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+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
+
+
+
+
+
+
+
+
+
+THE
+
+DYEING OF COTTON FABRICS
+
+_A PRACTICAL HANDBOOK FOR THE DYER AND STUDENT_
+
+BY
+
+FRANKLIN BEECH
+
+PRACTICAL COLOURIST AND CHEMIST
+
+_ILLUSTRATED BY FORTY-FOUR ENGRAVINGS_
+
+LONDON SCOTT, GREENWOOD & CO. 19 LUDGATE HILL, E.C.
+
+1901
+
+[_All rights reserved_]
+
+
+
+PREFACE.
+
+
+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.
+
+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.
+
+FRANKLIN BEECH.
+
+_May, 1901._
+
+
+
+
+CONTENTS.
+
+CHAPTER I.
+                                                                    PAGE
+STRUCTURE AND CHEMISTRY OF THE COTTON FIBRE                            1
+  Action of Alkalies                                                   6
+  Action of Acids on Cellulose                                         9
+  Action of Sulphuric Acid on Cotton                                  10
+  Action of Hydrochloric Acid                                         11
+  Action of Nitric Acid                                               12
+  Action of Oxidising Agents on Cellulose or Cotton                   16
+
+CHAPTER II.
+
+SCOURING AND BLEACHING OF COTTON                                      23
+  Stains and Damages in Bleached Goods                                50
+
+CHAPTER III.
+
+DYEING MACHINERY AND DYEING MANIPULATIONS                             53
+  Hand Dyeing                                                         53
+  Dyeing Machines                                                     57
+  Dyeing, Slubbing, Sliver or Carded Cotton and Wool                  58
+  Cop Dyeing                                                          64
+
+CHAPTER IV.
+
+THE PRINCIPLES AND PRACTICE OF COTTON DYEING                          82
+  (1) Direct Dyeing                                                   85
+  (2) Direct Dyeing followed by Fixation with Metallic Salts         112
+  (3) Direct Dyeing followed by Fixation with Developers             128
+  (4) Direct Dyeing followed by Fixation with Couplers               139
+  (5) Dyeing on Tannic Mordant                                       147
+  (6) Dyeing on Metallic Mordants                                    156
+  (7) Production of Colour Direct upon Cotton Fibres                 181
+  (8) Dyeing Cotton by Impregnation with Dye-stuff Solution          198
+
+CHAPTER V.
+
+DYEING UNION (MIXED COTTON AND WOOL) FABRICS                         208
+
+CHAPTER VI.
+
+DYEING HALF SILK (COTTON-SILK, SATIN) FABRICS                        225
+  Method of Dyeing                                                   225
+
+CHAPTER VII.
+
+OPERATIONS FOLLOWING DYEING                                          239
+  Washing, Soaping, Drying                                           239
+
+CHAPTER VIII.
+
+TESTING OF THE COLOUR OF DYED FABRICS                                257
+
+CHAPTER IX.
+
+EXPERIMENTAL DYEING AND COMPARATIVE DYE TESTING                      262
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+FIG.                                                                PAGE
+1.  Cotton Fibre                                                       5
+1A. Cross-section of Cotton Fibre                                      5
+2.  Mercerised Cotton Fibre                                            7
+2A. Cross-section of Mercerised Cotton Fibre                           7
+3.  Silkified Cotton Fibre                                             9
+3A. Cross-section of Silkified Cotton Fibre                            9
+4.  Mather & Platt's Low-pressure Bleaching Kier                      31
+5.  Mather & Platt's Yarn-bleaching Kier                              49
+6.  Rectangular Dye-tank                                              54
+7.  Round Dye-tub                                                     54
+8.  Section of Dye-vat                                                56
+9.  Delahunty's Dyeing Machine                                        58
+10. Obermaier Dyeing Machine                                          59
+11. Holliday's Yarn-dyeing Machine                                    60
+12. Klauder-Weldon Dyeing Machine                                     62
+13. Graemiger Cop-dyeing Machine                                      65
+14. Graemiger Cop-dyeing Machine                                      66
+15. Beaumont's Cop-dyeing Machine                                     67
+16. Warp-dyeing Machine                                               70
+17. Warp-dyeing Machine                                               71
+18. Dye-jiggers                                                       72
+19. Dye-jigger                                                        73
+20. Jig Wince                                                         75
+21. Cloth-dyeing Machine                                              76
+22. Dye Beck                                                          77
+23. Holliday's Machine for Hawking Cloth                              78
+24. Continuous Dyeing Machine                                         79
+25. Padding Machine                                                   80
+26. Padding Machine                                                   81
+27. Dye-tub for Paranitroaniline Red                                 191
+28. Padding Machine for Paranitroaniline Red                         192
+29. Developing Machine for Paranitroaniline Red                      194
+30. Indigo Dye-vat for Cloth                                         199
+31. Squeezing Rollers                                                240
+32. Yarn-washing Machine                                             243
+33. Dye-house Washing Machine                                        244
+34. Cloth-washing Machine                                            245
+35. Cloth-washing Machine                                            247
+36. Washing and Soaping Vats                                         248
+37. Steaming Cottage                                                 249
+38. Steaming and Ageing Chamber                                      250
+39. Hydro-extractor                                                  251
+40. Hydro-extractor                                                  252
+41. Automatic Yarn-dryer                                             253
+42. Truck Yarn-dryer                                                 254
+43. Drying Cylinders                                                 255
+44. Experimental Dye-bath                                            263
+
+
+
+
+CHAPTER I.
+
+STRUCTURE AND CHEMISTRY OF THE COTTON FIBRE.
+
+
+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.
+
+A few words on vegetable textile fibres in general may be of interest.
+Fibres are met with in connection with plants in three ways.
+
+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.
+
+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 1/4 inch to 1-1/2 inches or even 2 inches; each fibre
+consists of a single unit. Whether it is serviceable as a textile fibre
+depends upon its structure, which differs in different plants, and also
+upon the quantity available.
+
+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.
+
+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.
+
+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.
+
+=The Cotton Fibre.=--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 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.
+
+=Impurities of the Cotton Fibre.=--Dr. E. Schunck made an investigation
+many years ago into the character of the impurities, and found them to
+consist of the following substances:--
+
+=Cotton Wax.=--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.
+
+=Fatty Acids.=--A solid, fatty acid, melting at 55° C. is also present
+in cotton. Probably stearic acid is the main constituent of this fatty
+acid.
+
+=Colouring Matter.=--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.
+
+=Pectic Acid.=--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
+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.
+
+=Albumens.=--A small quantity of albuminous matter is found among the
+impurities of cotton.
+
+=Structure of the Cotton Fibre.=--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 3/4 to 7/8 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.
+
+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,
+and the central canal is almost obliterated and the fibres are but
+little twisted. Dead fibres are thin, brittle and weak.
+
+=Composition of the Cotton Fibres.=--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.
+
+[Illustration: FIG. 1.--Cotton Fibre.]
+[Illustration: FIG. 1A.]
+
+Cellulose is a compound of the three elements, carbon, hydrogen and
+oxygen, in the proportions shown in the following analysis:--
+
+Carbon, 44.2 per cent.,
+Hydrogen, 6.3 per cent.,
+Oxygen, 49.5 per cent.,
+
+which corresponds to the empirical formula C{6}H{10}O{5}, 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
+which they are present in water, namely H{2}O.
+
+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.
+
+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.
+
+
+ACTION OF ALKALIES.
+
+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.
+
+Dilute solutions of the caustic alkalies, caustic soda or caustic
+potash, of from 2 to 7 per cent. strength, have no 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.
+
+[Illustration: FIG. 2.--Mercerised Cotton Fibre.]
+[Illustration: FIG. 2A.]
+
+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. 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{6}H{10}O{5}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{6}H{10}O{5}H{2}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".
+
+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.
+
+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 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.
+
+[Illustration: FIG. 3.--Silkified Cotton Fibre.]
+
+[Illustration: FIG 3A.]
+
+In the chapter on Scouring and Bleaching of Cotton, some reference will
+be made to the action of alkalies on cotton.
+
+
+ACTION OF ACIDS ON CELLULOSE.
+
+The action of acids on cellulose is a very varied one, being dependent
+upon several factors, such as the particular acid 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.
+
+
+ACTION OF SULPHURIC ACID ON COTTON.
+
+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 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.
+
+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.
+
+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.
+
+
+ACTION OF HYDROCHLORIC ACID.
+
+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{12}H{22}O{11}, and is therefore a hydrate of
+cellulose, the latter having undergone hydrolysis by taking up the
+elements of water according to the equation 2C{6}H{10}O{5} + H{2}O
+= C{12}H{22}O{11}. 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.
+
+Hydrocellulose is soluble in nitric acid, 1.5 specific gravity, without
+undergoing oxidation. Nitrates are formed varying in composition.
+
+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.
+
+
+ACTION OF NITRIC ACID.
+
+The action of nitric acid on cellulose is a variable one, depending on
+many factors, strength of acid, duration of 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.
+
+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.
+
+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{3} group, which is characteristic of nitrates, and not of the
+NO{2} 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{6}H{5}NO{2}, into aniline, C{6}H{5}NH{2}, or with
+nitro-naphthalene, C{10}H{7}NO{2}, which changes into naphthylamine,
+C{10}H{7}NH{2}.
+
+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:--
+
+Cellulose Hexa-nitrate, C{6}H{4}O{5}(NO{3}){6}. 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.
+
+Cellulose Penta-nitrate, C{6}H{5}O{5}(NO{3}){5}, 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.
+
+Cellulose Tetra-nitrate, C{6}H{6}O{5}(NO{3}){4}, and Cellulose
+Tri-nitrate, C{6}H{7}O{5},(NO{3}){3}, form the basis of the
+pyroxyline or soluble 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.
+
+Cellulose Di-nitrate, C{6}H{8}O{5}(NO{3}){2}, 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.
+
+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 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.
+
+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.
+
+Artificial silk can be dyed in the same manner as ordinary silk.
+
+
+ACTION OF OXIDISING AGENTS ON CELLULOSE OR COTTON
+
+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.
+
+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{6}H{10}O{6}. 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 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.
+
+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.
+
+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.
+
+Alkaline solutions of permanganate convert the cellulose into
+oxycellulose, which resembles the oxycellulose obtained by the action of
+the nitric acid.
+
+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.
+
+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.
+
+=Dyes and Cotton Dyeing.=--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.
+
+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.e._, indigo, which do not come under this grouping.
+
+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 colouring 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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+Cellulose can be dissolved by certain metallic solutions and
+preparations:--
+
+(1) =Zinc Chloride.=--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.
+
+(2) =Zinc Chloride and Hydrochloric Acid.=--When zinc chloride is
+dissolved in hydrochloric acid a liquid is obtained 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.
+
+(3) =Ammoniacal Copper.=--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.
+
+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.
+
+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.
+
+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.
+
+This action of cupra-ammonium solutions on cellulose has 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.
+
+
+
+
+CHAPTER II.
+
+SCOURING AND BLEACHING OF COTTON.
+
+
+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.
+
+=Scouring Cotton.=--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 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.
+
+If the ordinary dyeing machines are not used for this purpose, then the
+ordinary bleachers' kiers may be used. These will be described
+presently.
+
+=Bleaching of Cotton.=--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:--
+
+(1) Market or white bleach.
+(2) Dyers or printers' bleach.
+(3) Madder bleach.
+
+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 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:--
+
+(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.
+
+(1) =Stitching.=--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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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 the process, umber will
+serve for brown. All these colours are used in the form of printing ink.
+
+The next operation is a very important one, which cannot be too
+carefully carried out, that is:--
+
+(2) =Singeing.=--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.
+
+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.
+
+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.
+
+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.
+
+(3) =Singeing Wash.=--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.
+
+(4) =Lime Boil.=--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
+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.
+
+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.
+
+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 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.
+
+[Illustration: Fig. 4.--Mather & Platt's Low-pressure Bleaching Kier.]
+
+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 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 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.
+
+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.
+
+(5) =Lime or Grey Sour.=--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.
+
+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:--
+
+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.
+
+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.
+
+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 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.
+
+(6) =Lye Boil.=--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.
+
+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.
+
+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.
+
+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.
+
+(7) =Resin Boil.=--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.
+
+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 1-1/2 to 1-3/4 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 3-1/2 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.
+
+What the special function of the resin is in this boil is 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.
+
+(8) =Wash.=--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.
+
+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.
+
+(9) =Chemicing.=--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.
+
+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 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 1/2 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.
+
+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.
+
+The chemicing is best done cold and with weak solution, at 1/2° 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.
+
+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 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.
+
+(10) =White Sour.=--After the chemicing the goods are treated to a sour,
+for which purpose either hydrochloric acid or sulphuric acid may be
+used.
+
+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.
+
+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.
+
+=Turkey Red Bleach=--(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
+2-1/2 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.
+
+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.
+
+=Market Bleach=--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.
+
+The resin boil may be omitted, only two lye boils being required, and
+these need not be so long or of such a searching 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:--
+
+(1) Lime boil, using 500 lb. of lime, and giving a twelve-hours' boil.
+(2) Grey sour, hydrochloric acid of 2° Tw., then wash well.
+(3) Lye boil, 100 lb. caustic soda, 70 per cent. solid, ten to twelve
+hours' boil; wash.
+(4) Second lye boil, 100 lb., 58 per cent. soda ash, twelve-hours' boil.
+(5) Chemic, bleaching powder liquor at 1° Tw., boil for three hours;
+wash.
+(6) White sour, sulphuric acid at 2° Tw.; wash well.
+
+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.
+
+Another process is the following:--
+
+(1) Lime boil, using 480 lb. lime, and boiling for ten hours.
+(2) Grey sour, hydrochloric acid at 2° Tw.; wash.
+(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.
+(4) Chemic as above.
+(5) White sour as above; wash well.
+
+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:--
+
+(1) Lye boil, using 140 lb. caustic soda, of 70 per cent., giving ten
+hours' boil and washing well.
+(2) Second lye boil, using 120 lb. soda ash, 58 per cent., and giving
+ten hours' boil; wash.
+(3) Chemic as above.
+(4) White sour as above; wash well.
+
+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.
+
+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 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
+1/2° 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.
+
+Another plan of bleaching fine fabrics is shown in outline in the
+following scheme:--
+
+(1) Wash; boil in water for two hours.
+(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.
+(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.
+(4) Chemic, using bleaching powder liquor at 1/2° Tw., allowing them to
+steep for two hours, then wash and whiz.
+(5) White sour, using hydrochloric acid at 2° Tw., steeping two hours;
+wash.
+
+A further extension of the same process is sometimes given for the best
+goods, which consists, after the above, in giving:--
+
+(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.
+(7) Chemic as before.
+(8) Sour as before, after which the goods are well washed.
+
+In the bleaching of Nottingham lace curtains for the soda 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.
+
+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.
+
+=Yarn Bleaching.=--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.
+
+=Warp Bleaching.=--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 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:--
+
+(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.
+(2) Sweeting, boil with 80 lb. soda ash, 58 per cent., for two hours.
+(3) Washing.
+(4) Chemicing, bleaching powder liquor at 1° Tw., washing.
+(5) Sour, sulphuric acid at 2° Tw,. washing well.
+(6) Hydro extracting and drying.
+
+About 2,000 to 3,000 lb. of warps are usually treated at one time.
+
+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.
+
+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 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".
+
+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.
+
+=Hank Bleaching.=--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-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.
+
+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:--
+
+(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.
+(2) Wash through washing machine.
+(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.
+(4) Chemic as in warp bleaching.
+(5) Sour as in warp bleaching.
+(6) Wash well.
+(7) Hydro extract and dry.
+
+Sometimes, if the yarn is to be sold in thread form, before the last
+operation it passes through another, _viz._, treating with soap and blue
+liquors, which will be dealt with presently.
+
+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.
+
+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 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.
+
+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 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.
+
+[Illustration: FIG. 5.--Mather & Platt's Yarn-bleaching Kier.]
+
+
+STAINS AND DAMAGES IN BLEACHED GOODS.
+
+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.
+
+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, 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 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.
+
+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.
+
+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.
+
+
+
+
+CHAPTER III.
+
+DYEING MACHINERY AND DYEING MANIPULATIONS.
+
+
+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.
+
+In the early days all dyeing was done by hand in the simplest possible
+contrivances, but during the last quarter of a century there has been a
+great development in the quantity of dyeing that has been done, and this
+has really necessitated the application of machinery, for hand work
+could not possibly cope with the amount of dyeing now done. Consequently
+there has been devised during the past two decades a great variety of
+machines for dyeing every description of textile fabrics, some have not
+been found a practical success for a variety of reasons and have gone
+out of use, others have been successful and are in use in dye-works.
+
+
+HAND DYEING.
+
+[Illustration: FIG. 6.--Rectangular Dye-tank.] [Illustration: FIG.
+7.--Round Dye-tub.]
+
+Dyeing by hand is carried on in the simplest possible appliances; much
+depends upon whether the work can be done at the ordinary temperature
+or at the boil. 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
+copper dye-vats are also made. These may be used for all kinds of
+material, loose fibre, yarns or cloth. In the case of loose fibre this
+is stirred about either with poles or with rakes, care being taken to
+turn every part over and over and open out the masses of fibre as much
+as possible in order to avoid matting or clotting together. In the case
+of yarns or skeins, these are hung on sticks resting on the edges of the
+tub or vat. These sticks are best made of hickory, but ash or beech or
+any hard wood that can be worked smooth and which does not swell much
+when treated with water may be used. The usual method of working is to
+hang the skein on the stick, spreading it out as much as possible, then
+immerse the yarn in the liquor, lift it up and down two or three times
+to fully wet out the yarn, then turn the yarn over on the stick and
+repeat the dipping processes, then allow to steep in the dye-liquor.
+This is done with 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.
+
+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.
+
+[Illustration: FIG. 8.--Section of Dye-vat.]
+
+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 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 condense, there
+is a little dilution of the dye-liquor in the vat.
+
+
+DYEING MACHINES.
+
+Dye tubs and vats, such as those described above, have been largely
+superseded by machines in which the handling, or working of the
+materials being dyed is effected by mechanical means. There have been a
+large number of dyeing machines invented, some of these have not been
+found to be very practical, and so they have gone out of use. Space will
+not admit of a detailed account of every kind of machine, but only of
+those which are in constant use in dye-works.
+
+=Dyeing Loose, or Raw Cotton.=--Few machines have been designed for this
+purpose, and about the only successful one is:
+
+=Delahunty's Dyeing Machine.=--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.
+
+The Obermaier machine, presently to be described, may also be used for
+dyeing loose cotton or wool.
+
+DYEING, SLUBBING, SLIVER OR CARDED COTTON AND WOOL.
+
+[Illustration: FIG. 9.--Delahunty's Dyeing Machine.]
+
+[Illustration: FIG. 10.--Obermaier Dyeing Machine.]
+
+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 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 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.
+
+[Illustration: FIG. 11.--Holliday's Yarn-dyeing Machine.]
+
+=Holliday's Yarn-dyeing Machine.=--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 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.
+
+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.
+
+To some makes of these machines a hank wringer is attached.
+
+[Illustration: FIG. 12.--Klauder-Weldon Dyeing Machine.]
+
+=Klauder-Weldon Hank-dyeing Machine.=--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 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 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.
+
+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.
+
+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 dropped into the dye-vat to go
+through the same cycle of movements which is continued until the yarn is
+properly dyed.
+
+
+COP DYEING.
+
+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.
+
+In all machines for dyeing cops one principle has been adopted--that of
+drawing or forcing the dye-liquor through the cop.
+
+[Illustration: FIG. 13.--Graemiger Cop-dyeing Machine.]
+
+=Graemiger's Cop-dyeing Machine.=--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 continual circulation of dye-liquors from the vat through the cops,
+chambers and pump back to the vat again.
+
+[Illustration: FIG. 14.--Graemiger Cop-dyeing Machine.]
+
+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 proceedings go on
+continuously. Although not quite free from defects the machine gives
+very good results, the cops being very uniformly dyed through.
+
+[Illustration: FIG. 15.--- Beaumont's Cop-dyeing Machine.]
+
+=Beaumont's Cop-dyeing Machine.=--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 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.
+
+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.
+
+=Young & Crippin's Cop-dyeing Machine.=--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 communicates 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.
+
+=Mommer's Cop-dyeing Machine.=--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.
+
+=Warp-dyeing Machines.=--Although many warps, especially for fancy
+fabrics, are prepared from yarns dyed in the hank 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.
+
+[Illustration: FIG. 16.--Warp-dyeing Machine.]
+
+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 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.
+
+After being dyed in this machine the warp is sent through another one
+containing various wash liquors to finish the process.
+
+[Illustration: FIG. 17.--Warp-dyeing Machine.]
+
+Fig. 17 shows a warp-dyeing machine similar to, but a little more
+elaborate in construction than, the vats just described.
+
+=Piece-dyeing Machines.=--Wherever it is possible it is far more
+preferable to dye textile fabrics in the form of woven pieces rather
+than in the yarn from which they are woven. During the process of
+weaving it is quite impossible to avoid the material getting dirty and
+somewhat greasy, and the operations of scouring necessary to remove this
+dirt and grease has an impairing action on the colour if dyed yarns
+have been used in weaving it. This is avoided when the pieces are woven
+first and dyed afterwards, and this can always be done when the cloths
+are dyed in one colour only. Of course when the goods are fancy goods
+containing several colours they have to be woven from dyed yarns.
+
+[Illustration: FIG. 18.--Dye-jiggers.]
+
+[Illustration: FIG. 19.--Dye-jigger.]
+
+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 the cloth
+wound from the full on to the empty roller. With the object of keeping
+the piece tight, a heavy press roller is arranged to bear on the cloth
+on the full roller. When all the cloth has passed from one roller to the
+other it is said to have been given "one end". The direction of motion
+is now changed, and the cloth sent in the opposite direction through the
+jig, and the piece has now received another "end". This alternation from
+one roller to the other is continued as long as is deemed necessary,
+much depending on the depth of colour which is being dyed--some pale
+shades may only take two or three ends, deeper shades may take more.
+When dyeing wool with acid colours which are all absorbed from the
+dye-liquor, or the bath is exhausted, it is a good plan to run the
+pieces several more ends so as to ensure thorough fixation of the dye on
+the cloth.
+
+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.
+
+Some attempts have been made to make jiggers automatic in their
+reversing action, but they have not been successful; owing to the
+greatly varying conditions of length of pieces, their thickness, etc.,
+which have to be dyed, and it is next to impossible to make all
+allowances for such varying conditions.
+
+[Illustration: FIG. 20--Jig Wince.]
+
+[Illustration: FIG. 21.--Cloth-dyeing Machine.]
+
+=The Jig Wince or Wince Dye Beck.=--This dyeing machine is very largely
+used, particularly in the dyeing of woollen cloths. It is made by many
+makers, and varies somewhat in form accordingly. Figs. 20, 21 and 22,
+show three forms by different makers. In any make the jig wince, or
+wince dye beck, consists of a large rectangular, or, in some cases,
+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 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 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.
+
+[Illustration: FIG. 22.--Dye Beck.]
+
+In the jig and wince dyeing machines the pieces necessarily are for a
+part of the time, longer in the case of the jigger than in that of the
+wince, out of the dye-liquor and exposed to the air. In the case of
+some dyes, indigo especially, this is not desirable, and yet it is
+advisable to run the cloth open for some time in the liquor, so as to
+get 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.
+
+[Illustration: FIG. 23.--Holliday's Machine for Hawking Cloth.]
+
+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 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.
+
+[Illustration: FIG. 24.--Continuous Dyeing Machine.]
+
+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.
+
+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.
+
+[Illustration: FIG. 25.--Padding Machine.]
+
+[Illustration: FIG. 26.--Padding Machine.]
+
+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 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.
+
+
+
+
+CHAPTER IV.
+
+THE PRINCIPLES AND PRACTICE OF COTTON DYEING.
+
+
+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.
+
+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 constitution 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 _The
+Dictionary of Coal Tar Colours_, by George H. Hurst; _The Chemistry of
+Coal Tar Colours_, by Benedikt and Knecht; or _The Chemistry of Organic
+Colouring Matters_, by Nietzki, where the composition and properties of
+the dyes are fully described.
+
+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:--
+
+     Group 1. Direct dyes.
+       "   2. Basic dyes.
+       "   3. Acid dyes.
+       "   4. Mordant dyes.
+       "   5. Miscellaneous dyes.
+
+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.
+
+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.
+
+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 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.
+
+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.
+
+The fifth group includes a few dyes like indigo, which are dyed on to
+cotton by various and special processes.
+
+The processes of cotton dyeing employed to-day may be comprised under
+eight heads, namely:--
+
+(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.
+
+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.
+
+
+(1) DIRECT DYEING.
+
+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.
+
+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.
+
+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 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.
+
+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.
+
+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.
+
+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 be got by their means. The best assistants to use are also
+indicated in the formulæ.
+
+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.
+
+_Bright Red._--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.
+
+_Pale Salmon._--Prepare a dye-bath with 3 lb. salt, 5 lb. phosphate of
+soda, 1 lb. soap, 1/2 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.
+
+_Dark Plum._--Prepare a dye-bath with 20 lb. of Glauber's salt, 2-1/2
+lb. soap, 1-1/2 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.
+
+_Turkey Red._--Prepare a dye-bath with 1-1/2 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.
+
+_Lilac Red._--Prepare the dye-bath with 2 lb. soap, 5 lb. soda, 3 lb.
+Rose azurine G. Work at the boil for one hour.
+
+_Pink._--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.
+
+_Bordeaux._--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.
+
+_Rose Pink._--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.
+
+_Brilliant Red._--Make the dye-bath with 24 lb. Brilliant purpurine R
+and 25 lb. Glauber's salt, working at the boil for one hour.
+
+_Deep Pink._--Make the dye-bath with 1/2 lb. Diamine rose B D, 1/2 lb.
+soda, 1 lb. soap and 5 lb. Glauber's salt, working at 150° F. for half
+an hour.
+
+_Dark Red._--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.
+
+_Pink._--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.
+
+_Scarlet._--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.
+
+_Scarlet._--Prepare the dye-bath with 3 lb. Titan scarlet C, 1/2 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.
+
+_Crimson Red._--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 3-1/2 lb. of colour and 25 lb. of salt only need be
+added.
+
+_Scarlet._--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.
+
+_Rose Red._--Use 1 lb. Diamine red 10 B, 3 lb. soda, and 20 lb.
+Glauber's salt.
+
+_Deep Crimson._--Use 3 lb. Diamine red 10 B, 3 lb. soda and 20 lb.
+Glauber's salt.
+
+_Claret._--Use 3 lb. Diamine Bordeaux B, 3 lb. soda and 20 lb. Glauber's
+salt.
+
+_Pink._--The dye-bath is made with 5 oz. Dianil red 4 B, 5 lb. salt and
+3 lb. soda.
+
+_Scarlet._--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.
+
+_Claret._--Dye with 1-1/2 lb. Dianil claret G, 3 lb. soda and 20 lb.
+salt. Work at the boil for one hour.
+
+_Maroon._--Dye with 3 lb. Dianil claret B, 3 lb. soda and 20 lb. salt.
+Work at the boil for one hour.
+
+_Bright Scarlet._--Use in the dye-bath 2-1/2 lb. Dianil red 4 B 5 oz.
+Dianil orange G, 3 lb. soda and 15 lb. salt.
+
+_Dark Maroon._--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.
+
+_Crimson._--Dye with 3 lb. Congo rubine, 5 lb. soda and 20 lb. Glauber's
+salt.
+
+_Dark Maroon._--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.
+
+_Pale Fawn Red._--Use in the dye-bath 1-1/2 oz. Diamine red 5 B, 1-1/2
+oz. Diamine catechine G, 3 lb. soda and 10 lb. Glauber's salt.
+
+_Rose Red._--Prepare the dye-bath with 3/4 lb. Diamine Bordeaux B, 3 oz.
+Diamine orange B, 3 lb. soda and 20 lb. salt.
+
+_Crimson._--Use in the dye-bath 3/4 lb. Diamine Bordeaux B, 3 oz.
+Diamine fast yellow B, 3 lb. soda and 20 lb. Glauber's salt.
+
+_Salmon._--Dye with 1-1/2 oz. Diamine fast red F, 1-1/2 oz. Diamine fast
+yellow B, 3 lb. soda and 10 lb. Glauber's salt.
+
+_Terra-Gotta Red._--Dye with 1-1/2 lb. Diamine brown M, 3/4 lb. Diamine
+fast red F, 3 lb. soda and 20 lb. Glauber's salt.
+
+_Lilac Red._--Dye with 4 lb. Heliotrope B B, 3 lb. soda and 15 lb.
+Glauber's salt.
+
+_Bright Pink._--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.
+
+_Bright Straw._--Dye in a bath made of 1/4 lb. Titan yellow G G, 10 lb.
+salt, for three-quarters of an hour, then lift, wash and dry.
+
+_Yellow._--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.
+
+_Yellow._--Prepare the dye-bath with 1/4 lb. Diamine fast yellow A, 1
+lb. Turkey red oil, 20 lb. Glauber's salt. Dye at the boil for one hour.
+
+_Sun Yellow._--Prepare the dye-bath with 2 lb. Sun yellow, 30 lb. common
+salt. Dye at the boil. The bath is kept for further lots.
+
+_Yellow._--Prepare the dye-bath with 1 lb. Direct yellow R, 20 lb.
+Glauber's salt. Dye at the boil for one hour.
+
+_Yellow._--Prepare the dye-bath with 2 lb. Curcuphenine, 20 lb. common
+salt. Work at the boil for one hour; lift, rinse and dry.
+
+_Old Gold._--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.
+
+_Dark Yellow._--The bath is made from 2 lb. Toluylene orange G, 10 lb.
+phosphate of soda, and 2-1/2 lb. soap, working at the boil to shade.
+
+_Bright Yellow._--Use 1 lb. Chrysophenine, 2 lb. phosphate of soda and
+10 lb. Glauber's salt.
+
+_Lemon Yellow._--Use 1 oz. Chrysamine G, 2 lb. phosphate of soda and 10
+lb. Glauber's salt.
+
+_Yellow._--Dye with 2 lb. Oxyphenine and 20 lb. salt.
+
+_Yellow Olive._--Use in the dye-bath 2 oz. Cotton brown N, 4-1/2 oz.
+Diamine bronze G, 4-1/2 oz. Diamine fast yellow B, 3 lb. soda and 20 lb.
+salt.
+
+_Green Yellow._--Dye with 1/2 lb. Diamine fast yellow B. 2 oz. Diamine
+bronze G, 3 lb. soda and 10 lb. Glauber's salt.
+
+_Gold Yellow._--Use in the dye-bath 3 lb. Columbia yellow, 3 lb. soda
+and 20 lb. Glauber's salt.
+
+_Cream._--Dye with 1/2 oz. Toluylene orange G, 24 grains Brilliant
+orange G, 1 lb. soda and 10 lb. Glauber's salt.
+
+_Primrose._--Dye with 3 oz. Dianil yellow 3 G, 2 lb. soda and 10 lb.
+salt.
+
+_Gold Yellow._--Dye with 2-1/2 lb. Dianil yellow G, 1/2 lb. soda and 15
+lb. salt.
+
+_Buff Yellow._--Dye with 3-1/2 oz. Dianil yellow 2 R, 1/2 lb. soda and
+10 lb. salt.
+
+_Orange._--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.
+
+_Red Orange._--Make the dye-bath with 3 lb. Mikado orange 4 R and 25 lb.
+salt. Work at the boil for one hour.
+
+_Orange._--Make the dye-bath with 3 lb. Mikado orange G and 25 lb. salt.
+Work at the boil for one hour.
+
+_Pale Orange._--The dye-bath contains 6 oz. Diamine Orange G, 1-1/2 oz.
+Diamine fast yellow B, 1/4 oz. Diamine scarlet B, 3 lb. soda and 15 lb.
+Glauber's salt.
+
+_Olive Yellow._--Dye with 3/4 lb. Diamine fast yellow B, 1 oz.
+Oxydiamine black N, 1-1/2 oz. Diamine bronze G, 3 lb. soda and 20 lb.
+Glauber's salt.
+
+_Dark Orange._--Dye with 3 lb. Columbia orange R, 3 lb. soda and 20 lb.
+Glauber's salt at the boil for one hour.
+
+_Bright Orange._--Use 3 lb. Congo orange R, 3 lb. soda and 20 lb.
+Glauber's salt at the boil for one hour.
+
+_Pale Orange._--Dye with 3 lb. Dianil orange 2 R, 2 lb. soda and 10 lb.
+salt at the boil for one hour.
+
+_Brilliant Orange._--Dye with 4 lb. Dianil orange G and 20 lb. salt for
+one hour.
+
+_Deep Orange._--Dye with 2 lb. Oxydiamine orange R, 3/4 lb. soda and 20
+lb. salt for an hour.
+
+_Pale Orange._--Dye with 3/4 lb. Diamine fast yellow B, 1 lb. Diamine
+orange B, 3 lb. soda and 15 lb. Glauber's salt.
+
+_Bright Orange._--Dye with 1-1/2 lb. Benzo orange R, 1-1/2 lb.
+Chrysamine R, 10 lb. phosphate of soda and 2 lb. soap.
+
+_Green._--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.
+
+_Russian Green._--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.
+
+_Dark Olive._--Prepare a dye-bath with 3-1/2 lb. Benzo olive, 2-1/2 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.
+
+_Dark Olive._--Dye in a bath of 2 lb. Titan yellow Y, 1 lb. Diamine
+brown Y, 1-1/2 lb. Diamine blue 3 B, 2 lb. soda. Work for one hour, then
+lift, wash and dry.
+
+_Olive._--Prepare a dye-bath with 15 lb. phosphate of soda, 3 lb. soap,
+1-1/2 lb. Diamine yellow N, 4 oz. Diamine blue 3 B, 1-1/2 oz. Diamine
+brown V. Dye at the boil to shade; lift, wash and dry.
+
+_Green Olive._--Prepare the dye-bath with 1 lb. Diamine black R O, 1 lb.
+Chrysamine, 1/4 lb. Benzo brown, 5 lb. soda, 5 lb. salt, 2 lb. soap. The
+goods are entered at about 180° 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.
+
+_Reseda._--Prepare a bath with 10 lb. Glauber's salt, 2 lb. soap, 1/2
+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.
+
+_Sage Green._--Prepare a dye-bath with 10 lb. Glauber's salt, 1/2 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.
+
+_Drab._--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.
+
+_Olive._--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.
+
+_Olive._--The dyeing is done in a bath containing 4 oz. Diamine black H
+W, 1-3/4 lb. Diamine bronze G, 5 lb. soda, 15 lb. Glauber's salt. Work
+at the boil for one hour.
+
+_Grass Green._--Make the dye-bath with 2 lb. Chrysamine G, 1-1/2 oz.
+Benzo azurine G, 3 lb. soap and 10 lb. borax, working at the boil for
+one hour.
+
+_Green._--Make the dye-bath with 2 lb. Titan yellow Y, 1 lb. Titan blue
+3 B and 20 lb. salt.
+
+_Bright Grass Green._--Dye for an hour at the boil with 1 lb. Sulphon
+azurine D, 2 lb. Thiazole yellow and 20 lb. Glauber's salt.
+
+_Green._--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.
+
+_Dark Green._--Dye with 3 lb. Diamine dark green N, 3 lb. soda and 20
+lb. Glauber's salt.
+
+_Green._--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.
+
+_Dark Sea Green._--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.
+
+_Pale Green._--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.
+
+_Bright Pea Green._--Use in the dye-bath 1 oz. Thioflavine S, 1/4 oz.
+Diamine sky blue F F and 20 lb. Glauber's salt.
+
+_Dark Green._--Use 1-3/4 lb. Diamine green G, 3/4 lb. Oxydiamine yellow
+G G, 3 lb. soda and 20 lb. Glauber's salt, working at the boil for one
+hour.
+
+_Deep Green._--Use 1-3/4 lb. Diamine green G, 3/4 lb. Diamine black B H,
+1/2 lb. Oxydiamine yellow G G, 3 lb. soda, and 20 lb. Glauber's salt.
+
+_Sea Green._--Use 2 oz. Dianil yellow R, 2-1/2 oz. Dianil blue B, 1-3/4
+oz. Dianil dark blue R, 1 lb. soda, and 20 lb. salt, working at the
+boil.
+
+_Leaf Green._--Dye with 1-1/2 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.
+
+_Deep Green._--Dye with 2-1/2 lb. Dianil yellow 3 G, 2-1/2 lb. Dianil
+blue 2 R, 6 oz. Dianil dark blue R, 3 lb. soda, and 20 lb. salt at the
+boil for one hour.
+
+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 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.
+
+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.
+
+_Bright Blue._--Prepare a dye-bath with 1/2 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.
+
+_Dark Navy._--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.
+
+_Pale Blue._--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.
+
+_Sky Blue._--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.
+
+_Bright Blue._--Prepare the dye-bath with 1-1/2 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.
+
+_Pale Sky Blue._--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.
+
+_Sky Blue._--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.
+
+_Dark Blue._--Prepare the dye-bath with 2-1/2 lb. Diamineral blue R,
+2-1/2 lb. Diamine deep black Cr, 1 lb. Turkey-red oil, 40 lb. Glauber's
+salt. Dye at the boil for one hour.
+
+_Dark Blue._--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.
+
+_Blue._--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.
+
+_Blue._--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.
+
+_Light Indigo Blue._--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.
+
+_Navy Blue._--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.
+
+_Blue._--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.
+
+_Navy Blue._--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.
+
+_Grey Blue._--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.
+
+_Blue._--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.
+
+_Slate Blue._--Prepare the dye-bath with 1/4 lb. Diamine black B H, 3/4
+oz. Diamine fast yellow B, 2 lb. soda, and 10 lb. Glauber's salt. Dye at
+the boil to shade.
+
+_Deep Blue._--Use 3-1/4 lb. Diamine blue B X, 1/2 lb. Oxydiamine black
+N, 3 lb. soda and 20 lb. Glauber's salt at the boil for one hour.
+
+_Blue._--Dye at the boil for one hour with 1-1/2 lb. Diamine sky blue, 2
+oz. Diamine green B, 2 lb. soda and 10 lb. Glauber's salt.
+
+_Navy._--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.
+
+_Dark Navy._--Use 2 lb. Dianil blue B, 2 lb. Dianil dark blue R, 3/4 lb.
+Dianil black C R, 2 lb. soda and 25 lb. salt, working at the boil for
+one hour.
+
+_Deep Blue._--Dye with 3-1/2 lb. Diamine blue black E, 5 lb. soda and 20
+lb. Glauber's salt at the boil for one hour.
+
+_Deep Blue._--Dye with 3 lb. Zambesi black B R, 3 lb. soda and 20 lb.
+Glauber's salt at the boil for one hour.
+
+_Dark Navy._--Use 3 lb. Dianil dark blue R, 3 lb. caustic soda 70° Tw.,
+and 25 lb. salt, working at the boil for one hour.
+
+_Violet Blue._--Dye with 3 lb. Dianil dark blue 3 R and 25 lb. salt at
+the boil for one hour.
+
+_Bright Blue._--Use 1 lb. Dianil blue B, and 20 lb. salt, working at the
+boil for one hour.
+
+_Full Blue._--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.
+
+_Dark Blue._--Dye with 3 lb. Erie blue B X, 3 lb. soda and 20 lb.
+Glauber's salt at the boil for one hour.
+
+_Pale Blue._--Dye with 1 lb. Chicago blue 6 B, 3 lb. soda and 20 lb.
+salt at the boil for one hour.
+
+_Deep Blue._--Dye with 1-1/2 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.
+
+_Blue._--Dye with 6 oz. Diamine blue 3 B, 1-1/2 oz. Diamine sky blue F
+F, 3 lb. soda and 10 lb. Glauber's salt.
+
+_Navy._--Dye with 4 lb. Diamine new blue R, 3 lb. soda and 20 lb.
+Glauber's salt at the boil for one hour.
+
+_Dark Navy._--Dye with 1-3/4 lb. Diamineral blue R, 3 lb. soda and 20
+lb. Glauber's salt at the boil for one hour.
+
+_Sky Blue._--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.
+
+_Dark Blue._--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.
+
+_Dark Blue._--Prepare the dye-bath with 3 lb. Triamine black B T, and 15
+lb. Glauber's salt; work at the boil to shade.
+
+_Blue._--Use 2 lb. Direct indigo blue and 15 lb. Glauber's salt; work at
+the boil.
+
+_Bright Blue._--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.
+
+_Turquoise Blue._--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.
+
+_Dark Navy._--Use 4 lb. Titan navy R, and 20 lb. salt at the boil for
+one hour.
+
+_Green Blue._--Dye with 1 lb. Dianil blue G, 2-1/2 oz. Dianil yellow G,
+1 lb. soda and 20 lb. salt at the boil for one hour.
+
+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.
+
+_Lilac._--Prepare a dye-bath with 1/4 lb. Hessian brown 2 M, 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.
+
+_Plum._--Dye with 3 lb. Oxydiamine violet G, 3 lb. soda and 20 lb. salt.
+
+_Dark Plum._--Use in the dye-bath 3 lb. Oxydiamine violet B, 3 lb. soda
+and 20 lb. Glauber's salt, working at the boil.
+
+_Violet._--Make the dye-bath with 3/4 lb. Oxydiamine violet B, 1 lb.
+soda and 10 lb. Glauber's salt, and dye at the boil to shade.
+
+_Violet._--Dye with 12 oz. Dianil blue 4 R, 2 oz. Dianil blue B and 10
+lb. salt at the boil.
+
+_Lilac._--Dye with 1-1/2 oz. Diamine rose G D, 3/4 oz. Diamine sky blue
+F F, 1 lb. soda and 10 lb. Glauber's salt at the boil to shade.
+
+_Red Violet._--Make the dye-bath with 1/2 lb. Diamine violet N, 1/2 oz.
+Diamine brilliant blue G, 1 lb. soda and 10 lb. Glauber's salt, working
+at the boil.
+
+_Red Violet._--Dye with 1 lb. Diamine violet N, 1 lb. soda and 10 lb.
+Glauber's salt.
+
+_Bright Red Lilac._--Dye with 1-3/4 lb. Erika B N, 4 oz. Chicago blue 4
+R, 3 lb. soda and 20 lb. Glauber's salt at the boil.
+
+_Grey Lilac._--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.
+
+_Pale Lilac._--Dye with 2-1/2 oz. Dianil claret B, 2-1/2 oz. Dianil blue
+4 R, and 10 lb. salt.
+
+_Light Plum._--Dye with 10 oz. Dianil claret B, 10 oz. Dianil blue and
+20 lb. salt.
+
+_Dull Lilac._--Dye with 1/2 lb. Diamine brown V, 1 lb. soda and 10 lb.
+Glauber's salt.
+
+_Heliotrope._--Dye with 4 oz. Heliotrope 2 B, 1 lb. soda and 10 lb.
+Glauber's salt.
+
+_Plum._--Dye with 3 lb. Congo Corinth B, 3 lb. soda and 10 lb. Glauber's
+salt.
+
+_Dull Violet._--Use in the dye-bath 1-1/2 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.
+
+_Red Lilac._--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.
+
+_Violet._--Dye with 3 oz. Diamine violet N, 2 oz. diamine blue 3 R, 1
+lb. soda and 10 lb. Glauber's salt.
+
+_Fawn Drab._--Prepare a dye-bath with 1 lb. Cachou de laval, 1/4 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.
+
+_Pale Olive Brown._--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.
+
+_Red Brown._--Prepare a dye-bath with 1-3/4 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.
+
+_Brown Drab._--Prepare a dye-bath with 1/4 lb. Cotton brown N, 3/4 oz.
+Diamine yellow N, 3/4 oz. Diamine black B O, 15 lb. phosphate of soda, 3
+lb. soap. Work at the boil for one hour.
+
+_Gold Brown._--Prepare the dye-bath with 16-1/4 oz. Toluylene orange G,
+9-1/2 oz. Toluylene orange R, 4-3/4 oz. azo mauve, 2-1/2 lb. soap, 5 lb.
+soda. Dye at the boil for one hour.
+
+_Chestnut Brown._--Prepare a dye-bath with 10 lb. common salt, 2 lb.
+Benzo brown G, 1/2 lb. Benzo azurine G, 1/2 lb. Chrysophenine. Enter the
+goods at 150° F., raise to the boil and dye boiling for one hour.
+
+_Purple Brown._--Prepare a dye-bath with 10 lb. common salt, 2 lb. Benzo
+brown N B, 1 lb. Azo violet. Enter the cotton at 150° F., raise to the
+boil and dye boiling for an hour; lift, wash and dry.
+
+_Brown._--Prepare a dye-bath with 5 lb. soda, 10 lb. Glauber's salt, 12
+oz. Chrysamine, 1 oz. Benzo purpurine, 6-1/4 oz. Benzo azurine. Dye at
+the boil for one hour, rinse and dry. The brown thus got is fast to
+washing.
+
+_Dark Chestnut Brown._--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.
+
+_Dark Brown._--Prepare a dye-bath with 20 oz. Glauber's salt per gallon
+of water used, 2-1/2 lb. soap, 1-1/2 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.
+
+_Gold Brown._--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.
+
+_Brown._--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.
+
+_Light Brown._--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.
+
+_Dark Brown._--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.
+
+_Dark Drab._--Prepare the dye-bath with 1 lb. Titan brown Y, 3 oz.
+Columbia green, 32-3/4 oz. Diamine bronze, 17 lb. Glauber's salt. Work
+at the boil for one hour, then lift, wash and dry.
+
+_Pale Brown._--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.
+
+_Gold Brown._--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.
+
+_Buff Brown._--Make the dye-bath with 3/4 lb. Titan gold, 1/4 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.
+
+_Deep Chestnut Brown._--Make the dye-bath with 3 lb. Titan brown R,
+1-1/2 lb. Titan blue R, 25 lb. common salt. Work at the boil for an
+hour, then lift, wash and dry.
+
+_Light Seal Brown._--Make the dye-bath with 10 lb. salt, 2 lb. soda, 14
+oz. Oxyphenine, 3/4 lb. Atlas red R, 6 oz. Diamine blue B X. Work at the
+boil to shade, then lift, wash and dry.
+
+_Orange Brown._--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.
+
+_Pale Nut Brown._--Use in the dye-bath 4-1/2 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.
+
+_Walnut Brown._--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.
+
+_Black Brown._--Use in the dye-bath 3 lb. Diamine brown M, 3/4 lb.
+Diamine blue black R, 3 lb. soda and 20 lb. Glauber's salt, working at
+the boil.
+
+_Reddish Brown._--Dye with 2 lb. Dianil brown R, 5 lb. salt and 5 lb.
+phosphate of soda at the boil for one hour.
+
+_Chocolate Brown._--Dye with 2 lb. Dianil brown T, 5 lb. phosphate of
+soda and 5 lb. salt at the boil for one hour.
+
+_Dark Brown._--Dye with 2 lb. Dianil dark brown, 5 lb. salt and 5 lb.
+phosphate of soda at the boil for one hour.
+
+_Light Brown._--Prepare the dye-bath with 5 lb. Diamine catechine G, 3
+lb. soda and 15 lb. Glauber's salt.
+
+_Brown._--Dye with 2-1/4 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.
+
+_Dark Walnut Brown._--Make the dye-bath with 3-1/4 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.
+
+_Dark Chestnut Brown._--Dye with 2-1/2 lb. Dianil brown R, 1 lb. soda
+and 20 lb. salt at the boil.
+
+_Dark Brown._--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.
+
+_Brown._--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.
+
+_Nut Brown._--Use in the dye-bath 2-1/2 lb. Benzo brown G and 15 lb.
+salt, working at the boil.
+
+_Dark Brown._--Use in the dye-bath 3 lb. Benzo brown N B and 15 lb.
+Glauber's salt, working at the boil.
+
+_Dark Brown._--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.
+
+_Black Brown._--Use in the dye-bath 2-1/2 lb. Dianil brown 3 G O, 1-1/2
+lb. Dianil brown G, 3/4 lb. Dianil dark blue R, 3 lb. soda and 25 lb.
+salt.
+
+_Dark Brown._--Dye with 1-1/2 lb. Zambesi black D, 1-1/4 lb. Brilliant
+orange G, 3 lb. soda and 20 lb. Glauber's salt at the boil to shade.
+
+_Gold Brown._--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.
+
+_Dark Chestnut._--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.
+
+_Sage Brown._--Dye with 1 lb. Zambesi black D, 1 lb. Curcumine S, 3/4
+lb. Diamine orange G D, 3 lb. soda and 30 lb. Glauber's salt at the
+boil.
+
+_Deep Brown._--Dye 3-1/2 lb. Diamine brown M, 3/4 lb. Oxydiamine orange
+G, 3/4 lb. Diamine black H W, 3 lb. soda and 20 lb. Glauber's salt at
+the boil.
+
+_Chestnut._--Dye with 2-1/2 lb. Diamine brown G, 3/4 lb. Oxydiamine
+orange R, 3 lb. soda and 20 lb. Glauber's salt.
+
+_Pale Walnut Brown._--Dye with 3-1/2 lb. Diamine brown M, 3/4 lb.
+Oxydiamine orange G, 1-1/2 oz. Diamine black B H, 3 lb. soda and 20 lb.
+Glauber's salt.
+
+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.
+
+_Black._--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.
+
+_Black._--Prepare the dye-bath with 5 lb. Direct deep black E extra, and
+1/2 to 1-1/2 oz. common salt per gallon of water. Dye at the boil for
+one hour.
+
+_Deep Black._--Prepare the dye-bath with 5-1/2 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.
+
+_Black._--Prepare the dye-bath with 5 lb. Direct triamine black G X, 15
+lb. Glauber's salt. Dye for one hour at the boil; lift, rinse and dry.
+In working for from two to three hours the dye-bath will exhaust
+completely.
+
+_Black._--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.
+
+_Black._--Prepare the dye-bath with 6 lb. Pluto black B. Dye at the boil
+for one hour with the addition of 3/4 to 1-1/4 oz. Glauber's salt, 1/2
+to 3/4 oz. soda ash per gallon of liquor. To develop the shade it is
+necessary to dye in a boiling liquor.
+
+_Black._--Use 2-1/2 lb. Diamine jet black Cr, 2-1/2 lb. Diamine jet
+black R B, 2 lb. soda, and 20 lb. Glauber's salt, working at the boil
+for one hour.
+
+_Black._--Use 6 lb. Oxydiamine black N R, 2 lb. soda and 20 lb.
+Glauber's salt, working at the boil for one hour.
+
+_Black._--Use 6 lb. Columbia Black F B B, 3 lb. soda and 20 lb.
+Glauber's salt, working at the boil to shade.
+
+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.
+
+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.
+
+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.
+
+By using all the direct blacks in proportions varying from 1/4 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.
+
+_Blue Grey._--Prepare the dye-bath with 1/2 lb. Oxydiamine black A, 1
+lb. soda, 10 lb. Glauber's salt. Dye at the boil for one hour.
+
+_Bright Grey._--Prepare a dye-bath with 4-1/2 oz. Azo mauve A M, 1-1/2
+oz. Direct yellow G, 3 lb. soda, 15 lb. common salt.
+
+_Silver Grey._--Prepare the dye-bath with 1/2 oz. Neutral grey G, 10 lb.
+sulphate of soda. Work at the boil to shade, then lift, wash and dry.
+
+_Slate._--Dye in a bath with 1/2 lb. Diamine black B H, 3 oz. Diamine
+bronze G, 15 lb. Glauber's salt at the boil for three-quarters of an
+hour.
+
+_Bronze Grey._--Prepare a dye-bath with 1/2 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.
+
+_Dark Slate._--Prepare a dye-bath with 10 lb. Glauber's salt, 1-1/2 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.
+
+_Green Grey._--Prepare a dye-bath with 10 lb. Glauber's salt, 1 lb.
+Diamine black R O, 3/4 oz. Thioflavine S. Enter at from 150° Tw. to 180°
+F., raise to boil and dye for one hour; wash and dry.
+
+_Light Slate._--Prepare a dye-bath containing 2-1/4 lb. soap, 15 lb.
+Glauber's salt, 6 oz. Diamine black R O, 1/2 oz. thioflavine S. Enter
+cotton at 140° F., work a little, then heat to boil and dye to shade;
+lift, wash and dry.
+
+_Grey._--Prepare the dye-bath with 1/2 lb. Diamine grey G, 1/2 oz.
+Diamine scarlet B, 1 lb. soda, 1 lb. soap, 5 lb. Glauber's salt. Dye for
+one hour at the boil.
+
+_Light Grey._--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.
+
+It may be convenient here to deal with the question of the fastness of
+the direct dyes to such influences as light, air, 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 1/2 per cent, of dye-stuff has been known to make a very
+appreciable degree of difference as regards the fastness of a colour to
+light.
+
+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:--
+
+(1) Volume of water used.
+(2) Quantity of saline salts used.
+(3) Degree of affinity of the dye-stuff for the fibre.
+
+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.
+
+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,
+1-1/2 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 cotton. In any case the quantity of water used should not exceed
+twenty-five times the weight of the cotton.
+
+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.
+
+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
+varying 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.
+
+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.
+
+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 dye-bath. Any loss of volume which may thus occur can be
+remedied by the addition of water.
+
+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.
+
+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.
+
+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.
+
+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.
+
+
+(2) DIRECT DYEING FOLLOWED BY FIXATION WITH METALLIC SALTS.
+
+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, _e.g._, 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.
+
+_Dark Red._--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.
+
+_Orange._--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.
+
+_Yellow._--Dye with 3-1/2 lb. Diamine yellow N, 3 lb. soap and 15 lb.
+phosphate of soda, then fix with 4 lb. fluoride of chromium.
+
+_Gold Yellow._--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.
+
+_Pale Leaf Green._--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.
+
+_Leaf Green._--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.
+
+_Dark Green._--Dye with 2 lb. Dianil yellow R, 1-1/2 lb. Dianil dark
+blue R, 1 lb. soda and 20 lb. salt, fixing with 3 lb. copper sulphate.
+
+_Pale Olive Green._--Dye with 2-3/4 lb. Diamine fast yellow B, 1-1/4 lb.
+Diamine blue R W, 3/4 lb. Diamine blue R W, 3/4 lb. Diamine catechine G;
+fix with 4 lb. sulphate of copper and 2 lb. acetic acid.
+
+_Russia Green._--Dye with 2-1/2 lb. Diamine blue R W, 10 oz. Diamine
+dark blue B, 2-1/2 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.
+
+_Blue Green._--Dye with 1-3/4 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.
+
+_Bronze Green._--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.
+
+_Pea Green._--Dye in a boiling bath with 1/2 lb. Diamine sky blue F F,
+2-1/4 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.
+
+_Leaf Green._--Dye at the boil for one hour in a bath containing 2-3/4
+lb. Diamine fast yellow B, 1-3/4 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.
+
+_Light Green._--Prepare the dye-bath with 7-1/4 oz. Diamine blue R W,
+5-1/2 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.
+
+_Olive Green._--Dye with 2-1/4 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.
+
+_Pea Green._--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.
+
+_Green._--Dye with 2-3/4 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.
+
+_Dark Green._--Dye with 1-1/2 lb. Diamine green B, 1-1/2 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.
+
+_Dark Bronze._--Use in the dye-bath 2-1/2 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.
+
+_Dark Blue._--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.
+
+_Blue._--Dye with 1-3/4 lb. Diamine brilliant blue G, 1-1/4 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.
+
+_Light Navy._--Dye with 1 lb. Diamine blue 3 R, 2-1/4 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.
+
+_Bright Navy._--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.
+
+_Blue._--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.
+
+_Dark Blue._--- Dye with 3 lb. Chicago blue R W, 1-1/2 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.
+
+_Deep Slate Blue._--Dye with 1-1/4 lb. Zambesi black F, 1-1/4 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.
+
+_Light Blue._--Prepare the dye-bath with 2 oz. Diamine sky blue F F,
+3/4 oz. Diamine fast yellow A, 1/2 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 1-1/2 lb. sulphate of copper for half an hour.
+
+_Dark Blue._--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 1/2 lb. sulphuric acid.
+
+_Dark Blue._--Dye with 2-1/2 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.
+
+_Turquoise Blue._--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.
+
+_Dark Turquoise Blue._--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.
+
+_Black Blue._--Dye with 4-1/4 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.
+
+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.
+
+_Bright Blue._--Dye with 2-1/4 lb. Dianil blue B and 20 lb. Glauber's
+salt; fix with 3 lb. of fluoride of chromium.
+
+_Dark Blue._--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.
+
+_Red Violet._--Dye with 1 lb. Dianil blue 4 R and 10 lb, salt, fixing
+with 4 lb. fluoride of chromium.
+
+_Dark Plum._--Dye with 3 lb. Dianil blue 4 R and 15 lb. salt, fixing
+with 4 lb. fluoride of chromium.
+
+_Red Violet._--Dye with 1 lb. Diamine blue 3 R, 1 lb. soda and 10 lb.
+Glauber's salt, fixing with 1-1/2 lb. sulphate of copper and 1 lb.
+acetic acid.
+
+_Red Plum._--Use 3-3/4 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.
+
+_Dark Brown._--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.
+
+_Brown._--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.
+
+_Light Brown._--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.
+
+_Dark Chestnut Brown._--Dye for an hour in a boiling bath with 2-1/4 lb.
+Diamine catechine G, 1-1/4 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.
+
+_Brown._--Use 3 lb. Catechu brown G K, 15 lb. Glauber's salt and 1/2 lb.
+soap; after dyeing for one hour at the boil treat in a fresh boiling
+bath with 3 lb. copper sulphate.
+
+_Dark Brown._--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.
+
+_Brown._--Prepare the dye-bath with 9 oz. Diamine blue R W, 12-1/2 oz.
+Diamine orange B, 1-3/4 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.
+
+_Brown._--Prepare the dye-bath with 4 lb. Benzo chrome 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.
+
+_Nut Brown._--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.
+
+_Chestnut Brown._--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.
+
+_Dark Olive Brown._--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.
+
+_Deep Brown._--Use in the Dye-bath 1-3/4 lb. Diamine brown B, 1-3/4 lb.
+Diamine fast yellow B, 1/2 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.
+
+_Dark Brown._--Dye with 2 lb. Diamine brown M, 1 lb. Diamine fast red F,
+1/2 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.
+
+_Black Brown._--Dye with 1-3/4 lb. Diamine dark blue B, 3/4 lb. Diamine
+orange B, 1-3/4 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.
+
+_Light Sage Brown._--Dye with 3/4 lb. Diamine brown B, 1-1/2 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.
+
+_Pale Brown._--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 lb. salt,
+fixing with 1-1/2 lb. sulphate of copper and 1 lb. acetic acid.
+
+_Walnut Brown._--Dye with 2-1/2 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.
+
+_Pale Fawn Brown._--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.
+
+_Pale Fawn Brown._--Dye with 1/2 lb. Diamine orange B, 1/4 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.
+
+_Sage Brown._--Dye with 9 oz. Diamine blue R W, 3/4 lb. Diamine orange
+B, 1-3/4 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.
+
+_Red Chocolate._--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.
+
+_Dark Chestnut._--Dye with 2-1/2 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.
+
+_Brown._--Dye with 2-1/4 lb. Chrysophenine G, 1-1/4 lb. Diamine brown G,
+1-1/4 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.
+
+_Nut Brown._--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.
+
+_Dark Grey._--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.
+
+_Dark Grey._--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.
+
+_Dark Grey._--Use in the dye-bath 1 lb. Diamine blue R W, 1/2 lb.
+Diamine orange B, 1/4 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.
+
+_Pale Greenish Grey._--Dye with 1/4 oz. Diamine orange B, 3 oz. Diamine
+blue R W, 1/2 lb. soda, 2 lb. soap and 5 lb. Glauber's salt, fixing with
+1 lb. sulphate of copper and 1/2 lb. acetic acid.
+
+_Slate Blue._--Dye with 1/4 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.
+
+_Grey._--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.
+
+_Dark Grey._--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 1/2 lb.
+acetic acid.
+
+_Green Grey._--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.
+
+_Grey._--Dye with 4 oz. Dianil black N, 1 lb. soda and 10 lb. salt,
+fixing with 1 lb. copper sulphate and 1/2 lb. acetic acid.
+
+_Black._--Prepare the dye-bath with 5-1/2 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.
+
+_Black._--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 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.
+
+_Black._--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.
+
+_Black._--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.
+
+_Jet Black._--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.
+
+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:--
+
+=Sulphur or Sulphyl Colours.=
+
+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.
+
+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.
+
+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.
+
+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.
+
+_Pale Brown._--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.
+
+_Black._--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.
+
+There are three brands of Immedial black, _viz._, V extra, G 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 1/2 lb. soda and 3
+lb. salt.
+
+These blacks are very fast to washing, light, etc. By using smaller
+quantities of dye-stuff good greys can be dyed.
+
+_Black._--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.
+
+_Black._--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.
+
+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.
+
+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.
+
+The dye-bath should be kept as short as possible, about 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.
+
+There are several brands of these Cross-dye blacks varying in the tone
+of black they give.
+
+_Black._--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, 2-1/2 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
+7-1/2 to 10 per cent., give dark blues.
+
+All these blacks may be combined with aniline black with good results as
+shown in the following recipe:--
+
+_Black._--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 2-1/2 lb. aniline oil, 2-1/2 lb. hydrochloric
+acid, 6-1/2 lb. sulphuric acid, 7-1/2 lb. bichromate of potash, and
+5-1/2 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.
+
+_Black._--Make the dye-bath with 15 lb. Sulfaniline black G, 60 lb.
+salt, 10 lb. soda, and 5 lb. sulphide of sodium. Work 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.
+
+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.
+
+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.
+
+_Blue._--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 1-1/2 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 with 1/4
+lb. New methylene blue N, very bright blue shades can be dyed.
+
+_Dark Navy._--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 2-1/2 lb. peroxide of sodium and 2-1/2 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.
+
+_Blue._--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
+2-1/2 lb. peroxide of sodium and 2-1/2 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.
+
+_Deep Blue._--Dye with 20 lb. Amidazol black 6 G, 5 lb. soda and 200 lb.
+salt; develop with 2 lb. peroxide of sodium and 2-1/2 lb. sulphuric
+acid, working as noted above.
+
+_Dark Drab._--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.
+
+_Brown._--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.
+
+_Buff._--Dye with 2-1/2 lb. Amidazol cutch, 5 lb. soda and 25 lb. salt,
+working at the boil for one hour, then lift, wash and dry.
+
+_Pale Sea Green._--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.
+
+_Dark Green._--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.
+
+_Dark Brown._--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.
+
+_Dark Sage._--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.
+
+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.
+
+_Brown._--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.
+
+_Olive._--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.
+
+_Dark Olive._--Dye with 20 lb. Katigen olive G, 50 lb. salt, 10 lb.
+soda, and 6 lb. sulphide of sodium, working at the boil for one hour,
+then lift, wash and dry. By chroming a darker and faster olive is got.
+
+_Brown._--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.
+
+_Pale Brown._--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.
+
+_Dark Brown._--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.
+
+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.
+
+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.
+
+
+(3) DIRECT DYEING FOLLOWED BY FIXATION WITH DEVELOPERS.
+
+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., 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{2}, 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".
+
+For example when paranitroaniline is subjected to this reaction it
+undergoes a change indicated in the chemical equation:--
+
+C{6}H{4}NO{2}NH{2}, + NaNO{2}, + 2HCl = Paranitroaniline, Sodium
+nitrite, Hydrochloric acid.
+
+C{6}H{4}NO{2}N: NCl + NaCl + 2H{2}0 = Paranitro benzene Sodium
+chloride, Water, diazo chloride.
+
+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.
+
+The azo dyes contain the characteristic group of two 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.
+
+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.
+
+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.
+
+
+_Developer._                        _Colour produced._
+
+Beta-naphthol                            Bright scarlet.
+Alpha-naphthol                           Crimson.
+Phenylene diamine                        Brown.
+Phenol                                   Gold yellow.
+Resorcine                                Orange.
+Naphthylamine ether                      Blue.
+Blue developer A N                       Green.
+
+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 dyed. The cotton must be
+rinsed in cold water, and be quite cold before it is subjected to the
+diazotising operation. _Diazotising_ 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.
+
+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.
+
+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.
+
+For _developing_, 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
+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.
+
+=Beta-naphthol.=--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.
+
+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.
+
+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 1-1/2 per cent.) of this is required than of
+beta-naphthol.
+
+=Alpha-naphthol= 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.
+
+=Resorcine=, 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.
+
+Developer F (Bayer) is a mixture of resorcine and soda ash. It requires
+1-1/2 per cent, to make a developing bath.
+
+=Phenol=, 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.
+
+=Naphthylamine ether= 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 1-1/4 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.
+
+=Fast blue developer A D= (Cassella), is amidodiphenylamine. It is
+insoluble in water, but soluble in dilute acid, 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 1-1/2 per cent, is required.
+
+=Blue developer A N= (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
+1-1/2 per cent, is usually required.
+
+=Phenylene diamine= 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.
+
+=Schaeffer's acid= is a sulpho acid of beta-naphthol, and is dissolved
+by taking 10 lb. of the acid and 7-1/2 lb. soda, boiling with 50 gallons
+of water. About 1-1/4 per cent. is required for developing full shades.
+
+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, 1-1/4 per cent. being used to obtain
+full shades.
+
+Developer D (Bayer) is dioxy-naphthalene-sulpho acid, and simply
+requires dissolving in water to make the bath.
+
+=Toluylene diamine= is a homologue of phenylene diamine and is used in
+precisely the same way.
+
+Generally the special developers issued by the various colour firms
+simply require dissolving in water to form the developing bath.
+
+The cotton, previously being passed through the diazotising 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.
+
+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.
+
+_Scarlet._--Dye with 3 lb. Primuline and 20 lb. salt, at the boil for
+one hour, diazotise and develop with beta-naphthol.
+
+_Crimson._--Dye with 3 lb. Primuline and 20 lb. salt, then diazotise and
+develop with alpha-naphthol.
+
+_Red Brown._--Dye with 4 lb. Primuline and 20 lb. salt, then diazotise
+and develop with phenylene diamine.
+
+_Deep Orange._--Dye with 3 lb. Primuline and 20 lb. salt, then diazotise
+and develop with resorcine.
+
+_Pale Orange._--Dye with 3 lb. Primuline and 20 lb. salt, then diazotise
+and develop with phenol.
+
+_Sage Brown._--Dye with 6 lb. Primuline, 3 lb. Titan ingrain blue and 20
+lb. salt, then diazotise and develop with resorcine.
+
+_Dark Maroon._--Dye with 6 lb. Primuline, 3 lb. Titan ingrain blue and
+20 lb. salt, then diazotise and develop with beta-naphthol.
+
+_Dark Crimson._--Dye with 5-3/4 lb. Primuline, 1/4 lb. Titan ingrain
+blue and 20 lb. salt, then diazotise and develop with beta-naphthol.
+
+_Dark Blue._--Dye with 3 lb. Zambesi blue B X, 2 lb. soda and 20 lb.
+Glauber's salt, then diazotise and develop with amidonaphthol ether.
+
+_Dark Brown._--Dye with 8 lb. Zambesi brown 2 G, 2 lb. soda and 20 lb.
+Glauber's salt, then diazotise and develop with toluylene diamine.
+
+_Blue Black._--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 3/4 lb.
+toluylene diamine and 1/2 lb. beta-naphthol.
+
+_Red._--Dye with 4-1/2 lb. Primuline, 1/2 lb. Diamine fast yellow A and
+20 lb. salt, then diazotise and develop with beta-naphthol.
+
+_Dark Brown._--Dye with 4 lb. Primuline, 1 lb. Diamine azo blue R R, and
+20 lb. salt, then diazotise and develop with beta-napthol.
+
+_Deep Chestnut Brown._--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.
+
+_Dark Brown._--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.
+
+_Black Brown._--Dye with 1 lb. Diamine brown M, 1-1/2 lb. Primuline, 1
+oz. Diamine black B H, 2 lb. soda and 20 lb. Glauber's salt, then
+diazotise and develop with phenylene diamine.
+
+_Blue._--Dye with 2 lb. Diaminogene blue B B, 1/2 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.
+
+_Dark Blue._--Prepare the dye-bath with 1-1/2 lb. Diaminogene 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 12-1/2 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.
+
+_Black._--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 2-1/2 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.
+
+_Blue Black._--Dye with 4 lb. Diamine black B H, 2 lb. soda and 10 lb.
+Glauber's salt, then diazotise and develop with naphthylamine ether.
+
+_Dark Navy._--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.
+
+_Light Chestnut Brown._--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.
+
+_Dark Brown._--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.
+
+_Black._--Dye with 4 lb. Diamine black B H, 3 lb. soda and 20 lb.
+Glauber's salt, diazotise and develop with 2 lb. resorcine and 1 lb.
+phenylene diamine.
+
+_Blue Black._--Dye with 4 lb. Diaminogene B, 2 lb. soda and 20 lb.
+Glauber's salt, then diazotise and develop with beta-naphthol.
+
+_Black._--Dye with 4-1/2 lb. Diaminogene B, 1/2 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.
+
+_Light Blue._--Dye with 1-1/2 lb. Diaminogene blue B B, 1 lb. soda and
+10 lb. Glauber's salt, then diazotised and develop with beta-naphthol.
+
+_Maroon._--Dye with 6 lb. Primuline and 20 lb. salt, diazotise and
+develop with blue developer A N.
+
+_Olive Brown._--Dye with 5-1/2 lb. Diamine cutch, 3 lb. soda and 10 lb.
+Glauber's salt, then diazotise and develop with fast blue developer A D.
+
+_Gold Brown._--Dye with 1 lb. Cotton brown N, 3/4 lb. Diamine bronze G,
+2 lb. soda and 10 lb. Glauber's salt, then diazotise and develop with
+phenylene diamine.
+
+_Walnut Brown._--Dye with 3 lb. Diamine brown M, 3 lb. soda and 20 lb.
+Glauber's salt, then diazotise and develop with beta-naphthol.
+
+_Brown._--Dye with 1-1/2 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.
+
+_Dark Plum._--Dye with 3 lb. Diamine brown V, 1 lb. soda and 10 lb.
+Glauber's salt, then diazotise and develop with beta-naphthol.
+
+_Black Brown._--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.
+
+_Blue Black._--Dye with 4-1/2 lb. Diamine black R O, 3 lb. soda and 20
+lb. Glauber's salt, then diazotise and develop with beta-naphthol.
+
+_Blue Black._--Dye with 4-1/2 lb. Diamine black R O, 3 lb. soda and 20
+lb. Glauber's salt, then diazotise and develop with naphthylamine ether.
+
+_Blue Black._--Dye with 5 lb. Diamine black B O, 3 lb. soda and 20 lb.
+Glauber's salt, then diazotise and develop with beta-naphthol.
+
+_Dark Blue._--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.
+
+_Black._--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.
+
+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.
+
+
+(4) DIRECT DYEING FOLLOWED BY FIXATION WITH COUPLERS.
+
+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 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.
+
+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.
+
+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.
+
+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:--
+
+=Preparation of diazotised paranitroaniline.=--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
+1-1/2 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 1/2 lb. sodium nitrite dissolved in 1/2 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 to allow 1/2 lb., or 5 gallons of this stock bath
+to each pound of dye-stuff used in dyeing the ground colour to be
+developed up.
+
+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.
+
+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.
+
+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 3/4 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.
+
+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 1/2 per cent. of dye-stuff, about 4 lb. Nitrazol C,
+with the soda and acetate of soda in proportionate quantities, may be
+used.
+
+Azophor red P N is also a preparation of diazotised paranitroaniline in
+the form of a dry powder which keeps well.
+
+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.
+
+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.
+
+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 3 pints of hydrochloric acid, with
+some stirring. Allow to stand for half an hour, add 1-1/2 lb. acetate of
+soda and 6-1/2 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.
+
+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.
+
+An excess of coupler in the bath does no harm, but a deficiency may lead
+to poor and weak shades being developed.
+
+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.
+
+_Black._--Dye with 5 lb. Benzo-nitrol black B, 1 lb. soda and 20 lb.
+Glauber's salt.
+
+_Olive Green._--Dye with 6 lb. Primuline, 3 lb. Titan ingrain blue and
+20 lb. salt.
+
+_Black._--Dye with 4 lb. Dianil black C R, 2 lb. soda and 25 lb. salt.
+
+_Dark Blue._--Dye with 2 lb. Dianil dark blue R, 1 lb. Dianil dark blue
+3 R, 2 lb. soda and 25 lb. salt.
+
+_Gold Brown._--Dye with 1 lb. Primuline, 8 oz. Dianil brown R and 20 lb.
+salt.
+
+_Chestnut._--Dye with 3 lb. Primuline, 3/4 lb. Dianil brown G O, 1 lb.
+Dianil brown E, 1 lb. soda and 20 lb. salt.
+
+_Dark Brown._--Dye with 1 lb. Dianil brown 3 G O, 3 lb. Dianil brown D,
+1 lb. soda and 20 lb. salt.
+
+_Dark Green._--Dye with 4 lb. Primuline, 1-1/2 lb. Dianil black C R, 1
+lb. soda and 20 lb. salt.
+
+_Walnut Brown._--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.
+
+_Light Green._--Dye with 3 lb. Primuline, 8 oz. Dianil blue B, 5 oz.
+Dianil dark blue R, 1 lb. soda, and 20 lb. salt.
+
+_Orange Yellow._--Dye with 3-1/4 lb. Primuline, 1 lb. Oxydianil yellow,
+and 25 lb. salt.
+
+_Olive._--Dye with 3-1/2 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.
+
+_Bright Yellow._--Dye with 2 lb. Primuline, and 20 lb. salt.
+
+_Gold Yellow._--Dye with 2 lb. Diamine fast yellow A, 1 lb. soda, and 20
+lb. salt.
+
+_Bright Walnut._--Dye with 1/2 lb. Diamine nitrazol brown B, 1 lb.
+Oxydiamine orange R, 1 lb. soda, and 20 lb. Glauber's salt.
+
+_Gold Brown._--Dye with 1/2 lb. Diamine nitrazol brown G, 1 lb.
+Primuline, and 20 lb. salt.
+
+_Green._--Dye with 2 lb. Primuline, 1 lb. Diamine nitrazol black B, 1
+lb. soda and 20 lb. salt.
+
+_Pale Chestnut._--Dye with 1 lb. Primuline, 1/2 lb. Oxydiamine orange R
+and 20 lb. salt.
+
+_Moss Brown,_--Dye with 2 lb. Primuline, 1 lb. diamine jet black O O and
+20 lb. salt.
+
+_Chocolate._--Dye with 1-1/2 lb. Diamine brown V, 2 lb. Diamine nitrazol
+brown R D, 2 lb. soda and 20 lb. Glauber's salt.
+
+_Olive Brown._--Dye with 2 lb. Diamine nitrazol brown G, 1 lb. Diamine
+nitrazol black B, 1 lb. soda and 20 lb. Glauber's salt.
+
+_Russian Green._--Dye with 2 lb. Diaminogene extra, 2 lb. soda and 20
+lb. Glauber's salt.
+
+_Bronze Green._--Dye with 2 lb. Diamine grey G, 2 lb. soda and 20 lb.
+Glauber's salt.
+
+_Terra-cotta Bed._--Dye with 2 lb. Oxydiamine orange R, 1 lb. soda and
+20 lb. Glauber's salt.
+
+_Terra-cotta Brown._--Dye with 2 lb. Diamine nitrazol brown R D, 1 lb.
+soda and 20 lb. Glauber's salt.
+
+_Olive Green._--Dye with 1 lb. Primuline, 2 lb. Diamine bronze G, 1 lb.
+soda and 20 lb. Glauber's salt.
+
+_Dark Green._--Dye with 1 lb. Primuline, 2 lb. Diamine nitrazol black B,
+2 lb. soda and 20 lb. salt.
+
+_Sage Brown._--Dye with 1 lb. Primuline, 2 lb. Diamine jet black O O, 1
+lb. soda and 20 lb. salt.
+
+_Black Brown._--Dye with 1 lb. Diamine brown V, 2 lb. Diamine nitrazol
+black B, 2 lb. soda and 20 lb. Glauber's salt.
+
+_Dark Walnut._--Dye with 1 lb. Diamine brown V, 2 lb. Oxydiamine orange
+R, 2 lb. soda and 20 lb. Glauber's salt.
+
+_Pale Sage._--Dye with 1 lb. Diamine brown V, 2 lb. Primuline, 1 lb.
+soda and 20 lb. salt.
+
+_Brown._--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.
+
+_Brown._--Prepare the dye-bath with 3/4 lb. Benzo nitrol brown G, 20 lb.
+Glauber's salt, 2 lb. soda. Dye for one hour at the boil.
+
+_Dark Brown._--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.
+
+_Brown._--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.
+
+_Brown._--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.
+
+_Brown._--Prepare the dye-bath with 2 lb. Diamine bronze G, 6-1/2 oz.
+Cotton brown N, 9-3/4 oz. Diamine fast yellow A, 20 lb. Glauber's salt,
+2 lb. soda.
+
+_Black._--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.
+
+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.
+
+The following recipes show its application:--
+
+_Bright Bed._--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.
+
+_Scarlet._--Dye with 3 lb. Dianil scarlet G, 2 lb. soda and 25 lb. salt;
+fix with Solidogen A.
+
+_Plum._--Dye with 3 lb. Dianil claret B, 5 lb. soda and 10 lb. Glauber's
+salt, then fix with Solidogen A.
+
+=Topping with Basic Dyes.=--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:--
+
+_Green._--Dye with 1 lb. Titan yellow G and 20 lb. salt; top with 1/2
+lb. Brilliant green.
+
+_Blue._--Dye with 1-3/4 lb. Diamine azo blue R, 1 lb. soda and 20 lb.
+Glauber's salt, then top with 2 oz. New Methylene blue N.
+
+_Bright Blue._--Dye with 3/4 lb. Diamine brilliant blue G, 1 lb. soda
+and 10 lb. Glauber's salt; top with 2 oz. New Methylene blue 3 R.
+
+_Blue._--Dye with 1 lb. Diamine sky blue, 1 lb. soda and 10 lb.
+Glauber's salt, and top with 4 oz. Brilliant green.
+
+_Bose Lilac._--Dye with 1-1/2 oz. Diamine violet N, 1 lb. soda and 10
+lb. Glauber's salt, then top with 2 oz. Tannin heliotrope.
+
+_Green._--Dye at the boil for one hour with 2 lb. Benzo green G and 10
+lb. Glauber's salt, then top in a fresh bath with 1/2 lb. Turquoise blue
+B B.
+
+_Violet._--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.
+
+_Plum._--Dye with 1-1/2 lb. Oxydiamine violet B, 5 oz. Diamine red 10 B,
+2 lb. soda and 10 lb. Glauber's salt, then top with 1-1/2 oz. Methyl
+violet R.
+
+_Bright Green._--Dye with 1-1/4 lb. Diamine green G, 1-1/4 lb.
+Oxydiamine yellow G G, 2 lb. soda and 10 lb. Glauber's salt, then top
+with 2 oz. Brilliant green.
+
+_Blue._--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.
+
+_Dark Lilac._--Dye with 3-3/4 lb. Heliotrope B B, 1 lb. soda and 20 lb.
+Glauber's salt, then top with 1 lb. Methyl violet R, and 1/2 lb. Methyl
+violet 3 R.
+
+_Scarlet._--Dye with 3 lb. Brilliant Congo R, 3 lb. soda and 20 lb.
+Glauber's salt, then top with 8 oz. Safranine.
+
+_Bright Green._--Dye with 3 lb. Chrysamine G, 2 lb. soap and 10 lb.
+phosphate of soda, topping with 3/4 lb. Malachite green.
+
+_Bright Violet._--Dye with 1-1/2 lb. Chicago blue 6 B, 1 lb. soda and 20
+lb. Glauber's salt, topping with 10 oz. Methyl violet B.
+
+_Dark Green._--Dye with 2 lb. Columbia green, 3 lb. soda and 10 lb.
+Glauber's salt, topping with 10 oz. Malachite green.
+
+_Claret._--Prepare a dye-bath with 3/4 oz. Diamine black R O, 2-1/2 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 1/2 lb. Safranine G. Work for
+twenty minutes, lift, wash and dry.
+
+_Seal Brown._--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 1-1/2 lb. Bismarck brown.
+Work for one hour at about 180° F., lift, rinse well and dry.
+
+
+(6) DYEING ON TANNIC MORDANT.
+
+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.
+
+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.
+
+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 dyeing
+of cotton with the basic colours therefore resolves itself into three
+operations:--
+
+(1) Tanning with tannic acid or some tanning matters.
+(2) Fixation with tartar emetic or other fixing agent.
+(3) Dyeing with the required colour or mixture of colours.
+
+(1) =The Tanning Operation.=--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.
+
+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
+tannin baths are not exhausted, and may be kept standing, adding for
+each succeeding lot of cotton from 1/2 to 3/4 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.
+
+(2) =The Fixing Bath.=--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.
+
+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.
+
+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.
+
+(3) =Dyeing.=--After the tannin and fixing operations comes the dyeing.
+This is not by any means a difficult operation. 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.
+
+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.
+
+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.
+
+Some few of the dyes, _e.g._, 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.
+
+Many recipes can be given for the dyeing of basic dyes on cotton; for
+the range of tints and shades of all colours 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.
+
+_Sky Blue._--Mordant with 1 lb. tannic acid and 1/2 lb. tartar emetic,
+then dye with 2-1/2 oz. Victoria blue B, and 1/2 oz. Turquoise blue G.
+
+_Bright Blue._--Mordant with 2 lb. tannic acid and 1-1/2 lb. tartar
+emetic, then dye with 1-1/2 lb. New Victoria blue B, and 3/4 lb.
+Turquoise blue G.
+
+_Pale Green._--Mordant with 1-1/2 lb. tannic acid and 1/4 lb. tartar
+emetic, then dye with 1/4 oz. Brilliant green and 1/2 oz. Auramine I I.
+
+_Bright Green._--Mordant with 1 lb. tannic acid and 1 lb. tartar emetic,
+then dye with 6 oz. Brilliant green and 8 oz. Auramine I I.
+
+_Turquoise Blue._--Mordant with 2 lb. tannic acid and 1-1/2 lb. tartar
+emetic; dye with 1 lb. Turquoise blue G.
+
+_Crimson._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, then
+dye with 1-1/4 lb. Brilliant rhoduline red B and 5 oz. Auramine I I.
+
+_Bright Violet._--Mordant with 2 lb. tannic acid and 1 lb. tartar
+emetic; dye with 1-1/4 lb. Rhoduline violet and 3 oz. Methyl violet B.
+
+_Rose Lilac._--Mordant with 2 lb. tannic acid and 1 lb. tartar emetic;
+dye with 3/4 lb. Rhoduline violet.
+
+_Yellow._--Mordant with 3 lb. tannic acid and 2-1/2 lb. tartar emetic;
+dye with 2 lb. Auramine I I.
+
+_Orange._--Mordant with 3 lb. tannic acid and 2-1/4 lb. tartar emetic;
+dye with 2 lb. Chrysoidine.
+
+_Green._--Mordant with 3 lb. tannic acid and 2-1/2 lb. tartar emetic,
+then dye with 2 lb. Brilliant green.
+
+_Red Violet._--Mordant with 1-1/2 lb. tannic acid and 1-1/4 lb. tartar
+emetic, then dye with 8 oz. Methyl violet 4 R.
+
+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.
+
+_Bright Sea-Green._--Mordant with 1 lb. tannic acid and 1/2 lb. tartar
+emetic, then dye with 2 oz. Turquoise blue G and 1/4 oz. New Victoria
+blue B. With these two blues a very great variety of tints and shades of
+blue can be dyed.
+
+_Sea Green._--Mordant with 1 lb. tannic acid and 3/4 lb. tartar emetic,
+and dye with 2 oz. Malachite green.
+
+_Dark Green._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic,
+then dye with 1-1/4 lb. Malachite green and 3/4 oz. Auramine I I.
+
+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.
+
+_Scarlet._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, then
+dye with 1-1/2 lb. Rhodamine 6 G and 1/4 lb. Auramine I I.
+
+_Pink._--Mordant with 1 lb. tannic acid and 3/4 lb. tartar emetic, and
+dye with 1/4 lb. Rhodamine G.
+
+_Pink._--Mordant with 1 lb. tannic acid and 3/4 lb. tartar emetic, and
+dye with 1/2 lb. Irisamine G.
+
+_Slate Blue._--Mordant with 1-1/2 lb. tannic acid and 1 lb. tartar
+emetic, then dye with 3/4 lb. Victoria blue B and 2 oz. Malachite green.
+
+_Indigo Blue._--Mordant with 3 lb. tannic acid and 2-1/2 lb. tartar
+emetic, then dye with 1 lb. Methylene blue 2 B and 1/2 lb. Malachite
+green.
+
+_Dark Scarlet._--Mordant with 3 lb. tannic acid and 2-1/2 lb. tartar
+emetic, then dye with 1 lb. Safranine prima and 1/2 lb. Auramine I I.
+
+_Grey._--Mordant with 1 lb. tannic acid and 1/2 lb. tartar emetic, then
+dye with 1/2 lb. New Methylene grey B.
+
+_Bluish Rose._--Mordant with 2 lb. tannic acid and 1 lb. tartar emetic,
+then dye with 1 lb. Rhodamine B.
+
+_Maroon._--Mordant with 4 lb. tannic acid and 2 lb. tartar emetic, and
+dye with 2 lb. Magenta and 1/2 lb. Auramine.
+
+_Dark Green._--Mordant with 5 lb. tannic acid and 2-1/2 lb. tartar
+emetic, and dye with 1/2 lb. Methylene blue B B, 1/2 lb. Methyl violet 2
+B and 2-1/2 lb. Auramine I I.
+
+_Orange._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, and
+dye with 1 lb. New Phosphine G.
+
+_Lilac Grey._--Mordant with 1 lb. tannic acid and 1-1/2 lb. tartar
+emetic, and dye with 1/4 lb. Methylene grey B F.
+
+_Gold Brown._--Mordant with 3 lb. tannic acid and 1-1/2 lb. tartar
+emetic, and dye with 3/4 lb. Thioflavine T and 3/4 lb. Bismarck brown.
+
+_Orange._--Mordant with 2 lb. tannic acid and 1 lb. tartar emetic, and
+dye with 1 lb. Auramine and 1/4 lb. Safranine.
+
+_Dark Blue._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic,
+and dye with 2-1/4 lb. New Methylene blue R and 3/4 lb. Naphtindone B B.
+
+_Olive Green._--Mordant with 5 lb. sumac extract and 2 lb. copperas, and
+dye with 1 lb. Auramine.
+
+_Russian Green._--Mordant with 5 lb. sumac extract and 2 lb. copperas,
+and dye with 2 lb. Malachite green.
+
+_Scarlet._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, and
+dye with 1-1/2 lb. Thioflavine T and 1/2 lb. Irisamine G. With these two
+dye-stuffs it is possible to produce a variety of useful shades from a
+pure greenish yellow, with Thioflavine T alone, to a bright bluish
+pink, with the Irisamine alone, through orange, scarlet, etc., with
+combinations of the two dye-stuffs.
+
+_Dark Grey._--Mordant with 5 lb. sumac extract and 3 lb. copperas, then
+dye with 1 lb. New Methylene grey G.
+
+_Blue Black._--Mordant with 8 lb. sumac extract and 4 lb. copperas, or
+better with iron liquor, then dye with 2 lb. Indamine blue N.
+
+_Olive Brown._--Mordant with 5 lb. sumac extract and 3 lb. copperas, and
+dye with 1-1/2 lb. New Phosphine G.
+
+_Indigo Blue._--Mordant with 1-1/2 lb. tannic acid and 1 lb. tartar
+emetic; dye with 1/2 lb. New Methylene blue N.
+
+_Sky Blue._--Mordant with 1/2 lb. tannic acid and 3/4 lb. tartar emetic;
+dye with 1-1/2 oz. New Methylene blue G G.
+
+_Dark Violet._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic,
+then dye with 4 lb. Fast neutral violet B.
+
+_Bright Yellow._--Mordant with 2 lb. tannic acid and 1 lb. tartar
+emetic, and dye with 2 lb. Thioflavine T.
+
+_Primrose Yellow._--Mordant with 1 lb. tannic acid and 1/4 lb. tartar
+emetic, and dye with 2 oz. Thioflavine T.
+
+_Navy Blue._--Mordant with 5 lb. sumac extract and 3 lb. copperas, then
+dye with 2 lb. New Methylene blue R.
+
+_Violet._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, and
+dye with 2 lb. New Methylene blue 3 R.
+
+_Dark Blue._--Mordant with 5 lb. sumac extract and 3 lb copperas, and
+dye with 2 lb. New Methylene blue N X.
+
+_Blue Black._--Mordant with 8 lb. sumac extract and iron liquor, then
+dye with 3 lb. Metaphenylene blue B.
+
+_Emerald Tint._--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.
+
+_Orange._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, then
+dye with 4 lb. Tannin orange R.
+
+_Scarlet._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, and
+dye with 2 lb. Tannin orange R and 1 lb. Safranine S.
+
+_Dark Scarlet._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic,
+and dye with 1/2 lb. Tannin orange R and 2 lb. Safranine S.
+
+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:--
+
+_Blue._--Dye with 9 oz. sulphuric acid, 8 oz. Janus blue G, and 5 lb.
+common salt; fix with 3/4 lb. sulphuric acid, 8 oz. tannic acid and 4
+oz. tartar emetic.
+
+_Turquoise Blue._--Dye with 9 oz. sulphuric acid, 1 lb. Janus green B
+and 10 lb. salt, fixing with 3/4 lb. sulphuric acid, 1 lb. tannin and
+1/2 lb. tartar emetic.
+
+_Dark Blue._--Dye with 9 oz. sulphuric acid, 2-1/2 lb. Janus blue R and
+15 lb. common salt; fix with 3/4 lb. sulphuric acid, 2-1/2 lb. tannic
+acid and 1-1/4 lb. tartar emetic.
+
+_Buff._--Dye with 9 oz. sulphuric acid, 2 oz. Janus yellow R and 3 lb.
+salt; fix with 3/4 lb. sulphuric acid, 3 oz. tannic acid and 3 lb.
+tartar emetic.
+
+_Crimson._--Dye with 9 oz. sulphuric acid, 2-1/2 lb. Janus red B and 15
+lb. salt, fixing with 3/4 lb. sulphuric acid, 2-1/2 lb. tannic acid and
+1-1/4 lb. tartar emetic.
+
+_Red Violet._--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
+1/2 lb. tartar emetic.
+
+_Orange._--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 1/2 lb.
+tartar emetic.
+
+_Dark Violet._--Dye with 9 oz. sulphuric acid, 2 lb. Janus grey B and 15
+lb. salt; fix with 12 oz. sulphuric acid, 2-1/2 lb. tannic acid and
+1-1/4 lb. tartar emetic.
+
+_Chocolate Brown._--Dye with 9 oz. sulphuric acid, 3-1/2 lb. Janus brown
+B and 15 lb. salt, fixing with 2 oz. sulphuric acid, 2-1/2 lb. tannic
+acid and 1 lb. tartar emetic.
+
+
+(6) DYEING ON METALLIC MORDANTS.
+
+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 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.
+
+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.
+
+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 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.
+
+
+_Dyeing with Eosines._
+
+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.
+
+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.
+
+=(1) Preparing with Sodium Stannate.=--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.
+
+=(2) Fixing the Tin Oxide.=--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.
+
+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.
+
+=(3) Dyeing with Eosine Colours.=--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.
+
+       *       *       *       *       *
+
+_Dyeing with Acid and Azo Dyes._
+
+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.
+
+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.
+
+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 the dye-bath direct, and
+the dyeing is done at the boil. This latter method gives equally good
+results, and is more simple.
+
+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.
+
+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.
+
+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, _e.g._, 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.
+
+       *       *       *       *       *
+
+_Methods of Mordanting._
+
+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 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.
+
+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.
+
+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.
+
+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 the heat at
+the boil to ensure complete formation of the colouring lake on the
+fibre, and therefore the production of fast colours.
+
+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.
+
+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.
+
+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.
+
+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 cotton is
+ready for dyeing, which is done by the method described in the last
+section.
+
+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.
+
+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.
+
+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.
+
+The following recipes give fuller details than the outline 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:--
+
+_Dark Olive._--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.
+
+_Brown._--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.
+
+_Olive._--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.
+
+_Pale Brown._--Treat in a hot bath of 25 lb. cutch, 1-3/4 lb. bluestone;
+work for half an hour in this bath, then lift, wring, and work in a bath
+of 1-3/4 lb. bichromate of potash for twenty to thirty minutes. Dye in a
+bath of 2-1/4 lb. alum, 7 oz. Chrysoidin, 14 oz. Ponceau B.
+
+_Fast Brown._--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 black blue, 6 oz. Benzo brown N B, 2 lb.
+soap, 8 lb. salt, for one hour at the boil, washed and dried.
+
+_Drab._--Dissolve 1/2 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.
+
+_Coffee Brown._--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.
+
+_Dark Brown Olive._--Prepare the dye-bath with 12 lb. cutch, 2 lb.
+bluestone, 2-1/2 lb. alum, 10 lb. quercitron extract, 2 lb. indigo
+carmine 4 lb. turmeric, 1/4 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 1-1/2 lb. bichromate of potash, work
+two hours more, then wash and dry.
+
+_Red Drab._--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.
+
+_Fawn._--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.
+
+_Grey Slate._--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.
+
+_Dark Plum._--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 1-1/2 gallons red liquor; re-enter yarn, give four
+turns, lift, wash and dry.
+
+_Pale Chamois._--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.
+
+_Dark Brown Olive._--Prepare a bath of 28 lb. fustic, 3/4 lb. logwood,
+18 lb. cutch, 4 lb. turmeric, 2 lb. copper sulphate, 3/4 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 1/4 lb. nitrate
+of iron, working in the cold for half an hour, lift, wash and dry.
+
+_Havana Brown._--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 1/2 lb.
+bichromate of potash, 1 lb. sulphuric acid. Wash and dye in a bath of
+3/4 lb. Bismarck brown and 4 lb. alum; work for one hour at about 180°
+F., wash and dry.
+
+_Black._--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.
+
+_Reseda Green._--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.
+
+_Fawn Brown._--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 1-1/4 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.
+
+_Beige._--Prepare a bath with 20 lb. sumac; enter cotton at 120° F.,
+give six turns, lift and add 1/2 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.
+
+_Turkey Red._--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.
+
+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.
+
+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 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.
+
+_Process_ 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.
+
+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.
+
+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.
+
+Operation 3. Second green liquor. As before.
+
+Operation 4. Third green liquor. As before.
+
+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".
+
+Operation 6. Second white liquor. As before.
+
+Operation 7. Steeping: Prepare a bath of water at 150° F., and steep for
+twelve hours, then wring and dry.
+
+Operation 8. Sumacing: A liquor is made from 12 lb. 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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+Operation 12. Second clearing: The dyed cotton is again boiled for two
+hours with 2-1/2 lb. soap and 1/2 lb. tin crystals, then give a good
+washing and dry.
+
+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.
+
+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 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.
+
+_Process_ 2.--Operation 1. The cotton is well bleached or scoured with
+soda in the usual way.
+
+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.
+
+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.
+
+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.
+
+Operation 5. Dyeing: This is carried out in precisely the same way as in
+the other process.
+
+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 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.
+
+Operation 7. Clearing: The dyed cotton is cleared with soap in the same
+manner as the clearing operations of the first process, which see.
+
+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.
+
+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.
+
+_Alizarine Red._--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:--
+
+_Process_ 1.--Boil the cotton in soda.
+_Process_ 2.--Oil with Turkey-red oil, as in the Turkey-red process
+   No. 2 above.
+_Process_ 3.--Mordant with alum or acetate of alumina.
+_Process_ 4.--Dye with alizarine as before.
+_Process_ 5.--Soap.
+
+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.
+
+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.
+
+_Alizarine Pink._--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.
+
+_Alizarine Violet._--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.
+
+_Alizarine Purple._--_Process_ 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.
+
+_Process_ 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.
+
+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.
+
+_Chocolate Browns._--Fine fast chocolate browns can be 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.
+
+_Alizarine Orange_--Prepare the cotton as if for dyeing a Turkey red,
+but use in the dye-bath 8 to 10 per cent. of Alizarine orange.
+
+_Alizarine Blue_--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
+1/4 lb. to 1-1/2 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.
+
+_Tannin Grounding._
+
+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.
+
+_Chromium Mordant._
+
+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.
+
+_Dyeing_--For dyeing, water free from lime must be used. Water having
+not more than 2.5° hardness can be employed 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.), 15-1/2
+lb. ammonia (25 per cent.), 2-1/4 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.
+
+_Brown._--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.
+
+_Claret Red._--Clarets to maroon shade of red are got by preparing the
+cotton as for blue given above, then dyeing with alizarine.
+
+_Logwood Black._--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.
+
+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 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.
+
+=Dyeing Logwood Black on Yarn in Hanks.=--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.
+
+Operation 2. Ironing or Saddening: Prepare a bath with 3-1/2 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.
+
+Operation 3. Liming: Work for ten minutes in a weak bath of milk of
+lime.
+
+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.
+
+Operation 5. Saddening: To obtain a fuller black the dyed cotton is sent
+through a bath of 1-1/2 lb. of copperas, then washed well.
+
+Operation 6. Soaping: Work for twenty minutes in a bath of 2 lb. soap at
+140° to 150° F. Then wash well.
+
+Much the same process may be followed for dyeing logwood black on warps
+and piece goods, jiggers being used for each operation.
+
+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.
+
+_Continuous Process._--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.
+
+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.
+
+The iron liquor given after the dyeing contains 2 lb. of copperas in 10
+gallons of water.
+
+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.
+
+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 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.
+
+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.
+
+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.
+
+For a _chrome-logwood black_, a dye-bath is made with 3 lb. bichromate
+of potash, 100 gallons logwood decoction at 3° Tw., and 6-1/2 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.
+
+A _copper-logwood black_ 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. 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.
+
+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.
+
+_Logwood Greys._--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.
+
+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.
+
+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.
+
+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 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.
+
+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.
+
+Iron may be used as a mordant for any of these dye-woods but it gives
+dull sad shades.
+
+Chrome mordants can also be used and these produce darker shades than
+tin or alumina mordants.
+
+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.
+
+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.
+
+_Green._--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, 3/4 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 alizarine
+red. For darker greens of a Russian green shade use 10 lb. of solid
+green O, in the dye-bath.
+
+_Brown._--A fine brown is got by steeping the cotton in a bath of 8 lb.
+Solid green O, 6-3/4 gallons water, 1-1/2 gallons ammonia and 2 lb.
+acetate of chrome; dry, then pass through a soap-bath, wash and dry.
+
+_Deep Olive Brown._--Mix 8 lb. Solid green O and 4-1/2 lb. borax with 6
+gallons water, add 1/2 lb. Turkey-red oil, 5 lb. ammonia, then 2 gallons
+water and 1-1/2 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.
+
+_Khaki._--Make the dye liquor from 14 lb. Solid green O, 1/2 lb.
+Alizarine yellow N, 1 lb. caustic soda (36° Tw.), 1/2 lb. Turkey-red oil
+and 8 gallons water. To this add 2-1/2 lb. acetate of chrome (32° Tw.),
+2-1/4 lb. copper-soda solution and 4 gallons water.
+
+_Sage Green._--Use 1-1/4 lb. Solid green O, 3 lb. caustic soda (36°
+Tw.), 1/2 lb. Ceruleine, 1/2 lb. Turkey-red oil, 1 gallon water to which
+is added 2-1/2 lb. acetate of chrome (32° Tw.) and 2-1/4 lb. copper-soda
+solution dissolved in 4 gallons water.
+
+_Pale Brown._--Use 4 lb. Solid green O, 2-1/2 lb. borax, 3 lb. ammonia,
+1/2 lb. Turkey-red oil, 6 gallons of water and 1-1/2 lb. copper-soda
+solution dissolved in 2 gallons water.
+
+_Pale Fawn Brown._--The dye-bath is made from 1/2 lb. Alizarine, 1-1/4
+lb. Solid green O, 1-1/2 lb. borax, 1/2 lb. Turkey-red oil and 5 gallons
+of water to which is added 1-1/2 lb. acetate of chrome (32° Tw.), 1-1/2
+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.
+
+_Dark Brown._--Place the cotton in a lukewarm bath of 25 lb. cutch and
+1-1/2 lb. copper sulphate; work for half an hour, then steep for six
+hours, then lift, wring and enter into a bath of 3-1/4 lb. bichromate of
+potash at 160° F. for twenty minutes. Then wash and dry.
+
+_Yellow Brown._--Make a bath with 14 lb. cutch and 1/2 lb. copper
+sulphate; work in this bath for four hours at 120° F., then pass into a
+bath of 2 lb. copperas and 1/2 lb. chalk, work for half an hour in the
+cold, then pass into a hot bath of 2-1/2 lb. bichromate of potash at
+150° F. for half an hour.
+
+_Dark Brown._--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 1/4 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.
+
+
+(7) PRODUCTION OF COLOUR DIRECT UPON COTTON FIBRES.
+
+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:--
+
+C{6}H{5}NH{2} + HCl + HNO{2}   2H{2}O + C{6}H{5}N:NCl
+Hydrochloric acid        Nitrous   Water,    Diazo-benzene
+aniline,                 acid,               chloride.
+
+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:--
+
+C{6}H{5}N:NCl + C{10}H{7}OH + NaOH =
+Diazo-benzene chloride, Naphthol, Caustic soda.
+
+C{10}H{6}OHN:NC{6}H{5} + NaCl + H{2}O
+Naphthol-azo-benzene,        Salt,  Water.
+
+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.
+
+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.
+
+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.
+
+_The Diazotisation of the Amido Bases._
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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:--
+
+  C{6}H{5}NH{2} + HCl   +         HCl             +        NaNO{2} =
+Aniline hydrochloride,         Hydrochloric acid,         Sodium nitrite,
+
+   NaCl     +       C{6}H{5}N:NCl        +      H{2}0
+   Salt,         Diazo-benzene chloride,          Water.
+
+The bases which form salts soluble with difficulty, such as nitroaniline
+and the amido-azo bodies, offer special difficulties in diazotising.
+
+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.
+
+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.
+
+The combination when aniline and beta-naphthol are used, as the amine
+and phenol respectively, is shown in the following equations:--
+
+   C{6}H{5}N:NCl        +    C{10}H{7}OH      +
+Diazo-benzene chloride,         B. naphthol,
+
+NaOH = 2NaCl    +   C{6}H{5}N:NC{10}H{6}OH    +    H{2}O
+Caustic soda,         Benzene- azo-naphthol,         Water.
+
+Or, with naphthylamine and naphthol, thus:--
+
+C{10}H{7}N:NCl     +     C{10}H{7}OH     +     NaOH =
+
+  NaCl     +     C{10}H{7}N:NC{10}H{6}OH     +   H{2}O
+                   Naphthalene azo-naphthol.
+
+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:--
+
+  C{6}H{5}N:NC{6}H{4}NH{2}HCl + NaNO{2} + 2HCl =
+        Benzene-azo-aniline-hydrochloride,
+
+NaCl + C{6}H{5}N:NC{6}H{4}N:NCl + 2H{2}O.
+           Diazo-azo-benzene-chloride.
+
+When this compound is combined with naphthol diazo-azo dyes are
+produced.
+
+C{6}H{5}N:NC{6}H{4}N:NC{10}H{6}OH.
+Benzene-azo-benzene-azo-naphthol.
+
+The molecular weights of the bases, phenols and chemicals employed are
+the following:--
+
+1. Hydrochloric acid, HCl--36.5. 2. Caustic soda, NaOH--40. 3. Nitrite
+of soda, NaNO{2}--69. 4. Acetate of soda, NaC{2}H{3}O{2}3H{2}O--136.
+
+1. Commercial hydrochloric acid at 32° Tw. contains about 365 grams of
+HCl in a litre, or 3-1/2 lb. in a gallon.
+
+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.
+
+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.
+
+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.
+
+
+_Bases._
+
+1. Aniline, C{6}H{5}NH{2}--93.
+2. Toluidine, C{7}H{7}NH{2}--107.
+3. Alpha-and beta-naphthylamine, C{10}H{7}NH{2}--143.
+4. Para-or meta-nitroaniline, C{6}H{4}NO{2}NH{2}--138.
+5. Nitro-para-toluidine, C{7}H{6}NO{2}NH{2}--152.
+6. Amidoazobenzene (base), C{6}H{5}N:NC{6}H{4}NH{2}--197.
+7. Orthoamidoazotoluol (base), C{7}H{7}N:NC{7}H{6}NH{2}--225.
+8. Alpha-or beta-naphthol C{10}H{7}OH--144.
+
+
+_Example of Quantities Taken._
+
+                                  Molecular Weight.
+1. Molecule nitrite                   69 grams.
+2. Molecule aniline                   93   "
+3. Molecule hydrochloric acid        365   "
+4. Molecule acetate of soda          136   "
+5. Molecule of naphthol              144   "
+6. Molecule caustic soda              40   "
+
+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.
+
+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.
+
+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:--
+
+     Base.           With beta-naphthol, gives   With alpha-naphthol, gives
+1. Aniline,                Orange yellow;              Cutch brown.
+2. Paratoluidine,          Full yellow orange;         Cutch brown.
+3. Metanitroaniline,       Fiery yellowish red;        Brownish orange.
+4. Paranitroaniline,       Bright scarlet;                "       "
+5. Nitroparatoluidine,        Orange;                  Very bright catechu.
+6. Alpha-naphthylamine,       Bluish claret red;       Reddish puce.
+7. Beta-naphthylamine,        Turkey red;                     "
+8. Amidoazobenzene,           Red;                            "
+9. Orthoamidoazotoluene,      Yellowish claret red;           "
+
+By mixing alpha-and beta-naphthols together a variety of grenat and
+claret reds and browns can be obtained.
+
+With regard to the fastness of the shades produced the following may be
+considered:--
+
+             _Fast to Soaping._
+
+Combination of A-Naphthol with Toluidine.
+     "              "          A-Naphthylamine.
+     "              "          B-Naphthylamine.
+     "              "          Amidoazobenzene.
+     "         B-Naphthol with Toluidine.
+     "              "          Paranitroaniline.
+     "              "          Nitroparatoluidine.
+     "              "          B-Naphthylamine.
+     "              "          A-Naphthylamine.
+
+                _Moderately Fast._
+
+Combination of A-Naphthol with Aniline.
+     "              "          Paranitroaniline.
+     "              "          Orthoamidoazotoluene.
+     "            B-Naphthol with Metanitroaniline.
+     "              "             Amidoazobenzene.
+
+                _Very Loose._
+
+Combination of A-Naphthol with Paratoluidine.
+     "              "          Metanitroaniline.
+     "              "          Nitroparatoluidine.
+     "         B-Naphthol with Aniline.
+     "              "          Paratoluidine.
+     "              "          Orthoamidoazotoluene.
+
+The samples were tested for fastness to light by exposing them for nine
+days with the following results:--
+
+
+                _Fast._
+
+Combination of A-Naphthol with Aniline.
+    "               "          Toluidine.
+    "               "          Metanitroaniline.
+    "               "          Paranitroaniline.
+    "               "          Nitroparatoluidine.
+    "               "          B-Naphthylamine.
+    "               "          Amidoazobenzol.
+    "               "          Orthoamidoazotoluol.
+    "          B-Naphthol with Aniline.
+    "               "          Paratoluidine.
+    "               "          Metanitroaniline.
+    "               "          Paranitroaniline.
+    "               "          B-Naphthylamine.
+    "               "          A-Naphthylamine.
+
+                _Moderately Fast._
+
+Combination of B- Naphthol with Nitroparatoluidine.
+
+                _Very Loose._
+
+
+Combination of A-Naphthol with Toluidine.
+    "               "          A-Naphthylamine
+    "          B-Naphthol with Toluidine.
+    "               "          Amidoazobenzene.
+    "               "          Orthoamidoazotoluene.
+
+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. The following directions may be
+followed:--
+
+
+=Dyeing Paranitroaniline Red on Yarn.=
+
+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.
+
+1. _Grounding._ 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
+2-1/2 lb. of caustic soda liquor 70° Tw., then 1-1/2 quarts of boiling
+water is added, when dissolved 1-1/2 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.
+
+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 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.
+
+When thoroughly dry the yarn is ready for the next operation.
+
+2. _Developing._ The developing bath is made in the following manner:
+1-1/2 lb. paranitroaniline is mixed with 1-1/2 gallons of boiling water,
+and 1-3/4 quarts of hydrochloric acid at 30° to 32° Tw. Stir well until
+the paranitroaniline is completely dissolved, add 3-1/2 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; 1-1/4 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.
+
+Another liquor is made by dissolving 4 lb. acetate of soda in 11 quarts
+of water.
+
+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, 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 1/2 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.
+
+Some dyers use a special form of dye vat for dyeing paranitroaniline red
+on yarn, whose construction can be seen from Fig. 27.
+
+[Illustration: FIG. 27.--Dye-tub for Paranitroaniline Red.]
+
+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.
+
+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.
+
+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.
+
+[Illustration: FIG. 28.--Padding Machine for Paranitroaniline Red.]
+
+
+=Dyeing Paranitroaniline Red on Piece Goods.=
+
+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.
+
+1. _Preparing or Grounding._--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.
+
+2. _The Developing._--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.
+
+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 6-1/4 lb. paranitroaniline are mixed with 7 gallons boiling-water
+and 1-1/2 gallons hydrochloric acid; when dissolved 16 gallons of cold
+water are added, then, after completely cooling, 3-1/2 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 13-1/4 lb. acetate of soda in
+13-1/2 gallons of water.
+
+Equal quantities of these two liquors are used in making the developing
+bath.
+
+[Illustration: FIG. 29--Developing Machine for Paranitroaniline Red.]
+
+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 cool and dry place for any
+reasonable length of time. These are prepared in various ways, and to
+any dyer who does not 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.
+
+_Paranitroaniline Red with Nitrazol C._--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 5-1/2 gallons water, then add 1-1/2 gallons caustic
+soda, 36° Tw., mixed with 5-1/2 gallons water. The developing bath is
+made by mixing both these solutions. It will suffice for both yarn and
+piece goods.
+
+_Paranitroaniline Red with Azophor Red P N._--Dissolve 5-1/2 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; 2-1/4 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.
+
+_Metanitroaniline Orange._--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.
+
+_Nitrosamine Red._--Dissolve 5 lb. Nitrosamine red in 5 gallons of water
+and 2-1/4 lb. hydrochloric acid, when well mixed there is added 2-1/2
+lb. acetate of soda, when all is dissolved add sufficient water to make
+6-1/2 gallons. This bath is used exactly in the same way as the
+paranitroaniline developing bath, and it produces identical results in
+every way.
+
+_Paranitroaniline Brown._--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 3-1/4 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.
+
+_Toluidine Orange._--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 2-1/4
+pints hydrochloric acid; when dissolved allow to cool and then add
+12-1/2 lb. ice. When thoroughly cold stir in 2-1/2 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.
+
+_Beta-naphthylamine Red._--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 1-3/4 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 13 gallons with water. This also
+is used in precisely the same way as the paranitroaniline red developing
+liquor.
+
+_Alpha-Naphthylamine Claret._--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 1-3/4 lb. of alpha-naphthylamine in 10 pints of boiling
+water, agitating well until the base is very finely divided in the
+water, then 1-1/4 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 1-1/2 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.
+
+The bath is used in the same manner as the previous developing baths.
+
+_Dianisidine Blue._--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 10-1/2 oz.
+dianisidine with 7 oz. hydrochloric acid and 7-1/2 pints of boiling
+water, when complete solution is obtained it is allowed to cool, then 20
+lb. of ice is added. Next 1-3/4 pints of nitrite of soda solution,
+containing 1-1/2 lb. per gal. and 2-1/2 pints of cold water. Stir for
+thirty minutes, then add 1-1/4 pints copper chloride solution at 72°
+Tw., and sufficient water to make up 6-1/2 gallons.
+
+The cotton is prepared with beta-naphthol in the usual way, and then
+passed through this developing bath.
+
+_Amidoazotoluol Garnet._--Amidoazotoluol produces with beta-naphthol a
+fine garnet red in the usual way.
+
+The developing bath is made from 14 oz. amidoazotoluol, mixed with 1-1/2
+pints of sodium nitrite solution containing 1-1/2 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.
+
+The cotton is passed through this dye-bath, then washed well, passed
+through a weak acid bath, then soaped well, washed and dried.
+
+
+(8) DYEING COTTON BY IMPREGNATION WITH DYE-STUFF SOLUTION.
+
+Indigo is a dye-stuff which requires special processes for its
+application to the cotton or wool fibre.
+
+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{16}H{16}N{2}O{2} 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{16}H{12}N{2}O{2}, 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.
+
+Indigo dyeing consists of three operations:--
+
+     (1) Preparation of the indigo solution, or, as it is called,
+     setting the dye vat. (2) Steeping the cotton in this vat. (3)
+     Exposing to the air.
+
+[Illustration: FIG. 30.--Indigo Dye-vat for Cloth.]
+
+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:--
+
+     (1) With lime and copperas. (2) Zinc and lime vat. (3) Zinc and
+     bisulphite of soda.
+
+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.
+
+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.
+
+Fig. 30 is a sketch of an indigo dye-vat for cloth or warps.
+
+(1) =Lime and Copperas Vat.=--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.
+
+_To Use this Vat._--Any scum on the surface is raked on one 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.
+
+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.
+
+=(2) Zinc and Lime Vat.=--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.
+
+For the reduction of zinc powder lime is chiefly used. The following are
+two good mixtures.
+
+Vat with zinc and lime:--
+
+10 lb. indigo, dry and ground fine;
+5-1/2 lb. zinc dust;
+22 lb. slaked lime, dry.
+
+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.
+
+Vat with zinc powder, lime and soda:--
+
+10 lb. indigo, dry and ground fine;
+10 lb. zinc powder;
+10 lb. slaked lime, dry;
+35 lb. caustic soda at 11° Tw.
+
+Add the lime to the ground indigo, then add the zinc and finally the
+soda lye.
+
+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 materials, keeps good for three months, and even then
+is in a better condition than the copperas vat.
+
+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.
+
+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.
+
+=(3) Zinc-Bisulphite Indigo Vat.=--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.
+
+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.
+
+_To Make the Stock Liquor._--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.
+
+To make the working vat from this stock liquor the following is the
+method of proceeding:--
+
+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.
+
+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.
+
+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.
+
+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:--
+
+_Stock Liquor._--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 100 gallons, stir at
+intervals for twelve hours or so, when the stock liquor will be ready
+for use.
+
+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 4-1/2 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.
+
+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.
+
+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.
+
+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 7-1/2 lb.
+indophenol is used. Good blue shades of considerable fastness can thus
+be got.
+
+_Aniline Black._--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 to carrying out the various operations in detail
+excellent results can be attained.
+
+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.
+
+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:--
+
+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.
+
+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 3-1/2
+lb. pressure, which process renders it jet black and also ungreenable.
+
+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 of water, working cold at first and gradually rising to the
+boil.
+
+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 6-1/2 gallons and the copper sulphate separately in 5-1/2
+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.
+
+4. A very good black is the prussiate or steam aniline black whose
+cheapness should recommend it. Prepare concentrated solutions of 1-3/4
+lb. aniline salt in 1 gallon water, 1-1/2 lb. ferrocyanide of potash in
+3/4 gallons water and 1-1/2 lb. potassium chlorate in 1-1/2 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.
+
+Either of these methods yields a good full black; with a little
+experience and care perfectly uniform shades will be got.
+
+
+
+
+CHAPTER V.
+
+DYEING UNION (MIXED COTTON AND WOOL) FABRICS.
+
+
+There is now produced a great variety of textile fabrics of every
+conceivable texture by combining the two fibres, cotton and wool, in a
+number of ways; the variety of these fabrics has of late years
+considerably increased, which increase may be largely ascribed to the
+introduction of the direct dyeing colouring matters--the Diamine dyes,
+the Benzo dyes, the Congo and the Zambesi dyes, for in the dyeing of
+wool-cotton fabrics they have made a revolution. The dyer of union
+fabrics, that is, fabrics composed of wool and cotton, was formerly put
+to great straits to obtain uniform shades on the fabrics supplied to
+him, owing to the difference in the affinity of the 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.
+
+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 on to the cotton than on to the wool, and _vice
+versa_. Some dye wool best at the boil, others equally well below that
+heat; some go on the cotton at a moderate temperature, others require
+the dye-bath to be boiling; some will go on to the cotton only, and
+appear to ignore the wool.
+
+The presence or absence in the dye-bath of such bodies as carbonate of
+soda, Glauber's salt, etc., has a material influence on the degree of
+the affinity of the dye-stuff for the two fibres, as will perhaps be
+noted hereafter. Again, while some of the dyes produce equal colours on
+both fibres, there are others where the tone is different. With all
+these peculiarities of the Diamine and other direct dyes the union dyer
+must make himself familiar. These dyes are used in neutral baths, that
+is, along with the dye-stuff. It is often convenient to use, along with
+the direct dyes, some azo or acid dyes, which have the property of
+dyeing the wool from neutral baths, many examples of such will be found
+in the practical recipes given below. The dyes now under consideration
+may be conveniently classed into five groups.
+
+1. Those dyes which dye the cotton and wool from the same bath to the
+same shade, or nearly so. Among such are Thioflavine S, Diamine fast
+yellow B, Diamine orange B, Diamine rose B D, Diamine reds 4 B, 5 B, 6 B
+and 10 B, Diamine fast red F, Diamine Bordeaux B, Diamine brown N,
+Diamine 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.
+
+2. Dyes which dye the cotton a deeper shade than the 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.
+
+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.
+
+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.
+
+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.
+
+Regarding the best methods of dyeing, that in neutral baths yields the
+most satisfactory results in practical working. It is done in a boiling
+hot or in a slightly boiling bath, with the addition of 6-1/4 oz.
+crystallised Glauber's salt per gallon water for the first bath, and
+when the baths are kept standing 20 per cent. crystallised Glauber's
+salt, reckoned upon the weight of the goods, for each succeeding lot.
+
+In dyeing unions, the dye-baths must be as concentrated as possible, and
+must not contain more than from 25 to 30 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.
+
+The following method of dyeing is perhaps the best one: Charge the
+dye-bath with the requisite dye-stuff and Glauber's salt, boil up, shut
+off the steam, enter the goods and let run for half an hour without
+steam, then sample. If the shade of both cotton and wool is too light
+add some more of the dye-stuffs used for both fibres, boil up once more
+and boil for a quarter to half an hour. If the wool only is too light,
+or its shade different from that of the cotton, add some more of the
+dye-stuff used for shading the wool and bring them again to the boil.
+If, however, the cotton turns out too light, or does not correspond in
+shade to the wool, add some more of the dye-stuffs used for dyeing the
+cotton, without, however, raising the temperature. Prolonged boiling is
+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).
+
+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 the steam run into a space separated
+from the vat by a perforated wall, into which space the required
+dye-stuffs and salt are placed.
+
+The mode of working is rather influenced by the character of the goods,
+and the following notes will be found useful by the union dyer:--
+
+Very little difficulty will be met with in dyeing such light fabrics as
+Italians, 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.
+
+_Bright Yellow._--Use 2 lb. Thioflavine S in a bath which contains 4 lb.
+Glauber's salt per 10 gallons of dye liquor.
+
+_Good Yellow._--A very fine deep shade is dyed with 2-1/2 lb. Diamine
+gold and 2-1/2 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.
+
+_Pale Gold Yellow._--Use a dye liquor containing 4 lb. Glauber's salt in
+every 10 gallons, 2-1/2 lb. Diamine fast yellow A, 2 oz. Indian yellow G
+and 3-1/2 oz. Indian yellow R. In this recipe 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.
+
+_Bright Yellow._--Use in the same way as the last, 2-1/2 lb. Diamine
+fast yellow B and 3 oz. Indian yellow G.
+
+_Gold Orange._--Use as above 2 lb. Diamine orange G, 5-1/2 oz. Indian
+yellow K and 1-1/2 oz. Orange E N Z.
+
+_Deep Orange._--Use 2-1/2 lb. Diamine orange D C, 6-1/2 oz. Orange E N
+Z, and 3-1/4 oz. Indian yellow R.
+
+_Black._--Use 4-1/2 lb. Union black S, 2 oz. Diamine fast yellow A, 5
+oz. Naphthol blue black and 3-1/4 oz. Formyl violet S 4 B, with 4 lb.
+Glauber's salt in each 10 gallons dye liquor.
+
+_Navy Blue._--Use 1-1/4 lb. Union black S, 3 lb. Diamine black B H, 1/2
+oz. Naphthol blue black, 1/2 lb. Formyl violet S 4 B and 2-1/2 oz.
+alkaline blue B.
+
+_Red Plum._--Use a dye-bath containing 2-1/2 lb. Oxydiamine violet B and
+3-1/4 oz. Formyl violet S 4 B.
+
+_Dark Green._--A fine shade can be dyed in a bath containing 3 lb.
+Diamine green B and 1-1/2 lb. Diamine black H W.
+
+_Dark Slate._--Use 4 lb. Diamine black H W, 2 oz. Naphthol blue black
+and 3 oz. Azo red A.
+
+_Sage._--Use a dye-bath containing 4 lb. Diamine bronze G and 1-1/4 oz.
+Naphthol blue black.
+
+_Dark Brown._--A fine dark shade is got from 2-1/2 lb. Diamine brown V
+and 2 oz. Naphthol blue black.
+
+_Peacock Green._--Use 3-3/4 lb. Diamine steel blue L, 13 oz. Diamine
+fast yellow B, 14-1/2 oz. Thiocarmine K and 2-1/4 oz. Indian yellow G in
+a bath of 4 lb. Glauber's salt per gallon dye liquor.
+
+_Dark Sea Green._--Use 9 oz. Diamine steel blue L, 3-3/4 oz. Diamine
+fast yellow B, 1/2 oz. Diamine orange G, 1-1/4 oz. Naphthol blue black
+and 3/4 oz. Indian yellow G.
+
+_Dark Brown._--Use 1 lb. Diamine orange B, 1 lb. Diamine Fast yellow S,
+13-3/4 oz. Union black S, 1 lb. Diamine brown M and 1/2 lb. Indian
+yellow G. Fix in an alum bath after dyeing.
+
+_Dark Stone._--Use 1/2 lb. Diamine orange B, 3-3/4 oz. Union black, 1/4
+oz. Diamine Bordeaux B, 1-1/2 oz. Azo red A and 3/4 oz. Naphthol blue
+black.
+
+_Black._--A very fine black can be got from 3-1/2 lb. Oxydiamine black B
+M, 2 lb. Union black S, 9-1/2 oz. Naphthol blue black and 4 oz. Formyl
+violet S 4 B.
+
+_Dark Grey._--A fine bluish shade of grey is got from 7 oz. Diamine
+black B H, 2-1/4 oz. Diamine orange G, 2-1/2 oz. Diamine orange G, 2-1/2
+oz. Naphthol blue black and 1 oz. Orange E N Z.
+
+_Dark Blue._--A fine shade is got by using 2 lb. Diamine black B H, 1/2
+lb. Diamine black H W, and 3-1/2 oz. Alkaline blue 6 B.
+
+_Drab._--Use 3-1/2 oz. Diamine orange B, 3/4 oz. Union black, 1/8 oz.
+Diamine Bordeaux B, 3/4 oz. Azo red A and 1/4 oz. Naphthol blue black.
+
+_Plum._--Use 2-1/2 lb. Diamine violet N, 9-1/2 oz. Union black and 1 lb.
+Formyl violet S 4 B.
+
+_Bright Yellow._--Use a dye-bath containing 4 lb. Thioflavine S, 2 lb.
+Naphthol yellow S, 10 lb. Glauber's salt and 2 lb. acetic acid.
+
+_Pink._--Use 1/6 oz. Diamine Rose B D, 1/4 oz. Diamine scarlet B, 1/2
+oz. Rhodamine B and 20 lb. Glauber's salt.
+
+_Scarlet._--A fine shade is got from 1-1/2 lb. Diamine scarlet B, 1/2
+oz. Diamine red 5 B and 20 lb. Glauber's salt.
+
+_Orange._--Use a dye-bath containing 3-1/2 lb. Diamine orange G, 14-1/2
+oz. Tropæoline O O, and 2-3/4 oz. Orange extra.
+
+_Sky Blue._--Use 1-1/2 oz. Diamine sky blue and 1-1/4 oz. Alkaline blue
+B.
+
+_Bright Blue._--A fine shade similar to that formerly known as royal
+blue is got by using 1-1/2 lb. Diamine brilliant blue G and 9-1/4 oz.
+Alkaline blue 6 B.
+
+_Maroon._--Use 3 lb. Diamine Bordeaux B, 2 lb. Diamine violet N and
+3-1/4 oz. Formyl violet S 4 B.
+
+_Green._--A fine green similar in shade to that used for billiard-table
+cloth is got from 2 lb. Diamine fast yellow B, 2 lb. Diamine steel blue
+L, 14-1/2 oz. Thiocarmine R and 7-1/4 oz. Indian yellow G.
+
+_Gold Brown_--A fine brown is got from 3 lb. Diamine orange B, 1/2 lb.
+Union black, 2-1/2 oz. Diamine brown, 3/4 oz. Naphthol blue black and
+1/2 lb. Indian yellow G.
+
+_Navy Blue._--Use 3-1/4 lb. Diamine black B H, 1-1/2 lb. Diamine
+brilliant blue G and 1/2 lb. Alkaline blue.
+
+_Fawn Drab._--A fine shade is got by dyeing in a bath containing 6-3/4
+oz. Diamine orange B, 1-3/4 lb. Union black, 1/4 oz. Naphthol blue
+black, 1/4 oz. Diamine Bordeaux B and 1 oz. Azo red A.
+
+In all these colours the dye-baths contain Glauber's salt at the rate of
+4 lb. per 10 gallons.
+
+_Dark Brown._--2-1/2 lb. Diamine orange B, 13 oz. Diamine Bordeaux B,
+1-1/2 lb. Diamine fast yellow B, 1-3/4 lb. Union black and 3-1/2 oz.
+Naphthol black.
+
+_Drab._--1-3/4 lb. Diamine fast yellow R, 3-1/4 oz. Diamine Bordeaux B,
+2-1/2 oz. Union black, 1/2 oz. Naphthol blue black and 1-1/4 oz. Indian
+yellow G.
+
+_Dark Blue._--Use in the dye-bath 4-1/4 lb. Diamine dark blue B, 1-1/2
+lb. Diamine brilliant blue G, 3/4 lb. Formyl violet S 4 B and 5 oz.
+Naphthol blue black.
+
+_Blue Black-_--Use 3-1/2 lb. Union black S, 1-1/2 lb. Oxydiamine black B
+M, 6-1/2 oz. Naphthol blue black and 1/4 lb. Formyl violet S 4 B.
+
+_Dark Walnut._--2-3/4 lb. Diamine brown M, 1-1/2 lb. Union black S, and
+11-1/4 oz. Indian yellow G.
+
+_Peacock Green._--Use in the dye-bath 3 lb. Diamine black H W, 5-1/6 oz.
+Diamine fast yellow B, 1-1/4 lb. Thiocarmine R and 1-1/6 oz. Indian
+yellow G.
+
+_Slate Blue._--Use in the dye-bath 6-1/2 oz. Diamine carechine B, 4-3/4
+oz. Diamine orange B, 2-1/2 oz. Union black, 2-3/4 oz. Orange E N Z, and
+1-3/4 oz. Naphthol blue black.
+
+_Dark Sage._--A good shade is dyed with 1 lb. Diamine orange B, 6-1/2
+oz. Union black, 1-3/4 oz. Diamine brown M, 3-1/4 oz. azo red A and
+2-1/4 oz. Naphthol blue black.
+
+_Navy Blue._--Use 2 lb. Diamine dark blue B, 1-1/4 lb. Lanacyl violet B,
+and 7 oz. Naphthol blue black.
+
+_Bronze Green._--A good shade is dyed with 2 lb. Diamine orange B, 5 oz.
+Diamine brown N, 3/4 lb. Union black S, 1 lb. Indian yellow G and 2-1/2
+oz. Naphthol blue black.
+
+_Black._--Use 2-1/2 lb. Oxydiamine black B M and 1-1/2 lb.
+Naphthylamine black 6 B. Another recipe, 2-1/4 lb. Oxydiamine black B M,
+1 lb. Diamine brown M, 1 lb. Orange E N Z and 2 oz. Naphthol blue black.
+
+_Dark Brown._--Use 1-1/2 lb. Oxydiamine black B M, 15-1/2 oz. Diamine
+brown M, 1-3/4 lb. Indian yellow G and 2-3/4 oz. Naphthol blue black.
+Another combination, 1-1/2 lb. Oxydiamine black B M, 1-1/2 lb. Orange E
+N Z, 1 lb. Indian yellow G and 5 oz. Naphthol blue black.
+
+_Scarlet._--3 lb. Benzo purpurine 4 B, 3/4 oz. Ponceau 3 R B and 1/2 lb.
+Curcumine S.
+
+_Crimson._--1/2 lb. Congo Corinth G, 2 lb. Benzo purpurine 10 B and 1/2
+lb. Curcumine S.
+
+_Bright Blue._--2 lb. Chicago blue 6 B, 3 oz. Alkali blue 6 B, 1-1/2 oz.
+Zambesi blue R X. After dyeing rinse and develop in a bath of 8 oz.
+sulphuric acid in 10 gallons of water, then rinse well.
+
+_Dark Blue._--2-1/2 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.
+
+_Orange._--9 oz. Congo brown G, 1-1/2 lb. Mikado orange 4 R O and 1-1/2
+oz. Mandarine G.
+
+_Dark Green._--2 lb. Columbia green, 1/2 lb. Sulphon azurine D, 1 lb.
+Zambesi blue B X, 1-1/2 oz. Curcumine S.
+
+_Black._--4 lb. Columbia black F B and 2 lb. Wool black 6 B.
+
+_Pale Sage Green._--5 oz. Zambesi black D, 3/4 lb. Chrysophenine G and
+1-1/2 lb. Curcumine S.
+
+_Slate._--1/2 lb. Zambesi black D, 3/4 oz. Zambesi blue R X, 1/2 oz.
+Mikado orange 4 R 0 and 1-1/2 oz. Acid violet 6 B.
+
+_Dark Grey._--1 lb. Columbia black F B, 3 oz. Zambesi black B and 3/4
+oz. Sulphon azurine D.
+
+_Drab._--1-1/2 oz. Zambesi black D, 3/4 oz. Mandarine G extra, 1/4 oz.
+Curcumine extra and 3 oz. Mikado orange 4 R O.
+
+_Brown._--5 oz. Zambesi black D, 3/4 oz. Mandarine G extra, 1-1/2 oz.
+Orange T A and 2 oz. Mikado orange 4 R 0.
+
+_Nut Brown._--3/4 lb. Congo brown G, 1/4 lb. Chicago blue R W and 3/4
+lb. Mikado orange 4 R 0.
+
+_Dark Brown._--1 lb. Congo brown G, 1-1/2 lb. Benzo purpurine 4 B, 1-1/2
+lb. Zambesi black F and 1/2 lb. Wool black 6 B.
+
+_Stone._--1 oz. Zambesi black D, 1/4 oz. Mandarine G, 1/4 oz. Curcumine
+extra and 1-1/4 oz. Mikado orange 4 R 0.
+
+_Slate Green._--3 oz. Zambesi black D, 1-1/2 oz. Guinea green B.
+
+_Sage Brown._--1/2 lb. Zambesi black D, 1-1/2 oz. Mandarine G extra, 3
+oz. Curcumine extra, 3 oz. Acid violet 6 B, 6 oz. Mikado orange 4 R 0
+and 4-1/2 oz. Curcumine S.
+
+_Cornflower Blue._--3 oz. Chicago blue 4 R, 1/4 lb. Zambesi blue R X,
+1/4 lb. Acid violet 6 B and 3/4 oz. Zambesi brown G.
+
+_Dark Brown._--1-1/2 lb. Brilliant orange G, 1/2 lb. Orange T A, 1 lb.
+Columbia black F B and 1/4 lb. Wool black 6 B.
+
+_Dark Blue._--2 lb. Chicago blue W, 1 lb. Zambesi blue R X, 1/2 lb.
+Columbia black F B, 10 oz. Guinea green B and 1/2 lb. Guinea violet 4 B.
+
+The Janus dyes may be used for the dyeing of half wool (union) fabrics.
+The best plan of working is to prepare a bath with 5 lb. of sulphate of
+zinc; in this the goods are worked at the boil for five minutes, then
+there is added the dyes previously dissolved in water, and the working
+continued for a quarter of an hour; 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 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.
+
+_Dark Blue._--2-1/4 lb. Janus dark blue B and 1/4 lb. Janus green B in
+the dye-bath, and 16 lb. sumac extract and 2 lb. tartar emetic in the
+fixing-bath.
+
+_Blue Black._--3-1/2 lb. Janus black I and 1/2 lb. Janus black II in the
+dye-bath, and 16 lb. sumac extract and 2 lb. tartar emetic in the
+fixing-bath.
+
+_Dark Brown._--2-1/2 lb. Janus brown B, 1 lb. Janus black I, 3-1/2 oz.
+Janus yellow G and 5 oz. Janus red B in the dye-bath, with 16 lb. sumac
+extract and 2 lb. tartar emetic in the fixing-bath.
+
+_Drab._--1-1/2 oz. Janus yellow R, 3/4 oz. Janus red B, 1 oz. Janus blue
+R and 1/4 oz. Janus grey B B in the dye-bath, and 4 lb. sumac extract
+and 1 lb. tartar emetic in the fixing-bath.
+
+_Grey._--5 oz. Janus blue R, 3-1/4 oz. Janus grey B, 1-1/2 oz. Janus
+yellow R and 1/4 oz. Janus red B in the dye-bath, with 4 lb. sumach
+extract and 1 lb. tartar emetic in the fixing-bath.
+
+_Nut Brown._--1 lb. Janus brown R, 8 oz. Janus yellow R and 1-1/2 oz.
+Janus blue B in the dye-bath, and 8 lb. sumac extract and 1 lb. tartar
+emetic in the fixing-bath.
+
+_Walnut Brown._--3 lb. Janus brown B, 1 lb. Janus red B, 1 lb. Janus
+yellow R, 1-1/4 oz. Janus green B in the dye-bath, with 8 lb. sumac
+extract and 1 lb. tartar emetic in the fixing-bath.
+
+_Crimson._--2-1/2 lb. Janus red B and 8 oz. Janus claret red B in the
+dye-bath, with 8 lb. sumac extract and 1 lb. tartar emetic in the
+fixing-bath.
+
+_Dark Green._--1-1/2 lb. Janus green B, 1-1/2 lb. Janus yellow R and 8
+oz. Janus grey B B in the dye-bath, with 12 lb. sumac extract and 1-1/4
+lb. tartar emetic in the fixing-bath.
+
+_Chestnut Brown._--1 lb. Janus brown R and 1 lb. Janus yellow R in the
+dye-bath, and 8 lb. sumac extract and 1 lb. tartar emetic in the
+fixing-bath.
+
+Before the introduction of the direct dyes the method usually followed,
+and, indeed 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 _Dyeing of Woollen Fabrics_.
+
+=Shot Effects.=--A pleasing kind of textile fabric which is now made,
+and is a great favourite for ladies' dress goods, is where the cotton of
+a mixed fabric is thrown up to form a figured design. It is possible to
+dye the two fibres in different colours, and so produce a variety of
+shot effects. These latter are so endless that it is impossible here to
+enumerate all that may be produced. It will have to suffice to lay down
+the lines which may be followed to the best advantage, and then give
+some recipes to illustrate the remarks that have been made. The best
+plan for the production of shot effects upon union fabrics is to take
+advantage of the property of certain acid dyes which dye only the wool
+in an acid bath, and of many of the direct colours which will only dye
+the cotton in an alkaline bath. The process, working on these lines,
+becomes as follows: The wool is first dyed in an acid bath with the
+addition of Glauber's salt and bisulphate of soda, or sulphuric acid,
+the goods are then washed with water containing a little ammonia to free
+them from the acid, and afterwards dyed with the direct colour in an
+alkaline bath.
+
+Fancy or the mode shades are obtained by combining suitable dye-stuffs.
+
+If the cotton is to be dyed in light shades it is advantageous to dye on
+the liquor at 65° to 80° F., with the addition of 3-1/4 oz. Glauber's
+salt, and from 20 to 40 grains borax per gallon water. The addition of
+an alkali is advisable in order to neutralise 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.
+
+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.
+
+_Gold and Green._--First bath, 1 lb. Cyanole extra, 7-1/4 oz. Acid
+green, 1-1/2 oz. Orange G G, and 10 lb. bisulphate of soda; work at the
+boil for one hour, then lift and rinse well. Second bath, 4 lb. Diamine
+orange G and 15 lb. Glauber's salt; work in the cold or at a lukewarm
+heat. Third bath, at 120° F., 4 oz. Chrysoidine and 1/4 oz. Safranine.
+
+_Black and Blue._--First bath, 3-1/2 lb. Naphthol black 3 B and 10 lb.
+bisulphate of soda. Second bath, 2 lb. Diamine sky blue and 13 lb.
+Glauber's salt. Third bath, 6-1/2 oz. New Methylene blue N. Work as in
+the last recipe.
+
+_Green and Claret._--First bath, 3-1/2 lb. Naphthol red C and 10 lb.
+bisulphate of soda. Second bath, 2 lb. Diamine sky blue F F, 1-1/4 lb.
+Thioflavine S, and 15 lb. Glauber's salt.
+
+_Gold Brown and Blue._--First bath, 2-1/2 oz. orange E N Z, 1-1/2 oz.
+Orange G G, 1/4 oz. Cyanole extra and 10 lb. bisulphate of soda. Second
+bath, 14 oz. Diamine sky blue F F and 15 lb. Glauber's salt.
+
+_Dark Brown and Blue._--First bath, 1/2 lb. Orange G G, 1-1/2 oz. Orange
+E N Z, 1-1/2 oz. Cyanole extra and 10 lb. bisulphate of soda. Second
+bath, 12 oz. Diamine sky blue F F and 15 lb. Glauber's salt.
+
+_Black and Green Blue._--First bath, 3 lb. Orange G G, 1 lb. Brilliant
+cochineal 4 R, 1 lb. Fast acid green B N and 10 lb. Glauber's salt.
+Second bath, 1-3/4 lb. Diamine sky blue F F, 3-1/4 lb. Thioflavine S and
+15 lb. Glauber's salt.
+
+We may here note that in all the above recipes the second bath (for
+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.
+
+_Blue and Gold Yellow._--3 lb. Diamine orange G, 13 oz. Naphthol blue G,
+14-1/2 oz. Formyl violet S 4 B and 15 lb. Glauber's salt. Work at just
+under the boil.
+
+_Brown and Blue._--1 lb. Diamine steel blue L, 9-1/2 oz. Diamine sky
+blue, 1 lb. Orange E N Z, 1 lb. Indian yellow G, 1-3/4 oz. Naphthol blue
+black and 15 lb. Glauber s salt. Work at 170° to 180° F.
+
+In these two last recipes only one bath is used, all the dyes 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.
+
+_Grey and Orange._--First bath, 3 oz. Orange extra, 1-1/4 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.
+
+_Green and Red._--First bath, 2 lb. Croceine A Z, and 10 lb. Glauber's
+salt. Second bath, 1 lb. Diamine sky blue F F, 1/2 lb. Thioflavine S,
+and 15 lb. Glauber's salt.
+
+_Brown and Violet._--First bath, 3/4 lb. Orange extra, 3/4 lb. Cyanole
+extra, and 10 lb. bisulphate of soda. Second bath, 5 oz. Diamine
+brilliant blue G, and 15 lb. Glauber's salt.
+
+_Black and Yellow._--First bath, 7 lb. Naphthol black B, 1/2 lb. Fast
+yellow S, and 10 lb. bisulphate of soda. Second bath 3 lb. Diamine fast
+yellow A, and 15 lb. Glauber's salt.
+
+_Black and Pink._--Black as above. Pink with Diamine rose B D (see
+above).
+
+_Green and Buff._--First bath, 1/4 lb. Orange extra, 3/4 oz. Fast yellow
+S, and 10 lb. bisulphate of soda. Second bath, 3/4 lb. Diamine sky blue
+F F, 1/2 lb. Thioflavine S, and 15 lb. Glauber's salt.
+
+_Orange and Violet._--First bath, 9 oz. Orange extra, and 10 lb.
+bisulphate of soda. Second bath, 3/4 lb. Diamine violet N, and 10 lb.
+Glauber's salt.
+
+_Black and Blue._--First bath, Naphthol black as given above. Second
+bath, Diamine sky blue as given above.
+
+_Black and Yellow._--Add first 1 lb. Wool black 6 B, and 10 lb.
+Glauber's salt, then, when the wool has been dyed, add 2 lb. Curcumine S
+to dye the cotton in the same bath.
+
+_Green and Red._--Dye the wool by using 3 lb. Guinea green B, 1/4 lb.
+Curcumeine extra, and 10 lb. Glauber's salt, then add to the bath 3/4
+lb. Erika B N, and 3/4 lb. Congo Corinth G.
+
+_Orange and Blue._--Dye the wool first with 1-1/4 lb. Mandarine G, 2 oz.
+Wool black 6 B, and 10 lb. Glauber's salt; then the cotton with 2 lb.
+Columbia blue G.
+
+_Blue and Orange._--Dye the wool first with 3/4 lb. Guinea violet B, 3/4
+lb. Guinea green B, and 10 lb. Glauber's salt; then dye the cotton with
+2 lb. Mikado orange 4 R O.
+
+_Green and Orange._--Dye the wool with 3 lb. Guinea green B, 1/4 lb.
+Curcumeine extra, and 10 lb. Glauber's salt, then dye the cotton in the
+same bath with 1-1/2 lb. Mikado orange 4 R O.
+
+
+
+
+CHAPTER VI.
+
+DYEING HALF SILK (COTTON-SILK, SATIN) FABRICS.
+
+
+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 _Silk Dyeing_.
+
+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.
+
+The dyeing of goods composed of silk and cotton is generally done in
+winch dye-vats, in some cases also on the jigger.
+
+
+METHOD OF DYEING.
+
+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.
+
+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 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.
+
+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.
+
+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.
+
+The following particulars may serve as a guide for the first bath:--
+
+For pale shades each 10 gallons dye-liquor should contain 3-1/4 to 6-1/2
+oz. soap and 4 to 7 drs. soda or 3-1/4 to 6-1/2 oz. soap, 4 to 5-1/2
+drs. soda and 3-1/4 to 6-1/2 oz. phosphate of soda.
+
+For medium and dark shades each 10 gallons dye-liquor may contain 3-1/4
+to 6-1/2 oz. soap, 4 to 7 drs. soda, 3-1/4 to 6-1/2 oz. phosphate of
+soda and 6-1/2 to 13 oz. cryst. Glauber's salt.
+
+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 4-3/4 to 8 oz. soap, 4 to 6 drs. soda, 3-1/4 to 8 oz. phosphate
+of soda and 4-3/4 to 9-1/2 oz. cryst. Glauber's salt.
+
+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.
+
+For obtaining level dyeings in pale shades it is advisable not to enter
+the goods too hot, but to raise the temperature 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.
+
+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.
+
+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.
+
+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.
+
+Many of the Diamine and Titan colours being very fast to acids, but few
+of them will be affected by this treatment.
+
+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:--
+
+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.
+
+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.
+
+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.
+
+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.
+
+=Topping with Basic and Acid Dye-stuffs.=--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 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.
+
+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.
+
+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.
+
+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.
+
+_Bright Yellow._--Use 2 lb. Thioflavine S.
+
+_Deep Orange Yellow._--This can be dyed by using 2 lb. Diamine yellow N.
+
+_Gold Yellow._--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.
+
+_Deep Orange._--Use 2 lb. Diamine orange B.
+
+_Bright Rose._--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.
+
+_Scarlet._--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.
+
+_Crimson._--Dye with 2 lb. Diamine fast red F.
+
+_Violet._--Use 2 lb. Oxydiamine violet B.
+
+_Bright Blue._--A fine shade is dyed with 2 lb. Diamine blue R W.
+
+_Dark Green._--Use 2 lb. Diamine black H W. This gives a fine shade of
+bluish green.
+
+_Gold Brown._--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.
+
+_Dark Green._--Dye with 2 lb. Diamine green B.
+
+_Deep Rose._--Dye with 2 lb. Diamine red 10 B.
+
+_Brilliant Yellow._--Dye with 1-1/2 lb. Mikado golden yellow 8 G; then
+enter into a cold bath which contains 1-1/2 per cent. Auramine II. This
+gives a very bright shade of yellow.
+
+_Dark Brown._--Dye a bottom with 2 lb. Mikado brown 3 G O, and then top
+with 3 lb. Bismarck brown and 1/2 lb. Capri blue G O N.
+
+_Crimson._--Dye with 2 lb. Mikado orange 5 R O and 2 lb. Hessian purple
+N.
+
+_Sage Green._--Dye a bottom with 2 lb. Mikado yellow G, 14 oz. Eboli
+green T and 3 oz. Mikado brown M, then top in a fresh cold bath with
+1/2 lb. Auramine II and 1/2 oz. Acridine Orange N 0.
+
+_Leaf Green._--Dye a bottom with 3 lb. Mikado golden yellow 8 G and 1
+lb. Eboli blue B; then top with 1-1/2 lb. Capri green 2 G in a cold
+bath.
+
+_Deep Brown._--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
+2-1/4 lb. Acridine orange N 0.
+
+_Dark Cream._--Bottom with 1 oz. Diamine orange G; then top in a fresh
+warm bath with 1 oz. Orange G G, 1/2 oz. Indian yellow R, 5 lb.
+Glauber's salt and 1 lb. acetic acid.
+
+_Brilliant Violet._--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.
+
+_Slate._--Bottom in a hot bath with 6 oz. Diamine dark blue B and 1-1/2
+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.
+
+_Black Brown._--Give a bottom with 2 lb. Cotton brown A, 1 lb. Diamine
+gold and 3-1/2 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 1/2 oz.
+Indian yellow G.
+
+_Bright Violet._--Use 1/2 lb. Oxydiamine violet B and 3/4 oz. Diamine
+dark blue B; top after dyeing with 1/2 oz. Safranine, 1/4 oz.
+Methylindone B and 1/4 oz. Cyanole extra.
+
+_Drab._--Dye with 6 oz. Diamine orange G, 1 lb. Diamine bronze G and 3/4
+lb. Diamine brown M, topping afterwards in a bath of 1/4 oz. Aniline
+grey B and 1/4 oz. Bismarck brown F F.
+
+_Leaf Green._--Dye with 1/2 lb. Diamine black H W, and 1 lb. Diamine
+fast yellow B; top with 1/4 oz. Brilliant green, 1/4 oz. Indian yellow
+R, 1/2 oz. Thioflavine T and 1/2 oz. Cyanole extra.
+
+_Dark Crimson._--Use in the dye-bath 3 lb. Diamine Bordeaux S, 3/4 lb.
+Diamine orange D C and 1-1/2 lb. Diamine brown V, topping with 1 oz.
+Magenta and 1/2 oz. Formyl violet S 4 B.
+
+_Turquoise Blue._--Use to dye the ground, 6 oz. Diamine sky blue F F and
+1/2 oz. Diamine fast yellow A; top with 1-1/2 oz. Cyanole extra and 1/4
+oz. Brilliant green.
+
+_Dark Grey._--Dye with 1/2 oz. Diamine grey G, and 1-1/2 oz. Diamine
+brown M; top with 1/4 oz. Orange extra and 1 oz. Cyanole extra.
+
+_Brilliant Orange._--Dye with 1 lb. Mikado orange R O, and top with 6
+oz. Acridine orange N O and 12 oz. Auramine I I.
+
+_Brown._--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.
+
+_Deep Crimson._--Dye with 1 lb. Columbia black R and top with 6 oz.
+Magenta.
+
+_Pale Sea Green._--Use in the dye-bath 1/2 oz. Chrysophenine G, 1-1/2
+oz. Chicago blue 6 B and 1-1/2 oz. Alkali blue 6 B.
+
+_Bright Crimson._--Dye with 3 lb. Congo Corinth and top with 1 lb.
+Magenta.
+
+_Dark Russian Green._--Dye with 3 lb. Columbia black B; then top with 1
+lb. Malachite green.
+
+_Gold Drab._--Dye with 5 oz. Columbia black, and top with 5 oz.
+Chrysoidine R.
+
+_Bright Olive Yellow._--Dye with 1-1/2 lb. Diamine gold, 1-1/2 lb.
+Diamine fast yellow A and 3/4 lb. Diamine bronze G; top with 1/2 lb.
+Thioflavine T and 1/4 lb. Chrysoidine.
+
+_Moss Brown._--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.
+
+_Dark Sea Green_--Dye a bottom with 9 oz. Diamine black B and 4-1/2 oz.
+Diamine fast yellow B, then top with 2 oz. New methylene blue M and 2
+oz. New phosphine G.
+
+_Old Gold._--Dye a ground with 1/2 lb. Diamine gold, 1-1/4 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.
+
+_Cornflower Blue._--Dye the ground with 2-1/2 lb. Diamine azo blue 2 B,
+1-1/2 oz. Alkali blue 3 B, 1/2 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.
+
+_Slate._--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.
+
+_Pale Drab._--Dye the ground with 1 oz. Diamine orange G C, 3/4 oz.
+Diamine bronze G and 1/2 oz. Diamine brown M; top with 3/4 oz. New
+methylene blue N, 1 oz. Bismarck brown and 1 oz. Cyanole extra.
+
+_Deep Leaf Green._--Dye a ground colour with 1-1/4 lb. Diamine bronze G,
+1-1/2 lb. Diamine fast yellow A and 1-1/2 lb. Diamine black H W; the
+topping bath is made with 1/2 lb. Brilliant green, 1/2 lb. Chrysoidine
+and 1/4 lb. New methylene blue N.
+
+_Maroon._--Dye with 3 lb. Diamine Bordeaux S, 1/2 lb. Diamine orange D C
+and 1/2 lb. Diamine brown V; top with 1/2 lb. Magenta and 1/4 lb. Formyl
+violet S 4 B.
+
+_Heliotrope._--Dye with 1 lb. Heliotrope 2 B.
+
+_Lilac Rose._--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.
+
+_Pea Green._--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.
+
+_Dark Drab._--Dye with 1/4 lb. Diamine brown M, 1 lb. Diamine fast
+yellow A and 3/4 lb. Diamine bronze G; top with 1/2 lb. Orange G G and
+1/2 lb. Cyanole extra.
+
+_Deep Rose._--Dye the bottom colour with 1/2 lb. Diamine rose B D and
+top with 1/4 lb. Rhodamine B and 1 oz. Safranine.
+
+_Walnut Brown._--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.
+
+=Dyeing of Plain Black.=--Diamine blacks find a very extensive
+application for dyeing blacks on satin, either dyed direct in one bath,
+or dyed, diazotised and developed.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+Proceed as follows: Enter the boiled off and acidulated goods in a
+boiling bath as concentrated as possible, charged 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, 1/2 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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+=Dyeing Shot Effects on Satin.=--Not all direct colours are equally well
+adapted for the production of shot effects; 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.e._, 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.
+
+For shading the silk all acid dye-stuffs can be used which have been
+mentioned in the foregoing tables.
+
+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:--
+
+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.
+
+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.
+
+=Shot Effects with Black Cotton Warp.=--Effects much in favour are
+designs composed of black cotton and light or coloured silk. The most
+suitable black dye for this purpose is Diamine black B H, diazotised and
+developed.
+
+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, 1/2 lb. Diamine orange D C, pat., with an addition of 6-1/2 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.
+
+_Yellow and Violet,_--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.
+
+_Black and Blue._--Dye the cotton with 5 lb. Diamine black B H, 1 lb.
+Diamine sky blue, and 1/4 lb. Diamine orange D C. After dyeing,
+diazotise and develop with phenylene diamine as described above. Then
+dye the silk with 1/2 lb. Pure soluble blue and 1 lb. Cyanole extra.
+
+_Black and Crimson._--Dye the black as in the previous recipe, then dye
+the silk with 2 lb. Brilliant croceine 3 B and 1/2 lb. Rhodamine S.
+
+_Blue and Gold._--Dye the cotton with 2 lb. Diamine sky blue and the
+silk with 1 lb. Fast yellow S.
+
+_Dark Blue and Green._--Dye the cotton with 1-1/2 lb. Diamine black B H,
+1-1/2 lb. Diamine sky blue and 1/2 lb. Diamine azo blue 2 R; the silk
+with 2 lb. Naphthol yellow S and 1 lb. New methylene blue G G.
+
+_Violet and Yellow._--Dye the cotton with 2 oz. Diamine violet N and the
+silk with 1 lb. Fast yellow S.
+
+_Orange and Violet._--Dye the cotton with 2 lb. Diamine orange D C and
+the silk with 1 lb. Formyl violet S 4 B.
+
+_Dark Blue and Olive._--Dye the cotton with 1-1/2 lb. Diamineral blue R
+and 1/2 lb. Diamine azo blue 2 R, and the silk with 1 lb. Naphthol
+yellow B and 1 lb. Orange G G.
+
+_Green and Pink._--Dye the cotton with 1-1/2 lb. Diamine fast yellow A
+and 1/4 lb. Diamine sky blue, and the silk with 1 lb. Erythrosine B.
+
+_Brown and Blue._--Dye the cotton with 3 lb. Mikado brown 2 B, and the
+silk with 1/2 lb. Pure blue.
+
+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:--
+
+_Orange and Blue._--The dye-bath is made with 3 lb. Mikado orange 5 R O
+and 1-1/4 lb. Alkali blue 6 B. After the dyeing the goods are rinsed,
+then passed through a bath of 1-1/2 lb. sulphuric acid in 10 gallons
+water, washed well and dried.
+
+_Olive and Blue._--The dye-bath is made with 1-1/2 lb. Diamine fast
+yellow A, 2-1/2 lb. Diamine orange DC, 1/4 lb. Diamine sky blue, and 1
+lb. Alkali blue 6 B, After dyeing rinse, then acidulate as above and
+wash well.
+
+
+
+
+CHAPTER VII.
+
+OPERATIONS FOLLOWING DYEING.
+
+WASHING, SOAPING, DRYING.
+
+
+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.
+
+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.
+
+=Squeezing or Wringing.=--It is advisable when the goods are taken out
+of the dye-bath to squeeze or wring them according to circumstances, in
+order to 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 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.
+
+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.
+
+[Illustration: FIG. 31.--Squeezing Rollers.]
+
+_Yarns in Hanks._--In the hank-dyeing process the hanks are wrung by
+placing one end of the hank on a wringing 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.
+
+_Hank-wringing Machines._--Several forms of hank-wringing machines have
+been devised. One machine consists of a pair of discs fitted on an axle;
+these discs carry strong hooks on which the hanks are placed. The
+operator places a hank on a pair of the hooks. The discs revolve and
+carry round the hank, during the revolution the hank is twisted and the
+surplus liquor wrung out, when the revolution of the discs carries the
+hank to the spot where it entered the machine the hooks fly back to
+their original position, the hank unwinds, it is then removed and a new
+hank put in its place, and so the machine works on, hanks being put on
+and off as required. The capacity of such a machine is great, and the
+efficiency of its working good.
+
+Mr. S. Spencer of Whitefield makes a hank-wringing machine which
+consists of a pair of hooks placed over a vat. One of the hooks is
+fixed, the other is made to rotate. A hank hung between the hooks is
+naturally twisted, and all the surplus liquor wrung out. The liquor
+falling into the vat.
+
+_Roller Squeezing Machines for Yarn._--Hanks may be passed through a
+pair of indiarubber squeezing rollers, which may be so arranged that
+they can be fixed as required on the dye-bath. Such a pair of rollers is
+a familiar article, and quite common and in general use in dye houses.
+
+_Piece Goods._--These are generally passed open through a pair of
+squeezing rollers which are often attached to the dye-vat in which the
+pieces are dyed.
+
+_Read Holliday's Squeezing Machine._--In Fig. 31 is shown a squeezing
+machine very largely employed for squeezing 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.
+
+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.
+
+=Washing.=--One of the most important operations following that of
+dyeing is the washing with water to free the goods, whether cotton or
+woollen, from all traces of loose dye, acids, mordanting materials,
+etc., which it is not desirable should be left in, as they might
+interfere with the subsequent finishing operations. For this purpose a
+plentiful supply of good clean water is required; this should be as soft
+as possible, free from any suspended matter which might settle upon the
+dyed goods, and stain or speck them.
+
+Washing may be done by hand, as it frequently was in olden days, by
+simply immersing the dyed fabrics in a tub of water, shaking, then
+wringing out, again placing in fresh water to finish off. Or if the
+dye-works were on the banks of a running stream of clean water the dyed
+goods were simply hung in the stream to be washed in a very effectual
+manner.
+
+In these days it is best to resort to washing machines adapted to deal
+with the various kinds of fibrous materials and fabrics in which they
+can be subjected to a current of water.
+
+[Illustration: FIG. 32.--Yarn-washing Machine.]
+
+_Loose Wool and Cotton._--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.
+
+_Yarns._--Yarn in the cop form is best washed in the machine in which it
+is dyed.
+
+_Yarns in Hanks._--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.
+
+[Illustration: FIG. 33.--Dye-house Washing Machine.]
+
+_Piece Goods._--Piece goods are mostly washed in machines, of which two
+broad types may be recognised; first, those where the pieces are dealt
+with in the form of ropes 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.
+
+[Illustration: FIG. 34.--Cloth-washing Machine.]
+
+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.
+
+Fig. 34 shows a washing machine very largely used in the wool-dyeing
+trade. The principal portion of this machine is of wood.
+
+The internal parts consist of a large wooden bowl, or oftener, as in the
+machine under notice, of a pair of wooden bowls which are pressed
+together by springs with some small degree of force. Between these bowls
+the cloth is placed, more or less loosely twisted up in a rope form, and
+the machines are made to take four, six or eight pieces, or lengths 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.
+
+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 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.
+
+[Illustration: FIG. 35.--Cloth-washing Machine.]
+
+=Soaping.=--- Sometimes yarns or cloths have to be passed through a soap
+bath after being dyed in order to brighten up the colours or develop
+them in some way. In the case of yarns this can be done on the reel
+washing 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 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.
+
+[Illustration: FIG. 36.--Washing and Soaping Vats.]
+
+=Steaming.=--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 hermetically. 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 the
+ageing and oxidising machine shown in Fig. 38, and also used in the
+dyeing of aniline black.
+
+[Illustration: FIG. 37.--Steaming Cottage.]
+
+[Illustration: FIG. 38.--Steaming and Ageing Chamber.]
+
+=Drying.=--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 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.
+
+[Illustration: FIG. 39.--Hydro-extractor.]
+
+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, 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.
+
+[Illustration: FIG. 40.--Hydro-extractor.]
+
+The relative efficiency of the three systems of extracting the moisture
+out of textile fabrics has been investigated by Grothe, who gives in his
+_Appretur der Gewebe_, published in 1882, the following table showing
+the percentage amount of water removed in fifteen minutes:--
+
+Yarns.          Wool.         Silk.        Cotton.      Linen.
+
+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
+
+Pieces.
+
+Wringing           33.4          44.5          44.5         54.6
+Squeezing          64.0          69.7          72.2         83.0
+Hydro-extracting   77.8          75.5          82.3         86.0
+
+In the practical working of hydro-extractors it is of the utmost
+importance that the goods be carefully and regularly laid in the
+basket--not too much in one part and too little in another. Any
+unevenness in this respect at the speed at which they are driven lays
+such a strain on the bearings as to seriously endanger the safety of the
+machine.
+
+After being wrung, squeezed or hydro-extracted the goods are ready to be
+dried. In the case of yarns, this may be done in rooms heated by steam
+pipes placed on the floor, the hanks being hung on rods suspended from
+racks arranged for the purpose.
+
+[Illustration: FIG. 41.--Automatic Yarn-dryer.]
+
+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 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.
+
+[Illustration: FIG. 42.--Truck Yarn-dryer.]
+
+The drying is accomplished by circulating heated air through the yarns,
+this heating being effected by steam coils, fresh air continually enters
+the chambers, while water-saturated air is as continually being taken
+out at the top of the chamber. One of the great secrets in all drying
+operations is to have a constant current of fresh hot air playing on the
+goods to be dried; this absorbs the moisture they contain, and the
+water-charged air thus produced must be taken away as quickly as
+possible.
+
+[Illustration: FIG 43.--Drying Cylinders.]
+
+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 which can be run in and out of the chamber for filling and
+emptying.
+
+_Piece Goods._--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.
+
+
+
+
+CHAPTER VIII
+
+TESTING OF THE COLOUR OF DYED FABRICS.
+
+
+It is frequently desirable that dyers should be able to ascertain with
+some degree of accuracy what dyes have been used to dye any particular
+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.
+
+The only available method is to try the effect of various acid and
+alkaline reagents on the sample, noting whether any change of colour
+occurs, and judging accordingly. It would be a good thing for dyers to
+accustom themselves to test the dyeings they do, and so accumulate a
+fund of practical experience which will stand them in good stead
+whenever they have occasion to examine a dyed pattern of unknown origin.
+
+The limits of this book 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 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.
+
+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.
+
+To make a complete series of tests of dyed fabrics there should be
+provided the following reagents:--
+
+1. Strong sulphuric acid, as bought.
+2. Dilute sulphuric acid, being the strong acid diluted with twenty
+   times its volume of water.
+3. Concentrated hydrochloric acid.
+4. Dilute hydrochloric acid, 1 acid to 20 water.
+5. Concentrated nitric acid.
+6. Dilute nitric acid, 1 acid to 20 water.
+7. Acetic acid.
+8. Caustic soda solution, 5 grams in 100 c.c. water.
+9. Ammonia (strong).
+10. Dilute ammonia, 1 strong ammonia to 10 water.
+11. Carbonate of soda solution, 6 grams in 100 c.c. water.
+12. Bleaching powder solution, 2° Tw.
+13. Bisulphite of soda, 72° Tw.
+14. Stannous chloride, 10 grams crystals in 100 c.c. water, with a
+    little hydrochloric acid.
+15. Methylated spirit.
+
+Small swatches of the dyed goods are put in clean porcelain basins, and
+some of these solutions poured over them. Any change of colour 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.
+
+To give tables showing the effects of these reagents on the numerous
+dyes now known would take up too much room and not serve a very useful
+purpose, as such tables, if too much relied on, leave the operator
+somewhat uncertain as to what he has before him. The reader will find in
+Hurst's _Dictionary of Coal-tar Colours_ some useful notes as to the
+action of acids and alkalies on the various colours that may be of
+service to him.
+
+Alizarine and the series of dye-stuffs to which it has given its name,
+fustic, cochineal, logwood and other dyes of a similar class require the
+fabric to be mordanted, and the presence of such mordant is occasionally
+an indirect proof of the presence of these dyes.
+
+To detect these mordants, a piece of the swatch should be burnt in a
+porcelain or platinum crucible over a Bunsen burner, care being taken
+that all carbonaceous matter be burnt off. A white ash will indicate the
+presence of alumina mordants, red ash that of iron mordants, and a
+greenish ash chrome mordants.
+
+To confirm these the following chemical tests may be applied: Boil the
+ash left in the crucible with a little strong hydrochloric acid and
+dilute with water. Pass a current of sulphuretted hydrogen gas through
+the solution; if there be any tin present a brown precipitate of tin
+sulphide will be obtained. This can be filtered off. The filtrate is
+boiled for a short time with nitric acid, and ammonia is added to the
+solution when alumina is thrown down as a white gelatinous precipitate;
+iron is thrown down as a brown red bulky precipitate; while chrome is
+thrown down as a greyish-looking gelatinous precipitate. The precipitate
+obtained with the ammonia is filtered off, and a drop of ammonium
+sulphide added, when any zinc present will be thrown down as white
+precipitate of zinc sulphide: to the filtrate from this ammonium oxalate
+may be added, when if lime is present a white precipitate of calcium
+oxalate is obtained.
+
+A test for iron is to dissolve some of the ash in a little hydrochloric
+acid, and add a few drops of potassium ferrocyanide solution, when if
+any iron be present a blue precipitate will be obtained.
+
+To make more certain of the presence of chrome, heat a little of the ash
+of the cloth with caustic soda and chlorate of soda in a porcelain
+crucible until well fused, then dissolve in water, acidify with acetic
+acid and add lead acetate; a yellow precipitate indicates the presence
+of chrome.
+
+A book on qualitative chemical analysis should be referred to for
+further details and tests for metallic mordants.
+
+The fastness of colours to light, air, rubbing, washing, soaping, acids
+and alkalies is a feature of some considerable importance. There are
+indeed few colours that will resist all these influences, and such are
+fully entitled to be called fast. The 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:--
+
+=Fastness to Light and Air.=--This is simply tested by hanging a piece
+of the dyed cloth in the air, keeping a piece in a drawer to refer to,
+so that the influence on the original colour can be noted from time to
+time. If the piece is left out in the open one gets not only the effect
+of light but also that of climate on the colour, and there is no doubt
+wind, rain, hail and snow have some influence on the fading of the
+colour.
+
+If the piece is exposed under glass, the climatic influences do not come
+into play, and one gets the effect of light alone.
+
+In making tests of fastness, the dyer will and does pay due regard to
+the character of the influences that the material will be subjected to
+in actual use, and these vary very considerably; thus the colour of
+underclothing need not be fast to light, for it is rarely subjected to
+that agent of destruction. On the other hand it must be fast to washing,
+for that is an operation to which underclothing is subjected week by
+week.
+
+Window curtains are much exposed to light and air, and, therefore,
+colours in which they are dyed should be fast to light and air. On the
+other hand these curtains are rarely washed, and so the colour need not
+be quite fast to washing. And so with other kinds of fabrics, there are
+scarcely two kinds which are subjected to the same influences, and
+require the colours to have the same degree of fastness.
+
+The fastness to rubbing is generally tested by rubbing the dyed cloth on
+a piece of white paper.
+
+=Fastness to Washing.=--This is generally tested by boiling a swatch of
+the cloth in a solution of soap containing 4 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.
+
+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.
+
+Fastness to acids and fastness to alkalies is observed while carrying
+out the various acid and alkali tests given above.
+
+
+
+
+CHAPTER IX.
+
+EXPERIMENTAL DYEING AND COMPARATIVE DYE TESTING.
+
+
+Every dyer ought to be able to make experiments in the mordanting and
+dyeing of textile fibres for the purpose of ascertaining the best
+methods of applying mordants or dye-stuffs, the best methods of
+obtaining any desired shade, and for the purpose of making comparative
+tests of dyes or mordanting materials with the object of determining
+their strength and value. This is not by any means difficult, nor does
+it involve the use of any expensive apparatus, so that a dyer need not
+hesitate to set up a small dyeing laboratory for fear of the expense
+which it might entail.
+
+In order to carry out the work indicated above there will be required
+several pieces of apparatus. First, a small chemical balance, one that
+will carry 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.
+
+In using the balance always put the substance to be weighed on the
+left-hand pan, and the weights on the right-hand pan. Never put
+chemicals of any kind direct on the pan, but weigh them in a watch
+glass, small porcelain basin, or glass beaker, which has first been
+weighed, according to the nature of the material which is being
+weighed. The sets of weights are always fitted into a block or box, and
+every time they are used they should be put back into their proper
+place.
+
+The experimenter will find it convenient to provide himself with a few
+small porcelain basins, glass beakers, cubic centimetre measures, two or
+three 200 c.c. flasks with a mark on the neck, a few pipettes of various
+sizes, 10 c.c., 20 c.c., 25 c.c.
+
+The most important feature is the dyeing apparatus. Where only a single
+dye test is to be made, a small copper or enamelled iron saucepan, such
+as can be bought at any 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.
+
+[Illustration: FIG. 44.--Experimental Dye-bath.]
+
+It is, however, advisable to have means whereby several dyeing
+experiments can be made at one time and under precisely the same
+conditions, and this cannot be done by using the simple means noted
+above.
+
+To be able to make perfectly comparative dyeing experiments it is best
+to use porcelain dye-pots--these may be bought from most dealers in
+chemical apparatus--and to heat them in a water-bath arrangement.
+
+The simplest arrangement is sketched in Fig. 44; it consists of a copper
+bath measuring 15 inches long by 10-1/2 inches broad and 6-1/2 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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+For the dye-stuff:--
+
+5 (weight of swatch) multiplied by 2 (per cent. of dye) and divided by
+100 equals--
+
+                        5 x 2
+                       ------- = 0.1 gram dye
+                         100
+
+For the soda we have similarly:--
+
+                   5 x 3
+                  ------- = 0.15 gram soda.
+                    100
+
+For the Glauber's salt:--
+
+                 5 x 15
+                -------- = 0.75 gram Glauber's salt.
+                  100
+
+These quantities may be weighed out and added to the dye-bath, or if
+solutions are kept, a calculation can be made as to the number of cubic
+centimetres which contain the above quantities, and these measured out
+and added to the dye-bath.
+
+When all is ready, the bath is heated up, the swatch entered, and the
+work of the test entered upon.
+
+Students are recommended to make experiments on such points as:--
+
+The shades obtained by using various proportions of dye-stuffs.
+
+The influence of various assistants--common salt, soda, Glauber's salt,
+borax, phosphate of soda--in the bath.
+
+The influence of varying proportions of mordants on the shade of dyeing.
+
+The value of various assistants, tartar, oxalic acid, lactic acid,
+sulphuric acid, on the fixation of mordants.
+
+The relative value of different tannin matters, etc.
+
+Each dyer should make himself a pattern-book into which he should enter
+his tests, with full particulars as to how they have been produced at
+the side.
+
+It is important that a dyer should be able to make comparative dye
+tests to ascertain the relative strength of any two, or more samples of
+dyes which may be sent to him. This is not difficult, but requires
+considerable care in carrying out the various operations involved.
+
+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.
+
+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.
+
+It is easier to ascertain if two dyes are different in strength of
+colour than to ascertain the relative difference between them. There are
+two plans available for this purpose--one is a dyeing test, the other is
+a colorimetric test made with the solutions of the dyes.
+
+=Dyeing Test.=--This method of ascertaining the relative value of two
+dyes as regards strength of colour is carried out as follows: A
+preliminary test will show which 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-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.
+
+=Colorimetric Test.=--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
+
+30    :    25    : :    100    :    83.3,
+
+that is, the weaker sample has only 83.3 per cent, of the strength of
+the stronger sample.
+
+
+
+
+INDEX.
+
+COMPILED BY MISS GRACE GREENWOOD, B.A. (LOND.)
+
+
+A.
+
+Acetate liquor, 190, 193.
+-- of alumina, 170.
+-- of chrome, 180.
+-- of lead, 159.
+
+Acetic acid, 174, 180, 184, 227, 231.
+
+Acid dyes;, 83, 159.
+-- dye-stuffs, topping with, 228.
+-- green, 84, 221, 229, 234.
+-- magenta, 84. 220.
+-- violet, 229.
+-- --6 B, 211, 218.
+-- yellow, 220.
+
+Acids, action of, on cellulose, 9.
+Acridine orange NO, 231, 232.
+
+Affinity of dye-stuff for fibre, 109.
+
+Albumens, 4.
+
+Algarobilla, 147, 148.
+
+Alizarine, 18, 150, 157, 169, 180, 259.
+-- blue, 173, 174.
+-- --paste, 174.
+-- dyed goods, test of, 258.
+-- dyes, 84.
+-- oil, 170.
+-- orange, 173. 174.
+-- pink, 172.
+-- purple, 172.
+-- red, 171, 248.
+-- violet, 172.
+-- yellow N, 180.
+
+Alkali blue B, 233.
+-- --3 B, 233.
+-- --6 B, 217, 232, 233, 238.
+-- yellow R, 209.
+
+Alkalies, action of, on cotton, 6.
+
+Alkaline blue, 211, 214, 215, 216.
+-- copper solution, 196.
+
+Alpha-naphthol, 130, 132, 133, 186, 187, 188.
+
+Alpha-naphthylamine, 182, 185, 187, 188.
+-- claret, 197.
+
+Alum, 159, 164, 165. 166, 167.
+
+Alumina, 157.
+-- acetate, 179.
+-- mordants, 259.
+
+Amidazol blacks, 79, 121, 179.
+-- black G, 124, 126.
+-- brown, 121.
+-- cachou, 127.
+-- cutch, 126.
+-- drab, 127.
+-- green B, 127.
+-- -- Y, 127.
+-- olive, 121.
+
+Amidoazobenzene, 185, 187, 188.
+
+Amido-azo bodies, 183.
+-- compounds, 182.
+
+Amidoazotoluol, 198.
+-- garnet, 198.
+
+Amido bases, diazotisation of, 182.
+-- groups, 130.
+
+Amido-diphenylamine, 183.
+
+Amido-phenylamine, 133.
+
+Amines, 181.
+
+Ammonia, 174, 180.
+-- soda, 173.
+
+Ammoniacal copper, 21.
+
+Ammonium chloride, 180, 207.
+
+Amyloid, 12.
+
+Aniline, 13, 182, 184, 185, 186, 188.
+-- black, 79, 205, 234.
+-- grey B, 229, 231, 333.
+-- hydrochloride, 181.
+-- oil, 206, 207.
+-- salt, 207.
+
+Anisidine, 183.
+
+Anthracene brown, 174.
+
+Anthrapurpurine, 171.
+
+Antimony fluoride, 147.
+
+---- oxalate, 147.
+
+_Appretur der Gewebe_, 252.
+
+Archil substitute N, 229.
+
+Artificial silk, 15.
+
+Atlas red R, 102.
+
+Auramine, 18, 147, 153.
+
+---- G. 154.
+
+---- I I, 151, 152, 153, 230, 231, 232.
+
+Auroline, 209.
+
+Automatic yarn-dryer, 253.
+
+Azine green, T O, 231.
+
+Azo-acid dyes, 210.
+
+---- yellow, 211.
+
+Azo blue, 85, 211.
+
+---- ---- 2 R, 228.
+
+---- compounds, 182.
+
+---- dyes, 18, 129, 159, 181.
+
+---- mauve. 100, 210.
+
+---- ---- A M, 99, 106.
+
+---- orseille B B, 229.
+
+---- red A, 211, 214, 215, 216, 217, 223, 229.
+
+---- rubine A, 229.
+
+---- scarlet, 84.
+
+---- violet, 100.
+
+Azophor orange M N, 195.
+
+---- red P N, 139, 141, 193,195.
+
+
+B.
+
+Barlow kiers, 30, 32.
+
+Barwood, 18, 156, 178.
+
+Basic dyes, 83.
+
+---- ---- topping with, 145.
+
+---- dye-stuffs, topping with, 228.
+
+Bast fibre, 2.
+
+Bayer developer, 133.
+
+Beaumont's cop-dyeing machine, 67.
+
+Beige, 167.
+
+Benzo azurine, 101, 107, 112.
+
+---- ---- G, 93, 101, 146, 201.
+
+---- ---- 3 G, 211.
+
+---- ---- R, 210.
+
+---- black blue, 164.
+
+---- blue, 227.
+
+---- ---- 3 B, 94.
+
+---- ---- black G, 210.
+
+---- ---- R W, 115.
+
+---- brown, 92.
+
+---- ---- G, 100, 103.
+
+---- ---- N B, 100, 103.
+
+---- ---- N B X, 101.
+
+---- chrome black blue B, 96, 118.
+
+---- ---- brown G, 118.
+
+---- ---- ---- 5 G, 113.
+
+---- ---- ---- R, 118.
+
+---- ---- ---- 2 R, 117.
+
+---- dyes, 18, 85, 208, 225.
+
+---- fast grey, 102.
+
+---- ---- scarlet 4 B S, 107.
+
+---- green, B B, 93.
+
+---- ---- G, 92, 145.
+
+Benzo-nitrol black B, 142.
+
+---- brown G, 144.
+
+---- dark brown N, 144.
+
+---- developer, 141.
+
+---- dyes, 139.
+
+Benzo olive, 92.
+
+---- orange R, 87, 92.
+
+---- purpurine, 85, 101, 107.
+
+---- ---- B, 100, 210.
+
+---- ---- 4 B, 87, 89, 210, 217.
+
+---- ---- 6 B, 146.
+
+---- ---- 10 B, 210, 217.
+
+Beta-naphthol, 130, 131, 132, 184, 186, 187, 188, 189, 191, 196, 235.
+
+Beta-naphthylamine, 182, 185, 187, 188.
+
+---- red, 196.
+
+Bichromate of potash, 164, 165, 166, 167, 177, 179, 181.
+
+---- of soda, 206.
+
+Biebrich orange, 128.
+
+---- scarlet, 128.
+
+Birch's sewing machine, 25.
+
+---- washing machine, 36.
+
+Bismarck brown, 146, 147, 153, 165, 166, 167, 229, 230, 232.
+
+---- ---- F F, 231.
+
+Bisulphate of soda, 221, 222, 223.
+
+Black, 104, 120, 121, 122, 123, 124, 137, 138, 139, 142, 144,
+       166, 214, 215, 217.
+
+---- and blue shot, 222, 223.
+
+---- and crimson shot dyes, 237.
+
+---- and green blue shot, 222.
+
+---- and pink shot, 223.
+
+---- and yellow shot, 223.
+
+---- blue, 116.
+
+---- brown, 102, 103, 118, 136, 138.
+
+---- dyeing of, 234.
+
+---- iron liquor, 165.
+
+Bleaching of cotton, 24.
+-- of fine fabrics, 42.
+-- of yarn, 43.
+
+Blue, 96, 97, 98, 115, 125, 126, 130, 136, 145, 146, 155.
+-- and gold shot dyes, 237.
+-- and gold yellow shot, 222.
+-- and orange shot, 224.
+-- black, 136, 137, 138, 139, 154, 216, 219.
+-- developer A, 130.
+-- -- AN, 134.
+-- green, 114.
+-- grey, 105.
+
+Bluestone, 164, 165, 166, 178.
+
+Bluish claret red, 187.
+-- rose, 153.
+
+Borax, 86, 180, 221.
+
+Brazil wood, 84, 156, 178, 179.
+
+Bridson's washing machine, 36.
+
+Bright blue, 95, 97, 98, 145, 151, 215, 217, 230.
+-- crimson, 232.
+-- grass green, 93.
+-- green, 146, 151.
+-- grey, 106.
+-- navy, 115, 116.
+-- olive yellow, 232.
+-- orange, 92.
+-- pea green, 94.
+-- pink, 90.
+-- red, 87, 145.
+-- --lilac, 99.
+-- rose, 230.
+-- scarlet, 89, 130, 186.
+-- sea green, 151.
+-- straw, 90.
+-- violet, 231.
+-- walnut, 143.
+-- yellow, 90, 143, 154, 213, 214, 215, 229.
+
+Brilliant azurine B, 146.
+-- --5 G, 97, 211.
+-- cochineal 4 R, 222.
+-- Congo R, 210.
+-- croceine, 229.
+-- -- 3 B, 237.
+-- green, 145, 146, 147, 151, 154, 229, 231, 232, 233.
+-- milling green B, 211.
+-- orange, 92.
+-- -- G, 103, 218, 232.
+-- orseille C, 229.
+-- purpurine, 87.
+-- -- R, 210.
+-- red, 88.
+-- rhoduline red B, 151.
+-- scarlet, 211, 229.
+-- -- G, 211
+-- violet, 231.
+-- yellow, 230.
+
+Bronze green, 114, 217.
+-- grey, 106.
+
+Brown, 101, 103, 117, 120, 127, 128, 130, 144, 164, 174, 180, 218, 232.
+-- and blue shot dyes, 222, 238.
+-- and violet shot, 223.
+-- drab, 100.
+
+Brownish orange, 186.
+
+Buff brown, 102, 118, 126, 135.
+-- yellow, 91.
+
+
+C.
+
+Cachou de laval, 100, 121.
+
+Camwood, 156, 178.
+
+Capri blue, 230.
+-- green, 229.
+-- -- 2 G, 231.
+
+Carbonate of soda, 168, 209,
+-- of soda lye, 168.
+
+Carbonising of woollen goods, 12.
+
+Catechu, 187.
+-- brown, 112.
+-- -- F K, 117.
+-- -- G K, 117.
+
+Caustic soda, 180.
+-- -- liquor, 189.
+-- -- lye, 196.
+
+Cellulose, 5, 6.
+-- di-nitrate, 14, 15.
+-- hexa-nitrate, 14.
+-- penta-nitrate, 14.
+-- tetra-nitrate, 14.
+
+Ceruleine, 180.
+
+Chalk, 180, 181.
+
+Chardonnet's process for making silk, 15.
+
+Chemical reagents, action of, 257.
+
+Chemicing of cotton, 36.
+
+Chemistry of cotton fibre, 1.
+
+Chestnut, 100, 104, 118, 142, 219.
+
+Chicago blue, 112, 227.
+-- -- B, 115, 210.
+-- -- 4 B, 116, 210.
+-- -- 6 B, 95, 97, 114, 116, 146, 210, 217, 232, 233.
+-- -- R, 210.
+
+Chicago blue G, 210.
+
+---- ---- 4 R, 99, 100.
+
+---- ---- R W, 114, 115, 119.
+
+---- dyes, 85.
+
+Chloramine yellow, 209.
+
+Chloride of copper, 180.
+
+---- of lime, 37.
+
+---- of soda, 207.
+
+Chlorophenine orange R, 91.
+
+Chocolate brown, 102, 143, 155, 172.
+
+Chromanil black R F, 120.
+
+---- ---- 4 R F, 119.
+
+---- brown 2 G, 119.
+
+Chrome, 157.
+
+Chrome-logwood black, 177.
+
+Chrome mordants, 259.
+
+Chromic acid, 17.
+
+Chromine G, 209.
+
+Chromium chloride, 173.
+
+---- fluoride, 112.
+
+---- mordant, 173.
+
+Chrysamine, 85, 92, 101, 210.
+
+---- G, 91, 93, 113, 114, 146.
+
+---- R, 92.
+
+Chrysoidine, 147, 151, 164, 221, 232, 233.
+
+---- R, 232.
+
+Chrysophenine, 90, 100, 210, 217, 233.
+
+---- G, 114, 119, 232.
+
+Ciliary fibres, 1.
+
+Claret, 89, 146.
+
+---- red, 174.
+
+Clayton yellow, 210.
+
+Cloth-dyeing machine, 76.
+
+Cloth scarlet, 160.
+
+-----washing machine, illustration of, 245, 246, 247.
+
+Cochineal, 156, 259.
+
+Coffee brown, 165.
+
+Collodion, 15.
+
+Colorimetric test for relative value of dyes, 268.
+
+Colouring matter, 3.
+
+---- principle of dye-stuff, 156.
+
+Colour lake, 18.
+
+---- lakes, 156.
+
+Columbia black B, 210, 232.
+
+---- ---- F B, 103, 104, 210, 218.
+
+---- ---- F B B, 105.
+
+---- ---- R, 232, 233.
+
+---- blue G, 224.
+
+---- green, 101, 146.
+
+Columbia orange R, 91, 103, 104.
+
+---- red S, 211.
+
+---- yellow, 91, 115, 209.
+
+Comparative dye testing, 262.
+
+Condensed water, 227.
+
+Congo blue 2 B, 95.
+
+---- brown, 210.
+
+---- ---- G, 210, 217, 218.
+
+---- Corinth, 232.
+
+---- ---- B, 99, 209, 211.
+
+---- ---- G. 89, 211, 217, 224.
+
+---- dyes, 18, 85, 208, 225.
+
+---- orange G, 210.
+
+---- ---- R, 92, 210.
+
+---- R, 210.
+
+---- red, 85, 107, 128.
+
+---- rubine, 89.
+
+Continuous dyeing machine, 79.
+
+Cop dyeing, 64.
+
+Cop-dyeing machine, Beaumont's, 67.
+
+---- ---- Graemiger, 65, 66.
+
+---- ---- Mommer's, 69.
+
+---- ---- Young & Crippin, 68.
+
+Copper acetate, 177.
+
+---- logwood black, 177.
+
+---- nitrate, 177.
+
+---- soda solution, 180.
+
+---- sulphate, 112, 164, 166, 177, 181.
+
+Copperas, 147, 164, 165, 166, 167, 172, 175, 178, 181, 200.
+
+Cornflower blue, 218, 233.
+
+Corron's hank-dyeing machine, 63.
+
+Cotton bleaching, 23.
+
+---- brown A, 231.
+
+---- ---- 91, 100, 101, 103, 106, 132, 137, 138, 144, 228.
+
+---- dyeing, 18.
+
+---- fibre, 2.
+
+---- ---- illustration of, 5.
+
+---- ---- impurities of, 3.
+
+---- ---- structure of, 4.
+
+---- ---- structure and chemistry of, 1.
+
+---- fibres, composition of, 5.
+
+---- ---- production of colour direct on, 181.
+
+---- scouring, 23.
+
+Cotton-silk fabrics, dyeing of, 225.
+
+Cotton wax, 3.
+
+---- yellow, 100, 210.
+
+Coupling process, 139.
+
+Cream, 91.
+
+Cresyl blue, 229.
+-- fast violet 2 RN, 232.
+-- violet, 229.
+
+Crimson, 130, 135, 151, 155, 217, 219, 230.
+-- red, 88, 130.
+
+Croceine AZ, 223.
+-- orange, 128, 211.
+-- scarlet, 128, 160.
+
+Cross-dye black, 79, 107, 121.
+-- -- B, 123.
+-- -- 2B, 120.
+-- drab, 93, 121, 126.
+
+Cross dyeing, 220.
+
+Curcumeine, extra, 211, 218, 224.
+
+Curcumine, 209, 217.
+-- S, 103, 104, 223.
+
+Curcuphenine, 90.
+
+Cutch, 147, 156, 164, 165, 166, 167, 178, 181, 186.
+
+Cuticle fibres, 1.
+
+Cyanole extra, 221, 222, 223, 229, 231, 232, 233, 237.
+
+
+D.
+
+Damages in bleached goods, 50.
+
+Dark blue, 95, 96, 97, 98, 115, 116, 136, 139, 142, 153, 154, 155,
+           215, 216, 217, 218, 219.
+-- -- and green shot dyes, 237.
+-- -- and olive shot dyes, 238.
+-- bronze, 115.
+-- brown, 180, 214, 216, 217, 218, 219, 230, 231.
+-- -- and blue shot, 222.
+-- -- olive, 165, 166.
+-- chestnut, 104.
+-- -- brown, 101, 103, 117, 119.
+-- cream, 231.
+-- crimson, 136, 231.
+-- drab, 102, 126, 233.
+-- green, 93, 94, 113, 115, 127, 142, 144, 146, 151, 153,
+          214, 217, 219, 230.
+-- grey, 119, 120, 154, 215, 218, 232.
+-- lilac, 146.
+-- maroon, 89, 135.
+-- navy, 95, 97, 98, 115, 126, 137.
+-- olive, 92, 127, 164.
+-- -- brown, 118.
+-- orange, 91.
+-- plum, 87, 99, 116, 138, 166.
+-- red, 88, 113.
+-- Russian green, 232.
+-- sage, 127, 216.
+-- scarlet, 153, 155.
+-- sea green, 94, 214, 232.
+-- slate, 106, 214.
+-- stone, 214.
+-- turquoise blue, 116.
+-- violet, 156.
+-- walnut, 216.
+-- -- brown, 103.
+-- yellow, 90.
+
+"Dead" cotton fibres, 4.
+
+Deep black, 104.
+-- blue, 97, 126.
+-- brown, 104, 118, 231.
+-- chestnut brown, 102, 136.
+-- crimson, 89, 232.
+-- green, 94.
+-- leaf green, 233.
+-- olive brown, 180.
+-- orange, 92, 135, 214, 230.
+-- -- yellow, 230.
+-- pink, 88.
+-- rose, 230, 233.
+
+Delahunty's dyeing machine, 57, 58.
+
+Delta purpurine, 107.
+-- -- 5 B, 210.
+
+Developing, 131.
+--machine for paranitroaniline red, 194.
+
+Diamine azo blue, 2 B, 233.
+-- -- -- R, 145.
+-- -- -- 2 R, 237, 238.
+-- -- -- RR, 136, 137.
+-- black B, 227, 232.
+-- -- B H. 104, 106, 118, 136, 137, 138, 210, 215, 216, 237.
+-- -- B O, 92, 100, 139, 210.
+-- -- H W, 92, 93, 94, 95, 97, 102, 103, 104, 130, 132, 209, 214, 215,
+           228, 230, 231, 233.
+-- -- R O, 87, 92, 93, 95, 100, 101, 104, 106, 138, 139, 146, 210, 228.
+-- blue, 112. 132.
+-- -- 2 B, 210.
+-- -- 3 B, 92, 98, 210, 227.
+-- -- B B, 227.
+-- -- B G, 96, 210, 228.
+-- -- B X, 102, 209, 210, 228.
+-- -- C B, 228.
+-- -- G, 209.
+
+Diamine blue 3 R, 95, 100, 115, 116, 117, 119, 210, 228.
+-- -- R W, 95, 98, 113, 114, 117, 120, 209, 210, 228, 230.
+-- -- black E, 97, 210, 228.
+-- -- -- R, 102.
+-- Bordeaux, 87.
+-- -- B, 89, 210, 215, 216, 228.
+-- -- S, 210, 228, 231, 233.
+-- brilliant blue G, 96, 99, 115, 145, 210, 215, 216, 223, 227.
+-- bronze G, 91, 93, 100, 106, 114, 115, 118, 139, 144, 210, 214,
+             228, 231, 232, 233.
+-- brown, 112, 132.
+-- -- B, 209, 228.
+-- -- G, 104, 119, 209, 210.
+-- -- 3 G, 209, 228, 230.
+-- -- M, 90, 95, 102, 104, 118, 119, 138, 216, 217, 228, 231, 232.
+-- -- N, 209, 217, 231, 233.
+-- -- S, 210.
+-- -- V, 92, 98, 138, 143, 144, 210, 228, 233.
+-- -- Y, 92.
+-- catechine B, 101, 102, 103, 114, 117, 210, 216.
+-- -- G, 89, 94, 101, 102, 103, 113, 117, 209, 210.
+-- colours, 227.
+-- cutch, 130, 132, 136, 137, 138.
+-- dark blue B, 114, 116, 118, 120, 209, 210, 216, 217, 228, 231, 233.
+-- -- green N, 93.
+-- deep black Cr, 96.
+-- -- -- RB, 104.
+-- dyes, 18, 85, 208, 225.
+-- fast red, F, 87, 89, 90, 113, 118, 209, 228, 230.
+-- -- yellow A, 90, 92, 114, 115, 116, 136, 137, 143, 144, 210, 213, 223,
+                227, 232, 233, 235, 237, 238.
+-- -- -- B, 89, 91, 92, 94, 97, 98, 113, 114, 117, 118, 119, 120, 138, 209,
+            214, 215, 216, 223, 228, 231, 232.
+-- gold, 100, 210, 213, 228, 230, 231, 232.
+-- green B, 93, 97, 115, 146, 209, 214, 228, 230, 235.
+-- -- G, 94, 209, 210, 228.
+-- grey G, 106, 143, 228, 232.
+-- jet black, 139.
+-- -- -- Cr, 105, 118, 120, 121.
+-- -- -- O O, 144.
+-- -- -- R B, 105, 120.
+-- new blue R, 98, 116, 120, 210.
+-- nitrazol black B, 143, 144.
+-- -- brown B, 143, 210.
+-- -- -- G, 143, 210.
+-- -- dye, 139.
+-- orange, 132.
+-- -- B, 89, 92, 114, 117, 118, 119, 120, 209, 215, 216, 217, 228, 230.
+-- -- D, 210.
+-- -- D C, 223, 227, 231, 233, 237, 238.
+-- -- F, 209.
+-- -- G, 91, 102, 210, 214, 215, 221, 222, 231.
+-- -- G D, 104.
+-- -- G G, 227, 233.
+-- red, 107.
+-- -- B, 210.
+-- -- 4 B, 209.
+-- -- 5 B, 88, 89, 103, 209, 215, 228.
+-- -- 6 B, 209.
+-- -- 10 B, 88, 89, 146, 209, 230.
+-- -- N, 87.
+-- -- N O, 210.
+-- rose, 223.
+-- -- B D, 88, 209, 215, 228, 230, 233.
+-- -- G D, 99.
+-- scarlet, 107.
+-- -- B, 91, 106, 210, 215, 228.
+-- -- 3 B, 88, 210, 228.
+-- -- H S, 230.
+-- -- S, 228.
+-- sky blue, 94, 97, 98, 145, 210, 215, 222, 237, 238.
+-- -- -- F F, 94, 96, 98, 114, 115, 210, 222, 223, 227, 232.
+-- steel blue L, 96, 210, 214, 222, 228.
+-- violet N, 87, 99, 100, 145, 146, 210, 223, 228, 231, 238.
+-- yellow, 92.
+-- yellow N, 90, 92, 93, 100, 113, 228, 230.
+
+Diamineral blue R, 95, 116, 227, 238.
+
+Diaminogene, 234, 235.
+-- B, 138, 228, 234, 235.
+-- blue B B, 136, 138.
+-- extra, 143, 228, 234, 235.
+
+Dianil black C R, 97, 119, 142.
+-- -- N, 118, 120, 121.
+-- blue B, 94, 97, 98, 116, 142.
+-- -- G, 98, 113.
+-- -- 2 K, 94.
+-- -- 4 R, 99, 116.
+-- brown B D, 119, 142.
+-- -- G 0, 142.
+-- -- 3 G O, 103, 118, 119, 142, 143.
+-- -- R, 102, 103, 118, 119, 142.
+-- -- T, 102.
+-- claret B, 89, 99, 145.
+-- -- G, 89.
+-- dark blue R, 94, 95, 97, 116, 142, 143.
+-- -- -- 3 R, 97, 142.
+-- -- brown, 103.
+-- olive, 93.
+-- orange G, 89, 92.
+-- -- 2 R, 92.
+-- red 4 B, 89, 145.
+-- scarlet G, 145.
+-- yellow, 94.
+-- -- G, 91, 98.
+-- -- 3 G, 91, 94, 113.
+-- -- R, 94, 113.
+-- -- 2 R, 91.
+
+Dianisidine blue, 197.
+
+Diazo-benzene chloride, 181.
+
+Diazo black. 132, 139.
+-- blue, 132.
+-- brown, 130, 139.
+-- compounds, 181.
+-- liquor, 190.
+
+Diazotisation, 129.
+-- of amido bases, 182.
+
+Diazotised paranitroaniline, 140.
+
+_Dictionary of Coal-tar Colours_, 259.
+
+Dinitroso-resorcine, 179.
+
+Diphenyl brown B N, 103.
+
+Direct deep black E extra, 104.
+
+Direct dyeing, 85.
+-- dyes, 83.
+-- -- fastness of, 106.
+-- fast brown B, 144.
+-- indigo blue, 98.
+-- orange R, 210.
+-- red, test of, 265.
+-- triamine black G X, 104.
+-- yellow G, 90, 106, 210.
+
+Divi-divi, 147, 148, 239.
+
+Drab, 93, 165, 216, 218, 219, 231.
+
+Drying cylinders, 255.
+-- of dyed goods, 249.
+
+Dull lilac, 99.
+-- violet, 100.
+
+Dye-beck, 77.
+
+Dye-house washing machine, 244, 246.
+
+Dyeing apparatus, 263.
+-- of basic dyes, 149.
+-- machinery, 53, 57.
+-- on metallic mordants, 156.
+-- test for relative value of dyes, 267.
+
+Dye-jigger, 72, 73.
+
+Dyers' bleach, 24.
+
+Dye-tank, illustration of, 54.
+
+Dye-tub, illustration of, 54.
+
+Dye-vat, section of, 56.
+
+
+E.
+
+Eboli blue B, 231.
+-- green T, 230.
+
+Emerald tint, 154.
+
+Eosine, 84, 229.
+
+Eosines, dyeing with, 158, 159.
+
+Erie blue B X, 97.
+-- -- 2 G, 210.
+
+Erika B, 87.
+-- B N, 99, 100, 210, 224.
+
+Erythrosine, 229.
+-- B, 238.
+
+Erythrosines, 160.
+
+Experimental dye-bath, 263.
+-- dyeing, 262.
+
+
+F.
+
+Farmer's washing machine, 36.
+
+Fast acid green, 229.
+-- -- -- B N, 222.
+-- blue developer A D, 133.
+-- brown, 164.
+-- neutral violet B, 154,
+-- yellow S, 223, 237, 238.
+
+Fastness of colours, 260.
+-- of colours to light and air, 260
+-- of colours to rubbing, 261.
+-- of colours to washing, 261.
+-- of direct dyes, 106.
+
+Fatty acids, 3.
+
+Fawn, 165.
+-- brown, 167.
+-- drab, 100, 216.
+
+Fiery yellowish red, 186.
+
+First green liquor, 168.
+
+Fixation, 149.
+-- with couplers, 139.
+-- -- developers, 128.
+-- -- metallic salts, 112.
+
+Flavo-purpurine, 171.
+
+Formyl blue B, 211.
+-- violet, 84, 229, 233.
+-- -- 6 B, 211.
+-- -- 10 B, 211.
+-- -- S 4 B, 211, 214, 215, 216, 222, 231, 237, 238.
+
+Full blue, 43, 97.
+-- yellow orange, 186.
+
+Furnival's Square beater, 30.
+
+Fustic, 156, 157, 166, 178, 259.
+-- extract, 164, 165, 166, 167, 175, 176, 181.
+
+
+G.
+
+Gallipoli oil, 168.
+
+Galls, 147, 148.
+
+Gambier, 147.
+
+Glauber's salt, 83, 108, 111, 209, 214, 215, 221, 222, 223,
+                225, 231, 234, 237.
+
+Glycerine, 180.
+
+Gold and green shot dyes, 221.
+-- brown, 100, 101, 102, 103, 138, 142, 143, 153, 216, 230.
+-- -- and blue shot, 222.
+-- drab, 232.
+-- orange, 214.
+-- yellow, 91, 113, 130, 142, 230.
+
+Good yellow, 213.
+
+Graemiger cop-dyeing machine, 65, 66.
+
+Grass green, 93.
+
+Green, 92, 93, 94, 114, 130, 143, 145, 151, 180, 215.
+-- and buff shot, 223.
+-- and claret shot, 222.
+-- and pink shot dyes, 238.
+-- and orange shot, 224.
+-- and red shot, 223, 224.
+-- blue, 98.
+-- grey, 106, 120.
+-- olive, 92.
+-- yellow, 91.
+
+Greening operation, 168.
+
+Grey, 106, 120, 153, 219.
+-- and orange shot, 223.
+-- blue, 96.
+-- lilac, 99, 153.
+-- slate, 166.
+-- sour operation, 32.
+
+Grothe, 252.
+
+Ground fustic, 166.
+
+Guinea green B, 211, 218, 224.
+-- violet B, 224.
+-- -- 4 B, 211, 218.
+
+Gum tragacanth, 192.
+
+Gun cotton, 13.
+
+
+H.
+
+Half-silk fabrics, dyeing of, 225.
+
+Hand dyeing, 53.
+
+Hank bleaching, 45.
+
+Hank-dyeing machine. Corron's, 63.
+-- -- Klauder-Weldon's, 61, 62.
+
+Hank-wringing machines, 241.
+
+Havanna brown, 166.
+
+Hawking machine, Holliday's, 78.
+
+Hawthorne's washing machine, 36.
+
+Heliotrope, 99, 233.
+-- B B, 90, 146.
+-- 2 B, 99, 233.
+
+Hessian brown 2 M, 98.
+-- -- 2 B N, 100, 231.
+-- grey S, 231.
+-- purple N, 230.
+-- violet, 211.
+
+Hoffman violet, 152.
+
+Holliday, 182.
+
+Holliday's hawking machine, 78.
+-- yarn-dyeing machine, 60.
+
+Hurst's _Silk Dyeing_, 225.
+
+Hydrocellulose, 12.
+
+Hydrochloric acid, 177, 183, 184, 190.
+-- -- action of, 11.
+
+Hydro-extractors, 251, 252.
+
+Hydrosulphite indigo vat, 204.
+
+
+I.
+
+Immedial black, 107, 121.
+-- blacks, 79.
+-- blue, 121.
+-- -- C, 125.
+
+Immedial bronze A, 128.
+-- -- B, 128.
+-- brown, 121.
+
+Impregnation with dye-stuff solution, 198.
+
+Indamine blue N, 154.
+
+Indazine, 229.
+
+Indian yellow G, 211, 213, 214, 216, 217, 222, 229, 231.
+-- -- R, 211, 213, 214, 229, 231, 232.
+
+Indigo, 18, 20, 198.
+-- blue, 152, 154.
+-- -- N, 229, 233.
+-- -- S G N, 229.
+-- carmine, 165.
+-- dyed goods, test of, 258.
+-- dyeing, 199.
+-- dye-vat for cloth, 199.
+-- extract, 84, 167.
+-- white, 200.
+
+Indigotin, 198.
+
+Indophenol, 205.
+
+Induline, 229.
+
+Irisamine G, 152, 153.
+
+Iron, 157.
+-- liquor, 172, 175, 176, 180.
+-- mordants, 259.
+-- stains, 50.
+-- sulphate, 112.
+
+
+J.
+
+Janus black I, 219.
+-- -- II, 219.
+-- blue G, 155.
+-- -- R, 155, 219.
+-- brown B, 156, 219.
+-- -- R, 219, 220.
+-- claret red B, 156, 219.
+-- dark blue B, 219.
+-- dyes, 155, 218.
+-- green B, 155, 219, 220.
+-- grey B, 156.
+-- -- BB, 219, 220.
+-- red B, 155, 219.
+-- yellow G, 219.
+-- -- R, 155, 156, 219, 220.
+
+Jet black, 121.
+
+Jigger, 72.
+
+Jig-wince, 74, 75.
+
+
+K.
+
+Katigen black, 121.
+-- brown, 107, 121.
+-- dark brown, 128.
+-- green, 121.
+-- olive G, 127.
+
+Khaki, 180.
+-- shades, 248.
+
+Kiers, 30.
+
+Klauder-Weldon hank-dyeing machine, 61, 62.
+
+
+L.
+
+Lanacyl blue B B, 211.
+-- violet B, 211, 217.
+
+Leaf green, 94, 113, 114, 231.
+
+Lehner's process for making silk, 15.
+
+Lemon yellow, 91.
+
+Leuco, 198.
+
+Light blue, 115, 138.
+-- brown, 101, 103, 117.
+-- chestnut brown, 137.
+-- green, 114, 143.
+-- grey, 106.
+-- indigo blue, 96.
+-- plum, 99.
+-- sage brown, 118.
+-- seal brown, 102.
+-- slate, 106.
+
+Lilac, 98, 99.
+-- red, 87.
+-- rose, 233.
+
+Lima wood, 178, 179.
+
+Lime, 169, 202.
+-- and copperas vat for indigo dyeing, 200.
+-- boil for cotton, 28.
+-- sour operation, 32.
+
+Logwood, 18, 84, 156, 157, 165, 167, 234, 259.
+-- black, 79, 174.
+-- -- dyeing on yarn in hanks, 175.
+-- decoction, 177.
+-- dyed goods, test of, 258.
+-- extract, 164, 175, 176, 181.
+-- greys, 178.
+
+Loose wool and cotton, washing of, 244.
+
+Lye boil operation. 34.
+
+
+M.
+
+Machinery for dyeing, 53, 57.
+
+Madder, 157.
+-- bleach, 24.
+
+Magenta, 18, 147, 153, 229, 231, 232, 233.
+
+Malachite green, 146, 152, 153, 229, 232.
+
+Mandarine G, 211, 217, 218, 224.
+
+Market bleach, 24, 38, 39.
+
+Maroon, 89, 138, 153, 215, 233.
+
+Mather & Platt's apparatus, 207.
+-- -- bleaching kier, 30, 31.
+-- -- machine, 246.
+-- -- washing machine, 36.
+-- -- yarn-bleaching kier, 49.
+
+Mercerisation of cotton, 8.
+
+Mercerised cotton fibres, illustrations of, 7, 9.
+
+Mercer, John, 8, 21.
+
+Metallic mordants, 156.
+
+Metanitroaniline, 185, 186, 187, 188.
+-- orange, 195.
+
+Metaphenylene blue, 229.
+-- -- B, 154, 233.
+
+Methylene blue, 17.
+-- -- B B, 153.
+-- -- 2 B, 153.
+-- -- N, 232.
+-- grey B F, 153.
+
+Methylindone B, 229, 231.
+-- R, 229.
+
+Methyl violet, 18, 229.
+-- -- B, 146, 151, 231.
+-- -- 2 B, 146.
+-- -- R, 146.
+-- -- 3R, 146.
+-- -- 4R, 152.
+
+Mikado brown, 227.
+-- -- 2 B, 238.
+-- -- 3 G O, 230.
+-- -- M, 103, 230, 232.
+-- dyes, 18.
+-- golden yellow 8 G, 230, 231.
+-- orange, 227.
+-- -- G, 91.
+-- -- 4 R, 91, 102.
+-- -- R O, 232.
+-- -- 3 R O, 231.
+-- -- 4 R O, 218, 224.
+-- -- 5 R O, 230, 238.
+-- yellow, 227.
+-- -- G, 230.
+
+Milk of lime, 28, 175.
+
+Milling orange, 229.
+-- yellow, 229.
+
+Mimosa, 209.
+
+Mixed cotton and wool fabrics, dyeing of, 208.
+
+Mommer's cop-dyeing machine, 69.
+
+Mordant dyes, 84.
+
+Mordants, 156.
+-- detection of, 259.
+
+Moss brown, 143, 232.
+
+Muslin bleaching, 41.
+
+Myrabolam, 147, 148, 239.
+-- extract, 175, 176.
+
+
+N.
+
+Naphthol, 184.
+
+-- -azo-benzene, 181.
+-- black, 128.
+-- -- B, 223.
+-- -- 3 B, 222.
+-- blue black, 211, 214, 215, 216, 217, 222, 234.
+-- -- G, 211, 222.
+-- -- R, 211.
+-- colours, 182.
+-- D, 192.
+-- X, 192.
+-- yellow S, 229, 238, 278.
+
+Naphthylamine, 13, 132, 133, 184.
+-- black, 235.
+-- -- 4 B, 211.
+-- -- 6 B, 211, 217.
+-- -- D, 211.
+-- ether, 130.
+
+Naphtindone B B, 153.
+
+Navy, 97, 98, 154.
+-- blue, 96, 214, 216, 217.
+
+Neutral grey, 132.
+-- -- G, 99, 106.
+-- violet, 229.
+
+New blue D, 229.
+-- methylene blue, 234, 235.
+-- -- -- G G, 238.
+-- -- -- M, 232.
+-- -- -- N, 126, 145, 154, 229, 231, 233.
+-- -- -- N X, 154.
+-- -- -- R, 153, 154, 233.
+-- -- -- 3 R, 145, 153.
+-- -- grey B, 153.
+-- -- -- G, 154.
+-- phosphine G. 153, 154, 229, 232.
+-- Victoria blue B, 146, 151, 152.
+
+Nigraniline, 206.
+
+Nigrosine, 229.
+
+Nitrate of copper, 177.
+-- of iron, 166, 175.
+
+Nitrazol C, 139, 141, 193.
+
+Nitric acid, action of, on cotton, 12.
+
+Nitrite of soda, 183.
+
+Nitro-aniline, 183.
+
+Nitro-benzene, 13.
+
+Nitro-naphthalene, 13.
+
+Nitro-para-toluidine, 185, 187, 188.
+
+Nitrosamine, 193.
+-- red, 195.
+
+Nitroso-resorcine, 18.
+
+Nitrous acid, 184.
+
+Nut brown, 103, 118, 119, 218, 219.
+
+
+O.
+
+Oak bark, 147.
+
+Obermaier machine, 57, 59.
+
+Oil stains, 50.
+
+Old gold, 90, 232.
+
+Olive, 92, 93, 127, 143, 164.
+-- and blue shot dyes, 238.
+-- brown, 143, 154.
+-- green, 114, 142, 144, 153.
+-- oil, 170.
+-- yellow, 91.
+
+Orange, 84, 91, 113, 130, 137, 151, 153, 154, 155, 215, 217.
+-- and blue shot, 224, 238.
+-- and violet shot, 223, 238.
+-- brown, 102.
+-- E N Z, 211, 214, 217, 222.
+-- extra, 211, 223, 232.
+-- G G, 221, 222, 231, 232, 233, 238.
+-- T A, 218.
+-- yellow, 143, 186.
+
+Orthoamidoazotoluol, 186, 187, 188.
+
+Orthonitrotoluidine, 196.
+
+Oxidising agents, action of, on cotton, 16.
+
+Oxycellulose, 16.
+
+Oxydiamine black A, 97, 105, 209.
+-- -- B M, 209, 215, 216, 217.
+-- -- D, 209, 228, 233, 234.
+-- -- M, 209.
+-- -- N, 91, 97.
+-- -- N R, 105.
+-- -- S O O O, 210, 228, 231, 233.
+-- orange G, 104, 209.
+-- -- R, 92, 104, 143, 144, 209.
+-- red S, 209.
+-- violet B, 99, 100, 210, 214, 228, 230, 231, 233.
+-- -- G, 99, 100.
+-- yellow G G, 94, 146, 209.
+
+Oxydianil yellow, 143.
+
+Oxymuriate of tin, 166.
+
+Oxyphenine, 91, 102, 209.
+
+
+P.
+
+Padding machine, 80, 81, 193, 221.
+
+Pale blue, 95, 97.
+-- brown, 102, 119, 122, 128, 164, 180.
+-- chamois, 166.
+-- chestnut, 143.
+-- drab, 233.
+-- fawn brown, 119, 130.
+-- -- red, 89.
+-- gold yellow, 213.
+-- green, 94, 151.
+-- greenish grey, 120.
+-- leaf green, 113.
+-- lilac, 99.
+-- nut brown, 102.
+-- olive brown, 100.
+-- -- green, 113.
+-- orange, 91, 92, 135.
+-- sage, 144.
+-- -- green, 217.
+-- salmon, 87.
+-- sea green, 127, 232.
+-- sky blue, 95.
+-- walnut brown, 104.
+
+Palm oil soap, 169.
+
+Paramine blue B, 96.
+-- -- black S, 96.
+-- brown C, 117.
+-- -- G, 101.
+-- indigo blue, 96.
+-- navy blue R, 96.
+
+Paranitroaniline, 185, 186, 187, 188, 190.
+-- brown, 196.
+-- red, 186, 188, 189.
+-- -- dyed cotton, 196.
+-- -- dye-tub, 191.
+-- -- on piece goods, 192.
+-- -- on yarn, 189.
+-- -- with azophor red P N, 195.
+-- -- with nitrazol C, 195.
+
+Paratoluidine, 186, 187, 188.
+
+Parchment paper, 11.
+
+Paris violet, 152.
+
+Patent blue, 84.
+
+Peach wood, 178.
+
+Peacock green, 214, 216.
+
+Pea green, 114, 233.
+
+Pectic acid, 3.
+
+Permanganate of potash, 17.
+
+Persian berries, 156, 178, 179.
+
+Phenetidine, 183.
+
+Phenol, 130, 132, 133, 181.
+
+Phenylene diamine, 130, 132, 134, 235, 237.
+
+Phosphate of soda, 86, 90, 91, 168, 170, 180, 225.
+
+Piece-dyeing machines, 71.
+
+Piece goods, drying of, 256.
+-- -- washing of, 244.
+-- -- wringing of, 241.
+
+Pink, 87, 88, 89, 152, 215.
+
+Plate singeing, 27.
+
+Plum, 99, 145, 146, 215.
+
+Pluto black B, 108, 144.
+
+Ponceau B, 164.
+-- 3 R B, 211, 217.
+
+Potash, 86.
+
+Primrose, 91, 154.
+
+Primuline, 130, 131, 132, 135, 136, 138, 142, 143, 144, 209.
+
+Production of colour direct on cotton fibres, 181.
+
+Prussiate black, 207.
+
+Pure blue, 238.
+-- soluble blue, 237.
+
+Purple brown, 100.
+
+Purpuramine, D H, 107.
+
+Pyrolignite of iron, 172.
+
+Pyroxyline, 13.
+
+
+Q.
+
+Quercitron, 156, 178, 179.
+-- bark, 178.
+-- extract, 164, 165.
+
+Quicklime, 200.
+
+
+R.
+
+Rayer & Lincoln machine, 26.
+
+Read Holliday's squeezing machine, 241.
+
+Red, 136, 187.
+-- brown, 100, 135.
+-- chocolate, 119.
+-- developer C, 192.
+-- drab, 165.
+-- lilac, 100.
+-- liquor, 165, 166, 169, 170, 176,
+-- orange, 91.
+-- plum, 117, 214.
+-- violet, 99, 116, 152, 155, 156.
+
+Reddish brown, 102.
+-- puce, 187.
+
+Reseda, 93.
+-- green, 167.
+
+Resin boil, 35.
+-- soap liquor, 35.
+
+Resorcine, 130, 132, 133, 235.
+-- green, 156.
+
+Rhodamine, 229, 231.
+-- B, 153, 233.
+-- G, 152.
+-- 6 G, 152.
+-- S, 237.
+
+Rhoduline violet, 151.
+
+Rocceleine, 211.
+
+Roller squeezing machines for yarn, 241.
+
+Rose azurine B, 87.
+-- G, 87, 90.
+-- bengale, 229.
+-- lilac, 145, 151.
+-- pink, 87.
+-- red, 88, 89.
+
+Rosophenine, 5 B, 88.
+
+Russia green, 92, 113, 143, 153.
+
+
+S.
+
+Safranine, 18, 146, 153, 221, 229, 231, 233.
+-- G, 146.
+-- prima, 153.
+-- S, 155.
+
+Sage, 214.
+-- brown, 104, 119, 135, 144, 218.
+-- green, 93, 180, 230.
+
+St. Dennis black, 121.
+
+Saline salts, quantity used, 108.
+
+Salmon, 89.
+
+Salt, 165.
+
+Satin fabrics, dyeing of, 225.
+
+Scarlet, 88, 89, 135, 145, 146, 152, 153, 155, 215, 217, 230.
+-- R, 220.
+
+Schaeffer's acid, 134.
+
+Scouring cotton, 23.
+
+Sea green, 94, 151.
+
+Seal brown, 146.
+
+Seed hairs, 1.
+
+Shot effects, 220.
+-- on satin, dyeing of, 235.
+-- with black cotton warp, 236.
+
+Silver grey, 106.
+
+Singeing of cotton, 27.
+-- wash of cotton, 28.
+
+Sky blue, 95, 98, 151, 215.
+
+Slate, 106, 218, 231, 233.
+-- blue, 97, 120, 152, 216.
+-- green, 218.
+
+Sliver dyeing, 58.
+
+Slubbing dyeing, 58.
+
+Soap, 165.
+-- effect on dye-stuffs, 226.
+
+Soaping of dyed goods, 247.
+
+Soda, 86, 132, 178.
+-- ash, 34, 166.
+-- crystals, 169.
+-- lye, 202, 235.
+-- zinc vat for indigo dyeing, 204.
+
+Sodium acetate, 196.
+-- bichromate, 164.
+-- nitrite solution, 196, 198.
+-- stannate, preparing with, 158.
+
+Solid blue, 229.
+-- green, 229.
+-- O, 179, 180.
+
+Solidogen A, 145.
+
+Soluble blue, 150, 160, 229.
+
+Spencer's hank-wringing machine, 241.
+
+Squeezing rollers, 240.
+
+Stains in bleached goods, 50.
+
+Steam aniline black, 207.
+-- -- blacks, 248.
+
+Steaming and ageing chamber, 250.
+-- cottage, illustration of, 249.
+-- of dyed goods, 248.
+
+Stearic acid, 3.
+
+Stitching of cotton, 25.
+
+Stone, 218.
+
+Structure of cotton fibre, 1.
+
+Sulfaniline black, 121.
+-- -- G, 124.
+-- brown, 121.
+-- -- 4 B, 127.
+
+Sulphate of copper, 177.
+-- of iron, 167.
+
+Sulphonates, 182.
+
+Sulphon azurine B, 210, 217, 218.
+-- D, 93.
+
+Sulphur colours, 121.
+
+Sulphuric acid, 166.
+-- action of, on cotton, 10.
+
+Sulphyl colours, 121.
+
+Sumac, 83, 147, 148, 165, 166, 167, 172, 173, 178, 239.
+-- extract, 169, 175, 219, 220.
+
+Sun yellow, 90.
+
+
+T.
+
+Tannic acid, 18, 20, 83, 147, 172.
+-- mordant, dyeing on, 147.
+
+Tannin, 173, 174, 236.
+-- grounding, 173.
+-- heliotrope, 145, 153, 229.
+-- orange R, 154, 155, 229.
+
+Tanning, 148.
+
+Tartar emetic, 147, 192, 219, 220.
+
+Tartaric acid, 180.
+
+Temperature of dye-baths, 226.
+
+Terra-cotta brown, 143.
+-- red, 90, 143.
+
+Testing of the colour of dyed fabrics, 257.
+
+Thiazole yellow, 93, 94, 209.
+
+Thiocarmine R, 84, 211, 214.
+
+Thioflavine S, 94, 104, 106, 209, 213, 215, 222, 223, 228, 229.
+-- T, 153, 154, 229, 231, 232.
+
+Tin crystals, 147, 169, 179.
+-- oxide, fixing, 158.
+
+Titan blue, 210, 211.
+-- -- 3 B, 93, 102, 164.
+-- -- R, 102.
+-- brown O, 210.
+-- -- P, 164.
+-- -- R, 102, 210.
+-- -- Y, 161, 210.
+-- colours, 227.
+-- como G, 95.
+-- -- S N, 98.
+-- dyes, 18, 85.
+-- gold, 101, 102.
+-- ingrain blue, 135, 136, 142.
+-- marine blue, 211.
+-- navy R, 98.
+-- orange, 88.
+-- -- N, 95.
+-- pink, 210.
+-- red, 107.
+-- scarlet C, 88.
+-- -- D, 88.
+-- -- S, 209.
+-- yellow, 210.
+-- -- G, 145.
+-- -- G G, 90.
+
+Titan yellow Y, 90, 92, 93, 164.
+
+Toluidine, 185, 187, 188.
+-- orange, 196.
+
+Toluylene brown, 139.
+-- diamine, 134.
+-- orange, 139.
+-- --G, 90, 91, 100.
+-- --K, 100.
+
+Topping, 140.
+-- with acid and basic dye-stuffs, 228.
+-- with basic dyes, 145.
+
+Triamine black, 132.
+-- -- B, 96, 137.
+-- -- B T, 98.
+
+Tropæoline O, 229.
+-- O O, 211, 229.
+
+Truck yarn-dyer, 254, 255.
+
+Turkey red, 87, 167, 181.
+-- -- bleach, 38, 39.
+-- -- oil, 88, 90, 95, 96, 160, 170, 171, 172, 173, 180, 189, 192, 196.
+
+Turmeric, 165, 166, 167.
+
+Turquoise blue, 98, 116, 151, 155, 232.
+-- -- G, 146, 151, 152.
+
+
+U.
+
+Union black B, 209, 214.
+-- -- S, 209, 214, 215, 216, 217, 228, 234.
+-- blue B B, 209.
+
+
+V.
+
+Valonia, 147.
+
+Verdigris, 177.
+
+Victoria blue, 150.
+-- -- B, 151, 152.
+
+Vidal black, 107, 121, 123.
+-- blacks, 79.
+
+Violet, 99, 100, 146, 154, 230.
+-- and yellow shot dyes, 238.
+-- blue, 97.
+
+
+W.
+
+Walnut brown, 102, 119, 138, 142, 219, 233.
+
+Warp bleaching, 43.
+
+Warp-dyeing machines, 69, 70, 71.
+
+Washing after dyeing, 239.
+
+Washing and soaping vats, illustration of, 248.
+-- of cotton in bleaching, 36.
+-- operations after dyeing, 242.
+
+Water blue, 229.
+-- of condition, 6.
+-- volume used in dyeing, 107.
+
+White indigo, 198.
+-- liquor treatment, 168.
+-- sour operation, 38.
+
+Whizzing, 45.
+
+Willesden waterproof cloths, 22.
+
+Wince dye beck, 74.
+
+Witz, George, 17.
+
+Wool black 6 B, 211, 217, 218, 223, 224.
+-- green, 84.
+
+Worral's singeing machine, 27.
+
+Wringing of dyed goods, 239.
+
+
+Y.
+
+Yarn bleaching, 43.
+-- -washing machine, illustration of, 243.
+
+Yarns in cop form, washing of, 244.
+-- in hanks, washing of, 244.
+-- in hanks, wringing of, 240.
+
+Yellow, 90, 91, 113, 151.
+-- and violet shot dyes, 237.
+-- olive, 91.
+
+Yellowish claret red, 187.
+
+Young & Crippin's cop-dyeing machine, 68.
+
+
+Z.
+
+Zambesi black, 132.
+-- -- B, 210, 218.
+-- -- B R, 97.
+-- -- D, 103, 104, 218.
+-- -- F, 115, 119, 210.
+-- blue, 130,
+-- -- B X, 136.
+-- -- R X, 217, 218.
+-- brown, 130.
+-- -- G, 210.
+-- -- 2 G, 136, 210.
+-- dyes, 85, 208.
+
+Zinc and lime vat for indigo dyeing, 201.
+-- bisulphite indigo vat, 203.
+-- chloride, 20.
+-- sulphate, 112.
+
+
+       *       *       *       *       *
+
+
+THE ABERDEEN UNIVERSITY PRESS LIMITED.
+
+SEPTEMBER, 1901.
+
+_This Catalogue cancels all former editions._
+
+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 _think_ about his work.
+Brains require stimulus. These books provide that stimulus.
+
+A Catalogue
+
+OF
+
+Special Technical Works
+
+FOR
+
+MANUFACTURERS, PROFESSIONAL MEN, STUDENTS,
+
+COLLEGES AND TECHNICAL SCHOOLS
+
+BY EXPERT WRITERS
+
+FOR THE
+
+OIL, PAINT, COLOUR VARNISH, SOAP, CHEMICAL,
+TEXTILE, LEATHER, PAPER, COLLIERY, POTTERY,
+GLASS, PLUMBING AND DECORATING TRADES
+AND SCIENTIFIC PROFESSIONS.
+
+PUBLISHED BY
+
+=SCOTT, GREENWOOD & CO.,=
+
+PUBLISHERS OF TECHNICAL BOOKS,
+
+=19 LUDGATE HILL, LONDON, E.C.
+
+Tel. Address: "PRINTERIES, LONDON".     Tel. No. 5403, Bank.=
+
+N.B.--_Full Particulars of Contents of any of the following books
+sent post free on application._
+
+=Messrs. Scott, Greenwood &. Co. are open to make offers
+for the publication of technical works.=
+
+       *       *       *       *       *
+
+Books on Oils, Soaps, Colours, Chemicals, Glue, Varnishes, etc.
+
+THE PRACTICAL COMPOUNDING OF OILS, TALLOW AND GREASE FOR LUBRICATION,
+ETC.
+
+By AN EXPERT OIL REFINER. 100 pp. 1898. Demy 8vo. Price 7s. 6d.; India
+and Colonies, 8s.; Other Countries, 8s. 6d.; strictly net.
+
+=Contents.=
+
+Chapters I., Introductory Remarks 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.
+
+=Press Opinions.=
+
+     "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."--_Colliery Guardian._
+
+     "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."--_The Ironmonger._
+
+       *       *       *       *       *
+
+SOAPS. 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.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "We think it is the most practical book on these subjects that has
+     come to us from England so far."--_American Soap Journal._
+
+     "Much useful information is conveyed in a convenient and
+     trustworthy manner which will appeal to practical
+     soap-makers."--_Chemical Trade Journal._
+
+     "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."--_Bradford Observer._
+
+     "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."--_Birmingham Post._
+
+       *       *       *       *       *
+
+ANIMAL FATS AND OILS: 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.
+
+=Contents.=
+
+Introduction. Occurrence, Origin, Properties and Chemical Constitution
+of Animal Fats Preparation of Animal Fats and Oils. Machinery.
+Tallow-melting Plant. Extraction Plant. Presses. Filtering Apparatus.
+Butter: Raw Material and Preparation, Properties, Adulterations. Beef
+Lard or Remelted Butter, Testing. Candle-fish Oil. Mutton-Tallow. Hare
+Fat. Goose Fat. Neatsfoot Oil. Bone Fat: Bone Boiling, Steaming Bones,.
+Extraction, Refining. Bone Oil. Artificial Butter: Oleomargarine,
+Margarine Manufacture in France, Grasso's Process, "Kaiser's Butter,"
+Jahr & Münzberg's Method, Filbert's Process, Winter's Method. Human Fat.
+Horse Fat. Beef Marrow. Turtle Oil. Hog's Lard: Raw Material,
+Preparation, Properties, Adulterations, Examination. Lard Oil. Fish
+Oils. Liver Oils. Artificial Train Oil. Wool Fat: Properties, Purified
+Wool Fat. Spermaceti: Examination of Fats and Oils in General.
+
+=Press Opinions.=
+
+     "The descriptions of technical processes are clear, and the book is
+     well illustrated and should prove useful."--_Manchester Guardian._
+
+     "It is a valuable work, not only for the student, but also for the
+     practical manufacturer of oil and fat products."--_Journal of the
+     American Chemical Society._
+
+     "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."--_Shoe and Leather Record._
+
+     "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."--_Newcastle
+     Chronicle._
+
+     "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."--_Glasgow
+     Herald._
+
+       *       *       *       *       *
+
+=VEGETABLE FATS AND OILS:= 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.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "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."--_Commerce._
+
+     "The proprietors of the _Oil and Colourman's Journal_ 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."--_Manufacturing Chemist._
+
+       *       *       *       *       *
+
+=IRON-CORROSION, ANTI-FOULING AND ANTI-CORROSIVE PAINTS.= 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.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "This is a very valuable book, translated from the German,
+     discussing in detail anti-fouling and anti-corrosive
+     paints."--_British Mercury._
+
+     "Will be of great service to paint manufacturers, engineering
+     contractors, ironfounders, shipbuilders and others."--_Engineer and
+     Iron Trades Advertiser._
+
+     "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."--_The Builder._
+
+     "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."--_Railway Engineer._
+
+     "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."--_Journal of Gas Lighting._
+
+     "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
+     engineers, shipowners, etc."--_Fairplay._
+
+     "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."--_The
+     Ironmonger._
+
+     "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."--_Western Daily Mercury._
+
+     "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."--_Iron and Steel Trades
+     Journal._
+
+       *       *       *       *       *
+
+=THE MANUFACTURE OF ALUM AND THE SULPHATES AND OTHER SALTS OF ALUMINA
+AND IRON.= Their Uses and Applications as Mordants in Dyeing and Calico
+Printing, and their other Applications in the Arts, Manufactures,
+Sanitary Engineering, Agriculture and Horticulture. Translated from the
+French of LUCIEN GESCHWIND. 195 Illustrations. Nearly 400 pp. Royal 8vo.
+1901. Price 12s. 6d.; India and Colonies, 13s. 6d.; Other Countries,
+15s.; strictly net.
+
+=Contents.=
+
+Part I., =Theoretical Study of Aluminium, Iron, and Compounds of these
+Metals.=--Chapters I., Aluminium and its Compounds.--II., Iron and Iron
+Compounds.
+
+Part II., =Manufacture of Aluminium Sulphates and Sulphates of
+Iron.=--Chapters III., Manufacture of Aluminium Sulphate and the
+Alums.--IV., Manufacture of Sulphates of Iron.
+
+Part III., =Uses of the Sulphates of Aluminium and Iron.=--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., =Uses and Applications
+of Ferrous Sulphate and Ferric Sulphates.=--Dyeing--Manufacture of
+Pigments--Writing Inks--Purification of Lighting
+Gas--Agriculture--Cotton Dyeing--Disinfectant--Purifying Waste
+Liquors--Manufacture of Nordhausen Sulphuric Acid--Fertilising.
+
+Part IV., =Chemical Characteristics of Iron and Aluminium.=--=Analysis
+of Various Aluminous or Ferruginous Products.=--Chapter VII.,
+Aluminium.--=Analysing Aluminium Products.=--Alunite Alumina--Sodium
+Aluminate--Aluminium Sulphate. Chapter VIII., =Iron.=--Analytical
+Characteristics of Iron Salts--Analysis of Pyritic Lignite--Ferrous and
+Ferric Sulphates--Rouil Mordant--Index.
+
+       *       *       *       *       *
+
+=MANUAL OF AGRICULTURAL CHEMISTRY.= By HERBERT INGLE, F.I.C., Lecturer
+on Agricultural Chemistry, the Yorkshire College; Lecturer in the
+Victoria University. [_In the press._
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+=LUBRICATING OILS, FATS AND GREASES:= Their Origin, Preparation,
+Properties, Uses and Analyses. A Handbook for Oil Manufacturers,
+Refiners and Merchants, and the Oil and Fat Industry in General. By
+GEORGE H. HURST, F.C.S. Second Edition. Sixty-five Illustrations. 313
+pp. Demy 8vo. 1901. Price 10s. 6d.; India and Colonies, 11s.; Other
+Countries, 12s.; strictly net.
+
+=Contents.=
+
+Chapters I., =Introductory.= Oils and Fats, Fatty Oils and Fats,
+Hydrocarbon Oils, Uses of Oils.--II., =Hydrocarbon Oils.= Distillation,
+Simple Distillation, Destructive Distillation, Products of Distillation,
+Hydrocarbons, Paraffins, Olefins, Napthenes.--III., =Scotch Shale Oils.=
+Scotch Shales, Distillation of Scotch Oils, Shale Retorts, Products of
+Distilling Shales.
+
+Separating Products, Treating Crude Shale Oil, Refining Shale Oil, Shale
+Oil Stills, Shale Naphtha Burning Oils, Lubricating Oils, Wax.--IV.,
+=Petroleum.= Occurrence, Geology, Origin, Composition, Extraction,
+Refining, Petroleum Stills, Petroleum Products, Cylinder Oils, Russian
+Petroleum, Deblooming Mineral Oils.--V., =Vegetable and Animal Oils.=
+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., =Testing and Adulteration of Oils.= 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.,
+=Lubricating Greases.= Rosin Oil, Anthracene Oil, Making Greases,
+Testing and Analysis of Greases.--VIII., =Lubrication.= Friction and
+Lubrication, Lubricant, Lubrication of Ordinary Machinery, Spontaneous
+Combustion of Oils, Stainless Oils, Lubrication of Engine Cylinders,
+Cylinder Oils.--=Appendices.= A. Table of Baume's Hydrometer--B. Table
+of Thermometric Degrees--C. Table of Specific Gravities of
+Oils--=Index.=
+
+=Press Opinions.=
+
+     "The book is well printed, and is a credit alike to author, printer
+     and publisher."--_Textile Mercury._
+
+     "It will be a valuable addition to the technical library of every
+     steam user's establishment." --_Machinery Market._
+
+     "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."--_Textile Manufacturer._
+
+     "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."--_Textile Recorder._
+
+     "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."--_Engineer._
+
+     "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."--_Drugs, Oils and Paints,_ U.S.A.
+
+     "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."--_Industries and Iron._
+
+     "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."--_Manchester Guardian._
+
+       *       *       *       *       *
+
+=AMMONIA AND ITS COMPOUNDS:= Their Manufacture and Uses. By CAMILLE
+VINCENT, Professor at the Central School of Arts and Manufactures,
+Paris. Translated from the French by M. J. SALTER. Royal 8vo. 113 pp.
+1901. Thirty-two Illustrations. Price 5s.; India and Colonies, 5s. 6d.;
+Other Countries, 6s.; strictly net.
+
+=Contents.=
+
+Chapters I., =General Considerations=: Sections 1. Various Sources of
+Ammoniacal Products; 2. Human Urine as a Source of Ammonia. II.,
+=Extraction of Ammoniacal Products from Sewage=: 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., =Extraction of Ammonia from Gas
+Liquor=: 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., Manufacture of Ammoniacal
+Compounds from Bones, Nitrogenous Waste, Beetroot Wash and Peat=:
+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., =Manufacture of Caustic
+Ammonia, and Ammonium Chloride, Phosphate and Carbonate=: 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., =Recovery of Ammonia from the
+Ammonia-Soda Mother Liquors=: Sections 1. General Considerations; 2.
+Apparatus of Schloesing and Rolland; 3. Apparatus of the Société Anonyme
+de l'Est.--=Index.=
+
+       *       *       *       *       *
+
+=THE MANUFACTURE OF VARNISHES, OIL REFINING AND BOILING, AND KINDRED
+INDUSTRIES.= 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.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "There is no question that this is a useful book."--_Chemist and
+     Druggist._
+
+     "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."--_The Ironmonger._
+
+     =Letter from the Teacher of a Technical Class.=
+
+     "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 _no_ 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.
+                                                  "23rd May, 1899"
+
+       *       *       *       *       *
+
+=THE MANUFACTURE OF LAKE PIGMENTS FROM ARTIFICIAL COLOURS.= By FRANCIS
+H. JENNISON, F.I.C., F.C.S. =Sixteen Coloured Plates, showing Specimens
+of Eighty-nine Colours, specially prepared from the Recipes given in the
+Book.= 136 pp. Demy 8vo. 1900. Price 7s. 6d.; India and Colonies, 8s.;
+Other Countries, 8s. 6d.; strictly net.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+    "It is evidently the result of prolonged research, and cannot but
+    prove a valuable consulting work to those engaged in the
+    industry."--_Derby Mercury._
+
+    "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."--_Chemist and_ _Druggist._
+
+    "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."--_Chemical Trade
+    Journal._
+
+    "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."--_Eastern_ _Morning News._
+
+       *       *       *       *       *
+
+=THE TESTING AND VALUATION OF RAW MATERIALS USED IN PAINT AND COLOUR
+MANUFACTURE.= By M.W. JONES, F.C.S. A Book for the Laboratories of
+Colour Works. 88 pp. Crown 8vo. 1900. Price 5s.; India and Colonies, 5s.
+6d.; Other Countries, 6s.; strictly net.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+    "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."--_North British_ _Daily Mail._
+
+    "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."--_Blackburn Times._
+
+    "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."--_Manchester_ _Courier._
+
+       *       *       *       *       *
+
+=THE CHEMISTRY OF ESSENTIAL OILS AND ARTIFICIAL PERFUMES.= 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.
+
+=Contents.=
+
+Chapters I., =The General Properties of Essential Oils.=--II.,
+=Compounds occurring in Essential Oils.=--III., =The Preparation of
+Essential Oils.=--IV., =The Analysis of Essential Oils.=--V.,
+=Systematic Study of the Essential Oils.=--VI., =Terpeneless
+Oils.=--VII., =The Chemistry of Artificial Perfumes.=--=Appendix:= Table
+of Constants.
+
+=Press Opinions.=
+
+     "There can be no doubt that the publication will take a high place
+     in the list of scientific text-books."--_London Argus_
+
+     "We can heartily recommend this volume to all interested in the
+     subject of essential oils from the scientific or the commercial
+     standpoint."--_British and Colonial Druggist._
+
+     "Mr. Parry has done good service in carefully collecting and
+     marshalling the results of the numerous researches published in
+     various parts of the world."--_Pharmaceutical Journal._
+
+     "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 _au fait_ with the
+     commercial aspects of the subject."--_Chemist and Druggist._
+
+     "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."--_The Australian
+     Brewers' Journal._
+
+       *       *       *       *       *
+
+=DRYING OILS, BOILED OIL AND SOLID AND LIQUID DRIERS.= 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.
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+REISSUE OF =CHEMICAL ESSAYS OF C.W. SCHEELE.= First Published in English
+in 1786. Translated from the Academy of Sciences at Stockholm, with
+Additions. 300 pp. Demy 8vo. 1901. Price 5s.; India and Colonies, 5s.
+6d.; Other Countries, 6s.; strictly net.
+
+=Contents.=
+
+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.
+
+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.
+
+       *       *       *       *       *
+
+=GLUE AND GLUE TESTING.= 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.
+
+=Contents.=
+
+Chapters I., =Constitution and Properties: Definitions and Sources,
+Gelatine, Chondrin and Allied Bodies, Physical and Chemical Properties,
+Classification, Grades and Commercial Varieties.--II., =Raw Materials
+and Manufacture: Glue Stock, Lining, Extraction, Washing and Clarifying,
+Filter Presses, Water Supply, Use of Alkalies, Action of Bacteria and of
+Antiseptics, Various Processes, Cleansing, Forming, Drying, Crushing,
+etc., Secondary Products. --III., =Uses of Glue=: Selection and
+Preparation for Use, Carpentry, Veneering, Paper-Making, Bookbinding,
+Printing Rollers, Hectographs, Match Manufacture, Sandpaper, etc.,
+Substitutes for other Materials, Artificial Leather and
+Caoutchouc.--IV., =Gelatine=: General Characters, Liquid Gelatine,
+Photographic Uses, Size, Tanno-, Chrome and Formo-Gelatine, Artificial
+Silk, Cements, Pneumatic Tyres, Culinary, Meat Extracts, Isinglass,
+Medicinal and other Uses, Bacteriology.--V., =Glue Testing=: Review of
+Processes, Chemical Examination, Adulteration, Physical Tests, Valuation
+of Raw Materials.--VI., =Commercial= =Aspects.=
+
+=Press Opinions.=
+
+     "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."--_Carpenter and Builder._
+
+     "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."--_British Trade Journal._
+
+     "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 _The Oil and
+     Colourman's Journal_. 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."--_Carriage Builders' Journal._
+
+       *       *       *       *       *
+
+=TECHNOLOGY OF PETROLEUM=: 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.
+
+=Contents.=
+
+Part I., =Study of the Petroliferous Strata=--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 (_continued_)--Geography and Geology of the Caucasian
+Oil Fields.--IX.. Russian Petroleum (_continued_).--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.
+
+Part II., =Excavations.=--Chapter XX., Hand Excavation or Hand Digging
+of Oil Wells. Part III., =Methods of Boring.=--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.
+
+Part IV., =Accidents.=--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.
+
+Part V., =General Data.=--=Customary Formulæ.=--Memento. Practical
+Part. General Data bearing on Petroleum.--Glossary or Technical Terms
+used in the Petroleum Industry.--Copious Index.
+
+       *       *       *       *       *
+
+=A DICTIONARY OF CHEMICALS AND RAW PRODUCTS USED IN THE MANUFACTURE OF
+PAINTS, COLOURS, VARNISHES AND ALLIED PREPARATIONS.= By GEORGE H. HURST,
+F.C.S. Demy 8vo. 380 pp. 1901. Price 7s. 6d.; India and Colonies, 8s.;
+Other Countries, 8s. 6d.; strictly net.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "This treatise will be welcomed by those interested in this
+     industry who have not secured the full advantage of a course of
+     scientific training."--_Chemical Trade Journal._
+
+     "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."--_Pontefract Express._
+
+     "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."--_Manchester Courier._
+
+       *       *       *       *       *
+
+=PURE AIR, OZONE AND WATER.= A Practical Treatise of their Utilisation
+and Value in Oil, Grease, Soap, Paint, Glue and other Industries. By W.
+B. COWELL. Twelve Illustrations. 1900. Price 5s.; India and Colonies,
+5s. 6d.: Other Countries, 6s.; strictly net.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "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."--_Newcastle Daily Journal._
+
+     "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 "_Blackburn Times._
+
+=THE MANUFACTURE OF MINERAL AND LAKE PIGMENTS.= 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.
+
+=Contents.=
+
+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.
+
+PIGMENTS OF ORGANIC ORIGIN.--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.
+
+       *       *       *       *       *
+
+=BONE PRODUCTS AND MANURES=: An Account of the most recent Improvements
+in the Manufacture of Fat, Glue, Animal Charcoal, Size, Gelatine and
+Manures. By THOMAS LAMBERT, Technical and Consulting Chemist.
+Illustrated by Twenty-one Plans and Diagrams. 162 pp., demy 8vo. 1901.
+Price 7s. 6d.; India and Colonies, 8s.; Other Countries, 8s. 6d.;
+strictly net.
+
+=Contents.=
+
+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.
+
+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.
+
+=Press Opinion.=
+
+     "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."--_Wigan Observer._
+
+       *       *       *       *       *
+
+=ANALYSIS OF RESINS AND BALSAMS.= Demy 8vo. 340 pp. 1901. Price 7s. 6d.;
+India and Colonies, 8s.; Other Countries, 8s. 6d.; strictly net.
+
+=Contents.=
+
+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.
+
+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. =Gum
+Resins=--Ammoniacum--Bdellium--Euphorbium--Galbanum--Gamboge--Lactucarium--
+Myrrh--Opopanax--Sagapenum--Olibanum or Incense--Acaroid Resin--Amber--
+Thapsia Resin.--Index.
+
+       *       *       *       *       *
+
+=MANUFACTURE OF PAINT.= 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.
+
+=Contents.=
+
+Part I., Chapters I., Preparation of Raw Material.--II., Storing of Raw
+Material.--III., Testing and Valuation of Raw Material--Paint Plant and
+Machinery.
+
+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.
+
+Part III., Chapters XVIII., The Uses of Paint.--XIX., Testing and
+Matching Paints.--XX., Economic Considerations.--Index.
+
+       *       *       *       *       *
+
+=THE CHEMISTRY OF PIGMENTS.= By ERNEST J. PARRY, B.Sc, F.I.C., F.C.S.,
+and J.H. COSTE, F.I.C., F.C.S. [_In the press._
+
+=Contents.=
+
+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.
+
+=NOTES ON LEAD ORES=: Their Distribution and Properties. By JAS. FAIRIE,
+F.G.S. Crown 8vo. 1901. 64 pages. Price 2s. 6d.; Abroad, 3s.; strictly
+net.
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+=THE RISKS AND DANGERS OF VARIOUS OCCUPATIONS AND THEIR PREVENTION.= 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.
+
+=Contents.=
+
+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.
+
+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.
+
+=Press Opinions.=
+
+     "The language used is quite simple, and can be understood by any
+     intelligent person engaged in the trades dealt with."--_The
+     Clarion._
+
+     "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."--_Local Government Journal._
+
+     "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."--_Colliery Manager._
+
+     "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."--_Health._
+
+     "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."--_Physician and Surgeon._
+
+     "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."--_Bristol Mercury._
+
+     "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."--_Sheffield Independent._
+
+     "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."--_Leeds Mercury._
+
+     "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."--_British Medical Journal._
+
+     "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."--_Sanitary Record._
+
+     "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."--_Weekly Times and Echo._
+
+       *       *       *       *       *
+
+=PRACTICAL X RAY WORK.= By FRANK T. ADDYMAN,
+
+B.Sc. (Lond.), F.I.C., Member of the Roentgen Society of London;
+Radiographer to St. George's Hospital; Demonstrator of Physics and
+Chemistry, and Teacher of Radiography in St. George's Hospital Medical
+School. Demy 8vo. 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.
+
+=Contents.=
+
+Part I., =Historical=--Chapters I., Introduction.--II., Work leading up
+to the Discovery of the X Rays.--III., The Discovery.
+
+Part II., =Apparatus and its Management=--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.
+
+Part III., =Practical X Ray Work=--Chapters I., Installations.--II.,
+Radioscopy.--III., Radiography.--IV., X Rays in Dentistry.--V., X Rays
+in Chemistry.--VI., X Rays in War.--Index.
+
+=List of Plates.=
+
+_Frontispiece_--Congenital Dislocation of Hip-Joint.--I., Needle in
+Finger.--II., Needle in Foot.--III., Revolver Bullet in Calf and
+Leg.--IV., A Method of Localisation.--V., Stellate Fracture of Patella
+showing shadow of "Strapping".--VI., Sarcoma.--VII., Six-weeks'-old
+Injury to Elbow showing new Growth of Bone.--VIII., Old Fracture of
+Tibia and Fibula badly set.--IX., Heart Shadow.--X., Fractured Femur
+showing Grain of Splint.--XI., Barrell's Method of Localisation.
+
+       *       *       *       *       *
+
+=DRYING BY MEANS OF AIR AND STEAM.= 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.
+
+=Contents.=
+
+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:
+_A_, With the Assumption that the Air is _Completely Saturated_ with
+Vapour both before Entry and after Exit from the Apparatus.--_B_, When
+the Atmospheric Air is Completely Saturated _before entry_, but at its
+_exit_ is _only_ 3/4, 1/2 or 1/4 Saturated.--_C_, When the Atmospheric
+Air is _not_ Saturated with Moisture before Entering the Drying
+Apparatus.--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.
+
+
+       *       *       *       *       *
+
+
+=Leather Trades.=
+
+       *       *       *       *       *
+
+=THE LEATHER WORKER'S MANUAL.= Being a Compendium of Practical Recipes
+and Working Formulæ for Curriers, Bootmakers, Leather Dressers, Blacking
+Manufacturers, Saddlers, Fancy Leather Workers, 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.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "The book being absolutely unique, is likely to be of exceptional
+     value to all whom it concerns, as it meets a long-felt
+     want."--_Birmingham Gazette._
+
+     "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."--_Liverpool Mercury._
+
+     "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."--_Australian Leather Journal and Boot and
+     Shoe Recorder._
+
+       *       *       *       *       *
+
+=PRACTICAL TREATISE ON THE LEATHER INDUSTRY.= 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.
+
+=Contents.=
+
+Preface--Translator's Preface--List of Illustrations.
+
+Part I., =Materials used in Tanning=--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.
+
+Part II., =Tanning=--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.
+
+Part III., =Currying=--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.
+
+Part IV., =Enamelled, Hungary and Chamoy Leather, Morocco, Parchment,
+Furs and Artificial Leather=--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.
+
+Part V., =Leather Testing and the Theory of Tanning=--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.
+
+Part VI., =Uses of Leather=--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.
+
+Appendix, =The World's Commerce in Leather=--I., Europe; II., America;
+III., Asia; IV., Africa; Australasia--Index.
+
+=Press Opinions.=
+
+    "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." --_Shoe
+    Manufacturers' Monthly Journal._
+
+    "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." --_Midland Free Press._
+
+    "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."
+    --_Leeds Mercury._
+
+    "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."--_Leicester
+    Post._
+
+    "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." --_Shoe and Leather Trader._
+
+    "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." --_Western Daily
+    Press and Bristol Times._
+
+    "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." --_Kettering Guardian._
+
+    "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.'--_Walsall Observer._
+
+
+       *       *       *       *       *
+
+
+=Books on Pottery, Bricks, Tiles, Glass, etc.=
+
+       *       *       *       *       *
+
+=THE MANUAL OF PRACTICAL POTTING.= Revised and Enlarged. Third Edition.
+200 pp. 1901. Price 17s. 6d.; India and Colonies, 18s. 6d.; Other
+Countries, 20s.; strictly net.
+
+=Contents.=
+
+=Introduction.= The Rise and Progress of the Potter's Art.--Chapters I.,
+=Bodies.= China and Porcelain Bodies, Parian Bodies, Semi-porcelain and
+Vitreous Bodies, Mortar Bodies, Earthenwares Granite and C.C. Bodies,
+Miscellaneous Bodies, Sagger and Crucible Clays, Coloured Bodies, Jasper
+Bodies, Coloured Bodies for Mosaic Painting, Encaustic Tile Bodies, Body
+Stains, Coloured Dips.--II., =Glazes.= China Glazes, Ironstone Glazes,
+Earthenware Glazes, Glazes without Lead, Miscellaneous Glazes, Coloured
+Glazes, Majolica Colours.--III., =Gold and Cold Colours.= Gold, Purple
+of Cassius, Marone and Ruby, Enamel Coloured Bases, Enamel Colour
+Fluxes, Enamel Colours, Mixed Enamel Colours, Antique and Vellum Enamel
+Colours, Underglaze Colours, Underglaze Colour Fluxes, Mixed Underglaze
+Colours, Flow Powders, Oils and Varnishes.--IV., =Means and Methods.=
+Reclamation of Waste Gold, The Use of Cobalt, Notes on Enamel Colours,
+Liquid or Bright Gold.--V., =Classification and Analysis.=
+Classification of Clay Ware, Lord Playfair's Analysis of Clays, The
+Markets of the World, Time and Scale of Firing, Weights of 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., =Forms and Tables.= Articles of Apprenticeship,
+Manufacturer's Guide to Stocktaking, Table of Relative Values of
+Potter's Materials, Hourly Wages Table, Workman's Settling Table,
+Comparative Guide for Earthenware and China Manufacturers in the use of
+Slop Flint and Slop Stone, Foreign Terms applied to Earthenware and
+China Goods, Table for the Conversion of Metrical Weights and Measures
+on the Continent of South America. =Index.=
+
+       *       *       *       *       *
+
+=CERAMIC TECHNOLOGY=: 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.
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+=RECIPES FOR FLINT GLASS MAKING.= By a British Glass Master and Mixer.
+Sixty Recipes. Being Leaves from the Mixing Book of several experts in
+the Flint Glass Trade, containing up-to-date recipes and valuable
+information as to Crystal, Demi-crystal and Coloured Glass in its many
+varieties. It contains the recipes for cheap metal suited to pressing,
+blowing, etc., as well as the most costly crystal and ruby. 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.
+
+=Contents.=
+
+Ruby--Ruby from Copper--Flint for using with the Ruby for Coating--A
+German Metal --Cornelian, or Alabaster--Sapphire
+Blue--Crysophis--Opal--Turquoise Blue--Gold Colour --Dark Green--Green
+(common)--Green for Malachite--Blue for Malachite--Black for 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.
+
+       *       *       *       *       *
+
+=COLOURING AND DECORATION OF CERAMIC WARE.= 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.
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+=HOW TO ANALYSE CLAY.= 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.
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+=ARCHITECTURAL POTTERY.= Bricks, Tiles, Pipes, Enamelled Terra-cottas,
+Ordinary and Incrusted Quarries, Stoneware Mosaics, Faiences 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.
+
+=Contents.=
+
+Part I. =Plain Undecorated Pottery.=--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. _A_, Open: _a_, using Wood; _b_ Coal; _b´_, in
+Clamps; _b´´_, Flame--_B_, Closed: _c_, Direct Flame; _c´_, Rectangular;
+_c´´_, Round; _d_, Reverberatory--III. Continuous Kilns: _C_, with Solid
+Fuel: Round Kiln, Rectangular Kiln, Chimneys (Plans and Estimates)--_D_,
+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, 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.
+
+Part II. =Made-up or Decorated Pottery.=--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,
+Overglaze--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: _A_,
+Fired to Stoneware: _a_, of Slag Base--Applications; _b_, of Melting
+Clay--Applications--_B_, Plain or Incrusted Stoneware; _a_, of Special
+Clay (Stoke-on-Trent)--Manufacture--Application--_b_, of Felspar
+Base--Colouring, Manufacture, Moulding, Drying,
+Firing--Applications.--II. Facing Quarries--1, in Faience--_A_, of
+Limestone Paste--_B_, of Silicious Paste--_C_, 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.
+
+       *       *       *       *       *
+
+=A TREATISE ON THE CERAMIC INDUSTRIES.=
+
+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.
+
+=Contents.=
+
+Part I., =General Pottery Methods.= 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.
+
+Part II., =Special Pottery Methods.= 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.--=Index.=
+
+       *       *       *       *       *
+
+=THE ART OF RIVETING GLASS, CHINA AND EARTHENWARE.= By J. HOWARTH.
+Second Edition. 1900. Price 1s. net; by post, home or abroad, 1s. 1d.
+
+=Contents.=
+
+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.
+
+=NOTES OF POTTERY CLAYS.= 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.
+
+=Contents.=
+
+Definitions--Occurrence--Brick Clays--Fire Clays--Analyses of Fire
+Clays.--=Ball Clays=--Properties--Analyses--Occurrence--Pipe Clay--Black
+Clay--Brown Clay--Blue Clay--Dorsetshire and Devonshire Clays.--=China
+Clay= 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.--=Chinese
+Stone=--Composition--Occurrence--Analyses.--Index.
+
+       *       *       *       *       *
+
+=PAINTING ON GLASS AND PORCELAIN AND ENAMEL PAINTING.= A Complete
+Introduction to the Preparation of all the Colours and Fluxes used for
+Painting on Porcelain, Enamel, Faience and Stoneware, the Coloured
+Pastes and Coloured Glasses, together with a Minute Description of the
+Firing of Colours and Enamels. 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.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "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."--_Art
+     Amateur_, New York.
+
+     "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."--_Staffordshire Sentinel._
+
+     "In _Painting on Glass and Porcelain_ 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."--_Builders Journal._
+
+     "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."--_Daily Chronicle._
+
+       *       *       *       *       *
+
+=A Reissue of
+
+THE HISTORY OF THE STAFFORDSHIRE POTTERIES; AND THE RISE AND PROGRESS OF
+THE MANUFACTURE OF POTTERY AND PORCELAIN.=
+
+With References to Genuine Specimens, and Notices of Eminent Potters. By
+SIMEON SHAW. (Originally Published in 1829.) 265 pp. 1900. Demy 8vo.
+Price 7s. 6d.; India and Colonies, 8s.; Other Countries, 8s. 6d.;
+strictly net.
+
+=Contents.=
+
+=Introductory Chapter= showing the position of the Pottery Trade at the
+present time (1899).--Chapters I., =Preliminary Remarks.=--II., =The
+Potteries=, comprising Tunstall, Brownhills, Greenfield and New Field,
+Golden Hill, Latebrook, Green Lane, Burslem, Longport and Dale Hall, Hot
+Lane and Cobridge, Hanley and Shelton, Etruria, Stoke, Penkhull, Fenton,
+Lane Delph, Foley, Lane End.--III., =On the Origin of the Art=, and its
+Practice among the early Nations.--IV., =Manufacture of Pottery=, prior
+to 1700.--V., =The Introduction of Red Porcelain= by Messrs. Elers, of
+Bradwell, 1690.--VI., =Progress of the Manufacture= from 1700 to Mr.
+Wedgwood's commencement in 1760.--VII. =Introduction of Fluid
+Glaze.=--Extension of the Manufacture of Cream Colour.--Mr. Wedgwood's
+Queen's Ware.--Jasper, and Appointment of Potter to Her Majesty.--Black
+Printing.--VIII., =Introduction of Porcelain.= Mr. W. Littler's
+Porcelain.--Mr. Cookworthy's Discovery of Kaolin and Petuntse, and
+Patent.--Sold to Mr. Champion--resold to the New Hall Com.--Extension of
+Term.--IX., =Blue Printed Pottery.= Mr. Turner, Mr. Spode (1), Mr.
+Baddeley, Mr. Spode (2), Messrs. Turner, Mr. Wood, Mr. Wilson, Mr.
+Minton.--Great Change in Patterns of Blue Printed.--X., =Introduction of
+Lustre Pottery.= Improvements in Pottery and Porcelain subsequent to
+1800.
+
+=Press Opinions.=
+
+    "There is much curious and useful information in the work, and the
+    publishers have rendered the public a service in reissuing
+    it."--_Burton Mail._
+
+    "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."--_Derby Mercury._
+
+    "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."--_Wolverhampton Chronicle._
+
+    "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."--_Western Morning News._
+
+    "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,"--_Staffordshire
+    Sentinel._
+
+       *       *       *       *       *
+
+=A Reissue of=
+
+=THE CHEMISTRY OF THE SEVERAL NATURAL AND ARTIFICIAL HETEROGENEOUS
+COMPOUNDS USED IN MANUFACTURING PORCELAIN, GLASS AND POTTERY.=
+
+By SIMEON SHAW.
+
+(Originally published in 1837.) 750 pp. 1900. Royal 8vo. Price 14s.;
+India and Colonies, 15s.; Other Countries, 16s. 6d.; strictly net.
+
+=Contents.=
+
+PART I., ANALYSIS AND MATERIALS.--Chapters I., =Introduction:=
+Laboratory and Apparatus; =Elements:= 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., =Temperature:= Coal, Steam Heat for Printers'
+Stoves.--III., =Acids and Alkalies:= Boracic Acid, Muriatic Acid, Nitric
+Acid, Sulphuric Acid, Potash, Soda, Lithia, Calculation of Chemical
+Separations.--IV., =The Earths:= Alumine, Clays, Silica, Flint, Lime,
+Plaster of Paris, Magnesia, Barytes, Felspar, Grauen (or China Stone),
+China Clay, Chert.--V., =Metals:= 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.
+
+PART II., SYNTHESIS AND COMPOUNDS.--Chapters I., Sketch of the Origin
+and Progress of the Art.--II., =Science of Mixing:= Scientific
+Principles of the Manufacture, Combinative Potencies of the
+Earths.--III., =Bodies:= 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., =Glazes:= 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: =Glasses:= 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., =Colours:=
+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.
+
+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.
+
+=Press Opinions.=
+
+"This interesting volume has been kept from the pencil of the modern
+editor and reprinted in its entirety by the enterprising publishers of
+_The Pottery Gazette_ 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."--_Glasgow Herald._
+
+"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."--_Birmingham Post._
+
+"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."--_Staffordshire
+Sentinel._
+
+
+       *       *       *       *       *
+
+
+=Paper Making.=
+
+       *       *       *       *       *
+
+=THE DYEING OF PAPER PULP.= A Practical Treatise for the use of
+Papermakers, Paperstainers. Students and others. By JULIUS ERFURT,
+Manager of a Paper Mill. Translated into English and Edited with
+Additions by JULIUS HÜBNER, F.C.S., Lecturer on Papermaking at the
+Manchester Municipal Technical School. With Illustrations and =157
+patterns of paper dyed in the pulp.= Royal 8vo, 180 pp. 1901. Price
+15s.; India and Colonies, 16s.; Other Countries, 20s.; strictly net.
+Limited edition.
+
+=Contents.=
+
+I., =Behaviour of the Paper Fibres during the Process of Dyeing, Theory
+of the Mordant=--Cotton: Flax and Hemp; Esparto; Jute; Straw Cellulose:
+Chemical and Mechanical Wood Pulp; Mixed Fibres: Theory of Dyeing.--II.,
+=Colour Fixing Mediums (Mordants)=--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., =Influence of the Quality of
+the Water Used.=--IV., =Inorganic Colours=--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.,
+=Organic Colours=--1. Colours of Vegetable and Animal Origin: _(a)
+Substantive (Direct Dyeing) Colouring Matters:_ Annatto; Turmeric:
+Safflower; _(b) Adjective (Indirect Dyeing) Colouring Matters:_ 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.
+
+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., =Practical Application of the Coal Tar Colours according to
+their Properties and their Behaviour towards the Different Paper
+Fibres=--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., =Dyed Patterns on Various Pulp
+Mixtures=--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., =Dyeing to
+Shade=--Index.
+
+=Press Opinions.=
+
+     "The book is one that is of value to every one connected with the
+     colouring of paper."--_Paper Trade Journal._
+
+     "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."--_World's Paper Trade Review._
+
+
+       *       *       *       *       *
+
+
+=Enamelling on Metal.=
+
+       *       *       *       *       *
+
+=ENAMELS AND ENAMELLING.= 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.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "Should prove of great service to all who are either engaged in or
+     interested in the art of enamelling."--_Jewellers and Watchmakers'
+     Trade Advertiser._
+
+     "I must inform you that this is the best book ever I have come
+     across on enamels, and it is worth double its cost."--J. MINCHIN,
+     Jr., Porto, Portugal, _22nd July, 1900_.
+
+     "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."--_Invention._
+
+    "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."--_Birmingham Gazette._
+
+       *       *       *       *       *
+
+=THE ART OF ENAMELLING ON METAL.= By W. NORMAN BROWN. Twenty-eight
+Illustrations. Crown 8vo. 60 pp. 1900. Price 2s. 6d.; Abroad, 3s.;
+strictly net.
+
+=Contents.=
+
+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.
+
+=Press Opinion.=
+
+     "The information conveyed in _The Art of Enamelling on Metal_ 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."--_Hardware Metals and
+     Machinery._
+
+
+       *       *       *       *       *
+
+
+=Books on Textile and Dyeing Subjects.=
+
+       *       *       *       *       *
+
+=THE TECHNICAL TESTING OF YARNS AND TEXTILE FABRICS.= With Reference to
+Official Specifications. Translated from the German of Dr. J. HERZFELD.
+Second Edition. Sixty-nine Illustrations. 200 pp. Demy 8vo. 1901. Price
+10s. 6d.; India and Colonies, 11s.; Other Countries, 12s.; strictly net.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "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."--_Manchester Courier._
+
+     "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."--_Textile Recorder._
+
+     "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."--_Glasgow Herald._
+
+     "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."--_Textile Manufacturer._
+
+       *       *       *       *       *
+
+=DECORATIVE AND FANCY TEXTILE FABRICS.=
+
+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.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "The book can be strongly recommended to students and practical
+     men."--_Textile Colourist._
+
+     "Those engaged in the designing of dress, mantle tapestry, carpet
+     and other ornamental textiles will find this volume a useful work
+     of reference."--_Leeds Mercury._
+
+     "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."--_Dundee Advertiser._
+
+     "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'."--_Nottingham
+     Daily Guardian._
+
+       *       *       *       *       *
+
+=POWER-LOOM WEAVING AND YARN NUMBERING.= 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. =With Twenty-six Diagrams in Colours.= 150 pp. 1900. Crown 8vo.
+Price 7s. 6d.; India and Colonies, 8s.; Other Countries, 8s. 6d.;
+strictly net.
+
+=Contents.=
+
+I., =Power-Loom Weaving in General.= Various Systems of Looms.--II.,
+=Mounting and Starting the Power-Loom.= English Looms.--Tappet or
+Treadle Looms.--Dobbies.--III., =General Remarks on the Numbering,
+Reeling and Packing-of Yarn.=--=Appendix.=--=Useful Hints.= Calculating
+Warps.--Weft Calculations.--Calculations of Cost Price in Hanks.
+
+=Press Opinions.=
+
+     "A long-felt want in the weaving industry has been supplied by the
+     issue of a cheap volume dealing with the subject."--_Belfast Evening
+     Telegraph._
+
+     "The work has been clearly translated from the German and published
+     with suitable illustrations.... The author has dealt very
+     practically with the subject."--_Bradford Daily Telegraph._
+
+     "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."
+     --_Cotton Factory Times._
+
+     "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."--_Northern Daily
+     Telegraph._
+
+     "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."--_Northern Whig._
+
+     "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."--_Textile Mercury._
+
+     "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."--_Cheshire County News._
+
+     "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."--_North British Daily Mail._
+
+     "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."--_Textile Industries._
+
+     "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."--_Ashton-under-Lyne Herald._
+
+     "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."--_Bradford Observer._
+
+       *       *       *       *       *
+
+=COLOUR: A HANDBOOK OF THE THEORY OF COLOUR.= By GEORGE H. HURST, F.C.S.
+=With Ten Coloured Plates= and Seventy-two Illustrations. 160 pp. Demy
+8vo. 1900. Price 7s. 6d.; India and Colonies, 8s.; Other Countries, 8s.
+6d.; strictly net.
+
+=Contents.=
+
+Chapters I., =Colour and Its Production.= 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., =Cause
+of Colour in Coloured Bodies.= Transmitted Colours, Absorption Spectra
+of Colouring Matters.--III., =Colour Phenomena and Theories.= 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., =The
+Physiology of Light.= Structure of the Eye, Persistence of Vision,
+Subjective Colour Phenomena, Colour Blindness.--V., =Contrast.=
+Contrast, Simultaneous Contrast, Successive Contrast, Contrast of Tone.
+Contrast of Colours, Modification of Colours by Contrast, Colour
+Contrast in Decorative Design.--VI., =Colour in Decoration and Design.=
+Colour Harmonies, Colour Equivalents, Illumination and Colour, Colour
+and Textile Fabrics, Surface Structure and Colour.--VII., =Measurement
+of Colour.= Colour Patch Method, The Tintometer, Chromometer.
+
+=Press Opinions.=
+
+     "This useful little book possesses considerable merit, and will be
+     of great utility to those for whom it is primarily
+     intended."--_Birmingham Post._
+
+     "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."--_Chemical Trade Journal._
+
+     "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."--_Dyer and Calico Printer._
+
+     "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."--_Chemist and Druggist._
+
+     "Mr. Hurst's _Handbook on the Theory of Colour_ 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."--_Nottingham Daily Guardian._
+
+       *       *       *       *       *
+
+=TEXTILE RAW MATERIALS AND THEIR CONVERSION INTO YARNS.= (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.
+
+=Contents.=
+
+=Raw Materials=: Cotton--Wool--Flax--Hemp--Jute--Hair--Shearing
+Sheep--Goat Wool--Silk--Detection and Estimation of Textile Raw
+Materials in Yarns and Fabrics--Tests.--=The Technology of Spinning.
+Cotton Spinning:= Bale Breakers--Carding--Combing--Roving--Mule
+Frames--Yarn Testing--Humidifiers. =Flax Spinning:= Tow Spinning--String
+Spinning--Carded Woollen Yarn--Belt Condenser--Fine Spinning--Yarn
+Numbering.--=Manufacture of True Worsted Yarn:= Semi-Worsted
+Yarns.--=Artificial Wool or Shoddy Spinning:= Spinning
+Shoddy.--=Index.=
+
+       *       *       *       *       *
+
+=THE COLOUR PRINTING OF CARPET YARNS.= 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.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+    "The book is worthy the attention of the trade."--_Worcester
+    Herald._
+
+    "The treatise is arranged with great care, and follows the processes
+    described in a manner at once clear and convincing."--_Glasgow
+    Record._
+
+    "A most useful manual dealing in an intelligible and interesting
+    manner with the colour printing of carpet yarns."--_Kidderminster
+    Times._
+
+    "An eminent expert himself, the author has evidently strained every
+    effort in order to make his work the standard guide of its
+    class."--_Leicester Post._
+
+    "The book, which is admirably printed and illustrated, should fulfil
+    the need of a practical guide in the colour printing of carpet
+    yarns.--_Nottingham Express._
+
+    "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."--_Northern Whig._
+
+    "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."--_Scotsman._
+
+    "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."--_Dundee
+    Courier._
+
+    "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."--_Dyer and Calico
+    Printer._
+
+    "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."--_Journal of the Society of Dyers and Colourists._
+
+       *       *       *       *       *
+
+=A PRACTICAL TREATISE ON THE BLEACHING OF LINEN AND COTTON YARN AND
+FABRICS.= By L. TAILFER, Chemical and Mechanical Engineer. Translated
+from the French by JOHN GEDDES MCINTOSH, Lecturer on Chemical
+Technology, London. Demy 8vo. 1901. Price 12s. 6d.; India and Colonies,
+13s. 6d; Other Countries, 15s.; strictly net.
+
+=Contents.=
+
+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--Preparation 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.
+
+       *       *       *       *       *
+
+=THE SCIENCE OF COLOUR MIXING.= A Manual intended for the use of Dyers,
+Calico Printers and Colour Chemists. By DAVID PATERSON, F.C.S. Forty-one
+Illustrations, =Five Coloured Plates, and Four Plates showing Eleven
+Dyed Specimens of Fabrics.= 132 pp. Demy 8vo. 1900. Price 7s. 6d.; India
+and Colonies, 8s.; Other Countries, 8s. 6d.; strictly net.
+
+=Contents.=
+
+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 _versus_ 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.
+
+=Press Opinions.=
+
+     "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."--_Halifax Courier._
+
+     "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."--_Scotsman._
+
+     "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."--_Irish Textile Journal._
+
+     "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."--_Wakefield Express._
+
+     "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."--_Textile Mercury._
+
+     "For some time the proprietors of _The Oil and Colourman's Journal_
+     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."--_Glasgow Herald._
+
+       *       *       *       *       *
+
+=COLOUR MATCHING ON TEXTILES.= A Manual intended for the use of Students
+of Colour Chemistry, Dyeing and Textile Printing. By DAVID PATERSON,
+F.C.S. Coloured Frontispiece. Twenty-nine Illustrations and Fourteen
+Specimens of Dyed Fabrics Illustrating Text. Demy 8vo. 132 pp. 1901.
+Price 7s. 6d.; India and Colonies, 8s.; Other Countries, 8s. 6d.;
+strictly net.
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+=Reissue of THE ART OF DYEING WOOL, SILK AND COTTON.=
+
+Translated from the French of M. HELLOT, M. MACQUER and M. LE PILEUR
+D'APLIGNY. First Published in English in 1789. Six Plates. Demy 8vo. 446
+pp. 1901. Price 5s.; India and Colonies, 5s. 6d.; Other Countries, 6s.;
+strictly net.
+
+=Contents.=
+
+Part I., =The Art of Dyeing Wool and Woollen Cloth, Stuffs, Yarn,
+Worsted, etc.:= 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. =Dyeing Wool:=
+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
+_Coccus polonicus,_ 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.
+
+Part II., =The Art of Dyeing Silk:= 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.
+
+Part III., =The Art of Dyeing Cotton and Linen Thread, together with the
+Method of Stamping Silks, Cottons, etc.:= Of Dyeing in General.--Inquiry
+concerning Wool, Silk, Cotton and Flax.--Of Wool.--Of Silk.--Of
+Cotton.--Of Flax.--Conclusion from the Examination 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. =Of
+Dyeing of Cotton Thread=: 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.--=Indexes.=
+
+       *       *       *       *       *
+
+=THE DYEING OF COTTON FABRICS=: A Practical Handbook for the Dyer and
+Student. By FRANKLIN BEECH, Practical Colourist and Chemist. 272 pp.
+Forty-four Illustrations of Bleaching and Dyeing Machinery. Demy 8vo.
+1901. Price 7s. 6d.; India and Colonies, 8s.: Other Countries, 8s. 6d.;
+strictly net.
+
+=Contents.=
+
+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.
+
+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.
+
+       *       *       *       *       *
+
+=COTTON SPINNING= (First Year). By THOMAS THORNLEY, Spinning Master,
+Bolton Technical School. 160 pp. 84 Illustrations. Crown 8vo. 1901.
+Price 3s.; Abroad, 3s. 6d.; strictly net.
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+=COTTON SPINNING= (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.
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+=COTTON SPINNING= (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.
+
+=Contents.=
+
+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.
+
+
+       *       *       *       *       *
+
+
+=Books for Mining Engineers and Steam Users.=
+
+       *       *       *       *       *
+
+=RECOVERY WORK AFTER PIT FIRES.= 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 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.
+
+=Contents.=
+
+Preface.--=I., Causes of Pit Fires:= 1, Fires Resulting from the
+Spontaneous Ignition of Coal; 2, Fires Caused by Burning Timber; 3,
+Fires Caused by Fire-damp Explosions.--=II., Preventive Regulations:= 1,
+The Outbreak and Rapid Extension of a Shaft Fire can be most reliably
+prevented by Employing little or no Combustible Material in the
+Construction of the Shaft; 2, Precautions for Rapidly Localising an
+Outbreak of Fire in the Shaft; 3, Precautions to be Adopted in case
+those under 1 and 2 Fail or Prove Inefficient Precautions against
+Spontaneous Ignition of Coal. Precautions for Preventing Explosions of
+Fire-damp and Coal Dust. Employment of Electricity in Mining,
+particularly in Fiery Pits. Experiments on the Ignition of Fire-damp
+Mixtures and Clouds of Coal Dust by Electricity.--=III., Indications of
+an Existing-or Incipient Fire.--IV., Appliances for Working in
+Irrespirable Gases:= 1, Respiratory Apparatus; 2, Apparatus with Air
+Supply Pipes, (_a_) The Bremen Smoke Helmet, (_b_) The Müller Smoke
+Helmet, (_c_) The Stolz Rescue Mask; 3, Reservoir Apparatus: 4, Oxygen
+Apparatus. The Schwann Respiratory Apparatus. The Fleuss Respiratory
+Apparatus. The Improved Walcher-Gärtner Pneumatophor, (_a_) The Single
+Bottle Apparatus, Instructions for using the Pneumatophor, Taking to
+Pieces and Resetting the Apparatus ready for Use; (_b_) Two Bottle
+Apparatus (Shamrock Type). The Neupert Rescue Apparatus (The Mayer-Pilar
+System).--=V. Extinguishing-Pit Fires:= (_a_)Chemical Means: (_b_)
+Extinction with Water. Dragging down the Burning Masses and Packing with
+Clay: (_c_) Insulating the Seat of the Fire by Dams. Dam Building. Dam
+Work in the Fiery Pits of Southern Hungary: (_a_) Cross-dams of Clay;
+(_b_) 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: (_a_) Upright Balk Dams;
+(_b_) Horizontal Balk Dams; (c) Wedge Dams, Masonry Dams. Examples of
+Cylindrical and Dome-shaped Dams. Dam Doors: Flooding the Whole
+Pit.--=VI., Rescue Stations:= (_a_) Stations above Ground; (_b_)
+Underground Rescue Stations.--=VII., Spontaneous Ignition of Coal in
+Bulk.=--Index.
+
+=Illustrations.=
+
+Sheet I., =Respiratory and Rescue Appliances--Precautions against Fire.=
+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.,
+=Respiratory and Rescue Apparatus.= Figs. 1, Recovery Work with Muller's
+Smoke Helmet after a Fire: 2-8, The Fleuss Respiration Apparatus: 9, The
+Walcher-Gärtner Pneumatophor: 10-12, Pneumatophor (Shamrock
+Type).--Sheet III., =Respiratory and Rescue Apparatus--Stretchers.=
+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, =Stretchers.= 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., =Dams.= Figs. 1-7, R. Wagners
+Portable Safety Dam.--Sheet V., =Signalling Appliances --Dam
+Construction--Cable Laying.= Figs. 1-3, Signalling Appliances: 1, Small
+Induction Apparatus for Pit Work; 2, Bell Signal for Pit Work; 3, Pit
+Telephone; 4-18, =Dam Construction;= 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., =Working with Diving Gear in
+Irrespirable Gases--Gallery Work.= 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., =Working
+with Diving Gear in Irrespirable Gases (Mayer System)--Appliances in the
+Shaft.= 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.
+
+=Press Opinions.=
+
+    "A work of this extremely valuable character deserves to be made
+    widely known amongst colliery managers and mining engineers at home
+    and abroad."--_Coal and Iron._
+
+    "This book is, in a manner, unique. The literature of mining
+    accidents is fairly extensive, but it consists largely of
+    departmental Blue Books."--_Sheffield Daily Telegraph._
+
+    "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."--_Staffs
+    Advertiser._
+
+    "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."--_Ironmonger._
+
+    "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.--_Colliery Manager._
+
+       *       *       *       *       *
+
+=THE PREVENTION OF SMOKE.= 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.
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+=GAS AND COAL DUST FIRING.= A Critical Review of the Various Appliances
+Patented in Germany for this purpose since 1885. By ALBERT PÜTSCH. 130
+pp. Demy 8vo. 1901. Translated from the German. With 103 Illustrations.
+Price 7s. 6d.; India and Colonies, 8s.; Other Countries, 8s. 6d.;
+strictly net.
+
+=Contents.=
+
+Generators--Generators Employing Steam--Stirring and Feed Regulating
+Appliances--Direct Generators--Burners--Regenerators and
+Recuperators--Glass Smelting Furnaces--Metallurgical Furnaces--Pottery
+Furnace--Coal Dust Firing.--Index.
+
+=Press Opinions.=
+
+    "The work is worthy of perusal by all consumers of fuel. It is
+    exceedingly well printed and illustrated."--_Chemical Trade
+    Journal._
+
+    "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."--_Halifax Guardian._
+
+    "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."--_Iron and Coal Trades Review._
+
+    "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."--_North British
+    Daily Mail._
+
+
+       *       *       *       *       *
+
+
+=Books on Plumbing, Decorating, Metal Work, etc., etc.=
+
+       *       *       *       *       *
+
+=EXTERNAL PLUMBING WORK.= 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.
+
+=Contents.=
+
+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).
+
+=Press Opinions.=
+
+    "This is an eminently practical and well-illustrated volume on the
+    management of external lead work."--_Birmingham Daily Post._
+
+    "It is thoroughly practical, containing many valuable hints, and
+    cannot fail to be of great benefit to those who have not had large
+    experience."--_Sanitary Journal._
+
+    "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."--_The
+    Ironmonger._
+
+    "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."--_Ironmongery._
+
+       *       *       *       *       *
+
+=HINTS TO PLUMBERS ON JOINT WIPING, PIPE BENDING AND LEAD BURNING.=
+Third Edition, Revised and Corrected. By JOHN W. HART, R.P.C. 184
+Illustrations. 313 pp. Demy 8vo. 1901. Price 7s. 6d.; India and
+Colonies, 8s.; Other Countries, 8s. 6d.; strictly net.
+
+=Contents.= 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.
+
+=Press Opinions.=
+
+    "Rich in useful diagrams as well as in hints."--_Liverpool Mercury._
+
+    "The papers are eminently practical, and go much farther into the
+    mysteries they describe than the title 'Hints' properly
+    suggests."--_Scotsman._
+
+    "The articles are apparently written by a thoroughly practical man.
+    As a practical guide the book will doubtless be of much
+    service."--_Glasgow Herald._
+
+    "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, _viz._, 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."--_English Mechanic._
+
+    22 PRYME STREET, HULL, _24th November_, 1894. "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."
+
+       *       *       *       *       *
+
+=THE PRINCIPLES AND PRACTICE OF DIPPING, BURNISHING, LACQUERING AND
+BRONZING BRASS WARE.= By W. NORMAN BROWN. 35 pp. Crown 8vo. 1900. Price
+2s.; Abroad, 2s. 6d.; strictly net.
+
+=Contents.= 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.
+
+=Press Opinions.=
+
+    "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."--_Leicester Post._
+
+    "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."--_Irish Builder._
+
+       *       *       *       *       *
+
+=WORKSHOP WRINKLES= for Decorators, Painters, Paperhangers and Others.
+By W.N. BROWN. Crown 8vo. 128 pp. 1901. Price 2s. 6d.; Abroad, 3s.;
+strictly net.
+
+=Contents.= Parts I., Decorating.--II., Painting.--III.,
+Paper-hanging.--IV., Miscellaneous. Arranged in alphabetical order.
+
+       *       *       *       *       *
+
+=HOUSE DECORATING AND PAINTING.= 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.
+
+=Contents.= 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.
+
+=Press Opinion.= "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."--_Building Industries._
+
+       *       *       *       *       *
+
+=A HISTORY OF DECORATIVE ART.= By W. NORMAN BROWN. Thirty-nine
+Illustrations. 96 pp. Crown 8vo. 1900. Price 2s. 6d.; Abroad, 3s.;
+strictly net.
+
+=Contents.= 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.
+
+=Press Opinion.=
+
+    "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."--_Midland
+    Counties Herald._
+
+       *       *       *       *       *
+
+=A HANDBOOK ON JAPANNING AND ENAMELLING FOR CYCLES, BEDSTEADS, TINWARE,
+ETC.= By WILLIAM NORMAN BROWN. Price 2s. net. [_Ready._
+
+=Contents.= 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.
+
+       *       *       *       *       *
+
+=THE PRINCIPLES OF HOT WATER SUPPLY.= 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.
+
+=Contents.= 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.
+
+=Press Opinion.=
+
+    "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."--_Wigar Observer._
+
+
+       *       *       *       *       *
+
+
+=Brewing and Botanical.=
+
+       *       *       *       *       *
+
+=HOPS IN THEIR BOTANICAL, AGRICULTURAL AND TECHNICAL ASPECT, AND AS AN
+ARTICLE OF COMMERCE.= By EMMANUEL GROSS, Professor at the Higher
+Agricultural College, Tetschen-Liebwerd. Translated from the German.
+Seventy-eight Illustrations. 1900. 340 pp. Demy 8vo. Price 12s. 6d.;
+India and Colonies, 13s. 6d.; Other Countries, 15s.; strictly net.
+
+=Contents.= 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: (_a_) Red Hops; (_b_) Green Hops; (_c_) 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.
+
+=PART III., CULTIVATION.= The Requirements of the Hop in Respect of
+Climate, Soil and Situation: Climate; Soil; Situation,--Selection of
+Variety and Cuttings.--Planting a Hop Garden: Drainage; Preparing the
+Ground; Marking-out for Planting; Planting; Cultivation and Cropping of
+the Hop Garden in the First Year.--Work to be Performed Annually in the
+Hop Garden: Working the Ground; Cutting; The Non-cutting System; The
+Proper Performance of the Operation of Cutting: 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.
+
+=Press Opinions.=
+
+    "The subject is dealt with fully in every little detail;
+    consequently, even the veriest tyro can take away some useful
+    information from its pages."--_Irish Farming World._
+
+    "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."--_Licensed Victuallers' Gazette._
+
+    "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."--_Hereford Times._
+
+    "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."--_South
+    Eastern Gazette._
+
+    "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."--_Brewers' Journal._
+
+    "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."--_Burton Mail._
+
+    "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."--_Hereford Journal._
+
+    "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."--_Brewers' Guardian._
+
+
+       *       *       *       *       *
+
+
+=Public Libraries.=
+
+       *       *       *       *       *
+
+=BRITISH LIBRARY YEAR BOOK, 1900-1901.= 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.
+
+=Contents.= 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 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.
+
+=Press Opinions.=
+
+    "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."--_Western (Cardiff) Mail._
+
+
+       *       *       *       *       *
+
+
+_WORKS IN PREPARATION._
+
+       *       *       *       *       *
+
+=PRINCIPLES OF SIDEROLOGY= (The Science of Iron). Translated from the
+German of HANKS FREIHERR v. ZÜPTNER.
+
+=STAINED GLASS= (Ancient and Modern) and =FRET LEAD GLAZING.= By E.R.
+SUFFLING.
+
+=TREATISE ON CLOTH FINISHING.= By ROBERT BEAUMONT, of Yorkshire College,
+Leeds.
+
+=INDIA-RUBBER; GUTTA PERCHA.=
+
+=EVAPORATION, CONDENSATION AND COOLING.= Calculations of Dimensions of
+Apparatus. By E. HAUSBRAND. Tables. For Chemists, Chemical and
+Mechanical Engineers.
+
+=THE CHEMICAL TECHNOLOGY OF TEXTILE FIBRES.= Spinning, Washing,
+Bleaching, Dyeing, Printing and Finishing. By Dr. G. von GEORGIEVICS.
+                                                    [_In the Press._
+
+=WEAVING MACHINERY.= Three Vols. By HARRY NISBET.
+
+=COLOUR TERMS: THEIR PROPER USE AND MEANING.= By DAVID PATERSON.
+
+=LEAD AND ITS COMPOUNDS.= By THOS. LAMBERT.
+
+=COTTON COMBERS AND THE COMBING PROCESS.= By THOS. THORNLEY.
+                                                  [_In the Press._
+
+=TIMBER.= 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.
+
+=USE OF WATER IN THE INDUSTRIAL ARTS.= Composition--Influences--Residual
+Water--Purification--Analysis. From the French of H. de la Coux. 135
+Illustrations. About 500 pp.
+
+=DYERS' MATERIALS:= 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.). [_In the Press._
+
+
+       *       *       *       *       *
+
+
+=HANDY GUIDES TO THE CHOICE OF BOOKS.=
+
+       *       *       *       *       *
+
+Vol. I. =PROSE FICTION.=
+
+Vol. II. =TECHNICAL, TRADE AND COMMERCIAL BOOKS.=
+
+_Others to follow._            [_In Preparation._
+
+       *       *       *       *       *
+
+_The Publishers will advise when any of the above books are ready to
+firms sending their addresses._
+
+
+
+
+
+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 21224-8.txt or 21224-8.zip *****
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+
+
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+will be renamed.
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+one owns a United States copyright in these works, so the Foundation
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+    <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>
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+<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
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+
+
+
+
+<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 &amp; 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&mdash;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'>&nbsp;</td>
+</tr>
+<tr><td align='left'>&nbsp;</td><td align='left'><strong>PAGE</strong></td>
+</tr>
+<tr><td align='left'><strong>CHAPTER I.</strong></td><td align='left'>&nbsp;</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'>&nbsp;&nbsp;Action of Alkalies</td><td align='right'><a href="#Page_6">6</a></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;Action of Acids on Cellulose</td><td align='right'><a href="#Page_9">9</a></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;Action of Sulphuric Acid on Cotton</td><td align='right'><a href="#Page_10">10</a></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;Action of Hydrochloric Acid</td><td align='right'><a href="#Page_11">11</a></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;Action of Nitric Acid</td><td align='right'><a href="#Page_12">12</a></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;Action of Oxidising Agents on Cellulose or Cotton</td><td align='right'><a href="#Page_16">16</a></td></tr>
+<tr><td align='left'>&nbsp;</td><td align='right'>&nbsp;</td></tr>
+<tr><td align='left'><strong>CHAPTER II.</strong></td><td align='right'>&nbsp;</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'>&nbsp;&nbsp;Stains and Damages in Bleached Goods</td><td align='right'><a href="#Page_50">50</a></td></tr>
+<tr><td align='left'>&nbsp;</td><td align='right'>&nbsp;</td></tr>
+<tr><td align='left'><strong>CHAPTER III.</strong></td><td align='right'>&nbsp;</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'>&nbsp;&nbsp;Hand Dyeing</td><td align='right'><a href="#Page_53">53</a></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;Dyeing Machines</td><td align='right'><a href="#Page_57">57</a></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;Dyeing, Slubbing, Sliver or Carded Cotton and Wool</td><td align='right'><a href="#Page_58">58</a></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;Cop Dyeing</td><td align='right'><a href="#Page_64">64</a></td></tr>
+<tr><td align='left'>&nbsp;</td><td align='right'>&nbsp;</td></tr>
+<tr><td align='left'><strong>CHAPTER IV.</strong></td><td align='right'>&nbsp;</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'>&nbsp;&nbsp;(1) Direct Dyeing</td><td align='right'><a href="#Page_85">85</a></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;(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'>&nbsp;&nbsp;(3) Direct Dyeing followed by Fixation with Developers</td><td align='right'><a href="#Page_128">128</a></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;(4) Direct Dyeing followed by Fixation with Couplers</td><td align='right'><a href="#Page_139">139</a></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;(5) Dyeing on Tannic Mordant</td><td align='right'><a href="#Page_147">147</a></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;(6) Dyeing on Metallic Mordants</td><td align='right'><a href="#Page_156">156</a></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;(7) Production of Colour Direct upon Cotton Fibres</td><td align='right'><a href="#Page_181">181</a></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;(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'>&nbsp;</td></tr>
+<tr><td align='left'><strong>CHAPTER V.</strong></td><td align='right'>&nbsp;</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'>&nbsp;</td><td align='right'>&nbsp;</td></tr>
+<tr><td align='left'><strong>CHAPTER VI.</strong></td><td align='right'>&nbsp;</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'>&nbsp;&nbsp;Method of Dyeing&nbsp;</td><td align='right'><a href="#Page_225">225</a></td></tr>
+<tr><td align='left'>&nbsp;</td><td align='right'>&nbsp;</td></tr>
+<tr><td align='left'><strong>CHAPTER VII.</strong></td><td align='right'>&nbsp;</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'>&nbsp;&nbsp;Washing, Soaping, Drying&nbsp; </td><td align='right'><a href="#Page_239">239</a></td></tr>
+<tr><td align='left'>&nbsp;</td><td align='right'>&nbsp;</td></tr>
+<tr><td align='left'><strong>CHAPTER VIII.</strong></td><td align='right'>&nbsp;</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'>&nbsp;</td><td align='right'>&nbsp;</td></tr>
+<tr><td align='left'><strong>CHAPTER IX.</strong></td><td align='right'>&nbsp;</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 &amp; Platt's Low-pressure Bleaching Kier</td><td align='right'><a href="#Page_31">31</a></td></tr>
+<tr><td align='left'>5. Mather &amp; 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&mdash;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 &frac14; inch to 1&frac12; 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&mdash;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&mdash;cotton rarely containing more than 5 per
+cent.&mdash;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>.&mdash;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>&mdash;Dr. E. Schunck made an investigation
+many years ago into the character of the impurities, and found them to
+consist of the following substances:&mdash;</p>
+
+<p><b>Cotton Wax.</b>&mdash;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>&mdash;A solid, fatty acid, melting at 55&deg; C. is also present
+in cotton. Probably stearic acid is the main constituent of this fatty
+acid.</p>
+
+<p><b>Colouring Matter.</b>&mdash;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>&mdash;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>.&mdash;A small quantity of albuminous matter is found among the
+impurities of cotton.</p>
+
+<p><b>Structure of the Cotton Fibre</b>.&mdash;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&mdash;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 &frac34; to &#8542; 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>&mdash;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.&mdash;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:&mdash;</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&mdash;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&deg; 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&deg; to 55&deg; 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.&mdash;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&mdash;for example acetic, oxalic, citric, tartaric&mdash;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&deg; 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&deg; to 2&deg; 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&deg;
+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:&mdash;</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&deg; 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>&mdash;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&mdash;the Benzo, Congo, Diamine,
+Titan, Mikado, etc., dyes&mdash;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:&mdash;</p>
+
+<p>(1) <b>Zinc Chloride.</b>&mdash;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>&mdash;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>&mdash;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&mdash;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&mdash;loose cotton, yarn, or piece&mdash;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>&mdash;When dark shades&mdash;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&mdash;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>&mdash;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:&mdash;</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:&mdash;</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>&mdash;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 &amp; 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 &amp; 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:&mdash;</p>
+
+<p>(2) <b>Singeing.</b>&mdash;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>&mdash;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>&mdash;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&mdash;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 &amp; 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 &amp; Platt's Low-pressure Bleaching Kier." title="Mather &amp; Platt's Low-pressure Bleaching Kier" />
+<span class="caption">Fig. 4.&mdash;Mather &amp; Platt&#39;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>&mdash;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&deg; 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:&mdash;</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&deg; 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&deg;, 3&deg;, 4&deg;, 5&deg; Twaddell, as well as for 2&deg;
+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>.&mdash;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>&mdash;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&deg; to 20&deg; 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&deg; 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 1&frac12; to 1&frac34; 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 3&frac12; 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&mdash;with
+the resin this never or but rarely happens.</p>
+
+<p>(8) <b>Wash.</b>&mdash;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 &amp; 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>&mdash;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 &frac12; to 1&deg; 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 &frac12;&deg; Tw.
+rather than 1&deg; 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>.&mdash;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&deg; 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>&mdash;(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
+2&frac12; 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>&mdash;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:&mdash;</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&deg; 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&deg; Tw., boil for three hours;
+wash.</p>
+
+<p>(6) White sour, sulphuric acid at 2&deg; 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:&mdash;</p>
+
+<p>(1) Lime boil, using 480 lb. lime, and boiling for ten hours.</p>
+
+<p>(2) Grey sour, hydrochloric acid at 2&deg; 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>&mdash;</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
+&frac12;&deg; 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&deg; 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:&mdash;</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 &frac12;&deg; Tw., allowing them to
+steep for two hours, then wash and whiz.</p>
+
+<p>(5) White sour, using hydrochloric acid at 2&deg; 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:&mdash;</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>&mdash;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>&mdash;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:&mdash;</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&deg; Tw., washing.</p>
+
+<p>(5) Sour, sulphuric acid at 2&deg; 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&mdash;for warp drying&mdash;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>&mdash;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:&mdash;</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 &amp; 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 &amp; Platt's Yarn-bleaching Kier." title="Mather &amp; Platt's Yarn-bleaching Kier" />
+<span class="caption">FIG. 5.&mdash;Mather &amp; Platt&#39;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&mdash;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.&mdash;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.&mdash;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.&mdash;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>&mdash;Few machines have been designed for this
+purpose, and about the only successful one is:</p>
+
+<p><b>Delahunty's Dyeing Machine.</b>&mdash;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.&mdash;Delahunty's Dyeing Machine.</span>
+</div>
+
+<p>It is found in practice that the dyeing of loose wool or cotton is not
+altogether satisfactory&mdash;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.&mdash;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.&mdash;Holliday&#39;s Yarn-dyeing Machine.</span>
+</div>
+
+<p><b>Holliday's Yarn-dyeing Machine.</b>&mdash;In Fig. 11 is given an illustration
+of a machine for dyeing yarn in the hank form made by Messrs. Read
+Holliday &amp; 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>&mdash;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.&mdash;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&mdash;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.&mdash;Graemiger Cop-dyeing Machine.</span>
+</div>
+
+<p><b>Graemiger's Cop-dyeing Machine.</b>&mdash;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.&mdash;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.&mdash;Beaumont's Cop-dyeing Machine.</span>
+</div>
+
+<p><b>Beaumont's Cop-dyeing Machine.</b>&mdash;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&mdash;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 &amp; Crippin's Cop-dyeing Machine.</b>&mdash;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>&mdash;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>&mdash;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.&mdash;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.&mdash;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>.&mdash;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.&mdash;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&mdash;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.&mdash;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&mdash;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>&mdash;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&mdash;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.&mdash;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.&mdash;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.&mdash;Holliday&#39;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 &amp; 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.&mdash;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.&mdash;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.&mdash;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&mdash;derived from the various dye-woods, etc.&mdash;or
+artificial&mdash;prepared from coal tar&mdash;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:&mdash;</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:&mdash;</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&mdash;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&mdash;especially the alkaline ones, soda, potash, borax,
+phosphate of soda&mdash;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 formul&aelig;.</p>
+
+<p>All the formul&aelig; 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>&mdash;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>&mdash;Prepare a dye-bath with 3 lb. salt, 5 lb. phosphate of
+soda, 1 lb. soap, &frac12; oz. Benzo orange R. For a pale shade like this it
+is not necessary to heat to the boil, a temperature of 170&deg; to 180&deg; F.
+is sufficient.</p>
+
+<p><i>Dark Plum.</i>&mdash;Prepare a dye-bath with 20 lb. of Glauber's salt, 2&frac12;
+lb. soap, 1&frac12; lb. Diamine black R O. and 2 lb. Diamine red N. Enter at
+180&deg; F., work for a few minutes, then raise to boil and dye to shade;
+lift, wash and dry.</p>
+
+<p><i>Turkey Red.</i>&mdash;Prepare a dye-bath with 1&frac12; 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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;Make the dye-bath with &frac12; lb. Diamine rose B D, &frac12; lb.
+soda, 1 lb. soap and 5 lb. Glauber's salt, working at 150&deg; F. for half
+an hour.</p>
+
+<p><i>Dark Red.</i>&mdash;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>&mdash;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>&mdash;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>&mdash;Prepare the dye-bath with 3 lb. Titan scarlet C, &frac12; 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>&mdash;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 3&frac12; lb. of colour and 25 lb. of salt only need be
+added.</p>
+
+<p><i>Scarlet.</i>&mdash;Prepare the dye-bath with 5 lb. Rosophenine 5 B, dissolved
+in 50 gallons hot water, 2 gallons caustic soda lye (60&deg; 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&deg; F;
+squeeze off and wash thoroughly in cold water until the water runs off
+clean.</p>
+
+<p><i>Rose Red.</i>&mdash;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>&mdash;Use 3 lb. Diamine red 10 B, 3 lb. soda and 20 lb.
+Glauber's salt.</p>
+
+<p><i>Claret.</i>&mdash;Use 3 lb. Diamine Bordeaux B, 3 lb. soda and 20 lb. Glauber's
+salt.</p>
+
+<p><i>Pink.</i>&mdash;The dye-bath is made with 5 oz. Dianil red 4 B, 5 lb. salt and
+3 lb. soda.</p>
+
+<p><i>Scarlet.</i>&mdash;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>&mdash;Dye with 1&frac12; lb. Dianil claret G, 3 lb. soda and 20 lb.
+salt. Work at the boil for one hour.</p>
+
+<p><i>Maroon.</i>&mdash;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>&mdash;Use in the dye-bath 2&frac12; lb. Dianil red 4 B 5 oz.
+Dianil orange G, 3 lb. soda and 15 lb. salt.</p>
+
+<p><i>Dark Maroon.</i>&mdash;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>&mdash;Dye with 3 lb. Congo rubine, 5 lb. soda and 20 lb. Glauber's
+salt.</p>
+
+<p><i>Dark Maroon.</i>&mdash;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>&mdash;Use in the dye-bath 1&frac12; oz. Diamine red 5 B, 1&frac12;
+oz. Diamine catechine G, 3 lb. soda and 10 lb. Glauber's salt.</p>
+
+<p><i>Rose Red.</i>&mdash;Prepare the dye-bath with &frac34; lb. Diamine Bordeaux B, 3 oz.
+Diamine orange B, 3 lb. soda and 20 lb. salt.</p>
+
+<p><i>Crimson.</i>&mdash;Use in the dye-bath &frac34; lb. Diamine Bordeaux B, 3 oz.
+Diamine fast yellow B, 3 lb. soda and 20 lb. Glauber's salt.</p>
+
+<p><i>Salmon.</i>&mdash;Dye with 1&frac12; oz. Diamine fast red F, 1&frac12; 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>&mdash;Dye with 1&frac12; lb. Diamine brown M, &frac34; lb. Diamine
+fast red F, 3 lb. soda and 20 lb. Glauber's salt.</p>
+
+<p><i>Lilac Red.</i>&mdash;Dye with 4 lb. Heliotrope B B, 3 lb. soda and 15 lb.
+Glauber's salt.</p>
+
+<p><i>Bright Pink.</i>&mdash;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>&mdash;Dye in a bath made of &frac14; lb. Titan yellow G G, 10 lb.
+salt, for three-quarters of an hour, then lift, wash and dry.</p>
+
+<p><i>Yellow.</i>&mdash;Prepare a dye-bath with 1 lb. Titan yellow Y, 10 lb. salt.
+Heat to 180&deg; F., enter the goods, raise to boil, and dye for one hour;
+lift, wash and dry.</p>
+
+<p><i>Yellow.</i>&mdash;Prepare the dye-bath with &frac14; 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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;The bath is made from 2 lb. Toluylene orange G, 10 lb.
+phosphate of soda, and 2&frac12; lb. soap, working at the boil to shade.</p>
+
+<p><i>Bright Yellow.</i>&mdash;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>&mdash;Use 1 oz. Chrysamine G, 2 lb. phosphate of soda and 10
+lb. Glauber's salt.</p>
+
+<p><i>Yellow.</i>&mdash;Dye with 2 lb. Oxyphenine and 20 lb. salt.</p>
+
+<p><i>Yellow Olive.</i>&mdash;Use in the dye-bath 2 oz. Cotton brown N, 4&frac12; oz.
+Diamine bronze G, 4&frac12; oz. Diamine fast yellow B, 3 lb. soda and 20 lb.
+salt.</p>
+
+<p><i>Green Yellow.</i>&mdash;Dye with &frac12; 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>&mdash;Use in the dye-bath 3 lb. Columbia yellow, 3 lb. soda
+and 20 lb. Glauber's salt.</p>
+
+<p><i>Cream.</i>&mdash;Dye with &frac12; oz. Toluylene orange G, 24 grains Brilliant
+orange G, 1 lb. soda and 10 lb. Glauber's salt.</p>
+
+<p><i>Primrose.</i>&mdash;Dye with 3 oz. Dianil yellow 3 G, 2 lb. soda and 10 lb.
+salt.</p>
+
+<p><i>Gold Yellow.</i>&mdash;Dye with 2&frac12; lb. Dianil yellow G, &frac12; lb. soda and 15
+lb. salt.</p>
+
+<p><i>Buff Yellow.</i>&mdash;Dye with 3&frac12; oz. Dianil yellow 2 R, &frac12; lb. soda and
+10 lb. salt.</p>
+
+<p><i>Orange.</i>&mdash;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>&mdash;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>&mdash;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>&mdash;The dye-bath contains 6 oz. Diamine Orange G, 1&frac12; oz.
+Diamine fast yellow B, &frac14; oz. Diamine scarlet B, 3 lb. soda and 15 lb.
+Glauber's salt.</p>
+
+<p><i>Olive Yellow.</i>&mdash;Dye with &frac34; lb. Diamine fast yellow B, 1 oz.
+Oxydiamine black N, 1&frac12; oz. Diamine bronze G, 3 lb. soda and 20 lb.
+Glauber's salt.</p>
+
+<p><i>Dark Orange.</i>&mdash;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>&mdash;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>&mdash;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>&mdash;Dye with 4 lb. Dianil orange G and 20 lb. salt for
+one hour.</p>
+
+<p><i>Deep Orange.</i>&mdash;Dye with 2 lb. Oxydiamine orange R, &frac34; lb. soda and 20
+lb. salt for an hour.</p>
+
+<p><i>Pale Orange.</i>&mdash;Dye with &frac34; 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>&mdash;Dye with 1&frac12; lb. Benzo orange R, 1&frac12; lb.
+Chrysamine R, 10 lb. phosphate of soda and 2 lb. soap.</p>
+
+<p><i>Green.</i>&mdash;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>&mdash;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>&mdash;Prepare a dye-bath with 3&frac12; lb. Benzo olive, 2&frac12; 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&deg; 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>&mdash;Dye in a bath of 2 lb. Titan yellow Y, 1 lb. Diamine
+brown Y, 1&frac12; lb. Diamine blue 3 B, 2 lb. soda. Work for one hour, then
+lift, wash and dry.</p>
+
+<p><i>Olive.</i>&mdash;Prepare a dye-bath with 15 lb. phosphate of soda, 3 lb. soap,
+1&frac12; lb. Diamine yellow N, 4 oz. Diamine blue 3 B, 1&frac12; oz. Diamine
+brown V. Dye at the boil to shade; lift, wash and dry.</p>
+
+<p><i>Green Olive.</i>&mdash;Prepare the dye-bath with 1 lb. Diamine black R O, 1 lb.
+Chrysamine, &frac14; lb. Benzo brown, 5 lb. soda, 5 lb. salt, 2 lb. soap. The
+goods are entered at about 180&deg;<!-- 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>&mdash;Prepare a bath with 10 lb. Glauber's salt, 2 lb. soap, &frac12;
+lb. Diamine black R O, 2 lb. Diamine yellow N. Enter at 120&deg; F., heat to
+boil and dye for one hour at that temperature; lift, wash and dry.</p>
+
+<p><i>Sage Green.</i>&mdash;Prepare a dye-bath with 10 lb. Glauber's salt, &frac12; lb.
+Diamine black R O, 2 lb. Diamine yellow N. Enter at about 150&deg; F. and
+then raise to boil and dye boiling for one hour, wash and dry.</p>
+
+<p><i>Drab.</i>&mdash;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>&mdash;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>&mdash;The dyeing is done in a bath containing 4 oz. Diamine black H
+W, 1&frac34; 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>&mdash;Make the dye-bath with 2 lb. Chrysamine G, 1&frac12; oz.
+Benzo azurine G, 3 lb. soap and 10 lb. borax, working at the boil for
+one hour.</p>
+
+<p><i>Green.</i>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;Use in the dye-bath 1 oz. Thioflavine S, &frac14; oz.
+Diamine sky blue F F and 20 lb. Glauber's salt.</p>
+
+<p><i>Dark Green.</i>&mdash;Use 1&frac34; lb. Diamine green G, &frac34; 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>&mdash;Use 1&frac34; lb. Diamine green G, &frac34; lb. Diamine black B H,
+&frac12; lb. Oxydiamine yellow G G, 3 lb. soda, and 20 lb. Glauber's salt.</p>
+
+<p><i>Sea Green.</i>&mdash;Use 2 oz. Dianil yellow R, 2&frac12; oz. Dianil blue B, 1&frac34;
+oz. Dianil dark blue R, 1 lb. soda, and 20 lb. salt, working at the
+boil.</p>
+
+<p><i>Leaf Green.</i>&mdash;Dye with 1&frac12; 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>&mdash;Dye with 2&frac12; lb. Dianil yellow 3 G, 2&frac12; 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>&mdash;Prepare a dye-bath with &frac12; 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>&mdash;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&deg; F., and boil for one hour.</p>
+
+<p><i>Pale Blue.</i>&mdash;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>&mdash;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>&mdash;Prepare the dye-bath with 1&frac12; 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>&mdash;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>&mdash;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>&mdash;Prepare the dye-bath with 2&frac12; lb. Diamineral<!-- Page 96 --><span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span> blue R,
+2&frac12; 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>&mdash;Prepare the dye-bath with 3 lb. Triamine black B, 15 lb.
+Glauber's salt, in 50 gallons of water. Enter at 150&deg; 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>&mdash;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>&mdash;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>&mdash;Prepare the dye-bath with 1 lb. Paramine indigo
+blue, 2 lb. soda, 20 lb. Glauber's salt. Enter at about 150&deg; F., and dye
+at the boil for one hour.</p>
+
+<p><i>Navy Blue.</i>&mdash;Prepare the dye-bath with 4 lb. Paramine navy blue R, 2
+lb. soda, 20 lb. Glauber's salt. Enter at about 150&deg; F., and dye at the
+boil for one hour.</p>
+
+<p><i>Blue.</i>&mdash;Prepare the dye-bath with 1 lb. Paramine navy blue R, 2 lb.
+soda, 20 lb. Glauber's salt. Enter at about 150&deg; F., and dye at the boil
+for one hour.</p>
+
+<p><i>Navy Blue.</i>&mdash;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>&mdash;Prepare the dye-bath with 2 lb. Paramine blue black S, 2
+lb. soda, 20 lb. Glauber's salt. Enter at 150&deg; F., and dye for one hour
+at boil.</p>
+
+<p><i>Blue.</i>&mdash;Prepare the dye-bath with 1 lb. Paramine blue B, 2 lb. soda, 20
+lb. Glauber's salt. Enter at about 150&deg; 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>&mdash;Prepare the dye-bath with &frac14; lb. Diamine black B H, &frac34;
+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>&mdash;Use 3&frac14; lb. Diamine blue B X, &frac12; lb. Oxydiamine black
+N, 3 lb. soda and 20 lb. Glauber's salt at the boil for one hour.</p>
+
+<p><i>Blue.</i>&mdash;Dye at the boil for one hour with 1&frac12; lb. Diamine sky blue, 2
+oz. Diamine green B, 2 lb. soda and 10 lb. Glauber's salt.</p>
+
+<p><i>Navy.</i>&mdash;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>&mdash;Use 2 lb. Dianil blue B, 2 lb. Dianil dark blue R, &frac34; 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>&mdash;Dye with 3&frac12; 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>&mdash;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>&mdash;Use 3 lb. Dianil dark blue R, 3 lb. caustic soda 70&deg; Tw.,
+and 25 lb. salt, working at the boil for one hour.</p>
+
+<p><i>Violet Blue.</i>&mdash;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>&mdash;Use 1 lb. Dianil blue B, and 20 lb. salt, working at the
+boil for one hour.</p>
+
+<p><i>Full Blue.</i>&mdash;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>&mdash;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>&mdash;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>&mdash;Dye with 1&frac12; 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>&mdash;Dye with 6 oz. Diamine blue 3 B, 1&frac12; oz. Diamine sky blue F
+F, 3 lb. soda and 10 lb. Glauber's salt.</p>
+
+<p><i>Navy.</i>&mdash;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>&mdash;Dye with 1&frac34; 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>&mdash;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>&mdash;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>&mdash;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>&mdash;Use 2 lb. Direct indigo blue and 15 lb. Glauber's salt; work at
+the boil.</p>
+
+<p><i>Bright Blue.</i>&mdash;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>&mdash;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>&mdash;Use 4 lb. Titan navy R, and 20 lb. salt at the boil for
+one hour.</p>
+
+<p><i>Green Blue.</i>&mdash;Dye with 1 lb. Dianil blue G, 2&frac12; oz. Dianil yellow G,
+1 lb. soda and 20 lb. salt at the boil for one hour.</p>
+
+<p>Many more formul&aelig; 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>&mdash;Prepare a dye-bath with &frac14; 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>&mdash;Dye with 3 lb. Oxydiamine violet G, 3 lb. soda and 20 lb. salt.</p>
+
+<p><i>Dark Plum.</i>&mdash;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>&mdash;Make the dye-bath with &frac34; 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>&mdash;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>&mdash;Dye with 1&frac12; oz. Diamine rose G D, &frac34; 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>&mdash;Make the dye-bath with &frac12; lb. Diamine violet N, &frac12; oz.
+Diamine brilliant blue G, 1 lb. soda and 10 lb. Glauber's salt, working
+at the boil.</p>
+
+<p><i>Red Violet.</i>&mdash;Dye with 1 lb. Diamine violet N, 1 lb. soda and 10 lb.
+Glauber's salt.</p>
+
+<p><i>Bright Red Lilac.</i>&mdash;Dye with 1&frac34; 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>&mdash;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>&mdash;Dye with 2&frac12; oz. Dianil claret B, 2&frac12; oz. Dianil blue
+4 R, and 10 lb. salt.</p>
+
+<p><i>Light Plum.</i>&mdash;Dye with 10 oz. Dianil claret B, 10 oz. Dianil blue and
+20 lb. salt.</p>
+
+<p><i>Dull Lilac.</i>&mdash;Dye with &frac12; lb. Diamine brown V, 1 lb. soda and 10 lb.
+Glauber's salt.</p>
+
+<p><i>Heliotrope.</i>&mdash;Dye with 4 oz. Heliotrope 2 B, 1 lb. soda and 10 lb.
+Glauber's salt.</p>
+
+<p><i>Plum.</i>&mdash;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>&mdash;Use in the dye-bath 1&frac12; 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>&mdash;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>&mdash;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>&mdash;Prepare a dye-bath with 1 lb. Cachou de laval, &frac14; 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>&mdash;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>&mdash;Prepare a dye-bath with 1&frac34; 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&deg; F., then raise to the boil and work to the
+shade; lift, wash and dry.</p>
+
+<p><i>Brown Drab.</i>&mdash;Prepare a dye-bath with &frac14; lb. Cotton brown N, &frac34; oz.
+Diamine yellow N, &frac34; 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>&mdash;Prepare the dye-bath with 16&frac14; oz. Toluylene orange G,
+9&frac12; oz. Toluylene orange R, 4&frac34; oz. azo mauve, 2&frac12; lb. soap, 5 lb.
+soda. Dye at the boil for one hour.</p>
+
+<p><i>Chestnut Brown.</i>&mdash;Prepare a dye-bath with 10 lb. common salt, 2 lb.
+Benzo brown G, &frac12; lb. Benzo azurine G, &frac12; lb. Chrysophenine. Enter the
+goods at 150&deg; F., raise to the boil and dye boiling for one hour.</p>
+
+<p><i>Purple Brown.</i>&mdash;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&deg; F., raise to the
+boil and dye boiling for an hour; lift, wash and dry.</p>
+
+<p><i>Brown.</i>&mdash;Prepare a dye-bath with 5 lb. soda, 10 lb. Glauber's salt, 12
+oz. Chrysamine, 1 oz. Benzo purpurine, 6&frac14; 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>&mdash;Prepare a dye-bath with 10 lb. salt, 3 lb. Benzo
+brown N B X, raise to 150&deg; F., enter goods, heat to boil, and work for
+one hour; lift, rinse and dry.</p>
+
+<p><i>Dark Brown.</i>&mdash;Prepare a dye-bath with 20 oz. Glauber's salt per gallon
+of water used, 2&frac12; lb. soap, 1&frac12; lb. Diamine black R O, 2 lb. Cotton
+brown N. Enter the yarn at 180&deg; F., give three turns, raise temperature
+to boil, and work to shade; lift, rinse and wash.</p>
+
+<p><i>Gold Brown.</i>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;Prepare the dye-bath with 1 lb. Titan brown Y, 3 oz.
+Columbia green, 32&frac34; 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>&mdash;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>&mdash;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>&mdash;Make the dye-bath with &frac34; lb. Titan gold, &frac14; 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>&mdash;Make the dye-bath with 3 lb. Titan brown R,
+1&frac12; 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>&mdash;Make the dye-bath with 10 lb. salt, 2 lb. soda, 14
+oz. Oxyphenine, &frac34; 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>&mdash;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>&mdash;Use in the dye-bath 4&frac12; 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>&mdash;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>&mdash;Use in the dye-bath 3 lb. Diamine brown M, &frac34; lb.
+Diamine blue black R, 3 lb. soda and 20 lb. Glauber's salt, working at
+the boil.</p>
+
+<p><i>Reddish Brown.</i>&mdash;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>&mdash;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>&mdash;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>&mdash;Prepare the dye-bath with 5 lb. Diamine catechine G, 3
+lb. soda and 15 lb. Glauber's salt.</p>
+
+<p><i>Brown.</i>&mdash;Dye with 2&frac14; 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>&mdash;Make the dye-bath with 3&frac14; 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>&mdash;Dye with 2&frac12; lb. Dianil brown R, 1 lb. soda
+and 20 lb. salt at the boil.</p>
+
+<p><i>Dark Brown.</i>&mdash;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>&mdash;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>&mdash;Use in the dye-bath 2&frac12; lb. Benzo brown G and 15 lb.
+salt, working at the boil.</p>
+
+<p><i>Dark Brown.</i>&mdash;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>&mdash;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>&mdash;Use in the dye-bath 2&frac12; lb. Dianil brown 3 G O, 1&frac12;
+lb. Dianil brown G, &frac34; lb. Dianil dark blue R, 3 lb. soda and 25 lb.
+salt.</p>
+
+<p><i>Dark Brown.</i>&mdash;Dye with 1&frac12; lb. Zambesi black D, 1&frac14; lb. Brilliant
+orange G, 3 lb. soda and 20 lb. Glauber's salt at the boil to shade.</p>
+
+<p><i>Gold Brown.</i>&mdash;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>&mdash;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>&mdash;Dye with 1 lb. Zambesi black D, 1 lb. Curcumine S, &frac34;
+lb. Diamine orange G D, 3 lb. soda and 30 lb. Glauber's salt at the
+boil.</p>
+
+<p><i>Deep Brown.</i>&mdash;Dye 3&frac12; lb. Diamine brown M, &frac34; lb. Oxydiamine orange
+G, &frac34; lb. Diamine black H W, 3 lb. soda and 20 lb. Glauber's salt at
+the boil.</p>
+
+<p><i>Chestnut.</i>&mdash;Dye with 2&frac12; lb. Diamine brown G, &frac34; lb. Oxydiamine
+orange R, 3 lb. soda and 20 lb. Glauber's salt.</p>
+
+<p><i>Pale Walnut Brown.</i>&mdash;Dye with 3&frac12; lb. Diamine brown M, &frac34; lb.
+Oxydiamine orange G, 1&frac12; 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>&mdash;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>&mdash;Prepare the dye-bath with 5 lb. Direct deep black E extra, and
+&frac12; to 1&frac12; oz. common salt per gallon of water. Dye at the boil for
+one hour.</p>
+
+<p><i>Deep Black.</i>&mdash;Prepare the dye-bath with 5&frac12; 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>&mdash;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>&mdash;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>&mdash;Prepare the dye-bath with 6 lb. Pluto black B. Dye at the boil
+for one hour with the addition of &frac34; to 1&frac14; oz. Glauber's salt, &frac12;
+to &frac34; 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>&mdash;Use 2&frac12; lb. Diamine jet black Cr, 2&frac12; 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>&mdash;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>&mdash;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 &frac14; 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>&mdash;Prepare the dye-bath with &frac12; 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>&mdash;Prepare a dye-bath with 4&frac12; oz. Azo mauve A M, 1&frac12;
+oz. Direct yellow G, 3 lb. soda, 15 lb. common salt.</p>
+
+<p><i>Silver Grey.</i>&mdash;Prepare the dye-bath with &frac12; 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>&mdash;Dye in a bath with &frac12; 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>&mdash;Prepare a dye-bath with &frac12; lb. Diamine bronze G, 15 lb.
+Glauber's salt, 3 lb. soap. Enter at about 160&deg; F., raise to boil and
+work for one hour; lift, wash and dry.</p>
+
+<p><i>Dark Slate.</i>&mdash;Prepare a dye-bath with 10 lb. Glauber's salt, 1&frac12; lb.
+soap, 1 lb. Diamine black R O, 2 lb. Cotton brown N. Heat to about 150&deg;
+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>&mdash;Prepare a dye-bath with 10 lb. Glauber's salt, 1 lb.
+Diamine black R O, &frac34; oz. Thioflavine S. Enter at from 150&deg; Tw. to 180&deg;
+F., raise to boil and dye for one hour; wash and dry.</p>
+
+<p><i>Light Slate.</i>&mdash;Prepare a dye-bath containing 2&frac14; lb. soap, 15 lb.
+Glauber's salt, 6 oz. Diamine black R O, &frac12; oz. thioflavine S. Enter
+cotton at 140&deg; F., work a little, then heat to boil and dye to shade;
+lift, wash and dry.</p>
+
+<p><i>Grey.</i>&mdash;Prepare the dye-bath with &frac12; lb. Diamine grey G, &frac12; 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>&mdash;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 &frac12; 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:&mdash;</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,
+1&frac12; 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&deg; to
+12&deg; 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&deg; Tw., one made with 50 lb. common salt or Glauber's salt at
+8&deg; Tw., while one which is made with 80 lb. to 100 lb. salt will stand
+at 12&deg; to 13&deg; 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>&mdash;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>&mdash;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>&mdash;Dye with 3&frac12; 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>&mdash;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&deg; F., bring to the boil,
+and boil for half an hour.</p>
+
+<p><i>Pale Leaf Green.</i>&mdash;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>&mdash;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>&mdash;Dye with 2 lb. Dianil yellow R, 1&frac12; 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>&mdash;Dye with 2&frac34; lb. Diamine fast yellow B, 1&frac14; lb.
+Diamine blue R W, &frac34; lb. Diamine blue R W, &frac34; lb. Diamine catechine G;
+fix with 4 lb. sulphate of copper and 2 lb. acetic acid.</p>
+
+<p><i>Russia Green.</i>&mdash;Dye with 2&frac12; 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, 2&frac12; 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>&mdash;Dye with 1&frac34; 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>&mdash;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>&mdash;Dye in a boiling bath with &frac12; lb. Diamine sky blue F F,
+2&frac14; 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>&mdash;Dye at the boil for one hour in a bath containing 2&frac34;
+lb. Diamine fast yellow B, 1&frac34; 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>&mdash;Prepare the dye-bath with 7&frac14; oz. Diamine blue R W,
+5&frac12; 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>&mdash;Dye with 2&frac14; 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>&mdash;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>&mdash;Dye with 2&frac34; 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>&mdash;Dye with 1&frac12; lb. Diamine green B, 1&frac12; 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>&mdash;Use in the dye-bath 2&frac12; 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>&mdash;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>&mdash;Dye with 1&frac34; lb. Diamine brilliant blue G, 1&frac14; 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>&mdash;Dye with 1 lb. Diamine blue 3 R, 2&frac14; 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>&mdash;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>&mdash;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>&mdash;- Dye with 3 lb. Chicago blue R W, 1&frac12; 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>&mdash;Dye with 1&frac14; lb. Zambesi black F, 1&frac14; 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>&mdash;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,
+&frac34; oz. Diamine fast yellow A, &frac12; 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 1&frac12; lb. sulphate of copper for half an hour.</p>
+
+<p><i>Dark Blue.</i>&mdash;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 &frac12; lb. sulphuric acid.</p>
+
+<p><i>Dark Blue.</i>&mdash;Dye with 2&frac12; 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>&mdash;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>&mdash;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>&mdash;Dye with 4&frac14; 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>&mdash;Dye with 2&frac14; lb. Dianil blue B and 20 lb. Glauber's
+salt; fix with 3 lb. of fluoride of chromium.</p>
+
+<p><i>Dark Blue.</i>&mdash;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>&mdash;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>&mdash;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>&mdash;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 1&frac12; lb. sulphate of copper and 1 lb.
+acetic acid.</p>
+
+<p><i>Red Plum</i>.&mdash;Use 3&frac34; 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>.&mdash;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>.&mdash;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>.&mdash;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>.&mdash;Dye for an hour in a boiling bath with 2&frac14; lb.
+Diamine catechine G, 1&frac14; 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>.&mdash;Use 3 lb. Catechu brown G K, 15 lb. Glauber's salt and &frac12; 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>.&mdash;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>.&mdash;Prepare the dye-bath with 9 oz. Diamine blue R W, 12&frac12; oz.
+Diamine orange B, 1&frac34; 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>.&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;Use in the Dye-bath 1&frac34; lb. Diamine brown B, 1&frac34; lb.
+Diamine fast yellow B, &frac12; 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>&mdash;Dye with 2 lb. Diamine brown M, 1 lb. Diamine fast red F,
+&frac12; 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>&mdash;Dye with 1&frac34; lb. Diamine dark blue B, &frac34; lb. Diamine
+orange B, 1&frac34; 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>&mdash;Dye with &frac34; lb. Diamine brown B, 1&frac12; 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>&mdash;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 1&frac12; lb. sulphate of copper and 1 lb. acetic acid.</p>
+
+<p><i>Walnut Brown.</i>&mdash;Dye with 2&frac12; 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>&mdash;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>&mdash;Dye with &frac12; lb. Diamine orange B, &frac14; 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>&mdash;Dye with 9 oz. Diamine blue R W, &frac34; lb. Diamine orange
+B, 1&frac34; 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>&mdash;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>&mdash;Dye with 2&frac12; 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>&mdash;Dye with 2&frac14; lb. Chrysophenine G, 1&frac14; lb. Diamine brown G,
+1&frac14; 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>&mdash;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>&mdash;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>&mdash;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>&mdash;Use in the dye-bath 1 lb. Diamine blue R W, &frac12; lb.
+Diamine orange B, &frac14; 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>&mdash;Dye with &frac14; oz. Diamine orange B, 3 oz. Diamine
+blue R W, &frac12; lb. soda, 2 lb. soap and 5 lb. Glauber's salt, fixing with
+1 lb. sulphate of copper and &frac12; lb. acetic acid.</p>
+
+<p><i>Slate Blue.</i>&mdash;Dye with &frac14; 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>&mdash;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&deg; to 160&deg; 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>&mdash;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 &frac12; lb.
+acetic acid.</p>
+
+<p><i>Green Grey.</i>&mdash;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>&mdash;Dye with 4 oz. Dianil black N, 1 lb. soda and 10 lb. salt,
+fixing with 1 lb. copper sulphate and &frac12; lb. acetic acid.</p>
+
+<p><i>Black.</i>&mdash;Prepare the dye-bath with 5&frac12; 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>&mdash;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>&mdash;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>&mdash;Use in the dye-bath 5 lb. Dianil black C R. 3 lb. caustic
+soda, 36&deg; 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>&mdash;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:&mdash;</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 formul&aelig;. 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>&mdash;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&deg; F. ten to fifteen minutes.</p>
+
+<p><i>Black.</i>&mdash;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&deg; to 180&deg; 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 &frac12; 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>.&mdash;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>.&mdash;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&deg; 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&deg; Tw.). Enter at 150&deg; to 160&deg; 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>.&mdash;Prepare the dye-bath with 5 lb. soda ash, 200 lb. salt and 20
+lb. Amidazol black G, this is heated to 150&deg; 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&deg; 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, 2&frac12; 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
+7&frac12; 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:&mdash;</p>
+
+<p><i>Black</i>.&mdash;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 2&frac12; lb. aniline oil, 2&frac12; lb. hydrochloric
+acid, 6&frac12; lb. sulphuric acid, 7&frac12; lb. bichromate of potash, and
+5&frac12; lb. perchloride of iron, 66&deg; Tw. This is used cold for an hour,
+then the heat is slowly raised to 160&deg; 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>.&mdash;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>.&mdash;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&deg; 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&deg;, 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 1&frac12; lb.
+caustic soda lye at 70&deg; 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 &frac14;
+lb. New methylene blue N, very bright blue shades can be dyed.</p>
+
+<p><i>Dark Navy.</i>&mdash;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 2&frac12; lb. peroxide of sodium and 2&frac12; lb. sulphuric acid, started
+cold, then after twenty minutes heated to 160&deg; 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&deg; Tw.</p>
+
+<p><i>Blue.</i>&mdash;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
+2&frac12; lb. peroxide of sodium and 2&frac12; lb. sulphuric acid; this is
+started cold, then heated to 150&deg; 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>&mdash;Dye with 20 lb. Amidazol black 6 G, 5 lb. soda and 200 lb.
+salt; develop with 2 lb. peroxide of sodium and 2&frac12; lb. sulphuric
+acid, working as noted above.</p>
+
+<p><i>Dark Drab.</i>&mdash;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>&mdash;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>&mdash;Dye with 2&frac12; 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>&mdash;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>&mdash;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>&mdash;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&deg; F. for half an hour, then wash well and dry.</p>
+
+<p><i>Dark Sage.</i>&mdash;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&deg; 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>&mdash;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&deg; F. for half an hour, then wash
+well and dry.</p>
+
+<p><i>Olive.</i>&mdash;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>&mdash;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>&mdash;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>&mdash;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&deg; F. for half an hour, then lift,
+wash and dry.</p>
+
+<p><i>Dark Brown</i>.&mdash;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:&mdash;</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>&mdash;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&deg; 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 1&frac12; 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&deg; 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
+1&frac12; 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&deg; 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 1&frac14; 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 1&frac12; 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
+1&frac12; 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 7&frac12; lb. soda, boiling with 50 gallons
+of water. About 1&frac14; 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, 1&frac14; 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&mdash;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>&mdash;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>&mdash;Dye with 3 lb. Primuline and 20 lb. salt, then diazotise and
+develop with alpha-naphthol.</p>
+
+<p><i>Red Brown.</i>&mdash;Dye with 4 lb. Primuline and 20 lb. salt, then diazotise
+and develop with phenylene diamine.</p>
+
+<p><i>Deep Orange.</i>&mdash;Dye with 3 lb. Primuline and 20 lb. salt, then diazotise
+and develop with resorcine.</p>
+
+<p><i>Pale Orange.</i>&mdash;Dye with 3 lb. Primuline and 20 lb. salt, then diazotise
+and develop with phenol.</p>
+
+<p><i>Sage Brown.</i>&mdash;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>&mdash;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>&mdash;Dye with 5&frac34; lb. Primuline, &frac14; lb. Titan ingrain
+blue and 20 lb. salt, then diazotise and develop with beta-naphthol.</p>
+
+<p><i>Dark Blue.</i>&mdash;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>&mdash;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>&mdash;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 &frac34; lb.
+toluylene diamine and &frac12; lb. beta-naphthol.</p>
+
+<p><i>Red.</i>&mdash;Dye with 4&frac12; lb. Primuline, &frac12; lb. Diamine fast yellow A and
+20 lb. salt, then diazotise and develop with beta-naphthol.</p>
+
+<p><i>Dark Brown.</i>&mdash;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>&mdash;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>&mdash;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>&mdash;Dye with 1 lb. Diamine brown M, 1&frac12; 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>&mdash;Dye with 2 lb. Diaminogene blue B B, &frac12; 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>&mdash;Prepare the dye-bath with 1&frac12; 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 12&frac12; 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>&mdash;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 2&frac12; 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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;Dye with 4&frac12; lb. Diaminogene B, &frac12; 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>&mdash;Dye with 1&frac12; 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>&mdash;Dye with 6 lb. Primuline and 20 lb. salt, diazotise and
+develop with blue developer A N.</p>
+
+<p><i>Olive Brown.</i>&mdash;Dye with 5&frac12; 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>&mdash;Dye with 1 lb. Cotton brown N, &frac34; 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>&mdash;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>&mdash;Dye with 1&frac12; 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>&mdash;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>&mdash;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>&mdash;Dye with 4&frac12; 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>&mdash;Dye with 4&frac12; 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>&mdash;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>&mdash;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>&mdash;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:&mdash;</p>
+
+<p><b>Preparation of diazotised paranitroaniline.</b>&mdash;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
+1&frac12; 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 &frac12; lb. sodium nitrite dissolved in &frac12; 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 &frac12; 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 &frac34; 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 &frac12; 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 1&frac12; lb. acetate of
+soda and 6&frac12; 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>.&mdash;Dye with 5 lb. Benzo-nitrol black B, 1 lb. soda and 20 lb.
+Glauber's salt.</p>
+
+<p><i>Olive Green.</i>&mdash;Dye with 6 lb. Primuline, 3 lb. Titan ingrain blue and
+20 lb. salt.</p>
+
+<p><i>Black</i>.&mdash;Dye with 4 lb. Dianil black C R, 2 lb. soda and 25 lb. salt.</p>
+
+<p><i>Dark Blue.</i>&mdash;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>&mdash;Dye with 1 lb. Primuline, 8 oz. Dianil brown R and 20 lb.
+salt.</p>
+
+<p><i>Chestnut</i>.&mdash;Dye with 3 lb. Primuline, &frac34; lb. Dianil brown G O, 1 lb.
+Dianil brown E, 1 lb. soda and 20 lb. salt.</p>
+
+<p><i>Dark Brown.</i>&mdash;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>&mdash;Dye with 4 lb. Primuline, 1&frac12; lb. Dianil black C R, 1
+lb. soda and 20 lb. salt.</p>
+
+<p><i>Walnut Brown.</i>&mdash;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>.&mdash;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>.&mdash;Dye with 3&frac14; lb. Primuline, 1 lb. Oxydianil yellow,
+and 25 lb. salt.</p>
+
+<p><i>Olive</i>.&mdash;Dye with 3&frac12; 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>&mdash;Dye with 2 lb. Primuline, and 20 lb. salt.</p>
+
+<p><i>Gold Yellow.</i>&mdash;Dye with 2 lb. Diamine fast yellow A, 1 lb. soda, and 20
+lb. salt.</p>
+
+<p><i>Bright Walnut.</i>&mdash;Dye with &frac12; 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>&mdash;Dye with &frac12; lb. Diamine nitrazol brown G, 1 lb.
+Primuline, and 20 lb. salt.</p>
+
+<p><i>Green</i>.&mdash;Dye with 2 lb. Primuline, 1 lb. Diamine nitrazol black B, 1
+lb. soda and 20 lb. salt.</p>
+
+<p><i>Pale Chestnut.</i>&mdash;Dye with 1 lb. Primuline, &frac12; lb. Oxydiamine orange R
+and 20 lb. salt.</p>
+
+<p><i>Moss Brown,</i>&mdash;Dye with 2 lb. Primuline, 1 lb. diamine jet black O O and
+20 lb. salt.</p>
+
+<p><i>Chocolate</i>.&mdash;Dye with 1&frac12; 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>&mdash;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>&mdash;Dye with 2 lb. Diaminogene extra, 2 lb. soda and 20
+lb. Glauber's salt.</p>
+
+<p><i>Bronze Green.</i>&mdash;Dye with 2 lb. Diamine grey G, 2 lb. soda and 20 lb.
+Glauber's salt.</p>
+
+<p><i>Terra-cotta Bed.</i>&mdash;Dye with 2 lb. Oxydiamine orange R, 1 lb. soda and
+20 lb. Glauber's salt.</p>
+
+<p><i>Terra-cotta Brown</i>.&mdash;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>&mdash;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>&mdash;Dye with 1 lb. Primuline, 2 lb. Diamine nitrazol black B,
+2 lb. soda and 20 lb. salt.</p>
+
+<p><i>Sage Brown.</i>&mdash;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>&mdash;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>&mdash;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>&mdash;Dye with 1 lb. Diamine brown V, 2 lb. Primuline, 1 lb.
+soda and 20 lb. salt.</p>
+
+<p><i>Brown.</i>&mdash;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>&mdash;Prepare the dye-bath with &frac34; 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>&mdash;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>&mdash;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>&mdash;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>&mdash;Prepare the dye-bath with 2 lb. Diamine bronze G, 6&frac12; oz.
+Cotton brown N, 9&frac34; oz. Diamine fast yellow A, 20 lb. Glauber's salt,
+2 lb. soda.</p>
+
+<p><i>Black.</i>&mdash;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:&mdash;</p>
+
+<p><i>Bright Bed.</i>&mdash;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>&mdash;Dye with 3 lb. Dianil scarlet G, 2 lb. soda and 25 lb. salt;
+fix with Solidogen A.</p>
+
+<p><i>Plum.</i>&mdash;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>&mdash;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:&mdash;</p>
+
+<p><i>Green.</i>&mdash;Dye with 1 lb. Titan yellow G and 20 lb. salt; top with &frac12;
+lb. Brilliant green.</p>
+
+<p><i>Blue.</i>&mdash;Dye with 1&frac34; 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>&mdash;Dye with &frac34; 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>&mdash;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>&mdash;Dye with 1&frac12; 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>&mdash;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 &frac12; lb. Turquoise blue
+B B.</p>
+
+<p><i>Violet.</i>&mdash;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>&mdash;Dye with 1&frac12; lb. Oxydiamine violet B, 5 oz. Diamine red 10 B,
+2 lb. soda and 10 lb. Glauber's salt, then top with 1&frac12; oz. Methyl
+violet R.</p>
+
+<p><i>Bright Green.</i>&mdash;Dye with 1&frac14; lb. Diamine green G, 1&frac14; 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>&mdash;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>&mdash;Dye with 3&frac34; lb. Heliotrope B B, 1 lb. soda and 20 lb.
+Glauber's salt, then top with 1 lb. Methyl violet R, and &frac12; lb. Methyl
+violet 3 R.</p>
+
+<p><i>Scarlet.</i>&mdash;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>&mdash;Dye with 3 lb. Chrysamine G, 2 lb. soap and 10 lb.
+phosphate of soda, topping with &frac34; lb. Malachite green.</p>
+
+<p><i>Bright Violet.</i>&mdash;Dye with 1&frac12; 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>&mdash;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>&mdash;Prepare a dye-bath with &frac34; oz. Diamine black R O, 2&frac12; 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 &frac12; lb. Safranine G. Work for
+twenty minutes, lift, wash and dry.</p>
+
+<p><i>Seal Brown.</i>&mdash;Make up a dye-bath with 2 lb. Benzo azurine G, 20 lb.
+Glauber's salt. Enter yarn at 180&deg; 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> 1&frac12; lb. Bismarck brown.
+Work for one hour at about 180&deg; 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:&mdash;</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>&mdash;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&mdash;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 &frac12; to &frac34; 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>&mdash;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>&mdash;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&deg; 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>.&mdash;Mordant with 1 lb. tannic acid and &frac12; lb. tartar emetic,
+then dye with 2&frac12; oz. Victoria blue B, and &frac12; oz. Turquoise blue G.</p>
+
+<p><i>Bright Blue</i>.&mdash;Mordant with 2 lb. tannic acid and 1&frac12; lb. tartar
+emetic, then dye with 1&frac12; lb. New Victoria blue B, and &frac34; lb.
+Turquoise blue G.</p>
+
+<p><i>Pale Green</i>.&mdash;Mordant with 1&frac12; lb. tannic acid and &frac14; lb. tartar
+emetic, then dye with &frac14; oz. Brilliant green and &frac12; oz. Auramine I I.</p>
+
+<p><i>Bright Green</i>.&mdash;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>.&mdash;Mordant with 2 lb. tannic acid and 1&frac12; lb. tartar
+emetic; dye with 1 lb. Turquoise blue G.</p>
+
+<p><i>Crimson</i>.&mdash;Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, then
+dye with 1&frac14; lb. Brilliant rhoduline red B and 5 oz. Auramine I I.</p>
+
+<p><i>Bright Violet</i>.&mdash;Mordant with 2 lb. tannic acid and 1 lb. tartar
+emetic; dye with 1&frac14; lb. Rhoduline violet and 3 oz. Methyl violet B.</p>
+
+<p><i>Rose Lilac</i>.&mdash;Mordant with 2 lb. tannic acid and 1 lb. tartar emetic;
+dye with &frac34; lb. Rhoduline violet.</p>
+
+<p><i>Yellow</i>.&mdash;Mordant with 3 lb. tannic acid and 2&frac12; lb. tartar emetic;
+dye with 2 lb. Auramine I I.</p>
+
+<p><i>Orange</i>.&mdash;Mordant with 3 lb. tannic acid and 2&frac14; lb. tartar emetic;
+dye with 2 lb. Chrysoidine.</p>
+
+<p><i>Green</i>.&mdash;Mordant with 3 lb. tannic acid and 2&frac12; 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>.&mdash;Mordant with 1&frac12; lb. tannic acid and 1&frac14; 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>.&mdash;Mordant with 1 lb. tannic acid and &frac12; lb. tartar
+emetic, then dye with 2 oz. Turquoise blue G and &frac14; 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>.&mdash;Mordant with 1 lb. tannic acid and &frac34; lb. tartar emetic,
+and dye with 2 oz. Malachite green.</p>
+
+<p><i>Dark Green</i>.&mdash;Mordant with 3 lb. tannic acid and 2 lb. tartar emetic,
+then dye with 1&frac14; lb. Malachite green and &frac34; 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>.&mdash;Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, then
+dye with 1&frac12; lb. Rhodamine 6 G and &frac14; lb. Auramine I I.</p>
+
+<p><i>Pink</i>.&mdash;Mordant with 1 lb. tannic acid and &frac34; lb. tartar emetic, and
+dye with &frac14; lb. Rhodamine G.</p>
+
+<p><i>Pink</i>.&mdash;Mordant with 1 lb. tannic acid and &frac34; lb. tartar emetic, and
+dye with &frac12; lb. Irisamine G.</p>
+
+<p><i>Slate Blue</i>.&mdash;Mordant with 1&frac12; lb. tannic acid and 1 lb. tartar
+emetic, then dye with &frac34; lb. Victoria blue B and 2 oz. Malachite green.</p>
+
+<p><i>Indigo Blue</i>.&mdash;Mordant with 3 lb. tannic acid and 2&frac12; 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 &frac12; lb. Malachite
+green.</p>
+
+<p><i>Dark Scarlet</i>.&mdash;Mordant with 3 lb. tannic acid and 2&frac12; lb. tartar
+emetic, then dye with 1 lb. Safranine prima and &frac12; lb. Auramine I I.</p>
+
+<p><i>Grey</i>.&mdash;Mordant with 1 lb. tannic acid and &frac12; lb. tartar emetic, then
+dye with &frac12; lb. New Methylene grey B.</p>
+
+<p><i>Bluish Rose.</i>&mdash;Mordant with 2 lb. tannic acid and 1 lb. tartar emetic,
+then dye with 1 lb. Rhodamine B.</p>
+
+<p><i>Maroon</i>.&mdash;Mordant with 4 lb. tannic acid and 2 lb. tartar emetic, and
+dye with 2 lb. Magenta and &frac12; lb. Auramine.</p>
+
+<p><i>Dark Green</i>.&mdash;Mordant with 5 lb. tannic acid and 2&frac12; lb. tartar
+emetic, and dye with &frac12; lb. Methylene blue B B, &frac12; lb. Methyl violet 2
+B and 2&frac12; lb. Auramine I I.</p>
+
+<p><i>Orange</i>.&mdash;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>.&mdash;Mordant with 1 lb. tannic acid and 1&frac12; lb. tartar
+emetic, and dye with &frac14; lb. Methylene grey B F.</p>
+
+<p><i>Gold Brown</i>.&mdash;Mordant with 3 lb. tannic acid and 1&frac12; lb. tartar
+emetic, and dye with &frac34; lb. Thioflavine T and &frac34; lb. Bismarck brown.</p>
+
+<p><i>Orange</i>.&mdash;Mordant with 2 lb. tannic acid and 1 lb. tartar emetic, and
+dye with 1 lb. Auramine and &frac14; lb. Safranine.</p>
+
+<p><i>Dark Blue</i>.&mdash;Mordant with 3 lb. tannic acid and 2 lb. tartar emetic,
+and dye with 2&frac14; lb. New Methylene blue R and &frac34; lb. Naphtindone B B.</p>
+
+<p><i>Olive Green</i>.&mdash;Mordant with 5 lb. sumac extract and 2 lb. copperas, and
+dye with 1 lb. Auramine.</p>
+
+<p><i>Russian Green</i>.&mdash;Mordant with 5 lb. sumac extract and 2 lb. copperas,
+and dye with 2 lb. Malachite green.</p>
+
+<p><i>Scarlet</i>.&mdash;Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, and
+dye with 1&frac12; lb. Thioflavine T and &frac12; 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>&mdash;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>&mdash;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>&mdash;Mordant with 5 lb. sumac extract and 3 lb. copperas, and
+dye with 1&frac12; lb. New Phosphine G.</p>
+
+<p><i>Indigo Blue.</i>&mdash;Mordant with 1&frac12; lb. tannic acid and 1 lb. tartar
+emetic; dye with &frac12; lb. New Methylene blue N.</p>
+
+<p><i>Sky Blue.</i>&mdash;Mordant with &frac12; lb. tannic acid and &frac34; lb. tartar emetic;
+dye with 1&frac12; oz. New Methylene blue G G.</p>
+
+<p><i>Dark Violet.</i>&mdash;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>&mdash;Mordant with 2 lb. tannic acid and 1 lb. tartar
+emetic, and dye with 2 lb. Thioflavine T.</p>
+
+<p><i>Primrose Yellow.</i>&mdash;Mordant with 1 lb. tannic acid and &frac14; lb. tartar
+emetic, and dye with 2 oz. Thioflavine T.</p>
+
+<p><i>Navy Blue.</i>&mdash;Mordant with 5 lb. sumac extract and 3 lb. copperas, then
+dye with 2 lb. New Methylene blue R.</p>
+
+<p><i>Violet</i>.&mdash;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>&mdash;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>&mdash;Mordant with 8 lb. sumac extract and iron liquor, then
+dye with 3 lb. Metaphenylene blue B.</p>
+
+<p><i>Emerald Tint.</i>&mdash;Mordant the cotton in the usual way with 1 lb. tannic
+acid and 1 lb. tartar emetic; dye to shade at 180&deg; F. in a bath
+containing 14 oz. Auramine G, 2 oz. Brilliant green, then lift, wash and
+dry.</p>
+
+<p><i>Orange</i>.&mdash;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>&mdash;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>&mdash;Mordant with 3 lb. tannic acid and 2 lb. tartar emetic,
+and dye with &frac12; 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:&mdash;</p>
+
+<p><i>Blue.</i>&mdash;Dye with 9 oz. sulphuric acid, 8 oz. Janus blue G, and 5 lb.
+common salt; fix with &frac34; lb. sulphuric acid, 8 oz. tannic acid and 4
+oz. tartar emetic.</p>
+
+<p><i>Turquoise Blue.</i>&mdash;Dye with 9 oz. sulphuric acid, 1 lb. Janus green B
+and 10 lb. salt, fixing with &frac34; lb. sulphuric acid, 1 lb. tannin and
+&frac12; lb. tartar emetic.</p>
+
+<p><i>Dark Blue.</i>&mdash;Dye with 9 oz. sulphuric acid, 2&frac12; lb. Janus blue R and
+15 lb. common salt; fix with &frac34; lb. sulphuric acid, 2&frac12; lb. tannic
+acid and 1&frac14; lb. tartar emetic.</p>
+
+<p><i>Buff.</i>&mdash;Dye with 9 oz. sulphuric acid, 2 oz. Janus yellow R and 3 lb.
+salt; fix with &frac34; lb. sulphuric acid, 3 oz. tannic acid and 3 lb.
+tartar emetic.</p>
+
+<p><i>Crimson.</i>&mdash;Dye with 9 oz. sulphuric acid, 2&frac12; 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 &frac34; lb. sulphuric acid, 2&frac12; lb. tannic acid and
+1&frac14; lb. tartar emetic.</p>
+
+<p><i>Red Violet.</i>&mdash;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
+&frac12; lb. tartar emetic.</p>
+
+<p><i>Orange.</i>&mdash;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 &frac12; lb.
+tartar emetic.</p>
+
+<p><i>Dark Violet.</i>&mdash;Dye with 9 oz. sulphuric acid, 2 lb. Janus grey B and 15
+lb. salt; fix with 12 oz. sulphuric acid, 2&frac12; lb. tannic acid and
+1&frac14; lb. tartar emetic.</p>
+
+<p><i>Chocolate Brown.</i>&mdash;Dye with 9 oz. sulphuric acid, 3&frac12; lb. Janus brown
+B and 15 lb. salt, fixing with 2 oz. sulphuric acid, 2&frac12; 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&mdash;logwood, fustic, Persian berries, Brazil wood, camwood,
+cochineal, quercitron, cutch, etc.&mdash;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>&mdash;A bath of 8&deg; 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>&mdash;A bath of sulphuric acid of 2&deg; to 4&deg; 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>&mdash;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&deg; 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&deg; 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&mdash;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:&mdash;</p>
+
+<p><i>Dark Olive.</i>&mdash;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>.&mdash;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&deg; to 160&deg; 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>.&mdash;Work for twenty minutes at 80&deg; 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>&mdash;Treat in a hot bath of 25 lb. cutch, 1&frac34; lb. bluestone;
+work for half an hour in this bath, then lift, wring, and work in a bath
+of 1&frac34; lb. bichromate of potash for twenty to thirty minutes. Dye in a
+bath of 2&frac14; lb. alum, 7 oz. Chrysoidin, 14 oz. Ponceau B.</p>
+
+<p><i>Fast Brown.</i>&mdash;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>.&mdash;Dissolve &frac12; lb. cutch, 7 lb. bluestone, 8 lb. extract of
+fustic; enter goods at 120&deg; 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&deg;, containing 2 lb. bichromate of
+potash, give four turns, drain, wash and dry.</p>
+
+<p><i>Coffee Brown.</i>&mdash;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&deg; F.,
+heat slowly to 200&deg; F., drain, rinse and dry.</p>
+
+<p><i>Dark Brown Olive.</i>&mdash;Prepare the dye-bath with 12 lb. cutch, 2 lb.
+bluestone, 2&frac12; lb. alum, 10 lb. quercitron extract, 2 lb. indigo
+carmine 4 lb. turmeric, &frac14; 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 1&frac12; lb. bichromate of potash, work
+two hours more, then wash and dry.</p>
+
+<p><i>Red Drab.</i>&mdash;Boil up 10 lb. cutch and 5 lb. sumac; enter the cotton at
+140&deg; 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&deg; F., work fifteen minutes, lift and wash. Finish in a fresh bath
+containing 3 lb. logwood, 6 lb. red liquor; enter cotton at 100&deg; F.,
+work ten minutes, lift, wash and dry.</p>
+
+<p><i>Fawn</i>.&mdash;Boil up 5 lb. cutch and 5 oz. bluestone, cool to 100&deg; 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&deg; 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>.&mdash;Boil up 10 lb. sumac, 3 lb. fustic extract; cool down to
+120&deg; 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>.&mdash;Lay down overnight in 30 lb. sumac. Next morning wring and
+enter in a fresh bath of oxy-muriate of tin 20&deg; 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&deg; F.; enter cotton, give eight
+turns, lift and add 1&frac12; gallons red liquor; re-enter yarn, give four
+turns, lift, wash and dry.</p>
+
+<p><i>Pale Chamois</i>.&mdash;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>.&mdash;Prepare a bath of 28 lb. fustic, &frac34; lb. logwood,
+18 lb. cutch, 4 lb. turmeric, 2 lb. copper sulphate, &frac34; 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 &frac14; lb. nitrate
+of iron, working in the cold for half an hour, lift, wash and dry.</p>
+
+<p><i>Havana Brown</i>.&mdash;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 &frac12; lb.
+bichromate of potash, 1 lb. sulphuric acid. Wash and dye in a bath of
+&frac34; lb. Bismarck brown and 4 lb. alum; work for one hour at about 180&deg;
+F., wash and dry.</p>
+
+<p><i>Black</i>.&mdash;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>.&mdash;Prepare a bath with 15 lb. cutch, 8 lb. turmeric; work
+in this for fifteen minutes at about 150&deg; 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>.&mdash;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 1&frac14; 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>.&mdash;Prepare a bath with 20 lb. sumac; enter cotton at 120&deg; F.,
+give six turns, lift and add &frac12; 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&deg; F., give three
+turns, raise temperature to 140&deg; F., and turn to shade, lift, wash and
+dry.</p>
+
+<p><i>Turkey Red</i>.&mdash;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.&mdash;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&deg; 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&deg; 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&deg; 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&deg; 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&deg; 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&deg; Tw., this is kept at about a 100&deg; 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&deg; 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 2&frac12; lb. soap and &frac12; lb. tin crystals, then give a good
+washing and dry.</p>
+
+<p>This process is a long one&mdash;indeed, some dyers by repeating some of the
+operations lengthen it&mdash;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.&mdash;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&deg; Tw. is
+prepared. Some dyers use basic alum at the same strength. In this bath
+the cotton is steeped at 100&deg; 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>.&mdash;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:&mdash;</p>
+
+<p><i>Process</i> 1.&mdash;Boil the cotton in soda.</p>
+
+<p><i>Process</i> 2.&mdash;Oil with Turkey-red oil, as in the Turkey-red process No.
+2 above.</p>
+
+<p><i>Process</i> 3.&mdash;Mordant with alum or acetate of alumina.</p>
+
+<p><i>Process</i> 4.&mdash;Dye with alizarine as before.</p>
+
+<p><i>Process</i> 5.&mdash;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>.&mdash;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>.&mdash;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>.&mdash;<i>Process</i> 1. (1) Boil with soda, (2) prepare with
+Turkey red oil, (3) mordant by steeping in copperas liquor at 4&deg; 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>.&mdash;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>&mdash;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>&mdash;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
+&frac14; lb. to 1&frac12; 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&deg; 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&deg;
+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>&mdash;For dyeing, water free from lime must be used. Water having
+not more than 2.5&deg; 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&deg; Tw.), 15&frac12;
+lb. ammonia (25 per cent.), 2&frac14; 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>&mdash;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>&mdash;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>&mdash;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>.&mdash;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 3&frac12; gallons
+nitrate of iron, 80&deg; 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&deg; 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 1&frac12; lb. of copperas, then washed well.</p>
+
+<p>Operation 6. Soaping: Work for twenty minutes in a bath of 2 lb. soap at
+140&deg; to 150&deg; 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&deg; 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>&mdash;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&deg; 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&deg; Tw., and 6&frac12; 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&deg; 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&deg; 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&deg; to 190&deg; 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>.&mdash;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&deg; 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&mdash;fustic, Brazil wood, bar wood, Lima wood, cam wood,
+cutch, peach wood, quercitron bark, Persian berries&mdash;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>.&mdash;Steep the cotton yarn or cloth in the following liquor until
+well impregnated, then dry: 3 gallons iron liquor (pyrolignite of iron),
+22&deg; Tw. gallons of water, &frac34; gallon acetic acid, 12&deg; 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>.&mdash;A fine brown is got by steeping the cotton in a bath of 8 lb.
+Solid green O, 6&frac34; gallons water, 1&frac12; 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>.&mdash;Mix 8 lb. Solid green O and 4&frac12; lb. borax with 6
+gallons water, add &frac12; lb. Turkey-red oil, 5 lb. ammonia, then 2 gallons
+water and 1&frac12; 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&deg; Tw.), 5 lb.
+tartaric acid, 12 lb. caustic soda (75&deg; Tw.) and 4 lb. glycerine.</p>
+
+<p><i>Khaki</i>.&mdash;Make the dye liquor from 14 lb. Solid green O, &frac12; lb.
+Alizarine yellow N, 1 lb. caustic soda (36&deg; Tw.), &frac12; lb. Turkey-red oil
+and 8 gallons water. To this add 2&frac12; lb. acetate of chrome (32&deg; Tw.),
+2&frac14; lb. copper-soda solution and 4 gallons water.</p>
+
+<p><i>Sage Green</i>.&mdash;Use 1&frac14; lb. Solid green O, 3 lb. caustic soda (36&deg;
+Tw.), &frac12; lb. Ceruleine, &frac12; lb. Turkey-red oil, 1 gallon water to which
+is added 2&frac12; lb. acetate of chrome (32&deg; Tw.) and 2&frac14; lb. copper-soda
+solution dissolved in 4 gallons water.</p>
+
+<p><i>Pale Brown</i>.&mdash;Use 4 lb. Solid green O, 2&frac12; lb. borax, 3 lb. ammonia,
+&frac12; lb. Turkey-red oil, 6 gallons of water and 1&frac12; lb. copper-soda
+solution dissolved in 2 gallons water.</p>
+
+<p><i>Pale Fawn Brown</i>.&mdash;The dye-bath is made from &frac12; lb. Alizarine, 1&frac14;
+lb. Solid green O, 1&frac12; lb. borax, &frac12; lb. Turkey-red oil and 5 gallons
+of water to which is added 1&frac12; lb. acetate of chrome (32&deg; Tw.), 1&frac12;
+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>.&mdash;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
+1&frac12; lb. copper sulphate; work for half an hour, then steep for six
+hours, then lift, wring and enter into a bath of 3&frac14; lb. bichromate of
+potash at 160&deg; F. for twenty minutes. Then wash and dry.</p>
+
+<p><i>Yellow Brown</i>.&mdash;Make a bath with 14 lb. cutch and &frac12; lb. copper
+sulphate; work in this bath for four hours at 120&deg; F., then pass into a
+bath of 2 lb. copperas and &frac12; lb. chalk, work for half an hour in the
+cold, then pass into a hot bath of 2&frac12; lb. bichromate of potash at
+150&deg; F. for half an hour.</p>
+
+<p><i>Dark Brown</i>.&mdash;Make a dye-bath with 15 lb. cutch, 2 lb. logwood extract
+and 2 lb. fustic extract; work the cotton in this at 160&deg; F. for three
+hours, then pass into a cold bath of 1 lb. copperas and &frac14; lb. chalk
+for half an hour, then into a bath of 3 lb. bichromate of potash for
+half an hour at 150&deg; 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:&mdash;</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:&mdash;</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&deg;
+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:&mdash;</p>
+
+<span style="margin-left: 1em;">C<sub>6</sub>H<sub>5</sub>NH<sub>2</sub> + HCl&nbsp;  +&nbsp; &nbsp; &nbsp; &nbsp;  HCl&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  +&nbsp; &nbsp; &nbsp; &nbsp; NaNO<sub>2</sub> =</span><br />
+Aniline hydrochloride,         Hydrochloric acid,         Sodium nitrite,<br />
+
+<span style="margin-left: 1.5em;">NaCl&nbsp; &nbsp;  +&nbsp; &nbsp; &nbsp;  C<sub>6</sub>H<sub>5</sub>N:NCl&nbsp; &nbsp; &nbsp; &nbsp; +&nbsp; &nbsp; &nbsp; H<sub>2</sub>0</span><br />
+<span style="margin-left: 1.5em;">Salt,&nbsp; &nbsp; &nbsp; &nbsp;  Diazo-benzene chloride,&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 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:&mdash;</p>
+
+<span style="margin-left: 1.5em;">C<sub>6</sub>H<sub>5</sub>N:NCl&nbsp; &nbsp; &nbsp; &nbsp; +&nbsp; &nbsp; C<sub>10</sub>H<sub>7</sub>OH&nbsp; &nbsp; &nbsp; +</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:&mdash;</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&nbsp; &nbsp;  +&nbsp; &nbsp;  C<sub>10</sub>H<sub>7</sub>N:NC<sub>10</sub>H<sub>6</sub>OH&nbsp; &nbsp;  +&nbsp;  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:&mdash;</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:&mdash;</p>
+
+<p>1. Hydrochloric acid, HCl&mdash;36.5. 2. Caustic soda, NaOH&mdash;40. 3. Nitrite
+of soda, NaNO<sub>2</sub>&mdash;69. 4. Acetate of soda,
+NaC<sub>2</sub>H<sub>3</sub>O<sub>2</sub>3H<sub>2</sub>O&mdash;136.</p>
+
+<p>1. Commercial hydrochloric acid at 32&deg; Tw. contains about 365 grams of
+HCl in a litre, or 3&frac12; 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>&mdash;93.<br />
+2. Toluidine, C<sub>7</sub>H<sub>7</sub>NH<sub>2</sub>&mdash;107.<br />
+3. Alpha-and beta-naphthylamine, C<sub>10</sub>H<sub>7</sub>NH<sub>2</sub>&mdash;143.<br />
+4. Para-or meta-nitroaniline, C<sub>6</sub>H<sub>4</sub>NO<sub>2</sub>NH<sub>2</sub>&mdash;138.<br />
+5. Nitro-para-toluidine, C<sub>7</sub>H<sub>6</sub>NO<sub>2</sub>NH<sub>2</sub>&mdash;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>&mdash;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>&mdash;225.<br />
+8. Alpha-or beta-naphthol C<sub>10</sub>H<sub>7</sub>OH&mdash;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:&mdash;</p>
+
+<span style="margin-left: 2.5em;">Base.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  With beta-naphthol, gives&nbsp;  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.&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; With beta-naphthol, gives&nbsp; 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:&mdash;</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;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; A-Naphthylamine.</span><br />
+<span style="margin-left: 2.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; B-Naphthylamine.</span><br />
+<span style="margin-left: 2.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Amidoazobenzene.</span><br />
+<span style="margin-left: 2.5em;">"&nbsp; &nbsp; &nbsp; &nbsp;  B-Naphthol with Toluidine.</span><br />
+<span style="margin-left: 2.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Paranitroaniline.</span><br />
+<span style="margin-left: 2.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Nitroparatoluidine.</span><br />
+<span style="margin-left: 2.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; B-Naphthylamine.</span><br />
+<span style="margin-left: 2.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 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;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Paranitroaniline.</span><br />
+<span style="margin-left: 2.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Orthoamidoazotoluene.</span><br />
+<span style="margin-left: 2.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; B-Naphthol with Metanitroaniline.</span><br />
+<span style="margin-left: 2.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  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;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Metanitroaniline.</span><br />
+<span style="margin-left: 2.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Nitroparatoluidine.</span><br />
+<span style="margin-left: 2.5em;">"&nbsp; &nbsp; &nbsp; &nbsp;  B-Naphthol with Aniline.</span><br />
+<span style="margin-left: 2.5em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 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;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Orthoamidoazotoluene.</span><br />
+
+<p>The samples were tested for fastness to light by exposing them for nine
+days with the following results:&mdash;</p>
+
+
+<p><i>Fast.</i></p>
+
+Combination of A-Naphthol with Aniline.<br />
+<span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Toluidine.</span><br />
+<span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Metanitroaniline.</span><br />
+<span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Paranitroaniline.</span><br />
+<span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Nitroparatoluidine.</span><br />
+<span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; B-Naphthylamine.</span><br />
+<span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Amidoazobenzol.</span><br />
+<span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Orthoamidoazotoluol.</span><br />
+<span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; B-Naphthol with Aniline.</span><br />
+<span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Paratoluidine.</span><br />
+<span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Metanitroaniline.</span><br />
+<span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Paranitroaniline.</span><br />
+<span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; B-Naphthylamine.</span><br />
+<span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 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;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; A-Naphthylamine</span><br />
+<span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; B-Naphthol with Toluidine.</span><br />
+<span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Amidoazobenzene.</span><br />
+<span style="margin-left: 2em;">"&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;  "&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 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:&mdash;</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
+2&frac12; lb. of caustic soda liquor 70&deg; Tw., then 1&frac12; quarts of boiling
+water is added, when dissolved 1&frac12; 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&deg; to 110&deg; 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&deg; to 150&deg; 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:
+1&frac12; lb. paranitroaniline is mixed with 1&frac12; gallons of boiling water,
+and 1&frac34; quarts of hydrochloric acid at 30&deg; to 32&deg; Tw. Stir well until
+the paranitroaniline is completely dissolved, add 3&frac12; 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; 1&frac14; 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&deg; F., with a liquor
+containing &frac12; 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.&mdash;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.&mdash;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>&mdash;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>&mdash;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 6&frac14; lb. paranitroaniline are mixed with 7 gallons boiling-water
+and 1&frac12; gallons hydrochloric acid; when dissolved 16 gallons of cold
+water are added, then, after completely cooling, 3&frac12; 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 13&frac14; lb. acetate of soda in
+13&frac12; 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&mdash;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>&mdash;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 5&frac12; gallons water, then add 1&frac12; gallons caustic
+soda, 36&deg; Tw., mixed with 5&frac12; 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>&mdash;Dissolve 5&frac12; lb. of
+Azophor red P N in 4 gallons of water&mdash;it dissolves almost completely
+but usually a few particles of a flocculent character remain
+undissolved, these can be removed; 2&frac14; gallons of caustic soda lye of
+36&deg; 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>&mdash;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>&mdash;Dissolve 5 lb. Nitrosamine red in 5 gallons of water
+and 2&frac14; lb. hydrochloric acid, when well mixed there is added 2&frac12;
+lb. acetate of soda, when all is dissolved add sufficient water to make
+6&frac12; 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>&mdash;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&deg; 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&deg; Tw., adding 3&frac14; lb. tartaric acid, 6
+pints caustic soda lye, 70&deg; 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>&mdash;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 2&frac14;
+pints hydrochloric acid; when dissolved allow to cool and then add
+12&frac12; lb. ice. When thoroughly cold stir in 2&frac12; 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>&mdash;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 1&frac34; 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&deg; to 36&deg; 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>&mdash;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 1&frac34; lb. of alpha-naphthylamine in 10 pints of boiling
+water, agitating well until the base is very finely divided in the
+water, then 1&frac14; 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 1&frac12; pints of hydrochloric acid.
+When cooled down to 32&deg; to 36&deg; 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>&mdash;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 10&frac12; oz.
+dianisidine with 7 oz. hydrochloric acid and 7&frac12; pints of boiling
+water, when complete solution is obtained it is allowed to cool, then 20
+lb. of ice is added. Next 1&frac34; pints of nitrite of soda solution,
+containing 1&frac12; lb. per gal. and 2&frac12; pints of cold water. Stir for
+thirty minutes, then add 1&frac14; pints copper chloride solution at 72&deg;
+Tw., and sufficient water to make up 6&frac12; 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>&mdash;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 1&frac12;
+pints of sodium nitrite solution containing 1&frac12; 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>&mdash;</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.&mdash;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:&mdash;</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>.&mdash;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&mdash;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>&mdash;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>.&mdash;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:&mdash;</p>
+
+<p>10 lb. indigo, dry and ground fine;
+5&frac12; 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:&mdash;</p>
+
+<p>10 lb. indigo, dry and ground fine;
+10 lb. zinc powder;
+10 lb. slaked lime, dry;
+35 lb. caustic soda at 11&deg; 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>&mdash;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>&mdash;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&deg;
+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:&mdash;</p>
+
+<p>Water is run into the vat, and this is heated from 70&deg; to 80&deg; 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:&mdash;</p>
+
+<p><i>Stock Liquor.</i>&mdash;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&deg; Tw., stir well, keeping the heat down
+as much as possible, after which add 8 pints caustic soda lye at 70&deg; 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 4&frac12; lb. zinc dust with 5 gallons of
+water and 3 gallons bisulphite of soda at 70&deg; 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 7&frac12; lb.
+indophenol is used. Good blue shades of considerable fastness can thus
+be got.</p>
+
+<p><i>Aniline Black.</i>&mdash;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:&mdash;</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 3&frac12;
+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 6&frac12; gallons and the copper sulphate separately in 5&frac12;
+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&deg; 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&deg; 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 1&frac34;
+lb. aniline salt in 1 gallon water, 1&frac12; lb. ferrocyanide of potash in
+&frac34; gallons water and 1&frac12; lb. potassium chlorate in 1&frac12; gallons
+water. Mix the solutions and work in a jigger, then steam in a Mather &amp;
+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&mdash;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&mdash;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, Trop&aelig;oline O O, Naphthylamine black 4 B and
+Naphthol blue black, Brilliant scarlet G, Lanacyl violet B, Brilliant
+milling green B, Thiocarmine R, Formyl blue B, Naphthylamine blacks D, 4
+B and 6 B; Azo-acid yellow, Curcumine extra, Mandarine G, Ponceau 3 R B,
+Acid violet 6 B, Guinea violet 4 B, Guinea green B, Wool black 6 B.</p>
+
+<p>Regarding the best methods of dyeing, that in neutral baths yields the
+most satisfactory results in practical working. It is done in a boiling
+hot or in a slightly boiling bath, with the addition of 6&frac14; 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:&mdash;</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>&mdash;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>&mdash;A very fine deep shade is dyed with 2&frac12; lb. Diamine
+gold and 2&frac12; 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>&mdash;Use a dye liquor containing 4 lb. Glauber's salt in
+every 10 gallons, 2&frac12; lb. Diamine fast yellow A, 2 oz. Indian yellow G
+and 3&frac12; 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>&mdash;Use in the same way as the last, 2&frac12; lb. Diamine
+fast yellow B and 3 oz. Indian yellow G.</p>
+
+<p><i>Gold Orange.</i>&mdash;Use as above 2 lb. Diamine orange G, 5&frac12; oz. Indian
+yellow K and 1&frac12; oz. Orange E N Z.</p>
+
+<p><i>Deep Orange.</i>&mdash;Use 2&frac12; lb. Diamine orange D C, 6&frac12; oz. Orange E N
+Z, and 3&frac14; oz. Indian yellow R.</p>
+
+<p><i>Black</i>.&mdash;Use 4&frac12; lb. Union black S, 2 oz. Diamine fast yellow A, 5
+oz. Naphthol blue black and 3&frac14; oz. Formyl violet S 4 B, with 4 lb.
+Glauber's salt in each 10 gallons dye liquor.</p>
+
+<p><i>Navy Blue.</i>&mdash;Use 1&frac14; lb. Union black S, 3 lb. Diamine black B H, &frac12;
+oz. Naphthol blue black, &frac12; lb. Formyl violet S 4 B and 2&frac12; oz.
+alkaline blue B.</p>
+
+<p><i>Red Plum.</i>&mdash;Use a dye-bath containing 2&frac12; lb. Oxydiamine violet B and
+3&frac14; oz. Formyl violet S 4 B.</p>
+
+<p><i>Dark Green.</i>&mdash;A fine shade can be dyed in a bath containing 3 lb.
+Diamine green B and 1&frac12; lb. Diamine black H W.</p>
+
+<p><i>Dark Slate.</i>&mdash;Use 4 lb. Diamine black H W, 2 oz. Naphthol blue black
+and 3 oz. Azo red A.</p>
+
+<p><i>Sage</i>.&mdash;Use a dye-bath containing 4 lb. Diamine bronze G and 1&frac14; oz.
+Naphthol blue black.</p>
+
+<p><i>Dark Brown.</i>&mdash;A fine dark shade is got from 2&frac12; lb. Diamine brown V
+and 2 oz. Naphthol blue black.</p>
+
+<p><i>Peacock Green.</i>&mdash;Use 3&frac34; lb. Diamine steel blue L, 13 oz. Diamine
+fast yellow B, 14&frac12; oz. Thiocarmine K and 2&frac14; oz. Indian yellow G in
+a bath of 4 lb. Glauber's salt per gallon dye liquor.</p>
+
+<p><i>Dark Sea Green.</i>&mdash;Use 9 oz. Diamine steel blue L, 3&frac34; oz. Diamine
+fast yellow B, &frac12; oz. Diamine orange G, 1&frac14; oz. Naphthol blue black
+and &frac34; oz. Indian yellow G.</p>
+
+<p><i>Dark Brown.</i>&mdash;Use 1 lb. Diamine orange B, 1 lb. Diamine Fast yellow S,
+13&frac34; oz. Union black S, 1 lb. Diamine brown M and &frac12; lb. Indian
+yellow G. Fix in an alum bath after dyeing.</p>
+
+<p><i>Dark Stone.</i>&mdash;Use &frac12; lb. Diamine orange B, 3&frac34; oz. Union<!-- Page 215 --><span class='pagenum'><a name="Page_215" id="Page_215">[Pg 215]</a></span> black, &frac14;
+oz. Diamine Bordeaux B, 1&frac12; oz. Azo red A and &frac34; oz. Naphthol blue
+black.</p>
+
+<p><i>Black.</i>&mdash;A very fine black can be got from 3&frac12; lb. Oxydiamine black B
+M, 2 lb. Union black S, 9&frac12; oz. Naphthol blue black and 4 oz. Formyl
+violet S 4 B.</p>
+
+<p><i>Dark Grey.</i>&mdash;A fine bluish shade of grey is got from 7 oz. Diamine
+black B H, 2&frac14; oz. Diamine orange G, 2&frac12; oz. Diamine orange G, 2&frac12;
+oz. Naphthol blue black and 1 oz. Orange E N Z.</p>
+
+<p><i>Dark Blue.</i>&mdash;A fine shade is got by using 2 lb. Diamine black B H, &frac12;
+lb. Diamine black H W, and 3&frac12; oz. Alkaline blue 6 B.</p>
+
+<p><i>Drab.</i>&mdash;Use 3&frac12; oz. Diamine orange B, &frac34; oz. Union black, 1/8 oz.
+Diamine Bordeaux B, &frac34; oz. Azo red A and &frac14; oz. Naphthol blue black.</p>
+
+<p><i>Plum.</i>&mdash;Use 2&frac12; lb. Diamine violet N, 9&frac12; oz. Union black and 1 lb.
+Formyl violet S 4 B.</p>
+
+<p><i>Bright Yellow.</i>&mdash;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>&mdash;Use 1/6 oz. Diamine Rose B D, &frac14; oz. Diamine scarlet B, &frac12;
+oz. Rhodamine B and 20 lb. Glauber's salt.</p>
+
+<p><i>Scarlet.</i>&mdash;A fine shade is got from 1&frac12; lb. Diamine scarlet B, &frac12;
+oz. Diamine red 5 B and 20 lb. Glauber's salt.</p>
+
+<p><i>Orange.</i>&mdash;Use a dye-bath containing 3&frac12; lb. Diamine orange G, 14&frac12;
+oz. Trop&aelig;oline O O, and 2&frac34; oz. Orange extra.</p>
+
+<p><i>Sky Blue.</i>&mdash;Use 1&frac12; oz. Diamine sky blue and 1&frac14; oz. Alkaline blue
+B.</p>
+
+<p><i>Bright Blue.</i>&mdash;A fine shade similar to that formerly known as royal
+blue is got by using 1&frac12; lb. Diamine brilliant blue G and 9&frac14; oz.
+Alkaline blue 6 B.</p>
+
+<p><i>Maroon.</i>&mdash;Use 3 lb. Diamine Bordeaux B, 2 lb. Diamine violet N and
+3&frac14; oz. Formyl violet S 4 B.</p>
+
+<p><i>Green.</i>&mdash;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, 14&frac12; oz. Thiocarmine R and 7&frac14; oz. Indian yellow G.</p>
+
+<p><i>Gold Brown</i>&mdash;A fine brown is got from 3 lb. Diamine orange B, &frac12; lb.
+Union black, 2&frac12; oz. Diamine brown, &frac34; oz. Naphthol blue black and
+&frac12; lb. Indian yellow G.</p>
+
+<p><i>Navy Blue.</i>&mdash;Use 3&frac14; lb. Diamine black B H, 1&frac12; lb. Diamine
+brilliant blue G and &frac12; lb. Alkaline blue.</p>
+
+<p><i>Fawn Drab.</i>&mdash;A fine shade is got by dyeing in a bath containing 6&frac34;
+oz. Diamine orange B, 1&frac34; lb. Union black, &frac14; oz. Naphthol blue
+black, &frac14; 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>&mdash;2&frac12; lb. Diamine orange B, 13 oz. Diamine Bordeaux B,
+1&frac12; lb. Diamine fast yellow B, 1&frac34; lb. Union black and 3&frac12; oz.
+Naphthol black.</p>
+
+<p><i>Drab</i>.&mdash;1&frac34; lb. Diamine fast yellow R, 3&frac14; oz. Diamine Bordeaux B,
+2&frac12; oz. Union black, &frac12; oz. Naphthol blue black and 1&frac14; oz. Indian
+yellow G.</p>
+
+<p><i>Dark Blue.</i>&mdash;Use in the dye-bath 4&frac14; lb. Diamine dark blue B, 1&frac12;
+lb. Diamine brilliant blue G, &frac34; lb. Formyl violet S 4 B and 5 oz.
+Naphthol blue black.</p>
+
+<p><i>Blue Black-</i>&mdash;Use 3&frac12; lb. Union black S, 1&frac12; lb. Oxydiamine black B
+M, 6&frac12; oz. Naphthol blue black and &frac14; lb. Formyl violet S 4 B.</p>
+
+<p><i>Dark Walnut.</i>&mdash;2&frac34; lb. Diamine brown M, 1&frac12; lb. Union black S, and
+11&frac14; oz. Indian yellow G.</p>
+
+<p><i>Peacock Green.</i>&mdash;Use in the dye-bath 3 lb. Diamine black H W, 5-1/6 oz.
+Diamine fast yellow B, 1&frac14; lb. Thiocarmine R and 1-1/6 oz. Indian
+yellow G.</p>
+
+<p><i>Slate Blue.</i>&mdash;Use in the dye-bath 6&frac12; oz. Diamine carechine B, 4&frac34;
+oz. Diamine orange B, 2&frac12; oz. Union black, 2&frac34; oz. Orange E N Z, and
+1&frac34; oz. Naphthol blue black.</p>
+
+<p><i>Dark Sage.</i>&mdash;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, 6&frac12;
+oz. Union black, 1&frac34; oz. Diamine brown M, 3&frac14; oz. azo red A and
+2&frac14; oz. Naphthol blue black.</p>
+
+<p><i>Navy Blue.</i>&mdash;Use 2 lb. Diamine dark blue B, 1&frac14; lb. Lanacyl violet B,
+and 7 oz. Naphthol blue black.</p>
+
+<p><i>Bronze Green.</i>&mdash;A good shade is dyed with 2 lb. Diamine orange B, 5 oz.
+Diamine brown N, &frac34; lb. Union black S, 1 lb. Indian yellow G and 2&frac12;
+oz. Naphthol blue black.</p>
+
+<p><i>Black</i>.&mdash;Use 2&frac12; lb. Oxydiamine black B M and 1&frac12;> lb.
+Naphthylamine black 6 B. Another recipe, 2&frac14; 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>&mdash;Use 1&frac12; lb. Oxydiamine black B M, 15&frac12; oz. Diamine
+brown M, 1&frac34; lb. Indian yellow G and 2&frac34; oz. Naphthol blue black.
+Another combination, 1&frac12; lb. Oxydiamine black B M, 1&frac12; lb. Orange E
+N Z, 1 lb. Indian yellow G and 5 oz. Naphthol blue black.</p>
+
+<p><i>Scarlet</i>.&mdash;3 lb. Benzo purpurine 4 B, &frac34; oz. Ponceau 3 R B and &frac12; lb.
+Curcumine S.</p>
+
+<p><i>Crimson</i>.&mdash;&frac12; lb. Congo Corinth G, 2 lb. Benzo purpurine 10 B and &frac12;
+lb. Curcumine S.</p>
+
+<p><i>Bright Blue.</i>&mdash;2 lb. Chicago blue 6 B, 3 oz. Alkali blue 6 B, 1&frac12; 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>&mdash;2&frac12; 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>.&mdash;9 oz. Congo brown G, 1&frac12; lb. Mikado orange 4 R O and 1&frac12;
+oz. Mandarine G.</p>
+
+<p><i>Dark Green.</i>&mdash;2 lb. Columbia green, &frac12; lb. Sulphon azurine D, 1 lb.
+Zambesi blue B X, 1&frac12; oz. Curcumine S.</p>
+
+<p><i>Black</i>.&mdash;4 lb. Columbia black F B and 2 lb. Wool black 6 B.</p>
+
+<p><i>Pale Sage Green.</i>&mdash;5 oz. Zambesi black D, &frac34; lb. Chrysophenine G and
+1&frac12; lb. Curcumine S.<!-- Page 218 --><span class='pagenum'><a name="Page_218" id="Page_218">[Pg 218]</a></span></p>
+
+<p><i>Slate</i>.&mdash;&frac12; lb. Zambesi black D, &frac34; oz. Zambesi blue R X, &frac12; oz.
+Mikado orange 4 R 0 and 1&frac12; oz. Acid violet 6 B.</p>
+
+<p><i>Dark Grey.</i>&mdash;1 lb. Columbia black F B, 3 oz. Zambesi black B and &frac34;
+oz. Sulphon azurine D.</p>
+
+<p><i>Drab</i>.&mdash;1&frac12; oz. Zambesi black D, &frac34; oz. Mandarine G extra, &frac14; oz.
+Curcumine extra and 3 oz. Mikado orange 4 R O.</p>
+
+<p><i>Brown</i>.&mdash;5 oz. Zambesi black D, &frac34; oz. Mandarine G extra, 1&frac12; oz.
+Orange T A and 2 oz. Mikado orange 4 R 0.</p>
+
+<p><i>Nut Brown.</i>&mdash;&frac34; lb. Congo brown G, &frac14; lb. Chicago blue R W and &frac34;
+lb. Mikado orange 4 R 0.</p>
+
+<p><i>Dark Brown.</i>&mdash;1 lb. Congo brown G, 1&frac12; lb. Benzo purpurine 4 B, 1&frac12;
+lb. Zambesi black F and &frac12; lb. Wool black 6 B.</p>
+
+<p><i>Stone</i>.&mdash;1 oz. Zambesi black D, &frac14; oz. Mandarine G, &frac14; oz. Curcumine
+extra and 1&frac14; oz. Mikado orange 4 R 0.</p>
+
+<p><i>Slate Green.</i>&mdash;3 oz. Zambesi black D, 1&frac12; oz. Guinea green B.</p>
+
+<p><i>Sage Brown.</i>&mdash;&frac12; lb. Zambesi black D, 1&frac12; oz. Mandarine G extra, 3
+oz. Curcumine extra, 3 oz. Acid violet 6 B, 6 oz. Mikado orange 4 R 0
+and 4&frac12; oz. Curcumine S.</p>
+
+<p><i>Cornflower Blue.</i>&mdash;3 oz. Chicago blue 4 R, &frac14; lb. Zambesi blue R X,
+&frac14; lb. Acid violet 6 B and &frac34; oz. Zambesi brown G.</p>
+
+<p><i>Dark Brown</i>.&mdash;1&frac12; lb. Brilliant orange G, &frac12; lb. Orange T A, 1 lb.
+Columbia black F B and &frac14; lb. Wool black 6 B.</p>
+
+<p><i>Dark Blue</i>.&mdash;2 lb. Chicago blue W, 1 lb. Zambesi blue R X, &frac12; lb.
+Columbia black F B, 10 oz. Guinea green B and &frac12; 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&deg; 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>&mdash;2&frac14; lb. Janus dark blue B and &frac14; 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>&mdash;3&frac12; lb. Janus black I and &frac12; 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>&mdash;2&frac12; lb. Janus brown B, 1 lb. Janus black I, 3&frac12; 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>&mdash;1&frac12; oz. Janus yellow R, &frac34; oz. Janus red B, 1 oz. Janus blue
+R and &frac14; 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>&mdash;5 oz. Janus blue R, 3&frac14; oz. Janus grey B, 1&frac12; oz. Janus
+yellow R and &frac14; 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>&mdash;1 lb. Janus brown R, 8 oz. Janus yellow R and 1&frac12; 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>&mdash;3 lb. Janus brown B, 1 lb. Janus red B, 1 lb. Janus
+yellow R, 1&frac14; 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>&mdash;2&frac12; 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>&mdash;1&frac12; lb. Janus green B, 1&frac12; lb. Janus yellow R and 8
+oz. Janus grey B B in the dye-bath, with 12 lb. sumac extract and 1&frac14;
+lb. tartar emetic in the fixing-bath.</p>
+
+<p><i>Chestnut Brown.</i>&mdash;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>&mdash;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&deg; to 80&deg; F., with the addition of 3&frac14; 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>&mdash;First bath, 1 lb. Cyanole extra, 7&frac14; oz. Acid
+green, 1&frac12; oz. Orange G G, and 10 lb. bisulphate of soda; work at the
+boil for one hour, then lift and rinse well. Second bath, 4 lb. Diamine
+orange G and 15 lb. Glauber's salt; work in the cold or at a lukewarm
+heat. Third bath, at 120&deg; F., 4 oz. Chrysoidine and &frac14; 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>&mdash;First bath, 3&frac12; lb. Naphthol black 3 B and 10 lb.
+bisulphate of soda. Second bath, 2 lb. Diamine sky blue and 13 lb.
+Glauber's salt. Third bath, 6&frac12; oz. New Methylene blue N. Work as in
+the last recipe.</p>
+
+<p><i>Green and Claret.</i>&mdash;First bath, 3&frac12; lb. Naphthol red C and 10 lb.
+bisulphate of soda. Second bath, 2 lb. Diamine sky blue F F, 1&frac14; lb.
+Thioflavine S, and 15 lb. Glauber's salt.</p>
+
+<p><i>Gold Brown and Blue.</i>&mdash;First bath, 2&frac12; oz. orange E N Z, 1&frac12; oz.
+Orange G G, &frac14; 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>&mdash;First bath, &frac12; lb. Orange G G, 1&frac12; oz. Orange
+E N Z, 1&frac12; 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>&mdash;First bath, 3 lb. Orange G G, 1 lb. Brilliant
+cochineal 4 R, 1 lb. Fast acid green B N and 10 lb. Glauber's salt.
+Second bath, 1&frac34; lb. Diamine sky blue F F, 3&frac14; 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>&mdash;3 lb. Diamine orange G, 13 oz. Naphthol blue G,
+14&frac12; 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>&mdash;1 lb. Diamine steel blue L, 9&frac12; oz. Diamine sky
+blue, 1 lb. Orange E N Z, 1 lb. Indian yellow G, 1&frac34; oz. Naphthol blue
+black and 15 lb. Glauber s salt. Work at 170&deg; to 180&deg; 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>&mdash;First bath, 3 oz. Orange extra, 1&frac14; 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>&mdash;First bath, 2 lb. Croceine A Z, and 10 lb. Glauber's
+salt. Second bath, 1 lb. Diamine sky blue F F, &frac12; lb. Thioflavine S,
+and 15 lb. Glauber's salt.</p>
+
+<p><i>Brown and Violet.</i>&mdash;First bath, &frac34; lb. Orange extra, &frac34; 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>&mdash;First bath, 7 lb. Naphthol black B, &frac12; 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>&mdash;Black as above. Pink with Diamine rose B D (see
+above).</p>
+
+<p><i>Green and Buff.</i>&mdash;First bath, &frac14; lb. Orange extra, &frac34; oz. Fast yellow
+S, and 10 lb. bisulphate of soda. Second bath, &frac34; lb. Diamine sky blue
+F F, &frac12; lb. Thioflavine S, and 15 lb. Glauber's salt.</p>
+
+<p><i>Orange and Violet.</i>&mdash;First bath, 9 oz. Orange extra, and 10 lb.
+bisulphate of soda. Second bath, &frac34; lb. Diamine violet N, and 10 lb.
+Glauber's salt.</p>
+
+<p><i>Black and Blue.</i>&mdash;First bath, Naphthol black as given above. Second
+bath, Diamine sky blue as given above.</p>
+
+<p><i>Black and Yellow.</i>&mdash;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>&mdash;Dye the wool by using 3 lb. Guinea green B, &frac14; lb.
+Curcumeine extra, and 10 lb. Glauber's salt, then add to the bath &frac34;
+lb. Erika B N, and &frac34; lb. Congo Corinth G.</p>
+
+<p><i>Orange and Blue.</i>&mdash;Dye the wool first with 1&frac14; 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>&mdash;Dye the wool first with &frac34; lb. Guinea violet B, &frac34;
+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>&mdash;Dye the wool with 3 lb. Guinea green B, &frac14; lb.
+Curcumeine extra, and 10 lb. Glauber's salt, then dye the cotton in the
+same bath with 1&frac12; 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:&mdash;</p>
+
+<p>For pale shades each 10 gallons dye-liquor should contain 3&frac14; to 6&frac12;
+oz. soap and 4 to 7 drs. soda or 3&frac14; to 6&frac12; oz. soap, 4 to 5&frac12;
+drs. soda and 3&frac14; to 6&frac12; oz. phosphate of soda.</p>
+
+<p>For medium and dark shades each 10 gallons dye-liquor may contain 3&frac14;
+to 6&frac12; oz. soap, 4 to 7 drs. soda, 3&frac14; to 6&frac12; oz. phosphate of
+soda and 6&frac12; 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 4&frac34; to 8 oz. soap, 4 to 6 drs. soda, 3&frac14; to 8 oz. phosphate
+of soda and 4&frac34; to 9&frac12; oz. cryst. Glauber's salt.</p>
+
+<p>The temperature of the dye-baths is generally 175&deg; to 195&deg; 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:&mdash;</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>&mdash;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, Trop&aelig;oline 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>&mdash;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>&mdash;This can be dyed by using 2 lb. Diamine yellow N.</p>
+
+<p><i>Gold Yellow.</i>&mdash;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>&mdash;Use 2 lb. Diamine orange B.</p>
+
+<p><i>Bright Rose.</i>&mdash;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>&mdash;Use in the dye-bath 2 lb. Diamine scarlet H S. The heat of
+the dye-bath should not be allowed to exceed 160&deg; to 170&deg; F., or there
+is a risk of the shades becoming somewhat duller.</p>
+
+<p><i>Crimson.</i>&mdash;Dye with 2 lb. Diamine fast red F.</p>
+
+<p><i>Violet.</i>&mdash;Use 2 lb. Oxydiamine violet B.</p>
+
+<p><i>Bright Blue.</i>&mdash;A fine shade is dyed with 2 lb. Diamine blue R W.</p>
+
+<p><i>Dark Green.</i>&mdash;Use 2 lb. Diamine black H W. This gives a fine shade of
+bluish green.</p>
+
+<p><i>Gold Brown.</i>&mdash;Dye with 2 lb. Diamine brown 3 G at a low heat, from 150&deg;
+to 160&deg; F., otherwise the silk takes up too much colour.</p>
+
+<p><i>Dark Green.</i>&mdash;Dye with 2 lb. Diamine green B.</p>
+
+<p><i>Deep Rose.</i>&mdash;Dye with 2 lb. Diamine red 10 B.</p>
+
+<p><i>Brilliant Yellow.</i>&mdash;Dye with 1&frac12; lb. Mikado golden yellow 8 G; then
+enter into a cold bath which contains 1&frac12; per cent. Auramine II. This
+gives a very bright shade of yellow.</p>
+
+<p><i>Dark Brown.</i>&mdash;Dye a bottom with 2 lb. Mikado brown 3 G O, and then top
+with 3 lb. Bismarck brown and &frac12; lb. Capri blue G O N.</p>
+
+<p><i>Crimson</i>.&mdash;Dye with 2 lb. Mikado orange 5 R O and 2 lb. Hessian purple
+N.</p>
+
+<p><i>Sage Green.</i>&mdash;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
+&frac12; lb. Auramine II and &frac12; oz. Acridine Orange N 0.</p>
+
+<p><i>Leaf Green.</i>&mdash;Dye a bottom with 3 lb. Mikado golden yellow 8 G and 1
+lb. Eboli blue B; then top with 1&frac12; lb. Capri green 2 G in a cold
+bath.</p>
+
+<p><i>Deep Brown.</i>&mdash;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
+2&frac14; lb. Acridine orange N 0.</p>
+
+<p><i>Dark Cream.</i>&mdash;Bottom with 1 oz. Diamine orange G; then top in a fresh
+warm bath with 1 oz. Orange G G, &frac12; oz. Indian yellow R, 5 lb.
+Glauber's salt and 1 lb. acetic acid.</p>
+
+<p><i>Brilliant Violet.</i>&mdash;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>.&mdash;Bottom in a hot bath with 6 oz. Diamine dark blue B and 1&frac12;
+oz. Diamine brown M; then top in a fresh bath at 170&deg; 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>&mdash;Give a bottom with 2 lb. Cotton brown A, 1 lb. Diamine
+gold and 3&frac12; lb. Oxydiamine black S O O O; then top in a fresh bath at
+120&deg; F. with 4 oz. New methylene blue N, 1 oz. Safranine and &frac12; oz.
+Indian yellow G.</p>
+
+<p><i>Bright Violet.</i>&mdash;Use &frac12; lb. Oxydiamine violet B and &frac34; oz. Diamine
+dark blue B; top after dyeing with &frac12; oz. Safranine, &frac14; oz.
+Methylindone B and &frac14; oz. Cyanole extra.</p>
+
+<p><i>Drab</i>.&mdash;Dye with 6 oz. Diamine orange G, 1 lb. Diamine bronze G and &frac34;
+lb. Diamine brown M, topping afterwards in a bath of &frac14; oz. Aniline
+grey B and &frac14; oz. Bismarck brown F F.</p>
+
+<p><i>Leaf Green.</i>&mdash;Dye with &frac12; lb. Diamine black H W, and 1 lb. Diamine
+fast yellow B; top with &frac14; oz. Brilliant green, &frac14; oz. Indian yellow
+R, &frac12; oz. Thioflavine T and &frac12; oz. Cyanole extra.</p>
+
+<p><i>Dark Crimson.</i>&mdash;Use in the dye-bath 3 lb. Diamine Bordeaux S, &frac34; lb.
+Diamine orange D C and 1&frac12; lb. Diamine brown V, topping with 1 oz.
+Magenta and &frac12; 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>&mdash;Use to dye the ground, 6 oz. Diamine sky blue F F and
+&frac12; oz. Diamine fast yellow A; top with 1&frac12; oz. Cyanole extra and &frac14;
+oz. Brilliant green.</p>
+
+<p><i>Dark Grey.</i>&mdash;Dye with &frac12; oz. Diamine grey G, and 1&frac12; oz. Diamine
+brown M; top with &frac14; oz. Orange extra and 1 oz. Cyanole extra.</p>
+
+<p><i>Brilliant Orange.</i>&mdash;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>.&mdash;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>&mdash;Dye with 1 lb. Columbia black R and top with 6 oz.
+Magenta.</p>
+
+<p><i>Pale Sea Green.</i>&mdash;Use in the dye-bath &frac12; oz. Chrysophenine G, 1&frac12;
+oz. Chicago blue 6 B and 1&frac12; oz. Alkali blue 6 B.</p>
+
+<p><i>Bright Crimson.</i>&mdash;Dye with 3 lb. Congo Corinth and top with 1 lb.
+Magenta.</p>
+
+<p><i>Dark Russian Green.</i>&mdash;Dye with 3 lb. Columbia black B; then top with 1
+lb. Malachite green.</p>
+
+<p><i>Gold Drab.</i>&mdash;Dye with 5 oz. Columbia black, and top with 5 oz.
+Chrysoidine R.</p>
+
+<p><i>Bright Olive Yellow.</i>&mdash;Dye with 1&frac12; lb. Diamine gold, 1&frac12; lb.
+Diamine fast yellow A and &frac34; lb. Diamine bronze G; top with &frac12; lb.
+Thioflavine T and &frac14; lb. Chrysoidine.</p>
+
+<p><i>Moss Brown.</i>&mdash;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>&mdash;Dye a bottom with 9 oz. Diamine black B and 4&frac12; 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>&mdash;Dye a ground with &frac12; lb. Diamine gold, 1&frac14; 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>&mdash;Dye the ground with 2&frac12; lb. Diamine azo blue 2 B,
+1&frac12; oz. Alkali blue 3 B, &frac12; 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>&mdash;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>&mdash;Dye the ground with 1 oz. Diamine orange G C, &frac34; oz.
+Diamine bronze G and &frac12; oz. Diamine brown M; top with &frac34; oz. New
+methylene blue N, 1 oz. Bismarck brown and 1 oz. Cyanole extra.</p>
+
+<p><i>Deep Leaf Green.</i>&mdash;Dye a ground colour with 1&frac14; lb. Diamine bronze G,
+1&frac12; lb. Diamine fast yellow A and 1&frac12; lb. Diamine black H W; the
+topping bath is made with &frac12; lb. Brilliant green, &frac12; lb. Chrysoidine
+and &frac14; lb. New methylene blue N.</p>
+
+<p><i>Maroon.</i>&mdash;Dye with 3 lb. Diamine Bordeaux S, &frac12; lb. Diamine orange D C
+and &frac12; lb. Diamine brown V; top with &frac12; lb. Magenta and &frac14; lb. Formyl
+violet S 4 B.</p>
+
+<p><i>Heliotrope.</i>&mdash;Dye with 1 lb. Heliotrope 2 B.</p>
+
+<p><i>Lilac Rose.</i>&mdash;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>&mdash;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>&mdash;Dye with &frac14; lb. Diamine brown M, 1 lb. Diamine fast
+yellow A and &frac34; lb. Diamine bronze G; top with &frac12; lb. Orange G G and
+&frac12; lb. Cyanole extra.</p>
+
+<p><i>Deep Rose.</i>&mdash;Dye the bottom colour with &frac12; lb. Diamine rose B D and
+top with &frac14; lb. Rhodamine B and 1 oz. Safranine.</p>
+
+<p><i>Walnut Brown.</i>&mdash;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>&mdash;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&deg; to 195&deg; 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, &frac12; 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&deg; 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>&mdash;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&deg; 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&deg; 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:&mdash;</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>&mdash;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&deg; F. with about 6
+lb. Diamine black B H, 1 lb. Diamine sky blue, pat., per 100 lb. of dry
+goods, &frac12; lb. Diamine orange D C, pat., with an addition of 6&frac12; 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&deg; to 140&deg; 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>&mdash;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>&mdash;Dye the cotton with 5 lb. Diamine black B H, 1 lb.
+Diamine sky blue, and &frac14; lb. Diamine orange D C. After dyeing,
+diazotise and develop with phenylene diamine as described above. Then
+dye the silk with &frac12; lb. Pure soluble blue and 1 lb. Cyanole extra.</p>
+
+<p><i>Black and Crimson.</i>&mdash;Dye the black as in the previous recipe, then dye
+the silk with 2 lb. Brilliant croceine 3 B and &frac12; lb. Rhodamine S.</p>
+
+<p><i>Blue and Gold.</i>&mdash;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>&mdash;Dye the cotton with 1&frac12; lb. Diamine black B H,
+1&frac12; lb. Diamine sky blue and &frac12; 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>&mdash;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>&mdash;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>&mdash;Dye the cotton with 1&frac12; lb. Diamineral blue R
+and &frac12; 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>&mdash;Dye the cotton with 1&frac12; lb. Diamine fast yellow A
+and &frac14; lb. Diamine sky blue, and the silk with 1 lb. Erythrosine B.</p>
+
+<p><i>Brown and Blue.</i>&mdash;Dye the cotton with 3 lb. Mikado brown 2 B, and the
+silk with &frac12; 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:&mdash;</p>
+
+<p><i>Orange and Blue.</i>&mdash;The dye-bath is made with 3 lb. Mikado orange 5 R O
+and 1&frac14; lb. Alkali blue 6 B. After the dyeing the goods are rinsed,
+then passed through a bath of 1&frac12; lb. sulphuric acid in 10 gallons
+water, washed well and dried.</p>
+
+<p><i>Olive and Blue.</i>&mdash;The dye-bath is made with 1&frac12; lb. Diamine fast
+yellow A, 2&frac12; lb. Diamine orange DC, &frac14; 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>&mdash;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 &amp; 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.&mdash;Squeezing Rollers.</span>
+</div>
+
+<p><i>Yarns in Hanks.</i>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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>&mdash;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.&mdash;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>&mdash;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>&mdash;Yarn in the cop form is best washed in the machine in which it
+is dyed.</p>
+
+<p><i>Yarns in Hanks.</i>&mdash;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.&mdash;Dye-house Washing Machine.</span>
+</div>
+
+<p><i>Piece Goods.</i>&mdash;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.&mdash;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 &amp;
+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&mdash;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&mdash;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.&mdash;Cloth-washing Machine.</span>
+</div>
+
+<p><b>Soaping.</b>&mdash;- 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.&mdash;Washing and Soaping Vats.</span>
+</div>
+
+<p><b>Steaming.</b>&mdash;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.&mdash;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>.&mdash;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.&mdash;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.&mdash;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&mdash;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.&mdash;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:&mdash;</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&mdash;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.&mdash;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&mdash;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.&mdash;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.&mdash;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>.&mdash;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:&mdash;</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&deg; Tw.</p>
+
+<p>13. Bisulphite of soda, 72&deg; 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:&mdash;</p>
+
+<p><b>Fastness to Light and Air</b>.&mdash;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>&mdash;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&mdash;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.&mdash;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&mdash;these may be bought from most dealers in
+chemical apparatus&mdash;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 10&frac12;<!-- Page 264 --><span class='pagenum'><a name="Page_264" id="Page_264">[Pg 264]</a></span> inches broad and 6&frac12; inches
+deep&mdash;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&mdash;swatches, as they are commonly called&mdash;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:&mdash;</p>
+
+<p>5 (weight of swatch) multiplied by 2 (per cent. of dye) and divided by
+100 equals&mdash;</p>
+
+<span style="margin-left: 12em;">5 x 2</span><br />
+<span style="margin-left: 11.5em;">&mdash;&mdash;&mdash; = 0.1 gram dye</span><br />
+<span style="margin-left: 12.5em;">100</span><br />
+
+<p>For the soda we have similarly:&mdash;</p>
+
+<span style="margin-left: 9.5em;">5 x 3</span><br />
+<span style="margin-left: 9em;">&mdash;&mdash;&mdash; = 0.15 gram soda.</span><br />
+<span style="margin-left: 10em;">100</span><br />
+
+<p>For the Glauber's salt:&mdash;</p>
+
+<span style="margin-left: 8.5em;">5 x 15</span><br />
+<span style="margin-left: 8em;">&mdash;&mdash;&mdash;&mdash; = 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:&mdash;</p>
+
+
+<p>The shades obtained by using various proportions of dye-stuffs.</p>
+
+<p>The influence of various assistants&mdash;common salt, soda, Glauber's salt,
+borax, phosphate of soda&mdash;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&mdash;one is a dyeing test, the other is
+a colorimetric test made with the solutions of the dyes.</p>
+
+<p><b>Dyeing Test.</b>&mdash;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&mdash;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>&mdash;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;">&mdash; of alumina, <a href='#Page_170'><b>170</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; of chrome, <a href='#Page_180'><b>180</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; dye-stuffs, topping with, <a href='#Page_228'><b>228</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; magenta, <a href='#Page_84'><b>84</b></a>. <a href='#Page_220'><b>220</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; violet, <a href='#Page_229'><b>229</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; blue, <a href='#Page_173'><b>173</b></a>, <a href='#Page_174'><b>174</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; paste, <a href='#Page_174'><b>174</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; dyed goods, test of, <a href='#Page_258'><b>258</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; dyes, <a href='#Page_84'><b>84</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; oil, <a href='#Page_170'><b>170</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; orange, <a href='#Page_173'><b>173</b></a>. <a href='#Page_174'><b>174</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; pink, <a href='#Page_172'><b>172</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; purple, <a href='#Page_172'><b>172</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; red, <a href='#Page_171'><b>171</b></a>, <a href='#Page_248'><b>248</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; violet, <a href='#Page_172'><b>172</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; 3 B, <a href='#Page_233'><b>233</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; acetate, <a href='#Page_179'><b>179</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; brown, <a href='#Page_121'><b>121</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; cachou, <a href='#Page_127'><b>127</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; cutch, <a href='#Page_126'><b>126</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; drab, <a href='#Page_127'><b>127</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; green B, <a href='#Page_127'><b>127</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; Y, <a href='#Page_127'><b>127</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; hydrochloride, <a href='#Page_181'><b>181</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; oil, <a href='#Page_206'><b>206</b></a>, <a href='#Page_207'><b>207</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; G. <a href='#Page_154'><b>154</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; 2 R, <a href='#Page_228'><b>228</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; compounds, <a href='#Page_182'><b>182</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; orseille B B, <a href='#Page_229'><b>229</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; 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;">&mdash;&mdash; rubine A, <a href='#Page_229'><b>229</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; scarlet, <a href='#Page_84'><b>84</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; topping with, <a href='#Page_145'><b>145</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; 3 G, <a href='#Page_211'><b>211</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; R, <a href='#Page_210'><b>210</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; black blue, <a href='#Page_164'><b>164</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; blue, <a href='#Page_227'><b>227</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; 3 B, <a href='#Page_94'><b>94</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; black G, <a href='#Page_210'><b>210</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; R W, <a href='#Page_115'><b>115</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; brown, <a href='#Page_92'><b>92</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; N B X, <a href='#Page_101'><b>101</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; brown G, <a href='#Page_118'><b>118</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; &mdash;&mdash; 5 G, <a href='#Page_113'><b>113</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; &mdash;&mdash; R, <a href='#Page_118'><b>118</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; &mdash;&mdash; 2 R, <a href='#Page_117'><b>117</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; 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;">&mdash;&mdash; fast grey, <a href='#Page_102'><b>102</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; green, B B, <a href='#Page_93'><b>93</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; brown G, <a href='#Page_144'><b>144</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; dark brown N, <a href='#Page_144'><b>144</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; developer, <a href='#Page_141'><b>141</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; 6 B, <a href='#Page_146'><b>146</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; and crimson shot dyes, <a href='#Page_237'><b>237</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; and green blue shot, <a href='#Page_222'><b>222</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; and pink shot, <a href='#Page_223'><b>223</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; and yellow shot, <a href='#Page_223'><b>223</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; blue, <a href='#Page_116'><b>116</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; 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;">&mdash;&mdash; dyeing of, <a href='#Page_234'><b>234</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; 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;">&mdash; of fine fabrics, <a href='#Page_42'><b>42</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; and gold shot dyes, <a href='#Page_237'><b>237</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; and gold yellow shot, <a href='#Page_222'><b>222</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; and orange shot, <a href='#Page_224'><b>224</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; developer A, <a href='#Page_130'><b>130</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; AN, <a href='#Page_134'><b>134</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; green, <a href='#Page_114'><b>114</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; crimson, <a href='#Page_232'><b>232</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; grass green, <a href='#Page_93'><b>93</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; green, <a href='#Page_146'><b>146</b></a>, <a href='#Page_151'><b>151</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; grey, <a href='#Page_106'><b>106</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; navy, <a href='#Page_115'><b>115</b></a>, <a href='#Page_116'><b>116</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; olive yellow, <a href='#Page_232'><b>232</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; orange, <a href='#Page_92'><b>92</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; pea green, <a href='#Page_94'><b>94</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; pink, <a href='#Page_90'><b>90</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; red, <a href='#Page_87'><b>87</b></a>, <a href='#Page_145'><b>145</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash;lilac, <a href='#Page_99'><b>99</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; rose, <a href='#Page_230'><b>230</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; sea green, <a href='#Page_151'><b>151</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; straw, <a href='#Page_90'><b>90</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; violet, <a href='#Page_231'><b>231</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; walnut, <a href='#Page_143'><b>143</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; Congo R, <a href='#Page_210'><b>210</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; croceine, <a href='#Page_229'><b>229</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 3 B, <a href='#Page_237'><b>237</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; milling green B, <a href='#Page_211'><b>211</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; orange, <a href='#Page_92'><b>92</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; orseille C, <a href='#Page_229'><b>229</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; purpurine, <a href='#Page_87'><b>87</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; R, <a href='#Page_210'><b>210</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; red, <a href='#Page_88'><b>88</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; rhoduline red B, <a href='#Page_151'><b>151</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; scarlet, <a href='#Page_211'><b>211</b></a>, <a href='#Page_229'><b>229</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; G, <a href='#Page_211'><b>211</b></a></span><br />
+<span style="margin-left: 1em;">&mdash; violet, <a href='#Page_231'><b>231</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; and violet shot, <a href='#Page_223'><b>223</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; green, <a href='#Page_229'><b>229</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; brown, <a href='#Page_112'><b>112</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; F K, <a href='#Page_117'><b>117</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; liquor, <a href='#Page_189'><b>189</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; hexa-nitrate, <a href='#Page_14'><b>14</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; penta-nitrate, <a href='#Page_14'><b>14</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; B, <a href='#Page_115'><b>115</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; of lime, <a href='#Page_37'><b>37</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; 4 R F, <a href='#Page_119'><b>119</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; 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;">&mdash;&mdash; fluoride, <a href='#Page_112'><b>112</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; F B B, <a href='#Page_105'><b>105</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; blue G, <a href='#Page_224'><b>224</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; 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;">&mdash;&mdash; red S, <a href='#Page_211'><b>211</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; 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;">&mdash;&mdash; brown, <a href='#Page_210'><b>210</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; Corinth, <a href='#Page_232'><b>232</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; orange G, <a href='#Page_210'><b>210</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; R, <a href='#Page_210'><b>210</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; 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;">&mdash;&mdash; &mdash;&mdash; Mommer's, <a href='#Page_69'><b>69</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; Young &amp; 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;">&mdash;&mdash; logwood black, <a href='#Page_177'><b>177</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; nitrate, <a href='#Page_177'><b>177</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; soda solution, <a href='#Page_180'><b>180</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; 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;">&mdash;&mdash; brown A, <a href='#Page_231'><b>231</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; <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;">&mdash;&mdash; dyeing, <a href='#Page_18'><b>18</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; fibre, <a href='#Page_2'><b>2</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; illustration of, <a href='#Page_5'><b>5</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; impurities of, <a href='#Page_3'><b>3</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; structure of, <a href='#Page_4'><b>4</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; structure and chemistry of, <a href='#Page_1'><b>1</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; fibres, composition of, <a href='#Page_5'><b>5</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; production of colour direct on, <a href='#Page_181'><b>181</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">&mdash;&mdash; 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;">&mdash;&mdash; 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;">&mdash; fast violet 2 R N, <a href='#Page_232'><b>232</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; orange, <a href='#Page_128'><b>128</b></a>, <a href='#Page_211'><b>211</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; B, <a href='#Page_123'><b>123</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 2 B, <a href='#Page_120'><b>120</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; &mdash; and green shot dyes, <a href='#Page_237'><b>237</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; and olive shot dyes, <a href='#Page_238'><b>238</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; bronze, <a href='#Page_115'><b>115</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; and blue shot, <a href='#Page_222'><b>222</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; olive, <a href='#Page_165'><b>165</b></a>, <a href='#Page_166'><b>166</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; chestnut, <a href='#Page_104'><b>104</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; cream, <a href='#Page_231'><b>231</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; crimson, <a href='#Page_136'><b>136</b></a>, <a href='#Page_231'><b>231</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; lilac, <a href='#Page_146'><b>146</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; maroon, <a href='#Page_89'><b>89</b></a>, <a href='#Page_135'><b>135</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; &mdash; brown, <a href='#Page_118'><b>118</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; orange, <a href='#Page_91'><b>91</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; red, <a href='#Page_88'><b>88</b></a>, <a href='#Page_113'><b>113</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; Russian green, <a href='#Page_232'><b>232</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; sage, <a href='#Page_127'><b>127</b></a>, <a href='#Page_216'><b>216</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; scarlet, <a href='#Page_153'><b>153</b></a>, <a href='#Page_155'><b>155</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; slate, <a href='#Page_106'><b>106</b></a>, <a href='#Page_214'><b>214</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; stone, <a href='#Page_214'><b>214</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; turquoise blue, <a href='#Page_116'><b>116</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; violet, <a href='#Page_156'><b>156</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; walnut, <a href='#Page_216'><b>216</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; brown, <a href='#Page_103'><b>103</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; blue, <a href='#Page_97'><b>97</b></a>, <a href='#Page_126'><b>126</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; crimson, <a href='#Page_89'><b>89</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; green, <a href='#Page_94'><b>94</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; leaf green, <a href='#Page_233'><b>233</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; olive brown, <a href='#Page_180'><b>180</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; yellow, <a href='#Page_230'><b>230</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; pink, <a href='#Page_88'><b>88</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; 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;">&mdash;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;">&mdash; &mdash; &mdash; R, <a href='#Page_145'><b>145</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; &mdash; 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;">&mdash; &mdash; &mdash; RR, <a href='#Page_136'><b>136</b></a>, <a href='#Page_137'><b>137</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; blue, <a href='#Page_112'><b>112</b></a>. <a href='#Page_132'><b>132</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 2 B, <a href='#Page_210'><b>210</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; B B, <a href='#Page_227'><b>227</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; C B, <a href='#Page_228'><b>228</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; &mdash; R, <a href='#Page_102'><b>102</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; Bordeaux, <a href='#Page_87'><b>87</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; brown, <a href='#Page_112'><b>112</b></a>, <a href='#Page_132'><b>132</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; B, <a href='#Page_209'><b>209</b></a>, <a href='#Page_228'><b>228</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; S, <a href='#Page_210'><b>210</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; Y, <a href='#Page_92'><b>92</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; 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;">&mdash; colours, <a href='#Page_227'><b>227</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; &mdash; green N, <a href='#Page_93'><b>93</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; deep black Cr, <a href='#Page_96'><b>96</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; &mdash; RB, <a href='#Page_104'><b>104</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; &mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; jet black, <a href='#Page_139'><b>139</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; &mdash; 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;">&mdash; &mdash; &mdash; O O, <a href='#Page_144'><b>144</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; &mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; &mdash; G, <a href='#Page_143'><b>143</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; dye, <a href='#Page_139'><b>139</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; orange, <a href='#Page_132'><b>132</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; D, <a href='#Page_210'><b>210</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; F, <a href='#Page_209'><b>209</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; G D, <a href='#Page_104'><b>104</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; red, <a href='#Page_107'><b>107</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; B, <a href='#Page_210'><b>210</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 4 B, <a href='#Page_209'><b>209</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; 6 B, <a href='#Page_209'><b>209</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; N, <a href='#Page_87'><b>87</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; N O, <a href='#Page_210'><b>210</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; rose, <a href='#Page_223'><b>223</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; G D, <a href='#Page_99'><b>99</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; scarlet, <a href='#Page_107'><b>107</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; H S, <a href='#Page_230'><b>230</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; S, <a href='#Page_228'><b>228</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; &mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; yellow, <a href='#Page_92'><b>92</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; &mdash; G, <a href='#Page_98'><b>98</b></a>, <a href='#Page_113'><b>113</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 2 K, <a href='#Page_94'><b>94</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; &mdash; G O, <a href='#Page_142'><b>142</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; T, <a href='#Page_102'><b>102</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; G, <a href='#Page_89'><b>89</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; &mdash; 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;">&mdash; &mdash; brown, <a href='#Page_103'><b>103</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; olive, <a href='#Page_93'><b>93</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; 2 R, <a href='#Page_92'><b>92</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; scarlet G, <a href='#Page_145'><b>145</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; yellow, <a href='#Page_94'><b>94</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; G, <a href='#Page_91'><b>91</b></a>, <a href='#Page_98'><b>98</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; R, <a href='#Page_94'><b>94</b></a>, <a href='#Page_113'><b>113</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; blue, <a href='#Page_132'><b>132</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; brown, <a href='#Page_130'><b>130</b></a>, <a href='#Page_139'><b>139</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; compounds, <a href='#Page_181'><b>181</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; dyes, <a href='#Page_83'><b>83</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; fastness of, <a href='#Page_106'><b>106</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; fast brown B, <a href='#Page_144'><b>144</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; indigo blue, <a href='#Page_98'><b>98</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; orange R, <a href='#Page_210'><b>210</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; red, test of, <a href='#Page_265'><b>265</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; triamine black G X, <a href='#Page_104'><b>104</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; of basic dyes, <a href='#Page_149'><b>149</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; machinery, <a href='#Page_53'><b>53</b></a>, <a href='#Page_57'><b>57</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; on metallic mordants, <a href='#Page_156'><b>156</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; &mdash; &mdash; B N, <a href='#Page_222'><b>222</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; blue developer A D, <a href='#Page_133'><b>133</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; brown, <a href='#Page_164'><b>164</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; neutral violet B, <a href='#Page_154'><b>154</b></a>,</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; of colours to light and air, <a href='#Page_260'><b>260</b></a></span><br />
+<span style="margin-left: 1em;">&mdash; of colours to rubbing, <a href='#Page_261'><b>261</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; of colours to washing, <a href='#Page_261'><b>261</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; brown, <a href='#Page_167'><b>167</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; with couplers, <a href='#Page_139'><b>139</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; developers, <a href='#Page_128'><b>128</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; &mdash; 6 B, <a href='#Page_211'><b>211</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 10 B, <a href='#Page_211'><b>211</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; &mdash; and blue shot, <a href='#Page_222'><b>222</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; drab, <a href='#Page_232'><b>232</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; orange, <a href='#Page_214'><b>214</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; and buff shot, <a href='#Page_223'><b>223</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; and claret shot, <a href='#Page_222'><b>222</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; and pink shot dyes, <a href='#Page_238'><b>238</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; and orange shot, <a href='#Page_224'><b>224</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; blue, <a href='#Page_98'><b>98</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; grey, <a href='#Page_106'><b>106</b></a>, <a href='#Page_120'><b>120</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; olive, <a href='#Page_92'><b>92</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; and orange shot, <a href='#Page_223'><b>223</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; blue, <a href='#Page_96'><b>96</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; lilac, <a href='#Page_99'><b>99</b></a>, <a href='#Page_153'><b>153</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; slate, <a href='#Page_166'><b>166</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; violet B, <a href='#Page_224'><b>224</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; &mdash; 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;">&mdash; grey S, <a href='#Page_231'><b>231</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; purple N, <a href='#Page_230'><b>230</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; &mdash; 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;">&mdash; blacks, <a href='#Page_79'><b>79</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; blue, <a href='#Page_121'><b>121</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; B, <a href='#Page_128'><b>128</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; 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;">&mdash; blue, <a href='#Page_152'><b>152</b></a>, <a href='#Page_154'><b>154</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; N, <a href='#Page_229'><b>229</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; S G N, <a href='#Page_229'><b>229</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; carmine, <a href='#Page_165'><b>165</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; dyed goods, test of, <a href='#Page_258'><b>258</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; dyeing, <a href='#Page_199'><b>199</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; dye-vat for cloth, <a href='#Page_199'><b>199</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; extract, <a href='#Page_84'><b>84</b></a>, <a href='#Page_167'><b>167</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; mordants, <a href='#Page_259'><b>259</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; stains, <a href='#Page_50'><b>50</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; II, <a href='#Page_219'><b>219</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; blue G, <a href='#Page_155'><b>155</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; R, <a href='#Page_155'><b>155</b></a>, <a href='#Page_219'><b>219</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; R, <a href='#Page_219'><b>219</b></a>, <a href='#Page_220'><b>220</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; dark blue B, <a href='#Page_219'><b>219</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; dyes, <a href='#Page_155'><b>155</b></a>, <a href='#Page_218'><b>218</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; grey B, <a href='#Page_156'><b>156</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; BB, <a href='#Page_219'><b>219</b></a>, <a href='#Page_220'><b>220</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; yellow G, <a href='#Page_219'><b>219</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; brown, <a href='#Page_107'><b>107</b></a>, <a href='#Page_121'><b>121</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; dark brown, <a href='#Page_128'><b>128</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; green, <a href='#Page_121'><b>121</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; chestnut brown, <a href='#Page_137'><b>137</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; green, <a href='#Page_114'><b>114</b></a>, <a href='#Page_143'><b>143</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; grey, <a href='#Page_106'><b>106</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; indigo blue, <a href='#Page_96'><b>96</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; plum, <a href='#Page_99'><b>99</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; sage brown, <a href='#Page_118'><b>118</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; seal brown, <a href='#Page_102'><b>102</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; red, <a href='#Page_87'><b>87</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; and copperas vat for indigo dyeing, <a href='#Page_200'><b>200</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; boil for cotton, <a href='#Page_28'><b>28</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; black, <a href='#Page_79'><b>79</b></a>, <a href='#Page_174'><b>174</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; dyeing on yarn in hanks, <a href='#Page_175'><b>175</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; decoction, <a href='#Page_177'><b>177</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; dyed goods, test of, <a href='#Page_258'><b>258</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; 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 &amp; Platt's apparatus, <a href='#Page_207'><b>207</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; machine, <a href='#Page_246'><b>246</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; washing machine, <a href='#Page_36'><b>36</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; B B, <a href='#Page_153'><b>153</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 2 B, <a href='#Page_153'><b>153</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; N, <a href='#Page_232'><b>232</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; 2 B, <a href='#Page_146'><b>146</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; R, <a href='#Page_146'><b>146</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 3 R, <a href='#Page_146'><b>146</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; 2 B, <a href='#Page_238'><b>238</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 3 G O, <a href='#Page_230'><b>230</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; dyes, <a href='#Page_18'><b>18</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; orange, <a href='#Page_227'><b>227</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; G, <a href='#Page_91'><b>91</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; R O, <a href='#Page_232'><b>232</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 3 R O, <a href='#Page_231'><b>231</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; yellow, <a href='#Page_227'><b>227</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; -azo-benzene, <a href='#Page_181'><b>181</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; black, <a href='#Page_128'><b>128</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; B, <a href='#Page_223'><b>223</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 3 B, <a href='#Page_222'><b>222</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; G, <a href='#Page_211'><b>211</b></a>, <a href='#Page_222'><b>222</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; R, <a href='#Page_211'><b>211</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; colours, <a href='#Page_182'><b>182</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; D, <a href='#Page_192'><b>192</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; X, <a href='#Page_192'><b>192</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; black, <a href='#Page_235'><b>235</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 4 B, <a href='#Page_211'><b>211</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; D, <a href='#Page_211'><b>211</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; &mdash; G, <a href='#Page_99'><b>99</b></a>, <a href='#Page_106'><b>106</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; &mdash; &mdash; G G, <a href='#Page_238'><b>238</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; &mdash; M, <a href='#Page_232'><b>232</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; &mdash; 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;">&mdash; &mdash; &mdash; N X, <a href='#Page_154'><b>154</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; &mdash; 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;">&mdash; &mdash; &mdash; 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;">&mdash; &mdash; grey B, <a href='#Page_153'><b>153</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; &mdash; G, <a href='#Page_154'><b>154</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; and blue shot dyes, <a href='#Page_238'><b>238</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; brown, <a href='#Page_143'><b>143</b></a>, <a href='#Page_154'><b>154</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; oil, <a href='#Page_170'><b>170</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; brown, <a href='#Page_102'><b>102</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; T A, <a href='#Page_218'><b>218</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; M, <a href='#Page_209'><b>209</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; N, <a href='#Page_91'><b>91</b></a>, <a href='#Page_97'><b>97</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; N R, <a href='#Page_105'><b>105</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; &mdash; 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;">&mdash; red S, <a href='#Page_209'><b>209</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; G, <a href='#Page_99'><b>99</b></a>, <a href='#Page_100'><b>100</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; chamois, <a href='#Page_166'><b>166</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; chestnut, <a href='#Page_143'><b>143</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; drab, <a href='#Page_233'><b>233</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; red, <a href='#Page_89'><b>89</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; gold yellow, <a href='#Page_213'><b>213</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; green, <a href='#Page_94'><b>94</b></a>, <a href='#Page_151'><b>151</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; greenish grey, <a href='#Page_120'><b>120</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; leaf green, <a href='#Page_113'><b>113</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; lilac, <a href='#Page_99'><b>99</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; nut brown, <a href='#Page_102'><b>102</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; olive brown, <a href='#Page_100'><b>100</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; green, <a href='#Page_113'><b>113</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; sage, <a href='#Page_144'><b>144</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; green, <a href='#Page_217'><b>217</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; salmon, <a href='#Page_87'><b>87</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; sky blue, <a href='#Page_95'><b>95</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; black S, <a href='#Page_96'><b>96</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; brown C, <a href='#Page_117'><b>117</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; G, <a href='#Page_101'><b>101</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; indigo blue, <a href='#Page_96'><b>96</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; brown, <a href='#Page_196'><b>196</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; dyed cotton, <a href='#Page_196'><b>196</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; dye-tub, <a href='#Page_191'><b>191</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; on piece goods, <a href='#Page_192'><b>192</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; on yarn, <a href='#Page_189'><b>189</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; with azophor red P N, <a href='#Page_195'><b>195</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; washing of, <a href='#Page_244'><b>244</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; bark, <a href='#Page_178'><b>178</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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 &amp; 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;">&mdash; brown, <a href='#Page_100'><b>100</b></a>, <a href='#Page_135'><b>135</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; chocolate, <a href='#Page_119'><b>119</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; developer C, <a href='#Page_192'><b>192</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; drab, <a href='#Page_165'><b>165</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; lilac, <a href='#Page_100'><b>100</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; orange, <a href='#Page_91'><b>91</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; plum, <a href='#Page_117'><b>117</b></a>, <a href='#Page_214'><b>214</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; B, <a href='#Page_153'><b>153</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; G, <a href='#Page_152'><b>152</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 6, G, <a href='#Page_152'><b>152</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; G, <a href='#Page_87'><b>87</b></a>, <a href='#Page_90'><b>90</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; bengale, <a href='#Page_229'><b>229</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; lilac, <a href='#Page_145'><b>145</b></a>, <a href='#Page_151'><b>151</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; pink, <a href='#Page_87'><b>87</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; G, <a href='#Page_146'><b>146</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; prima, <a href='#Page_153'><b>153</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; on satin, dyeing of, <a href='#Page_235'><b>235</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; ash, <a href='#Page_34'><b>34</b></a>, <a href='#Page_166'><b>166</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; crystals, <a href='#Page_169'><b>169</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; lye, <a href='#Page_202'><b>202</b></a>, <a href='#Page_235'><b>235</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; bichromate, <a href='#Page_164'><b>164</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; green, <a href='#Page_229'><b>229</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; 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;">&mdash; cottage, illustration of, <a href='#Page_249'><b>249</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; G, <a href='#Page_124'><b>124</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; brown, <a href='#Page_121'><b>121</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; grounding, <a href='#Page_173'><b>173</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; R, <a href='#Page_102'><b>102</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; brown O, <a href='#Page_210'><b>210</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; P, <a href='#Page_164'><b>164</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; R, <a href='#Page_102'><b>102</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; Y, <a href='#Page_161'><b>161</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; colours, <a href='#Page_227'><b>227</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; como G, <a href='#Page_95'><b>95</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; S N, <a href='#Page_98'><b>98</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; dyes, <a href='#Page_18'><b>18</b></a>, <a href='#Page_85'><b>85</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; gold, <a href='#Page_101'><b>101</b></a>, <a href='#Page_102'><b>102</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; marine blue, <a href='#Page_211'><b>211</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; navy R, <a href='#Page_98'><b>98</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; orange, <a href='#Page_88'><b>88</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; N, <a href='#Page_95'><b>95</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; pink, <a href='#Page_210'><b>210</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; red, <a href='#Page_107'><b>107</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; scarlet C, <a href='#Page_88'><b>88</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; D, <a href='#Page_88'><b>88</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; S, <a href='#Page_209'><b>209</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; yellow, <a href='#Page_210'><b>210</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; G, <a href='#Page_145'><b>145</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; diamine, <a href='#Page_134'><b>134</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; orange, <a href='#Page_139'><b>139</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash;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;">&mdash; &mdash;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;">&mdash; with acid and basic dye-stuffs, <a href='#Page_228'><b>228</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; B, <a href='#Page_96'><b>96</b></a>, <a href='#Page_137'><b>137</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; B T, <a href='#Page_98'><b>98</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Trop&aelig;oline O, <a href='#Page_229'><b>229</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; &mdash; bleach, <a href='#Page_38'><b>38</b></a>, <a href='#Page_39'><b>39</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; and yellow shot dyes, <a href='#Page_238'><b>238</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; of cotton in bleaching, <a href='#Page_36'><b>36</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; of condition, <a href='#Page_6'><b>6</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; liquor treatment, <a href='#Page_168'><b>168</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; 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;">&mdash; 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;">&mdash; in hanks, washing of, <a href='#Page_244'><b>244</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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;">&mdash; and violet shot dyes, <a href='#Page_237'><b>237</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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 &amp; 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;">&mdash; &mdash; B, <a href='#Page_210'><b>210</b></a>, <a href='#Page_218'><b>218</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; B R, <a href='#Page_97'><b>97</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; &mdash; 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;">&mdash; blue, <a href='#Page_130'><b>130</b></a>,</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; B X, <a href='#Page_136'><b>136</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; brown, <a href='#Page_130'><b>130</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; G, <a href='#Page_210'><b>210</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; &mdash; 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;">&mdash; 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;">&mdash; bisulphite indigo vat, <a href='#Page_203'><b>203</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; chloride, <a href='#Page_20'><b>20</b></a>.</span><br />
+<span style="margin-left: 1em;">&mdash; 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 &amp; 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.&mdash;<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 &amp;. 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.&mdash;II., Hydrocarbon
+Oils.&mdash;III., Animal and Fish Oils.&mdash;IV., Compound Oils.&mdash;V., Vegetable
+Oils.&mdash;VI., Lamp Oils.&mdash;VII., Engine Tallow, Solidified Oils and
+Petroleum Jelly.&mdash;VIII., Machinery Greases: Loco and
+Anti-friction.&mdash;IX., Clarifying and Utilisation of Waste Fats, Oils,
+Tank Bottoms, Drainings of Barrels and Drums, Pickings Up, Dregs,
+etc.&mdash;X., The Fixing and Cleaning of Oil Tanks, etc.&mdash;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."&mdash;<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."&mdash;<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.&mdash;II., Soap-maker's Alkalies.&mdash;III., Soap Fats
+and Oils.&mdash;IV., Perfumes.&mdash;V., Water as a Soap Material.&mdash;VI., Soap
+Machinery.&mdash;VII., Technology of Soap-making.&mdash;VIII., Glycerine in Soap
+Lyes.&mdash;IX., Laying out a Soap Factory.&mdash;X., Soap Analysis.&mdash;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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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 AND&Eacute;S. 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 &amp; M&uuml;nzberg'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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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&mdash;lard, tallow and butter&mdash;receive due attention."&mdash;<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 AND&Eacute;S. 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."&mdash;<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."&mdash;<i>Manufacturing Chemist.</i></blockquote>
+
+<p><b>IRON-CORROSION, ANTI-FOULING AND ANTI-CORROSIVE PAINTS.</b> By LOUIS EDGAR
+AND&Eacute;S. 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&mdash;Protection from Rusting by Paint&mdash;Grounding
+the Iron with Linseed Oil, etc.&mdash;Testing Paints&mdash;Use of Tar for Painting
+on Iron&mdash;Anti-corrosive Paints&mdash;Linseed Varnish&mdash;Chinese Wood Oil&mdash;Lead
+Pigments&mdash;Iron Pigments&mdash;Artificial Iron Oxides&mdash;Carbon&mdash;Preparation of
+Anti-corrosive Paints&mdash;Results of Examination of Several Anti-corrosive
+Paints&mdash;Paints for Ship's Bottoms&mdash;Anti-fouling Compositions&mdash;Various
+Anti-corrosive and Ship's Paints&mdash;Official Standard Specifications for
+Ironwork Paints&mdash;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."&mdash;<i>British Mercury.</i></p>
+
+     <p>"Will be of great service to paint manufacturers, engineering
+     contractors, ironfounders, shipbuilders and others."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<i>Fairplay</i>.</p>
+
+     <p>"Herr And&eacute;s' 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."&mdash;<i>The
+     Ironmonger.</i></p>
+
+     <p>"This knowledge is conveyed with characteristic German thoroughness
+     in this useful work of Herr And&eacute;s, 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."&mdash;<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."&mdash;<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>&mdash;Chapters I., Aluminium and its Compounds.&mdash;II., Iron and Iron
+Compounds.</p>
+
+<p>Part II., <b>Manufacture of Aluminium Sulphates and Sulphates of
+Iron.</b>&mdash;Chapters III., Manufacture of Aluminium Sulphate and the
+Alums.&mdash;IV., Manufacture of Sulphates of Iron.</p>
+
+<p>Part III., <b>Uses of the Sulphates of Aluminium and Iron.</b>&mdash;Chapters V.,
+Uses of Aluminium Sulphate and Alums&mdash;Application to Wool and
+Silk&mdash;Preparing and using Aluminium Acetates&mdash;Employment of Aluminium
+Sulphate in Carbonising Wool&mdash;The Manufacture of Lake
+Pigments&mdash;Manufacture of Prussian Blue&mdash;Hide and Leather Industry&mdash;Paper
+Making&mdash;Hardening Plaster&mdash;Lime Washes&mdash;Preparation of Non-inflammable
+Wood, etc.&mdash;Purification of Waste Waters.&mdash;VI., <b>Uses and Applications
+of Ferrous Sulphate and Ferric Sulphates.</b>&mdash;Dyeing&mdash;Manufacture of
+Pigments&mdash;Writing Inks&mdash;Purification of Lighting
+Gas&mdash;Agriculture&mdash;Cotton Dyeing&mdash;Disinfectant&mdash;Purifying Waste
+Liquors&mdash;Manufacture of Nordhausen Sulphuric Acid&mdash;Fertilising.</p>
+
+<p>Part IV., <b>Chemical Characteristics of Iron and Aluminium.</b>&mdash;<b>Analysis
+of Various Aluminous or Ferruginous Products.</b>&mdash;Chapter VII.,
+Aluminium.&mdash;<b>Analysing Aluminium Products.</b>&mdash;Alunite Alumina&mdash;Sodium
+Aluminate&mdash;Aluminium Sulphate. Chapter VIII., <b>Iron.</b>&mdash;Analytical
+Characteristics of Iron Salts&mdash;Analysis of Pyritic Lignite&mdash;Ferrous and
+Ferric Sulphates&mdash;Rouil Mordant&mdash;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.&mdash;II., The Atmosphere.&mdash;III., The Soil.&mdash;IV.,
+The Reactions occurring in Soils.&mdash;V., The Analysis of Soils.&mdash;VI.,
+Manures, Natural.&mdash;VII., Manures (continued).&mdash;VIII., The Analysis of
+Manures.&mdash;IX., The Constituents of Plants.&mdash;X., The Plant.&mdash;XI,
+Crops.&mdash;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.&mdash;II., <b>Hydrocarbon Oils.</b> Distillation,
+Simple Distillation, Destructive Distillation, Products of Distillation,
+Hydrocarbons, Paraffins, Olefins, Napthenes.&mdash;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.&mdash;IV.,
+<b>Petroleum</b>. Occurrence, Geology, Origin, Composition, Extraction,
+Refining, Petroleum Stills, Petroleum Products, Cylinder Oils, Russian
+Petroleum, Deblooming Mineral Oils.&mdash;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.&mdash;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.&mdash;VII.,
+<b>Lubricating Greases</b>. Rosin Oil, Anthracene Oil, Making Greases,
+Testing and Analysis of Greases.&mdash;VIII., <b>Lubrication</b>. Friction and
+Lubrication, Lubricant, Lubrication of Ordinary Machinery, Spontaneous
+Combustion of Oils, Stainless Oils, Lubrication of Engine Cylinders,
+Cylinder Oils.&mdash;<b>Appendices</b>. A. Table of Baume's Hydrometer&mdash;B. Table
+of Thermometric Degrees&mdash;C. Table of Specific Gravities of
+Oils&mdash;<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."&mdash;<i>Textile Mercury.</i></p>
+
+     <p>"It will be a valuable addition to the technical library of every
+     steam user's establishment." &mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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&mdash;The Lencauchez
+Process, The Bilange Process, The Kuentz Process; 2. Treatment of the
+Clarified Liquors for the Manufacture of Ammonium Sulphate&mdash;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 Vaur&eacute;al; 3.
+Treatment of Entire Sewage&mdash;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&mdash;A. Mallet's Apparatus, A. Mallet's Modified
+Apparatus, Paul Mallet's Apparatus, Chevalet's Apparatus, Gr&uuml;neberg's
+Apparatus; 3. Concentration of Gas Liquor&mdash;Solvay's Apparatus, Kuentz's
+Apparatus, Gr&uuml;neberg'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&mdash;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&mdash;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&mdash;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 Schl&#339;sing and Rolland; 3. Apparatus of the Soci&eacute;t&eacute; Anonyme
+de l'Est.&mdash;<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, Ing&eacute;nieur 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.&mdash;II. Solvents: Natural, Artificial, Manufacture,
+Storage, Special Use.&mdash;III. Colouring: Principles, (1) Vegetable, (2)
+Coal Tar, (3) Coloured Resinates, (4) Coloured Oleates and
+Linoleates.&mdash;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.&mdash;Spirit
+Varnish Manufacture: Cold Solution Plant, Mechanical Agitators, Hot
+Solution Plant, Jacketted Pans, Mechanical Agitators, Clarification and
+Filtration, Bleaching Plant, Storage Plant.&mdash;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.&mdash;Manufacture of
+Varnish Stains.&mdash;Manufacture of Lacquers.&mdash;Manufacture of Spirit
+Enamels.&mdash;Analysis of Spirit Varnishes.&mdash;Physical and Chemical Constants
+of Resins. &mdash;Table of Solubility of Resins in different
+Menstrua.&mdash;Systematic qualitative Analysis of Resins, Hirschop's
+tables.&mdash;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.&mdash;Oil Refining: Processes, Thenard's,
+Liebig's, Filtration, Storage, Old Tanked Oil.&mdash;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.&mdash;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.&mdash;Solidified Boiled Oil.&mdash;Manufacture of Linoleum.&mdash;Manufacture
+of India Rubber Substitutes.&mdash;Printing Ink Manufacture&mdash;Lithographic Ink
+Manufacture.&mdash;Manufacture of Oil Varnishes.&mdash;Running and Special
+Treatment of Amber, Copal, Kauri, Manilla.&mdash;Addition of Oil to
+Resin.&mdash;Addition of Resin to Oil.&mdash;Mixed Processes.&mdash;Solution in Cold of
+previously Fused Resin.&mdash;Dissolving Resins in Oil, etc., under
+pressure.&mdash;Filtration.&mdash;Clarification.&mdash;Storage.&mdash;Ageing.&mdash;Coach-makers'
+Varnishes and Japans.&mdash;Oak Varnishes.&mdash;Japanners' Stoving
+Varnishes.&mdash;Japanners' Gold Size.&mdash;Brunswick Black.&mdash;Various Oil
+Varnishes.&mdash;Oil-Varnish Stains.&mdash;Varnishes for "Enamels".-India Rubber
+Varnishes.&mdash;Varnishes Analysis: Processes, Matching.&mdash;Faults in
+Varnishes: Cause, Prevention.&mdash;Experiments and Exercises.</p>
+
+<blockquote><p><b>Press Opinions.</b></p>
+
+     <p>"There is no question that this is a useful book."&mdash;<i>Chemist and</i>
+     <i>Druggist.</i></p>
+<p>
+     "The different formul&aelig; 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."&mdash;<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 &amp; 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."&mdash;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.&mdash;II., The Groups of the Artificial Colouring
+Matters.&mdash;III., The Nature and Manipulation of Artificial Colours.&mdash;IV.,
+Lake-forming Bodies for Acid Colours. &mdash;V., Lake-forming Bodies' Basic
+Colours.&mdash;VI., Lake Bases.&mdash;VII., The Principles of Lake
+Formation.&mdash;VIII., Red Lakes.&mdash;IX., Orange, Yellow, Green, Blue, Violet
+and Black Lakes. &mdash;X., The Production of Insoluble Azo Colours in the
+Form of Pigments.&mdash;XI., The General Properties of Lakes Produced from
+Artificial Colours.&mdash;XII., Washing, Filtering and Finishing. &mdash;XIII.,
+Matching and Testing Lake Pigments.&mdash;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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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>&mdash;II.,
+<b>Compounds occurring in Essential Oils</b>.&mdash;III., <b>The Preparation of
+Essential Oils.</b>&mdash;IV., <b>The Analysis of Essential Oils</b>.&mdash;V.,
+<b>Systematic Study of the Essential Oils.</b>&mdash;VI., <b>Terpeneless
+Oils.</b>&mdash;VII., <b>The Chemistry of Artificial Perfumes</b>.&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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. AND&Eacute;S. 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.&mdash;II., The Properties of and Methods for
+obtaining the Drying Oils.&mdash;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.&mdash;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.&mdash;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.&mdash;VI., Behaviour of the Drying Oils and Boiled Oils towards
+Atmospheric Influences, Water, Acids and Alkalies.&mdash;VII., Boiled Oil
+Substitutes.&mdash;VIII., The Manufacture of Solid and Liquid Driers from
+Linseed Oil and Rosin; Linolic Acid Compounds of the Driers.&mdash;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).&mdash;Chapters
+I., On Fluor Mineral and its Acid.&mdash;II., On Fluor Mineral.&mdash;III.,
+Chemical Investigation of Fluor Acid, with a View to the Earth which it
+Yields, by Mr. Wiegler.&mdash;IV., Additional Information Concerning Fluor
+Minerals.&mdash;V., On Manganese, Magnesium, or Magnesia Vitrariorum.&mdash;VI.,
+On Arsenic and its Acid.&mdash;VII., Remarks upon Salts of Benzoin&mdash;VIII., On
+Silex, Clay and Alum.&mdash;IX., Analysis of the Calculus Vesical.&mdash;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.&mdash;XI., Cheaper and more Convenient Method of Preparing
+Pulvis Algarothi.&mdash;XII., Experiments upon Molybdaena.&mdash;XIII.,
+Experiments on Plumbago.&mdash;XIV., Method of Preparing a New Green
+Colour.&mdash;XV., Of the Decomposition of Neutral Salts by Unslaked Lime and
+Iron.&mdash;XVI., On the. Quantity of Pure Air which is Daily Present in our
+Atmosphere.&mdash;XVII., On Milk and its Acid.&mdash;XVIII., On the Acid of
+Saccharum Lactis. &mdash;XIX., On the Constituent Parts of Lapis Ponderosus
+or Tungsten.&mdash;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.&mdash;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. &mdash;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.&mdash;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.&mdash;V., <b>Glue Testing</b>: Review of
+Processes, Chemical Examination, Adulteration, Physical Tests, Valuation
+of Raw Materials.&mdash;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."&mdash;<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."&mdash;<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."&mdash;<i>Carriage Builders' Journal</i></p>.</blockquote>
+
+
+<p><b>TECHNOLOGY OF PETROLEUM</b>: Oil Fields of the World&mdash;Their History,
+Geography and Geology&mdash;Annual Production and Development&mdash;Oil-well
+Drilling&mdash;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>&mdash;Chapters I.,
+Petroleum&mdash;Definition.&mdash;II., The Genesis or Origin of Petroleum.&mdash;III.,
+The Oil Fields of Galicia, their History.&mdash;IV.. Physical Geography and
+Geology of the Galician Oil Fields.&mdash;V.. Practical Notes on Galician
+Land Law&mdash;Economic Hints on Working, etc.&mdash;VI., Roumania&mdash;History,
+Geography, Geology. &mdash;VII., Petroleum in Russia&mdash;History.&mdash;VIII.,
+Russian Petroleum (<i>continued</i>)&mdash;Geography and Geology of the Caucasian
+Oil Fields.&mdash;IX.. Russian Petroleum (<i>continued</i>).&mdash;X., The Secondary
+Oil Fields of Europe. Northern Germany, Alsace, Italy, etc.&mdash;XI.,
+Petroleum in France.&mdash;XII., Petroleum in Asia&mdash;Transcaspian and
+Turkestan Territory&mdash;Turkestan&mdash;Persia&mdash;British India and
+Burmah&mdash;British Burmah or Lower Burmah&mdash;China&mdash;Chinese Thibet&mdash;Japan,
+Formosa and Saghalien.&mdash;XIII., Petroleum in Oceania&mdash;Sumatra. Java,
+Borneo&mdash;Isle of Timor&mdash;Philippine Isles&mdash;New Zealand.&mdash;XIV., The United
+States of America&mdash;History. &mdash;XV., Physical Geology and Geography of the
+United States Oil Fields.&mdash;XVI., Canadian and other North American Oil
+Fields.&mdash;XVII., Economic Data of Work in North America. &mdash;XVIII.,
+Petroleum in the West Indies and South America.&mdash;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>&mdash;Chapter XX., Hand Excavation or Hand Digging
+of Oil Wells. Part III., <b>Methods of Boring.</b>&mdash;Chapters XXI., Methods of
+Oil-well Drilling or Boring.&mdash;XXII., Boring Oil Wells with the
+Rope.&mdash;XXIII., Drilling with Rigid Rods and a Free-fall&mdash;Fabian
+System.&mdash;XXIV., Free-fall Drilling by Steam Power.&mdash;XXV., Oil-well
+Drilling by the Canadian System.&mdash;XXVI., Drilling Oil Wells on the
+Combined System.&mdash;XXVII., Comparison between the Combined Fauck System
+and the Canadian.&mdash;XXVIII., The American System of Drilling with the
+Rope.&mdash;XXIX., Hydraulic Boring with the Drill by Hand and Steam
+Power.&mdash;XXX., Rotary Drilling of Oil Wells, Bits, Steel-crowned Tools,
+Diamond Tools&mdash;Hand Power and Steam Power&mdash;Hydraulic
+Sand-pumping.&mdash;XXXI., Improvements in and different Systems of Drilling
+Oil Wells.</p>
+
+<p>Part IV., <b>Accidents.</b>&mdash;Chapters XXXII., Boring Accidents&mdash;Methods of
+preventing them&mdash;Methods of remedying them.&mdash;XXXIII., Explosives and the
+use of the "Torpedo" Levigation.&mdash;XXXIV., Storing and Transport of
+Petroleum.&mdash;XXXV., General Advice&mdash;Prospecting, Management and carrying
+on of Petroleum Boring Operations.</p>
+
+<p>Part V., <b>General Data.</b>&mdash;<b>Customary Formul&aelig;</b>.&mdash;Memento. Practical
+Part. General Data bearing on Petroleum.&mdash;Glossary or Technical Terms
+used in the Petroleum Industry.&mdash;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&mdash;Acetic Acid&mdash;Acidimetry&mdash;Alcohol&mdash;Alum&mdash;Ammonia&mdash;Amber&mdash;Animi&mdash;
+Arsenic&mdash;Beeswax&mdash;Benzol&mdash;Bichromates of Potash and Soda&mdash;Bleaching
+Powder&mdash;Bone Black&mdash;Boric Acid&mdash;Brunswick Green&mdash;Cadmium
+Yellow&mdash;Carbonates&mdash;Carmine&mdash;Carnauba Wax&mdash;Caustic Potash and
+Soda&mdash;Chrome Colours&mdash;Clay&mdash;Coal Tar Colours&mdash;Copal&mdash;Dammar&mdash;Drying
+Oils&mdash;Emerald Green&mdash;Gamboge&mdash;Glue&mdash;Glycerine&mdash;Gums&mdash;Gypsum&mdash;Indian
+Red&mdash;Japanese Lacquer&mdash;Lac&mdash;Lakes&mdash;Lamp Black&mdash;Lead Compounds&mdash;Linseed
+Oil&mdash;Magnesia&mdash;Manganese Compounds&mdash;Mica&mdash;Nitric Acid&mdash;Ochres&mdash;Orange
+Lead&mdash;Orr's White&mdash;Paraffin&mdash;Prussian Blue&mdash;Rosin
+Oil&mdash;Sepia&mdash;Sienna&mdash;Smalts&mdash;Sodium Carbonate&mdash;Sublimed White
+Lead&mdash;Sulphuric Acid&mdash;Terra Verte&mdash;Testing
+Pigments&mdash;Turpentine&mdash;Ultramarine&mdash;Umbers&mdash;Vermilionettes&mdash;White
+Lead&mdash;Whiting&mdash;Zinc Compounds.&mdash;Appendix: Comparison of Baume Hydrometer
+and Specific Gravity for Liquids Lighter than Water&mdash;Hydrometer Table
+for Liquids Heavier than Water&mdash;Comparison of Temperature
+Degrees&mdash;Tables for Converting French Metric Weights and Measures into
+English&mdash;Table of the Elements&mdash;etc., etc.&mdash;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."&mdash;<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."&mdash;<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."&mdash;<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.&mdash;II., Compressed
+Air; Whitewash.&mdash;III., Liquid Air; Retrocession.&mdash;IV., Purification of
+Water; Water Hardness.&mdash;V., Fleshings and Bones.&mdash;VI., Ozonised Air in
+the Bleaching and Deodorising of Fats, Glues, etc.: Bleaching Textile
+Fibres.&mdash;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.&mdash;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."&mdash;<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.&mdash;II., Physico-chemical Behaviour of
+Pigments.&mdash;III., Raw Materials Employed in the Manufacture of
+Pigments.&mdash;IV., Assistant Materials.&mdash;V., Metallic Compounds.&mdash;VI., The
+Manufacture of Mineral Pigments.&mdash;VII., The Manufacture of White
+Lead.&mdash;VIII., Enamel White.&mdash;IX., Washing Apparatus.&mdash;X., Zinc
+White.&mdash;XI.. Yellow Mineral Pigments.&mdash;XII., Chrome Yellow.&mdash;XIII., Lead
+Oxide Pigments.&mdash;XIV., Other Yellow Pigments.&mdash;XV., Mosaic; Gold.&mdash;XVI.,
+Red Mineral Pigments.&mdash;XVII., The Manufacture of Vermilion.&mdash;XVIII.,
+Antimony Vermilion.&mdash;XIX., Ferric Oxide Pigments.&mdash;XX., Other Red
+Mineral Pigments.&mdash;XXI., Purple of Cassius.&mdash;XXII., Blue Mineral
+Pigments. &mdash;XXIII., Ultramarine.&mdash;XXIV., Manufacture of
+Ultramarine.&mdash;XXV., Blue Copper Pigments. &mdash;XXVI., Blue Cobalt
+Pigments.&mdash;XXVII., Smalts.&mdash;XXVIII., Green Mineral Pigments.&mdash;XXIX.,
+Emerald Green.&mdash;XXX., Verdigris.&mdash;XXXI., Chromium Oxide.&mdash;XXXII., Other
+Green Chromium Pigments.&mdash;XXXIII., Green Cobalt Pigments.&mdash;XXXIV., Green
+Manganese Pigments.&mdash;XXXV., Compounded Green Pigments.&mdash;XXXVI., Violet
+Mineral Pigments.&mdash;XXXVII.. Brown Mineral Pigments.&mdash;XXXVIII., Brown
+Decomposition Products.&mdash;XXXIX., Black Pigments.&mdash;XL., Manufacture of
+Soot Pigments.&mdash;XLI., Manufacture of Lamp Black.&mdash;XLII., The Manufacture
+of Soot Black without Chambers.&mdash;XLIII., Indian Ink.&mdash;XLIV., Enamel
+Colours.&mdash;XLV., Metallic Pigments.&mdash;XLVI., Bronze Pigments&mdash;XLVII.,
+Vegetable Bronze Pigments.</p>
+
+<p><b>PIGMENTS OF ORGANIC ORIGIN</b>.&mdash;Chapters XLVIII., Lakes.&mdash;XLIX., Yellow
+Lakes.&mdash;L., Red Lakes.&mdash;LI., Manufacture of Carmine.&mdash;LII., The
+Colouring Matter of Lac.&mdash;LIII., Safflower or Carthamine Red.&mdash;LIV.,
+Madder and its Colouring Matters.&mdash;LV., Madder Lakes.&mdash;LVI., Manjit
+(Indian Madder).&mdash;LVII., Lichen Colouring Matters.&mdash;LVIII., Red Wood
+Lakes. &mdash;LIX., The Colouring Matters of Sandal Wood and Other Dye
+Woods.&mdash;LX., Blue Lakes.&mdash;LXI., Indigo Carmine.&mdash;LXII., The Colouring
+Matter of Log Wood.&mdash;LXIII., Green Lakes.&mdash;LXIV., Brown Organic
+Pigments.&mdash;LXV., Sap Colours.&mdash;LXVI., Water Colours.&mdash;LXVII.,
+Crayons.&mdash;LXVIII., Confectionery Colours.&mdash;LXIX., The Preparation of
+Pigments for Painting.&mdash;LXX., The Examination of Pigments.&mdash;LXXI.,
+Examination of Lakes.&mdash;LXXII., The Testing of Dye-Woods.&mdash;LXXIII., The
+Design of a Colour Works.&mdash;LXXIV.&mdash;Commercial Names of
+Pigments.&mdash;Appendix: Conversion of Metric to English Weights and
+Measures.&mdash;Centigrade and Fahrenheit Thermometer Scales.&mdash;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&mdash;Arrangement of
+Factory&mdash;Crushing of Bones &mdash;Treatment with Benzene&mdash;Benzene in Crude
+Fat&mdash;Analyses of Clarified Fats&mdash;Mechanical Cleansing of Bones&mdash;Animal
+Charcoal&mdash;Tar and Ammoniacal Liquor, Char and Gases, from good quality
+Bones&mdash;Method of Retorting the Bones&mdash;Analyses of Chars&mdash;"Spent"
+Chars&mdash;Cooling of Tar and Ammoniacal Vapours&mdash;Value of Nitrogen for
+Cyanide of Potash&mdash;Bone Oil&mdash;Marrow Bones&mdash;Composition of Marrow
+Fat&mdash;Premier Juice&mdash;Buttons.&mdash;II., Properties of Glue&mdash;Glutin and
+Chondrin&mdash;Skin Glue&mdash;Liming of Skins&mdash;Washing&mdash;Boiling of
+Skins&mdash;Clarification of Glue Liquors&mdash;Acid Steeping of Bones&mdash;Water
+System of Boiling Bones&mdash;Steam Method of Treating Bones&mdash;Nitrogen in the
+Treated Bones&mdash;Glue-Boiling and Clarifying-House&mdash;Plan showing
+Arrangement of Clarifying Vats&mdash;Plan showing Position of
+Evaporators&mdash;Description of Evaporators&mdash;Sulphurous Acid
+Generator&mdash;Clarification of Liquors&mdash;Section of
+Drying-House&mdash;Specification of a Glue&mdash;Size&mdash;Uses and Preparation and
+Composition of Size&mdash;Concentrated Size.&mdash;III., Properties of
+Gelatine&mdash;Preparation of Skin Gelatine
+&mdash;Washing&mdash;Bleaching&mdash;Boiling&mdash;Clarification&mdash;Evaporation&mdash;Drying&mdash;Bone
+Gelatine&mdash;Selecting
+Bones&mdash;Crushing&mdash;Dissolving&mdash;Bleaching&mdash;Boiling&mdash;Properties of Glutin
+and Chondrin &mdash;Testing of Glues and Gelatines.&mdash;IV., The Uses of Glue,
+Gelatine and Size in Various Trades&mdash;Soluble and Liquid Glues&mdash;Steam and
+Waterproof Glues.&mdash;V., Manures&mdash;Importation of Food
+Stuffs&mdash;Soils&mdash;Germination&mdash;Plant Life.&mdash;VI., Natural Manures&mdash;Water and
+Nitrogen in Farmyard Manure&mdash;Full Analysis of Farmyard Manure&mdash;Action on
+Crops&mdash;Water-Closet.<!-- Page 12 --><span class='pagenum'><a name="Page_a12" id="Page_a12">[Pg a12]</a></span></p>
+
+<p>System&mdash;Sewage Manure&mdash;Green Manures.&mdash;VII., Artificial
+Manures&mdash;Bones&mdash;Boiled and Steamed Bones&mdash;Mineral Phosphates&mdash;English
+Coprolites&mdash;French and Spanish Phosphorites&mdash;German and Belgian
+Phosphates&mdash;Basic Slag&mdash;Guanos Proper&mdash;Guano Phosphates.&mdash;VIII., Mineral
+Manures&mdash;Common Salt&mdash;Potash Salts&mdash;Calcareous Manures&mdash;Prepared
+Nitrogenous Manures&mdash;Ammoniacal Compounds&mdash;Sodium Nitrate&mdash;Potassium
+Nitrate&mdash;Organic Nitrogenous Matters&mdash;Shoddy&mdash;Hoofs and Horns&mdash;Leather
+Waste&mdash;Dried Meat&mdash;Dried
+Blood&mdash;Superphosphates&mdash;Composition&mdash;Manufacture&mdash;Section of
+Manure-Shed&mdash;First and Ground Floor Plans of Manure-Shed&mdash;Quality of
+Acid Used&mdash;Mixings&mdash;Special Manures&mdash;Potato Manure&mdash;Dissolved
+Bones&mdash;Dissolved Bone Compound&mdash;Enriched Peruvian Guano&mdash;Special Manure
+for Garden Stuffs, etc.&mdash;Special Manure for Grass Lands&mdash;Special Tobacco
+Manures&mdash;Sugar-Cane Manure&mdash;Compounding of Manures&mdash;Valuation of
+Manures.&mdash;IX., Analyses of Raw and Finished Products&mdash;Common Raw
+Bones&mdash;Degreased Bones&mdash;Crude Fat&mdash;Refined Fat&mdash;Degelatinised
+Bones&mdash;Animal Charcoal&mdash;Bone Superphosphates&mdash;Guanos&mdash;Dried Animal
+Products&mdash;Potash Compounds&mdash;Sulphate of Ammonia&mdash;Extraction in
+Vacuo&mdash;Description of a Vacuum Pan&mdash;French and British Gelatines
+compared.&mdash;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."&mdash;<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&mdash;Definition of Balsams, and
+especially the Gum Resins&mdash;External and Superficial Characteristics of
+Resinous Bodies&mdash;Distinction between Resinous Bodies and Fats and
+Oils&mdash;Origin, Occurrence and Collection of Resinous
+Substances&mdash;Classification&mdash;Chemical Constituents of Resinous
+Substances&mdash;Resinols&mdash;Resinot Annols&mdash;Behaviour of Resin Constituents
+towards the Cholesterine Reactions&mdash;Uses and Identification of
+Resins&mdash;Melting-point&mdash;Solvents&mdash;Acid Value&mdash;Saponification Value&mdash;Resin
+Value&mdash;Ester and Ether Values&mdash;Acetyl and Corbonyl Value&mdash;Methyl
+Value&mdash;Resin Acid&mdash;Systematic R&eacute;sum&eacute; of the Performance of the Acid and
+Saponification Value Tests.</p>
+
+<p>Part II., Balsams&mdash;Introduction&mdash;Definitions&mdash;Canada Balsam&mdash;Copaiba
+Balsam&mdash;Angostura Copaiba Balsam&mdash;Bahia Copaiba Balsam&mdash;Carthagena
+Copaiba Balsam&mdash;Maracaibo Copaiba Balsam&mdash;Maturin Copaiba Balsam&mdash;Gurjum
+Copaiba Balsam&mdash;Para Copaiba Balsam&mdash;Surinam Copaiba Balsam&mdash;West
+African Copaiba Balsam&mdash;Mecca Balsam&mdash;Peruvian Balsam&mdash;Tolu
+Balsam&mdash;Acaroid Resin&mdash;Amine&mdash;Amber&mdash;African and West Indian
+Kino&mdash;Bengal Kino&mdash;Labdanum&mdash;Mastic&mdash;Pine
+Resin&mdash;Sandarach&mdash;Scammonium&mdash;Shellac&mdash;Storax&mdash;Adulteration of Styrax
+Liquidus Crudus&mdash;Purified Storax&mdash;Styrax Crudus
+Colatus&mdash;Tacamahac&mdash;Thapsia Resin&mdash;Turpentine&mdash;Chios
+Turpentine&mdash;Strassburg Turpentine&mdash;Turpeth Turpentine. <b>Gum
+Resins</b>&mdash;Ammoniacum&mdash;Bdellium&mdash;Euphorbium&mdash;Galbanum&mdash;Gamboge&mdash;Lactucarium&mdash;
+Myrrh&mdash;Opopanax&mdash;Sagapenum&mdash;Olibanum or Incense&mdash;Acaroid Resin&mdash;Amber&mdash;Thapsia Resin.&mdash;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.&mdash;II., Storing of Raw
+Material.&mdash;III., Testing and Valuation of Raw Material&mdash;Paint Plant and
+Machinery.</p>
+
+<p>Part II., Chapter V., The Grinding of White Lead.&mdash;VI., Grinding of
+White Zinc.&mdash;VII., Grinding of other White Pigments.&mdash;VIII., Grinding of
+Oxide Paints.&mdash;IX., Grinding of Staining Colours.&mdash;X., Grinding of Black
+Paints.&mdash;XI., Grinding of Chemical Colours&mdash;Yellows.&mdash;XII., Grinding of
+Chemical Colours&mdash;Blues.&mdash;XIII., Grinding Greens.&mdash;XIV., Grinding
+Reds.&mdash;XV., Grinding Lakes.&mdash;XVI., Grinding Colours in Water.&mdash;XVII.,
+Grinding Colours in Turpentine.</p>
+
+<p>Part III., Chapters XVIII., The Uses of Paint.&mdash;XIX., Testing and
+Matching Paints.&mdash;XX., Economic Considerations.&mdash;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&mdash;Composition of White Light&mdash;Theory of Colour,
+etc.&mdash;II., The Application of Pigments&mdash;Artistic, Decorative, Protective
+Methods of Applying Pigments.&mdash;III., White Pigments.&mdash;IV., Inorganic
+Coloured Pigments.&mdash;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&mdash;Properties&mdash;Occurrence.&mdash;II.,
+Galena&mdash;Johnstonite&mdash;Cerussite&mdash;C&eacute;ruse (White Lead)&mdash;Minium&mdash;Red
+Lead.&mdash;III., Pyromorphite&mdash;Mimetene&mdash;Hediphane&mdash;Crocoise&mdash;Wulfenite.&mdash;Vanadinite&mdash;IV.,
+Bleiglatte&mdash;Anglesite&mdash;Caledonite&mdash;Linarite&mdash;Lanarkite&mdash;Leadhillite&mdash;Susannite&mdash;Clausthalite&mdash;Cotunnite.&mdash;V.,
+Mendipite&mdash;Matlockite&mdash;Cromfordite&mdash;Nagyagite&mdash;Altaite&mdash;Melanochroite&mdash;Vauguelinite&mdash;Scheeletine.&mdash;VI.,
+Plattnerite&mdash;Tilkerodite&mdash;Raphanosmite&mdash;Deckenite&mdash;Descloezite&mdash;Dufrenaysite&mdash;Bleinierite&mdash;Moffrasite
+&mdash;Geocronite&mdash;Kilbrechenite&mdash;Schulzite&mdash;Boulangerite&mdash;Heteromorphite&mdash;Meneghinite&mdash;Jamesonite&mdash;Plagionite&mdash;Zinkenite.&mdash;VII.,
+Kobellite&mdash;Bournonite&mdash;Selenkupferblei&mdash;Nussierite&mdash;Percylite&mdash;Wolchite&mdash;Polysphracrite&mdash;Miesite.&mdash;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.&mdash;II., Trades in which there
+is Danger of Metallic Poisoning.&mdash;III., Certain Chemical Trades.&mdash;IV.,
+Some Miscellaneous Occupations.&mdash;V., Trades in which Various Poisonous
+Vapours are Inhaled.&mdash;VI., General Hygienic Considerations.&mdash;Index.</p>
+
+<p>This book contains valuable information for the following
+trades&mdash;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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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>&mdash;Chapters I., Introduction.&mdash;II., Work
+     leading up to the Discovery of the X Rays.&mdash;III., The Discovery.</p>
+
+     <p>Part II., <b>Apparatus and its Management</b>&mdash;Chapters I., Electrical
+     Terms.&mdash;II., Sources of Electricity.&mdash;III., Induction Coils.&mdash;IV.,
+     Electrostatic Machines.&mdash;V., Tubes.&mdash;VI., Air Pumps.&mdash;VII., Tube
+     Holders and Stereoscopic Apparatus.&mdash;VIII., Fluorescent Screens.</p>
+
+     <p>Part III., <b>Practical X Ray Work</b>&mdash;Chapters I.,
+     Installations.&mdash;II., Radioscopy.&mdash;III., Radiography.&mdash;IV., X Rays
+     in Dentistry.&mdash;V., X Rays in Chemistry.&mdash;VI., X Rays in
+     War.&mdash;Index</p>.
+
+     <p><b>List of Plates.</b></p>
+
+     <p><i>Frontispiece</i>&mdash;Congenital Dislocation of Hip-Joint.&mdash;I., Needle in
+     Finger.&mdash;II., Needle in Foot.&mdash;III., Revolver Bullet in Calf and
+     Leg.&mdash;IV., A Method of Localisation.&mdash;V., Stellate Fracture of
+     Patella showing shadow of "Strapping".&mdash;VI., Sarcoma.&mdash;VII.,
+     Six-weeks'-old Injury to Elbow showing new Growth of Bone.&mdash;VIII.,
+     Old Fracture of Tibia and Fibula badly set.&mdash;IX., Heart
+     Shadow.&mdash;X., Fractured Femur showing Grain of Splint.&mdash;XI.,
+     Barrell's Method of Localisation.</p>
+
+
+<p><b>DRYING BY MEANS OF AIR AND STEAM</b>. Explanations, Formul&aelig;, 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.&mdash;British and Metric Systems Compared&mdash;Centigrade and Fahr.
+     Thermometers.&mdash;Chapters I, Introduction.&mdash;II., Estimation of the
+     Maximum Weight of Saturated Aqueous Vapour which can be contained
+     in 1 kilo. of Air at Different Pressure and Temperatures.&mdash;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.&mdash;<i>B</i>, When the Atmospheric Air is Completely
+     Saturated <i>before entry</i>, but at its <i>exit</i> is <i>only</i> &frac34;, &frac12; or
+     &frac14; Saturated.&mdash;<i>C</i>, When the Atmospheric Air is <i>not</i> Saturated
+     with Moisture before Entering the Drying Apparatus.&mdash;IV., Drying
+     Apparatus, in which, in the Drying Chamber, a Pressure is
+     Artificially Created, Higher or Lower than that of the
+     Atmosphere.&mdash;V., Drying by Means of Superheated Steam, without
+     Air.&mdash;VI., Heating Surface, Velocity of the Air Current, Dimensions
+     of the Drying Room, Surface of the Drying Material, Losses of
+     Heat.&mdash;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 Formul&aelig; 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.&mdash;II., Harness Blackings, Dressings, Greases,
+Compositions, Soaps, and Boot-top Powders and Liquids, etc., etc.&mdash;III.,
+Leather Grinders' Sundries.&mdash;IV., Currier's Seasonings, Blacking
+Compounds, Dressings, Finishes, Glosses, etc.&mdash;V., Dyes and Stains for
+Leather.&mdash;VI., Miscellaneous Information.&mdash;VII., Chrome Tannage.&mdash;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."&mdash;<i>Birmingham Gazette.</i></p>
+
+     <p>"This is a valuable collection of practical receipts and working
+     formul&aelig; 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."&mdash;<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."&mdash;<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 "Trait&eacute; 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&mdash;Translator's Preface&mdash;List of Illustrations.</p>
+
+<p>Part I., <b>Materials used in Tanning</b>&mdash;Chapter I., Skins: I., Skin and
+its Structure; II., Skins used in Tanning; III., Various Skins and their
+Uses&mdash;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>&mdash;Chapter I., The Installation of a Tannary: I., Tan
+Furnaces; II., Chimneys, Boilers, etc.; III., Steam Engines&mdash;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&mdash;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&mdash;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&mdash;Chapter V., On Various Methods of Tanning: I.,
+Mechanical Methods; II., Physical Methods; III., Chemical Methods; IV.,
+Tanning with Extracts&mdash;Chapter VI., Quantity and Quality: I., Quantity;
+II., Net Cost; III., Quality of Leather&mdash;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&mdash;Chapter VIII., Tanning
+Various Skins.</p>
+
+<p>Part III., <b>Currying</b>&mdash;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&mdash;Chapter II., White Calf: I., Finishing in White&mdash;Chapter III., Cow
+Hide for Upper Leathers: I., Black Cow Hide; II., White Cow Hide; III.,
+Coloured Cow Hide.&mdash;Chapter IV., Smooth Cow Hide&mdash;Chapter V., Black
+Leather&mdash;Chapter VI., Miscellaneous Hides: I., Horse; II., Goat; III.,
+Waxed Goat Skin: IV., Matt Goat Skin&mdash;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>&mdash;Chapter I., Enamelled Leather: I., Varnish
+Manufacture; II., Application of the Enamel; III., Enamelling in
+Colour&mdash;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&mdash;Chapter III., Tawing: I.,
+Preparatory Operations; II., Dressing; III., Dyeing Tawed Skins; IV.,
+Rugs&mdash;Chapter IV., Chamoy Leather&mdash;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&mdash;Chapter VI., Gilding and Silvering: I., Gilding;
+II., Silvering; III., Nickel and Cobalt&mdash;Chapter VII.,
+Parchment&mdash;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&mdash;Chapter IX., Artificial
+Leather: I., Leather made from Scraps; II., Compressed Leather; III.,
+American Cloth; IV., Papier M&acirc;ch&eacute;; V., Linoleum: VI., Artificial
+Leather.</p>
+
+<p>Part V., <b>Leather Testing and the Theory of Tanning</b>&mdash;Chapter I.,
+Testing and Analysis of Leather: I., Physical Testing of Tanned Leather:
+II., Chemical Analysis&mdash;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>&mdash;Chapter I., Machine Belts: I., Manufacture
+of Belting; II., Leather Chain Belts; III., Various Belts, IV., Use of
+Belts&mdash;Chapter II., Boot and Shoe-making: I., Boots and Shoes; II.,
+Laces&mdash;Chapter III., Saddlery: I., Composition of a Saddle; II.,
+Construction of a Saddle&mdash;Chapter IV., Harness: I., The Pack Saddle;
+II., Harness&mdash;Chapter V., Military Equipment&mdash;Chapter VI., Glove
+Making&mdash;Chapter VII., Carriage Building&mdash;Chapter VIII., Mechanical Uses.</p>
+
+<p>Appendix, <b>The World's Commerce in Leather</b>&mdash;I., Europe; II., America;
+III., Asia; IV., Africa; Australasia&mdash;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."
+     &mdash;<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."
+     &mdash;<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."
+     &mdash;<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."
+     &mdash;<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."
+     &mdash;<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."
+     &mdash;<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."
+     &mdash;<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&mdash;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.'&mdash;<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.&mdash;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.&mdash;II., <b>Glazes</b>. China Glazes, Ironstone Glazes,
+Earthenware Glazes, Glazes without Lead, Miscellaneous Glazes, Coloured
+Glazes, Majolica Colours.&mdash;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.&mdash;IV., <b>Means and Methods</b>.
+Reclamation of Waste Gold, The Use of Cobalt, Notes on Enamel Colours,
+Liquid or Bright Gold.&mdash;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.&mdash;VI., Comparative Loss of Weight of
+Clays.&mdash;VII., Ground Felspar Calculations.&mdash;VIII., The Conversion of
+Slop Body Recipes into Dry Weight.&mdash;IX., The Cost of Prepared
+Earthenware Clay.&mdash;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.&mdash;Introduction.&mdash;Chapters I., The Chemistry of Pottery.&mdash;II.,
+Analysis and Synthesis.&mdash;III., Clays and their Components.&mdash;IV., The
+Biscuit Oven.&mdash;V., Pyrometry.&mdash;VI., Glazes and their Composition.&mdash;VII.,
+Colours and Colour-making.&mdash;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&mdash;Ruby from Copper&mdash;Flint for using with the Ruby for Coating&mdash;A
+German Metal &mdash;Cornelian, or Alabaster&mdash;Sapphire
+Blue&mdash;Crysophis&mdash;Opal&mdash;Turquoise Blue&mdash;Gold Colour &mdash;Dark Green&mdash;Green
+(common)&mdash;Green for Malachite&mdash;Blue for Malachite&mdash;Black for Melachite
+&mdash;Black&mdash;Common Canary Batch&mdash;Canary&mdash;White Opaque Glass&mdash;Sealing-wax
+Red &mdash;Flint&mdash;Flint Glass (Crystal and Demi)&mdash;Achromatic Glass&mdash;Paste
+Glass&mdash;White Enamel &mdash;Firestone&mdash;Dead White (for moons)&mdash;White
+Agate&mdash;Canary&mdash;Canary Enamel&mdash;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&mdash;The Chemical Preparation of Vitrifiable
+Colours&mdash;Composition and Preparation of Vitrifiable Colours&mdash;The
+Oxides&mdash;Preparation of Oxides&mdash;Preparation of Chromates&mdash;Preparation of
+other Colours&mdash;Composition and Preparation of Fluxes&mdash;Muffle
+Colours&mdash;Recipes for Colours&mdash;Use of Metals&mdash;Lustres&mdash;Preparation and
+Application of Colours&mdash;Composition of Coloured Pastes&mdash;Underglaze
+Colours&mdash;Colours in the Glaze&mdash;Overglaze Colours&mdash;Painting in
+Vitrifiable Colours&mdash;Gilding&mdash;Burnishing&mdash;Printing&mdash;Enlarging and
+Reducing Gelatine Prints&mdash;Muffle Kilns for Vitrifiable
+Colours&mdash;Influence of the Material on the Colour&mdash;Changes Resulting from
+the Actions of the Fire&mdash;Alterations Resulting from the
+Colours&mdash;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&mdash;List of Atomic Weights&mdash;Use of Balance, and Burette,
+Sand Bath, and Water Bath&mdash;Dessicator&mdash;Drying
+Oven&mdash;Filtering&mdash;Fusion&mdash;Determination of Water, Organic Matter, Iron,
+Calcium, Alkalies, Limestone, Silica, Alumina, Magnesium,
+etc.&mdash;Mechanical Analysis&mdash;Rational Analysis&mdash;Standard
+Solutions&mdash;Volumetric Analysis&mdash;Standards for Clay Analysis&mdash;Sampling.</p>
+
+
+<p><b>ARCHITECTURAL POTTERY</b>. Bricks, Tiles, Pipes, Enamelled Terra-cottas,
+Ordinary and Incrusted Quarries, Stoneware Mosaics, Fa&iuml;ences 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>.&mdash;Chapter I., Clays: &sect; 1,
+Classification, General Geological Remarks.&mdash;Classification, Origin,
+Locality; &sect; 2, General Properties and Composition: Physical Properties,
+Contraction, Analysis, Influence of Various Substances on the Properties
+of Clays; &sect; 3, Working of Clay-Pits&mdash;I. Open Pits: Extraction,
+Transport, Cost&mdash;II. Underground Pits&mdash;Mining Laws. Chapter II.,
+Preparation of the Clay: Weathering, Mixing, Cleaning, Crushing and
+Pulverising&mdash;Crushing Cylinders and Mills, Pounding Machines&mdash;Damping:
+Damping Machines&mdash;Soaking, Shortening, Pugging: Horse and Steam
+Pug-Mills, Rolling Cylinders&mdash;Particulars of the Above Machines. Chapter
+III., Bricks: &sect; 1, Manufacture&mdash;(1) Hand and Machine Moulding,&mdash;I.
+Machines Working by Compression: on Soft Clay, on Semi-Firm Clay, on
+Firm Clay, on Dry Clay.&mdash;II. Expression Machines: with Cylindrical
+Propellers, with Screw Propellers&mdash;Dies&mdash;Cutting-tables&mdash;Particulars of
+the Above Machines&mdash;General Remarks on the Choice of Machines&mdash;Types of
+Installations&mdash;Estimates&mdash;Plenishing, Hand and Steam Presses,
+Particulars&mdash;(2) Drying, by Exposure to Air, Without Shelter, and Under
+Sheds&mdash;Drying-rooms in Tiers, Closed Drying-rooms, in Tunnels, in
+Galleries&mdash;Detailed Estimates of the Various Drying-rooms, Comparison of
+Prices&mdash;Transport from the Machines to the Drying-rooms, Barrows,
+Trucks, Plain or with Shelves, Lifts&mdash;(3) Firing&mdash;I. In Clamps&mdash;II. In
+Intermittent Kilns. <i>A</i>, Open: <i>a</i>, using Wood; <i>b</i> Coal; <i>b&acute;</i>, in
+Clamps; <i>b&acute;&acute;</i>, Flame&mdash;<i>B</i>, Closed: <i>c</i>, Direct Flame; <i>c&acute;</i>, Rectangular;
+<i>c&acute;&acute;</i>, Round; <i>d</i>, Reverberatory&mdash;III. Continuous Kilns: <i>C</i>, with Solid
+Fuel: Round Kiln, Rectangular Kiln, Chimneys (Plans and Estimates)&mdash;<i>D</i>,
+With Gas Fuel, Fillard Kiln (Plans and Estimates), Schneider Kiln (Plans
+and Estimates), Water-gas Kiln&mdash;Heat Production of the Kilns; &sect; 2,
+Dimensions, Shapes, Colours, Decoration, and Quality of Bricks&mdash;Hollow
+Bricks, Dimensions and Prices of Bricks, Various Shapes,
+Qualities&mdash;Various Hollow Bricks, Dimensions, Resistance, Qualities; &sect;
+3, Applications &mdash;History&mdash;Asia, Africa, America, Europe: Greek, Roman,
+Byzantine, Turkish, Romanesque, Gothic, Renaissance,
+Architecture&mdash;Architecture of the Nineteenth Century: in Germany,
+England, Belgium, Spain, Holland, France, America&mdash;Use of Bricks&mdash;Walls,
+Arches, Pavements, Flues, Cornices&mdash;Facing with Coloured
+Bricks&mdash;Balustrades. Chapter IV., Tiles: &sect; 1, History; &sect; 2,
+Manufacture&mdash;(1) Moulding, by Hand, by Machinery: Preparation of the
+Clay, Soft Paste, Firm Paste, Hard Paste&mdash;Preparation of the Slabs,
+Transformation into Flat Tiles, into Jointed Tiles&mdash;Screw, Cam and
+Revolver Presses&mdash;Particulars of Tile-presses&mdash;(2) Drying&mdash;Planchettes,
+Shelves, Drying-barrows and Trucks&mdash;(3) Firing&mdash;Divided
+Kilns&mdash;Installation of Mechanical Tileworks&mdash;Estimates; &sect; 3, Shapes,
+Dimensions and Uses of the Principal Types of Tile&mdash;Ancient Tiles: Flat,
+Round, Roman, Flemish&mdash;Modern Tiles&mdash;With Vertical Interrupted Join:
+Gilardoni's, Martin's; Hooked, Boulet's Villa; with Vertical Continuous
+Join: Muller's, Alsace, Pantile&mdash;Foreign Tiles&mdash;Special Tiles&mdash;Ridge
+Tiles, Coping Tiles, Border Tiles, Frontons, Gutters, Antefixes,
+Membron, Angular&mdash;Roofing Accessories: Chimney-pots,<!-- Page 19 --><span class='pagenum'><a name="Page_a19" id="Page_a19">[Pg a19]</a></span> Mitrons, Lanterns,
+Chimneys&mdash;Qualities of Tiles&mdash;Black Tiles&mdash;Stoneware Tiles&mdash;Particulars
+of Tiles. Chapter V., Pipes: I. Conduit Pipes&mdash;Manufacture&mdash;Moulding:
+Horizontal Machines, Vertical Machines, Worked by Hand and
+Steam&mdash;Particulars of these Machines&mdash;Drying&mdash;Firing&mdash;II. Chimney
+Flues&mdash;Ventiducts and "Boisseaux," "Waggons"&mdash;Particulars of these
+Products. Chapter VI., Quarries: 1, Plain Quarries of Ordinary Clay; 2,
+of Cleaned Clay&mdash;Machines, Cutting, Mixing, Polishing&mdash;Drying and
+Firing&mdash;Applications&mdash;Particulars of Quarries. Chapter VII.,
+Terra-cotta: History&mdash;Manufacture&mdash;Application: Balustrades, Columns,
+Pilasters, Capitals, Friezes, Frontons, Medallions, Panels,
+Rose-windows, Ceilings&mdash;Appendix: Official Methods of Testing
+Terra-cottas.</p>
+
+<p>Part II. <b>Made-up or Decorated Pottery</b>.&mdash;Chapter I., General Remarks on
+the Decoration of Pottery: Dips&mdash;Glazes: Composition, Colouring,
+Preparation, Harmony with Pastes&mdash;Special Processes of
+Decoration&mdash;Enamels, Opaque, Transparent, Colours, Underglaze,
+Over-glaze&mdash;Other Processes: Crackling, Mottled, Flashing, Metallic
+Iridescence, Lustres. Chapter II., Glazed and Enamelled Bricks&mdash;History:
+Glazing&mdash;Enamelling&mdash;Applications: Ordinary Enamelled Bricks, Glazed
+Stoneware, Enamelled Stoneware&mdash;Enamelled Tiles. Chapter III., Decorated
+Quarries: I. Paving Quarries&mdash;1, Decorated with Dips&mdash;2, Stoneware: <i>A</i>,
+Fired to Stoneware: <i>a</i>, of Slag Base&mdash;Applications; <i>b</i>, of Melting
+Clay&mdash;Applications&mdash;<i>B</i>, Plain or Incrusted Stoneware; <i>a</i>, of Special
+Clay (Stoke-on-Trent)&mdash;Manufacture&mdash;Application&mdash;<i>b</i>, of Felspar
+Base&mdash;Colouring, Manufacture, Moulding, Drying,
+Firing&mdash;Applications.&mdash;II. Facing Quarries&mdash;1, in Faience&mdash;<i>A</i>, of
+Limestone Paste&mdash;<i>B</i>, of Silicious Paste&mdash;<i>C</i>, of Felspar
+Paste&mdash;Manufacture, Firing&mdash;2, of Glazed Stoneware&mdash;3, of
+Porcelain&mdash;Applications of Facing Quarries.&mdash;III. Stove
+Quarries&mdash;Preparation of the Pastes, Moulding, Firing, Enamelling,
+Decoration&mdash;Applications&mdash;Faiences for Fireplaces. Chapter IV.,
+Architectural Decorated Pottery: &sect; 1, Faiences; &sect; 2, Stoneware; &sect; 3,
+Porcelain. Chapter V., Sanitary Pottery: Stoneware Pipes: Manufacture,
+Firing&mdash;Applications&mdash;Sinks&mdash;Applications&mdash;Urinals, Seats and
+Pans&mdash;Applications&mdash;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,
+Ing&eacute;nieur 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&mdash;Historic Summary of
+the Ceramic Art.&mdash;II., Raw Materials of Bodies. Clays: Pure Clay and
+Natural Clays&mdash;Various Raw Materials: Analogous to Clay&mdash;Agglomerative
+and Agglutinative&mdash;Opening&mdash;Fusible&mdash;Refractory&mdash;Trials of Raw
+Materials.&mdash;III., Plastic Bodies. Properties and
+Composition&mdash;Preparation of Raw Materials:
+Disaggregation&mdash;Purification&mdash;Preparation of Bodies: By Plastic
+Method&mdash;By Dry Method&mdash;By Liquid Method.&mdash;IV., Formation. Processes of
+Formation: Throwing&mdash;Expression&mdash;Moulding by Hand, on the Jolley, by
+Compression, by Slip Casting&mdash;Slapping&mdash;Slipping.&mdash;V., Drying. Drying of
+Bodies&mdash;Processes of Drying: By Evaporation&mdash;By Aeration&mdash;By Heating&mdash;By
+Ventilation&mdash;By Absorption.&mdash;VI., Glazes. Composition and
+Properties&mdash;Raw Materials&mdash;Manufacture and Application.&mdash;VII., Firing.
+Properties of the Bodies and Glazes during Firing&mdash;Description of the
+Kilns&mdash;Working of the Kilns.&mdash;VIII., Decoration. Colouring
+Materials&mdash;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&mdash;Ordinary and Black Tiles&mdash;Paving Tiles&mdash;Pipes&mdash;Architectural
+Terra Cottas&mdash;Vases, Statues and Decorative Objects&mdash;Common
+Pottery&mdash;Pottery for Water and Filters&mdash;Tobacco Pipes&mdash;Lustre
+Ware&mdash;Properties and Tests for Terra Cottas.&mdash;X., Fireclay Goods.
+Classification: Argillaceous, Aluminous, Carboniferous, Silicious and
+Basic Fireclay Goods&mdash;Fireclay Mortar (Pug)&mdash;Tests for Fireclay
+Goods.&mdash;XI. Faiences. Varnished Faiences&mdash;Enamelled Faiences&mdash;Silicious
+Faiences&mdash;Pipeclay Faiences&mdash;Pebble Work&mdash;Feldspathic
+Faiences&mdash;Composition, Processes of Manufacture and General Arrangements
+of Faience Potteries.&mdash;XII., Stoneware. Stoneware Properly So-called:
+Paving Tiles&mdash;Pipes&mdash;Sanitary Ware&mdash;Stoneware for Food Purposes and
+Chemical Productions&mdash;Architectural Stoneware&mdash;Vases, Statues and other
+Decorative Objects&mdash;Fine Stoneware.&mdash;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&mdash;Soft Phosphated or English Porcelain&mdash;Soft Vitreous
+Porcelain, French and New Sevres&mdash;Argillaceous Soft or Seger's
+Porcelain&mdash;Dull Soft or Parian Porcelain&mdash;Dull Feldspathic Soft
+Porcelain.&mdash;<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&mdash;Wire Used for Rivets&mdash;Soldering
+Solution&mdash;Preparation for Drilling&mdash;Commencement of
+Drilling&mdash;Cementing&mdash;Preliminaries to Riveting&mdash;Rivets to Make&mdash;To Fix
+the Rivets&mdash;Through-and-through Rivets&mdash;Soldering&mdash;Tinning a
+Soldering-iron&mdash;Perforated Plates, Handles, etc.&mdash;Handles of Ewers,
+etc.&mdash;Vases and Comports&mdash;Marble and Alabaster Ware&mdash;Decorating&mdash;How to
+Loosen Fast Decanter Stoppers&mdash;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&mdash;Occurrence&mdash;Brick Clays&mdash;Fire Clays&mdash;Analyses of Fire
+Clays.&mdash;<b>Ball Clays</b>&mdash;Properties&mdash;Analyses&mdash;Occurrence&mdash;Pipe Clay&mdash;Black
+Clay&mdash;Brown Clay&mdash;Blue Clay&mdash;Dorsetshire and Devonshire Clays.&mdash;<b>China
+Clay</b> or Kaolin&mdash;Occurrence&mdash;Chinese Kaolin&mdash;Cornish Clays&mdash;Hensbarrow
+Granite&mdash;Properties, Analyses and Composition of China Clays&mdash;Method of
+Obtaining China Clay&mdash;Experiments with Chinese Kaolin&mdash;Analyses of
+Chinese and Japanese Clays and Bodies&mdash;Irish Clays.&mdash;<b>Chinese
+Stone</b>&mdash;Composition&mdash;Occurrence&mdash;Analyses.&mdash;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.&mdash;Chapters I., The Articles to be Painted:
+Glass, Porcelain, Enamel, Stoneware, Faience.&mdash;II., Pigments: 1,
+Metallic Pigments: Antimony Oxide, Naples Yellow, Barium Chromate, Lead
+Chromate, Silver Chloride, Chromic Oxide.&mdash;III., Fluxes: Fluxes,
+Felspar, Quartz, Purifying Quartz, Sedimentation, Quenching, Borax,
+Boracic Acid, Potassium and Sodium Carbonates, Rocaille Flux.&mdash;IV.,
+Preparation of the Colours for Glass Painting.&mdash;V., The Colour
+Pastes.&mdash;VI., The Coloured Glasses.&mdash;VII., Composition of the Porcelain
+Colours.&mdash;VIII., The Enamel Colours: Enamels for Artistic Work.&mdash;IX.,
+Metallic Ornamentation: Porcelain Gilding, Glass Gilding.&mdash;X., Firing
+the Colours: 1, Remarks on Firing: Firing Colours on Glass. Firing
+Colours on Porcelain; 2, The Muffle.&mdash;XI., Accidents occasionally
+Supervening during the Process of Firing.&mdash;XII., Remarks on the
+Different Methods of Painting on Glass, Porcelain, etc.&mdash;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 formul&aelig;; 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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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).&mdash;Chapters I., <b>Preliminary Remarks</b>.&mdash;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.&mdash;III., <b>On the Origin of the Art</b>, and its
+Practice among the early Nations.&mdash;IV., <b>Manufacture of Pottery</b>, prior
+to 1700.&mdash;V., <b>The Introduction of Red Porcelain</b> by Messrs. Elers, of
+Bradwell, 1690.&mdash;VI., <b>Progress of the Manufacture</b> from 1700 to Mr.
+Wedgwood's commencement in 1760.&mdash;VII. <b>Introduction of Fluid
+Glaze</b>.&mdash;Extension of the Manufacture of Cream Colour.&mdash;Mr. Wedgwood's
+Queen's Ware.&mdash;Jasper, and Appointment of Potter to Her Majesty.&mdash;Black
+Printing.&mdash;VIII., <b>Introduction of Porcelain</b>. Mr. W. Littler's
+Porcelain.&mdash;Mr. Cookworthy's Discovery of Kaolin and Petuntse, and
+Patent.&mdash;Sold to Mr. Champion&mdash;resold to the New Hall Com.&mdash;Extension of
+Term.&mdash;IX., <b>Blue Printed Pottery</b>. Mr. Turner, Mr. Spode (1), Mr.
+Baddeley, Mr. Spode (2), Messrs. Turner, Mr. Wood, Mr. Wilson, Mr.
+Minton.&mdash;Great Change in Patterns of Blue Printed.&mdash;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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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,"&mdash;<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.&mdash;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.&mdash;II., <b>Temperature:</b> Coal, Steam Heat for Printers'
+Stoves.&mdash;III., <b>Acids and Alkalies:</b> Boracic Acid, Muriatic Acid, Nitric
+Acid, Sulphuric Acid, Potash, Soda, Lithia, Calculation of Chemical
+Separations.&mdash;IV., <b>The Earths:</b> Alumine, Clays, Silica, Flint, Lime,
+Plaster of Paris, Magnesia, Barytes, Felspar, Grauen (or China Stone),
+China Clay, Chert.&mdash;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.&mdash;Chapters I., Sketch of the Origin
+and Progress of the Art.&mdash;II., <b>Science of Mixing:</b> Scientific
+Principles of the Manufacture, Combinative Potencies of the
+Earths.&mdash;III., <b>Bodies:</b> Porcelain&mdash;Hard, Porcelain&mdash;Fritted Bodies,
+Porcelain&mdash;Raw Bodies, Porcelain&mdash;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.&mdash;IV., <b>Glazes:</b> Porcelain&mdash;Hard Fritted, Porcelain&mdash;Soft Fritted,
+Porcelain&mdash;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.&mdash;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.&mdash;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."&mdash;<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."&mdash;<i>Birmingham Post.</i></p>
+
+<p>"Messrs. Scott, Greenwood &amp; 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."&mdash;<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 H&Uuml;BNER, 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>&mdash;Cotton: Flax and Hemp; Esparto; Jute; Straw Cellulose:
+Chemical and Mechanical Wood Pulp; Mixed Fibres: Theory of Dyeing.&mdash;II.,
+<b>Colour Fixing Mediums (Mordants)</b>&mdash;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).&mdash;III., <b>Influence of the Quality of
+the Water Used</b>.&mdash;IV., <b>Inorganic Colours</b>&mdash;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&mdash;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.&mdash;V.,
+<b>Organic Colours</b>&mdash;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&mdash;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.&mdash;VI., <b>Practical Application of the Coal Tar Colours according to
+their Properties and their Behaviour towards the Different Paper
+Fibres</b>&mdash;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.&mdash;VII., <b>Dyed Patterns
+on Various Pulp Mixtures</b>&mdash;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.&mdash;VIII., <b>Dyeing to
+Shade</b>&mdash;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."&mdash;<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&mdash;twelve of which, made
+     in England, have been added to the original German series. Detailed
+     formul&aelig; 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."&mdash;<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.&mdash;II., Composition and Properties of Glass.&mdash;III., Raw
+Materials for the Manufacture of Enamel.&mdash;IV., Substances Added to
+Produce Opacity.&mdash;V., Fluxes.&mdash;VI., Pigments.&mdash;VII., Decolorising
+Agents.&mdash;VIII., Testing the Raw Materials with the Blow-pipe
+Flame.&mdash;IX., Subsidiary Materials.&mdash;X., Preparing the Materials for
+Enamel Making.&mdash;XI., Mixing the Materials.&mdash;XII., The Preparation of
+Technical Enamels, The Enamel Mass.&mdash;XIII., Appliances for Smelting the
+Enamel Mass.&mdash;XIV., Smelting the Charge.&mdash;XV., Composition of Enamel
+Masses.&mdash;XVI., Composition of Masses for Ground Enamels.&mdash;XVII.,
+Composition of Cover Enamels.&mdash;XVIII., Preparing the Articles for
+Enamelling.&mdash;XIX., Applying the Enamel.&mdash;XX., Firing the Ground
+Enamel.&mdash;XXI., Applying and Firing the Cover Enamel or Glaze.&mdash;XXII.,
+Repairing Defects in Enamelled Ware.&mdash;XXIII., Enamelling Articles of
+Sheet Metal.&mdash;XXIV., Decorating Enamelled Ware.&mdash;XXV., Specialities in
+Enamelling.&mdash;XXVI., Dial-plate Enamelling.&mdash;XXVII., Enamels for Artistic
+Purposes, Recipes for Enamels of Various Colours.&mdash;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."&mdash;<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."&mdash;<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."&mdash;<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&mdash;Paul Randau&mdash;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."&mdash;<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&mdash;Cloisonn&eacute;&mdash;Champs Lev&eacute;&mdash;Translucent
+Enamel&mdash;Surface Painted Enamels.&mdash;II., Cloisonn&eacute;&mdash;Champs
+Lev&eacute;s&mdash;Translucent&mdash;Painted.&mdash;III., Painted Enamel&mdash;Apparatus&mdash;Furnaces
+and Muffles for Firing.&mdash;IV., The Copper Base or
+Plate&mdash;Planishing&mdash;Cloisons&mdash;Champ Lev&eacute; Plates.&mdash;V.,
+Enamels&mdash;Trituration&mdash;Washing&mdash;Coating a Plate with Enamel&mdash;Firing
+Ordinary Plaques for Painting&mdash;Designing&mdash;Squaring off.&mdash;VI., Designs
+for Cloisonn&eacute;&mdash;Designs for Painted Enamels&mdash;Technical
+Processes&mdash;Brushes, etc.,&mdash;Colours&mdash;Grisaille&mdash;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."&mdash;<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.&mdash;IV., Testing the
+Length of Yarns.&mdash;V., Examination of the External Appearance of
+Yarn.&mdash;VI., Determining the Twist of Yarn and Twist.&mdash;VII.,
+Determination of Tensile Strength and Elasticity.&mdash;VIII., Estimating the
+Percentage of Fat in Yarn.&mdash;IX., Determination of Moisture
+(Conditioning).&mdash;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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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.&mdash;II.,
+A Few Hints on Designing Ornamental Textile Fabrics (continued).&mdash;III.,
+A Few Hints on Designing Ornamental Textile Fabrics (continued).&mdash;IV., A
+Few Hints on Designing Ornamental Textile Fabrics (continued).&mdash;V.,
+Hints for Ruled-paper Draughtsmen.&mdash;VI., The Jacquard Machine.&mdash;VII.,
+Brussels and Wilton Carpets.&mdash;VIII., Tapestry Carpets.&mdash;IX., Ingrain
+Carpets.&mdash;X., Axminster Carpets.&mdash;XI., Damask and Tapestry
+Fabrics.&mdash;XII., Scarf Silks and Ribbons.&mdash;XIII., Silk
+Handkerchiefs.&mdash;XIV., Dress Fabrics.&mdash;XV., Mantle Cloths.&mdash;XVI., Figured
+Plush.&mdash;XVII., Bed Quilts.&mdash;XVIII., Calico Printing.</p>
+
+<blockquote><p><b>Press Opinions.</b></p>
+
+     <p>"The book can be strongly recommended to students and practical
+     men."&mdash;<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."&mdash;<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."&mdash;<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'."&mdash;<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.&mdash;II.,
+<b>Mounting and Starting the Power-Loom.</b> English Looms.&mdash;Tappet or
+Treadle Looms.&mdash;Dobbies.&mdash;III., <b>General Remarks on the Numbering,
+Reeling and Packing-of Yarn.</b>&mdash;<b>Appendix.</b>&mdash;<b>Useful Hints.</b> Calculating
+Warps.&mdash;Weft Calculations.&mdash;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."
+     &mdash;<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."
+     &mdash;<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."
+     &mdash;<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."
+     &mdash;<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."
+     &mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."
+     &mdash;<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."
+     &mdash;<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."&mdash;<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.&mdash;II., <b>Cause
+of Colour in Coloured Bodies</b>. Transmitted Colours, Absorption Spectra
+of Colouring Matters.&mdash;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.&mdash;IV., <b>The
+Physiology of Light</b>. Structure of the Eye, Persistence of Vision,
+Subjective Colour Phenomena, Colour Blindness.&mdash;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.&mdash;VI., <b>Colour in Decoration and Design</b>.
+Colour Harmonies, Colour Equivalents, Illumination and Colour, Colour
+and Textile Fabrics, Surface Structure and Colour.&mdash;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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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&mdash;Wool&mdash;Flax&mdash;Hemp&mdash;Jute&mdash;Hair&mdash;Shearing
+Sheep&mdash;Goat Wool&mdash;Silk&mdash;Detection and Estimation of Textile Raw
+Materials in Yarns and Fabrics&mdash;Tests.&mdash;<b>The Technology of Spinning.
+Cotton Spinning:</b> Bale Breakers&mdash;Carding&mdash;Combing&mdash;Roving&mdash;Mule
+Frames&mdash;Yarn Testing&mdash;Humidifiers. <b>Flax Spinning:</b> Tow Spinning&mdash;String
+Spinning&mdash;Carded Woollen Yarn&mdash;Belt Condenser&mdash;Fine Spinning&mdash;Yarn
+Numbering.&mdash;<b>Manufacture of True Worsted Yarn:</b> Semi-Worsted
+Yarns.&mdash;<b>Artificial Wool or Shoddy Spinning:</b> Spinning
+Shoddy.&mdash;<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.&mdash;II., Yarn
+Scouring.&mdash;III., Scouring Materials.&mdash;IV., Water for Scouring.&mdash;V.,
+Bleaching Carpet Yarns.&mdash;VI., Colour Making for Yarn Printing.&mdash;VII.,
+Colour Printing Pastes.&mdash;VIII., Colour Recipes for Yarn Printing.&mdash;IX.,
+Science of Colour Mixing.&mdash;X., Matching of Colours.&mdash;XI., "Hank"
+Printing.&mdash;XII., Printing Tapestry Carpet Yarns.&mdash;XIII., Yarn
+Printing.&mdash;XIV., Steaming Printed Yarns.&mdash;XV., Washing of Steamed
+Yarns.&mdash;XVI., Aniline Colours Suitable for Yarn Printing.&mdash;XVII.,
+Glossary of Dyes and Dye-wares used in Wood Yarn Printing.&mdash;Appendix.</p>
+
+<blockquote><p><b>Press Opinions.</b></p>
+
+<p>"The book is worthy the attention of the trade."&mdash;<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."&mdash;<i>Glasgow Record.</i></p>
+
+<p>"A most useful manual dealing in an intelligible and interesting manner
+with the colour printing of carpet yarns."&mdash;<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."&mdash;<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.&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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&mdash;Roller Washing
+Machines&mdash;Wash Wheel (Dash Wheel)&mdash;Stocks or Wash Mill&mdash;Squeezing.
+Chapter IV. Lye Boiling&mdash;Lye Boiling with Milk of Lime&mdash;Lye Boiling with
+Soda Lyes&mdash;Description of Lye Boiling Keirs&mdash;Operations of Lye
+Boiling&mdash;Concentration of Lyes. Chapter V. Mather and Platt's
+Keir&mdash;Description of the Keir&mdash;Saturation of the Fabrics&mdash;Alkali used in
+Lye Boiling&mdash;Examples of Processes. Chapter VI. Soap&mdash;Action of Soap in
+Bleaching&mdash;Quality and Quantity of Soaps to use in the Lye&mdash;Soap Lyes or
+Scalds&mdash;Soap Scouring Stocks. Chapter VII. Bleaching on Grass or on the
+Bleaching Green or Lawn. Chapter VIII. Chemicking&mdash;Remarks on Chlorides
+and their Decolourising Action&mdash;Chemicking
+Cisterns&mdash;Chemicking&mdash;Strengths, etc. Chapter IX. Sours&mdash;Properties of
+the Acids&mdash;Effects Produced by Acids&mdash;Souring Cisterns. Chapter X.
+Drying&mdash;Drying by Steam&mdash;Drying by Hot Air&mdash;Drying by Air. Chapter XI.
+Damages to Fabrics in Bleaching&mdash;Yarn Mildew&mdash;Fermentation&mdash;Iron Rust
+Spots&mdash;Spots from Contact with Wood&mdash;Spots incurred on the Bleaching
+Green&mdash;Damages arising from the Machines. Chapter XII. Examples of
+Methods used in Bleaching&mdash;Linen&mdash;Cotton. Chapter XIII. The Valuation of
+Caustic and Carbonated Alkali (Soda) and General Information Regarding
+these Bodies&mdash;Object of Alkalimetry&mdash;Titration of Carbonate of
+Soda&mdash;Comparative Table of Different Degrees of Alkalimetrical
+Strength&mdash;Five Problems relative to Carbonate of Soda &mdash;Caustic Soda,
+its Properties and Uses&mdash;Mixtures of Carbonated and Caustic Alkali&mdash;Note
+on a Process of Manufacturing Caustic Soda and Mixtures of Caustic and
+Carbonated Alkali (soda). Chapter XIV. Chlorometry&mdash;Titration&mdash;Wagner's
+Chlorometric Method&mdash;Prepara<!-- Page 28 --><span class='pagenum'><a name="Page_a28" id="Page_a28">[Pg a28]</a></span>tion of Standard Solutions&mdash;Apparatus for
+Chlorine Valuation&mdash;Alkali in Excess in Decolourising Chlorides. Chapter
+XV. Chlorine and Decolourising Chlorides&mdash;Synopsis&mdash;Chlorine&mdash;Chloride
+of Lime&mdash;Hypochlorite of Soda&mdash;Brochoki's Chlorozone&mdash;Various
+Decolourising Hypochlorites&mdash;Comparison of Chloride of Lime and
+Hypochlorite of Soda. Chapter XVI. Water&mdash;Qualities of
+Water&mdash;Hardness&mdash;Dervaux's Purifier&mdash;Testing the Purified
+Water&mdash;Different Plant for Purification&mdash;Filters. Chapter XVII.
+Bleaching of Yarn&mdash;Weight of Yarn&mdash;Lye
+Boiling&mdash;Chemicking&mdash;Washing&mdash;Bleaching of Cotton Yarn. Chapter XVIII.
+The Installation of a Bleach Works&mdash;Water Supply&mdash;Steam Boilers&mdash;Steam
+Distribution Pipes&mdash;Engines&mdash;Keirs&mdash;Washing Machines&mdash;Stocks&mdash;Wash
+Wheels&mdash;Chemicking and Souring Cisterns&mdash;Various&mdash;Buildings. Chapter
+XIX. Addenda&mdash;Energy of Decolourising Chlorides and Bleaching by
+Electricity and Ozone&mdash;Energy of Decolourising
+Chlorides&mdash;Chlorides&mdash;Production of Chlorine and Hypochlorites by
+Electrolysis&mdash;Lunge's Process for increasing the intensity of the
+Bleaching Power of Chloride of Lime&mdash;Trilfer's Process for Removing the
+Excess of Lime or Soda from Decolourising Chlorides&mdash;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.&mdash;II., Analysis of
+Light; Spectrum; Homogeneous Colours; Ready Method of Obtaining a
+Spectrum.&mdash;III., Examination of Solar Spectrum; The Spectroscope and Its
+Construction; Colourists' Use of the Spectroscope.&mdash;IV., Colour by
+Absorption; Solutions and Dyed Fabrics; Dichroic Coloured Fabrics in
+Gaslight.&mdash;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.&mdash;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.&mdash;VII., Secondary Colours; Nomenclature of Violet
+and Purple Group; Tints and Shades of Violet; Changes in Artificial
+Light.&mdash;VIII., Tertiary Shades; Broken Hues; Absorption Spectra of
+Tertiary Shades.&mdash;Appendix: Four Plates with Dyed Specimens Illustrating
+Text.&mdash;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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<i>Wakefield Express.</i></p>
+
+     <p>"Mr. Paterson has little to say upon the experimental aspect or on
+     its &aelig;sthetics, but much upon the theory of colour, especially as it
+     bears upon the question&mdash;an all-important one to dyers, calico
+     printers and artists, who have to produce such a variety of shades
+     and tints&mdash;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."&mdash;<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&mdash;and it is an all-important one in treatises of this
+     sort&mdash;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."&mdash;<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&mdash;Perception of
+Colour&mdash;Primary and Complementary Colour Sensations.&mdash;II., Daylight for
+Colour Matching&mdash;Selection of a Good Pure Light&mdash;Diffused Daylight,
+Direct Sunlight, Blue Skylight, Variability of Daylight, etc.,
+etc.&mdash;III., Matching of Hues&mdash;Purity and Luminosity of Colours&mdash;Matching
+Bright Hues &mdash;Aid of Tinted Films&mdash;Matching Difficulties Arising from
+Contrast.&mdash;IV., Examination of Colours by Reflected and Transmitted
+Lights&mdash;Effect of Lustre and Transparency of Fibres in Colour
+Matching.&mdash;V., Matching of Colours on Velvet Pile&mdash;Optical Properties of
+Dye-stuffs, Dichroism. Fluorescence.&mdash;VI., Use of Tinted Mediums&mdash;Orange
+Film&mdash;Defects of the Eye&mdash;Yellowing of the Lens&mdash;Colour Blindness,
+etc.&mdash;VII., Matching of Dyed Silk Trimmings and Linings and
+Bindings&mdash;Its Difficulties&mdash;Behaviour of Shades in Artificial
+Light&mdash;Colour Matching of Old Fabrics, etc.&mdash;VIII., Examination of Dyed
+Colours under the Artificial Lights &mdash;Electric Arc, Magnesium and
+Dufton, Gardner Lights, Welsbach, Acetylene, etc.&mdash;Testing Qualities of
+an Illuminant.&mdash;IX., Influence of the Absorption Spectrum in Changes of
+Hue under the Artificial Lights&mdash;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.&mdash;Chapters I., Of the Vessels and
+Utensils used in Dyeing.&mdash;II., Of the Fixed and Fugitive, commonly
+called Great and Little Dye.&mdash;III., Of Colours in Grain. <b>Dyeing Wool:</b>
+IV., Of Blue.&mdash;V., Of the Pastel Vat&mdash;Directions for the Proper
+Management of the Vat&mdash;Indications when the Vat has Suffered by too much
+or too little Lime, the two extremes which ought carefully to be
+avoided&mdash;The Preparations of Indigo for the Pastel Vat.&mdash;VI., Of the
+Woad Vat.&mdash;VII., Of the Indigo Vat.&mdash;VIII., Of the Cold Indigo Vat with
+Urine&mdash;A Hot Indigo Vat with Urine&mdash;To Reheat a Urine Vat.&mdash;IX., A Cold
+Indigo Vat without Urine. &mdash;X., Of the Method of Dyeing Blue.&mdash;XI., Of
+Red.&mdash;XII., Of Scarlet in Grain, or Venetian Scarlet.&mdash;XIII., Of Fire
+Scarlet.&mdash;XIV., Of Crimson.&mdash;XV., Of Gum Lac Scarlet.&mdash;XVI., Of the
+<i>Coccus polonicus,</i> a Colouring Insect.&mdash;XVII., Of Madder Red.&mdash;XVIII.,
+Of Yellow.&mdash;XIX., Of Brown or Fawn Colour.&mdash;XX., Of Black.&mdash;XXI., Of the
+Colours obtained from a Mixture of Blue and Red.&mdash;XXII., Of the Mixture
+of Blue and Yellow.&mdash;XXIII., Of the Mixture of Blue and Fawn
+Colour.&mdash;XXIV., Of the Mixture of Blue and Black.&mdash;XXV., Of the Mixture
+of Red and Yellow.&mdash;XXVI., Of the Mixture of Red and Fawn.&mdash;XXVII., Of
+the Mixture of Red and Black.&mdash;XXVIII., Of the Mixture of Yellow and
+Fawn Colours.&mdash;XXIX., Of the Mixture of Yellow and Black.&mdash;XXX., Of the
+Mixture of Fawn Colour and Black.&mdash;XXXI., Of the Principal Mixtures of
+the Primitive Colours by Three and Three.&mdash;XXXII., The Method of
+Blending Wool of Different Colours for mixed Cloth or Stuffs.&mdash;XXXIII.,
+The Method of Preparing Felts for Trial.&mdash;XXXIV., The Method of Dyeing
+Woollens False Colours.&mdash;XXXV., Of Flock or Goats' Hair.&mdash;XXXVI., Of
+Archil, and the Method of Using It.&mdash;XXXVII., Of Logwood.&mdash;XXXVIII., Of
+Brazil Wood.&mdash;XXXIX., Of Fustic&mdash;XL., Roucou.&mdash;XLI., Of French Berries.
+&mdash;XLII., Of Turmeric.&mdash;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.&mdash;For Boiling of Silks Intended to be Dyed.&mdash;Observations on
+Ungumming and Boiling.&mdash;Of White.&mdash;Of Whitening.&mdash;Sulphuring.
+&mdash;Observations on Whitening and Sulphuring.&mdash;Of Aluming.&mdash;Remarks on
+Aluming.&mdash;Of Blue.&mdash;Remarks on the Blue of Indigo.&mdash;Of Yellow.&mdash;Remarks
+on Yellow.&mdash;Aurora, Orange, Mordore, Gold Colour and Chamois.&mdash;Red and
+Crimson.&mdash;Remarks on Crimson.&mdash;Of False Crimson or the Red of
+Brazil.&mdash;Remarks on the Red, or Crimson of Brazil Wood.&mdash;Of Scarlet,
+Orange, Red and Cherry Colour.&mdash;Preparation of the Carthamus or Bastard
+Saffron.&mdash;Remarks on the Dye of Carthamus or Bastard Saffron.&mdash;Of the
+False Poppy or Fire Colour Produced with Brazil Wood.&mdash;False Rose
+Colour.&mdash;Of Green. &mdash;Remarks.&mdash;Of Olives.&mdash;Remarks.&mdash;Of Violet.&mdash;Of Fine
+Violet, or Violet in Grain.&mdash;Of False or Common Violets or Lilac.&mdash;Of
+the Violet of Logwood.&mdash;Remarks.&mdash;Violet of Logwood and
+Verdigris.&mdash;Violets of Brazil and Logwood.&mdash;Remarks.&mdash;Violets from
+Brazil Wood and Archil. &mdash;Of Purple, Gillyflower, and of Fine Cochineal
+or Purple.&mdash;Of False Purple.&mdash;Of Maroons, Cinnamons and White
+Lees.&mdash;Remarks.&mdash;Of Nut Greys. Thorn Greys, Black and Iron Greys and
+others of the same Species.&mdash;Of Black.&mdash;Softening of Black.&mdash;Black in
+the Raw.&mdash;Remarks on Black.&mdash;Particular Process Communicated by M.
+Hellot.&mdash;Genoa Crimson, a Process Proved in May, 1743.&mdash;Violet Crimson
+of Italy.&mdash;Half Violet.&mdash;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.&mdash;Inquiry
+concerning Wool, Silk, Cotton and Flax.&mdash;Of Wool.&mdash;Of Silk.&mdash;Of
+Cotton.&mdash;Of Flax.&mdash;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.&mdash;Of Bleaching.&mdash;Preparation for Stuffs to be
+Dyed.&mdash;Astringents.&mdash;Theory of Dyeing Stuffs Prepared with Alum.&mdash;Of
+Colouring Substances.&mdash;Of Cochineal and Colouring Insects.&mdash;Of
+Madder.&mdash;Of Vegetables Furnishing a Yellow Dye.&mdash;Of the Colouring Drugs
+Used in Dyeing without Astringents.&mdash;Of Indigo.&mdash;Of Substances Used in
+Dyeing Fawn and Root Colour.&mdash;Of Carthamus, Roucou, etc.&mdash;Of Black. <b>Of
+Dyeing of Cotton Thread</b>: Of Cleansing.&mdash;Of the Colours Employed for the
+Dyeing of Cotton Thread.&mdash;Of Blue.&mdash;Of Red.&mdash;Adrianople
+Red.&mdash;Observations on this Dye.&mdash;Of Yellow.&mdash;Of Green.&mdash;Of Violet.&mdash;Of
+Red Cinnamon.&mdash;Of Black.&mdash;Black for Linen and Cotton Thread by a
+Combination of Colours.&mdash;Of Grey.&mdash;Of More Durable Greys.&mdash;Of Musk
+Colour.&mdash;Olive and Duck Greens.&mdash;Of Browns, Maroons, Coffee Colours,
+etc.&mdash;Of Silk Stuffs Dyed of Several Colours.&mdash;The Manner of Stamping
+Silk, etc., in Europe.&mdash;Of a Linen with a Blue Ground and White
+Pattern.&mdash;Of Saxon Blue.&mdash;Observations on this Dye.&mdash;<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.&mdash;II., Scouring
+and Bleaching of Cotton.&mdash;III., Dyeing Machinery and Dyeing
+Manipulations.&mdash;IV., Principals and Practice of Cotton Dyeing&mdash;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.&mdash;V.,
+Dyeing Union (Mixed Cotton and Wool) Fabrics.&mdash;VI., Dyeing Half Silk
+(Cotton-Silk, Satin) Fabrics.&mdash;VII., Operations following
+Dyeing&mdash;Washing, Soaping, Drying.&mdash;VIII., Testing of the Colour of Dyed
+Fabrics.&mdash;IX., Experimental Dyeing and Comparative Dye Testing.&mdash;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.&mdash;Chapters I., Cultivation, Classification, Ginning, Baling
+and Mixing of the Raw Cotton.&mdash;II., Bale-Breakers, Mixing Lattices and
+Hopper Feeders&mdash;III., Opening and Scutching.&mdash;IV., Carding.&mdash;Index to
+Illustrations.&mdash;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.&mdash;Chapters I., The Combing Process.&mdash;II., The Drawing
+Frame.&mdash;III., Bobbin and Fly Frames.&mdash;IV., Mule Spinning.&mdash;V., Ring
+Spinning.&mdash;Index to Illustrations.&mdash;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.&mdash;Chapters I., Cotton.&mdash;II., The Practical Manipulation of
+Cotton Spinning Machinery.&mdash;III., Doubling and Winding.&mdash;IV.,
+Reeling.&mdash;V., Warping.&mdash;VI., Production and Costs.&mdash;VII., Main
+Driving.&mdash;VIII., Arrangement of Machinery and Mill Planning.&mdash;IX., Waste
+and Waste Spinning.&mdash;Index to Illustrations.&mdash;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.&mdash;<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.&mdash;<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.&mdash;<b>III., Indications of
+an Existing-or Incipient Fire.&mdash;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 M&uuml;ller 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-G&auml;rtner 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).&mdash;<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.&mdash;<b>VI., Rescue Stations:</b> (<i>a</i>) Stations above Ground; (<i>b</i>)
+Underground Rescue Stations.&mdash;<b>VII., Spontaneous Ignition of Coal in
+Bulk.</b>&mdash;Index.</p>
+
+<p><b>Illustrations.</b></p>
+
+<p>Sheet I., <b>Respiratory and Rescue Appliances&mdash;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.&mdash;Sheet II.,
+<b>Respiratory and Rescue Apparatus.</b> Figs. 1, Recovery Work with M&uuml;ller's
+Smoke Helmet after a Fire: 2-8, The Fleuss Respiration Apparatus: 9, The
+Walcher-G&auml;rtner Pneumatophor: 10-12, Pneumatophor (Shamrock
+Type).&mdash;Sheet III., <b>Respiratory and Rescue Apparatus&mdash;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. R&uuml;hlmann's Stretcher.&mdash;Sheet IV., <b>Dams.</b> Figs. 1-7, R. Wagners
+Portable Safety Dam.&mdash;Sheet V., <b>Signalling Appliances &mdash;Dam
+Construction&mdash;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.&mdash;Sheet VI., <b>Working with Diving Gear in
+Irrespirable Gases&mdash;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.&mdash;Sheet VII., <b>Working
+with Diving Gear in Irrespirable Gases (Mayer System)&mdash;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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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.&mdash;<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.&mdash;Chapters I., Fuel and Combustion.&mdash;II., Hand Firing in
+Boiler Furnaces.&mdash;III., Stoking by Mechanical Means.&mdash;IV., Powdered
+Fuel.&mdash;V., Gaseous Fuel.&mdash;VI., Efficiency and Smoke Tests of
+Boilers.&mdash;VII., Some Standard Smoke Trials.&mdash;VIII., The Legal Aspect of
+the Smoke Question.&mdash;IX., The Best Means to be adopted for the
+Prevention of Smoke.&mdash;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 P&Uuml;TSCH. 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&mdash;Generators Employing Steam&mdash;Stirring and Feed Regulating
+Appliances&mdash;Direct Generators&mdash;Burners&mdash;Regenerators and
+Recuperators&mdash;Glass Smelting Furnaces&mdash;Metallurgical Furnaces&mdash;Pottery
+Furnace&mdash;Coal Dust Firing.&mdash;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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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.&mdash;II., Milled Sheet Lead.&mdash;III., Roof
+Cesspools.&mdash;IV., Socket Pipes.&mdash;V., Drips.&mdash;VI., Gutters.&mdash;VII., Gutters
+(continued).&mdash;VIII., Breaks.&mdash;IX., Circular Breaks.&mdash;X., Flats&mdash;XL,
+Flats (continued).&mdash;XII., Rolls on Flats.&mdash;XIII., Roll Ends.&mdash;XIV., Roll
+Intersections.&mdash;XV., Seam Rolls.&mdash;XVI., Seam Rolls (continued).&mdash;XVII.,
+Tack Fixings.&mdash;XVIII., Step Flashings.&mdash;XIX., Step Flashings
+(continued).&mdash;XX., Secret Gutters.&mdash;XXI., Soakers.&mdash;XXII., Hip and
+Valley Soakers.&mdash;XXIII., Dormer Windows.&mdash;XXIV., Dormer Windows
+(continued).&mdash;XXV., Dormer Tops.&mdash;XXVI., Internal Dormers.&mdash;XXVII.,
+Skylights.&mdash;XXVIII., Hips and Ridging.&mdash;XXIX., Hips and Ridging
+(continued).&mdash;XXX., Fixings for Hips and Ridging.&mdash;XXXI., Ornamental
+Ridging.&mdash;XXXII., Ornamental Curb Rolls.&mdash;XXXIII., Curb Rolls.&mdash;XXXIV.,
+Cornices.&mdash;XXXV., Towers and Finials.&mdash;XXXVI., Towers and Finials
+(continued).&mdash;XXXVII.,Towers and Finials (continued).&mdash;XXXVIII.,
+Domes.&mdash;XXXIX., Domes (continued).&mdash;XL., Ornamental Lead Work.&mdash;XLI.,
+Rain Water Heads.&mdash;XLII., Rain Water Heads (continued).&mdash;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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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.&mdash;Chapters I., Pipe Bending.&mdash;II., Pipe Bending
+(continued).&mdash;III., Pipe Bending (continued).&mdash;IV., Square Pipe
+Bendings.&mdash;V., Half-circular Elbows.&mdash;VI., Curved Bends on Square
+Pipe.&mdash;VII., Bossed Bends.&mdash;VIII., Curved Plinth Bends.&mdash;IX., Rain-water
+Shoes on Square Pipe.&mdash;X., Curved and Angle Bends.&mdash;XL, Square Pipe
+Fixings.&mdash;XII., Joint-wiping.&mdash;XIII., Substitutes for Wiped
+Joints.&mdash;XIV., Preparing Wiped Joints.&mdash;XV., Joint Fixings.&mdash;XVI.,
+Plumbing Irons.&mdash;XVII., Joint Fixings.&mdash;XVIII., Use of "Touch" in
+Soldering.&mdash;XIX., Underhand Joints.&mdash;XX., Blown and Copper Bit
+Joints.&mdash;XXL, Branch Joints.&mdash;XXII., Branch Joints (continued).&mdash;XXIII.,
+Block Joints.&mdash;XXIV., Block Joints (continued).&mdash;XXV., Block
+Fixings.&mdash;XXVI., Astragal Joints&mdash;Pipe Fixings.&mdash;XXVII., Large Branch
+Joints.&mdash;XXVIII., Large Underhand Joints.&mdash;XXIX., Solders.&mdash;XXX.,
+Autogenous Soldering or Lead Burning.&mdash;Index.</p>
+
+<blockquote><p><b>Press Opinions.</b></p>
+
+<p>"Rich in useful diagrams as well as in hints."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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,&mdash;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.&mdash;II., Scratch-brushing and Burnishing; Polishing;
+Burnishing.&mdash;III., Lacquering; Tools; Lacquers.&mdash;IV., Bronzing; Black
+Bronzing; Florentine Red Bronzing; Green Bronzing.&mdash;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."&mdash;<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."&mdash;<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.&mdash;II., Painting.&mdash;III.,
+Paper-hanging.&mdash;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.&mdash;II., Colours and Their
+Harmony.&mdash;III., Pigments and Media.&mdash;IV., Pigments and Media.&mdash;V.,
+Pigments and Media.&mdash;VI., Pigments and Media.&mdash;VII., Preparation of
+Work, etc.&mdash;VIII., Application of Ordinary Colour.&mdash;IX., Graining.&mdash;X.,
+Graining.&mdash;XI., Graining.&mdash;XII., Gilding.&mdash;XIII., Writing and
+Lettering.&mdash;XIV., Sign Painting.&mdash;XV., Internal Decoration.&mdash;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."&mdash;<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.&mdash;II., Egyptian
+Art.&mdash;III., Assyrian Art.&mdash;IV., The Art of Asia Minor.&mdash;V., Etruscan
+Art.&mdash;VI., Greek Art.&mdash;VII., Roman Art.&mdash;VIII., Byzantine Art.&mdash;IX.,
+Lombard or Romanesque Art.&mdash;X., Gothic Art.&mdash;XI., Renaissance
+Art.&mdash;XII., The Victorian Period.&mdash;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."&mdash;<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&mdash;Appliances and Apparatus&mdash;Japans
+or Enamels&mdash;To Test Enamel for Lead&mdash;Japanning or Enamelling
+Metals&mdash;Japanning Tin, such as Tea Trays, and similar Goods&mdash;Enamelling
+Old Work&mdash;Enamel for Cast Iron&mdash;Enamel for Copper Cooking Utensils&mdash;The
+Enamelling Stove&mdash;Enamelling Bedsteads, Frames and similar large
+pieces&mdash;Paints and Varnishes for Metallic Surfaces&mdash;Varnishes for
+Ironwork&mdash;Blacking for Iron&mdash;Processes for Tin
+Plating&mdash;Galvanising&mdash;Metal Polishes&mdash;Colours for Polished Brass&mdash;A
+Golden Varnish for Metal&mdash;Painting on Zinc&mdash;Carriage Varnish&mdash;Japanese
+Varnish and its Application.&mdash;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.&mdash;II., The Tank
+System.&mdash;III., Pipes and Joints.&mdash;IV., The Cylinder System.&mdash;V., Boilers
+for the Cylinder System.&mdash;VI., The Cylinder System.&mdash;VII., The Combined
+Tank and Cylinder System.&mdash;VIII., Combined Independent and Kitchen
+Boiler.&mdash;IX., Combined Cylinder and Tank System with Duplicate
+Boilers.&mdash;X., Indirect Heating and Boiler Explosions.&mdash;XI., Pipe
+Boilers.&mdash;XII., Safety Valves.&mdash;XIII., Safety Valves.&mdash;XIV., The
+American System.&mdash;XV., Heating Water by Steam.&mdash;XVI., Steam Kettles and
+Jets.&mdash;XVII., Heating Power of Steam.&mdash;XVIII., Covering for Hot Water
+Pipes.&mdash;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."&mdash;<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.&mdash;The Roots.&mdash;The Stem and Leaves.&mdash;Inflorescence and
+Flower: Inflorescence and Flower of the Male Hop: Inflorescence and
+Flower of the Female Hop.&mdash;The Fruit and its Glandular Structure: The
+Fruit and Seed.&mdash;Propagation and Selection of the Hop.&mdash;Varieties of the
+Hop: (<i>a</i>) Red Hops; (<i>b</i>) Green Hops; (<i>c</i>) Pale Green
+Hops.&mdash;Classification according to the Period of Ripening: 1. Early
+August Hops; 2. Medium Early Hops; 3. Late Hops.&mdash;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.&mdash;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,&mdash;Selection of
+Variety and Cuttings.&mdash;Planting a Hop Garden: Drainage; Preparing the
+Ground; Marking-out for Planting; Planting; Cultivation and Cropping of
+the Hop Garden in the First Year.&mdash;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.&mdash;Principal and Subsidiary Utilisation of
+Hops and Hop Gardens.&mdash;Life of a Hop Garden; Subsequent Cropping.&mdash;Cost
+of Production, Yield and Selling Prices. PART IV.&mdash;Preservation and
+Storage.&mdash;Physical and Chemical Structure of the Hop Cone.&mdash;Judging the
+Value of Hops. PART V.&mdash;Statistics of Production.&mdash;The Hop
+Trade.&mdash;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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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."&mdash;<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&mdash;so far back as the days of ancient Greece&mdash;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."&mdash;<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."&mdash;<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&mdash;Mr. Burgoyne. Library
+Classification&mdash;Mr. Jast. Developments in Library Cataloguing&mdash;Mr.
+Quinn. Children and Public Libraries&mdash;Mr. Ballinger. Fire Prevention and
+Insurance&mdash;Mr. Davis. The Educational Work of the Library
+Association&mdash;Mr. Roberts. The Library Assistants' Association&mdash;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."&mdash;<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. Z&Uuml;PTNER.</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&mdash;Influences&mdash;Residual
+Water&mdash;Purification&mdash;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.).&mdash;[<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:
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+</body>
+</html>
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+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: ASCII
+
+*** 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
+
+
+
+
+
+
+
+
+
+THE
+
+DYEING OF COTTON FABRICS
+
+_A PRACTICAL HANDBOOK FOR THE DYER AND STUDENT_
+
+BY
+
+FRANKLIN BEECH
+
+PRACTICAL COLOURIST AND CHEMIST
+
+_ILLUSTRATED BY FORTY-FOUR ENGRAVINGS_
+
+LONDON SCOTT, GREENWOOD & CO. 19 LUDGATE HILL, E.C.
+
+1901
+
+[_All rights reserved_]
+
+
+
+PREFACE.
+
+
+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.
+
+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.
+
+FRANKLIN BEECH.
+
+_May, 1901._
+
+
+
+
+CONTENTS.
+
+CHAPTER I.
+                                                                    PAGE
+STRUCTURE AND CHEMISTRY OF THE COTTON FIBRE                            1
+  Action of Alkalies                                                   6
+  Action of Acids on Cellulose                                         9
+  Action of Sulphuric Acid on Cotton                                  10
+  Action of Hydrochloric Acid                                         11
+  Action of Nitric Acid                                               12
+  Action of Oxidising Agents on Cellulose or Cotton                   16
+
+CHAPTER II.
+
+SCOURING AND BLEACHING OF COTTON                                      23
+  Stains and Damages in Bleached Goods                                50
+
+CHAPTER III.
+
+DYEING MACHINERY AND DYEING MANIPULATIONS                             53
+  Hand Dyeing                                                         53
+  Dyeing Machines                                                     57
+  Dyeing, Slubbing, Sliver or Carded Cotton and Wool                  58
+  Cop Dyeing                                                          64
+
+CHAPTER IV.
+
+THE PRINCIPLES AND PRACTICE OF COTTON DYEING                          82
+  (1) Direct Dyeing                                                   85
+  (2) Direct Dyeing followed by Fixation with Metallic Salts         112
+  (3) Direct Dyeing followed by Fixation with Developers             128
+  (4) Direct Dyeing followed by Fixation with Couplers               139
+  (5) Dyeing on Tannic Mordant                                       147
+  (6) Dyeing on Metallic Mordants                                    156
+  (7) Production of Colour Direct upon Cotton Fibres                 181
+  (8) Dyeing Cotton by Impregnation with Dye-stuff Solution          198
+
+CHAPTER V.
+
+DYEING UNION (MIXED COTTON AND WOOL) FABRICS                         208
+
+CHAPTER VI.
+
+DYEING HALF SILK (COTTON-SILK, SATIN) FABRICS                        225
+  Method of Dyeing                                                   225
+
+CHAPTER VII.
+
+OPERATIONS FOLLOWING DYEING                                          239
+  Washing, Soaping, Drying                                           239
+
+CHAPTER VIII.
+
+TESTING OF THE COLOUR OF DYED FABRICS                                257
+
+CHAPTER IX.
+
+EXPERIMENTAL DYEING AND COMPARATIVE DYE TESTING                      262
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+FIG.                                                                PAGE
+1.  Cotton Fibre                                                       5
+1A. Cross-section of Cotton Fibre                                      5
+2.  Mercerised Cotton Fibre                                            7
+2A. Cross-section of Mercerised Cotton Fibre                           7
+3.  Silkified Cotton Fibre                                             9
+3A. Cross-section of Silkified Cotton Fibre                            9
+4.  Mather & Platt's Low-pressure Bleaching Kier                      31
+5.  Mather & Platt's Yarn-bleaching Kier                              49
+6.  Rectangular Dye-tank                                              54
+7.  Round Dye-tub                                                     54
+8.  Section of Dye-vat                                                56
+9.  Delahunty's Dyeing Machine                                        58
+10. Obermaier Dyeing Machine                                          59
+11. Holliday's Yarn-dyeing Machine                                    60
+12. Klauder-Weldon Dyeing Machine                                     62
+13. Graemiger Cop-dyeing Machine                                      65
+14. Graemiger Cop-dyeing Machine                                      66
+15. Beaumont's Cop-dyeing Machine                                     67
+16. Warp-dyeing Machine                                               70
+17. Warp-dyeing Machine                                               71
+18. Dye-jiggers                                                       72
+19. Dye-jigger                                                        73
+20. Jig Wince                                                         75
+21. Cloth-dyeing Machine                                              76
+22. Dye Beck                                                          77
+23. Holliday's Machine for Hawking Cloth                              78
+24. Continuous Dyeing Machine                                         79
+25. Padding Machine                                                   80
+26. Padding Machine                                                   81
+27. Dye-tub for Paranitroaniline Red                                 191
+28. Padding Machine for Paranitroaniline Red                         192
+29. Developing Machine for Paranitroaniline Red                      194
+30. Indigo Dye-vat for Cloth                                         199
+31. Squeezing Rollers                                                240
+32. Yarn-washing Machine                                             243
+33. Dye-house Washing Machine                                        244
+34. Cloth-washing Machine                                            245
+35. Cloth-washing Machine                                            247
+36. Washing and Soaping Vats                                         248
+37. Steaming Cottage                                                 249
+38. Steaming and Ageing Chamber                                      250
+39. Hydro-extractor                                                  251
+40. Hydro-extractor                                                  252
+41. Automatic Yarn-dryer                                             253
+42. Truck Yarn-dryer                                                 254
+43. Drying Cylinders                                                 255
+44. Experimental Dye-bath                                            263
+
+
+
+
+CHAPTER I.
+
+STRUCTURE AND CHEMISTRY OF THE COTTON FIBRE.
+
+
+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.
+
+A few words on vegetable textile fibres in general may be of interest.
+Fibres are met with in connection with plants in three ways.
+
+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.
+
+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 1/4 inch to 1-1/2 inches or even 2 inches; each fibre
+consists of a single unit. Whether it is serviceable as a textile fibre
+depends upon its structure, which differs in different plants, and also
+upon the quantity available.
+
+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.
+
+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.
+
+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.
+
+=The Cotton Fibre.=--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 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.
+
+=Impurities of the Cotton Fibre.=--Dr. E. Schunck made an investigation
+many years ago into the character of the impurities, and found them to
+consist of the following substances:--
+
+=Cotton Wax.=--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.
+
+=Fatty Acids.=--A solid, fatty acid, melting at 55 deg. C. is also present
+in cotton. Probably stearic acid is the main constituent of this fatty
+acid.
+
+=Colouring Matter.=--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.
+
+=Pectic Acid.=--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
+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.
+
+=Albumens.=--A small quantity of albuminous matter is found among the
+impurities of cotton.
+
+=Structure of the Cotton Fibre.=--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 3/4 to 7/8 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.
+
+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,
+and the central canal is almost obliterated and the fibres are but
+little twisted. Dead fibres are thin, brittle and weak.
+
+=Composition of the Cotton Fibres.=--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.
+
+[Illustration: FIG. 1.--Cotton Fibre.]
+[Illustration: FIG. 1A.]
+
+Cellulose is a compound of the three elements, carbon, hydrogen and
+oxygen, in the proportions shown in the following analysis:--
+
+Carbon, 44.2 per cent.,
+Hydrogen, 6.3 per cent.,
+Oxygen, 49.5 per cent.,
+
+which corresponds to the empirical formula C{6}H{10}O{5}, 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
+which they are present in water, namely H{2}O.
+
+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.
+
+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.
+
+
+ACTION OF ALKALIES.
+
+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.
+
+Dilute solutions of the caustic alkalies, caustic soda or caustic
+potash, of from 2 to 7 per cent. strength, have no 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.
+
+[Illustration: FIG. 2.--Mercerised Cotton Fibre.]
+[Illustration: FIG. 2A.]
+
+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. 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{6}H{10}O{5}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{6}H{10}O{5}H{2}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".
+
+Solutions of caustic soda of 1.000 or 20 deg. 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 deg. to 55 deg. 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.
+
+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 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.
+
+[Illustration: FIG. 3.--Silkified Cotton Fibre.]
+
+[Illustration: FIG 3A.]
+
+In the chapter on Scouring and Bleaching of Cotton, some reference will
+be made to the action of alkalies on cotton.
+
+
+ACTION OF ACIDS ON CELLULOSE.
+
+The action of acids on cellulose is a very varied one, being dependent
+upon several factors, such as the particular acid 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 deg. 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.
+
+
+ACTION OF SULPHURIC ACID ON COTTON.
+
+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 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.
+
+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.
+
+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.
+
+
+ACTION OF HYDROCHLORIC ACID.
+
+Dilute hydrochloric acid of from 1 deg. to 2 deg. 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 deg.
+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{12}H{22}O{11}, and is therefore a hydrate of
+cellulose, the latter having undergone hydrolysis by taking up the
+elements of water according to the equation 2C{6}H{10}O{5} + H{2}O
+= C{12}H{22}O{11}. 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.
+
+Hydrocellulose is soluble in nitric acid, 1.5 specific gravity, without
+undergoing oxidation. Nitrates are formed varying in composition.
+
+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.
+
+
+ACTION OF NITRIC ACID.
+
+The action of nitric acid on cellulose is a variable one, depending on
+many factors, strength of acid, duration of 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.
+
+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.
+
+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{3} group, which is characteristic of nitrates, and not of the
+NO{2} 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{6}H{5}NO{2}, into aniline, C{6}H{5}NH{2}, or with
+nitro-naphthalene, C{10}H{7}NO{2}, which changes into naphthylamine,
+C{10}H{7}NH{2}.
+
+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:--
+
+Cellulose Hexa-nitrate, C{6}H{4}O{5}(NO{3}){6}. 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 deg. 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.
+
+Cellulose Penta-nitrate, C{6}H{5}O{5}(NO{3}){5}, 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.
+
+Cellulose Tetra-nitrate, C{6}H{6}O{5}(NO{3}){4}, and Cellulose
+Tri-nitrate, C{6}H{7}O{5},(NO{3}){3}, form the basis of the
+pyroxyline or soluble 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.
+
+Cellulose Di-nitrate, C{6}H{8}O{5}(NO{3}){2}, 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.
+
+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 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.
+
+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.
+
+Artificial silk can be dyed in the same manner as ordinary silk.
+
+
+ACTION OF OXIDISING AGENTS ON CELLULOSE OR COTTON
+
+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.
+
+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{6}H{10}O{6}. 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 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.
+
+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.
+
+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.
+
+Alkaline solutions of permanganate convert the cellulose into
+oxycellulose, which resembles the oxycellulose obtained by the action of
+the nitric acid.
+
+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.
+
+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.
+
+=Dyes and Cotton Dyeing.=--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.
+
+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.e._, indigo, which do not come under this grouping.
+
+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 colouring 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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+Cellulose can be dissolved by certain metallic solutions and
+preparations:--
+
+(1) =Zinc Chloride.=--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.
+
+(2) =Zinc Chloride and Hydrochloric Acid.=--When zinc chloride is
+dissolved in hydrochloric acid a liquid is obtained 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.
+
+(3) =Ammoniacal Copper.=--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.
+
+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.
+
+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.
+
+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.
+
+This action of cupra-ammonium solutions on cellulose has 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.
+
+
+
+
+CHAPTER II.
+
+SCOURING AND BLEACHING OF COTTON.
+
+
+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.
+
+=Scouring Cotton.=--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 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.
+
+If the ordinary dyeing machines are not used for this purpose, then the
+ordinary bleachers' kiers may be used. These will be described
+presently.
+
+=Bleaching of Cotton.=--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:--
+
+(1) Market or white bleach.
+(2) Dyers or printers' bleach.
+(3) Madder bleach.
+
+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 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:--
+
+(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.
+
+(1) =Stitching.=--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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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 the process, umber will
+serve for brown. All these colours are used in the form of printing ink.
+
+The next operation is a very important one, which cannot be too
+carefully carried out, that is:--
+
+(2) =Singeing.=--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.
+
+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.
+
+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.
+
+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.
+
+(3) =Singeing Wash.=--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.
+
+(4) =Lime Boil.=--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
+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.
+
+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.
+
+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 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.
+
+[Illustration: Fig. 4.--Mather & Platt's Low-pressure Bleaching Kier.]
+
+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 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 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.
+
+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.
+
+(5) =Lime or Grey Sour.=--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 deg. 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.
+
+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:--
+
+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.
+
+Now take exactly 5 ozs. of freshly prepared sour of 2 deg. 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 deg., 3 deg., 4 deg., 5 deg. Twaddell, as well as for 2 deg.
+Tw. acid.
+
+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 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.
+
+(6) =Lye Boil.=--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.
+
+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.
+
+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.
+
+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.
+
+(7) =Resin Boil.=--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 deg. to 20 deg. Tw. is prepared, and into
+this is thrown resin, broken up into small pieces.
+
+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 deg. 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 1-1/2 to 1-3/4 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 3-1/2 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.
+
+What the special function of the resin is in this boil is 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.
+
+(8) =Wash.=--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.
+
+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.
+
+(9) =Chemicing.=--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.
+
+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 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 1/2 to 1 deg. 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.
+
+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.
+
+The chemicing is best done cold and with weak solution, at 1/2 deg. Tw.
+rather than 1 deg. 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.
+
+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 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.
+
+(10) =White Sour.=--After the chemicing the goods are treated to a sour,
+for which purpose either hydrochloric acid or sulphuric acid may be
+used.
+
+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 deg. 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.
+
+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.
+
+=Turkey Red Bleach=--(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
+2-1/2 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.
+
+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.
+
+=Market Bleach=--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.
+
+The resin boil may be omitted, only two lye boils being required, and
+these need not be so long or of such a searching 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:--
+
+(1) Lime boil, using 500 lb. of lime, and giving a twelve-hours' boil.
+(2) Grey sour, hydrochloric acid of 2 deg. Tw., then wash well.
+(3) Lye boil, 100 lb. caustic soda, 70 per cent. solid, ten to twelve
+hours' boil; wash.
+(4) Second lye boil, 100 lb., 58 per cent. soda ash, twelve-hours' boil.
+(5) Chemic, bleaching powder liquor at 1 deg. Tw., boil for three hours;
+wash.
+(6) White sour, sulphuric acid at 2 deg. Tw.; wash well.
+
+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.
+
+Another process is the following:--
+
+(1) Lime boil, using 480 lb. lime, and boiling for ten hours.
+(2) Grey sour, hydrochloric acid at 2 deg. Tw.; wash.
+(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.
+(4) Chemic as above.
+(5) White sour as above; wash well.
+
+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:--
+
+(1) Lye boil, using 140 lb. caustic soda, of 70 per cent., giving ten
+hours' boil and washing well.
+(2) Second lye boil, using 120 lb. soda ash, 58 per cent., and giving
+ten hours' boil; wash.
+(3) Chemic as above.
+(4) White sour as above; wash well.
+
+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.
+
+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 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
+1/2 deg. 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 deg. 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.
+
+Another plan of bleaching fine fabrics is shown in outline in the
+following scheme:--
+
+(1) Wash; boil in water for two hours.
+(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.
+(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.
+(4) Chemic, using bleaching powder liquor at 1/2 deg. Tw., allowing them to
+steep for two hours, then wash and whiz.
+(5) White sour, using hydrochloric acid at 2 deg. Tw., steeping two hours;
+wash.
+
+A further extension of the same process is sometimes given for the best
+goods, which consists, after the above, in giving:--
+
+(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.
+(7) Chemic as before.
+(8) Sour as before, after which the goods are well washed.
+
+In the bleaching of Nottingham lace curtains for the soda 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.
+
+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.
+
+=Yarn Bleaching.=--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.
+
+=Warp Bleaching.=--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 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:--
+
+(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.
+(2) Sweeting, boil with 80 lb. soda ash, 58 per cent., for two hours.
+(3) Washing.
+(4) Chemicing, bleaching powder liquor at 1 deg. Tw., washing.
+(5) Sour, sulphuric acid at 2 deg. Tw,. washing well.
+(6) Hydro extracting and drying.
+
+About 2,000 to 3,000 lb. of warps are usually treated at one time.
+
+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.
+
+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 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".
+
+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.
+
+=Hank Bleaching.=--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-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.
+
+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:--
+
+(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.
+(2) Wash through washing machine.
+(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.
+(4) Chemic as in warp bleaching.
+(5) Sour as in warp bleaching.
+(6) Wash well.
+(7) Hydro extract and dry.
+
+Sometimes, if the yarn is to be sold in thread form, before the last
+operation it passes through another, _viz._, treating with soap and blue
+liquors, which will be dealt with presently.
+
+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.
+
+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 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.
+
+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 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.
+
+[Illustration: FIG. 5.--Mather & Platt's Yarn-bleaching Kier.]
+
+
+STAINS AND DAMAGES IN BLEACHED GOODS.
+
+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.
+
+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, 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 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.
+
+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.
+
+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.
+
+
+
+
+CHAPTER III.
+
+DYEING MACHINERY AND DYEING MANIPULATIONS.
+
+
+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.
+
+In the early days all dyeing was done by hand in the simplest possible
+contrivances, but during the last quarter of a century there has been a
+great development in the quantity of dyeing that has been done, and this
+has really necessitated the application of machinery, for hand work
+could not possibly cope with the amount of dyeing now done. Consequently
+there has been devised during the past two decades a great variety of
+machines for dyeing every description of textile fabrics, some have not
+been found a practical success for a variety of reasons and have gone
+out of use, others have been successful and are in use in dye-works.
+
+
+HAND DYEING.
+
+[Illustration: FIG. 6.--Rectangular Dye-tank.] [Illustration: FIG.
+7.--Round Dye-tub.]
+
+Dyeing by hand is carried on in the simplest possible appliances; much
+depends upon whether the work can be done at the ordinary temperature
+or at the boil. 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
+copper dye-vats are also made. These may be used for all kinds of
+material, loose fibre, yarns or cloth. In the case of loose fibre this
+is stirred about either with poles or with rakes, care being taken to
+turn every part over and over and open out the masses of fibre as much
+as possible in order to avoid matting or clotting together. In the case
+of yarns or skeins, these are hung on sticks resting on the edges of the
+tub or vat. These sticks are best made of hickory, but ash or beech or
+any hard wood that can be worked smooth and which does not swell much
+when treated with water may be used. The usual method of working is to
+hang the skein on the stick, spreading it out as much as possible, then
+immerse the yarn in the liquor, lift it up and down two or three times
+to fully wet out the yarn, then turn the yarn over on the stick and
+repeat the dipping processes, then allow to steep in the dye-liquor.
+This is done with 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.
+
+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.
+
+[Illustration: FIG. 8.--Section of Dye-vat.]
+
+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 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 condense, there
+is a little dilution of the dye-liquor in the vat.
+
+
+DYEING MACHINES.
+
+Dye tubs and vats, such as those described above, have been largely
+superseded by machines in which the handling, or working of the
+materials being dyed is effected by mechanical means. There have been a
+large number of dyeing machines invented, some of these have not been
+found to be very practical, and so they have gone out of use. Space will
+not admit of a detailed account of every kind of machine, but only of
+those which are in constant use in dye-works.
+
+=Dyeing Loose, or Raw Cotton.=--Few machines have been designed for this
+purpose, and about the only successful one is:
+
+=Delahunty's Dyeing Machine.=--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.
+
+The Obermaier machine, presently to be described, may also be used for
+dyeing loose cotton or wool.
+
+DYEING, SLUBBING, SLIVER OR CARDED COTTON AND WOOL.
+
+[Illustration: FIG. 9.--Delahunty's Dyeing Machine.]
+
+[Illustration: FIG. 10.--Obermaier Dyeing Machine.]
+
+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 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 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.
+
+[Illustration: FIG. 11.--Holliday's Yarn-dyeing Machine.]
+
+=Holliday's Yarn-dyeing Machine.=--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 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.
+
+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.
+
+To some makes of these machines a hank wringer is attached.
+
+[Illustration: FIG. 12.--Klauder-Weldon Dyeing Machine.]
+
+=Klauder-Weldon Hank-dyeing Machine.=--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 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 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.
+
+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.
+
+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 dropped into the dye-vat to go
+through the same cycle of movements which is continued until the yarn is
+properly dyed.
+
+
+COP DYEING.
+
+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.
+
+In all machines for dyeing cops one principle has been adopted--that of
+drawing or forcing the dye-liquor through the cop.
+
+[Illustration: FIG. 13.--Graemiger Cop-dyeing Machine.]
+
+=Graemiger's Cop-dyeing Machine.=--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 continual circulation of dye-liquors from the vat through the cops,
+chambers and pump back to the vat again.
+
+[Illustration: FIG. 14.--Graemiger Cop-dyeing Machine.]
+
+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 proceedings go on
+continuously. Although not quite free from defects the machine gives
+very good results, the cops being very uniformly dyed through.
+
+[Illustration: FIG. 15.--- Beaumont's Cop-dyeing Machine.]
+
+=Beaumont's Cop-dyeing Machine.=--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 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.
+
+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.
+
+=Young & Crippin's Cop-dyeing Machine.=--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 communicates 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.
+
+=Mommer's Cop-dyeing Machine.=--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.
+
+=Warp-dyeing Machines.=--Although many warps, especially for fancy
+fabrics, are prepared from yarns dyed in the hank 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.
+
+[Illustration: FIG. 16.--Warp-dyeing Machine.]
+
+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 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.
+
+After being dyed in this machine the warp is sent through another one
+containing various wash liquors to finish the process.
+
+[Illustration: FIG. 17.--Warp-dyeing Machine.]
+
+Fig. 17 shows a warp-dyeing machine similar to, but a little more
+elaborate in construction than, the vats just described.
+
+=Piece-dyeing Machines.=--Wherever it is possible it is far more
+preferable to dye textile fabrics in the form of woven pieces rather
+than in the yarn from which they are woven. During the process of
+weaving it is quite impossible to avoid the material getting dirty and
+somewhat greasy, and the operations of scouring necessary to remove this
+dirt and grease has an impairing action on the colour if dyed yarns
+have been used in weaving it. This is avoided when the pieces are woven
+first and dyed afterwards, and this can always be done when the cloths
+are dyed in one colour only. Of course when the goods are fancy goods
+containing several colours they have to be woven from dyed yarns.
+
+[Illustration: FIG. 18.--Dye-jiggers.]
+
+[Illustration: FIG. 19.--Dye-jigger.]
+
+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 the cloth
+wound from the full on to the empty roller. With the object of keeping
+the piece tight, a heavy press roller is arranged to bear on the cloth
+on the full roller. When all the cloth has passed from one roller to the
+other it is said to have been given "one end". The direction of motion
+is now changed, and the cloth sent in the opposite direction through the
+jig, and the piece has now received another "end". This alternation from
+one roller to the other is continued as long as is deemed necessary,
+much depending on the depth of colour which is being dyed--some pale
+shades may only take two or three ends, deeper shades may take more.
+When dyeing wool with acid colours which are all absorbed from the
+dye-liquor, or the bath is exhausted, it is a good plan to run the
+pieces several more ends so as to ensure thorough fixation of the dye on
+the cloth.
+
+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.
+
+Some attempts have been made to make jiggers automatic in their
+reversing action, but they have not been successful; owing to the
+greatly varying conditions of length of pieces, their thickness, etc.,
+which have to be dyed, and it is next to impossible to make all
+allowances for such varying conditions.
+
+[Illustration: FIG. 20--Jig Wince.]
+
+[Illustration: FIG. 21.--Cloth-dyeing Machine.]
+
+=The Jig Wince or Wince Dye Beck.=--This dyeing machine is very largely
+used, particularly in the dyeing of woollen cloths. It is made by many
+makers, and varies somewhat in form accordingly. Figs. 20, 21 and 22,
+show three forms by different makers. In any make the jig wince, or
+wince dye beck, consists of a large rectangular, or, in some cases,
+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 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 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.
+
+[Illustration: FIG. 22.--Dye Beck.]
+
+In the jig and wince dyeing machines the pieces necessarily are for a
+part of the time, longer in the case of the jigger than in that of the
+wince, out of the dye-liquor and exposed to the air. In the case of
+some dyes, indigo especially, this is not desirable, and yet it is
+advisable to run the cloth open for some time in the liquor, so as to
+get 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.
+
+[Illustration: FIG. 23.--Holliday's Machine for Hawking Cloth.]
+
+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 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.
+
+[Illustration: FIG. 24.--Continuous Dyeing Machine.]
+
+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.
+
+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.
+
+[Illustration: FIG. 25.--Padding Machine.]
+
+[Illustration: FIG. 26.--Padding Machine.]
+
+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 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.
+
+
+
+
+CHAPTER IV.
+
+THE PRINCIPLES AND PRACTICE OF COTTON DYEING.
+
+
+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.
+
+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 constitution 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 _The
+Dictionary of Coal Tar Colours_, by George H. Hurst; _The Chemistry of
+Coal Tar Colours_, by Benedikt and Knecht; or _The Chemistry of Organic
+Colouring Matters_, by Nietzki, where the composition and properties of
+the dyes are fully described.
+
+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:--
+
+     Group 1. Direct dyes.
+       "   2. Basic dyes.
+       "   3. Acid dyes.
+       "   4. Mordant dyes.
+       "   5. Miscellaneous dyes.
+
+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.
+
+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.
+
+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 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.
+
+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.
+
+The fifth group includes a few dyes like indigo, which are dyed on to
+cotton by various and special processes.
+
+The processes of cotton dyeing employed to-day may be comprised under
+eight heads, namely:--
+
+(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.
+
+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.
+
+
+(1) DIRECT DYEING.
+
+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.
+
+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.
+
+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 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.
+
+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.
+
+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.
+
+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 be got by their means. The best assistants to use are also
+indicated in the formulae.
+
+All the formulae 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.
+
+_Bright Red._--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.
+
+_Pale Salmon._--Prepare a dye-bath with 3 lb. salt, 5 lb. phosphate of
+soda, 1 lb. soap, 1/2 oz. Benzo orange R. For a pale shade like this it
+is not necessary to heat to the boil, a temperature of 170 deg. to 180 deg. F.
+is sufficient.
+
+_Dark Plum._--Prepare a dye-bath with 20 lb. of Glauber's salt, 2-1/2
+lb. soap, 1-1/2 lb. Diamine black R O. and 2 lb. Diamine red N. Enter at
+180 deg. F., work for a few minutes, then raise to boil and dye to shade;
+lift, wash and dry.
+
+_Turkey Red._--Prepare a dye-bath with 1-1/2 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.
+
+_Lilac Red._--Prepare the dye-bath with 2 lb. soap, 5 lb. soda, 3 lb.
+Rose azurine G. Work at the boil for one hour.
+
+_Pink._--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.
+
+_Bordeaux._--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.
+
+_Rose Pink._--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.
+
+_Brilliant Red._--Make the dye-bath with 24 lb. Brilliant purpurine R
+and 25 lb. Glauber's salt, working at the boil for one hour.
+
+_Deep Pink._--Make the dye-bath with 1/2 lb. Diamine rose B D, 1/2 lb.
+soda, 1 lb. soap and 5 lb. Glauber's salt, working at 150 deg. F. for half
+an hour.
+
+_Dark Red._--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.
+
+_Pink._--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.
+
+_Scarlet._--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.
+
+_Scarlet._--Prepare the dye-bath with 3 lb. Titan scarlet C, 1/2 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.
+
+_Crimson Red._--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 3-1/2 lb. of colour and 25 lb. of salt only need be
+added.
+
+_Scarlet._--Prepare the dye-bath with 5 lb. Rosophenine 5 B, dissolved
+in 50 gallons hot water, 2 gallons caustic soda lye (60 deg. 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 deg. F;
+squeeze off and wash thoroughly in cold water until the water runs off
+clean.
+
+_Rose Red._--Use 1 lb. Diamine red 10 B, 3 lb. soda, and 20 lb.
+Glauber's salt.
+
+_Deep Crimson._--Use 3 lb. Diamine red 10 B, 3 lb. soda and 20 lb.
+Glauber's salt.
+
+_Claret._--Use 3 lb. Diamine Bordeaux B, 3 lb. soda and 20 lb. Glauber's
+salt.
+
+_Pink._--The dye-bath is made with 5 oz. Dianil red 4 B, 5 lb. salt and
+3 lb. soda.
+
+_Scarlet._--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.
+
+_Claret._--Dye with 1-1/2 lb. Dianil claret G, 3 lb. soda and 20 lb.
+salt. Work at the boil for one hour.
+
+_Maroon._--Dye with 3 lb. Dianil claret B, 3 lb. soda and 20 lb. salt.
+Work at the boil for one hour.
+
+_Bright Scarlet._--Use in the dye-bath 2-1/2 lb. Dianil red 4 B 5 oz.
+Dianil orange G, 3 lb. soda and 15 lb. salt.
+
+_Dark Maroon._--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.
+
+_Crimson._--Dye with 3 lb. Congo rubine, 5 lb. soda and 20 lb. Glauber's
+salt.
+
+_Dark Maroon._--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.
+
+_Pale Fawn Red._--Use in the dye-bath 1-1/2 oz. Diamine red 5 B, 1-1/2
+oz. Diamine catechine G, 3 lb. soda and 10 lb. Glauber's salt.
+
+_Rose Red._--Prepare the dye-bath with 3/4 lb. Diamine Bordeaux B, 3 oz.
+Diamine orange B, 3 lb. soda and 20 lb. salt.
+
+_Crimson._--Use in the dye-bath 3/4 lb. Diamine Bordeaux B, 3 oz.
+Diamine fast yellow B, 3 lb. soda and 20 lb. Glauber's salt.
+
+_Salmon._--Dye with 1-1/2 oz. Diamine fast red F, 1-1/2 oz. Diamine fast
+yellow B, 3 lb. soda and 10 lb. Glauber's salt.
+
+_Terra-Gotta Red._--Dye with 1-1/2 lb. Diamine brown M, 3/4 lb. Diamine
+fast red F, 3 lb. soda and 20 lb. Glauber's salt.
+
+_Lilac Red._--Dye with 4 lb. Heliotrope B B, 3 lb. soda and 15 lb.
+Glauber's salt.
+
+_Bright Pink._--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.
+
+_Bright Straw._--Dye in a bath made of 1/4 lb. Titan yellow G G, 10 lb.
+salt, for three-quarters of an hour, then lift, wash and dry.
+
+_Yellow._--Prepare a dye-bath with 1 lb. Titan yellow Y, 10 lb. salt.
+Heat to 180 deg. F., enter the goods, raise to boil, and dye for one hour;
+lift, wash and dry.
+
+_Yellow._--Prepare the dye-bath with 1/4 lb. Diamine fast yellow A, 1
+lb. Turkey red oil, 20 lb. Glauber's salt. Dye at the boil for one hour.
+
+_Sun Yellow._--Prepare the dye-bath with 2 lb. Sun yellow, 30 lb. common
+salt. Dye at the boil. The bath is kept for further lots.
+
+_Yellow._--Prepare the dye-bath with 1 lb. Direct yellow R, 20 lb.
+Glauber's salt. Dye at the boil for one hour.
+
+_Yellow._--Prepare the dye-bath with 2 lb. Curcuphenine, 20 lb. common
+salt. Work at the boil for one hour; lift, rinse and dry.
+
+_Old Gold._--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.
+
+_Dark Yellow._--The bath is made from 2 lb. Toluylene orange G, 10 lb.
+phosphate of soda, and 2-1/2 lb. soap, working at the boil to shade.
+
+_Bright Yellow._--Use 1 lb. Chrysophenine, 2 lb. phosphate of soda and
+10 lb. Glauber's salt.
+
+_Lemon Yellow._--Use 1 oz. Chrysamine G, 2 lb. phosphate of soda and 10
+lb. Glauber's salt.
+
+_Yellow._--Dye with 2 lb. Oxyphenine and 20 lb. salt.
+
+_Yellow Olive._--Use in the dye-bath 2 oz. Cotton brown N, 4-1/2 oz.
+Diamine bronze G, 4-1/2 oz. Diamine fast yellow B, 3 lb. soda and 20 lb.
+salt.
+
+_Green Yellow._--Dye with 1/2 lb. Diamine fast yellow B. 2 oz. Diamine
+bronze G, 3 lb. soda and 10 lb. Glauber's salt.
+
+_Gold Yellow._--Use in the dye-bath 3 lb. Columbia yellow, 3 lb. soda
+and 20 lb. Glauber's salt.
+
+_Cream._--Dye with 1/2 oz. Toluylene orange G, 24 grains Brilliant
+orange G, 1 lb. soda and 10 lb. Glauber's salt.
+
+_Primrose._--Dye with 3 oz. Dianil yellow 3 G, 2 lb. soda and 10 lb.
+salt.
+
+_Gold Yellow._--Dye with 2-1/2 lb. Dianil yellow G, 1/2 lb. soda and 15
+lb. salt.
+
+_Buff Yellow._--Dye with 3-1/2 oz. Dianil yellow 2 R, 1/2 lb. soda and
+10 lb. salt.
+
+_Orange._--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.
+
+_Red Orange._--Make the dye-bath with 3 lb. Mikado orange 4 R and 25 lb.
+salt. Work at the boil for one hour.
+
+_Orange._--Make the dye-bath with 3 lb. Mikado orange G and 25 lb. salt.
+Work at the boil for one hour.
+
+_Pale Orange._--The dye-bath contains 6 oz. Diamine Orange G, 1-1/2 oz.
+Diamine fast yellow B, 1/4 oz. Diamine scarlet B, 3 lb. soda and 15 lb.
+Glauber's salt.
+
+_Olive Yellow._--Dye with 3/4 lb. Diamine fast yellow B, 1 oz.
+Oxydiamine black N, 1-1/2 oz. Diamine bronze G, 3 lb. soda and 20 lb.
+Glauber's salt.
+
+_Dark Orange._--Dye with 3 lb. Columbia orange R, 3 lb. soda and 20 lb.
+Glauber's salt at the boil for one hour.
+
+_Bright Orange._--Use 3 lb. Congo orange R, 3 lb. soda and 20 lb.
+Glauber's salt at the boil for one hour.
+
+_Pale Orange._--Dye with 3 lb. Dianil orange 2 R, 2 lb. soda and 10 lb.
+salt at the boil for one hour.
+
+_Brilliant Orange._--Dye with 4 lb. Dianil orange G and 20 lb. salt for
+one hour.
+
+_Deep Orange._--Dye with 2 lb. Oxydiamine orange R, 3/4 lb. soda and 20
+lb. salt for an hour.
+
+_Pale Orange._--Dye with 3/4 lb. Diamine fast yellow B, 1 lb. Diamine
+orange B, 3 lb. soda and 15 lb. Glauber's salt.
+
+_Bright Orange._--Dye with 1-1/2 lb. Benzo orange R, 1-1/2 lb.
+Chrysamine R, 10 lb. phosphate of soda and 2 lb. soap.
+
+_Green._--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.
+
+_Russian Green._--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.
+
+_Dark Olive._--Prepare a dye-bath with 3-1/2 lb. Benzo olive, 2-1/2 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 deg. F., then heat is raised to
+the boil, and the dyeing continued for one hour, then lift, wash and
+dry.
+
+_Dark Olive._--Dye in a bath of 2 lb. Titan yellow Y, 1 lb. Diamine
+brown Y, 1-1/2 lb. Diamine blue 3 B, 2 lb. soda. Work for one hour, then
+lift, wash and dry.
+
+_Olive._--Prepare a dye-bath with 15 lb. phosphate of soda, 3 lb. soap,
+1-1/2 lb. Diamine yellow N, 4 oz. Diamine blue 3 B, 1-1/2 oz. Diamine
+brown V. Dye at the boil to shade; lift, wash and dry.
+
+_Green Olive._--Prepare the dye-bath with 1 lb. Diamine black R O, 1 lb.
+Chrysamine, 1/4 lb. Benzo brown, 5 lb. soda, 5 lb. salt, 2 lb. soap. The
+goods are entered at about 180 deg. 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.
+
+_Reseda._--Prepare a bath with 10 lb. Glauber's salt, 2 lb. soap, 1/2
+lb. Diamine black R O, 2 lb. Diamine yellow N. Enter at 120 deg. F., heat to
+boil and dye for one hour at that temperature; lift, wash and dry.
+
+_Sage Green._--Prepare a dye-bath with 10 lb. Glauber's salt, 1/2 lb.
+Diamine black R O, 2 lb. Diamine yellow N. Enter at about 150 deg. F. and
+then raise to boil and dye boiling for one hour, wash and dry.
+
+_Drab._--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.
+
+_Olive._--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.
+
+_Olive._--The dyeing is done in a bath containing 4 oz. Diamine black H
+W, 1-3/4 lb. Diamine bronze G, 5 lb. soda, 15 lb. Glauber's salt. Work
+at the boil for one hour.
+
+_Grass Green._--Make the dye-bath with 2 lb. Chrysamine G, 1-1/2 oz.
+Benzo azurine G, 3 lb. soap and 10 lb. borax, working at the boil for
+one hour.
+
+_Green._--Make the dye-bath with 2 lb. Titan yellow Y, 1 lb. Titan blue
+3 B and 20 lb. salt.
+
+_Bright Grass Green._--Dye for an hour at the boil with 1 lb. Sulphon
+azurine D, 2 lb. Thiazole yellow and 20 lb. Glauber's salt.
+
+_Green._--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.
+
+_Dark Green._--Dye with 3 lb. Diamine dark green N, 3 lb. soda and 20
+lb. Glauber's salt.
+
+_Green._--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.
+
+_Dark Sea Green._--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.
+
+_Pale Green._--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.
+
+_Bright Pea Green._--Use in the dye-bath 1 oz. Thioflavine S, 1/4 oz.
+Diamine sky blue F F and 20 lb. Glauber's salt.
+
+_Dark Green._--Use 1-3/4 lb. Diamine green G, 3/4 lb. Oxydiamine yellow
+G G, 3 lb. soda and 20 lb. Glauber's salt, working at the boil for one
+hour.
+
+_Deep Green._--Use 1-3/4 lb. Diamine green G, 3/4 lb. Diamine black B H,
+1/2 lb. Oxydiamine yellow G G, 3 lb. soda, and 20 lb. Glauber's salt.
+
+_Sea Green._--Use 2 oz. Dianil yellow R, 2-1/2 oz. Dianil blue B, 1-3/4
+oz. Dianil dark blue R, 1 lb. soda, and 20 lb. salt, working at the
+boil.
+
+_Leaf Green._--Dye with 1-1/2 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.
+
+_Deep Green._--Dye with 2-1/2 lb. Dianil yellow 3 G, 2-1/2 lb. Dianil
+blue 2 R, 6 oz. Dianil dark blue R, 3 lb. soda, and 20 lb. salt at the
+boil for one hour.
+
+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 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.
+
+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.
+
+_Bright Blue._--Prepare a dye-bath with 1/2 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.
+
+_Dark Navy._--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 deg. F., and boil for one hour.
+
+_Pale Blue._--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.
+
+_Sky Blue._--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.
+
+_Bright Blue._--Prepare the dye-bath with 1-1/2 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.
+
+_Pale Sky Blue._--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.
+
+_Sky Blue._--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.
+
+_Dark Blue._--Prepare the dye-bath with 2-1/2 lb. Diamineral blue R,
+2-1/2 lb. Diamine deep black Cr, 1 lb. Turkey-red oil, 40 lb. Glauber's
+salt. Dye at the boil for one hour.
+
+_Dark Blue._--Prepare the dye-bath with 3 lb. Triamine black B, 15 lb.
+Glauber's salt, in 50 gallons of water. Enter at 150 deg. F., and boil for
+one hour. Allow the goods to remain until the water is cold, when the
+dye-bath will be completely exhausted.
+
+_Blue._--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.
+
+_Blue._--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.
+
+_Light Indigo Blue._--Prepare the dye-bath with 1 lb. Paramine indigo
+blue, 2 lb. soda, 20 lb. Glauber's salt. Enter at about 150 deg. F., and dye
+at the boil for one hour.
+
+_Navy Blue._--Prepare the dye-bath with 4 lb. Paramine navy blue R, 2
+lb. soda, 20 lb. Glauber's salt. Enter at about 150 deg. F., and dye at the
+boil for one hour.
+
+_Blue._--Prepare the dye-bath with 1 lb. Paramine navy blue R, 2 lb.
+soda, 20 lb. Glauber's salt. Enter at about 150 deg. F., and dye at the boil
+for one hour.
+
+_Navy Blue._--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.
+
+_Grey Blue._--Prepare the dye-bath with 2 lb. Paramine blue black S, 2
+lb. soda, 20 lb. Glauber's salt. Enter at 150 deg. F., and dye for one hour
+at boil.
+
+_Blue._--Prepare the dye-bath with 1 lb. Paramine blue B, 2 lb. soda, 20
+lb. Glauber's salt. Enter at about 150 deg. F., and dye at the boil for one
+hour.
+
+_Slate Blue._--Prepare the dye-bath with 1/4 lb. Diamine black B H, 3/4
+oz. Diamine fast yellow B, 2 lb. soda, and 10 lb. Glauber's salt. Dye at
+the boil to shade.
+
+_Deep Blue._--Use 3-1/4 lb. Diamine blue B X, 1/2 lb. Oxydiamine black
+N, 3 lb. soda and 20 lb. Glauber's salt at the boil for one hour.
+
+_Blue._--Dye at the boil for one hour with 1-1/2 lb. Diamine sky blue, 2
+oz. Diamine green B, 2 lb. soda and 10 lb. Glauber's salt.
+
+_Navy._--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.
+
+_Dark Navy._--Use 2 lb. Dianil blue B, 2 lb. Dianil dark blue R, 3/4 lb.
+Dianil black C R, 2 lb. soda and 25 lb. salt, working at the boil for
+one hour.
+
+_Deep Blue._--Dye with 3-1/2 lb. Diamine blue black E, 5 lb. soda and 20
+lb. Glauber's salt at the boil for one hour.
+
+_Deep Blue._--Dye with 3 lb. Zambesi black B R, 3 lb. soda and 20 lb.
+Glauber's salt at the boil for one hour.
+
+_Dark Navy._--Use 3 lb. Dianil dark blue R, 3 lb. caustic soda 70 deg. Tw.,
+and 25 lb. salt, working at the boil for one hour.
+
+_Violet Blue._--Dye with 3 lb. Dianil dark blue 3 R and 25 lb. salt at
+the boil for one hour.
+
+_Bright Blue._--Use 1 lb. Dianil blue B, and 20 lb. salt, working at the
+boil for one hour.
+
+_Full Blue._--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.
+
+_Dark Blue._--Dye with 3 lb. Erie blue B X, 3 lb. soda and 20 lb.
+Glauber's salt at the boil for one hour.
+
+_Pale Blue._--Dye with 1 lb. Chicago blue 6 B, 3 lb. soda and 20 lb.
+salt at the boil for one hour.
+
+_Deep Blue._--Dye with 1-1/2 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.
+
+_Blue._--Dye with 6 oz. Diamine blue 3 B, 1-1/2 oz. Diamine sky blue F
+F, 3 lb. soda and 10 lb. Glauber's salt.
+
+_Navy._--Dye with 4 lb. Diamine new blue R, 3 lb. soda and 20 lb.
+Glauber's salt at the boil for one hour.
+
+_Dark Navy._--Dye with 1-3/4 lb. Diamineral blue R, 3 lb. soda and 20
+lb. Glauber's salt at the boil for one hour.
+
+_Sky Blue._--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.
+
+_Dark Blue._--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.
+
+_Dark Blue._--Prepare the dye-bath with 3 lb. Triamine black B T, and 15
+lb. Glauber's salt; work at the boil to shade.
+
+_Blue._--Use 2 lb. Direct indigo blue and 15 lb. Glauber's salt; work at
+the boil.
+
+_Bright Blue._--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.
+
+_Turquoise Blue._--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.
+
+_Dark Navy._--Use 4 lb. Titan navy R, and 20 lb. salt at the boil for
+one hour.
+
+_Green Blue._--Dye with 1 lb. Dianil blue G, 2-1/2 oz. Dianil yellow G,
+1 lb. soda and 20 lb. salt at the boil for one hour.
+
+Many more formulae 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.
+
+_Lilac._--Prepare a dye-bath with 1/4 lb. Hessian brown 2 M, 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.
+
+_Plum._--Dye with 3 lb. Oxydiamine violet G, 3 lb. soda and 20 lb. salt.
+
+_Dark Plum._--Use in the dye-bath 3 lb. Oxydiamine violet B, 3 lb. soda
+and 20 lb. Glauber's salt, working at the boil.
+
+_Violet._--Make the dye-bath with 3/4 lb. Oxydiamine violet B, 1 lb.
+soda and 10 lb. Glauber's salt, and dye at the boil to shade.
+
+_Violet._--Dye with 12 oz. Dianil blue 4 R, 2 oz. Dianil blue B and 10
+lb. salt at the boil.
+
+_Lilac._--Dye with 1-1/2 oz. Diamine rose G D, 3/4 oz. Diamine sky blue
+F F, 1 lb. soda and 10 lb. Glauber's salt at the boil to shade.
+
+_Red Violet._--Make the dye-bath with 1/2 lb. Diamine violet N, 1/2 oz.
+Diamine brilliant blue G, 1 lb. soda and 10 lb. Glauber's salt, working
+at the boil.
+
+_Red Violet._--Dye with 1 lb. Diamine violet N, 1 lb. soda and 10 lb.
+Glauber's salt.
+
+_Bright Red Lilac._--Dye with 1-3/4 lb. Erika B N, 4 oz. Chicago blue 4
+R, 3 lb. soda and 20 lb. Glauber's salt at the boil.
+
+_Grey Lilac._--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.
+
+_Pale Lilac._--Dye with 2-1/2 oz. Dianil claret B, 2-1/2 oz. Dianil blue
+4 R, and 10 lb. salt.
+
+_Light Plum._--Dye with 10 oz. Dianil claret B, 10 oz. Dianil blue and
+20 lb. salt.
+
+_Dull Lilac._--Dye with 1/2 lb. Diamine brown V, 1 lb. soda and 10 lb.
+Glauber's salt.
+
+_Heliotrope._--Dye with 4 oz. Heliotrope 2 B, 1 lb. soda and 10 lb.
+Glauber's salt.
+
+_Plum._--Dye with 3 lb. Congo Corinth B, 3 lb. soda and 10 lb. Glauber's
+salt.
+
+_Dull Violet._--Use in the dye-bath 1-1/2 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.
+
+_Red Lilac._--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.
+
+_Violet._--Dye with 3 oz. Diamine violet N, 2 oz. diamine blue 3 R, 1
+lb. soda and 10 lb. Glauber's salt.
+
+_Fawn Drab._--Prepare a dye-bath with 1 lb. Cachou de laval, 1/4 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.
+
+_Pale Olive Brown._--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.
+
+_Red Brown._--Prepare a dye-bath with 1-3/4 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 deg. F., then raise to the boil and work to the
+shade; lift, wash and dry.
+
+_Brown Drab._--Prepare a dye-bath with 1/4 lb. Cotton brown N, 3/4 oz.
+Diamine yellow N, 3/4 oz. Diamine black B O, 15 lb. phosphate of soda, 3
+lb. soap. Work at the boil for one hour.
+
+_Gold Brown._--Prepare the dye-bath with 16-1/4 oz. Toluylene orange G,
+9-1/2 oz. Toluylene orange R, 4-3/4 oz. azo mauve, 2-1/2 lb. soap, 5 lb.
+soda. Dye at the boil for one hour.
+
+_Chestnut Brown._--Prepare a dye-bath with 10 lb. common salt, 2 lb.
+Benzo brown G, 1/2 lb. Benzo azurine G, 1/2 lb. Chrysophenine. Enter the
+goods at 150 deg. F., raise to the boil and dye boiling for one hour.
+
+_Purple Brown._--Prepare a dye-bath with 10 lb. common salt, 2 lb. Benzo
+brown N B, 1 lb. Azo violet. Enter the cotton at 150 deg. F., raise to the
+boil and dye boiling for an hour; lift, wash and dry.
+
+_Brown._--Prepare a dye-bath with 5 lb. soda, 10 lb. Glauber's salt, 12
+oz. Chrysamine, 1 oz. Benzo purpurine, 6-1/4 oz. Benzo azurine. Dye at
+the boil for one hour, rinse and dry. The brown thus got is fast to
+washing.
+
+_Dark Chestnut Brown._--Prepare a dye-bath with 10 lb. salt, 3 lb. Benzo
+brown N B X, raise to 150 deg. F., enter goods, heat to boil, and work for
+one hour; lift, rinse and dry.
+
+_Dark Brown._--Prepare a dye-bath with 20 oz. Glauber's salt per gallon
+of water used, 2-1/2 lb. soap, 1-1/2 lb. Diamine black R O, 2 lb. Cotton
+brown N. Enter the yarn at 180 deg. F., give three turns, raise temperature
+to boil, and work to shade; lift, rinse and wash.
+
+_Gold Brown._--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.
+
+_Brown._--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.
+
+_Light Brown._--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.
+
+_Dark Brown._--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.
+
+_Dark Drab._--Prepare the dye-bath with 1 lb. Titan brown Y, 3 oz.
+Columbia green, 32-3/4 oz. Diamine bronze, 17 lb. Glauber's salt. Work
+at the boil for one hour, then lift, wash and dry.
+
+_Pale Brown._--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.
+
+_Gold Brown._--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.
+
+_Buff Brown._--Make the dye-bath with 3/4 lb. Titan gold, 1/4 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.
+
+_Deep Chestnut Brown._--Make the dye-bath with 3 lb. Titan brown R,
+1-1/2 lb. Titan blue R, 25 lb. common salt. Work at the boil for an
+hour, then lift, wash and dry.
+
+_Light Seal Brown._--Make the dye-bath with 10 lb. salt, 2 lb. soda, 14
+oz. Oxyphenine, 3/4 lb. Atlas red R, 6 oz. Diamine blue B X. Work at the
+boil to shade, then lift, wash and dry.
+
+_Orange Brown._--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.
+
+_Pale Nut Brown._--Use in the dye-bath 4-1/2 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.
+
+_Walnut Brown._--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.
+
+_Black Brown._--Use in the dye-bath 3 lb. Diamine brown M, 3/4 lb.
+Diamine blue black R, 3 lb. soda and 20 lb. Glauber's salt, working at
+the boil.
+
+_Reddish Brown._--Dye with 2 lb. Dianil brown R, 5 lb. salt and 5 lb.
+phosphate of soda at the boil for one hour.
+
+_Chocolate Brown._--Dye with 2 lb. Dianil brown T, 5 lb. phosphate of
+soda and 5 lb. salt at the boil for one hour.
+
+_Dark Brown._--Dye with 2 lb. Dianil dark brown, 5 lb. salt and 5 lb.
+phosphate of soda at the boil for one hour.
+
+_Light Brown._--Prepare the dye-bath with 5 lb. Diamine catechine G, 3
+lb. soda and 15 lb. Glauber's salt.
+
+_Brown._--Dye with 2-1/4 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.
+
+_Dark Walnut Brown._--Make the dye-bath with 3-1/4 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.
+
+_Dark Chestnut Brown._--Dye with 2-1/2 lb. Dianil brown R, 1 lb. soda
+and 20 lb. salt at the boil.
+
+_Dark Brown._--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.
+
+_Brown._--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.
+
+_Nut Brown._--Use in the dye-bath 2-1/2 lb. Benzo brown G and 15 lb.
+salt, working at the boil.
+
+_Dark Brown._--Use in the dye-bath 3 lb. Benzo brown N B and 15 lb.
+Glauber's salt, working at the boil.
+
+_Dark Brown._--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.
+
+_Black Brown._--Use in the dye-bath 2-1/2 lb. Dianil brown 3 G O, 1-1/2
+lb. Dianil brown G, 3/4 lb. Dianil dark blue R, 3 lb. soda and 25 lb.
+salt.
+
+_Dark Brown._--Dye with 1-1/2 lb. Zambesi black D, 1-1/4 lb. Brilliant
+orange G, 3 lb. soda and 20 lb. Glauber's salt at the boil to shade.
+
+_Gold Brown._--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.
+
+_Dark Chestnut._--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.
+
+_Sage Brown._--Dye with 1 lb. Zambesi black D, 1 lb. Curcumine S, 3/4
+lb. Diamine orange G D, 3 lb. soda and 30 lb. Glauber's salt at the
+boil.
+
+_Deep Brown._--Dye 3-1/2 lb. Diamine brown M, 3/4 lb. Oxydiamine orange
+G, 3/4 lb. Diamine black H W, 3 lb. soda and 20 lb. Glauber's salt at
+the boil.
+
+_Chestnut._--Dye with 2-1/2 lb. Diamine brown G, 3/4 lb. Oxydiamine
+orange R, 3 lb. soda and 20 lb. Glauber's salt.
+
+_Pale Walnut Brown._--Dye with 3-1/2 lb. Diamine brown M, 3/4 lb.
+Oxydiamine orange G, 1-1/2 oz. Diamine black B H, 3 lb. soda and 20 lb.
+Glauber's salt.
+
+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.
+
+_Black._--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.
+
+_Black._--Prepare the dye-bath with 5 lb. Direct deep black E extra, and
+1/2 to 1-1/2 oz. common salt per gallon of water. Dye at the boil for
+one hour.
+
+_Deep Black._--Prepare the dye-bath with 5-1/2 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.
+
+_Black._--Prepare the dye-bath with 5 lb. Direct triamine black G X, 15
+lb. Glauber's salt. Dye for one hour at the boil; lift, rinse and dry.
+In working for from two to three hours the dye-bath will exhaust
+completely.
+
+_Black._--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.
+
+_Black._--Prepare the dye-bath with 6 lb. Pluto black B. Dye at the boil
+for one hour with the addition of 3/4 to 1-1/4 oz. Glauber's salt, 1/2
+to 3/4 oz. soda ash per gallon of liquor. To develop the shade it is
+necessary to dye in a boiling liquor.
+
+_Black._--Use 2-1/2 lb. Diamine jet black Cr, 2-1/2 lb. Diamine jet
+black R B, 2 lb. soda, and 20 lb. Glauber's salt, working at the boil
+for one hour.
+
+_Black._--Use 6 lb. Oxydiamine black N R, 2 lb. soda and 20 lb.
+Glauber's salt, working at the boil for one hour.
+
+_Black._--Use 6 lb. Columbia Black F B B, 3 lb. soda and 20 lb.
+Glauber's salt, working at the boil to shade.
+
+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.
+
+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.
+
+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.
+
+By using all the direct blacks in proportions varying from 1/4 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.
+
+_Blue Grey._--Prepare the dye-bath with 1/2 lb. Oxydiamine black A, 1
+lb. soda, 10 lb. Glauber's salt. Dye at the boil for one hour.
+
+_Bright Grey._--Prepare a dye-bath with 4-1/2 oz. Azo mauve A M, 1-1/2
+oz. Direct yellow G, 3 lb. soda, 15 lb. common salt.
+
+_Silver Grey._--Prepare the dye-bath with 1/2 oz. Neutral grey G, 10 lb.
+sulphate of soda. Work at the boil to shade, then lift, wash and dry.
+
+_Slate._--Dye in a bath with 1/2 lb. Diamine black B H, 3 oz. Diamine
+bronze G, 15 lb. Glauber's salt at the boil for three-quarters of an
+hour.
+
+_Bronze Grey._--Prepare a dye-bath with 1/2 lb. Diamine bronze G, 15 lb.
+Glauber's salt, 3 lb. soap. Enter at about 160 deg. F., raise to boil and
+work for one hour; lift, wash and dry.
+
+_Dark Slate._--Prepare a dye-bath with 10 lb. Glauber's salt, 1-1/2 lb.
+soap, 1 lb. Diamine black R O, 2 lb. Cotton brown N. Heat to about 150 deg.
+F. Enter the goods, work for a short time, then raise to the boil and
+work for one hour; lift, wash and dry.
+
+_Green Grey._--Prepare a dye-bath with 10 lb. Glauber's salt, 1 lb.
+Diamine black R O, 3/4 oz. Thioflavine S. Enter at from 150 deg. Tw. to 180 deg.
+F., raise to boil and dye for one hour; wash and dry.
+
+_Light Slate._--Prepare a dye-bath containing 2-1/4 lb. soap, 15 lb.
+Glauber's salt, 6 oz. Diamine black R O, 1/2 oz. thioflavine S. Enter
+cotton at 140 deg. F., work a little, then heat to boil and dye to shade;
+lift, wash and dry.
+
+_Grey._--Prepare the dye-bath with 1/2 lb. Diamine grey G, 1/2 oz.
+Diamine scarlet B, 1 lb. soda, 1 lb. soap, 5 lb. Glauber's salt. Dye for
+one hour at the boil.
+
+_Light Grey._--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.
+
+It may be convenient here to deal with the question of the fastness of
+the direct dyes to such influences as light, air, 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 1/2 per cent, of dye-stuff has been known to make a very
+appreciable degree of difference as regards the fastness of a colour to
+light.
+
+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:--
+
+(1) Volume of water used.
+(2) Quantity of saline salts used.
+(3) Degree of affinity of the dye-stuff for the fibre.
+
+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.
+
+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,
+1-1/2 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 cotton. In any case the quantity of water used should not exceed
+twenty-five times the weight of the cotton.
+
+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.
+
+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
+varying 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.
+
+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.
+
+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 dye-bath. Any loss of volume which may thus occur can be
+remedied by the addition of water.
+
+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.
+
+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 deg. to
+12 deg. Tw.
+
+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 deg. Tw., one made with 50 lb. common salt or Glauber's salt at
+8 deg. Tw., while one which is made with 80 lb. to 100 lb. salt will stand
+at 12 deg. to 13 deg. 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.
+
+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.
+
+
+(2) DIRECT DYEING FOLLOWED BY FIXATION WITH METALLIC SALTS.
+
+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, _e.g._, 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.
+
+_Dark Red._--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.
+
+_Orange._--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.
+
+_Yellow._--Dye with 3-1/2 lb. Diamine yellow N, 3 lb. soap and 15 lb.
+phosphate of soda, then fix with 4 lb. fluoride of chromium.
+
+_Gold Yellow._--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 deg. F., bring to the boil,
+and boil for half an hour.
+
+_Pale Leaf Green._--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.
+
+_Leaf Green._--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.
+
+_Dark Green._--Dye with 2 lb. Dianil yellow R, 1-1/2 lb. Dianil dark
+blue R, 1 lb. soda and 20 lb. salt, fixing with 3 lb. copper sulphate.
+
+_Pale Olive Green._--Dye with 2-3/4 lb. Diamine fast yellow B, 1-1/4 lb.
+Diamine blue R W, 3/4 lb. Diamine blue R W, 3/4 lb. Diamine catechine G;
+fix with 4 lb. sulphate of copper and 2 lb. acetic acid.
+
+_Russia Green._--Dye with 2-1/2 lb. Diamine blue R W, 10 oz. Diamine
+dark blue B, 2-1/2 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.
+
+_Blue Green._--Dye with 1-3/4 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.
+
+_Bronze Green._--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.
+
+_Pea Green._--Dye in a boiling bath with 1/2 lb. Diamine sky blue F F,
+2-1/4 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.
+
+_Leaf Green._--Dye at the boil for one hour in a bath containing 2-3/4
+lb. Diamine fast yellow B, 1-3/4 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.
+
+_Light Green._--Prepare the dye-bath with 7-1/4 oz. Diamine blue R W,
+5-1/2 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.
+
+_Olive Green._--Dye with 2-1/4 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.
+
+_Pea Green._--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.
+
+_Green._--Dye with 2-3/4 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.
+
+_Dark Green._--Dye with 1-1/2 lb. Diamine green B, 1-1/2 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.
+
+_Dark Bronze._--Use in the dye-bath 2-1/2 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.
+
+_Dark Blue._--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.
+
+_Blue._--Dye with 1-3/4 lb. Diamine brilliant blue G, 1-1/4 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.
+
+_Light Navy._--Dye with 1 lb. Diamine blue 3 R, 2-1/4 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.
+
+_Bright Navy._--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.
+
+_Blue._--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.
+
+_Dark Blue._--- Dye with 3 lb. Chicago blue R W, 1-1/2 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.
+
+_Deep Slate Blue._--Dye with 1-1/4 lb. Zambesi black F, 1-1/4 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.
+
+_Light Blue._--Prepare the dye-bath with 2 oz. Diamine sky blue F F,
+3/4 oz. Diamine fast yellow A, 1/2 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 1-1/2 lb. sulphate of copper for half an hour.
+
+_Dark Blue._--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 1/2 lb. sulphuric acid.
+
+_Dark Blue._--Dye with 2-1/2 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.
+
+_Turquoise Blue._--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.
+
+_Dark Turquoise Blue._--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.
+
+_Black Blue._--Dye with 4-1/4 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.
+
+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.
+
+_Bright Blue._--Dye with 2-1/4 lb. Dianil blue B and 20 lb. Glauber's
+salt; fix with 3 lb. of fluoride of chromium.
+
+_Dark Blue._--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.
+
+_Red Violet._--Dye with 1 lb. Dianil blue 4 R and 10 lb, salt, fixing
+with 4 lb. fluoride of chromium.
+
+_Dark Plum._--Dye with 3 lb. Dianil blue 4 R and 15 lb. salt, fixing
+with 4 lb. fluoride of chromium.
+
+_Red Violet._--Dye with 1 lb. Diamine blue 3 R, 1 lb. soda and 10 lb.
+Glauber's salt, fixing with 1-1/2 lb. sulphate of copper and 1 lb.
+acetic acid.
+
+_Red Plum._--Use 3-3/4 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.
+
+_Dark Brown._--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.
+
+_Brown._--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.
+
+_Light Brown._--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.
+
+_Dark Chestnut Brown._--Dye for an hour in a boiling bath with 2-1/4 lb.
+Diamine catechine G, 1-1/4 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.
+
+_Brown._--Use 3 lb. Catechu brown G K, 15 lb. Glauber's salt and 1/2 lb.
+soap; after dyeing for one hour at the boil treat in a fresh boiling
+bath with 3 lb. copper sulphate.
+
+_Dark Brown._--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.
+
+_Brown._--Prepare the dye-bath with 9 oz. Diamine blue R W, 12-1/2 oz.
+Diamine orange B, 1-3/4 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.
+
+_Brown._--Prepare the dye-bath with 4 lb. Benzo chrome 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.
+
+_Nut Brown._--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.
+
+_Chestnut Brown._--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.
+
+_Dark Olive Brown._--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.
+
+_Deep Brown._--Use in the Dye-bath 1-3/4 lb. Diamine brown B, 1-3/4 lb.
+Diamine fast yellow B, 1/2 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.
+
+_Dark Brown._--Dye with 2 lb. Diamine brown M, 1 lb. Diamine fast red F,
+1/2 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.
+
+_Black Brown._--Dye with 1-3/4 lb. Diamine dark blue B, 3/4 lb. Diamine
+orange B, 1-3/4 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.
+
+_Light Sage Brown._--Dye with 3/4 lb. Diamine brown B, 1-1/2 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.
+
+_Pale Brown._--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 lb. salt,
+fixing with 1-1/2 lb. sulphate of copper and 1 lb. acetic acid.
+
+_Walnut Brown._--Dye with 2-1/2 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.
+
+_Pale Fawn Brown._--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.
+
+_Pale Fawn Brown._--Dye with 1/2 lb. Diamine orange B, 1/4 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.
+
+_Sage Brown._--Dye with 9 oz. Diamine blue R W, 3/4 lb. Diamine orange
+B, 1-3/4 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.
+
+_Red Chocolate._--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.
+
+_Dark Chestnut._--Dye with 2-1/2 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.
+
+_Brown._--Dye with 2-1/4 lb. Chrysophenine G, 1-1/4 lb. Diamine brown G,
+1-1/4 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.
+
+_Nut Brown._--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.
+
+_Dark Grey._--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.
+
+_Dark Grey._--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.
+
+_Dark Grey._--Use in the dye-bath 1 lb. Diamine blue R W, 1/2 lb.
+Diamine orange B, 1/4 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.
+
+_Pale Greenish Grey._--Dye with 1/4 oz. Diamine orange B, 3 oz. Diamine
+blue R W, 1/2 lb. soda, 2 lb. soap and 5 lb. Glauber's salt, fixing with
+1 lb. sulphate of copper and 1/2 lb. acetic acid.
+
+_Slate Blue._--Dye with 1/4 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.
+
+_Grey._--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 deg. to 160 deg. F. in a bath containing 5 lb. bichromate of
+potash and 5 lb. sulphuric acid, then thoroughly rinse and dry.
+
+_Dark Grey._--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 1/2 lb.
+acetic acid.
+
+_Green Grey._--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.
+
+_Grey._--Dye with 4 oz. Dianil black N, 1 lb. soda and 10 lb. salt,
+fixing with 1 lb. copper sulphate and 1/2 lb. acetic acid.
+
+_Black._--Prepare the dye-bath with 5-1/2 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.
+
+_Black._--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 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.
+
+_Black._--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.
+
+_Black._--Use in the dye-bath 5 lb. Dianil black C R. 3 lb. caustic
+soda, 36 deg. Tw. and 20 lb. salt, fixing with 3 lb. copper sulphate, 3 lb.
+bichromate of potash and 2 lb. acetic acid.
+
+_Jet Black._--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.
+
+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:--
+
+=Sulphur or Sulphyl Colours.=
+
+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.
+
+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.
+
+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.
+
+The best method of using the various dyes of this group will be given in
+the form of formulae. 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.
+
+_Pale Brown._--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 deg. F. ten to fifteen minutes.
+
+_Black._--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 deg. to 180 deg. 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.
+
+There are three brands of Immedial black, _viz._, V extra, G 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 1/2 lb. soda and 3
+lb. salt.
+
+These blacks are very fast to washing, light, etc. By using smaller
+quantities of dye-stuff good greys can be dyed.
+
+_Black._--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.
+
+_Black._--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 deg. 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.
+
+Meanwhile prepare a bath with 5 lb. bichromate of potash, 4 lb.
+sulphuric acid (168 deg. Tw.). Enter at 150 deg. to 160 deg. 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.
+
+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.
+
+The dye-bath should be kept as short as possible, about 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.
+
+There are several brands of these Cross-dye blacks varying in the tone
+of black they give.
+
+_Black._--Prepare the dye-bath with 5 lb. soda ash, 200 lb. salt and 20
+lb. Amidazol black G, this is heated to 150 deg. 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 deg. 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, 2-1/2 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
+7-1/2 to 10 per cent., give dark blues.
+
+All these blacks may be combined with aniline black with good results as
+shown in the following recipe:--
+
+_Black._--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 2-1/2 lb. aniline oil, 2-1/2 lb. hydrochloric
+acid, 6-1/2 lb. sulphuric acid, 7-1/2 lb. bichromate of potash, and
+5-1/2 lb. perchloride of iron, 66 deg. Tw. This is used cold for an hour,
+then the heat is slowly raised to 160 deg. 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.
+
+_Black._--Make the dye-bath with 15 lb. Sulfaniline black G, 60 lb.
+salt, 10 lb. soda, and 5 lb. sulphide of sodium. Work 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.
+
+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.
+
+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.
+
+_Blue._--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 deg. 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 deg., 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 1-1/2 lb.
+caustic soda lye at 70 deg. Tw. The blue may also be developed by steaming
+with air in a suitable chest or steaming chamber. By topping with 1/4
+lb. New methylene blue N, very bright blue shades can be dyed.
+
+_Dark Navy._--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 2-1/2 lb. peroxide of sodium and 2-1/2 lb. sulphuric acid, started
+cold, then after twenty minutes heated to 160 deg. 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 deg. Tw.
+
+_Blue._--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
+2-1/2 lb. peroxide of sodium and 2-1/2 lb. sulphuric acid; this is
+started cold, then heated to 150 deg. F., and kept at that heat for twenty
+minutes, when the cotton is taken out, well washed and dried.
+
+_Deep Blue._--Dye with 20 lb. Amidazol black 6 G, 5 lb. soda and 200 lb.
+salt; develop with 2 lb. peroxide of sodium and 2-1/2 lb. sulphuric
+acid, working as noted above.
+
+_Dark Drab._--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.
+
+_Brown._--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.
+
+_Buff._--Dye with 2-1/2 lb. Amidazol cutch, 5 lb. soda and 25 lb. salt,
+working at the boil for one hour, then lift, wash and dry.
+
+_Pale Sea Green._--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.
+
+_Dark Green._--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.
+
+_Dark Brown._--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 deg. F. for half an hour, then wash well and dry.
+
+_Dark Sage._--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 deg. F.,
+washing well afterwards.
+
+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.
+
+_Brown._--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 deg. F. for half an hour, then wash
+well and dry.
+
+_Olive._--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.
+
+_Dark Olive._--Dye with 20 lb. Katigen olive G, 50 lb. salt, 10 lb.
+soda, and 6 lb. sulphide of sodium, working at the boil for one hour,
+then lift, wash and dry. By chroming a darker and faster olive is got.
+
+_Brown._--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.
+
+_Pale Brown._--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 deg. F. for half an hour, then lift,
+wash and dry.
+
+_Dark Brown._--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.
+
+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.
+
+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.
+
+
+(3) DIRECT DYEING FOLLOWED BY FIXATION WITH DEVELOPERS.
+
+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., 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{2}, 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".
+
+For example when paranitroaniline is subjected to this reaction it
+undergoes a change indicated in the chemical equation:--
+
+C{6}H{4}NO{2}NH{2}, + NaNO{2}, + 2HCl = Paranitroaniline, Sodium
+nitrite, Hydrochloric acid.
+
+C{6}H{4}NO{2}N: NCl + NaCl + 2H{2}0 = Paranitro benzene Sodium
+chloride, Water, diazo chloride.
+
+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.
+
+The azo dyes contain the characteristic group of two 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.
+
+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.
+
+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.
+
+
+_Developer._                        _Colour produced._
+
+Beta-naphthol                            Bright scarlet.
+Alpha-naphthol                           Crimson.
+Phenylene diamine                        Brown.
+Phenol                                   Gold yellow.
+Resorcine                                Orange.
+Naphthylamine ether                      Blue.
+Blue developer A N                       Green.
+
+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 dyed. The cotton must be
+rinsed in cold water, and be quite cold before it is subjected to the
+diazotising operation. _Diazotising_ 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.
+
+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.
+
+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.
+
+For _developing_, 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
+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.
+
+=Beta-naphthol.=--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 deg. 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.
+
+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.
+
+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 1-1/2 per cent.) of this is required than of
+beta-naphthol.
+
+=Alpha-naphthol= 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.
+
+=Resorcine=, 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 deg. 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.
+
+Developer F (Bayer) is a mixture of resorcine and soda ash. It requires
+1-1/2 per cent, to make a developing bath.
+
+=Phenol=, 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 deg. Tw., and 60 gallons of water. Generally 1 per cent. is sufficient to
+use as a developer. It is often called yellow developer.
+
+=Naphthylamine ether= 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 1-1/4 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.
+
+=Fast blue developer A D= (Cassella), is amidodiphenylamine. It is
+insoluble in water, but soluble in dilute acid, 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 1-1/2 per cent, is required.
+
+=Blue developer A N= (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
+1-1/2 per cent, is usually required.
+
+=Phenylene diamine= 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.
+
+=Schaeffer's acid= is a sulpho acid of beta-naphthol, and is dissolved
+by taking 10 lb. of the acid and 7-1/2 lb. soda, boiling with 50 gallons
+of water. About 1-1/4 per cent. is required for developing full shades.
+
+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, 1-1/4 per cent. being used to obtain
+full shades.
+
+Developer D (Bayer) is dioxy-naphthalene-sulpho acid, and simply
+requires dissolving in water to make the bath.
+
+=Toluylene diamine= is a homologue of phenylene diamine and is used in
+precisely the same way.
+
+Generally the special developers issued by the various colour firms
+simply require dissolving in water to form the developing bath.
+
+The cotton, previously being passed through the diazotising 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.
+
+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.
+
+_Scarlet._--Dye with 3 lb. Primuline and 20 lb. salt, at the boil for
+one hour, diazotise and develop with beta-naphthol.
+
+_Crimson._--Dye with 3 lb. Primuline and 20 lb. salt, then diazotise and
+develop with alpha-naphthol.
+
+_Red Brown._--Dye with 4 lb. Primuline and 20 lb. salt, then diazotise
+and develop with phenylene diamine.
+
+_Deep Orange._--Dye with 3 lb. Primuline and 20 lb. salt, then diazotise
+and develop with resorcine.
+
+_Pale Orange._--Dye with 3 lb. Primuline and 20 lb. salt, then diazotise
+and develop with phenol.
+
+_Sage Brown._--Dye with 6 lb. Primuline, 3 lb. Titan ingrain blue and 20
+lb. salt, then diazotise and develop with resorcine.
+
+_Dark Maroon._--Dye with 6 lb. Primuline, 3 lb. Titan ingrain blue and
+20 lb. salt, then diazotise and develop with beta-naphthol.
+
+_Dark Crimson._--Dye with 5-3/4 lb. Primuline, 1/4 lb. Titan ingrain
+blue and 20 lb. salt, then diazotise and develop with beta-naphthol.
+
+_Dark Blue._--Dye with 3 lb. Zambesi blue B X, 2 lb. soda and 20 lb.
+Glauber's salt, then diazotise and develop with amidonaphthol ether.
+
+_Dark Brown._--Dye with 8 lb. Zambesi brown 2 G, 2 lb. soda and 20 lb.
+Glauber's salt, then diazotise and develop with toluylene diamine.
+
+_Blue Black._--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 3/4 lb.
+toluylene diamine and 1/2 lb. beta-naphthol.
+
+_Red._--Dye with 4-1/2 lb. Primuline, 1/2 lb. Diamine fast yellow A and
+20 lb. salt, then diazotise and develop with beta-naphthol.
+
+_Dark Brown._--Dye with 4 lb. Primuline, 1 lb. Diamine azo blue R R, and
+20 lb. salt, then diazotise and develop with beta-napthol.
+
+_Deep Chestnut Brown._--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.
+
+_Dark Brown._--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.
+
+_Black Brown._--Dye with 1 lb. Diamine brown M, 1-1/2 lb. Primuline, 1
+oz. Diamine black B H, 2 lb. soda and 20 lb. Glauber's salt, then
+diazotise and develop with phenylene diamine.
+
+_Blue._--Dye with 2 lb. Diaminogene blue B B, 1/2 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.
+
+_Dark Blue._--Prepare the dye-bath with 1-1/2 lb. Diaminogene 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 12-1/2 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.
+
+_Black._--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 2-1/2 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.
+
+_Blue Black._--Dye with 4 lb. Diamine black B H, 2 lb. soda and 10 lb.
+Glauber's salt, then diazotise and develop with naphthylamine ether.
+
+_Dark Navy._--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.
+
+_Light Chestnut Brown._--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.
+
+_Dark Brown._--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.
+
+_Black._--Dye with 4 lb. Diamine black B H, 3 lb. soda and 20 lb.
+Glauber's salt, diazotise and develop with 2 lb. resorcine and 1 lb.
+phenylene diamine.
+
+_Blue Black._--Dye with 4 lb. Diaminogene B, 2 lb. soda and 20 lb.
+Glauber's salt, then diazotise and develop with beta-naphthol.
+
+_Black._--Dye with 4-1/2 lb. Diaminogene B, 1/2 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.
+
+_Light Blue._--Dye with 1-1/2 lb. Diaminogene blue B B, 1 lb. soda and
+10 lb. Glauber's salt, then diazotised and develop with beta-naphthol.
+
+_Maroon._--Dye with 6 lb. Primuline and 20 lb. salt, diazotise and
+develop with blue developer A N.
+
+_Olive Brown._--Dye with 5-1/2 lb. Diamine cutch, 3 lb. soda and 10 lb.
+Glauber's salt, then diazotise and develop with fast blue developer A D.
+
+_Gold Brown._--Dye with 1 lb. Cotton brown N, 3/4 lb. Diamine bronze G,
+2 lb. soda and 10 lb. Glauber's salt, then diazotise and develop with
+phenylene diamine.
+
+_Walnut Brown._--Dye with 3 lb. Diamine brown M, 3 lb. soda and 20 lb.
+Glauber's salt, then diazotise and develop with beta-naphthol.
+
+_Brown._--Dye with 1-1/2 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.
+
+_Dark Plum._--Dye with 3 lb. Diamine brown V, 1 lb. soda and 10 lb.
+Glauber's salt, then diazotise and develop with beta-naphthol.
+
+_Black Brown._--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.
+
+_Blue Black._--Dye with 4-1/2 lb. Diamine black R O, 3 lb. soda and 20
+lb. Glauber's salt, then diazotise and develop with beta-naphthol.
+
+_Blue Black._--Dye with 4-1/2 lb. Diamine black R O, 3 lb. soda and 20
+lb. Glauber's salt, then diazotise and develop with naphthylamine ether.
+
+_Blue Black._--Dye with 5 lb. Diamine black B O, 3 lb. soda and 20 lb.
+Glauber's salt, then diazotise and develop with beta-naphthol.
+
+_Dark Blue._--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.
+
+_Black._--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.
+
+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.
+
+
+(4) DIRECT DYEING FOLLOWED BY FIXATION WITH COUPLERS.
+
+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 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.
+
+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.
+
+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.
+
+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:--
+
+=Preparation of diazotised paranitroaniline.=--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
+1-1/2 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 1/2 lb. sodium nitrite dissolved in 1/2 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 to allow 1/2 lb., or 5 gallons of this stock bath
+to each pound of dye-stuff used in dyeing the ground colour to be
+developed up.
+
+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.
+
+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.
+
+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 3/4 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.
+
+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 1/2 per cent. of dye-stuff, about 4 lb. Nitrazol C,
+with the soda and acetate of soda in proportionate quantities, may be
+used.
+
+Azophor red P N is also a preparation of diazotised paranitroaniline in
+the form of a dry powder which keeps well.
+
+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.
+
+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.
+
+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 3 pints of hydrochloric acid, with
+some stirring. Allow to stand for half an hour, add 1-1/2 lb. acetate of
+soda and 6-1/2 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.
+
+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.
+
+An excess of coupler in the bath does no harm, but a deficiency may lead
+to poor and weak shades being developed.
+
+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.
+
+_Black._--Dye with 5 lb. Benzo-nitrol black B, 1 lb. soda and 20 lb.
+Glauber's salt.
+
+_Olive Green._--Dye with 6 lb. Primuline, 3 lb. Titan ingrain blue and
+20 lb. salt.
+
+_Black._--Dye with 4 lb. Dianil black C R, 2 lb. soda and 25 lb. salt.
+
+_Dark Blue._--Dye with 2 lb. Dianil dark blue R, 1 lb. Dianil dark blue
+3 R, 2 lb. soda and 25 lb. salt.
+
+_Gold Brown._--Dye with 1 lb. Primuline, 8 oz. Dianil brown R and 20 lb.
+salt.
+
+_Chestnut._--Dye with 3 lb. Primuline, 3/4 lb. Dianil brown G O, 1 lb.
+Dianil brown E, 1 lb. soda and 20 lb. salt.
+
+_Dark Brown._--Dye with 1 lb. Dianil brown 3 G O, 3 lb. Dianil brown D,
+1 lb. soda and 20 lb. salt.
+
+_Dark Green._--Dye with 4 lb. Primuline, 1-1/2 lb. Dianil black C R, 1
+lb. soda and 20 lb. salt.
+
+_Walnut Brown._--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.
+
+_Light Green._--Dye with 3 lb. Primuline, 8 oz. Dianil blue B, 5 oz.
+Dianil dark blue R, 1 lb. soda, and 20 lb. salt.
+
+_Orange Yellow._--Dye with 3-1/4 lb. Primuline, 1 lb. Oxydianil yellow,
+and 25 lb. salt.
+
+_Olive._--Dye with 3-1/2 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.
+
+_Bright Yellow._--Dye with 2 lb. Primuline, and 20 lb. salt.
+
+_Gold Yellow._--Dye with 2 lb. Diamine fast yellow A, 1 lb. soda, and 20
+lb. salt.
+
+_Bright Walnut._--Dye with 1/2 lb. Diamine nitrazol brown B, 1 lb.
+Oxydiamine orange R, 1 lb. soda, and 20 lb. Glauber's salt.
+
+_Gold Brown._--Dye with 1/2 lb. Diamine nitrazol brown G, 1 lb.
+Primuline, and 20 lb. salt.
+
+_Green._--Dye with 2 lb. Primuline, 1 lb. Diamine nitrazol black B, 1
+lb. soda and 20 lb. salt.
+
+_Pale Chestnut._--Dye with 1 lb. Primuline, 1/2 lb. Oxydiamine orange R
+and 20 lb. salt.
+
+_Moss Brown,_--Dye with 2 lb. Primuline, 1 lb. diamine jet black O O and
+20 lb. salt.
+
+_Chocolate._--Dye with 1-1/2 lb. Diamine brown V, 2 lb. Diamine nitrazol
+brown R D, 2 lb. soda and 20 lb. Glauber's salt.
+
+_Olive Brown._--Dye with 2 lb. Diamine nitrazol brown G, 1 lb. Diamine
+nitrazol black B, 1 lb. soda and 20 lb. Glauber's salt.
+
+_Russian Green._--Dye with 2 lb. Diaminogene extra, 2 lb. soda and 20
+lb. Glauber's salt.
+
+_Bronze Green._--Dye with 2 lb. Diamine grey G, 2 lb. soda and 20 lb.
+Glauber's salt.
+
+_Terra-cotta Bed._--Dye with 2 lb. Oxydiamine orange R, 1 lb. soda and
+20 lb. Glauber's salt.
+
+_Terra-cotta Brown._--Dye with 2 lb. Diamine nitrazol brown R D, 1 lb.
+soda and 20 lb. Glauber's salt.
+
+_Olive Green._--Dye with 1 lb. Primuline, 2 lb. Diamine bronze G, 1 lb.
+soda and 20 lb. Glauber's salt.
+
+_Dark Green._--Dye with 1 lb. Primuline, 2 lb. Diamine nitrazol black B,
+2 lb. soda and 20 lb. salt.
+
+_Sage Brown._--Dye with 1 lb. Primuline, 2 lb. Diamine jet black O O, 1
+lb. soda and 20 lb. salt.
+
+_Black Brown._--Dye with 1 lb. Diamine brown V, 2 lb. Diamine nitrazol
+black B, 2 lb. soda and 20 lb. Glauber's salt.
+
+_Dark Walnut._--Dye with 1 lb. Diamine brown V, 2 lb. Oxydiamine orange
+R, 2 lb. soda and 20 lb. Glauber's salt.
+
+_Pale Sage._--Dye with 1 lb. Diamine brown V, 2 lb. Primuline, 1 lb.
+soda and 20 lb. salt.
+
+_Brown._--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.
+
+_Brown._--Prepare the dye-bath with 3/4 lb. Benzo nitrol brown G, 20 lb.
+Glauber's salt, 2 lb. soda. Dye for one hour at the boil.
+
+_Dark Brown._--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.
+
+_Brown._--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.
+
+_Brown._--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.
+
+_Brown._--Prepare the dye-bath with 2 lb. Diamine bronze G, 6-1/2 oz.
+Cotton brown N, 9-3/4 oz. Diamine fast yellow A, 20 lb. Glauber's salt,
+2 lb. soda.
+
+_Black._--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.
+
+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.
+
+The following recipes show its application:--
+
+_Bright Bed._--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.
+
+_Scarlet._--Dye with 3 lb. Dianil scarlet G, 2 lb. soda and 25 lb. salt;
+fix with Solidogen A.
+
+_Plum._--Dye with 3 lb. Dianil claret B, 5 lb. soda and 10 lb. Glauber's
+salt, then fix with Solidogen A.
+
+=Topping with Basic Dyes.=--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:--
+
+_Green._--Dye with 1 lb. Titan yellow G and 20 lb. salt; top with 1/2
+lb. Brilliant green.
+
+_Blue._--Dye with 1-3/4 lb. Diamine azo blue R, 1 lb. soda and 20 lb.
+Glauber's salt, then top with 2 oz. New Methylene blue N.
+
+_Bright Blue._--Dye with 3/4 lb. Diamine brilliant blue G, 1 lb. soda
+and 10 lb. Glauber's salt; top with 2 oz. New Methylene blue 3 R.
+
+_Blue._--Dye with 1 lb. Diamine sky blue, 1 lb. soda and 10 lb.
+Glauber's salt, and top with 4 oz. Brilliant green.
+
+_Bose Lilac._--Dye with 1-1/2 oz. Diamine violet N, 1 lb. soda and 10
+lb. Glauber's salt, then top with 2 oz. Tannin heliotrope.
+
+_Green._--Dye at the boil for one hour with 2 lb. Benzo green G and 10
+lb. Glauber's salt, then top in a fresh bath with 1/2 lb. Turquoise blue
+B B.
+
+_Violet._--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.
+
+_Plum._--Dye with 1-1/2 lb. Oxydiamine violet B, 5 oz. Diamine red 10 B,
+2 lb. soda and 10 lb. Glauber's salt, then top with 1-1/2 oz. Methyl
+violet R.
+
+_Bright Green._--Dye with 1-1/4 lb. Diamine green G, 1-1/4 lb.
+Oxydiamine yellow G G, 2 lb. soda and 10 lb. Glauber's salt, then top
+with 2 oz. Brilliant green.
+
+_Blue._--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.
+
+_Dark Lilac._--Dye with 3-3/4 lb. Heliotrope B B, 1 lb. soda and 20 lb.
+Glauber's salt, then top with 1 lb. Methyl violet R, and 1/2 lb. Methyl
+violet 3 R.
+
+_Scarlet._--Dye with 3 lb. Brilliant Congo R, 3 lb. soda and 20 lb.
+Glauber's salt, then top with 8 oz. Safranine.
+
+_Bright Green._--Dye with 3 lb. Chrysamine G, 2 lb. soap and 10 lb.
+phosphate of soda, topping with 3/4 lb. Malachite green.
+
+_Bright Violet._--Dye with 1-1/2 lb. Chicago blue 6 B, 1 lb. soda and 20
+lb. Glauber's salt, topping with 10 oz. Methyl violet B.
+
+_Dark Green._--Dye with 2 lb. Columbia green, 3 lb. soda and 10 lb.
+Glauber's salt, topping with 10 oz. Malachite green.
+
+_Claret._--Prepare a dye-bath with 3/4 oz. Diamine black R O, 2-1/2 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 1/2 lb. Safranine G. Work for
+twenty minutes, lift, wash and dry.
+
+_Seal Brown._--Make up a dye-bath with 2 lb. Benzo azurine G, 20 lb.
+Glauber's salt. Enter yarn at 180 deg. F., dye at the boil for one hour,
+lift, wring, and enter into a fresh bath of 1-1/2 lb. Bismarck brown.
+Work for one hour at about 180 deg. F., lift, rinse well and dry.
+
+
+(6) DYEING ON TANNIC MORDANT.
+
+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.
+
+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.
+
+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 dyeing
+of cotton with the basic colours therefore resolves itself into three
+operations:--
+
+(1) Tanning with tannic acid or some tanning matters.
+(2) Fixation with tartar emetic or other fixing agent.
+(3) Dyeing with the required colour or mixture of colours.
+
+(1) =The Tanning Operation.=--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.
+
+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
+tannin baths are not exhausted, and may be kept standing, adding for
+each succeeding lot of cotton from 1/2 to 3/4 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.
+
+(2) =The Fixing Bath.=--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.
+
+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.
+
+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.
+
+(3) =Dyeing.=--After the tannin and fixing operations comes the dyeing.
+This is not by any means a difficult operation. 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 deg. 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.
+
+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.
+
+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.
+
+Some few of the dyes, _e.g._, 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.
+
+Many recipes can be given for the dyeing of basic dyes on cotton; for
+the range of tints and shades of all colours 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.
+
+_Sky Blue._--Mordant with 1 lb. tannic acid and 1/2 lb. tartar emetic,
+then dye with 2-1/2 oz. Victoria blue B, and 1/2 oz. Turquoise blue G.
+
+_Bright Blue._--Mordant with 2 lb. tannic acid and 1-1/2 lb. tartar
+emetic, then dye with 1-1/2 lb. New Victoria blue B, and 3/4 lb.
+Turquoise blue G.
+
+_Pale Green._--Mordant with 1-1/2 lb. tannic acid and 1/4 lb. tartar
+emetic, then dye with 1/4 oz. Brilliant green and 1/2 oz. Auramine I I.
+
+_Bright Green._--Mordant with 1 lb. tannic acid and 1 lb. tartar emetic,
+then dye with 6 oz. Brilliant green and 8 oz. Auramine I I.
+
+_Turquoise Blue._--Mordant with 2 lb. tannic acid and 1-1/2 lb. tartar
+emetic; dye with 1 lb. Turquoise blue G.
+
+_Crimson._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, then
+dye with 1-1/4 lb. Brilliant rhoduline red B and 5 oz. Auramine I I.
+
+_Bright Violet._--Mordant with 2 lb. tannic acid and 1 lb. tartar
+emetic; dye with 1-1/4 lb. Rhoduline violet and 3 oz. Methyl violet B.
+
+_Rose Lilac._--Mordant with 2 lb. tannic acid and 1 lb. tartar emetic;
+dye with 3/4 lb. Rhoduline violet.
+
+_Yellow._--Mordant with 3 lb. tannic acid and 2-1/2 lb. tartar emetic;
+dye with 2 lb. Auramine I I.
+
+_Orange._--Mordant with 3 lb. tannic acid and 2-1/4 lb. tartar emetic;
+dye with 2 lb. Chrysoidine.
+
+_Green._--Mordant with 3 lb. tannic acid and 2-1/2 lb. tartar emetic,
+then dye with 2 lb. Brilliant green.
+
+_Red Violet._--Mordant with 1-1/2 lb. tannic acid and 1-1/4 lb. tartar
+emetic, then dye with 8 oz. Methyl violet 4 R.
+
+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.
+
+_Bright Sea-Green._--Mordant with 1 lb. tannic acid and 1/2 lb. tartar
+emetic, then dye with 2 oz. Turquoise blue G and 1/4 oz. New Victoria
+blue B. With these two blues a very great variety of tints and shades of
+blue can be dyed.
+
+_Sea Green._--Mordant with 1 lb. tannic acid and 3/4 lb. tartar emetic,
+and dye with 2 oz. Malachite green.
+
+_Dark Green._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic,
+then dye with 1-1/4 lb. Malachite green and 3/4 oz. Auramine I I.
+
+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.
+
+_Scarlet._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, then
+dye with 1-1/2 lb. Rhodamine 6 G and 1/4 lb. Auramine I I.
+
+_Pink._--Mordant with 1 lb. tannic acid and 3/4 lb. tartar emetic, and
+dye with 1/4 lb. Rhodamine G.
+
+_Pink._--Mordant with 1 lb. tannic acid and 3/4 lb. tartar emetic, and
+dye with 1/2 lb. Irisamine G.
+
+_Slate Blue._--Mordant with 1-1/2 lb. tannic acid and 1 lb. tartar
+emetic, then dye with 3/4 lb. Victoria blue B and 2 oz. Malachite green.
+
+_Indigo Blue._--Mordant with 3 lb. tannic acid and 2-1/2 lb. tartar
+emetic, then dye with 1 lb. Methylene blue 2 B and 1/2 lb. Malachite
+green.
+
+_Dark Scarlet._--Mordant with 3 lb. tannic acid and 2-1/2 lb. tartar
+emetic, then dye with 1 lb. Safranine prima and 1/2 lb. Auramine I I.
+
+_Grey._--Mordant with 1 lb. tannic acid and 1/2 lb. tartar emetic, then
+dye with 1/2 lb. New Methylene grey B.
+
+_Bluish Rose._--Mordant with 2 lb. tannic acid and 1 lb. tartar emetic,
+then dye with 1 lb. Rhodamine B.
+
+_Maroon._--Mordant with 4 lb. tannic acid and 2 lb. tartar emetic, and
+dye with 2 lb. Magenta and 1/2 lb. Auramine.
+
+_Dark Green._--Mordant with 5 lb. tannic acid and 2-1/2 lb. tartar
+emetic, and dye with 1/2 lb. Methylene blue B B, 1/2 lb. Methyl violet 2
+B and 2-1/2 lb. Auramine I I.
+
+_Orange._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, and
+dye with 1 lb. New Phosphine G.
+
+_Lilac Grey._--Mordant with 1 lb. tannic acid and 1-1/2 lb. tartar
+emetic, and dye with 1/4 lb. Methylene grey B F.
+
+_Gold Brown._--Mordant with 3 lb. tannic acid and 1-1/2 lb. tartar
+emetic, and dye with 3/4 lb. Thioflavine T and 3/4 lb. Bismarck brown.
+
+_Orange._--Mordant with 2 lb. tannic acid and 1 lb. tartar emetic, and
+dye with 1 lb. Auramine and 1/4 lb. Safranine.
+
+_Dark Blue._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic,
+and dye with 2-1/4 lb. New Methylene blue R and 3/4 lb. Naphtindone B B.
+
+_Olive Green._--Mordant with 5 lb. sumac extract and 2 lb. copperas, and
+dye with 1 lb. Auramine.
+
+_Russian Green._--Mordant with 5 lb. sumac extract and 2 lb. copperas,
+and dye with 2 lb. Malachite green.
+
+_Scarlet._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, and
+dye with 1-1/2 lb. Thioflavine T and 1/2 lb. Irisamine G. With these two
+dye-stuffs it is possible to produce a variety of useful shades from a
+pure greenish yellow, with Thioflavine T alone, to a bright bluish
+pink, with the Irisamine alone, through orange, scarlet, etc., with
+combinations of the two dye-stuffs.
+
+_Dark Grey._--Mordant with 5 lb. sumac extract and 3 lb. copperas, then
+dye with 1 lb. New Methylene grey G.
+
+_Blue Black._--Mordant with 8 lb. sumac extract and 4 lb. copperas, or
+better with iron liquor, then dye with 2 lb. Indamine blue N.
+
+_Olive Brown._--Mordant with 5 lb. sumac extract and 3 lb. copperas, and
+dye with 1-1/2 lb. New Phosphine G.
+
+_Indigo Blue._--Mordant with 1-1/2 lb. tannic acid and 1 lb. tartar
+emetic; dye with 1/2 lb. New Methylene blue N.
+
+_Sky Blue._--Mordant with 1/2 lb. tannic acid and 3/4 lb. tartar emetic;
+dye with 1-1/2 oz. New Methylene blue G G.
+
+_Dark Violet._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic,
+then dye with 4 lb. Fast neutral violet B.
+
+_Bright Yellow._--Mordant with 2 lb. tannic acid and 1 lb. tartar
+emetic, and dye with 2 lb. Thioflavine T.
+
+_Primrose Yellow._--Mordant with 1 lb. tannic acid and 1/4 lb. tartar
+emetic, and dye with 2 oz. Thioflavine T.
+
+_Navy Blue._--Mordant with 5 lb. sumac extract and 3 lb. copperas, then
+dye with 2 lb. New Methylene blue R.
+
+_Violet._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, and
+dye with 2 lb. New Methylene blue 3 R.
+
+_Dark Blue._--Mordant with 5 lb. sumac extract and 3 lb copperas, and
+dye with 2 lb. New Methylene blue N X.
+
+_Blue Black._--Mordant with 8 lb. sumac extract and iron liquor, then
+dye with 3 lb. Metaphenylene blue B.
+
+_Emerald Tint._--Mordant the cotton in the usual way with 1 lb. tannic
+acid and 1 lb. tartar emetic; dye to shade at 180 deg. F. in a bath
+containing 14 oz. Auramine G, 2 oz. Brilliant green, then lift, wash and
+dry.
+
+_Orange._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, then
+dye with 4 lb. Tannin orange R.
+
+_Scarlet._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic, and
+dye with 2 lb. Tannin orange R and 1 lb. Safranine S.
+
+_Dark Scarlet._--Mordant with 3 lb. tannic acid and 2 lb. tartar emetic,
+and dye with 1/2 lb. Tannin orange R and 2 lb. Safranine S.
+
+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:--
+
+_Blue._--Dye with 9 oz. sulphuric acid, 8 oz. Janus blue G, and 5 lb.
+common salt; fix with 3/4 lb. sulphuric acid, 8 oz. tannic acid and 4
+oz. tartar emetic.
+
+_Turquoise Blue._--Dye with 9 oz. sulphuric acid, 1 lb. Janus green B
+and 10 lb. salt, fixing with 3/4 lb. sulphuric acid, 1 lb. tannin and
+1/2 lb. tartar emetic.
+
+_Dark Blue._--Dye with 9 oz. sulphuric acid, 2-1/2 lb. Janus blue R and
+15 lb. common salt; fix with 3/4 lb. sulphuric acid, 2-1/2 lb. tannic
+acid and 1-1/4 lb. tartar emetic.
+
+_Buff._--Dye with 9 oz. sulphuric acid, 2 oz. Janus yellow R and 3 lb.
+salt; fix with 3/4 lb. sulphuric acid, 3 oz. tannic acid and 3 lb.
+tartar emetic.
+
+_Crimson._--Dye with 9 oz. sulphuric acid, 2-1/2 lb. Janus red B and 15
+lb. salt, fixing with 3/4 lb. sulphuric acid, 2-1/2 lb. tannic acid and
+1-1/4 lb. tartar emetic.
+
+_Red Violet._--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
+1/2 lb. tartar emetic.
+
+_Orange._--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 1/2 lb.
+tartar emetic.
+
+_Dark Violet._--Dye with 9 oz. sulphuric acid, 2 lb. Janus grey B and 15
+lb. salt; fix with 12 oz. sulphuric acid, 2-1/2 lb. tannic acid and
+1-1/4 lb. tartar emetic.
+
+_Chocolate Brown._--Dye with 9 oz. sulphuric acid, 3-1/2 lb. Janus brown
+B and 15 lb. salt, fixing with 2 oz. sulphuric acid, 2-1/2 lb. tannic
+acid and 1 lb. tartar emetic.
+
+
+(6) DYEING ON METALLIC MORDANTS.
+
+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 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.
+
+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.
+
+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 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.
+
+
+_Dyeing with Eosines._
+
+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.
+
+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.
+
+=(1) Preparing with Sodium Stannate.=--A bath of 8 deg. 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.
+
+=(2) Fixing the Tin Oxide.=--A bath of sulphuric acid of 2 deg. to 4 deg. Tw. is
+prepared, and the cotton is sent through it, after which it is washed
+well with water, when it is ready for dyeing.
+
+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.
+
+=(3) Dyeing with Eosine Colours.=--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 deg. 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.
+
+       *       *       *       *       *
+
+_Dyeing with Acid and Azo Dyes._
+
+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.
+
+Acetate of lead is used in a similar way. The cotton is first steeped in
+a bath of acetate of lead of about 10 deg. 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.
+
+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 the dye-bath direct, and
+the dyeing is done at the boil. This latter method gives equally good
+results, and is more simple.
+
+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.
+
+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.
+
+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, _e.g._, 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.
+
+       *       *       *       *       *
+
+_Methods of Mordanting._
+
+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 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.
+
+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.
+
+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.
+
+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 the heat at
+the boil to ensure complete formation of the colouring lake on the
+fibre, and therefore the production of fast colours.
+
+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.
+
+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.
+
+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.
+
+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 cotton is
+ready for dyeing, which is done by the method described in the last
+section.
+
+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.
+
+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.
+
+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.
+
+The following recipes give fuller details than the outline 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:--
+
+_Dark Olive._--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.
+
+_Brown._--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 deg. to 160 deg. F. in
+this for a few minutes, then allow to lie for four to five hours, wash
+well and dry.
+
+_Olive._--Work for twenty minutes at 80 deg. 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.
+
+_Pale Brown._--Treat in a hot bath of 25 lb. cutch, 1-3/4 lb. bluestone;
+work for half an hour in this bath, then lift, wring, and work in a bath
+of 1-3/4 lb. bichromate of potash for twenty to thirty minutes. Dye in a
+bath of 2-1/4 lb. alum, 7 oz. Chrysoidin, 14 oz. Ponceau B.
+
+_Fast Brown._--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 black blue, 6 oz. Benzo brown N B, 2 lb.
+soap, 8 lb. salt, for one hour at the boil, washed and dried.
+
+_Drab._--Dissolve 1/2 lb. cutch, 7 lb. bluestone, 8 lb. extract of
+fustic; enter goods at 120 deg. 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 deg., containing 2 lb. bichromate of
+potash, give four turns, drain, wash and dry.
+
+_Coffee Brown._--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 deg. F.,
+heat slowly to 200 deg. F., drain, rinse and dry.
+
+_Dark Brown Olive._--Prepare the dye-bath with 12 lb. cutch, 2 lb.
+bluestone, 2-1/2 lb. alum, 10 lb. quercitron extract, 2 lb. indigo
+carmine 4 lb. turmeric, 1/4 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 1-1/2 lb. bichromate of potash, work
+two hours more, then wash and dry.
+
+_Red Drab._--Boil up 10 lb. cutch and 5 lb. sumac; enter the cotton at
+140 deg. 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 deg. F., work fifteen minutes, lift and wash. Finish in a fresh bath
+containing 3 lb. logwood, 6 lb. red liquor; enter cotton at 100 deg. F.,
+work ten minutes, lift, wash and dry.
+
+_Fawn._--Boil up 5 lb. cutch and 5 oz. bluestone, cool to 100 deg. 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 deg. F., give five turns, lift,
+wash and dry.
+
+_Grey Slate._--Boil up 10 lb. sumac, 3 lb. fustic extract; cool down to
+120 deg. F., give eight turns, lift and wring. Prepare a fresh bath with 5
+lb. copperas; enter cotton cold, give five turns, lift and wash.
+
+_Dark Plum._--Lay down overnight in 30 lb. sumac. Next morning wring and
+enter in a fresh bath of oxy-muriate of tin 20 deg. 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 deg. F.; enter cotton, give eight
+turns, lift and add 1-1/2 gallons red liquor; re-enter yarn, give four
+turns, lift, wash and dry.
+
+_Pale Chamois._--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.
+
+_Dark Brown Olive._--Prepare a bath of 28 lb. fustic, 3/4 lb. logwood,
+18 lb. cutch, 4 lb. turmeric, 2 lb. copper sulphate, 3/4 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 1/4 lb. nitrate
+of iron, working in the cold for half an hour, lift, wash and dry.
+
+_Havana Brown._--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 1/2 lb.
+bichromate of potash, 1 lb. sulphuric acid. Wash and dye in a bath of
+3/4 lb. Bismarck brown and 4 lb. alum; work for one hour at about 180 deg.
+F., wash and dry.
+
+_Black._--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.
+
+_Reseda Green._--Prepare a bath with 15 lb. cutch, 8 lb. turmeric; work
+in this for fifteen minutes at about 150 deg. 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.
+
+_Fawn Brown._--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 1-1/4 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.
+
+_Beige._--Prepare a bath with 20 lb. sumac; enter cotton at 120 deg. F.,
+give six turns, lift and add 1/2 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 deg. F., give three
+turns, raise temperature to 140 deg. F., and turn to shade, lift, wash and
+dry.
+
+_Turkey Red._--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.
+
+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.
+
+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 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.
+
+_Process_ 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.
+
+Operation 1. Boil the cotton for six to eight hours with a carbonate of
+soda lye at 1 deg. Tw. in a kier at ordinary pressure, then wash well,
+wring, or, better, hydro-extract.
+
+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 deg. 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 deg. F., until it is
+thoroughly impregnated, then it is taken out, squeezed and dried, or in
+some cases piled overnight and then stoved.
+
+Operation 3. Second green liquor. As before.
+
+Operation 4. Third green liquor. As before.
+
+Operation 5. A carbonate of soda liquor of 2 deg. 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".
+
+Operation 6. Second white liquor. As before.
+
+Operation 7. Steeping: Prepare a bath of water at 150 deg. F., and steep for
+twelve hours, then wring and dry.
+
+Operation 8. Sumacing: A liquor is made from 12 lb. sumac with water,
+and after straining from undissolved sumac leaves the liquor is made to
+stand at 2 deg. Tw., this is kept at about a 100 deg. F., and the cotton is well
+worked in it and allowed to steep for four hours, after which it is
+taken out and wrung.
+
+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 deg. Tw.
+
+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.
+
+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.
+
+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.
+
+Operation 12. Second clearing: The dyed cotton is again boiled for two
+hours with 2-1/2 lb. soap and 1/2 lb. tin crystals, then give a good
+washing and dry.
+
+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.
+
+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 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.
+
+_Process_ 2.--Operation 1. The cotton is well bleached or scoured with
+soda in the usual way.
+
+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.
+
+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.
+
+Operation 4. A bath of red liquor (acetate of alumina) at 8 deg. Tw. is
+prepared. Some dyers use basic alum at the same strength. In this bath
+the cotton is steeped at 100 deg. 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.
+
+Operation 5. Dyeing: This is carried out in precisely the same way as in
+the other process.
+
+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 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.
+
+Operation 7. Clearing: The dyed cotton is cleared with soap in the same
+manner as the clearing operations of the first process, which see.
+
+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.
+
+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.
+
+_Alizarine Red._--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:--
+
+_Process_ 1.--Boil the cotton in soda.
+_Process_ 2.--Oil with Turkey-red oil, as in the Turkey-red process
+   No. 2 above.
+_Process_ 3.--Mordant with alum or acetate of alumina.
+_Process_ 4.--Dye with alizarine as before.
+_Process_ 5.--Soap.
+
+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.
+
+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.
+
+_Alizarine Pink._--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.
+
+_Alizarine Violet._--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.
+
+_Alizarine Purple._--_Process_ 1. (1) Boil with soda, (2) prepare with
+Turkey red oil, (3) mordant by steeping in copperas liquor at 4 deg. 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.
+
+_Process_ 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.
+
+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.
+
+_Chocolate Browns._--Fine fast chocolate browns can be 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.
+
+_Alizarine Orange_--Prepare the cotton as if for dyeing a Turkey red,
+but use in the dye-bath 8 to 10 per cent. of Alizarine orange.
+
+_Alizarine Blue_--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
+1/4 lb. to 1-1/2 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 deg. F.
+
+_Tannin Grounding._
+
+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.
+
+_Chromium Mordant._
+
+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 deg.
+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.
+
+_Dyeing_--For dyeing, water free from lime must be used. Water having
+not more than 2.5 deg. hardness can be employed 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 deg. Tw.), 15-1/2
+lb. ammonia (25 per cent.), 2-1/4 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.
+
+_Brown._--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.
+
+_Claret Red._--Clarets to maroon shade of red are got by preparing the
+cotton as for blue given above, then dyeing with alizarine.
+
+_Logwood Black._--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.
+
+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 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.
+
+=Dyeing Logwood Black on Yarn in Hanks.=--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.
+
+Operation 2. Ironing or Saddening: Prepare a bath with 3-1/2 gallons
+nitrate of iron, 80 deg. 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.
+
+Operation 3. Liming: Work for ten minutes in a weak bath of milk of
+lime.
+
+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 deg. 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.
+
+Operation 5. Saddening: To obtain a fuller black the dyed cotton is sent
+through a bath of 1-1/2 lb. of copperas, then washed well.
+
+Operation 6. Soaping: Work for twenty minutes in a bath of 2 lb. soap at
+140 deg. to 150 deg. F. Then wash well.
+
+Much the same process may be followed for dyeing logwood black on warps
+and piece goods, jiggers being used for each operation.
+
+Another method is to first work the cotton in pyrolignite (iron liquor)
+at 10 deg. 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.
+
+_Continuous Process._--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.
+
+The logwood bath is made from 10 lb. logwood extract and 1 lb. fustic
+extract, and it is used at about 160 deg. 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.
+
+The iron liquor given after the dyeing contains 2 lb. of copperas in 10
+gallons of water.
+
+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.
+
+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 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.
+
+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.
+
+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.
+
+For a _chrome-logwood black_, a dye-bath is made with 3 lb. bichromate
+of potash, 100 gallons logwood decoction at 3 deg. Tw., and 6-1/2 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.
+
+A _copper-logwood black_ is got by taking 100 gallons logwood decoction
+at 3 deg. 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 deg. Tw., 4 lb. copper sulphate
+(bluestone) and 4 lb. soda. This bath is used at about 180 deg. to 190 deg. 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.
+
+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.
+
+_Logwood Greys._--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.
+
+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 deg. 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.
+
+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.
+
+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 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.
+
+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.
+
+Iron may be used as a mordant for any of these dye-woods but it gives
+dull sad shades.
+
+Chrome mordants can also be used and these produce darker shades than
+tin or alumina mordants.
+
+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.
+
+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.
+
+_Green._--Steep the cotton yarn or cloth in the following liquor until
+well impregnated, then dry: 3 gallons iron liquor (pyrolignite of iron),
+22 deg. Tw. gallons of water, 3/4 gallon acetic acid, 12 deg. 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 alizarine
+red. For darker greens of a Russian green shade use 10 lb. of solid
+green O, in the dye-bath.
+
+_Brown._--A fine brown is got by steeping the cotton in a bath of 8 lb.
+Solid green O, 6-3/4 gallons water, 1-1/2 gallons ammonia and 2 lb.
+acetate of chrome; dry, then pass through a soap-bath, wash and dry.
+
+_Deep Olive Brown._--Mix 8 lb. Solid green O and 4-1/2 lb. borax with 6
+gallons water, add 1/2 lb. Turkey-red oil, 5 lb. ammonia, then 2 gallons
+water and 1-1/2 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 deg. Tw.), 5 lb.
+tartaric acid, 12 lb. caustic soda (75 deg. Tw.) and 4 lb. glycerine.
+
+_Khaki._--Make the dye liquor from 14 lb. Solid green O, 1/2 lb.
+Alizarine yellow N, 1 lb. caustic soda (36 deg. Tw.), 1/2 lb. Turkey-red oil
+and 8 gallons water. To this add 2-1/2 lb. acetate of chrome (32 deg. Tw.),
+2-1/4 lb. copper-soda solution and 4 gallons water.
+
+_Sage Green._--Use 1-1/4 lb. Solid green O, 3 lb. caustic soda (36 deg.
+Tw.), 1/2 lb. Ceruleine, 1/2 lb. Turkey-red oil, 1 gallon water to which
+is added 2-1/2 lb. acetate of chrome (32 deg. Tw.) and 2-1/4 lb. copper-soda
+solution dissolved in 4 gallons water.
+
+_Pale Brown._--Use 4 lb. Solid green O, 2-1/2 lb. borax, 3 lb. ammonia,
+1/2 lb. Turkey-red oil, 6 gallons of water and 1-1/2 lb. copper-soda
+solution dissolved in 2 gallons water.
+
+_Pale Fawn Brown._--The dye-bath is made from 1/2 lb. Alizarine, 1-1/4
+lb. Solid green O, 1-1/2 lb. borax, 1/2 lb. Turkey-red oil and 5 gallons
+of water to which is added 1-1/2 lb. acetate of chrome (32 deg. Tw.), 1-1/2
+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.
+
+_Dark Brown._--Place the cotton in a lukewarm bath of 25 lb. cutch and
+1-1/2 lb. copper sulphate; work for half an hour, then steep for six
+hours, then lift, wring and enter into a bath of 3-1/4 lb. bichromate of
+potash at 160 deg. F. for twenty minutes. Then wash and dry.
+
+_Yellow Brown._--Make a bath with 14 lb. cutch and 1/2 lb. copper
+sulphate; work in this bath for four hours at 120 deg. F., then pass into a
+bath of 2 lb. copperas and 1/2 lb. chalk, work for half an hour in the
+cold, then pass into a hot bath of 2-1/2 lb. bichromate of potash at
+150 deg. F. for half an hour.
+
+_Dark Brown._--Make a dye-bath with 15 lb. cutch, 2 lb. logwood extract
+and 2 lb. fustic extract; work the cotton in this at 160 deg. F. for three
+hours, then pass into a cold bath of 1 lb. copperas and 1/4 lb. chalk
+for half an hour, then into a bath of 3 lb. bichromate of potash for
+half an hour at 150 deg. F., then wash and dry.
+
+
+(7) PRODUCTION OF COLOUR DIRECT UPON COTTON FIBRES.
+
+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:--
+
+C{6}H{5}NH{2} + HCl + HNO{2}   2H{2}O + C{6}H{5}N:NCl
+Hydrochloric acid        Nitrous   Water,    Diazo-benzene
+aniline,                 acid,               chloride.
+
+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:--
+
+C{6}H{5}N:NCl + C{10}H{7}OH + NaOH =
+Diazo-benzene chloride, Naphthol, Caustic soda.
+
+C{10}H{6}OHN:NC{6}H{5} + NaCl + H{2}O
+Naphthol-azo-benzene,        Salt,  Water.
+
+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.
+
+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.
+
+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.
+
+_The Diazotisation of the Amido Bases._
+
+With most bases this must be accomplished as cold as possible below 65 deg.
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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:--
+
+  C{6}H{5}NH{2} + HCl   +         HCl             +        NaNO{2} =
+Aniline hydrochloride,         Hydrochloric acid,         Sodium nitrite,
+
+   NaCl     +       C{6}H{5}N:NCl        +      H{2}0
+   Salt,         Diazo-benzene chloride,          Water.
+
+The bases which form salts soluble with difficulty, such as nitroaniline
+and the amido-azo bodies, offer special difficulties in diazotising.
+
+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.
+
+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.
+
+The combination when aniline and beta-naphthol are used, as the amine
+and phenol respectively, is shown in the following equations:--
+
+   C{6}H{5}N:NCl        +    C{10}H{7}OH      +
+Diazo-benzene chloride,         B. naphthol,
+
+NaOH = 2NaCl    +   C{6}H{5}N:NC{10}H{6}OH    +    H{2}O
+Caustic soda,         Benzene- azo-naphthol,         Water.
+
+Or, with naphthylamine and naphthol, thus:--
+
+C{10}H{7}N:NCl     +     C{10}H{7}OH     +     NaOH =
+
+  NaCl     +     C{10}H{7}N:NC{10}H{6}OH     +   H{2}O
+                   Naphthalene azo-naphthol.
+
+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:--
+
+  C{6}H{5}N:NC{6}H{4}NH{2}HCl + NaNO{2} + 2HCl =
+        Benzene-azo-aniline-hydrochloride,
+
+NaCl + C{6}H{5}N:NC{6}H{4}N:NCl + 2H{2}O.
+           Diazo-azo-benzene-chloride.
+
+When this compound is combined with naphthol diazo-azo dyes are
+produced.
+
+C{6}H{5}N:NC{6}H{4}N:NC{10}H{6}OH.
+Benzene-azo-benzene-azo-naphthol.
+
+The molecular weights of the bases, phenols and chemicals employed are
+the following:--
+
+1. Hydrochloric acid, HCl--36.5. 2. Caustic soda, NaOH--40. 3. Nitrite
+of soda, NaNO{2}--69. 4. Acetate of soda, NaC{2}H{3}O{2}3H{2}O--136.
+
+1. Commercial hydrochloric acid at 32 deg. Tw. contains about 365 grams of
+HCl in a litre, or 3-1/2 lb. in a gallon.
+
+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.
+
+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.
+
+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.
+
+
+_Bases._
+
+1. Aniline, C{6}H{5}NH{2}--93.
+2. Toluidine, C{7}H{7}NH{2}--107.
+3. Alpha-and beta-naphthylamine, C{10}H{7}NH{2}--143.
+4. Para-or meta-nitroaniline, C{6}H{4}NO{2}NH{2}--138.
+5. Nitro-para-toluidine, C{7}H{6}NO{2}NH{2}--152.
+6. Amidoazobenzene (base), C{6}H{5}N:NC{6}H{4}NH{2}--197.
+7. Orthoamidoazotoluol (base), C{7}H{7}N:NC{7}H{6}NH{2}--225.
+8. Alpha-or beta-naphthol C{10}H{7}OH--144.
+
+
+_Example of Quantities Taken._
+
+                                  Molecular Weight.
+1. Molecule nitrite                   69 grams.
+2. Molecule aniline                   93   "
+3. Molecule hydrochloric acid        365   "
+4. Molecule acetate of soda          136   "
+5. Molecule of naphthol              144   "
+6. Molecule caustic soda              40   "
+
+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.
+
+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.
+
+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:--
+
+     Base.           With beta-naphthol, gives   With alpha-naphthol, gives
+1. Aniline,                Orange yellow;              Cutch brown.
+2. Paratoluidine,          Full yellow orange;         Cutch brown.
+3. Metanitroaniline,       Fiery yellowish red;        Brownish orange.
+4. Paranitroaniline,       Bright scarlet;                "       "
+5. Nitroparatoluidine,        Orange;                  Very bright catechu.
+6. Alpha-naphthylamine,       Bluish claret red;       Reddish puce.
+7. Beta-naphthylamine,        Turkey red;                     "
+8. Amidoazobenzene,           Red;                            "
+9. Orthoamidoazotoluene,      Yellowish claret red;           "
+
+By mixing alpha-and beta-naphthols together a variety of grenat and
+claret reds and browns can be obtained.
+
+With regard to the fastness of the shades produced the following may be
+considered:--
+
+             _Fast to Soaping._
+
+Combination of A-Naphthol with Toluidine.
+     "              "          A-Naphthylamine.
+     "              "          B-Naphthylamine.
+     "              "          Amidoazobenzene.
+     "         B-Naphthol with Toluidine.
+     "              "          Paranitroaniline.
+     "              "          Nitroparatoluidine.
+     "              "          B-Naphthylamine.
+     "              "          A-Naphthylamine.
+
+                _Moderately Fast._
+
+Combination of A-Naphthol with Aniline.
+     "              "          Paranitroaniline.
+     "              "          Orthoamidoazotoluene.
+     "            B-Naphthol with Metanitroaniline.
+     "              "             Amidoazobenzene.
+
+                _Very Loose._
+
+Combination of A-Naphthol with Paratoluidine.
+     "              "          Metanitroaniline.
+     "              "          Nitroparatoluidine.
+     "         B-Naphthol with Aniline.
+     "              "          Paratoluidine.
+     "              "          Orthoamidoazotoluene.
+
+The samples were tested for fastness to light by exposing them for nine
+days with the following results:--
+
+
+                _Fast._
+
+Combination of A-Naphthol with Aniline.
+    "               "          Toluidine.
+    "               "          Metanitroaniline.
+    "               "          Paranitroaniline.
+    "               "          Nitroparatoluidine.
+    "               "          B-Naphthylamine.
+    "               "          Amidoazobenzol.
+    "               "          Orthoamidoazotoluol.
+    "          B-Naphthol with Aniline.
+    "               "          Paratoluidine.
+    "               "          Metanitroaniline.
+    "               "          Paranitroaniline.
+    "               "          B-Naphthylamine.
+    "               "          A-Naphthylamine.
+
+                _Moderately Fast._
+
+Combination of B- Naphthol with Nitroparatoluidine.
+
+                _Very Loose._
+
+
+Combination of A-Naphthol with Toluidine.
+    "               "          A-Naphthylamine
+    "          B-Naphthol with Toluidine.
+    "               "          Amidoazobenzene.
+    "               "          Orthoamidoazotoluene.
+
+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. The following directions may be
+followed:--
+
+
+=Dyeing Paranitroaniline Red on Yarn.=
+
+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.
+
+1. _Grounding._ 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
+2-1/2 lb. of caustic soda liquor 70 deg. Tw., then 1-1/2 quarts of boiling
+water is added, when dissolved 1-1/2 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.
+
+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 deg. to 110 deg. 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 deg. to 150 deg. F. The stove should be 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.
+
+When thoroughly dry the yarn is ready for the next operation.
+
+2. _Developing._ The developing bath is made in the following manner:
+1-1/2 lb. paranitroaniline is mixed with 1-1/2 gallons of boiling water,
+and 1-3/4 quarts of hydrochloric acid at 30 deg. to 32 deg. Tw. Stir well until
+the paranitroaniline is completely dissolved, add 3-1/2 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; 1-1/4 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.
+
+Another liquor is made by dissolving 4 lb. acetate of soda in 11 quarts
+of water.
+
+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, 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 deg. F., with a liquor
+containing 1/2 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.
+
+Some dyers use a special form of dye vat for dyeing paranitroaniline red
+on yarn, whose construction can be seen from Fig. 27.
+
+[Illustration: FIG. 27.--Dye-tub for Paranitroaniline Red.]
+
+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.
+
+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.
+
+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.
+
+[Illustration: FIG. 28.--Padding Machine for Paranitroaniline Red.]
+
+
+=Dyeing Paranitroaniline Red on Piece Goods.=
+
+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.
+
+1. _Preparing or Grounding._--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.
+
+2. _The Developing._--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.
+
+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 6-1/4 lb. paranitroaniline are mixed with 7 gallons boiling-water
+and 1-1/2 gallons hydrochloric acid; when dissolved 16 gallons of cold
+water are added, then, after completely cooling, 3-1/2 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 13-1/4 lb. acetate of soda in
+13-1/2 gallons of water.
+
+Equal quantities of these two liquors are used in making the developing
+bath.
+
+[Illustration: FIG. 29--Developing Machine for Paranitroaniline Red.]
+
+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 cool and dry place for any
+reasonable length of time. These are prepared in various ways, and to
+any dyer who does not 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.
+
+_Paranitroaniline Red with Nitrazol C._--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 5-1/2 gallons water, then add 1-1/2 gallons caustic
+soda, 36 deg. Tw., mixed with 5-1/2 gallons water. The developing bath is
+made by mixing both these solutions. It will suffice for both yarn and
+piece goods.
+
+_Paranitroaniline Red with Azophor Red P N._--Dissolve 5-1/2 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; 2-1/4 gallons of caustic soda lye of
+36 deg. 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.
+
+_Metanitroaniline Orange._--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.
+
+_Nitrosamine Red._--Dissolve 5 lb. Nitrosamine red in 5 gallons of water
+and 2-1/4 lb. hydrochloric acid, when well mixed there is added 2-1/2
+lb. acetate of soda, when all is dissolved add sufficient water to make
+6-1/2 gallons. This bath is used exactly in the same way as the
+paranitroaniline developing bath, and it produces identical results in
+every way.
+
+_Paranitroaniline Brown._--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 deg. 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 deg. Tw., adding 3-1/4 lb. tartaric acid, 6
+pints caustic soda lye, 70 deg. 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.
+
+_Toluidine Orange._--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 2-1/4
+pints hydrochloric acid; when dissolved allow to cool and then add
+12-1/2 lb. ice. When thoroughly cold stir in 2-1/2 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.
+
+_Beta-naphthylamine Red._--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 1-3/4 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 deg. to 36 deg. Tw., add 3 pints sodium nitrite solution (3 lb. per gallon)
+and 4 lb. sodium acetate, making up to 13 gallons with water. This also
+is used in precisely the same way as the paranitroaniline red developing
+liquor.
+
+_Alpha-Naphthylamine Claret._--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 1-3/4 lb. of alpha-naphthylamine in 10 pints of boiling
+water, agitating well until the base is very finely divided in the
+water, then 1-1/4 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 1-1/2 pints of hydrochloric acid.
+When cooled down to 32 deg. to 36 deg. 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.
+
+The bath is used in the same manner as the previous developing baths.
+
+_Dianisidine Blue._--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 10-1/2 oz.
+dianisidine with 7 oz. hydrochloric acid and 7-1/2 pints of boiling
+water, when complete solution is obtained it is allowed to cool, then 20
+lb. of ice is added. Next 1-3/4 pints of nitrite of soda solution,
+containing 1-1/2 lb. per gal. and 2-1/2 pints of cold water. Stir for
+thirty minutes, then add 1-1/4 pints copper chloride solution at 72 deg.
+Tw., and sufficient water to make up 6-1/2 gallons.
+
+The cotton is prepared with beta-naphthol in the usual way, and then
+passed through this developing bath.
+
+_Amidoazotoluol Garnet._--Amidoazotoluol produces with beta-naphthol a
+fine garnet red in the usual way.
+
+The developing bath is made from 14 oz. amidoazotoluol, mixed with 1-1/2
+pints of sodium nitrite solution containing 1-1/2 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.
+
+The cotton is passed through this dye-bath, then washed well, passed
+through a weak acid bath, then soaped well, washed and dried.
+
+
+(8) DYEING COTTON BY IMPREGNATION WITH DYE-STUFF SOLUTION.
+
+Indigo is a dye-stuff which requires special processes for its
+application to the cotton or wool fibre.
+
+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{16}H{16}N{2}O{2} 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{16}H{12}N{2}O{2}, 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.
+
+Indigo dyeing consists of three operations:--
+
+     (1) Preparation of the indigo solution, or, as it is called,
+     setting the dye vat. (2) Steeping the cotton in this vat. (3)
+     Exposing to the air.
+
+[Illustration: FIG. 30.--Indigo Dye-vat for Cloth.]
+
+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:--
+
+     (1) With lime and copperas. (2) Zinc and lime vat. (3) Zinc and
+     bisulphite of soda.
+
+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.
+
+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.
+
+Fig. 30 is a sketch of an indigo dye-vat for cloth or warps.
+
+(1) =Lime and Copperas Vat.=--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.
+
+_To Use this Vat._--Any scum on the surface is raked on one 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.
+
+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.
+
+=(2) Zinc and Lime Vat.=--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.
+
+For the reduction of zinc powder lime is chiefly used. The following are
+two good mixtures.
+
+Vat with zinc and lime:--
+
+10 lb. indigo, dry and ground fine;
+5-1/2 lb. zinc dust;
+22 lb. slaked lime, dry.
+
+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.
+
+Vat with zinc powder, lime and soda:--
+
+10 lb. indigo, dry and ground fine;
+10 lb. zinc powder;
+10 lb. slaked lime, dry;
+35 lb. caustic soda at 11 deg. Tw.
+
+Add the lime to the ground indigo, then add the zinc and finally the
+soda lye.
+
+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 materials, keeps good for three months, and even then
+is in a better condition than the copperas vat.
+
+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.
+
+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.
+
+=(3) Zinc-Bisulphite Indigo Vat.=--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.
+
+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.
+
+_To Make the Stock Liquor._--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 deg.
+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.
+
+To make the working vat from this stock liquor the following is the
+method of proceeding:--
+
+Water is run into the vat, and this is heated from 70 deg. to 80 deg. 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.
+
+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.
+
+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.
+
+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:--
+
+_Stock Liquor._--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 deg. Tw., stir well, keeping the heat down
+as much as possible, after which add 8 pints caustic soda lye at 70 deg. 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 100 gallons, stir at
+intervals for twelve hours or so, when the stock liquor will be ready
+for use.
+
+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 4-1/2 lb. zinc dust with 5 gallons of
+water and 3 gallons bisulphite of soda at 70 deg. 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.
+
+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.
+
+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.
+
+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 7-1/2 lb.
+indophenol is used. Good blue shades of considerable fastness can thus
+be got.
+
+_Aniline Black._--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 to carrying out the various operations in detail
+excellent results can be attained.
+
+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.
+
+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:--
+
+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.
+
+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 3-1/2
+lb. pressure, which process renders it jet black and also ungreenable.
+
+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 of water, working cold at first and gradually rising to the
+boil.
+
+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 6-1/2 gallons and the copper sulphate separately in 5-1/2
+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 deg. 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 deg. F., after which the goods are washed and dry
+steamed at 15 lb. pressure.
+
+4. A very good black is the prussiate or steam aniline black whose
+cheapness should recommend it. Prepare concentrated solutions of 1-3/4
+lb. aniline salt in 1 gallon water, 1-1/2 lb. ferrocyanide of potash in
+3/4 gallons water and 1-1/2 lb. potassium chlorate in 1-1/2 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.
+
+Either of these methods yields a good full black; with a little
+experience and care perfectly uniform shades will be got.
+
+
+
+
+CHAPTER V.
+
+DYEING UNION (MIXED COTTON AND WOOL) FABRICS.
+
+
+There is now produced a great variety of textile fabrics of every
+conceivable texture by combining the two fibres, cotton and wool, in a
+number of ways; the variety of these fabrics has of late years
+considerably increased, which increase may be largely ascribed to the
+introduction of the direct dyeing colouring matters--the Diamine dyes,
+the Benzo dyes, the Congo and the Zambesi dyes, for in the dyeing of
+wool-cotton fabrics they have made a revolution. The dyer of union
+fabrics, that is, fabrics composed of wool and cotton, was formerly put
+to great straits to obtain uniform shades on the fabrics supplied to
+him, owing to the difference in the affinity of the 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.
+
+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 on to the cotton than on to the wool, and _vice
+versa_. Some dye wool best at the boil, others equally well below that
+heat; some go on the cotton at a moderate temperature, others require
+the dye-bath to be boiling; some will go on to the cotton only, and
+appear to ignore the wool.
+
+The presence or absence in the dye-bath of such bodies as carbonate of
+soda, Glauber's salt, etc., has a material influence on the degree of
+the affinity of the dye-stuff for the two fibres, as will perhaps be
+noted hereafter. Again, while some of the dyes produce equal colours on
+both fibres, there are others where the tone is different. With all
+these peculiarities of the Diamine and other direct dyes the union dyer
+must make himself familiar. These dyes are used in neutral baths, that
+is, along with the dye-stuff. It is often convenient to use, along with
+the direct dyes, some azo or acid dyes, which have the property of
+dyeing the wool from neutral baths, many examples of such will be found
+in the practical recipes given below. The dyes now under consideration
+may be conveniently classed into five groups.
+
+1. Those dyes which dye the cotton and wool from the same bath to the
+same shade, or nearly so. Among such are Thioflavine S, Diamine fast
+yellow B, Diamine orange B, Diamine rose B D, Diamine reds 4 B, 5 B, 6 B
+and 10 B, Diamine fast red F, Diamine Bordeaux B, Diamine brown N,
+Diamine 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.
+
+2. Dyes which dye the cotton a deeper shade than the 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.
+
+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.
+
+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.
+
+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, Tropaeoline O O, Naphthylamine black 4 B and
+Naphthol blue black, Brilliant scarlet G, Lanacyl violet B, Brilliant
+milling green B, Thiocarmine R, Formyl blue B, Naphthylamine blacks D, 4
+B and 6 B; Azo-acid yellow, Curcumine extra, Mandarine G, Ponceau 3 R B,
+Acid violet 6 B, Guinea violet 4 B, Guinea green B, Wool black 6 B.
+
+Regarding the best methods of dyeing, that in neutral baths yields the
+most satisfactory results in practical working. It is done in a boiling
+hot or in a slightly boiling bath, with the addition of 6-1/4 oz.
+crystallised Glauber's salt per gallon water for the first bath, and
+when the baths are kept standing 20 per cent. crystallised Glauber's
+salt, reckoned upon the weight of the goods, for each succeeding lot.
+
+In dyeing unions, the dye-baths must be as concentrated as possible, and
+must not contain more than from 25 to 30 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.
+
+The following method of dyeing is perhaps the best one: Charge the
+dye-bath with the requisite dye-stuff and Glauber's salt, boil up, shut
+off the steam, enter the goods and let run for half an hour without
+steam, then sample. If the shade of both cotton and wool is too light
+add some more of the dye-stuffs used for both fibres, boil up once more
+and boil for a quarter to half an hour. If the wool only is too light,
+or its shade different from that of the cotton, add some more of the
+dye-stuff used for shading the wool and bring them again to the boil.
+If, however, the cotton turns out too light, or does not correspond in
+shade to the wool, add some more of the dye-stuffs used for dyeing the
+cotton, without, however, raising the temperature. Prolonged boiling is
+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).
+
+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 the steam run into a space separated
+from the vat by a perforated wall, into which space the required
+dye-stuffs and salt are placed.
+
+The mode of working is rather influenced by the character of the goods,
+and the following notes will be found useful by the union dyer:--
+
+Very little difficulty will be met with in dyeing such light fabrics as
+Italians, 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.
+
+_Bright Yellow._--Use 2 lb. Thioflavine S in a bath which contains 4 lb.
+Glauber's salt per 10 gallons of dye liquor.
+
+_Good Yellow._--A very fine deep shade is dyed with 2-1/2 lb. Diamine
+gold and 2-1/2 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.
+
+_Pale Gold Yellow._--Use a dye liquor containing 4 lb. Glauber's salt in
+every 10 gallons, 2-1/2 lb. Diamine fast yellow A, 2 oz. Indian yellow G
+and 3-1/2 oz. Indian yellow R. In this recipe 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.
+
+_Bright Yellow._--Use in the same way as the last, 2-1/2 lb. Diamine
+fast yellow B and 3 oz. Indian yellow G.
+
+_Gold Orange._--Use as above 2 lb. Diamine orange G, 5-1/2 oz. Indian
+yellow K and 1-1/2 oz. Orange E N Z.
+
+_Deep Orange._--Use 2-1/2 lb. Diamine orange D C, 6-1/2 oz. Orange E N
+Z, and 3-1/4 oz. Indian yellow R.
+
+_Black._--Use 4-1/2 lb. Union black S, 2 oz. Diamine fast yellow A, 5
+oz. Naphthol blue black and 3-1/4 oz. Formyl violet S 4 B, with 4 lb.
+Glauber's salt in each 10 gallons dye liquor.
+
+_Navy Blue._--Use 1-1/4 lb. Union black S, 3 lb. Diamine black B H, 1/2
+oz. Naphthol blue black, 1/2 lb. Formyl violet S 4 B and 2-1/2 oz.
+alkaline blue B.
+
+_Red Plum._--Use a dye-bath containing 2-1/2 lb. Oxydiamine violet B and
+3-1/4 oz. Formyl violet S 4 B.
+
+_Dark Green._--A fine shade can be dyed in a bath containing 3 lb.
+Diamine green B and 1-1/2 lb. Diamine black H W.
+
+_Dark Slate._--Use 4 lb. Diamine black H W, 2 oz. Naphthol blue black
+and 3 oz. Azo red A.
+
+_Sage._--Use a dye-bath containing 4 lb. Diamine bronze G and 1-1/4 oz.
+Naphthol blue black.
+
+_Dark Brown._--A fine dark shade is got from 2-1/2 lb. Diamine brown V
+and 2 oz. Naphthol blue black.
+
+_Peacock Green._--Use 3-3/4 lb. Diamine steel blue L, 13 oz. Diamine
+fast yellow B, 14-1/2 oz. Thiocarmine K and 2-1/4 oz. Indian yellow G in
+a bath of 4 lb. Glauber's salt per gallon dye liquor.
+
+_Dark Sea Green._--Use 9 oz. Diamine steel blue L, 3-3/4 oz. Diamine
+fast yellow B, 1/2 oz. Diamine orange G, 1-1/4 oz. Naphthol blue black
+and 3/4 oz. Indian yellow G.
+
+_Dark Brown._--Use 1 lb. Diamine orange B, 1 lb. Diamine Fast yellow S,
+13-3/4 oz. Union black S, 1 lb. Diamine brown M and 1/2 lb. Indian
+yellow G. Fix in an alum bath after dyeing.
+
+_Dark Stone._--Use 1/2 lb. Diamine orange B, 3-3/4 oz. Union black, 1/4
+oz. Diamine Bordeaux B, 1-1/2 oz. Azo red A and 3/4 oz. Naphthol blue
+black.
+
+_Black._--A very fine black can be got from 3-1/2 lb. Oxydiamine black B
+M, 2 lb. Union black S, 9-1/2 oz. Naphthol blue black and 4 oz. Formyl
+violet S 4 B.
+
+_Dark Grey._--A fine bluish shade of grey is got from 7 oz. Diamine
+black B H, 2-1/4 oz. Diamine orange G, 2-1/2 oz. Diamine orange G, 2-1/2
+oz. Naphthol blue black and 1 oz. Orange E N Z.
+
+_Dark Blue._--A fine shade is got by using 2 lb. Diamine black B H, 1/2
+lb. Diamine black H W, and 3-1/2 oz. Alkaline blue 6 B.
+
+_Drab._--Use 3-1/2 oz. Diamine orange B, 3/4 oz. Union black, 1/8 oz.
+Diamine Bordeaux B, 3/4 oz. Azo red A and 1/4 oz. Naphthol blue black.
+
+_Plum._--Use 2-1/2 lb. Diamine violet N, 9-1/2 oz. Union black and 1 lb.
+Formyl violet S 4 B.
+
+_Bright Yellow._--Use a dye-bath containing 4 lb. Thioflavine S, 2 lb.
+Naphthol yellow S, 10 lb. Glauber's salt and 2 lb. acetic acid.
+
+_Pink._--Use 1/6 oz. Diamine Rose B D, 1/4 oz. Diamine scarlet B, 1/2
+oz. Rhodamine B and 20 lb. Glauber's salt.
+
+_Scarlet._--A fine shade is got from 1-1/2 lb. Diamine scarlet B, 1/2
+oz. Diamine red 5 B and 20 lb. Glauber's salt.
+
+_Orange._--Use a dye-bath containing 3-1/2 lb. Diamine orange G, 14-1/2
+oz. Tropaeoline O O, and 2-3/4 oz. Orange extra.
+
+_Sky Blue._--Use 1-1/2 oz. Diamine sky blue and 1-1/4 oz. Alkaline blue
+B.
+
+_Bright Blue._--A fine shade similar to that formerly known as royal
+blue is got by using 1-1/2 lb. Diamine brilliant blue G and 9-1/4 oz.
+Alkaline blue 6 B.
+
+_Maroon._--Use 3 lb. Diamine Bordeaux B, 2 lb. Diamine violet N and
+3-1/4 oz. Formyl violet S 4 B.
+
+_Green._--A fine green similar in shade to that used for billiard-table
+cloth is got from 2 lb. Diamine fast yellow B, 2 lb. Diamine steel blue
+L, 14-1/2 oz. Thiocarmine R and 7-1/4 oz. Indian yellow G.
+
+_Gold Brown_--A fine brown is got from 3 lb. Diamine orange B, 1/2 lb.
+Union black, 2-1/2 oz. Diamine brown, 3/4 oz. Naphthol blue black and
+1/2 lb. Indian yellow G.
+
+_Navy Blue._--Use 3-1/4 lb. Diamine black B H, 1-1/2 lb. Diamine
+brilliant blue G and 1/2 lb. Alkaline blue.
+
+_Fawn Drab._--A fine shade is got by dyeing in a bath containing 6-3/4
+oz. Diamine orange B, 1-3/4 lb. Union black, 1/4 oz. Naphthol blue
+black, 1/4 oz. Diamine Bordeaux B and 1 oz. Azo red A.
+
+In all these colours the dye-baths contain Glauber's salt at the rate of
+4 lb. per 10 gallons.
+
+_Dark Brown._--2-1/2 lb. Diamine orange B, 13 oz. Diamine Bordeaux B,
+1-1/2 lb. Diamine fast yellow B, 1-3/4 lb. Union black and 3-1/2 oz.
+Naphthol black.
+
+_Drab._--1-3/4 lb. Diamine fast yellow R, 3-1/4 oz. Diamine Bordeaux B,
+2-1/2 oz. Union black, 1/2 oz. Naphthol blue black and 1-1/4 oz. Indian
+yellow G.
+
+_Dark Blue._--Use in the dye-bath 4-1/4 lb. Diamine dark blue B, 1-1/2
+lb. Diamine brilliant blue G, 3/4 lb. Formyl violet S 4 B and 5 oz.
+Naphthol blue black.
+
+_Blue Black-_--Use 3-1/2 lb. Union black S, 1-1/2 lb. Oxydiamine black B
+M, 6-1/2 oz. Naphthol blue black and 1/4 lb. Formyl violet S 4 B.
+
+_Dark Walnut._--2-3/4 lb. Diamine brown M, 1-1/2 lb. Union black S, and
+11-1/4 oz. Indian yellow G.
+
+_Peacock Green._--Use in the dye-bath 3 lb. Diamine black H W, 5-1/6 oz.
+Diamine fast yellow B, 1-1/4 lb. Thiocarmine R and 1-1/6 oz. Indian
+yellow G.
+
+_Slate Blue._--Use in the dye-bath 6-1/2 oz. Diamine carechine B, 4-3/4
+oz. Diamine orange B, 2-1/2 oz. Union black, 2-3/4 oz. Orange E N Z, and
+1-3/4 oz. Naphthol blue black.
+
+_Dark Sage._--A good shade is dyed with 1 lb. Diamine orange B, 6-1/2
+oz. Union black, 1-3/4 oz. Diamine brown M, 3-1/4 oz. azo red A and
+2-1/4 oz. Naphthol blue black.
+
+_Navy Blue._--Use 2 lb. Diamine dark blue B, 1-1/4 lb. Lanacyl violet B,
+and 7 oz. Naphthol blue black.
+
+_Bronze Green._--A good shade is dyed with 2 lb. Diamine orange B, 5 oz.
+Diamine brown N, 3/4 lb. Union black S, 1 lb. Indian yellow G and 2-1/2
+oz. Naphthol blue black.
+
+_Black._--Use 2-1/2 lb. Oxydiamine black B M and 1-1/2 lb.
+Naphthylamine black 6 B. Another recipe, 2-1/4 lb. Oxydiamine black B M,
+1 lb. Diamine brown M, 1 lb. Orange E N Z and 2 oz. Naphthol blue black.
+
+_Dark Brown._--Use 1-1/2 lb. Oxydiamine black B M, 15-1/2 oz. Diamine
+brown M, 1-3/4 lb. Indian yellow G and 2-3/4 oz. Naphthol blue black.
+Another combination, 1-1/2 lb. Oxydiamine black B M, 1-1/2 lb. Orange E
+N Z, 1 lb. Indian yellow G and 5 oz. Naphthol blue black.
+
+_Scarlet._--3 lb. Benzo purpurine 4 B, 3/4 oz. Ponceau 3 R B and 1/2 lb.
+Curcumine S.
+
+_Crimson._--1/2 lb. Congo Corinth G, 2 lb. Benzo purpurine 10 B and 1/2
+lb. Curcumine S.
+
+_Bright Blue._--2 lb. Chicago blue 6 B, 3 oz. Alkali blue 6 B, 1-1/2 oz.
+Zambesi blue R X. After dyeing rinse and develop in a bath of 8 oz.
+sulphuric acid in 10 gallons of water, then rinse well.
+
+_Dark Blue._--2-1/2 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.
+
+_Orange._--9 oz. Congo brown G, 1-1/2 lb. Mikado orange 4 R O and 1-1/2
+oz. Mandarine G.
+
+_Dark Green._--2 lb. Columbia green, 1/2 lb. Sulphon azurine D, 1 lb.
+Zambesi blue B X, 1-1/2 oz. Curcumine S.
+
+_Black._--4 lb. Columbia black F B and 2 lb. Wool black 6 B.
+
+_Pale Sage Green._--5 oz. Zambesi black D, 3/4 lb. Chrysophenine G and
+1-1/2 lb. Curcumine S.
+
+_Slate._--1/2 lb. Zambesi black D, 3/4 oz. Zambesi blue R X, 1/2 oz.
+Mikado orange 4 R 0 and 1-1/2 oz. Acid violet 6 B.
+
+_Dark Grey._--1 lb. Columbia black F B, 3 oz. Zambesi black B and 3/4
+oz. Sulphon azurine D.
+
+_Drab._--1-1/2 oz. Zambesi black D, 3/4 oz. Mandarine G extra, 1/4 oz.
+Curcumine extra and 3 oz. Mikado orange 4 R O.
+
+_Brown._--5 oz. Zambesi black D, 3/4 oz. Mandarine G extra, 1-1/2 oz.
+Orange T A and 2 oz. Mikado orange 4 R 0.
+
+_Nut Brown._--3/4 lb. Congo brown G, 1/4 lb. Chicago blue R W and 3/4
+lb. Mikado orange 4 R 0.
+
+_Dark Brown._--1 lb. Congo brown G, 1-1/2 lb. Benzo purpurine 4 B, 1-1/2
+lb. Zambesi black F and 1/2 lb. Wool black 6 B.
+
+_Stone._--1 oz. Zambesi black D, 1/4 oz. Mandarine G, 1/4 oz. Curcumine
+extra and 1-1/4 oz. Mikado orange 4 R 0.
+
+_Slate Green._--3 oz. Zambesi black D, 1-1/2 oz. Guinea green B.
+
+_Sage Brown._--1/2 lb. Zambesi black D, 1-1/2 oz. Mandarine G extra, 3
+oz. Curcumine extra, 3 oz. Acid violet 6 B, 6 oz. Mikado orange 4 R 0
+and 4-1/2 oz. Curcumine S.
+
+_Cornflower Blue._--3 oz. Chicago blue 4 R, 1/4 lb. Zambesi blue R X,
+1/4 lb. Acid violet 6 B and 3/4 oz. Zambesi brown G.
+
+_Dark Brown._--1-1/2 lb. Brilliant orange G, 1/2 lb. Orange T A, 1 lb.
+Columbia black F B and 1/4 lb. Wool black 6 B.
+
+_Dark Blue._--2 lb. Chicago blue W, 1 lb. Zambesi blue R X, 1/2 lb.
+Columbia black F B, 10 oz. Guinea green B and 1/2 lb. Guinea violet 4 B.
+
+The Janus dyes may be used for the dyeing of half wool (union) fabrics.
+The best plan of working is to prepare a bath with 5 lb. of sulphate of
+zinc; in this the goods are worked at the boil for five minutes, then
+there is added the dyes previously dissolved in water, and the working
+continued for a quarter of an hour; 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 well exhausted of colour. The
+goods are now taken out and put into a fixing-bath of sumac or tannin,
+in which they are treated for fifteen minutes; to this same bath there
+is next added tartar emetic and 1 lb. sulphuric acid, and the working
+continued for a quarter of an hour, then the bath is heated to 160 deg. F.,
+when the goods are lifted, rinsed and dried. In the recipes the
+quantities of the dyes, sumac or tannin and tartar emetic are given
+only, the other ingredients and processes are the same in all.
+
+_Dark Blue._--2-1/4 lb. Janus dark blue B and 1/4 lb. Janus green B in
+the dye-bath, and 16 lb. sumac extract and 2 lb. tartar emetic in the
+fixing-bath.
+
+_Blue Black._--3-1/2 lb. Janus black I and 1/2 lb. Janus black II in the
+dye-bath, and 16 lb. sumac extract and 2 lb. tartar emetic in the
+fixing-bath.
+
+_Dark Brown._--2-1/2 lb. Janus brown B, 1 lb. Janus black I, 3-1/2 oz.
+Janus yellow G and 5 oz. Janus red B in the dye-bath, with 16 lb. sumac
+extract and 2 lb. tartar emetic in the fixing-bath.
+
+_Drab._--1-1/2 oz. Janus yellow R, 3/4 oz. Janus red B, 1 oz. Janus blue
+R and 1/4 oz. Janus grey B B in the dye-bath, and 4 lb. sumac extract
+and 1 lb. tartar emetic in the fixing-bath.
+
+_Grey._--5 oz. Janus blue R, 3-1/4 oz. Janus grey B, 1-1/2 oz. Janus
+yellow R and 1/4 oz. Janus red B in the dye-bath, with 4 lb. sumach
+extract and 1 lb. tartar emetic in the fixing-bath.
+
+_Nut Brown._--1 lb. Janus brown R, 8 oz. Janus yellow R and 1-1/2 oz.
+Janus blue B in the dye-bath, and 8 lb. sumac extract and 1 lb. tartar
+emetic in the fixing-bath.
+
+_Walnut Brown._--3 lb. Janus brown B, 1 lb. Janus red B, 1 lb. Janus
+yellow R, 1-1/4 oz. Janus green B in the dye-bath, with 8 lb. sumac
+extract and 1 lb. tartar emetic in the fixing-bath.
+
+_Crimson._--2-1/2 lb. Janus red B and 8 oz. Janus claret red B in the
+dye-bath, with 8 lb. sumac extract and 1 lb. tartar emetic in the
+fixing-bath.
+
+_Dark Green._--1-1/2 lb. Janus green B, 1-1/2 lb. Janus yellow R and 8
+oz. Janus grey B B in the dye-bath, with 12 lb. sumac extract and 1-1/4
+lb. tartar emetic in the fixing-bath.
+
+_Chestnut Brown._--1 lb. Janus brown R and 1 lb. Janus yellow R in the
+dye-bath, and 8 lb. sumac extract and 1 lb. tartar emetic in the
+fixing-bath.
+
+Before the introduction of the direct dyes the method usually followed,
+and, indeed 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 _Dyeing of Woollen Fabrics_.
+
+=Shot Effects.=--A pleasing kind of textile fabric which is now made,
+and is a great favourite for ladies' dress goods, is where the cotton of
+a mixed fabric is thrown up to form a figured design. It is possible to
+dye the two fibres in different colours, and so produce a variety of
+shot effects. These latter are so endless that it is impossible here to
+enumerate all that may be produced. It will have to suffice to lay down
+the lines which may be followed to the best advantage, and then give
+some recipes to illustrate the remarks that have been made. The best
+plan for the production of shot effects upon union fabrics is to take
+advantage of the property of certain acid dyes which dye only the wool
+in an acid bath, and of many of the direct colours which will only dye
+the cotton in an alkaline bath. The process, working on these lines,
+becomes as follows: The wool is first dyed in an acid bath with the
+addition of Glauber's salt and bisulphate of soda, or sulphuric acid,
+the goods are then washed with water containing a little ammonia to free
+them from the acid, and afterwards dyed with the direct colour in an
+alkaline bath.
+
+Fancy or the mode shades are obtained by combining suitable dye-stuffs.
+
+If the cotton is to be dyed in light shades it is advantageous to dye on
+the liquor at 65 deg. to 80 deg. F., with the addition of 3-1/4 oz. Glauber's
+salt, and from 20 to 40 grains borax per gallon water. The addition of
+an alkali is advisable in order to neutralise 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.
+
+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.
+
+_Gold and Green._--First bath, 1 lb. Cyanole extra, 7-1/4 oz. Acid
+green, 1-1/2 oz. Orange G G, and 10 lb. bisulphate of soda; work at the
+boil for one hour, then lift and rinse well. Second bath, 4 lb. Diamine
+orange G and 15 lb. Glauber's salt; work in the cold or at a lukewarm
+heat. Third bath, at 120 deg. F., 4 oz. Chrysoidine and 1/4 oz. Safranine.
+
+_Black and Blue._--First bath, 3-1/2 lb. Naphthol black 3 B and 10 lb.
+bisulphate of soda. Second bath, 2 lb. Diamine sky blue and 13 lb.
+Glauber's salt. Third bath, 6-1/2 oz. New Methylene blue N. Work as in
+the last recipe.
+
+_Green and Claret._--First bath, 3-1/2 lb. Naphthol red C and 10 lb.
+bisulphate of soda. Second bath, 2 lb. Diamine sky blue F F, 1-1/4 lb.
+Thioflavine S, and 15 lb. Glauber's salt.
+
+_Gold Brown and Blue._--First bath, 2-1/2 oz. orange E N Z, 1-1/2 oz.
+Orange G G, 1/4 oz. Cyanole extra and 10 lb. bisulphate of soda. Second
+bath, 14 oz. Diamine sky blue F F and 15 lb. Glauber's salt.
+
+_Dark Brown and Blue._--First bath, 1/2 lb. Orange G G, 1-1/2 oz. Orange
+E N Z, 1-1/2 oz. Cyanole extra and 10 lb. bisulphate of soda. Second
+bath, 12 oz. Diamine sky blue F F and 15 lb. Glauber's salt.
+
+_Black and Green Blue._--First bath, 3 lb. Orange G G, 1 lb. Brilliant
+cochineal 4 R, 1 lb. Fast acid green B N and 10 lb. Glauber's salt.
+Second bath, 1-3/4 lb. Diamine sky blue F F, 3-1/4 lb. Thioflavine S and
+15 lb. Glauber's salt.
+
+We may here note that in all the above recipes the second bath (for
+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.
+
+_Blue and Gold Yellow._--3 lb. Diamine orange G, 13 oz. Naphthol blue G,
+14-1/2 oz. Formyl violet S 4 B and 15 lb. Glauber's salt. Work at just
+under the boil.
+
+_Brown and Blue._--1 lb. Diamine steel blue L, 9-1/2 oz. Diamine sky
+blue, 1 lb. Orange E N Z, 1 lb. Indian yellow G, 1-3/4 oz. Naphthol blue
+black and 15 lb. Glauber s salt. Work at 170 deg. to 180 deg. F.
+
+In these two last recipes only one bath is used, all the dyes 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.
+
+_Grey and Orange._--First bath, 3 oz. Orange extra, 1-1/4 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.
+
+_Green and Red._--First bath, 2 lb. Croceine A Z, and 10 lb. Glauber's
+salt. Second bath, 1 lb. Diamine sky blue F F, 1/2 lb. Thioflavine S,
+and 15 lb. Glauber's salt.
+
+_Brown and Violet._--First bath, 3/4 lb. Orange extra, 3/4 lb. Cyanole
+extra, and 10 lb. bisulphate of soda. Second bath, 5 oz. Diamine
+brilliant blue G, and 15 lb. Glauber's salt.
+
+_Black and Yellow._--First bath, 7 lb. Naphthol black B, 1/2 lb. Fast
+yellow S, and 10 lb. bisulphate of soda. Second bath 3 lb. Diamine fast
+yellow A, and 15 lb. Glauber's salt.
+
+_Black and Pink._--Black as above. Pink with Diamine rose B D (see
+above).
+
+_Green and Buff._--First bath, 1/4 lb. Orange extra, 3/4 oz. Fast yellow
+S, and 10 lb. bisulphate of soda. Second bath, 3/4 lb. Diamine sky blue
+F F, 1/2 lb. Thioflavine S, and 15 lb. Glauber's salt.
+
+_Orange and Violet._--First bath, 9 oz. Orange extra, and 10 lb.
+bisulphate of soda. Second bath, 3/4 lb. Diamine violet N, and 10 lb.
+Glauber's salt.
+
+_Black and Blue._--First bath, Naphthol black as given above. Second
+bath, Diamine sky blue as given above.
+
+_Black and Yellow._--Add first 1 lb. Wool black 6 B, and 10 lb.
+Glauber's salt, then, when the wool has been dyed, add 2 lb. Curcumine S
+to dye the cotton in the same bath.
+
+_Green and Red._--Dye the wool by using 3 lb. Guinea green B, 1/4 lb.
+Curcumeine extra, and 10 lb. Glauber's salt, then add to the bath 3/4
+lb. Erika B N, and 3/4 lb. Congo Corinth G.
+
+_Orange and Blue._--Dye the wool first with 1-1/4 lb. Mandarine G, 2 oz.
+Wool black 6 B, and 10 lb. Glauber's salt; then the cotton with 2 lb.
+Columbia blue G.
+
+_Blue and Orange._--Dye the wool first with 3/4 lb. Guinea violet B, 3/4
+lb. Guinea green B, and 10 lb. Glauber's salt; then dye the cotton with
+2 lb. Mikado orange 4 R O.
+
+_Green and Orange._--Dye the wool with 3 lb. Guinea green B, 1/4 lb.
+Curcumeine extra, and 10 lb. Glauber's salt, then dye the cotton in the
+same bath with 1-1/2 lb. Mikado orange 4 R O.
+
+
+
+
+CHAPTER VI.
+
+DYEING HALF SILK (COTTON-SILK, SATIN) FABRICS.
+
+
+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 _Silk Dyeing_.
+
+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.
+
+The dyeing of goods composed of silk and cotton is generally done in
+winch dye-vats, in some cases also on the jigger.
+
+
+METHOD OF DYEING.
+
+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.
+
+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 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.
+
+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.
+
+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.
+
+The following particulars may serve as a guide for the first bath:--
+
+For pale shades each 10 gallons dye-liquor should contain 3-1/4 to 6-1/2
+oz. soap and 4 to 7 drs. soda or 3-1/4 to 6-1/2 oz. soap, 4 to 5-1/2
+drs. soda and 3-1/4 to 6-1/2 oz. phosphate of soda.
+
+For medium and dark shades each 10 gallons dye-liquor may contain 3-1/4
+to 6-1/2 oz. soap, 4 to 7 drs. soda, 3-1/4 to 6-1/2 oz. phosphate of
+soda and 6-1/2 to 13 oz. cryst. Glauber's salt.
+
+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 4-3/4 to 8 oz. soap, 4 to 6 drs. soda, 3-1/4 to 8 oz. phosphate
+of soda and 4-3/4 to 9-1/2 oz. cryst. Glauber's salt.
+
+The temperature of the dye-baths is generally 175 deg. to 195 deg. 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.
+
+For obtaining level dyeings in pale shades it is advisable not to enter
+the goods too hot, but to raise the temperature 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.
+
+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.
+
+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.
+
+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.
+
+Many of the Diamine and Titan colours being very fast to acids, but few
+of them will be affected by this treatment.
+
+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:--
+
+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.
+
+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.
+
+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.
+
+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.
+
+=Topping with Basic and Acid Dye-stuffs.=--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 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.
+
+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.
+
+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.
+
+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, Tropaeoline 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.
+
+_Bright Yellow._--Use 2 lb. Thioflavine S.
+
+_Deep Orange Yellow._--This can be dyed by using 2 lb. Diamine yellow N.
+
+_Gold Yellow._--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.
+
+_Deep Orange._--Use 2 lb. Diamine orange B.
+
+_Bright Rose._--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.
+
+_Scarlet._--Use in the dye-bath 2 lb. Diamine scarlet H S. The heat of
+the dye-bath should not be allowed to exceed 160 deg. to 170 deg. F., or there
+is a risk of the shades becoming somewhat duller.
+
+_Crimson._--Dye with 2 lb. Diamine fast red F.
+
+_Violet._--Use 2 lb. Oxydiamine violet B.
+
+_Bright Blue._--A fine shade is dyed with 2 lb. Diamine blue R W.
+
+_Dark Green._--Use 2 lb. Diamine black H W. This gives a fine shade of
+bluish green.
+
+_Gold Brown._--Dye with 2 lb. Diamine brown 3 G at a low heat, from 150 deg.
+to 160 deg. F., otherwise the silk takes up too much colour.
+
+_Dark Green._--Dye with 2 lb. Diamine green B.
+
+_Deep Rose._--Dye with 2 lb. Diamine red 10 B.
+
+_Brilliant Yellow._--Dye with 1-1/2 lb. Mikado golden yellow 8 G; then
+enter into a cold bath which contains 1-1/2 per cent. Auramine II. This
+gives a very bright shade of yellow.
+
+_Dark Brown._--Dye a bottom with 2 lb. Mikado brown 3 G O, and then top
+with 3 lb. Bismarck brown and 1/2 lb. Capri blue G O N.
+
+_Crimson._--Dye with 2 lb. Mikado orange 5 R O and 2 lb. Hessian purple
+N.
+
+_Sage Green._--Dye a bottom with 2 lb. Mikado yellow G, 14 oz. Eboli
+green T and 3 oz. Mikado brown M, then top in a fresh cold bath with
+1/2 lb. Auramine II and 1/2 oz. Acridine Orange N 0.
+
+_Leaf Green._--Dye a bottom with 3 lb. Mikado golden yellow 8 G and 1
+lb. Eboli blue B; then top with 1-1/2 lb. Capri green 2 G in a cold
+bath.
+
+_Deep Brown._--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
+2-1/4 lb. Acridine orange N 0.
+
+_Dark Cream._--Bottom with 1 oz. Diamine orange G; then top in a fresh
+warm bath with 1 oz. Orange G G, 1/2 oz. Indian yellow R, 5 lb.
+Glauber's salt and 1 lb. acetic acid.
+
+_Brilliant Violet._--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.
+
+_Slate._--Bottom in a hot bath with 6 oz. Diamine dark blue B and 1-1/2
+oz. Diamine brown M; then top in a fresh bath at 170 deg. F. with 4 oz.
+Aniline grey B, 1 oz. Cyanole extra, 5 lb. Glauber's salt and 1 lb.
+acetic acid.
+
+_Black Brown._--Give a bottom with 2 lb. Cotton brown A, 1 lb. Diamine
+gold and 3-1/2 lb. Oxydiamine black S O O O; then top in a fresh bath at
+120 deg. F. with 4 oz. New methylene blue N, 1 oz. Safranine and 1/2 oz.
+Indian yellow G.
+
+_Bright Violet._--Use 1/2 lb. Oxydiamine violet B and 3/4 oz. Diamine
+dark blue B; top after dyeing with 1/2 oz. Safranine, 1/4 oz.
+Methylindone B and 1/4 oz. Cyanole extra.
+
+_Drab._--Dye with 6 oz. Diamine orange G, 1 lb. Diamine bronze G and 3/4
+lb. Diamine brown M, topping afterwards in a bath of 1/4 oz. Aniline
+grey B and 1/4 oz. Bismarck brown F F.
+
+_Leaf Green._--Dye with 1/2 lb. Diamine black H W, and 1 lb. Diamine
+fast yellow B; top with 1/4 oz. Brilliant green, 1/4 oz. Indian yellow
+R, 1/2 oz. Thioflavine T and 1/2 oz. Cyanole extra.
+
+_Dark Crimson._--Use in the dye-bath 3 lb. Diamine Bordeaux S, 3/4 lb.
+Diamine orange D C and 1-1/2 lb. Diamine brown V, topping with 1 oz.
+Magenta and 1/2 oz. Formyl violet S 4 B.
+
+_Turquoise Blue._--Use to dye the ground, 6 oz. Diamine sky blue F F and
+1/2 oz. Diamine fast yellow A; top with 1-1/2 oz. Cyanole extra and 1/4
+oz. Brilliant green.
+
+_Dark Grey._--Dye with 1/2 oz. Diamine grey G, and 1-1/2 oz. Diamine
+brown M; top with 1/4 oz. Orange extra and 1 oz. Cyanole extra.
+
+_Brilliant Orange._--Dye with 1 lb. Mikado orange R O, and top with 6
+oz. Acridine orange N O and 12 oz. Auramine I I.
+
+_Brown._--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.
+
+_Deep Crimson._--Dye with 1 lb. Columbia black R and top with 6 oz.
+Magenta.
+
+_Pale Sea Green._--Use in the dye-bath 1/2 oz. Chrysophenine G, 1-1/2
+oz. Chicago blue 6 B and 1-1/2 oz. Alkali blue 6 B.
+
+_Bright Crimson._--Dye with 3 lb. Congo Corinth and top with 1 lb.
+Magenta.
+
+_Dark Russian Green._--Dye with 3 lb. Columbia black B; then top with 1
+lb. Malachite green.
+
+_Gold Drab._--Dye with 5 oz. Columbia black, and top with 5 oz.
+Chrysoidine R.
+
+_Bright Olive Yellow._--Dye with 1-1/2 lb. Diamine gold, 1-1/2 lb.
+Diamine fast yellow A and 3/4 lb. Diamine bronze G; top with 1/2 lb.
+Thioflavine T and 1/4 lb. Chrysoidine.
+
+_Moss Brown._--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.
+
+_Dark Sea Green_--Dye a bottom with 9 oz. Diamine black B and 4-1/2 oz.
+Diamine fast yellow B, then top with 2 oz. New methylene blue M and 2
+oz. New phosphine G.
+
+_Old Gold._--Dye a ground with 1/2 lb. Diamine gold, 1-1/4 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.
+
+_Cornflower Blue._--Dye the ground with 2-1/2 lb. Diamine azo blue 2 B,
+1-1/2 oz. Alkali blue 3 B, 1/2 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.
+
+_Slate._--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.
+
+_Pale Drab._--Dye the ground with 1 oz. Diamine orange G C, 3/4 oz.
+Diamine bronze G and 1/2 oz. Diamine brown M; top with 3/4 oz. New
+methylene blue N, 1 oz. Bismarck brown and 1 oz. Cyanole extra.
+
+_Deep Leaf Green._--Dye a ground colour with 1-1/4 lb. Diamine bronze G,
+1-1/2 lb. Diamine fast yellow A and 1-1/2 lb. Diamine black H W; the
+topping bath is made with 1/2 lb. Brilliant green, 1/2 lb. Chrysoidine
+and 1/4 lb. New methylene blue N.
+
+_Maroon._--Dye with 3 lb. Diamine Bordeaux S, 1/2 lb. Diamine orange D C
+and 1/2 lb. Diamine brown V; top with 1/2 lb. Magenta and 1/4 lb. Formyl
+violet S 4 B.
+
+_Heliotrope._--Dye with 1 lb. Heliotrope 2 B.
+
+_Lilac Rose._--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.
+
+_Pea Green._--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.
+
+_Dark Drab._--Dye with 1/4 lb. Diamine brown M, 1 lb. Diamine fast
+yellow A and 3/4 lb. Diamine bronze G; top with 1/2 lb. Orange G G and
+1/2 lb. Cyanole extra.
+
+_Deep Rose._--Dye the bottom colour with 1/2 lb. Diamine rose B D and
+top with 1/4 lb. Rhodamine B and 1 oz. Safranine.
+
+_Walnut Brown._--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.
+
+=Dyeing of Plain Black.=--Diamine blacks find a very extensive
+application for dyeing blacks on satin, either dyed direct in one bath,
+or dyed, diazotised and developed.
+
+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.
+
+Dye for about one hour at about 175 deg. to 195 deg. 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.
+
+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.
+
+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.
+
+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.
+
+Proceed as follows: Enter the boiled off and acidulated goods in a
+boiling bath as concentrated as possible, charged 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, 1/2 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.
+
+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 deg. Tw.). The three developers may also be mixed
+with each other in any proportions.
+
+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.
+
+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.
+
+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.
+
+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.
+
+=Dyeing Shot Effects on Satin.=--Not all direct colours are equally well
+adapted for the production of shot effects; 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.e._, 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 deg. 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 deg. F.,
+with addition of about 3 oz. concentrated sulphuric acid per 10 gallons
+dye-liquor.
+
+For shading the silk all acid dye-stuffs can be used which have been
+mentioned in the foregoing tables.
+
+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:--
+
+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.
+
+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.
+
+=Shot Effects with Black Cotton Warp.=--Effects much in favour are
+designs composed of black cotton and light or coloured silk. The most
+suitable black dye for this purpose is Diamine black B H, diazotised and
+developed.
+
+Dye in as concentrated a bath as possible at about 160 deg. F. with about 6
+lb. Diamine black B H, 1 lb. Diamine sky blue, pat., per 100 lb. of dry
+goods, 1/2 lb. Diamine orange D C, pat., with an addition of 6-1/2 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 deg. to 140 deg. F., with acid dye-stuffs and
+the addition of sulphuric acid. After dyeing rinse as usual and
+brighten.
+
+_Yellow and Violet,_--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.
+
+_Black and Blue._--Dye the cotton with 5 lb. Diamine black B H, 1 lb.
+Diamine sky blue, and 1/4 lb. Diamine orange D C. After dyeing,
+diazotise and develop with phenylene diamine as described above. Then
+dye the silk with 1/2 lb. Pure soluble blue and 1 lb. Cyanole extra.
+
+_Black and Crimson._--Dye the black as in the previous recipe, then dye
+the silk with 2 lb. Brilliant croceine 3 B and 1/2 lb. Rhodamine S.
+
+_Blue and Gold._--Dye the cotton with 2 lb. Diamine sky blue and the
+silk with 1 lb. Fast yellow S.
+
+_Dark Blue and Green._--Dye the cotton with 1-1/2 lb. Diamine black B H,
+1-1/2 lb. Diamine sky blue and 1/2 lb. Diamine azo blue 2 R; the silk
+with 2 lb. Naphthol yellow S and 1 lb. New methylene blue G G.
+
+_Violet and Yellow._--Dye the cotton with 2 oz. Diamine violet N and the
+silk with 1 lb. Fast yellow S.
+
+_Orange and Violet._--Dye the cotton with 2 lb. Diamine orange D C and
+the silk with 1 lb. Formyl violet S 4 B.
+
+_Dark Blue and Olive._--Dye the cotton with 1-1/2 lb. Diamineral blue R
+and 1/2 lb. Diamine azo blue 2 R, and the silk with 1 lb. Naphthol
+yellow B and 1 lb. Orange G G.
+
+_Green and Pink._--Dye the cotton with 1-1/2 lb. Diamine fast yellow A
+and 1/4 lb. Diamine sky blue, and the silk with 1 lb. Erythrosine B.
+
+_Brown and Blue._--Dye the cotton with 3 lb. Mikado brown 2 B, and the
+silk with 1/2 lb. Pure blue.
+
+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:--
+
+_Orange and Blue._--The dye-bath is made with 3 lb. Mikado orange 5 R O
+and 1-1/4 lb. Alkali blue 6 B. After the dyeing the goods are rinsed,
+then passed through a bath of 1-1/2 lb. sulphuric acid in 10 gallons
+water, washed well and dried.
+
+_Olive and Blue._--The dye-bath is made with 1-1/2 lb. Diamine fast
+yellow A, 2-1/2 lb. Diamine orange DC, 1/4 lb. Diamine sky blue, and 1
+lb. Alkali blue 6 B, After dyeing rinse, then acidulate as above and
+wash well.
+
+
+
+
+CHAPTER VII.
+
+OPERATIONS FOLLOWING DYEING.
+
+WASHING, SOAPING, DRYING.
+
+
+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.
+
+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.
+
+=Squeezing or Wringing.=--It is advisable when the goods are taken out
+of the dye-bath to squeeze or wring them according to circumstances, in
+order to 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 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.
+
+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.
+
+[Illustration: FIG. 31.--Squeezing Rollers.]
+
+_Yarns in Hanks._--In the hank-dyeing process the hanks are wrung by
+placing one end of the hank on a wringing 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.
+
+_Hank-wringing Machines._--Several forms of hank-wringing machines have
+been devised. One machine consists of a pair of discs fitted on an axle;
+these discs carry strong hooks on which the hanks are placed. The
+operator places a hank on a pair of the hooks. The discs revolve and
+carry round the hank, during the revolution the hank is twisted and the
+surplus liquor wrung out, when the revolution of the discs carries the
+hank to the spot where it entered the machine the hooks fly back to
+their original position, the hank unwinds, it is then removed and a new
+hank put in its place, and so the machine works on, hanks being put on
+and off as required. The capacity of such a machine is great, and the
+efficiency of its working good.
+
+Mr. S. Spencer of Whitefield makes a hank-wringing machine which
+consists of a pair of hooks placed over a vat. One of the hooks is
+fixed, the other is made to rotate. A hank hung between the hooks is
+naturally twisted, and all the surplus liquor wrung out. The liquor
+falling into the vat.
+
+_Roller Squeezing Machines for Yarn._--Hanks may be passed through a
+pair of indiarubber squeezing rollers, which may be so arranged that
+they can be fixed as required on the dye-bath. Such a pair of rollers is
+a familiar article, and quite common and in general use in dye houses.
+
+_Piece Goods._--These are generally passed open through a pair of
+squeezing rollers which are often attached to the dye-vat in which the
+pieces are dyed.
+
+_Read Holliday's Squeezing Machine._--In Fig. 31 is shown a squeezing
+machine very largely employed for squeezing 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.
+
+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.
+
+=Washing.=--One of the most important operations following that of
+dyeing is the washing with water to free the goods, whether cotton or
+woollen, from all traces of loose dye, acids, mordanting materials,
+etc., which it is not desirable should be left in, as they might
+interfere with the subsequent finishing operations. For this purpose a
+plentiful supply of good clean water is required; this should be as soft
+as possible, free from any suspended matter which might settle upon the
+dyed goods, and stain or speck them.
+
+Washing may be done by hand, as it frequently was in olden days, by
+simply immersing the dyed fabrics in a tub of water, shaking, then
+wringing out, again placing in fresh water to finish off. Or if the
+dye-works were on the banks of a running stream of clean water the dyed
+goods were simply hung in the stream to be washed in a very effectual
+manner.
+
+In these days it is best to resort to washing machines adapted to deal
+with the various kinds of fibrous materials and fabrics in which they
+can be subjected to a current of water.
+
+[Illustration: FIG. 32.--Yarn-washing Machine.]
+
+_Loose Wool and Cotton._--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.
+
+_Yarns._--Yarn in the cop form is best washed in the machine in which it
+is dyed.
+
+_Yarns in Hanks._--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.
+
+[Illustration: FIG. 33.--Dye-house Washing Machine.]
+
+_Piece Goods._--Piece goods are mostly washed in machines, of which two
+broad types may be recognised; first, those where the pieces are dealt
+with in the form of ropes 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.
+
+[Illustration: FIG. 34.--Cloth-washing Machine.]
+
+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.
+
+Fig. 34 shows a washing machine very largely used in the wool-dyeing
+trade. The principal portion of this machine is of wood.
+
+The internal parts consist of a large wooden bowl, or oftener, as in the
+machine under notice, of a pair of wooden bowls which are pressed
+together by springs with some small degree of force. Between these bowls
+the cloth is placed, more or less loosely twisted up in a rope form, and
+the machines are made to take four, six or eight pieces, or lengths 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.
+
+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 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.
+
+[Illustration: FIG. 35.--Cloth-washing Machine.]
+
+=Soaping.=--- Sometimes yarns or cloths have to be passed through a soap
+bath after being dyed in order to brighten up the colours or develop
+them in some way. In the case of yarns this can be done on the reel
+washing 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 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.
+
+[Illustration: FIG. 36.--Washing and Soaping Vats.]
+
+=Steaming.=--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 hermetically. 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 the
+ageing and oxidising machine shown in Fig. 38, and also used in the
+dyeing of aniline black.
+
+[Illustration: FIG. 37.--Steaming Cottage.]
+
+[Illustration: FIG. 38.--Steaming and Ageing Chamber.]
+
+=Drying.=--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 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.
+
+[Illustration: FIG. 39.--Hydro-extractor.]
+
+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, 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.
+
+[Illustration: FIG. 40.--Hydro-extractor.]
+
+The relative efficiency of the three systems of extracting the moisture
+out of textile fabrics has been investigated by Grothe, who gives in his
+_Appretur der Gewebe_, published in 1882, the following table showing
+the percentage amount of water removed in fifteen minutes:--
+
+Yarns.          Wool.         Silk.        Cotton.      Linen.
+
+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
+
+Pieces.
+
+Wringing           33.4          44.5          44.5         54.6
+Squeezing          64.0          69.7          72.2         83.0
+Hydro-extracting   77.8          75.5          82.3         86.0
+
+In the practical working of hydro-extractors it is of the utmost
+importance that the goods be carefully and regularly laid in the
+basket--not too much in one part and too little in another. Any
+unevenness in this respect at the speed at which they are driven lays
+such a strain on the bearings as to seriously endanger the safety of the
+machine.
+
+After being wrung, squeezed or hydro-extracted the goods are ready to be
+dried. In the case of yarns, this may be done in rooms heated by steam
+pipes placed on the floor, the hanks being hung on rods suspended from
+racks arranged for the purpose.
+
+[Illustration: FIG. 41.--Automatic Yarn-dryer.]
+
+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 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.
+
+[Illustration: FIG. 42.--Truck Yarn-dryer.]
+
+The drying is accomplished by circulating heated air through the yarns,
+this heating being effected by steam coils, fresh air continually enters
+the chambers, while water-saturated air is as continually being taken
+out at the top of the chamber. One of the great secrets in all drying
+operations is to have a constant current of fresh hot air playing on the
+goods to be dried; this absorbs the moisture they contain, and the
+water-charged air thus produced must be taken away as quickly as
+possible.
+
+[Illustration: FIG 43.--Drying Cylinders.]
+
+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 which can be run in and out of the chamber for filling and
+emptying.
+
+_Piece Goods._--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.
+
+
+
+
+CHAPTER VIII
+
+TESTING OF THE COLOUR OF DYED FABRICS.
+
+
+It is frequently desirable that dyers should be able to ascertain with
+some degree of accuracy what dyes have been used to dye any particular
+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.
+
+The only available method is to try the effect of various acid and
+alkaline reagents on the sample, noting whether any change of colour
+occurs, and judging accordingly. It would be a good thing for dyers to
+accustom themselves to test the dyeings they do, and so accumulate a
+fund of practical experience which will stand them in good stead
+whenever they have occasion to examine a dyed pattern of unknown origin.
+
+The limits of this book 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 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.
+
+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.
+
+To make a complete series of tests of dyed fabrics there should be
+provided the following reagents:--
+
+1. Strong sulphuric acid, as bought.
+2. Dilute sulphuric acid, being the strong acid diluted with twenty
+   times its volume of water.
+3. Concentrated hydrochloric acid.
+4. Dilute hydrochloric acid, 1 acid to 20 water.
+5. Concentrated nitric acid.
+6. Dilute nitric acid, 1 acid to 20 water.
+7. Acetic acid.
+8. Caustic soda solution, 5 grams in 100 c.c. water.
+9. Ammonia (strong).
+10. Dilute ammonia, 1 strong ammonia to 10 water.
+11. Carbonate of soda solution, 6 grams in 100 c.c. water.
+12. Bleaching powder solution, 2 deg. Tw.
+13. Bisulphite of soda, 72 deg. Tw.
+14. Stannous chloride, 10 grams crystals in 100 c.c. water, with a
+    little hydrochloric acid.
+15. Methylated spirit.
+
+Small swatches of the dyed goods are put in clean porcelain basins, and
+some of these solutions poured over them. Any change of colour 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.
+
+To give tables showing the effects of these reagents on the numerous
+dyes now known would take up too much room and not serve a very useful
+purpose, as such tables, if too much relied on, leave the operator
+somewhat uncertain as to what he has before him. The reader will find in
+Hurst's _Dictionary of Coal-tar Colours_ some useful notes as to the
+action of acids and alkalies on the various colours that may be of
+service to him.
+
+Alizarine and the series of dye-stuffs to which it has given its name,
+fustic, cochineal, logwood and other dyes of a similar class require the
+fabric to be mordanted, and the presence of such mordant is occasionally
+an indirect proof of the presence of these dyes.
+
+To detect these mordants, a piece of the swatch should be burnt in a
+porcelain or platinum crucible over a Bunsen burner, care being taken
+that all carbonaceous matter be burnt off. A white ash will indicate the
+presence of alumina mordants, red ash that of iron mordants, and a
+greenish ash chrome mordants.
+
+To confirm these the following chemical tests may be applied: Boil the
+ash left in the crucible with a little strong hydrochloric acid and
+dilute with water. Pass a current of sulphuretted hydrogen gas through
+the solution; if there be any tin present a brown precipitate of tin
+sulphide will be obtained. This can be filtered off. The filtrate is
+boiled for a short time with nitric acid, and ammonia is added to the
+solution when alumina is thrown down as a white gelatinous precipitate;
+iron is thrown down as a brown red bulky precipitate; while chrome is
+thrown down as a greyish-looking gelatinous precipitate. The precipitate
+obtained with the ammonia is filtered off, and a drop of ammonium
+sulphide added, when any zinc present will be thrown down as white
+precipitate of zinc sulphide: to the filtrate from this ammonium oxalate
+may be added, when if lime is present a white precipitate of calcium
+oxalate is obtained.
+
+A test for iron is to dissolve some of the ash in a little hydrochloric
+acid, and add a few drops of potassium ferrocyanide solution, when if
+any iron be present a blue precipitate will be obtained.
+
+To make more certain of the presence of chrome, heat a little of the ash
+of the cloth with caustic soda and chlorate of soda in a porcelain
+crucible until well fused, then dissolve in water, acidify with acetic
+acid and add lead acetate; a yellow precipitate indicates the presence
+of chrome.
+
+A book on qualitative chemical analysis should be referred to for
+further details and tests for metallic mordants.
+
+The fastness of colours to light, air, rubbing, washing, soaping, acids
+and alkalies is a feature of some considerable importance. There are
+indeed few colours that will resist all these influences, and such are
+fully entitled to be called fast. The 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:--
+
+=Fastness to Light and Air.=--This is simply tested by hanging a piece
+of the dyed cloth in the air, keeping a piece in a drawer to refer to,
+so that the influence on the original colour can be noted from time to
+time. If the piece is left out in the open one gets not only the effect
+of light but also that of climate on the colour, and there is no doubt
+wind, rain, hail and snow have some influence on the fading of the
+colour.
+
+If the piece is exposed under glass, the climatic influences do not come
+into play, and one gets the effect of light alone.
+
+In making tests of fastness, the dyer will and does pay due regard to
+the character of the influences that the material will be subjected to
+in actual use, and these vary very considerably; thus the colour of
+underclothing need not be fast to light, for it is rarely subjected to
+that agent of destruction. On the other hand it must be fast to washing,
+for that is an operation to which underclothing is subjected week by
+week.
+
+Window curtains are much exposed to light and air, and, therefore,
+colours in which they are dyed should be fast to light and air. On the
+other hand these curtains are rarely washed, and so the colour need not
+be quite fast to washing. And so with other kinds of fabrics, there are
+scarcely two kinds which are subjected to the same influences, and
+require the colours to have the same degree of fastness.
+
+The fastness to rubbing is generally tested by rubbing the dyed cloth on
+a piece of white paper.
+
+=Fastness to Washing.=--This is generally tested by boiling a swatch of
+the cloth in a solution of soap containing 4 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.
+
+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.
+
+Fastness to acids and fastness to alkalies is observed while carrying
+out the various acid and alkali tests given above.
+
+
+
+
+CHAPTER IX.
+
+EXPERIMENTAL DYEING AND COMPARATIVE DYE TESTING.
+
+
+Every dyer ought to be able to make experiments in the mordanting and
+dyeing of textile fibres for the purpose of ascertaining the best
+methods of applying mordants or dye-stuffs, the best methods of
+obtaining any desired shade, and for the purpose of making comparative
+tests of dyes or mordanting materials with the object of determining
+their strength and value. This is not by any means difficult, nor does
+it involve the use of any expensive apparatus, so that a dyer need not
+hesitate to set up a small dyeing laboratory for fear of the expense
+which it might entail.
+
+In order to carry out the work indicated above there will be required
+several pieces of apparatus. First, a small chemical balance, one that
+will carry 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.
+
+In using the balance always put the substance to be weighed on the
+left-hand pan, and the weights on the right-hand pan. Never put
+chemicals of any kind direct on the pan, but weigh them in a watch
+glass, small porcelain basin, or glass beaker, which has first been
+weighed, according to the nature of the material which is being
+weighed. The sets of weights are always fitted into a block or box, and
+every time they are used they should be put back into their proper
+place.
+
+The experimenter will find it convenient to provide himself with a few
+small porcelain basins, glass beakers, cubic centimetre measures, two or
+three 200 c.c. flasks with a mark on the neck, a few pipettes of various
+sizes, 10 c.c., 20 c.c., 25 c.c.
+
+The most important feature is the dyeing apparatus. Where only a single
+dye test is to be made, a small copper or enamelled iron saucepan, such
+as can be bought at any 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.
+
+[Illustration: FIG. 44.--Experimental Dye-bath.]
+
+It is, however, advisable to have means whereby several dyeing
+experiments can be made at one time and under precisely the same
+conditions, and this cannot be done by using the simple means noted
+above.
+
+To be able to make perfectly comparative dyeing experiments it is best
+to use porcelain dye-pots--these may be bought from most dealers in
+chemical apparatus--and to heat them in a water-bath arrangement.
+
+The simplest arrangement is sketched in Fig. 44; it consists of a copper
+bath measuring 15 inches long by 10-1/2 inches broad and 6-1/2 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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+For the dye-stuff:--
+
+5 (weight of swatch) multiplied by 2 (per cent. of dye) and divided by
+100 equals--
+
+                        5 x 2
+                       ------- = 0.1 gram dye
+                         100
+
+For the soda we have similarly:--
+
+                   5 x 3
+                  ------- = 0.15 gram soda.
+                    100
+
+For the Glauber's salt:--
+
+                 5 x 15
+                -------- = 0.75 gram Glauber's salt.
+                  100
+
+These quantities may be weighed out and added to the dye-bath, or if
+solutions are kept, a calculation can be made as to the number of cubic
+centimetres which contain the above quantities, and these measured out
+and added to the dye-bath.
+
+When all is ready, the bath is heated up, the swatch entered, and the
+work of the test entered upon.
+
+Students are recommended to make experiments on such points as:--
+
+The shades obtained by using various proportions of dye-stuffs.
+
+The influence of various assistants--common salt, soda, Glauber's salt,
+borax, phosphate of soda--in the bath.
+
+The influence of varying proportions of mordants on the shade of dyeing.
+
+The value of various assistants, tartar, oxalic acid, lactic acid,
+sulphuric acid, on the fixation of mordants.
+
+The relative value of different tannin matters, etc.
+
+Each dyer should make himself a pattern-book into which he should enter
+his tests, with full particulars as to how they have been produced at
+the side.
+
+It is important that a dyer should be able to make comparative dye
+tests to ascertain the relative strength of any two, or more samples of
+dyes which may be sent to him. This is not difficult, but requires
+considerable care in carrying out the various operations involved.
+
+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.
+
+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.
+
+It is easier to ascertain if two dyes are different in strength of
+colour than to ascertain the relative difference between them. There are
+two plans available for this purpose--one is a dyeing test, the other is
+a colorimetric test made with the solutions of the dyes.
+
+=Dyeing Test.=--This method of ascertaining the relative value of two
+dyes as regards strength of colour is carried out as follows: A
+preliminary test will show which 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-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.
+
+=Colorimetric Test.=--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
+
+30    :    25    : :    100    :    83.3,
+
+that is, the weaker sample has only 83.3 per cent, of the strength of
+the stronger sample.
+
+
+
+
+INDEX.
+
+COMPILED BY MISS GRACE GREENWOOD, B.A. (LOND.)
+
+
+A.
+
+Acetate liquor, 190, 193.
+-- of alumina, 170.
+-- of chrome, 180.
+-- of lead, 159.
+
+Acetic acid, 174, 180, 184, 227, 231.
+
+Acid dyes;, 83, 159.
+-- dye-stuffs, topping with, 228.
+-- green, 84, 221, 229, 234.
+-- magenta, 84. 220.
+-- violet, 229.
+-- --6 B, 211, 218.
+-- yellow, 220.
+
+Acids, action of, on cellulose, 9.
+Acridine orange NO, 231, 232.
+
+Affinity of dye-stuff for fibre, 109.
+
+Albumens, 4.
+
+Algarobilla, 147, 148.
+
+Alizarine, 18, 150, 157, 169, 180, 259.
+-- blue, 173, 174.
+-- --paste, 174.
+-- dyed goods, test of, 258.
+-- dyes, 84.
+-- oil, 170.
+-- orange, 173. 174.
+-- pink, 172.
+-- purple, 172.
+-- red, 171, 248.
+-- violet, 172.
+-- yellow N, 180.
+
+Alkali blue B, 233.
+-- --3 B, 233.
+-- --6 B, 217, 232, 233, 238.
+-- yellow R, 209.
+
+Alkalies, action of, on cotton, 6.
+
+Alkaline blue, 211, 214, 215, 216.
+-- copper solution, 196.
+
+Alpha-naphthol, 130, 132, 133, 186, 187, 188.
+
+Alpha-naphthylamine, 182, 185, 187, 188.
+-- claret, 197.
+
+Alum, 159, 164, 165. 166, 167.
+
+Alumina, 157.
+-- acetate, 179.
+-- mordants, 259.
+
+Amidazol blacks, 79, 121, 179.
+-- black G, 124, 126.
+-- brown, 121.
+-- cachou, 127.
+-- cutch, 126.
+-- drab, 127.
+-- green B, 127.
+-- -- Y, 127.
+-- olive, 121.
+
+Amidoazobenzene, 185, 187, 188.
+
+Amido-azo bodies, 183.
+-- compounds, 182.
+
+Amidoazotoluol, 198.
+-- garnet, 198.
+
+Amido bases, diazotisation of, 182.
+-- groups, 130.
+
+Amido-diphenylamine, 183.
+
+Amido-phenylamine, 133.
+
+Amines, 181.
+
+Ammonia, 174, 180.
+-- soda, 173.
+
+Ammoniacal copper, 21.
+
+Ammonium chloride, 180, 207.
+
+Amyloid, 12.
+
+Aniline, 13, 182, 184, 185, 186, 188.
+-- black, 79, 205, 234.
+-- grey B, 229, 231, 333.
+-- hydrochloride, 181.
+-- oil, 206, 207.
+-- salt, 207.
+
+Anisidine, 183.
+
+Anthracene brown, 174.
+
+Anthrapurpurine, 171.
+
+Antimony fluoride, 147.
+
+---- oxalate, 147.
+
+_Appretur der Gewebe_, 252.
+
+Archil substitute N, 229.
+
+Artificial silk, 15.
+
+Atlas red R, 102.
+
+Auramine, 18, 147, 153.
+
+---- G. 154.
+
+---- I I, 151, 152, 153, 230, 231, 232.
+
+Auroline, 209.
+
+Automatic yarn-dryer, 253.
+
+Azine green, T O, 231.
+
+Azo-acid dyes, 210.
+
+---- yellow, 211.
+
+Azo blue, 85, 211.
+
+---- ---- 2 R, 228.
+
+---- compounds, 182.
+
+---- dyes, 18, 129, 159, 181.
+
+---- mauve. 100, 210.
+
+---- ---- A M, 99, 106.
+
+---- orseille B B, 229.
+
+---- red A, 211, 214, 215, 216, 217, 223, 229.
+
+---- rubine A, 229.
+
+---- scarlet, 84.
+
+---- violet, 100.
+
+Azophor orange M N, 195.
+
+---- red P N, 139, 141, 193,195.
+
+
+B.
+
+Barlow kiers, 30, 32.
+
+Barwood, 18, 156, 178.
+
+Basic dyes, 83.
+
+---- ---- topping with, 145.
+
+---- dye-stuffs, topping with, 228.
+
+Bast fibre, 2.
+
+Bayer developer, 133.
+
+Beaumont's cop-dyeing machine, 67.
+
+Beige, 167.
+
+Benzo azurine, 101, 107, 112.
+
+---- ---- G, 93, 101, 146, 201.
+
+---- ---- 3 G, 211.
+
+---- ---- R, 210.
+
+---- black blue, 164.
+
+---- blue, 227.
+
+---- ---- 3 B, 94.
+
+---- ---- black G, 210.
+
+---- ---- R W, 115.
+
+---- brown, 92.
+
+---- ---- G, 100, 103.
+
+---- ---- N B, 100, 103.
+
+---- ---- N B X, 101.
+
+---- chrome black blue B, 96, 118.
+
+---- ---- brown G, 118.
+
+---- ---- ---- 5 G, 113.
+
+---- ---- ---- R, 118.
+
+---- ---- ---- 2 R, 117.
+
+---- dyes, 18, 85, 208, 225.
+
+---- fast grey, 102.
+
+---- ---- scarlet 4 B S, 107.
+
+---- green, B B, 93.
+
+---- ---- G, 92, 145.
+
+Benzo-nitrol black B, 142.
+
+---- brown G, 144.
+
+---- dark brown N, 144.
+
+---- developer, 141.
+
+---- dyes, 139.
+
+Benzo olive, 92.
+
+---- orange R, 87, 92.
+
+---- purpurine, 85, 101, 107.
+
+---- ---- B, 100, 210.
+
+---- ---- 4 B, 87, 89, 210, 217.
+
+---- ---- 6 B, 146.
+
+---- ---- 10 B, 210, 217.
+
+Beta-naphthol, 130, 131, 132, 184, 186, 187, 188, 189, 191, 196, 235.
+
+Beta-naphthylamine, 182, 185, 187, 188.
+
+---- red, 196.
+
+Bichromate of potash, 164, 165, 166, 167, 177, 179, 181.
+
+---- of soda, 206.
+
+Biebrich orange, 128.
+
+---- scarlet, 128.
+
+Birch's sewing machine, 25.
+
+---- washing machine, 36.
+
+Bismarck brown, 146, 147, 153, 165, 166, 167, 229, 230, 232.
+
+---- ---- F F, 231.
+
+Bisulphate of soda, 221, 222, 223.
+
+Black, 104, 120, 121, 122, 123, 124, 137, 138, 139, 142, 144,
+       166, 214, 215, 217.
+
+---- and blue shot, 222, 223.
+
+---- and crimson shot dyes, 237.
+
+---- and green blue shot, 222.
+
+---- and pink shot, 223.
+
+---- and yellow shot, 223.
+
+---- blue, 116.
+
+---- brown, 102, 103, 118, 136, 138.
+
+---- dyeing of, 234.
+
+---- iron liquor, 165.
+
+Bleaching of cotton, 24.
+-- of fine fabrics, 42.
+-- of yarn, 43.
+
+Blue, 96, 97, 98, 115, 125, 126, 130, 136, 145, 146, 155.
+-- and gold shot dyes, 237.
+-- and gold yellow shot, 222.
+-- and orange shot, 224.
+-- black, 136, 137, 138, 139, 154, 216, 219.
+-- developer A, 130.
+-- -- AN, 134.
+-- green, 114.
+-- grey, 105.
+
+Bluestone, 164, 165, 166, 178.
+
+Bluish claret red, 187.
+-- rose, 153.
+
+Borax, 86, 180, 221.
+
+Brazil wood, 84, 156, 178, 179.
+
+Bridson's washing machine, 36.
+
+Bright blue, 95, 97, 98, 145, 151, 215, 217, 230.
+-- crimson, 232.
+-- grass green, 93.
+-- green, 146, 151.
+-- grey, 106.
+-- navy, 115, 116.
+-- olive yellow, 232.
+-- orange, 92.
+-- pea green, 94.
+-- pink, 90.
+-- red, 87, 145.
+-- --lilac, 99.
+-- rose, 230.
+-- scarlet, 89, 130, 186.
+-- sea green, 151.
+-- straw, 90.
+-- violet, 231.
+-- walnut, 143.
+-- yellow, 90, 143, 154, 213, 214, 215, 229.
+
+Brilliant azurine B, 146.
+-- --5 G, 97, 211.
+-- cochineal 4 R, 222.
+-- Congo R, 210.
+-- croceine, 229.
+-- -- 3 B, 237.
+-- green, 145, 146, 147, 151, 154, 229, 231, 232, 233.
+-- milling green B, 211.
+-- orange, 92.
+-- -- G, 103, 218, 232.
+-- orseille C, 229.
+-- purpurine, 87.
+-- -- R, 210.
+-- red, 88.
+-- rhoduline red B, 151.
+-- scarlet, 211, 229.
+-- -- G, 211
+-- violet, 231.
+-- yellow, 230.
+
+Bronze green, 114, 217.
+-- grey, 106.
+
+Brown, 101, 103, 117, 120, 127, 128, 130, 144, 164, 174, 180, 218, 232.
+-- and blue shot dyes, 222, 238.
+-- and violet shot, 223.
+-- drab, 100.
+
+Brownish orange, 186.
+
+Buff brown, 102, 118, 126, 135.
+-- yellow, 91.
+
+
+C.
+
+Cachou de laval, 100, 121.
+
+Camwood, 156, 178.
+
+Capri blue, 230.
+-- green, 229.
+-- -- 2 G, 231.
+
+Carbonate of soda, 168, 209,
+-- of soda lye, 168.
+
+Carbonising of woollen goods, 12.
+
+Catechu, 187.
+-- brown, 112.
+-- -- F K, 117.
+-- -- G K, 117.
+
+Caustic soda, 180.
+-- -- liquor, 189.
+-- -- lye, 196.
+
+Cellulose, 5, 6.
+-- di-nitrate, 14, 15.
+-- hexa-nitrate, 14.
+-- penta-nitrate, 14.
+-- tetra-nitrate, 14.
+
+Ceruleine, 180.
+
+Chalk, 180, 181.
+
+Chardonnet's process for making silk, 15.
+
+Chemical reagents, action of, 257.
+
+Chemicing of cotton, 36.
+
+Chemistry of cotton fibre, 1.
+
+Chestnut, 100, 104, 118, 142, 219.
+
+Chicago blue, 112, 227.
+-- -- B, 115, 210.
+-- -- 4 B, 116, 210.
+-- -- 6 B, 95, 97, 114, 116, 146, 210, 217, 232, 233.
+-- -- R, 210.
+
+Chicago blue G, 210.
+
+---- ---- 4 R, 99, 100.
+
+---- ---- R W, 114, 115, 119.
+
+---- dyes, 85.
+
+Chloramine yellow, 209.
+
+Chloride of copper, 180.
+
+---- of lime, 37.
+
+---- of soda, 207.
+
+Chlorophenine orange R, 91.
+
+Chocolate brown, 102, 143, 155, 172.
+
+Chromanil black R F, 120.
+
+---- ---- 4 R F, 119.
+
+---- brown 2 G, 119.
+
+Chrome, 157.
+
+Chrome-logwood black, 177.
+
+Chrome mordants, 259.
+
+Chromic acid, 17.
+
+Chromine G, 209.
+
+Chromium chloride, 173.
+
+---- fluoride, 112.
+
+---- mordant, 173.
+
+Chrysamine, 85, 92, 101, 210.
+
+---- G, 91, 93, 113, 114, 146.
+
+---- R, 92.
+
+Chrysoidine, 147, 151, 164, 221, 232, 233.
+
+---- R, 232.
+
+Chrysophenine, 90, 100, 210, 217, 233.
+
+---- G, 114, 119, 232.
+
+Ciliary fibres, 1.
+
+Claret, 89, 146.
+
+---- red, 174.
+
+Clayton yellow, 210.
+
+Cloth-dyeing machine, 76.
+
+Cloth scarlet, 160.
+
+-----washing machine, illustration of, 245, 246, 247.
+
+Cochineal, 156, 259.
+
+Coffee brown, 165.
+
+Collodion, 15.
+
+Colorimetric test for relative value of dyes, 268.
+
+Colouring matter, 3.
+
+---- principle of dye-stuff, 156.
+
+Colour lake, 18.
+
+---- lakes, 156.
+
+Columbia black B, 210, 232.
+
+---- ---- F B, 103, 104, 210, 218.
+
+---- ---- F B B, 105.
+
+---- ---- R, 232, 233.
+
+---- blue G, 224.
+
+---- green, 101, 146.
+
+Columbia orange R, 91, 103, 104.
+
+---- red S, 211.
+
+---- yellow, 91, 115, 209.
+
+Comparative dye testing, 262.
+
+Condensed water, 227.
+
+Congo blue 2 B, 95.
+
+---- brown, 210.
+
+---- ---- G, 210, 217, 218.
+
+---- Corinth, 232.
+
+---- ---- B, 99, 209, 211.
+
+---- ---- G. 89, 211, 217, 224.
+
+---- dyes, 18, 85, 208, 225.
+
+---- orange G, 210.
+
+---- ---- R, 92, 210.
+
+---- R, 210.
+
+---- red, 85, 107, 128.
+
+---- rubine, 89.
+
+Continuous dyeing machine, 79.
+
+Cop dyeing, 64.
+
+Cop-dyeing machine, Beaumont's, 67.
+
+---- ---- Graemiger, 65, 66.
+
+---- ---- Mommer's, 69.
+
+---- ---- Young & Crippin, 68.
+
+Copper acetate, 177.
+
+---- logwood black, 177.
+
+---- nitrate, 177.
+
+---- soda solution, 180.
+
+---- sulphate, 112, 164, 166, 177, 181.
+
+Copperas, 147, 164, 165, 166, 167, 172, 175, 178, 181, 200.
+
+Cornflower blue, 218, 233.
+
+Corron's hank-dyeing machine, 63.
+
+Cotton bleaching, 23.
+
+---- brown A, 231.
+
+---- ---- 91, 100, 101, 103, 106, 132, 137, 138, 144, 228.
+
+---- dyeing, 18.
+
+---- fibre, 2.
+
+---- ---- illustration of, 5.
+
+---- ---- impurities of, 3.
+
+---- ---- structure of, 4.
+
+---- ---- structure and chemistry of, 1.
+
+---- fibres, composition of, 5.
+
+---- ---- production of colour direct on, 181.
+
+---- scouring, 23.
+
+Cotton-silk fabrics, dyeing of, 225.
+
+Cotton wax, 3.
+
+---- yellow, 100, 210.
+
+Coupling process, 139.
+
+Cream, 91.
+
+Cresyl blue, 229.
+-- fast violet 2 RN, 232.
+-- violet, 229.
+
+Crimson, 130, 135, 151, 155, 217, 219, 230.
+-- red, 88, 130.
+
+Croceine AZ, 223.
+-- orange, 128, 211.
+-- scarlet, 128, 160.
+
+Cross-dye black, 79, 107, 121.
+-- -- B, 123.
+-- -- 2B, 120.
+-- drab, 93, 121, 126.
+
+Cross dyeing, 220.
+
+Curcumeine, extra, 211, 218, 224.
+
+Curcumine, 209, 217.
+-- S, 103, 104, 223.
+
+Curcuphenine, 90.
+
+Cutch, 147, 156, 164, 165, 166, 167, 178, 181, 186.
+
+Cuticle fibres, 1.
+
+Cyanole extra, 221, 222, 223, 229, 231, 232, 233, 237.
+
+
+D.
+
+Damages in bleached goods, 50.
+
+Dark blue, 95, 96, 97, 98, 115, 116, 136, 139, 142, 153, 154, 155,
+           215, 216, 217, 218, 219.
+-- -- and green shot dyes, 237.
+-- -- and olive shot dyes, 238.
+-- bronze, 115.
+-- brown, 180, 214, 216, 217, 218, 219, 230, 231.
+-- -- and blue shot, 222.
+-- -- olive, 165, 166.
+-- chestnut, 104.
+-- -- brown, 101, 103, 117, 119.
+-- cream, 231.
+-- crimson, 136, 231.
+-- drab, 102, 126, 233.
+-- green, 93, 94, 113, 115, 127, 142, 144, 146, 151, 153,
+          214, 217, 219, 230.
+-- grey, 119, 120, 154, 215, 218, 232.
+-- lilac, 146.
+-- maroon, 89, 135.
+-- navy, 95, 97, 98, 115, 126, 137.
+-- olive, 92, 127, 164.
+-- -- brown, 118.
+-- orange, 91.
+-- plum, 87, 99, 116, 138, 166.
+-- red, 88, 113.
+-- Russian green, 232.
+-- sage, 127, 216.
+-- scarlet, 153, 155.
+-- sea green, 94, 214, 232.
+-- slate, 106, 214.
+-- stone, 214.
+-- turquoise blue, 116.
+-- violet, 156.
+-- walnut, 216.
+-- -- brown, 103.
+-- yellow, 90.
+
+"Dead" cotton fibres, 4.
+
+Deep black, 104.
+-- blue, 97, 126.
+-- brown, 104, 118, 231.
+-- chestnut brown, 102, 136.
+-- crimson, 89, 232.
+-- green, 94.
+-- leaf green, 233.
+-- olive brown, 180.
+-- orange, 92, 135, 214, 230.
+-- -- yellow, 230.
+-- pink, 88.
+-- rose, 230, 233.
+
+Delahunty's dyeing machine, 57, 58.
+
+Delta purpurine, 107.
+-- -- 5 B, 210.
+
+Developing, 131.
+--machine for paranitroaniline red, 194.
+
+Diamine azo blue, 2 B, 233.
+-- -- -- R, 145.
+-- -- -- 2 R, 237, 238.
+-- -- -- RR, 136, 137.
+-- black B, 227, 232.
+-- -- B H. 104, 106, 118, 136, 137, 138, 210, 215, 216, 237.
+-- -- B O, 92, 100, 139, 210.
+-- -- H W, 92, 93, 94, 95, 97, 102, 103, 104, 130, 132, 209, 214, 215,
+           228, 230, 231, 233.
+-- -- R O, 87, 92, 93, 95, 100, 101, 104, 106, 138, 139, 146, 210, 228.
+-- blue, 112. 132.
+-- -- 2 B, 210.
+-- -- 3 B, 92, 98, 210, 227.
+-- -- B B, 227.
+-- -- B G, 96, 210, 228.
+-- -- B X, 102, 209, 210, 228.
+-- -- C B, 228.
+-- -- G, 209.
+
+Diamine blue 3 R, 95, 100, 115, 116, 117, 119, 210, 228.
+-- -- R W, 95, 98, 113, 114, 117, 120, 209, 210, 228, 230.
+-- -- black E, 97, 210, 228.
+-- -- -- R, 102.
+-- Bordeaux, 87.
+-- -- B, 89, 210, 215, 216, 228.
+-- -- S, 210, 228, 231, 233.
+-- brilliant blue G, 96, 99, 115, 145, 210, 215, 216, 223, 227.
+-- bronze G, 91, 93, 100, 106, 114, 115, 118, 139, 144, 210, 214,
+             228, 231, 232, 233.
+-- brown, 112, 132.
+-- -- B, 209, 228.
+-- -- G, 104, 119, 209, 210.
+-- -- 3 G, 209, 228, 230.
+-- -- M, 90, 95, 102, 104, 118, 119, 138, 216, 217, 228, 231, 232.
+-- -- N, 209, 217, 231, 233.
+-- -- S, 210.
+-- -- V, 92, 98, 138, 143, 144, 210, 228, 233.
+-- -- Y, 92.
+-- catechine B, 101, 102, 103, 114, 117, 210, 216.
+-- -- G, 89, 94, 101, 102, 103, 113, 117, 209, 210.
+-- colours, 227.
+-- cutch, 130, 132, 136, 137, 138.
+-- dark blue B, 114, 116, 118, 120, 209, 210, 216, 217, 228, 231, 233.
+-- -- green N, 93.
+-- deep black Cr, 96.
+-- -- -- RB, 104.
+-- dyes, 18, 85, 208, 225.
+-- fast red, F, 87, 89, 90, 113, 118, 209, 228, 230.
+-- -- yellow A, 90, 92, 114, 115, 116, 136, 137, 143, 144, 210, 213, 223,
+                227, 232, 233, 235, 237, 238.
+-- -- -- B, 89, 91, 92, 94, 97, 98, 113, 114, 117, 118, 119, 120, 138, 209,
+            214, 215, 216, 223, 228, 231, 232.
+-- gold, 100, 210, 213, 228, 230, 231, 232.
+-- green B, 93, 97, 115, 146, 209, 214, 228, 230, 235.
+-- -- G, 94, 209, 210, 228.
+-- grey G, 106, 143, 228, 232.
+-- jet black, 139.
+-- -- -- Cr, 105, 118, 120, 121.
+-- -- -- O O, 144.
+-- -- -- R B, 105, 120.
+-- new blue R, 98, 116, 120, 210.
+-- nitrazol black B, 143, 144.
+-- -- brown B, 143, 210.
+-- -- -- G, 143, 210.
+-- -- dye, 139.
+-- orange, 132.
+-- -- B, 89, 92, 114, 117, 118, 119, 120, 209, 215, 216, 217, 228, 230.
+-- -- D, 210.
+-- -- D C, 223, 227, 231, 233, 237, 238.
+-- -- F, 209.
+-- -- G, 91, 102, 210, 214, 215, 221, 222, 231.
+-- -- G D, 104.
+-- -- G G, 227, 233.
+-- red, 107.
+-- -- B, 210.
+-- -- 4 B, 209.
+-- -- 5 B, 88, 89, 103, 209, 215, 228.
+-- -- 6 B, 209.
+-- -- 10 B, 88, 89, 146, 209, 230.
+-- -- N, 87.
+-- -- N O, 210.
+-- rose, 223.
+-- -- B D, 88, 209, 215, 228, 230, 233.
+-- -- G D, 99.
+-- scarlet, 107.
+-- -- B, 91, 106, 210, 215, 228.
+-- -- 3 B, 88, 210, 228.
+-- -- H S, 230.
+-- -- S, 228.
+-- sky blue, 94, 97, 98, 145, 210, 215, 222, 237, 238.
+-- -- -- F F, 94, 96, 98, 114, 115, 210, 222, 223, 227, 232.
+-- steel blue L, 96, 210, 214, 222, 228.
+-- violet N, 87, 99, 100, 145, 146, 210, 223, 228, 231, 238.
+-- yellow, 92.
+-- yellow N, 90, 92, 93, 100, 113, 228, 230.
+
+Diamineral blue R, 95, 116, 227, 238.
+
+Diaminogene, 234, 235.
+-- B, 138, 228, 234, 235.
+-- blue B B, 136, 138.
+-- extra, 143, 228, 234, 235.
+
+Dianil black C R, 97, 119, 142.
+-- -- N, 118, 120, 121.
+-- blue B, 94, 97, 98, 116, 142.
+-- -- G, 98, 113.
+-- -- 2 K, 94.
+-- -- 4 R, 99, 116.
+-- brown B D, 119, 142.
+-- -- G 0, 142.
+-- -- 3 G O, 103, 118, 119, 142, 143.
+-- -- R, 102, 103, 118, 119, 142.
+-- -- T, 102.
+-- claret B, 89, 99, 145.
+-- -- G, 89.
+-- dark blue R, 94, 95, 97, 116, 142, 143.
+-- -- -- 3 R, 97, 142.
+-- -- brown, 103.
+-- olive, 93.
+-- orange G, 89, 92.
+-- -- 2 R, 92.
+-- red 4 B, 89, 145.
+-- scarlet G, 145.
+-- yellow, 94.
+-- -- G, 91, 98.
+-- -- 3 G, 91, 94, 113.
+-- -- R, 94, 113.
+-- -- 2 R, 91.
+
+Dianisidine blue, 197.
+
+Diazo-benzene chloride, 181.
+
+Diazo black. 132, 139.
+-- blue, 132.
+-- brown, 130, 139.
+-- compounds, 181.
+-- liquor, 190.
+
+Diazotisation, 129.
+-- of amido bases, 182.
+
+Diazotised paranitroaniline, 140.
+
+_Dictionary of Coal-tar Colours_, 259.
+
+Dinitroso-resorcine, 179.
+
+Diphenyl brown B N, 103.
+
+Direct deep black E extra, 104.
+
+Direct dyeing, 85.
+-- dyes, 83.
+-- -- fastness of, 106.
+-- fast brown B, 144.
+-- indigo blue, 98.
+-- orange R, 210.
+-- red, test of, 265.
+-- triamine black G X, 104.
+-- yellow G, 90, 106, 210.
+
+Divi-divi, 147, 148, 239.
+
+Drab, 93, 165, 216, 218, 219, 231.
+
+Drying cylinders, 255.
+-- of dyed goods, 249.
+
+Dull lilac, 99.
+-- violet, 100.
+
+Dye-beck, 77.
+
+Dye-house washing machine, 244, 246.
+
+Dyeing apparatus, 263.
+-- of basic dyes, 149.
+-- machinery, 53, 57.
+-- on metallic mordants, 156.
+-- test for relative value of dyes, 267.
+
+Dye-jigger, 72, 73.
+
+Dyers' bleach, 24.
+
+Dye-tank, illustration of, 54.
+
+Dye-tub, illustration of, 54.
+
+Dye-vat, section of, 56.
+
+
+E.
+
+Eboli blue B, 231.
+-- green T, 230.
+
+Emerald tint, 154.
+
+Eosine, 84, 229.
+
+Eosines, dyeing with, 158, 159.
+
+Erie blue B X, 97.
+-- -- 2 G, 210.
+
+Erika B, 87.
+-- B N, 99, 100, 210, 224.
+
+Erythrosine, 229.
+-- B, 238.
+
+Erythrosines, 160.
+
+Experimental dye-bath, 263.
+-- dyeing, 262.
+
+
+F.
+
+Farmer's washing machine, 36.
+
+Fast acid green, 229.
+-- -- -- B N, 222.
+-- blue developer A D, 133.
+-- brown, 164.
+-- neutral violet B, 154,
+-- yellow S, 223, 237, 238.
+
+Fastness of colours, 260.
+-- of colours to light and air, 260
+-- of colours to rubbing, 261.
+-- of colours to washing, 261.
+-- of direct dyes, 106.
+
+Fatty acids, 3.
+
+Fawn, 165.
+-- brown, 167.
+-- drab, 100, 216.
+
+Fiery yellowish red, 186.
+
+First green liquor, 168.
+
+Fixation, 149.
+-- with couplers, 139.
+-- -- developers, 128.
+-- -- metallic salts, 112.
+
+Flavo-purpurine, 171.
+
+Formyl blue B, 211.
+-- violet, 84, 229, 233.
+-- -- 6 B, 211.
+-- -- 10 B, 211.
+-- -- S 4 B, 211, 214, 215, 216, 222, 231, 237, 238.
+
+Full blue, 43, 97.
+-- yellow orange, 186.
+
+Furnival's Square beater, 30.
+
+Fustic, 156, 157, 166, 178, 259.
+-- extract, 164, 165, 166, 167, 175, 176, 181.
+
+
+G.
+
+Gallipoli oil, 168.
+
+Galls, 147, 148.
+
+Gambier, 147.
+
+Glauber's salt, 83, 108, 111, 209, 214, 215, 221, 222, 223,
+                225, 231, 234, 237.
+
+Glycerine, 180.
+
+Gold and green shot dyes, 221.
+-- brown, 100, 101, 102, 103, 138, 142, 143, 153, 216, 230.
+-- -- and blue shot, 222.
+-- drab, 232.
+-- orange, 214.
+-- yellow, 91, 113, 130, 142, 230.
+
+Good yellow, 213.
+
+Graemiger cop-dyeing machine, 65, 66.
+
+Grass green, 93.
+
+Green, 92, 93, 94, 114, 130, 143, 145, 151, 180, 215.
+-- and buff shot, 223.
+-- and claret shot, 222.
+-- and pink shot dyes, 238.
+-- and orange shot, 224.
+-- and red shot, 223, 224.
+-- blue, 98.
+-- grey, 106, 120.
+-- olive, 92.
+-- yellow, 91.
+
+Greening operation, 168.
+
+Grey, 106, 120, 153, 219.
+-- and orange shot, 223.
+-- blue, 96.
+-- lilac, 99, 153.
+-- slate, 166.
+-- sour operation, 32.
+
+Grothe, 252.
+
+Ground fustic, 166.
+
+Guinea green B, 211, 218, 224.
+-- violet B, 224.
+-- -- 4 B, 211, 218.
+
+Gum tragacanth, 192.
+
+Gun cotton, 13.
+
+
+H.
+
+Half-silk fabrics, dyeing of, 225.
+
+Hand dyeing, 53.
+
+Hank bleaching, 45.
+
+Hank-dyeing machine. Corron's, 63.
+-- -- Klauder-Weldon's, 61, 62.
+
+Hank-wringing machines, 241.
+
+Havanna brown, 166.
+
+Hawking machine, Holliday's, 78.
+
+Hawthorne's washing machine, 36.
+
+Heliotrope, 99, 233.
+-- B B, 90, 146.
+-- 2 B, 99, 233.
+
+Hessian brown 2 M, 98.
+-- -- 2 B N, 100, 231.
+-- grey S, 231.
+-- purple N, 230.
+-- violet, 211.
+
+Hoffman violet, 152.
+
+Holliday, 182.
+
+Holliday's hawking machine, 78.
+-- yarn-dyeing machine, 60.
+
+Hurst's _Silk Dyeing_, 225.
+
+Hydrocellulose, 12.
+
+Hydrochloric acid, 177, 183, 184, 190.
+-- -- action of, 11.
+
+Hydro-extractors, 251, 252.
+
+Hydrosulphite indigo vat, 204.
+
+
+I.
+
+Immedial black, 107, 121.
+-- blacks, 79.
+-- blue, 121.
+-- -- C, 125.
+
+Immedial bronze A, 128.
+-- -- B, 128.
+-- brown, 121.
+
+Impregnation with dye-stuff solution, 198.
+
+Indamine blue N, 154.
+
+Indazine, 229.
+
+Indian yellow G, 211, 213, 214, 216, 217, 222, 229, 231.
+-- -- R, 211, 213, 214, 229, 231, 232.
+
+Indigo, 18, 20, 198.
+-- blue, 152, 154.
+-- -- N, 229, 233.
+-- -- S G N, 229.
+-- carmine, 165.
+-- dyed goods, test of, 258.
+-- dyeing, 199.
+-- dye-vat for cloth, 199.
+-- extract, 84, 167.
+-- white, 200.
+
+Indigotin, 198.
+
+Indophenol, 205.
+
+Induline, 229.
+
+Irisamine G, 152, 153.
+
+Iron, 157.
+-- liquor, 172, 175, 176, 180.
+-- mordants, 259.
+-- stains, 50.
+-- sulphate, 112.
+
+
+J.
+
+Janus black I, 219.
+-- -- II, 219.
+-- blue G, 155.
+-- -- R, 155, 219.
+-- brown B, 156, 219.
+-- -- R, 219, 220.
+-- claret red B, 156, 219.
+-- dark blue B, 219.
+-- dyes, 155, 218.
+-- green B, 155, 219, 220.
+-- grey B, 156.
+-- -- BB, 219, 220.
+-- red B, 155, 219.
+-- yellow G, 219.
+-- -- R, 155, 156, 219, 220.
+
+Jet black, 121.
+
+Jigger, 72.
+
+Jig-wince, 74, 75.
+
+
+K.
+
+Katigen black, 121.
+-- brown, 107, 121.
+-- dark brown, 128.
+-- green, 121.
+-- olive G, 127.
+
+Khaki, 180.
+-- shades, 248.
+
+Kiers, 30.
+
+Klauder-Weldon hank-dyeing machine, 61, 62.
+
+
+L.
+
+Lanacyl blue B B, 211.
+-- violet B, 211, 217.
+
+Leaf green, 94, 113, 114, 231.
+
+Lehner's process for making silk, 15.
+
+Lemon yellow, 91.
+
+Leuco, 198.
+
+Light blue, 115, 138.
+-- brown, 101, 103, 117.
+-- chestnut brown, 137.
+-- green, 114, 143.
+-- grey, 106.
+-- indigo blue, 96.
+-- plum, 99.
+-- sage brown, 118.
+-- seal brown, 102.
+-- slate, 106.
+
+Lilac, 98, 99.
+-- red, 87.
+-- rose, 233.
+
+Lima wood, 178, 179.
+
+Lime, 169, 202.
+-- and copperas vat for indigo dyeing, 200.
+-- boil for cotton, 28.
+-- sour operation, 32.
+
+Logwood, 18, 84, 156, 157, 165, 167, 234, 259.
+-- black, 79, 174.
+-- -- dyeing on yarn in hanks, 175.
+-- decoction, 177.
+-- dyed goods, test of, 258.
+-- extract, 164, 175, 176, 181.
+-- greys, 178.
+
+Loose wool and cotton, washing of, 244.
+
+Lye boil operation. 34.
+
+
+M.
+
+Machinery for dyeing, 53, 57.
+
+Madder, 157.
+-- bleach, 24.
+
+Magenta, 18, 147, 153, 229, 231, 232, 233.
+
+Malachite green, 146, 152, 153, 229, 232.
+
+Mandarine G, 211, 217, 218, 224.
+
+Market bleach, 24, 38, 39.
+
+Maroon, 89, 138, 153, 215, 233.
+
+Mather & Platt's apparatus, 207.
+-- -- bleaching kier, 30, 31.
+-- -- machine, 246.
+-- -- washing machine, 36.
+-- -- yarn-bleaching kier, 49.
+
+Mercerisation of cotton, 8.
+
+Mercerised cotton fibres, illustrations of, 7, 9.
+
+Mercer, John, 8, 21.
+
+Metallic mordants, 156.
+
+Metanitroaniline, 185, 186, 187, 188.
+-- orange, 195.
+
+Metaphenylene blue, 229.
+-- -- B, 154, 233.
+
+Methylene blue, 17.
+-- -- B B, 153.
+-- -- 2 B, 153.
+-- -- N, 232.
+-- grey B F, 153.
+
+Methylindone B, 229, 231.
+-- R, 229.
+
+Methyl violet, 18, 229.
+-- -- B, 146, 151, 231.
+-- -- 2 B, 146.
+-- -- R, 146.
+-- -- 3R, 146.
+-- -- 4R, 152.
+
+Mikado brown, 227.
+-- -- 2 B, 238.
+-- -- 3 G O, 230.
+-- -- M, 103, 230, 232.
+-- dyes, 18.
+-- golden yellow 8 G, 230, 231.
+-- orange, 227.
+-- -- G, 91.
+-- -- 4 R, 91, 102.
+-- -- R O, 232.
+-- -- 3 R O, 231.
+-- -- 4 R O, 218, 224.
+-- -- 5 R O, 230, 238.
+-- yellow, 227.
+-- -- G, 230.
+
+Milk of lime, 28, 175.
+
+Milling orange, 229.
+-- yellow, 229.
+
+Mimosa, 209.
+
+Mixed cotton and wool fabrics, dyeing of, 208.
+
+Mommer's cop-dyeing machine, 69.
+
+Mordant dyes, 84.
+
+Mordants, 156.
+-- detection of, 259.
+
+Moss brown, 143, 232.
+
+Muslin bleaching, 41.
+
+Myrabolam, 147, 148, 239.
+-- extract, 175, 176.
+
+
+N.
+
+Naphthol, 184.
+
+-- -azo-benzene, 181.
+-- black, 128.
+-- -- B, 223.
+-- -- 3 B, 222.
+-- blue black, 211, 214, 215, 216, 217, 222, 234.
+-- -- G, 211, 222.
+-- -- R, 211.
+-- colours, 182.
+-- D, 192.
+-- X, 192.
+-- yellow S, 229, 238, 278.
+
+Naphthylamine, 13, 132, 133, 184.
+-- black, 235.
+-- -- 4 B, 211.
+-- -- 6 B, 211, 217.
+-- -- D, 211.
+-- ether, 130.
+
+Naphtindone B B, 153.
+
+Navy, 97, 98, 154.
+-- blue, 96, 214, 216, 217.
+
+Neutral grey, 132.
+-- -- G, 99, 106.
+-- violet, 229.
+
+New blue D, 229.
+-- methylene blue, 234, 235.
+-- -- -- G G, 238.
+-- -- -- M, 232.
+-- -- -- N, 126, 145, 154, 229, 231, 233.
+-- -- -- N X, 154.
+-- -- -- R, 153, 154, 233.
+-- -- -- 3 R, 145, 153.
+-- -- grey B, 153.
+-- -- -- G, 154.
+-- phosphine G. 153, 154, 229, 232.
+-- Victoria blue B, 146, 151, 152.
+
+Nigraniline, 206.
+
+Nigrosine, 229.
+
+Nitrate of copper, 177.
+-- of iron, 166, 175.
+
+Nitrazol C, 139, 141, 193.
+
+Nitric acid, action of, on cotton, 12.
+
+Nitrite of soda, 183.
+
+Nitro-aniline, 183.
+
+Nitro-benzene, 13.
+
+Nitro-naphthalene, 13.
+
+Nitro-para-toluidine, 185, 187, 188.
+
+Nitrosamine, 193.
+-- red, 195.
+
+Nitroso-resorcine, 18.
+
+Nitrous acid, 184.
+
+Nut brown, 103, 118, 119, 218, 219.
+
+
+O.
+
+Oak bark, 147.
+
+Obermaier machine, 57, 59.
+
+Oil stains, 50.
+
+Old gold, 90, 232.
+
+Olive, 92, 93, 127, 143, 164.
+-- and blue shot dyes, 238.
+-- brown, 143, 154.
+-- green, 114, 142, 144, 153.
+-- oil, 170.
+-- yellow, 91.
+
+Orange, 84, 91, 113, 130, 137, 151, 153, 154, 155, 215, 217.
+-- and blue shot, 224, 238.
+-- and violet shot, 223, 238.
+-- brown, 102.
+-- E N Z, 211, 214, 217, 222.
+-- extra, 211, 223, 232.
+-- G G, 221, 222, 231, 232, 233, 238.
+-- T A, 218.
+-- yellow, 143, 186.
+
+Orthoamidoazotoluol, 186, 187, 188.
+
+Orthonitrotoluidine, 196.
+
+Oxidising agents, action of, on cotton, 16.
+
+Oxycellulose, 16.
+
+Oxydiamine black A, 97, 105, 209.
+-- -- B M, 209, 215, 216, 217.
+-- -- D, 209, 228, 233, 234.
+-- -- M, 209.
+-- -- N, 91, 97.
+-- -- N R, 105.
+-- -- S O O O, 210, 228, 231, 233.
+-- orange G, 104, 209.
+-- -- R, 92, 104, 143, 144, 209.
+-- red S, 209.
+-- violet B, 99, 100, 210, 214, 228, 230, 231, 233.
+-- -- G, 99, 100.
+-- yellow G G, 94, 146, 209.
+
+Oxydianil yellow, 143.
+
+Oxymuriate of tin, 166.
+
+Oxyphenine, 91, 102, 209.
+
+
+P.
+
+Padding machine, 80, 81, 193, 221.
+
+Pale blue, 95, 97.
+-- brown, 102, 119, 122, 128, 164, 180.
+-- chamois, 166.
+-- chestnut, 143.
+-- drab, 233.
+-- fawn brown, 119, 130.
+-- -- red, 89.
+-- gold yellow, 213.
+-- green, 94, 151.
+-- greenish grey, 120.
+-- leaf green, 113.
+-- lilac, 99.
+-- nut brown, 102.
+-- olive brown, 100.
+-- -- green, 113.
+-- orange, 91, 92, 135.
+-- sage, 144.
+-- -- green, 217.
+-- salmon, 87.
+-- sea green, 127, 232.
+-- sky blue, 95.
+-- walnut brown, 104.
+
+Palm oil soap, 169.
+
+Paramine blue B, 96.
+-- -- black S, 96.
+-- brown C, 117.
+-- -- G, 101.
+-- indigo blue, 96.
+-- navy blue R, 96.
+
+Paranitroaniline, 185, 186, 187, 188, 190.
+-- brown, 196.
+-- red, 186, 188, 189.
+-- -- dyed cotton, 196.
+-- -- dye-tub, 191.
+-- -- on piece goods, 192.
+-- -- on yarn, 189.
+-- -- with azophor red P N, 195.
+-- -- with nitrazol C, 195.
+
+Paratoluidine, 186, 187, 188.
+
+Parchment paper, 11.
+
+Paris violet, 152.
+
+Patent blue, 84.
+
+Peach wood, 178.
+
+Peacock green, 214, 216.
+
+Pea green, 114, 233.
+
+Pectic acid, 3.
+
+Permanganate of potash, 17.
+
+Persian berries, 156, 178, 179.
+
+Phenetidine, 183.
+
+Phenol, 130, 132, 133, 181.
+
+Phenylene diamine, 130, 132, 134, 235, 237.
+
+Phosphate of soda, 86, 90, 91, 168, 170, 180, 225.
+
+Piece-dyeing machines, 71.
+
+Piece goods, drying of, 256.
+-- -- washing of, 244.
+-- -- wringing of, 241.
+
+Pink, 87, 88, 89, 152, 215.
+
+Plate singeing, 27.
+
+Plum, 99, 145, 146, 215.
+
+Pluto black B, 108, 144.
+
+Ponceau B, 164.
+-- 3 R B, 211, 217.
+
+Potash, 86.
+
+Primrose, 91, 154.
+
+Primuline, 130, 131, 132, 135, 136, 138, 142, 143, 144, 209.
+
+Production of colour direct on cotton fibres, 181.
+
+Prussiate black, 207.
+
+Pure blue, 238.
+-- soluble blue, 237.
+
+Purple brown, 100.
+
+Purpuramine, D H, 107.
+
+Pyrolignite of iron, 172.
+
+Pyroxyline, 13.
+
+
+Q.
+
+Quercitron, 156, 178, 179.
+-- bark, 178.
+-- extract, 164, 165.
+
+Quicklime, 200.
+
+
+R.
+
+Rayer & Lincoln machine, 26.
+
+Read Holliday's squeezing machine, 241.
+
+Red, 136, 187.
+-- brown, 100, 135.
+-- chocolate, 119.
+-- developer C, 192.
+-- drab, 165.
+-- lilac, 100.
+-- liquor, 165, 166, 169, 170, 176,
+-- orange, 91.
+-- plum, 117, 214.
+-- violet, 99, 116, 152, 155, 156.
+
+Reddish brown, 102.
+-- puce, 187.
+
+Reseda, 93.
+-- green, 167.
+
+Resin boil, 35.
+-- soap liquor, 35.
+
+Resorcine, 130, 132, 133, 235.
+-- green, 156.
+
+Rhodamine, 229, 231.
+-- B, 153, 233.
+-- G, 152.
+-- 6 G, 152.
+-- S, 237.
+
+Rhoduline violet, 151.
+
+Rocceleine, 211.
+
+Roller squeezing machines for yarn, 241.
+
+Rose azurine B, 87.
+-- G, 87, 90.
+-- bengale, 229.
+-- lilac, 145, 151.
+-- pink, 87.
+-- red, 88, 89.
+
+Rosophenine, 5 B, 88.
+
+Russia green, 92, 113, 143, 153.
+
+
+S.
+
+Safranine, 18, 146, 153, 221, 229, 231, 233.
+-- G, 146.
+-- prima, 153.
+-- S, 155.
+
+Sage, 214.
+-- brown, 104, 119, 135, 144, 218.
+-- green, 93, 180, 230.
+
+St. Dennis black, 121.
+
+Saline salts, quantity used, 108.
+
+Salmon, 89.
+
+Salt, 165.
+
+Satin fabrics, dyeing of, 225.
+
+Scarlet, 88, 89, 135, 145, 146, 152, 153, 155, 215, 217, 230.
+-- R, 220.
+
+Schaeffer's acid, 134.
+
+Scouring cotton, 23.
+
+Sea green, 94, 151.
+
+Seal brown, 146.
+
+Seed hairs, 1.
+
+Shot effects, 220.
+-- on satin, dyeing of, 235.
+-- with black cotton warp, 236.
+
+Silver grey, 106.
+
+Singeing of cotton, 27.
+-- wash of cotton, 28.
+
+Sky blue, 95, 98, 151, 215.
+
+Slate, 106, 218, 231, 233.
+-- blue, 97, 120, 152, 216.
+-- green, 218.
+
+Sliver dyeing, 58.
+
+Slubbing dyeing, 58.
+
+Soap, 165.
+-- effect on dye-stuffs, 226.
+
+Soaping of dyed goods, 247.
+
+Soda, 86, 132, 178.
+-- ash, 34, 166.
+-- crystals, 169.
+-- lye, 202, 235.
+-- zinc vat for indigo dyeing, 204.
+
+Sodium acetate, 196.
+-- bichromate, 164.
+-- nitrite solution, 196, 198.
+-- stannate, preparing with, 158.
+
+Solid blue, 229.
+-- green, 229.
+-- O, 179, 180.
+
+Solidogen A, 145.
+
+Soluble blue, 150, 160, 229.
+
+Spencer's hank-wringing machine, 241.
+
+Squeezing rollers, 240.
+
+Stains in bleached goods, 50.
+
+Steam aniline black, 207.
+-- -- blacks, 248.
+
+Steaming and ageing chamber, 250.
+-- cottage, illustration of, 249.
+-- of dyed goods, 248.
+
+Stearic acid, 3.
+
+Stitching of cotton, 25.
+
+Stone, 218.
+
+Structure of cotton fibre, 1.
+
+Sulfaniline black, 121.
+-- -- G, 124.
+-- brown, 121.
+-- -- 4 B, 127.
+
+Sulphate of copper, 177.
+-- of iron, 167.
+
+Sulphonates, 182.
+
+Sulphon azurine B, 210, 217, 218.
+-- D, 93.
+
+Sulphur colours, 121.
+
+Sulphuric acid, 166.
+-- action of, on cotton, 10.
+
+Sulphyl colours, 121.
+
+Sumac, 83, 147, 148, 165, 166, 167, 172, 173, 178, 239.
+-- extract, 169, 175, 219, 220.
+
+Sun yellow, 90.
+
+
+T.
+
+Tannic acid, 18, 20, 83, 147, 172.
+-- mordant, dyeing on, 147.
+
+Tannin, 173, 174, 236.
+-- grounding, 173.
+-- heliotrope, 145, 153, 229.
+-- orange R, 154, 155, 229.
+
+Tanning, 148.
+
+Tartar emetic, 147, 192, 219, 220.
+
+Tartaric acid, 180.
+
+Temperature of dye-baths, 226.
+
+Terra-cotta brown, 143.
+-- red, 90, 143.
+
+Testing of the colour of dyed fabrics, 257.
+
+Thiazole yellow, 93, 94, 209.
+
+Thiocarmine R, 84, 211, 214.
+
+Thioflavine S, 94, 104, 106, 209, 213, 215, 222, 223, 228, 229.
+-- T, 153, 154, 229, 231, 232.
+
+Tin crystals, 147, 169, 179.
+-- oxide, fixing, 158.
+
+Titan blue, 210, 211.
+-- -- 3 B, 93, 102, 164.
+-- -- R, 102.
+-- brown O, 210.
+-- -- P, 164.
+-- -- R, 102, 210.
+-- -- Y, 161, 210.
+-- colours, 227.
+-- como G, 95.
+-- -- S N, 98.
+-- dyes, 18, 85.
+-- gold, 101, 102.
+-- ingrain blue, 135, 136, 142.
+-- marine blue, 211.
+-- navy R, 98.
+-- orange, 88.
+-- -- N, 95.
+-- pink, 210.
+-- red, 107.
+-- scarlet C, 88.
+-- -- D, 88.
+-- -- S, 209.
+-- yellow, 210.
+-- -- G, 145.
+-- -- G G, 90.
+
+Titan yellow Y, 90, 92, 93, 164.
+
+Toluidine, 185, 187, 188.
+-- orange, 196.
+
+Toluylene brown, 139.
+-- diamine, 134.
+-- orange, 139.
+-- --G, 90, 91, 100.
+-- --K, 100.
+
+Topping, 140.
+-- with acid and basic dye-stuffs, 228.
+-- with basic dyes, 145.
+
+Triamine black, 132.
+-- -- B, 96, 137.
+-- -- B T, 98.
+
+Tropaeoline O, 229.
+-- O O, 211, 229.
+
+Truck yarn-dyer, 254, 255.
+
+Turkey red, 87, 167, 181.
+-- -- bleach, 38, 39.
+-- -- oil, 88, 90, 95, 96, 160, 170, 171, 172, 173, 180, 189, 192, 196.
+
+Turmeric, 165, 166, 167.
+
+Turquoise blue, 98, 116, 151, 155, 232.
+-- -- G, 146, 151, 152.
+
+
+U.
+
+Union black B, 209, 214.
+-- -- S, 209, 214, 215, 216, 217, 228, 234.
+-- blue B B, 209.
+
+
+V.
+
+Valonia, 147.
+
+Verdigris, 177.
+
+Victoria blue, 150.
+-- -- B, 151, 152.
+
+Vidal black, 107, 121, 123.
+-- blacks, 79.
+
+Violet, 99, 100, 146, 154, 230.
+-- and yellow shot dyes, 238.
+-- blue, 97.
+
+
+W.
+
+Walnut brown, 102, 119, 138, 142, 219, 233.
+
+Warp bleaching, 43.
+
+Warp-dyeing machines, 69, 70, 71.
+
+Washing after dyeing, 239.
+
+Washing and soaping vats, illustration of, 248.
+-- of cotton in bleaching, 36.
+-- operations after dyeing, 242.
+
+Water blue, 229.
+-- of condition, 6.
+-- volume used in dyeing, 107.
+
+White indigo, 198.
+-- liquor treatment, 168.
+-- sour operation, 38.
+
+Whizzing, 45.
+
+Willesden waterproof cloths, 22.
+
+Wince dye beck, 74.
+
+Witz, George, 17.
+
+Wool black 6 B, 211, 217, 218, 223, 224.
+-- green, 84.
+
+Worral's singeing machine, 27.
+
+Wringing of dyed goods, 239.
+
+
+Y.
+
+Yarn bleaching, 43.
+-- -washing machine, illustration of, 243.
+
+Yarns in cop form, washing of, 244.
+-- in hanks, washing of, 244.
+-- in hanks, wringing of, 240.
+
+Yellow, 90, 91, 113, 151.
+-- and violet shot dyes, 237.
+-- olive, 91.
+
+Yellowish claret red, 187.
+
+Young & Crippin's cop-dyeing machine, 68.
+
+
+Z.
+
+Zambesi black, 132.
+-- -- B, 210, 218.
+-- -- B R, 97.
+-- -- D, 103, 104, 218.
+-- -- F, 115, 119, 210.
+-- blue, 130,
+-- -- B X, 136.
+-- -- R X, 217, 218.
+-- brown, 130.
+-- -- G, 210.
+-- -- 2 G, 136, 210.
+-- dyes, 85, 208.
+
+Zinc and lime vat for indigo dyeing, 201.
+-- bisulphite indigo vat, 203.
+-- chloride, 20.
+-- sulphate, 112.
+
+
+       *       *       *       *       *
+
+
+THE ABERDEEN UNIVERSITY PRESS LIMITED.
+
+SEPTEMBER, 1901.
+
+_This Catalogue cancels all former editions._
+
+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 _think_ about his work.
+Brains require stimulus. These books provide that stimulus.
+
+A Catalogue
+
+OF
+
+Special Technical Works
+
+FOR
+
+MANUFACTURERS, PROFESSIONAL MEN, STUDENTS,
+
+COLLEGES AND TECHNICAL SCHOOLS
+
+BY EXPERT WRITERS
+
+FOR THE
+
+OIL, PAINT, COLOUR VARNISH, SOAP, CHEMICAL,
+TEXTILE, LEATHER, PAPER, COLLIERY, POTTERY,
+GLASS, PLUMBING AND DECORATING TRADES
+AND SCIENTIFIC PROFESSIONS.
+
+PUBLISHED BY
+
+=SCOTT, GREENWOOD & CO.,=
+
+PUBLISHERS OF TECHNICAL BOOKS,
+
+=19 LUDGATE HILL, LONDON, E.C.
+
+Tel. Address: "PRINTERIES, LONDON".     Tel. No. 5403, Bank.=
+
+N.B.--_Full Particulars of Contents of any of the following books
+sent post free on application._
+
+=Messrs. Scott, Greenwood &. Co. are open to make offers
+for the publication of technical works.=
+
+       *       *       *       *       *
+
+Books on Oils, Soaps, Colours, Chemicals, Glue, Varnishes, etc.
+
+THE PRACTICAL COMPOUNDING OF OILS, TALLOW AND GREASE FOR LUBRICATION,
+ETC.
+
+By AN EXPERT OIL REFINER. 100 pp. 1898. Demy 8vo. Price 7s. 6d.; India
+and Colonies, 8s.; Other Countries, 8s. 6d.; strictly net.
+
+=Contents.=
+
+Chapters I., Introductory Remarks 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.
+
+=Press Opinions.=
+
+     "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."--_Colliery Guardian._
+
+     "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."--_The Ironmonger._
+
+       *       *       *       *       *
+
+SOAPS. 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.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "We think it is the most practical book on these subjects that has
+     come to us from England so far."--_American Soap Journal._
+
+     "Much useful information is conveyed in a convenient and
+     trustworthy manner which will appeal to practical
+     soap-makers."--_Chemical Trade Journal._
+
+     "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."--_Bradford Observer._
+
+     "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."--_Birmingham Post._
+
+       *       *       *       *       *
+
+ANIMAL FATS AND OILS: 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 ANDES. Sixty-two Illustrations. 240 pp. 1898.
+Demy 8vo. Price 10s. 6d.; India and Colonies, 11s.; Other Countries,
+12s.; strictly net.
+
+=Contents.=
+
+Introduction. Occurrence, Origin, Properties and Chemical Constitution
+of Animal Fats Preparation of Animal Fats and Oils. Machinery.
+Tallow-melting Plant. Extraction Plant. Presses. Filtering Apparatus.
+Butter: Raw Material and Preparation, Properties, Adulterations. Beef
+Lard or Remelted Butter, Testing. Candle-fish Oil. Mutton-Tallow. Hare
+Fat. Goose Fat. Neatsfoot Oil. Bone Fat: Bone Boiling, Steaming Bones,.
+Extraction, Refining. Bone Oil. Artificial Butter: Oleomargarine,
+Margarine Manufacture in France, Grasso's Process, "Kaiser's Butter,"
+Jahr & Muenzberg's Method, Filbert's Process, Winter's Method. Human Fat.
+Horse Fat. Beef Marrow. Turtle Oil. Hog's Lard: Raw Material,
+Preparation, Properties, Adulterations, Examination. Lard Oil. Fish
+Oils. Liver Oils. Artificial Train Oil. Wool Fat: Properties, Purified
+Wool Fat. Spermaceti: Examination of Fats and Oils in General.
+
+=Press Opinions.=
+
+     "The descriptions of technical processes are clear, and the book is
+     well illustrated and should prove useful."--_Manchester Guardian._
+
+     "It is a valuable work, not only for the student, but also for the
+     practical manufacturer of oil and fat products."--_Journal of the
+     American Chemical Society._
+
+     "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."--_Shoe and Leather Record._
+
+     "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."--_Newcastle
+     Chronicle._
+
+     "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."--_Glasgow
+     Herald._
+
+       *       *       *       *       *
+
+=VEGETABLE FATS AND OILS:= 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 ANDES. 94 Illustrations. 320
+pp. 1897. Demy 8vo. Price 10s. 6d.; India and Colonies, 11s.; Other
+Countries, 12s.; strictly net.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "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."--_Commerce._
+
+     "The proprietors of the _Oil and Colourman's Journal_ 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."--_Manufacturing Chemist._
+
+       *       *       *       *       *
+
+=IRON-CORROSION, ANTI-FOULING AND ANTI-CORROSIVE PAINTS.= By LOUIS EDGAR
+ANDES. 62 Illustrations. 275 pp. Translated from the German. Demy 8vo.
+1900. Price 10s. 6d.; India and Colonies, 11s.; Other Countries, 12s.;
+strictly net.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "This is a very valuable book, translated from the German,
+     discussing in detail anti-fouling and anti-corrosive
+     paints."--_British Mercury._
+
+     "Will be of great service to paint manufacturers, engineering
+     contractors, ironfounders, shipbuilders and others."--_Engineer and
+     Iron Trades Advertiser._
+
+     "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."--_The Builder._
+
+     "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."--_Railway Engineer._
+
+     "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."--_Journal of Gas Lighting._
+
+     "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
+     engineers, shipowners, etc."--_Fairplay._
+
+     "Herr Andes' 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."--_The
+     Ironmonger._
+
+     "This knowledge is conveyed with characteristic German thoroughness
+     in this useful work of Herr Andes, 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."--_Western Daily Mercury._
+
+     "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."--_Iron and Steel Trades
+     Journal._
+
+       *       *       *       *       *
+
+=THE MANUFACTURE OF ALUM AND THE SULPHATES AND OTHER SALTS OF ALUMINA
+AND IRON.= Their Uses and Applications as Mordants in Dyeing and Calico
+Printing, and their other Applications in the Arts, Manufactures,
+Sanitary Engineering, Agriculture and Horticulture. Translated from the
+French of LUCIEN GESCHWIND. 195 Illustrations. Nearly 400 pp. Royal 8vo.
+1901. Price 12s. 6d.; India and Colonies, 13s. 6d.; Other Countries,
+15s.; strictly net.
+
+=Contents.=
+
+Part I., =Theoretical Study of Aluminium, Iron, and Compounds of these
+Metals.=--Chapters I., Aluminium and its Compounds.--II., Iron and Iron
+Compounds.
+
+Part II., =Manufacture of Aluminium Sulphates and Sulphates of
+Iron.=--Chapters III., Manufacture of Aluminium Sulphate and the
+Alums.--IV., Manufacture of Sulphates of Iron.
+
+Part III., =Uses of the Sulphates of Aluminium and Iron.=--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., =Uses and Applications
+of Ferrous Sulphate and Ferric Sulphates.=--Dyeing--Manufacture of
+Pigments--Writing Inks--Purification of Lighting
+Gas--Agriculture--Cotton Dyeing--Disinfectant--Purifying Waste
+Liquors--Manufacture of Nordhausen Sulphuric Acid--Fertilising.
+
+Part IV., =Chemical Characteristics of Iron and Aluminium.=--=Analysis
+of Various Aluminous or Ferruginous Products.=--Chapter VII.,
+Aluminium.--=Analysing Aluminium Products.=--Alunite Alumina--Sodium
+Aluminate--Aluminium Sulphate. Chapter VIII., =Iron.=--Analytical
+Characteristics of Iron Salts--Analysis of Pyritic Lignite--Ferrous and
+Ferric Sulphates--Rouil Mordant--Index.
+
+       *       *       *       *       *
+
+=MANUAL OF AGRICULTURAL CHEMISTRY.= By HERBERT INGLE, F.I.C., Lecturer
+on Agricultural Chemistry, the Yorkshire College; Lecturer in the
+Victoria University. [_In the press._
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+=LUBRICATING OILS, FATS AND GREASES:= Their Origin, Preparation,
+Properties, Uses and Analyses. A Handbook for Oil Manufacturers,
+Refiners and Merchants, and the Oil and Fat Industry in General. By
+GEORGE H. HURST, F.C.S. Second Edition. Sixty-five Illustrations. 313
+pp. Demy 8vo. 1901. Price 10s. 6d.; India and Colonies, 11s.; Other
+Countries, 12s.; strictly net.
+
+=Contents.=
+
+Chapters I., =Introductory.= Oils and Fats, Fatty Oils and Fats,
+Hydrocarbon Oils, Uses of Oils.--II., =Hydrocarbon Oils.= Distillation,
+Simple Distillation, Destructive Distillation, Products of Distillation,
+Hydrocarbons, Paraffins, Olefins, Napthenes.--III., =Scotch Shale Oils.=
+Scotch Shales, Distillation of Scotch Oils, Shale Retorts, Products of
+Distilling Shales.
+
+Separating Products, Treating Crude Shale Oil, Refining Shale Oil, Shale
+Oil Stills, Shale Naphtha Burning Oils, Lubricating Oils, Wax.--IV.,
+=Petroleum.= Occurrence, Geology, Origin, Composition, Extraction,
+Refining, Petroleum Stills, Petroleum Products, Cylinder Oils, Russian
+Petroleum, Deblooming Mineral Oils.--V., =Vegetable and Animal Oils.=
+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., =Testing and Adulteration of Oils.= 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.,
+=Lubricating Greases.= Rosin Oil, Anthracene Oil, Making Greases,
+Testing and Analysis of Greases.--VIII., =Lubrication.= Friction and
+Lubrication, Lubricant, Lubrication of Ordinary Machinery, Spontaneous
+Combustion of Oils, Stainless Oils, Lubrication of Engine Cylinders,
+Cylinder Oils.--=Appendices.= A. Table of Baume's Hydrometer--B. Table
+of Thermometric Degrees--C. Table of Specific Gravities of
+Oils--=Index.=
+
+=Press Opinions.=
+
+     "The book is well printed, and is a credit alike to author, printer
+     and publisher."--_Textile Mercury._
+
+     "It will be a valuable addition to the technical library of every
+     steam user's establishment." --_Machinery Market._
+
+     "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."--_Textile Manufacturer._
+
+     "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."--_Textile Recorder._
+
+     "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."--_Engineer._
+
+     "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."--_Drugs, Oils and Paints,_ U.S.A.
+
+     "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."--_Industries and Iron._
+
+     "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."--_Manchester Guardian._
+
+       *       *       *       *       *
+
+=AMMONIA AND ITS COMPOUNDS:= Their Manufacture and Uses. By CAMILLE
+VINCENT, Professor at the Central School of Arts and Manufactures,
+Paris. Translated from the French by M. J. SALTER. Royal 8vo. 113 pp.
+1901. Thirty-two Illustrations. Price 5s.; India and Colonies, 5s. 6d.;
+Other Countries, 6s.; strictly net.
+
+=Contents.=
+
+Chapters I., =General Considerations=: Sections 1. Various Sources of
+Ammoniacal Products; 2. Human Urine as a Source of Ammonia. II.,
+=Extraction of Ammoniacal Products from Sewage=: 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 Vaureal; 3.
+Treatment of Entire Sewage--Chevalet's Apparatus, Paul Mallet's
+Apparatus, Lencauchez's Apparatus. III., =Extraction of Ammonia from Gas
+Liquor=: 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, Grueneberg's
+Apparatus; 3. Concentration of Gas Liquor--Solvay's Apparatus, Kuentz's
+Apparatus, Grueneberg's Apparatus. IV., Manufacture of Ammoniacal
+Compounds from Bones, Nitrogenous Waste, Beetroot Wash and Peat=:
+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., =Manufacture of Caustic
+Ammonia, and Ammonium Chloride, Phosphate and Carbonate=: 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., =Recovery of Ammonia from the
+Ammonia-Soda Mother Liquors=: Sections 1. General Considerations; 2.
+Apparatus of Schloesing and Rolland; 3. Apparatus of the Societe Anonyme
+de l'Est.--=Index.=
+
+       *       *       *       *       *
+
+=THE MANUFACTURE OF VARNISHES, OIL REFINING AND BOILING, AND KINDRED
+INDUSTRIES.= 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, Ingenieur 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.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "There is no question that this is a useful book."--_Chemist and
+     Druggist._
+
+     "The different formulae 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."--_The Ironmonger._
+
+     =Letter from the Teacher of a Technical Class.=
+
+     "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 _no_ 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.
+                                                  "23rd May, 1899"
+
+       *       *       *       *       *
+
+=THE MANUFACTURE OF LAKE PIGMENTS FROM ARTIFICIAL COLOURS.= By FRANCIS
+H. JENNISON, F.I.C., F.C.S. =Sixteen Coloured Plates, showing Specimens
+of Eighty-nine Colours, specially prepared from the Recipes given in the
+Book.= 136 pp. Demy 8vo. 1900. Price 7s. 6d.; India and Colonies, 8s.;
+Other Countries, 8s. 6d.; strictly net.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+    "It is evidently the result of prolonged research, and cannot but
+    prove a valuable consulting work to those engaged in the
+    industry."--_Derby Mercury._
+
+    "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."--_Chemist and_ _Druggist._
+
+    "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."--_Chemical Trade
+    Journal._
+
+    "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."--_Eastern_ _Morning News._
+
+       *       *       *       *       *
+
+=THE TESTING AND VALUATION OF RAW MATERIALS USED IN PAINT AND COLOUR
+MANUFACTURE.= By M.W. JONES, F.C.S. A Book for the Laboratories of
+Colour Works. 88 pp. Crown 8vo. 1900. Price 5s.; India and Colonies, 5s.
+6d.; Other Countries, 6s.; strictly net.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+    "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."--_North British_ _Daily Mail._
+
+    "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."--_Blackburn Times._
+
+    "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."--_Manchester_ _Courier._
+
+       *       *       *       *       *
+
+=THE CHEMISTRY OF ESSENTIAL OILS AND ARTIFICIAL PERFUMES.= 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.
+
+=Contents.=
+
+Chapters I., =The General Properties of Essential Oils.=--II.,
+=Compounds occurring in Essential Oils.=--III., =The Preparation of
+Essential Oils.=--IV., =The Analysis of Essential Oils.=--V.,
+=Systematic Study of the Essential Oils.=--VI., =Terpeneless
+Oils.=--VII., =The Chemistry of Artificial Perfumes.=--=Appendix:= Table
+of Constants.
+
+=Press Opinions.=
+
+     "There can be no doubt that the publication will take a high place
+     in the list of scientific text-books."--_London Argus_
+
+     "We can heartily recommend this volume to all interested in the
+     subject of essential oils from the scientific or the commercial
+     standpoint."--_British and Colonial Druggist._
+
+     "Mr. Parry has done good service in carefully collecting and
+     marshalling the results of the numerous researches published in
+     various parts of the world."--_Pharmaceutical Journal._
+
+     "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 _au fait_ with the
+     commercial aspects of the subject."--_Chemist and Druggist._
+
+     "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."--_The Australian
+     Brewers' Journal._
+
+       *       *       *       *       *
+
+=DRYING OILS, BOILED OIL AND SOLID AND LIQUID DRIERS.= By L.E. ANDES. 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.
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+REISSUE OF =CHEMICAL ESSAYS OF C.W. SCHEELE.= First Published in English
+in 1786. Translated from the Academy of Sciences at Stockholm, with
+Additions. 300 pp. Demy 8vo. 1901. Price 5s.; India and Colonies, 5s.
+6d.; Other Countries, 6s.; strictly net.
+
+=Contents.=
+
+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.
+
+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.
+
+       *       *       *       *       *
+
+=GLUE AND GLUE TESTING.= 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.
+
+=Contents.=
+
+Chapters I., =Constitution and Properties: Definitions and Sources,
+Gelatine, Chondrin and Allied Bodies, Physical and Chemical Properties,
+Classification, Grades and Commercial Varieties.--II., =Raw Materials
+and Manufacture: Glue Stock, Lining, Extraction, Washing and Clarifying,
+Filter Presses, Water Supply, Use of Alkalies, Action of Bacteria and of
+Antiseptics, Various Processes, Cleansing, Forming, Drying, Crushing,
+etc., Secondary Products. --III., =Uses of Glue=: Selection and
+Preparation for Use, Carpentry, Veneering, Paper-Making, Bookbinding,
+Printing Rollers, Hectographs, Match Manufacture, Sandpaper, etc.,
+Substitutes for other Materials, Artificial Leather and
+Caoutchouc.--IV., =Gelatine=: General Characters, Liquid Gelatine,
+Photographic Uses, Size, Tanno-, Chrome and Formo-Gelatine, Artificial
+Silk, Cements, Pneumatic Tyres, Culinary, Meat Extracts, Isinglass,
+Medicinal and other Uses, Bacteriology.--V., =Glue Testing=: Review of
+Processes, Chemical Examination, Adulteration, Physical Tests, Valuation
+of Raw Materials.--VI., =Commercial= =Aspects.=
+
+=Press Opinions.=
+
+     "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."--_Carpenter and Builder._
+
+     "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."--_British Trade Journal._
+
+     "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 _The Oil and
+     Colourman's Journal_. 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."--_Carriage Builders' Journal._
+
+       *       *       *       *       *
+
+=TECHNOLOGY OF PETROLEUM=: 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.
+
+=Contents.=
+
+Part I., =Study of the Petroliferous Strata=--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 (_continued_)--Geography and Geology of the Caucasian
+Oil Fields.--IX.. Russian Petroleum (_continued_).--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.
+
+Part II., =Excavations.=--Chapter XX., Hand Excavation or Hand Digging
+of Oil Wells. Part III., =Methods of Boring.=--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.
+
+Part IV., =Accidents.=--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.
+
+Part V., =General Data.=--=Customary Formulae.=--Memento. Practical
+Part. General Data bearing on Petroleum.--Glossary or Technical Terms
+used in the Petroleum Industry.--Copious Index.
+
+       *       *       *       *       *
+
+=A DICTIONARY OF CHEMICALS AND RAW PRODUCTS USED IN THE MANUFACTURE OF
+PAINTS, COLOURS, VARNISHES AND ALLIED PREPARATIONS.= By GEORGE H. HURST,
+F.C.S. Demy 8vo. 380 pp. 1901. Price 7s. 6d.; India and Colonies, 8s.;
+Other Countries, 8s. 6d.; strictly net.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "This treatise will be welcomed by those interested in this
+     industry who have not secured the full advantage of a course of
+     scientific training."--_Chemical Trade Journal._
+
+     "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."--_Pontefract Express._
+
+     "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."--_Manchester Courier._
+
+       *       *       *       *       *
+
+=PURE AIR, OZONE AND WATER.= A Practical Treatise of their Utilisation
+and Value in Oil, Grease, Soap, Paint, Glue and other Industries. By W.
+B. COWELL. Twelve Illustrations. 1900. Price 5s.; India and Colonies,
+5s. 6d.: Other Countries, 6s.; strictly net.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "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."--_Newcastle Daily Journal._
+
+     "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 "_Blackburn Times._
+
+=THE MANUFACTURE OF MINERAL AND LAKE PIGMENTS.= 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.
+
+=Contents.=
+
+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.
+
+PIGMENTS OF ORGANIC ORIGIN.--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.
+
+       *       *       *       *       *
+
+=BONE PRODUCTS AND MANURES=: An Account of the most recent Improvements
+in the Manufacture of Fat, Glue, Animal Charcoal, Size, Gelatine and
+Manures. By THOMAS LAMBERT, Technical and Consulting Chemist.
+Illustrated by Twenty-one Plans and Diagrams. 162 pp., demy 8vo. 1901.
+Price 7s. 6d.; India and Colonies, 8s.; Other Countries, 8s. 6d.;
+strictly net.
+
+=Contents.=
+
+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.
+
+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.
+
+=Press Opinion.=
+
+     "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."--_Wigan Observer._
+
+       *       *       *       *       *
+
+=ANALYSIS OF RESINS AND BALSAMS.= Demy 8vo. 340 pp. 1901. Price 7s. 6d.;
+India and Colonies, 8s.; Other Countries, 8s. 6d.; strictly net.
+
+=Contents.=
+
+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 Resume of the Performance of the Acid and
+Saponification Value Tests.
+
+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. =Gum
+Resins=--Ammoniacum--Bdellium--Euphorbium--Galbanum--Gamboge--Lactucarium--
+Myrrh--Opopanax--Sagapenum--Olibanum or Incense--Acaroid Resin--Amber--
+Thapsia Resin.--Index.
+
+       *       *       *       *       *
+
+=MANUFACTURE OF PAINT.= 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.
+
+=Contents.=
+
+Part I., Chapters I., Preparation of Raw Material.--II., Storing of Raw
+Material.--III., Testing and Valuation of Raw Material--Paint Plant and
+Machinery.
+
+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.
+
+Part III., Chapters XVIII., The Uses of Paint.--XIX., Testing and
+Matching Paints.--XX., Economic Considerations.--Index.
+
+       *       *       *       *       *
+
+=THE CHEMISTRY OF PIGMENTS.= By ERNEST J. PARRY, B.Sc, F.I.C., F.C.S.,
+and J.H. COSTE, F.I.C., F.C.S. [_In the press._
+
+=Contents.=
+
+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.
+
+=NOTES ON LEAD ORES=: Their Distribution and Properties. By JAS. FAIRIE,
+F.G.S. Crown 8vo. 1901. 64 pages. Price 2s. 6d.; Abroad, 3s.; strictly
+net.
+
+=Contents.=
+
+Chapters I., Definitions--Properties--Occurrence.--II.,
+Galena--Johnstonite--Cerussite--Ceruse (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.
+
+       *       *       *       *       *
+
+=THE RISKS AND DANGERS OF VARIOUS OCCUPATIONS AND THEIR PREVENTION.= 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.
+
+=Contents.=
+
+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.
+
+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.
+
+=Press Opinions.=
+
+     "The language used is quite simple, and can be understood by any
+     intelligent person engaged in the trades dealt with."--_The
+     Clarion._
+
+     "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."--_Local Government Journal._
+
+     "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."--_Colliery Manager._
+
+     "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."--_Health._
+
+     "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."--_Physician and Surgeon._
+
+     "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."--_Bristol Mercury._
+
+     "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."--_Sheffield Independent._
+
+     "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."--_Leeds Mercury._
+
+     "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."--_British Medical Journal._
+
+     "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."--_Sanitary Record._
+
+     "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."--_Weekly Times and Echo._
+
+       *       *       *       *       *
+
+=PRACTICAL X RAY WORK.= By FRANK T. ADDYMAN,
+
+B.Sc. (Lond.), F.I.C., Member of the Roentgen Society of London;
+Radiographer to St. George's Hospital; Demonstrator of Physics and
+Chemistry, and Teacher of Radiography in St. George's Hospital Medical
+School. Demy 8vo. 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.
+
+=Contents.=
+
+Part I., =Historical=--Chapters I., Introduction.--II., Work leading up
+to the Discovery of the X Rays.--III., The Discovery.
+
+Part II., =Apparatus and its Management=--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.
+
+Part III., =Practical X Ray Work=--Chapters I., Installations.--II.,
+Radioscopy.--III., Radiography.--IV., X Rays in Dentistry.--V., X Rays
+in Chemistry.--VI., X Rays in War.--Index.
+
+=List of Plates.=
+
+_Frontispiece_--Congenital Dislocation of Hip-Joint.--I., Needle in
+Finger.--II., Needle in Foot.--III., Revolver Bullet in Calf and
+Leg.--IV., A Method of Localisation.--V., Stellate Fracture of Patella
+showing shadow of "Strapping".--VI., Sarcoma.--VII., Six-weeks'-old
+Injury to Elbow showing new Growth of Bone.--VIII., Old Fracture of
+Tibia and Fibula badly set.--IX., Heart Shadow.--X., Fractured Femur
+showing Grain of Splint.--XI., Barrell's Method of Localisation.
+
+       *       *       *       *       *
+
+=DRYING BY MEANS OF AIR AND STEAM.= Explanations, Formulae, 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.
+
+=Contents.=
+
+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:
+_A_, With the Assumption that the Air is _Completely Saturated_ with
+Vapour both before Entry and after Exit from the Apparatus.--_B_, When
+the Atmospheric Air is Completely Saturated _before entry_, but at its
+_exit_ is _only_ 3/4, 1/2 or 1/4 Saturated.--_C_, When the Atmospheric
+Air is _not_ Saturated with Moisture before Entering the Drying
+Apparatus.--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.
+
+
+       *       *       *       *       *
+
+
+=Leather Trades.=
+
+       *       *       *       *       *
+
+=THE LEATHER WORKER'S MANUAL.= Being a Compendium of Practical Recipes
+and Working Formulae for Curriers, Bootmakers, Leather Dressers, Blacking
+Manufacturers, Saddlers, Fancy Leather Workers, 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.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "The book being absolutely unique, is likely to be of exceptional
+     value to all whom it concerns, as it meets a long-felt
+     want."--_Birmingham Gazette._
+
+     "This is a valuable collection of practical receipts and working
+     formulae 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."--_Liverpool Mercury._
+
+     "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."--_Australian Leather Journal and Boot and
+     Shoe Recorder._
+
+       *       *       *       *       *
+
+=PRACTICAL TREATISE ON THE LEATHER INDUSTRY.= By A.M. VILLON. A
+Translation of Villon's "Traite 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.
+
+=Contents.=
+
+Preface--Translator's Preface--List of Illustrations.
+
+Part I., =Materials used in Tanning=--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.
+
+Part II., =Tanning=--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.
+
+Part III., =Currying=--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.
+
+Part IV., =Enamelled, Hungary and Chamoy Leather, Morocco, Parchment,
+Furs and Artificial Leather=--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 Mache; V., Linoleum: VI., Artificial
+Leather.
+
+Part V., =Leather Testing and the Theory of Tanning=--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.
+
+Part VI., =Uses of Leather=--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.
+
+Appendix, =The World's Commerce in Leather=--I., Europe; II., America;
+III., Asia; IV., Africa; Australasia--Index.
+
+=Press Opinions.=
+
+    "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." --_Shoe
+    Manufacturers' Monthly Journal._
+
+    "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." --_Midland Free Press._
+
+    "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."
+    --_Leeds Mercury._
+
+    "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."--_Leicester
+    Post._
+
+    "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." --_Shoe and Leather Trader._
+
+    "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." --_Western Daily
+    Press and Bristol Times._
+
+    "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." --_Kettering Guardian._
+
+    "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.'--_Walsall Observer._
+
+
+       *       *       *       *       *
+
+
+=Books on Pottery, Bricks, Tiles, Glass, etc.=
+
+       *       *       *       *       *
+
+=THE MANUAL OF PRACTICAL POTTING.= Revised and Enlarged. Third Edition.
+200 pp. 1901. Price 17s. 6d.; India and Colonies, 18s. 6d.; Other
+Countries, 20s.; strictly net.
+
+=Contents.=
+
+=Introduction.= The Rise and Progress of the Potter's Art.--Chapters I.,
+=Bodies.= China and Porcelain Bodies, Parian Bodies, Semi-porcelain and
+Vitreous Bodies, Mortar Bodies, Earthenwares Granite and C.C. Bodies,
+Miscellaneous Bodies, Sagger and Crucible Clays, Coloured Bodies, Jasper
+Bodies, Coloured Bodies for Mosaic Painting, Encaustic Tile Bodies, Body
+Stains, Coloured Dips.--II., =Glazes.= China Glazes, Ironstone Glazes,
+Earthenware Glazes, Glazes without Lead, Miscellaneous Glazes, Coloured
+Glazes, Majolica Colours.--III., =Gold and Cold Colours.= Gold, Purple
+of Cassius, Marone and Ruby, Enamel Coloured Bases, Enamel Colour
+Fluxes, Enamel Colours, Mixed Enamel Colours, Antique and Vellum Enamel
+Colours, Underglaze Colours, Underglaze Colour Fluxes, Mixed Underglaze
+Colours, Flow Powders, Oils and Varnishes.--IV., =Means and Methods.=
+Reclamation of Waste Gold, The Use of Cobalt, Notes on Enamel Colours,
+Liquid or Bright Gold.--V., =Classification and Analysis.=
+Classification of Clay Ware, Lord Playfair's Analysis of Clays, The
+Markets of the World, Time and Scale of Firing, Weights of 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., =Forms and Tables.= Articles of Apprenticeship,
+Manufacturer's Guide to Stocktaking, Table of Relative Values of
+Potter's Materials, Hourly Wages Table, Workman's Settling Table,
+Comparative Guide for Earthenware and China Manufacturers in the use of
+Slop Flint and Slop Stone, Foreign Terms applied to Earthenware and
+China Goods, Table for the Conversion of Metrical Weights and Measures
+on the Continent of South America. =Index.=
+
+       *       *       *       *       *
+
+=CERAMIC TECHNOLOGY=: 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.
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+=RECIPES FOR FLINT GLASS MAKING.= By a British Glass Master and Mixer.
+Sixty Recipes. Being Leaves from the Mixing Book of several experts in
+the Flint Glass Trade, containing up-to-date recipes and valuable
+information as to Crystal, Demi-crystal and Coloured Glass in its many
+varieties. It contains the recipes for cheap metal suited to pressing,
+blowing, etc., as well as the most costly crystal and ruby. 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.
+
+=Contents.=
+
+Ruby--Ruby from Copper--Flint for using with the Ruby for Coating--A
+German Metal --Cornelian, or Alabaster--Sapphire
+Blue--Crysophis--Opal--Turquoise Blue--Gold Colour --Dark Green--Green
+(common)--Green for Malachite--Blue for Malachite--Black for 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.
+
+       *       *       *       *       *
+
+=COLOURING AND DECORATION OF CERAMIC WARE.= 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.
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+=HOW TO ANALYSE CLAY.= 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.
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+=ARCHITECTURAL POTTERY.= Bricks, Tiles, Pipes, Enamelled Terra-cottas,
+Ordinary and Incrusted Quarries, Stoneware Mosaics, Faiences 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.
+
+=Contents.=
+
+Part I. =Plain Undecorated Pottery.=--Chapter I., Clays: Sec. 1,
+Classification, General Geological Remarks.--Classification, Origin,
+Locality; Sec. 2, General Properties and Composition: Physical Properties,
+Contraction, Analysis, Influence of Various Substances on the Properties
+of Clays; Sec. 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: Sec. 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. _A_, Open: _a_, using Wood; _b_ Coal; _b'_, in
+Clamps; _b''_, Flame--_B_, Closed: _c_, Direct Flame; _c'_, Rectangular;
+_c''_, Round; _d_, Reverberatory--III. Continuous Kilns: _C_, with Solid
+Fuel: Round Kiln, Rectangular Kiln, Chimneys (Plans and Estimates)--_D_,
+With Gas Fuel, Fillard Kiln (Plans and Estimates), Schneider Kiln (Plans
+and Estimates), Water-gas Kiln--Heat Production of the Kilns; Sec. 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; Sec.
+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: Sec. 1, History; Sec. 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; Sec. 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, 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.
+
+Part II. =Made-up or Decorated Pottery.=--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,
+Overglaze--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: _A_,
+Fired to Stoneware: _a_, of Slag Base--Applications; _b_, of Melting
+Clay--Applications--_B_, Plain or Incrusted Stoneware; _a_, of Special
+Clay (Stoke-on-Trent)--Manufacture--Application--_b_, of Felspar
+Base--Colouring, Manufacture, Moulding, Drying,
+Firing--Applications.--II. Facing Quarries--1, in Faience--_A_, of
+Limestone Paste--_B_, of Silicious Paste--_C_, 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: Sec. 1, Faiences; Sec. 2, Stoneware; Sec. 3,
+Porcelain. Chapter V., Sanitary Pottery: Stoneware Pipes: Manufacture,
+Firing--Applications--Sinks--Applications--Urinals, Seats and
+Pans--Applications--Drinking-fountains, Washstands. Index.
+
+       *       *       *       *       *
+
+=A TREATISE ON THE CERAMIC INDUSTRIES.=
+
+A Complete Manual for Pottery, Tile and Brick Works. By EMILE BOURRY,
+Ingenieur 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.
+
+=Contents.=
+
+Part I., =General Pottery Methods.= 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.
+
+Part II., =Special Pottery Methods.= 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.--=Index.=
+
+       *       *       *       *       *
+
+=THE ART OF RIVETING GLASS, CHINA AND EARTHENWARE.= By J. HOWARTH.
+Second Edition. 1900. Price 1s. net; by post, home or abroad, 1s. 1d.
+
+=Contents.=
+
+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.
+
+=NOTES OF POTTERY CLAYS.= 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.
+
+=Contents.=
+
+Definitions--Occurrence--Brick Clays--Fire Clays--Analyses of Fire
+Clays.--=Ball Clays=--Properties--Analyses--Occurrence--Pipe Clay--Black
+Clay--Brown Clay--Blue Clay--Dorsetshire and Devonshire Clays.--=China
+Clay= 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.--=Chinese
+Stone=--Composition--Occurrence--Analyses.--Index.
+
+       *       *       *       *       *
+
+=PAINTING ON GLASS AND PORCELAIN AND ENAMEL PAINTING.= A Complete
+Introduction to the Preparation of all the Colours and Fluxes used for
+Painting on Porcelain, Enamel, Faience and Stoneware, the Coloured
+Pastes and Coloured Glasses, together with a Minute Description of the
+Firing of Colours and Enamels. 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.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "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 formulae; 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."--_Art
+     Amateur_, New York.
+
+     "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."--_Staffordshire Sentinel._
+
+     "In _Painting on Glass and Porcelain_ 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."--_Builders Journal._
+
+     "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."--_Daily Chronicle._
+
+       *       *       *       *       *
+
+=A Reissue of
+
+THE HISTORY OF THE STAFFORDSHIRE POTTERIES; AND THE RISE AND PROGRESS OF
+THE MANUFACTURE OF POTTERY AND PORCELAIN.=
+
+With References to Genuine Specimens, and Notices of Eminent Potters. By
+SIMEON SHAW. (Originally Published in 1829.) 265 pp. 1900. Demy 8vo.
+Price 7s. 6d.; India and Colonies, 8s.; Other Countries, 8s. 6d.;
+strictly net.
+
+=Contents.=
+
+=Introductory Chapter= showing the position of the Pottery Trade at the
+present time (1899).--Chapters I., =Preliminary Remarks.=--II., =The
+Potteries=, comprising Tunstall, Brownhills, Greenfield and New Field,
+Golden Hill, Latebrook, Green Lane, Burslem, Longport and Dale Hall, Hot
+Lane and Cobridge, Hanley and Shelton, Etruria, Stoke, Penkhull, Fenton,
+Lane Delph, Foley, Lane End.--III., =On the Origin of the Art=, and its
+Practice among the early Nations.--IV., =Manufacture of Pottery=, prior
+to 1700.--V., =The Introduction of Red Porcelain= by Messrs. Elers, of
+Bradwell, 1690.--VI., =Progress of the Manufacture= from 1700 to Mr.
+Wedgwood's commencement in 1760.--VII. =Introduction of Fluid
+Glaze.=--Extension of the Manufacture of Cream Colour.--Mr. Wedgwood's
+Queen's Ware.--Jasper, and Appointment of Potter to Her Majesty.--Black
+Printing.--VIII., =Introduction of Porcelain.= Mr. W. Littler's
+Porcelain.--Mr. Cookworthy's Discovery of Kaolin and Petuntse, and
+Patent.--Sold to Mr. Champion--resold to the New Hall Com.--Extension of
+Term.--IX., =Blue Printed Pottery.= Mr. Turner, Mr. Spode (1), Mr.
+Baddeley, Mr. Spode (2), Messrs. Turner, Mr. Wood, Mr. Wilson, Mr.
+Minton.--Great Change in Patterns of Blue Printed.--X., =Introduction of
+Lustre Pottery.= Improvements in Pottery and Porcelain subsequent to
+1800.
+
+=Press Opinions.=
+
+    "There is much curious and useful information in the work, and the
+    publishers have rendered the public a service in reissuing
+    it."--_Burton Mail._
+
+    "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."--_Derby Mercury._
+
+    "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."--_Wolverhampton Chronicle._
+
+    "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."--_Western Morning News._
+
+    "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,"--_Staffordshire
+    Sentinel._
+
+       *       *       *       *       *
+
+=A Reissue of=
+
+=THE CHEMISTRY OF THE SEVERAL NATURAL AND ARTIFICIAL HETEROGENEOUS
+COMPOUNDS USED IN MANUFACTURING PORCELAIN, GLASS AND POTTERY.=
+
+By SIMEON SHAW.
+
+(Originally published in 1837.) 750 pp. 1900. Royal 8vo. Price 14s.;
+India and Colonies, 15s.; Other Countries, 16s. 6d.; strictly net.
+
+=Contents.=
+
+PART I., ANALYSIS AND MATERIALS.--Chapters I., =Introduction:=
+Laboratory and Apparatus; =Elements:= 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., =Temperature:= Coal, Steam Heat for Printers'
+Stoves.--III., =Acids and Alkalies:= Boracic Acid, Muriatic Acid, Nitric
+Acid, Sulphuric Acid, Potash, Soda, Lithia, Calculation of Chemical
+Separations.--IV., =The Earths:= Alumine, Clays, Silica, Flint, Lime,
+Plaster of Paris, Magnesia, Barytes, Felspar, Grauen (or China Stone),
+China Clay, Chert.--V., =Metals:= 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.
+
+PART II., SYNTHESIS AND COMPOUNDS.--Chapters I., Sketch of the Origin
+and Progress of the Art.--II., =Science of Mixing:= Scientific
+Principles of the Manufacture, Combinative Potencies of the
+Earths.--III., =Bodies:= 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., =Glazes:= 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: =Glasses:= 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., =Colours:=
+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.
+
+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.
+
+=Press Opinions.=
+
+"This interesting volume has been kept from the pencil of the modern
+editor and reprinted in its entirety by the enterprising publishers of
+_The Pottery Gazette_ 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."--_Glasgow Herald._
+
+"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."--_Birmingham Post._
+
+"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."--_Staffordshire
+Sentinel._
+
+
+       *       *       *       *       *
+
+
+=Paper Making.=
+
+       *       *       *       *       *
+
+=THE DYEING OF PAPER PULP.= A Practical Treatise for the use of
+Papermakers, Paperstainers. Students and others. By JULIUS ERFURT,
+Manager of a Paper Mill. Translated into English and Edited with
+Additions by JULIUS HUeBNER, F.C.S., Lecturer on Papermaking at the
+Manchester Municipal Technical School. With Illustrations and =157
+patterns of paper dyed in the pulp.= Royal 8vo, 180 pp. 1901. Price
+15s.; India and Colonies, 16s.; Other Countries, 20s.; strictly net.
+Limited edition.
+
+=Contents.=
+
+I., =Behaviour of the Paper Fibres during the Process of Dyeing, Theory
+of the Mordant=--Cotton: Flax and Hemp; Esparto; Jute; Straw Cellulose:
+Chemical and Mechanical Wood Pulp; Mixed Fibres: Theory of Dyeing.--II.,
+=Colour Fixing Mediums (Mordants)=--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., =Influence of the Quality of
+the Water Used.=--IV., =Inorganic Colours=--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.,
+=Organic Colours=--1. Colours of Vegetable and Animal Origin: _(a)
+Substantive (Direct Dyeing) Colouring Matters:_ Annatto; Turmeric:
+Safflower; _(b) Adjective (Indirect Dyeing) Colouring Matters:_ 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.
+
+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., =Practical Application of the Coal Tar Colours according to
+their Properties and their Behaviour towards the Different Paper
+Fibres=--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., =Dyed Patterns on Various Pulp
+Mixtures=--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., =Dyeing to
+Shade=--Index.
+
+=Press Opinions.=
+
+     "The book is one that is of value to every one connected with the
+     colouring of paper."--_Paper Trade Journal._
+
+     "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
+     formulae 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."--_World's Paper Trade Review._
+
+
+       *       *       *       *       *
+
+
+=Enamelling on Metal.=
+
+       *       *       *       *       *
+
+=ENAMELS AND ENAMELLING.= 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.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "Should prove of great service to all who are either engaged in or
+     interested in the art of enamelling."--_Jewellers and Watchmakers'
+     Trade Advertiser._
+
+     "I must inform you that this is the best book ever I have come
+     across on enamels, and it is worth double its cost."--J. MINCHIN,
+     Jr., Porto, Portugal, _22nd July, 1900_.
+
+     "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."--_Invention._
+
+    "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."--_Birmingham Gazette._
+
+       *       *       *       *       *
+
+=THE ART OF ENAMELLING ON METAL.= By W. NORMAN BROWN. Twenty-eight
+Illustrations. Crown 8vo. 60 pp. 1900. Price 2s. 6d.; Abroad, 3s.;
+strictly net.
+
+=Contents.=
+
+Chapters I., History--Cloisonne--Champs Leve--Translucent
+Enamel--Surface Painted Enamels.--II., Cloisonne--Champs
+Leves--Translucent--Painted.--III., Painted Enamel--Apparatus--Furnaces
+and Muffles for Firing.--IV., The Copper Base or
+Plate--Planishing--Cloisons--Champ Leve Plates.--V.,
+Enamels--Trituration--Washing--Coating a Plate with Enamel--Firing
+Ordinary Plaques for Painting--Designing--Squaring off.--VI., Designs
+for Cloisonne--Designs for Painted Enamels--Technical
+Processes--Brushes, etc.,--Colours--Grisaille--Full-coloured Designs.
+
+=Press Opinion.=
+
+     "The information conveyed in _The Art of Enamelling on Metal_ 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."--_Hardware Metals and
+     Machinery._
+
+
+       *       *       *       *       *
+
+
+=Books on Textile and Dyeing Subjects.=
+
+       *       *       *       *       *
+
+=THE TECHNICAL TESTING OF YARNS AND TEXTILE FABRICS.= With Reference to
+Official Specifications. Translated from the German of Dr. J. HERZFELD.
+Second Edition. Sixty-nine Illustrations. 200 pp. Demy 8vo. 1901. Price
+10s. 6d.; India and Colonies, 11s.; Other Countries, 12s.; strictly net.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "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."--_Manchester Courier._
+
+     "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."--_Textile Recorder._
+
+     "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."--_Glasgow Herald._
+
+     "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."--_Textile Manufacturer._
+
+       *       *       *       *       *
+
+=DECORATIVE AND FANCY TEXTILE FABRICS.=
+
+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.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+     "The book can be strongly recommended to students and practical
+     men."--_Textile Colourist._
+
+     "Those engaged in the designing of dress, mantle tapestry, carpet
+     and other ornamental textiles will find this volume a useful work
+     of reference."--_Leeds Mercury._
+
+     "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."--_Dundee Advertiser._
+
+     "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'."--_Nottingham
+     Daily Guardian._
+
+       *       *       *       *       *
+
+=POWER-LOOM WEAVING AND YARN NUMBERING.= 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. =With Twenty-six Diagrams in Colours.= 150 pp. 1900. Crown 8vo.
+Price 7s. 6d.; India and Colonies, 8s.; Other Countries, 8s. 6d.;
+strictly net.
+
+=Contents.=
+
+I., =Power-Loom Weaving in General.= Various Systems of Looms.--II.,
+=Mounting and Starting the Power-Loom.= English Looms.--Tappet or
+Treadle Looms.--Dobbies.--III., =General Remarks on the Numbering,
+Reeling and Packing-of Yarn.=--=Appendix.=--=Useful Hints.= Calculating
+Warps.--Weft Calculations.--Calculations of Cost Price in Hanks.
+
+=Press Opinions.=
+
+     "A long-felt want in the weaving industry has been supplied by the
+     issue of a cheap volume dealing with the subject."--_Belfast Evening
+     Telegraph._
+
+     "The work has been clearly translated from the German and published
+     with suitable illustrations.... The author has dealt very
+     practically with the subject."--_Bradford Daily Telegraph._
+
+     "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."
+     --_Cotton Factory Times._
+
+     "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."--_Northern Daily
+     Telegraph._
+
+     "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."--_Northern Whig._
+
+     "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."--_Textile Mercury._
+
+     "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."--_Cheshire County News._
+
+     "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."--_North British Daily Mail._
+
+     "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."--_Textile Industries._
+
+     "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."--_Ashton-under-Lyne Herald._
+
+     "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."--_Bradford Observer._
+
+       *       *       *       *       *
+
+=COLOUR: A HANDBOOK OF THE THEORY OF COLOUR.= By GEORGE H. HURST, F.C.S.
+=With Ten Coloured Plates= and Seventy-two Illustrations. 160 pp. Demy
+8vo. 1900. Price 7s. 6d.; India and Colonies, 8s.; Other Countries, 8s.
+6d.; strictly net.
+
+=Contents.=
+
+Chapters I., =Colour and Its Production.= 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., =Cause
+of Colour in Coloured Bodies.= Transmitted Colours, Absorption Spectra
+of Colouring Matters.--III., =Colour Phenomena and Theories.= 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., =The
+Physiology of Light.= Structure of the Eye, Persistence of Vision,
+Subjective Colour Phenomena, Colour Blindness.--V., =Contrast.=
+Contrast, Simultaneous Contrast, Successive Contrast, Contrast of Tone.
+Contrast of Colours, Modification of Colours by Contrast, Colour
+Contrast in Decorative Design.--VI., =Colour in Decoration and Design.=
+Colour Harmonies, Colour Equivalents, Illumination and Colour, Colour
+and Textile Fabrics, Surface Structure and Colour.--VII., =Measurement
+of Colour.= Colour Patch Method, The Tintometer, Chromometer.
+
+=Press Opinions.=
+
+     "This useful little book possesses considerable merit, and will be
+     of great utility to those for whom it is primarily
+     intended."--_Birmingham Post._
+
+     "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."--_Chemical Trade Journal._
+
+     "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."--_Dyer and Calico Printer._
+
+     "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."--_Chemist and Druggist._
+
+     "Mr. Hurst's _Handbook on the Theory of Colour_ 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."--_Nottingham Daily Guardian._
+
+       *       *       *       *       *
+
+=TEXTILE RAW MATERIALS AND THEIR CONVERSION INTO YARNS.= (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.
+
+=Contents.=
+
+=Raw Materials=: Cotton--Wool--Flax--Hemp--Jute--Hair--Shearing
+Sheep--Goat Wool--Silk--Detection and Estimation of Textile Raw
+Materials in Yarns and Fabrics--Tests.--=The Technology of Spinning.
+Cotton Spinning:= Bale Breakers--Carding--Combing--Roving--Mule
+Frames--Yarn Testing--Humidifiers. =Flax Spinning:= Tow Spinning--String
+Spinning--Carded Woollen Yarn--Belt Condenser--Fine Spinning--Yarn
+Numbering.--=Manufacture of True Worsted Yarn:= Semi-Worsted
+Yarns.--=Artificial Wool or Shoddy Spinning:= Spinning
+Shoddy.--=Index.=
+
+       *       *       *       *       *
+
+=THE COLOUR PRINTING OF CARPET YARNS.= 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.
+
+=Contents.=
+
+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.
+
+=Press Opinions.=
+
+    "The book is worthy the attention of the trade."--_Worcester
+    Herald._
+
+    "The treatise is arranged with great care, and follows the processes
+    described in a manner at once clear and convincing."--_Glasgow
+    Record._
+
+    "A most useful manual dealing in an intelligible and interesting
+    manner with the colour printing of carpet yarns."--_Kidderminster
+    Times._
+
+    "An eminent expert himself, the author has evidently strained every
+    effort in order to make his work the standard guide of its
+    class."--_Leicester Post._
+
+    "The book, which is admirably printed and illustrated, should fulfil
+    the need of a practical guide in the colour printing of carpet
+    yarns.--_Nottingham Express._
+
+    "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."--_Northern Whig._
+
+    "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."--_Scotsman._
+
+    "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."--_Dundee
+    Courier._
+
+    "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."--_Dyer and Calico
+    Printer._
+
+    "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."--_Journal of the Society of Dyers and Colourists._
+
+       *       *       *       *       *
+
+=A PRACTICAL TREATISE ON THE BLEACHING OF LINEN AND COTTON YARN AND
+FABRICS.= By L. TAILFER, Chemical and Mechanical Engineer. Translated
+from the French by JOHN GEDDES MCINTOSH, Lecturer on Chemical
+Technology, London. Demy 8vo. 1901. Price 12s. 6d.; India and Colonies,
+13s. 6d; Other Countries, 15s.; strictly net.
+
+=Contents.=
+
+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--Preparation 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.
+
+       *       *       *       *       *
+
+=THE SCIENCE OF COLOUR MIXING.= A Manual intended for the use of Dyers,
+Calico Printers and Colour Chemists. By DAVID PATERSON, F.C.S. Forty-one
+Illustrations, =Five Coloured Plates, and Four Plates showing Eleven
+Dyed Specimens of Fabrics.= 132 pp. Demy 8vo. 1900. Price 7s. 6d.; India
+and Colonies, 8s.; Other Countries, 8s. 6d.; strictly net.
+
+=Contents.=
+
+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 _versus_ 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.
+
+=Press Opinions.=
+
+     "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."--_Halifax Courier._
+
+     "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."--_Scotsman._
+
+     "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."--_Irish Textile Journal._
+
+     "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."--_Wakefield Express._
+
+     "Mr. Paterson has little to say upon the experimental aspect or on
+     its aesthetics, 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."--_Textile Mercury._
+
+     "For some time the proprietors of _The Oil and Colourman's Journal_
+     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."--_Glasgow Herald._
+
+       *       *       *       *       *
+
+=COLOUR MATCHING ON TEXTILES.= A Manual intended for the use of Students
+of Colour Chemistry, Dyeing and Textile Printing. By DAVID PATERSON,
+F.C.S. Coloured Frontispiece. Twenty-nine Illustrations and Fourteen
+Specimens of Dyed Fabrics Illustrating Text. Demy 8vo. 132 pp. 1901.
+Price 7s. 6d.; India and Colonies, 8s.; Other Countries, 8s. 6d.;
+strictly net.
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+=Reissue of THE ART OF DYEING WOOL, SILK AND COTTON.=
+
+Translated from the French of M. HELLOT, M. MACQUER and M. LE PILEUR
+D'APLIGNY. First Published in English in 1789. Six Plates. Demy 8vo. 446
+pp. 1901. Price 5s.; India and Colonies, 5s. 6d.; Other Countries, 6s.;
+strictly net.
+
+=Contents.=
+
+Part I., =The Art of Dyeing Wool and Woollen Cloth, Stuffs, Yarn,
+Worsted, etc.:= 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. =Dyeing Wool:=
+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
+_Coccus polonicus,_ 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.
+
+Part II., =The Art of Dyeing Silk:= 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.
+
+Part III., =The Art of Dyeing Cotton and Linen Thread, together with the
+Method of Stamping Silks, Cottons, etc.:= Of Dyeing in General.--Inquiry
+concerning Wool, Silk, Cotton and Flax.--Of Wool.--Of Silk.--Of
+Cotton.--Of Flax.--Conclusion from the Examination 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. =Of
+Dyeing of Cotton Thread=: 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.--=Indexes.=
+
+       *       *       *       *       *
+
+=THE DYEING OF COTTON FABRICS=: A Practical Handbook for the Dyer and
+Student. By FRANKLIN BEECH, Practical Colourist and Chemist. 272 pp.
+Forty-four Illustrations of Bleaching and Dyeing Machinery. Demy 8vo.
+1901. Price 7s. 6d.; India and Colonies, 8s.: Other Countries, 8s. 6d.;
+strictly net.
+
+=Contents.=
+
+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.
+
+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.
+
+       *       *       *       *       *
+
+=COTTON SPINNING= (First Year). By THOMAS THORNLEY, Spinning Master,
+Bolton Technical School. 160 pp. 84 Illustrations. Crown 8vo. 1901.
+Price 3s.; Abroad, 3s. 6d.; strictly net.
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+=COTTON SPINNING= (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.
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+=COTTON SPINNING= (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.
+
+=Contents.=
+
+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.
+
+
+       *       *       *       *       *
+
+
+=Books for Mining Engineers and Steam Users.=
+
+       *       *       *       *       *
+
+=RECOVERY WORK AFTER PIT FIRES.= 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 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.
+
+=Contents.=
+
+Preface.--=I., Causes of Pit Fires:= 1, Fires Resulting from the
+Spontaneous Ignition of Coal; 2, Fires Caused by Burning Timber; 3,
+Fires Caused by Fire-damp Explosions.--=II., Preventive Regulations:= 1,
+The Outbreak and Rapid Extension of a Shaft Fire can be most reliably
+prevented by Employing little or no Combustible Material in the
+Construction of the Shaft; 2, Precautions for Rapidly Localising an
+Outbreak of Fire in the Shaft; 3, Precautions to be Adopted in case
+those under 1 and 2 Fail or Prove Inefficient Precautions against
+Spontaneous Ignition of Coal. Precautions for Preventing Explosions of
+Fire-damp and Coal Dust. Employment of Electricity in Mining,
+particularly in Fiery Pits. Experiments on the Ignition of Fire-damp
+Mixtures and Clouds of Coal Dust by Electricity.--=III., Indications of
+an Existing-or Incipient Fire.--IV., Appliances for Working in
+Irrespirable Gases:= 1, Respiratory Apparatus; 2, Apparatus with Air
+Supply Pipes, (_a_) The Bremen Smoke Helmet, (_b_) The Mueller Smoke
+Helmet, (_c_) The Stolz Rescue Mask; 3, Reservoir Apparatus: 4, Oxygen
+Apparatus. The Schwann Respiratory Apparatus. The Fleuss Respiratory
+Apparatus. The Improved Walcher-Gaertner Pneumatophor, (_a_) The Single
+Bottle Apparatus, Instructions for using the Pneumatophor, Taking to
+Pieces and Resetting the Apparatus ready for Use; (_b_) Two Bottle
+Apparatus (Shamrock Type). The Neupert Rescue Apparatus (The Mayer-Pilar
+System).--=V. Extinguishing-Pit Fires:= (_a_)Chemical Means: (_b_)
+Extinction with Water. Dragging down the Burning Masses and Packing with
+Clay: (_c_) Insulating the Seat of the Fire by Dams. Dam Building. Dam
+Work in the Fiery Pits of Southern Hungary: (_a_) Cross-dams of Clay;
+(_b_) 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: (_a_) Upright Balk Dams;
+(_b_) Horizontal Balk Dams; (c) Wedge Dams, Masonry Dams. Examples of
+Cylindrical and Dome-shaped Dams. Dam Doors: Flooding the Whole
+Pit.--=VI., Rescue Stations:= (_a_) Stations above Ground; (_b_)
+Underground Rescue Stations.--=VII., Spontaneous Ignition of Coal in
+Bulk.=--Index.
+
+=Illustrations.=
+
+Sheet I., =Respiratory and Rescue Appliances--Precautions against Fire.=
+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.,
+=Respiratory and Rescue Apparatus.= Figs. 1, Recovery Work with Muller's
+Smoke Helmet after a Fire: 2-8, The Fleuss Respiration Apparatus: 9, The
+Walcher-Gaertner Pneumatophor: 10-12, Pneumatophor (Shamrock
+Type).--Sheet III., =Respiratory and Rescue Apparatus--Stretchers.=
+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, =Stretchers.= 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. Ruehlmann's Stretcher.--Sheet IV., =Dams.= Figs. 1-7, R. Wagners
+Portable Safety Dam.--Sheet V., =Signalling Appliances --Dam
+Construction--Cable Laying.= Figs. 1-3, Signalling Appliances: 1, Small
+Induction Apparatus for Pit Work; 2, Bell Signal for Pit Work; 3, Pit
+Telephone; 4-18, =Dam Construction;= 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., =Working with Diving Gear in
+Irrespirable Gases--Gallery Work.= 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., =Working
+with Diving Gear in Irrespirable Gases (Mayer System)--Appliances in the
+Shaft.= 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.
+
+=Press Opinions.=
+
+    "A work of this extremely valuable character deserves to be made
+    widely known amongst colliery managers and mining engineers at home
+    and abroad."--_Coal and Iron._
+
+    "This book is, in a manner, unique. The literature of mining
+    accidents is fairly extensive, but it consists largely of
+    departmental Blue Books."--_Sheffield Daily Telegraph._
+
+    "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."--_Staffs
+    Advertiser._
+
+    "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."--_Ironmonger._
+
+    "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.--_Colliery Manager._
+
+       *       *       *       *       *
+
+=THE PREVENTION OF SMOKE.= 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.
+
+=Contents.=
+
+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.
+
+       *       *       *       *       *
+
+=GAS AND COAL DUST FIRING.= A Critical Review of the Various Appliances
+Patented in Germany for this purpose since 1885. By ALBERT PUeTSCH. 130
+pp. Demy 8vo. 1901. Translated from the German. With 103 Illustrations.
+Price 7s. 6d.; India and Colonies, 8s.; Other Countries, 8s. 6d.;
+strictly net.
+
+=Contents.=
+
+Generators--Generators Employing Steam--Stirring and Feed Regulating
+Appliances--Direct Generators--Burners--Regenerators and
+Recuperators--Glass Smelting Furnaces--Metallurgical Furnaces--Pottery
+Furnace--Coal Dust Firing.--Index.
+
+=Press Opinions.=
+
+    "The work is worthy of perusal by all consumers of fuel. It is
+    exceedingly well printed and illustrated."--_Chemical Trade
+    Journal._
+
+    "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."--_Halifax Guardian._
+
+    "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."--_Iron and Coal Trades Review._
+
+    "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."--_North British
+    Daily Mail._
+
+
+       *       *       *       *       *
+
+
+=Books on Plumbing, Decorating, Metal Work, etc., etc.=
+
+       *       *       *       *       *
+
+=EXTERNAL PLUMBING WORK.= 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.
+
+=Contents.=
+
+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).
+
+=Press Opinions.=
+
+    "This is an eminently practical and well-illustrated volume on the
+    management of external lead work."--_Birmingham Daily Post._
+
+    "It is thoroughly practical, containing many valuable hints, and
+    cannot fail to be of great benefit to those who have not had large
+    experience."--_Sanitary Journal._
+
+    "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."--_The
+    Ironmonger._
+
+    "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."--_Ironmongery._
+
+       *       *       *       *       *
+
+=HINTS TO PLUMBERS ON JOINT WIPING, PIPE BENDING AND LEAD BURNING.=
+Third Edition, Revised and Corrected. By JOHN W. HART, R.P.C. 184
+Illustrations. 313 pp. Demy 8vo. 1901. Price 7s. 6d.; India and
+Colonies, 8s.; Other Countries, 8s. 6d.; strictly net.
+
+=Contents.= 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.
+
+=Press Opinions.=
+
+    "Rich in useful diagrams as well as in hints."--_Liverpool Mercury._
+
+    "The papers are eminently practical, and go much farther into the
+    mysteries they describe than the title 'Hints' properly
+    suggests."--_Scotsman._
+
+    "The articles are apparently written by a thoroughly practical man.
+    As a practical guide the book will doubtless be of much
+    service."--_Glasgow Herald._
+
+    "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, _viz._, 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."--_English Mechanic._
+
+    22 PRYME STREET, HULL, _24th November_, 1894. "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."
+
+       *       *       *       *       *
+
+=THE PRINCIPLES AND PRACTICE OF DIPPING, BURNISHING, LACQUERING AND
+BRONZING BRASS WARE.= By W. NORMAN BROWN. 35 pp. Crown 8vo. 1900. Price
+2s.; Abroad, 2s. 6d.; strictly net.
+
+=Contents.= 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.
+
+=Press Opinions.=
+
+    "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."--_Leicester Post._
+
+    "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."--_Irish Builder._
+
+       *       *       *       *       *
+
+=WORKSHOP WRINKLES= for Decorators, Painters, Paperhangers and Others.
+By W.N. BROWN. Crown 8vo. 128 pp. 1901. Price 2s. 6d.; Abroad, 3s.;
+strictly net.
+
+=Contents.= Parts I., Decorating.--II., Painting.--III.,
+Paper-hanging.--IV., Miscellaneous. Arranged in alphabetical order.
+
+       *       *       *       *       *
+
+=HOUSE DECORATING AND PAINTING.= 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.
+
+=Contents.= 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.
+
+=Press Opinion.= "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."--_Building Industries._
+
+       *       *       *       *       *
+
+=A HISTORY OF DECORATIVE ART.= By W. NORMAN BROWN. Thirty-nine
+Illustrations. 96 pp. Crown 8vo. 1900. Price 2s. 6d.; Abroad, 3s.;
+strictly net.
+
+=Contents.= 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.
+
+=Press Opinion.=
+
+    "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."--_Midland
+    Counties Herald._
+
+       *       *       *       *       *
+
+=A HANDBOOK ON JAPANNING AND ENAMELLING FOR CYCLES, BEDSTEADS, TINWARE,
+ETC.= By WILLIAM NORMAN BROWN. Price 2s. net. [_Ready._
+
+=Contents.= 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.
+
+       *       *       *       *       *
+
+=THE PRINCIPLES OF HOT WATER SUPPLY.= 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.
+
+=Contents.= 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.
+
+=Press Opinion.=
+
+    "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."--_Wigar Observer._
+
+
+       *       *       *       *       *
+
+
+=Brewing and Botanical.=
+
+       *       *       *       *       *
+
+=HOPS IN THEIR BOTANICAL, AGRICULTURAL AND TECHNICAL ASPECT, AND AS AN
+ARTICLE OF COMMERCE.= By EMMANUEL GROSS, Professor at the Higher
+Agricultural College, Tetschen-Liebwerd. Translated from the German.
+Seventy-eight Illustrations. 1900. 340 pp. Demy 8vo. Price 12s. 6d.;
+India and Colonies, 13s. 6d.; Other Countries, 15s.; strictly net.
+
+=Contents.= 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: (_a_) Red Hops; (_b_) Green Hops; (_c_) 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.
+
+=PART III., CULTIVATION.= The Requirements of the Hop in Respect of
+Climate, Soil and Situation: Climate; Soil; Situation,--Selection of
+Variety and Cuttings.--Planting a Hop Garden: Drainage; Preparing the
+Ground; Marking-out for Planting; Planting; Cultivation and Cropping of
+the Hop Garden in the First Year.--Work to be Performed Annually in the
+Hop Garden: Working the Ground; Cutting; The Non-cutting System; The
+Proper Performance of the Operation of Cutting: 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.
+
+=Press Opinions.=
+
+    "The subject is dealt with fully in every little detail;
+    consequently, even the veriest tyro can take away some useful
+    information from its pages."--_Irish Farming World._
+
+    "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."--_Licensed Victuallers' Gazette._
+
+    "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."--_Hereford Times._
+
+    "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."--_South
+    Eastern Gazette._
+
+    "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."--_Brewers' Journal._
+
+    "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."--_Burton Mail._
+
+    "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."--_Hereford Journal._
+
+    "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."--_Brewers' Guardian._
+
+
+       *       *       *       *       *
+
+
+=Public Libraries.=
+
+       *       *       *       *       *
+
+=BRITISH LIBRARY YEAR BOOK, 1900-1901.= 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.
+
+=Contents.= 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 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.
+
+=Press Opinions.=
+
+    "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."--_Western (Cardiff) Mail._
+
+
+       *       *       *       *       *
+
+
+_WORKS IN PREPARATION._
+
+       *       *       *       *       *
+
+=PRINCIPLES OF SIDEROLOGY= (The Science of Iron). Translated from the
+German of HANKS FREIHERR v. ZUePTNER.
+
+=STAINED GLASS= (Ancient and Modern) and =FRET LEAD GLAZING.= By E.R.
+SUFFLING.
+
+=TREATISE ON CLOTH FINISHING.= By ROBERT BEAUMONT, of Yorkshire College,
+Leeds.
+
+=INDIA-RUBBER; GUTTA PERCHA.=
+
+=EVAPORATION, CONDENSATION AND COOLING.= Calculations of Dimensions of
+Apparatus. By E. HAUSBRAND. Tables. For Chemists, Chemical and
+Mechanical Engineers.
+
+=THE CHEMICAL TECHNOLOGY OF TEXTILE FIBRES.= Spinning, Washing,
+Bleaching, Dyeing, Printing and Finishing. By Dr. G. von GEORGIEVICS.
+                                                    [_In the Press._
+
+=WEAVING MACHINERY.= Three Vols. By HARRY NISBET.
+
+=COLOUR TERMS: THEIR PROPER USE AND MEANING.= By DAVID PATERSON.
+
+=LEAD AND ITS COMPOUNDS.= By THOS. LAMBERT.
+
+=COTTON COMBERS AND THE COMBING PROCESS.= By THOS. THORNLEY.
+                                                  [_In the Press._
+
+=TIMBER.= 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.
+
+=USE OF WATER IN THE INDUSTRIAL ARTS.= Composition--Influences--Residual
+Water--Purification--Analysis. From the French of H. de la Coux. 135
+Illustrations. About 500 pp.
+
+=DYERS' MATERIALS:= 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.). [_In the Press._
+
+
+       *       *       *       *       *
+
+
+=HANDY GUIDES TO THE CHOICE OF BOOKS.=
+
+       *       *       *       *       *
+
+Vol. I. =PROSE FICTION.=
+
+Vol. II. =TECHNICAL, TRADE AND COMMERCIAL BOOKS.=
+
+_Others to follow._            [_In Preparation._
+
+       *       *       *       *       *
+
+_The Publishers will advise when any of the above books are ready to
+firms sending their addresses._
+
+
+
+
+
+End of Project Gutenberg's The Dyeing of Cotton Fabrics, by Franklin Beech
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE DYEING OF COTTON FABRICS ***
+
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