,transcriber's ,note4 ,apparent typographical errors have been corrected4 ,the use of hyphens has been rationalised4 ,italics are indicated by underscores4 ,small capitals have been replaced by full capitals4 ,,the ,,dyer',s ,,guide4 ,,epitome ,,of ,,colours4 ,colours obtained by ,,sir ,,isaac ,,newton',s method of decomposing the rays of light1 the least refrangible being placed first1 the most refrangible last4 ,see p4 #ah4 ,illustration3 ,,red4 ,,orange4 ,,yellow4 ,,green4 ,,blue4 ,,indigo4 ,,violet4 ,,the ,,dyer',s ,,colours ,,and ,,their ,,chief ,,compounds4 ,,simple ,,colours4 ,,blue1 ,,yellow1 ,,red1 ,,black#a4 ,,red includes ,,crimson1 ,,scarlet1 ,,maroon1 ,,pink1 c4 ,,compound ,,colours4 ,,green is made with ,,blue and ,,yellow4 ,,orange with ,,red and ,,yellow4 ,,purple ,,violet with ,,blue and ,,red4 ,,lilac ,,greys with ,,black1 ,,blue1 and ,,red4 ,,blue1 ,,yellow1 and ,,black2 ,,olives with or ,,blue1 ,,yellow and ,,red4 #a ,,black according to the theory of ,newton1 denotes the absence1 and ,,white the presence of all colours4 ,,the ,,dyer',s ,,guide2 ,,being ,a ,,compendium ,,of ,,the ,,art ,,of ,,dyeing ,,linen1 ,,cotton1 ,,silk1 ,,wool1 ,,muslin1 ,,dresses1 ,,furniture1 c4 c4 ,,with ,,the ,,method ,,of ,,scouring ,,wool1 ,,bleaching ,,cotton1 c4 ,,and ,,directions ,,for ,,ungumming ,,silk1 ,,and ,,for ,,whitening ,,and ,,sulphuring ,,silk ,,and ,,wool4 ,,and ,,also ,,an ,,introductory ,,epitome ,,of ,,the ,,leading ,,facts ,,in ,,chemistry1 ,,as ,,connected ,,with ,,the ,,art ,,of ,,dyeing4 ,,by ,,thomas ,,packer1 ,,dyer ,,and ,,practical ,,chemist4 ,cet arte est un des plus utiles et des plus merveilleux qu'on connoisse4 ,,chaptal4 ,there is no art which depends so much on chemistry as dyeing4 ,,garnett4 ,,second ,,edition1 ,,corrected ,,and ,,materially ,,improved4 ,,london3 ,,printed ,,for ,,sherwood1 ,,gilbert1 ,,and ,,piper1 ,,paternoster-,,row4 #ahcj4 ,,preface4 ,to insist on the utility of the present ,manual is1 assuredly1 superfluous4 ,the favourable reception of the first edition1 sometime since out of print1 has stimulated the author to revise the work throughout1 and to render it more deserving the public approbation4 ,the ,appendix to the first edition now forms a part of the ,introductory ,chapter1 to which it naturally belongs2 to the whole have been added such improvements as the present advanced state of knowledge1 and particularly chemical knowledge1 has rendered absolutely necessary2 and which the practical dyer will find of considerable importance and much utility4 ,the following letter from the late ,,sir ,,humphry ,,davy1 the first chemist of the age1 appeared in the ,preface to the first edition2 it is here again reprinted as some proof of the sufficiency of that learned man's judgment1 at least concerning the chemical theory of the art of dyeing4 ,no4 #af1 ,berkeley ,square1 ,june #ah1 #ahbc4 ,,sir1 ,i am very much obliged to you for your liberal communication on a subject of my ,lectures3 ,i will attend to the information you are so good as to give me in the next ,edition4 ,i am ,sir1 ,your obliged and obedient servant1 ,h4 ,,davy4 ,,mr4 ,t4 ,,packer1 ,stamford ,street1 ,black-,friars ,road4 ,the author has only to add1 that an ,index is now appended to the work1 by which every article may be most readily and conveniently found4 ,london1 ,nov4 #ahbi4 ,,erratum4 ,page #bb1 line #c1 for proximate read ultimate4 ,,contents4 ,,chapter ,i4 ,,introductory4 ,,page ,on the different branches of dyeing--,on the drugs used in dyeing--,on vegetable and animal substances--,on substantive and adjective colours1 and mordants--,and on the leading facts of chemical science as connected with the art of dyeing--,on the calico printer's mordant for yellow and red1 and on compound colours--,on bleaching--,on the theory of fast and fugitive colours--,on dye-houses and water--,miscellaneous observations #a ,,chapter ,,ii4 ,,on ,,dyeing ,,cotton4 ,to dye cotton a ,saxon or chemic blue--,sulphate of ,indigo--,saxon or chemic green--,to set a cold indigo vat--,another ,indigo vat--,to dye cotton a fast green with the cold indigo vat and weld--,another cold blue vat for linen and cotton--solution of indigo for penciling printed muslin1 c4--,to dye cotton a fast buff--,to dye cotton pink #dg ,,chapter ,,iii4 ,,on ,,dyeing ,,silk4 ,to alum silk--,the blue vat of indigo for silk--,another blue vat for silk--,to dye silk violet1 royal purple1 c4--,to dye silk lilac--,another process for lilac--,another process for dyeing muslin1 c4 lilac--,to dye silk a violet or purple with logwood--,to dye silk violet with ,brazil wood and logwood--,to dye silk violet or purple with ,brazil wood and archil #fc ,,chapter ,,iv4 ,,on ,,scouring ,,and ,,dyeing ,,wool4 ,on the action of alum and tartar upon wool--,a pastil or woad vat for blue--,to prepare the indigo mentioned in the preceding directions--,rules to judge of the state of the vat--,indications when a vat has had too much or too little lime--,to work a vat which is in proper order--,on the putrefaction of the woad vat--,methods of dyeing blues--,to dye wool with lac-dye1 scarlet1 or crimson--,to dye worsted yarn a crimson--,a preparation of archil to finish the crimson--on dyeing wool scarlet--,to dye wool maroon--,to dye wool yellow--,to dye wool brown or of a fawn colour--,to dye wool purple1 c4--,to dye wool green--,a chemic vat for green woollen--,a chemic vat for blue woollen--,to dye wool orange1 gold colour1 c4--,to dye wool black--,another process for black without a blue ground--,to dye wool a grey--,mixture of black or grey with red and blue--,on browns1 fawns1 greys1 c4--,on the yellow of ,quercitron bark--,on a full bright yellow from the same bark--,bancroft's murio-sulphate of tin--,to dye wool buff--,to dye wool peach--,to set an indigo vat for worsted1 serge1 c4 #gj ,,chapter ,v4 ,,on ,,dyeing ,,silk ,,and ,,cotton ,,black4 ,to dye silk black for velvets--,to dye silk black ,london process--,on dyeing cotton black at ,rouen--,to dye cotton black1 ,london process--,for dyeing black1 particularly cotton velvets1 at ,manchester--,on dyeing silk and cotton black with a blue ground--,another iron liquor--,to dye cotton black by using the preceding solution--to dye cotton violet--,to dye cotton red--,to dye cotton an ,adrianople or ,turkey red--,miscellaneous observations relative to ,adrianople red #aje ,,chapter ,,vi4 ,,on ,,dyeing ,,cotton ,,and ,,silk4 ,to dye skein cotton yellow--,on dyeing and re-dyeing cotton furniture yellow--to dye cotton skein a duck's wing green and olive--,of browns1 maroons1 coffee colours1 c4--,observations on silk--,on ungumming and boiling silk--,whitening--,sulphuring--,on aluming silk--,skein silk for yellow--,preparation of annatto for aurora or orange1 moidore1 gold colour1 and chamois--,to dye silk aurora or orange--,to dye moidore--,process for orange--,to dye silk poppy or coquelicot--,a cheaper poppy with annatto and ,brazil wood--,on dyeing1 silk a fine crimson--,composition for dyeing silks scarlet or crimson with cochineal--,another process for crimson--,another process for crimson by ,brazil wood--,of fine violet--,observations on crimson and scarlet upon silk--,on dyeing silk green--,on olives--,on dyeing silk grey--,nut grey--,black greys--,iron greys--,on dyeing silk of a ,prussian blue colour--,chromate of lead for yellow on silk or cotton--,conclusion #abc ,index #aec ,,the ,,dyer',s ,,guide4 ,,chapter ,i4 ,,introductory4 ,on the different branches of dyeing--,on the drugs used in dyeing--,on vegetable and animal substances--,on substantive and adjective colours and mordants1 and on the leading facts of chemical science1 as connected with the art of dyeing--,on the ,calico-,printers' mordant for yellow and red1 and on compound colours--,on bleaching--,on the theory of fast and fugitive colours--,on dye-houses and water--,miscellaneous observations4 ,the trade of a ,dyer is1 in this country1 subdivided into several distinct branches4 ,thus we have woollen dyers1 who are occupied solely in the colours obtained from cochineal1 such as scarlet1 crimson1 orange1 buff1 c42 likewise purple1 or royal purple1 obtained from cochineal and indigo4 ,they are called1 also1 grain dyers1 from the circumstance of the colouring material1 cochineal1 being in small grains#b4 ,yet it ought to be observed1 that the term dyed in grain is applied by the public generally in a very different sense1 namely1 to those cloths the raw material of which is dyed previously to being spun into thread1 or at least before woven into cloth2 and hence such dyes are usually more permanent than those which are dyed after the materials are woven into cloth4 ,this class of dyers generally dye cloth in the piece1 or a number of pieces of cloth tacked together1 and worked over a winch in a suitable copper4 ,there are dyers who likewise dye worsted and woollen yarn of those grain colours1 but they are generally a distinct branch4 ,the yarn is dyed in hanks1 upon sticks2 and1 when in the copper1 the hanks are changed end for end1 so that they may be kept even2 such changing being performed five or six times to each turning in4 ,there are also silk dyers who are grain dyers4 ,these dye in the skein1 chiefly for new goods4 ,some silk1 and some mixed silk and worsted goods1 are dyed in the piece4 ,in dyeing cotton1 the ,adrianople or ,turkey ,red is1 in many cases1 a branch of itself1 and comes the nearest to what may be called grain or scarlet dyeing upon cotton1 because cochineal cannot be applied to cotton to any advantage2 yet cotton is occasionally dyed with this material4 ,in woollen another branch consists of the woad dyers4 ,these often superintend the black dye on woollen cloth1 as well as the blue from woad and indigo4 ,there is the same distinction among worsted yarn dyers1 they having likewise to do slates1 greys1 c4 ,nearly the same may be said of the silk skein dyers4 ,in many places1 particularly in the country1 browns1 drabs1 stone-colours1 c4 constitute a branch in woollen4 ,the same colours form also a branch in calico and muslin2 but black1 in calico and muslin1 is a distinct branch4 ,the dyers 7whether in ,london or provincial towns7 who keep shops1 and take in garments1 furniture1 c4 to be dyed1 are termed by the trade ,rag-dyers4 ,there are a few dyers in the metropolis who dye black on woollen1 silk1 cotton1 c4 for the dye-shops1 many of these putting all their black out to be dyed4 ,there are one or two dyers famous for dyeing silk stockings black2 these constitute a particular branch4 ,dyeing bombasins black is also another branch4 ,the following constitute also particular branches3 black hats1--hats of fancy colours1--fur1--chip and straw1--feathers1--leather1 ,morocco and ,spanish1 and kid leather for shoes and gloves4 ,many other branches of the dye-trade might be enumerated1 but more detail does not appear necessary4 ,concerning all these different branches1 one general observation will suffice2 namely1 that those who are concerned in them have1 for the most part1 obtained1 their knowledge of the art of dyeing1 not from theories adapted to explain the different processes1 but from practice in that branch in which they are occupied4 ,they usually1 therefore1 perform those processes which they have been shewn and told1 without any inquiry into the causes which produce the results4 ,there are1 it is admitted1 exceptions to this1 men of general information and knowledge being occasionally found in the various branches of dyeing1 but they are so few1 that it may be questioned1 when compared with the great body employed in the art1 whether they amount to one in a thousand4 ,this is not1 however1 to be attributed to any indifference in such persons to acquire a correct knowledge of the art1 but is chiefly owing to a deficiency of the ready means of acquiring such information2 which information it is the design of the present ,treatise to supply2 there not being1 as far as the present writer knows1 any such work1 at a moderate price1 to be obtained in the ,english language4 ,it is true many of the ,cyclopdias furnish us with much useful information on the subject of dyeing3 one of these1 ,,jennings',s ,family ,cyclopdia1 may be particularly mentioned as containing such2 but it is scattered about in these dictionaries in various ways1 at once troublesome and unpleasant to obtain4 ,dr4 ,,bancroft',s work on the philosophy of ,permanent ,colours1 in two octavo volumes1 will also supply much valuable information2 so also will the edition1 some time since published1 of ,,berthollet',s ,elements of the art of ,dyeing1 with the addition of valuable ,notes by ,dr4 ,,ure4 ,dr4 ,,ure',s ,chemical ,dictionary is also very useful to the dyer1 us well as many detached papers in several of our ,english publications4 ,a ,treatise on ,printing and ,dyeing ,silks1 c4 lately published by ,h4 ,m',,kernan1 is also valuable1 and should be consulted by the curious in this art4 ,but all these works are expensive1 and such as few dyers will be disposed to obtain2 hence the necessity of the present ,manual1 the author of which has not servilely followed the directions or recommendations of any previous writer2 but from his own practice1 a practice of more than thirty years1 has laid down such rules as he knows to be at once practical and efficient4 ,at the same time he thinks it right to state1 that he has not only consulted all the works mentioned above1 but also ,hellot1 ,macquer1 c4 adopting all that appeared essential in these1 and giving such additions as accord with the present improved state of chemistry and dyeing2 and1 as far as was possible1 in the limits prescribed for this work1 so that it may be within the reach of every dyer in the kingdom1 as well as every journeyman and apprentice in all the various branches of this truly extensive and mysterious art1 as carried on in ,london1 ,norwich1 ,yorkshire1 ,gloucestershire1 and various other parts of the ,british dominions4 ,the author has1 in treating of the various matters to be dyed1 adopted nearly the same arrangement as that which appears in the ,title1 taking ,cotton first1 in consequence of its having the least affinity for dyeing bodies4 ,he has taken ,silk next1 which has a greater affinity for many dyes1 and1 when dyed1 yields colours more permanent than cotton4 ,wool he has not placed entirely last1 although many of the colours which it receives from the dyer are complex4 ,the black dyeing of cotton and silk is placed after the processes of black for wool1 as likewise the ,turkey red1 c4 these being naturally difficult to perform4 ,white and black have been considered colours by dyers1 and with propriety1 black forming a part of slate1 grey1 c4 ,white is seldom pure2 in proportion to its clearness and purity will the colours be with which it is dyed4 ,in regard to black dye1 and particularly cotton black dye1 the author does not know any simple and concise theory1 consistent with chemical principles4 ,he flatters himself1 however1 that from his extensive experience1 his observations are founded on interesting facts4 ,cotton1 for instance1 will take fast blues from the cold indigo vat2 this vat1 with the combination of iron1 and in a heat no greater than the hand can bear1 will easily produce all shades of grey1 slate1 c4 ,many of these colours may be done by logwood instead of the blue vat1 and in the same heat of the dye bath2 so cotton likewise1 whether in pieces or skeins1 may be dyed brown1 fawn1 drab1 c4 in consequence of the great affinity which cotton has for acetate and sulphate of iron4 ,with respect to black1 it should be also observed1 that few substances are known which yield by themselves a good black4 ,the juice of the cashew nut communicates1 however1 a black colour1 which resists not only washing1 but even boiling with soap and alkaline leys4 ,it is used for marking linen4 ,the ,toxicodendron yields a juice which produces nearly the same effect4 ,some other vegetables also produce black dyes1 but all of them in such small quantities as not to be available for the purposes of art2 nor do they1 besides1 produce blacks equal to those formed in the dye-house4 ,blue1 red1 and yellow are admitted to be three distinct colours4 ,in many of the browns1 red and yellow are combined naturally in the drugs from which they are produced1 and so they are in logwood4 ,blue1 red1 and yellow1 are developed by iron1 whether in the state of an acetate or sulphate4 ,it may be useful1 before we proceed any farther in noticing the theories of dyeing1 to give a brief description of the ,drugs ,applicable to ,dyeing4 ,,alum1 or potash-sulphate of alumina1 is a concrete salt1 composed of alumina or clay1 potash1 and sulphuric acid4 ,it is found native in some places2 but the greatest part of the alum of commerce is prepared by a peculiar management of schistose pyritic clays1 usually denominated alum ores4 ,alum is made at ,civita ,vecchia1 in ,italy1 and also at many other places on the continent2 at ,hurlett near ,glasgow1 at ,whitby in ,yorkshire1 c4 ,its form and appearance are both too well known to need being described4 ,its chemical composition is as follows3 sulphate of alumina1 #cf4gj2 sulphate of potash1 #ah4hh2 and water1 #dd4db--together #ajj4 ,the alum called in commerce ,roch alum1 said to be obtained from ,roccha1 in ,syria1 is in smaller crystals than common alum1 and has a reddish hue1 but does not appear to be essentially different from the common alum4 ,common alum requires sixteen parts of water1 at a temperature of #fj4 to dissolve one of it2 but there is another kind not generally made or known1 containing soda instead of potash1 and hence with propriety named soda-sulphate of alumina1 which is soluble in less than its own weight of water1 and which1 on this account1 may become valuable in some processes of dyeing4--,,ure4 ,,acetate ,,of ,,alumina is prepared in large quantities for the calico printers1 by decomposing alum with acetate of lead1 or more economically with aqueous acetate of lime1 having a specific gravity of about #a4jej1 a gallon of which1 equivalent to nearly half a pound avoirdupoise of dry acetic acid1 is employed for every #b lbs4 of alum4 ,a sulphate of lime is formed by complex affinity which precipitates1 and an acetate of alumina floats4--,,ure4 ,,archil1 ,,archilla1 ,,rocella1 ,,orseille1 or ,,litmus1 is said to be a whitish lichen growing upon rocks in the ,canary and ,cape ,verd islands1 which yields a rich purple tincture1 fugitive1 but extremely beautiful4 ,it is brought to this country as it is gathered2 it is prepared here for the dyer1 by grinding it between stones1 so as thoroughly to bruise but not to reduce it into powder2 it is moistened occasionally with a strong spirit of urine1 or urine itself1 mixed with quicklime2 in a few days it acquires a purplish red1 and at length a blue colour2 in the first state it is called archil1 in the latter lacmus or litmus4 ,the dyers rarely employ this drug by itself1 on account of its dearness and the perishableness of its beauty4 ,its chief use is to give a bloom to other colours1 as pinks1 c4 ,,cudbear is also manufactured in this country from archil1 and is in repute for dyeing various shades1 from pink and crimson to a mazarine blue2 it is said these colours are very permanent4 ,,argol1 or ,,tartar1 is a crystalline substance deposited in wine casks during the fermentation of the wine1 from the juice of the grape1 in which it exists in considerable abundance4 ,it is an impure supertartate of potash2 that is1 potash combined with a superabundant quantity of tartaric acid4 ,algol is found in commerce of two colours1 white and red4 ,cream of tartar is the same substance freed from colouring and other extraneous matter4 ,,blood4 ,see ,,adrianople ,,red4 ,,bran acts in some peculiar way on colouring matter1 but scarcely on the mordants4 ,it seems to loosen and remove the colouring matter2 as also to alter its hue in some cases1 an effect obvious in the bran pinks4--,,ure4 ,,chlorine4 ,see ,,oxymuriatic ,,acid4 ,,cochineal is the female insect of the coccus cacti found on the cactus coccinellifer and cactus opuntia1 ,prickly pear or ,indian fig1 natives of ,south ,america1 the ,west ,indies1 and other tropical regions4 ,the female of the insect is the true cochineal2 in her full sized1 pregnant1 and torpid state1 she bears so small a proportion to her former or creeping state1 that her antenn1 legs and proboscis are scarcely discernible2 her whole appearance is that of a whitish berry1 and so it was formerly regarded4 ,this insect is found in a wild state in ,mexico1 ,georgia1 ,south ,carolina1 and some of the ,west ,india ,islands1 feeding on several species of the cactus2 but in some of the ,spanish settlements1 as well as in ,mexico1 the insect is domesticated1 and fed on the cactus coccinellifer1 which is cultivated for the purpose1 on which it attains a much larger size than in its wild state4 ,cochineal is also obtained from the ,east ,indies2 but ,east ,indian cochineal has not yet attained the quality of that produced in the ,west ,indies and ,america4 ,its use1 as a colour for dyeing many shades of red1 c4 is great and important4 ,,copper is also used in dyeing1 in the state of a sulphate or blue copperas1 a nitrate1 and also as an acetate4 ,see ,,verdigris4 ,the ,,gall or ,,bile of ,,animals consists of a saponaceous bitter1 yellowish fluid1 secreted by the liver1 and found in the sac usually called the gall-bladder4 ,it is sometimes preferred to soap for cleansing cloths by the dyer and the scourer4 ,,galls are excrescences produced on the quercus infectoria1 a species of oak growing throughout ,asia ,minor4 ,the gall grows on the shoots of the young boughs1 and is produced by an insect1 the cynips quercusfolii2 this insect punctures the tender shoot with its sting and deposits its egg in the puncture2 the egg is soon hatched1 and the irritation of the maggot feeding on the plant produces the wen or gall-nut4 ,when the nuts are gathered before the worm within changes to a fly1 and not yet having eaten its way out1 they are of a dusky green colour1 and are called in commerce blue galls1 and are by far the best4 ,those collected after the fly has eaten its way out have a hole in each1 are of a whitish yellow colour1 considerably lighter than the blue-galls1 and of an inferior quality3 they are brought to this country chiefly from ,aleppo4 ,they are used in large quantities in the arts1 principally for dyeing1 and making ink4 ,they contain a large quantity of ,tannin and ,gallic acid4 ,,indigo is a well known deep blue substance1 obtained from the ,indigofera tinctoria or ,indigo bearing plant1 a native of the ,east ,indies1 which is propagated by seed and will thrive in most tropical climates2 hence we have good indigo from ,south ,america1 the ,east ,indies1 ,carolina1 c4 ,the chief criterion of the goodness of indigo is1 if1 when cut with a knife1 it exhibits a reddish copper-like appearance2 where this shade is not1 or only very slight1 the indigo is of inferior value4 ,it is prepared by macerating the leaves in water1 whence is obtained the blue feculence or indigo4 ,indigo is insoluble in water1 but soluble in sulphuric acid1 hence a solution of it in this acid1 forming a sulphate of indigo1 is well known in the art of dyeing4 ,the best indigo is that called ,flora1 which floats in water1 all the other kinds sink in that fluid4 ,the constituent parts of indigo are ,carbon1 #gc4bb1 ,nitrogen #aa4bf1 ,oxygen #ab4fj1 and ,hydrogen1 #b4ib1 #ajj4 ,when indigo is digested in concentrated sulphuric acid1 it is converted into a peculiar blue substance1 commonly called sulphate of indigo2 this colouring matter has been1 however1 lately named ,,cerulin1 by ,,mr4 ,w4 ,,crum1 who has made many experiments on it2 7see notes to ,bertholet1 vol4 ii4 p4 #ceg4 et seq47 he observes that cerulin dissolves more abundantly in sulphuric acid than water2 but this does not prove the formation of a compound entitled to be called sulphate of indigo2 that1 such a solution differs in no respect from that of resins in acids or in alcohol4 ,another substance has been also obtained from indigo by ,,mr4 ,,crum1 of a purple colour1 which he calls ,phenicin2 it dissolves both in water and alcohol4 ,,iron rarely in its metallic state enters into the manipulations of dyeing1 but its sulphate1 muriate1 acetate1 c4 as well as its oxides contribute largely to the dyer's art4 ,,sulphate ,,of ,,iron1 or green copperas1 as it is commonly called1 is too well known to need description2 it is in green crystals of different sizes1 and is used for various purposes in dyeing1 c4 ,,peracetate ,,of ,,iron1 or ,,acetate ,,of ,,iron1 forms a reddish-brown uncrystallizable solution1 much used by the calico printers1 and is prepared by keeping iron turnings or pieces of old iron for six months immersed in redistilled pyrolignous acid4 ,it may be also prepared in a more expeditious way by boiling filings of iron with the acid4 ,,lac ,,dye and ,,lac ,,lake are two articles now regularly imported from the ,east ,indies1 and employed for dyeing scarlet4 ,they both appear to be the colouring matter of seed-lac1 obtained from it in ,india by a process not generally known4 ,both these articles are in lumps or cakes of a dark-reddish or blackish colour4 ,,muriatic ,,acid1 or spirit of salt1 as it was formerly called1 is obtained from common salt or muriate of soda1 by distillation with sulphuric acid4 ,when this acid is pure it is perfectly colourless1 but it generally has a yellow hue arising from a little iron4 ,it gives out1 at all temperatures1 a large quantity of a fuming suffocating gas of a peculiar smell4 ,its usual specific gravity is about #a4afj4 ,for the basis of this acid see ,,oxymuriatic ,,acid4 ,,nitric ,,acid is composed of oxygen and nitrogen3 it is usually obtained from nitre1 7the chemical name of which is nitrate of potash17 by distilling three parts of it with two of sulphuric acid4 ,when pure1 nitric acid is a colourless1 extremely sour1 and corrosive liquor4 ,its specific gravity is #a4db2 it always contains more or less water1 which modifies its specific gravity4 ,it is usually coloured with nitrous acid gas4 ,it forms a variety of compounds with numerous other bodies4 ,aqua fortis is this acid diluted more or less with water2 when strong it is called double1 when weak single aqua fortis4 ,for ,,nitrogen1 see forwards4 ,,nitro-,,muriatic ,,acid1 or ,,aqua ,,regia1 is a mixture of nitric and muriatic acids4 ,it is usually made by dissolving sal ammoniac or common salt in nitric acid4 ,when the former is employed the usual proportion is one of the salt to four of the acid2 but equal parts will be necessary to dissolve platinum4 ,aqua regia is the only menstruum which will dissolve gold4 ,,orpiment1 ,,realgar1 or ,,sulphuret of ,,arsenic has been lately applied to the purposes of dyeing a yellow colour4 ,sulphur may be combined with arsenic in different proportions4 ,realgar is red1 and occurs native in ,germany and ,switzerland2 it is also produced by art4 ,orpiment is commonly produced by art and is of a yellowish colour2 native orpiment is also occasionally found2 it is of a bright lemon colour4 ,,oxymuriatic ,,acid1 or as it is now more correctly termed ,,chlorine1 from its yellowish green colour1 is an elastic gaseous fluid of a pungent disagreeable smell1 and highly injurious to animal life1 even when largely diluted with atmospheric air4 ,mixed with hydrogen1 and exposed to light1 they combine and produce a sour compound called muriatic acid gas2 this gas is greedily absorbed by water1 which takes up #dhj times its bulk1 and has its specific gravity increased from #a to #a4baj4 ,thus dissolved in water it forms the liquid muriatic acid mentioned in a preceding article4 ,chlorine forms combination1 besides1 with several other bodies2 many of its combinations are termed oxymuriates1 or more properly1 chlorides3 some of these are extremely useful in bleaching1 dyeing1 c4 ,the muriatic acid appears to be the only acid of any consequence into which oxygen does not enter4 ,,oxide is the combination of oxygen with some base1 without being in the state of acid2 it is most commonly applied to the combination of oxygen with metals2 most of the different rusts of metals are oxides4 ,as oxygen combines with the metals and other bodies in different proportions1 its combinations are distinguished by different prefixes1 thus3 protoxide denotes an oxide containing the least quantity of oxygen3 deutoxide the next larger quantity2 tritoxide the next2 and peroxide the largest possible quantity of oxygen in the compound when it is not acid4 ,for ,,oxygen see forwards4 ,,pot-,,ashes and ,,pearl-,,ashes 7one of the fixed alkalies7 are both impure carbonates of potash obtained from the ashes of innumerable vegetables1 over which water is poured which dissolves the salts1 and by evaporating the water leaving the salt1 a dry powdery white mass is obtained4 ,the chief difference between pot-ashes and pearl-ashes consists in the superior whiteness of the latter1 and in the former being of a more dirty colour1 and more caustic than the latter2 hence it is not so highly saturated with carbonic acid4 ,for many purposes in the arts such caustic potash is to be preferred4 ,,quercitron1 or ,,american-,,bark is obtained from the quercus nigra or black oak1 a native of ,north ,america4 ,it is used for dyeing yellow1 and was brought into notice by ,,dr4 ,,bancroft1 who obtained the exclusive privilege of using it as a dye by an ,act of ,parliament1 passed in the #beth year of the reign of ,george ,,iii4 ,,safflower1 bastard-saffron or carthamus1 is obtained from one or two plants1 species of the carthamus genus1 natives of the ,south of ,europe and the ,mediterranean coasts4 ,this dyeing material consists of two colouring substances1 a yellow and a red4 ,the former is of little value1 the latter which is soluble in alkalies forms1 by precipitation with acids1 a beautiful red pigment sometimes used for silk dyeing1 but more commonly in the preparation of rouge4 ,,soda1 called sometimes mineral alkali1 is another of the fixed alkalies2 it forms the basis of common salt1 that being a muriate of soda2 soda1 under the name of barilla1 is used in making soaps1 and also in dyeing4 ,,sulphur1 or ,,brimstone1 is scarcely used for dyeing in its crude state1 but when combined with oxygen forming sulphuric acid1 as well as when that acid is combined with various bases1 as iron1 alumina1 c4 it becomes of great importance in this art2 see ,,sulphuric ,,acid4 ,,sulphate ,,of ,,iron1 see ,,iron above4 ,,sulphuric ,,acid was for many years1 and still is called by the vulgar1 oil of vitriol1 because it was formerly obtained from green vitriol or sulphate of iron1 but the more simple and ingenious processes of modern chemistry have superseded the old methods2 sulphuric acid is now obtained by burning sulphur with a certain portion of saltpetre in large leaden cisterns4 ,the acid fumes sink into the water placed at the bottom of the cistern1 the water being afterwards boiled away3 the acid is afterwards purified by retorts1 placed in a sand heat4 ,the specific gravity of good sulphuric acid should be #a4he4 ,,sumach is the production of the rhus coriaria1 a shrub which grows naturally in ,syria1 ,palestine1 ,spain1 and ,portugal4 ,it is cultivated in the two last countries with great care4 ,its shoots are cut down every year quite to the root1 and after being dried are reduced to powder1 and thus prepared for the purposes of dyeing1 c4 ,sumach bears a great resemblance1 as an astringent1 to galls4 ,sumach alone gives a brown and a fawn colour1 but cotton stuffs impregnated with acetate of alumina take a durable yellow from it4 ,,tartar1 see ,,argol4 ,,tin1 dissolved in nitric or muriatic acid1 forms solutions of great importance in many processes of dyeing1 particularly scarlet4 ,these solutions are called respectively nitrate and muriate of tin4 ,,turmeric is a root obtained from a plant growing both in the ,east and ,west ,indies4 ,the root is used chiefly for dyeing yellow2 but it is a fugacious colour4 ,,verdigris is a crude acetate of copper1 obtained by exposing copper plates to the husks1 c4 of grapes1 which containing considerable acetic acid1 the acid combines with the surface of the copper plates1 forming a blueish green rust1 which is scraped off1 and forms the verdigris of commerce4 ,a still more complete acetate of copper is obtained in distilled verdigris1 which is in elegant green crystals4 ,the best verdigris is made in ,france2 some is now also made in this country4 ,,weld1 sometimes called improperly ,,woulds1 dyer's-weed1 or ,reseda luteola1 is a plant found wild1 in this country1 but cultivated for the purposes of the dyer2 it is much used for yellows4 ,,woad1 or ,,pastel1 is obtained from a plant growing in various parts of ,europe and also in this country2 it is the ,isatis tinctoria1 and is cultivated with care for the dyeing matter which it affords1 and which is obtained from the leaves of the plant1 collected and prepared in a particular manner4 ,woad gives a full-bodied and fast blue to wool1 yet not very bright1 so that it is usually mixed with indigo#c4 ,besides the preceding substances we may mention that annatto is used for dyeing several colours2 kermes1 madder1 and ,brazil wood for reds2 logwood for purple and black2 peach-wood for maroon1 c42 fustic1 dyer's-broom1 saw-wort1 ,french-berries1 c4 for yellow2 walnut-root1 and the outside green shell of the nuts for browns4 ,we may also mention prussiate of potash1 acetate of lead1 commonly called sugar of lead1 and oxide of manganese1 as occasional articles used for various purposes by the dyer4 ,several other substances are also used in dyeing1 which we cannot enumerate2 some are mentioned in the subsequent pages4 ,we may1 however1 name cam-wood1 bar-wood1 redsanders1 and myrobolans4 ,we ought also to observe that how desirable soever it may be to have all woods for dyeing1 in powder1 in order to obtain the greatest quantity of colouring matter from them by decoction or otherwise1 yet1 as in a powdered state they are much more likely to be adulterated than in chips1 it is most advisable to purchase them in this last state2 logwood in particular ought never to be purchased in powder4 ,on the ,component ,parts of ,vegetable and ,animal substances4 ,in order more correctly to understand the theory and practice of dyeing1 it is essential that the pupil should become acquainted with the nature of the substances upon which and with which he must necessarily operate4 ,we shall not enter into the theories of light and of colours1 as propounded by ,sir ,isaac ,newton1 as well as many illustrious chemists1 who have already done so much for the art of dyeing1 but shall simply refer to such writers as ,,ure1 ,,bancroft1 ,,berthollet1 ,,brande1 c4 from whom may be learnt what is of most importance to be known concerning this curious subject4 ,we may just add1 however1 in regard to light1 that ,sir ,isaac ,newton proved it consists of rays differing from each other in their relative refrangibilities4 ,by causing light to pass through a hole in a window-shutter into a darkened room1 and receiving that light on a glass prism1 the rays1 in passing through the prism1 not only became refracted1 that is1 thrown out1 of the rectilinear direction1 but also separated into seven distinct colours1 namely1 red1 orange1 yellow1 green1 blue1 indigo1 and violet4 ,the red being the least refracted and violet the most4 ,if these prismatic1 or primary colours1 as they are usually called1 be divided into #cfj equal parts1 the red rays will occupy #de of these parts1 the orange #bg1 the yellow #dh1 the green #fj1 the blue #fj1 the indigo #dj1 and the violet #hj1 and1 what is very remarkable1 these colours1 when mixed in the proportions here set down1 produce white4 ,this may be readily proved by mixing seven powders of the colours and quantity mentioned1 or by painting a wheel with the same proportions of the different colours and making it revolve rapidly4 ,but it should be noted1 that1 in either case1 the white will not be so pure and delicate1 as that produced by the mixture of the rays of light4 ,upon these phenomena is founded the ,newtonian theory of colours4 ,thus green bodies reflect the green rays and absorb the others4 ,all the rays are reflected by white bodies1 and absorbed by those which are black4 ,it is1 notwithstanding1 highly necessary that the learner should know that portion of modern chemistry which will lead him to the best secrets of his art1 and hence assure him of that which was only before conjecture4 ,and it cannot be sufficiently impressed upon him1 that if our theory be not true1 we work from wrong data2 we may1 it is true1 approach the truth2 be right in some things and wrong in others1 and our uncertainty and mistakes will be accordingly2 yet the most complete dyer must be he1 who with extensive practice combines a knowledge of the true principles of his art1 to which modern chemistry is1 doubtless1 the key4 ,it is scarcely necessary to insist further on the importance of a knowledge of the constituent parts of vegetable and animal bodies1 as well as those inorganic substances with which chemistry has so largely to deal2 but it will be seen1 in the course of our subsequent observations1 what difficulty there is in dyeing cotton of a red colour1 similar to that produced by cochineal on wool2 how1 in dyeing cotton yarn an ,adrianople red1 the intestinal liquor of the sheep1 and the dung and the blood of the same animal are used1 and have been found so important by the dyers of ,asia2 hence the colour is called the ,adrianople or ,turkey red4 ,it is found by experience1 and particularly in hot climates1 that substances containing ammonia 7volatile alkali7 quite developed1 have the property of raising and rendering more intense the red colours4 ,it has been found1 too1 that the bones of animals retain the colour of madder very strongly1 when they have been given that colouring material2 and the vivacity of the colour has been attributed in such cases1 it is presumed with truth1 to the ammonia which the bones contain4 ,there are1 therefore1 in regard to vegetables in particular1 some things1 the nature and properties of which it is absolutely necessary that the dyer should understand3 for want of a knowledge of one of them1 it is a fact that losses are very often sustained to a serious amount4 ,it may seem surprising1 but the author has not seen in any writer on dyeing or chemistry1 a proper method of working the pastil or woad vat2 nor how to renew and work it down1 again and again1 with an assurance that it will be neither decomposed nor spoiled2 and which1 for want of a proper knowledge1 it has often been4 ,we shall therefore endeavour to give some directions by which those fatal and expensive disasters may be avoided4 ,although1 at first sight1 it seems easy to distinguish the three kingdoms of nature from each other1 yet there is such an imperceptible transition from one to the other1 that it will be difficult to give such a definition as shall embrace all the individuals of each1 and1 at the same time1 exclude those of the other kingdoms4 ,on examination1 indeed1 we do find that there is in fact no natural distinction of this kind2 and that there is scarcely a function common to vegetables and minerals which some of the animal tribe do not enjoy1 and vice vers4 ,yet it must1 however1 be noted1 that most animals have the power of voluntary loco-motion1 and are thus rendered peculiarly different from all other bodies which we find upon or in the earth4 ,the substances constituting vegetable differ from those constituting mineral bodies1 in their being of a more complex kind2 and though vegetables are extremely susceptible of decomposition in various ways1 not one can be1 by any art1 synthetically produced4 ,yet1 although what are called by chemists the proximate constituents of vegetables are numerous1 such are water1 starch1 sugar1 gum1 gluten1 wax1 oil1 camphor1 resins1 colouring matter1 extractive matter1 several acids1 c4 c4 all of which are capable of being decomposed1 the ultimate constituents of vegetables are very few2 the chief are carbon1 hydrogen1 and oxygen2 some afford nitrogen2 in some are traces of sulphur1 potassa1 lime1 soda1 magnesia1 silica1 c42 in nearly all vegetables are traces of iron2 in many manganese4 ,as the proximate principles of vegetables are chiefly carbon1 hydrogen1 and oxygen1 it will be useful to inquire how vegetables obtain these materials4 ,water1 which is composed of hydrogen and oxygen1 is a ready source whence both its constituents may be obtained2 and it is concluded that it is decomposed in the glands of vegetables1 assisted by solar light1 and becomes fixed in them in the state of oil1 extract1 mucilage1 c4 ,the greatest part1 however1 of vegetables consists of carbon1 or1 to make ourselves more intelligible1 pure charcoal2 the carbon1 notwithstanding its solidity in the shape of charcoal1 most readily combines with oxygen1 and hence it forms1 as carbonic acid1 a small portion of atmospheric air1 from which source the carbon of plants is in part at least derived4 ,another source from which plants derive their carbon is the earth1 and decaying vegetable matters2 the dung of animals supplies also some of the constituents of vegetables4 ,indeed1 in the application of dung and other matters1 so as to promote the healthy and vigorous growth of vegetables1 does the science of agriculture chiefly consist4 ,it appears1 however1 that nourishment is received principally1 if not entirely1 by plants in a liquid or gaseous form4 ,it should be noticed too1 that few1 if any1 healthy vegetables will grow any where except in light1 a powerful stimulant at all times1 not only to plants but to animals2 such are its effects1 that many dyes in cloth are materially altered1 nay1 sometimes destroyed by it4 ,animal substances thus differ from vegetables3 they afford a considerable quantity of ammonia1 7which is1 it is now known1 a compound body consisting of hydrogen and nitrogen71 and very fetid products1 either by the action of fire1 or by the putrid fermentation4 ,they also putrify more readily and speedily than vegetables1 and give out a very disagreeable smell4 ,they also contain a considerable quantity of nitrogen1 the presence of which constitutes the most striking peculiarity of animal compared with vegetable bodies2 but as some vegetables contain nitrogen1 so there are certain animal principles into the composition of which nitrogen does not enter4 ,the chief ultimate principles then of animal matter are carbon1 hydrogen1 oxygen1 and nitrogen2 but phosphorus and sulphur are also often contained in it4 ,lime also exists in animal bones and shells in considerable quantity1 usually1 however1 in combination with the phosphoric and the carbonic acid4 ,the chief proximate principles of animal matter are blood1 albumen1 gelatine1 colouring matter1 milk1 bile1 lymph1 urine1 skin1 muscle1 horn1 hair1 fat1 cerebral substance1 shell1 and bone1 c4 ,the differences between vegetable and animal bodies appear to depend upon animal matter containing nitrogen in much greater abundance than it is found in vegetables2 and hence the decomposition of animal matter by destructive distillation is characterized by the presence of ammonia1 which is formed by the union of the hydrogen with the nitrogen2 and it is sometimes so abundantly generated as to be the leading product3 thus when horns1 hoofs1 or bones are distilled by themselves1 a quantity of solid carbonate of ammonia and of the same substance combined with a ftid oil1 and dissolved in water1 are obtained4 ,hence the preparations called salt and spirit of hartshorn and animal oil4 ,the principal animal fluids are blood1 milk1 and bile4 ,the blood1 soon after it is taken from the living animal1 separates into two parts1 one called the crassamentum1 which is red1 and the other serum1 which is a fluid1 and of a pale straw-colour2 the crassamentum is a more firm and consistent mass than the serum1 by which it is usually1 when cool1 surrounded4 ,milk consists of serum or whey1 butter1 which while floating on the milk is called cream1 and curd or cheese1 which has the leading properties of coagulated albumen4 ,the bile1 as has been before stated1 is a saponaceous fluid consisting chiefly of albumen1 soda1 a bitter resin1 water1 and some other saline matter4 ,fat1 in the dead animal1 is merely animal oil in a concrete or hardened state4 ,the principal animal solids besides bone1 are albumen1 gelatine1 and fibrin4 ,these substances1 in certain states of concretion and combination1 form all the solids of animals1 and are separable from each other by easy analysis4 ,by whatever means we deprive animal substances of their nitrogen1 we reduce them to a state similar to that of vegetables4 ,the muscular fibre1 or flesh as it is usually called1 when excluded from the air1 but particularly if in contact with water1 parts with its nitrogen1 and is converted into a substance resembling spermaceti1 which in its analysis agrees with vegetable expressed oil4 ,when vegetables and animals are deprived of life1 their various parts1 and especially their fluids1 sooner or later1 spontaneously assume processes which terminate in their total decomposition4 ,the earlier stages which lead to their decomposition are termed fermentation4 ,of this there are three kinds2 the first1 or vinous fermentation1 takes place in vegetable juices which contain a considerable quantity of sugar1 such are the juices of the grape forming wine1 of the apple forming cyder1 c4 ,in this fermentation a considerable quantity of carbonic acid gas is disengaged2 this gas is very destructive to animal life1 no one can live for a minute in it4 ,if1 after the vinous fermentation is completed1 the liquor be exposed for some time to atmospheric air1 another fermentation takes place1 oxygen is absorbed1 and the liquor becomes vinegar1 hence called the acetous fermentation4 ,the putrid fermentation generally takes place in animal bodies very soon after death1 so that neither of the other processes1 certainly not the vinous1 the acetous rarely1 becomes a condition of animal matter4 ,the chief product of the vinous fermentation is an intoxicating1 colourless1 volatile1 and highly inflammable liquor called alcohol2 in common language rectified spirits of wine4 ,it may be obtained by distillation from wine1 cyder1 perry1 brandy1 c4 c42 and from whatever liquor it be obtained1 when freed from extraneous matter1 it is in every case the same4 ,alcohol consists of hydrogen1 carbon1 and oxygen4 ,its usual specific gravity is #hbe1 water being #ajjj4 ,after vegetables have passed through these fermenting processes1 the decomposition continuing1 unless checked by extraneous means1 the remainder of their constituents become separated1 many of them being volatilized in the form of gas1 and nothing remains but a black or brown residuum called mould1 consisting of carbon1 some salts1 a little oil1 and extractive matter4 ,in the decomposition of animal substances1 we perceive the union of hydrogen and nitrogen forming ammonia2 the combination of carbon with oxygen produces carbonic acid2 and nitric acid arises from the union oxygen and nitrogen4 ,a quantity of hydrogen is also extricated in the form of gas1 carrying off with it sulphur and phosphorus1 which produce together the disagreeable smell arising from animal putrefaction4 ,nothing now remains but a portion of carbon mixed with phosphate of soda and phosphate of lime4 ,hence we see that1 by the processes of fermentation1 complex bodies are converted into more simple substances1 and that nature restores1 in the new combinations1 the principles which she had borrowed from the atmosphere for the formation of both animals and vegetables2 and that she accomplishes a perpetual circle of ever-changing being1 at once demonstrating the fecundity of her resources1 and the grandeur and simplicity of her operations4 ,on substantive and adjective colours1 and the mordants1 c4 used in dyeing2 and on the leading facts of chemical science as connected with this art4 ,the substances commonly dyed are either animal1 as wool1 silk1 hair1 leather1 and skins of all kinds2 or vegetable1 as cotton1 flax1 hemp1 c4 ,great differences exist between the affinities for colouring matter possessed by these substances1 so that a process which perfectly succeeds in dyeing wool may fail when applied to cotton4 ,wool has generally the strongest affinity for colour2 silk and other animal substances come next2 cotton next1 and hemp and flax last4 ,of the numerous known dyes1 few can be applied to either animal or vegetable fibre without some preparation beyond that of cleansing the stuff1 and immersing it in the dyeing liquor4 ,when colours can be fixed on cloth without any previous preparation1 they are called substantive colours1 such is indigo2 when they cannot be so fixed1 but require to be saturated with some preparation1 such as acetate of alumina1 or a metallic oxide1 c4 they are called adjective colours2 of this kind are madder1 cochineal1 c4 ,the substances with which cloths are impregnated1 previously to being dyed1 are called mordants1 because they are supposed to bite or lay hold of the colour which is applied4 ,the chief difference between vegetable and animal substances is1 that animal 7as for instance wool7 contains a small portion of carbon1 and a large quantity of hydrogen and nitrogen2 while vegetables contain a very large proportion of carbon1 less hydrogen1 and1 in general1 no nitrogen4 ,it is the interest of every dyer to acquire as much information as possible concerning the nature of alum1 iron1 carbon1 nitrogen1 hydrogen1 the alkalies1 acids1 c4 in order to prevent or obviate the consequences of an incorrect application of these agents in the various departments of his art1 and also to apply them with the greatest success4 ,we shall1 therefore1 enter a little into the nature and combinations of some of these bodies1 and state some of the leading facts with which the modern discoveries in chemistry have made us acquainted4 ,carbon1 or charcoal1 is considered an elementary body1 because1 as yet1 no means have been found adequate to decompose it2 it forms the skeleton of vegetables or their woody fibre4 ,we must now direct the attention of the reader to oxygen gas1 the discovery of which was made by ,dr4 ,priestley in the year #aggd1 and by him called dephlogisticated air2 the most important discovery that was1 perhaps1 ever made in chemistry4 ,when a metal is exposed to atmospheric air1 at almost every temperature1 it loses its metallic lustre1 and acquires the form and appearance of an earthy substance4 ,if this change be produced in a given quantity of air1 the oxidation can only be carried on to a certain degree2 and on examining the air which remains1 we shall find that it has lost the whole of its oxygen1 and that nothing remains but nitrogen gas4 ,what was formerly called the calcination of metals is nothing but the process of their union with oxygen1 which is now therefore properly called their oxidation4 ,if charcoal be mixed with the metallic oxide1 and a suitable heat be applied to the mixture1 it will unite with the oxygen and form carbonic acid1 which will fly off in the form of gas1 while the metal will assume its metallic form4 ,from this we learn that oxygen is a part of atmospheric air1 and that nitrogen constitutes another portion of the same air4 ,ammonia is a combination of nitrogen and hydrogen4 ,combustion1 or the burning of any combustible body1 cannot take place1 at least under ordinary circumstances1 without the presence of oxygen4 ,nitrogen gas1 7called by its discoverers azotic gas71 constitutes about three fourths of atmospheric air2 the other fourth consists of oxygen1 besides a small fraction of carbonic acid gas4 ,oxygen decomposes and destroys all fugitive colours4 ,oxygen is1 besides1 the basis of almost all the acids1 and hence is one of the most universal agents in nature4 ,hydrogen1 formerly called inflammable air1 was discovered by ,mr4 ,cavendish in #agfg2 it is called hydrogen1 because it is one of the component parts of water2 or1 more properly1 it is the base of water4 ,it is obtained in the most pure state from the decomposition of water by means of metals1 thus3 pass one hundred parts of water through a red hot iron tube1 a gun barrel for instance1 fifteen parts of hydrogen gas will be produced1 while the inside of the tube will be found converted into an oxide1 and to have gained eighty five parts in weight4 ,again1 when eighty five parts of oxygen gas are burned with fifteen of hydrogen gas1 both gases vanish1 and one hundred parts of water are the result4 ,hydrogen gas1 when in a pure state1 is about fifteen times lighter than atmospheric air2 hence its use for inflating balloons4 ,hydrogen1 if inhaled1 destroys animal life2 combined with nitrogen1 it forms ammonia1 or the volatile alkali1 as we have before stated4 ,we have mentioned the fixed alkalies in a preceding section4 ,we may add here1 that by the discoveries of ,sir ,humphry ,davy1 in the year #ahjg1 the base of caustic1 or pure potash1 is now known to consist of a light1 white metallic substance1 to which the name of potassium has been given2 it is of the consistence of soft wax2 at a freezing temperature it is hard1 brittle1 and solid2 when thrown upon water it instantly takes fire1 hydrogen gas escapes1 and an oxide of potassium1 or caustic pot-ash1 is produced4 ,the potash and pearl-ash of the shops we must not forget1 are combinations of carbonic acid and pot-ash1 hence they effervesce with all the acids2 but caustic pot-ash1 containing no carbonic acid1 combines with any of the acids without effervescence4 ,the ,,soda1 as obtained from barilla1 is a carbonate of soda2 pure soda1 or caustic soda1 was1 till the discoveries of ,sir ,humphry ,davy1 supposed to be1 as well as potash1 a simple substance4 ,it is now1 however1 known to consist of a metallic substance of the colour of lead1 but1 nevertheless1 lighter than water2 upon which1 when thrown1 it produces1 like potassium1 violent action1 yet does not1 in general1 like potassium1 inflame4 ,it is called sodium2 pure soda consists therefore of sodium and oxygen1 hence it is an oxide of sodium4 ,these discoveries of the composition of the fixed alkalies are of infinite importance in the arts4 ,the alkalies contain some very striking properties3 ,their taste is acrid1 burning and urinous4 ,they generally change the blue colours of vegetable infusions green4 ,when mixed with silex or flint1 by exposure to great heat they form glass1 and they render oils miscible with water1 and hence combine with them forming soaps4 ,they effervesce 7when combined with carbonic acid17 with many other acids1 and form neutral salts with all the acids4 ,the volatile alkali or ammonia1 on exposure to air1 flies entirely away4 ,pot-ash1 either in its caustic state1 or in that of a carbonate1 absorbs moisture from the air1 and liquifies4 ,while soda1 on the contrary1 and many of its combinations1 effloresce in the air2 they1 nevertheless1 effervesce1 and combine with the acids in a similar way to pot-ash4 ,we have mentioned how pot-ash is obtained in a preceding section4 ,soda is commonly procured from the ashes of marine plants2 the barilla of commerce is obtained1 it is said1 in ,spain1 chiefly from many species of the salsola1 or salt-wort4 ,barilla is an impure subcarbonate of soda1 it is used largely in the manufacture of soap4 ,we now proceed to notice the nature of acids4 ,they excite a particular sensation on the palate1 which we call sour4 ,they change the blue colour of vegetables red4 ,all of them1 except the carbonic acid1 effervesce with the volatile as well as the fixed alkalies when in the state of carbonates1 as they are most commonly found in commerce4 ,oxygen is the principle of almost all acids2 their difference depends upon the base combined with the oxygen3 thus oxygen combined with carbon or pure charcoal1 forms carbonic acid2 with nitrogen the nitric acid2 with sulphur the sulphuric acid1 c4 c4 ,gas is a term implying the same as air2 but as the term air1 when used1 is liable to be misunderstood for the air of the atmosphere1 which is1 as we have seen1 a compound body1 the term gas is more appropriately applied to all elastic fluids of a specific kind4 ,thus we say carbonic acid gas1 oxygenous gas4 ,the difference between carbonic acid and carbonic acid gas1 and oxygen and oxygenous gas1 consists in the latter being combined with heat only1 and in the state of air1 while in the former they are fixed in some body1 as in carbonate of pot-ash and oxide of lead1 in both which cases the carbonic acid exists in a fixed state1 or combined with the pot-ash1 and the oxygen is in a fixed state1 or combined with the lead4 ,we may now treat of carbonic acid gas1 which is thus produced1 as well as in many other ways3 when charcoal is burned in oxygen gas1 exactly sufficient for its combustion1 both the charcoal and oxygen disappear1 and an elastic fluid is found in the vessel1 which is equal in weight to both4 ,this air or gas is carbonic acid gas2 it combines with lime1 the alkalies1 and pure or burnt magnesia3 it constitutes a considerable portion of the weight of chalk1 limestone and marble1 as is readily seen by comparing these bodies before and after their conversion into quicklime4 ,it is frequently combined with hydrogen4 ,the gas with which the streets are now lighted is chiefly carburetted hydrogen4 ,carbonic acid gas has the following properties4 ,it extinguishes flame1 and1 like nitrogen and hydrogen1 kills animals immersed in it4 ,it is heavier than common air1 and may therefore be poured out of one vessel into another like water4 ,cider1 wine1 beer and other fermented liquors owe their briskness to the carbonic acid which they contain2 soda-water also owes its briskness entirely to the quantity of carbonic acid gas which it contains1 a small quantity of heat being sufficient to give the acid the gaseous state4 ,sulphur has been mentioned before2 it is well known to be a very combustible substance2 it is found in great quantities throughout nature2 the sulphur of commerce comes either from ,italy or ,sicily2 or from the isle of ,anglesea1 where it is obtained from the smelting of sulphuret of copper2 the best1 however1 comes from ,sicily4 ,it is1 sometimes1 found pure2 but often combined with some of the metals1 forming sulphurets4 ,it is also frequently obtained by the decomposition of animal and vegetable substances2 it is sometimes found combined with hydrogen 7hence called sulphuretted hydrogen71 in the human stomach1 more frequently in the intestines4 ,sulphur combined with a small dose of oxygen1 forms a volatile suffocating acid1 called the sulphureous acid2 with a large dose it forms sulphuric acid1 or oil of vitriol4 ,for the nitric and muriatic acids1 see a preceding section4 ,we may1 however1 mention here1 that nitric acid has the peculiar property of staining the scarf skin of the human body a dull yellow1 of such permanence1 that it can scarcely1 by any means1 be destroyed1 it usually remaining till the skin wears or peels off4 ,the principal vegetable acids are the tartaric and the acetic4 ,the tartaric acid exists in superabundance in tartar1 and particularly in cream of tartar1 which is nothing more than a purified tartar4 ,see argol in a preceding section4 ,the acetic acid constitutes the vinegar both common and distilled2 it is found in a very concentrated state in the shops1 under the name of aromatic vinegar4 ,it is also now obtained in large quantities1 and of great strength from wood by distillation1 or burning1 in vessels1 adapted for the purpose1 hence called the pyrolignous acid1 but essentially the acetic acid4 ,this last is now used by ,calico-,printers to make acetate of iron4 ,see a preceding section4 ,alumina1 or earth of alumina1 sometimes called argil1 is soft to the touch1 adheres to the tongue1 and hardens in the fire1 contracting its dimensions3 it constitutes the greatest part of clays4 ,with sulphuric acid and pot-ash1 it forms the common alum of the shops4 ,alum dissolves in about sixteen times its weight of cold water4 ,for acetate of alum see alum in a preceding section4 ,agriculturists and agricultural chemists know that alumina constitutes three eighths or more of a fruitful soil2 some vegetables1 likewise1 contain this earth in their composition4 ,iron is also a component part of many soils1 particularly those in which a red colour is predominant2 hence it is1 probably1 a component part of all drugs used for browns1 fawns1 and blacks4 ,it will be seen what affinity cotton has for iron in the dye of buff#d upon cotton2 and it seems reasonable to conclude that this metal not only produces the black1 grey1 and brown hues1 but1 with lime1 forms a component part of the drugs themselves which give the brown dyes4 ,it may be here also mentioned1 that the red colour of the blood has been by many chemists supposed to arise from the iron which it contains2 ,,mr4 ,,brande1 however1 does not1 from his own experiments1 conclude this to be the fact4 ,the blood of animals is1 nevertheless1 occasionally used for dyeing1 as will be seen under ,adrianople red4 ,see ,,kirwan on ,manures1 c4 and ,,davy',s ,agricultural ,chemistry4 ,from the acids or oxygen combined with alkalies1 earths1 or metals1 almost innumerable mordants1 as we have seen1 are formed2 and upon the correct and proper application of these to the cloth or other matters to be dyed1 depends the goodness and permanence of the colours4 ,the dyer cannot1 therefore1 be too scrupulously attentive to this portion of his art4 ,in dyeing the student ought also to remember1 that the material to be dyed combines intimately1 in numerous instances1 with alumina or other mordants2 in the case of alumina it1 in some instances1 takes up from one twelfth to one fourth of its weight of alum1 leaving the alum bath nearly tasteless4 ,so also will rich extract of ,american bark1 or even weld1 when the proportion of weld is in weight more than two to one of the wool1 form a triple compound with the cloth and alum1 of permanent duration4 ,all these preliminaries the author considers of the first importance to be understood1 and he has1 therefore1 mentioned them again and again4 ,for so doing he is sure that he shall be excused in the dye-house1 although not perhaps by the critics1 whose candour he nevertheless respectfully solicits4 ,we now proceed to the application of mordants4 ,in regard to muslins and calicoes1 the alum is to be mixed with gum and carried to the piece1 as will be described below in the ,calico-,printers' mordant1 and then immersed in the dye-bath3 it thus receives the base or mordant4 ,if the base be alum and the dye-bath madder1 then1 where the block strikes the pattern with the alumine base1 the colour will come out red2 the other parts will clean and bleach white4 ,if alum and iron form the base1 the colour will be purple2 if iron alone be applied1 and galls1 sumach1 logwood1 c4 are the component parts of the dye-bath1 then it will be black4 ,the ,calico-,printers' mordant or base of alum for yellow and red goods1 either for printing or dyeing2 and on compound colours4 ,take one gallon of soft and pure water1 of a heat of #aej1 three pounds of common alum1 one pound and a half of sugar 7acetate7 of lead2 mix these together1 and let them stand for two or three days1 so that they may incorporate1 often stirring them during that interval2 then add two ounces of pearl-ash1 and the same quantity of clean powdered chalk or whiting4 ,after a time the clear liquor1 now become an acetate of alum1 must be drawn off4 ,when used1 it is thickened either with paste1 flour1 or gum arabic1 or senegal2 four pounds of either of the gums to each gallon of liquor#e4 ,a block or a press similar to a copper-plate press for paper1 but much larger1 and having the copper plates in proportion1 is employed to spread the acetate of alum from a utensil called a sieve1 which is1 however1 not porous1 while a boy or girl called a ,teerer1 works it smooth2 when smooth on the sieve1 the printer applies his block1 and charges it with the acetate of alum2 the block thus charged1 is correctly put on the cotton cloth1 which is laid upon a blanket spread upon a table2 it is then struck with a mallet once or twice1 by which1 or by the pressure of the rolling-press1 if copper-plate1 the acetate of alum is driven into the pores of the cloth4 ,the cloth thus prepared1 is hung up in a hot stove1 and dried by a high degree of heat4 ,the goods are now ready1 if for red1 for the madder2 and if for yellow1 for the weld copper4 ,sometimes1 however1 lately1 the colour is previously prepared1 and applied at once in more instances than are prudent4 ,to the above mordant1 ,m',kernan adds three ounces of sulphate of copper1 omitting the potash2 and he adds1 ,when the colour is wanting on the scarlet cast1 omit the sulphate of copper4 ,wool readily takes the alum at a boiling heat2 common alum is in many instances proper for wool2 and in others1 where it might be improper1 it is corrected by the use of argol or cream of tartar4 ,yellow and red produce orange2 red and blue1 purple2 but upon cotton1 a scarlet1 purple1 or crimson cannot be produced in any way equal to those colours in wool or silk4 ,yellow and blue form the green4 ,on ,bleaching ,linen1 ,cotton1 c4 ,we cannot enter with much minuteness into this part of the subject1 more especially as the art of bleaching is usually a separate one from that of dyeing4 ,yet as in fact the arts of dyeing and of bleaching depend in a great degree on the same principles1 some notice of bleaching1 in a treatise on dyeing1 seems absolutely necessary4 ,linen1 cotton1 and other cloths1 were for ages deprived of their colour1 in other words1 bleached1 rendered white1 by a tedious process4 ,thus1 the article to be bleached being boiled in a solution of pot-ash1 was washed1 and then spread on the grass in a field1 watered occasionally1 and1 thus exposed to the atmosphere for two or three months1 became white4 ,this method is1 however1 in part1 if not now entirely1 dispensed with4 ,m4 ,berthollet1 an ingenious ,french chemist1 to whose valuable work on dyeing we have before alluded1 employed what was then called oxygenated muriatic acid1 now chlorine1 to perform in a few days what before took months to accomplish4 ,his method was as follows4 ,to six pints of powdered oxide of manganese he added sixteen of muriate of soda1 7common salt7 and twelve of concentrated sulphuric acid diluted with an equal quantity of water4 ,these were placed in a leaden retort and distilled3 the product was oxygenated muriatic acid1 or chlorine1 which being conducted to a vessel containing the material to be dyed1 produced the same effects as the former tedious process1 and bleached as much1 in two or three days1 as was before done in two or three months4 ,this process has been since much further improved by the use of a combination of chlorine with lime1 called chloride1 or oxymuriate of lime4 ,this article is at present used in almost all the bleaching grounds in the ,united ,kingdom4 ,it appears1 therefore1 that upon the use of the agent1 chlorine1 does the expedition and whiteness of modern bleaching principally depend4 ,yet it ought1 nevertheless1 to be stated1 that although1 in the hands of scientific and judicious persons1 chlorine is one of the most powerful agents in bleaching that ever was discovered1 still1 in the hands of bungling and avaricious persons1 it may contribute greatly to the destruction of the cloth2 and therefore1 even now1 a demand is occasionally heard for the old method of bleaching4 ,these processes constitute the art of the bleacher2 the dyer has seldom any thing to do with them except in piece-goods or rough cambric1 which he has sometimes to dye black as they come from the bleacher's in a state which they call once boucked2 and sometimes he has them just as they come from the weaver2 in which case1 if for black1 they need not be bleached white1 but should be boiled in pot-ash1 to take out the grease1 c4 ,on the theory relative to fast and fugitive colours4 ,many attempts have been made by chemical philosophers to account for the permanence or want of permanence of various colours1 when imparted to cloths and other bodies as a dye4 ,among these1 ,,hellot1 ,d',,apligny1 and others of the old1 and ,,berthollet1 ,,bancroft1 ,,henry1 and others of the modern school1 may be mentioned4 ,the power of resisting vegetable acids1 alkalies1 and soap1 and1 above all1 the action of air and light1 constitutes the durability of a colour4 ,but this property has a very unequal standard1 according to the nature of the colour and the species of the stuff4 ,there is no obscurity in the action of water1 alkalies1 acids1 and soap3 for a solution is effected by means of these agents1 or a small portion of acid or alkali unites to the combination1 which forms the colour4 ,but this is not the case with the action of light and air4 ,till lately1 however1 it was not known in what this action consisted4 ,of the two principles which compose atmospheric air1 it is only the oxygen gas which acts on the colouring particles4 ,it combines with them1 and thus impairs their colour or makes them fade4 ,but its action is soon chiefly exerted on the hydrogen which enters into their composition1 and it thereby forms water4 ,this effect may be compared to a feeble combustion4 ,hence the carbon1 which enters into the composition of the colouring particles1 becomes predominant1 and the colour usually passes to yellow1 dun1 or brown1 or other appearances4 ,light promotes this decomposition of the colouring particles1 which frequently takes place only with its concurrence1 and thus it contributes to the destruction of the colour4 ,heat also favours the same result1 but less efficaciously so1 unless it have a certain intensity4 ,it is concluded1 therefore1 that colours are more or less fixed in the air1 according to the greater or less tendency which the colouring particles have to undergo this change#f4 ,hence the utility of mordants in rendering fugitive colours fast4 ,to prove the colours of ,dyed ,stuffs1 c4 ,the natural proofs of a dye's being effectual1 are exposure to the air1 to the sun1 or to rain4 ,if the colour be not changed by such exposure after twelve or fourteen days1 it may be considered as fixed4 ,these proofs are not1 however1 adapted to every colour3 for some resist the action of air1 light1 and rain1 yet are nevertheless injured by certain acids4 ,there are also colours which do not resist the natural proofs and yet remain unchanged by acids4 ,colours may be arranged in this respect in three classes3 the first class is tried with alum1 the second with soap1 the third with tartar4 ,for the proof with alum1 half an ounce of this salt must be dissolved in a pint of water in an earthen pipkin1 and into this liquor is to be put half a quarter of an ounce of the dyed thread or stuff1 the whole being boiled about five minutes2 it is then to be washed clean with water4 ,thus are tried crimson1 scarlet1 flesh-colour1 violet1 ponceau1 peach-blossom1 different shades of blue1 and other colours bordering on these4 ,the next proof consists in boiling a quarter of an ounce of soap in a pint of water1 with half a quarter of an ounce of the dyed stuff or thread for five minutes4 ,with this proof all sorts of yellow1 green1 madder-red1 cinnamon1 and similar colours are to be tried4 ,the proof with tartar consists in boiling one ounce of that salt1 previously powdered very fine1 with a quarter of an ounce of dyed thread or stuff1 in a pint of water for five minutes4 ,this proof is used for all colours bordering upon fallow1 or hair-brown4--,journal of ,science1 vol4 xxii4 #bai4 ,but notwithstanding these general rules may be given for dye-tests1 yet so many are the niceties in this art1 that1 after all1 nothing but long practice combined with scientific knowledge1 will enable the dyer to become in this respect1 a complete and successful artist4 ,on dye-houses and the water proper for dyeing4 ,the dye-house should be as spacious as possible1 according to the quantity of work intended to be done in it2 it should be also as near as possible to a clear running stream4 ,the floor should be a mixture of lime and cement1 and sufficiently inclining1 so that water1 the old contents of the vats1 c4 c4 may run off freely when thrown down4 ,a dyer cannot be too particular in regard to the water which he uses4 ,some pump1 well1 and other spring waters1 contain iron2 this is injurious to many colours1 while for black1 brown1 slates1 and grey1 it is very advantageous4 ,it has been supposed that some dyers succeed in dyeing even the very same colour in a superior manner1 in consequence of the peculiar purity or other properties of the water which they use4 ,to discover whether water contains iron or not1 a little tincture of galls or prussiate of potash must be dropped into it2 if a purple or blue tinge be produced in the water1 we may be assured that it does contain iron4 ,for dyeing delicate colours1 the water1 which ought to be chosen for such purpose the purest and best1 should be heated with bran in a bag1 when much of the contents of the water inimical to dyeing will rise to the top in the form of a scum1 and should be taken off just before the water boils4 ,instead of bran1 a little alum will answer the same purpose when it is not inimical to the colour intended to be dyed4 ,the boiling point of water is at the degree of #bab of ,fahrenheit's thermometer2 the freezing point is at #cb of the same instrument2 blood heat is at #ih4 ,miscellaneous observations4 ,the limits and price of this manual preclude the possibility of our giving plates to explain some of the machinery and utensils which are now employed in dyeing4 ,to inform a dyer what kind of coppers1 casks1 and vats are necessary1 would seem to be superfluous2 and the pupil may soon acquire such knowledge in the dye-house4 ,should a dyer find it his interest to undertake a branch of his art of which he has not any previous knowledge1 he had better engage a man who understands it2 if1 however1 he thinks himself competent to manage it1 but is unacquainted with the best modern utensils appropriated to that particular branch1 he had better get a dyer's labourer who has been used to it2 a man of sufficient intelligence may be found with due encouragement to perform this part4 ,it may just be added1 that ,ure's ,berthollet and ,mr4 ,m',kernan's work1 both contain numerous explanatory plates of the utensils and machinery which are described and recommended in those works4 ,all solutions and decoctions of ,brazil wood1 logwood1 fustic1 c4 should always be prepared in the same quantity and proportion1 and one measure be invariably set apart for each4 ,this observation is meant more particularly to apply to drugs in stock1 always kept in a state of preparation ready for any process or work which may occur4 ,the drugs just named may be kept in a prepared state2 but weld boiled will not keep1 nor will some others which are mentioned in the body of the work4 ,weld1 as it will not keep1 should be used thus3 a copper in proportion to the size of the work should always be used2 and as weld will bear boiling and re-boiling1 it can be boiled by the half bundle or more according as it may be wanted1 whether you work little or much4 ,if you are exact and near in your estimate1 practice will soon render you perfect in any branch4 ,it should be observed too1 that to dye to pattern cannot be the result of a receipt1 without a great latitude be left for the judgment4 ,the most difficult part of dyeing is that of light drabs1 stone drabs1 c4 ,nothing but practice will qualify you for this and all pattern dyeing3 the way1 and the only good way to obtain practice1 is to work with all possible regularity4 ,in the dyeing of fancy cloths in the clothing districts of ,yorkshire1 ,gloucestershire1 and other fine cloth manufactories1 the manufacturers who dye their own cloths1 as well as dyers of the greatest eminence1 always number1 measure1 weigh1 and time all the component parts of their various processes of dyeing4 ,such in fact ought to be the universal practice2 and then a person of ordinary abilities may soon be able to perfect his processes and obtain the best results4 ,hence1 however1 it is very necessary that the dyer should have a competent knowledge of chemistry and drugs1 that he may be able to judge of the goodness of the articles which he uses1 and of the numerous and extraordinary combinations into which they enter4 ,to chemistry1 in particular1 every able and scientific dyer must be largely indebted2 for this reason it is that we have endeavoured1 in this introductory chapter1 to sketch some of the most important facts in this universal and interesting science4 ,in possession of these qualifications1 and working upon the above plan1 the dyer can never be far from the desired result in all his processes4 ,his deviations1 if any1 will be few1 as from his knowledge1 he will soon perceive the first approach of any incorrectness1 and be able to adjust it generally without much inconvenience4 ,the chemical terms now introduced into treatises on dyeing are chiefly taken from the ,greek language1 and are used in such a manner as to convey1 by their etymology1 an idea of the nature of the substances to which they are applied4 ,oxygen implies the producer of acid3 hydrogen1 the producer of water2 nitrogen1 the producer of nitre1 c4 ,the term gas has been explained above4 ,caloric is a term used by chemists for heat2 but caloric is used in a more extensive signification than the term heat1 thus3 although a gas might possess no sensible heat1 yet being in a gaseous state1 it is assumed to contain a certain portion of caloric which keeps it in its gaseous state2 the same observation will apply to liquids whether aqueous1 oleous1 or metallic4 ,all the measures mentioned in this work unless otherwise described1 are those usually called in this country ,,wine ,,measure1 and not those which have been introduced by a late act of parliament1 called ,,imperial ,,measures4 #b ,cochineal was at first supposed to be a grain1 which name it still retains by way of eminence among dyers4 ,,ure4 #c ,for the cultivation of ,woad in ,england1 see ,parish's paper in vol4 xii4 of the ,bath ,society's ,report1 or ,tilloch's ,mag4 vol4 xxxviii4 #d ,what are called iron moulds in cotton1 linen1 c4 are1 it is well known1 nothing but the marks of a buff colour1 usually left by ink and other matters which contain iron3 acids1 of course1 dissolve1 and discharge these buff colours2 the oxalic acid does so without decomposing the cloth4 #e ,acetate of ,alumina is now most frequently made for the ,calico-,printers by dissolving alum in a solution of crude acetate of lime1 7pyrolignite72 a gallon of the acetate1 of specific gravity1 #a4jej or #a4jfj1 being used with two pounds and three-quarters of alum4 ,a sulphate of lime is formed1 which precipitates1 while an acetate of alumina mixed with some alum floats above4 ,the acetate of alumina employed as a mordant for chintz1 is still commonly made by the mutual decomposition of alum and acetate of lead4--,ure's ,berthollet1 vol4 ii4 p4 #cca4 #f ,berthollet4 ,,chapter ,,ii4 ,,on ,,dyeing ,,cotton4 ,to dye cotton a ,saxon or chemic blue--,sulphate of indigo--,saxon or chemic green--,to set a cold indigo vat--,another indigo vat--,to dye cotton a fast green with the cold indigo vat and weld--,another cold blue vat for linen and cotton--,solution of indigo for penciling printed muslin1 c4--,to dye cotton a fast buff--,to dye cotton pink4 ,we refer the reader to the preceding chapter for many observations relative to cotton1 with which1 in order to understand correctly the best method of dyeing this material1 it is necessary that he should become acquainted3 indeed1 the whole of that chapter ought to be well studied by every one desirous of becoming an expert dyer4 ,to dye cotton of a ,saxon or chemic blue4 ,this is performed with the sulphate of indigo thus3--put into a brown stone glazed earthen pot four pounds of good sulphuric acid1 add to it twelve ounces of good indigo finely powdered1 stirring the mixture very quickly and frequently3 break the lumps1 if it should get lumpy before it is thoroughly mixed1 with a glass rod1 or with a stick1 the bark of which has been taken off3 if for wool or silk1 the solution will be fit for use in forty-eight hours1 but if for cotton it will not be fit for use till the acid is neutralized by an alkali4 ,some persons1 however1 use whiting1 but this precipitates and wastes the indigo2 others use magnesia1 but this is expensive3 some1 again1 use pure or caustic potash prepared thus--take ,american pot or pearl-ash about seven pounds1 put some of it into a brown stone glazed jar1 or rather an open pan2 upon the ashes put some quicklime recently burnt1 and then alternately ashes and lime1 slacking the lime with water as it is put on the ashes2 let the whole stand together for about two hours3 provide now another brown stone earthen vessel with a hole in the bottom1 of larger dimensions than the other1 put into this a piece of coarse linen to prevent the lime1 the impurities1 or any foreign body from running through the hole1 then upon the bottom put some of the previously mixed lime and ashes1 well incorporated1 and placed gently upon the linen so as to be sure of its keeping its place and letting the liquor pass through clear4 ,as the mixture is put in add some water occasionally1 so as to keep it just covered1 and leave room at the top for the swelling of the materials1 as the lime especially will increase in bulk4 ,water must fill the whole1 and cover the lime1 c4 which will be known by the bubbles ceasing to rise4 ,when it has stood twelve or fourteen hours1 water being occasionally added as it is absorbed1 some may be drawn out4 ,to determine whether the carbonic acid has entirely quitted the potash1 7and for which purpose the quicklime1 having a greater affinity with the carbonic acid than potash has1 is specifically applied17 take some of the fluid in a wine glass and drop a drop of sulphuric acid into it2 if the carbonic acid has entirely combined with the lime1 the sulphuric acid will enter the fluid in the glass quietly1 and without any other appearance than so much water2 if you still doubt add more drops of the sulphuric acid successively4 ,if the carbonic acid has not entirely left the potash when the sulphuric acid is dropped into the liquor1 an effervescence or fermentation will be seen in it4 ,whenever this is the case the liquor must be returned to the mixture for a longer time1 and1 if necessary1 more lime be added4 ,when the liquor or ley is fit for use1 all of it is to be drawn off1 and more water may be added and remain on the ingredients till it is wanted4 ,it is best to keep it close from the air1 because as the air contains a certain portion of carbonic acid1 the liquor would in time absorb it1 and the ley1 instead of containing caustic potash1 would become a solution of carbonate of potash1 and consequently not answer the end designed4 ,to know when the alkali of the mixture is exhausted1 take a piece of paper stained with the juice of the blue flowers of violets1 or the blossom of the mallow1 which is thus prepared--pound the blossoms in a glass mortar with a glass pestle1 and squeeze the juice into a tea-cup1 then1 with a small hair pencil1 cover a sheet of white paper with the juice1 and dry it for use4 ,all acids will turn it red1 and all alkalies will turn it green2 and1 therefore1 as long as any of the alkali remains in the liquor1 the paper thus prepared will1 when immersed in it1 be stained green4 ,the comparative strength of such solutions may also be ascertained thus3 take a wine-glass full of the liquor1 drop into it a few drops of sulphuric acid1 stirring it with a glass rod or clean bit of tobacco-pipe1 and then apply a bit of test paper2 if it appear green more acid must be added and stirred again2 apply the test paper a second time1 if it be still stained green1 a few drops more of the acid must be added1 and thus continue till the colour of the paper is neither altered to green nor red3 the liquor will then be neither acid nor alkaline1 but contain a neutral salt consisting of a combination of the acid and the alkali4 ,by adding1 however1 a few more drops of the acid1 this last will be found predominant1 and the test paper1 being immersed in the liquor1 will be stained red4 ,by treating different leys in this manner1 and counting the number of drops necessary to neutralize each1 the strongest ley will always be found that which requires the greatest quantity of acid for the purpose4 ,alkaline leys are also to be judged of by their weight compared with that of water2 a wine pint of water usually weighs about sixteen ounces avoirdupoise2 all alkaline leys are heavier than water1 and the heavier they are the more alkali they necessarily contain4 ,a wine pint of some of them will weigh more than seventeen ounces4 ,to return to the dyeing of cotton a chemic blue3 7to which a knowledge of these chemical processes1 as well as of other processes in our work1 is essentially necessary17 take some of the blue liquid prepared with indigo and sulphuric acid1 as before directed1 and put it into a vessel large enough to hold two or three times as much as is intended to be put in1 in order that there may be room to stir it2 add some of the potash1 or alkaline liquor1 by degrees till1 after several trials1 the mixture ceases to be sour2 or1 if you do not like to taste it1 take a small slip of cotton or muslin and dip it in1 after having wetted it out in warm water4 ,if the acid be neutralized the cotton will be sound1 if not it will be tender when dried3 if the acid predominates much the cotton will be as rotten as tinder2 when the cotton is perfectly strong and sound after being dried1 the liquid is in a proper state to dye both cotton and muslin4 ,the goods to be dyed must first be wetted out and wrung1 then work them in the flat tub with water1 with a little of this blue added1 and well stirred in proportion to the shade wanted4 ,from half a pint to a pint of the liquid blue is sufficient for two pieces of twenty-four or twenty-eight yards each1 if not of a very full pattern4 ,blue1 when dyed1 should be dried in a cool stove1 and if book-muslins1 framed2 furniture should be stiffened1 glazed1 or calendered4 ,the preceding are essentially the same directions for preparing and dyeing with the chemic blue which were given in the first edition of this work1 and which we see no reason to alter4 ,as1 however1 for silk in particular1 another method has been given in the late work of ,mr4 ,m',,kernan1 we give his processes below4 ,sulphate of ,indigo4 ,take one pound of the best flora indigo in very fine powder1 put this into a stone-ware or lead vessel1 then add gradually three pounds of the best sulphuric acid1 specific gravity #a4hjj2 mix well and stir often1 and in twenty-four hours the indigo will be dissolved4 ,adding three ounces of sulphur to the acid1 and heating it to #ahj2 then1 when cooled to #ajj1 pouring the acid off the sediment1 and then adding to it the indigo1 is considered the best way of opening or dissolving the indigo4 ,when the indigo and acid have been mixed twenty-four hours1 add three pints of boiling water2 stir often2 when cold it will be fit for use4 ,to neutralize the sulphate of indigo4 ,take six pounds of alum and dissolve it in two gallons of water at #abj1 when dissolved add1 by degrees1 five pounds of pearl-ashes until the acid of the alum is neutralized and the alumine formed1 then put the whole on a piece of calico that has been hooked in a square frame1 or tied over a vessel2 when the liquor has run off then add one gallon of boiling water on the alumine and stir it up well4 ,when the water has gone through the calico2 the alumine is fit for use4 ,then add a part of this alumine to some of the sulphate of indigo until the acid is neutralized4 ,saxon or chemic ,,green4 ,the same blue vat will do for green2 but it is best to make another by putting only eight ounces of indigo instead of twelve to four pounds of sulphuric acid4 ,if the preparation has been made two or three months it is the better1 having been often stirred before it was neutralized with the alkali4 ,prepare a strong decoction#g of old fustic1 which should always be ready at hand as a store1 keeping plenty according to the work to be done1 including cotton1 silk1 and worsted goods4 ,mix some of the chemic blue with the decoction of fustic in the following manner3 put into a tub six pails of soft clear water1 to which add a pint of the neutralized blue2 and six pails of the decoction of fustic2 stir all well together4 ,some dyers add a little weak alum liquor till it just tastes before they put in the blue2 it should be but little1 otherwise it will precipitate the fustic4 ,this mixture should stand two hours to settle4 ,the muslin or calico1 say two pieces of twenty-four yards each1 should1 with the usual precautions1 be passed through a strong decoction of old fustic or turmeric as hot as the hand will bear4 ,they are then to be taken out and submitted to a quantity of the green mixture above1 described1 in proportion to the fulness of the green required4 ,when finished1 whether for the calenderer or glazer1 they should be dried in a moderately warm stove4 ,these two colours are very fugitive1 especially upon cotton goods2 but sometimes the customer will not go to the price of the fast green or blue1 hereafter to be described4 ,to set a cold indigo vat for cotton1 c4 ,put three pounds of slacked lime1 sifted1 into six quarts or more of boiling water2 stir the mixture well for some time1 and after it has settled1 draw off the clear liquid1 to which add three pounds of sulphate of iron1 stirring it well till all is dissolved2 let it settle till the next day2 have ready a deal cask1 because one made of oak would blacken and otherwise injure the dye1 in consequence of the affinity between the tannin1 c4 of the oak and the sulphuric acid4 ,put into the cask seventy-five gallons of water1 to which add the mixture of lime and sulphate of iron2 take now three pounds of indigo1 well ground and ready at hand1 dissolved in three pints of strong solution of potash1 such as was directed to be prepared for neutralizing the chemic blue4 ,put this solution of indigo and potash into the tub with the water1 lime1 c42 after it is well stirred1 and left to settle1 it produces a deal of froth2 but the liquor takes a fine green colour1 which turns to blue when exposed to the air4 ,soda may be used instead of potash1 if treated the same way4 ,soda1 it may be observed1 forms the usual ley of the soap manufacturer2 and answers for soap much better than potash1 because its combinations do not usually absorb moisture from the air3 potash1 and several of its combinations1 do so4 ,another indigo vat4 ,take five hundred quarts of water2 indigo seven or right pounds4 ,the boiler must be iron4 ,boil the indigo with sixteen pounds of a liquor made with potash and eight pounds of lime4 ,after the lime and potash have been in contact1 as in all these instances they should be1 from twelve to twenty-four hours1 to take away the carbonic acid from the potash1 the clear liquor of this mixture is what must be used4 ,the indigo must be previously powdered1 and ground extremely fine in water before it is put into the alkaline liquor4 ,the mixture must now be added to the five hundred quarts of water1 and the whole boiled till the indigo rises to the surface like cream1 and till1 in striking the bottom of the boiler with a stick1 it is found to contain no solid substance4 ,while the indigo is boiling1 another eight pounds of lime must be slacked in about twenty quarts of warm water2 dissolve in this lime-water sixteen pounds of sulphate of iron4 ,the vat being half filled with water1 the solution of lime and sulphate of iron is to be put into it2 the indigo solution is now also to be added4 ,the vat1 being thus filled to within about three or four inches of the edge1 must be stirred two or three times a day till it is fit for dyeing1 which it will be in about forty-eight hours1 and sometimes sooner1 according to the temperature of the air1 by which the completion of the process is more or less accelerated4 ,when the strength of the vat is exhausted1 it must be1 of course1 replenished4 ,if the liquor becomes black1 it wants sulphate of iron2 if yellow1 lime is required4 ,when the indigo is far spent1 more must be added in the same manner as at first4 ,in this vat1 as respects the blue dye1 if it be for muslin1 calico1 c41 the form should be square1 about two yards long1 one yard to one and a half wide1 and from seven to eight feet deep2 the pieces of cloth are to be hooked into a frame4 ,where much work is done1 it will be necessary to have two or three such vats1 in order that they may be worked in succession3 by stirring them some hours previously to working1 the weaker will do for the lighter shades1 the stronger for the fuller colours4 ,if the vat is in proper order1 the goods always come out green1 and turn blue in the air4 ,this should be ascertained by small patterns previously to working the whole4 ,when any goods are dyed in these vats1 if not full enough at one dip1 they may be left a certain time1 and then be dipped again1 once or more1 as they appear to require it4 ,when they are blue enough1 and fully aired1 they must be taken from the hooks1 and well washed off in two or three fresh clean waters1 or at a wash wheel in a clear running stream4 ,when perfectly clean1 they are ready for the calenderer or glazer4 ,to dye cotton a ,,fast ,,green1 with the cold indigo vat and weld4 ,after dyeing muslin blue in the blue vat1 weld must be boiled in the same manner as for fast yellow4 ,the quantity of weld to be used1 must be according to the fulness of the blue ground1 and of what shade the green is to be2 a proportion of alum must also be used4 ,the goods1 after being worked in the same manner by the selvage1 must be washed off1 and stiffened1 if for the glazer1 but not if for dress1 but be framed by the muslin dresser4 ,another cold ,,blue vat for linen and cotton4 ,the indigo is to be powdered1 and put into warm water with sulphate of iron1 in quantity twice the weight of the indigo1 to which is also to be added1 the same weight of fresh-burnt lime4 ,the water should be only sufficient to mix it thick at first2 keep it stirred2 and1 as it becomes dissolved and green under the surface1 increase the water1 often stirring and trying the mixture1 by putting in a pattern between the stirrings1 at some hours distance1 between each pattern1 and increasing the water3 in twenty-four hours it will be fit for use4 ,solution of indigo for penciling printed muslin1 c4 ,to twenty-five gallons of water1 add sixteen pounds of indigo1 and thirty pounds of carbonate of potash2 when mixed1 and placed over the fire1 as soon as the mixture begins to boil1 add quicklime1 by a little at a time1 to render the alkali caustic2 then twelve pounds of red orpiment1 and boil till it will give a yellow colour to transparent glass4 ,this form is from ,haussman4 ,were the author to make this solution of indigo1 he would first make the alkali caustic with lime1 and then put the clear liquor to the other materials4 ,mr4 ,m',kernan gives another form for pencil blue with indigo3 the principal differences between which and the above1 consist in adding equal parts of brown sugar and gum senegal to it1 which1 in regard to the addition of the gum1 is1 we presume1 a great improvement4 ,dr4 ,,ure 7,notes to ,berthollet1 vol4 ii4 page #dcg47 gives a similar form from ,vitalis1 for topical or pencil blue2 but he adds1 it was much used formerly4 ,another blue1 of less permanence but more brilliance1 is now preferred2 it is made thus3-- ,into an earthen pot four ounces of finely ground and sifted ,prussian blue are to be put4 ,over this must be slowly poured1 stirring all the while1 sufficient muriatic acid to bring it to the consistence of syrup4 ,the mixture is to be stirred every hour for a day1 and afterwards thickened with from four to eight pots 7of two litres each2 a litre ,french contains about two wine pints27 of gum-water1 according to the shade wanted4 ,to dye cotton a ,,fast ,,buff4 ,take a brown stone pan or pipkin1 glazed4 ,it must not be the common glazed wares1 because these are glazed with lead1 and the acids will dissolve the lead2 if1 therefore1 such are used1 the lead being dissolved1 will be mixed with the dyeing materials1 and sometimes totally spoil the dye4 ,stone-ware1 if used with care1 will bear the fire3 such ware is usually glazed with muriate of soda or common salt4 ,having a proper vessel capable of holding from two quarts to a gallon1 fill it half-full of strong nitric acid1 to which add1 in small quantities at a time1 either old horse-shoe nails from the farrier1 they being the purest iron1 or the cuttings of tin-plate from the tin-man's1 for this is also very pure iron1 although covered with tin2 but the small portion of tin in the iron is not inimical to the dye4 ,be careful not to put too much in at a time1 nor to stoop near to it while the solution is going on1 as the red fumes arising are very noxious2 and if the iron be added in large quantity1 so much effervescence would be produced1 that a considerable part of the liquor would be thrown over the top of the vessel4 ,when this solution is prepared in haste the air is greatly contaminated1 and therefore it is best to prepare it long before it is wanted1 and slowly1 by dropping hourly small quantities of the iron into the acid1 and then little if any perceptible fumes will arise4 ,continue this process till1 by stirring with a glass rod or tobacco-pipe1 you find the iron dissolves more slowly3 by keeping a little iron at the bottom1 and occasionally adding the acid1 you may always have this preparation at hand4 ,it is to be used thus3--having a copper of hot water ready1 put a part of it to some cold in a flat tub till the mixture is as hot as the hand will bear2 then1 according to the paleness or fulness of your pattern1 add some of the solution of iron1 and mix it well by stirring3 begin with about half a pint for two pieces of twenty-four yards each3 it is best to add a smaller quantity than is necessary first1 as you can make another addition as you please1 but1 if you add the solution in excess1 to diminish it is by no means so easy4 ,now1 having ready a flat tub with water of as hot a temperature as the hand will bear1 put into it a clear solution of pearl-ash1 and have also ready another tub of clear cold water to wash off in2 then pass the pieces 7always taking care to have them well wetted out in one of the tubs of hot water before either the solution of iron or pearl-ash is put into either of them7 through the solution of iron six or seven times1 edging them over by the selvage to keep them even2 next1 folding them first even upon a board1 wring them out1 wash them off and pass them through the solution of pearl-ash2 lastly1 wash them off again in fresh and clean water3 a permanent and bright buff will be found1 and as good a colour as can be dyed upon cotton4 ,we here see what an affinity iron and cotton have for each other when the iron is combined with an acid and the combination in a liquid state4 ,although the colour is not so beautiful in every instance1 yet1 be the acid which dissolves the iron what it may1 cotton imbibes the iron from it4 ,what is left of the solutions of iron and the pearl-ash may each be kept in a separate deal tub for use4 ,to dye cotton ,,pink4 ,take safflower in proportion to its goodness and the quantity of work to be dyed2 put it into pure and clear water2 tread it in the water till the water becomes fully charged with a kind of extractive yellow colour4 ,it is best to put the safflower into a strong linen bag or sack2 a sack containing sixty pounds will take a man two days to wash it clean3 if done in a clear running stream the yellow colour will of course run away2 if you have a small quantity in a tub it must be let out at a plughole1 which every flat tub should have4 ,the safflower must be worked or trod till all the yellow colour is got out of it1 or the pink to be obtained from it afterwards will not be bright4 ,when the safflower is thoroughly washed1 take it out of the bag and put it into a deal tub or trough1 and add to it pearl-ash in the proportion of six pounds to one hundred pounds of the safflower1 which should be weighed before it is wetted4 ,let the potash be well dissolved in water2 pour part of the clear solution off1 and mix it thoroughly with the safflower2 after having stood for some time strain the liquor through a cloth or sieve into another deal trough4 ,the whole solution of pearl-ash should not be put in at once1 but at different times4 ,if there should be reason to believe that the safflower will yield more colouring matter by a farther addition of the solution of pearl-ash1 such additional solution may be made4 ,the water for the solution and the solution to the safflower should both be applied cold4 ,carbonate or mild potash is better than the caustic4 ,by putting the solution of pearl-ash on the safflower at different times it will be readily seen when the fluid passes through the cloth or sieve free from colour4 ,the colour is of a cherry hue1 and is resinous1 therefore the water dissolves but little of it2 the carbonate of potash is added to dissolve this resin4 ,to overcome the influence of the pearl-ash1 which tinges the red of a yellow colour1 some cream of tartar must be finely powdered and dissolved in boiling water1 and added to the liquor when it is nearly cold4 ,in the ,south of ,france lemon juice is used4 ,the colour1 being thus raised by the cream of tartar1 is now to be mixed with cold water in proportion to the fulness of the pattern desired1 and the cloth must be worked six or seven times in it1 as in other colours4 ,what is left of the colour must be taken up with some skein cotton1 and dried2 this may be added to water upon another occasion by saturating the acid with a solution of pearl-ash1 which will abstract the dye from the cotton4 ,the solution of tartar will again redden the colour from the yellow of the pearl-ash2 this must be done if any remain1 for it will not keep in a fluid state4 ,we shall not here describe any other process with cotton till we have treated of wool and silk4 ,for dyeing cotton black1 and some other colours1 see the chapters ,v4 and ,,vi4 #g ,the difference between decoction and infusion should be always carefully observed3 a decoction is made by boiling the ingredient or ingredients in any liquor2 an infusion is that in which the ingredients are put but not boiled4 ,,chapter ,,iii4 ,,on ,,dyeing ,,silk4 ,to alum silk--,the blue vat of indigo for silk--,another blue vat for silk--,to dye silk violet1 royal purple1 c4--,to dye silk lilac--,another process for lilac--,another process for dyeing muslin1 c4 lilac--,to dye silk a violet or purple with logwood--,to dye silk violet with ,brazil wood and logwood--,to dye silk violet or purple with ,brazil wood and archil4 ,to alum silk4 ,forty or fifty pounds of alum being dissolved in a copper of hot water1 the solution is to be poured into a tub containing forty or fifty pails of cold water2 during the mixing of the solution of alum with the water it should be well stirred lest the cold water should crystallize the alum and spot the silk2 when1 however1 this happens1 dipping silk in warm water will dissolve the alum4 ,the silk should be alumed cold1 for1 if hot1 the lustre of the silk will be injured4 ,alum is used for certain reds and yellows but not for blue4 ,see also chapter ,,vi4 ,when silk is deprived of its gum so as to acquire the greatest possible degree of whiteness1 it is still necessary to have different shades of white1 some yellow1 some blue1 and others reddish2 these are known under five denominations1 namely1 ,china white1 ,india white1 thread or milk white1 silver and azure white4 ,all these whites1 although differing from each other by very slight shades1 are nevertheless apparent1 especially when compared with each other1 which will be seen in the processes of dyeing silk4 ,for ungumming and boiling1 whitening and sulphuring silk1 see chapter ,,vi4 ,we have described ,m',kernan's method of preparing and neutralizing sulphate of indigo in pages #ea and #eb1 to which the reader will be kind enough to refer3 the following blue vat is from ,macquer4 ,the ,,blue vat of indigo for silk4 ,this should be so contrived that heat may be applied to it1 which it now mostly is1 by steam1 as well for woollen woad vats as for indigo vats4 ,for silk1 take eight pounds of the finest indigo and six pounds of the best pearl-ash1 and from three to four ounces of madder for every pound of ash1 besides eight pounds of bran for the whole1 washed in several waters to take the flour out4 ,when washed1 and the water squeezed out1 the bran is to be put at the bottom of the vat2 the pearl-ash and the madder being mixed by bruising them roughly together1 are now to be boiled a quarter of an hour in a copper containing two-thirds of the vat2 the fire being damped1 the liquor is then suffered to rest4 ,two or three days previous to this the indigo is to be steeped in a bucket of warm water1 and washed well1 the water being changed once or more4 ,some dyers begin by boiling the indigo in a ley made with one pound of pearl-ash and two buckets of water2 they afterwards pound it in a mortar quite wet1 and1 when it becomes like paste1 fill the mortar with the liquor before boiled1 and still hot1 stirring it for some time4 ,it is then suffered to stand a few moments1 and then the clear is poured off into a separate boiler or into the vat4 ,the same quantity of the mixture is then poured upon the indigo remaining in the mortar and mixed as before2 again the clear is poured off into the boiler1 and the operation is repeated till the whole of the indigo is dissolved in the liquor4 ,the whole of the liquor in the boiler is now to be gradually poured into the vat on the bran at the bottom1 adding afterwards the remainder of the composition1 grounds and all4 ,after stirring and raking for some time1 the mixture is left to cool till it will bear the hand in it1 when a little heat is added to keep it in this state1 and so continued till it begins to turn green1 which is easily known by trying it with a little silk4 ,when the green begins to appear it should be stirred with the rake1 then suffered to stand till the brown and coppery scum which rises upon the surface shews that the vat is come to2 or1 in other words1 the preparation of this part of the process is complete4 ,but as it is necessary to be very certain of this1 the scum should be well examined2 and if1 when blown aside1 a fresh scum is immediately formed it is as it ought to be4 ,in this state it is to remain for three or four hours1 when a new composition is thus made3-- ,put as much water as is requisite to fill the vat into a copper1 boiling it with two pounds of pearl-ashes and four ounces of madder as at first4 ,this new liquor is to be poured into the vat1 raked and mixed1 and being left to stand for four hours it is then ready for dyeing4 ,when a vat or vats are set for green1 double the quantity of madder must be added4 7,see ,chap4 ,,vi47 ,the size of the vat for the above quantity of indigo1 should be about five feet deep1 two feet or two feet and a half in diameter at the top1 and one foot and a half or two feet in diameter at the bottom3 the form of an inverted frustum of a cone2 or of a sugar loaf inverted1 with the pointed top cut off4 ,in order to produce different shades of blue1 the silk intended for the darkest1 should be first dipped in the fresh vat and so on to the lightest2 as the vat weakens the silk should be kept in longer1 till the vat1 being exhausted1 serves only for the lightest shades4 ,when it begins not only to be weak but dull1 it is then necessary to feed the vat with the following composition3 ,take of the decoction of pearl-ash with indigo one pound2 of madder1 two ounces2 and a handful of washed bran2 boil them together for a quarter of an hour1 either in water or a portion of the same vat if yet sufficiently full to afford it2 after this mixture is added1 it should be well raked and suffered to rest two or three hours1 more or less1 before the dyeing is resumed4 ,for the finest blues1 however1 a fresh vat is the best2 and if only pale blues are required1 a vat set on purpose with less indigo will answer better than a strong vat which has been weakened1 because though weak it will give more vivid colours4 ,another ,,blue vat for silk4 ,take fifty pounds of good indigo in fine powder2 fifty pounds of fresh slacked stone lime2 one hundred pounds of sulphate of iron2 and five pounds or more of pearl-ashes4 ,stir often for three or four days till there is a fine copper-colour scum on the top of the liquor in the vat4 ,the vat is of course to be set with water in the usual way4 ,the substance of this form is from ,m',kernan2 we cannot1 however1 avoid thinking1 that his directions for this vat are very vague4 ,to dye silk a ,,violet1 ,,royal ,,purple1 c4 ,boil archil with water in a copper2 the quantity of archil according to the colour required must be from two to four times the weight of the silk4 ,when the archil has boiled about ten minutes the fire must be damped1 the archil left to subside1 and the clear liquor put into a vessel of a convenient size1 in which the silk is to be immersed and worked with care4 ,you must have a small corresponding pattern that you intend for purple1 which at times you must put into the blue vat to regulate the depth of the archil ground1 as the purple is a compound colour1 arising from the blue of the indigo and the red of the archil4 ,when the red of the archil is deep enough1 you must wash it off and put it into the blue vat with proper precaution4 ,the fulness of the archil ground and the depth of the blue1 must be regulated according to the patterns which are to be matched4 ,to dye silk ,,lilac4 ,lilac is and should be a bright light shade of violet or purple2 to give it the blue requires great management4 ,the vats being generally too strong1 it is best to mix a little of the new rich vat with some pearl-ash in clean cold water1 and so prepare a liquor on purpose1 by which the lilacs may be blued or reddened at pleasure4 ,when this liquor is first mixed it becomes of a green colour2 the silks therefore should not be dipped till the liquor begins to lose its green colour and inclines to blue4 ,pearl-ash added to this liquor helps to blue the archil1 because the effect of the alkali upon red is to render it violet4 ,another process for ,,lilac4 ,consists in simply using the chemical blue with archil according to the shade required4 ,another process for dyeing muslin1 c4 ,,lilac4 ,this is accomplished by mixing the neutralized chemic blue for cotton with the pink dye of safflower1 according to the shade required4 ,to dye silk a ,,violet or ,,purple with ,logwood4 ,the silk should be alumed and washed4 ,the logwood should be boiled in large quantities like fustic1 as as directed for green2 but it should not be kept longer than two or three weeks2 it is far better used cold than hot4 ,to dye silk ,,violet with ,brazil wood and ,logwood4 ,the silk must be alumed and cooled as usual2 it is then to be alumed and dyed in a liquor made of ,brazil wood of the common heat1 then in the cold logwood liquor1 and lastly1 a solution of pearl-ash must be added to the liquor in which the silk is last dyed4 ,it is afterwards to be washed and dried2 but for some shades it is best to have fresh liquor1 particularly for the warm ,brazil1 the cold logwood1 and the solution of pearl-ash3 in this case the quantity of each may be much better regulated4 ,to dye silk ,,violet or ,,purple with ,brazil wood and ,archil4 ,the silk when alumed is to be dyed in the decoction of ,brazil wood according to the shade required2 it is then to be washed and dyed in archil3 and it is afterwards washed a second time4 ,after this it is dipped in the blue vat1 and wrung and dried with the same accuracy used in greens and blues4 ,for dyeing silk black and some other colours1 see ,chapters ,v4 and ,,vi4 ,,chapter ,,iv4 ,,on ,,scouring ,,and ,,dyeing ,,wool4 ,on the action of alum and tartar upon wool--,a pastil or woad vat for blue--,to prepare the indigo mentioned in the preceding directions--,rules to judge of the state of the vat--,indications when a vat has had too much or too little lime--,to work a vat which is in proper order--,on the putrefaction of the woad vat--,methods of dyeing blues--,to dye wool1 with lac-dye1 scarlet1 or crimson--,to dye worsted yarn a crimson--,a preparation of archil to finish the crimson--,on dyeing wool scarlet--,to dye wool maroon--,to dye wool yellow--,to dye wool brown or of a fawn colour--,to dye wool purple1 c4--,to dye wool green--,a chemic vat for green woollen--,a chemic vat for blue woollen--,to dye wool orange1 gold colour1 c4--,to dye wool black--another process for black without a blue ground--,to dye wool grey--,mixture of black or grey with red and blue--,on browns1 fawns1 greys1 c4--,on the yellow of quercitron bark--,on a full bright yellow from the same bark--,bancroft's murio-sulphate of tin--,to dye wool buff--,to dye wool peach--,to set an ,indigo vat for worsted1 serge1 c4 ,wool is usually scoured for being dyed with stale urine1 the staler the better3 it is used in the proportion of one part to three parts of water1 full as hot as the hands can bear when the wool is worked about in the fluid4--,if the wool be in the fleece1 what is called its natural yolk1 and which is said to preserve the wool from the moth1 is of a greasy nature1 and is scoured out by the volatile alkali in the urine4 ,if the wool be in the state of spun yarn it has gallipoli1 or rape oil1 in its thread1 the spinner1 or rather the comber1 using it to render the wool more flexible1 c4 ,it is absolutely necessary that wool1 7as indeed every other material to be dyed7 should be made very clean and white1 if any brilliant or bright colour is to be imparted to it4 ,for this reason it is that the wool is passed two1 three1 and in some instances even four times through fresh scouring liquors2 in the last1 and sometimes in that which precedes the last1 soap is used in the proportion of from seven to fourteen pounds1 and in some instances to twenty one pounds or more1 to1 a pack of two hundred and forty pounds of wool1 according as it is fine or coarse3 for superfine colours more than common is used4 ,worsted requires less than coarse yarn1 having less grease and dirt in it4 ,it ought1 however1 to be known1 that boiling wool for a long time in any alkaline liquors1 or a liquor made of soap1 tends greatly to the decomposition of the cloth2 indeed long boiling in any strong alkaline ley converts wool into a kind of soap1 and1 hence1 it is easy to see why such processes injure wool or cloths made with it4 ,the preceding observations apply to the alkalies in a caustic state1 or in the state of carbonate1 not when they are neutralized by powerful acids3 for wool1 when fit to receive the dyes1 and if it is designed to be dyed yellow1 should boil two hours with one-twelfth or one-tenth of its weight1 of sulphate of alum 7common alum7 observing proper precautions1 and the use of a sufficient quantity of prepared weld plant boiled1 c43 or of quercitron bark1 as will be shown in the processes of the different yellows4 ,if it were yarn1 and the threads cut in two1 it would be found dyed throughout1 and of a body and richness in proportion to the correct application of the various ingredients1 and with due regard to time1 weight1 measure1 c4 ,in the process just mentioned1 we may observe1 that the quantity of alum and of the weld plant used will be found very considerable3 from one twelfth to a fourth of alum1 and1 according to the ,french method1 four or five times more weld than the quantity of the wool4 ,when a process of dyeing has been scientifically conducted1 the wool will take so much of the alum that the bath will hardly taste of it2 and afterwards take the colour of the dye bath out of it2 so that the remaining liquor put into a glass will be nearly like water4 ,the action of alum and tartar upon wool4 ,from the experiments of ,dr4 ,,ure1 7,notes to ,berthollet1 vol4 ii4 p4 #cbc47 it appears that alum has the property of increasing the solubility of cream of tartar2 that as1 in using alum and tartar1 the wool is impregnated with alum and a large quantity of tartaric acid1 these two salts should never be employed together1 except when the colour is susceptible of being heightened and rendered brighter by acids1 as is the case with cochineal1 madder1 and kermes4 ,on the contrary1 alum should never be employed for wools intended to be dyed with woad1 or ,brazil wood1 the colour of which is easily destroyed or altered by acids4 ,to conclude these preliminary observations1 wool has a strong and powerful affinity for all dyeing materials2 and1 therefore1 the processes for dyeing wool are1 in general1 by no means so complicated as those for dyeing cotton1 silk1 c42 although some colours1 even to these1 are readily1 and without a complication of processes1 imparted4 ,a pastil1 or woad vat for ,,blue4 ,take1 upon as small a scale as can conveniently be tried1 a copper vessel1 which will contain about twelve gallons1 two thirds full of soft water1 and one ounce of madder4 ,fix this small copper in a larger copper of water1 so that the heat may be applied to keep the liquor in the smaller copper at a proper temperature2 it will be then1 in fact1 a water bath4 ,having kindled the fire in the afternoon1 put in a good handful of bran and five pounds of woad2 at five o'clock in the evening let it be well stirred and covered over1 the liquor being about blood-warm2 let the same heat be continued as nearly as possible1 at least so as not to be lower than summer heat by the thermometer1 nor higher than fever heat by the same instrument4 ,the vat must again be well stirred at seven1 at nine1 at twelve at night1 at two in the morning1 and at four4 ,hellot1 describing this process1 observes1 that the woad then working1 some air bubbles began to rise pretty large1 but few in number1 and of a very faint colour2 it had then two ounces of lime added1 and was stirred2 this was four o'clock in the morning2 at five a pattern was put in1 and at six it was taken out and the vat stirred4 ,this pattern had received some colour4 ,at seven o'clock another pattern was put in1 and at eight it was stirred again4 ,the second pattern was tolerably bright4 ,an ounce of prepared indigo1 7see p4 #ge47 was then added2 at nine o'clock another pattern was put in2 at ten it was stirred again1 taking the pattern out1 and putting in an ounce of lime because it began to smell sweetish2 at eleven another pattern2 at twelve at noon it was stirred again4 ,this process was continued till five o'clock in the evening2 then were added three ounces of prepared indigo2 at six another pattern was tried1 and at seven it was stirred again2 the last pattern came out of a very good green1 and became a bright blue4 ,one ounce of lime was added to sustain it till nine o'clock the next morning2 patterns were put in from time to time3 the last was very beautiful4 ,the vat was then filled up with water and a small quantity of bran and stirred2 after which patterns were tried every hour till five o'clock in the evening1 when1 being in a proper state1 it was immediately worked4 ,some lime was then added to preserve it2 it was stirred and left to another opportunity to reheat4 ,to prepare the indigo mentioned in the preceding directions4 ,boil1 in a gallon of water1 for three quarters of an hour1 two ounces of pot-ash1 three quarters of an ounce of madder1 and one ounce of bran2 then let the whole settle for half an hour4 ,after all is settled and taken out of the boiler1 and put into another copper with four ounces of indigo finely powdered1 the liquor should be kept stirred1 and very hot1 but not be boiled4 ,at intervals some lixivium of lime should be put into it1 and that being cold will keep the liquor from boiling1 and render the pot-ash more active4 ,as soon as the indigo is dissolved and properly diluted1 damp the fire and cover over the solution2 after it is settled put in a pattern1 which1 when taken out1 will turn blue on being exposed to the air2 if it does not1 more clear lixivium must be added4 ,of this solution of indigo such proportions are to be added to the woad vat as are directed in the preceding process4 ,rules to judge of the state of the woad vat4 ,the vat is ready for working1 and to dye blue1 when the sediment at the bottom1 on being taken out of the vat changes to a fine brown-green4 ,when the froth which rises in great bubbles on the surface is of a fine ,prussian-blue1 and when the pattern which has been steeped an hour1 comes out of a dark grass-green1 and changes in the air to a blue2 when the liquor is clear and reddish1 and the drops which stick to the rake are brown2 when the sediment changes colour on being taken out of the liquor1 and becomes brown on exposure to the open air3 when the liquor is neither harsh nor greasy to the feel1 and neither smells of lime nor of ley1 the vat is known to be in a proper state for working4 ,indications when a vat has had too much or too little lime4 ,these extremes ought to be carefully avoided4 ,when the lime is deficient1 or a pattern comes out of a dirty grey1 and the sediment does not change its colour1 there is scarcely any effervescence on the vat2 the liquor smells only of lime1 or of the lixivium of lime4 ,to remedy the deficiency of lime4 ,if the vat be not too far gone1 after the addition of a little bran1 madder1 and some woad1 then try the patterns from hour to hour2 thus you will be enabled to judge4 ,a deficiency of lime is evident when there is no effervescence on the liquor2 and when1 by dashing about the surface of the liquor1 it makes a hissing noise1 and by the bursting of a number of small air bubbles1 which as soon as they are formed break1 and appear tarnished1 and are not large1 nor of a fine colour2 the liquor too has an offensive smell1 like rotten eggs2 it is harsh and dry to the feel1 and the sediment1 as has been before observed1 does not change colour when taken out of the liquor4 ,sometimes such a condition of the vat is absolutely irremediable2 but when not gone too far1 sprinkle some lime into the liquor1 and stir it4 ,if you can thus remedy the defect1 and bring the liquor to smell of lime1 and to feel soft1 cover the vat1 and let it stand4 ,if1 at the expiration of an hour and a half1 the effervescence begin1 you may put in a pattern2 in an hour afterwards1 it may be taken out1 and regulate your process by the degree of green which the pattern has imbibed2 but1 in general1 when vats are thus out of order1 they are not so soon recovered4 ,to work a vat which is in proper order4 ,the vat being in a proper state1 the cross suspended1 and thirty ells of cloth ready1 or scoured wool in proportion1 designed for black1 by dyeing it of a blue grey2 and having passed and repassed the cloth through the liquor for a full half-hour1 it is to be wound round the winch1 and thrown off into the barrow1 and aired by the listings to change the green to blue4 ,after this1 a second piece may be dyed by the same process4 ,having made this overture1 or first stirring1 as it is also called1 the vat must be stirred afresh1 adding lime2 but not so much as to destroy the proper smell and feel4 ,if the vat be in a good state1 on the first day1 it may be stirred three or four times2 but it must not be overworked1 particularly on the second day4 ,concerning the colours to be obtained to the best possible advantage from a fresh vat on the first day1--the first is for black1 the next for royal blue1 and the third a brown green4 ,on the second day1 violet1 purple1 and ,turkey blues in the last stirring4 ,on the third day1 if the liquor be too much diminished1 it must be filled up with hot water4 ,at the end of the week light blues may be done1 and on ,saturday night add rather more lime1 to preserve the vat till ,monday morning4 ,on ,monday morning add more indigo1 and stir the paste2 keep the vat liquor at a proper distance from the top4 ,cover it for two hours2 then put in a pattern1 and in an hour take it out2 add lime according to the green shade of the pattern1 and in an hour or two1 if your vat has not suffered1 you may begin working it afresh4 ,to keep the cloth1 c4 from the sediment1 there is always let down into the vat1 before the work is begun1 an iron circle1 with cords fastened from the circumference to the centre4 ,on the putrefaction of the woad vat4 ,whatever be the cause1 most certain it is1 that the woad vat1 even when prepared in the most careful and scientific manner1 is soon disposed1 if not used1 to go into the putrid fermentation2 of this we may be satisfied1 when it smells like rotten eggs1 as stated above4 ,the loss of a woad vat to dyers is extremely serious1 both from the quantity of woad1 as well as of indigo1 which it contains3 these articles being always expensive4 ,the woad vat being worked by heat directly applied from an open fire1 7the old method of heating it17 was much more liable to be lost than if it remained cold1 or was worked continually1 as it usually now is in ,london2 added to which1 the more equable application of heat by steam1 there is not now the danger which there was in cessation1 at uncertain times1 and in uncertain states of the vat1 as to richness or poorness of woad or of indigo4 ,but a dyer in the country1 whose business is barely sufficient to keep a vat going1 will find more difficulty in this respect4 ,if1 therefore1 he does a small batch of work on ,monday1 but has not half worked down his vat1 and has no prospect for two or three days of doing any more work1 he may possibly try to keep it with lime for a day or two3 he may do so1 and in the issue1 in some instances1 too much lime is the consequence4 ,we consider1 however1 that when the vat can be worked daily1 and replenished as it is worked down1 as is the case in ,london1 with care and attention1 there is no danger of the loss of a woad vat3 in ,london1 such an accident now seldom happens4 ,the author is1 notwithstanding1 persuaded that all the art of man cannot always keep a vat from the state of having either too much or too little lime1 when heated but seldom1 under a short course of work3 for when a vat is in order1 it is like a ripe vegetable2 you must gather it1 or it passes the time of its perfection2 it may even be rotten ripe4 ,we say1 therefore1 ,,work ,,the ,,vat3 withdraw from it1 upon your cloth1 its colour1 which1 as soon as you expose it to the atmosphere1 will combine with its oxygen1--the oxygen with the carbon of the indigo and the woad4 ,if you play with it too long1 the putrid fermentation will begin1 and the vat will be spoiled4 ,the smell of rotten eggs always proclaims the approach of the mischief4 ,no one1 therefore1 should attempt to have a woad vat or vats1 unless he can keep them nearly always at work4 ,when worked down in a moderate time1 and replenished with lime1 woad1 indigo1 c41 working out and replenishing in1 there can be no danger4 ,on the other hand1 in proportion as the vat is out of condition1 although partially recovered1 it must always be with more or less loss4 ,methods of dyeing ,,blues4 ,whether the goods be cloth1 or skeins of yarn1 they must1 in all cases1 be first wetted out and wrung1 and then put into the vat1 worked in it1 taken out and aired1 that they may turn from green to blue2 and1 if necessary1 they must be put in again4 ,there is no difficulty in dyeing dark blues1 by repeated dippings2 but if light blues be dyed in vats which are nearly exhausted1 they will not be bright4 ,blue vats1 upon a large scale1 are now mostly heated by steam2 they are then1 with little trouble1 always in a state for working1 without the necessity of re-heating4 ,they are very convenient for light colours1 even after they become very weak4 ,in some instances1 in order to dye light colours to the best advantage1 it would be advisable to set a vat on purpose1 which should be strong in woad and weak in indigo2 because the colour would be given more slowly1 and the light colour obtained from them with much more facility4 ,to dye wool with lac-dye1 ,,scarlet and ,,crimson4 ,we have mentioned lac-lake and lac-dye in page #ab4 ,lac-lake is of very uncertain quality1 having many heterogeneous substances mixed with it4 ,lac-dye is very superior to lac-lake4 ,lac-dye is much used for dyeing woollen yarn scarlet and crimson1 for carpets and hearthrugs4 ,it is used with a peculiar spirit1 which may be purchased of the dry-salters4 ,some think that this colouring material is nearly equal to cochineal2 the author has1 however1 never seen any thing dyed with it equal to the colour obtained from cochineal1 although it affords1 nevertheless1 a good scarlet4 ,lac-dye is used by being powdered and put into a stone pan1 7the quantity must be in proportion to what is likely to be used71 with a portion of the above-named lac-spirit sufficient to make it about as fluid as treacle2 it must be stirred with a glass-rod or a tobacco-pipe4 ,some use alum and tartar as a preparation1 and some not4 ,after putting the mixture of lac-lake and spirit in the copper with a proper quantity of water1 add the goods and work them at a boiling heat4 ,for scarlet add quercitron bark1 for crimson1 archil4 ,lac-dye may be1 however1 prepared for dyeing1 by submitting it1 in powder1 in a leaden vessel1 to the action of sulphuric acid1 in the proportion of not more than one part to two of the dye2 and after the lac-dye is dissolved1 the acid may be neutralized by carbonate of soda4 ,with suitable mordants to the cloth or yarn1 the colour may be then applied4 ,other processes for the employment of this dye are also adopted1 but we have no room to detail them4 7,see ,ure's ,notes on ,berthollet47 ,to dye worsted yarn a ,,crimson4 ,proportion of wool1 one pound2 of alum1 two ounces and a half2 of white tartar in powder1 one ounce and a half4 ,having the water properly cleared by bran1 let the alum and tartar be boiled in it2 when it begins to boil1 stir the mixture well1 and put in the worsted1 which boil in the liquor for two hours2 then prepare a fresh liquor for the cochineal1 one ounce of which1 in powder1 is to be used for every pound of wool2 when it begins to boil1 stir it well1 put in the worsted1 and boil it till the liquor in the vessel is free from colour1 it having parted with the colouring matter of the cochineal1 which should now all be upon the worsted4 ,if a series of shades be required1 less quantities of cochineal1 alum1 and tartar1 must be used2 the lightest shade is dyed first4 ,the preparation of archil to finish the ,,crimson4 ,put as much archil as the goods may require1 and according to the deepness or lightness of the shades of the crimson required1 into a copper of water of a suitable size1 and boil it1 7the best canary archil will bear boiling72 damp the fire1 let the archil settle1 and then have a fresh liquor for the goods to be put in1 to receive a proportion of archil according to the pattern desired to be matched4 ,begin with the lightest and end with the deepest1 reserving the remains of the archil liquor1 if it be not all spent1 for common compound colours of such shades as it will be advantageous to use it in4 7,see the next article47 ,on dyeing wool ,,scarlet4 ,scarlet owes its beauty to a solution of tin in muriatic acid4 ,for this purpose some use muriate of ammonia1 commonly called sal-ammoniac1 others use common salt4 ,it is of little consequence whether common salt or sal-ammoniac be used3 different preparations are employed by different persons4 ,the author has found the following to answer every expectation4 ,melt an ounce of grain tin in an iron ladle1 till an oxide is formed on the surface2 then pour it from a height or distance into cold water4 ,pour the water from it1 and it is fit for use1 being then called feathered tin4 ,put this tin into a glass vessel or stone jar1 and add to it eight ounces of nitric acid1 eight ounces of water1 half an ounce of sal-ammoniac1 and two drachms of nitrate of potash4 ,this preparation is better if made some time before it is used2 it is a compound of nitrate and muriate of tin4 ,should any one prefer a pure muriate of tin1 the method of making it will be found in the last chapter1 in observations on crimson and scarlet upon silk4 ,into a copper of cleared boiling water1 the heat being reduced1 and having the worsted wetted out ready2 for every pound of which 7dry7 put two ounces of cream of tartar or white tartar in powder1 and one drachm and a half of cochineal in powder4 ,when the liquor is ready to boil1 add two ounces and a half of the first-mentioned solution of tin1 which immediately changes the colour2 stir it well3 as soon as the liquor boils put in the worsted1 and boil it till the colour of the cochineal is taken up by it4 ,the worsted must now be taken out1 when it will be of a flesh-colour1 the water in the copper having lost its colouring matter4 ,to finish the worsted1 another quantity of clean water is made warm1 into which six drachms and a half of cochineal are to be put2 just before it boils1 two ounces of the same solution of tin are to be poured in1 the liquor undergoing a similar change as before4 ,the worsted is again put in1 and boiled till it has imbibed the colour2 it is then taken out1 wrung1 and rinsed in clean water1 when the scarlet is in perfection4 ,one ounce of cochineal to a pound of wool1 will impart a colour sufficiently deep1 if managed according to the method above described1 no colour being left in the remaining liquor4 ,for many shades of scarlet it will be1 however1 necessary1 and1 in a fresh liquor1 to add either a certain portion of turmeric or young fustic1 to give the scarlet that fiery red which some scarlets have4 ,if not in an entire fresh liquor1 a part of the old liquor must be taken out before the yellow is added4 ,when it is wished to dye a regular series of scarlet shades in worsted1 half the quantity or less1 for some of the lightest1 will be sufficient of the solution of tin1 the tartar1 the cochineal1 c4 ,the worsted should be separated into divisions corresponding with the shades required2 the lightest is of course to be done first3 if any deficiency be in the shade1 it may have another dip4 ,this deficiency is easily perceived1 and a very little practice will enable the operator to assort them perfectly4 ,it should be noted1 that the vessel most proper to dye scarlet in ought to be made of block tin2 such as are used by the scarlet dyers for the ,east ,india ,company4 ,when woollen cloth is to be dyed scarlet1 to every hundred pounds of cloth put six pounds of tartar and eighteen pounds of the solution of tin at first2 the same quantity in the completion2 and in each operation1 six pounds and a quarter of cochineal4 ,for the accommodation of those who would make small experiments1 one ounce of cream of tartar1 six ounces of solution of tin1 and one ounce of cochineal1 may be used for every pound of worsted or cloth1 putting two-thirds of the solution of tin and the tartar1 and a quarter of the cochineal1 into the preparation1 and the remainder to the completion4 ,observe1 that although we have given processes for dyeing woollen cloth crimson as well as scarlet1 yet crimson may be obtained in another way3 for alum1 the salts in general with an earthy base1 and the fixed and volatile alkalies1 possess the property of changing the colour of scarlet into crimson1 the natural colour of the cochineal4 ,the cloth which is dyed scarlet has only to be boiled1 therefore1 for about an hour1 in a solution1 more or less charged with alum1 according as a deeper or lighter crimson is wanted4 ,when a piece of scarlet has any defects1 it is set apart for crimson4 ,soap and potash will also produce crimson from scarlet1 but not of so bright a colour as from alum4 ,hence also we learn the necessity1 in1 at any time1 working scarlet cloth1 to avoid boiling it with soap or pot-ash1 c4 if we desire the scarlet to remain4 ,to dye wool ,,maroon4 ,the worsted or yarn must be boiled for an hour or two in one twelfth its weight of alum and the same quantity of white argol4 ,it is best1 when there is a large quantity of yarn1 to do this on the preceding day3 if your copper hold a pack of two hundred and forty pounds1 it will be cold enough to handle after remaining with the fire out during the night4 ,when the skeins1 c4 are taken out and arranged upon poles or sticks1 have a fresh water ready in the copper1 into which put about thirty pounds of chipped peach-wood1 and when it has boiled half an hour1 pour in some water to cool it down1 and add fifteen pounds of crop madder2 work the yarn in this liquor rather under a boiling heat4 ,when it is full enough1 for some shades you must add archil4 ,as the whole pack is dyed at four or five turnings in1 some of the parcels may be varied in the hues instead of confining them all to one shade4 ,the various turnings will take the greater part of the day to perform4 ,when you choose to have as many shades as there are turnings in1 you divide the drugs into different portions for different periods of the time1 to be used according to the patterns required4 ,the most economical method of using the drugs being to follow the patterns one after the other3 practice will teach the operator to do this most advantageously4 ,more madder than peach-wood gives a lively red2 more peach-wood than madder gives a bright maroon red1 bordering on crimson1 but more so without any madder2 with the addition of archil it gives a crimson1 but by no means to be compared with the crimson of cochineal4 ,urine with the archil renders a less quantity of archil necessary4 ,to dye wool ,,yellow4 ,the proportion of alum used by dyers in these processes varies from one-fourth down to one-twelfth1 of tartar one-sixteenth is used1 for every pound of cloth4 ,equal parts of alum and tartar are used for worsted and yarn1 each of which 7alum and tartar7 is only from one-twelfth to one-tenth of the weight of the material to be dyed4 ,the shades of yellow are straw yellow1 pale yellow1 lemon yellow1 and full yellow4 ,in order that the cloth should be properly impregnated with the mordants of alum and tartar1 according to what is allotted to the shade1 whether light or full1 it should be boiled in the preparation at least one hour2 two hours for a full yellow2 then a fresh liquor is to be made to receive the weld1 which must be previously boiled3 for a full yellow four or five pounds of weld will be required to one pound of cloth or worsted2 for the lighter shades less of course3 but a sufficient quantity only of weld should be used1 and this should be boiled and re-boiled1 as it will keep but a very little time after boiling4 ,if you have a gradation of shades you will save drugs and expense by dyeing the fullest shades first1 and the lightest last2 but by this method the lightest will not be so bright as if they were done first1 and the liquor renewed with fresh boiled weld1 and so on to the fullest shade4 ,at last you must have for the goods a preparation weak or strong according to the light or full colour of which they are to be4 ,the last dyeing1 whether of cloth or yarn1 will assuredly take all the colour out of the liquor of any consequence4 ,while expense is not an object1 it is best1 not only for yellows1 but for all other colours1 to have the preparation and the dye proportioned to the shade1 the colour done at once1 and the remaining liquor thrown away2 but as the price usually paid for dyeing will not enable the dyer so to do1 he commonly dyes his shades in succession1 as above1 and with the utmost economy4 ,to dye wool ,,brown1 or of a ,,fawn ,,colour4 ,these shades are extremely various1 and are dyed without any preparation with alder-bark1 red sanders1 sumach1 galls1 madder1 c4 and under a boiling heat1 although it is occasionally necessary to boil some of the ingredients together previous to the dyeing3 for instance1 red sanders will give its colour out best when boiled with galls1 alder-bark1 sumach1 c4 ,cam-wood1 bar-wood1 walnut rinds1 roots1 c4 are used in some of these shades1 the varieties of which are almost infinite4 ,practice is required in this branch of dyeing equal to or beyond any other4 ,to dye wool ,,purple1 c4 ,pass the goods through archil1 next through the blue vat1 with the usual precautions1 then through hot water4 ,for some shades they should be alumed1 and then dyed with cochineal for the crimson part of the purple4 ,blue and crimson make purple1 violet1 c4 according to the patterns required4 ,to dye wool ,,green4 ,the shades of this colour are very numerous1 as yellow green1 pale green1 bright green1 grass green1 laurel green1 olive green1 sea green1 parrot green1 cabbage green1 duck's-wing green1 c4 ,the goods must first have a blue ground from the woad vat1 light or full according to the pattern1 they are afterwards to be prepared with alum and tartar1 weak or strong according to the lightness or fulness of the pattern1 and are afterwards dyed in weld liquor4 ,many of the shades of green are more readily done by dyeing the wool first yellow with old fustic1 with a preparation of alum and tartar1 and using the chemic blue vat made with sulphuric acid and indigo4 ,see page #dg4 ,a chemic vat for ,,green ,,woollen4 ,prepare in the manner described for cotton 7page #eb471 eight ounces of indigo and four pounds of sulphuric acid4 ,this preparation need not1 however1 be neutralized for wool as described for cotton4 ,in some instances the preparation is to be for the yellow of fustic one-twelfth of alum1 the same quantity of tartar1 and in some cases one-twelfth of alum only4 ,a chemic vat for ,,blue ,,woollen4 ,this is to be made the same as for green2 it need not be neutralized as for cotton4 ,for blue1 however1 twelve ounces of indigo are necessary to four pounds of sulphuric acid4 ,in dyeing the heat must be much under boiling1 or the using of a high heat would give the blue a green tinge4 ,this blue colour is very bright1 yet not fast1 but no preparation is of any advantage to either its fastness or brightness4 ,some put alum and tartar1 and some use one1 and some the other1 to prevent a green cast3 if1 however1 the wool be fine1 white1 and worked much below the boiling point of heat1 it will not turn green although neither be used4 ,to dye wool ,,orange1 ,,gold ,,colour1 c4 ,the processes of crimson1 scarlet1 and of yellow united produce the various shades of these colours1 leaving archil out4 ,see buff1 peach1 c4 on wool4 ,to dye wool ,,black4 ,black includes a prodigious number of shades1 beginning from the lightest grey or pearl colour to the most intense shade of black4 ,on account of these shades it is classed by dyers among their chief or primitive colours#h2 for the greater number of browns1 of whatsoever shade they be1 are finished in the same dye as would dye white wool a grey more or less dark4 ,this operation is called browning4 ,the best superfine black should have a full ground of mazarine blue previously to being finished black4 ,a great quantity of cloth and other articles have1 however1 no indigo ground1 but a ground of logwood1 or of logwood and alder-bark1 or of logwood and old fustic1 or of logwood1 alder-bark1 and old fustic1 all boiled together1 and sometimes they are boiled in a decoction of oak saw-dust4 ,indigo for the ground is the richest drug1 in carbon1 that is or can be used2 logwood is next to it3 too much logwood1 however1 whether indigo be used with it or not1 gives the black a foxy hue2 alder-bark and old fustic modify this effect1 and are used in small quantities for this purpose1 because the dye from these1 as well as that from oak saw-dust1 will produce a soot or dead black4 ,a jet black is required full and rich1 therefore old fustic and oak saw-dust are only used to modify the richness of the ground as it regards the blue1 whether of indigo or of logwood2 for logwood especially1 without these1 if overcome with sumach and sulphate of iron only1 would be foxy1 purplish1 or have a reddish cast4 ,so many different grounds being used for blacks1 and every dyer thinking his own the best1 is the occasion of such a great variety of hues1 even of black1 being found in the market4 ,it is1 therefore1 thought unnecessary to describe the various methods of dyeing black which are pursued by different dyers1 and which would be1 in fact1 impossible4 ,but the author has done what is of much greater importance to the student1 who1 after a little practice1 let him have a pattern of black to dye1 will know how to do it1 let who may have dyed it4 ,even a blue-ground is1 according to some1 dyed afterwards in a decoction of logwood and galls1 or logwood and sumach1 and two pounds of verdigris for a hundred pounds of cloth4 ,thus1 ten pounds of logwood and ten of galls1 are to form the decoction1 and are boiled previously for twelve hours4 ,one third of it with the verdigris is used first1 and then the cloth1 after boiling in it for two hours1 is aired2 it is then passed through one third more of the decoction of logwood and galls1 having previously had eight pounds of sulphate of iron dissolved in it1 and the scum arising from the solution taken off4 ,the goods are to be worked in this one hour at a boiling heat1 then aired again by turning them about on a stone floor4 ,the remainder of the decoction of logwood and galls is then added1 with fifteen or twenty pounds of sumach2 boil it some time1 and then add five pounds of sulphate of iron2 scum it1 and let the liquor cool down1 then put the goods in1 and work them at a boiling heat an hour or two1 taking them out once or twice1 at least1 in the time1 to air and cool2 they are then to be well washed1 and passed through a decoction of weld liquor1 to soften the black1 which will be very fine4 ,this process is chiefly from ,hellot2 but the quantity of sulphate of iron is more by three pounds than he directs4 ,when the cloth is blue1 it is usually boiled two hours in a decoction of galls1 then washed and aired1 when sulphate of iron and logwood are added to the liquor1 and the goods worked in it for two hours1 and then washed4 ,the above have been the processes in practice for a century past in ,france1 where the galls were not so dear as they now are in ,england3 sumach is here1 therefore1 now most commonly used as a substitute for galls4 ,another process for ,,black without a blue ground4 ,to dye one hundred weight of cloth1 take thirty pounds of chipped logwood1 half a bushel of alder-bark1 and six pounds of sumach1 and boil them together in a proper quantity of water for half an hour2 then cool the decoction down with cold water1 enter the cloth1 turning it on the winch2 bring it to a boil1 having the sumach in a bag2 boil and keep the cloth turning for one hour and a half3 this is the ground4 ,have now ready fourteen pounds of sulphate of iron dissolved in water1 which is to be laded into the copper by one man1 while another turns the cloth for an hour at a boiling heat2 it is then to be taken out1 cooled1 and aired1 returned to the copper1 and boiled gently for two hours1 and then cooled again4 ,while the cloth is cooling1 six pounds of logwood1 ten pounds of alder-bark1 two pounds of argol1 ten of soda1 or common pot-ashes1 and three pounds of sulphate of iron1 are to be added to the liquor in the copper1 and boiled one hour1 when the goods must be turned and worked one hour2 and1 lastly1 taken out and aired4 ,this black is said to be of the hue of a raven's feather4 ,this process is from ,,heigh4 ,the argol is professed to be put in to counteract the sulphuric acid of the sulphate of iron2 the alkali is said to cause the logwood to retain its natural violet colour3 and if too great a quantity of logwood be not used1 the result would be as above stated4 ,but the author presumes that such a black would not be at this time much esteemed4 ,we object to the introduction of so much1 indeed of any alkali or argol1 as the time employed in performing the process is wasted4 ,alkali is good1 however1 where a chemic green is to be dyed black4 ,wool will take up whatever the copper contains necessary to dye black2 but1 for the beauty of the colour and the durability of the cloth1 it is best to let it have most of its ground of vegetable colour before it has the sulphate of iron1 which blackens that ground1 with sumach instead of galls2 and even in some instances1 dyeing some goods without the sumach4 ,were the author1 however1 to direct the dyeing of black cloth1 such as should be of the best kind1 he would have an indigo ground with logwood and alder-bark1 without old fustic or oak saw-dust2 and to finish the cloth he would use sumach1 sulphate of iron1 and a small quantity of verdigris4 ,he would give it the blue ground first2 then the logwood1 alder-bark1 and verdigris2 and then finish it with sumach and sulphate of iron4 ,if the blue ground were omitted1 he should dye the cloth twice1 giving it more of logwood and alder-bark1 but verdigris the same2 and finish it with sumach and sulphate of iron4 ,nevertheless1 when we dye to a pattern1 the pattern must be our guide4 ,different goods will require different quantities of drugs4 ,logwood should be about one-fourth of the weight of the goods2 the sulphate of iron about one-fifth of the logwood2 alder-bark1 when used1 about the same quantity as sulphate of iron2 but for some yarns this bark is not used1 nor is it necessary2 and where fustic or oak saw-dust is used1 there is the less necessity for using alder-bark4 ,the sumach must be about the same quantity as sulphate of iron4 ,remember that carbon is generally considered as that which makes the richness of a dye4 ,that it is the iron in the sulphate of iron1 combined with the tannin and gallic acid which are assumed to be in the sumach and logwood1 that produces the blackness of the dye2 but this theory is questionable4 ,see below4 ,the way to ascertain when the quantities of drugs are most appropriate for producing the desired effect is as follows3-- ,first1 ground with different quantities of drugs1 from three to five or seven patterns1 and use from one third to one fifth of sulphate of iron and sumach to the grounding2 afterwards finish with the remainder of the sulphate of iron and sumach3 the fuller the ground the richer will be the black1 if the logwood be not in excess1 and the quantities be used as thus stated4 ,we ought also to state here 7from ,berthollet1 vol4 ii4 p4 #d47 that commonly more simple processes than any of those above described are employed for black4 ,thus the blue cloth is simply turned through a bath of gallnuts1 when it is boiled for two hours4 ,it is next passed through a bath of logwood and sulphate of iron for two hours without boiling1 after which it is washed and fulled4 ,a black may also be dyed without a blue ground with walnut rinds or the roots of the walnut tree2 in this case the cloth receives a dun ground from the walnut husks or roots1 and is afterwards made black in the manner above described1 with logwood and sulphate of iron4 ,the blacks1 however1 without the blue ground are only given in general to inferior cloths4 ,the colouring principle of logwood is called hematin2 it is crystalline1 of a rosy-white1 and1 viewed through a lens1 very brilliant2 its taste is slightly astringent1 bitter and acrid2 exposed to the action of fire in a retort it affords all the products of animal substances1 and also a small quantity of ammonia1 which proves that it contains nitrogen4 ,it dissolves easily in boiling water2 on adding some acid very gradually1 it changes to yellow and then red4 ,potash and ammonia give the solution of hematin a purple red2 if a great excess of these alkalies be added1 the colour becomes violet-blue1 then brown-red1 and finally yellow-brown4 ,in this state it is decomposed and cannot be recovered by any acids4 ,protoxide of lead1 protoxide of tin1 hydrate of tritoxide of iron1 hydrate of copper1 oxide of zinc and its hydrate1 flowers of antimony and oxide of bismuth combine with hematin and give it a blue colour1 with the loss of the violet shade4 ,see notes to ,ure's ,berthollet1 vol4 ii4 p4 #dbj4 ,see the explanation of protoxide1 c4 under ,,oxide in ,chapter ,i4 ,the above facts concerning logwood may1 by the ingenious dyer1 be applied on many occasions with great success4 ,to dye wool ,,grey4 ,all greys1 from the darkest to the lightest1 are composed of black in varying proportions4 ,they are of great use in dyeing1 not only for their own colours1 but also when applied to other colours1 which operation is called saddening or darkening4 ,some greys have a woad ground of blue1 then of logwood1 sumach or sulphate of iron1 of which decoctions of the three last1 for expedition1 should be in readiness when wanted4 ,when a succession of light shades1 in particular1 is required1 in some instances the chemic blue is used3 when we treat of the mixture of black1 or rather grey with red and blue1 the utility of grey will be seen4 ,mixture of ,,black or ,,grey with ,,red and ,,blue4 ,these produce an infinite number of all shades of grey as sage grey1 slate and lead colour1 and others still darker4 ,on ,,browns1 ,,fawns1 ,,olives1 c4 ,browns and ,fawns owe1 in all probability1 their colour to the iron which their dyes contain4 ,iron is so universally diffused throughout nature1 that it1 very likely1 enters into the composition of many other colours2 it exists in blood1 in water1 and in innumerable vegetable and animal substances1 as well as in earths and many minerals4 ,hence we ought not to be surprised that blue1 red1 and fawn produce olives from the darkest to the lightest2 as well as slate and lavender when the shade is very light4 ,fawn and yellow produce the feuille-morte or dead-leaf4 ,fawn and red produce cinnamon1 tobacco1 chestnut1 c4 ,fawn and black produce coffee1 maroon1 c4 ,blue1 yellow1 and black produce all the dark greens1 even to black4 ,blue1 fawn1 and black produce dark olives and greenish greys4 ,red1 yellow1 and fawn produce orange1 gold colour1 withered-leaf1 carnation1 burnt cinnamon and tobacco colours of all kinds4 ,yellows1 fawn1 and black produce hair colour1 nut-brown1 c4 ,this enumeration is meant only to give a general idea of the ingredients proper for the production of shades composed of several colours4 ,where red forms a component part of the colour wanted1 the goods must have a preparation of alum and argol1 strong or weak1 according to the fulness or weakness of the red which forms a part of the compound dye1 such as the half or quarter of the quantity which is required for a full colour of red2 the same as to yellow1 and1 in proportion1 when red and yellow are joined4 ,on the ,,yellow of the ,quercitron or ,american bark4 ,the quercitron bark is said to yield from eight to ten times more colour than weld1 and about four times more than old fustic2 this was1 however1 ,dr4 ,bancroft's account1 who had a strong interest in this dyeing drug1 as stated in the first chapter4 ,he also asserts1 that one pound of bark with muriate of tin1 will dye forty pounds of woollen a bright golden yellow1 which afterwards becomes a beautiful and durable scarlet1 with a fourth part less cochineal than is usually employed on other occasions for such a colour4 ,but ,bancroft did not succeed in doing away the old method of saving tartar and cochineal4 ,his fullest yellow upon cloth1 the author has1 however1 often tried and found it rich and golden2 the process is as follows3 ,cloth one hundred pounds2 bark in powder1 and in a bag1 ten pounds2 muriate of tin1 or murio-sulphate of tin1 7for which see forward17 ten pounds4 ,the bark in the bag must be first immersed in the proper sized vessel for six or eight minutes2 then add the solution of tin and stir it well for two or three minutes1 when the cloth must be put in1 and kept in motion by two or three men working over the winch from end to end2 then proceed to boil2 and1 in fifteen minutes boiling1 the highest yellow is produced2 a longer time would turn the yellow brown4 ,when a very bright yellow1 approaching less to orange1 is wanted1 seven or eight pounds of solution of tin1 five pounds of alum1 and ten pounds of bark1 will do for a hundred pounds of cloth4 ,in this process1 boil the bark first in a bag for a few minutes1 then add the solution of tin and the alum1 and the cloth afterwards1 as before directed2 less body requires less quantities of course4 ,for a full ,,bright ,,yellow delicately inclining to a greenish tinge4 ,use eight pounds of quercitron bark1 to six of muriate of tin1 six pounds of alum1 and four pounds of white tartar1 for cloth as before4 ,the alum and tartar render the yellow more delicate1 and give it more of the lemon or greenish tinge2 where this is wanted in the greatest perfection proceed as follows3 ,take ten pounds of bark1 ten of muriate of tin1 or murio-sulphate of tin1 ten of alum1 and ten of tartar4 ,for cloth three or four times the quantity of the preceding processes may be taken1 namely three or four hundred pounds4 ,in this process the bark must be boiled fifteen minutes in water only1 and then the other ingredients be added and mixed in the liquor by stirring4 ,the cloth is next to be put into it1 the liquor being first cooled a little2 it is then immediately to be turned briskly on the winch till the colour is sufficiently raised4 ,when a variety of shades are wanted1 in working the bark1 7contrary to the processes for many other colours7 the higher shades should1 in this colour1 be dyed first1 and the weaker afterwards4 ,when about two-thirds of the quantity of the cloth have been dyed1 it will be generally found that the liquor1 by continuing to extract colouring matter from the bark1 has acquired an over proportion1 and wants a small quantity of muriate of tin1 of alum1 and of tartar1 perhaps a pound of each1 to enable the bark at last1 as well as at first1 to give the same delicate1 pale and greenish tinge4 ,a surer way1 however1 is to boil the bark in a small quantity of water1 separately1 for six or eight minutes2 and then to add to it the solution of tin1 alum1 and tartar1 and boil them with the bark together for fifteen minutes1 and then damp the fire2 then have the cloth in a proper sized vessel1 supplied with boiling water1 and the cloth moving on the winch2 after it has gone a few turns round1 and is thoroughly wetted out 7which it should be before1 and now again7 lest any part should be dry1 add the supplies of the yellow liquor above described1 by little and little as they may be wanted3 in this way expectation is surpassed by the beauty produced4 ,bancroft's murio-sulphate of tin is made thus3--,take of muriatic acid1 three pounds2 of feathered tin1 as described in the process of dyeing wool scarlet1 fourteen ounces2 to the tin add gradually the muriatic acid2 afterwards1 with due and great precaution1 by degrees1 in the course of a day or two1 two pounds of sulphuric acid4 ,care must be taken that the vessel in which this operation is conducted1 be of stone ware or of glass4 ,these acids being mixed with the tin1 should be left to saturate themselves with it1 which they will do in time1 without artificial heat2 but the dissolution of the tin will be rapidly promoted by a sand heat4 ,this murio-sulphuric solution of tin1 thus made1 will be perfectly transparent and colourless1 and will probably remain so for years1 without suffering any precipitation of the metal4 ,to dye wool ,,buff4 ,this is done with the most economy after scarlet1 and1 in such case1 requiring very little addition 7in some cases none7 of cochineal4 ,the wool1 having an alum preparation1 it may be requisite to add some fresh prepared decoction of young fustic or weld4 ,see the next article4 ,to dye wool ,,peach4 ,this process is the same as the last2 that is1 after scarlet2 but the wool is not to be alumed3 in some cases1 a little tartar and cochineal is added4 ,observe1 that the cochineal and tartar being added1 the previous preparation must be according to the fulness or faintness of the shade wanted1 whether of buff1 peach1 or flesh1 all of which require1 essentially1 the same process4 ,by such means1 a pattern of any shade1 compounded of red and yellow1 from scarlet to the weakest buff and flesh1 may be produced4 ,to set an indigo vat for worsted1 serge1 c4 ,the vat being five feet high1 and two feet in diameter at top1 you may use for it from two to six pounds of indigo1 according as you set it light or full4 ,boil two pounds of potash1 two ounces of madder1 and a handful of bran1 in fifteen gallons of clear soft water1 for half an hour4 ,the indigo must be powdered2 after which it must be levigated in a peculiar circular cast-iron mill1 having a contrivance for two large round stones1 or cast iron balls1 which are kept in a perpetual circular motion while the indigo is ground4 ,water it1 and put it into the mill1 and as the balls run round1 the indigo in the water is reduced to a fine flowery paste4 ,there are mills more convenient than these1 but1 perhaps1 none more simple for a small concern4 ,when the indigo is thus prepared1 boil it in the copper with the grounds of the madder and the potash1 which fell to the bottom2 it is all1 then1 to be put into the vat at the same time with the indigo2 the whole is to be stirred1 the vat covered1 and heat applied to make it more than blood warm1 and to keep it so4 ,the vat should be stirred twice1 slightly1 both the second and third day1 the heat remaining the same2 when a brassy scum1 divided and interrupted in many places1 begins to appear on the surface4 ,on the fourth day1 the heat being continued1 the scum becomes more perfect and less broken1 the froth which rises1 upon stirring1 is more blue1 and the vat a deep green4 ,when it becomes green in this manner1 it is an indication that it must be filled2 to do which1 boil half an ounce of madder1 and one pound of potash1 in five gallons of water2 put in this liquor1 and stir it2 if it produce much froth1 stir it again1 and the next day it will be fit for working2 which1 however1 will be sufficiently known by the quantity of froth1 and by the brassy and scaly crust on the surface of the liquor1 on blowing or stirring which1 the liquor beneath is green1 although the surface appears brown or blue4 ,when the vat has worked about forty or fifty pounds of serge or worsted1 it may be necessary to replenish it with one pound of potash1 half an ounce of madder1 and a handful of bran2 these being boiled a quarter of an hour1 are added to the vat4 ,when this vat wants replenishing with indigo1 which may be known by the liquor being no longer green1 but brown1 blue1 or almost black1 two-thirds of it must be put into a copper2 when ready to boil1 the scum on the top must be taken off by a sieve1 after which it should be suffered to boil1 with the addition of two handfuls of bran1 a quarter of a pound of madder1 and two pounds of potash2 soon after it has boiled1 it is to be put into the vat with one pound of indigo1 prepared as before2 the vat being again stirred1 and covered1 the heat always remaining between blood and fever heat4 ,when an indigo vat has been several times re-heated1 it should be emptied out entirely1 and set anew1 because the colour becomes dull4 ,the preceding process is from ,hellot4 #h ,it is necessary that the student should not confound the terms primitive colours here with the prismatic or primary colours1 for the discovery of which we are indebted to ,sir ,isaac ,newton4 ,see the ,introductory ,chapter4 ,,chapter ,v4 ,,on ,,dyeing ,,silk ,,and ,,cotton ,,black1 c4 ,to dye silk black for velvets--,to dye silk black1 ,london process--,on dyeing cotton black at ,rouen--,to dye cotton black1 ,london process--,for dyeing black1 particularly cotton velvets1 at ,manchester--,on dyeing silk and cotton black1 with a blue ground--,another iron liquor--,to dye cotton black1 by using the preceding solution--,to dye cotton violet--,to dye cotton red--,to dye cotton an ,adrianople or ,turkey red--,miscellaneous observations relative to ,adrianople red4 ,some of the more simple and less difficult processes of dyeing both cotton and silk1 are described in the preceding chapters2 we shall now describe those1 not only for black1 but for some other colours1 which require more care and attention4 ,for ungumming and boiling silk1 c4 see ,chap4 ,,vi4 ,silk has a strong affinity for galls1 and advantage is sometimes taken of this3 for silk1 being a valuable article1 is often galled to excess1 merely to increase its weight4 ,cotton has a strong affinity for iron1 and iron has the same for gallic acid1 wherever it may be found2 therefore1 in sumach1 alder-bark1 c41 iron unites with the acid1 whenever both are connected by the medium of water4 ,tannin1 doubtless1 has also some share in such dyeing processes1 although what does not even now appear to be well understood4 ,black1 ,,macquer observes1 is rather difficult to be dyed upon silk2 or1 at least1 there is reason to think so1 from the numberless experiments which have been found necessary to the attainment of a good black1 as well as from the multitude of heterogeneous ingredients which ,macquer admitted into the composition of his various processes for this dye1 some of which consisted of arsenic1 corrosive sublimate1 litharge1 antimony1 plumbago1 and about ten other ingredients6 we shall not1 therefore1 detail such preposterous mixtures2 one1 however1 we may just put down by way of showing what the art was in ,macquer's time4 ,take twenty quarts of strong vinegar1 one pound of black nut galls pounded1 and five pounds of iron filings2 these ingredients are to be mixed in one vessel4 ,to dye skein silk ,,black for velvets1 ,genoa process1 7from ,macquer47 ,the silk should be ungummed by boiling it four hours with a quarter of its weight of white soap1 and afterwards to be well cleared from the soap4 ,take1 for every hundred pounds of silk1 twenty pounds of galls in powder1 and boiled one hour2 two pounds of sulphate of iron2 twelve pounds of iron filings2 and twenty pounds of gum arabic or senegal4 ,this process is very simple3 here are the gallic acid and tannin of the galls1 and the iron of the sulphate and the filings4 ,but we must proceed to a more modern process4 ,to dye silk ,,black1 the ,london process4 ,take of wove silk1 twilled sarsenet1 one hundred and fifty yards4 ,boil1 for three hours1 of alder bark one bushel and a half2 of logwood fourteen pounds2 and of iron filings one pound4 ,then let the fire be damped2 dissolve four ounces of sulphate of copper in water2 wet out the silk in hot water2 after which put the solution of sulphate of copper into the liquor and stir it only2 then put the silk into the copper1 and work it from end to end four times2 after which take it out in the air2 now put it in again and work it as before2 take it out again and let it be aired on the floor1 opening it from time to time till it is cold2 repeat the same thing twice more1 in all four times4 ,this is termed four wets4 ,while the last wet is cooling and airing1 dissolve and put into the copper three pounds of sulphate of iron1 and then give the silk two more wets1 which make the number of wets six4 ,the drugs are now left to boil as much as they will during the night1 being left so to do1 because in a large business1 this part of the process would close the day's work4 ,the next morning give the silk four or five wets more1 and leave it in the copper all the following night1 observing when it is left in1 and always when it is worked in1 that the heat1 must be considerably under the boiling point1 and the silk kept covered by the liquor3 for if any part be exposed to the air it will be marked4 ,on dyeing cotton ,,black at ,rouen1 7from ,d',apligny47 ,take one hundred quarts of sour wine1 bad vinegar1 or small beer2 put to either of these twenty-five pounds of old iron hoops rusted by the air or dew2 twelve pounds of rye meal or coarse bran2 put the whole into a copper and heat it rather more than blood warm4 ,in the summer it would do exposed to the sun and air with a porous cloth over it1 to let in the air1 but keep out dirt1 c42 the older this solution is the better2 but it should be at least two months old4 ,cotton skeins are galled by being worked in a solution of galls2 alumed and then dyed in weld liquor2 this in the result is yellow2 they are then passed through a decoction of logwood1 and after that of sulphate of iron1 a quarter of a pound to every pound of cotton2 they are then dyed in madder1 half a pound to every pound of cotton4 ,we cannot recommend this process1 although we give it1 as much better methods are now known4 ,to dye cotton ,,black--the ,london process--used by various calico printers in the suburbs4 ,cotton cambric piece-goods are passed through a blotching machine to receive a mordant of acetate of iron1 and galled slightly2 sumach is used instead when galls are dear2 the cotton is then passed through logwood1 or logwood and fustic1 and then through sumach2 so that it is possible thus to give them the mordant sufficiently in proportion to the iron liquor at first2 proceed as in dyeing afterwards1 at a heat approaching boiling or even boiling4 ,you may now proceed by adding first the galling or sumach slightly2 afterwards the logwood1 c42 and then the remainder of the galling or sumach may be used to finish it2 and thus dye the goods black by the quickest possible process4 ,it should be observed respecting the last process and the process which precedes it1 that in dyeing black alum is inimical to the colour4 ,therefore ,d',apligny's is not now esteemed4 ,alum for black is as improper1 as it is proper and essential for red and yellow4 ,in regard to giving the acetate of iron for black at once1 as the second1 or ,london process directs1 it may be done by having the proportions full2 by full is meant that the mordant should be full enough2 then1 after the slight galling1 as directed in giving the logwood and alder bark decoction1 or logwood and fustic1 be sure to have that decoction strong enough4 ,this might be called the ground2 and the most perfect judgment might be formed of it by having a part of a piece1 or one piece of a batch dried in the stove3 for1 according to the fullness of the ground1 so will the black be rich and perfect or otherwise4 ,the alder bark and fustic are used only to prevent the hue of the logwood from being predominant4 ,if the ground be a full and rich brown1 the second full galling or sumaching will bring it to a full and rich black2 but1 if the ground be poor1 these processes will cut or destroy the ground1 and the black will be foxy1 nasty1 and poor2 and not only so1 but the material dyed will soon wear rotten1 because having an over-dose of iron1 the iron will tend to decompose the cotton4 ,therefore the following process is most esteemed4 ,for dyeing ,,black 7particularly cotton velvets7 at ,manchester4 ,in a large dye-house where much business is done1 a great many wine-pipes or other large tubs1 or any substitutes are arranged in an appropriate place4 ,into these are put old iron hoops1 rusted in the air1 and cut into short pieces2 a layer of the iron pieces and a layer of the alder bark1 again a layer of iron and a layer of the bark1 and so on in succession from the bottom to the top4 ,when the pipes are all thus filled1 water is poured into them till they are filled up2 they remain in this state for six weeks or two months according to the season1 whether summer or winter4 ,the same process will do for any other cotton goods as well as velvets1 such as calicoes1 cambric1 and jaconot muslins1 cotton in the skein1 c4 ,in some cases there are persons who pass the goods through the liquor of the aforesaid black vat4 ,the colour of this liquor when it is fit for use is purplish1 particularly after being once used and returned to the vat again1 which it always is4 ,others begin by passing the goods through a decoction of logwood and sumach1 then through sulphate of iron1 then wash off through logwood only2 then through sulphate of iron2 always washing off from this last2 the goods are then dried1 and this is called the first time of saddening4 ,they are next passed through logwood1 then through sulphate of iron1 then washed off1 then again through logwood1 then sulphate of iron1 and then washed off2 and then dried4 ,this is called the second time of saddening4 ,supposing the goods to consist of a hundred or a thousand pieces1 after drying the second time they are brought in lots to the foreman for examination1 and assorted into lots one1 two1 and three4 ,all that is fit for lot one is full enough and has ground enough1 and is of a rich full-bodied brown1 ready for galling or sumaching3 sumach being the substitute for galls1 this process is termed in the dye-house1 macing4 ,lot two is not full enough1 and must pass through logwood1 then sulphate of iron1 and then be washed off4 ,lot three is still more deficient2 this must be passed through logwood and the sulphate of iron twice and then washed off1 and both lots two and three dried again4 ,lot one is now to be sumached for the first time3 that is1 passed through a decoction of sumach1 then through sulphate of iron1 and then washed off3 if the decoction of sumach be kept up strong after all of them are once sumached1 they may be dried4 ,lots two and three1 when they are dry1 are also to be sumached the same as lot one1 and dried4 ,as soon as any of them are dry they are ready to be sumached the second time by passing them through the decoction as before2 but instead of sulphate of iron1 some of the alder bark and iron liquor are used2 or as we shall term it1 the liquor of the black vat4 ,they are then to be washed off and dried4 ,if the black liquor and the sumaching be powerful1 some of the goods will be finished when dry4 ,such are examined by the foreman2 those which are not finished must go through the last process again4 ,the finished goods are well and repeatedly washed off in fresh clear soft water two or three times and then dried4 ,the cambric muslins are sent to be calendered to imitate silk sarsenets4 ,book-muslins must be sent to the muslin dressers1 except where1 in some cases1 they sarsenet and dry their own goods4 ,by the above method the ground is secured1 and so is the black1 and also the strength of the goods4 ,on dyeing silk and cotton ,,black with a blue ground4 ,it is remarkable1 that although an indigo ground for wool enriches the black1 yet for silk and cotton it is not generally considered necessary4 ,latterly1 however1 we believe the dyers of black on cotton do first give it an indigo ground before the black is given4 ,this is1 nevertheless1 not a new method1 for ,d',apligny describes the process in his ,art of ,dyeing1 for linen and cotton yarns2 these are first dyed sky-blue in the vat1 then wrung out and set to dry4 ,they are galled in the proportion of one part galls to four of yarn1 being left twenty-four hours in the gall liquor1 wrung out anew1 and set to dry3 about ten pints of iron liquor to every pound of yarn are then poured into a tub1 in this the yarn is turned on sticks1 and worked with the hand for a quarter of an hour1 it is then wrung out and aired4 ,this operation is twice repeated1 adding each time a new dose of the iron liquor2 the yarn is aired once more1 then wrung out1 well washed1 and dried4 ,to complete the dyeing of the yarn a weight of alder-bark equal to that of the yarn is boiled with a sufficient quantity of water for an hour2 to this is added one half of the bath which has served for the galling and sumach4 ,the whole is boiled for two hours4 ,when cold the yarn is put in and worked1 aired occasionally1 and then left in the bath for twenty-four hours1 when it is wrung out and dried4 ,to complete it1 it is steeped and worked in the residue of a bath of weld1 to which a little logwood is added2 it is then taken out1 wrung1 and immediately passed through a tub of warm water1 into which one part of olive oil to sixteen of yarn has been poured4 ,it is finally wrung out and dried4 ,see ,,ure',s ,berthollet1 vol4 ii4 page #ah4 ,another iron liquor2 pyrolignite or acetate of iron4 ,although we have described an iron liquor in a preceding section1 it may be useful to give the following process for another here4 ,fill a cast-iron boiler with pyrolignous acid1 add to it old iron well oxidized1 and boil4 ,the solution of the oxide will take place rapidly4 ,when the iron grows clean1 and the solution black as ink1 throw the whole into a cask1 to be employed as occasion shall require4 ,to dye cotton ,,black1 by using the preceding solution4 ,prepare the cotton as usual1 by giving it a blue ground2 gall it1 and pass it through a bath of the solution of pyrolignite of iron diluted with lukewarm water4 ,renew the gallings and the passings through the bath of pyrolignite of iron till a deep and brilliant black is obtained4 ,finish by passing the cotton through olive oil thus3 throw on some lukewarm water a little olive oil1 pass the cotton through it2 the cotton absorbs the oil1 but it must be worked a long time in the bath to diffuse the oil equally4 ,dry in the shade4 ,the cotton is now a perfect and very durable black4 ,every time the bath of pyrolignite is used1 what remains must be thrown away2 the old baths are never added to the cask4 ,the application of oil1 which heightens the black1 and imparts softness to the stuffs1 is given to such articles as cotton velvet by means of brushes1 which are slightly imbued with it4 ,berthollet4 ,we may add here1 that an iron liquor called tar-iron liquor1 prepared from the acid obtained from tar1 7the acetic acid we presume7 is now well known in commerce1 but we have not room1 nor does it appear necessary1 to describe the method of making it2 it is much used in preparing mordants for black and other colours by the dyers and printers of silk4 ,this iron liquor may be obtained of ,blake1 ,north ,street1 ,back ,church ,lane1 ,st4 ,george's in the ,east1 ,london4 ,see ,m',kernan4 ,to dye cotton ,,violet4 ,pass the skeins through the black vat and dry them1 then pass them through a decoction of galls and dry them again1 then through a decoction of logwood1 then of alum and verdigris1 washed off1 and dried4 ,or thus3 by the black vat liquor1 that is1 the liquor of old iron and alder bark in some cases4 ,let the vat liquor be prepared from the iron hoops1 vinegar1 rye1 or coarse bran1 described in page #ajh4 ,by this liquor it is easy to procure all the violet shades from the pansy flower up to the lilac and violet4 ,the goods must be first blue-vatted and dried1 then galled and dried1 then passed through the iron liquor1 then maddered1 then washed off1 and dried2 the liquor must always be kept much below a boiling heat1 as this heat makes the colour obtained from madder brown3 whatever drugs require boiling must be prepared by a decoction previously made4 ,for some shades sulphate of copper is used2 for others verdigris1 saltpetre1 and alum4 ,to dye to the pattern the preparations should be always of one given strength1 and all solutions of mordants the same4 ,the time of working the goods in the dye must be regulated by the fulness or lightness of the pattern2 and the quantities of the various drugs1 c4 used much or little accordingly1 reserving patterns of processes1 with the particulars of such processes noted down4 ,in proportion to the number of these upon record1 and with strict attention to the subject1 a good pattern dyer is formed4 ,time and practice are1 however1 absolutely necessary1 with a delight in the business3 for without a pleasure in dyeing no one can become a good or an eminent dyer4 ,in many of the branches of this art there are1 it is true1 labour and pains in abundance2 but there is also a portion1 and that not a small one1 of pleasure in others1 which will counterbalance the care1 anxiety1 labour1 and fatigue inseparable from this useful and important occupation1 and which so strikingly exhibits the science and ingenuity of man4 ,to dye cotton ,,red4 ,if the cotton skein has not been cleansed since it was spun it must be cleansed by being boiled in a solution of potash1 one ounce of which1 if good1 to a pail of water may be enough1 or more than enough4 ,the cotton must be put into bags when boiled1 then washed off and passed through clean water1 scoured with a little sulphuric acid1 and then washed off again2 then galled1 washed off1 and dried4 ,the galls should be white galls3 for twenty pounds of cotton five pounds of bruised galls are boiled in about one hundred and twenty quarts of water for two hours4 ,after galling1 the cotton must be alumed3 four ounces of ,roche alum for every pound of cotton4 ,when alumed it must be washed off and dried4 ,the cotton is now to be dyed in a copper containing six pounds and a quarter of best crop madder1 with a sufficiency of water4 ,the heat is kept under that of boiling for three quarters of an hour4 ,after being aired1 washed1 c4 it is put in1 worked1 and boiled for twelve or fifteen minutes4 ,some dye it again two days after1 because the longer to a certain degree between aluming1 dyeing1 and drying1 and between one dyeing and another1 the better4 ,the second time of dyeing eight ounces of madder are used for every pound of cotton4 ,some dyers gall it twice1 and consequently dry it as often1 then dye it at once in the madder1 having a proportion accordingly4 ,this is a red full-bodied colour4 ,to dye cotton an ,,adrianople or ,,turkey ,,red4 ,for one hundred pounds of unbleached cotton1 take the following articles and pursue the described processes4 ,lixivium ,no4 #a4 ,dissolve one hundred and fifty pounds of alicant soda1 7barilla7 in three hundred quarts of river water4 ,there must be no more water than enough to dissolve the salt4 ,an egg must float on it or it will not be strong enough4 ,lixivium ,no4 #b4 ,one hundred and fifty pounds of fresh wood ashes1 and three hundred quarts of water4 ,lixivium ,no4 #c4 ,seventy-five pounds of quicklime1 and three hundred quarts of water4 ,the cotton is to be boiled three hours in a liquor composed of equal parts of each of the above solutions1 taken from them when clear and in a settled state4 ,the liquor must be replenished occasionally1 so that it shall always cover the cotton during the whole time it is boiling2 after which it must be taken out1 washed1 and dried in the air4 ,into one hundred and thirty quarts of a mixture consisting of equal parts of the above three lixiviums1 put twenty five pounds of sheep's dung and part of the intestinal liquor1 previously well mixed by means of a wooden pestle1 and the whole strained through a hair sieve4 ,then twelve pounds and a half of good olive oil is poured into the mixture1 when it instantly forms a soapy liquor4 ,into this liquor the cotton should be worked hank by hank1 often stirring it2 the cotton1 after all the hanks have been worked separately first1 is then left in the liquor for twelve hours2 it is then taken out1 lightly wrung and dried4 ,the liquor is put by for brightening4 ,this process is repeated three times during the working2 and by the time the solution is all worked four hundred quarts might be used1 but that will not injure the clear of it from being applied in brightening2 and it must be reserved for that purpose4 ,when the cotton has been three times dipped in this soapy water1 and three times dyed1 the same process is repeated1 except that the sheep's dung is left out2 the liquor is also preserved for brightening4 ,the cotton1 having gone through these processes1 should be as white as if it had been bleached4 ,when dry it is to be galled1 using a quarter of a pound of galls to every pound of cotton2 after this it is dried1 then take six ounces of alum for the first aluming2 it is then to be dried again1 and to hang three or four days in the air1 and then1 when dry1 to be alumed again2 four ounces of alum1 and four of the lixivium may be added to the last alum water4 ,the madder used for this red is called lizary1 which furnishes a dye incomparably finer than that produced by any other madder4 ,of lizary madder1 therefore1 take two pounds for every pound of cotton1 and twenty pounds of liquid sheep's blood well mixed with the water in the copper before the madder is put in4 ,the butcher should stir the blood to prevent its coagulating2 the copper should be carefully skimmed2 the madder should not boil1 but be brought during the process from blood-heat to within a few degrees of the boiling point3 if it boil at last1 as some prefer it1 it should only be for a few minutes4 ,in order to brighten the colour1 the cotton is dipped in a lixivium of fresh wood ashes1 and five pounds of white soap3 yellow or mottled soap is improper4 ,when the cotton has been well worked in this liquor1 it is1 with the liquor itself1 put into a copper sufficiently large to hold it with some addition of water1 and made to boil over a slow fire1 for three1 four1 or more hours4 ,the liquor must be covered with coarse white linen cloths1 to keep as much steam in as possible4 ,some of the skeins of cotton must be taken out from time to time1 and washed perfectly2 when the red is judged perfect and sufficiently bright1 the fire is withdrawn4 ,if instead of the wood-ash lixivium and soap1 the two reserved liquors and soap are used1 the red will be much brighter than the finest ,adrianople carnation4 ,miscellaneous observations relative to ,,adrianople ,,red4 ,in regard to the above processes1 we may observe1 that those given for ,adrianople red in ,ure's ,berthollet1 are more numerous1 being regularly numbered to the seventeenth1 or last operation called brightening4 ,after a careful attention to those processes we see no reason to alter our own1 yet we nevertheless advise the dyer to become acquainted with what is stated in that work1 many details being there given for which we have not room1 particularly for making different shades of the colour4 ,we add1 however the following from vol4 ii4 p4 #adj4 ,cotton dyed red1 may1 moreover1 be made to pass through all the shades1 down to the palest orange1 thus3 pure nitric acid is diluted with two-fifths of water2 chips of tin are oxidized in it till the liquor grows opal2 the solution is employed at different strengths2 the colour varies according to the concentration of the solution3 when it is strong1 shades are obtained which have some relation to those of scarlet4 ,in general1 when brilliant colours are desired1 we must not charge them too much with oil2 we must give feeble leys long repeated1 charge little with alum1 employ the best madders1 and1 at last1 brighten powerfully without sparing soap4 ,we have directed good olive oil2 but ,m4 ,,vitalis directs fat oil1 7gallipoli7 to be used in the processes for dyeing ,adrianople red1 and ,berthollet says1 it must not be a fine oil1 but one containing a strong portion of the extractive principle4 ,a factory for dyeing this red was first established in this country in #agij1 by ,m4 ,,papillon1 who obtained a premium from the ,commissioners and ,trustees for ,manufactures in ,scotland1 for communicating the details of it on condition it should not be divulged for a term of years1 during which ,m4 ,papillon was to have the sole use of his secret4 ,this term being expired the process was published4 ,see vol4 xviii4 of ,tilloch's ,magazine4 ,m4 ,,vitalis1 7in his work on ,dyeing published in #ahbc7 has given1 at length1 the mode of dyeing ,turkey red at ,rouen4 ,it differs in many particulars from ,berthollet and others4 ,we learn from him that two systems for imparting this colour are in use at ,rouen4 ,the first is called the grey course from the cotton being subjected to the maddering immediately after it has received the oily preparations1 and the mordants of galls and alum which give it a grey colour4 ,the yellow course1 is so called from the cotton1 after having received a first time the oily preparations1 as well as the mordants of galls and alum1 not being exposed to the maddering till it has passed a second time through the same preparations1 and the same mordants which give it a yellow colour4 ,this second manner of working the ,turkey red is called1 in the dye-house1 remounting on the galls4 ,dr4 ,,ure1 in a note to ,berthollet1 vol4 ii4 p4 #cgh1 has detailed these two courses1 and made1 besides many valuable observations on them1 and the dyeing of ,adrianople red generally1 for which we must refer to the work1 as our limits prevent the possibility of any further notice of them here1 except to add1 that a process for dyeing cotton of a smoke red2 and another for dyeing cotton a cherry red1 is well deserving the attention of the dyer4 ,in regard to the blood used in dyeing ,adrianople red1 ,dr4 ,ure decidedly affirms1 that it adds no colouring matter to the madder in the dyeing operation2 in this he is countenanced by the observations of ,chaptal1 see ,berthollet1 vol4 ii4 p4 #ada4 ,to the use of blood in the madder copper1 says ,dr4 ,ure1 ,i attribute nothing1 as from the rancid and putrid state in which ,i have seen it used1 were it not for the prejudice of the operator1 it might be safely dispensed with4 ,a very eminent calico manufacturer1 whom ,dr4 ,ure consulted1 assured him1 that in the ,turkey red process the only essential mordants were oil and alumina2 and that bright and fast reds1 equal to any produced by the complicated processes of sheep's dung1 galls and blood may be obtained without those articles4 ,we make no comments on these observations1 but leave them to the good sense and intelligence of the dyer3 they deserve the utmost attention4 ,linen yarn takes a colour almost as brilliant as that of cotton1 but it must be passed through a double number of oils and leys4 ,the latter must even be very strong1 otherwise the oil flows out at the surface4 ,the greatest attention must be bestowed on the scouring out first3 for the yarn mingles and entangles by the heat to such a degree1 that it sometimes can be neither dipped nor unravelled4 ,it should be mentioned that the large dyers of ,adrianople red1 now obtain their soda for lixivium ,no4 #a1 by using common salt in solution1 to which is added a solution of pearl-ashes4 ,on boiling these together a muriate of potash is formed1 which is taken out of the liquor with a skimmer2 a carbonate of soda remains dissolved in the liquor1 and is1 of course1 applied to the same purpose as1 and at a much cheaper rate than1 the ,alicant soda4 ,,chapter ,,vi4 ,,on ,,dyeing ,,cotton ,,and ,,silk4 ,to dye skein cotton yellow--,on dyeing and re-dyeing cotton furniture yellow--,to dye cotton skein a duck's wing green and olive--,of browns1 maroons1 coffee colours1 c4--,observations on silk--,on ungumming and boiling silk--,whitening--,sulphuring--,on aluming silk--,skein silk for yellow--,preparation of annatto1 for aurora1 orange1 moidore1 gold colour1 and chamois--,to dye silk aurora or orange--,to dye moidore--,process for orange--,to dye silk poppy or coquelicot--,a cheaper poppy with annatto and ,brazil wood--,on dyeing silk a fine crimson--,composition for dyeing silk scarlet or crimson1 with cochineal--,another process for crimson--,crimson by ,brazil wood--,of fine violet--,observations on crimson and scarlet upon silk--,on dyeing silk green--,on olives--,on dyeing silk grey--,nut-,grey--,black greys--,iron greys--,on dyeing silk of a ,prussian blue colour--,chromate of lead for yellow on silk or cotton--,conclusion4 ,we have in several preceding chapters treated of both cotton and silk2 we shall here treat of certain processes and colours relative to both these substances1 which are most conveniently arranged in this chapter4 ,the simpler processes for cotton will be found in the second chapter1 the more complex in the fifth2 the simpler processes for silk are given in the third chapter1 the more complex in the fifth2 the remaining processes for both in the present chapter1 will conclude the work4 ,to dye skein cotton ,,yellow4 ,the same operations as those in the first common red dye are to be used here2 to one pound of cotton four ounces of roche alum1 and from one to four pounds of weld4 ,when dyed the cotton is to be worked in hot1 but not boiling1 liquor1 consisting of four ounces of sulphate of copper to every pound of cotton2 it is then to be boiled for three hours in a solution containing four ounces of soap to every pound of cotton4 ,when a dark or jonquil colour is wanted1 no alum is used2 of weld take two pounds and a half1 very little verdigris1 or a little alum in its stead1 but nothing else4 ,for brightening1 however1 boiling in a solution of soap is in all cases necessary4 ,on dyeing and re-dyeing cotton furniture ,,yellow4 ,if the furniture1 such as rough or finished cotton or cambric1 intended for yellow linings for bed or window curtains1 be in a perfectly bleached state1 which is now generally the case1 according to the number of the pieces1 so must the size of the copper be to boil the weld in for the yellow dye4 ,a small copper holding four or five pails would do for three pieces of twenty eight yards each4 ,the weld may be purchased by the half bundle1 the bundle1 or the load4 ,half a bundle would be enough for the above quantity of cotton1 if a moderate yellow is wanted4 ,the weld must be increased or decreased according as the pattern approaches a straw1 a canary1 a lemon1 or towards a gold colour or orange4 ,the weld must be boiled about twenty minutes1 the liquor then strained off into a proper tub1 and the weld boiled again4 ,while the boilings are going on1 three tubs1 being wine pipes cut in two1 must be got ready and made particularly clean1 being also previously seasoned for the work4 ,one is to receive the boiled weld with some cold water to regulate it to the heat which the hand will bear2 the other is for water1 and as much alum liquor as will colour it and make it taste strong2 and the third is to contain clear water to wash the furniture off4 ,whatever yellow is in fashion 7or indeed any fashionable colour17 has commonly a fashionable name4 ,but if the dyer can1 by his experience1 proportion his drugs to the weakest1 and from that to the strongest shade1 let the name be what it may1 after he has a set of patterns of his own dyeing1 he will see1 upon the first sight of any colour1 how to set about it4 ,in the present instance let the pattern be a moderately pale colour of yellow2 then put all the first boiling of the weld in the first tub1 and cool down as above directed4 ,two or three persons should then work the pieces quick from end to end by the selvages1 that they may be even1 two may do this2 one of whom must be an expeditious hand to work them and keep them even4 ,when they have been edged over six or seven times1 they are to be folded out upon a board laid over the tub1 and wrung as dry as possible by two persons4 ,when they are all out1 they are passed in the same manner through the tub of alum1 and1 after six or seven turns1 they are to be taken out of the alum liquor1 wrung as before1 and then washed off4 ,by this time the second weld liquor will be boiled2 some of the first must be thrown away1 and the second weld liquor added in its place4 ,the goods are then passed through as before1 and wrung out2 the alum liquor being strengthened1 they are passed through it1 wrung out as before1 and then washed off3 the water in the wash tub having been changed4 ,in some instances verdigris is used instead of alum2 and in other cases it is used in addition to the alum4 ,for some shades old fustic is used instead of weld1 and sulphate of copper instead of verdigris4 ,the alum solution1 and the sulphate of copper1 and the verdigris1 or acetate of copper should be always ready4 ,it is necessary to have a tub for each1 in size proportioned to the work to be done2 but larger for the alum than for the other two4 ,sulphate of iron is also used in some dark greys1 browns1 slates1 and in all blacks2 this will require a tub as large or larger than that for alum4 ,when the yellows are dyed and wrung as dry as possible1 they should be taken into a close room or stove to dry1 particularly in ,london1 because of the smoke1 especially in winter4 ,a ,german1 or other stove1 should be placed in the room1 the size of which1 as well as the number of the stoves1 must be regulated by the quantity of the work4 ,when the goods are dry they must be sent to the callenderers1 if directed to be callendered2 but the general and better way is to stiffen them with starch after they are dyed1 and before they are dry2 and when dry they should be sent to the glazers1 instead of the callenderers1 except when both branches are carried on by the same person4 ,when furniture1 originally yellow1 has become faded1 it may be re-dyed thus3 ,in this case it should be dyed rather of a fuller shade than the original4 ,a large flat tub1 such as described above1 is to be filled three parts full of water1 to which sufficient sulphuric acid must be added to make it taste strongly sour4 ,after being well stirred1 the pieces are to be put in1 and worked in this sour liquor2 and the yellow dye in consequence is stripped off4 ,if the acid liquor be not strong enough more acid must be added1 with the precaution of well mixing it with the water1 and the goods must be passed through the liquor again3 by these means the yellow is discharged4 ,they are then to be taken out on a board upon the tub and wrung by two persons2 then to be washed off and wrung1 washed and wrung again1 when they are fit to be dyed4 ,it is still to be remembered that any faded or worn out colour1 or that goods more or less decayed1 seldom become so bright as the colour which a new piece of goods receives from the same dye4 ,some cloths for re-dyeing require the application of oxymuriate or chloride of lime to discharge their colours1 particularly when madder or galls1 c4 form the constituent parts of the dye4 ,in this case if a bleacher be near it might be best to let him perform the process with the oxymuriate of lime2 not only from the pernicious nature1 but also from the expense of it1 which1 unless the business be upon a large scale1 will not pay the dyer for his trouble4 ,however1 if the dyer thinks proper to perform this operation1 then the oxymuriate of lime or bleacher's ashes1 c4 may be obtained at the dry salters and dissolved in a cask1 and the clear liquor used in proportion to the quantity of goods1 the colour of which is intended to be discharged1 which1 when done1 should be washed off in two waters at least before they are dyed4 ,to dye cotton skein a ,,duck',s ,,wing ,,green and ,,olive4 ,this is performed by a blue ground1 next galling1 dipping in the black vat1 then in the weld dye1 then in verdigris1 remembering to wash off previously to performing each process4 ,olive is to be performed with weld or old fustic1 verdigris1 and ,brazil wood4 ,of ,,browns1 ,,maroons1 ,,coffee-,,colours1 c4 ,it would answer little purpose to enlarge this treatise with a detail of all the possible methods of producing the various shades of these several colours1 the whole consisting in the use of galls1 verdigris1 sulphate of copper1 weld1 and madder4 ,by welding a stuff previously maddered for red you may produce a gold colour2 and by dipping the same red in a blue vat you obtain a plum colour4 ,observations on ,,silk4 ,silk1 as it is obtained from the cocoons of the worm1 is generally of an orange or yellow colour1 more or less dark2 in the ,south of ,france it is generally very dark3 its natural shade is unfavourable to almost all other colours4 ,it is also imbued with a kind of varnish or gum1 which makes it stiff and hard2 this stiffness is improper in the fabrication of most silk stuff1 it is therefore ungummed1 as it is called1 by the following processes4 ,on ungumming and boiling silk4 ,observe1 that throughout the following processes for silk white soap is directed to be used2 and1 generally speaking1 we believe it will be found the best1 more especially for the more delicate operations4 ,yet ,mr4 ,m',kernan1 in his process for ungumming silk1 directs yellow soap and soft soap in equal parts1 and of the same weight as the silk to be used3 he adds1 however1 that different sorts of silk require more or less soap2 the best rule he finds1 nevertheless1 is the same weight of soap as of silk3 and he says also1 that yellow soap and soft soap of the best quality he finds the best for this purpose4 ,the silk is divided into hanks1 each hank is tied with a string1 several of these are tied together 7a handful of them7 by putting a piece of string through each separate skein1 and tying the piece of string in a long tie to slip easily when they are wanted to be untied4 ,a liquor is prepared of thirty pounds of white soap to a hundred pounds of silk2 the soap is cut into small pieces and boiled in water1 when it is dissolved the fire is damped4 ,while the liquor is preparing the skeins of silk are put on rods2 as soon as the soap liquor becomes a little below boiling heat 7for it should not boil1 as boiling would tangle the silk7 the silk is to be put into it in an oblong copper1 being nearly full2 it is to remain in the liquor till its gummy matter has left it1 which will be seen by its whiteness and flexibility4 ,it is then turned end for end on the rods1 that the part above the liquor may undergo the same operation4 ,as soon as this is accomplished the silk is taken out of the copper1 the hanks which were first turned being soonest done4 ,the hanks are now to be taken from the rods to the peg1 disentangled1 and nine or ten of them put on one cord1 this cord passing through the string that tied each hank4 ,when the whole is corded it is put into pockets of coarse strong white linen fifteen inches wide and five feet long1 closed at each end and on one side2 when the silk is put in1 the pocket is sewed all along the other side with packthread1 and fastened with a knot2 four pockets will hold the whole hundred pounds4 ,the pockets being thus ready another liquor is prepared like the first4 ,when ready1 and the boiling checked with cold water1 the pockets are put in and boiled well for a quarter of an hour1 checking with cold water in order to prevent its boiling over2 it is necessary also to turn the bags about often with a pole1 or rather let two persons have a pole each for this purpose4 ,this operation is called boiling4 ,in addition to the processes of boiling with soap1 as above directed1 ,mr4 ,m',kernan recommends that the silk should be winched through a copper of water at the heat of #afj1 having two pounds of soda 7barilla7 dissolved in it1 then winch or wash in water1 and wring and dry4 ,in the boiling of silks for common colours twenty pounds of soap will do for a hundred weight of silk2 but1 as in this case1 the silk is not ungummed1 it should boil for three hours and a half1 adding water to supply the evaporation4 ,the silks intended for the greatest degree of white1 either to remain white1 or for the fabrication of white stuff1 are boiled twice in soap and water2 those that are to be dyed of different colours are boiled but once1 and with a smaller quantity of soap1 because the little remaining redness is by no means prejudicial to many colours4 ,different quantities of soap are1 however1 necessary for different colours4 ,silk designed for blue1 iron grey1 brimstone1 or any other colour requiring a very white ground1 should be done according to the preceding process1 and have thirty pounds of soap4 ,when the silk is boiled it is taken out of the copper by two men with poles1 and placed in a clean barrow2 they are then taken to a long shallow trough1 from which the water may run away1 the pockets are opened1 and the silks examined2 such as have yellow or lemon colour spots remaining are boiled again for some time1 till the spots are removed4 ,after unpocketing1 the whole is dressed on the pegs4 ,silk loses from twenty-five to twenty-eight per cent4 of its weight in ungumming and whitening4 ,the bags of silk should never be suffered to lie long together before they are emptied after being boiled1 as their doing so would make the silk hard4 ,white silk1 as before observed1 is distinguished into five principal shades1 namely1 ,china white1 ,india white1 thread or milk white1 silver white1 and azure white4 ,the three first are prepared and boiled as has already been shewn4 ,silver and azure white in the preparation or ungumming thus3 take fine powdered indigo1 put it into water boiling hot1 when settled the liquor is called azure4 ,to azure the silk it is taken from the ungumming copper after it is dressed and put into a trough of water2 after it is worked1 drained1 and again dressed1 it is ready for the ,whitening4 ,put into a copper with thirty pails of water half a pound of soap2 when it boils1 and the soap dissolved1 add for ,china white a little prepared annatto1 7of which hereafter47 ,the silk1 being on rods1 is now to be put into the copper and kept turning end for end without intermission till the shade is uniform4 ,for ,india white a little azure is added1 to give the blue shade3 for thread white and others a little azure is also to be added4 ,observe1 the liquor should be very hot1 but not boiling2 the turnings five times repeated1 by which the shade is made even4 ,when finished it is taken out1 wrung1 ,spread on poles to dry1 and that part of it required for sulphuring must be put upon rods or slight poles4 ,sulphuring4 ,the hanks1 being upon poles seven or eight feet from the ground1 in an appropriate room1 one pound and a half or two pounds of roll brimstone will sulphur a hundred weight of silk4 ,put the brimstone1 coarsely powdered1 into an earthen pipkin with a little charcoal or small coal at bottom4 ,light one of the bits with a candle1 which will kindle all the rest4 ,the room should be close1 the chimney1 if any1 being closed up2 the sulphur should burn under the silk all night4 ,the next morning the windows should be opened to let out the smoke and admit the air1 which1 in summer1 will be sufficient to dry the silk2 but in winter1 as soon as the sulphurous fumes are dissipated1 the windows must be shut and a fire kindled in the stove or stoves to dry the silk4 ,observe1 if the room for sulphuring does not admit of openings sufficient for the dissipation of the sulphuric fumes1 the work-people will be in danger of suffocation4 ,when the sulphur is consumed it leaves a black crust which will light the future sulphur like spirit of wine4 ,if1 in dressing1 the silk sticks together1 it is not sufficiently dry4 ,silk1 which has been sulphured1 has a rustling1 which1 for some things1 is esteemed2 but this would not do for silk to be watered4 ,if silk1 which has been sulphured is to be dyed1 it must1 for many colours1 be unsulphured4 ,silks for lace1 gauze1 c4 are neither boiled nor ungummed2 silks which are naturally the whitest are the best for those articles4 ,it is sufficient to dip the silks in warm water1 and wring them2 then sulphur them1 afterwards azure them1 again wring them1 sulphur them a second time1 or soak them in soap and water1 those for whitening hot enough to bear the hand1 adding azure1 if necessary1 and turning and re-turning the silk in this liquor4 ,the fine silk of ,nankin requires no whitening4 ,on aluming silk4 ,we have treated of this before at the commencement of the third chapter1 but a few more observations may be useful4 ,the silk being first well washed and beetled1 and the hanks tied loose so that every thread may take alike1 should be turned and re-turned in the alum liquor and worked1 cooled in it1 at intervals1 from morning till night1 afterwards taken out1 beetled1 and rinsed4 ,the above proportion of alum will do for a hundred and fifty pounds of silk1 before you need replenish it2 when this is necessary add twenty-five pounds more of alum1 as at first directed in ,chapter ,,iii41 and so continue to replenish it till it gets a bad smell4 ,when this is the case you may dip for browns1 maroons1 c42 and afterwards throw the liquor away2 the trough is then to be rinsed for a fresh liquor4 ,remember always to alum cold or you will spoil the lustre of the silk4 ,skein silk for ,,yellow4 ,this is to be boiled with about twenty pounds of soap for every hundred pounds of silk4 ,when boiled it is to be washed and alumed1 and again washed1 dressed1 and put on the rod1 seven or eight ounces to a rod1 and then dipped and re-turned in the yellow liquor1 in the proportion of two pounds of weld to one pound of silk4 ,the liquor is not to be hotter than the hand can bear while the silk is in it4 ,the silk1 when in the vessel for dyeing1 should cause the liquor to float within two inches of the edge4 ,the silk must be taken out and the liquor strengthened1 if the pattern is to be very full2 when full enough1 one pound of pearl-ash for every twenty pounds of silk must be dissolved in some warm water2 about a quarter of this liquor is put into the dye bath3 take the silk out while you put in the liquor1 stir the mixture well4 ,put in the silk and work it1 turning and re-turning it as at first4 ,after seven or eight re-turns1 one of the hanks is to be taken out1 wrung1 and tried at the peg1 and1 if sufficiently full and bright1 all is well2 if not enough so1 some more pearl-ash liquor must be added1 and the silk worked as before1 till the shade required is obtained4 ,for jonquil it may be necessary to add some annatto when you put in the pearl-ash4 ,to make the light shades1 such as canary or lemon1 perfectly white1 they must be boiled with thirty pounds of soap to a hundred of silk2 and if these be not azured to be dyed1 they must have a little of the blue vat1 and a little of the weld liquor in water1 7the whole mixture being as hot1 but no hotter than the hand will bear17 and the silk ready on rods1 must be quickly worked through and out4 ,for deeper lemons the same process must be used as for the fuller yellows2 only less weld1 and twenty pounds of soap will do for a hundred pounds of silk in whitening it4 ,the blue of the vat is only used for such articles as are to have a green cast1 and that extremely light2 the aluming also should be in a weaker alum liquor3 for light lemons it should be prepared in a separate liquor4 ,preparation of annatto for ,,aurora1 ,,orange1 ,,moidore1 ,,gold ,,colour and ,,chamois4 ,you must have a colander proportioned to the size of the copper in which you boil the annatto4 ,to every pound of annatto put from twelve ounces to one pound of pearl-ashes1 which last dissolve in water1 and add the solution1 by degrees1 to the solution of annatto as it boils and dissolves1 for which purpose the annatto must be suspended in the colander over the copper by a flat stick about six inches broad1 run through a flat handle on each side of the colander1 by which means the colander is kept sunk in the water with the annatto in it1 till it is all dissolved1 except some little foreign matters4 ,the holes in the colander should be moderately small4 ,dissolved in this manner the annatto1 if kept clean1 will keep as long as you please4 ,to dye silk ,,aurora or ,,orange4 ,these require but twenty pounds of soap for boiling white4 ,to dye aurora the silk must be prepared the same as for yellow4 ,annatto prepared 7as directed in the last article7 and settled1 is then put into a copper of hot water1 in quantity according to the shade required2 having mixed it well1 the liquor being as hot as the hand will bear1 put the silk into it2 when one hank is tried1 as in the yellow1 if it be not full enough1 the liquor must be strengthened till the colour is brought to the shade required4 ,when finished the whole must be washed twice and beetled4 ,the aurora serves as a ground for moidore4 ,to dye ,,moidore4 ,as fustic and logwood are to form part of this dye upon the annatto ground1 the silk must be alumed1 then washed from the alum1 in order that the superflux of the alum may not render the dye uneven4 ,a fresh liquor is then prepared1 rather hot1 to which must be added a little of the decoction of logwood1 and of the decoction of young fustic4 ,the silk is re-turned in this liquor1 but if apparently too red1 you may put in a very little of solution of sulphate of iron1 which will make it sufficiently yellow4 ,when the silk is dyed with the gum1 in the raw state1 the annatto must be used nearly cold1 or the elasticity of the silk will be destroyed4 ,process for ,,orange4 ,after dyeing aurora with annatto1 it is necessary to redden the annatto ground with vinegar1 alum or lemon juice4 ,for the brightest oranges1 and up to scarlets and poppy1 c4 silk should have an annatto ground three or four shades under that of aurora4 ,there is no occasion for alum when the silk has been grounded and washed off4 ,if for orange a liquor which has been used for poppy will be sufficiently strong to finish it1 or for light cherry1 rose1 c4 ,for flesh1 the lightest of these colours is so delicate that a little of the soap water used for boiling should be added to the liquor1 to prevent the silk from taking the colour too quickly or unevenly4 ,liquors having safflower or weld in their composition1 require to be immediately worked1 as by keeping they lose their colour1 that is1 the safflower and its compounds1 and are entirely spoiled4 ,they are also always used cold1 as the safflower cannot bear heat4 ,the safflower preparation has been before described in ,chapter ,,ii4 where the process of cotton pink is performed by its solution4 ,to dye silk ,,poppy1 called by the ,french coquelicot4 ,when the silk has received the annatto ground three shades less than for aurora1 the safflower preparation must be ready1 and turned by the solution of tartar as before described2 the silk must also be well washed from the annatto ground2 that the alkali used with the annatto may not counteract the tartar of the safflower1 a bath of which must be prepared as strong as possible1 through which the silk must be worked six or seven times3 for a full poppy it is necessary to pass the silk through four or five such liquors4 ,poppy is the deepest colour which can be done with the safflower4 ,it has been before observed1 that the liquors from the poppy1 if used directly1 will serve for orange1 cherry1 flesh1 c4 ,archil1 as described for crimson1 with cochineal for wools as before described1 is to be used on some occasions4 ,in other cases some patterns have no ground of annatto4 ,a cheaper ,,poppy with annatto and ,brazil wood4 ,the silk is to be grounded with annatto as before2 when well washed off it must be alumed and washed off again2 then passed through the decoction of ,brazil wood1 washed off again1 again passed through a fresh decoction of ,brazil wood2 and every time that goods are passed through the dye1 as has been before stated1 they must be worked from end to end of the skeins1 from five to seven times1 to have them even1 and to give them a full opportunity of combining with the colouring materials of the dye4 ,these repetitions must of course be in number proportionate to the slightness or intensity of the colour wanted4 ,with the ,brazil decoction it is necessary to mix well a little soap liquor1 about five quarts to thirty pounds of silk4 ,this keeps the alum used to receive the ,brazil decoction not only from producing a stiffness1 but1 on the contrary1 preserves the silk soft and pliant4 ,the above poppy serves for a ground for brown red colours1 by the addition of logwood4 ,a decoction of logwood1 ,brazil wood1 and old fustic1 as has been before observed1 should always be kept ready boiled4 ,on dyeing silk a ,,fine ,,crimson4 ,silk intended for the crimson of cochineal should have only twenty pounds of soap to one hundred pounds of silk1 and no azure1 because the natural yellow of the silk which remains is favourable to the intended colour4 ,the silk is to be strongly alumed and left in the alum from seven to eight hours1 then washed and twice beetled at the river4 ,remember how the alum is to be worked1 as to the manual part4 ,while this is doing1 a liquor is to be thus got ready3 take of blue and white galls from one to two ounces to each pound of silk1 let them be well powdered and sifted2 of fine cochineal1 also well powdered and sifted1 from two to three ounces1 for every pound of silk2 put these articles into pure soft water1 and in a boiler made of grain-tin1 7and not in what is commonly called tin1 which is iron covered with tin1 and which would utterly spoil the dye47 ,neither would copper or brass suit as well as grain-tin4 ,this has been observed before1 7page #hd47 in the article on dyeing wool scarlet4 ,it ought1 nevertheless1 to be stated1 that such tin boilers are difficult to be made of a certain size1 and being liable1 besides1 to be melted without great care4 ,many dyers therefore1 still use copper boilers4 ,when the cochineal and galls have boiled you add to the liquor for every pound of cochineal1 about one ounce of solution of tin1 which is called composition1 and is made in the following manner3 ,composition for dyeing silk ,,scarlet or ,,crimson with cochineal4 ,take one pound of nitric acid1 two ounces of muriate of ammonia1 six ounces of fine tin1 prepared as mentioned under dyeing wool scarlet1 water twelve ounces4 ,the muriate of ammonia1 the prepared tin1 and the water1 are put into a stone jar1 to which the nitric acid1 is added1 and the whole left to dissolve4 ,this composition contains much more tin and sal-ammoniac than is used for the scarlet of cochineal upon wool2 it is1 however1 absolutely necessary4 ,an ounce of this composition1 for every pound of silk1 is to be added to the galls and cochineal when boiling4 ,the boiler is then cooled down a little1 the fire-door thrown open1 the silk put in and worked from five to seven times1 when the silk will have become pretty even as far as it is dyed4 ,the copper is now again to be brought to boil2 it should continue boiling1 and the silk kept turning1 for two hours2 the fire is then taken from under the copper1 and the silk is immersed entirely and left all night1 or for seven or eight hours at least2 it thus takes a full half shade4 ,in the morning it is washed1 twice beetled1 wrung as usual1 and hung up to dry4 ,the least tincture of sulphate of iron in the water saddens the crimsons1 takes off their yellow1 and gives the violet cast2 but if too much of the yellow is carried off1 it may be restored by fustic4 ,nothing but sulphate of iron will sadden grain scarlets1 logwood being quite useless for this purpose2 sulphate of iron darkens greatly with galls4 ,macquer4 ,another process for ,,crimson4 ,when the silk is boiling in the soap-liquor1 add one ounce of annatto1 for every pound of silk1 working it through the colander as directed1 7page #acf47 but without the composition or tartar3 in some shades1 however1 both composition and tartar are admitted4 ,the solution applied to cochineal with worsted has a considerable effect1 changing it from a crimson1 its natural colour1 to a very bright fire colour2 but it produces only a crimson when applied to silk2 it gives1 however1 this colour a very beautiful tint2 for1 uniting with the tartar1 it increases the effect without impoverishing the colour1 and saving the annatto ground4 ,macquer4 ,,crimson by ,brazil wood4 ,the silk should be first alumed1 and then passed through a strong decoction of ,brazil wood1 half a pail to a pound of silk1 which is to be worked1 and put through an additional and strengthened dye of ,brazil wood1 and then washed off3 if in hard water this will generally crimson the ,brazil wood sufficiently2 but if in soft water a little pearl-ash must be added2 about one pound of the clear solution of pearl-ash1 or rather the clear solution of a pound of pearl-ash1 as one pound of water will not1 we believe1 dissolve a pound of pearl-ash3 this is enough for forty pounds of silk4 ,the decoction of ,brazil wood is prepared thus3 one hundred and fifty pounds of ,brazil wood chips are put into a copper which holds about sixty buckets of water2 the copper is then filled with water and boiled for three hours1 the waste by evaporation being occasionally supplied4 ,the fire is now damped1 the clear liquor drawn off1 the copper filled again1 and again boiled for three hours more4 ,this process is repeated four times in all1 when the dye of the wood will be fully extracted4 ,logwood and old fustic are treated in the same manner1 but only two boilings are required for these4 ,in regard to crimson generally1 see forward1 observations on dyeing silk crimson and scarlet1 and also some observations on the dyeing of wool scarlet1 page #he4 ,of fine ,,violet4 ,for this colour the common boiling is enough1 the silk is alumed the same as for fine scarlet1 washed and twice beetled4 ,thus prepared1 two ounces of cochineal are given to it1 with the same precaution as usual1 but no composition nor tartar4 ,being worked moderately warm1 in working it must be expeditiously turned2 after a quarter of an hour the liquor should be brought to boil1 when the turning need not be so expeditious1 but it should1 nevertheless1 be continued for two hours4 ,after being washed the silk is dipped in the vat1 more or less strong1 according to the shade required4 ,washing and drying are done in the same manner as for blues and greens1 and in general for all colours dipped in the vat1 namely1 a small quantity at a time1 in order that the silk may be kept open to the air1 and that the greening of the vat may pass correctly and equally to blue4 ,for some shades archil forms a part of this dye4 ,for other violets on silk see ,chapter ,,iii4 ,observations on ,,crimson and ,,scarlet upon silk4 ,crimson upon silk is produced at ,norwich1 ,london1 and many other places1 by using a much larger quantity of cochineal than that which is directed by ,macquer3 for in some cases1 as much as a guinea a pound1 has1 it is said1 been paid for dyeing silk crimson at ,norwich4 ,archil has been used1 likewise1 in crimson1 and the time of boiling is not so long4 ,in some shades a little of the composition and tartar may be admitted1 but in a small degree4 ,it should be stated1 however1 that scarlet upon silk1 is often done by annatto and safflower4 ,observe1 that although we have given the preceding processes for crimson and scarlet1 yet many others might be mentioned4 ,what has been said in regard to dyeing scarlet on woollen1 7page #he47 should also be carefully attended to1 particularly relative to the conversion of scarlet into crimson by alum1 soap1 and the alkalies4 ,and though we have given directions for the preparation of a nitro-muriate of tin1 yet pure ,muriate of tin is now very often used for dyeing silk red4 ,,mr4 ,m',,kernan1 gives us the following process for preparing it3 ,take of fine muriatic acid1 of the specific gravity of #a4abj1 two quarts2 add by degrees1 one ounce at a time1 of feathered tin1 for twenty-four hours4 ,put the vessel in a sand heat and bring it gently to boil1 observing to add more tin as that in the acid becomes dissolved4 ,there should be some tin left undissolved when the liquor is cold1 thus indicating that the acid is perfectly neutralized by the tin4 ,bottle for use4 ,on dyeing silk ,,green4 ,this colour is composed of blue and yellow4 ,it is with difficulty produced on silk1 because the blue vat is liable to spot and give a party colour1 an inconvenience to which green is more liable than blue1 and more perceptible4 ,the boiling of silk for greens is the same as for common colours4 ,the silk being alumed as usual rather strongly1 is washed off and divided on the sticks into small hanks of about four or five ounces1 that it may be equally and easily managed in the working1 from the yellow to green1 in the blueing from the blue vat4 ,weld is then boiled as stated in the article concerning yellow2 when boiled1 a liquor of it is prepared strong enough to give a lemon ground2 the silk is then turned with all the expedition1 care1 and caution possible1 that it may be even4 ,when it appears full enough1 some of the threads are to be separated and dipped in the vat1 to determine this4 ,if not full enough1 more of the weld liquor must be added to the dye bath1 and the silk returned and tried again1 and so on2 when the colour is right1 the silk is washed off and beetled4 ,it is then wrung and formed into hanks1 and dipped skein by skein in the blue vat1 the same as the blue and the purple should be2 it must be wrung with equal care and dispatch4 ,this green is a kind of sea-green1 of which there are upwards of twenty shades4 ,the lighter shades1 when taken out of the vat1 are not washed but the silk must be worked in the hands by clapping it between them1 and then be carefully opened and aired4 ,a few threads are then washed1 or rinsed2 if the colour be right the whole is washed4 ,for the dark shades1 when the weld is exhausted a little logwood is added to the liquor2 in some cases1 old fustic1 in some annatto4 ,for very dark-wing or bottle-green shades1 a little sulphate of iron is required4 ,,olives4 ,proceed in aluming1 c4 the same as for other colours2 the weld liquor being stronger1 some logwood must be added4 ,when the weld and logwood are exhausted a very small quantity of each must be added1 which green the liquor1 when the silk being passed through1 a greenish olive is produced4 ,a reddish olive requires fustic1 instead of logwood and pearl-ash1 both of these being omitted4 ,fustic gives a colour commonly called drab-olive upon cloth1 because generally made to match with olive1 this is commonly redder than the preceding4 ,on dyeing silk ,,grey4 ,all the greys1 namely1 nut-greys1 thorn-greys1 black and iron-greys1 and others of the same hue1 black-grey excepted1 are produced without aluming4 ,the silk being washed from the soap and drained on the peg1 a liquor is made of fustic1 archil1 logwood and sulphate of iron3 fustic gives the ground1 archil the red1 logwood darkens1 and the sulphate of iron softens all these colours1 turns them grey1 and1 at the same time1 serves instead of alum as a mordant4 ,as there is an infinite variety of greys1 without any positive names1 produced by the same methods1 it would be endless to enter into details1 which would prolong this treatise to little purpose4 ,for reddish-grey the archil should predominate2 for those more grey1 the logwood2 and for those rather greenish1 the fustic4 ,care should be taken not to use the logwood too much1 as with the sulphate of iron it darkens more than most drugs3 therefore the black vat1 made either with alder-bark1 or the other preparation mentioned in dyeing cotton1 is preferable to the sulphate of iron4 ,,nut-,,grey4 ,the fustic decoction1 archil1 and a little logwood are put into water moderately hot1 the silk is then returned1 and when the liquor is exhausted1 the silk is taken out1 and to soften the colour the solution of sulphate of iron1 or the black vat1 is used4 ,the silk is then returned once more1 and if the colour does not appear sufficiently even1 some red spots still remaining1 it may be concluded that it requires a little more sulphate of iron4 ,observe that1 as sulphate of iron is the general base of all greys1 if this be deficient in quantity1 the colour is apt to change in dyeing1 and to become rough and uneven4 ,to know whether the colour be sufficiently softened1 it should be examined1 and if it wet easily1 after having been wrung on the peg1 it wants sulphate of iron4 ,on the contrary1 if it wets with a little difficulty1 the colour is sufficiently softened4 ,too much sulphate of iron stiffens the silk considerably1 making it harsh1 and even depriving it of a part of its lustre2 to remedy this it must be extra washed and wrung at the peg2 this process carries off the sulphate of iron4 ,,black-,,greys4 ,these are alumed and welded as for yellow1 and1 when the liquor is exhausted1 part of it is thrown away1 and some logwood is added2 when the logwood is exhausted1 sulphate of iron is added1 sufficient to blacken the colour1 the silk is then washed1 wrung1 and finished in the usual way4 ,,iron-,,grey4 ,for iron-grey it is necessary to boil the same as for blues3 this colour is much more beautiful when laid on a very white ground4 ,by having the drugs made into decoctions before-hand1 greys either in woollen1 silk1 or cotton1 may be dyed at a heat not much above what the hand will bear2 and in a rotation of shades from light to dark1 and varied1 blue1 red1 yellow1 brown1 c4 with ease and with pleasure2 so may1 likewise1 many stone-drabs1 and other light brown drabs1 as the mixture of yellow1 fawn1 and black1 produces nut-browns1 c4 ,on dyeing silk of a ,,prussian-,,blue ,,colour4 ,the application of colours derived from the mineral kingdom to dyeing is one of the most striking modern improvements in our art4 ,,mr4 ,,raymond received from the ,french government in #ahja1 eight thousand francs1 7more than three hundred pounds sterling17 as a reward for communicating to the public his process for dyeing silk of a uniform fast and bright ,prussian-blue colour by the application of that well known pigment4 ,his process is as follows4 ,he first converts1 by a gentle calcination1 sulphate of iron into a red sulphate of iron3 this he dissolves in sixteen times its weight of warm water and filters4 ,the silk1 prepared as for indigo dye1 is put into the solution of iron1 and left there for a shorter or longer time1 according to the shade of blue that is wanted2 it is then taken out and wrung very dry over a pole placed above the vat4 ,it is then thoroughly cleansed by being twice beetled1 plunging and agitating it each time in running water4 ,dissolve in pure water heated to #afg1 and put into a deal vat1 one ounce of ferroprussiate of potash1 for every twelve ounces of silk to be dyed4 ,when the prussiate is dissolved add one part1 or even rather more1 of muriatic acid1 stirring the mixture well4 ,when the liquor has acquired a greenish colour1 and about #add of heat1 the silk must be immediately plunged into it and stirred about for some minutes4 ,the silk having received the dye in an equal manner1 it is taken out of the vat1 well wrung on a pole above the vat1 and then taken to the stream to receive two or three beetlings1 and be plunged and agitated in the water1 in order that it may be entirely freed from any portion of the prussiate of iron not truly combined with it4 ,lastly1 the silk being well washed in the stream1 and thoroughly wrung1 is to be placed loosely on the poles1 as in the preceding operations2 after which it must be well agitated in a large vessel three-fourths filled with cold water1 to which must be added1 for a hundred pounds of silk1 two pounds of water of ammonia4 ,the blue colour immediately becomes many shades deeper1 of a much richer and brighter tint1 and at the same time is fixed more perfectly in the silks4 ,this change is effected in a few minutes4 ,the silk must then be wrung by the hand and rinsed in the running water without beating4 ,after this1 it is dried on the poles in the same manner as other dyed silks4 ,it need not be left on the poles more than twenty-four hours3 but1 nevertheless1 this colour so far from fading in the drying1 as is the case with many colours1 is improved by it4 ,the solution of a little soap added cold to the ammonia bath1 improves it1 giving also softness to the silk1 and rendering it more easy to separate4 ,the soap should be uniformly dissolved4 ,for the substance of the above process1 we are indebted to ,dr4 ,,ure',s notes on ,berthollet1 vol4 ii4 p4 #dbb4 ,the prussiate of potash is now to be obtained as a regular article of trade from the dry-salters in this country4 ,woollen cloth takes also the above dye1 but it must be left longer than silk in the iron mordant4 ,chromate of lead for ,,yellow on ,,silk and ,,cotton4 ,chromate of lead1 as a pigment has been for some time in use2 ,m4 ,lassaigne1 in #ahbj1 made public a process for dyeing cloth with this article1 which has since become pretty common in this country4 ,immerse hanks of scoured silk for a quarter of an hour in a weak solution of acetate of lead at the ordinary temperature2 take them out and wash them in a great deal of water3 then dip them into a weak solution of chromate of potash4 ,they immediately take a fine yellow colour2 at the end of ten minutes the effect is complete4 ,from this colour being decomposed in part by soap and water1 it is chiefly applicable to silks4 ,but by applying1 however1 a mordant of acetate or nitrate of lead1 and passing the goods through bichromate of potash1 a very beautiful and sufficiently fast yellow is now given to cotton goods in this country4 ,conclusion4 ,we cannot conclude our work without observing1 that from the researches continually going on in botany and other branches of natural history1 and1 more especially1 from those in chemistry1 there can be no doubt that discoveries1 which will materially improve the art of dyeing1 must1 from time to time1 be made4 ,some of these1 not yet generally known1 in the hands of a few persons1 have already been found useful2 but individual interest is1 of course1 a great enemy to their being made public4 ,others1 although public1 are1 as yet1 of too doubtful a utility to be noticed here4 ,if we have not given forms for the employment of some articles in use by certain dyers1 such as kermes for reds2 ,french ,berries1 7rhamnus infectorius17 the ,canada golden rod 7solidago ,canadensis17 the ,barberry 7,berberis vulgaris17 and the ,french marygold1 7,tagetes patula17 for yellows1 c4 c42 it is not to be concluded that such are not good in their kind1 and might not be used occasionally with advantage4 ,but as our object has been to give the best methods of dyeing the various colours1 it would be impossible to notice many others in a manual of this kind1 and in the limits within which we are necessarily confined4 ,to mention those substances recently introduced into dyeing1 the utility of which is not confirmed by extensive practice1 would be injudicious1 and tend to lead the young dyer astray2 those1 however1 who have leisure and inclination1 and are1 besides1 able to run the risk of the failure of new processes1 may1 and no doubt will1 make experiments with them by which our art must be eventually served and improved4 ,,index4 ,acetate of alumina1 #h1 #cf copper1 #af lead1 #ag ,acid1 the acetic1 #cc carbonic1 #cb ,gallic1 #aj muriatic1 #ab nitric1 ib4 nitro-muriatic1 #ac pyrolignous1 #cc sulphuric1 #ae ,tartaric1 #cc ,acids1 what1 #ca ,adjective colours1 #bg ,adrianople red1 #aag ,albumen1 #bd ,alcohol1 what1 and how obtained1 #be ,alkali1 volatile1 #bc1 #cj ,alkalies1 the fixed1 #ad1 #cj ,alum1 common1 #g roche1 ib4 ,alumina1 ib4 acetate of1 #h ,american bark1 #ae ,ammonia1 #bc carbonate of1 ib4 ,animal substances1 analysis of1 #ah oil1 #bd ,annatto1 preparation of1 #acf ,aqua fortis1 #ac regia1 ib4 ,archil1 #h ,argol1 ib4 ,aurora1 to dye silk1 #acg ,azotic gas1 #bi ,bancroft's dyeing1 #d ,bancroft's murio-sulphate of tin1 #aja ,barilla1 #ae ,bastard saffron1 ib4 ,berthollet's dyeing1 #d ,bile1 #aj ,black on silk1 #ajf1 #ajg1 #ajh to dye1 on cotton1 ,rouen process1 #ajh ,london process1 ib4 ,black1 to dye1 on cotton velvets at ,manchester1 #aaj silk and cotton with a blue ground1 #aab another for cotton1 #aad on wool1 #ij1 #ic ,bleaching1 #cg ,blood used in dyeing1 #aai its constituents1 #bd ,blue1 #aaa to dye1 on cotton1 #dg silk1 #fd wool1 #gc1 #hj linen and cotton1 #eg chemic1 #dg copperas or vitriol1 #aj ,bran1 #i ,brimstone1 #ae ,brown1 to dye wool1 #ig cotton1 #abh ,buff1 to dye cotton a fast1 #eh wool1 #aja ,calcination1 #bh ,calico printers' mordant1 #cf ,carbon1 or charcoal1 #bh ,carbonic acid1 #cb ,carbonate of ammonia1 #bc potash1 #ad soda1 #ca ,carthamus1 #ae ,cerulin1 #aa ,chemic blue1 #dg green1 #eb ,chemical terms1 #de ,chemistry1 leading facts in1 #bf ,chlorine1 #i1 #ac ,chloride of lime1 #ch ,cochineal1 #i ,colours1 on fast and fugitive1 #ci for dyeing1 #f ,sir ,i4 ,newton's primary1 #ah to prove1 #da ,composition for dyeing silk scarlet1 #ada ,combustion1 #bh ,copper1 #aj ,copper1 acetate of1 #aj sulphate of1 ib4 ,coquelicot1 to dye silk1 #ach ,cotton1 on dyeing1 #dg1 #ajd1 #abc to dye chemic or ,saxon blue1 #dg black1 #ajh1 #aaj1 #aad green1 #eb a fast green1 #ef buff1 #eh green with indigo and weld1 #ef pink1 #fj violet1 #aae duck's-wing green or olive1 #abh brown1 maroon1 c41 ib4 red1 #aaf1 #aag yellow by chromate of lead1 #aea skein1 to dye1 yellow1 #abd furniture1 to dye1 yellow1 ib4 the same to re-dye1 #abg ,cream of ,tartar1 #i ,crimson1 to dye1 by archil on wool1 #hj lac dye on wool1 ib4 worsted yarn1 #ha on silk1 #adj ,cudbear1 #h ,decoction1 what1 #ec ,distilled verdigris1 #ag ,drugs used in dyeing1 #g ,dye-houses1 #db ,dyer1 the trade of a1 #a ,dyers of ,adrianople red1 #b black1 #c grain1 #a silk1 skein1 #c rag1 ib4 woad1 #b woollen1 #a worsted yarn1 #c weed1 #ag ,fawn1 to dye wool1 #hh ,feathered tin1 #hc ,fermentation1 the vinous1 #be acetous1 ib4 ,fermentation1 the putrid1 #be ,fibrin1 #bd ,gall of animals1 #aj ,galls1 ib4 ,gallic acid1 ib4 ,gas1 what1 #ca ,gelatine1 #bd ,gold colour1 to dye wool1 #ij ,green1 to dye the chemic1 on cotton1 #eb cotton a fast1 #ef wool1 #hi woollen1 ib4 cotton duck's-wing1 #abh silk1 #ade vitriol1 or copperas1 #ab ,grey1 to dye wool1 #if on silk1 #adg ,hematin1 #if ,hydrogen1 #bi carburetted1 #cb sulphuretted1 #cc ,indigo1 #aj prepared1 #ge sulphate of1 #aa1 #ea neutralization of1 #eb ,indigo1 solution of1 for penciling muslin1 #eg vats1 #ed1 #ajb ,inflammable air1 #bi ,iron1 #ab acetate1 ib4 liquor1 #aab muriate1 #ab oxide1 ib4 sulphate1 ib4 ,iron-moulds1 #cd ,jennings's ,cyclopdia1 #d ,lac dye1 #ab ,lake1 ib4 how used for scarlet1 #hj ,light1 decomposition of1 #ah ,lime1 #bc ,linen1 to dye1 scarlet1 #abb blue1 #eg ,litmus1 or lacmus1 #h ,lilac1 to dye silk1 #fh muslin1 ib4 ,logwood1 #if ,m',kernan on dyeing silk1 #d ,maroon1 to dye wool1 #he cotton1 #abh ,moidore1 to dye silk1 #acg ,mordant1 what1 #bg the calico printers'1 for yellow and red1 #cf ,muriate of soda1 #ab tin1 #add ,murio-sulphate of tin1 #aja ,muriatic acid1 #ab gas1 #ad ,muslin1 to dye1 lilac1 #fh ,nitre1 #ab ,nitric acid1 ib4 ,nitro-muriatic acid1 #ac ,nitrogen1 #bc gas1 #bi ,oil of vitriol1 #ae ,orange1 to dye wool1 #ij silk1 #acg ,orpiment1 #ac ,oxides1 what1 #ad ,oxidation1 #bh ,oxygen1 ib4 ,oxymuriatic acid1 #ac ,oxymuriate of lime1 #ch ,pastel1 #ag vat1 #gc ,peach1 to dye wool1 #aja ,pearl-ash1 #ad ,phenicin1 #aa ,pink1 to dye cotton1 #fj ,poppy1 to dye silk1 #ach ,potash1 #ad ,potassium1 #bi ,prickly pear1 #i ,proximate constituents of animals1 #bc vegetables1 #ba ,purple1 to dye silk1 #fg wool1 #hh ,pyrolignous acid1 #cc ,quercitron bark1 #ae ,realgar1 #ac ,red1 to dye cotton1 #aaf ,red1 to dye cotton1 ,adrianople or ,turkey1 #aag ,safflower1 #ae ,salt1 common1 #ab ,saddening1 what1 #aaa ,scarlet1 to dye1 with lac dye1 #hj silk1 #ada wool1 #hb on linen1 #abb ,silk1 on dyeing1 #fb1 #aje1 #abc ungumming and boiling1 #abi whitening1 #acb aluming1 #fc1 #acd to dye blue1 #fd1 #fg violet1 royal purple1 c41 #fg lilac1 #fh another process for the same1 ib4 violet and purple1 ib4 another process for the same1 #fi another process for the same1 ib4 purple1 ib4 aurora1 orange1 and moidore gold colour and chamois1 #acf black1 #aje1 #ajf1 #ajg1 #aab orange or aurora1 #acg moidore1 ib4 orange1 #ach poppy or coquelicot1 ib4 a cheap poppy1 #aci a fine crimson or scarlet1 #adj another process for the same1 #adb a fine violet1 #adc green1 #ade olive1 #adf grey1 #adg with ,prussian blue1 #adi yellow1 by chromate of lead1 #aea ,silk skein1 to dye1 yellow1 #ace ,soap1 #ca ,soda1 #ae ,sodium1 #cj ,spirit of salts1 #ab wine1 #be ,spirit of hartshorn1 #bd ,substantive colours1 #bg ,sulphate of alum and potash1 #g copper1 #aj indigo1 #ea to neutralize1 #eb iron1 #ab ,sulphur1 #ae1 #cb ,sulphuret of arsenic1 #ac ,sulphuric acid1 #ae ,sumach1 #af ,tannin1 #aj ,tar-iron liquor1 #aad ,tartar1 #h ,tin1 #af muriate of1 #add murio-sulphate of1 #aja nitro-muriate of1 #hc ,turkey red1 #aag ,turmeric1 #af ,ultimate constituents of animals1 #bc vegetables1 #ba ,ure's ,berthollet1 #d ,chemical ,dictionary1 #d ,utensils1 on the1 used in dyeing1 #dc ,vat1 the blue indigo1 for silk1 #fd another for the same1 #fg cold indigo1 for cotton1 #ed blue1 for linen and cotton1 #eg indigo1 for worsted and serge1 #ajb ,vegetable substances1 analysis of1 #ah ,verdigris1 common1 #af distilled1 ib4 ,violet1 to dye cotton1 #aae a fine1 on silk1 #adc ,water proper for dyeing1 #db ,weld1 #ag1 #da to dye cotton green with1 and indigo1 #ef wool green with1 and woad1 #hi ,white1 the numerous shades of1 in silk1 #acb ,whitening silk1 process for1 ib4 ,woad1 #ag vat1 rules to judge of1 #ge how to work1 #gg errors in1 how to remove1 #gf on the putrefaction of the1 #gh ,wool1 on scouring and dyeing1 #gj the action of tartar and alum on1 #gb to dye1 orange1 gold colour1 c41 #ij black1 #ij1 #ic1 #id blue1 by the woad vat1 #gc blue1 several methods1 #hj1 #hi scarlet and crimson1 #hj1 #ha1 #hb maroon1 #he yellow1 #hg1 #ii brown and fawn colour1 #hh purple1 ib4 green1 #hi black1 #ij another process1 #ic greys1 #if brown1 fawn1 and many other colours1 #ig ,wool1 to dye1 buff1 #aja peach1 ib4 ,woollen1 a chemic vat for green1 #hi blue1 ib4 ,worsted yarn1 to dye1 a crimson1 #ha and serge1 indigo vat for1 #ajb ,yellow from ,quercitron bark1 #ih chromate of lead1 #aea weld1 #hg1 #abe on1 wool1 #hg cotton1 #abd1 #aea silk1 #ace1 #aea ,,the ,,end4 ,printed by ,r4 ,,gilbert1 ,st4 ,john's-,square1 ,london4