagenum'><a name="Page_a6" id="Page_a6">[Pg a6]</a></span></p> + +<p><b>THE MANUFACTURE OF VARNISHES, OIL REFINING AND BOILING, AND KINDRED +INDUSTRIES.</b> Describing the Manufacture of Spirit Varnishes and Oil +Varnishes; Raw Materials: Resins, Solvents and Colouring Principles; +Drying Oils: their Properties, Applications and Preparation by both Hot +and Cold Processes; Manufacture, Employment and Testing of Different +Varnishes. Translated from the French of ACH. LIVACHE, Ingénieur Civil +des Mines. Greatly Extended and Adapted to English Practice, with +numerous Original Recipes. By JOHN GEDDES MCINTOSH, Lecturer on Oils, +Colours and Varnishes, Regent Street Polytechnic. Twenty-seven +Illustrations. 400 pp. Demy 8vo. 1899. Price 12s. 6d.; India and +Colonies, 13s. 6d.; Other Countries, 15s.; strictly net.</p> + +<p><b>Contents.</b></p> + +<p>I. Resins: Gum Resins, Oleo Resins and Balsams, Commercial Varieties, +Source, Collection, Characteristics, Chemical Properties, Physical +Properties, Hardness, Adulterations. Appropriate Solvents, Special +Treatment, Special Use.—II. Solvents: Natural, Artificial, Manufacture, +Storage, Special Use.—III. Colouring: Principles, (1) Vegetable, (2) +Coal Tar, (3) Coloured Resinates, (4) Coloured Oleates and +Linoleates.—Gum Running: Furnaces, Bridges, Flues, Chimney Shafts, +Melting Pots, Condensers, Boiling or Mixing Pans, Copper Vessels, Iron +Vessels (Cast), Iron Vessels (Wrought), Iron Vessels (Silvered), Iron +Vessels (Enamelled), Steam Superheated Plant, Hot-air Plant.—Spirit +Varnish Manufacture: Cold Solution Plant, Mechanical Agitators, Hot +Solution Plant, Jacketted Pans, Mechanical Agitators, Clarification and +Filtration, Bleaching Plant, Storage Plant.—Manufacture, +Characteristics and Uses of the Spirit Varnishes yielded by: Amber, +Copal, Dammar, Shellac, Mastic, Sandarac, Rosin, Asphalt, India Rubber, +Gutta Percha, Collodion, Celluloid, Resinates, Oleates.—Manufacture of +Varnish Stains.—Manufacture of Lacquers.—Manufacture of Spirit +Enamels.—Analysis of Spirit Varnishes.—Physical and Chemical Constants +of Resins. —Table of Solubility of Resins in different +Menstrua.—Systematic qualitative Analysis of Resins, Hirschop's +tables.—Drying Oils: Oil Crushing Plant, Oil Extraction Plant, +Individual Oils, Special Treatment of Linseed Oil, Poppyseed Oil, Walnut +Oil, Hempseed Oil, Llamantia Oil, Japanese Wood Oil, Gurjun Balsam, +Climatic Influence on Seed and Oil.—Oil Refining: Processes, Thenard's, +Liebig's, Filtration, Storage, Old Tanked Oil.—Oil Boiling: Fire +Boiling Plant, Steam Boiling Plant, Hot-Air Plant, Air Pumps, Mechanical +Agitators, Vincent's Process, Hadfield's Patent, Storer's Patent, +Walton's Processes, Continental Processes, Pale Boiled Oil, Double +Boiled Oil, Hartley and Blenkinsop's Process.—Driers: Manufacture, +Special Individual Use of (1) Litharge, (2) Sugar of Lead, (3) Red Lead, +(4) Lead Borate, (5) Lead Linoleate, (6) Lead Resinate, (7) Black Oxide +of Manganese, (8) Manganese Acetate, (9) Manganese Borate, (10) +Manganese Resinate, (II) Manganese Linoleate, Mixed Resinates and +Linoleates, Manganese and Lead, Zinc Sulphate, Terebine, Liquid +Driers.—Solidified Boiled Oil.—Manufacture of Linoleum.—Manufacture +of India Rubber Substitutes.—Printing Ink Manufacture—Lithographic Ink +Manufacture.—Manufacture of Oil Varnishes.—Running and Special +Treatment of Amber, Copal, Kauri, Manilla.—Addition of Oil to +Resin.—Addition of Resin to Oil.—Mixed Processes.—Solution in Cold of +previously Fused Resin.—Dissolving Resins in Oil, etc., under +pressure.—Filtration.—Clarification.—Storage.—Ageing.—Coach-makers' +Varnishes and Japans.—Oak Varnishes.—Japanners' Stoving +Varnishes.—Japanners' Gold Size.—Brunswick Black.—Various Oil +Varnishes.—Oil-Varnish Stains.—Varnishes for "Enamels".-India Rubber +Varnishes.—Varnishes Analysis: Processes, Matching.—Faults in +Varnishes: Cause, Prevention.—Experiments and Exercises.</p> + +<blockquote><p><b>Press Opinions.</b></p> + + <p>"There is no question that this is a useful book."—<i>Chemist and</i> + <i>Druggist.</i></p> +<p> + "The different formulæ which are quoted appear to be far more + 'practical' than such as are usually to be found in text-books: and + assuming that the original was published two or three years ago, + and was only slightly behindhand in its information, the present + volume gives a fair insight into the position of the varnish + industry."—<i>The Ironmonger.</i></p> + +<p><b>Letter from the Teacher of a Technical Class.</b></p> + + <p>"As a teacher I have often been consulted as to the best work on + Varnish Manufacture and kindred industries, and have been at a loss + in recommending a really practical one. It is therefore with + pleasure that I can now testify as to the merits of the book on + these subjects by A. Livache and J.G. McIntosh recently published + by Messrs. Scott, Greenwood & Co. In my opinion <i>no</i> varnish maker + ought to be without it; moreover, it is the best text-book that + could be put into the hands of trade students or beginners. It has + also the merits of being thoroughly up-to-date and of possessing a + remarkably comprehensive index. I can conscientiously recommend it + to my students and trade friends."—CHARLES HARRISON, Lecturer on + the Manufacture of Painters' Oils, Colours and Varnishes, Borough + Polytechnic, Borough Road, S.E. + "<i>23rd May</i>, 1899"</p></blockquote> + +<p><!-- Page 7 --><span class='pagenum'><a name="Page_a7" id="Page_a7">[Pg a7]</a></span> +</p> +<p><b>THE MANUFACTURE OF LAKE PIGMENTS FROM ARTIFICIAL COLOURS</b>. By FRANCIS +H. JENNISON, 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. 1900. Price 7s. 6d.; India and Colonies, 8s.; +Other Countries, 8s. 6d.; strictly net.</p> + +<p><b>Contents.</b></p> + +<p>Chapters I., Introduction.—II., The Groups of the Artificial Colouring +Matters.—III., The Nature and Manipulation of Artificial Colours.—IV., +Lake-forming Bodies for Acid Colours. —V., Lake-forming Bodies' Basic +Colours.—VI., Lake Bases.—VII., The Principles of Lake +Formation.—VIII., Red Lakes.—IX., Orange, Yellow, Green, Blue, Violet +and Black Lakes. —X., The Production of Insoluble Azo Colours in the +Form of Pigments.—XI., The General Properties of Lakes Produced from +Artificial Colours.—XII., Washing, Filtering and Finishing. —XIII., +Matching and Testing Lake Pigments.—Index.</p> + +<p><b>Press Opinions.</b></p> + +<p>"It is evidently the result of prolonged research, and cannot but prove +a valuable consulting work to those engaged in the industry."—<i>Derby +Mercury.</i></p> + +<p>"The practical portion of the volume is the one which will especially +commend itself, as that is the part of the subject which most readers +would buy the book for."—<i>Chemist and</i> <i>Druggist.</i></p> + +<p>"This work just issued is a very valuable treatise on the manufacture of +lake pigments of the coal-tar series principally. The plan adopted by +the author in writing up the subject enables the manufacture to be very +readily understood.... The general properties of lakes produced from +artificial colours, washing, filtering and finishing, and matching and +testing lake pigments are well and exhaustively described, so that no +manufacturer or user of lake pigments can well afford to be without this +work."—<i>Chemical Trade Journal.</i></p> + +<p>"This is undoubtedly a book which will occupy a very high place amongst +technical works, and will prove of exceptional value to all whom it +immediately concerns. We have no hesitation in recommending it as one of +the best works of its class we have ever read. Mr. Jennison has set +about his task with a lucid style, and with a complete mastery of his +subject. .. We do not think students of the technical side of the paint +and colour industry can possibly spend 7s. 6d. in a more profitable way +than by buying this publication."—<i>Eastern</i> <i>Morning News.</i></p> + + +<p><b>THE TESTING AND VALUATION OF RAW MATERIALS USED IN PAINT AND COLOUR +MANUFACTURE.</b> By M.W. JONES, F.C.S. A Book for the Laboratories of +Colour Works. 88 pp. Crown 8vo. 1900. Price 5s.; India and Colonies, 5s. +6d.; Other Countries, 6s.; strictly net.</p> + +<p><b>Contents.</b></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> + +<blockquote><p><b>Press Opinions.</b></p> + +<p>"Though this excellent little work can appeal only to a limited class, +the chemists in colour works, yet it will appeal to them very strongly +indeed, for it will put them on the track of short, rapid, and yet +approximately, accurate methods of testing the comparative value of +competing samples of raw material used in paint and colour +manufacture."—<i>North British</i> <i>Daily Mail.</i></p> + +<p>"This little text-book is intended to supplement the larger and more +comprehensive works on the subject, and it embodies the result of Mr. +Jones' experiments and experiences, extending over a long period. It +gives, under separate headings, the principal ingredients and impurities +found in the raw materials, and is a handy work of reference for +ascertaining what is valuable or detrimental in the sample under +examination."—<i>Blackburn Times.</i></p> + +<p>"There is no attempt at literary adornment nor straining after literary +effect, but the lessons are imparted in simple and concise language. +This is just what a text-book should be.... The treatise is certainly +most useful, and bears internal evidence of being the results of actual +work in a busy manufactory and not of ephemeral cramming in a technical +school. The chapter arrangement is good, the index satisfactory, and the +book is altogether one which the practical chemist should keep as +accessible to his crucibles and filter paper."—<i>Manchester Courier.</i><!-- Page 8 --><span class='pagenum'><a name="Page_a8" id="Page_a8">[Pg a8]</a></span></p> +</blockquote> +<hr style='width: 45%;' /> + +<p><b>THE CHEMISTRY OF ESSENTIAL OILS AND ARTIFICIAL PERFUMES.</b> By ERNEST J. +PARRY, B.SC. (Lond.), F.I.C., F.C.S. Illustrated with Twenty Engravings. +400 pp. 1899. Demy 8vo. Price 12s. 6d.; India and Colonies, 13s. 6d.; +Other Countries, 15s.; strictly net.</p> + + +<p><b>Contents.</b></p> + +<p>Chapters I., <b>The General Properties of Essential Oils.</b>—II., +<b>Compounds occurring in Essential Oils</b>.—III., <b>The Preparation of +Essential Oils.</b>—IV., <b>The Analysis of Essential Oils</b>.—V., +<b>Systematic Study of the Essential Oils.</b>—VI., <b>Terpeneless +Oils.</b>—VII., <b>The Chemistry of Artificial Perfumes</b>.—<b>Appendix:</b> Table +of Constants.</p> + + +<blockquote><p><b>Press Opinions.</b></p> + + <p>"There can be no doubt that the publication will take a high place + in the list of scientific text-books."—<i>London Argus</i></p> + + <p>"We can heartily recommend this volume to all interested in the + subject of essential oils from the scientific or the commercial + standpoint."—<i>British and Colonial Druggist.</i></p> + + <p>"Mr. Parry has done good service in carefully collecting and + marshalling the results of the numerous researches published in + various parts of the world."—<i>Pharmaceutical Journal.</i></p> + + <p>"At various times monographs have been printed by individual + workers, but it may safely be said that Mr. Parry is the first in + these latter days to deal with the subject in an adequate manner. + His book is well conceived and well written.... He is known to have + sound practical experience in analytical methods, and he has + apparently taken pains to make himself <i>au fait</i> with the + commercial aspects of the subject."—<i>Chemist and Druggist.</i></p> + + <p>"Mr. Parry's reputation as a scientist is fully established, and we + can therefore accept any work emanating from his pen as being of + the greatest practical value. We have perused the work before us + with much care, and are convinced that the contents will be found + most serviceable and its publication most opportune.... He avoids + unnecessary details, but includes everything that is essential to + systematic treatment, while he attempts no more 'than to give an + outline of the principles involved'.... We congratulate Mr. Parry + on the scientific value of his work, and hope that if the progress + of the colonies in the manufacture of essential oils and perfumes + equals what we are justified in expecting, it will become an + Australian handbook, everywhere appreciated."—<i>The Australian</i> + <i>Brewers' Journal.</i></p></blockquote> + + +<p><b>DRYING OILS, BOILED OIL AND SOLID AND LIQUID DRIERS.</b> By L.E. ANDÉS. A +Practical Work for Manufacturers of Oils, Varnishes, Printing Inks, +Oilcloth and Linoleum, Oilcakes, Paints, etc. Expressly Written for this +Series of Special Technical Books, and the Publishers hold the Copyright +for English and Foreign Editions. Forty-two Illustrations. 360 pp. 1901. +Demy 8vo. Price 12s. 6d.; India and Colonies, 13s. 6d.; Other Countries, +15s.; strictly net.</p> + + +<p><b>Contents.</b></p> + +<p>Chapters I., General Chemical and Physical Properties of the Drying +Oils; Cause of the Drying Property; Absorption of Oxygen: Behaviour +towards Metallic Oxides, etc.—II., The Properties of and Methods for +obtaining the Drying Oils.—III., 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.—IV., The Manufacture or 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.—V., 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.—VI., Behaviour of the Drying Oils and Boiled Oils towards +Atmospheric Influences, Water, Acids and Alkalies.—VII., Boiled Oil +Substitutes.—VIII., The Manufacture of Solid and Liquid Driers from +Linseed Oil and Rosin; Linolic Acid Compounds of the Driers.—IX., The +Adulteration and Examination of the Drying Oils and Boiled Oil.</p> + + +<p>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. 1901. Price 5s.; India and Colonies, 5s. +6d.; Other Countries, 6s.; strictly net.</p> + + +<p><b>Contents.</b></p> + +<p>Memoir; C.W. Scheele and his work (written for this edition).—Chapters +I., On Fluor Mineral and its Acid.—II., On Fluor Mineral.—III., +Chemical Investigation of Fluor Acid, with a View to the Earth which it +Yields, by Mr. Wiegler.—IV., Additional Information Concerning Fluor +Minerals.—V., On Manganese, Magnesium, or Magnesia Vitrariorum.—VI., +On Arsenic and its Acid.—VII., Remarks upon Salts of Benzoin—VIII., On +Silex, Clay and Alum.—IX., Analysis of the Calculus Vesical.—X., +Method of Preparing Mercurius.<!-- Page 9 --><span class='pagenum'><a name="Page_a9" id="Page_a9">[Pg a9]</a></span></p> + +<p>Dulcis Via Humida.—XI., Cheaper and more Convenient Method of Preparing +Pulvis Algarothi.—XII., Experiments upon Molybdaena.—XIII., +Experiments on Plumbago.—XIV., Method of Preparing a New Green +Colour.—XV., Of the Decomposition of Neutral Salts by Unslaked Lime and +Iron.—XVI., On the. Quantity of Pure Air which is Daily Present in our +Atmosphere.—XVII., On Milk and its Acid.—XVIII., On the Acid of +Saccharum Lactis. —XIX., On the Constituent Parts of Lapis Ponderosus +or Tungsten.—XX., Experiments and Observations on Ether.</p> + + +<p><b>GLUE AND GLUE TESTING.</b> By SAMUEL RIDEAL, D.SC. Lond., F.I.C. Fourteen +Engravings. 144 pp. Demy 8vo. 1900. Price 10s. 6d.; India and Colonies, +11s.; Other Countries, 12s.; strictly net.</p> + +<p><b>Contents.</b></p> + +<p>Chapters I., <b>Constitution and Properties:</b> Definitions and Sources, +Gelatine, Chondrin and Allied Bodies, Physical and Chemical Properties, +Classification, Grades and Commercial Varieties.—II., <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. —III., <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.—IV., <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.—V., <b>Glue Testing</b>: Review of +Processes, Chemical Examination, Adulteration, Physical Tests, Valuation +of Raw Materials.—VI., <b>Commercial</b> <b>Aspects.</b></p> + +<blockquote><p><b>Press Opinions.</b></p> + +<p>"This work is of the highest technical character, and gives not + only a full and practical account of the raw materials and + manufacture of glues, gelatines and similar substances, but gives + many hints and information on the use of such substances in + veneering, carpentry and many other purposes. Many tests are given + for glue in different stages of the progress of its manufacture, + and the commercial value of a commodity so much in general use is + exemplified by statistics and figures. It is certainly a valuable + treatise upon an article for which very little literature in any + form has previously been obtainable."—<i>Carpenter and Builder</i>.</p> + + <p>"Books on the art of glue making are more than usually scarce, and + users of that article, as well as those who may be tempted to + embark in the industry, should therefore welcome this book by Dr. + Samuel Rideal, a Fellow of the Institute of Chemistry, and a + leading authority. In this book he has collected the more important + facts connected with the manufacture of glue and allied products, + and stated the experience he has gained in examining various + commercial samples during the past ten years.... Dr. Rideal's book + must be regarded as a valuable contribution to other technical + literature, which manufacturers, merchants and users may study with + profit."—<i>British Trade Journal</i>.</p> + + <p>"This volume is the latest addition to the excellent series of + special technical works for manufacturers and professional and + commercial men issued by the well-known publishers of <i>The Oil and + Colourman's Journal</i>. The volume in every way fully maintains the + high standard of excellence of the whole series, and deals with the + subject of glue making and glue testing in a thoroughly exhaustive + manner. Chapters are given on the constitution and properties, and + raw material and manufacture, and of the uses of glue, and in this + latter respect it will doubtless be information to many readers to + learn to what extent glue enters into the manufacture of many + commercial products not apparently associated with glue. Exhaustive + chapters on the processes and methods of glue testing, and on its + commercial aspects, complete this useful and most carefully + prepared volume."—<i>Carriage Builders' Journal</i></p>.</blockquote> + + +<p><b>TECHNOLOGY OF PETROLEUM</b>: Oil Fields of the World—Their 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. +Royal 8vo. 1901. Price 21s.; India and Colonies, 22s.; Other Countries, +23s. 6d.; strictly net.</p> + +<p><b>Contents.</b></p> + +<p>Part I., <b>Study of the Petroliferous Strata</b>—Chapters I., +Petroleum—Definition.—II., The Genesis or Origin of Petroleum.—III., +The Oil Fields of Galicia, their History.—IV.. Physical Geography and +Geology of the Galician Oil Fields.—V.. Practical Notes on Galician +Land Law—Economic Hints on Working, etc.—VI., Roumania—History, +Geography, Geology. —VII., Petroleum in Russia—History.—VIII., +Russian Petroleum (<i>continued</i>)—Geography and Geology of the Caucasian +Oil Fields.—IX.. Russian Petroleum (<i>continued</i>).—X., The Secondary +Oil Fields of Europe. Northern Germany, Alsace, Italy, etc.—XI., +Petroleum in France.—XII., Petroleum in Asia—Transcaspian and +Turkestan Territory—Turkestan—Persia—British India and +Burmah—British Burmah or Lower Burmah—China—Chinese Thibet—Japan, +Formosa and Saghalien.—XIII., Petroleum in Oceania—Sumatra. Java, +Borneo—Isle of Timor—Philippine Isles—New Zealand.—XIV., The United +States of America—History. —XV., Physical Geology and Geography of the +United States Oil Fields.—XVI., Canadian and other North American Oil +Fields.—XVII., Economic Data of Work in North America. —XVIII., +Petroleum in the West Indies and South America.—XIX., Petroleum in the +French Colonies.<!-- Page 10 --><span class='pagenum'><a name="Page_a10" id="Page_a10">[Pg a10]</a></span></p> + +<p>Part II., <b>Excavations.</b>—Chapter XX., Hand Excavation or Hand Digging +of Oil Wells. Part III., <b>Methods of Boring.</b>—Chapters XXI., Methods of +Oil-well Drilling or Boring.—XXII., Boring Oil Wells with the +Rope.—XXIII., Drilling with Rigid Rods and a Free-fall—Fabian +System.—XXIV., Free-fall Drilling by Steam Power.—XXV., Oil-well +Drilling by the Canadian System.—XXVI., Drilling Oil Wells on the +Combined System.—XXVII., Comparison between the Combined Fauck System +and the Canadian.—XXVIII., The American System of Drilling with the +Rope.—XXIX., Hydraulic Boring with the Drill by Hand and Steam +Power.—XXX., Rotary Drilling of Oil Wells, Bits, Steel-crowned Tools, +Diamond Tools—Hand Power and Steam Power—Hydraulic +Sand-pumping.—XXXI., Improvements in and different Systems of Drilling +Oil Wells.</p> + +<p>Part IV., <b>Accidents.</b>—Chapters XXXII., Boring Accidents—Methods of +preventing them—Methods of remedying them.—XXXIII., Explosives and the +use of the "Torpedo" Levigation.—XXXIV., Storing and Transport of +Petroleum.—XXXV., General Advice—Prospecting, Management and carrying +on of Petroleum Boring Operations.</p> + +<p>Part V., <b>General Data.</b>—<b>Customary Formulæ</b>.—Memento. Practical +Part. General Data bearing on Petroleum.—Glossary or Technical Terms +used in the Petroleum Industry.—Copious Index.</p> + + +<p><b>A DICTIONARY OF CHEMICALS AND RAW PRODUCTS USED IN THE MANUFACTURE OF +PAINTS, COLOURS, VARNISHES AND ALLIED PREPARATIONS.</b> By GEORGE H. HURST, +F.C.S. Demy 8vo. 380 pp. 1901. Price 7s. 6d.; India and Colonies, 8s.; +Other Countries, 8s. 6d.; strictly net.</p> + +<p><b>Contents.</b></p> + +<p>The names of the Chemicals and Raw Products are arranged in alphabetical +order, and the description of each varies in length from half to eight +pages. The following are some of the articles described and explained: +Acetates—Acetic Acid—Acidimetry—Alcohol—Alum—Ammonia—Amber—Animi— +Arsenic—Beeswax—Benzol—Bichromates of Potash and Soda—Bleaching +Powder—Bone Black—Boric Acid—Brunswick Green—Cadmium +Yellow—Carbonates—Carmine—Carnauba Wax—Caustic Potash and +Soda—Chrome Colours—Clay—Coal Tar Colours—Copal—Dammar—Drying +Oils—Emerald Green—Gamboge—Glue—Glycerine—Gums—Gypsum—Indian +Red—Japanese Lacquer—Lac—Lakes—Lamp Black—Lead Compounds—Linseed +Oil—Magnesia—Manganese Compounds—Mica—Nitric Acid—Ochres—Orange +Lead—Orr's White—Paraffin—Prussian Blue—Rosin +Oil—Sepia—Sienna—Smalts—Sodium Carbonate—Sublimed White +Lead—Sulphuric Acid—Terra Verte—Testing +Pigments—Turpentine—Ultramarine—Umbers—Vermilionettes—White +Lead—Whiting—Zinc Compounds.—Appendix: Comparison of Baume Hydrometer +and Specific Gravity for Liquids Lighter than Water—Hydrometer Table +for Liquids Heavier than Water—Comparison of Temperature +Degrees—Tables for Converting French Metric Weights and Measures into +English—Table of the Elements—etc., etc.—Copious Index.</p> + + +<blockquote><p><b>Press Opinions.</b></p> + + <p>"This treatise will be welcomed by those interested in this + industry who have not secured the full advantage of a course of + scientific training."—<i>Chemical Trade Journal</i>.</p> + + <p>"In concise and lucid terms almost every ingredient used in paint + and colour manufacture is described, together with the methods of + testing their intrinsic and chemical value."—<i>Pontefract Express</i>.</p> + + <p>"Such a book of reference for paint, colour and varnish + manufacturers has long been needed, and in Mr. Hurst the publishers + have secured a compiler who is not only a well-known authority and + expert, but who has the gift of communicating his knowledge in a + concise and lucid form."—<i>Manchester Courier.</i></p></blockquote> + + +<p><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 W. +B. COWELL. Twelve Illustrations. 1900. Price 5s.; India and Colonies, +5s. 6d.: Other Countries, 6s.; strictly net.</p> + +<p><b>Contents.</b></p> + +<p>Chapters I., Atmospheric Air; Lifting of Liquids: Suction Process; +Preparing Blown Oils; Preparing Siccative Drying Oils.—II., Compressed +Air; Whitewash.—III., Liquid Air; Retrocession.—IV., Purification of +Water; Water Hardness.—V., Fleshings and Bones.—VI., 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> + +<blockquote><p><b>Press Opinions.</b></p> + + <p>"This is a valuable work in little space.... In arrangement it is a + commendable work, and its value is increased by the index which + brings the little volume to a close."—<i>Newcastle Daily Journal</i>.</p> + + <p>"The book is written solely for manufacturers, who, without doubt, + will find it exceedingly practical and useful. The volume contains + an appendix wherein is given a great many tables, etc., which + manufacturers in the trades referred to will find of inestimable + value "<i>Blackburn Times</i>.</p></blockquote> + +<p><!-- Page 11 --><span class='pagenum'><a name="Page_a11" id="Page_a11">[Pg a11]</a></span></p> + +<p><b>THE MANUFACTURE OF MINERAL AND LAKE 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. JOSEF BERSCH. Translated from +the Second Revised Edition by ARTHUR C. WRIGHT, M.A. (Oxon.), B.Sc. +(Lond.), formerly Assistant Lecturer and Demonstrator in Chemistry at +the Yorkshire College, Leeds. Forty-three Illustrations. 476 pp., demy +8vo. 1901. Price 12s. 6d.; India and Colonies. 13s. 6d.; Other +Countries, 15s.; strictly net.</p> + +<p><b>Contents.</b></p> + +<p>Chapters I., Introduction.—II., Physico-chemical Behaviour of +Pigments.—III., Raw Materials Employed in the Manufacture of +Pigments.—IV., Assistant Materials.—V., Metallic Compounds.—VI., The +Manufacture of Mineral Pigments.—VII., The Manufacture of White +Lead.—VIII., Enamel White.—IX., Washing Apparatus.—X., Zinc +White.—XI.. Yellow Mineral Pigments.—XII., Chrome Yellow.—XIII., Lead +Oxide Pigments.—XIV., Other Yellow Pigments.—XV., Mosaic; Gold.—XVI., +Red Mineral Pigments.—XVII., The Manufacture of Vermilion.—XVIII., +Antimony Vermilion.—XIX., Ferric Oxide Pigments.—XX., Other Red +Mineral Pigments.—XXI., Purple of Cassius.—XXII., Blue Mineral +Pigments. —XXIII., Ultramarine.—XXIV., Manufacture of +Ultramarine.—XXV., Blue Copper Pigments. —XXVI., Blue Cobalt +Pigments.—XXVII., Smalts.—XXVIII., Green Mineral Pigments.—XXIX., +Emerald Green.—XXX., Verdigris.—XXXI., Chromium Oxide.—XXXII., Other +Green Chromium Pigments.—XXXIII., Green Cobalt Pigments.—XXXIV., Green +Manganese Pigments.—XXXV., Compounded Green Pigments.—XXXVI., Violet +Mineral Pigments.—XXXVII.. Brown Mineral Pigments.—XXXVIII., Brown +Decomposition Products.—XXXIX., Black Pigments.—XL., Manufacture of +Soot Pigments.—XLI., Manufacture of Lamp Black.—XLII., The Manufacture +of Soot Black without Chambers.—XLIII., Indian Ink.—XLIV., Enamel +Colours.—XLV., Metallic Pigments.—XLVI., Bronze Pigments—XLVII., +Vegetable Bronze Pigments.</p> + +<p><b>PIGMENTS OF ORGANIC ORIGIN</b>.—Chapters XLVIII., Lakes.—XLIX., Yellow +Lakes.—L., Red Lakes.—LI., Manufacture of Carmine.—LII., The +Colouring Matter of Lac.—LIII., Safflower or Carthamine Red.—LIV., +Madder and its Colouring Matters.—LV., Madder Lakes.—LVI., Manjit +(Indian Madder).—LVII., Lichen Colouring Matters.—LVIII., Red Wood +Lakes. —LIX., The Colouring Matters of Sandal Wood and Other Dye +Woods.—LX., Blue Lakes.—LXI., Indigo Carmine.—LXII., The Colouring +Matter of Log Wood.—LXIII., Green Lakes.—LXIV., Brown Organic +Pigments.—LXV., Sap Colours.—LXVI., Water Colours.—LXVII., +Crayons.—LXVIII., Confectionery Colours.—LXIX., The Preparation of +Pigments for Painting.—LXX., The Examination of Pigments.—LXXI., +Examination of Lakes.—LXXII., The Testing of Dye-Woods.—LXXIII., The +Design of a Colour Works.—LXXIV.—Commercial Names of +Pigments.—Appendix: Conversion of Metric to English Weights and +Measures.—Centigrade and Fahrenheit Thermometer Scales.—Index.</p> + + +<p><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 THOMAS LAMBERT, Technical and Consulting Chemist. +Illustrated by Twenty-one Plans and Diagrams. 162 pp., demy 8vo. 1901. +Price 7s. 6d.; India and Colonies, 8s.; Other Countries, 8s. 6d.; +strictly net.</p> + +<p><b>Contents.</b></p> + +<p>Chapters I., Chemical Composition of Bones—Arrangement of +Factory—Crushing of Bones —Treatment with Benzene—Benzene in Crude +Fat—Analyses of Clarified Fats—Mechanical Cleansing of Bones—Animal +Charcoal—Tar and Ammoniacal Liquor, Char and Gases, from good quality +Bones—Method of Retorting the Bones—Analyses of Chars—"Spent" +Chars—Cooling of Tar and Ammoniacal Vapours—Value of Nitrogen for +Cyanide of Potash—Bone Oil—Marrow Bones—Composition of Marrow +Fat—Premier Juice—Buttons.—II., Properties of Glue—Glutin and +Chondrin—Skin Glue—Liming of Skins—Washing—Boiling of +Skins—Clarification of Glue Liquors—Acid Steeping of Bones—Water +System of Boiling Bones—Steam Method of Treating Bones—Nitrogen in the +Treated Bones—Glue-Boiling and Clarifying-House—Plan showing +Arrangement of Clarifying Vats—Plan showing Position of +Evaporators—Description of Evaporators—Sulphurous Acid +Generator—Clarification of Liquors—Section of +Drying-House—Specification of a Glue—Size—Uses and Preparation and +Composition of Size—Concentrated Size.—III., Properties of +Gelatine—Preparation of Skin Gelatine +—Washing—Bleaching—Boiling—Clarification—Evaporation—Drying—Bone +Gelatine—Selecting +Bones—Crushing—Dissolving—Bleaching—Boiling—Properties of Glutin +and Chondrin —Testing of Glues and Gelatines.—IV., The Uses of Glue, +Gelatine and Size in Various Trades—Soluble and Liquid Glues—Steam and +Waterproof Glues.—V., Manures—Importation of Food +Stuffs—Soils—Germination—Plant Life.—VI., Natural Manures—Water and +Nitrogen in Farmyard Manure—Full Analysis of Farmyard Manure—Action on +Crops—Water-Closet.<!-- Page 12 --><span class='pagenum'><a name="Page_a12" id="Page_a12">[Pg a12]</a></span></p> + +<p>System—Sewage Manure—Green Manures.—VII., Artificial +Manures—Bones—Boiled and Steamed Bones—Mineral Phosphates—English +Coprolites—French and Spanish Phosphorites—German and Belgian +Phosphates—Basic Slag—Guanos Proper—Guano Phosphates.—VIII., Mineral +Manures—Common Salt—Potash Salts—Calcareous Manures—Prepared +Nitrogenous Manures—Ammoniacal Compounds—Sodium Nitrate—Potassium +Nitrate—Organic Nitrogenous Matters—Shoddy—Hoofs and Horns—Leather +Waste—Dried Meat—Dried +Blood—Superphosphates—Composition—Manufacture—Section of +Manure-Shed—First and Ground Floor Plans of Manure-Shed—Quality of +Acid Used—Mixings—Special Manures—Potato Manure—Dissolved +Bones—Dissolved Bone Compound—Enriched Peruvian Guano—Special Manure +for Garden Stuffs, etc.—Special Manure for Grass Lands—Special Tobacco +Manures—Sugar-Cane Manure—Compounding of Manures—Valuation of +Manures.—IX., Analyses of Raw and Finished Products—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—Description of a Vacuum Pan—French and British Gelatines +compared.—Index.</p> + + +<blockquote><p><b>Press Opinion.</b></p> + + <p>"We can with confidence recommend the perusal of the book to all + persons interested in the manufacture of artificial manures, and + also to the large number of farmers and others who are desirous of + working their holdings on the most up-to-date methods, and + obtaining the best possible results, which scientific research has + placed within their reach."—<i>Wigan Observer.</i></p></blockquote> + + +<p><b>ANALYSIS OF RESINS AND BALSAMS.</b> Demy 8vo. 340 pp. 1901. Price 7s. 6d.; +India and Colonies, 8s.; Other Countries, 8s. 6d.; strictly net.</p> + + +<p><b>Contents.</b></p> + +<p>Part I., Definition of Resins in General—Definition of Balsams, and +especially the Gum Resins—External and Superficial Characteristics of +Resinous Bodies—Distinction between Resinous Bodies and Fats and +Oils—Origin, Occurrence and Collection of Resinous +Substances—Classification—Chemical Constituents of Resinous +Substances—Resinols—Resinot Annols—Behaviour of Resin Constituents +towards the Cholesterine Reactions—Uses and Identification of +Resins—Melting-point—Solvents—Acid Value—Saponification Value—Resin +Value—Ester and Ether Values—Acetyl and Corbonyl Value—Methyl +Value—Resin Acid—Systematic Résumé of the Performance of the Acid and +Saponification Value Tests.</p> + +<p>Part II., Balsams—Introduction—Definitions—Canada Balsam—Copaiba +Balsam—Angostura Copaiba Balsam—Bahia Copaiba Balsam—Carthagena +Copaiba Balsam—Maracaibo Copaiba Balsam—Maturin Copaiba Balsam—Gurjum +Copaiba Balsam—Para Copaiba Balsam—Surinam Copaiba Balsam—West +African Copaiba Balsam—Mecca Balsam—Peruvian Balsam—Tolu +Balsam—Acaroid Resin—Amine—Amber—African and West Indian +Kino—Bengal Kino—Labdanum—Mastic—Pine +Resin—Sandarach—Scammonium—Shellac—Storax—Adulteration of Styrax +Liquidus Crudus—Purified Storax—Styrax Crudus +Colatus—Tacamahac—Thapsia Resin—Turpentine—Chios +Turpentine—Strassburg Turpentine—Turpeth Turpentine. <b>Gum +Resins</b>—Ammoniacum—Bdellium—Euphorbium—Galbanum—Gamboge—Lactucarium— +Myrrh—Opopanax—Sagapenum—Olibanum or Incense—Acaroid Resin—Amber—Thapsia Resin.—Index.</p> + + + +<p><b>MANUFACTURE OF PAINT.</b> A Practical Handbook for Paint Manufacturers, +Merchants and Painters. By J. CRUICKSHANK SMITH, B.Sc. Demy 8vo. 1901. +200 pp. 60 Illustrations and 1 Large Diagram. Price 7s. 6d.; India and +Colonies, 8s.; Other Countries, 8s. 6d.; strictly net.</p> + + +<p><b>Contents.</b></p> + +<p>Part I., Chapters I., Preparation of Raw Material.—II., Storing of Raw +Material.—III., Testing and Valuation of Raw Material—Paint Plant and +Machinery.</p> + +<p>Part II., Chapter V., The Grinding of White Lead.—VI., Grinding of +White Zinc.—VII., Grinding of other White Pigments.—VIII., Grinding of +Oxide Paints.—IX., Grinding of Staining Colours.—X., Grinding of Black +Paints.—XI., Grinding of Chemical Colours—Yellows.—XII., Grinding of +Chemical Colours—Blues.—XIII., Grinding Greens.—XIV., Grinding +Reds.—XV., Grinding Lakes.—XVI., Grinding Colours in Water.—XVII., +Grinding Colours in Turpentine.</p> + +<p>Part III., Chapters XVIII., The Uses of Paint.—XIX., Testing and +Matching Paints.—XX., Economic Considerations.—Index.</p> + +<hr style='width: 45%;' /> + +<p><b>THE CHEMISTRY OF PIGMENTS.</b> By ERNEST J. PARRY, B.Sc, F.I.C., F.C.S., +and J.H. COSTE, F.I.C., F.C.S. [<i>In the press.</i></p> + + +<p><b>Contents.</b></p> + +<p>Chapters I., Introductory—Composition of White Light—Theory of Colour, +etc.—II., The Application of Pigments—Artistic, Decorative, Protective +Methods of Applying Pigments.—III., White Pigments.—IV., Inorganic +Coloured Pigments.—V., Organic Pigments.<!-- Page 13 --><span class='pagenum'><a name="Page_a13" id="Page_a13">[Pg a13]</a></span></p> + +<p><b>NOTES ON LEAD ORES</b>: Their Distribution and Properties. By JAS. FAIRIE, +F.G.S. Crown 8vo. 1901. 64 pages. Price 2s. 6d.; Abroad, 3s.; strictly +net.</p> + +<p><b>Contents.</b></p> + +<p>Chapters I., Definitions—Properties—Occurrence.—II., +Galena—Johnstonite—Cerussite—Céruse (White Lead)—Minium—Red +Lead.—III., Pyromorphite—Mimetene—Hediphane—Crocoise—Wulfenite.—Vanadinite—IV., +Bleiglatte—Anglesite—Caledonite—Linarite—Lanarkite—Leadhillite—Susannite—Clausthalite—Cotunnite.—V., +Mendipite—Matlockite—Cromfordite—Nagyagite—Altaite—Melanochroite—Vauguelinite—Scheeletine.—VI., +Plattnerite—Tilkerodite—Raphanosmite—Deckenite—Descloezite—Dufrenaysite—Bleinierite—Moffrasite +—Geocronite—Kilbrechenite—Schulzite—Boulangerite—Heteromorphite—Meneghinite—Jamesonite—Plagionite—Zinkenite.—VII., +Kobellite—Bournonite—Selenkupferblei—Nussierite—Percylite—Wolchite—Polysphracrite—Miesite.—Index.</p> + +<hr style='width: 65%;' /> + +<p><b>THE RISKS AND DANGERS OF VARIOUS OCCUPATIONS AND THEIR PREVENTION.</b> By +LEONARD A. PARRY, M.D., B.S. (Lond.). 196 pp., demy 8vo. 1900. Price 7s. +6d.; India and Colonies, 8s.; Other Countries, 8s. 6d.; strictly net.</p> + +<p><b>Contents.</b></p> + +<p>Chapters I., Occupations which are Accompanied by the Generation and +Scattering of Abnormal Quantities of Dust.—II., Trades in which there +is Danger of Metallic Poisoning.—III., Certain Chemical Trades.—IV., +Some Miscellaneous Occupations.—V., Trades in which Various Poisonous +Vapours are Inhaled.—VI., General Hygienic Considerations.—Index.</p> + +<p>This book contains valuable information for the following +trades—Aerated Water Manufacture, Alkali Manufacture, Aniline +Manufacture, Barometer Making, Brass Founders, Bromine Manufacture, +Bronze Moulders, Brush Making, Builders, Cabinet Makers, Calico +Printing, Chloride of Lime Manufacture, Coal Miners, Cocoa-nut Fibre +Making, Colour Grinders, Copper Miners, Cotton Goods Manufacture, Cotton +Yarn Dyeing, Cutlery Trades, Dry Cleaning, Electricity Generating, +Electroplaters, Explosives Manufacture, File Making, Flint Milling, +Floor Cloth Makers, Furriers, Fustian Clothing Making, Galvanised Iron +Manufacture, Gassing Process, Gilders, Glass Making, Glass Paper Making, +Glass Polishing and Cutting, Grinding Processes, Gunpowder +Manufacturing, Gutta-percha Manufacture, Hat Makers, Hemp Manufacture, +Horn Goods Making, Horse-hair Making, Hydrochloric Acid Manufacture, +India-rubber Manufacture, Iodine Manufacture, Ivory Goods Making, +Jewellers, Jute Manufacture, Knife Grinders, Knife Handle Makers, Lace +Makers, Lacquering, Lead Melters, Lead Miners, Leather Making, Linen +Manufacture Linoleum Making, Lithographic Printing and Bronzing, +Lithographing, Masons, Match Manufacture, Melanite Making, Mirror +Making, Needle Grinders, Needle Making, Nitro-benzole Making, +Nitro-glycerine Making, Paint Makers, Paper Making, Philosophical +Instrument Makers, Photographers, Pieric Acid Making, Portland Cement +Making, Pottery Manufacture, Printers, Quicksilver Mining, Rag Pickers, +Razor Grinders, Red Lead Making, Rope Making, Sand Paper Making, Saw +Grinders, Scissors Grinders, Shoddy Manufacture, Shot Making, Silk +Making, Silver Mining, Skinners, Slag, Wood Manufacture, Steel Makers, +Steel Pen Making, Stereotypers, Stone Masons, Straw Hat Makers, +Sulphuric Acid Manufacture, Sweeps, Table-knife Grinders, Tanners, +Telegraphists, Textile Industries, Tin Miners, Turners, Type Founders, +Umbrella Makers, Wall Paper Making, White Lead Making, Wood Working, +Woollen Manufacture, Wool Sorters, Zinc Oxide Manufacture. Zinc Working, +etc., etc.</p> + +<blockquote><p><b>Press Opinions</b>.</p> + + <p>"The language used is quite simple, and can be understood by any + intelligent person engaged in the trades dealt with."—<i>The + Clarion</i>.</p> + + <p>"This is an appalling book. It shows that there is scarcely a trade + or occupation that has not a risk or a danger attached to + it."—<i>Local Government Journal</i>.</p> + + <p>"Dr. Parry has not only pointed out the 'risks and dangers of + various occupations': he has suggested means for their prevention. + The work is primarily a practical one."—<i>Colliery Manager</i>.</p> + + <p>"This is a most useful book which should be in the hands of all + employers of labour, foremen, and intelligent workmen, and is one + of great utility to sanitary inspectors, and even on occasion to + medical men."—<i>Health</i>.</p> + + <p>"The writer has succeeded in collecting a large amount of + information, and though one could wish he had presented it in a + rather more attractive style, he has certainly condensed it into a + very small space."—<i>Physician and Surgeon</i>.</p> + + <p>"The little book before us is one which will be found exceedingly + useful to manufacturers and even factory inspectors.... No attempt + is made to show how diseases when originated are to be cured, but, + acting on the sound principle that prevention is better than cure, + means are stated how to avoid the harm."—<i>Bristol Mercury</i>.</p> + + <p>"The author has endeavoured to treat the question in simple rather + than in technical language, and he has lucidly catalogued the most + dangerous trades and their symptoms, and in each case specified the + best methods of dealing with them.... To those for whom the volume + is specially designed, Dr. Parry's treatise should be a useful + handbook."—<i>Sheffield Independent</i>.</p> + +<p><!-- Page 14 --><span class='pagenum'><a name="Page_a14" id="Page_a14">[Pg a14]</a></span></p> + + <p>"A very useful manual for employers of labour, foremen, intelligent + workmen, and, in spite of the author's modesty, for medical men. We + have the peculiar risks and dangers of all the dangerous trades + carefully described; the mode of action of various chemicals, etc., + used in different industries given, with full directions how to + minimise unavoidable risks."—<i>Leeds Mercury.</i></p> + + <p>"Most of the trades in the country are alluded to, and upon those + that are dangerous the necessary attention is bestowed, and means + are recommended whereby danger may be prevented or lessened. The + author has evidently studied his subject with care, and has made + full use of the experience of others who have had a larger insight + into the industries of the country."—<i>British Medical Journal.</i></p> + + <p>"The work is well written and printed, and its verbiage such as to + be comprehensible to the workman no less than to the master. The + careful and general perusal of a work of this nature cannot but be + attended by beneficial results of a far-reaching nature, and we + therefore heartily recommend the book to our readers. Medical + Officers of Health and Sanitary Inspectors especially should find + the work of great interest."—<i>Sanitary Record.</i></p> + + <p>"It is written in simple language, and its instructions can be + easily followed.... There are some employers, at any rate, who are + more ignorant of, than indifferent to, the slow murder of their + workpeople, and if the facts so succinctly set forth in this book + were brought to their notice, and if the Trade Unions made it their + business to insist on the observance of the better conditions Dr. + Parry described, much might be done to lessen the workman's + peril."—<i>Weekly Times and Echo.</i></p></blockquote> + + +<p><b>PRACTICAL X RAY WORK.</b> By FRANK T. ADDYMAN,</p> + +<p>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. 12 Plates from Photographs of X Ray Work. 52 +Illustrations. 200 pp. 1901. Price 10s. 6d.; India and Colonies, 11s.; +Other Countries, 12s.; strictly net.</p> + +<p><b>Contents.</b></p> + + <p>Part I., <b>Historical</b>—Chapters I., Introduction.—II., Work + leading up to the Discovery of the X Rays.—III., The Discovery.</p> + + <p>Part II., <b>Apparatus and its Management</b>—Chapters I., Electrical + Terms.—II., Sources of Electricity.—III., Induction Coils.—IV., + Electrostatic Machines.—V., Tubes.—VI., Air Pumps.—VII., Tube + Holders and Stereoscopic Apparatus.—VIII., Fluorescent Screens.</p> + + <p>Part III., <b>Practical X Ray Work</b>—Chapters I., + Installations.—II., Radioscopy.—III., Radiography.—IV., X Rays + in Dentistry.—V., X Rays in Chemistry.—VI., 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> + + +<p><b>DRYING BY MEANS OF AIR AND STEAM</b>. Explanations, Formulæ, and Tables +for Use in Practice. Translated from the German of E. HAUSBRAND. Two +Diagrams and Thirteen Tables. Demy 8vo. 1901. 72 pp. Price 5s.; India +and Colonies, 5s. 6d.; Other Countries, 6s.; strictly net.</p> + +<p><b>Contents.</b></p> + + <p>Preface.—British and Metric Systems Compared—Centigrade and Fahr. + Thermometers.—Chapters I, Introduction.—II., Estimation of the + Maximum Weight of Saturated Aqueous Vapour which can be contained + in 1 kilo. of Air at Different Pressure and Temperatures.—III., + 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> ¾, ½ or + ¼ Saturated.—<i>C</i>, When the Atmospheric Air is <i>not</i> Saturated + with Moisture before Entering the Drying Apparatus.—IV., Drying + Apparatus, in which, in the Drying Chamber, a Pressure is + Artificially Created, Higher or Lower than that of the + Atmosphere.—V., Drying by Means of Superheated Steam, without + Air.—VI., Heating Surface, Velocity of the Air Current, Dimensions + of the Drying Room, Surface of the Drying Material, Losses of + Heat.—Index.</p> + +<p><!-- Page 15 --><span class='pagenum'><a name="Page_a15" id="Page_a15">[Pg a15]</a></span></p> + +<hr style="width: 65%;" /> +<h2>Leather Trades.</h2> + +<p><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, and all Persons engaged +in the Manipulation of Leather. By H.C. STANDAGE. 165 pp. 1900. Price +7s. 6d.; India and Colonies, 8s.; Other Countries, 8s. 6d.; strictly +net.</p> + + +<p><b>Contents.</b></p> + +<p>Chapters I., Blackings, Polishes, Glosses, Dressings, Renovators, etc., +for Boot and Shoe Leather.—II., Harness Blackings, Dressings, Greases, +Compositions, Soaps, and Boot-top Powders and Liquids, etc., etc.—III., +Leather Grinders' Sundries.—IV., Currier's Seasonings, Blacking +Compounds, Dressings, Finishes, Glosses, etc.—V., Dyes and Stains for +Leather.—VI., Miscellaneous Information.—VII., Chrome Tannage.—Index.</p> + + +<blockquote><p><b>Press Opinions</b>.</p> + + <p>"The book being absolutely unique, is likely to be of exceptional + value to all whom it concerns, as it meets a long-felt + want."—<i>Birmingham Gazette.</i></p> + + <p>"This is a valuable collection of practical receipts and working + formulæ for the use of those engaged in the manipulation of + leather. We have no hesitation in recommending it as one of the + best books of its kind, an opinion which will be endorsed by those + to whom it appeals."—<i>Liverpool Mercury.</i></p> + + <p>"We think we may venture to state, so far as the opinion of the + leather trade under the Southern Cross is concerned, that it will + be one of approval. As practical men, having a long and wide + experience of the leather trade in Australia, we are certain that + there are many tanners and curriers carrying on business in remote + townships of the colonies to whom such a manual of practical + recipes will be invaluable.... This manual is not a mere collection + of recipes for the various purposes to which they may be applied, + but it is also replete with instructions concerning the nature of + the materials recommended to be used in making up the recipes.... + We think every intelligent leather man should avail himself of the + manual. It is undoubtedly a valuable contribution to the technology + of the leather trade."—<i>Australian Leather Journal and Boot and</i> + <i>Shoe Recorder.</i></p></blockquote> + +<hr style='width: 45%;' /> + +<p><b>PRACTICAL TREATISE ON THE LEATHER INDUSTRY</b>. By A.M. VILLON. A +Translation of Villon's "Traité Pratique de la Fabrication des cuirs et +du Travail des Peaux". 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. 1901. 123 Illustrations. Price 21s.; India and Colonies, 22s.; +Other Countries, 23s. 6d.; strictly net.</p> + + +<p><b>Contents.</b></p> + +<p>Preface—Translator's Preface—List of Illustrations.</p> + +<p>Part I., <b>Materials used in Tanning</b>—Chapter I., Skins: I., Skin and +its Structure; II., Skins used in Tanning; III., Various Skins and their +Uses—Chapter II., Tannin and Tanning Substances: I., Tannin; II., Barks +(Oak); III., Barks other than Oak; IV., Tanning Woods; V., +Tannin-bearing Leaves; VI., Excrescences; VII., Tan-bearing Fruits; +VIII., Tan-bearing Roots and Bulbs; IX., Tanning Juices: X., Tanning +Substances used in Various Countries; XI., Tannin Extracts; XII., +Estimation of Tannin and Tannin Principles.</p> + +<p>Part II., <b>Tanning</b>—Chapter I., The Installation of a Tannary: I., Tan +Furnaces; II., Chimneys, Boilers, etc.; III., Steam Engines—Chapter +II., Grinding and Trituration of Tanning Substances: I., Cutting up +Bark: II., Grinding Bark; III., The Grinding of Tan Woods; IV., +Powdering Fruit, Galls and Grains; V., Notes on the Grinding of +Bark—Chapter III., Manufacture of Sole Leather: I., Soaking; II., +Sweating and Unhairing; III., Plumping and Colouring; IV., Handling; V., +Tanning; VI., Tanning Elephants' Hides; VII., Drying; VIII., Striking or +Pinning—Chapter IV., Manufacture of Dressing Leather: I., Soaking; II., +Depilation; III., New Processes for the Depilation of Skins; IV., +Tanning; V., Cow Hides; VI., Horse Hides; VII., Goat Skins; Manufacture +of Split Hides—Chapter V., On Various Methods of Tanning: I., +Mechanical Methods; II., Physical Methods; III., Chemical Methods; IV., +Tanning with Extracts—Chapter VI., Quantity and Quality: I., Quantity; +II., Net Cost; III., Quality of Leather—Chapter VII., Various +Manipulations of Tanned Leather: I., Second Tanning; II., Grease Stains: +III., Bleaching Leather; IV., Waterproofing Leather; V., Weighting +Tanned Leather; VI., Preservation of Leather—Chapter VIII., Tanning +Various Skins.</p> + +<p>Part III., <b>Currying</b>—Chapter I., Waxed Calf: I., Preparation; II., +Shaving; III., Stretching or Slicking; IV., Oiling the Grain: V., Oiling +the Flesh Side; VI., Whitening and Graining; VII., Waxing; VIII., +Finishing; IX., Dry Finishing; X., Finishing in Colour; XI., +Cost—Chapter II., White Calf: I., Finishing in White—Chapter III., Cow +Hide for Upper Leathers: I., Black Cow Hide; II., White Cow Hide; III., +Coloured Cow Hide.—Chapter IV., Smooth Cow Hide—Chapter V., Black +Leather—Chapter VI., Miscellaneous Hides: I., Horse; II., Goat; III., +Waxed Goat Skin: IV., Matt Goat Skin—Chapter VII., Russia Leather: I., +Russia Leather; II., Artificial Russia Leather.<!-- Page 16 --><span class='pagenum'><a name="Page_a16" id="Page_a16">[Pg a16]</a></span></p> + +<p>Part IV., <b>Enamelled, Hungary and Chamoy Leather, Morocco, Parchment, +Furs and Artificial Leather</b>—Chapter I., Enamelled Leather: I., Varnish +Manufacture; II., Application of the Enamel; III., Enamelling in +Colour—Chapter II., Hungary Leather: I., Preliminary; II., Wet Work or +Preparation; III., Aluming; IV., Dressing or Loft Work; V., Tallowing; +VI., Hungary Leather from Various Hides—Chapter III., Tawing: I., +Preparatory Operations; II., Dressing; III., Dyeing Tawed Skins; IV., +Rugs—Chapter IV., Chamoy Leather—Chapter V., Morocco: I., Preliminary +Operations; II., Morocco Tanning; III., Mordants used in Morocco +Manufacture; IV., Natural Colours used in Morocco Dyeing; V., Artificial +Colours; VI. Different Methods of Dyeing; VII., Dyeing with Natural +Colours; VIII., Dyeing with Aniline Colours; IX., Dyeing with Metallic +Salts; X., Leather Printing; XI., Finishing Morocco; XII., Shagreen; +XIII., Bronzed Leather—Chapter VI., Gilding and Silvering: I., Gilding; +II., Silvering; III., Nickel and Cobalt—Chapter VII., +Parchment—Chapter VIII., Furs and Furriery: I., Preliminary Remarks; +II., Indigenous Furs; III., Foreign Furs from Hot Countries; IV., +Foreign Furs from Cold Countries; V., Furs from Birds' Skins; VI., +Preparation of Furs; VII., Dressing; VIII., Colouring; IX., Preparation +of Birds' Skins; X., Preservation of Furs—Chapter IX., Artificial +Leather: I., Leather made from Scraps; II., Compressed Leather; III., +American Cloth; IV., Papier Mâché; V., Linoleum: VI., Artificial +Leather.</p> + +<p>Part V., <b>Leather Testing and the Theory of Tanning</b>—Chapter I., +Testing and Analysis of Leather: I., Physical Testing of Tanned Leather: +II., Chemical Analysis—Chapter II., The Theory of Tanning and the other +Operations of the Leather and Skin Industry: I., Theory of Soaking; II., +Theory of Unhairing; III., Theory of Swelling; IV., Theory of Handling; +V., Theory of Tanning; VI., Theory of the Action of Tannin on the Skin; +VII., Theory of Hungary Leather Making; VIII., Theory of Tawing; IX., +Theory of Chamoy Leather Making; X., Theory of Mineral Tanning.</p> + +<p>Part VI., <b>Uses of Leather</b>—Chapter I., Machine Belts: I., Manufacture +of Belting; II., Leather Chain Belts; III., Various Belts, IV., Use of +Belts—Chapter II., Boot and Shoe-making: I., Boots and Shoes; II., +Laces—Chapter III., Saddlery: I., Composition of a Saddle; II., +Construction of a Saddle—Chapter IV., Harness: I., The Pack Saddle; +II., Harness—Chapter V., Military Equipment—Chapter VI., Glove +Making—Chapter VII., Carriage Building—Chapter VIII., Mechanical Uses.</p> + +<p>Appendix, <b>The World's Commerce in Leather</b>—I., Europe; II., America; +III., Asia; IV., Africa; Australasia—Index.</p> + +<blockquote><p><b>Press Opinions.</b></p> + + <p>"The book is well and lucidly written. The writer is evidently a + practical man, who also has taken the trouble to make himself + acquainted with the scientific and technical side of his trade ... + French methods differ largely from our own: sometimes we think our + ways the best, but not always. The practical man may pick up many + useful hints which may help him to improve his methods." + —<i>Shoe Manufacturers' Monthly Journal</i>.</p> + + <p>"This book cannot fail to be of great value to all engaged in the + leather trades ... The British may believe that the French can + teach them nothing in the work of leather tanning generally, but a + comparison of the methods of the two countries will certainly yield + a few wrinkles which may lead to advantageous results. Only a man + understanding the science and technique of the trade could have + written the book, and it is well done." + —<i>Midland Free Press</i>.</p> + + <p>"Gives much useful and interesting information concerning the + various processes by which the skins of animals are converted into + leather. Written by a French Chemist after five years of constant + study and application: it shows all that detail of analysis which + we are accustomed to find in scientists, and which the practical + tanner is too much in the habit of ignoring, sometimes to his own + loss." + —<i>Leeds Mercury</i>.</p> + + <p>"Nor can there be much doubt that this expectation will be fully + justified by the result. Thanks to the conspicuous painstaking with + which Mr. Addyman has discharged his duty, and the 123 + illustrations by which the text is elucidated, the volume can + hardly fail to prove a very valuable standard work of its class. It + can thus be confidently recommended to all who are more or less + practically interested in the technology of a very important + subject." + —<i>Leicester Post</i>.</p> + + <p>"This is, in every respect, an altogether admirable, practical, + clear and lucid treatise on the various and numerous branches of + the great leather industry, of which it deals in an exhaustive, + highly intelligent, workmanlike and scientific manner ... It is a + handsome addition to every man's knowledge of his trade, whether he + be a leading director of a large public company, or an industrious + employee in the works, wishing to improve his services by the + addition of his brains to his work." + —<i>Shoe and Leather Trader</i>.</p> + + <p>"M. Villon writes as one having a very full knowledge of all + branches of the subject, and in days when foreign competition has + enforced on English manufacturers the importance of no longer being + content with rule-of-thumb methods which have come down to them + from their forefathers it certainly should be worth the while of + English tanners to see what lessons they can learn from French + practice, and French practice, we should imagine, could hardly have + a better exponent than the author of this large volume." + —<i>Western Daily Press and Bristol Times</i>.</p> + + <p>"At a time when all or nearly all our British industries are to a + greater or less extent hampered by the pressure of continental and + American competition, any hints that can be obtained as to the + methods pursued by competitors must necessarily be of value ... + That it will be of interest and value, not merely to English + tanners, but to those associated with many kindred industrial + branches, goes without saying ... As a work of reference the volume + will be extremely useful in the trade, and where leisure affords + sufficient opportunity a careful perusal and study of it would + afford ample reward." + —<i>Kettering Guardian.</i></p> + + <p>"This is a very handsomely got up and elaborate work just issued by + this well-known technical book-publishing firm ... When we say that + the work consists of over 500 large pages with about 120 + illustrations, and almost innumerable tables, it will be seen at + once that we cannot attempt anything like an exhaustive resume of its + contents, and even if we did the details would be of little + interest to our general readers, while those who are engaged in the + leather industry will probably obtain the book for themselves—at + least they would do well to do so.... Altogether the 'Treatise' has + evidently been very carefully prepared, and by a man who thoroughly + knows the subject, and hence it will be a very valuable technical + book for English firms and workers.'—<i>Walsall Observer.</i></p></blockquote> + +<hr style="width: 65%;" /> +<h2><b>Books on Pottery, Bricks, Tiles, Glass, etc.</b></h2> + +<p><b>THE MANUAL OF PRACTICAL POTTING</b>. Revised and Enlarged. Third Edition. +200 pp. 1901. Price 17s. 6d.; India and Colonies, 18s. 6d.; Other +Countries, 20s.; strictly net.</p> + +<p><b>Contents</b>.</p> + +<p><b>Introduction</b>. The Rise and Progress of the Potter's Art.—Chapters I., +<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.—II., <b>Glazes</b>. China Glazes, Ironstone Glazes, +Earthenware Glazes, Glazes without Lead, Miscellaneous Glazes, Coloured +Glazes, Majolica Colours.—III., <b>Gold and Cold 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.—IV., <b>Means and Methods</b>. +Reclamation of Waste Gold, The Use of Cobalt, Notes on Enamel Colours, +Liquid or Bright Gold.—V., <b>Classification and Analysis</b>. +Classification of Clay Ware, Lord Playfair's Analysis of Clays, The +Markets of the World, Time and Scale of Firing, Weights of Potter's +Material, Decorated Goods Count.—VI., Comparative Loss of Weight of +Clays.—VII., Ground Felspar Calculations.—VIII., The Conversion of +Slop Body Recipes into Dry Weight.—IX., The Cost of Prepared +Earthenware Clay.—X., <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 of South America. <b>Index</b>.</p> + + +<p><b>CERAMIC TECHNOLOGY</b>: Being some Aspects of Technical Science as Applied +to Pottery Manufacture. Edited by CHARLES F. BINNS. 100 pp. 1897. Price +12s. 6d.; India and Colonies, 13s. 6d.; Other Countries, 15s.; strictly +net.</p> + +<p><b>Contents</b>.</p> + +<p>Preface.—Introduction.—Chapters I., The Chemistry of Pottery.—II., +Analysis and Synthesis.—III., Clays and their Components.—IV., The +Biscuit Oven.—V., Pyrometry.—VI., Glazes and their Composition.—VII., +Colours and Colour-making.—Index.</p> + + +<p><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. British +manufacturers have kept up the quality of this glass from the arrivals +of the Venetians to Hungry Hill, Stourbridge, up to the present time. +The book also contains remarks as to the result of the metal as it left +the pots by the respective metal mixers, taken from their own memoranda +upon the originals. 1900. Price for United Kingdom, 10s. 6d.; Abroad. +15s.; United States, 84; strictly net.</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 Melachite +—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.<!-- Page 18 --><span class='pagenum'><a name="Page_a18" id="Page_a18">[Pg a18]</a></span></p> + +<p><b>COLOURING AND DECORATION OF CERAMIC WARE</b>. By ALEX. BRONGNIART. With +Notes and Additions by ALPHONSE SALVETAT. Translated from the French. +200 pp. 1898. Price 7s. 6d.; India and Colonies, 8s.; Other Countries, +8s. 6d.; strictly net.</p> + +<p><b>Contents.</b></p> + +<p>The Pastes, Bodies or Ceramic Articles Capable of being Decorated by +Vitrifiable Colours—The Chemical Preparation of Vitrifiable +Colours—Composition and Preparation of Vitrifiable Colours—The +Oxides—Preparation of Oxides—Preparation of Chromates—Preparation of +other Colours—Composition and Preparation of Fluxes—Muffle +Colours—Recipes for Colours—Use of Metals—Lustres—Preparation and +Application of Colours—Composition of Coloured Pastes—Underglaze +Colours—Colours in the Glaze—Overglaze Colours—Painting in +Vitrifiable Colours—Gilding—Burnishing—Printing—Enlarging and +Reducing Gelatine Prints—Muffle Kilns for Vitrifiable +Colours—Influence of the Material on the Colour—Changes Resulting from +the Actions of the Fire—Alterations Resulting from the +Colours—Alterations in Firing.</p> + + +<p><b>HOW TO ANALYSE CLAY</b>. Practical Methods for Practical Men. By HOLDEN M. +ASHBY, Professor of Organic Chemistry, Harvey Medical College, U.S.A. +Twenty Illustrations. 1898. Price 2s. 6d.; Abroad, 3s.; strictly net.</p> + +<p><b>Contents</b>.</p> + +<p>List of Apparatus—List of Atomic Weights—Use of Balance, and Burette, +Sand Bath, and Water Bath—Dessicator—Drying +Oven—Filtering—Fusion—Determination of Water, Organic Matter, Iron, +Calcium, Alkalies, Limestone, Silica, Alumina, Magnesium, +etc.—Mechanical Analysis—Rational Analysis—Standard +Solutions—Volumetric Analysis—Standards for Clay Analysis—Sampling.</p> + + +<p><b>ARCHITECTURAL POTTERY</b>. Bricks, Tiles, Pipes, Enamelled Terra-cottas, +Ordinary and Incrusted Quarries, Stoneware Mosaics, Faïences and +Architectural Stoneware. By LEON LOUVRE. With Five Plates. 950 +Illustrations in the Text, and numerous estimates. 500 pp., royal 8vo. +1900. Translated from the French by K. H. BIRD, M.A., and W. MOORE +BINNS. Price 15s.; India and Colonies, 16s.; Other Countries, 17s. 6d.; +strictly net.</p> + +<p><b>Contents.</b></p> + +<p>Part I. <b>Plain Undecorated Pottery</b>.—Chapter I., Clays: § 1, +Classification, General Geological Remarks.—Classification, Origin, +Locality; § 2, General Properties and Composition: Physical Properties, +Contraction, Analysis, Influence of Various Substances on the Properties +of Clays; § 3, Working of Clay-Pits—I. Open Pits: Extraction, +Transport, Cost—II. Underground Pits—Mining Laws. Chapter II., +Preparation of the Clay: Weathering, Mixing, Cleaning, Crushing and +Pulverising—Crushing Cylinders and Mills, Pounding Machines—Damping: +Damping Machines—Soaking, Shortening, Pugging: Horse and Steam +Pug-Mills, Rolling Cylinders—Particulars of the Above Machines. Chapter +III., Bricks: § 1, Manufacture—(1) Hand and Machine Moulding,—I. +Machines Working by Compression: on Soft Clay, on Semi-Firm Clay, on +Firm Clay, on Dry Clay.—II. Expression Machines: with Cylindrical +Propellers, with Screw Propellers—Dies—Cutting-tables—Particulars of +the Above Machines—General Remarks on the Choice of Machines—Types of +Installations—Estimates—Plenishing, Hand and Steam Presses, +Particulars—(2) Drying, by Exposure to Air, Without Shelter, and Under +Sheds—Drying-rooms in Tiers, Closed Drying-rooms, in Tunnels, in +Galleries—Detailed Estimates of the Various Drying-rooms, Comparison of +Prices—Transport from the Machines to the Drying-rooms, Barrows, +Trucks, Plain or with Shelves, Lifts—(3) Firing—I. In Clamps—II. In +Intermittent Kilns. <i>A</i>, Open: <i>a</i>, using Wood; <i>b</i> Coal; <i>b´</i>, in +Clamps; <i>b´´</i>, Flame—<i>B</i>, Closed: <i>c</i>, Direct Flame; <i>c´</i>, Rectangular; +<i>c´´</i>, Round; <i>d</i>, Reverberatory—III. Continuous Kilns: <i>C</i>, with Solid +Fuel: Round Kiln, Rectangular Kiln, Chimneys (Plans and Estimates)—<i>D</i>, +With Gas Fuel, Fillard Kiln (Plans and Estimates), Schneider Kiln (Plans +and Estimates), Water-gas Kiln—Heat Production of the Kilns; § 2, +Dimensions, Shapes, Colours, Decoration, and Quality of Bricks—Hollow +Bricks, Dimensions and Prices of Bricks, Various Shapes, +Qualities—Various Hollow Bricks, Dimensions, Resistance, Qualities; § +3, Applications —History—Asia, Africa, America, Europe: Greek, Roman, +Byzantine, Turkish, Romanesque, Gothic, Renaissance, +Architecture—Architecture of the Nineteenth Century: in Germany, +England, Belgium, Spain, Holland, France, America—Use of Bricks—Walls, +Arches, Pavements, Flues, Cornices—Facing with Coloured +Bricks—Balustrades. Chapter IV., Tiles: § 1, History; § 2, +Manufacture—(1) Moulding, by Hand, by Machinery: Preparation of the +Clay, Soft Paste, Firm Paste, Hard Paste—Preparation of the Slabs, +Transformation into Flat Tiles, into Jointed Tiles—Screw, Cam and +Revolver Presses—Particulars of Tile-presses—(2) Drying—Planchettes, +Shelves, Drying-barrows and Trucks—(3) Firing—Divided +Kilns—Installation of Mechanical Tileworks—Estimates; § 3, Shapes, +Dimensions and Uses of the Principal Types of Tile—Ancient Tiles: Flat, +Round, Roman, Flemish—Modern Tiles—With Vertical Interrupted Join: +Gilardoni's, Martin's; Hooked, Boulet's Villa; with Vertical Continuous +Join: Muller's, Alsace, Pantile—Foreign Tiles—Special Tiles—Ridge +Tiles, Coping Tiles, Border Tiles, Frontons, Gutters, Antefixes, +Membron, Angular—Roofing Accessories: Chimney-pots,<!-- Page 19 --><span class='pagenum'><a name="Page_a19" id="Page_a19">[Pg a19]</a></span> Mitrons, Lanterns, +Chimneys—Qualities of Tiles—Black Tiles—Stoneware Tiles—Particulars +of Tiles. Chapter V., Pipes: I. Conduit Pipes—Manufacture—Moulding: +Horizontal Machines, Vertical Machines, Worked by Hand and +Steam—Particulars of these Machines—Drying—Firing—II. Chimney +Flues—Ventiducts and "Boisseaux," "Waggons"—Particulars of these +Products. Chapter VI., Quarries: 1, Plain Quarries of Ordinary Clay; 2, +of Cleaned Clay—Machines, Cutting, Mixing, Polishing—Drying and +Firing—Applications—Particulars of Quarries. Chapter VII., +Terra-cotta: History—Manufacture—Application: Balustrades, Columns, +Pilasters, Capitals, Friezes, Frontons, Medallions, Panels, +Rose-windows, Ceilings—Appendix: Official Methods of Testing +Terra-cottas.</p> + +<p>Part II. <b>Made-up or Decorated Pottery</b>.—Chapter I., General Remarks on +the Decoration of Pottery: Dips—Glazes: Composition, Colouring, +Preparation, Harmony with Pastes—Special Processes of +Decoration—Enamels, Opaque, Transparent, Colours, Underglaze, +Over-glaze—Other Processes: Crackling, Mottled, Flashing, Metallic +Iridescence, Lustres. Chapter II., Glazed and Enamelled Bricks—History: +Glazing—Enamelling—Applications: Ordinary Enamelled Bricks, Glazed +Stoneware, Enamelled Stoneware—Enamelled Tiles. Chapter III., Decorated +Quarries: I. Paving Quarries—1, Decorated with Dips—2, Stoneware: <i>A</i>, +Fired to Stoneware: <i>a</i>, of Slag Base—Applications; <i>b</i>, of Melting +Clay—Applications—<i>B</i>, Plain or Incrusted Stoneware; <i>a</i>, of Special +Clay (Stoke-on-Trent)—Manufacture—Application—<i>b</i>, of Felspar +Base—Colouring, Manufacture, Moulding, Drying, +Firing—Applications.—II. Facing Quarries—1, in Faience—<i>A</i>, of +Limestone Paste—<i>B</i>, of Silicious Paste—<i>C</i>, of Felspar +Paste—Manufacture, Firing—2, of Glazed Stoneware—3, of +Porcelain—Applications of Facing Quarries.—III. Stove +Quarries—Preparation of the Pastes, Moulding, Firing, Enamelling, +Decoration—Applications—Faiences for Fireplaces. Chapter IV., +Architectural Decorated Pottery: § 1, Faiences; § 2, Stoneware; § 3, +Porcelain. Chapter V., Sanitary Pottery: Stoneware Pipes: Manufacture, +Firing—Applications—Sinks—Applications—Urinals, Seats and +Pans—Applications—Drinking-fountains, Washstands. Index.</p> + + + +<h2><a name="A_TREATISE_ON_THE_CERAMIC_INDUSTRIES" id="A_TREATISE_ON_THE_CERAMIC_INDUSTRIES"></a><b>A TREATISE ON THE CERAMIC INDUSTRIES.</b></h2> + +<p>A Complete Manual for Pottery, Tile and Brick Works. By EMILE BOURRY, +Ingénieur des Arts et Manufactures. 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. 1901. Over 700 pp. Price 21s.; India and Colonies, +22s.; Other Countries, 23s. 6d.; strictly net.</p> + +<p><b>Contents</b>.</p> + +<p>Part I., <b>General Pottery Methods</b>. Chapters I., Definition and History. +Definitions and Classification of Ceramic Products—Historic Summary of +the Ceramic Art.—II., 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.—III., Plastic Bodies. Properties and +Composition—Preparation of Raw Materials: +Disaggregation—Purification—Preparation of Bodies: By Plastic +Method—By Dry Method—By Liquid Method.—IV., Formation. Processes of +Formation: Throwing—Expression—Moulding by Hand, on the Jolley, by +Compression, by Slip Casting—Slapping—Slipping.—V., Drying. Drying of +Bodies—Processes of Drying: By Evaporation—By Aeration—By Heating—By +Ventilation—By Absorption.—VI., Glazes. Composition and +Properties—Raw Materials—Manufacture and Application.—VII., Firing. +Properties of the Bodies and Glazes during Firing—Description of the +Kilns—Working of the Kilns.—VIII., Decoration. Colouring +Materials—Processes of Decoration.</p> + +<p>Part II., <b>Special Pottery Methods</b>. Chapters IX., 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.—X., Fireclay Goods. +Classification: Argillaceous, Aluminous, Carboniferous, Silicious and +Basic Fireclay Goods—Fireclay Mortar (Pug)—Tests for Fireclay +Goods.—XI. Faiences. Varnished Faiences—Enamelled Faiences—Silicious +Faiences—Pipeclay Faiences—Pebble Work—Feldspathic +Faiences—Composition, Processes of Manufacture and General Arrangements +of Faience Potteries.—XII., 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.—XIII., 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.—<b>Index</b>.</p> + + + +<p><b>THE ART OF RIVETING GLASS, CHINA AND EARTHENWARE.</b> By J. HOWARTH.</p> +<p>Second Edition. 1900. Price 1s. net; by post, home or abroad, 1s. 1d.</p> + +<p><b>Contents</b>.</p> + +<p>Tools and Materials Required—Wire Used for Rivets—Soldering +Solution—Preparation for Drilling—Commencement of +Drilling—Cementing—Preliminaries to Riveting—Rivets to Make—To Fix +the Rivets—Through-and-through Rivets—Soldering—Tinning a +Soldering-iron—Perforated Plates, Handles, etc.—Handles of Ewers, +etc.—Vases and Comports—Marble and Alabaster Ware—Decorating—How to +Loosen Fast Decanter Stoppers—China Cements.<!-- Page 20 --><span class='pagenum'><a name="Page_a20" id="Page_a20">[Pg a20]</a></span></p> + +<p><b>NOTES OF POTTERY CLAYS</b>. Their Distribution, Properties, Uses and +Analyses of Ball Clays, China Clays and China Stone. By JAS. FAIRIE, +F.G.S. 1901. 132 pp. Crown 8vo. Price 3s. 6d.; India and Colonies, 4s.; +Other Countries, 4s. 6d.; strictly net.</p> + +<p><b>Contents</b>.</p> + +<p>Definitions—Occurrence—Brick Clays—Fire Clays—Analyses of Fire +Clays.—<b>Ball Clays</b>—Properties—Analyses—Occurrence—Pipe Clay—Black +Clay—Brown Clay—Blue Clay—Dorsetshire and Devonshire Clays.—<b>China +Clay</b> or Kaolin—Occurrence—Chinese Kaolin—Cornish Clays—Hensbarrow +Granite—Properties, Analyses and Composition of China Clays—Method of +Obtaining China Clay—Experiments with Chinese Kaolin—Analyses of +Chinese and Japanese Clays and Bodies—Irish Clays.—<b>Chinese +Stone</b>—Composition—Occurrence—Analyses.—Index.</p> + + +<p><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, Faience and Stoneware, the Coloured +Pastes and Coloured Glasses, together with a Minute Description of the +Firing of Colours and Enamels. On the Basis of Personal Practical +Experience of the Condition of the Art up to Date. By FELIX HERMANN, +Technical Chemist. With Eighteen Illustrations. 300 pp. Translated from +the German second and enlarged Edition. 1897. Price 10s. 6d.; India and +Colonies, 11s.; Other Countries, 12s.; strictly net.</p> + +<p><b>Contents</b>.</p> + +<p>History of Glass Painting.—Chapters I., The Articles to be Painted: +Glass, Porcelain, Enamel, Stoneware, Faience.—II., Pigments: 1, +Metallic Pigments: Antimony Oxide, Naples Yellow, Barium Chromate, Lead +Chromate, Silver Chloride, Chromic Oxide.—III., Fluxes: Fluxes, +Felspar, Quartz, Purifying Quartz, Sedimentation, Quenching, Borax, +Boracic Acid, Potassium and Sodium Carbonates, Rocaille Flux.—IV., +Preparation of the Colours for Glass Painting.—V., The Colour +Pastes.—VI., The Coloured Glasses.—VII., Composition of the Porcelain +Colours.—VIII., The Enamel Colours: Enamels for Artistic Work.—IX., +Metallic Ornamentation: Porcelain Gilding, Glass Gilding.—X., Firing +the Colours: 1, Remarks on Firing: Firing Colours on Glass. Firing +Colours on Porcelain; 2, The Muffle.—XI., Accidents occasionally +Supervening during the Process of Firing.—XII., Remarks on the +Different Methods of Painting on Glass, Porcelain, etc.—Appendix: +Cleaning Old Glass Paintings.</p> + +<blockquote><p><b>Press Opinions</b>.</p> + + <p>"Mr. Hermann, by a careful division of his subject, avoids much + repetition, yet makes sufficiently clear what is necessary to be + known in each art. He gives very many formulæ; and his hints on the + various applications of metals and metallic lustres to glass and + porcelains will be found of much interest to the amateur."—<i>Art</i> + <i>Amateur</i>, New York.</p> + + <p>"For the unskilled and amateurs the name of the publishers will be + sufficient guarantee for the utility and excellence of Mr. + Hermann's work, even if they are already unacquainted with the + author.... The whole cannot fail to be both of service and interest + to glass workers and to potters generally, especially those + employed upon high-class work."—<i>Staffordshire Sentinel</i>.</p> + + <p>"In <i>Painting on Glass and Porcelain</i> the author has dealt very + exhaustively with the technical as distinguished from the artistic + side of his subject, the work being entirely devoted to the + preparation of the colours, their application and firing. For + manufacturers and students it will be a valuable work, and the + recipes which appear on almost every page form a very valuable + feature. The author has gained much of his experience in the + celebrated Sevres manufactory, a fact which adds a good deal of + authority to the work."—<i>Builders Journal</i>.</p> + + <p>"The compiler displays that painstaking research characteristic of + his nation, and goes at length into the question of the chemical + constitution of the pigments and fluxes to be used in + glass-painting, proceeding afterwards to a description of the + methods of producing coloured glass of all tints and shades.... + Very careful instructions are given for the chemical and mechanical + preparation of the colours used in glass-staining and + porcelain-painting; indeed, to the china painter such a book as + this should be of permanent value, as the author claims to have + tested and verified every recipe he includes, and the volume also + comprises a section devoted to enamels both opaque and translucent, + and another treating of the firing of porcelain, and the accidents + that occasionally supervene in the furnace."—<i>Daily Chronicle</i>.</p> +</blockquote> + +<p><b>A reissue of</b></p> + +<p><b>THE HISTORY OF THE STAFFORDSHIRE POTTERIES; AND THE RISE AND PROGRESS OF +THE MANUFACTURE OF POTTERY AND PORCELAIN</b>.</p> + +<p>With References to Genuine Specimens, and Notices of Eminent Potters. By +SIMEON SHAW. (Originally Published in 1829.) 265 pp. 1900. Demy 8vo. +Price 7s. 6d.; India and Colonies, 8s.; Other Countries, 8s. 6d.; +strictly net.<!-- Page 21 --><span class='pagenum'><a name="Page_a21" id="Page_a21">[Pg a21]</a></span></p> + +<p><b>Contents.</b></p> + +<p><b>Introductory Chapter</b> showing the position of the Pottery Trade at the +present time (1899).—Chapters I., <b>Preliminary Remarks</b>.—II., <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.—III., <b>On the Origin of the Art</b>, and its +Practice among the early Nations.—IV., <b>Manufacture of Pottery</b>, prior +to 1700.—V., <b>The Introduction of Red Porcelain</b> by Messrs. Elers, of +Bradwell, 1690.—VI., <b>Progress of the Manufacture</b> from 1700 to Mr. +Wedgwood's commencement in 1760.—VII. <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.—VIII., <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.—IX., <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.—X., <b>Introduction of +Lustre Pottery</b>. Improvements in Pottery and Porcelain subsequent to +1800.</p> + +<blockquote><p><b>Press Opinions.</b></p> + +<p>"There is much curious and useful information in the work, and the +publishers have rendered the public a service in reissuing it."—<i>Burton +Mail</i>.</p> + +<p>"Copies of the original work are now of considerable value, and the +facsimile reprint now issued cannot but prove of considerable interest +to all interested in the great industry."—<i>Derby Mercury</i>.</p> + +<p>"The book will be especially welcomed at a time when interest in the art +of pottery manufacture commands a more widespread and general interest +than at any previous time."—<i>Wolverhampton Chronicle</i>.</p> + +<p>"This work is all the more valuable because it gives one an idea of the +condition of affairs existing in the north of Staffordshire before the +great increase in work and population due to modern +developments."—<i>Western Morning News</i>.</p> + +<p>"The History gives a graphic picture of North Staffordshire at the end +of the last and the beginning of the present century, and states that in +1829 there was 'a busy and enterprising community' in the Potteries of +fifty thousand persons.... We commend it to our readers as a most +entertaining and instructive publication,"—<i>Staffordshire Sentinel</i>.</p> +</blockquote> + + +<p><b>A Reissue of<br /> +THE CHEMISTRY OF THE SEVERAL NATURAL AND ARTIFICIAL HETEROGENEOUS +COMPOUNDS USED IN MANUFACTURING PORCELAIN, GLASS AND POTTERY</b>.</p> + +<p><b>By SIMEON SHAW.</b></p> + +<p>(Originally published in 1837.) 750 pp. 1900. Royal 8vo. Price 14s.; +India and Colonies, 15s.; Other Countries, 16s. 6d.; strictly net.</p> + +<p><b>Contents</b>.</p> + +<p>PART I., ANALYSIS AND MATERIALS.—Chapters I., <b>Introduction:</b> +Laboratory and Apparatus; <b>Elements:</b> Combinative Potencies, +Manipulative Processes for Analysis and Reagents, Pulverisation, +Blow-pipe Analysis, Humid Analysis, Preparatory Manipulations, General +Analytic Processes, Compounds Soluble in Water, Compounds Soluble only +in Acids, Compounds (Mixed) Soluble in Water, Compounds (Mixed) Soluble +in Acids, Compounds (Mixed) Insoluble, Particular Analytic +Processes.—II., <b>Temperature:</b> Coal, Steam Heat for Printers' +Stoves.—III., <b>Acids and Alkalies:</b> Boracic Acid, Muriatic Acid, Nitric +Acid, Sulphuric Acid, Potash, Soda, Lithia, Calculation of Chemical +Separations.—IV., <b>The Earths:</b> Alumine, Clays, Silica, Flint, Lime, +Plaster of Paris, Magnesia, Barytes, Felspar, Grauen (or China Stone), +China Clay, Chert.—V., <b>Metals:</b> Reciprocal Combinative Potencies of +the Metals, Antimony, Arsenic, Chromium, Green Oxide, Cobalt, Chromic +Acid, Humid Separation of Nickel from Cobalt, Arsenite of Cobalt, +Copper, Gold, Iron, Lead, Manganese, Platinum, Silver, Tin, Zinc.</p> + +<p>PART II., SYNTHESIS AND COMPOUNDS.—Chapters I., Sketch of the Origin +and Progress of the Art.—II., <b>Science of Mixing:</b> Scientific +Principles of the Manufacture, Combinative Potencies of the +Earths.—III., <b>Bodies:</b> Porcelain—Hard, Porcelain—Fritted Bodies, +Porcelain—Raw Bodies, Porcelain—Soft, Fritted Bodies, Raw Bodies, +Stone Bodies, Ironstone, Dry Bodies, Chemical Utensils, Fritted Jasper, +Fritted Pearl, Fritted Drab, Raw Chemical Utensils, Raw Stone, Raw +Jasper, Raw Pearl, Raw Mortar, Raw Drab, Raw Brown, Raw Fawn, Raw Cane, +Raw Red Porous, Raw Egyptian, Earthenware, Queen's Ware, Cream Colour, +Blue and Fancy Printed, Dipped and Mocha, Chalky, Rings, Stilts, +etc.—IV., <b>Glazes:</b> Porcelain—Hard Fritted, Porcelain—Soft Fritted, +Porcelain—Soft Raw, Cream Colour Porcelain, Blue Printed Porcelain, +Fritted Glazes, Analysis of Fritt, Analysis of Glaze, Coloured Glazes, +Dips, Smears and Washes: <b>Glasses:</b> Flint Glass, Coloured Glasses, +Artificial Garnet, Artificial Emerald, Artificial Amethyst, Artificial +Sapphire, Artificial Opal, Plate Glass, Crown Glass, Broad Glass, Bottle +Glass, Phosphoric Glass, British Steel Glass, Glass-Staining and +Painting, Engraving on Glass, Dr. Faraday's Experiments.—V., <b>Colours:</b> +Colour Making, Fluxes or Solvents, Components of the Colours: Reds, +etc., from Gold, Carmine or Rose Colour, Purple, Reds, etc., from Iron, +Blues, Yellows, Greens, Blacks, White, Silver for Burnishing, Gold for +Burnishing, Printer's Oil, Lustres.<!-- Page 22 --><span class='pagenum'><a name="Page_a22" id="Page_a22">[Pg a22]</a></span></p> + +<p>PART III., TABLES OF THE CHARACTERISTICS OF CHEMICAL +SUBSTANCES.—Preliminary Remarks, Oxygen (Tables), Sulphur and its +Compounds, Nitrogen ditto, Chlorine ditto, Bromine ditto, Iodine ditto, +Fluorine ditto, Phosphorous ditto, Boron ditto, Carbon ditto, Hydrogen +ditto, Observations, Ammonium and its Compounds (Tables), Thorium ditto, +Zirconium ditto, Aluminium ditto, Yttrium ditto, Glucinum ditto, +Magnesium ditto, Calcium ditto, Strontium ditto, Barium ditto, Lithium +ditto, Sodium and its Compounds Potassium ditto, Observations, Selenium +and its Compounds (Tables), Arsenic ditto, Chromium ditto, Vanadium +ditto, Molybdenum ditto, Tungsten ditto, Antimony ditto, Tellurium +ditto, Tantalum ditto, Titanium ditto, Silicium ditto, Osmium ditto, +Gold ditto, Iridium ditto, Rhodium ditto, Platinum ditto, Palladium +ditto, Mercury ditto, Silver ditto, Copper ditto, Uranium ditto, Bismuth +and its Compounds, Tin ditto, Lead ditto, Cerium ditto, Cobalt ditto, +Nickel ditto, Iron ditto, Cadmium ditto, Zinc ditto, Manganese ditto, +Observations, Isomorphous Groups, Isomeric ditto, Metameric ditto, +Polymeric ditto, Index.</p> + +<blockquote><p><b>Press Opinions.</b></p> + +<p>"This interesting volume has been kept from the pencil of the modern +editor and reprinted in its entirety by the enterprising publishers of +<i>The Pottery Gazette</i> and other trade journals.... There is an excellent +historical sketch of the origin and progress of the art of pottery which +shows the intimate knowledge of classical as well as (the then) modern +scientific literature possessed by the late Dr. Shaw; even the etymology +of many of the Staffordshire place-names is given."—<i>Glasgow Herald.</i></p> + +<p>"The historical sketch of the origin and progress of pottery is very +interesting and instructive. The science of mixing is a problem of great +importance, and the query how the natural products, alumina and silica +can be compounded to form the best wares may be solved by the aid of +chemistry instead of by guesses, as was formerly the case. This portion +of the book may be most suggestive to the manufacturer, as also the +chapters devoted to the subject of glazes, glasses and +colours."—<i>Birmingham Post.</i></p> + +<p>"Messrs. Scott, Greenwood & Co. are doing their best to place before the +pottery trades some really good books, likely to aid the Staffordshire +manufacturers, and their spirited enterprise is worthy of encouragement, +for the utility of technical literature bearing upon the practical side +of potting goes without saying.... They are to be congratulated on their +enterprise in republishing it, and we can only hope that they will meet +with the support they deserve. It seems to be a volume that is worth +looking through by both manufacturers and operatives alike, and all +local institutions, at any rate, should secure copies."—<i>Staffordshire +Sentinel.</i></p> +</blockquote> + + +<hr style="width: 65%;" /> +<h2><a name="Paper_Making" id="Paper_Making"></a><b>Paper Making.</b></h2> + +<p><b>THE DYEING OF PAPER PULP</b>. 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 <b>157 +patterns of paper dyed in the pulp</b>. Royal 8vo, 180 pp. 1901. Price +15s.; India and Colonies, 16s.; Other Countries, 20s.; strictly net. +Limited edition.</p> + +<p><b>Contents.</b></p> + +<p>I., <b>Behaviour of the Paper Fibres during the Process of Dyeing, Theory +of the Mordant</b>—Cotton: Flax and Hemp; Esparto; Jute; Straw Cellulose: +Chemical and Mechanical Wood Pulp; Mixed Fibres: Theory of Dyeing.—II., +<b>Colour Fixing Mediums (Mordants)</b>—Alum: Aluminium Sulphate; Aluminium +Acetate; Tin Crystals (Stannous Chloride); Copperas (Ferrous Sulphate); +Nitrate of Iron (Ferric Sulphate); Pyrolignite of Iron (Acetate of +Iron); Action of Tannic Acid; Importance of Materials containing Tannin; +Treatment with Tannic Acid of Paper Pulp intended for dyeing; Blue Stone +(Copper Sulphate): Potassium Bichromate: Sodium Bichromate; Chalk +(Calcium Carbonate); Soda Crystals (Sodium Carbonate): Antimony +Potassium Tartrate (Tartar Emetic).—III., <b>Influence of the Quality of +the Water Used</b>.—IV., <b>Inorganic Colours</b>—1. Artificial Mineral +Colours: Iron Buff; Manganese Bronze: Chrome Yellow (Chromate of Lead): +Chrome Orange (Basic Chromate of Lead): Red Lead; Chrome Green: Blue +with Yellow Prussiate: Prussian Blue: Method for Producing Prussian Blue +free from Acid: Ultramarine—2. Natural Mineral Colours (Earth Colours): +Yellow Earth Colours: Red Earth Colours; Brown Earth Colours; Green, +Grey and Black Earth Colours: White Earth Colours: White Clay (China +Clay): White Gypsum; Baryta: Magnesium Carbonate: Talc, Soapstone.—V., +<b>Organic Colours</b>—1. Colours of Vegetable and Animal Origin: <i>(a) +Substantive (Direct Dyeing) Colouring Matters:</i> Annatto; Turmeric: +Safflower; <i>(b) Adjective (Indirect Dyeing) Colouring Matters:</i> Redwood; +Cochineal; Weld: Persian Berries; Fustic Extract; Quercitron: Catechu +(Cutch); Logwood Extract—2. Artificial Organic (Coal Tar) Colours: Acid +Colours; Basic Colours: Substantive (Direct Dyeing) Colours; Dissolving +of the Coal Tar Colours: Auramine O O; Naphthol Yellow S O; Quinoline +Yellow O: Metanil Yellow O: Paper Yellow O: Azoflavine RS O, S O; Cotton +Yellow G X X and R X X: Orange 11 O: Chrysoidine A O O, RL O O: Vesuvine +Extra O O; Vesuvine BC O O; Fast.<!-- Page 23 --><span class='pagenum'><a name="Page_a23" id="Page_a23">[Pg a23]</a></span></p> + +<p>Brown O, Naphthylamine Brown O; Water Blue IN O; Water Blue TB O; Victoria +Blue B O O; Methylene Blue MD O O; Nile Blue R O O; New Blue S O O; Indoine Blue +BB O O; Eosine 442 Nx; Phloxine B B N; Rhodamine B O O; Rhodamine 6G O O: +Naphthylamine Red G O; Fast Red A O; Cotton Scarlet O; Erythrine RR O; +Erythrine X O; Erythrine P O; Ponceau 2 R O; Fast Ponceau G O and B O; Paper +Scarlet P O O; Saffranine PP O O; Magenta Powder A O O; Acetate of Magenta O O; +Cerise D 10 O O; Methyl Violet BB O O; Crystal Violet O O; Acid Violet 3 BN O, +4 R O; Diamond Green B O O; Nigrosine WL O; Coal Black O O; Brilliant Black +B O.—VI., <b>Practical Application of the Coal Tar Colours according to +their Properties and their Behaviour towards the Different Paper +Fibres</b>—Coal Tar Colours, which rank foremost, as far as their fastness +to light is concerned; Colour Combinations with which colourless or +nearly colourless Backwater is obtained; Colours which do not bleed into +White Fibres, for Blotting and Copying Paper Pulp; Colours which produce +the best results on Mechanical Wood and on Unbleached Sulphite Wood; +Dyeing of Cotton, Jute and Wool Half-stuff for Mottling White or Light +Coloured Papers; Colours suitable for Cotton; Colours specially suitable +for Jute Dyeing; Colours suitable for Wool Fibres.—VII., <b>Dyed Patterns +on Various Pulp Mixtures</b>—Placard and Wrapping Papers; Black Wrapping +and Cartridge Papers; Blotting Papers; Mottled and Marbled Papers made +with Coloured Linen, Cotton and Union Rags, or with Cotton, Jute, Wool +and Sulphite Wood Fibres, dyed specially for this purpose; Mottling with +Dark Blue Linen; Mottling with Dark Blue Linen and Dark Blue Cotton; +Mottling with Dark Blue Cotton; Mottling with Dark Blue and Red Cotton; +Mottling with Dark Red Cotton; Mottling of Bleached Stuff, with 3 to 4 +per cent. of Dyed Cotton Fibres; Mottling with Dark Blue Union (Linen +and Wool or Cotton Warp with Wool Weft); Mottling with Blue Striped Red +Union; Mottling of Bleached Stuff with 3 to 4 per cent. of Dyed Wool +Fibres; Mottling of Bleached Stuff with 3 to 4 per cent. of Dyed Jute +Fibres; Mottling of Bleached Stuff with 3 to 4 per cent. of Dyed +Sulphite Wood Fibres: Wall Papers; Packing Papers.—VIII., <b>Dyeing to +Shade</b>—Index.</p> + +<blockquote><p><b>Press Opinions</b>.</p> + + <p>"The book is one that is of value to every one connected with the + colouring of paper."—<i>Paper Trade Journal</i>.</p> + + <p>"The great feature of the volume is undoubtedly the series of + actual patterns of dyed papers, 157 in all—twelve of which, made + in England, have been added to the original German series. Detailed + formulæ are given for the preparation of the pulp for each, and the + tints of the samples practically form a key, by means of which the + accuracy of the student's or practitioner's experiments can be + tested.... On the whole the publication is one of distinct + importance to the trade, and will no doubt speedily become a + standard work of reference amongst papermakers, both in the 'lab.' + and the office, as well as being an excellent text-book for the use + of students in the increasing number of technical institutes in + which papermaking is taught."—<i>World's Paper Trade Review</i>.</p></blockquote> + + + +<hr style="width: 65%;" /> +<h2><a name="Enamelling_on_Metal" id="Enamelling_on_Metal"></a><b>Enamelling on Metal</b>.</h2> + +<p><b>ENAMELS AND ENAMELLING</b>. An Introduction to the Preparation and +Application of all Kinds of Enamels for Technical and Artistic Purposes. +For Enamel Makers, Workers in Gold and Silver, and Manufacturers of +Objects of Art. By PAUL RANDAU. Translated from the German. With Sixteen +Illustrations. 180 pp. 1900. Price 10s. 6d.; India and Colonies, 11s.; +Other Countries, 12s.; strictly net.</p> + +<p><b>Contents</b>.</p> + +<p>I., Introduction.—II., Composition and Properties of Glass.—III., Raw +Materials for the Manufacture of Enamel.—IV., Substances Added to +Produce Opacity.—V., Fluxes.—VI., Pigments.—VII., Decolorising +Agents.—VIII., Testing the Raw Materials with the Blow-pipe +Flame.—IX., Subsidiary Materials.—X., Preparing the Materials for +Enamel Making.—XI., Mixing the Materials.—XII., The Preparation of +Technical Enamels, The Enamel Mass.—XIII., Appliances for Smelting the +Enamel Mass.—XIV., Smelting the Charge.—XV., Composition of Enamel +Masses.—XVI., Composition of Masses for Ground Enamels.—XVII., +Composition of Cover Enamels.—XVIII., Preparing the Articles for +Enamelling.—XIX., Applying the Enamel.—XX., Firing the Ground +Enamel.—XXI., Applying and Firing the Cover Enamel or Glaze.—XXII., +Repairing Defects in Enamelled Ware.—XXIII., Enamelling Articles of +Sheet Metal.—XXIV., Decorating Enamelled Ware.—XXV., Specialities in +Enamelling.—XXVI., Dial-plate Enamelling.—XXVII., Enamels for Artistic +Purposes, Recipes for Enamels of Various Colours.—Index.</p> + +<blockquote><p><b>Press Opinions</b>.</p> + + <p>"Should prove of great service to all who are either engaged in or + interested in the art of enamelling."—<i>Jewellers and Watchmakers'</i> + <i>Trade Advertiser</i>.</p> + + <p>"I must inform you that this is the best book ever I have come + across on enamels, and it is worth double its cost."—<span class="smcap">J. Minchin</span>, + Jr., Porto, Portugal, <i>22nd July, 1900</i>.</p> + + <p>"This is a very useful and thoroughly practical treatise, and deals + with every branch of the enameller's art. The manufacture of + enamels of various colours and the methods of their application are + described in detail. Besides the commoner enamelling processes, + some of the more important special branches of the business, such + as cloisonne work are dealt with. The work is well got up, and the + illustrations of apparatus are well executed. The translator is + evidently a man well acquainted both with the German language and + the subject-matter of the book."—<i>Invention</i>.</p></blockquote> + +<p><!-- Page 24 --><span class='pagenum'><a name="Page_a24" id="Page_a24">[Pg a24]</a></span></p> + +<blockquote><p>"This is a most welcome volume, and one for which we have long waited in +this country. For years we have been teaching design applied to +enamelling as well as to several other crafts, but we have not risen to +the scientific side of the question. Here is a handbook dealing with the +composition and making of enamels for application to metals for the most +part, but also for other allied purposes. It is written in a thoroughly +practical way [Transcribers Note: Text source unreadable], and its +author—Paul Randau—has made its subject a very particular study. The +[Transcribers Note: Text source unreadable] almost all things which come +from the German chemical expert, is a model of good workmanship +[Transcribers Note: Text source unreadable] and arrangement, and no one +who is in search of a handbook to enamelling, [Transcribers Note: Text +source unreadable] whether he is a craftsman producing his beautiful +translucent colours on gold, silver and copper, or the hollow-ware +manufacturer making enamelled saucepans and kettles, can wish for a more +useful practical manual."—<i>Birmingham Gazette.</i></p></blockquote> + + +<p><a name="THE_ART_OF_ENAMELLING_ON_METAL_By_W_NORMAN_BROWN_Twenty-eight" id="THE_ART_OF_ENAMELLING_ON_METAL_By_W_NORMAN_BROWN_Twenty-eight"></a><b>THE ART OF ENAMELLING ON METAL.</b> By W. NORMAN BROWN. Twenty-eight +Illustrations. Crown 8vo. 60 pp. 1900. Price 2s. 6d.; Abroad, 3s.; strictly net.</p> + +<p><b>Contents.</b></p> + +<p>Chapters I., History—Cloisonné—Champs Levé—Translucent +Enamel—Surface Painted Enamels.—II., Cloisonné—Champs +Levés—Translucent—Painted.—III., Painted Enamel—Apparatus—Furnaces +and Muffles for Firing.—IV., The Copper Base or +Plate—Planishing—Cloisons—Champ Levé Plates.—V., +Enamels—Trituration—Washing—Coating a Plate with Enamel—Firing +Ordinary Plaques for Painting—Designing—Squaring off.—VI., Designs +for Cloisonné—Designs for Painted Enamels—Technical +Processes—Brushes, etc.,—Colours—Grisaille—Full-coloured Designs.</p> + +<blockquote><p><b>Press Opinion.</b></p> + +<p> "The information conveyed in <i>The Art of Enamelling on Metal</i> is as + complete as can be expected in a manual of ordinary length, and is + quite ample in all respects to start students in a most interesting + branch of decorative art. All necessary requisites are fully + described and illustrated, and the work is one, indeed, which any + one may pursue with interest, for those who are interested + artistically in enamels are a numerous body."—<i>Hardware Metals and</i> + <i>Machinery.</i></p></blockquote> + + + +<hr style="width: 65%;" /> +<h2><a name="Books_on_Textile_and_Dyeing_Subjects" id="Books_on_Textile_and_Dyeing_Subjects"></a><b>Books on Textile and Dyeing Subjects.</b></h2> + + +<p><b>THE TECHNICAL TESTING OF YARNS AND TEXTILE FABRICS.</b> With Reference to +Official Specifications. Translated from the German of Dr. J. HERZFELD. +Second Edition. Sixty-nine Illustrations. 200 pp. Demy 8vo. 1901. Price +10s. 6d.; India and Colonies, 11s.; Other Countries, 12s.; strictly net.</p> + +<p><b>Contents.</b></p> + +<p>Yarn Testing:. III., Determining the Yarn Number.—IV., Testing the +Length of Yarns.—V., Examination of the External Appearance of +Yarn.—VI., Determining the Twist of Yarn and Twist.—VII., +Determination of Tensile Strength and Elasticity.—VIII., Estimating the +Percentage of Fat in Yarn.—IX., Determination of Moisture +(Conditioning).—Appendix.</p> + +<blockquote><p><b>Press Opinions.</b></p> + + <p>"It would be well if our English manufacturers would avail + themselves of this important addition to the extensive list of + German publications which, by the spread of technical information, + contribute in no small degree to the success, and sometimes to the + supremacy, of Germany in almost every branch of textile + manufacture."—<i>Manchester Courier.</i></p> + + <p>"This is probably the most exhaustive book published in English on + the subject dealt with.... We have great confidence in recommending + the purchase of this book by all manufacturers of textile goods of + whatever kind, and are convinced that the concise and direct way in + which it is written, which has been admirably conserved by the + translator, renders it peculiarly adapted for the use of English + readers."—<i>Textile Recorder.</i></p> + + <p>"A careful study of this book enables one to say with certainty + that it is a standard work on the subject. Its importance is + enhanced greatly by the probability that we have here, for the + first time in our own language, in one volume, a full, accurate, + and detailed account, by a practical expert, of the best technical + methods for the testing of textile materials, whether in the raw + state or in the more or less finished product."—<i>Glasgow Herald.</i> +</p> + <p>"The author has endeavoured to collect and arrange in systematic + form for the first time all the data relating to both physical and + chemical tests as used throughout the whole of the textile + industry, so that not only the commercial and textile chemist, who + has frequently to reply to questions on these matters, but also the + practical manufacturer of textiles and his subordinates, whether in + spinning, weaving, dyeing, and finishing, are catered for.... The + book is profusely illustrated, and the subjects of these + illustrations are clearly described."—<i>Textile Manufacturer.</i></p></blockquote> + + +<p><!-- Page 25 --><span class='pagenum'><a name="Page_a25" id="Page_a25">[Pg a25]</a></span></p> + + +<p><b>DECORATIVE AND FANCY TEXTILE FABRICS.</b></p> + +<p>With Designs and Illustrations. By R.T. LORD. A Valuable Book for +Manufacturers and Designers of Carpets, Damask, Dress and all Textile +Fabrics. 200 pp. 1898. Demy 8vo. 132 Designs and Illustrations. Price +7s. 6d.; India and Colonies, 8s.; Other Countries, 8s. 6d.; strictly +net.</p> + +<p><b>Contents.</b></p> + +<p>Chapters I., A Few Hints on Designing Ornamental Textile Fabrics.—II., +A Few Hints on Designing Ornamental Textile Fabrics (continued).—III., +A Few Hints on Designing Ornamental Textile Fabrics (continued).—IV., A +Few Hints on Designing Ornamental Textile Fabrics (continued).—V., +Hints for Ruled-paper Draughtsmen.—VI., The Jacquard Machine.—VII., +Brussels and Wilton Carpets.—VIII., Tapestry Carpets.—IX., Ingrain +Carpets.—X., Axminster Carpets.—XI., Damask and Tapestry +Fabrics.—XII., Scarf Silks and Ribbons.—XIII., Silk +Handkerchiefs.—XIV., Dress Fabrics.—XV., Mantle Cloths.—XVI., Figured +Plush.—XVII., Bed Quilts.—XVIII., Calico Printing.</p> + +<blockquote><p><b>Press Opinions.</b></p> + + <p>"The book can be strongly recommended to students and practical + men."—<i>Textile Colourist</i>.</p> + + <p>"Those engaged in the designing of dress, mantle tapestry, carpet + and other ornamental textiles will find this volume a useful work + of reference."—<i>Leeds Mercury</i>.</p> + + <p>"The book is to be commended as a model manual, appearing at an + opportune time, since every day is making known a growing desire + for development in British industrial art."—<i>Dundee Advertiser</i>.</p> + + <p>"Designers especially, who desire to make progress in their + calling, will do well to take the hints thrown out in the first + four chapters on 'Designing Ornamental Textile Fabrics'."—<i>Nottingham Daily Guardian</i>.</p></blockquote> + +<p><a name="POWER-LOOM_WEAVING_AND_YARN_NUMBERING_According_to_Various_Systems" id="POWER-LOOM_WEAVING_AND_YARN_NUMBERING_According_to_Various_Systems"></a><b>POWER-LOOM WEAVING AND YARN NUMBERING,</b> According to Various Systems, +with Conversion Tables. An Auxiliary and Text-book for Pupils of Weaving +Schools, as well as for Self-Instruction and for General Use by those +engaged in the Weaving Industry. Translated from the German of ANTHON +GRUNER. <b>With Twenty-six Diagrams in Colours.</b> 150 pp. 1900. Crown 8vo. +Price 7s. 6d.; India and Colonies, 8s.; Other Countries, 8s. 6d.; +strictly net.</p> + +<p><b>Contents.</b></p> + +<p>I., <b>Power-Loom Weaving in General.</b> Various Systems of Looms.—II., +<b>Mounting and Starting the Power-Loom.</b> English Looms.—Tappet or +Treadle Looms.—Dobbies.—III., <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> + +<blockquote><p><b>Press Opinions.</b></p> + + <p>"A long-felt want in the weaving industry has been supplied by the + issue of a cheap volume dealing with the subject." + —<i>Belfast Evening Telegraph</i>.</p> + + <p>"The work has been clearly translated from the German and published + with suitable illustrations.... The author has dealt very + practically with the subject." + —<i>Bradford Daily Telegraph</i>.</p> + + <p>"The book, which contains a number of useful coloured diagrams, + should prove invaluable to the student, and its handy form will + enable it to become a companion more than some cumbrous work." + —<i>Cotton Factory Times</i>.</p> + + <p>"The book has been prepared with great care, and is most usefully + illustrated. It is a capital text-book for use in the weaving + schools or for self-instruction, while all engaged in the weaving + industry will find its suggestions helpful." + —<i>Northern Daily Telegraph</i>.</p> + + <p>"The various systems are treated in a careful manner; also the + different looms and their manufacture, as well as the whole + processes of the work. Yarn numbering according to various systems, + with conversion tables and numerous coloured diagrams, materially + assist to a clear comprehension of the subject." + —<i>Northern Whig</i>.</p> + + <p>"The 'inside' managers of our textile mills in which the work is + complex or greatly varied, and where yarns of different materials + are in use, will find this work convenient for reference in case of + novelty or difficulty. We may also say the same in relation to the + textile student. Its description of the parts of the loom and their + functions will be of use to the latter, being of the most + elementary kind."—<i>Textile Mercury</i>.</p> + + <p>"The author attempts to fill a gap in weaving literature caused by + the neglect of many obscure points connected with the industry. A + short review is given of the power-loom as a whole, followed by a + description of the different parts of the machinery with their + advantages and defects.... The book is severely technical, but must + on that account be very valuable to the pupil who is determined to + master this industrial art."—<i>Cheshire County News</i>.</p> + + <p>"It is clear and concise, and gives just that knowledge in quality + and amount which any student of the weaving industry ought to + consider as a minimum necessary for his thorough comprehension of + his future profession. The handiness and variety of the information + comprised in Section III., dealing with the numbering and reeling + of yarns employed in the various systems in different countries, + struck us as particularly useful."—<i>North British Daily Mail</i>.</p> + +<p><!-- Page 26 --><span class='pagenum'><a name="Page_a26" id="Page_a26">[Pg a26]</a></span></p> + + + <p>"This work brings before weavers who are actually engaged in the + various branches of fabrics, as well as the technical student, the + different parts of the general run of power-looms in such a manner + that the parts of the loom and their bearing to each other can be + readily understood.... The work should prove of much value, as it + is in every sense practical, and is put before the reader in such a + clear manner that it can be easily understood." + —<i>Textile Industries</i>.</p> + + <p>"The book under notice is intended as an instructor to those + engaged in power-loom weaving, and, judging by its compilation, the + author is a thorough master of the craft. It is not overloaded with + details, and he manages to compress in a book of some 150 pages all + that one can possibly wish to know about the different parts of the + machinery, whether of English or foreign make, and for whatever + kind of cloth required. A comprehensive summary is also included of + the various yarns and methods of numbering them, as well as a few + useful hints and a number of coloured diagrams for mandarin + weavings. The book is printed in bold, legible type, on good paper, + has a copious index, and is well and strongly bound." + —<i>Ashton-under-Lyne Herald</i>.</p> + + <p>"In dealing with the complicated parts of various classes of + power-looms, the writer, who is one of the professors at the Royal + Weaving School of Asch, brings to the work a thorough knowledge of + the subject, and, what is of great value, he has the gift of + communicating his knowledge in a way which is easily understood. + The smallest details of loom-setting are entered into, and a full + explanation of problems, which are a source of anxiety to many + engaged in overlooking, is given. Students will find the work an + admirable text-book, and all who are interested in weaving will see + in it a valuable addition to the literature on this subject.... The + book is in small compass, and is crowded with valuable + information."—<i>Bradford Observer</i>.</p></blockquote> + + + +<p><b>COLOUR: A HANDBOOK OF THE THEORY OF COLOUR</b>. By GEORGE H. HURST, F.C.S. +<b>With Ten Coloured Plates</b> and Seventy-two Illustrations. 160 pp. Demy +8vo. 1900. Price 7s. 6d.; India and Colonies, 8s.; Other Countries, 8s. +6d.; strictly net.</p> + +<p><b>Contents</b>.</p> + +<p>Chapters I., <b>Colour and Its Production</b>. Light, Colour, Dispersion of +White Light Methods of Producing the Spectrum, Glass Prism and +Diffraction Grating Spectroscopes, The Spectrum, Wave Motion of Light, +Recomposition of White Light, Hue, Luminosity, Purity of Colours, The +Polariscope, Phosphorescence, Fluorescence, Interference.—II., <b>Cause +of Colour in Coloured Bodies</b>. Transmitted Colours, Absorption Spectra +of Colouring Matters.—III., <b>Colour Phenomena and Theories</b>. Mixing +Colours, White Light from Coloured Lights, Effect of Coloured Light on +Colours, Complementary Colours, Young-Helmholtz Theory, Brewster Theory, +Supplementary Colours, Maxwell's Theory, Colour Photography.—IV., <b>The +Physiology of Light</b>. Structure of the Eye, Persistence of Vision, +Subjective Colour Phenomena, Colour Blindness.—V., <b>Contrast</b>. +Contrast, Simultaneous Contrast, Successive Contrast, Contrast of Tone. +Contrast of Colours, Modification of Colours by Contrast, Colour +Contrast in Decorative Design.—VI., <b>Colour in Decoration and Design</b>. +Colour Harmonies, Colour Equivalents, Illumination and Colour, Colour +and Textile Fabrics, Surface Structure and Colour.—VII., <b>Measurement +of Colour</b>. Colour Patch Method, The Tintometer, Chromometer.</p> + +<blockquote><p><b>Press Opinions</b>.</p> + + <p>"This useful little book possesses considerable merit, and will be + of great utility to those for whom it is primarily + intended."—<i>Birmingham Pos.</i></p> + <p>"It will be found to be of direct service to the majority of dyers, + calico printers and colour mixers, to whom we confidently recommend + it."—<i>Chemical Trade Journal</i>.</p> + + <p>"It is thoroughly practical, and gives in simple language the why + and wherefore of the many colour phenomena which perplex the dyer + and the colourist."—<i>Dyer and Calico Printer</i>.</p> + + <p>"We have found the book very interesting, and can recommend it to + all who wish to master the different aspects of colour theory, with + a view to a practical application of the knowledge so + gained."—<i>Chemist and Druggist</i>.</p> + + <p>"Mr. Hurst's <i>Handbook on the Theory of Colour</i> will be found + extremely useful, not only to the art student, but also to the + craftsman, whose business it is to manipulate pigments and + dyes."—<i>Nottingham Daily Guardian</i>.</p></blockquote> + + +<p><a name="TEXTILE_RAW_MATERIALS_AND_THEIR_CONVERSION_INTO_YARNS_The_Study_of" id="TEXTILE_RAW_MATERIALS_AND_THEIR_CONVERSION_INTO_YARNS_The_Study_of"></a><b>TEXTILE RAW MATERIALS AND THEIR CONVERSION INTO YARNS</b>. (The Study of +the Raw Materials and the Technology of the Spinning Process.) Text-book +for Textile, Trade and Higher Technical Schools. By JULIUS ZIPSER. +Translated from German by CHARLES SALTER. 302 Illustrations. 480 pp. +Demy 8vo. 1901. Price 10s. 6d.; India and Colonies, 11s.; Other +Countries, 12s.; strictly net.</p> + +<p><b>Contents</b>.</p> + +<p><b>Raw Materials</b>: Cotton—Wool—Flax—Hemp—Jute—Hair—Shearing +Sheep—Goat Wool—Silk—Detection and Estimation of Textile Raw +Materials in Yarns and Fabrics—Tests.—<b>The Technology of Spinning. +Cotton Spinning:</b> Bale Breakers—Carding—Combing—Roving—Mule +Frames—Yarn Testing—Humidifiers. <b>Flax Spinning:</b> Tow Spinning—String +Spinning—Carded Woollen Yarn—Belt Condenser—Fine Spinning—Yarn +Numbering.—<b>Manufacture of True Worsted Yarn:</b> Semi-Worsted +Yarns.—<b>Artificial Wool or Shoddy Spinning:</b> Spinning +Shoddy.—<b>Index</b>.<!-- Page 27 --><span class='pagenum'><a name="Page_a27" id="Page_a27">[Pg a27]</a></span></p> + +<p><b>THE COLOUR PRINTING OF CARPET YARNS.</b> A Useful Manual for Colour +Chemists and Textile Printers. By DAVID PATERSON, F.C.S. Seventeen +Illustrations. 132 pp. Demy 8vo. 1900. Price 7s. 6d.; India and +Colonies, 8s. Other Countries, 8s. 6d.; strictly net.</p> + +<p><b>Contents.</b></p> + +<p>Chapters I., Structure and Constitution of Wool Fibre.—II., Yarn +Scouring.—III., Scouring Materials.—IV., Water for Scouring.—V., +Bleaching Carpet Yarns.—VI., Colour Making for Yarn Printing.—VII., +Colour Printing Pastes.—VIII., Colour Recipes for Yarn Printing.—IX., +Science of Colour Mixing.—X., Matching of Colours.—XI., "Hank" +Printing.—XII., Printing Tapestry Carpet Yarns.—XIII., Yarn +Printing.—XIV., Steaming Printed Yarns.—XV., Washing of Steamed +Yarns.—XVI., Aniline Colours Suitable for Yarn Printing.—XVII., +Glossary of Dyes and Dye-wares used in Wood Yarn Printing.—Appendix.</p> + +<blockquote><p><b>Press Opinions.</b></p> + +<p>"The book is worthy the attention of the trade."—<i>Worcester Herald.</i></p> + +<p>"The treatise is arranged with great care, and follows the processes +described in a manner at once clear and convincing."—<i>Glasgow Record.</i></p> + +<p>"A most useful manual dealing in an intelligible and interesting manner +with the colour printing of carpet yarns."—<i>Kidderminster Times.</i></p> + +<p>"An eminent expert himself, the author has evidently strained every +effort in order to make his work the standard guide of its +class."—<i>Leicester Post.</i></p> + +<p>"The book, which is admirably printed and illustrated, should fulfil the +need of a practical guide in the colour printing of carpet +yarns.—<i>Nottingham Express.</i></p> + +<p>"The subject is very exhaustively treated in all its branches.... The +work, which is very well illustrated with designs, machines, and wool +fibres, will be a useful addition to our textile literature."—<i>Northern +Whig.</i></p> + +<p>"It gives an account of its subject which is both valuable and +instructive in itself, and likely to be all the more welcome because +books dealing with textile fabrics usually have little or nothing to say +about this way of decorating them."—<i>Scotsman</i>.</p> + +<p>"The work shows a thorough grasp of the leading characteristics as well +as the minutiae of the industry, and gives a lucid description of its +chief departments.... As a text-book in technical schools where this +branch of industrial education is taught, the book is valuable, or it +may be perused with pleasure as well as profit by any one having an +interest in textile industries."—<i>Dundee Courier.</i></p> + +<p>"The book bears every mark of an extensive practical knowledge of the +subject in all its bearings, and supplies a real want in technical +literature. Chapters IX. and X., on the science of colour mixing and +colour matching respectively, are especially good, and we do not +remember to have seen the bearing of various kinds of light, and of the +changes from one kind of light to another on the work of the colourist, +so well treated elsewhere."—<i>Dyer and Calico Printer.</i></p> + +<p>"It is thoroughly practical, and contains much information which has not +hitherto appeared in book form. It is pleasing to note that the +practical part is not crowded out with purely 'practical recipes'. A few +typical examples are given, and the rest is left to the common sense and +judgment of the printer or works' chemist. Another pleasing feature is +the accounts given here and there of the author's own researches on the +subject. The work will be of interest to printers of wool generally, and +to those engaged in the dyeing of this fibre."—<i>Journal of the Society +of Dyers and Colourists.</i></p></blockquote> + + +<p><a name="A_PRACTICAL_TREATISE_ON_THE_BLEACHING_OF_LINEN_AND_COTTON_YARN_AND" id="A_PRACTICAL_TREATISE_ON_THE_BLEACHING_OF_LINEN_AND_COTTON_YARN_AND"></a><b>A PRACTICAL TREATISE ON THE BLEACHING OF LINEN AND COTTON YARN AND FABRICS.</b> +By L. TAILFER, Chemical and Mechanical Engineer. Translated +from the French by JOHN GEDDES MCINTOSH, Lecturer on Chemical +Technology, London. Demy 8vo. 1901. Price 12s. 6d.; India and Colonies, +13s. 6d; Other Countries, 15s.; strictly net.</p> + +<p><b>Contents.</b></p> + +<p>Chapter I. General Considerations on Bleaching. Chapter II. Steeping. +Chapter III. Washing: Its End and Importance—Roller Washing +Machines—Wash Wheel (Dash Wheel)—Stocks or Wash Mill—Squeezing. +Chapter IV. Lye Boiling—Lye Boiling with Milk of Lime—Lye Boiling with +Soda Lyes—Description of Lye Boiling Keirs—Operations of Lye +Boiling—Concentration of Lyes. Chapter V. Mather and Platt's +Keir—Description of the Keir—Saturation of the Fabrics—Alkali used in +Lye Boiling—Examples of Processes. Chapter VI. Soap—Action of Soap in +Bleaching—Quality and Quantity of Soaps to use in the Lye—Soap Lyes or +Scalds—Soap Scouring Stocks. Chapter VII. Bleaching on Grass or on the +Bleaching Green or Lawn. Chapter VIII. Chemicking—Remarks on Chlorides +and their Decolourising Action—Chemicking +Cisterns—Chemicking—Strengths, etc. Chapter IX. Sours—Properties of +the Acids—Effects Produced by Acids—Souring Cisterns. Chapter X. +Drying—Drying by Steam—Drying by Hot Air—Drying by Air. Chapter XI. +Damages to Fabrics in Bleaching—Yarn Mildew—Fermentation—Iron Rust +Spots—Spots from Contact with Wood—Spots incurred on the Bleaching +Green—Damages arising from the Machines. Chapter XII. Examples of +Methods used in Bleaching—Linen—Cotton. Chapter XIII. The Valuation of +Caustic and Carbonated Alkali (Soda) and General Information Regarding +these Bodies—Object of Alkalimetry—Titration of Carbonate of +Soda—Comparative Table of Different Degrees of Alkalimetrical +Strength—Five Problems relative to Carbonate of Soda —Caustic Soda, +its Properties and Uses—Mixtures of Carbonated and Caustic Alkali—Note +on a Process of Manufacturing Caustic Soda and Mixtures of Caustic and +Carbonated Alkali (soda). Chapter XIV. Chlorometry—Titration—Wagner's +Chlorometric Method—Prepara<!-- Page 28 --><span class='pagenum'><a name="Page_a28" id="Page_a28">[Pg a28]</a></span>tion of Standard Solutions—Apparatus for +Chlorine Valuation—Alkali in Excess in Decolourising Chlorides. Chapter +XV. Chlorine and Decolourising Chlorides—Synopsis—Chlorine—Chloride +of Lime—Hypochlorite of Soda—Brochoki's Chlorozone—Various +Decolourising Hypochlorites—Comparison of Chloride of Lime and +Hypochlorite of Soda. Chapter XVI. Water—Qualities of +Water—Hardness—Dervaux's Purifier—Testing the Purified +Water—Different Plant for Purification—Filters. Chapter XVII. +Bleaching of Yarn—Weight of Yarn—Lye +Boiling—Chemicking—Washing—Bleaching of Cotton Yarn. Chapter XVIII. +The Installation of a Bleach Works—Water Supply—Steam Boilers—Steam +Distribution Pipes—Engines—Keirs—Washing Machines—Stocks—Wash +Wheels—Chemicking and Souring Cisterns—Various—Buildings. Chapter +XIX. Addenda—Energy of Decolourising Chlorides and Bleaching by +Electricity and Ozone—Energy of Decolourising +Chlorides—Chlorides—Production of Chlorine and Hypochlorites by +Electrolysis—Lunge's Process for increasing the intensity of the +Bleaching Power of Chloride of Lime—Trilfer's Process for Removing the +Excess of Lime or Soda from Decolourising Chlorides—Bleaching by Ozone.</p> + + +<p><b>THE SCIENCE OF COLOUR MIXING.</b> A Manual intended for the use of Dyers, +Calico Printers and Colour Chemists. By DAVID PATERSON, F.C.S. Forty-one +Illustrations, <b>Five Coloured Plates, and Four Plates showing Eleven +Dyed Specimens of Fabrics.</b> 132 pp. Demy 8vo. 1900. Price 7s. 6d.; India +and Colonies, 8s.; Other Countries, 8s. 6d.; strictly net.</p> + + +<p><b>Contents</b>.</p> + +<p>Chapters I., Colour a Sensation; Colours of Illuminated Bodies; Colours +of Opaque and Transparent Bodies; Surface Colour.—II., Analysis of +Light; Spectrum; Homogeneous Colours; Ready Method of Obtaining a +Spectrum.—III., Examination of Solar Spectrum; The Spectroscope and Its +Construction; Colourists' Use of the Spectroscope.—IV., Colour by +Absorption; Solutions and Dyed Fabrics; Dichroic Coloured Fabrics in +Gaslight.—V., 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.—VI., +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.—VII., Secondary Colours; Nomenclature of Violet +and Purple Group; Tints and Shades of Violet; Changes in Artificial +Light.—VIII., Tertiary Shades; Broken Hues; Absorption Spectra of +Tertiary Shades.—Appendix: Four Plates with Dyed Specimens Illustrating +Text.—Index.</p> + + +<blockquote><p><b>Press Opinions</b>.</p> + + <p>"The work has evidently been prepared with great care, and, as far + as we can judge, should be very useful to the dyer and + colourist."—<i>Halifax Courier.</i></p> + + <p>"The volume, which is clearly and popularly written, should prove + of the utmost service to all who are concerned with the practical + use of colours, whether as dyers or painters."—<i>Scotsman.</i></p> + + <p>"To the practical colourist, and also to technical students, Mr. + Paterson's new work will be very welcome. We are often asked to + recommend books on different subjects, and have no hesitation in + advising the purchase of the present volume by dyers and calico + printers, as containing a mass of most useful information at a + nominal price."—<i>Irish Textile Journal.</i></p> + + <p>"Mr. Paterson's work not only clearly deals with the theory of + colour, but supplies lucid directions for the practical application + of the theory. His work will be found exceedingly helpful, not only + to the practical colourist, but also to students in our textile + colleges, by forming a useful complement to their class lectures. + There are several exquisitely coloured plates and a large number of + other illustrations of theory and practice in colour blending, and + also a series of plates with specimens of dyed fabrics attached, in + explication of the author's views."—<i>Wakefield Express.</i></p> + + <p>"Mr. Paterson has little to say upon the experimental aspect or on + its æsthetics, but much upon the theory of colour, especially as it + bears upon the question—an all-important one to dyers, calico + printers and artists, who have to produce such a variety of shades + and tints—of the admixture of one colour upon another.... The + author is a dyer, and in his concluding chapters keeps well before + him the special wants and requirements of dyers. He writes + pleasantly and lucidly, and there is no difficulty in following + him, although here and there a lapse into ambiguousness occurs. The + book is well printed, generously supplied with coloured plates, + very nicely if not brightly got up; and the dyed patterns at the + end enhance the value of the book to the dyer."—<i>Textile Mercury.</i></p> + + <p>"For some time the proprietors of <i>The Oil and Colourman's Journal</i> + have been engaged in the publication of a series of practical + handbooks intended for the use of those interested in certain + branches of technology, and the present volume is the latest + addition to their list. The feature which the works have in + common—and it is an all-important one in treatises of this + sort—is their eminently practical character. The primary aim of + the publishers is to provide scientific text-books which will be + helpful to those who are either actively engaged in the practice of + the arts in question, or who are studying with that immediate end + in view.... Mr. Paterson speaks with that assured knowledge of an + expert, and in the present volume, as in that which he has already + contributed to the same series, he sets forth the true foundation + of the art of colouring in a manner at once comprehensive and + judicious.... For dyers, calico printers and colourists in general, + whose desire it is to work with accuracy in their respective + branches, the treatise will prove an invaluable guide-book, + provided the principles and methods it describes are studied with + intelligence and care. To this end, every encouragement has been + given that well-chosen examples, carefully executed plates and + diagrams, and an exhaustive index can supply."—<i>Glasgow Herald.</i></p></blockquote> + +<p><!-- Page 29 --><span class='pagenum'><a name="Page_a29" id="Page_a29">[Pg a29]</a></span></p> +<p><b>COLOUR MATCHING ON TEXTILES.</b> 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 Illustrating Text. Demy 8vo. 132 pp. 1901. +Price 7s. 6d.; India and Colonies, 8s.; Other Countries, 8s. 6d.; +strictly net.</p> + +<p><b>Contents.</b></p> + +<p>Chapters I., Colour Vision and Structure of the Eye—Perception of +Colour—Primary and Complementary Colour Sensations.—II., Daylight for +Colour Matching—Selection of a Good Pure Light—Diffused Daylight, +Direct Sunlight, Blue Skylight, Variability of Daylight, etc., +etc.—III., Matching of Hues—Purity and Luminosity of Colours—Matching +Bright Hues —Aid of Tinted Films—Matching Difficulties Arising from +Contrast.—IV., Examination of Colours by Reflected and Transmitted +Lights—Effect of Lustre and Transparency of Fibres in Colour +Matching.—V., Matching of Colours on Velvet Pile—Optical Properties of +Dye-stuffs, Dichroism. Fluorescence.—VI., Use of Tinted Mediums—Orange +Film—Defects of the Eye—Yellowing of the Lens—Colour Blindness, +etc.—VII., Matching of Dyed Silk Trimmings and Linings and +Bindings—Its Difficulties—Behaviour of Shades in Artificial +Light—Colour Matching of Old Fabrics, etc.—VIII., Examination of Dyed +Colours under the Artificial Lights —Electric Arc, Magnesium and +Dufton, Gardner Lights, Welsbach, Acetylene, etc.—Testing Qualities of +an Illuminant.—IX., 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><b>Reissue of THE ART OF DYEING WOOL, SILK AND COTTON.</b></p> + +<p>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. 1901. Price 5s.; India and Colonies, 5s. 6d.; Other Countries, 6s.; +strictly net.</p> + +<p><b>Contents.</b></p> + +<p>Part I., <b>The Art of Dyeing Wool and Woollen Cloth, Stuffs, Yarn, +Worsted, etc.:</b> Introduction.—Chapters I., Of the Vessels and +Utensils used in Dyeing.—II., Of the Fixed and Fugitive, commonly +called Great and Little Dye.—III., Of Colours in Grain. <b>Dyeing Wool:</b> +IV., Of Blue.—V., Of the Pastel Vat—Directions for the Proper +Management of the Vat—Indications when the Vat has Suffered by too much +or too little Lime, the two extremes which ought carefully to be +avoided—The Preparations of Indigo for the Pastel Vat.—VI., Of the +Woad Vat.—VII., Of the Indigo Vat.—VIII., Of the Cold Indigo Vat with +Urine—A Hot Indigo Vat with Urine—To Reheat a Urine Vat.—IX., A Cold +Indigo Vat without Urine. —X., Of the Method of Dyeing Blue.—XI., Of +Red.—XII., Of Scarlet in Grain, or Venetian Scarlet.—XIII., Of Fire +Scarlet.—XIV., Of Crimson.—XV., Of Gum Lac Scarlet.—XVI., Of the +<i>Coccus polonicus,</i> a Colouring Insect.—XVII., Of Madder Red.—XVIII., +Of Yellow.—XIX., Of Brown or Fawn Colour.—XX., Of Black.—XXI., Of the +Colours obtained from a Mixture of Blue and Red.—XXII., Of the Mixture +of Blue and Yellow.—XXIII., Of the Mixture of Blue and Fawn +Colour.—XXIV., Of the Mixture of Blue and Black.—XXV., Of the Mixture +of Red and Yellow.—XXVI., Of the Mixture of Red and Fawn.—XXVII., Of +the Mixture of Red and Black.—XXVIII., Of the Mixture of Yellow and +Fawn Colours.—XXIX., Of the Mixture of Yellow and Black.—XXX., Of the +Mixture of Fawn Colour and Black.—XXXI., Of the Principal Mixtures of +the Primitive Colours by Three and Three.—XXXII., The Method of +Blending Wool of Different Colours for mixed Cloth or Stuffs.—XXXIII., +The Method of Preparing Felts for Trial.—XXXIV., The Method of Dyeing +Woollens False Colours.—XXXV., Of Flock or Goats' Hair.—XXXVI., Of +Archil, and the Method of Using It.—XXXVII., Of Logwood.—XXXVIII., Of +Brazil Wood.—XXXIX., Of Fustic—XL., Roucou.—XLI., Of French Berries. +—XLII., Of Turmeric.—XLIII., Instructions for the Proof Liquor for +Wool and Woollen Stuffs.</p> + +<p>Part II., <b>The Art of Dyeing Silk:</b> Ungumming and Boiling for +White.—For Boiling of Silks Intended to be Dyed.—Observations on +Ungumming and Boiling.—Of White.—Of Whitening.—Sulphuring. +—Observations on Whitening and Sulphuring.—Of Aluming.—Remarks on +Aluming.—Of Blue.—Remarks on the Blue of Indigo.—Of Yellow.—Remarks +on Yellow.—Aurora, Orange, Mordore, Gold Colour and Chamois.—Red and +Crimson.—Remarks on Crimson.—Of False Crimson or the Red of +Brazil.—Remarks on the Red, or Crimson of Brazil Wood.—Of Scarlet, +Orange, Red and Cherry Colour.—Preparation of the Carthamus or Bastard +Saffron.—Remarks on the Dye of Carthamus or Bastard Saffron.—Of the +False Poppy or Fire Colour Produced with Brazil Wood.—False Rose +Colour.—Of Green. —Remarks.—Of Olives.—Remarks.—Of Violet.—Of Fine +Violet, or Violet in Grain.—Of False or Common Violets or Lilac.—Of +the Violet of Logwood.—Remarks.—Violet of Logwood and +Verdigris.—Violets of Brazil and Logwood.—Remarks.—Violets from +Brazil Wood and Archil. —Of Purple, Gillyflower, and of Fine Cochineal +or Purple.—Of False Purple.—Of Maroons, Cinnamons and White +Lees.—Remarks.—Of Nut Greys. Thorn Greys, Black and Iron Greys and +others of the same Species.—Of Black.—Softening of Black.—Black in +the Raw.—Remarks on Black.—Particular Process Communicated by M. +Hellot.—Genoa Crimson, a Process Proved in May, 1743.—Violet Crimson +of Italy.—Half Violet.—Genoa Black for Velvets.</p> + +<p>Part III., <b>The Art of Dyeing Cotton and Linen Thread, together with the +Method of Stamping Silks, Cottons, etc.:</b> Of Dyeing in General.—Inquiry +concerning Wool, Silk, Cotton and Flax.—Of Wool.—Of Silk.—Of +Cotton.—Of Flax.—Conclusion from the Examina<!-- Page 30 --><span class='pagenum'><a name="Page_a30" id="Page_a30">[Pg a30]</a></span>tion of Substances +Commonly Dyed.—Of Bleaching.—Preparation for Stuffs to be +Dyed.—Astringents.—Theory of Dyeing Stuffs Prepared with Alum.—Of +Colouring Substances.—Of Cochineal and Colouring Insects.—Of +Madder.—Of Vegetables Furnishing a Yellow Dye.—Of the Colouring Drugs +Used in Dyeing without Astringents.—Of Indigo.—Of Substances Used in +Dyeing Fawn and Root Colour.—Of Carthamus, Roucou, etc.—Of Black. <b>Of +Dyeing of Cotton Thread</b>: Of Cleansing.—Of the Colours Employed for the +Dyeing of Cotton Thread.—Of Blue.—Of Red.—Adrianople +Red.—Observations on this Dye.—Of Yellow.—Of Green.—Of Violet.—Of +Red Cinnamon.—Of Black.—Black for Linen and Cotton Thread by a +Combination of Colours.—Of Grey.—Of More Durable Greys.—Of Musk +Colour.—Olive and Duck Greens.—Of Browns, Maroons, Coffee Colours, +etc.—Of Silk Stuffs Dyed of Several Colours.—The Manner of Stamping +Silk, etc., in Europe.—Of a Linen with a Blue Ground and White +Pattern.—Of Saxon Blue.—Observations on this Dye.—<b>Indexes</b>.</p> + + +<p><b>THE DYEING OF COTTON FABRICS</b>: 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. +1901. Price 7s. 6d.; India and Colonies, 8s.: Other Countries, 8s. 6d.; +strictly net.</p> + +<p><b>Contents</b>.</p> + +<p>Chapters I., Structure and Chemistry of the Cotton Fibre.—II., Scouring +and Bleaching of Cotton.—III., Dyeing Machinery and Dyeing +Manipulations.—IV., Principals and Practice of Cotton Dyeing—1, Direct +Dyeing; 2, Direct Dyeing followed by Fixation with Metallic Salts; 3, +Direct Dyeing followed by Fixation with Developers; 4, Direct Dyeing +followed by Fixation with Couplers; 5, Dyeing on Tannic Mordant; 6, +Dyeing on Metallic Mordant; 7, Production of Colour Direct upon Cotton +Fibres; 8, Dyeing Cotton by Impregnation with Dye-stuff Solution.—V., +Dyeing Union (Mixed Cotton and Wool) Fabrics.—VI., Dyeing Half Silk +(Cotton-Silk, Satin) Fabrics.—VII., Operations following +Dyeing—Washing, Soaping, Drying.—VIII., Testing of the Colour of Dyed +Fabrics.—IX., 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, thus making it of great +service in the Dye-house, while to the Student it is of value in that the +scientific principles which underlie the operations of dyeing are +clearly laid down.</p> + + +<p><b>COTTON SPINNING</b> (First Year). By THOMAS THORNLEY, Spinning Master, +Bolton Technical School. 160 pp. 84 Illustrations. Crown 8vo. 1901. +Price 3s.; Abroad, 3s. 6d.; strictly net.</p> + +<p><b>Contents</b>.</p> + +<p>Syllabus and Examination Papers of the City and Guilds of London +Institute.—Chapters I., Cultivation, Classification, Ginning, Baling +and Mixing of the Raw Cotton.—II., Bale-Breakers, Mixing Lattices and +Hopper Feeders—III., Opening and Scutching.—IV., Carding.—Index to +Illustrations.—General Index.</p> + + +<p><b>COTTON SPINNING</b> (Intermediate, or Second Year). By THOMAS THORNLEY. +180 pp. 70 Illustrations. Crown 8vo. 1901. Price 5s.; India and British +Colonies, 5s. 6d.; Other Countries, 6s.; strictly net.</p> + +<p><b>Contents</b>.</p> + +<p>Syllabuses and Examination Papers of the City and Guilds of London +Institute.—Chapters I., The Combing Process.—II., The Drawing +Frame.—III., Bobbin and Fly Frames.—IV., Mule Spinning.—V., Ring +Spinning.—Index to Illustrations.—General Index.</p> + + +<p><b>COTTON SPINNING</b> (Honours, or Third Year). By THOMAS THORNLEY. 216 pp. +74 Illustrations. Crown 8vo. 1901. Price 5s.; India and British +Colonies, 5s. 6d.; Other Countries, 6s.; strictly net.</p> + +<p><b>Contents</b>.</p> + +<p>Syllabuses and Examination Papers of the City and Guilds of London +Institute.—Chapters I., Cotton.—II., The Practical Manipulation of +Cotton Spinning Machinery.—III., Doubling and Winding.—IV., +Reeling.—V., Warping.—VI., Production and Costs.—VII., Main +Driving.—VIII., Arrangement of Machinery and Mill Planning.—IX., Waste +and Waste Spinning.—Index to Illustrations.—General Index.</p> + + +<hr style="width: 65%;" /> +<h2><b>Books for Mining Engineers and Steam Users.</b></h2> + +<p><b>RECOVERY WORK AFTER PIT FIRES</b>. A Description of the Principal Methods +Pursued, especially in Fiery Mines, and of the Various Appliances +Employed, such as Respiratory and Rescue Apparatus, Dams, etc. By ROBERT +LAMPRECHT, Mining Engineer and<!-- Page 31 --><span class='pagenum'><a name="Page_a31" id="Page_a31">[Pg a31]</a></span> Manager. Translated from the German. +Illustrated by Six large Plates, containing Seventy-six Illustrations. +175 pp., demy 8vo. 1901. Price 10s. 6d.; India and Colonies, 11s.; Other +Countries, 12s.; strictly net.</p> + +<p><b>Contents.</b></p> + +<p>Preface.—<b>I., Causes of Pit Fires:</b> 1, Fires Resulting from the +Spontaneous Ignition of Coal; 2, Fires Caused by Burning Timber; 3, +Fires Caused by Fire-damp Explosions.—<b>II., 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>III., Indications of +an Existing-or Incipient Fire.—IV., Appliances for Working in +Irrespirable Gases:</b> 1, Respiratory Apparatus; 2, Apparatus with Air +Supply Pipes, (<i>a</i>) The Bremen Smoke Helmet, (<i>b</i>) The Müller Smoke +Helmet, (<i>c</i>) The Stolz Rescue Mask; 3, Reservoir Apparatus: 4, Oxygen +Apparatus. The Schwann Respiratory Apparatus. The Fleuss Respiratory +Apparatus. The Improved Walcher-Gärtner Pneumatophor, (<i>a</i>) The Single +Bottle Apparatus, Instructions for using the Pneumatophor, Taking to +Pieces and Resetting the Apparatus ready for Use; (<i>b</i>) Two Bottle +Apparatus (Shamrock Type). The Neupert Rescue Apparatus (The Mayer-Pilar +System).—<b>V. 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. Dam +Work in the Fiery Pits of Southern Hungary: (<i>a</i>) Cross-dams of Clay; +(<i>b</i>) Masonry Dams, Gallery Linings. Wagner's Portable Safety Dam. +Analyses of Fire Gases. Isolating the Seat of a Fire with Dams: Working +in Irrespirable Gases ("Gas-diving"): 1, Air-Lock Work (Horizontal +Advance) on the Mayer System as Pursued at Karwin in 1894; 2, Air-Lock +Work (Horizontal Advance) by the Mauerhofer Modified System. Vertical +Advance. Mayer System. Complete Isolation of the Pit. Flooding a Burning +Section isolated by means of Dams. Wooden Dams: (<i>a</i>) Upright Balk Dams; +(<i>b</i>) Horizontal Balk Dams; (c) Wedge Dams, Masonry Dams. Examples of +Cylindrical and Dome-shaped Dams. Dam Doors: Flooding the Whole +Pit.—<b>VI., Rescue Stations:</b> (<i>a</i>) Stations above Ground; (<i>b</i>) +Underground Rescue Stations.—<b>VII., Spontaneous Ignition of Coal in +Bulk.</b>—Index.</p> + +<p><b>Illustrations.</b></p> + +<p>Sheet I., <b>Respiratory and Rescue Appliances—Precautions against Fire.</b> +Figs. 1, Smoke Helmet; 2, Muller's Smoke Helmet; 3, Low-pressure +Respiration Apparatus; 4, High-pressure Respiration Apparatus; 5, The +Stolz Mask for Rescue Work: 6, Precautions against Fire.—Sheet II., +<b>Respiratory and Rescue Apparatus.</b> Figs. 1, Recovery Work with Müller's +Smoke Helmet after a Fire: 2-8, The Fleuss Respiration Apparatus: 9, The +Walcher-Gärtner Pneumatophor: 10-12, Pneumatophor (Shamrock +Type).—Sheet III., <b>Respiratory and Rescue Apparatus—Stretchers.</b> +Figs. 1-8, Rescue Apparatus manufactured by O. Neupert's Successor +(Mayer-Pilar System); 1, Front View; 2, Section through Bag and Mask; 3, +Rear View: 4, Apparatus and Mask laid out Flat (view from above); 5, +Apparatus and Mask laid out Flat (view from below): 6, Locking Device +for Closing Bag; 7, Apparatus Complete, Mounted for Rescue Work; 8, +Improved Valve in the Respiration Tubes; 9-12, <b>Stretchers.</b> Fig. 9, +Stretcher Covered with Brown Canvas: 10, Stretcher Covered with Brown +Canvas, fitted with Adjustable Head-rest: 11, Folding Stretcher Covered +with Brown Canvas; 12, Rupprecht's Stretcher Covered with Brown Canvas; +13, Dr. Rühlmann's Stretcher.—Sheet IV., <b>Dams.</b> Figs. 1-7, R. Wagners +Portable Safety Dam.—Sheet V., <b>Signalling Appliances —Dam +Construction—Cable Laying.</b> Figs. 1-3, Signalling Appliances: 1, Small +Induction Apparatus for Pit Work; 2, Bell Signal for Pit Work; 3, Pit +Telephone; 4-18, <b>Dam Construction;</b> 4, 5, Upright Timber Dam; 6, 7, +Timber Dam with Wooden Door; 8, 9, Dome-shaped Dams; 10,11, Dome-shaped +Dam with Iron Door; 12,13, The Wenker and Berninghaus Locking Device for +Dam Doors; 14-17, Dam Construction: 18, Damming a Gallery Lined with +Iron: 19, Support for Cable.—Sheet VI., <b>Working with Diving Gear in +Irrespirable Gases—Gallery Work.</b> Figs. 1-4, Air-Lock Work (Mayer +System); 5-7. Air-Lock (Mauerhofer's Modification of the Mayer System); +8-11, Construction of Dams at the Pluto Shaft.—Sheet VII., <b>Working +with Diving Gear in Irrespirable Gases (Mayer System)—Appliances in the +Shaft.</b> Figs. 1, 2, Sections of Shaft and Air Apparatus; 3, Salzmann +Reducing Valve for Reserve Air Supply; 4,5, L. v. Bremen's Respiration +Apparatus with Karwin Reserve Appliance: 6, Cross Section of the +Franziska Shaft; 7, Method of Supplying Air to Main Pipe and Winding +same on Drum; 8, Clamp.</p> + +<blockquote><p><b>Press Opinions.</b></p> + +<p>"A work of this extremely valuable character deserves to be made widely +known amongst colliery managers and mining engineers at home and +abroad."—<i>Coal and Iron.</i></p> + +<p>"This book is, in a manner, unique. The literature of mining accidents +is fairly extensive, but it consists largely of departmental Blue +Books."—<i>Sheffield Daily Telegraph.</i></p> + +<p>"A concise and lucid description of the principal methods pursued, +especially in fiery mines, and of the various appliances employed, such +as respiratory and rescue apparatus, dams, etc."—<i>Staffs Advertiser.</i></p> + +<p>"The prevention of spontaneous combustion in collieries and the +extinction of underground fires are duties that fall heavily on many +colliery managers. They should, therefore, welcome this translation of +Mr. Lamprecht's German treatise."—<i>Ironmonger</i>.</p> + +<p>"The book under notice supplies the needed full description, drawings, +and mode of using these new appliances in actual fires, and should be +studied by every colliery manager, seeing that even our best managed +collieries have not been free from fires, more or less disastrous to +life and property.—<i>Colliery Manager.</i><!-- Page 32 --><span class='pagenum'><a name="Page_a32" id="Page_a32">[Pg a32]</a></span></p> +</blockquote> + +<p><b>THE PREVENTION OF SMOKE</b>. Combined with the Economical Combustion of +Fuel. By W.C. POPPLEWELL, M.Sc, A.M.Inst., C.E., Consulting Engineer. 46 +Illustrations. 190 pp. 1901. Demy 8vo. Price 7s. 6d.; India and +Colonies, 8s.; Other Countries, 8s. 6d.; strictly net.</p> + +<p><b>Contents</b>.</p> + +<p>Introductory.—Chapters I., Fuel and Combustion.—II., Hand Firing in +Boiler Furnaces.—III., Stoking by Mechanical Means.—IV., Powdered +Fuel.—V., Gaseous Fuel.—VI., Efficiency and Smoke Tests of +Boilers.—VII., Some Standard Smoke Trials.—VIII., The Legal Aspect of +the Smoke Question.—IX., The Best Means to be adopted for the +Prevention of Smoke.—Index.</p> + + +<p><b>GAS AND COAL DUST FIRING</b>. A Critical Review of the Various Appliances +Patented in Germany for this purpose since 1885. By ALBERT PÜTSCH. 130 +pp. Demy 8vo. 1901. Translated from the German. With 103 Illustrations. +Price 7s. 6d.; India and Colonies, 8s.; Other Countries, 8s. 6d.; +strictly net.</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> + +<blockquote><p><b>Press Opinions</b>.</p> + +<p>"The work is worthy of perusal by all consumers of +fuel. It is exceedingly well printed and illustrated."—<i>Chemical Trade +Journal.</i></p> + +<p>"The book will appeal with force to the manufacturer as well as to the +technical student, whilst it is also of far more than average interest +to the general reader."—<i>Halifax Guardian.</i></p> + +<p>"The importance that gas and coal dust firing have attained of recent +years, and especially the great interest attaching of late to the +question of coal dust firing, makes the appearance of the present volume +most opportune."—<i>Iron and Coal Trades Review.</i></p> + +<p>"The German author has long followed the development of various systems +of gas firing, and in the present treatise he discusses the merits of +appliances patented since 1885. His text and the numerous illustrations +indispensable to it will be found useful by all who are engaged in +practical work in the same field."—<i>North British Daily Mail.</i></p></blockquote> + + + +<hr style="width: 65%;" /> +<h2><a name="Books_on_Plumbing_Decorating_Metal_Work_etc_etc" id="Books_on_Plumbing_Decorating_Metal_Work_etc_etc"></a><b>Books on Plumbing, Decorating, Metal Work, etc., etc.</b></h2> + + +<p><b>EXTERNAL PLUMBING WORK.</b> A Treatise on Lead Work for Roofs. By JOHN W. +HART, R.P.C. 180 Illustrations. 270 pp. Demy 8vo. 1896. Price 7s. 6d.; +India and Colonies, 8s.; Other Countries, 8s. 6d.; strictly net.</p> + +<p><b>Contents</b>.</p> + +<p>Chapters I., Cast Sheet Lead.—II., Milled Sheet Lead.—III., Roof +Cesspools.—IV., Socket Pipes.—V., Drips.—VI., Gutters.—VII., Gutters +(continued).—VIII., Breaks.—IX., Circular Breaks.—X., Flats—XL, +Flats (continued).—XII., Rolls on Flats.—XIII., Roll Ends.—XIV., Roll +Intersections.—XV., Seam Rolls.—XVI., Seam Rolls (continued).—XVII., +Tack Fixings.—XVIII., Step Flashings.—XIX., Step Flashings +(continued).—XX., Secret Gutters.—XXI., Soakers.—XXII., Hip and +Valley Soakers.—XXIII., Dormer Windows.—XXIV., Dormer Windows +(continued).—XXV., Dormer Tops.—XXVI., Internal Dormers.—XXVII., +Skylights.—XXVIII., Hips and Ridging.—XXIX., Hips and Ridging +(continued).—XXX., Fixings for Hips and Ridging.—XXXI., Ornamental +Ridging.—XXXII., Ornamental Curb Rolls.—XXXIII., Curb Rolls.—XXXIV., +Cornices.—XXXV., Towers and Finials.—XXXVI., Towers and Finials +(continued).—XXXVII.,Towers and Finials (continued).—XXXVIII., +Domes.—XXXIX., Domes (continued).—XL., Ornamental Lead Work.—XLI., +Rain Water Heads.—XLII., Rain Water Heads (continued).—XLIII., Rain +Water Heads (continued).</p> + +<p><b>Press Opinions.</b></p> + +<p>"This is an eminently practical and well-illustrated volume on the +management of external lead work."—<i>Birmingham Daily Post.</i></p> + +<p>"It is thoroughly practical, containing many valuable hints, and cannot +fail to be of great benefit to those who have not had large +experience."—<i>Sanitary Journal.</i></p> + +<p>"Works on sanitary plumbing are by no means rare, but treatises dealing +with external plumbing work are sufficiently scarce to ensure for Mr. +Hart's new publication a hearty reception."—<i>The Ironmonger.</i></p> + +<p>"With Mr. Harts treatise in his hands the young plumber need not be +afraid of tackling outside work. He would do well to study its pages at +leisure, so that he may be ready for it when called +upon."—<i>Ironmongery.</i><!-- Page 33 --><span class='pagenum'><a name="Page_a33" id="Page_a33">[Pg a33]</a></span></p> + +<p><b>HINTS TO PLUMBERS ON JOINT WIPING, PIPE BENDING AND LEAD BURNING</b>. +Third Edition, Revised and Corrected. By JOHN W. HART, R.P.C. 184 +Illustrations. 313 pp. Demy 8vo. 1901. Price 7s. 6d.; India and +Colonies, 8s.; Other Countries, 8s. 6d.; strictly net.</p> + +<p><b>Contents.</b> Introduction.—Chapters I., Pipe Bending.—II., Pipe Bending +(continued).—III., Pipe Bending (continued).—IV., Square Pipe +Bendings.—V., Half-circular Elbows.—VI., Curved Bends on Square +Pipe.—VII., Bossed Bends.—VIII., Curved Plinth Bends.—IX., Rain-water +Shoes on Square Pipe.—X., Curved and Angle Bends.—XL, Square Pipe +Fixings.—XII., Joint-wiping.—XIII., Substitutes for Wiped +Joints.—XIV., Preparing Wiped Joints.—XV., Joint Fixings.—XVI., +Plumbing Irons.—XVII., Joint Fixings.—XVIII., Use of "Touch" in +Soldering.—XIX., Underhand Joints.—XX., Blown and Copper Bit +Joints.—XXL, Branch Joints.—XXII., Branch Joints (continued).—XXIII., +Block Joints.—XXIV., Block Joints (continued).—XXV., Block +Fixings.—XXVI., Astragal Joints—Pipe Fixings.—XXVII., Large Branch +Joints.—XXVIII., Large Underhand Joints.—XXIX., Solders.—XXX., +Autogenous Soldering or Lead Burning.—Index.</p> + +<blockquote><p><b>Press Opinions.</b></p> + +<p>"Rich in useful diagrams as well as in hints."—<i>Liverpool Mercury.</i></p> + +<p>"The papers are eminently practical, and go much farther into the +mysteries they describe than the title 'Hints' properly +suggests."—<i>Scotsman.</i></p> + +<p>"The articles are apparently written by a thoroughly practical man. As a +practical guide the book will doubtless be of much service."—<i>Glasgow +Herald.</i></p> + +<p>"So far as the practical hints in this work are concerned, it will be +useful to apprentices and students in technical schools, as it deals +mainly with the most important or difficult branches of the plumber's +craft, <i>viz.</i>, joint wiping, pipe bending and lead burning.... 'Hints' +are the most useful things to an apprentice, and there are many in this +work which are not to be found in some of the text-books."—<i>English +Mechanic.</i></p> + +<p><span style="margin-left: 20em;">"22 <span class="smcap">Pryme Street, Hull</span>, <i>24th November</i>, 1894.</span><br /> + +"Gentlemen,—Your books +to hand for which accept my best thanks, also for circulars. I myself +got one of J.W. Hart's books on Plumbing from your traveller, and having +looked through the same I can safely recommend it as being the best book +I have seen. Mr. J.W. Hart treats exhaustively upon soldering and pipe +bending, which are two of the most essential branches in the plumbing +trade."</p></blockquote> + + +<p><b>THE PRINCIPLES AND PRACTICE OF DIPPING, BURNISHING, LACQUERING AND +BRONZING BRASS WARE</b>. By W. NORMAN BROWN. 35 pp. Crown 8vo. 1900. Price +2s.; Abroad, 2s. 6d.; strictly net.</p> + +<p><b>Contents.</b> Chapters I., Cleansing and Dipping; Boiling up and +Cleansing: Dipping.—II., Scratch-brushing and Burnishing; Polishing; +Burnishing.—III., Lacquering; Tools; Lacquers.—IV., Bronzing; Black +Bronzing; Florentine Red Bronzing; Green Bronzing.—Index.</p> + +<blockquote><p><b>Press Opinions.</b></p> + +<p>"Mr. Brown is clearly a master of his craft, and has +also the immense advantage of being able to convey his instructions in a +manner at once clear and concise."—<i>Leicester Post.</i></p> + +<p>"A thoroughly practical little treatise on the subject in all its +branches, and one which should be in the hands of every tradesman or +amateur who has lacquering to do."—<i>Irish Builder.</i></p></blockquote> + + +<p><b>WORKSHOP WRINKLES</b> for Decorators, Painters, Paperhangers and Others. +By W.N. BROWN. Crown 8vo. 128 pp. 1901. Price 2s. 6d.; Abroad, 3s.; +strictly net.</p> + +<p><b>Contents.</b> Parts I., Decorating.—II., Painting.—III., +Paper-hanging.—IV., Miscellaneous. Arranged in alphabetical order.</p> + + +<p><b>HOUSE DECORATING AND PAINTING.</b> By W. NORMAN BROWN. Eighty-eight +Illustrations. 150 pp. Crown 8vo. 1900. Price 3s. 6d.; India and +Colonies, 4s.; Other Countries, 4s. 6d.; strictly net.</p> + +<p><b>Contents.</b> Chapters I., Tools and Appliances.—II., Colours and Their +Harmony.—III., Pigments and Media.—IV., Pigments and Media.—V., +Pigments and Media.—VI., Pigments and Media.—VII., Preparation of +Work, etc.—VIII., Application of Ordinary Colour.—IX., Graining.—X., +Graining.—XI., Graining.—XII., Gilding.—XIII., Writing and +Lettering.—XIV., Sign Painting.—XV., Internal Decoration.—Index.</p> + +<blockquote><p><b>Press Opinion.</b></p> + +<p>"The author is evidently very thoroughly at home in +regard to the technical subjects he has set himself to elucidate, from +the mechanical rather than the artistic point of view, although the +matter of correctness of taste is by no means ignored. Mr. Brown's style +is directness itself, and there is no tyro in the painting trade, +however mentally ungifted, who could fail to carry away a clearer grasp +of the details of the subject after going over the +performance."—<i>Building Industries.</i><!-- Page 34 --><span class='pagenum'><a name="Page_a34" id="Page_a34">[Pg a34]</a></span></p> +</blockquote> +<p><b>A HISTORY OF DECORATIVE ART.</b> By W. NORMAN BROWN. Thirty-nine +Illustrations. 96 pp. Crown 8vo. 1900. Price 2s. 6d.; Abroad, 3s.; +strictly net.</p> + +<p><b>Contents.</b> Chapters I., Primitive and Prehistoric Art.—II., Egyptian +Art.—III., Assyrian Art.—IV., The Art of Asia Minor.—V., Etruscan +Art.—VI., Greek Art.—VII., Roman Art.—VIII., Byzantine Art.—IX., +Lombard or Romanesque Art.—X., Gothic Art.—XI., Renaissance +Art.—XII., The Victorian Period.—Index.</p> + +<blockquote><p><b>Press Opinion.</b></p> +<p>"In the course of a hundred pages with some forty +illustrations Mr. Brown gives a very interesting and comprehensive +survey of the progress and development of decorative art. It cannot, of +course, be pretended that in the limited space named the subject is +treated exhaustively and in full detail, but it is sufficiently complete +to satisfy any ordinary reader; indeed, for general purposes, it is, +perhaps, more acceptable than a more elaborate treatise."—<i>Midland +Counties Herald.</i></p></blockquote> + + +<p><b>A HANDBOOK ON JAPANNING AND ENAMELLING FOR CYCLES, BEDSTEADS, TINWARE, +ETC.</b> By WILLIAM NORMAN BROWN. Price 2s. net. <span style="margin-left: 16em;">[<i>Ready.</i></span></p> + +<p><b>Contents.</b> A Few Words on Enamelling—Appliances and Apparatus—Japans +or Enamels—To Test Enamel for Lead—Japanning or Enamelling +Metals—Japanning Tin, such as Tea Trays, and similar Goods—Enamelling +Old Work—Enamel for Cast Iron—Enamel for Copper Cooking Utensils—The +Enamelling Stove—Enamelling Bedsteads, Frames and similar large +pieces—Paints and Varnishes for Metallic Surfaces—Varnishes for +Ironwork—Blacking for Iron—Processes for Tin +Plating—Galvanising—Metal Polishes—Colours for Polished Brass—A +Golden Varnish for Metal—Painting on Zinc—Carriage Varnish—Japanese +Varnish and its Application.—Index.</p> + + +<p><b>THE PRINCIPLES OF HOT WATER SUPPLY.</b> By JOHN W. HART, R.P.C. With 129 +Illustrations. 1900. 177 pp., demy 8vo. Price 7s. 6d.; India and +Colonies, 8s.; Other Countries, 8s. 6d.; strictly net.</p> + +<p><b>Contents.</b> Chapters I., Water Circulation.—II., The Tank +System.—III., Pipes and Joints.—IV., The Cylinder System.—V., Boilers +for the Cylinder System.—VI., The Cylinder System.—VII., The Combined +Tank and Cylinder System.—VIII., Combined Independent and Kitchen +Boiler.—IX., Combined Cylinder and Tank System with Duplicate +Boilers.—X., Indirect Heating and Boiler Explosions.—XI., Pipe +Boilers.—XII., Safety Valves.—XIII., Safety Valves.—XIV., The +American System.—XV., Heating Water by Steam.—XVI., Steam Kettles and +Jets.—XVII., Heating Power of Steam.—XVIII., Covering for Hot Water +Pipes.—Index.</p> + +<blockquote><p><b>Press Opinion.</b></p><p>"If all plumbers were to read this book, and if they +followed the instructions given, there would, we are sure, be fewer +accidents from household boiler explosions, and many lives might be +saved. No doubt the majority of householders know or care little about +the subject, but any one who wishes to adopt the most up-to-date system +of supplying hot water throughout his house will be able to do so if he +reads Mr. Hart's book and follows the instruction given. It is a work +that all who have charge of domestic water supply should study. It is a +practical and profitable book."—<i>Wigar Observer.</i></p></blockquote> + + +<hr style="width: 65%;" /> +<h2><b>Brewing and Botanical.</b></h2> + +<p><b>HOPS IN THEIR BOTANICAL, AGRICULTURAL AND TECHNICAL ASPECT, AND AS AN +ARTICLE OF COMMERCE.</b> By EMMANUEL GROSS, Professor at the Higher +Agricultural College, Tetschen-Liebwerd. Translated from the German. +Seventy-eight Illustrations. 1900. 340 pp. Demy 8vo. Price 12s. 6d.; +India and Colonies, 13s. 6d.; Other Countries, 15s.; strictly net.</p> + +<p><b>Contents.</b> PART I., HISTORY OF THE HOP. PART II., 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.—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: 1. Early +August Hops; 2. Medium Early Hops; 3. Late Hops.—Injuries to Growth: +Malformations; Diseases Produced by Conditions of Soil and Climate: 1. +Leaves Turning Yellow, 2. Summer or Sun-brand, 3. Cones Dropping Off, 4. +Honey Dew, 5. Damage from Wind, Hail and Rain; Vegetable Enemies of the +Hop: Animal Enemies of the Hop.—Beneficial Insects on Hops.<!-- Page 35 --><span class='pagenum'><a name="Page_a35" id="Page_a35">[Pg a35]</a></span></p> + +<p><strong>PART III., CULTIVATION.</strong> 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: I. Method of Cutting: +Close Cutting, Ordinary Cutting, The Long Cut, The Topping Cut; II. +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. PART IV.—Preservation and +Storage.—Physical and Chemical Structure of the Hop Cone.—Judging the +Value of Hops. PART V.—Statistics of Production.—The Hop +Trade.—Index.</p> + +<blockquote><p><b>Press Opinions.</b></p><p>"The subject is dealt with fully in every little +detail; consequently, even the veriest tyro can take away some useful +information from its pages."—<i>Irish Farming World.</i></p> + +<p>"Farmers are but little given to reading; but nowadays brewers have to +study their trade and keep abreast of its every aspect, and as far as +regards our trade, to them this book especially appeals, and will be +especially useful."—<i>Licensed Victuallers' Gazette.</i></p> + +<p>"Like an oasis in the desert comes a volume upon the above subject, by +the Professor at the Higher Agricultural College, Tetschen-Liebwerd, +Germany, who has been fortunate enough to obtain an excellent translator +from the German in the person of Mr. Charles Salter. The paucity of +works upon the history and cultivation of hops is surprising considering +the scope it gives for an interesting and useful work."—<i>Hereford +Times.</i></p> + +<p>"We can safely say that this book deals more comprehensively and +thoroughly with the subject of hops than any work previously published +in this country.... No one interested in the hop industry can fail to +extract a large amount of information from Professor Gross's pages, +which, although primarily intended for Continental readers, yet bear +very closely on what may be termed the cosmopolitan aspects of the +science of hop production."—<i>South Eastern Gazette.</i></p> + +<p>"This is, in our opinion, the most scholarly and exhaustive treatise on +the subject of hops, their culture and preservation, etc., that has been +published, and to the hop grower especially will its information and +recommendations prove valuable. Brewers, too, will find the chapter +devoted to 'Judging the Value of Hops' full of useful hints, while the +whole scope and tenor of the book bear testimony to the studious and +careful manner in which its contents have been elaborated."—<i>Brewers' +Journal.</i></p> + +<p>"Considering the extent to which this country draws its hop supplies +from abroad, this translation of Professor Gross's volume will prove an +interesting and instructive addition to the library of any brewer or +brewers' chemist, the more so as the work of translation has been +admirably carried out in simple and vigorous English.... The volume is +one of a valuable series of special technical works for trades and +professions the publishers are issuing, and is the first so far dealing +with the brewing industry."—<i>Burton Mail.</i></p> + +<p>"A work upon the above subject must be welcomed if for no other reason +than the dearth of books dealing with so interesting a theme, but +fortunately apart from this the book will afford excellent reading to +all interested in hops and their culture. Professor Gross takes one over +the whole field, by commencing with the earliest history of the +plant—so far back as the days of ancient Greece—and from both +practical, theoretical and scientific standpoints, deals with the +cultivation, classification and formation of the hop.... In speaking of +the production of new varieties sound information is given, and should +be of value to those who are always in search of +improvements."—<i>Hereford Journal.</i></p> + +<p>"This work is, without doubt, the most thorough and extensive +compilation on hops ever yet offered to the public, and for this reason +should be warmly welcomed and appreciated by men interested in the +subject. Although primarily written for those engaged in the industry +abroad, and mainly Continental in theory and practice, it nevertheless +appeals to those connected with the hop growing and brewing business in +England, not only by way of a comparison, but also as an instruction. +The volume is at once practical and scientific, is well got up, and +teems with illustrations and statistics. In a word, it is a book that +should find its way into the hands of all who are occupied in hop +production and distribution at home; and it also contains valuable +information and suggestions for the brewers themselves."—<i>Brewers' +Guardian.</i></p></blockquote> + +<hr style="width: 65%;" /> + +<h2><b>Public Libraries.</b></h2> + + +<p><b>BRITISH LIBRARY YEAR BOOK, 1900-1901.</b> A Record of Library Progress and +Work. 54 Illustrations. Crown 8vo, 345 pp. 1900. Edited by THOMAS +GREENWOOD. Price 3s.; abroad, 3s. 6d.; strictly net.</p> + +<p><b>Contents.</b> Notes for Library Committees. Contributed Articles: The +Library Rate. Some Points in Library Planning—Mr. Burgoyne. Library +Classification—Mr. Jast. Developments in Library Cataloguing—Mr. +Quinn. Children and Public Libraries—Mr. Ballinger. Fire Prevention and +Insurance—Mr. Davis. The Educational Work of the Library +Association—Mr. Roberts. The Library Assistants' Association—Mr. +Chambers. British Municipal Libraries established under the various +Public Libraries or Special Acts, and those supported out of Municipal +Funds<!-- Page 36 --><span class='pagenum'><a name="Page_a36" id="Page_a36">[Pg a36]</a></span> giving particulars of Establishment, Organisation, Staff, Methods +and Librarians. Table showing the Rate, Income, Work and Hours of the +Rate-supported Libraries. Statistical Abstracts. British non-Municipal +Libraries, Endowed, Collegiate, Proprietary and others, showing date of +Establishment, number of Volumes, Particulars of Administration, and +Librarians. Library Associations and Kindred Societies.</p> + +<p><b>Press Opinions.</b> "This is a handbook which tells the reader everything +about public libraries, great and small, in the United Kingdom.... The +book is decidedly one of the best arranged volumes ever published, and +there is no doubt that the editor has been at great pains to obtain the +latest and most accurate information from all places. County, district +and parish councils, ministers of religion, and schoolmasters everywhere +should make themselves acquainted with its contents. Its perusal cannot +fail to serve the ends of the library movement. The illustrations, of +which there is a large number, are very good."—<i>Western (Cardiff) +Mail.</i></p> + +<hr style='width: 45%;' /> + +<h2><i>WORKS IN PREPARATION.</i></h2> + +<p><b>PRINCIPLES OF SIDEROLOGY</b> (The Science of Iron). Translated from the +German of HANKS FREIHERR v. ZÜPTNER.</p> + +<p><b>STAINED GLASS</b> (Ancient and Modern) and <b>FRET LEAD GLAZING.</b> By E.R. +SUFFLING.</p> + +<p><b>TREATISE ON CLOTH FINISHING.</b> By ROBERT BEAUMONT, of Yorkshire College, +Leeds.</p> + +<p><b>INDIA-RUBBER; GUTTA PERCHA.</b></p> + +<p><b>EVAPORATION, CONDENSATION AND COOLING.</b> Calculations of Dimensions of +Apparatus. By E. HAUSBRAND. Tables. For Chemists, Chemical and +Mechanical Engineers.</p> + +<p><b>THE CHEMICAL TECHNOLOGY OF TEXTILE FIBRES.</b> Spinning, Washing, +Bleaching, Dyeing, Printing and Finishing. By Dr. G. von GEORGIEVICS. +[<i>In the Press.</i></p> + +<p><b>WEAVING MACHINERY.</b> Three Vols. By HARRY NISBET.</p> + +<p><b>COLOUR TERMS: THEIR PROPER USE AND MEANING.</b> By DAVID PATERSON.</p> + +<p><b>LEAD AND ITS COMPOUNDS.</b> By THOS. LAMBERT.</p> + +<p><b>COTTON COMBERS AND THE COMBING PROCESS.</b> By THOS. THORNLEY. [<i>In the +Press.</i></p> + +<p><b>TIMBER.</b> Its Physical and Chemical Properties, Description, +Distribution throughout the World, Forests, Preservation of Timber, and +Applications. From the French of Paul Charpentier. 179 Illustrations. +About 500 pp.</p> + +<p><b>USE OF WATER IN THE INDUSTRIAL ARTS.</b> Composition—Influences—Residual +Water—Purification—Analysis. From the French of H. de la Coux. 135 +Illustrations. About 500 pp.</p> + +<p><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 PAUL HEERMANN, Ph.D. Translated by ARTHUR C. +WRIGHT, M.A. (Oxon.), B.Sc. (Lond.).—[<i>In the Press.</i></p> + +<hr style='width: 45%;' /> + +<h2><b>HANDY GUIDES TO THE CHOICE OF BOOKS.</b></h2> + +<p>Vol. I. <b>PROSE FICTION.</b></p> + +<p>Vol. II. <b>TECHNICAL, TRADE AND COMMERCIAL BOOKS.</b></p> + +<p><i>Others to follow.</i> <span style="margin-left: 12em;">[<i>In Preparation.</i></span></p> + +<hr style='width: 45%;' /> + +<p><i>The Publishers will advise when any of the above books are ready to +firms sending their addresses.</i></p> + + + + + + + + + + + +<pre> + + + + + +End of Project Gutenberg's The Dyeing of Cotton Fabrics, by Franklin Beech + +*** END OF THIS PROJECT GUTENBERG EBOOK THE DYEING OF COTTON FABRICS *** + +***** This file should be named 21224-h.htm or 21224-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/1/2/2/21224/ + +Produced by Audrey Longhurst, Labyrinths and the Online +Distributed Proofreading Team at https://www.pgdp.net + + +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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